arteles_catalogue_2010-2013
Arteles Creative Center's residency artists and their projects 2010-2013
Arteles Creative Center's residency artists and their projects 2010-2013
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2013-2012-2011-2010
THANK YOU.
Arteles would like to thank all the residents, collaborators
funders and supporters for their work, participation and activity.
This catalogue would be much emptier without you.
Best Regards,
Arteles Team
ARTELES
CREATIVE CENTER
Hahmajärventie 26
38490 Haukijärvi
Finland
+358 341 023 787
info@arteles.org
www.arteles.org
Design: Teemu Räsänen. All rights reserved. Arteles 2015
ABOUT
// //
Presenting 2010-2013 residency artists and their projects.
All the past residency program participants have been asked
to send information about their projects done in Arteles
Creative Center. Those who have given the information so far are
presented in this catalogue.
Arteles catalogue was published first time in the beginning of
2012 and it is updated frequently.
You can find the latest version of the Arteles Catalogue from
http://www.arteles.org/artists_projects.html
All rights reserved. Arteles 2015
FUNDERS
// //
ARTELES CREATIVE CENTER & RESIDENCY PROGRAM
_ ARTS PROMOTION CENTER FINLAND
_ SKR - FINNISH CULTURE FOUNDATION / PIRKANMAA REGIONAL FUND
_ HÄMEENKYRÖ / HÄMEENKYRÖN YRITYSPALVELUT OY
_ EUROPEAN UNION / JOUTSENTEN REITTI RY
OTHER
_ ARTS COUNCIL OF PIRKANMAA [7] [10]
_ FRAME [11]
COLLABORATIONS [in alphabetical order]
// //
_ ART 360 PROGRAM [9]
_ ARTS COUNCIL OF CENTRAL FINLAND [3]
_ BACKLIGHT PHOTO FESTIVAL [4]
_ CENTER OF CREATIVE PHOTOGRAPHY [3]
_ ESKARO [8]
_ CREATIVE SCOTLAND [2]
_ GALLERY 3H+K, PORI [6]
_ GALLERY ALKOVI, HELSINKI [6]
_ GALLERY RAJATILA [7]
_ HAUKIJÄRVELÄISET ASSOCIATION
_ HÄMEENKYRÖ BOROUGH [8]
_ INSTITUTO ITALIANO DI CULTURA FINLANDIA [2]
_ JYVÄSKYLÄ ART MUSEUM [3]
_ JYVÄSKYLÄ UNIVERSITY OF APPLIED SCIENCES [3]
_ KIASMA [1]
_ LIVE HERRING GROUP [3]
_ NÄKYMÄ PUBLIC ART SHOW 2011 [6]
_ MAKE 8ELIEVE
_ PIIPOO RY [12]
_ PORI ART MUSEUM [7]
_ PERFO! (CULTURAL CENTER TELAKKA TAMPERE) [6]
_ PISPALA CENTER FOR CONTEMPORARY ARTS [5] [6]
_ PTARMIGAN HELSINKI & TALLINN [6]
_ RAJATAIDE ASSOCIATION [5]
_ RED CROSS / REGIONAL DIVISION [13]
_ RECYCLING CENTER, HÄMEENKYRÖ [8]
_ TAMPERE UNIVERSITY OF APPLIED SCIENCES [3]
_ TAMPERE ARTIST ASSOCIATION [5] [9]
_ TAMPERE CITY / CULTURAL OFFICE [5] [12]
_ TAMPERE TRADE FAIR [9]
_ TUNTURI HELLBERG LTD
_ TEHDAS RY [7]
_ TIKKURILA [8]
_ TR1 KUNSTHALLE [7]
_ UNIVERSITY OF JYVÄSKYLÄ [3]
_ XL ART SPACE HELSINKI [6]
_ ORE.E REFINERIES [7]
EXPLANATIONS
// //
[1] Arteles Citywalks - URB - Urban Art Festival 2011
[2] Arteles Studios
[3] Artist Talks
[4] Backlight Sympsium
[5] CARE - Contemporary Art Residency and Exchange Program
[6] Direct use of Arteles network artists
[7] Satellite Platform - Lecture series
[8] Residency program’s material support
[9] Tampere Art Fair
[10] Art Dubai fair
[11] Istanbul Biennale
[12] Artisokka -project
[13] Art projects
RESIDENTS
Arteles Creative Residency Program, January - November 2013
Argentina
Australia
MARÍA EMILIA SILVETTI // Painting & poetry
NIZHA BUSTOS SALIM // Music
SIMON GARDAM // Media art
PILAR MATA DUPONT // Visual art
JODY QUACKENBUSH // Visual art
ANNIE NGUYEN // Visual art
ADAM GIBSON // Visual art & music
HENRY ANDERSEN // Sound & music
JACQUI MILLS // Visual art
Mexico
Netherlands
New Zealand
Norway
Poland
IVÁN KRASSOIEVITCH // Visual art
MAARTEN BOEKWEIT // Visual art
JOANNE DRAYTON // Visual art
SUZANNE VINCENT MARCHALL // Visual art
KRISTIN NANGO // Dance & performance
SENA WOLF // Visual art
Belgium
Brazil
Canada
Colombia
BEATA SZPARAGOWSKA // Visual art
BEATRIZ MOGADOURO CALIL // Visual art
VICTOR LEGUY // Visual art
CARLA CHAIM // Visual art
JORMA KUJALA // Visual art
NATASHA ALPHONSE // Visual art
DEVON MICHIGAN // Performance, occult, music
DANA BUZZEE // Installation & photography
PAOLO GRIFFIN // Music composition
DANIELLE BLEACKLEY // Sound, Ink,Textile
VANESSA VAUGHAN // Visual art
CHRISTIANA MYERS // Visual art
SYDNEY SOUTHAM // Visual art
JULIE PASILA // Visual art
JEAN PAUL GOMEZ // Photography, video, installation
LARRY MUÑOZ // Visual art
Spain
Sweden
Switzerland
Turkey
UK
GLÒRIA ESCALA VIDAL // Performance & installation
JOSE BAHAMONDE // Video, 3D, motion graphics
MYRIAM GUILLAMÓN // Video, 3D, motion graphics
JIMMY ALM // Visual art
MAURITZ TISTELÖ // Poetry & visual art
LILIAN BEIDLER // Visual art
CAROLINE VON GUNTEN // Drawing, Installation
SEZA BALI // Photography
ELIZABETH ARMOUR // Jewellery, craft, digital design
SOPHIE LEE // Photography, installation, artist books
EDWARD SANDERS // Painting
MARTHA JURKSAITIS // Visual art
KADIE SALMON // Visual art
JAMES GOW // Visual art
AMELIA CROUCH // Visual art
Denmark
Finland
France
Germany
Hong Kong
Iran
Ireland
Italy
IDA-ELISABETH LARSEN // Dance & performance
MARIE-LOUISE STENTEBJERG // Dance & performance
OLLI HORTANA // Film
VIRPI VELIN // Photography
KIA KUJALA // Mixed
RAILA KNUUTTILA // Visual art
EMILIE MCDERMOTT // Video, installation, performance
VERA HOFMANN // Visual art
SABINE SCHRÜNDER // Visual art
JACQUELINE HEN // Visual art
VIOLET SHUM // Visual art
SHOHREH GOLAZAD // Multimedia
IAN NOLAN // Painting, installation, intervention
PIERCE HEALY // Visual incongruities, storytelling, sound
MIRKO KANESI // Visual art
ARABELLA PIO // Visual art
BENEDETTA ALFIERI // Visual art
ALBERTO VENTURINI // Visual art
EMANUELE LOMBARDINI // Visual art
USA
CHAD MOUNT // Painting, video
NICOLE GRECO-LUCCHINA // Visual Arts, typography
AMBERA WELLMANN // Painting
STEPH ZIMMERMAN // Sculpture, photography, graphic
AMY JONHSON // installation, photography, performance
LYNDON BARROIS, JR // Painting & drawing
ADDOLEY DZEGEDE // Visual art
MATTHEW SCOTT GUALCO // Writing, texting, drawing
RYAN SOMERVILLE // Music
CATHERINE J. HOWARD // Visual art
SUSAN E. EVANS // Hybrid media & photography
BRENNA NOONAN // Music
AMBER DOE // Visual art
MAEGAN STRACY // Visual art
DUSTY RABJOHN // Visual art
KRISTY HEILENDAY // Visual art
AGNES FIELD // Visual art
ALISON CHEN // Visual art
SHELBY SEU // Visual art
JESSICA MILAZZO // Visual art
SHARON LACEY // Visual art
SALMA BRATT // Literature
COALFATHER INDUSTRIES // Visual art
HEATHER SINCAVAGE // Visual art
RESIDENTS
SILENCE . AWARENESS . EXISTENCE - Theme residency program, December 2013
Ellis Hutch // Installation, sound, drawing
Australia
Sasha Margolis // Sound art, installation, music
Australia
Sam Fagan // Visual art
Australia
Alexis Williams // Sound, installation, biology
Canada
David Boyce // Conceptual art, photography Hong Kong / New Zealand
Teresa Miró // Visual art
Spain
Simon Gerrard // Photography, installation, light
UK
Shawné Holloway // New media, sound
USA
Jessica Anderson // Sculpture, photography, installation USA
Matthew Clark // Visual art
USA
Birgit Larson // Performance, drawing
USA
RESIDENTS
2012
Australia
MICHELLE DICINOSKI // Media art
Russia
TATJANA GORBACHEWSKAJA // Visual art
RYAN McGENNISKEN // Visual art
HOLLIE KELLEY // Visual art
Slovenia
NATASA KOSMERL // Photography
GRACE KINGSTON // Visual art
GREGA LOŽ // Illustration
LAURA BATCH // Visual art
TOM HOGAN // Sound & Music
South Africa
LAUREN VON GOGH // Visual art
ADAM GIBSON // Sound & Music
ROBYN COOK // Visual art
JACQUI MILLS // Visual art
JENNA BURCHELL // Visual art
Bulgaria
IVAYLO GUEORGIEV // Visualart
South Korea
SAEBON KIM // Visual art
JI HYE YEOM // Visual art
Brazil
RENATA PADOVAN // Visual art
LARISSA PINHO ALVES RIBEIRO // Visual art
Spain
ALBERTO MARTÍNEZ CENTENERA // Visual art
STEFFANIA PAOLA ALBANEZ // Visual art
ANA GALAN // Visual art
Canada
JENNIFER PICKERING // Visual art
Switzerland
NATALIA COMANDARI // Visual art
VANESSA BRAZEAU // Visual art
ROMAIN LEGROS // Visual art
ELLA COLLIER // Visual art
SIBYLLE IRMA // Visual art
JULIE PASILA // Visual art
Chile
CARLOS LABBÉ JORQUERA // Literature
UK
LAURA CARLOTTA WRIGHT // Lense based arts
DAN COOPER // Sound & Music
MONICA RÍOS VASQUEZ // Literature
PATRICK LOAN // Visual art
ANNABELLE CRAVEN-JONES // Visual art
Finland
ANU TURUNEN // Visual art
EMMA REEVES // Visual art
CAMILLA EMSON // Visual arT
France
EMILIE COLLINS // Visual art
USA
MARY-ELLEN CAMPBELL // Visual art
Hungary
TAMAS SZVET // Visual art
GRACE NEEDLMAN // Visual art
CHRISTOPHER D WILLE // Media art
Israel
OFRI LAPID // Visual art
MARK WUNDERLICH // Poetry
DOROTHY K. MCCALL // Art history
Italy
SARAH EDITH LOMBROSO // Illustration
MARLENA MORRIS // Photography
ROBERTO PUGLIESE // Sound & Media art
PAUL ZMOLEK // Dance & Performance
JOSEPHINE A. GARIBALDI // Dance & Performance
Japan
MIKA MIZUNO // Photography
SUSAN EVANS // Visual art
AQUICO ONISHI // Visual art
JAMIE URETSKY // Visual art
TOSHIHIKO SUZUKI // Architecture
DELILAH JONES // Visual art
YUKI SUGIHARA // Design
JOHANNA BREIDING // Visual art
MARY RASMUSSEN // Visual art
Malaysia
VALERIE NG // Painting
MELANIE EDWARDS // Music
STEPHANIE CHAMBERS // Visual Art
Mexico
DANIEL ORLANDO LARA // Photography
JESSELISA MORETTI // Visual art
CARRIE NAUGHTON
// Literature
SIMEN JOACHIM HELSVIG // Visual art
RESIDENTS
2011
Argentina
Australia
Belgium
CAROLINA TRIGO // Media-art, Performance
THE MOTEL SISTERS // Action
PILAR MATA DUPONT // Video, performance
JENNA CORCORAN // Installation
KATHERINE SHRINER // Painting
JESSICA MONTFORT // Painting
JAN VERBRUGGEN // Sculpture, Painting
KAREL VERBUGGEN // Engineering
PIETER GYSELINCK // Sound
Italy
Japan
South Korea
Spain
HELENA HLADILOVA // Fine art
PAOLA RICCI // Sculpture
HANAE UTAMURA // Transart
HWAYOUN LEE // Drawing
HYOJUNG JUNG // Film, video
HYEKYONG YUN // Photography
VICTOR GONZALEZ CASTRILLO // Writer
MARIA SANCHEZ // Curator
Canada
Croatia
China
Finland
France
Germany
Greece
Honduras
ANDREANNE FOURNIER // Media art
AARON WELDON // Painting
JEANNE MARSHALL // Textile
RICHARD IBGHY // Conceptual art
MARILOU LEMMENS // Conceptual art
CHRISTIAN CHAPMAN // Painting
ANNE MARIE DUMOUCHEL // Performance
ANA GEZI // Painting
JOLENE MOK // Transdisciplinary
ULRICH HAAS-PURSIAINEN // Curator
OLLI HORTTANA // Photography
HÉLÈNE BARIL // House painter
JEANNE DE PETRICONI // Sculpture
SORAYA RHOFIR // Video art
BERENICE SCHRAMM // International Law
MARIE MONS // Design
SABINE SCHRÜNDER // Photography
VERA HOFMANN // Photography
NINA FARSEN // Design
GEORGIA KOTRETSOS // Conceptual art
ALEXIS AVLAMIS // Painting, Drawing
DINOS NIKOLAOU // Media Art
ALMA LEIVA // Transdisciplinary
Switzerland
Taiwan
Turkey
UK
USA
CETUSSS // Design, art, sound
JULIET FANG // Fine arts
DIDEM OZUBEK // Design
LUCY DRISCOLL // Illustration
LUCY BAKER // Fine art
EDWARD LAWRENSON // Painting
SAMANTHA EPPS // Fine art
HILJA ROIVAINEN // Painting
LAURA DONKERS // Conceptual art
MATT SHERIDAN // Media arts
SUSAN BERKOWITZ // Photography
LUCAS COOK // Photography
SHARI PIERCE // Fine art
KARIN HODGIN JONES // Installation
MONTANA TORREY // Videoart
DAN SPANGLER // Media Design
KATIE ZAZENSKI // Installation
TREVOR AMERY // Installation
GAYLORD BREWER // Poetry
ARIEL MITCHELL // Textile Art
GEORGIA ELROD // Painting
TRAVIS JANSSEN // Media-art
COLIN WOODFORD // Sound art
BRENDAN CARN // Music
KELLY MONICO // Video
MIKE KOFTINOW // Painting
EILIYAS // Sound art
GWYNETH ANDERSON // Animation
MARISSA GEORGIOU // Conceptual art
IN THE RESIDENCY
2010 June >
Australia
MICHAEL PULSFORD // Sound art
France
CAROL MÛLLER // Photography
HANNA TAI // Installation Art
MAXIME BONDU // Installation
SALLY DAVISON // Actor
NICOLAS CILINS // Installation
Brazil
LEANDRO LEITE // Choreographer
Israel
MAYA ARUSCH // Fine Arts
Canada
EMMA HOOPER // Research and music
Slovakia
EMESE HRUSKA // Research, music
ELIA ELIEV // Visual arts, research
JOHN LUI // Photography, design
The Netherlands
BREGTJE WOLTERS // Drawing
RICHARD IBGHY // Conceptual art
MARILOU LEMMENS // Conceptual art
USA
TAKESHI MORO // Photography, media art
CHARLIE WILLIAMS // Composer
Estonia
ANNA JAANISOO // Theater director
ALICIA VIANI // Research, Music
DEREK LARSON // Artist, Curator
Finland
EERO YLI-VAKKURI // Multidisciplinary art
INKA JURVANEN
// Drawing
Vatican City
STEPHANO SUH // Graphic design
EEVA TALVIKALLIO // Research
IIDA-MAARIA LINDSTEDT // Actor
PAULA LEHTONEN // Media-art
RESIDENTS + PROJECTS
IN THE RESIDENCY
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
“Quantifying invisible measurements
with careful imprecision”
JESSICA BROOKE ANDERSON
USA
brooke.ja@gmail.com // www.jessicabrookeanderson.com
Taking the position as neither a skeptic nor a promoter, my research
examines the role of holistic healing practices in contemporary
culture. I am interested in the boundary between the mind and body
as well as personal relationships to health, science, medicine, and
biologic phenomena. Reminiscent of laboratory investigations, my
invented scenarios answer questions with questions and provoke
participatory explorations of the individual self.
Reframing existing treatments heightens their tension of purpose
and provides viewers with neutral environments of investigation.
By repositioning scientifically grounded phenomena into the
context of a gallery, information begins to transcend ratiocination
and calls upon a physical conversation between mind, body,
and personal experience. In my work, invitations for experience
occur through demonstrative videos, interactive objects/devices,
evocative statements of research, and performative exercises.
Together, each of these installation elements create a multidimensional
environment of investigative viewing, biologic
questioning, experiential answering, and opportunities for viewers
to test their own boundaries of belief.
WHICH WAY WOULD YOU LIKE TO GO?
Scientific research has determined that meditative actions
change the interior landscape of the body. Examples of such
changes include the physical structure of the brain, increased
speed of neurons, growth in circulatory enzymes, and the altering
of genetic code. Separate research has determined that the body’s
somatosensory and interoception networks are triggered when
an individual performs a familiar task with their eyes closed,
resulting in heightened brain activity and personal awareness.
But what happens to the body when the two are combined?
“Meditation Walking,” the project conducted during my
month at the Arteles Residency, challenges these notions of
measurement and explores the biologic impact of engaging in a
walking meditation without sight. By using a marker to trace the
continuous movement of individual mediators, the project became
an improvised human seismograph. The wavering marks on the
paper functioned as quantifiable measurements of the performed
experience while the compression of the collected data bypassed
all means of traditional analysis. Every ebb and flow of meditation
was recorded, but every moment is indistinguishable from the
rest.
As a record of the brain’s systematic transformation and the
layering of time spent in transition, “Meditation Walking” merged
the internal experience with the physical process. The generated
evidence served as an indecipherable record of an internal,
cognitive shift and confronted ideas of arbitrary measurement,
personal opinion, and self projection.
IN THE RESIDENCY
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
“Playing in the gloaming of
your self-awareness”
ALEXIS WILLIAMS
Canada
digitalucid@gmail.com // www.alexiswilliams.net
The average healthy mind ignores information that is not obviously
relevant. (This unawareness is literally ignorance) My work often
attempts to draw attention to things that were always visible but
were overlooked or ignored. I aim to alter my viewer’s awareness
to reveal things we cannot see until we learn how to see them
while suggesting that other things in life might be unperceived
or unintentionally disregarded. My time at Arteles is spent
researching the inaccuracies of our perception and how technology
and culture affect our understanding of our world and of ourselves.
My current project will attempt to inspire change in perception of
the self by pointing out the inaccuracies of our senses and of our
ignorance of nature. The work produced will celebrate the liminal
moment of freedom from identity that happens when you realize
that you are not exactly what you thought you were. It will strive to
achieve with science and reason a state between self-awareness
and egolessness that is usually only achieved in spiritual ritual. As
an artist Interested in cognitive dissonance, paradigm shifts and
moments of realization, I am drawn to the lecture and ceremony
as methods to perform this work. The piece will be both a guided
meditation and a biology lesson presented as an audio installation
and a live performative talk at conferences.
WHICH WAY WOULD YOU LIKE TO GO?
While I write my thesis which will be a guided meditation
on inaccuracies of our perception of nature and of the self
I participated in several international artist residencies. My
stay at Arteles was spent researching pop neurology and
meditation. Specifically I studied how our attention works and
how we form self-awareness. This text piece is one of a series of
cognitive drawings that uses alternating parallel intelligible and
nonsensical information to draw a line with attention. It plays with
our intuitive tendency to pay attention to things our brains find
meaningful and to ignore information that does not make sense.
While experimenting with meditation in Finland it was snowing
so I made a 40 meter wide meditation labyrinth in the snow in
the dark. I used a traditional design that is used to unwind and
to help guide you to your center. Walking a meditation labyrinth
is supposed to bring clarity over obstacles and help to find one’s
path. While walking my labyrinth for the first time I worried that
I had made a mistake building it and that my path was looped or
flawed. I realized that I needed to have faith and that the only way
to see if it was the correct path was to follow it completely. The
affirmation I am using while studying self-hypnosis is “”I am exactly
where I am supposed to be””, as in, “”I am on the right path””.
IN THE RESIDENCY
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
ELLIS HUTCH
Australia
ellishutchart@gmail.com // ellishutch.tumblr.com
Close to the berg the pressure makes all sorts of quaint noises.
We heard tapping as from a hammer, grunts, groans and squeaks,
electric trams running, birds singing, kettles boiling noisily, and an
occasional swish as a large piece of ice, released from pressure,
suddenly jumped or turned over.” Frank Worsley, Antarctica 1914
I’m work with video, photography, installation and sound. I’m
currently obsessed with Antarctica and the moon. I’m fascinated
by photography of remote and extreme environments, and by how
it’s possible to visit those inaccessible places vicariously inspired
by the images and writings of astronauts and explorers.
One of the questions that interests me is how do explorers and
astronauts translate experiences that occur at the limits of
their ability to perceive for remote audiences? Spending time
at Arteles during winter will give me an opportunity to work in
an environment that foreign to me. My working method is to
undertake a phenomenological investigation – taking into account
the insights I’ve gained through historical/archival research and
the theoretical research I have conducted into phenomenology,
action and perception.
Photos: Birgit Larson
THE LOST ASTRONAUT
I addressed the residency theme of ‘Silence, Existence,
Awareness’ by shifting my usual working methods. Rather than
starting with historical/archival material and specific concepts
to generate the work, I focussed on the sensory experience of
walking every day. Leaving at different times and choosing a
variety of paths across fields, down roads and into the forest I
confronted my fears of the dark, of walking on ice and of exploring
an unfamiliar environment.
The lost astronaut images were made as a result of paying
attention to the feeling of being lost and ‘out of place’. Wearing
the psychic life-support system my imaginary astronaut was able
to inhabit the unfamiliar environment while remaining isolated,
an observer.
The astronaut’s aim is to get to the moon, in the meantime she
will continue searching and observing.
IN THE RESIDENCY
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
CLARK & MIRÓ USA / Spain
MATTHEW CLARK & TERESA MIRÓ
matthewclark@mtclark.com & teresa@teresamiro.com // www.cargocollective.com/clarkmiro
The collaborative work of Clark & Miró explores issues related
to personal awareness, invisible forces, and habitual patterns
that underlie and shape existence. A seemingly polarized, two
sided object or situation is in reality unified. There is only one
continuous side to existence. Good and bad, darkness and light are
part of the same whole. Metanoia is carried out by the acceptance
of this interconnected life, finding value in the negative, and
transforming the thought process. Reforming the psyche is a
mode of self-healing, which is followed by a change of conduct,
the initial step towards collective awareness and empowerment.
Clark Miró is a collaborative platform established in Phoenix,
Arizona. Teresa Miró was born in Spain and Matthew
Clark is from the United States. They share an intermedia
approach to art combining photography, digital illustration,
graphic design, painting, digital modeling and animation.
YOU GET A LOT OF MAGNETS
In a magnetic field, the field is not just within the magnet, it is
all around it. If the north pole of the magnet is cut, the result is
not an isolated north pole, but two magnets each with a complete
magnetic field.
Living organisms are much more like the field phenomena than
like machines. If you cut a plant in little parts, each cutting can
become a whole new plant.
IN THE RESIDENCY
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
SIMON GERRARD
UK
simon.gerrard@gmail.com // www.simongerrard.com
Redirecting light and therefore avoiding re-appropriation, I play
with the viewers interpretation of light and reality, time and
place. My enthusiasm lies in slide photography and projection/
installations, the exploration of layering slides and their manual
formation, incorporating silk-screened layers with colour reversal
film. My work explores our connection to the present, sensory
awareness and emotional reactions, attempting to remove the time
lag between mind and emotions. Creating a viewing experience
that deepens our sense of reality and emotional connection to
ourselves/subject in the perceived simple act of engaging with an
image. Much of my work is rooted in the belief that we are no
more or less than our surroundings and seeks to create gallery
environments that understand our existence rests solely on this
relationship.
DELIMITED
Delimited’ explores the perpetual reliance on distorted perception
and objective matter of fact. It challenges the faith we place in
existing conceptual structures and examines the struggle of
trying to prevent our thoughts from pinning down immediate
experience.
The work seeks to uncover the residual unknown.
It traces novel gesture and the absent body, mapping our visceral
space to reach a greater depth of awareness.
‘Delimited’ manifests in a subjective experience but intends to act
as a conduit to another.
IN THE RESIDENCY
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
“a time-lapsed trip through chromatic,
emphatically dodgy hyper-futurist smog”
SASHA MARGOLIS
Australia
sasha.margolis@gmail.com // somnambulist.squarespace.com
Sifting through the sonic waste and discarded technology left by
the roadside of a world speeding too fast into the future. Field
recordings, found sound, tape manipulation, noise, effects units,
digital and analogue synthesis. Currently pursuing live and studio
created soundscapes using various psychoacoustic and binaural
techniques and archaic tape based drones.
Sasha is supported by the ArtStart grant from Australia Council
for the Arts.
TRANSMISSIONS FROM 61°N, 23°E
The boreal white backdrop gives way to a muted palette of browns
and greens in a trickle of meltwater and wind. Saunas in subzero
Celsius. Black Christmas. Psychogeography informs an
acoustical traverse. Listen:
IN THE RESIDENCY
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
SHAWNÉ MICHAELAIN HOLLOWAY
USA
cleogirl2525@gmail.com // www.shawnemichaelainholloway.com
SHAWNÉ MICHAELAIN HOLLOWAY is a dirty new media artist
from Chicago, IL. Her work critically examines topics such as
alternative sexuality, racial sensitivity, and social media. From
.gifs to live performances, she has shown work internationally
in both physical and online galleries. Some highlights include
invitations to: participate in the SIMULTAN experimental video
festival in Timisoara, Romania; lecture at hacker/art festival
Notacon 9 & 10 in Cleveland, Ohio (USA); organize a workshop/
lecture/panel in Chicago, IL at GLI.TC/H 20112; and write essays
for both the Dirty New Media exhibition at the Barber Institute of
Art in Birmingham, UK and the In Media Res online symposium.
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IN THE RESIDENCY
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
BIRGIT LARSON
USA
birgit.larson@gmail.com // www.birgitlarson.com
Life and artwork for me right now is loosely guided by my relationship
with anxiety. I’ve found it’s a powerful force. By recording others,
setting social parameters and inventing guidelines of interaction I
have both excuses to face anxiety and reasons to create more of it.
I’ve found I am especially interested in anxiety’s connection to moral
framework. I’m also interested in the history and role of anxiety in
mental heath and mental health’s history as seen through artists.
I do some fun things too, like having entire conversations with the
sound “ribbit” or learning to hypnotize myself.
SELF REVEALED THROUGH ORAL COMMUNICATION IN RELATION TO ANXIETY, SO SERIOUS.
For the month of December my main focus was to be conscious of
building an environment, practice and mindset for myself that had
the potential to turn into a project rather than being consumed
by production of specific goals. I spent a fair amount of my time
researching, meditating and letting go of projects, emotions and
ideas that I didn’t want. My attention turned towards my personal
social habits within the intimate group in relation to habits I’d
formed living in New York. I wanted to focus on exploring my
own anxiety in intimate settings. I put myself in a sort of social
contract to have a recorded conversation with each of the other
artists at Arteles about their roots and moments of anxiety. I then
edit the conversations so that only my voice is heard. The result
is that I force myself to take the responsibility of becoming the
only subject in the conversation amidst anxiety. The conversation
of myself with silence reveals how I socially adapt and am defined
through other people and how my vulnerability changes with each
conversation.
IN THE RESIDENCY
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December 2013
“ Nothing is ever easy,
except when it is.”
DAVID BOYCE
Hong Kong / New Zealand
davi9d@davidboyce.net // www.davidboyce.net
I am interested in many things. Memory, language, spirituality,
identity and influence are but a few of these. I take these
interests and develop obsessions. These obsessions are
the base of what I sometimes turn into art. Some of this art
is tangible and exists for extended periods of time, other
times it is offered up into the ether to pass almost unnoticed.
I am intrigued by beauty, but also have a soft spot for ugliness, the
mundane and the overlooked. I like what people pass by without a
second look or backward glance. Where people rush, I try to go a
little slow. My work is usually project driven and I can be working
on several things at once. Some come to life quickly, others can
take years of false starts, interesting side roads and diversions.
Stand in front of a camera and think your portrait into existence.
Continue trying until you are successful.
Clear your mind. Look into a camera loaded with 5x4 inch film (Black and
White or Colour, the aesthetic choice is yours). Think of the face of someone
you once loved but love no more. A quarter of a second should be enough.
Then take the film from the camera (unexposed, but for your thoughts),
and place it where you will forget about it over a period of time.
Place your camera in front of a speaker, (or, preferably, take it to a performance
of live music). Think about the camera soaking up and absorbing the
music. Take your camera and thinking of the music it absorbed, look for a
visual resonance to the music. Photograph that resonance until you feel
the resonance dissipate.
In the darkest of night. Walk for 30 minutes holding your camera in
your hand with the shutter open. Repeat until exhausted.
EXPERIMENTATION, RESEARCH, AND A DESIRE TO MAKE MISTAKES.
I came to Finland with an idea, well actually several ideas, but
one in particular, to make a series of restful, monochromatic
photographs. I also wanted to do some thinking on where my
art practice was taking me. In the end the monochromatic
photographs didn’t happen, but other things did. I started to
make simple drawings, something I have not done in a long
time. I let myself, no, I encouraged myself to make mistakes and
experiment with ideas. In the end I felt I made advances on things
that had been problematic to me for some time. I also started
to develop a new body of work around the idea of instructions to
make photographs. I am now working on how to present the work.
I also left with a notebook full of ideas for new projects, and ideas
on revitalising some existing ones. Some of which might require
a return to Finland.
IN THE RESIDENCY
November 2013
ARABELLA PIO
Italy
arabellapio@gmail.com // www.arabellapio.it
My investigative process involves both aestheticizing and
politicizing my personal experiences and relationship with the
surroundings, raising questions that concern cultural identity and
basic human interactions, among other things.
In these social and cultural inquiries I try to create narratives
that fluctuate between fictional and historical anecdotes and
where a change, although infinitesimal, can take place, diverting
imagination from the familiar trajectory.
Formally, my work tends to evolve into photographs, texts,
installations, spoken-word events, or slideshows.
- PIDÄN SUOMESTA JA SUOMI PITÄÄ MINUSTA (I LIKE FINLAND AND FINLAND LIKES ME)
- ADAPTATION VS. HABIT (SOUND INSTALLATION)
- FAKE MOOSE TOWER
The residency at Arteles was for me a valuable time to explore
processes and media I had never approached before, like
video and sculpture. Although not concluded they represent a
starting point for further reflection and development.The three
projects investigate the inescapable complexity stemming from
an encounter, be it between human beings, cultures or nations.
The video “Pidän Suomesta ja Suomi pitää minusta” stemmed
from the dramatic consequences of recent episodes of illegal
immigration in Italy and represents a reflection on the issues and
implications concerning the phenomena of migration, integration
and mutual trust. The sound installation “Adaptation vs. Habit”
focuses on the effort and resistance experienced when usual
mental patterns are challenged and undergo a sudden change.
The red moose tower was conceived and experienced as a gesture
of emulation and rebellion against tradition.
IN THE RESIDENCY
November 2013
“ Write more letters ”
NICOLE GRECO-LUCCHINA
ngrecolucchina@gmail.com
USA
Antiquated processes require time and precision that are becoming
increasingly lost in a digital, mass-produced world. Art forms that
demand strict discipline -- that are less forgiving of mistakes, retains
the sanctity of craftsmanship that cannot be found behind a screen.
As a self-proclaimed luddite, Nicole Greco-Lucchina is a visual
artist interested in antiquated typographic processes. Her fixation
on typography has led her to explore human relationships with
linguistics, especially the appropriation and manipulation of
language. Focussing in hand-lettering, signage, and calligraphy,
she prefers to work as far from a computer as possible. Themes
that most commonly inform her work include time, memory,
nuances of verbal communication, and dystopian perceptions of
modern technology.
SKETCH, SCALE, AND SPEED
I arrived at Arteles with the intent to approach my time
in-residence from a technical standpoint. The practice of handlettering
is a craft that requires much time and repetition in order
to acquire precision through muscle memory.
Because my work is produced solely by manual process, I spent
my days studying and reproducing various typefaces by hand.
This included practice in making straight lines, fluid curves, and
uniformity within font families second-nature.
As a result, I left with a collection of tests that illustrate my
process from beginning to end -- a trial and error series that
demonstrates the challenges of kerning and drawing type without
the help of technology.
IN THE RESIDENCY
September - October - November 2013
SUSAN E. EVANS
USA
see@susaneevans.com // www.susaneevans.com
Exploring expectation; collection; storage; organization;
categorization; processing; evaluation; retrieval; association; and
dissemination, Susan E. Evans questions the psychological and
scientific structures shaping information, knowledge, memory,
image, and landscape. The nexus and overlapping of these themes
have become her main source of inspiration. A multi-disciplinary
conceptual artist, Evans employs a variety of media techniques,
installation/sculpture, performance and other forms of hybrid
combinations, in the execution of her art work. Evans’ works are
represented in the following collections: George Eastman House;
Los Angles Contemporary Museum of Art; Museum of Fine Art;
Houston; Detroit Institute of Art; Musée de l’Elysée; Southeast
Museum of Photography; Cincinnati Art Museum; Akron Museum
of Art; The Henry Museum; Center for Creative Photography…
LUONNONKAUNIS SUOMI
After analyzing a cross-section of tourism materials, I
identified multiple recurring photographic cues used to
communicate the “image” of Finland. The consistent seasonal
use of specific visual elements makes these images iconic,
if not stereotypical. Incorporating these cues, I created
descriptive text images based on the Finnish landscape and
then photographed these text “images” onto medium format
film. This exposed film was then transported to Finland.
As a means to evidence the ingrained symbiosis between the
Finnish people and their environment, I cordoned off small
“plots” of land within a variety of regional ecosystems and
“planted” the unprotected exposed rolls of film into the ground.
These rolls of film were left in the earth for two months.
During this time, the surrounding soil, vegetation, and weather
directly interacted with the exposed photographic materials.
It is not necessary to show the final images because they
incorporate the well-established photographic memes of Finnish
tourism and are quite familiar to its people and those who travel
there. The tension of the work lies in the question of how to handle
(or conserve) these final rolls of film. If they remain as they are, the
viewer is forced to trust the constraint of the project and will always
question the existence of the images. To process the film takes the
work in another direction: not only would I give up my copyright to
the images, the final imagery would be evidence of the subjective
observer as well as the unpredictable, uncontrollable environment.
IN THE RESIDENCY
November 2013
“ I can’t prove you are
guilty but I know ”
MIRKO CANESI
Italy
mirko.canesi@gmail.com // www.facebook.com/mirko.canesi
My research ranges from traditional painting to digital. I perform
urban intervention and viral attacks on social networks. Actually
my main focus is on Nature especially on how it can be part
of an art process and its emotional or conceptual meaning.
I use leaves and living vegetation designed as the final
support; as they contain life, intervenefirectly on them still
attached to the plants, becomes how to work with life itself.
In particular, I want to make clear the meaning of violence
exercised by human intentionality on another living being. The
plants which, by their nature can not react, lend themselves to
communicate this concept. The “Fall and Rising...” series involves
the use of various materials without compromising the plants
life; it suggests to the viewer a feeling of empathy with the plants
themselves me finally to decide to intervene directly on leaves and
vegetation designed as the final support. They contain life: painting
on them still attached to the plants becomes painting on life itself.
In particular, I want to make clear the meaning of violence exercised
by human intentionality on another living being. The plants which,
by their nature can not react, lend themselves to communicate this
concept. The “Fall and Rising...” series involves the use of various
materials without compromising the plants life; it suggests to the
viewer a feeling of empathy with the plants themselves
STUDIO FOR A NEW ”FALL AND RISING, FALL AND RISING, FALL AND RISING...” PROJECT.
During the stay I worked on several projects concerning nature
and art.
In the project pictured above I gathered pine needles from the
surrounding fores and crushed them into a paste. I used this
crushed pine paste to repair the scars of wear within the concrete
steps at the entrace of the residency. Using nature to repair
the steps makes evident the relationship between nature and
environment with both concrete and society.
IN THE RESIDENCY
November 2013
JEAN PAUL GOMEZ
Colombia
jeanpaulgomez0@gmail.com // www.jeanpaulgomez.com
I refer to domestic environments as markers of transience and
contiguous displacement by using furniture and everyday life
activities, in opposition to public and open spaces. Influenced by
my own living transitional patterns, and by my understanding
of our collective memory, I work in a repetitive nomadic
tendency, in which I record traces of time and human gestures.
I explore the possibilities of working with quotidian activities
such as eating, walking, cooking, sleeping- as potential actions
for metaphors, as well as references of human condition.
By eliminating the essential functionality of these actions,
I elevate their significance to a ritualistic state, encoding
the seemingly absurdity layers of content- ranging from the
poetic to the political- as a vehicle to further the conversation
through metaphors rather than through rational thought.
UNTITLED
In my recent body of work I create transitional spaces that
suggest the process of altering daily life activities into a ritualistic
state. Through video, photography and installation, I explore
the metaphoric possibilities of working with simple tasks such
us cooking, sweeping, walking, sleeping, as potential actions
that indicate both physical and psychological transformations.
Influenced by my own transitional patterns as an immigrant, and
challenging my notion of ‘place,’ I see my work as a constant
negotiation between human condition and my hybrid cultural
background.
IN THE RESIDENCY
November 2013
AMBERA WELLMANN
Canada
ambera.wellmann@gmail.com // www.amberawellmann.com
Ambera Wellmann is a visual artist from Halifax, Nova Scotia.
Working with imagery culled from photographs and video stills,
she uses painting as a method of exploring the territory where
technology and affect intersect. Often observed with a dark sense
of humour, her work occupies a space between between object
and image, questioning the role of representation in shaping
knowledge, identity and a collective sense of time and space in
postmodern culture. Her work has been exhibited in New York,
San Francisco and across Canada, including the Museum of
Contemporary Canadian Art in Toronto. She is currently based in
Seoul, South Korea.
PAINTING
Upon arriving in Finland, I was interested in the gradual loss of
daylight that takes place throughout the month of November.
Absence of light produces a particular kind of vision that we call
‘dark’. Seeing darkness is not a lack of visual input; our eyes
are engaged in a very active inhibitory process, one of stimulation
rather than inertia. This principle informed my approach to a
series of paintings created using found photographs at Arteles,
where darkness or obscurity added to the imaginative potential of
a work. They began as straightforward representational paintings
that were gradually broken down, rubbed away, and layered over
again in a search for a kind of unseen image. The same way our
eyes gradually adjust to darkness and reveal things that may
or may not be there, the paintings took on an ambiguous space
that slowed down perception, where elements of representation
unraveled into abstract mark, and mark became a reality of its
own.
IN THE RESIDENCY
October 2013
“ My art is an attempt to reflect the
constant pursuit of balance. ”
MARÍA EMILIA SILVETTI
Argentina
memiliasilvetti@hotmail.com // www.memiliasilvetti.com.ar
My current work is focused on painting, literature and poetry.
I am interested in chaos, nature and the human being.
I am now trying to be open to the power of improvisation and perception
in the practice of art. As a result of this change, my compositions have
mutated into abstract and my work with colour was empowered.
For some time now I have been interested in astrology and
spirituality as a search of understanding and personal realization.
That research inspired a conceptual project I have been working on
which I would like to develop during my residency. It would be an
excellent time to merge my usual fields of work and explore other
methods, ideas and activities.
THE KARMA BUMS COMMUNITY
HOLY SPACE
My project The Karma Bums Community is a parody of a spiritual
community. It was founded by el chico Proteína (Rock star &
Visionary leader), Cony Cilantro (Actress & Love guru) and
Georgina Cinnamon (P. R. & Cool hunter).
The Karma Bums Community mission is to help people to find
happiness fast, easy and cheap.
After heavily investing in Research & Development, they have
discovered the formula for happiness:
LOVE + PLENTY + WORK + INNER LIFE + SOLIDARITY + FUN +
IMAGE = HAPPINESS
With these concepts in mind, they are developing some products
such as: Love Trauma Cleansing Water, Fast Love Cans, Mind Max
White, Miracle Age Cream, Veggie Burger Seeds, Wonder Protein
Set and much, much more.
In Arteles, I made an installation in the sauna representing a
sanctuary dedicated to
El chico Proteína, Cony and Georgina. I used different objects
from the Flea and Free Markets of the area as the offerings to
worship the idols.
It may not rain Coca Cola to be forever happy. Join TKBC and let´s
surf together the wave of eternal joy.
www.thekarmabumscommunity.com
Flip your karma now and visit our Holy Space!
IN THE RESIDENCY
October 2013
“ The nature is an illness of our ideas”
GLÒRIA ESCALA VIDAL
Spain
marxapeu@yahoo.es // sandrasadras.blogspot.com.es/
I want to reflect on our relationship with nature that we need to
control, dominate and exploit it. The organization that we demand
to our environment to feel safe, it may be good for ones and bad for
others. The territory is our history, so the places are our memory. In
my last work I have investigated the history of dams and reservoirs
in Spain since 1933 until today. It is a long history with: a Republic,
Civil War, the Second World Mundial, decades of dictatorship and
later democracy. In Finland I would like to uncover other way of
relating to territory. Arteles is my opportunity to continue in my
research.
JOURNEY TO ITHACA
In my first photos in Arteles, I uncovered rooms and sites that
transparent figures appear who were there instants, but now it
only remains a soft footprint. I was speaking about idea of person
transiting in this space.
This figures looked like ghosts, maybe because my first impression
when I stayed in Helsinki in January was to know vision of death in
Finnish art like something daily, as winter and night.
The big windows of the house, the relation between inside and
outside, the light come into rooms and the darkness. Transparency
of the glass of windows, glass and crystal object that decorates
home (vases, glasses and lamps) I have seen in second hand
kirpputorit (flea markets). All of this frames and distorts light
with reflections. We see what we want to see.
I went to Lapland until Ivalo, to a thousand kilometres from
Arteles by train and bus. When I arrived I took some photos of
river with ice pieces moving. I thought this is the natural crystal
nine months a year. I had a big experience at end of my trip to Ivalo,
when I saw a real frost to sunrise. Kilometres and kilometres of
crystal trees, white and shining.
I chose Finland for my new art project because I knew just its
geographical location and its name that has always seemed the
end (”end” in spanish ”fin”) of something, perhaps the end of
world I know.
IN THE RESIDENCY
September 2013
TWO-WOMEN-MACHINE-SHOW
IDA-ELISABETH LARSEN &
MARIE-LOUISE STENTEBJERG
Denmark
contact@twowomenmachineshow.com // twowomenmachineshow.com
two-women-machine-show is a project name under which the
choreographers and performers Ida-Elisabeth Larsen and Marie-
Louise Stentebjerg have joined forces. Since their first collaboration
in 2011 the duo have been occupied with themes such as massphenomenon,
monoculture, the uniform, and unison movement.
They access their work from three angles: Their choreographic
method; Found material in a live-art context, their conscious
approach to the duo format as a genre in itself and lastly by them
being Danish their personal experience with mono-culture is an
inevitable inspiration to their work.
two-women-machine-show is currently supported by the Danish
Arts Council for the early phase of development of their new work
Who’s my Buddy?, which is bound to premiere at Københavns
Musikteater in January 2014. The duo has been invited in residency
by Laboratoriescenen, Cph; WASP, Bucharest and Arteles Creative
Center, Haukijärvi. Recently they were awarded with a double
grant from the Danish Arts Foundation to continue their research.
BUILDING MILITANT BODIES
In June 2013 the duo decided to officially declare war upon
themselves. Their intention was to overthrow the governing
authorship inhabiting them. Taking this rebellion against a
dictating inner voice quite literally, they deliberately confused
metaphors with worldly violence. During their stay at Arteles
the duo therefore researched on different types of warfare
strategies and on how to associate these with conceptual
and body-based practices. They found a resonance between
specific warfare glossaries and choreographic displays, delving
into institutional military systems and management of bodies
down to alternative activist tactics (feminist movements,
territorial liberation, suicide missions and guerrilla warfare).
In many ways their stay at Arteles laid the ground work for the piece
My Body is a Barrel of Gunpowder (jan.2014). Here the duo aims
to materialize their struggle against self-regime governance and
use militarism as source material for a dance against themselves.
IN THE RESIDENCY
July - August-September 2013
EMILIE MCDERMOTT
France / USA
contact@emiliemcdermott.com // www.emiliemcdermott.com
Emilie McDermott is a French and American artist currently
working and living in Paris, France.
She undertook her art studies at the Sorbonne University in Paris
where she graduated with a Bachelor and Master of Arts in 2011.
She completed her Master of Fine Arts (DNSEP) in June 2013 at
The Ecole Nationale Supérieure d’Arts de Paris-Cergy (ENSAPC),
where she worked alongside art critics and artists such as
Frederico Nicolao, Bernard Marcadé and Veronique Joumard.
Her art encompasses video, installation and performance. Blurring
the boundaries between fiction and reality, she creates immersive
environments capturing liminal states on an intimate and confined
scale.
Her recent work focuses on questions of departures, which evoke
a loss of links with the living, the dead, places and objects that
once were but are now left behind. In this space, existing or new
rituals and idiosyncrasies can build a bridge between the past and
new life : identity is not lost or abandoned but transformed.
MÖKKI - IF BEING A LONG TIME AMONG THE OTHER PEOPLE...
During my stay at Arteles, I worked on the experience of solitude,
as a state of melancholy, whether desired or undesired, and
its consequence in the way we lead and perceive our own lives.
My first work created was an endurance based performance on
disorientation during which I unraveled 1 km of knotted fishing
net, alone, between two glass windows in a fair-like environment.
I pursued my research with Mökki, a two channel video installation,
contrasting two experiences of solitude and indirectly cultures,
yet which finally converge towards the same question : where to
go next?
IN THE RESIDENCY
August-September 2013
“ Be careful what you wish for.”
AMY JOHNSON
USA
amyjohnsonstudio@gmail.com // amyjohnsonstudio.com
I have recently been interested in performance and developing a
character that reflects my own life, fairy tales and the landscape of
northern latitudes. Ideas of endurance, solitude, identity, fantasy
and reality all weave together to create an unknown narrative.
I am interested in exposing feelings of vulnerability balanced with
strength and reconciling romantic ideals with the often mundane
truth.
I have background in ceramics and have further developed my
work with mixed media sculpture, installation, fibers, photography
and performance.
Amy Johnson is supported, in part, by a grant from the Alaska
State Council on the Arts and the National Endowment for the Arts.
”TEMPTED STILL” WORKING TITLE
AMY JOHNSON, MYRIAM GUILLAMON, JOSE BAHAMONDE
During the month of August, visual artist, Amy Johnson
worked to develop a character and costume which were not
only a study and process created by a reflection of new and
unknown surroundings but also her experiences in negotiating
something seemingly romantic with the reality of the unfamiliar.
In September, media artists Myriam Guillamon and Jose
Bahamonde sharing ideas with Johnson regarding myth and
reality, femininity, the natural world and the necessity for a more
empathetic social paradigm, began working collaboratively to
produce a short film.
With histories and interests in visual/performance art,
cinematography, and 3-D animation this artistic team discovered
the strength of combining conceptual ideas and skills to develop a
project that is rich and layered with experience and visual beauty.
Together these three residents will continue to work together
post-residency to complete the work.
IN THE RESIDENCY
September 2013
JOSE BAHAMONDE & MYRIAM GUILLAMÓN
myriam@launicasepiacreativa.com // www.lusc.es
Spain
As a profession, we work in advertisement but as for our common
artistic concerns, we are interested in navigating the new and
surrealistic grounds. We are eager to explore the border between
reality and fantasy. Thirteen years of living together has proved
our very common dreams and fantasies, halfway to dreams and
sleeplessness. What made us come here, take refuge to the nature,
to be very close to our true selves, to unleash our imagination from
bounds of normal urban life.
”TEMPTED STILL” WORKING TITLE
AMY JOHNSON, MYRIAM GUILLAMON, JOSE BAHAMONDE
During the month of August, visual artist, Amy Johnson
worked to develop a character and costume which were not
only a study and process created by a reflection of new and
unknown surroundings but also her experiences in negotiating
something seemingly romantic with the reality of the unfamiliar.
In September, media artists Myriam Guillamon and Jose
Bahamonde sharing ideas with Johnson regarding myth and
reality, femininity, the natural world and the necessity for a more
empathetic social paradigm, began working collaboratively to
produce a short film.
With histories and interests in visual/performance art,
cinematography, and 3-D animation this artistic team discovered
the strength of combining conceptual ideas and skills to develop a
project that is rich and layered with experience and visual beauty.
Together these three residents will continue to work together
post-residency to complete the work.
IN THE RESIDENCY
September 2013
ELIZABETH ARMOUR
UK
elizabeth.r.m.armour@gmail.com // www.elizabetharmour.com
Designer and Maker, intrigued by the natural world, the people I
meet and the latest technologies.
Growing up in a small village on the West Coast of Scotland,
overlooking a Loch and surrounded by the lush green landscapes
of Argyll, I feel I’ve always had a fascination for flora and fauna.
I Trained in Jewellery and Metalwork at Duncan of Jordanstone
College of Art in Dundee graduating in 2012. Since then I have
taken part in exhibitions such as the 3D Printshow, Kinetica
Art fair, created work for galleries and taken commissions
of my jewellery work. I have also delved into my interests
in design for performance (prop making) and volunteered
working at events for the 3D software company Anarkik 3D.
My work stems from a curiosity for ‘little hidden gems’ found
mainly on the forest floor. I like to ‘tear down’ these plants,
fungi or lichen to find out how they work, where they fit within
the natural cycle, observing them closely through drawing
from life or under a microscope. Through this I create work
which highlights the intricacy and beauty of these. I use
mixed media such as silver, perspex and 3D Printed nylon
to reflect the organic forms, patterns, textures and colours
within my wearable objects. I aim for the wearer to explore
and enjoy all of these elements, with bold statement pieces.
I wish to continue and develop my work and explore larger scale
pieces.
THE EXPERIMENT
For me Arteles was a chance to take a breath and have time away
from my normal ways of working, it was a kind of experiment to be
without jeweller’s tools..and to work in a studio with no jewellers
at all! At times I found this frustrating- not being able to go to my
bench and use specialised equipment; however this allowed me to
think about my practice, my next stage for my return to Scotland.
I researched, read traditional Finnish folklore, learnt how to
take a good photograph (!) did a lot of illustrations and drew
ideas for new designs to translate into metal. I absorbed the
beautiful Finnish countryside as much as possible, collected
natural objects, created ‘spore’ prints, recording these through
photography, video and drawing. Myself and Myriam Guillamon
Martin also did a fun collaborative project; ‘Mandala’, using neon
recycled fabrics, we created large mandala patterns outside in
the residency grounds. My time in Finland at Arteles opened up
new ideas and inspiration for future projects.
IN THE RESIDENCY
September 2013
DANA BUZZEE
Canada
dana.buzzee@gmail.com // danabuzzee.com
I name myself a Witch.
A woman with an unnatural connection to nature is a Witch, she
draws her magic from that connection. A Witch is is problematic
to the conventions of her gender and the expectations of her sex,
in turn challenging the patriarchal and heteronormative– she is
a difficult woman. I am a difficult woman and I respect difficult
women. Difficult means power when it comes to understanding
gender and the context for gender that our society provides
NOITA
My stay at Arteles was focused on further developing my own
understanding of what it means to have a studio practice and to
research through making. The dedicated time and space offered
at Arteles allowed me to work on Installation, Performance,
Photography, Zine Making, Sound and Knitting both as singular
mediums and in an interdisciplinary way. The diptych that I choose
for inclusion in this publication succinctly represents my practice,
my work while in residence, and achieves an aesthetic sensibility
I wish my art to embody. noita grew from trying to understand the
connections between this northern wild and the one I call home.
IN THE RESIDENCY
September 2013
DANIELLE BLEACKLEY
Canada
daniellebleackley@gmail.com // cargocollective.com/lostkittenprojects
Danielle is an interdisciplinary artist and educator based in
Toronto, Canada. Her artistic work and teaching projects are
committed to a focus on language, materiality and the body,
In her research and work she concentrates on sense experience,
and the gestures and movements that originate in the body:
the breath, the heartbeat, a voice or a touch. Her works
explore the ability the body has to receive and archive intimacy
and experience. Intimacy, in Danielle’s work, is regarded
as a revealing of self; to another person, or a city, or a way
of moving the body - perhaps through water, or landscape.
Intimacy, in this sense, refers to an encounter that leaves an
impression, something felt and experienced through the senses;
an experience that cannot be physically touched or held yet
it stays with you, leaving a metaphoric inscription on the body.
In residence at Arteles, Danielle plans to research three important
aspects of Finnish culture: landscape, textiles and the practice of
sauna – and specifically, how each of these connect to, and affect,
the body. The landscape and light that the body experiences, sees,
feels and moves through each day; the intimacy of textiles, their
closeness when worn against the body or, covering the body as
it sleeps. And, the Finnish practice of sauna, its physicality and
ritual, a cleansing act of endurance for the body.
ACROSS TERROIR
‘become like a sheet of blotting paper and soak it all in. Later on
you can figure out what to keep and what to unload.’
haruki murakami, from kafka on the shore
‘we write to taste life twice, in the moment and in retrospect.’
anaïs nin
across terroir is a starting point.
it is an exploration in embracing process, and in research
through writing.
writing that involves the body. writing that is larger than the
body.
a roll of paper attached to the wall, pouring down to the floor.
i write and write.
my body is intimately involved.
my bare feet lightly touch the paper, my hand leading each
stroke of the brush to apply the ink.
the ink that drenches the page in meditation, question and
recollection.
with a methodology that embraces intuition, sense experience,
the ephemeral, the poetics of landscape and invisible histories,
I compile articulations that move toward answers, and toward
action.
projects and research to gather with me.
the words written begin to unearth what i have found in finland.
the incredible generosities, the skies so wide they pull at your
throat, my time atop hiidenvuori, woven moonlight and lakes and
forests so magnetic.
i search for threads, and for lines.
lines that form words, that demonstrate the path from one place
to another, that weave together to form a textile.
and the lines that ground our body into the earth.
IN THE RESIDENCY
September 2013
SEZA BALI
Turkey
seza@sezabali.com // www.sezabali.com
Seza Bali is a Turkish artist working in the field of photography
in Istanbul, Turkey. She received her BA in Fine Arts from The
George Washington University and her MFA from San Francisco
Art Institute. Her work has been exhibited internationally
including in Elipsis Gallery, Istanbul Turkey; San Francisco
Airport Museum, Togonan Gallery, Space Gallery and Root
Division in San Francisco, CA. She participated to UNSEEN
photo fair in Amsterdam and Contemporary Istanbul 2013.
Her works mainly deal with landscape and the natural world
through which she explores the notions of real, imagination,
space and the sublime. She is interested in photography’s ability
to create a new visual world and and is always curious to see what
a moment will look like as a photograph.
PROCESS PROGRESS / PROGRESS PROCESS
During my time at Arteles I worked on several ongoing
series. One body of work was about practicing the act of
photographing and observing my surroundings - a response
to my experience in an unfamiliar place. Another series was
about combining two of my strong interests in my art practice:
the natural world and usage of patterns and symmetry.
In the last years of my studio practice, I have been using
photography as a tool rather than its intended purpose of freezing
a moment in time. Often I use a photograph with which I create
a new visual language by digital alterations and interventions.
I take bits and pieces of the natural world (photographing
elements such as trees, branches, foliage, hay) and use them
to create imagery that is rooted in symmetry and repetition. The
original photograph is no longer recognizable and the resulting
images are reminiscent of tiles by their size and shapes.
The beauty found in symmetry is simply undeniable; and in the
root of my practice I want to create beautiful images. The natural
world is where I find my inspiration; textiles, wallpaper, geometry
and decorative tilework are what feed my imagination.
IN THE RESIDENCY
August 2013
“ Creating through experiences.”
PAOLO GRIFFIN
Canada
nix.griffin@gmail.com // www.pgriffinmusic.com
Currently, my work is focused on achieving a hybrid between
the traditional Western genre of art music (which we know as
classical music and its modern form), and Latin American music,
specifically, the music of Peru. During my stay at Arteles, I hope
to realize this ambition by creating a dance set that combines
the lively and complex rhythms of Peru, with the rich, complex
harmonies of Western art music.
METAL CONSTRUCTION - MUSIC FOR ELECTRONICS
VUELTA - MUSIC FOR PERCUSSION & DANCERS
I had two goals at Arteles: I wanted to write a piece of music
that drew on the rhythms of Latin America, while also drawing
on the rich harmonic tradition that comes from what we
know as classical music. The result is a work-in-progress
of music intended to be choreographed for four dancers.
I also wanted to begin exploring the world of electronic music and
electro-acoustic sounds. Over the course of the month, I became
more proficient at using different sequencing and music-oriented
programs, and the result of this was my first electronic piece,
titled ‘Metal Construction’.
IN THE RESIDENCY
June 2013
“ The important thing about one liners,
like art and soup, is knowing
what to leave out.”
IAN NOLAN
Ireland
inolan@live.com // http://iannolan.weebly.com
Ian Nolan is an artist living and working in Dublin, Ireland. He
graduated from The National College of Art and Design in 2012
with an Honours Degree in the History of Art and Fine Arts and
was the winner of the Model Niland Residency Award at the 2012
RDS Student Art Awards. Since leaving college, he has been
exhibiting in group shows across Ireland and internationally and
is co-founder of ArtHouse, a collaborative arts initiative based in
Dublin City. His work deals primarily with the way we encounter
and perceive our relationship to the world around us. Working
primarily in painting, installation and intervention, Ian attempts
to create situations where the consequence of the relationship
between the individual and their environment is brought to the
fore.
PROJECT TITLE: LIVING IS EASY
Shortly after my arrival in Finland, I began to consider how little
say I had in the ways and means I use to function in the world
and to relate to the places I inhabit. An attitude soon developed
whereby I would try to use my time to cultivate my own personal
relationship with the environment. I began by devising ways of
growing berries and plants using discarded wood, metal and
plastics as materials and making use of water I drew from a
disused well. A ritual slowly evolved where time was spent
working with my objects and where time was spent reflecting,
socialising, playing music etc. also and soon I realised how all
these forms of habit and ritual formed part of how I related to the
places and situations I encountered. For the exhibition at Hirvitalo
I exhibited a segment of grass I had sectioned off and removed
from the earth, alongside a workbench designed to contribute
to its maintenance. The workbench itself was stocked with the
materials that formed part of my ritual developed in sustaining
my relationships and myself during the course of the residency
and on a daily basis, attendants of and visitors to the gallery
would repeat the ritual itself in the maintenance of the grass.
The result is a performative installation where object, ritual and
concept intertwine and where narrative is continued, developed,
altered and shared by others in the sustenance of a narrative of
relation I myself began.
IN THE RESIDENCY
July - August 2013
“ To go almost unnoticed, until
a subtle absurdity emerges upon
closer investigation. ”
LYNDON BARROIS JR.
USA
lyndonbarrois@gmail.com // lbarroisjr.blogspot.com
My recent compulsion to re-fashion history has led me to crafting
images that offer an updated interpretation of the characters
and symbolism of the Kalevala epic. To bridge tradition with the
contemporary, regular with the absurd, threading the past and
present, from one cultural construct to another.
FOREIGN IMPOSITIONS
First Impostion //
Probing the Kalevala for significant objects and representing them
as contemporary subjects of high fashion. Visualizing absurdities in
the text to explore what is lost in the gap between language and image.
Second Imposition //
Using vintage Suomen Kuvalehti magazines to create drawings in
which a mysterious symbol has infiltrated a sun-bleached society.
Projects fueled by a fascination with the plight of Moomin Valley
materialized in my mind only.
IN THE RESIDENCY
July - August 2013
ADDOLEY DZEGEDE
USA
addoley@gmail.com // www.addoley.com
Currently, my focus is on the connection between objects/
materials and memory. I create sculptures, installations and
animations that make use of objects/materials in order to reflect
on my personal history. While in Finland, my hope is to find/create
some kind of material connection to my Finnish ancestry, of which
I know very little.
EPHEMERAL PAST > MATERIAL PRESENT
I came to Arteles at the height of summer, when the sun stayed
out to play and a new type of berry seemed to ripen each week.
While exploring my Finnish roots and trying to find a personal
connection to Finland, I found myself highly influenced by the
presence of “”being here””. The difficulties in language, the
incessant mosquitoes, the pleasures of seasonal food and the
Kalevala all found their way into video works that I completed
during the residency. This was a surprise to me, as I had expected
to make sculptures and installations, in addition to animations.
During the second half of my stay, I discovered rich and
varied information about my family, from seeing the locations
where my great-grandmother used to live (now a pizza
shop and a chili shop) and work (a factory building that still
stands, but as housing), to obtaining photos and architectural
drawings of these places from archives in Tampere. These
findings will continue to inform my work in the near future.
It would be remiss of me to not mention the vast amount of
desserts I made at Arteles, from Mustikkakukko filled with
bilberries picked in a nearby forest, to a Red Currant Cardamom
cake dotted with berries growing on the lawn outside my bedroom
window. These delicious experiences have led me to wonder how
food, as a sensual experience, can play a bigger role in my work.
IN THE RESIDENCY
July 2013
HEATHER SINCAVAGE
USA
info@heathersincavage.com // www.heathersincavage.com
My work is a process of question and response. I tend to assess
materiality and markmaking as a conduit for that process. Often
the question begins simply. But often simple questions expand
to dissect one’s identity, formation of “self,” and the facades
or barriers we create for ourselves. The work is not confused
with having answers but instead the methodology one creates to
ask the question then further how the journey of answering the
question unfolds. Its a relationship in contrast; a push and a pull;
a transparent dialogue between sides.
THAT WHICH WE HOLD DEAR (STUDIES)
“That Which We Hold Dear” is a new body of work that I began
to develop at Arteles. In much of the work, drawing of the circle
becomes a reflection of the wholeness one looks to achieve
during analysis of the “Self.” This involves self reflection, the
acceptance of errors, facades and props we build as coping
mechanisms, indecision, and the accumulation of experiences.
The work, typically involving a reflective surface, invites the viewer
to contemplate their identity and their follies in what would seem
to be simple tasks- drawing a perfect circle, creating a cube, or
splitting a tree. The result of each task suggests the beauty in that
imperfection.
IN THE RESIDENCY
July 2013
“ Keep your love of nature, for that is the
true way to understand art more and
more.” Vincent Van Gogh
VIOLET SHUM
Hong Kong
violetshum@yahoo.com.hk // www.violetshum.com
Violet Shum Ka Wai, born in Hong Kong. She gained the VSC
Freeman Foundation Asian Artists’ Fellowship 2010-11, and in
2012, the finalists and the People’s Choice Award of Cliftons Art
Prize. Shum have few different roles cross graphic and visual
artist. She participate in art as well as the educational projects.
Through an existence in multiple identities and perspectives,
Shum realises her own values and aspirations.
The era of industrial development, interpersonal relationships
were relatively simple; now with scientific progresses, this
relationship seems to have a complex development. I have been
using industrial materials in the making of art and dealing with
some tradition methods. I want an art that makes sense of, and
evokes the emotions that we can feel and experience, and this
method can compensate for the value of the material that has
never been revealed. I think that the skills inherent within the
unique nature of that emotion and the repeated experience could
be read in different ways. I am experimenting with the creation
of a situation to examine the relationship between viewers and
the artworks, and the issue of its interpretation. My artworks are
about nature. I know that the change of the forms is the key to
understanding. By using traditional methods to transform these
materials invited the audience to participate in the discussion.
NATURAL SCENERY FROM HANDICRAFT
Looking at my multi-dimensional works: from Glorious Times: big
scaled golden flowers made from barbed wire, to Plastic Swarms:
grasshoppers made with waste plastic, and A! Project: sunflowers
made with dried grass, it is not difficult to find some common traits
in the way I present my works and use materials, and the evolution
of my concepts. All my works reveal figurative natural products with
flexible use of artefacts such as barbed wire and plastic bags, etc.
Most probably, many viewers would easily refer these
artworks as a response to the Post Industry environment.
Actually we often neglect the fact that Industrial Revolution
didn’t give too strong an impact to the artwork, except those
commercial painting, for until now many artists still express
themselves by painting stroke by stroke on the canvas.
In my works I replace some traditional art such as painting
and wood carving with popular handicrafts that could earn a
living such as weaving and tying. These handicrafts not only
respond directly to the production mode of the present society,
but also correspond to its paradox chemistry. On one hand these
handicrafts and skills are still in current use, though not everyone
knows how to do, yet they are still within reach in daily life. Many
people think that they are the “latest” handicrafts. However,
at the same time, these handicrafts are gradually diminishing.
When I use artefacts as materials in my work, I hope to bring
the spectators from a high-tech society to a more humane
environment. I try to bring the audience into a hand-crafted
nature, and seeing these works tangle with nature and the city.
IN THE RESIDENCY
June 2013
SHARON LACEY
USA
sharon@sharonlacey.com // sharonlacey.com // Currently working and living in Boston, USA
Most of my works are oil on linen. My interests include the
human figure, the painting process, and art historical precedent.
I use traditional techniques in my work with an interest in how
the continuity of methods from earlier periods to the present
day supports images that convey the universal rather than the
parochial. I prefer depicting common human actions rather
than those specific to a particular time or place. Each series of
paintings begins with a particular formal concern and the specific
imagery emerges through the painting process itself without
direct use of external sources. I have studied art, literature, and
art history at the Catholic University of America in Washington,
DC, the New York Academy of Art in New York, NY, and at the
University of London in London, UK. My current research interests
include early craft treatises, paint technology, and the history of
artists’ workshop practice and training.
IDYLLS (FOUR DIPTYCHS)
At Arteles, I worked on a series of oil paintings on paper
entitled ‘Idylls (Four Diptychs)’. Both the diptych format and
the multiple figure compositions relate to my recent studies in
medieval manuscripts, in particular Bodleian, MS Tanner 184.
I am intrigued by manuscript paintings in which groups of figures
operate visually as a single shape, and lately I have tried to use
figure groups in a similar way in my paintings. As with my previous
work, the imagery in these diptychs emerged through the painting
process itself with no preliminary sketches or external sources.
IN THE RESIDENCY
June 2013
HENRY ANDERSEN
Australia
info@henryandersen.com // henryandersen.com // Currently working and living in Berlin, Germany
I grew up in Perth, Western Australia where I studied composition
and music technology at the Western Australian Academy of
Performing Arts. From the beginning of this year, I’ve been
living in Berlin and studying with composer / sound artist Peter
Ablinger. Since moving to Berlin, I’ve increasingly found my
interest drawn to projects outside the normal scope of musical
performance. This has meant broadening my practice to include
works for galleries and other non-concert hall settings, works for
non-musical performers or for no performers at all.
For me, this is not an alternative to my work as a composer but
an extension. It allows me to explore those interests of mine that
I can’t explore through standard musical situations.
I am interested in the contexts in which people receive sound.
I am interested in music and sound tailor made for specific
spaces or situations.
I am interested in music that shirks its traditional responsibility
as storyteller and embraces its potential as sculpture.
I am interested in how artists from different media collaborate in
the absence of a shared language.
I am interested in sound as a cultural trigger point or statement
of identity.
I am interested in imagined and inaudible sound.
My time in Finland has given me a valuable opportunity to
establish and play with these interests.
SAD SONGS IN GLASS JARS’ & ’THE RIPE ONE BE RADIANT’
Sad Songs in Glass Jars:
With ‘Sad Songs in Glass Jars’, I wanted to create a small,
private experience for the listener. The piece consists of
three speakers positioned in glass jars. These speakers
play recordings of 1920s blues, jazz and early American folk.
The jars are placed on the ground with the speakers playing very
quietly so that listeners must kneel down to the ground to receive
the sound. Amplified through the glass jars, these recorded
sounds become small and fragile. They act via suggestion
and association rather than simply as sounds in themselves.
The Ripe One Be Radiant:
‘The Ripe One be Radiant’ is a performance piece exploring
the role of gesture in conversation and competition. The piece
uses two homemade contact microphones connected to the
underside of a canvass. These microphones amplify vibrations
in the canvass through two speakers in the performance space.
In this way, The Ripe One be Radiant uses both sound and
paint to illustrate the play of gestures that make up the piece.
Two performers take it in turn to make a gesture on the canvass
and erase the previous gesture of their competitor. As this is
happening, the performers use a roller to gradually fill the
canvass with blue paint - the piece is finished when the entire
workable area has been covered. Within this simple framework,
the performance is improvised. I’m interested in the tension
between the two performer’s backgrounds this affects the
choices they make while performing. The piece was performed
at Heiska by painter Sharon Lacey and dancer Irina Baldini.
IN THE RESIDENCY
June 2013
“ Air and light and time and space -
and a human being in such a landscape.”
ADAM GIBSON
Australia
adamfgibson@yahoo.com.au // adamfgibson.com // Currently working and living in Sydney, Australia
Adam Gibson is a Sydney artist whose work covers spoken word,
music, installation art, performance works, sculpting, video work,
painting, photography, among other things… It is a fundamentally
“landscape-based” practice, being influenced by land views and
travel and sense of being “in” and/or part of different environments.
He performs regularly with his band The Aerial Maps,
whose first album won Best Spoken Word Release 2005-
2010 at the 2010 Overland Poetry Awards and whose second
album was described as “”an Australian classic””, with the
band lauded as “”one of the most valuable in Australia””.
Adam has also exhibited in a number of Sydney spaces and
galleries, took part in the 2010 Shanghai Porosity Studio at
Donghau University, Shanghai, is currently completing a Master
of Fine Arts, (PhD. eventually) at the College of Fine Arts in Sydney
and is actively involved in a wide range of artistic endeavours.
AUSTRALIA RESTLESS’ (IN FINLAND)
I am looking at “”longing”” for certain places. I am looking
at missing things. I am looking at moving and travelling and
the associated gains and losses. My life has been one of
movement and new cities and towns and horizons and landand
sea-scapes. All my life, it’s an inventory of absence. What
signifies the places we pass through, what do we lose in the
moving-forward, the landscapes and places we forget, or those
which lodge deep in us and we feel a near-physical loss for?
At Arteles this year I have been working on a series of linked
works under the title of “”Australia Restless””. This goes to my
sense of longing for a sense of “”home”” landscape but also
my restless need/desire to travel the world. Hemingway said he
could only really “”see”” and write about America once he was
out of it, and in a similar fashion I have used my time at Arteles
to look at my vision and sense of Australia, and attempt to
understand my longings for that landscape and what it is I miss.
In concert with that, I have also sought to attempt to articulate
the feelings that have specifically arisen from being immersed in
Finland and the Finnish landscape. This has yielded a number of
video and photographic works, plus a collection of spoken word
tracks. How these will develop in the future, and how they fit into
my broader work, I am as yet unsure, but they feel resonant and
felt necessary to do whilst at Arteles.
IN THE RESIDENCY
May 2013
“ I am a Scottish artist currently
living in London.”
KADIE SALMON
Scotland, UK
kadiesalmon@hotmail.co.uk // www.kadiesalmon.wix.com/kadiesalmon // Currently working and living in London, UK
My practice is driven by my fascination with historic notions
of romance and desire and how these can be re-used and
re-interpreted in a contemporary context. I am constantly
searching for new sites, characters and stories that I can explore
and dissect; pulling out the details that I feel are significant and
using them in my own work as a displaced symbol of romanticism.
For some time now I have been interested in the use of narrative
and story-telling, and how these qualities or references are
manifested in visual art. I tend to explore this in my own work
by breaking up narrative sequence, displacing and contrasting
images whilst disrupting and playing with space: this usually
results in a collage of visual imagery and medium in the form of
photography, sculpture and installations.
DON’T KNOW HOW TO TELL’
(THE TITLE FOR MY BODY OF WORK THAT I MADE WHILST ON THE RESIDENCY- A COLLECTION OF PHOTOGRAPHS AND MODELS)
I have spent the last month at Arteles furthering my research
into notions of romanticism and narrative particularly in relation
to the beautiful, vast landscape, isolated buildings and the
traditional folklore and stories that are associated with Finland.
I produced a series of long exposure photographs alongside small
models of the surrounding architecture and local structures that
I felt drawn to.
IN THE RESIDENCY
May 2013
“I am an observer, an explorer,
a collector of experiences.”
JAMES GOW
Scotland, UK
jamesgow@hotmail.com // www.jamesgow.com // Currently working and living in Glasgow, UK
My work, which spans environmental, community and
public art, reflects my preoccupation with both people and
place and the stories, memories, hidden histories that
reside in both. I record what I observe through a variety of
media – I travel light and often use what I find on my journey.
My travels have taken me across Scotland, Finland and beyond
and the people and places I have encountered have shaped and
directed my practice. Co-creation and collaboration are often at
the heart of my work - bringing people together through a piece
of collaborative artwork has been integral to my development as
an artist. The rich layers that make up a community, a place, its
people, are peeled away and recorded through my practice.
HÄMEENKYRÖ, PEOPLE AND PLACE
During my residency at Arteles I was overawed by the endless
Finnish skies, the stunning Finnish landscapes, and how the
Finnish people have left a lasting mark on the environment.
My explorations of the local environment inspired a series
of line drawings, examing how people interact with the
places they occupy and the lasting effect they leave behind.
I deliberately omitted trees and people from my landscapes;
by doing so I aim to reveal the vast space that humanity
barely fills and emphasise our fleeting time in this world.
I worked with other residents at Arteles to produce a series of
collaborative pieces that reveal the places that have inspired
us during our visit to Finland. This culminated in an intimate
series of postcards that link the places I am drawing to people
exploring the Finnish landscape and their own connections to
it. The series of postcards reflect our personal connections
to the environment in and around the Arteles Creative Center
and reveal our temporary place within these environments
as well as our personal inspirations each place provided.
This series of postcards will be produced when I return home with
each artist receiving their individual postcards to be posted from
wherever they are in the world back to the center, leaving Arteles
a lasting memory of the effect the place has had on us.
IN THE RESIDENCY
May 2013
“music is a constant practice,
a continuous searching process.”
NIZHA SALIM BUSTOS
Argentina
nizha_s@hotmail.com // www.facebook.com/NizhaSalim // Currently working and living in Salta, Argentina
I am a musician. My instruments can be either the violin or my
voice. The ways or forms in which i will make music can vary
depending on different factors, but i can say that is through melody
that i can better find a way to express myself and to explore
and search for different and new possibilities in the sound field.
What I will always seek in a melody is emotion. From my
point of view emotion is the motor that pulls the melody
through and it is there where it’s escence and meaning relays.
For me music is a constant practice, a cointinuous searching process,
there’s always a new place to explore, new ways to say and
sound.
FINNISH SKY
In Arteles I worked on a series of compositions that found
inspiration in Hameenkyro’s landscapes and surroundings.
My research was centered on finding the emotional metaphors
that the environment evoqued in me. The absorving
beauty and quietness of Hameenkyro brought a complex
palate of emotions, sensations, sounds, words, images
which i would later try to sinthesize into songs and lyrics.
Although the work is still in progress I am updating some
of the work in my profile site in facebook and soundcloud.
This whole month in Arteles gave me the time and space for contemplation
and research for new motives of inspiration. But it was
also an amusing group experience of sharing and learning from
each other.
IN THE RESIDENCY
April-July 2013
“ Live, learn, share.”
OLLI HORTTANA
Finland
vonhorttonspictures@gmail.com // https://vimeo.com/user7923950/videos // Currently working and living in Helsinki, Finland
I’m a visual artist, focusing on short films. The most important
aspects in my films are feelings, emotions. As my main work I
have been editing television for many years. I have been working
as a photographer too.
SILJAN SUVIYÖ (SILJA’S SUMMER NIGHT)
I did a short movie, based on a novel by Frans Emil Sillanpää,
Finnish Nobel Prize winner in literature. A Girl, a boy and a
summer night.
IN THE RESIDENCY
April 2013
“Art should be accesible and productive
and not alienate the general public.”
DUSTY RABJOHN
USA
drabjohn@gmail.com // www.dustyrabjohn.com // Currently working and living in Chicago, IL USA
I am an artist and teacher. I focus primarily on painting and am
driven by current sociopolitical issues. I think art should be a
democratic form, accessible to those who seek engagement with it.
I seek to produce work that is meaningful and relevant and communicates
to the general population.
AWKWARD ANIMALS
At Arteles I created a series of large-scale paintings depicting
animals native to Finland in situations of conflict with human
social structures. I like the use of animals as metaphor for indigenous
culture and I think they serve to provide a more objective
view on issues like corporate globalization, nationalism, borders,
and urbanization. I also wanted to create a site-specific mural
for Arteles which resulted in a lonesome cowboy, isolated in a
disco room.
IN THE RESIDENCY
April 2013
“Think it over, think it under”
SENA WOLF
Poland
senawlf@gmail.com // senawolf.com // Currently working and living in New York, USA
Sena Wolf is a multimedia artist based in New York City. She was
born in Wroclaw, Poland where she studied Cultural Theory at
Wroclaw University. She received her BFA degree from Hunter
College of New York, where she was the recipient of a Kossak
Painting Fellowship. Her work has been exhibited in New York
at the Bertha and Karl Leubsdorf Art Gallery, the Leslie–Lohman
Gallery, and The Rotary. Her work has included installation,
sculpture, video and performance and addresses social and cultural
issues.
Artist’s statement:
I am invested in the visual traits of the processes that create the
present- day concept of the other. I explore the space Homi K.
Bhabha calls ‘in-between’, a space which has a potency to elaborate
a new personal or communal identity. In my performances, I
reenact and reinterpret the moments and processes that contribute
to the articulation of the difference in culture. I understand
these processes to be formulated performatively by an individual
and by how individuals position themselves to create a subjective
perspective of their own cultural otherness.
In my work I often focus on the compartmentalization of the spaces
we inhabit, as a mean of symbolic designation of one’s identity.
By rearranging the components of the space, I deconstruct
the visual stories they tell and create alternative narratives that
enable the viewer to move beyond their own singular perspective.
METAMORPHOSIS
In ”Metamorphosis,” the performer carries out the simple act of
cutting cloth. In the background, through distorted radio waves,
we hear instructions on how to create a large-scale flag. The
shots of cutting are intertwined with scenes of the performer
blindfolding her eyes with cut pieces of fabric. Every layer creates
a new association—a terrorist, a death row inmate, a ninja.
The first aspect of “Metamorphosis” which dominates the actual
performance is the liberation from the abundance of the material
followed by a symbolic, ritualistic act of constraining one’s
vision (understood as both a positive and a negative separation).
Another perspective comes from the video medium itself, which
captures different shapes, each suggesting a new association.
The flag, a symbol of ultimate ownership, bonds these two acts
and puts them under an absurd yet suggestive persecution.
IN THE RESIDENCY
April 2013
“Painting is like riding a wild,
untamed thing.”
AGNES FIELD
USA
agnesfield@gmail.com // kala@hipfishmonthly.com // Currently working and living in Astoria, USA
Agnes Field’s studio is based in the empire of Astoria, OR in the
middle of NW Cascadian wet and mossy landscape on a 50 acre
sustainable farm. She completed her Masters degree in studio
fine art at New York University and since then has been selfemployed
as an artist/painter and curator. She works with mixed
media on a variety on surfaces-always looking for what is beneath
the surface.
SOINTULA: FINDING HARMONY
Experimenting using sauna ash and paint/photography searching
for images that express the feeling of accord, a tone of cultural
harmony. Completed about 70 small images using ash, paint and
photography and sculpture relating to the found environment.
IN THE RESIDENCY
April 2013
“Photography allows me to study
the nature of existence.”
VIRPI VELIN
Finland
virpi.velin@gmail.com // www.virpimirjamivelin.blogspot.com // Currently working and living in Helsinki, Finland
Photography allows me to study the nature of existence. I’m
interested in scale, distance, optical illusions, aerial view points,
codes, cryptics and inverted images. The camera transforms
into a microscope as well as a telescope. Different structures,
emotional, cultural, material structures and systems interest
me, how they are built and how they manage to stay together or
why they fall apart. The visible reality seems to be a reflection
of an invisible, emotional and intellectual reality. Moving to those
unknown areas where rules and structures dissolve and new view
is revealed, is an ongoing and fascinating journey.
TRACE, TRACK, RACE, TRACK, GRACE.
During my residency in Arteles I aimed to re-connect with the
feminine archetype and force of St. Mary, that revealed herself
to me while I studied and worked in ENSP, Arles, France in 2009.
Committing to being outdoors, walking daily and making photographs
of what I saw and experienced in nature, helped to rebuild
this connection. In Arteles I was inspired by human and animal
tracks and made a series of photographs with tracks of a fallen
cloth on the soft surface of new snow. In the process I inverted the
photographs and they became traces of Mary of Egypt (ca. 344-
ca. 421), who changed her life profoundly from a prostitute into a
hermit. According to the writings of St. Sophronius , she lost her
clothing over time while walking in the desert.
IN THE RESIDENCY
April 2013
“The truth is not out there.”
KRISTY HEILENDAY
USA
k.heilenday@gmail.com // www.heilenday.com // Currently working and living in Richmond, Virginia, USA
Kristy Heilenday received her B.F.A from the School of the Arts at
Virginia Commonwealth University in Richmond, Virginia in 2010.
She creates private commissions, illustrations for publication
and an ongoing body of personal work. She participates in various
group shows, both locally and internationally, and has held two
solo exhibitions.
She is interested in the idea of beliefs – whether they’re related
to science, folklore, myths, conspiracy theories, or religion – and
where people choose place their convictions, however probable
or tenuous the concepts may seem.
Kristy researches different beliefs and will sometimes try to convince
herself of their legitimacy, which she does by following various
research channels that assert the reality of the idea. This process
allows Kristy to bounce back and forth between reality and
perception, representational and abstract. She says she wants to
believe, because believing is fun, but at the end of the day her
reason and skepticism tend to take over. However, she doesn’t
try to act like the authority on any matter; she simply enjoys the
investigation and invites the viewer to make his or her own interpretation.
MYSTERIOUS FINDINGS
I committed my time at Arteles to exploration. I researched new
ideas, worked with new materials and processes, probed my fellow
residents and new acquaintances for their experiences and
knowledge (of the bizarre or fabled variety), and explored the
expanses of the Arteles property and beyond. I used these various
bits of information as inspiration for my new work, which I will
continue to create in the months following my residency.
IN THE RESIDENCY
April 2013
“I am an analogue film and
photography artist!”
MARTHA JURKSAITIS UK
cherrykinocinema@yahoo.com // www.cherrykino.blogspot.com // Currently working and living in Leeds, UK
I’m an analogue film and photography artist with a specific interest
in the sensual possibilities of analogue images and their potential
to help us expand our sensual consciousness and reach a deeper
connection with the material and energetic worlds we are part of.
I use Super 8 and 16mm film, as well as small, medium and large
format photography, and I hand-process all my work, preferring
a tangible approach to my materials. I love to explore unusual DIY
methods of image-making, and have recently developed a strong
desire to look at more ecologically sustainable processes, such as
developing film in a coffee-based developer and fixing the film in
salt water. I also run a small film art organisation called Cherry
Kino that aims to make analogue film more accessible to others
through workshops and resources, and I am passionate about the
huge variety of aesthetics and expression that analogue film formats
make possible. Having a deeply personal approach is central
to my art, as I feel that through being as personal as we can
be, something universal can emerge.
TRAVELLING LIGHT
At Arteles, I decided to pursue film and photography methods
that tread a little lighter on the earth, exploring the use of coffee,
washing soda and vitamin C to make a film developer, and
fixing film in saltwater, using ingredients that were all sourced at
the local shops. I made some black and white Super 8 films, and
applied non-toxic watercolours to them, as well as shooting some
16mm photography using vintage spy cameras from Russia and
Japan and loading them with high contrast microfilm. I also used
Polaroid film in various formats, including creating pinhole Polaroids
using a variety of exposures and handmade photographic
filters. I wrote a lot of poetry while at Arteles too, which was completely
interconnected with the images I made, and the freedom I
feel here has enabled me to gain a whole fresh perspective on my
artistic direction and to combine my ideas, emotions, technical
skills and intuition into an integrated whole that feels authentic
and good!
IN THE RESIDENCY
March 2013
“Don’t talk about it be about it.”
AMBER DOE
USA
amberdoe@gmail.com // cargocollective.com/amberdoe // Currently working and living in New York, USA
Amber is an artist, a canaille, a former Quaker school attendee,
an aries with a moon in cancer, and rising sun in virgo, a sculptor,
filmmaker, jewelry enthusiast, performance artist, choreographer,
canary, fire starter, fashion and textile lover, mom and
grandmom fan, amateur motorcycle photographer, storyteller,
traveler, and bon vivant.
1. 2.
3. 4. 5.
1. GOD PARTICLE/HIGGS-BOSON - SCULPTURE.
2. CHAPEL - SITE SPECIFIC INSTALLATION.
3. DOLLY AND ME - VIDEO.
4. I AM NOT SORRY - CANVAS AND THREAD.
5. THIS IS NOT ABOUT RACE - CANVAS AND THREAD.
LUMI CREW - CHOREOGRAPHER, DANCER.
Developed with my fellow artists and residents an artist dance
troupe called Lumi Crew.
God Particle-Higgs Boson/ Chapel are sculptures inspired by the
discovery of the Higgs-Boson also known as the “God Particle.”
The Higgs-Boson is thought to be the key element that holds the
physical fabric of the universe together. Chapel is site specific
installation that works in tandem with the God Particle exploring
the human need to create and build places to worship together.
Dolly and Me is an ongoing video project exploring identity. i am
not sorry is is a series of small hand sewn canvas frames. The
piece explores my overuse of the word “sorry” and habitual apologetic
manner. It is intended as a fun, cathartic release from the
polite and gendered box I feel trapped in most of the time. this
is not about race is a cheeky statement about being a minority.
Growing up as a black female in America everything always feels
about race first and gender second. It’s about wanting a feeling
of freedom even if it’s fleeting and can only be felt through these
hand sewn boxes.
IN THE RESIDENCY
March 2013
ALBERTO VENTURINI
Italy
albertoventurini@hotmail.it // Currently working and living in Milano, Italy
I am one, zero, confused and inconsistent. Lost, I keep wandering,
my works don’t dry up in themselves, unfinished they are part
of an endless chain.The direct object turns into subject. Binary
codes dart, supposedly unreadable. I don’t want to dismantle
them, I don’t want to see the gears, I follow the sparks, they go,
they blow on me. No free will, visceral instinct, incalculable creative
violence and cuckolded referee. Failures, vital lymph, endless
fuses, move me like a puppet, burn to ashes and come back
to life. Sometimes the fight makes my will still, active power with
no fuse, intentional slight paraly- sis, victim of not being what I
want. I am one, but among many that I analyze and study and
mistrust, the comparison is unavoidable and is water. Anorexic
or bulimic, I still need to feed before throwing up. Inconsistency
keeps me alive and makes me fight it every time through flattery.
OUT OF OUR OWN PRIVATE IDAHO
The first part of the performance was a silent walk. During this
walk, body language and sounds were the only way to communicate.
Speaking was not permitted. The second part was a collective
action, still silent, aimed to wipe the snow out from a big
rock in the middle of our path. The ambient sound was so free it
bounced off the rock. Performers were allowed to build their own
notes inside the natural staff, in a various and unpredictable way.
The ambient was interpreted as a huge sounding board. The last
part was another walk in the opposite direction of the first one -
but speaking was allowed. In this, different thinkings arose about
the value we attribute to stopping and thinking, about the meaning
of life, either in a superficial way or not.
IN THE RESIDENCY
March 2013
“Is this important?”
CHRISTIANA MYERS
Canada
clmyers4@gmail.com // christianamyers.tumblr.com // Currently working and living in Montreal, Canada
Christiana Myers is an emerging artist and curator interested
in exploring the things people do, the things they don’t do,
connections, disconnections, comforts, discomforts, nostalgia
and regret. Her recent work focuses on the dynamics of
interpersonal relationships and the way in which space can affect
communication and it’s breakdown. She holds a BFA from Mount
Allison University.
WHAT ARE YOU TIRED OF SAYING? WHAT ARE YOU TIRED OF HEARING?
While at Arteles I focused on absorbing my experience in Finland
through experimenting with methods of documentation.
Among these I made an animation, small installations, and journals.
My favourite though, was a project that included the locals
of Hämeenkyrö. I used the opportunity of sitting in on an english
language class to gain some insight into the communication
habits of Finnish people. I asked them to write down something
they were tied of saying and something they were tired hearing,
first in Finnish and then in English. I was interested in observing
the filtration of these statements into the second language of
the speaker/listener, referencing the subjectivity of conversation.
What people chose to write not only reflects the tensions in their
relationships but in some cases the culture of life in Finland.
IN THE RESIDENCY
March 2013
MAARTEN BOEKWEIT
The Netherlands
maartenboekweit@gmail.com // www.maartenboekweit.nl // Currently working and living in Hague, The Netherlands
Failure, uncertainty and clumsiness are central themes in my
work. Both in form and content I like to keep my projects simple
and light.
To give a description of my ambition as an artist I’ll use the example
of a situation I have experienced in my side job as a feeding
assistent at a hospital.I sat there in a serious staff meeting. My
colleagues tried in a spasmodic way to express their views to the
team leaders. The main issue was that they felt they really could
not handle any more tasks on top of their normal work. The team
leaders tried to explain to the staff why they had to. At one point, a
colleague very inconspicuously tried to pour herself a cup of tea,
but then the lid fell into her cup. At that moment the tense faces
brightened and everyone had a laugh.I really think the power of
an accident is easily underestimated. Unforeseen situations can
change the atmosphere so that one will think differently and suddenly
be able to deal with each other in a more relaxed way.
This fall Maarten Boekweit will be a graduate student at Goldsmiths
University. He recently exhibted in 1646 in The Hague, De
Hotel Maria Kapel in Hoorn, Heden inThe Hague and the Salone
the Mobile in Milaan and Greenboro North Carolina.
THE TRASHCAN
In Arteles I discovered the pleasure of dancing. For me a new form
of expressing myself artistically. With the group we developed
a dance that we performed in the k-supermarket in Hämeenkyrö.
During the development of the choreography I got asked
about the movements I make during my new side job at home.
I just started working as a garbage man. The picture in the catalogue
is a tutorial about the movements. Later I got the idea to
teach the dance to the Finnish people on the street but the month
of my residency was already over. So now I am teaching the dance
to the people in The Hague in the Netherlands.
IN THE RESIDENCY
March 2013
Sydney Southam is a Canadian
multi-disciplinary artist working in
video, film,photography, painting
and performance. ”
SYDNEY SOUTHAM Canada
ssoutham@gmail.com // www.sydneysoutham.com // Currently working and living in Vancouver, Canada
I am a multi-disciplinary artist working in film, video, photography,
painting and performance. My practice engages extensively
with the archive, addressing themes of memory, death, nostalgia,
loss and childhood. I often edit archival film footage of events
I was not actually present for to create post-memories that are
subjective, postmodern and visceral yet personal. I graduated
from Central Saint Martins in 2011 with a BA Fine Art. I also holds
a previous combined BA degree in English, Philosophy and Cinema
Studies from University of Toronto.
ONE SECOND POSTCARDS FROM A GHOST/LUMI CREW
While at Arteles, I focused on two projects. I began the month
working on an experimental documentary I call “Postcards from
a Ghost”. My goal was to make a film about the transient nature
of being on a residency, and what the life of an artist looks like. I
interviewed all the other artists at Arteles, and filmed every day
life. The second project I worked on was the collaborative, experimental
performance art group Lumi Crew. Every day we met for
dance practice, developed alter egos, and eventually performed a
K-Supermarket to a bewildered crowd. These two projects overlapped,
and the story of Lumi Crew and our alter-egos became
intertwined with the narrative of the documentary I was working
on. For me, Arteles was magical, and will always hold a special
place in my heart.
IN THE RESIDENCY
March 2013
JACQUELINE HEN
Germany
jacqueline.f.hen@gmail.com // janeh.de // Currently working and living in Berlin, Germany
Studying Visual Communication with a focus on Environmental /
Experience Design at the University of the Arts in Berlin.
”Environmental Design is a humancentered discipline that is
focused on the design of a users total experience...from the first
moment of encounter to the last moment of interaction. We span
the creative environment beteween spatial, object and emotional
communication” (Art Center Collage of Design).
ONE SECOND
I started to record one second of my life each day and edditing it
together in order to record my life but also to reevaluate how I
approaches each day. One second is enough to bring back the rest
of the memories of that day. I will try to continue this throughout
my life. 1 year fits in 6 min of film. 10 years in 1 hour.
IN THE RESIDENCY
March 2013
LUMICREW
International
thelumicrew@gmail.com // lumicrew.tumblr.com
“Lumi for life”
Lumi Crew is a collaborative art project that aims to explore personal
mythologies and social interactions. The artists involved
are Vanessa Vaughan, Sydney Southam, Amber Doe, Jacqueline
Hen, Christiana Myers, Maarten Boekweit, and Alberto Venturini.
LUMICREW GOES K-SUPERMARKET
During our stay at Arteles, all march residents joined together for
a HipHop crew, made alter egos for each member and performed
our dance at the local supermarket.
“Arteles Art Residency presents the inaugural performance from
world-renowned dance troupe the Lumi Crew.
After many weeks of preparation, these skilled and multi-talented
performers will be converging at the K-Market at 4 pm on Thursday,
March 28 for their European debut.
Drawing upon their diverse influences as international artists,
this will be a 5 minute Hip-Hop dance unlike any other. Expect to
be surprised and amazed.
This ground-breaking performance is 100% free.”
IN THE RESIDENCY
February/March 2013
VANESSA VAUGHAN
Canada
vvaughan.artist@gmail.com // www.vvaughan.com // Currently working and living in Montréal, Canada
I direct large-scale installations that include sculpture, stopanimation,
sound and drawings. I like making objects and I work
in several mediums at once. I am interested in myths and the
fantastical. I tell stories in my work using symbols revealing and
hiding a contrived morality. I also play with time, exploring stories
on multiple timelines through various media. I like to interact
socially and take bits and pieces of moments and build on them
as a narrative base. These moments might be awkward, funny or
painful. This usually happens intuitively without any plan.
I AM SORRY AND THE DEATH PROJECT
I worked on several projects while at Arteles, some collaborative
and some individual. After experimenting with many stop
motion loops in the studio I noticed I was apologizing often out of
politeness and otherwise and decided to make a piece about it.
I also wanted to use the uniqueness and calmness of our natural
surroundings and was inspired by another resident to make fake
blood and venture outside. I took many stills of me dying in the
snow. These are being transformed into some animated gifs.
IN THE RESIDENCY
February/March 2013
“Art always happens
in between.”
LILIAN BEIDLER
Switzerland
loul@gmx.ch // www.loul.ch // Currently working and living in Switzerland
“Done again.”
Sound being a fundamental component of my work, I range from
installation, performance and acousmatic composition. I am
interested in the relation between sound and body and object
as mobile parameters in a particular space. Functional objects
like machines or devices with modified uses often serve as basic
materials for my artistic interventions.
My artistic work often focuses on the in-between: I am looking for
a vector between sound and language and image, between installation
and performance and space, I range between abstraction
and narration andconcreteness. I get crazy about abutments
and marginal crossovers between reality and fiction, between
analogue and electronic sound, between original and dublicate,
between perceptible and suspected.
The used medium concerns me as a representation of different
cut surfaces, as an agile cone of light, which can illuminate
into different directions, and its influence on my compositions. I
choose a certain medium to try to change the perception of preexisting
denominations by highlighting the fragileness of the intermediate
and the filigree of the peripheric.
And I like to dance.
(WORKING TITEL)
I did a little shake in the woods.
I composed a reed organ piece.
I sang.
I cried.
I dreamt.
IN THE RESIDENCY
February 2013
BENTEN CLAY
Germany
goodnews@bentenclay.com // bentenclay.com // Currently working and living in Berlin, Germany
BENTEN CLAY is a global corporation with a cross-disciplinary
approach. The focus lies on the production of a long-term project
titled Age of an End in which the appearance of the now is analyzed,
assessing the limitation of natural resources, their implementations,
as well as mechanisms of power and volatility inherent
to the human pursuit of control.
NEXT STEPS TOWARDS GLOBAL LEADERSHIP.
This year’s visit to Arteles had 3 main objectives:
Administration:
We visited our Finnish partners to negociate further project
plans, held informal meetings with new business contacts
and initiated due diligence investigations for possible M&A.
Internally we developed the annual target agreement for 2013.
Research & Development:
The R&D department, the largest division of our company,
continued working on their studies and findings about
nuclear waste repositories.
Leisure:
We follow the principle ”mens sana in corpore sano” in our
corporate governance codex.”
IN THE RESIDENCY
February 2013
PILAR MATA DUPONT
Australia
info@pilarmatadupont.com // www.pilarmatadupont.com // Currently working and living in Perth, Australia
Pilar Mata Dupont is a multidisciplinary artist working mainly in
photography and film. She has exhibited collaborative and solo
work at galleries such as Centre Pompidou, Paris; The Akademie
der Künste, Berlin; Museum of Contemporary Art, Sydney; Gallery
of Modern Art, Brisbane; on Cockatoo Island for the 17th Biennale
of Sydney and in festivals like Art Basel, Miami; The Berwick Film
and Media Arts Festival, UK; and the CineB Film Festival, Chile.
In 2010 she won the prestigious $100,000 Basil Sellers Art Prize
with Tarryn Gill for their film ‘Gymnasium’.
Her work engages with, or subverts, tropes used in storytelling
through the re-imagination of collected memories/histories and
mythologies, and investigates into the genre of magic realism as
a device to explore the effects of colonialism, nationalism, and
militarised societies.
KAIHO III
During my month at Arteles I completed the last of my ‘Kaiho’
trilogy, which I began at my first residency at Arteles, in June
2011. The ‘Kaiho’ series is a video based triptych relating to the
concept of the ‘kaiho’ (Finland’s version of saudade or longing
for something unobtainable). The series was created by melding
collected memories from Finnish people with aspects of Finnish
mythology, including the Kalevala; Finnish tango; and itkuvirsi
(Karelian lament singing). The works also investigate newer
uses of Finnish mythologies, such as their application to promote
nationalist sentiment by right-wing populist parties, such as the
True Finns.
‘Kaiho III’ delves into the newer mythology of Finland by playfully
examining nostalgic and nationalistic views on war and sport. The
idea stemmed from an interview with theatre director, Kristian
Smeds, about his 2009 stage version of ‘Tuntematon Sotilas’
where he mentions that to get a Finn passionate one just needs to
bring up the Winter War or the 1995 ice hockey championship win
over Sweden. Important battles of the Winter War, where Finland
fought the invading Soviet Army from November 1939 until March
1940, were broken down into basic actions, and developed into ice
hockey plays for a one-on-one game.
IN THE RESIDENCY
February 2013
ART HOME DELIVERY SERVICE
ART ON DEMAND
Lilian Beidler Switzerland / Pilar Mata Dupont Australia / Vera Hofmann Germany/
Brenna Noonan USA / Sabine Schründer Germany/ Vanessa Vaughan Canada
info@a-o-d.org // a-o-d.org // Currently operating internationally
ART ON DEMAND (AOD) is a collaborative participatory project.
Its primary aim is to make art accessible by taking it out of the
expected exhibition spaces and bringing it to targeted private
spaces, creating tailor-made works that are intimate, useful and
immersive.
There are two keystones to AOD:
1. The AOD Actions – performed by AOD member artists as well
as satellite artists. “Exploring by doing”.
2. AOD Reflections – A theoretical component consisting of
reviews, essays, and articles written by AOD members and
contributors.
AOD is interested in creating an international network of artists
that will perform, interact and write about accessibility, value,
economics and intimacy.
AOD was founded at Arteles Creative Center, Finland in February
2013.
ACTION 1, HÄMEENKYRÖ, FINLAND
”
The inaugural action was performed by the founding members
of AOD in February 2013 and consisted of a Delivery Menu
offering a variety of site-specific artistic experiences and/or
tangible custom-made items. The menu was distributed around
the community prior and an article was published in the local
paper to advertise this one-day event. Customers could order in
advance or on the actual day. The AOD team allotted 30 to 45
min per order and donned themselves in red to mark themselves
as a team. Six deliveries were made that day over a spread out,
remote community.
IN THE RESIDENCY
January 2013
“Visual Culture Documentarian”
CATHERINE J HOWARD
USA
131313sketchbookproject@gmail.com // 131313sketchbookproject.com // Currently working and living in Durham, NC, USA
Artists are doing remarkable and inspiring things all over the
world, and the lessons they have learned along the way can help
all of us in our own endeavors. The 13/13/13 Sketchbook Project
is a journey to live with 13 collectives of artists across the globe
that use art to revitalize their communities — and then transmit
their techniques for creating influential creative projects.
After this year of research, the 13/13/13 Sketchbook Project
will culminate in a holistic system – digital and physical – that
will connect artists and social activist groups all over the
world and give them the resources to make their communityempowering
projects more impactful and sustainable.
Follow along at http://131313sketchbookproject.com.
About Catherine J Howard: In just 13 months, I shifted
my life from an office to a shoulder bag, from binders and
spreadsheets to journals and colored pencils. In my prenomadic
life, I was an exhibiting artist, teacher, curator, and
arts administrator in Raleigh-Durham, North Carolina in the
USA. Check out previous projects at catherinejhoward.com.
13/13/13 SKETCHBOOK PROJECT -- TAMPERE/HÄMEENKYRÖ, FINLAND
Cresting below the cloud line in the airplane, I was welcomed to
Finland by glimmering streetlights and groves of trees checkering
the snowy ground. The hype was founded — Finland is beautiful
in the winter.
The glimmers of this project began sparking in March 2012, when
I arrived in Cape Town, South Africa to work with a collective of
street artists to spread the message that public creative expression
can spark social change. The street artist friends I made
there are dedicated to spreading color, pride, and compassion,
and our adventures together cemented for me how deeply creative
individuals can impact their communities. I was hooked; the
13/13/13 Sketchbook Project was sparked by an irresistible urge
to find insights from artists across the globe who use visual art to
challenge and revitalize their communities.
So why visit Finland to talk to artists during frigid, snowy January?
Well, Finland’s environment has engendered a culture of
hardy fortitude and generosity. The weather and geographic isolation
require that Finns stay in-tune with nature while relying
heavily on their neighbors. (If you fall through a frozen lake or hit
a reindeer with a car, someone had better be looking out for you.)
The Finnish culture and language have also steadfastly survived
centuries of Swedish and Russian reigns through the reliance on
the philosophy of “sisu.” “Sisu refers not to the courage of optimism,
but to a concept of life that says, ‘I may not win, but I will
give my life gladly for what I believe.’ It stands for a philosophy
that what must be done will be done, and it is no use to count the
cost.” (p. 10 “Of Finnish Ways” by Aini Rajanen)
This watchfulness and dedication to what “must be done” has
evolved into an egalitarian social structure that is lauded around
the world. And why research the arts here? Well, Finland has a
very notable statistic: no country in the world spends more per
capita on the arts.
Artists hold the keys to humanist, interdisciplinary thinking. Artists
around the world are changing their communities on shoestring
budgets. Yet, here are the Finns who have recognized the
power that artists have to enact social change and have been funneling
funds to further this creative potential. This support begs
the question: How do Finnish artists use this financial support to
create artwork that engages the rest of the Finnish community?
Although I reached no definitive conclusions to that question, Finland’s
lessons on stillness have seeped into my spirit and altered
how I interact with the world. The utter silence of the snow at night
creates a delicate veneer of glass that crystallizes the entirely
world and enables you to be entirely present. The most powerful
emotions happen when the outside world is perfectly calm, and
you are alone. And that is a lesson that should be passed on to
everyone.
IN THE RESIDENCY
January 2013
“Great works are performed not
by strength, but by perseverance”
JOANNE DRAYTON
New Zealand
jdrayton@unitec.ac.nz // joannedrayton.weebly.com // Currently working and living in Auckland, New Zealand
Joanne Drayton is a writer, artist and academic. Her book The
Search for Anne Perry (2012), has just been released in Australasia
and Canada. Her critically acclaimed Ngaio Marsh: Her Life
in Crime (2008) was a Christmas pick of the Independent when it
was released in the United Kingdom in 2009. Other biographies
by Joanne Drayton include Frances Hodgkins: A Private Viewing
(2005); Rhona Haszard: An Experimental Expatriate New Zealand
Artist (2002); and Edith Collier: Her Life and Work, 1885–1964
(1999). She has curated exhibitions of Collier, Haszard, Hodgkins,
and D. K. Richmond, and publishes in art and design history, theory
and biography. Her research interests include New Zealand
art and design history; colonial art and diaspora; the modernist
expatriate artist; netsuke and bone and ivory carving. She is currently
working on a new biographical project and carving a postcolonial
chess set in response to the Lewis pieces in the British
Museum. Joanne Drayton is Associate Professor in the Department
of Design at UNITEC in Auckland.
ACROSS THE BOARD: A POST-COLONIAL CHESS SET
“Across the Board” is a semi-autobiographical project inspired
by the urge to bring carved representations of my ancestors and
my partner’s ancestors to a chessboard, which is a metaphor for
the post-colonial relationship in New Zealand between Maori and
Pakeha. The outcome will be a chess set and a non-fiction narrative
driven, not just by historical and theoretical research, but by
the practice based investigations of a twenty-first-century carving
studio. Susan Stewart’s book On Longing (1993) provided me with
some thought provoking ideas around the notions of nostalgia
and the souvenir, which gave me the beginning of a theoretical
context for my work.
My origins are Scandinavian, so nostalgia, a sense of longing, a
desire to participate even vicariously in the family, the village, the
firsthand community of my ancestors were things I recognised
and they inspired me. The project evolved to become something
more post-colonial in conception with the inclusion of my partner’s
ancestry, which is Maori.
In 2009, I began to carve my response to the Lewis pieces, discovering
as I went the importance of research by ‘making’ or ‘practice’,
and the concept that engagement with objects and their
materiality unfolds layers of information that provokes questions
about meaning, intention, and process that may not necessarily
occur within a conventional methodology.
The project I set myself on my Arteles Residency in Finland, was
to complete one side of my set by carving the knights.
IN THE RESIDENCY
January 2013
EDWARD SANDERS
UK
edwardpsanders@gmail.com // www.edwardsanders.info // Currently working and living in United Kingdom
Howard hung up the telephone. He went into the kitchen and
poured himself some whiskey. He called the hospital. But the
child’s condition remained the same; he was still sleeping and
nothing had changed there. While water poured into the tub, Howard
lathered his face and shaved. He’d just stretched out in the
tub and closed his eyes when the telephone rang again. He hauled
himself out, grabbed a towel, and hurried through the house,
saying, “Stupid, stupid,” for having left the hospital. But when he
picked up the receiver and shouted, “Hello!” there was no sound
at the other end of the line. Then the caller hung up.
1ST JANUARY 2013
Acrylic on unstretched canvas. 2x1.5m
IN THE RESIDENCY
November 2012
PATRICK LOAN
UK
patrickloan@yahoo.co.uk // Currently working and living in Vienna, Austria
Patrick Loan’s practice focuses on the spatial environment of
sports stadia and the identity and celebrity of sports stars. In
his performance-based work he takes on the identity of sports
stars using low-tech materials to make masks and props. He also
works with video, photography, drawing and printmaking. His
fascination with sport leads him to explore identity, place and
architecture.
Loan has a developing interest in how the viewer relates to an
image or performance in an architectural space or in natural
surroundings, and how that space can be activated by the use of
simple low-tech means.
Patrick Loan has exhibited in the UK, Europe and the USA.
Mäkihyppääjä: Matti Nykänen
(Ski jumper: Matti Nykänen)
My original idea was to come to Haukijärvi and travel to the
nearby areas of Hämeenkyro and Tampere in order to undertake
research into the sporting culture of Finland, and in particular
to examine the career and fame of Matti Nykänen, a Finnish ski
jumper whom I remember watching on TV as a teenager in the
1984 and 1988 Olympic Games.
‘Podium / Palkintojenjakokoroke (1983)’
Whilst researching the career of Matti Nykänen, who was at his
athletic peak in the mid to late 1980s, I found a photograph of him
as a young man in 1983 winning a ski jumping competition in a
book in the reserve collection of Tampere library. Using this photograph
as a reference point, I built a wooden podium using the
same colour and font as the original one. This was used as a prop
in a series of performances where I took on the identity of each
of the three ski jumpers in the photograph using masks of their
faces and cut-out cardboard trophies and recreated their poses
on the podium.
The first ‘Podium / Palkintojenjakokoroke (1983)’ performance
took place at night during which the sound of a cheering and
applauding crowd reverberated through the forest from loudspeakers
as each ski jumper in turn got onto the podium and
held his pose. As the applause reached its crescendo a theatre
spotlight was directed onto each athlete; as he stepped off the
podium, the sound was lowered and the light turned off.
The podium evolved from simply being a prop for a performance
and became a discordant sculptural object in the woodland
landscape.
IN THE RESIDENCY
November 2012
OFRI LAPID
Israel
info@ofrilapid.com // www.ofrilapid.com
// Currently working and living in Berlin, Germany
This project is a part of a series, which take place in rural villages
worldwide (Bulgaria, India, Peru, Finland), and aim to explore
society’s perception of its local history and material heritage.
The projects are often a result of a process, in which I involve
myself in the lives of people, and invite them to contribute to the
making of the installation. In this manner the local people become
simultaneously both viewers and participators in the construction
of their own displays, thus creating an alternative ethnographic
representation, which exposes both the social context of the making
of a collection and the relations between people and objects.
TO WHOM DOES THE LAMP COMMUNICATE ITSELF THE MOUNTAIN? THE FOX?
Spending November, the darkest month of the year (The days are
not the shortest but there is no snow to reflect the sunlight) by the
rural community of Hämeenkyrö, led me to investigate the ways
people illuminate their domestic environment and thereby study
the social aspects of light.
In order to gain a better understanding of the local culture of hospitality
and the construction of indoor “”lightscapes””, I initiated
contacts with residents and got invitations to visit private homes.
On each visit I measured light intensity, light-temperature, the
distance between lamps, as well as the direction of the cast shadows.
I presented the information I collected as an installation
consisting of a table, lamps, photographs and information sheets.
The display of data was intended to draw attention to the function
of light in the domestic environment, as for its function in the
display.
The local families admitted that conducting light plays a crucial
role in hospitality, but also serves an instrument in spying on
neighbors. In order to further investigate the social aspect of light
I invited the residents for a visit in the open studios. I asked the
guests to bring along a lamp they chose from their home. One
by one lamps began to light up the exhibition space. Later on in
that evening guests spontaneously began to tell stories about the
lamps and the meanings they held for them, bringing up memories
of family members, religious and local traditions. The situation
resembled a social gathering around the campfire, encouraging
people to verbalize their emotions.
IN THE RESIDENCY
November 2012
“At the center of my work is an
examination of the location and
circulation of power and information.”
JENNIFER PICKERING
USA
jenpickering@gmail.com // www.jenpickering.com // Currently working and living in Okanagan Valley, British Columbia
My practice presents a consideration of objects and institutions
as crucial nodes in the circulation of knowledge. I have used
books and libraries to create a reference for the viewers’ reflection
of their own placement within this circulation. Subsequently,
I worked with suitcases to reference travel and examine the possibilities
and limitations of the embodied movement of people and
information.
The formal qualities of objects, particularly material, colour and
light are fundamentally important to me. Minimalism, through its
attention to method and material has influenced my work. With
minimalism I share an engagement with social critique. Yet unlike
sculpture of the 1960’s and 70’s, I specifically focus on the examination
of historical processes and recollection.
I am currently developing the Mars / Moon Project, which uses
an urban legend as a basis for the exploration of a complex set
of relationships where society, science and knowledge intersect.
In this story Mars is said to be approaching the Earth so close
that it will appear at the same size as the Moon in the night sky.
This narrative is unique among urban legends because it does not
consider events in urban space. Rather, it attempts to understand
the approach of something remote – Mars, which has a long history
of anchoring the futuristic imagination.
The Mars / Moon Project project has been developed in collaboration
with Art Historian Jasmina Karabeg, who in her scholarship,
focuses on the notion of the future as a crucial determining factor
that shapes today.
MARS CAFÉ
The Mars Café is a social intervention, where participants take an
active role in the imagination of the future. The Café is planned as
an ongoing international discussion forum that explores a diversity
of perspectives about our collective futures. As an artistic project
the discussions take place within a site-specific media work
that references our connections to each other and to something
larger – the planet Mars.
At Arteles, the Mars Café was held in the “Mars lounge”. I transformed
this everyday space to suggest a future movement by projecting
a video onto the coffee table. The video figures the possibility
of a trip starting as a circular cut through the coffee table.
Then it reaches down to the centre of the earth, emerges on the
other side and shoots up through space to the surface of Mars.
The video includes images from the room, satellite imagery and
the textures and colours of the rocks that form local geology.
Participants were invited to discuss ideas, which will impact our
collective futures. Among environmental and political topics, we
also spoke about the changing ways of social life. While talking
about some failed experiments in communal living we chatted
about how as residents we benefited from sharing and cooking
as a group. I for instance, leaned how to bake Korvapuustit and
Karjalanpiirakka, two traditional Finnish dishes. While the Korvapuustit
with it’s double spiral suggests movement, I couldn’t
help but imagine us all aboard a Karjalanpiirakka shaped vessel
hurtling across time and space.
IN THE RESIDENCY
November 2012
ANNABELLE CRAVEN-JONES UK
annabellecraven-jones@live.co.uk // www.annabellecraven-jones.co.uk // Currently working and living in UK
PURE GREY LATITUDE SYNDROME (NORDIC)
Screensaver with audio 2 mins 40 loop, laptop, chair, table,
headphones
LOW CLOUD S.A.D. (PRISMATIC LIGHT THERAPY)
3 photographic filters, 9 magnets, A4 graph paper, lamp, table
ANTIDOTE (TRIANGULAR PRISM)
Marker pen on 80gsm paper, 210 x 297 mm
PROPOSAL FOR LIGHT THERAPY (PILVI) 2012
SOMEWHERE THERE IS THE SOUND OF SOMEONE THINKING IN
A WOOD (GREY NOISE INVERSE)
Video with sound 1 min 27 loop, laptop, chair, table
AFFECTIVE AUTO STREAM (LIVE CONSCIOUSNESS)
Location: Finland. 100m Ethernet cable, live webstream, laptop,
dimensions variable
Diagram for AFFECTIVE AUTO STREAM (LIVE CONSCIOUSNESS)
9 prints on 80gsm paper, 210 x 297 mm
IN THE RESIDENCY
November 2012
CAMILLA EMSON UK
info@camillaemson.com // www.camillaemson.com // Currently working and living in London, UK
My work begins with words. I’m interested in how words never
have just one meaning; how these multiple possibilities affect
how humans can make choices, make change, speak truth to
power. How power uses language to de ”In my practice I use my
body with materials to intuitively channel kinds of repair.
My experimentation with materials has involved wrapping objects,
sewing canvases, firing cracked glass and drawing through contact
dance. My work is abstract yet often acutely conveys the
sensations of physicality. I try to crudely confront the nature of
stability.
My sewn works convey a fragile and feminine sensitivity, while the
glass works withhold despite appearing ephemeral and unstable.
More vitally, my CI drawn work investigates a kinaesthetic potential.
I explore how the development of contact and improvised
movement can harness an excavation of stored memory from
inside the body. Acting upon a more essential kind of repair, while
making the invisible visible.
The multi-disciplinary nature of my practice constantly re-defines
form, process and transformation.” fine truth. To define power. I
hope to open up space with my work for readers/viewers to begin
to think about how one reads, how the way each one of us thinks
or reads is very much what makes language become sense or
nonsense.
I’m the author of a chapbook, Memory of My Mouth, available
from dancing girl press. In addition to my work at Arteles, I’ve
been fortunate enough to receive grants and fellowships from the
Oregon Arts Council, the Vermont Studio Center and the University
of Virginia, where I was a Henry Hoyns Fellow. Other of my work
can be found in places like Ancora Imparo, Coldfront, Poecology,
High Desert Journal and my online workspace.
MARKING THE INVISIBLE (WITH ASH)
My most recent Live Art piece Marking the Invisible uses CI with
powdered graphite on paper to mark the development of kinaesthetic
potential. At Arteles, I decided to exchange my use of
graphite with ash collected from the outdoor sauna. I am interested
in exploring how materials and the body can be understood
as a continuum. The ash was the equivalent of a trace, a residue
of released memory through CI, and the human body, over time,
showed signs of increased consciousness. In part, the drawings
are simply documentation but they also help me visualize and
conceptualize exchanges between different materials and the
body.
I also used my time at Arteles to explore the process of making
felt using locally farmed wool.
IN THE RESIDENCY
November 2012
MICHELLE DICINOSKI
Australia
m.dicinoski@gmail.com // michelledicinoski.com/ // Currently working and living in Australia
Michelle Dicinoski writes poetry and non-fiction. Her poetry collection
Electricity for Beginners was published in 2011. Her memoir
Ghost Wife: A Memoir of Love and Defiance will be published
by Black Inc. in 2013. The final corrections to this manuscript
were made at Arteles in 2012.
They reckon it a fake asylum
a suspect body.
We risk anything
but you do not see.
A body when inhaled
leaves no trace.
While at Arteles, I worked on a few projects. The most surprising
(to me) was a short series of “found” poems made by altering a
secondhand novel. I bought a copy of Agatha Christie’s The Big
Four from a local flea market and made several poems by blacking
out and/or cutting up some of the pages. I initially planned
only to make blackout poems, but soon realised that cutting out
sections of pages would also juxtapose text in interesting and
unpredictable ways. Most of the poems can work separately or
together, and can be read in a range of ways, depending on the
reader’s approach. The cut-up book was displayed at LA Kirpparitaidemessut
as part of a group Art Fair but (accidentally) never
returned. Its current location is a mystery.
IN THE RESIDENCY
November 2012
TAMÁS SZVET
Hungary
kszvet@yahoo.com // szvet.blogspot.com // Currently working and living in Budapest, Hungary
I have a multi-layered artistic interest. I am enthusiastic with the
opportunities offered by the latest technological inventions. I use
these innovations socio-critically, and in an experimental way
as well.
The convergence of science and art is a central focus in my work.
I play with technological invention in order to convey my fascination
with fields of energy and our place in the world, through
levitation, illusion, reality and non- reality and where the thin veil
between these lie.
Objects and installation I made are rather experimental, but at
the same time also conceptual. I always start with a conceptual
question and look for solutions that try to give an answer to art
theory questions through the applied techniques. Lengthy art historical
and scientific researches precede the creating activity, so
the researches become a basic act in my work.
PLACEBO HISTORY
My installation is focusing on historical gaps. I have projected
images and stars using an astro planetarium projector, while the
story was told.:
“Origin of the Hungarians is unknown. Being uncertain in the past
creates unconfident feelings in the present, and people looks
back, instead of ahead. When the past is blurry and history has
gaps, we might believe to other theories.
Where comes the Hungarians?
How they colonise and why they migrated?
9 million 999 thousand people cannot live without past! Maybe the
craziest theory could be enough to fulfil the emptiness, so people
could focus to the future and not the past any more.
...
Hungarians came from the planet called Sirius, before its sun
exploded. Cristal heated Spaceships transfer them throw the universe,
when they reach the planet called Earth. They were a great
nation, with rich pastures and huge area. They were the emperor
of Europe. Powerful and independent, talented and clever, beauty
like the sun, and strong like the paprika.
If you look closely and deeply in their eyes, you can still see far
away galaxies shine!”
IN THE RESIDENCY
October 2012
“Stories, stories, stories..”
MARIE LOUISE COOKSON UK
marie.l.cookson@gmail.com // www.wellfanmybrow.blogspot.com // Currently working and living in Manchester, UK
A writer and performer based in Manchester, UK, I have written
and performed a number of short stories, monologues, and film,
radio and stage scripts. These have included my short play: ‘Get
The Confidence, Get The Love’ as part of Manchester Contact
Theatre’s selection of new writing; and a 10 minute film, ‘Bloodless
Offering In B Minor’ in collaboration with Nexus Art Cafe and
Manchester based filmmaker Graeme Cole.
With a particular passion for comedy, both in literature and in performance,
two years ago, I set up a fictitious humour blog called
Well Fan My Brow And Shut My Mouth. Inspired by a combination
of Laurel and Hardy films, and the works of PG Wodehouse,
Dorothy Parker and John Kennedy Toole, I update my blog weekly,
writing short, often satirical, stories under the guise of ‘Mitzy,’ as
the character chronicles the outlandish tales of North West life.
Earlier this year, I performed a selection of blog extracts at The
Manchester Independent Book Market, a free event held annually
to promote both small presses and local writers. One of my pieces
entitled, ‘Is This Your Life’ was included in an eBook (available
to download at Amazon) called, ‘The Hat You wear’ which featured
works by other prose writers and poets who also appeared at the
festival.
My two passions are literature and performance and during my stay,
I focused on writing two short stories, ‘The Silence And The Speech’
and ‘Sleep Scars’ and creating a comedic performance piece
specifically about my time at Arteles.
‘The Silence And The Speech’ is a story exploring the concepts
of silence and speech. In anthropomorphising these, I set out to
create a playful and humorous tale about what would happen if
‘The Silence’ swapped places with ‘The Speech.’ This story grew
out of an early conversation at Arteles about the fact that Finnish
people are very comfortable with silence. I thought it would be
fun to explore what may happen if ‘Ms. Speech’ could interchange
with ‘Ms. Silence.’
‘Sleep Scars’ is set in an unspecified place and time in the future
where people are able to donate their healthy sleep after they
have died. ‘Levy’ is a heavily sleep-deprived man who is given the
opportunity to receive a sleep donation in exchange for money.
After his first good night’s sleep, however, he begins to experience
serious side effects; namely, discovering scars on his body
bearing traces of the donor’s fatal wounds. Levy is then left with
a choice: to have the sleep reversed and revert back to his old
insomniac existence or to bleed to death. I am often inspired by
the notion of sleep and sleeping in an unfamiliar place inspired
my idea for this story.
Finally, ‘Good Evening, Arteles’ was a comedic performance piece
intended to be a sort of spoof newscast about life at Arteles. I
loved writing this and performing it both to fellow residents and
Arteles staff. Since it was also filmed, I hope that future residents
will enjoy watching it, too.
IN THE RESIDENCY
October 2012
ÜLGEN SEMERCI Turkey
ulgen.semerci@gmail.com // www.ulgensemerci.com // Currently working and living in Istanbul, Turkey
Ülgen Semerci was born and raised in Istanbul, Turkey. She
received her BFA in painting and drawing from Concordia University,
Montréal QC, and her MFA in painting from New York Studio
School. Currently Semerci lives and works in Istanbul.
The purpose behind my time in Arteles was establishing dialogue with artists
from different backgrounds and disciplines, getting out of my comfort zone
and pushing boundaries of my practice.
During my stay, not only Finnish landscape became a significant
element in my process, but also I had the opportunity to engage
with other artists in potential collaborations.
I collected material, drew, took photographs, made prints and
brought them together in a process of collaging, taking apart,
then bringing together again. The work I did in Arteles is the
opening of a new body of work which I’m eager to explore. “
IN THE RESIDENCY
October 2012
“How power uses language
to define truth.”
ZAYNE TURNER USA
zayneturner@gmail.com // www.zayne.posterous.com // Currently working and living in USA
My work begins with words. I’m interested in how words never
have just one meaning; how these multiple possibilities affect
how humans can make choices, make change, speak truth to
power. How power uses language to define truth. To define power.
I hope to open up space with my work for readers/viewers to
begin to think about how one reads, how the way each one of us
thinks or reads is very much what makes language become sense
or nonsense.
I’m the author of a chapbook, Memory of My Mouth, available
from dancing girl press. In addition to my work at Arteles, I’ve
been fortunate enough to receive grants and fellowships from the
Oregon Arts Council, the Vermont Studio Center and the University
of Virginia, where I was a Henry Hoyns Fellow. Other of my work
can be found in places like Ancora Imparo, Coldfront, Poecology,
High Desert Journal and my online workspace.
TRUTH OR CONSEQUENCES & OTHER POEMS
Visual and Concrete poems, which began a series titled “Truth
or Consequences.” I also completed revisions of my first book
manuscript, some lyric essays, and began a long poem-in-series,
titled “Her Radioactive Materials,” which may become the center
of a second book.
IN THE RESIDENCY
September 2012
GRACE NEEDLMAN USA
gneedlman@gmail.com // www.graceneedlman.com // Currently working and living in London, UK
Through drawing and painting, I deal with my experiences of identity
as a product of conflict and accumulation. How do we develop
a sense of self through the traditions, expectations, prejudices,
and rituals of different cultural, political, geographic communities?
How do we come to claim certain stories as our own?
Inspired by fairy tales, comic books, nightmares, newspapers and
memory, I aspire to visual, material, associative density in my
work.
CROWDED/ALONE
My time at Arteles was about digesting stored-up ideas and cultivating
new material processes. After an intense year in overcrowded
London, a month in the Finnish wide-open offered time
alone to think and read and sketch through ideas about my relationship
to the city and its people. Working from images of the
London riots while researching James Ensor’s crowd-scenes, I
began developing new ways of making collages, watercolors, and
masks. As much as I appreciated having time in my own head, I
love even more the brilliantly critical, supportive dialogues and
friendships fostered in the residency.
IN THE RESIDENCY
September 2012
“In the spaces between
online and offline.”
GRACE KINGSTON
Australia
gracekingston@gmail.com // gracekingston.com // Currently working and living in Sydney, Australia
“As densely networked, highly malleable, and ultimately virtual
spaces, social networking sites elude traditional means of exploration.
Grace Kingston’s artistic practice seeks to address this
void, materialising our virtual spaces in an embodied and figurative
state in order to make “real” the self that exists only in signified
space” - N. Wolf
MOSS WORKS
The Arteles residency has been the ideal setting for me to expand
on my practice. After recently completing the long-term project of
my MFA in Sydney, I was ready to spend some concentrated time
on pure experimentation. I was inspired by the varied practices of
the other residents, the huge facilities and the forrest surrounding
the Creative Centre. I had the time to go in a lot of different
directions as well as completing a sustained body of experimental
pieces with natural materials. Specifically, I aimed to consider
how technology is heavily intertwined with our lives, even in nonurban
settings. To do this I reversed the dynamic of street art - a
permanent mark seen by many in the city - to ‘Moss Stencils’,
icons of social networking and technology etched into a rural
environment. These marks are transient, and seen by few. Familiar
symbols and phrases such as ‘Like’ make a playful juxtaposition
within a non-built setting, and perhaps remind the viewer
how much of the world around us is mediated by our devices.
IN THE RESIDENCY
September 2012
“For me art isn’t about
pictures on the wall anymore
- it’s about connecting;
communicating a message
via interaction.”
JENNA BURCHELL
South Africa
jennaburchell@gmail.com // www.jennaburchell.com // Currently working and living in Pretoria, South Africa
In my artworks I muse over a question; what is changing from the
natural into the mechanical as we increasingly mediate our life
experiences through new technologies.
Often this is expressed through hand built, mechanical environments
that invoke the organic. This parody of the natural against
the man-made offers an exploration of the changing relationship
or displacement of the natural/self/home with the man-made/
other/foreign.
A collaborative approach with varying industry professionals is
adopted to achieve the technologically driven functionality and
aesthetics of the artworks. This forges an interesting inter-disciplinary
dialogue between art practice and industry.
81° NORTH
My current project, 81° North, is inspired by my stay in Finland.
81° North is the amount of latitude degrees Finland is away from
South Africa. The artwork creates a dialogue of exchange between
these two distinctive countries.
81° North is an installation artwork consisting of a mechanical,
sculptured field of grass constructed with 1500 blades of copper
wire and hand sculpted grass heads. It reflects the rich coppery
gleam of a field of grass in late autumn.
The installation simulates the language of wind as it caresses a
field of grass. This simulation is based on real-time wind data
transmitted from a sensor in a grass field located by Arteles. This
data is instantaneously processed through software to generate
a ‘wind language’ that is enacted onto the installation artwork
instantaneously. 81° North contrasts the foreign wind data with
the local context in South Africa where it will be exhibited, creating
a feeling of being transported to someplace that is Other.
IN THE RESIDENCY
September 2012
sound and media artist
ROBERTO PUGLIESE Italy
pugliesr@gmail.com // www.robertopugliese.net // Currently working and living in Helsinki Finland
My work consists of compositions, installations and performances
based on sound in combination with visuals and audience participation.
I use sound and its transformation to establish alternative
relations between audience and the space. By collecting and digitally
processing found sound and photographic material, I work
towards a common language among visual and sonic landscapes.
My work Traffic with Rachel O’Dwyer has been exhibited at the
Science Gallery (Dublin, 2010) and Eyebeam (NY, 2011) and PuShy
at the Plektrum Festival (Tallinn, Estonia, 2011). Recently I have
been collaborating with dancers and choreographers for the creation
of alternative stages and forms of new media performance.
As a media artist I am interested in the role of sound in shaping
the experience of places and the sense of presence in our daily
life. Sound can be accommodating, dominating, coordinating,
ensuring or hunting. All these characteristics pervasively influence
our experiences. We participate with our actions in the creation
of the soundscape, being it natural, mechanical or digital.
The very nature of the experience of sound is physical and intimately
connected with the sense of touch. Audio-tactile exploration
is the first form of sense making of the world since our
birth. The memories connected to it are traces of the early relation
we established with our environment. While hidden in places
we inhabit and construct with our practices and activities, sound
and touch are unveiled and sharply resonate in unfamiliar places.
My artistic practice springs from this philosophical standpoint,
the phenomenology of the senses of touch and hearing, and
moves towards strategies of decoupling, augmenting, subverting
the usual “contact” with those channels. The result is a magnification
of their impact, not just as a force, but also of their importance
as mediator of our experience. For this, sound is a central
element in my works. They are multimedia pieces where the
viewer participates and re-establishes a previously altered, offset
relation with the location.
FIELDWORK FOR ”THE SPACE OF A YEAR”
During the Arteles residency I conducted fieldwork in the form
of audio and video recordings that I will use as raw material for
a participatory installation called “”the space of a year””, a multichannel
audiovisual installation. I focus on walking as a natural
action of exploration and perception of the place where we live.
By placing contact microphones on the floor, people in the space
activate with their footsteps an alternative soundscape. Unexpected
sounds echo and tightly follow the visitor’s exploration of
the augmented space. The visitor witnesses the gradual separation
or divorce between the processed sound coming from the
speakers and the sound source, their feet in contact with the floor.
The installation “lives” during the course of a day, presenting
changing terrains and textures coming from different seasons of
the year and their respective soundscapes to the visitor.
Projections on the walls surround the participant. The images are
highly processed videos of nature filmed in different season of
the year that sequentially change during the course of the day
in a 30-minute cycle. Their minimal, reduced aesthetic conserve
traces of the places where originally collected.
During the residency I realized the first prototype of the augmented
floor on which people can walk and hear the sound of their
footsteps, as if they would be walking on wet grass, or on a dock
or pebbles and other terrains recorded in the surrounding of the
Arteles house.
IN THE RESIDENCY
September 2012
EMILIE COLLINS France
liliecollins@yahoo.co.uk // www.axisweb.org/artist/emiliecollins // Currently working and living in Cardiff, Wales
As an artist, my practice mainly takes the form of site specific or
site responsive art. It is deeply connected to people and places
and, as such, my preferred ventures are residencies, which combine
those elements together. My work takes the form of projects
that involve my experience of places, researching relevant themes
and creating work either in situ and/or in response to them. They
have so far taken the form of installations using mainly natural
materials, recorded rituals or performances engaging the public.
The need to involve myself physically within my work has become
stronger over time and I intend to focus on performance art for
the foreseeable future. My background in Contemporary Textiles
has up to now been a major influence on my relationship to materials
and the ways in which to use them. Past projects have dealt
with issues relating to nature and the environment, the body, the
self, space and the notion of ‘the other’.
POLKU (The Path) / PUSSAA SUTTA (Kiss The Wolf) / HUKKA PERII (The Wolf Will Take You)
My original ideas revolved around engaging with the space of
the woods surrounding the residency. As such, prior to going to
Arteles, I had been researching into the symbolism of the forest,
folklore, myths and fairytales as well as their importance in the
shaping of our psyche.
Whilst in the residency, the project expanded and altered as I
explored the area, discovering its contrasts. How I imagined things
to be and how I sensed they actually were, strongly influenced the
project as I was confronted by the dichotomies between an apparently
natural, yet in reality, very controlled environment and my
own quest for ‘wilderness’ and the ‘wonderful’. I became interested
in the idea of archetypes and adopted a character with strong
connotations, dyeing two handmade dresses red and undertaking
a series of performances as well as experiential happenings
centered around a wolf skin donated to the Centre during my stay.
The three main performances (Polku, Pussaa Sutta, Hukka Perii)
each had its own specific context, exploring and bringing up a
range of themes and issues for the viewer. Whilst Polku could be
seen as a ritual or initiation in the woods -viewers were invited to
follow a path leading to a spot in the woods where I performedthe
other two were deliberately absurd and ambivalent, toying
with for example: ideas relating to superstition or the visual language
of protest. I envisage the projects that took place in the
residency as being the starting point for a bigger body of work.
IN THE RESIDENCY
September 2012
HOLLIE M. KELLEY Australia
hollie.maree99@gmail.com // holliemkelley.com // Currently working and living in Australia
Notions of transience and the ephemeral in nature inform my
work. Finding beauty in repetition, the ornate and delicate, I look
to ancient patterns and motifs as themes for re-contextualisation.
I have a multi-disciplinary approach that includes: delicate
paper-pattern-cutting for large-scale temporary installations;
surreal portrait works in watercolour and graphite; and the intersection
at which these representational and suggestive practices
meet. Works are becoming increasingly focussed on interpreting
cultural mythologies.
MATKA
Whilst on residence at Arteles I have been inspired by the Finnish
flora and mythology , interpreting the forms and folklores into
surreal works on paper incorporated with figures in a state of
physical flux. These works will form the basis of a duo exhibition
with collaborator Ryan McGennisken to be held in Berlin late 2012
titled ‘Matka’, referring to the finnish word for journey.
IN THE RESIDENCY
September 2012
“Wander/Wonder”
RYAN MCGENNISKEN Australia
R.mcgennisken@gmail.com // www.ryanmcgennisken.com // Currently working and living in Berlin, Germany
Ryan McGennisken, born and raised in rural Victoria, Australia is
an ambitious installation artist, drawer and wanderer. Focusing
on traditional mediums of watercolour and inks, Ryan channels
a profound disconnect from the nine-to-five world, or any traditional
living requirements. Living out of a bag, wherever he finds
himself he takes daily life, past experience and personal philosophy
to create earthy dreamscapes with dark undertones of death,
destruction and melancholia.
MATKA - An exhibition with Hollie M Kelley to be held in Berlin in 2012.
Whilst at Arteles, I slept in late, stayed up late, drank a lot of coffee,
got lost in the forests and researched Finnish mythology.
I then made a number of ink and watercolour drawings based on
Hunting, trapping, fishing, Gods, Shamans and Tuonela.
IN THE RESIDENCY
August - September 2012
SAEBON KIM Korea
s.j.helsvig@gmail // www.simenhelsvig.com
LEMONS, MORNING SAUNA, POP CORN AND HIBERNATION.
They are what I did when I did what I did.
IN THE RESIDENCY
August 2012
“I am a tree, but I am not confined
to a single forest”
SIBYLLE IRMA Switzerland
sibylle.irma@gmail.com // sibylle-irma.blogspot.com // Currently working and living in Lucerne, Switzerland
I am a visual artist who loves to listen to people`s stories.
I am using different mediums, such as drawing, photography,
sculpture, Installation and words.
My approach to a project begins often with no actual plan in the
beginning. I welcome Intuition as my guide.
The process starts internally with my own physical reactions
and emotional exploration in regards to the outside world. The
experimentation of combining new mediums with drawing is a
great part of exploring and finding what I am searching for inside
myself. Discovering new ways of communication through art gives
me direction for further research and progress.
My work shows the personal experience of dealing with the basic
emotions inspired by interaction with the wilderness and with
people.
Therefore I am using found objects or natural materials that I discover
specifically in the environment surrounding me.
Doing this also gives me the opportunity to demonstrate that I can
be independent of my economic situation.
Also the Idea of “recycling” is sociologically and materially important
to my work and the attitude of being an artist.
The work of Sibylle Irma in Arteles
By Carlos Labbé
Sibylle Irma went deep into the woods. She took breathless walks
between the masses of birch trees that surround the Arteles’s
house trying to figure out –at the begining– why that inmense
verticality, what the purpose of the narrowness between them,
and how these shapes affect and interact with local animals and
human beings.
But the artist who comes to the residence remotely resembles
these local lifeforms that have been mingling with the forest for
so long. She needed to go deeper into the birch woods to achieve
a relevant piece of art that would organically embody the possibility
of ignorance and wisdom, which can only be endowed to the
creative process by the limitation of space and time.
So she decided to approach the trees with something that they
would accept. She started drinking birch leaf tea daily. She collected
small loose branches on the forest ground, burned them
in closed metal cans to obtain natural charcoal, and then spent
hours among the trees to draw the woods with these pens made
out of themselves. After hundreds of sketches, she learned that
the verticality of nature includes also a deepness and a silence
that is foreign to human noise. She went into the woods late at
night to try to understand. She went naked late at night into the
woods. She went into the woods late at night when it was cold. She
went into the woods late at night with and without a lamp. And she
felt scared. Sybille Irma discovered then that the artist can really
understand her limitations of space and time if –instead of ignoring
it, instead of imposing a preconcepted project, instead of making
camouflage art– she exposes herself and evidences the inherent
limitation of every piece of art. She wrote this investigations in
big charcoal billboards. Then she started to construct the armor.
She found places in the woods with small logs that fitted her body.
She covered her arms, her legs and her chest. The most complex
and peculiar piece was the helmet; some of her fellow artists said
that it reminded them of the hats of old suomi shamans, and the
kawéskar rituals too. When she finished it and put it on, she realized
that the armor made her a couple of centimeters taller. And
that she became more vertical now. Sybille Irma went deep into
the woods again. This time she was wearing the armor made of
loose birch branches, natural fabric, ornated with feathers and
drawings. And at last she didn’t feel any fear there. For a fleeting
moment her work drew her away from any limitations of space
and time.
“ARMOR”
During the residency at Arteles, I could amplify my artistic strategies
and therefore the consequences of my art.
I was overwhelmed by the woods and the trees here in Haukijärvi.
Being in the woods provoked two very different reactions in me.
At daytime, it looked like a place of energy and silence that narrowed
my physical body, and at nighttime, the darkness and its
shadows turned the forest into a place where it was impossible to
orient myself without a torch. But even with that great invention
of light, I promise, I could get lost easily.
I started to collect birch branches and sticks that lay on the
ground in the forest. I peeled some bark off with a knife. I then
got textile yarn and used it as a thread to bind the sticks together.
I made different pieces of armor to protect myself from the fear
that was rising up at night when alone in the woods; calves, chest,
forearms and the head must be protected.
I then brought the armor for a day into the woods, to be energized
by the sun. which just happened to appear when I was there, shining
onto the stone where I left my armor and the helmet.
I am ready now to go at night into the woods wearing the armor,
fearless of what might surface in the darkness or in my mind.
IN THE RESIDENCY
August 2012
CARRIE NAUGHTON USA
carriethis@gmail.com // Currently working and living in Tucson, Arizona USA
I write novels in my spare time. People always ask me what kind
of novels. I say: the entertaining kind. Science Fiction, postapocalyptic,
paranormal, suspense and adventure, with a little bit
of comedy in each. I firmly believe that genre fiction is as valuable,
if not more so, than so-called literary fiction. Oftentimes it’s
actually more literary. And a helluva lot more fun. I guess when
I turned thirty I realized that there’s already enough sappy poetry
in the world, no need for my own. Now I have five novels in the
works with an iTunes playlist to accompany each, and a stadiumsize
crowd of characters in my head.
TALO
My Arteles residency plan was to finish a mystery thriller (with
ghost) that I have halfway completed. But then I arrived and
began to investigate the big residency house (aka Nexus 9000,
though I never heard anyone actually call it that). I have wanted to
write a space horror novel ever since I saw the movie Alien when
I was twelve years old. I guess I needed to go to Finland to do it.
The Arteles house became my blueprint for a haunted spaceship
called the Talo, which of course means house in Finnish. I spent
the month of August writing the opening chapters and getting to
know the crew, drawing the schematics for the Talo and developing,
with expert help, a lexicon of Finnish science fiction words.
My novels always tend to examine community, and what it means
to be part of a unique group of people for a confined period of
time. I think that there’s no two better ways to contemplate that
than with a ragtag crew in outer space, or with a bunch of artists
in the Finnish countryside.
IN THE RESIDENCY
August 2012
“A story of the world after it’s over”
MONICA RIOS Chile
monica.a.rios@gmail.com // www.simenhelsvig.com // Currently working and living in New York City, USA
Monica Rios is a writer born in Santiago de Chile in 1978. She has
published the novel Segundos (2010), the essay La escritura del
presente: el guión cinematográfico como género literario -in the
volume De la violencia a las palabras- (2008), and coauthored Cine
de mujeres en posdictadura (2010). Some of her short-stories
have appeared in Lenguas (2006) and Junta de vecinas. Antología
de narradoras chilenas contemporáneas (2011). She contributes
regularly as a literary critic in magazines and web pages and is
currently working towards a PHD in Latin American Literature.
ALIAS EL ROCÍO, A NOVEL IN FIVE PARTS AND A CODA
The work of Mónica Ríos in Arteles
By Carlos Labbé
A robot sets fire to Hämeenkyrö. Two women talk about wood. A
girl takes off her clothes and discovers that she has no body under
it. You have to choose one of these stories to write a novel. Why is
that? Why do you have to preserve just one log and burn the others?
In Alias El Rocío [Alias The Dew], the novel that Mónica Ríos
wrote during the summer residency in Arteles, these three stories
are part of the thousand others that refused to subordinate or
disappear under a main narrative.
A robot sets fire to New Jersey. Why not? Why can’t the robot
just fly from Western Finland to the Eastern Coast of USA? Mónica
Ríos figured out a way to write a novel about the disappeareance
of the political corpses in Chile and Latin America that include
the everyday violences of the categorization and utilization of
any living body everywhere in the world: from the scientist who
experiments with animals in a cosmetic lab to the documentalist
who manipulates children’s expressions in camera to provoke
compassion in the viewer, from the writer who privileges blood,
action, and sensationalism to the producer who pressures an artist
to transform an avant-gard piece of art to an understandable
entertainment product.
A film is composed of stills; at the same time, a single still compresses
the whole film. So if we took away one of its stills, would
the film be partial? Mónica Ríos answered these questions to find
out that even in the smallest of its phrases you have to read the
entire intensity of a novel. In the six parts that compose Alias El
Rocío, she explored the contrasts between a documentary, a fiction
film, and the person who is watching them. These contrasts
are in the plot of the novel, but above all in the squared-shaped
text of the small stories that look like a screen-shot on the white
pages, stills that only the reader can enchain. A robot sets fire
to Santiago. A woman who studies mummification ends up being
the subject of her study. A man marries her wife’s daughter. In
the final chapters, these three characters meet others at Brocken
Mountain, in a reinterpretation of Goethe’s Faust, where they join
a crowd of animals which occupy the city, the entire country, and
the world in search of the mysterious figure of El Rocío –male
and female, object and living thing, human and animal– who gives
sense to everything at dawn, but evaporates in the morning.
The novel that Mónica Ríos wrote during her Arteles residency
dethrones the plot-driven literature and empowers the reader by
giving him chances: either to look at a page as an art piece or
to enjoy a storytelling; either to set fire to any place he –or she–
always wanted to see on fire or not to harm anything and keep
the matches. Because when finally Mónica Ríos decided to really
burn the stories of Alias El Rocío, during an Arteles’s evening
bonfire, in a performance that she called A piece of history, she
didn’t felt liberated at all: you can never be forced to choose. You
can approach everything as in a still, only if you put it in motion
with your own personal reading.
IN THE RESIDENCY
August 2012
“The choreography needs counterpoint”
CARLOS LABBÉ Chile
celabbe@yahoo.com // en.wikipedia.org/wiki/Carlos_Labbe // Currently working and living in New York City, USA
Carlos Labbé was born in Santiago de Chile in 1977. He has published
a hypertext novel, “Pentagonal: incluidos tú y yo” (2001),
the novels “Libro de plumas” (2004), “Navidad y Matanza” (2007)
and “Locuela” (2009), the collection of short stories “Caracteres
blancos” (2010 / 2011), as well as the records “Doce canciones
para Eleodora” (2007), “Monicacofonía” (2008) and “Mi nuevo
órgano” (2011).
LAS PËLLÍ CHEOROGRAPHIES (A NOVEL IN PROCESS)
The choreography of a process
About Carlos Labbé’s work in Arteles
By Mónica Ríos
“The choreography needs counterpoint”, declares one of the fragments
of Las pëllí choreographies, Carlos Labbé’s fifth novelistic
project and his work in Arteles during August 2012. The literal
translation for this title would be The Spiritual Choreographies,
articulated in Spanish, Mapuche, and English in order to reflect
the cultural and musical counterpoint that compose contemporary
identities of the West.
“The choreography needs rhythm”. The story of the novel covers
forty-years of The Gymnastics, a band integrated by the Mapuche-Chilean
singer Gustavo Rain, the English guitarrist Joe Pedro
Joe, and the Mid-Western American percussionist Dolores Statton.
The chronicle of the raise and fall of these stars focuses on
the love triangle between the three characters, but is above all
a reflection on their affinities and differences on religion, work,
and love. The journalistic tone of the authorized biography of The
Gymnastics has been literally crossed-out and corrected by Gustavo
Rain, who is now on a wheelchair and unable to move anything
but his eyelids. The gesture of opening and closing his eyes
becomes his only instrument to intervene a past of travelling,
singing on stage, being nothing but a body. Memory is placed in an
intense relationship with his situation as a disabled, at the same
time that the action looses its localization in an account where all
the names of people and places have disappeared.
“The choreography needs harmony”. Las pëllí choreographies is
also literature about music; it finds a way through the populated
tradition of novels about musicians. It is a writing that traces the
common origins of the written profession and music; the modulation,
though, is not only between these two expressions or those
three languages. These spiritual choreographies stage an experience
of fragmented and disconnected diversity of races, origins
and codes, and how would the common language of music or other
bodily languages help to find vivid communication, even stronger
than any other identity such as family, friendship, nationality
or linguistic tradition. Las pëllí choreographies seeks to unravel
the creative experience as plenitude despite its fugacity.
During his stay in the residency in August 2012, Carlos Labbé
crafted a choreography for all these elements in a story that dramatizes
the process of socialization between Latin American,
European, African, and North American people in the big cities
of the West, centering in the naturalized production of new cosmovisions
by mixed ethnicities in pop culture. It’s manufacture
seeks to find the tone for an episode in the woods of southern
Chile by experiencing the birch woods that surrounds the residency;
a choreography that explores that new place where we
might end up seeing our bodies and their resonances flow in an
unplanned dance.
IN THE RESIDENCY
July 2012
MIKA MIZUNO
Japan
mikaphoto@live.jp // www.mikamizuno.com // Currently working and living in London, UK
Mika Mizuno is a Japanese photographer, currently resides in
London. When She was eight years old, a book entitled “Momo”
by Michael Ende inspired her with a concept of strangeness of
chaotic world. Mizuno is aiming for a key lurking the underneath
of daily life, which may trigger small revolutions and disclose new
possibilities to perception.
She expects to graduate from MA in photography at Goldsmiths,
University of London in 2013. Mizuno’s work has been exhibited
including a solo exhibition, group exhibitions and art fairs.
BY STEPHANIE CHAMBERS at Arteles 7/2012
Mika Mizuno is a photographer from Japan that I had the pleasure
of sharing a month long residency with during the Summer in Finland
at the Arteles Creative Center. Due to this, I was privy to her
process, conceptual refinement and transformations surrounding
her two projects completed during the month, ‘Predawn,’ and
‘In-between.’
Often, when I see a piece of artwork that I am strongly drawn to,
the actual finished piece appears effortless as if it has appeared
from thin air, or alternatively, if there are marks of the artist’s
hand present that those marks arrived both effortlessly and naturally.
With Mika’s piece, ‘Predawn,’ I felt the familiar and magnetic
pull of a piece that I was captivated by, but because of our
shared working space, I had the inspiring experience of observing
that her work was the result of an intensely concentrated conceptual
and visually explorative process.
‘Predawn’ was the piece I was most drawn to during the Arteles
Summer Day. It is a video piece based around Finland’s midnight
Sun phenomenon. In asking Mika about the piece, she told me
that for her in Japan, midnight represents darkness and that
dawn represents hope, giving the night a specific emotional arc.
Due to the Sun not setting in Finland during the Summer, providing
an absence of darkness, she wondered how the Finns experienced
the psychological arc of the night passing. It was with
this intention that she began work on ‘Predawn.’ Using medium
format, she photographed the Finnish countryside from midnight
until 3AM over a period of a few days hoping to better understand
their night. The result is a stunning video piece of these photographs,
appearing on the screen one at a time, overlapping from
left to right to create an imagined horizontal landscape across the
screen for the viewer of the midnight Sun. The individual photographs
feature black silouhettes of forests or roofs with vibrant
pink and deep blue skies above them. Since they were taken at
different times, the colors don’t match perfectly as each photo
overlaps the next. This serves to highlight the passing of time and
presents the reader with a piece of work that can truly be experienced
visually.
Mika’s second piece, ‘In-between,’ is a video slideshow juxtaposing
two photographs at a time on the screen as squares next
to each other, representing perspective and impression. In this
piece, the same object is shown twice in two different ways as
a means to present the viewer with a marked contrast of visual
experience. The quietness of the piece creates a mental space
for the viewer to thoughfully experience the pairs on screen. For
me, the most successful pairs were those that completely transformed
the initial object on the left into something vastly different
on the right. In one pair, the left photo features Finnish wildflowers
in a field and in the right photograph is a shape, close-up and
silhouetted so that it’s black with a blue sky behind it, suggesting
an almost human form. Another pair that supported the concept
strongly includes a window on left, the crossbars of the frame
silhouetted and black with only the four window pane squares
to an outside field visible. The image on the right is from inside
the field, with fog rolling in. This piece is quite haunting because
it includes a stark dichotomy of inside and outside, yet neither
space feels safe or quite settled.
Visually, Mika’s work is a rare combination of both bold and sensitive.
She exacts with skillful and conceptual precision what to
highlight and draw the viewer to in her photographs. Both pieces
completed at Arteles are stunning and tremendously engaging to
view.
IN THE RESIDENCY
July 2012
SIMEN J. HELSVIG
Norway
s.j.helsvig@gmail // www.simenhelsvig.com // Currently working and living in Copenhagen, Denmark
Promiscuous in terms of media and working methods but faithful
to a set of interests, my work tends to deal with the conditions of a
medium, of perception, or of art making itself in its most primary
forms.
ROCKS ROCK ON
I had planned to spend the time at Arteles doing research for a
tentative exhibition project that had the relation between photography
and sculpture as its point of departure. While I have read
a great deal of the many books I brought to Finland, I soon realized
that I needed to take advantage of being in this very special
place and work in and with the surrounding environment. So, the
latter half of my stay was dedicated to work with carving rocks
found along the country road and subsequently placed in the soil
of the forest paths, taking long bike rides with my camera along
the fields and forests, making videos in the garden and building
primitive stone sculptures.
IN THE RESIDENCY
June 2012
TATJANA GORBACHEWSKAJA
Russia
gorbachewskaja@gmail.com // www.flickr.com/photos/gorbachewskaja/ // Currently working in Frankfurt am Main, Germany
“I am an architect and researcher. I am interested in challenging
the boundaries between textile and architecture. How they can
redefine our relationship to space and construction organization.
Textile organisation fascinates me in its incredible light and integrative
structure.
I want the textile itself to become tectonic, without the help of any
other support.
A kind of architectural organisation is introduced where the soft
elements will become rigid through collaboration, by weaving,
bundling, interlacing, braiding or knotting.
My research seeks to interface the yet described creative freedom
of material design with the abstract order of digital systems.
I believe this blend gives a possibility for the invention in the
realm of the matter.
FLOW
In order to save energy lightness yet hasn’t found enough attention
in construction. In the future much may be gained by this
enormous innovative potential.
For the optimization of a structure three aspects have to be considered:
the material itself, the shape and the production process.
While getting lighter the balance between these three aspects
becomes critical.
That is why unique notion of lightness and lighting in fiber structure
is investigated, as one of the highest potential for this trinity.
The project investigates physical experiments that create three
dimensionally heterogeneous materials with a graded stiffness,
a structural hierarchy, and a locally controlled lighting dynamic
performance.
Studies are split up in two basic typologies and got focused on
“layering” and “branch” fiber composite organizations.
The models are an abstract construct, like a diagram, or DNA
genes with integrated logic of programmatic and structural
growth, that is able to be unfolded on the next step in the disciplinary
and creative process of making architecture.
IN THE RESIDENCY
June 2012
“a correct geography: not as you would
find it if you had a geography book and a
map, but as it would be in periplum,
that is, as a coasting sailor would find it.”
LARISSA PINHO ALVES RIBEIRO
Brazil
lpinhoalves@gmail.com // larissapinhoalves.com // Currently working and living in Rio de Janeiro, Brazil
Larissa Pinho Alves is a visual artist and a resercher in Literature
and Contemporary Culture at PUC-Rio. She develops her art
project in confluence with her research project, investigating, in
both camps, the relationships between language, memory and
temporality.
PHOTOBIOGRAPHIES
Photobiographies is a series of images constructed from memories
of an experience.
IN THE RESIDENCY
June 2012
STEFFANIA PAOLA Brazil
stealbanez@gmail.com // www.steffaniapaola.com // Currently working and living in Rio de Janeiro, Brazil
I’m visual artist and currently my interest is in the tension
between fiction and reality in many directions: work, personal
discourses, historical discourses, official discourses and politics.
I use archives and the official discourses to create a new fiction
works in many media: photography, video, collages and instalations.
BRAZILIAN LESSONS: BASIC LESSONS TO CONSTRUCT A COUNTRY
In early 2012 I found about 2000 slides at a flea market in Brazil.
They were images from different places around the world, from
Ghazza to Milan, and also some from Brazilian States. Investigating
this archive I found out that the former owner of this material
was a Brazilian journalist and historian who traveled the world
on a mission between 1958 and 1964. This material became the
starting point for a project of self-fiction and fictionalization of a
Brazilian foreign policy that I’ve named as “Brazilian Lessons”.
The mission
1. Assuming that the files are part of a project for a Brazilian foreign
policy that aimed to present Brazil to other people;
2. To continue this project in 2012;
3. Knowing what other people know about Brazil today;
4. Create a booklet of lessons about Brazil today, recreating an
“official” Brazil
IN THE RESIDENCY
June 2012
“I am not an artist, really not
even a photographer; I am a storyteller”
ANA GALAN Spain
ana@anagalanphoto.com // www.anagalanphoto.com // Currently working and living in Madrid, Spain
I review the portrait formula that emerged in Italy towards the end
of the 15th century, whose origins can be traced to the work of Jan
Van Eyck, which associated, in painting, busts with landscapes.
People are reduced to busts or three quarters, substituting
through synthesis, the whole for the part. Realistic portraits
that do not aim to idealize the subjects’ features, the figures are
placed in a raised position before a wide landscape.
A point of view and a single location. A part of the whole. An
impression. A small fragment of the essence.
Windows, and at the same time, mirrors. Conflict between introspection
and the projection of the subject inherent to portraiture.
Transparency or reflection?
I was born in Madrid in 1969. After receiving my degree in Economics,
I completed an International MBA, which entailed studying
in three different cities: Oxford, Madrid and Paris. In the last
two courses, I wrote a thesis addressing “Speculation in Plastic
Art”.
Since 1993 I combine my passion for photography with my profession,
attending various courses in Paris and Madrid. After doing
an MFA in Photography in 2009/2010 at EFTI, and after attending
workshops with Pierre Gonnord, Eduardo Momeñe, Peter
Bialobrzeski, Lynne Cohen, Matt Siber, José Ramón Bas, Eugenio
Ampudia, Alejandro Castellote, Chema Madoz… my photography
becomes more personal. Since then I have participated in several
collective exhibits and photography projects in France, Italy, India,
Spain, Finland and USA.
I work as the marketing director for a magazine in Madrid.
VIV(R)E LA VIE !
Viv(r)e la vie! is a photography series “in process”, consisting of
photographs of couples in profile with a landscape of a countryside
in the background, and pays homage to those people who
continue to live “in the moment”. As well in its coniferous landscapes,
the series recreates the representation of the power of
vital force, of immortality.
Viv(r)e la vie! Is a photographic typology of couples of a certain
age, people barely seen socially, but who have not stopped living
life fully and whose close relation is photographed in the outing
dances of their area. I began the series Viv(r)e la Vie! in Guadalajara,
Spain, with the idea of putting together a set of series of 10
couples in different cities around the world.
The photographs give visibility to people which, for a certain
time, have lacked such visibility and also documents the cultural
diversity that exists between different cities and countries.
The objective of this project would be to form an extensive visual
transcultural inventory, almost as small histories of social and
anthropological life of some people that are reaching a mature
age, but remain active.
The second series of “”Viv(r)e la Vie!”” was developed in the
American city of Philadelphia in June 2011 thanks to an artist residency
I was granted by the Philadelphia Art Hotel and the third in
June 2012 in Pirkanmaa in Finland thanks to a residency granted
by the Arteles Creative Center. The fourth series of this project
will be produced in May 2013 in Iceland.
PROJECT
June 2012
LINTUKOTO (FOREST POD)
STEPHANIE CHAMBERS
SIMEN JOACHIM HELSVIG
MIKA MIZUNO
Japan
AQUICO ONISHI
Japan
REETTA PEKKANEN
Finland
SUSAN E. EVANS USA
USA
Norway
Prompted by an offhand comment at a social event, some of the
July 2012 residents joined together to pool their abilities in order
to build a treehouse at Arteles.
The Lintukoto forest pod project is based around the Finnish folk
tradition of Lintukoto, a mythical space where heaven and earth
meet and as a location under the edge of the sky (like a tent),
where the birds meet when they leave Finland for the winter.
In contemporary times the term lintukoto refers to a cozy, safe
place. The idea is to build a pod within the forest that represents
“lintukoto” of both, Finnish tradition and contemporary meaning.
The forest pod is built around a single pine tree located on the
wooded grounds of Arteles Creative Center in Haukijärvi, Finland,
and is shaped like a double terminated quartz crystal or raw diamond.
The base of the pod starts at the tree roots and the tallest
point extends nine meters above the ground. The base of the
diamond shape is filled in with a lattice constructed out of wood.
Plants, specifically vines, will be planted in Fall 2012 or Spring
2013 at the base of the tree. Over the ensuing years, these vines
will be trained as they grow to fill in around the wooden lattice
structure, thereby creating living walls of leaves. This natural
base represents Earth. The top of the diamond represents heaven
and is fashioned out of sailcloth tethered with airplane wire. The
pod has both, interior and exterior spaces, creating a cozy perch
for viewing the nearby lake, forests and fields. This pod serves as
a starting pod to which additional pods could be added to nearby
trees.
IN THE RESIDENCY
June - August 2012
SUSAN E. EVANS USA
see@susaneevans.com // www.susaneevans.com // Currently working and living in Detroit, MI, USA
North American conceptual artist Susan E. Evans works, both
solo and collaboratively, in a variety of media to explore ideas of
language, identity, nature, memory and phenomenology. Working
with photography, video, sculpture, installation, and hybrid
media, Evans pulls content from a variety of sources, experiences
and concepts. Dissecting, then deconstructing context, information
processing, categorizations and language philosophy, Evans
examines standardized visual structures and language systems.
Susan E. Evans has work appearing in both public and private collections
worldwide.
Some of which include The George Eastman House Museum,
NY; Los Angles Contemporary Museum of Art, CA; Museum of
Fine Art, Houston, TX; Detroit Institute of Arts, MI; Musée de
l’Elysée, Switzerland; Centro De La Imagen, Mexico; Southeast
Museum of Photography, FL; Cincinnati Art Museum, OH; Akron
Museum of Art, OH; The Henry Museum, OR; Center for Photography
Woodstock, NY; Center for Creative Photography; AZ; and
Gallery Lichblick in Koln, Germany.
EXPERIMENT, EXPLORE AND CREATE
Over the summer 2012 at Arteles Center, I had the opportunity to
work on a variety of creative projects, all of which were experimental
and explorative in some way, however, the projects can be
broken down into four main categories.
Solo Projects revolved around the fact that I have traced my mitochondrial
DNA and have learned out that my biological ancestors
are from Finland. Working with video, photography and
performance, I explored ideas of memory, history, nostalgia and
mythology.
Collaborative Projects with other residents presented themselves
from month to month and ranged from, performance, photography,
video, composing music to writing and editing. These collaborative
projects either conceptually fed into ideas I already was
working with or helped spark new ideas and new ways of working.
New Method Projects were an opportunity for me to work from
conception to fruition in unfamiliar ways with new or different
materials than I am used to working with. I was able to actualize
several sculptural projects, which allowed me to start thinking
more dimensionally about my art works and my art practice.
Experimental Projects seem to cover the rest of the things I
played with while at Arteles. I gave myself permission to explore
many tangent ideas, concepts and possibilities while experimenting
with new ways of working.
Top to Bottom, Left to Right
Birch #2 41 cm x 92 cm
still from The Forest HDV 4:34 mins
Installation view of Creating Energy
still from Looking for Adam Gibson: ‘Going to the Sauna of Lonely
Hearts (Haukijärvi, Finland)’ HDV 6 mins
In My Mouth…self portraits 51 cm x 61 cm
details from Scenic Suomi Scenes
Song Thrush, Collaboration with Sibylle Irma”
IN THE RESIDENCY
June 2012
“J.R. Uretsky artist and friend!”
J.R. URETSKY USA
jruretsky@gmail.com // www.jruretsky.com // Currently working and living in Providence, RI, USA
“I make abstract sculptures about my relationship to specific
people. When making these sculptures, I seek to portray how a
particular person affects and influences my art practice. Using
the sculpture like a prop and my relationship to an individual as a
point of departure, I employ video to transform mundane actions
into strange, yet relatable experiences.
I received my BFA and MFA in sculpture and video and am currently
working in Providence, RI. I have exhibited nationally and
internationally at venues in New York, Los Angeles, Boston, and
Germany. My work has been published by online and video journals
such as Gaga Stigmata and ASPECT-EZ.
Waiting for the Joulupukki, Midsummer (Photo: Julie Pasila)
Waiting for the Joulupukki, Boat (Photo: Julie Pasila)
WAITING FOR THE JOULUPUKKI
Waiting for the Joulupukki is a multifaceted project featuring a
series of videos, private and public performances, sculptures and
collaborative photographs that examine the human relationship
to hope, ritual and gift giving. Using a contemporary understanding
of the Santa Claus myth as a point of departure, the Waiting
for the Joulupukki project creates situations for social exchange
by mixing old gift giving traditions with current taboos. My hope
is that these exchanges, though awkward, remain genuine and
bring into high relief the human desire to hope, wish and engage
in a community.
IN THE RESIDENCY
May 2012
ALBERTO M. CENTENERA
Spain
albertomcentenera@gmail.com // www.albertocentenera.blogspot.com // Currently working and living in Guadalajara, Spain
I use to work in Nature, but I like to do it in a harmless way, not
harmful.
For me, the object is not important at all, so I don´t care if it
remains on time or in the space, or not, because everything is
constantly changing. That´s the reason why I don´t try to do
permanent objects, just try to do something positive, even if it´s
ephemeral.
I think art is a very reflective process, but I don´t want to do
dogmas, or big truths, but just little thoughts or ideas, as it come,
it can disappear, or change. That´s what my artworks intentend
to be.
I´m interested in essential, not in sophisticated things. So I like to
draw, or use natural elements as wood, stones or feathers. I use
to built fragile structures with them.
When I talk about other subjects, not related with Nature, I think
I do the same: no permanent things, not sophisticated (I mean
perfection), etc. I think I can define the way I work, and the way I
am with words like smoothness, naïf, quiet…
I´m interested too in self-management as a useful way to democraticise
culture. I lead and participate in a cultural project called
EACEC (Container Contemporary Art Space, in English). EACEC is
a container on the street where we invite artist to make ephemeral
interventions, performances, etc. It´s just a way to enjoy ourselves,
collaborate with other artists, and share culture with the
people.
www.albertocentenera.blogspot.com
www.eac-elcontenedor.blogspot.com
HAVING FUN IN THE FOREST
I walked a lot by the finnish forest. I didn´t know what I was looking
for, maybe myself. Being in a quite mood to create.
In my time in Arteles, I was interested, most of all, in being in a
direct contact with the environment. My working process is very
reflective and it depends on what I see and what I feel. In a quite
mood, I gather feathers, papers, stones, small branches and all
the things I feel useful to express what I want to.
I had a great personal experience and learned from the experience
of others in Arteles.
IN THE RESIDENCY
May 2012
“Waiting for inspiration is a waste of
time. Artists Work. Working the Work
Inspires the Inspiration.”
JOSÉPHINE A. GARIBALDI & PAUL ZMOLEK USA
garijose@isu.edu // www.youtube.com/user/satiricalfarce // Currently working and living in Pocatello, Idaho, USA
Joséphine A. Garibaldi and Paul Zmolek are working veterans of
the Performing Arts – over 30 years each including 20 as creative
partners; they teach, choreograph, direct and devise original
intermedia dance, theatre and performance works for the traditional
proscenium stage to site specific festivals across the US
and abroad.
Garibaldi and Zmolek, university professors of dance and theater
in the US, co-direct Callous Physical Theatre. Recent projects
include the re-creation of the physical theatre work The
Rule of Life for video to be premiered in Italy in December 2012
(based upon the lives of St. Francis and St. Clare of Assisi, The
Rule of Life was conceptualized while in residence at Arte Studio
Ginestrelle in Assisi, Italy) and the original opera Double Blindsided
based upon Franz Kafka’s The Trial which will be premiered
in April 2013.
The product is directly shaped by the process and thus we are
process-oriented. Our process is collaborative, even when not
working with people. The media leads us if we are willing to listen
and the media is willing to risk exposure. Perhaps, due to
our Catholic upbringings, the ritual of the process and the ritual
structure of the product comes through most of our work. As
Americans, where work is valued in dollars and not in sense, we
have explored other cultures where art is valued and the value of
the work is more than how much the job pays.
WHAT WE DID AT ARTELES:
Birch Loops, May 2012
Arteles Creative Center- Environmental installation in the Arteles
forest.
Initiated by creating an altar around a beautiful group of boulders
by surrounding them with a ring a logs. This led to braiding sunstarved
skinny saplings into loops and evolved into a major installation
covering approximately 5,500 sq ft.
Cagevent: Sometimes it Works, Sometimes it Doesn’t
http://youtu.be/wGUFbPn9NSo
May 28, 2012, Helsinki
Kontaining performance festival produced by Ptarmigan.
This collaborative performance with Helsinki-based poet Karri
Kokko consisted of two separate performances of six 15 minute
events inspired by John Cage and his utilization of aleatoric composition.
Titles of events:
I. Yksi ja Sama Asia
(after Robert Rauschenberg: Erased DeKooning);
II. Beginner’s Finnish Coffee;
III K•O•N•T•A•I•N•I•N•G;
IV. 15’ (after John Cage: 4’33”);
V. Thesaurus Entry: Contain;
VI. Yksi ja Sama Asia (after John Cage: Empty Words).
Photo Essays:
Dirt, Orange Poles, Bicycles, Birch Close-ups, Understory, Birch
Groves, Ice Rink, Bogs, Studio Time
In-Progress:
Collected stories/movement on video/audio from fellow artists in
residence about their sense of Place in this place to be edited
into video work; collected birch bark to be sewn together into a
tapestry.
Sahti:
Thanks to Pekka, visited three local brewers/experts/champions
of the traditional Finnish beer. Paul has altered/improved his
recipe for his home-brewed Sahti based upon what he learned in
Finland and the bag of Finnish Dark Rye we brought home from
Hameenkyro.
IN THE RESIDENCY
Aprl-May 2012
“Do what you can with what you have.”
DOROTHY MCCALL USA
dorothyannmccall@yahoo.com // wwwnordic5arts.com // Currently working and living in Oakland, USA
Independent art historian with MA Art History, Mills College,
Oakland, California. For 25 years was docent/lecturer at deYoung
Art Museum, San Francisco in primitive arts. Give lectures at
colleges, community, cultural and business events focusing on
19th-20th century Scandinavian-American Art. Art connects all
peoples and cultures: revealing possibilities while giving strength
and inspiration. Since my Norwegian immigrant grandmother
took me to the Chicago Art Institute at age fourteen and showed
me the works of Mary Cassatt I have looked to Art for guidance
and have found it. It is my quest to pass this gift on to others.
ESSAYS, INTERVIEWS AND ADVENTURES
I intended to write a series of essays about the many adventures I
have had during my art history life including giving a lecture on the
QEII and Ellis Island on Scandinavian art and the immigrant experience,
writing and giving lectures to physically and challenged
museum visitors, creating art objects with them they might take
them home as a memory tool and being a Camp Director in Wisconsin
creating art in many forms from cooking to costumes to
dancing. I have had one positive adventure after another, and I
wanted to pass art on.
Interviewed and wrote essays on the other artists at Arteles in
April and gave the last presentation after they had talked about
their work, I talked about what I learned from each one of them.
It was a positive experience and an audience member asked me
if I was their professor and I said, “No I am one of them.” We all
laughed with love and good cheer for each other.
IN THE RESIDENCY
April-May 2012
ELLA COLLIER Canada
collier.ella@gmail.com // www.ellacollier.com // Currently working and living in Vancouver, Canada
Art and humour. Let’s all have a laugh!
EPIC FAIL
IResearched failure successfully and made art about it.
IN THE RESIDENCY
April-May 2012
JACQUI MILLS Australia
jacqrose23@gmail.com // nightbirdvision.blogspot.com // Currently working and living in Sydney, Australia
Jacqui Mills is an emerging video and installation artist primarily
interested in exploring theories of the gaze, and human interaction
with the visual and virtual environments. A graduate from
the Eora Centre for Visual and Performing Arts in Theatre, Performance
and Practise (2006), and Screen (2007), Jacqui looks
forward to completing her Bachelor of Fine Arts with Honours in
2013. Jacqui’s debut in video for theatre was in 2010, as the Audio/
Visual artist for the Eora Centre’s graduating Music Theatre production,
The Promise. Her body of work, Gaze (2010), explores the
female body and the nature of surveillance culture, using interactive
technologies, installation, sound, and performance. Her other
audio/visual works from 2009 to 2012 include Liminal (Kudos Gallery),
Transcendent Space, Doppelganger (Cofa Space), Universals
(Sedition Gallery), and Intertwined: A Virtual Lover (Breathing
Pop-Up Gallery - New Performance Art Festival Turku, Finland).
Jacqui has previously engaged in collaborative work with Berlin
based painter and installation artist Martin Püschel, creating
works such as Distant Memories (ATVP Gallery) and Dispiteous
Opera. Jacqui’s recent artistic endeavours include working as
a media artist and set designer for performance, for Bully Beef
Stew, commissioned by PACT Centre for Emerging Artists, and
Directed by Andrea James. Her current work explores the nature
of memory as a disappearing entity that is being replaced by a
fetishised online video and photographic documentation of our
increasingly virtual lives, and she continues producing drawings
and paintings exploring themes of human connectivity.
INTERTWINED: A VIRTUAL LOVER
Intertwined: A Virtual Lover is a performance/installation work
exploring the nature of human interactions with virtual worlds,
and the virtual self as ‘other’. The conceptual basis of this work
emerged from surveillance culture, and Jeremy Bentham’s theory
of panopticon, or a kind of self-surveillance, which we experience
every day both in the virtual and the Real world. Considering
the narcissistic nature of interactive technologies, this performance/installation
attempts to highlight David Rokeby’s notion of
‘technology as a medium through which we communicate with
ourselves:…a mirror’. Portraying myself as the performer surrounded
by visual and written representations of my virtual self, I
find myself in a stalemate, entangled in a technological mess, and
intertwined in an intrinsic and narcissistic relationship with my
virtual self. The video documentation of the performance which
took place at Breathing Pop-Up Gallery in Turku, for the New
Performance Art Festival in Turku, can be viewed on my blog at
Intertwined: A Virtual Lover is a performance/installation work
exploring the nature of human interactions with virtual worlds,
and the virtual self as ‘other’. The conceptual basis of this work
emerged from surveillance culture, and Jeremy Bentham’s theory
of panopticon, or a kind of self-surveillance, which we experience
every day both in the virtual and the Real world. Considering
the narcissistic nature of interactive technologies, this performance/installation
attempts to highlight David Rokeby’s notion of
‘technology as a medium through which we communicate with
ourselves:…a mirror’. Portraying myself as the performer surrounded
by visual and written representations of my virtual self,
I find myself in a stalemate, entangled in a technological mess,
and intertwined in an intrinsic and narcissistic relationship with
my virtual self. During my time at Arteles I also created a series of
drawings and paintings, as well as a series of videos exploring the
concept of ‘place,’ which can be viewed on my blog. Intertwined:
A Virtual Lover is a performance/installation work exploring the
nature of human interactions with virtual worlds, and the virtual
self as ‘other’. The conceptual basis of this work emerged from
surveillance culture, and Jeremy Bentham’s theory of panopticon,
or a kind of self-surveillance, which we experience every day
both in the virtual and the Real world. Considering the narcissistic
nature of interactive technologies, this performance/installation
attempts to highlight David Rokeby’s notion of ‘technology
as a medium through which we communicate with ourselves:…a
mirror’. Portraying myself as the performer surrounded by visual
and written representations of my virtual self, I find myself in a
stalemate, entangled in a technological mess, and intertwined in
an intrinsic and narcissistic relationship with my virtual self. During
my time at Arteles I also created a series of drawings and
paintings, as well as a series of videos exploring the concept of
‘place,’ which can be viewed on my blog at http://www.youtube.
com/watch?feature=player_embedded&v=XEeO1nzMTmM. During
my time at Arteles I also created a series of drawings and
paintings, as well as a series of videos exploring the concept of
‘place,’ which can be viewed on my blog.
IN THE RESIDENCY
March 2012
NATASA KOSMERL Slovenia
natasa.kosmerl@gmail.com // Currently working and living in Ljubljana, Slovenia
Nataša Košmerl was born in Novo mesto, Slovenia in 1983.
She studied photography at Film and TV School of Academy of
Performing Arts in Prague / FAMU between 2003 - 2006, where
she finished her Bachelor degree. After she continued her studies
at Master program at University of art and design Lausanne /
ECAL in Switzerland. Currently she is living and working in Ljubljana,
Slovenia.
Natasa is working mainly with subjective photography, where she
tries to capture intimate moments in life.
FINLAND (WORKING TITLE)
When I started to do residency program I was five months pregnant.
For me this is important period, a new beginning. And I
decided to point camera towards my-self. Staying in Arteles was
a chance to concentrate on the change which is happening inside
of me, on my partner, and our relationship, as we spend all this
time together.
Series will develop over longer period of time, and I will try to
capture all its states: pregnancy, birth, new life, and the change
which will bring into our life’s.
IN THE RESIDENCY
April 2012
“Sober & Lonely”
SOBER & LONELY
South Africa
lauren@soberandlonely.org/robyn@soberandlonely.org // www.soberandlonely.org // Currently working in Johannesburg
The Sober & Lonely Institute for Contemporary Art (SLICA)
is a non-profit organisation whose main focus is on fostering
exchanges and conversations between South African and international
artists and organisations. Loosely based in Johannesburg
and Durban, SLICA is a non-prescriptive platform with an intrinsic
curatorial process focused primarily on performance and interactivity.
As a floating platform, each concept is uniquely adapted to
the specific project showcased, including exhibitions, screenings,
lectures, debates and an online archive. The Suburban Residency
was the first in a series of artist residency programmes hosted
by SLICA.
The Sober & Lonely Institute for Contemporary Art has been
developed as an extension of Sober & Lonely’s artistic practice
to create a platform of sharing and engagement between artists
and organisations.
THE NANCY HOLT TELEPORTATION DEVICE
“Nancy Holt’s environmental work Up and Under (1998) is located
in the village of Pinsiö in the west of Finland. Developed by Osmo
Rauhala’s The Strata Project Holt’s work creates new possibilities
for environmentally damaged areas. Set in an old sand quarry,
Up and Under is formed by a series of seven horizontal tunnels
buried under mounds of earth. Four of the tunnels converge
revealing a central vertical tunnel - a suggestion of “the centre of
the world” (Rauhala, [sp]). Four of the tunnels are aligned East-
West and three North-South based on the alignment of North
with the North Star Polaris. According to Rauhala, the work is
thus “astrally fixed on earth” - giving the sense that the universe
begins and ends at the Pinsiö sand quarry.
Sober & Lonely used their time at Arteles to develop a project
based on Nancy Holt’s ‘Up and Under’ and came up with the following
plans to further develop it:
1) To explore Up and Under as a device. A structure that has the
potential to activate movement and energy via teleportation
2) To stage various experiments in teleportation between ‘Lab A’
(Up and Under) and ‘Lab B’ (other site)
3) To repurpose a repurposed site - to activate Up and Under
4) To create a direct line of communication between ‘Lab A’ and
‘Lab B’ - a relational project
5) To record, document and then recreate a sense of the experiments
within a gallery space”
IN THE RESIDENCY
March 2012
“Just be”
VALERIE NG Maleysia
valng@hotmail.com // www.valng.com // Currently working and living in Singapore
My abstract works are created as a result of explorations in
colour, light, depth, form and texture. In a process that involves
an instinctive balance of strokes and subtle variations to convey a
sense of mood and movement beyond the surface.
Drawing inspiration from natural elements, hues and patterns
in the environment, my oil paintings aim to evoke an experience,
sensation or atmospheric feel. With compositions that express
the different states and impact of nature on its surroundings.
OBSERVED THE OBSCURE
Wandered in the snowy landscape.
Absorbed and observed the endless variations and effects of natural
forces.
Relished the quiet, time and space to just be.
Painted and sketched textures of trees, rocks and ice.
Photographed organic patterns and discovered objects hidden
under the surface.
Created papier-mache objects that depict fragments from the
outside.
Collected thoughts for an artist book, ‘Moments of Being’.
Began the many layers and marks of the painting above,
‘Obscured’.
IN THE RESIDENCY
March 2012
IVAYLO GUEORGIEV Bulgaria
ivaylo@gmail.com // http://jpgwav.tumblr.com/ // Currently working and living in NYC, USA
Ivaylo Gueorgiev was born in Bulgaria. When he was twenty years
old he emigrated to the United States. In 2008 he discovered the
endless possibilities of the void.
EUPNEA
During my stay at Arteles I was inhaling and exhaling the air
around Hämeenkyrö, Finland starting at 15:55 on March 1st and
ending at 18:15 on April 1st.
IN THE RESIDENCY
March 2012
“Void the Fill”
VANESSA ’VAN DIESEL’ BRAZEAU Canada
brazeauv@gmail.com // www.vanessabrazeau.com // Currently working and living in Toronto, Canada
For a long time my work was an obsessive desire to understand
why I was making my work. Recently I became aware that I would
never fulfill this desire, and it was then that I found passion in my
practice. I realized it was never about understanding why, it was
being aware that I was looking. Accepting an art practice with no
end beyond itself has inspired me to see the value of the void.
I no longer need to know why I make things, or have answers to
the questions my works raise, I only need to continue to question
it. Embracing this eternal lack inspired an exploration of the
notions of expenditure and utility, the labour of the artist, food
consumption and exercise.
”WAITING FOR POISSON” AND MOLASSI FAN-ZINE
Waiting for Poisson’ is about two Artists in an ice fishing competition.
The video was inspired by an essay called ‘A Hypothesis of
the Evolution of Art from Play’, by Ellen Dissanayake. It was also
inspired by my interest in competition in art (artist vs. artist, vs.
art world, vs. self) and its disregard within the art world, which
I think comes from the misconception that artists are not characteristically
athletic. Athleticism (agility, strength, intuition) and
competitiveness have a direct link to survival. If the artist is not
perceived as having these skills, we need to question why art and
their makers still exist, which is the intent of “Waiting for Poisson”.
We started an artist collective called the Spoon Gang and made a
pretty badass Fan-Zine too.
IN THE RESIDENCY
March 2012
“Love u and goodmorning glad you are
awake to read this, let’s spread more
positive energy instad of trying to hurt
sum1 for it - Lil B”
JOE & DAN COOPER UK
joejohncooper@gmail.com, dcooper2312@gmail.com // www.thesunhasblindedme.com // Currently working in London, UK
Brothers & friends. Sight & sound. We can’t/won’t take criticism
and we create elaborate schemes to avoid it. If we don’t try we
can’t fail, and that’s fine with us.
UNTITLED BS
Walked and made a magazine with our friends in the last two
days. Now we try to think less and be more peaceful, but you know
how that goes. Maybe we learned that life is alright kid.
IN THE RESIDENCY
February 2012
JI HYE YEOM
South Korea
yomiih@gmail.com // Currently working and living in Sao Paulo, Brazil
Spanning locations in the Middle East, Asia, Africa and Europe
while travelling as a medium for research, I have been practiced
in two ways: one is a community based art project; another is a
research based art practice. In ‘Finding a language’, I aim to find
an alternative way of communication as well as make a contact
zone so that people can encounter one another. Afterwards, I have
transformed my personal narratives into the body of art works. I
am interested in the amalgamation of those diverse social discourses
with private narratives. Details are provided by material
taken from my own biography, intermixed with recollections of
films, literature and medias. My artistic output includes installation,
sculpture, film and video, performance, collage, drawing
and script writing.
WONDERLAND
I have been interested in the idea why people fantasise another
place and why they keep wandering around. I set a tropical island
in the middle of a snowy field and interviewed with people who
wanted to travel out of Finland.
IN THE RESIDENCY
February 2012
“I dream dream dream each day, of a
wide unlimited address”- Don Walker
ADAM GIBSON Australia
adamfgibson@yahoo.com.au // www.adamfgibson.com // Currently working and living in Sydney, Australia
I am an artist from Sydney, Australia. I primarily work with what
I call “”spoken word narrative/storytelling”” – writing stories and
/ or pieces and putting them to music and often performing them
live.
Combined or in conjunction with that I do video works, photographic
works and installation pieces ... but more and more my
work is moving away from more gallery-orientated works to
more storytelling and performance stuff, articulating my spoken
word stories / snapshots with music and making short videos
to accompany them. I also perform regularly with my band The
Aerial Maps.
I see what I do as attempting to communicate an idea or emotion
or feeling through artistic means of narrative and music. A fundamental
part of what I do, a fundamental process I follow, is doing
most things with a degree of speed, some would say recklessness,
or at least a lack of concern for technical knowledge or skill.
That’s not to say that I have a distain for finely crafted works done
with amazing skill, say a brilliantly edited video or well-executed
portrait, but for me, I operate on what I call, for better or worse, a
punk aesthetic, where the importance lies in the idea and getting
that idea done as simply and as quickly as possible.
EMPTY BARS (HÄMEENKYRÖ) AND OTHER DISLOCATED SNAPSHOTS
I see a correlation between the landscape of my home in Australia
and that of Finland. The wide, empty spaces, the silences,
the need for a resolute sensibility in the face of a harsh climate.
Thus I came to Arteles looking to do work that would respond to
the unique Finnish landscape, work which sought to investigate
the sense of place and/or disconnection I think I am felt in that
landscape coming, as I do, from a hot, dry land of deserts and
sun-scorched beaches.
I believe that land “”exists”” in and of itself – it doesn’t need a
human population to exist. But when human emotions and experiences
are projected upon that land, it becomes “”landscape””,
and thus our worlds are created. The relationship of humans to
places is thus of vital importance in the creation of our impression
of the world, and our place within that.
As an artist, I am interested in investigating this idea through such
means as spoken word and video work , plus other methods that
incorporate my other areas of interest, ie. photography, sculpture
and painting/object-making.
My experience at Arteles in the depths of the Finnish winter was
both a challenging and incredibly rewarding one. Using the above
ideas, I developed a suite of spoken word works, combined with a
series of video vignettes, which provided a narrative and impressionistic
record of my time at the center. By attempting to “”be
absorbed”” into the landscape and among the people and towns,
I wanted to make a record of my time in the area, filtering my
experience through the lens of my “”Australian”” identity whilst at
the same time not limiting myself to any particular ideas of what
IS or ISN’T art.
The result was video works about empty bars, about secondhand
clothing stores, about getting lost in the frozen forest with
a broken heart trying to find a sauna. It all felt right, it all echoed
correctly for me at the time and with a few month’s having now
passed since then, such echoes continue to resonate.
IN THE RESIDENCY
February 2012
“I like cold places.”
MARK WUNDERLICH
USA
markcwunderlich@aol.com // www.markwunderlich.com // Currently in Catskill, New York
I am a poet, writer and translator living in New York’s Hudson
River Valley. I am the author of three volumes of poetry, the most
recent of which is The Earth Avails, which will be published in the
United States in 2014. I teach literature and writing at Bennington
College in Vermont, and I also teach in the graduate writing program
at Columbia University in New York City.
THE NORTH & THE EARTH AVAILS
While at Arteles, I continued to work on a manuscript of poem
called The Earth Avails, which adapts, refracts, translates and
reinterprets 18th and 19th Century American prayers, letters of
protection and folk-spiritual documents. I also started a manuscript
of prose poems called The North, which aims to describe
the experience of coldness.
IN THE RESIDENCY
February 2012
NATALIA COMANDARI
El Salvador
studio@nataliacomandari.com // www.nataliacomandari.com, anitakirppis.tumblr.com/ // Currently in Geneva, Switzerland
Mine courrent project is to document by filming different groups
of young people (or not), who each possess their codes and references
a variable in any time. Through these communities, i want
to explore the behavior of hysterical disposition, culture and leisure
to consumption but also a folklore and social codes reversed.
With a methodology close to sociologist, i analyze and lead the
search for the other research of normal and abnormal.
THE PRINCES IS DRUNK AND ANITA KIRPPIS
The Princes is drunk is a video filmed in two parts: the first part
is the trip on a party boat from Helsinki to Tallin . I was interested
of how the industrailisation of the party changes the ways of be
together and also in the differents ways of how the youth celebrate
their own moderns rituals. The second part took place at
the High School of Hameenkyro with their annual bachelor party.
The marks of some old traditions makeing contrats with the new
society and the new ways of celebrate.
I also create the brand of jewelry ANITA KIRPPIS wich came with
one cold, calm and white night in Arteles.
IN THE RESIDENCY
February 2012
“An artist is a lightning rod in a deserted
area, waiting for a storm.”
DANIEL ORLANDO LARA Mexico
baobabd@yahoo.com.mx // www.danielorlando.com // Currently working and living in Tula Tamaulipas, México
When i was a kid i remember that i liked to take pictures with my
mother´s camera Polaroid. Some years later i became interesting
in black and white photography. Daily life and nostalgia were
my first subject. After studying at the Centro Fotografico Saul
Serrano in México for two years program. I studied at National
School of Photography in Arles as a resident student in 2007 then
i received a scholarship from Centro de las Artes de San Agustin
at the Seminario de Fotografía Contemporánea 2010 Centro
de la Imagen. I´m open to experimenting photography with diferent
techniques of image and visual expression. I like to work
with personal experiences, intuition, perceptions, dreams and
imagination as a visual artist and photographer. I´m interesting
to approach photography in several ways. My experience in Arteles
was great and intense. Now i´m in a new project at Atelier
Smedsby based in Paris.
FUEGO DEL ZORRO / REVONTULET Digital photography
At the beginning of the residency in Arteles the project was a little
dificult about the phenommenon.
So i started with two premises: making a drawing and a writing
a prayer like an act of faith about the finnish nature; inspiring in
ex-votos (religious naif painting from mexico)
“ Dear Aurora Borealis, if i get to see you in the Haukijärvi night, i
promise to be a better person, if you suddenly appear in the wood,
your presence will be a honor for me during my residence in
Arteles following my steps and take care us; the other residents,
my friends and my family. Kiitos“
The project explore my experience in Finland with the culture and
the finnish nature during the residency, searching the northern
lights in Haujikarvi. I started to use my imagination, perception
and intuition just to create a serie of situations, accions and reaccions,
some steps to get watch the northern lights and what will
happened about these day.
IN THE RESIDENCY
January - February 2012
LAURA BATCH Australia
laurabatchart@hotmail.com // www.laurabatch.com // Currently working and living in Melbourne, Australia
Being born in 1991, started making sculptures in 2008, and currently
completing my final year of Fine Arts degree at Victorian
College of the Arts, I still feel like a very raw piece of meat that
been thrown into the lions den that is the art world. My practise
currently involves experimenting, exploring and creating a
dialogue with site, materiality and material bounds within the
context of sculpture, photography, drawing and video. I am also
very interested in the discourse between architecture and sculpture,
or more broadly art, and how you can intertwine both disciplines.
I aim to continue working mostly with sculpture, but pursuing
further studies in architecture.
WHAT WE REQUIRE IS SILENCE.
Never had I seen snow before, so to see snow blanketing and
absorbing the entire landscape, was strange and beautiful. My
first instinct was to use and then exploit the abundant snowy landscape
and freezing winter conditions. I began with exploring the
Arteles site and Hameenkyro, by creating drawings, casts, photographs,
and videos to document sites of interest. What dictated
my choice of site is the overwhelming silence that I experienced
whilst on residency, and how it was amplified within certain sites.
The forest, the road, the fields, the market and my bedroom, they
all were so silent, so much so you could hear your blood pulsing
through your veins when lying in bed at night. Researching
John Cage’s theories of silence and music, helped me to pursue a
new direction for me which was soundscaping. By taking several
recordings of the chosen ‘silent landscapes/ sites’ and compiling
them into an immersive soundscape, which is at first seem to be
a recording of nothing, the more intensely you listen the more
aware of the sounds in the recordings and the sounds emanating
from the surrounding you stand in. Alongside, the soundscape I
created a similar video work that layered 3 or more videos I had
taken of the ‘silent sites’ to create a sort of videoscape that shows
how the snow absorbs the entire landscape and makes it unrecognisable
and distorted in a way. Then to further distort the image
I projected it through a haphazard ice sculpture that I had made,
which then made the video into a blur of blue/white light. Majority
of my projects started at Arteles are ongoing works to be completed
on return to Finland.
IN THE RESIDENCY
January 2012
“Art and hacking are both forms of social
engineering, art is just an intellectual
and visual hack.”
CHRISTOPHER D WILLE USA
chris@chriswille.com // www.chriswille.com // Currently working and living in Bloomington, IL, USA
Christopher Wille is an artist based in Bloomington Illinois. He
received his bachelors of Art at Eastern Illinois University, and
his Master of Fine Art at Illinois State University where he graduated
with honors. His work combines new media with traditional
metals techniques to form a hybrid. Christopher’s work has been
shown nationally and internationally including New York, Texas,
Arkansas, South Korea, Berlin Germany, Reykjavík Iceland, and
an upcoming solo exhibition at Koh-i-noor in Copenhagen, Denmark
. Recent recognition includes a Merit Award at the Emerging
Illinois Artist exhibition and an Honorable Mention at The 4th
Cheongju International Craft Competition, as well as three artist
residencies. These include I-Park in East Haddam, Connecticut,
SÍM in Reykjavík, Iceland, and Arteles in Finland.
ENcoded
While at Arteles Christopher Wille developed four new works, two
applications that reinterpret art, and two printed digital works.
The digital prints were durational, both over a period of twelve
days, and both had a performative action that was photographically
recorded; one for each hour of the day. In one a catalog of
objects was collected and photographed, the image was subjected
to a computer virus written by Wille that degraded the image
according to data collected from sensors worn while the objects
were collected. The work is displayed with the degraded image,
the image of the object in its environment, and finally the object in
a petri dish. In the other work a series of self portraits were taken
and then layered, various filters were applied, and finally twelve
images were printed on clear vinyl and adhered to plexiglass.
With the applications Wille reinterprets art and the way we perceive
it. With The Steal famous artist work is hacked, creating a
new work by Wille. The algorithm hacks the artist’s website and
then, using a clipping of their work creates a new image. The
application can be run several times as it gathers the information
in a random way so several compositions can be created from
a single artist. Warhol, Baldessari, and Banksy have been used
to date. Synesthesia is an application that allows the viewer to
perceive a painting with two senses, hearing and sight. A digital
image of a painting fed into the program is translated into binary
code one pixel at a time. This data is then played back to the
viewer as a binary song.
IN THE RESIDENCY
January 2012
“Do something, be something, want something…
I just want a sticky date pudding, thanks.”
TOM HOGAN, SCOTT SANDWICH Australia
tommehhogan@gmail.com // www.tomhogan.com.au // Currently working and living in Sydney, Australia
Tom Hogan is a musician and performance poet. He composes
music for theatre and performance, with a focus on live performance
and improvisation. When his mother was pregnant with
him, she saw Led Zeppelin in concert; which is probably why
classic rock makes him feel all warm and safe. In this sense, his
exploration of lush and rich sounds acts as a rebellion against
the womb.
He also mysteriously moonlights as a performance poet under
the name Scott Sandwich, telling fast-paced stories about the
apocalypse, death and failed first dates. He was a finalist for the
Australian National Poetry Slam in 2010, won the 2011 Woodford
Festival Poetry Slam, and was a runner up in the 2011 Nimbin
Performance Poetry World.
’KAIMA’ and ’THE KALEVALA (According To Scott Sandwich)’
While discovering the difficulties of playing my guitar outside in
the winter chill (essentially impossible), I spent my time at Arteles
finding new ways to present my music, experimenting with film
and installations. I would often turn to the works of previous
artists of the residency for inspiration.
Toying with field recordings and convolution reverbs, I discovered
a whole range of sounds to apply to traditional harmonies and
instruments, and created a body of work using these new tones.
The new instruments were based on the unpredictable dynamics
of the forest and landscape, stretching notes and reverbs beyond
recognisable sounds while still retaining organic and natural
qualities. The music I created make up the album, Kaima.
During the residency, I also created the short film Shuffle, the
installation Your Music, My Way and the Quick Draw Maverick
Gallery.
For my poetry works, I looked at a variety of ways in which the
Finnish and English languages irreconcilably clash, creating a
number of small works based on this premise, and explored a
variety of experimental forms and written works intended to be
presented alongside music.
Finally, I dove into the national epic poem, The Kalevala, premiering
and performing my own rendition of it at the Apollo Live Club
in Helsinki, and created the short film The Kalevala (According
To Scott Sandwich). The final text is represented as an installation
at Arteles.
IN THE RESIDENCY
January 2012
“Lens Based Artist”
LAURA CARLOTTA WRIGHT
United Kingdom | Portugal
lauracarlottawright@gmail.com // www.lauracarlotta.com // Currently working and living in London, UK
I am a lens-based artist fascinated by the role which performance
plays within photography. Throughout the last two years I have
been producing images which should be viewed in sequence and
which over time have evolved into a series of carefully staged performance
pieces. These improvisations are purely for the camera
and are to be viewed as still images recording an event which is
already a memory.
This work is directly related to issues of femininity, time, space
and the gaze. In these images not only is it an inner gaze, which
I inflict upon myself, but at the same time it is also a female
gaze as I am a female photographer, I am both the ‘surveyor and
the surveyed’. I turn the gaze back upon myself and explore the
nature of woman as object and themes of identity and gender. I
have tried to use a delicate touch to ensure that the relationship
to the feminine is positive and not just provocative and have intentionally
staged these images to evoke the theatre. As I am unidentifiable
my body is a symbolic ‘everywoman’.
HÄMÄRÄSTÄ
When I first arrived at Arteles Creative Center, I was intrigued
by the soft, diffused blue light that appeared early morning from
daybreak to sunrise. The Finns call it aamuhämärä, it lasts for
about 20 minutes and it is created by the sun being below the
horizon. This together with the Finnish Landscape became the
starting point for my new body of work.
Landscapes, their character and quality, help define the self
image of a region, its sense of place, that which differentiates it
from other regions. It is the dynamic backdrop to people’s lives,
in the work I created during my Arteles residency the forest and
the changing light become the backdrop for the scene played out
in front of my camera, the reaction of the subjects being left alone
revealed their inner thoughts and feelings, those that were in
familiar territory appeared to find it strangely comforting, taking
them back to childhood whilst those in an unfamiliar landscape
where more hesitant and reacted less comfortably to their surroundings.
Silence played a major role in this work; exaggerating
the reactions to aamuhämärä and the landscape, giving the
viewer a moment of contemplation and time to see what happens.
JESSICA MONTFORT
Australia
jessicamontfort@gmail.com // Currently working and living in Sydney, Australia
Art is something I have always been interested in. I ended up
becoming a medical doctor, but decided I could combine the two!
I’m very new to the creative world and the more I discover the
more daunting and exciting it becomes.
Until now I have mainly been interested in drawing, painting and
photography, but I am hoping to extend myself beyond these
realms...
IN THE RESIDENCY
December 2011
During my time in Arteles I became incredibly inspired to try new
things. I tried to use the experience to gain insight and understand
more about the direction(s) I want to pursue. As I have very
limited experience in Art, and this was my first Residency, I felt
like a sponge, soaking everything in, the people, the environment,
the weather, everything... more so than trying to put pressure
on myself to create a body of meaningful work. The work I did
was mostly experimental, and I am still working on a few ideas
at home.
Here is a link to the most meaningful piece of work I have done to
date, created at Arteles December 2011:
http://www.youtube.com/watch?v=PprT-N4Uyrg
HELENA HLADILOVÁ
CZech Republic
helenahladilova@gmail.com // helenahladilova.blogspot.com // Currently working and living in Turin, Italy
Having observed reality, I basically react in two ways. Sometimes –
very often by chance – I manage to record extraordinary situations
which allow me to unblock mechanisms which until that
point had prevented their interpretation. Otherwise, I add a narrative
to an event which I believe suited to grasping, and I thus open
up to reflections which could not otherwise be explored through
the image alone, providing a layer of exceptionality to the everyday.
Within that which we take for granted, unexpected nuances
are hidden which allow us to visualise what appears to us as
fragmented.
Sometimes when monitoring two distant entities, we happen
to note how they maintain their own individuality, concealing a
deeper relationship from us. Managing to observe detail in any
moment, to remain in a constant state of analyticalactivity, is what
someone in search of an alternative solution needs. I believe that
distinguishing is merely an act of faith.
IN THE RESIDENCY
December 2011
Project 1:
The best of, 2011, 56 birds songs
The selection of birds located in Hameenkyro, Finland.
If you let the forest listen to these songs, maybe you will have
more opportunities to see the local birds, The birds that will arrive
will be the actors of my performance. Each time will be different
and unpredictable.
Project 2:
School project, 2011, different materials, site specific dimensions.
Using the ex school space like an art studio forced me to transform
it into an exhibition space.
“There is always success in courageous
experiments; this is the essence of creativity.”
LUCY BAKER UK
info@lucybakerart.com // www.lucybakerart.com // Currently working and living in Cardiff, UK
I would identify as a mulit-disciplinary and environmental artist
from Wales, UK. My current work focuses on contemporary environmental
issues and is inspired by the nature-culture dichotomy.
In particular I have recently been producing work that portrays
nature’s ability to reclaim human constructions. Nature is a
part of our daily lives and is assigned to many tasks and is heavily
managed. I see the decomposition and succession processes
facinating because it is a meeting place of nature and culture. The
interplay between man and environment.
IN THE RESIDENCY
December 2011
In Arteles, I created an installation with nest boxes; some found
and some new. The work is about nature tourism and my experience
in Finland. In knowing that I was drawn to the country by its
relationship with nature, I couldn’t escape the feeling of being a
tourist. Nature tourism is an important tool in rural development
and provides income allowing people to continue living rurally.
Arteles has its own role in rural development and this is what I
focused on.
I painted typical Scandinavian designs on the boxes and incorporated
local bird life as an informative aspect to my work. As
I began the project with enthusiam, I included much detail. As
time passed, I steadily grew less interested and impatient with the
project. The final nest box was as I found it; unworked. I wanted
to show the impulisve behaviour in human personality and the
abandonedment of ideas. I then placed the boxes in the forest
after having documented them in a gallery setting to let nature
take its cause and decompose the work. The work is unprotected
because I wanted to exhibit the transient quality of nature and its
process of reclaim as shown in the two found nest boxes. With
these, I undertook a typically human decision making process
whilst painting, of when to leave a natural process and when to
intervene.
“ Thinking from the feet up.“
LAURA DONKERS UK
laura.donkers.art@googlemail.com // www.earthebrides.co.uk // Currently working and living in Outer Hebrides, Scotland
I am interested in the principle that awareness is the faculty of the
whole body not just the mind. I think we can be constrained by our
increasingly encoded intellectually based lives and I want to show
how embodied thinking can expand our abilities to perceive and
imagine making the connections that weave into understanding.
Looking closely, following form and texture: tracing processes.
Importance lies in the detail. Thinking alone cannot lead to knowing
it is only by placing oneself within the phenomenon that one
comes to fully comprehend.
A site is chosen in the woodland interior. Engagement began
before a decision had been made. I build an easel and start the
work. The significance of the location is slowly unfolded. Free
drawing exploits intuitive processes and corporeal abilities that
comprehend the surface of things: The naïve evidence that lies
before us. These drawings engage with our natural intelligence.
Whether drawing, video or planted works my art is about
learning to look from the inside out and presents the wholeness
of that experience through installations that confront and envelop
the viewer.
IN THE RESIDENCY
November 2011
I came to Arteles with a long term project in mind that considers
the act of ‘planting as drawing’ viewed from a bio-cultural perspective,
i.e. exploring the dependency between culture and land,
and the adaption of the natural to the human and how the human
inter adapts to the natural. By immersing myself in the adjacent
woodland and surrounding landscape through daily walks and
drawing sessions I developed an awareness of the locality. Its
dampness, enclosure, mystery, silence kept me enthralled and
drawings developed. Observation and documentation of the surrounding
farms disclosed more of the land’s identity and its adaptations.
Rows of lines reveal where the plough evaded rocks or
drainage channels and carved the contours of the land ready for
planting in the spring.
I made a start but a month was too short!
“ Creative minds are rarely tidy.“
KATIE SHRINER
Australia
katieshriner@gmail.com // www.katieshriner.com // Currently working and living in New York , USA
The contents of a home can communicate clues about its owner -
through the choice of books stacked on shelves to the stationary
kept in the top draw. Katie’s work aims to capture meaning behind
these everyday objects. Through her still life paintings we get a
glimpse into what the artist sees and observes everyday.
IN THE RESIDENCY
November 2011
My work reintroduces the objects that once filled Arteles, when it
served as the local school.
Built in 1902 the school was significant for the village - educating
the children and introducing them to cultural hobbies, such as
playing music. There was also a library meant for the whole village,
which was operational until the 1970’s.
The most recognized student, Frans Emil Sillanpää, was a Nobelprize
winning writer, famed for the artistic way in which he
described the Finnish lifestyle and their connection with nature.
Work 1 | ‘Library’
These books were found in the attic and serve as a reminder of
the buildings history. The positing of the work, in frame of the
doorway, mimics how these texts would have once sat stacked
together in the school library.
Each text reveals a little bit of history about the space too. Among
reading books and school management guides sits, Nuorena
Nukkunut, one of the most important novels from Nobel-prize
winning author and school graduate Frans Emil Sillanpää.
Work 2 | ‘Finnish Song Birds’
Walk into the hallway of Arteles and you will see the piano stacked
with music books, these were once used to teach the school children
how to sing. The birds, which sit perched on top, are created
from music sheets which describe the Finnish landscape. From
its time as a school to its current role as Arteles the relationship
between the building and nature has gone unchanged. “
“ Dissecting the
future culture | creating
provocative perspectives“
DINOS NIKOLAOU & CREATE AN ACCIDENT
contact@nikolaoudinos.com // nikolaoudinos.com & createanaccident.com // Currently working and living in Athens, Greece
Greece
Dinos Nikolaou was born in Athens, Greece in 1983 and studied
theatre at the University of Athens.
He is the founder and the artistic director of the open platform
Create an Accident.
He works as a theatre director, visual artist, performer and
independent thinker and his main research objects are time and
space by the use and combination of every possible medium and
material.
The creation of artworks which are dissecting the human condition,
underlies the springboard of his work.
Using the philosophical and sociological research as tools to
understand our era and its members and combining them with
the demand for a nowadays art which edits the fundamental
issues of human existence, he produces artworks which aspire to
find and open provocative perspectives.
Through this prism, his theoretical research and artistic practice
focus on the pursuit of the non – assimilative. Guideline of this
pursuit is the imaginary line which links Debord with Derrida and
Virilio and their work about the creation of situations, incidents
and accidents, respectively.
IN THE RESIDENCY
November 2011
“GEOGRAPHIES III / Debord Geography
The Geographies, stage installations of landscapes and incidents,
are part of an on-going project whose fundamental aim is the creation
of uncanny portraits. The Geographies Project is always in
progress, and presents the audience with an attempt of mapping
singular traces and a construction of strategies regarding that
which has not take place yet.
The 3rd part of The Geographies Project, Debord Geography, is
the construction of a hybrid which combines the performance and
visual arts with the essay.
A non – performance and un – installation as a “thesis” into a
diverse world.
A visit in a raw fun – fair.
Starting from Guy Debord’s face, an artwork which explores the
possible existence of a Debordgeist nowadays along with its prospective
effectiveness, is designed.
An in-situ project @ Arteles Creative Center”
“ Art is not about what you make,
it’s about what you live!“
ANA GEZI
Croatia
ana.gezi30@gmail.com // caknutachajanka.blogspot.com // Currently working and living in Zagreb, Croatia
Seven years ago I have graduated on Academy of Fine arts in
Zagreb, painting section, but despite to this my work has been
strongly defined by drawing skill the most. My nature of working
is consisting of connecting my memories, checking the present
time, than separation and visualisation of some clear future possibilities
of object in my work. Usually I do it through my drawing
tehnique, because of the easiest approach and greatest speed of
working, which I found very useful for my diary in pictures that I
was working on in the residency. Some of the selected ideas I like
to do in colour, and those works always have the greatest percent
of my dreams or my fear/imagination interventions. Both ways
were a great opportunity to me to firm my own social/political
caricature style and to explore more of the narration in visual.
Because that was always the important content of my earlier
cycles, even in those of landcape painting and hulligan portraits.
IN THE RESIDENCY
November 2011
My work in Haukijarvi has developed as a result of ‘planting’ some
of my homeland ideas on the completely new territory and that
case was here territory of finnish villages. My interest there was
vicious experiment with narrative and dreamlike in pictures, usually
made in pencil drawing and aquarell painting in free form of
diary, which was conceiving simultaneously during my time spent
in residency. I wanted to affirm and give more strength to my love
not only for comic-book style illustration, but also for caricature
with spontaneous and naughty humour for which I get many
ideas from completely usual situations in unusual and strange
ambient full of new people with their own habits. Some of these
works have personal, some others have political conotations. But
genneraly viewed, art (sound and visual), nature, people, travelling
and passion were the center interests of my work here and I
am very thankful to Arteles for helping me to ‘plant’ and ‘grow’
my project in November.
“ It’s out of foam.“
BENTEN CLAY // VERA HOFMANN + SABINE SCHRÜNDER Germany
goodnews@bentenclay.com // bentenclay.com // Currently working and living in Berlin, Germany
Benten Clay is an newly founded artistic corporation run by artists
Vera Hofmann and Sabine Schründer, with its headquarters
in Berlin. Benten Clay explores different aspects of power, investigating
socio-political and economical threats as well as environmental
concerns using photography, video, installation and
performance. Benten Clay’s approach oscillates between slight
provocation, research, documentation and poetical discretion. Its
methods embrace different roles within a societal system, playing
within the ambiguous boundaries between them.
IN THE RESIDENCY
September + Octorber + 1/2 November 2011
////// We founded Benten Clay. We had a lot of creative output. We
built a website. We made a portfolio. We agreed on continuing as
a team. We will be a network. //////
Benten Clay started to work on the long-term project Age of an
End and focussed on the topics of Nuclear Waste and The Mentality
of Power. One main focus of its work was the world’s first
nuclear waste disposal site, located in Olkiluoto (130 km away
from Arteles).
Benten Clay’s work in Arteles involved a local actor and two
neighbours, some wood and junk from the barn, four blue fishes,
a machine from the local second hand store and a lot of homemade
yellow cake.
Benten Clay Status Report:
www.bentenclay.com/20111114_BentenClay_StatusReport.pdf
GWYNETH ANDERSON USA
gwyneth.anderson@gmail.com // www.gwynethvzanderson.com // Currently working and living in Chicago, USA
Primarily working with video and hand-made animation, Gwyneth
Anderson investigates emotion, perception, and the personification
of landscapes. She makes invisible experiences visible and
conducts conversations between humans and land. Her work has
included site-specific video and animation screenings, performative
animation, and participatory public video shoots. She has
screened and exhibited work in galleries, festivals, and unaffiliated
outdoor areas throughout Chicago and the midwestern USA;
Tucson, USA; and Helsinki, Finland.
IN THE RESIDENCY
October 2011
During her stay at Arteles, Gwyneth completed videos whose
intended audiences were a mossy rock, a gravel road, windblown
plants, and a horizon. While in Finland, she projected these videos
in front of their respective rural, non-human audience members.
For a Mossy Rock and For Windblown Plants created visual
analogies between the forms and movements of people and the
outdoors. For a Gravel Road is an animated creation myth for
gravel, and For a Horizon is a video of a finger tracing, caressing,
and scratching landscapes as if made of skin. By focusing on the
outdoors as audience, and concerning herself with what might
entertain non-human organisms, she attempts to personify the
land. The works Gwyneth created at Arteles are not site-specific,
but rather thing-specific- they were created with the intention
of being presented in front of other mossy rocks, gravel roads,
windblown plants, and horizons in other landscapes outside of
Finland.
“ Yeah.“
EILIYAS ”NICHOLAS A. KELLY” USA
Eiliyas@yahoo.com // www.eiliyas.com // Currently working and living in Berlin, Germany
An artist that works primarily in sound and concepts. Interested
in basically everything and how it interacts with everything else,
and what are the furthur consequences of these interactions as
well as what were events leading up to the initial stated event.
IN THE RESIDENCY
October 2011
The primary project “A Composition for Radio Quartet” was aimed
at creating a composition that acted as a model of human interaction
as well as a further critique of traditional forms of musical
composition.
GEMMA TWEEDIE
New Zealand
gemma.tweedie@gmail.com // gemmatweedie.blogspot.com // Currently working and living in New Zealand wide
Gemma Tweedie combines video, performance and project based
work along with text and photography in her visual arts practice.
Past work has engaged with our attempts at common understanding
and explored intersecting roles of instruction, suggestion
and participation. Tweedie attempts to get close with the
audience while demonstrating an enduring distance. She likes
this distance of contemplation and often performs blind. Having
a physical barrier to mediate between the direct relationship of
the audience and artist in live art reflects the truth of our communication;
That we can never truly understand what we try to
communicate through language. Past work involves banal and
absurd, repeatedly performed actions. Tweedie has performed
actions such as clearing her throat continuously and smiling
encouragingly towards a future audience. Tweedie’s practice
explores complexities of empowerment and resistance within
dehumanising aspects of our everyday lived economies. Universal
and existential concerns are always linked in with actuality
as a manifestation of how people move within larger structures.
At Arteles creative centre she began a series of works, exploring
what happens when myths of romanticism are uncovered by gritty
reality and how people deal with the gap between their escape
fantasies and their daily struggles through a kind of poised but
futile way of moving without progress. Tweedie is interested in
rubbing up against things that are uncomfortable “things that I’m
drawn by and held back by.
Prospecting, a situational performance, 1am Helsinki, Ptarmigan and Arteles creative centre, 2011
IN THE RESIDENCY
October 2011
Prospecting is a situational performance in two parts. The first
part is escape, trying to dig through concrete with plastic spoons,
the second part is moving without progress /getting nowhere,
dropping a spoon, to pick it up, only to drop another.
The compromise of reality is all we know. There is no escape
except in the façade of our glittering fantasies. So we sabotage
our escape plans and dance the futility as best we can. Desperation
is a feeling many people have underneath themselves or in
small parts; To get away from it all, the cultural constructs, the
city, to get beneath everything and leave it all behind. Prospecting
deals with confinement of the open air, concrete barriers, which
are invisible but all encompassing. As she moves steadily on
shaky shoes, digging away at the pavement with plastic spoons,
people stop and comment, “Where are you trying to get to, the
other side of the world? You know it won’t work. All your spoons
will be broken. Soon you will have nothing”.
Futility is not clear-cut or total. Plastic spoons are pragmatisms
of contemporary everyday survival, tools for eating. In the gold
rushes of the 19th and 20th century, prospectors searched for a
way out of poverty but rarely retired rich. Prospecting questions
what we see as labour to include less apparent hyper-feminine
forms. Contemporary gold diggers’ labour to create fantasies
from the compromised reality they live in, in order to escape into
better prospects.
“ Experience life as a stream of sounds.“
MUSIC FOR INSTALLATIONS / LOUNASAN / PIETER GYSELINCK
Belgium
mfi@musicforinstallations.com // www.musicforinstallations.com // Currently working and living in Belgium
Music For Installations (soundscapes, experimental, drones)
and Lounasan (ambient music) is about experiencing. Life is a
stream of sounds. Capturing that flow, is looking for answers. By
observing the surroundings, by experiences, I try to make music.
The studio can be anywhere. The collision of vibrations lead into
soundscapes and drones which can be used in empty spaces, dark
rooms, or to accompany installations. It’s an impression sent out
to catch a listeners ear. He/she can only experience and reflect on
what he felt or saw.
Music For Installations seeks out more the experiment. Different
sounds meeting each other, creating a sonic scape. These are
then refined, just like you would do while create a sculpture. The
project tries to send out impressions to the listener. The main goal
is the listening experience and the sound adventure. The music
has been used on several exhibitions and locations throughout
the world. It’s not only the form that counts, but also the emotional
response, wheter positive or negative.
Lounasan is mind travel music. It’s about travelling without moving!
The music makes your mind move into a musical trip into the
cosmos. The music is available on-line as full albums and has
been regarded as very ‘filmic’ by reviewers. Enthousiastic fellow
dreamers are fond of the ambient soundscapes that are created
and the more note-based songs that emerge. Thanks to the availablity
of webshops, I can spread the music into the world.
LISTEN TO
ARTELES
SOUNDSCAPES
CLICK HERE
IN THE RESIDENCY
Ootober 2011
The main goal at Arteles was the creation of a cycle with music
that varies from experimental soundscapes to ambient music.
Every day a new piece of music was conceived and worked out.
This work resulted in a 31-day musical cycle. The great Finnish
outdoor is everywhere around Arteles. By moving into it, you
experience the landscapes and sceneries. The local grounds,
full of melancholy and the slowly moving views which dance in
a monotonous ballet, are very influentual. They are used as focal
points into the creative process.
Back at the music table, these impressions are the source of
inspiration for creating the sound pieces. By translating the landscapes
into music and sound, we were able to set out a full cycle
with sonic expressions.
The 31 pieces will be finalized into two albums. The title will be
logically ‘Haukijärvi’, the location where the music has been realized.
These will be put available online on the main mp3-shops on
the internet. An extra third bonus album, which will recycle the
original material into a slow ambient album, will be created at the
end of the whole process.
Thanks to the residency at Arteles, we were able to develop a way
to paint the land with music. It is then to the listener to step into it
and travel along and experience the music.
CAROLINA TRIGO ARGENTINA
caro@thisother.com // www.thisother.com // Currently working and living in Finland, here and there
My work infiltrates the spaces between femininity and masculinity,
participation and otherness. I am interested in performative
bodies that leak and coagulate in arousal and erasure.
Photos by: Sabine Schründer and Vera Hofmann
Untitled, 2011 / Performance piece
part of Perfo! festival at Telakalla, Tampere, october 18th
IN THE RESIDENCY
August - September - Onwards 2011
So far i have participated in two performance festivals and have
also collaborated on some video and photography pieces. Being
at Arteles has enabled me not only to discover Finland but also
what comes with it: its people, its sense of nature, space, culture
and sensibility. I am particularly grateful for how it has enabled
me to form affinities between fellow artists—both local and international—who
continue to inspire me and with whom I share a
very genuine warmth.
“ DO WORK!!!“
MIKE KOFTINOW
USA
koftinow@seawolf.sonoma.edu // Currently working and living in California, USA
My approach to making work is that there are too many big topics
that can’t be ignored. Therefore my art objects are about society
and sustainability. I combine a variety of media such as; drawing,
painting, print, sculpture and installation, to create imagery
that have a topical narrative to it. The imagery I choose and the
way the works are presented is a discussion on contemporary
life and current affairs. Topics like water, environment, economy,
waste and abuses of power fluctuate with a cast of characters
that range from popes and presidents to peasants and paupers.
IN THE RESIDENCY
September 2011
Made work with a political bite to it.
“ Look behind. Look for the (Hi)story.“
BÉRÉNICE SCHRAMM France
berenice.schramm@gmail.com // Currently working and living in Geneva, Switzerland
Thie first I could say about myself is maybe the least telling: I am
a PhD 3rd year in international law. My thesis is on the cognitive
mechanism of legal fiction, its uses in jurisprudence and how it
tells us about the law as a powerful and creative discourse on the
world. In short, I do philosophy and epistemology of (international)
law but in large, I am interested by anything that helps deconstruct
truthes and realities and revealing standpoints, stances
and cognitive and cultural limitations, be it feminism, marxism,
cultural relativism, anthropology etc. The key theme for me, i.e.
what I am mainly interested in, in law and in art, is interpretation
as the channel through which we (or I) relate to the world (or the
other(s), be it a thing or a being). The art work I have recently
embarked on is therefore linked to this and emphasizes the link
between object and identity and the idea of image/prejudices.
Taking pictures is quite a hobby of mine (however limited in time
and in equipment) because it’s another way of interpreting the
world and sharing it with others. Buying, owning and wearing creative
pieces of fashion as well in that it is also another way (rather
frivolous) to tell stories with yourself and the piece’s creator. And
last but not least, eating (and cooking) is really important to me:
food as a way to discover a culture, an environment, people and
sharing knowledge and feelings, and just feel orgamiscally good.
IN THE RESIDENCY
August - September 2011
The photo installation I created in Arteles originates in a random
visit to a second-hand shop in Hämeenkyrö, the city nearby the
Residency. In this shop, things to sell are displayed by owners (in
individual stalls) and not by categories: the juxtaposition of identities
(or stories that I could tell myself about the owners through
their objects) visually stroke me. With my piece, I tried to set off
the same reaction in the audience’s eyes. Using a simple pinewood
garage shelf (mimicking the stall in the shop), I asked 7
artists of the Residency to arrange the same objects in the manner
they liked (and did it myself) and photographed the results:
my installation consists in the displaying of those 8 different
arrangements and the (un)conscious comparison that their juxtaposition
leads to. The first stage of the series I want to develop
and entitled « Control of Identity », this « Arteles Whose Who »
is one way to explore the relationship between objects and people
inasmuch as your personnal background (i.e. your identity)
informs and influences how you see and manipulate objects, and
hence shows out in the objects’ arrangement as a sort of modern,
kitsh and recycled Arcimboldo’s portraiture.
HYEKYONG YUN
South Korea
hyekyong.yun@gmail.com // www.hknalda.com // Currently working and living in Montreal, Canada
The foundation of my practice is photographic portraiture. At the
same time, I am interested in performance as an art form. Therefore,
in my artistic practice, I always use the body as an object in
the image and look for the relationship between the performance
and photography. My personal history memory go through the
body shape and movements, and results in the performance. The
image of the performance presents the personal history of the
subject and allows objective introspection.
Also, my artistic practice uses temporalization and spatialization.
It creates a connection between the fixed, still image and the
performative capacity of the body in motion. I use photography as
a means of capturing a moment that embodies an entire performance.
While documentary photography is a means of documenting
a previous event, my method of using photography is different
because my image is the event. Going beyond the time and
space pragmatic presented by the medium, my work adds a temporal
and spatial relationship between the external gesture and
the internal memory of the artist by presenting the link between
the body and the fixed image in the specific context of mnemonic
actions.
IN THE RESIDENCY
September 2011
When I walk on the street near Arteles, there is only Finnish people
and I feel so ‘other’. Being otherness is not a pleasant feeling.
I feel lonely again and so strange as well that I often felt same in
Canada as an Asian girl. To overcome this, I started project called,
‘other(ness)’. I become a hairy stranger and start taking pictures
with people around here.
Hair costume represents internal ‘memory’ because hair can
store memory and examine personality through then. And with
hair, I perform with people around, so it can be external gesture.
At first, it was difficult to be ‘other’ but later I found it is me to
feel ‘otherness’, not people. So this project is about not only an
exploration of my research but also psychological approach to
look inside of myself.
“ Once you start, the best thing is
going to be happened by itself.”
(favorite citation of Hermann Hesse)
HYOJUNG JUNG
South Korea
hyojung5925@gmail.com // www.longdistance-dialogue.blogspot.com // Currently working and living in Daegu, South Korea
I do drawings with pencil on papers, paintings on canvas with oil
pastel in general and photographing, writing short text occasionally.
And I am very interested in doing some sort of sound work
in the near future. Because voice and sound motivate me quite
often.
Motivation for my works usually comes from a certain moment
(physical and mental) of an individual’s personal life. And I wish
the result of my works could transform to something else from
my beginning of idea by the audiences. I wish it become unknown
thing even for me when I have finished it.
IN THE RESIDENCY
August - September 2011
I have been working on two different spaces which are sharing a
body as a neural object. The body, it makes relation and makes
boundary at the same time between the two spaces ; the interior
space and the exterior space. In the place apart from people and
objects in a room, a hollow empty space leads correspondence of
two spaces.
The correspondence draws a volumed living organic form.It is
heading for a certain direction, has certain weight, has certain
form.And it is fluid, rhythmical sometimes, seems volumed but
light, visible but we can see nothing specifically, empty and transparent
exterior space.
MONTANA MCTORREY USA
montanatorrey@gmail.com // www.montanatorrey.com // Currently working and living in TN, USA
Montana Torrey employs the landscape as a metaphorical tool
to dissect cultural dichotomies within the public and domestic
spheres. She received her BFA from The School of the Art Institute
of Chicago in 2003, and her MFA from The University of North
Carolina at Chapel Hill in 2007. Her multi-disciplinary work,
which includes outdoor installations, photography, painting and
sculpture, investigates the relationships between cultural constructs
and physical sites, deconstructing and problematizing a
myriad of concepts including binaries such a protection/paranoia,
sites of containment and the idea of literality. Torrey utilizes the
concept of site-specificity by documenting, altering and suggesting
a new understanding of place. Torrey attended Skowhegan
School of Painting and Sculpture in 2006, and has exhibited her
work at such places as A/Z West High Desert Test Sites, Ackland
Art Museum, Fayetteville Art Museum, and Center for Art and
Culture in Aix-en-Provence, France. Torrey has also participated
in several residencies including Headlands Center for the Arts,
Catwalk Residency and, in 2009, and the Vermont Studio Center.
Torrey was born in Virginia in 1982 and she currently lives and
works in western Tennessee.
IN THE RESIDENCY
August 2011
While at Arteles, I chose to focus on synthesizing language, political
borders, and signs of economic disparity. The collision of my
immediate environment in Finland and memory of a past landscape
became the crux of my “We Buy Gold”” project. My memories
of the landscape in West TN prior to arriving at Arteles,
were of a landscape populated with public signage referencing
quick, but dangerous modes of acquiring “fast-cash” and alleviating
one’s own economic/personal doom. This collision of both
public and private humiliation desperation, and personal doom,
is present in the signage that heavily populates of the West TN
landscape. Being completely removed from this language and
immersed in a new language (Finnish). I was dependent upon my
most recent place of reference that being the economic signage:
“We Buy Gold”, “Fast Cash’, “Cash4You”, “Fast Loans”, etc. I am
interested in the immediacy of this public language and it’s need
to “remedy” personal problems. I decided to literally place this
language within my immediate enviroment in Finland where I
could not understand the language in an attempt to isolate, dislocate,
and reinterpret the signage of West TN.
“ ART IS 4 HOTTIES. ”
THE MOTEL SISTERS
Naomicampbelltown, Australia
motelsisters@hotmail.com // www.motelsisters.com // Currently working and living in Parramatta, NSW, Australia
PARIS AN TACKY MOTEL (AKA TEH MOTEL SISTERS) R EXTREME-
LY FAMOUS AN WELL-REGARDD ARTISTS FRUM TEH WESTERN
SUBURBS OV NSW, AUSTRALIA. SOSHUL MEDIA IZ THAR MEDI-
UM OV CHOICE AS ARTISTS, AS WELL AS PANTENE PRO V. PARIS
AN TACKY ALSO PAINT (THEIR NAILS) AN JUZ LUV 2 CREATE
(MEMEZ).
IN THE RESIDENCY
July 2011
AT ARTELEZ WE TOOK LOT OV FOTOS AN VIDEOS OV OUR-
SELVEZ CUZ WE LOOKD SO FINE. WE ALSO INTER-
VIEWD SUM OV TEH ART AN MUSIC SUPERSTARS DAT
WUZ STAYIN AS RESIDENTS (CHEX DA INTERVIEWZ OUT @
WWW.YOUTUBE.COM/MOTELSISTERS).
WE KAREOKD AN DANCD AT TEH LOCAL BAR FEW TIEMS (WELL-
DOCUMENTD) AN MADE AN AMAZNG GUEST-STAR APPEAR-
ANCE AT P!G TING.
KELLY MONICO USA
kellymonico@gmail.com // www.kellymonico.com // Currently working and living in Denver, CO, USA
Kelly Monico is a visual artist and designer who creates site-specific
video installations. She often rearranges ordinary materials,
physically or digitally, in order to explore notions of individual
identity, subjectivity, and the inherent value implied by a gesture
or act of intervention. The majority of her creative projects have
drawn on the use of repetitive gestures, actions and patterning,
as a metaphorical means that study human behavior. Monico currently
teaches design and digital media at Metropolitan State College
of Denver as an Assistant Professor of Art in Colorado.
IN THE RESIDENCY
July 2011
During my time at Arteles Creative Centre, I had the opportunity
to study various culturally specific signs and symbols within
the country. In conjunction with researching the semiotics of
the cultural and geographical landscape, I interviewed over 100
Finnish people. Based on my research and the video footage I
compiled, I designed specific pictograms (usually depicting elements
of nature), which visually translate the root and suffix of
each Finnish surname. The video “Behind the Name” explores the
inner fabric of the Finnish people, illustrates familial origins, and
depicts Finnish naming trends over the last century.
SHARI PIERCE USA
info@sharipierce.com // www.sharipierce.com // Currently working and living in Munich, Germany
I am a contemporary visual artist and in general the opposition
of high and low, value and waste, beauty and terror seems to run
through my work.
IN THE RESIDENCY
July 2011
In April of 2011, I had a solo exhibition in Munich, Germany of
300 convicted sexual offenders from within a 5 mile radius. The
photographs documented convicted sex offenders from the areas
that I traveled to within the US from December- March 2011. I
used the time at Arteles to reflect on this work as well as She
LL Project that I started in 2009. At the same time I started a
new work with photographs from the Missing Persons database.
The photos are mostly of endangered runaways and missing
teenage girls. Additionally, some unexpected collaborations happened
with the other artists that were also AIR’s for the month of
July 2011.
PAOLA RICCI Italy
paolaricci@aliceposta.it // /www.paolaricci.com, www.saatchionline.com/profiles/index/id/219371 // Currently living in Venice, Italy
The Greek meteorology seeks rather to describe the more uncertain
movements of the air, in an attempt to explain the rarefaction
of the bodies and the big difference between solid bodies, the
material and what delicately approaches the blowing of the wind
to the inexistent.
They seek with the imagination what is hidden in the world’s naturalness,
that is, how the presence of the latter is both characteristic
and fleeting at the same time.
We know that for some pre-Socratics the soul corresponds necessarily
to the experience of a body whose matter is so ethereal
that its explanation can only be compared to the air.
The breath is the last thing to leave the body.
For the Greeks, there was clearly a close relationship between
the air, the void and the infinite, either because the soul was
regarded as a particle so ethereal that it evaporated at death, or
simply because the air until the horizon represented seeing as far
as the eye could see.
These things are best understood if we think of art as still occupying
the edges and that its utterances, because they lean towards
the eccentric, supply clues to what is hidden.
The Occidental culture considers the world as a whole of objects,
instead Chinese thought considers the world as a emanation of a
vital breath, of an energy (qi) that develops on different plains of
condensation, more or less visible : the rock is (qi) concentrated,
the cloud is (qi) rarefied.
An artist whose soul is the mass of the sculpture
1. Knowledge passes through sensitive knowledge. A first aspect
on which knowledge is sensitive knowledge. The space is normally
seen as full, but in the empty space we perceive the sensitive
space.
2. The space is virtually empty, endless and grows in size. Then
universes holding the space are created. I have worked to let us
hear the space as empty and the eye to see a succession of dots
and lines that float in the air, our sensitive part individualizes and
projects them in the air as projective space. So our eye is like a
point in space and everything that it intersects becomes something
that adds tocreating other sensitive lines.
3. The sculpture becomes an opportunity to draw the air or the
empty space. The line marks the boundary between the different
meanings, marking what the view does not always see, marks
what is beyond the marked area. The line becomes mass and it
draws the territory by which it is surrounded. Thus the overlap of
different lines creates the mass that marks the space that you see
if the drawing of the line were there.
IN THE RESIDENCY
June 2011
Capovolto, 2011
My research is directed toward elements of nature that pose
questions of Western man that he hardly looks.
The air around us is something that occupies a physical space is
not visible that the Western man recognizes it as a void-absence,
and instead I recognize as emptiness of essence of full , “emanation
of life”, the our moving body moves the air and occupies the
emptiness in which he enters and it exists invisible.
What I did was work on the bordline between drawing and sculpture,
between the sign and the volume, of the track left and air
moved.
I wanted to work on the edge of the immaterial as if what I made
is not an object, the sculpture is a means to move the air around
it rather than build an actual object.
The drawing and sculpture for me to move the space in which we
appear and so I want that my art work may lead the viewer to feel
like seeing the artwork not as much as what he sees.
I thought at this residence, where the landscape around me also
the distances from the centers acquired yearly become an artistic
experience to be done on foot.
Being on the bordline of a search is like to be doing what that it
allows to be within the limits, nature is the subject no longer be
described because it has no boundaries.
Walking in these valleys that surround the center Arteles what
I felt strongly about is that the space and emptiness and fullness
are constantly in direct communication without interruption.
The opposites coexist in harmony, and the polarities are spoken:
full and empty / dense and rarefied / regular and irregular
light and dark / erect and droping
So the outside space of Center Arteles spoke to me and I tried to
give it voice.
The two distant space of land are marked by pieces of tree trunk
placed on the boundary line between them. In an area the pieces
of tree trunk are white , because they are covered of white paper
and in the other space are colored on top and on the edge of the
red earth.
There are two areas where the elements of color and formal, they
speak differently in the space where the fullness surround the
emptiness, and the other is the emptiness is in the fullness. To be
at different distances in the vision slowly turn around to look for
spaces without leaving an objectification, but that empathy is the
way of the vision to see.
The relations of opposition and complementarity of the elements
are also present in the work titled “Upside Down” inside the Gallery
of Center, the trunk of the tree looks like polarity as tension
of image and surge of dense and often essential to achieve the
image that has no form. Where the air that moves the tree does
not feel stuck to the ground, but as a continuous movement that
it swings in its fragility and how it upside down, where the light is
at the bottom and the top is heavy. The aesthetic nature of being
able to contain the opposites and contradictions to give a strong
image that comes to cancel the form.
TREVOR AMERY USA
Trevor.Amery@gmail.com // www.Trevor-Amery.com, www.UNDERWOODstudio.blogspot.com // Currently working & living in Baltimore, USA
I make artwork in multiple mediums exploring themes of tradition,
ritual, social structure, interior vs. exterior and the transience
of space in different cultures. I use my art as a means to
connect with new communities, develop new ways of thinking and
to react to my experiences and surroundings.
IN THE RESIDENCY
June - July 2011
I spent two months at Arteles creating site-specific woodpile
sculptures investigating how the sparseness of the countryside
has influenced Finnish social structure. I chose to focus on the
concept of the woodpile because of its importance not only as a
raw material to Finland, but because of how it has infiltrated every
aspect of Finnish life from traditional folklore to contemporary
issues of self preservation. My experience at Arteles has brought
my attention to how we use space, how we relate to objects, and
how I can use my work as a vehicle to build relationships with
individuals, communities, and cultures.
KATHRYN ZAZENSKI USA
kathryn.zazenski@gmail.com // www.kathrynzazenski.com/ // Currently working & living in Baltimore, USA
I am obsessed with words and language, and how they are a
reflection of our personal and geographical histories. I am interested
in how culture and language, both together and independently,
influence the way we physically and psychologically
maneuver through the world. I am interested in how and why we
build relationships and how that relates to our need for systematization
and categorization. I play with concrete representations
of abstract thought in reaction to the information that becomes
our experience of people and place. What is the structure of our
lives based on? What are the systems that we live by and why?
How do they work, why do they work, and what, if any are our
alternatives? My work is a reaction to the questions that develop
from the people I meet, the places I inhabit, and how I understand
and navigate these physical and emotional relationships.
IN THE RESIDENCY
June - July 2011
While at Arteles I spent most of my time developing a system
from which I plot words and from this created abstract line drawings.
Taking one form of abstraction and creating another; I rearranged
and re-definined the rules for our alphabetic symbols.
With this work I am exploring how we understand ourselves in the
context of others, and the modes of expression we use to communicate
these relationships.
PILAR MATA DUPONT Australia
pilarmatadupont@yahoo.com.au // www.pilarmatadupont.com // Currently working and living in Perth, Australia
Pilar Mata Dupont is a Western Australian based artist, born to
Argentinean immigrant parents, who works solo and in collaborative
practices spanning photography, film and performance.
She has exhibited in the UK, Japan, Chile, France and Australia
and her work has been shown in galleries like Centre Pompidou,
Paris; The Gallery of Modern Art, Brisbane; The Museum of Contemporary
Art, Sydney and in shows such as the 17th Biennale
of Sydney and Art Basel, Miami. In 2010 Mata Dupont and her oft
collaborator, Tarryn Gill, won the prestigious Basil Sellers Art
Prize in Melbourne, Australia.
In her solo practice Pilar Mata Dupont is interested in re-creating
or re-imagining memories or histories based on fragments
of texts, photographs or peoples’ stories; exploring how memory
can be warped, disfigured or glorified. She also investigates ideas
of fear, loss and obsession in the context of traditional fairytales,
folk stories and philosophies from around the globe.
IN THE RESIDENCY
June 2011
Pilar Mata Dupont, began work on what will be a triptych of films
about the ‘kaiho’ (Finland’s version of ‘saudade’) while at Arteles.
She shot her first scene of the film in the forest behind Arteles
with two actors from Tampere. This scene explored Finnish tango
movement and lyrics through an adaptation of The Kalevala, the
Finnish national epic, and related it to a story relayed to the artist
by an elderly man about how he lost his wife. She plans to return
to Finland soon for a longer stretch to complete the work.
“ Car crashes is what has to happen “
HÉLÈNE BARIL France
contact.helenebaril@gmail.com // www.helenebaril.blogspot.com // Currently working and living in Paris, France
Hélène Baril was born in 1978. She started devoting herself to
art after quitting french National Education and studying literature.
Her work intend to fix painting in both an ordinary and alternate
reality. She sees herself as a housepainter so painting can
be a tool that serves her sabotage of reality’s undertaking. The
recurrent racing cars appearing in her drawings are the vehicle of
some kind of new Don Quixote. It is a way of creating a fiction that
brings up to stage search of absolute and ludicrous disillusion.
IN THE RESIDENCY
June - July 2011
The painting project in Arteles has both been a basic and big commitment,
being at the same time in the body of what we call an
artist and what we call a worker. A painter and a housepainter.
The interesting thing about it was to discover there is no border
between the act of art and the act of work. What makes the difference
between the two status is nothing but words. What creates
the difference between assuming oneself as an artist or as a
worker? Words and categories. During the month of june, I have
been repainting the Arteles residency barn. With the agreement
of the Arteles crew and after proposing them sketches, I started
repainting the barn with the colors that I recurrently use. The process
was similar in july when painting the Arteles hallway. I have
been the Arteles housepainter for two summer months, assuming
myself as an artist.
“ Travis’ signature yielded extremely high scores
on Arteles’ “Käsiala-analyysi” machine. “
TRAVIS JANSSEN USA
travisjanssen@gmail.com // www.travisjanssen.com // Currently working and living in USA
MFA, Arizona State University
BFA, University of Wisconsin, Madison
Travis Janssen’s creative practice often focuses on contemporary
and historic methods of printmaking as well as forays into video
and installation art mediums. His interests also extend into the
collaborative process and cross-disciplinary investigation, having
collaborated with a variety of individuals on a diverse range of
projects including prints and documentary videos. Conceptually,
Janssen’s work often addresses the public and private acknowledgments
of presence and issues of meditation and distraction
within visual and auditory experiences in contemporary culture.
Currently his research is based out of Carbondale, Illinois where
he teaches printmaking and 2-D foundations at Southern Illinois
University. He also likes root beer.
IN THE RESIDENCY
June 2011
Janssen participated in a number of projects and collaborations
throughout his stay at Arteles. The onus of Janssen’s residency
was placed on a two-channel video and sound installation. Within
multiple spaces Travis recreated the Sun and the Moon, as well
as the Milky Way galaxy. The bulk of his installation, entitled “Was
that really there? I thought so.” experimented with alternative
methods of viewing and listening practices and the questioning of
perception and experience. Two videos were projected on opposing
walls, diagonally presented, in order that they could both be
viewed in alternating and highly personalized fashions. Viewers
were allowed to place themselves between multiple bodies of
reflective foil “water,” often craning their necks and twisting their
bodies to attempt viewing both videos at once, while encountering
a panoply of sound from both visual components. Within this
environment, viewers constructed narratives and meanings from
a diversity of moving images and dramatic sounds from various
environments and moments depicted from a broad cross-section
of Finnish landscapes, architectures, and culture, both private
and public.
GEORGIA ELROD
New York, USA
georgialeee@gmail.com // www.georgiaelrod.com // Currently working and living in New York City, USA
I work from an on-going collection of imagined imagery; I make
many drawings and the ones that resonate to me become paintings.
A loose concept serves as the starting point for my recent
work: they are portraiture of unidentified characters, machines,
and weird objects. The images I paint seem functional or bodily
but cannot easily be named. I attempt to revere and depict a quiet,
unsettling sort of “in-between”; my work is purposely suggestive.
Shifting planes of color, translucency, cropping and light are all
visual factors in my work. Addressing simultaneity and dualities,
I’m interested in the tension that lies between the beautiful and
humorous, the elegant and the awkward.
Milk Maid (Study)
oil and pastel on paper, 16” x 24”, 2011
Untitled Installation
sticks, tinsel, toilet paper, fabric, 2011
IN THE RESIDENCY
May 2011
I made several paintings on paper and canvas. I also completed
a temporary installation in the basement and experimented with
some video work. Collaboratively I participated in “Lautta Klatch”
(art talks on a raft) and in the “Rounder/Kiertelija” postcard project.
“Not to know where we are is frightening
and not having a sense of place
is highly unpleasant.“
JAN VERBRUGGEN Belgium
janverbruggen@gmail.com // www.janverbruggen.be // Currently working and living in Brussels, Belgium
Jan Verbruggen (-1980, Humbeek) works and lives in Brussels
since 2004 where he started a project based on orientation in
contemporary society. He creates paintings but his work often
emerges away from the canvas towards the creation of works
on paper or texts, installations and video pieces. JV assembles
images that are dealing with the juxtapositions and distortions we
retrieve within reality. His pictures are full of sudden twists and
deconstructions, often with a disordering effect to its viewers. He
deliberately wants to confront his audience with our often schizophrenic
world and the misleading aspects of space and time.For
JV the pictorial space of the artwork should be prolonged towards
the actual space of a studio or exhibition space. By this means, for
JV the extension of artist practice to a more curatorial is a logic
evolution: In the past he organized several successful exhibition
platforms under which the first “Actionfield” expositions
during 2005, 2006 and 2007. Beginning 2009 (until March 2010)
he, together with Ischa Tallieu (Gallery Fortlaan17), launched
“Zennestraat 17”, a large scale project space in the heart of Brussels.
In the recent past Jan Verbruggen organized together with
Christophe Floré, Korneel Devillé and Francis Denys, the Brussels
based SECONDroom / moorDNOCES shows. He was also
offered the first solo show at “Vienna International Apartment”.
At the moment Jan Verbruggen is setting up the project “NOMAD,
The Deconstruction of place” in collaboration with ARTELES
creative centre (FL), IONION Centre of the Arts and Culture (GR),
Bamboo Curtain Studio (TW)
“NOMAD, The Deconstruction of Place” presentation
@ Arteles CreativeCentre, Haukijarvi, Finland
“NOMAD, The Deconstruction of Place” on
display @ Gallery Fortlaan 17, Gent, Belgium
IN THE RESIDENCY
May 2011
I recently started collaborating with my brother (Karel Verbruggen,
nuclear engineer). These activities (new for the both of us)
are the outcome of the interventions we performed during May
2011 in the landscapes surrounding Tampere, Finland and are
covered under the project entitled “NOMAD, The Deconstruction
of place.
NOMAD is an installation project which intercedes with the site
specific elements of form and function found on a locality. Such a
locality becomes a “home” for the installation for a limited period
of time. The NOMAD installation travels with us on our journeys.
Where we stop, the installation starts to inoculate on the existing
social, economic, topographic, cultural map of the locality.
NOMAD tempts towards a temporary prolongation of a place. It
adds a meta-layer to the constellation of the locality. NOMAD
(its form and function) changes each time its location changes
and generates interplay with the locality where it appears. The
word “deconstruction” that we retrieve in the title refers to the
process of exploring the categories and concepts that tradition
has imposed on a word, and the history behind them1. We are
interested in an actual understanding of the meaning of the word
“place”.
KAREL VERBRUGGEN
kaverbruggen@gmail.com //
Belgium
// Currently working and living in Brussels, Belgium
Karel Verbruggen is trained as an electromechanical engineer
and has been working in the fields of waterways (bridges, locks,...)
and nuclear power plants. Recently he decided to quit his job in
order to find out how to get more out of life.
IN THE RESIDENCY
May - June 2011
Initially I came to Arteles to assist my brother Jan with the
“NOMAD , The deconstruction of space” project. During the residency
I got involved in the “We
“ Specialization = limitation “
KARIN HODGIN JONES USA
karinhodgin@gmail.com // www.karinhodginjones.com // Currently working and living in Washington DC Metro, USA
Karin Hodgin Jones was raised in Zionsville, Indiana, a densely
wooded agricultural community that was absorbed and suburbanized
by the sprawl of Indianapolis during her adolescence.
She divided her time between roaming the wilderness around
her family’s modest farm and exploring the advanced technologies
available in the classroom of her affluent suburban school.
Reconciling the difference between existing equally but separately
in those two worlds cultivated an interest in examining what
connects the two sides of a polemic. Identifying and elaborating
the lines that bind, mediate, moderate or transition between
opposites remains the central interest in her research and
projects.
IN THE RESIDENCY
March - May 2011
“The most significant work I did during my 3 months at Arteles
was a collaborative experiment called Lautta Klatch (raft talk).
The project began from a series of conversations in April and May
2011. Below is an excerpt of the formal invitation from Karin Hodgin
Jones to guests for the Lautta Klatch:
Pekka Ruuska, Jan Verbruggen and I organized a sort of symposium
for the end of May. We are invited artists, lawyers, educators
and public officials to attend. People from a variety of fields
and experiences came to Arteles for a Lautta Klatch (Raft talk).
The talk took place on a nearby lake on a raft constructed by the
Verbruggen Brothers of Belgium on May 28. Through conversations
about Collectivism, community, funding structures, societal
values and empathy, we engaged in about an hour and a half conversation
on the lake. Why the lake? We sought to explore how
physical labor or an environment like a raft creates a physical
empathy between people that opens up new and different dialogues
than may be had during a lecture or in a classroom environment.
“
“ Slowly but surely unifying
the powers of the macro and microcosms
through the power of observation “
ARIEL MITCHELL
Providence, RI, USA
arielldm@gmail.com // www.arielmitchell.com // Currently working and living in San Diego, CA, USA
I make work that starts with a feeling, and ends with a painting. In
between, it becomes a costume, a performance, documentation,
collage, sometimes drawing and a sculpture. The feelings range
from escapism, being lost, knowing, fear.
IN THE RESIDENCY
April 2011
My stay at Arteles was transformative, and literally set me on the
path I am today. I was able to make the step from object to nonobject.
“ Live fast, die young, and leave
clean underwear! “
MATT SHERIDAN
New York, USA
mcsheridan1@gmail.com // www.msheridanstudio.com // Currently working and living in Los Angeles, CA, USA
I see abstraction as an agent of change. My animation installations
placed in architecture are designed to be catalysts
toward change. Unpacking compressed information set into
motion within a location highlights lack, as compression is lossy.
The lack in my animations and sound pinpoints particular desires
by their absence. This opens spaces for original, individualistic
thought as viewers’ instinct and intuition kick in as they navigate
abstractions in motion which face and/or surround them.
IN THE RESIDENCY
March - April 2011
I began two animations at Arteles: one a single channel abstract
loop and the other a four channel installation work about the
affect of love triangles upon social space. During my time there
I also experimented with and documented installation strategies
in domestic space with pre-fabricated/completed animations.
There were also artist presentations and talks in which I publicly
re-evaluated aspects of my previous work.
ANNA DUVOVICH
Montréal, Canada
anne.ma.dumouchel@gmail.com // www.annaduvovich.com // Currently working and living in Montréal, Qc, Canada
The industrial simulation of femininity, human communication
and the notion of failure are major themes in my work. My performance,
writing, video and photography projects explore both a
sense of losing self-control and a celebration of the contemporary
individual psyché.
IN THE RESIDENCY
March 2011
“At Arteles, I worked on a translation project involving letters
related to a break-up, using cheap transcription devices and
medical theories. Inspired by the DSM IV, I reinvented a typical
love narrative by perverting it with false psychiatric analyses.
I also participated to the Perfo! event held in Tampere with a performance
called Chakras.”
SAMANTHA EPPS
United Kingdom
samantha.epps@hotmail.co.uk // www.samanthaepps.com // Currently working and living in Norwich, England
Samantha’s visual practice is action and performance based,
with an emphasis on how this is later shown to an audience
using different methods of documentation. Recent projects have
experimented with a variety of presentation techniques including
spoken-word performances, the pairing of text and images and
charting accumulated data gathered from durational experiences
in printed documents.
Samantha is also a PhD student based at Norwich University
College of the Arts, her project investigates how conceptual
artists from the UK, Europe and America presented original ideas
and art works through exhibition catalogues from the period
1965 to 1973.
IN THE RESIDENCY
March 2011
During my time at Arteles i became increasingly frustrated by
the limitations that my new sub-zero and snow covered environment
were putting on my normal practice and lifestyle. I decided
to spend the month devising projects that would enable me to
make use of, cope with, and destroy the snow that surrounded me
including learning how to build snow shelters, taking road trips to
sites covered by snow, ingesting and melting snow.
These actions, some taking place for brief moments, whilst others
lasted several hours or days were often performed alone and
documented using basic equipment. The time at Arteles allowed
me to experiment with how i would present information about my
projects to an audience including spoken word performances,
power point presentations, the production of a catalogue, and the
pairing of text and image.
“ Always as to be challenging! “
JEANNE DE PETRICONI France
depetriconijeanne@yahoo.fr // www.jeannedepetriconi.com // Currently working and living in Corsica, France
Initially interested in memory and signs, Jeanne de Petriconi was
fascinated by the power of nature. She captures the movement
that she translates into sculptures or drawings. Based on observation
of the intrinsic properties of the materials she uses in her
sculpture, her creative process transforms these materials in
order to run counter to them. The work of Jeanne comes from the
desire to develop a story through pieces of reality. She sets up collections
of places through drawings, and she expresses through
sculpture, the strength of the gesture, brutal and protector, and
the history contained in these pieces of reality.
Linnunrata, 2011
38 road signs screwed on an aluminium band,
winded around an aluminium bar
400 x 80 x 110 cm
IN THE RESIDENCY
February 2011
This unexpected sculpture has been done in febbruary 2011.
Each road sign selected contains a double meaning. The signs
show as well a way to a street, a path, as refer to Finland, its
geography, myths, old crafts and its landscapes.
The sculpture installed by a crossroads, permit us to keep in
mind the first function of the road signs, and, in the same time, a
part of the landscape, in having a tree aspect.
Moreover, their luminescent properties, in particular lighted up
at night time, evoques a winter landscape, or show us a constellation
of poetic words that bring us back to the title.
EDWARD LAWRENSON
United Kingdom
edward-lawrenson@hotmail.com // Currently working and living in Bristol, United Kingdom
I am a visual artist from Cambridge, UK. After having studied Fine
Art Painting at Winchester School Of Art and L’Ecole Nationale des
Beaux Arts in Paris I now live and work in Bristol and Gloucestershire,
dividing my time as a studio assistant for Science Ltd. and
my own practice. Via the medium of painting, both the procedural
and theoretical aspects of the medium, I am attempting to explore
notions of existentialism, escapism and the authority of narrative.
IN THE RESIDENCY
February 2011
“During the residency at Arteles I was almost overwhelmed with
the beauty of the creative centres geographical setting and the
community which I found there.
I tried to use my time there to continue my primary artistic
research whilst remaining open to new influence. The majority of
my stay encouraged me to explore the idea of landscape and it’s
pervading presence.”
“ Art is my soul.
Art is in my soul.
It is my being.“
SUSAN BERKOWITZ USA
susanberkowitz@msn.com // www.breweryartwalk.com
// Currently working and living in Los Angeles, California
I am a full time fine art alternative process’s/mixed media artist. I
have recently expanded my vision,ideas and concepts to environmental/earth
art. There is alot of heartache in the world and we
are only given 1 life. As individuals we need to stop every so often
and just be in the moment of the beauty that surrounds us. We
need to remember and respect, as well as give back to the earth
what the earth has given to us.I have also begun to raise money
for Covenant House in Hollywood, California (An organization that
helps rescue homeless/abused kids off the street and transition
them to a healthy way of life). I raise money by making and selling
cozy,warm fleece blankets and lighted decorative wine bottles.
I have 4 studio mates at The Brewery Artist Complex that houses
300 artists . I love being in this environment and being around
other artists to talk, create, observe , critique, discuss art, books,
life. My studio is one of the top 3 places I have found serenity. The
other two places? My home and Finland
Paulina, 2011
Fuji Dry Transfer on Artists Paper
3 1/4 x 4 1/4 inches (unframed) 10 x 10 inches( Framed)
Birch, 2011
Fuji Dry Transfer on Artists Paper
3 1/4 x 4 1/4 inches (unframed) 10 x 10 inches( Framed)
IN THE RESIDENCY
January 2011
I Presented a project based on the Finland’s Kalevala Poems.
With this I built assemblages from 85% of objects I found in Finland
and 15% objects I brought with me that represented sections
of the 50 poems or an entire poem. I then photographed these
assemblages with Slide (Chrome/Dia) film and made Polaroid
and Fuji instant film Dry Transfers.
“ Art is to reboot the universe.“
CETUSSS France
cetusss@elvisss.com // http://elvisss.com
// Currently working and living in Geneva, Switzerland
My work is stimulated by the construction of utopian networks,
by the virtuality passing through reality, new designed symbols,
my potential monstrosity, science and the universe. I use various
techniques from the multi-media field.
IN THE RESIDENCY
January 2011
I flirted between trees and snowflakes, to build an alphabetical
graph. I also tried to die with too much saunas to carry people in
a sound-set resulting from the ambient noises.
EMESE HRUSKA Slovakia
emese.hruska@gmail.com // Currently working and living in London, UK
“Emese Hruska is a Hungarian violinist, composer and PhD student
at Roehampton University, London.
As a violinist, besides classical music she studied with folk fiddle
players of the Carpathian Basin, then performed across Europe
as a Hungarian folk dance accompanist. Since her relocation
to the UK, she collaborated with musicians from Celtic, jazz,
popular and South Indian musical cultures, and composed and
recorded music for students at several universities in Wales.
In her compositions she communicates feelings and memories
from her own personal discoveries about getting on in life
and how we can find the balance in ourselves to be as free and
powerful in our minds as possible, to live a happy and meaningful
life. Her musical pieces involve syncopation and drama,
surprising harmonies and sometimes are inspired by Hungarian
and Romanian folk melodies.
This interest also led her to pursue a PhD in Music Psychology. In
her study, she is looking at advanced musicians’ coping processes,
and how these relate to musical development, to find out more
about how it is possible to thrive musically and in life, in general.”
“ I love to explore – Life would be a single tone
without satisfying this constant hunger…”
IN THE RESIDENCY
December 2010
“Related to my academic interests, I was running group discussions
with the resident artists on topics of critical thinking,
preconception and open-mindedness. The aim was to understand
how young contemporary artists develop their practice,
and how creativity can be discovered in their professional development.
The conclusion was simple and considerably enthusing:
“By doing it!”
Besides this, I gave five musical performances, and the environment
inspired me to make new music which was recorded in the
center and presented in Helsinki towards the end of the month.
Subsequently, those compositions became part of a thread of new
musical ideas. “
CAROL MÜLLER France
momu75@orange.fr // momu.blog.lemonde.fr // Currently working and living in Paris, France
As a visual artist, I’ve invested in diverse mediums including
installation and performance before refocusing on photography
and drawing. For the last 10 years, I’ve worked on the question
of open space through my promenade in the landscapes of
Northern Europe: Norway, Northern Germany, Iceland, Finland
and Lithuania.
IN THE RESIDENCY
December 2010
Around the lake of Arteles, in the cold and snow of December,
I walked and took photos. The oblique, winter light of Finland
delicately etched the countryside in a manner that is foreign to
France’s zenithal rays. I chose to capture my contemplations in
a photographic method that, in certain aspects, is reminiscent
of cyanotype. I created a film of six images, Hahmajârvi, that
stretches out over 20 minutes and fully renders the imperceptible
transformations of the landscape that I observed every day
at Arteles. Even if the predominant sentiment is that of stasis, the
visual voyage is permanent, ever changing. It speaks of a grand,
fluid, sketch that unfolds in its own order.
“ You’re always trying to get things to come out
perfect in art, because it’s real difficult in life.”
(Woody Allen in Annie Hall)
TAKESHI MORO Japan
takeshi@takeshimoro.com // www. takeshimoro.com // Currently working and living in Chicago, USA
Takeshi Moro was born in Tokyo Japan, raised in the U.K. and
currently resides in Chicago, IL. Moro attended Brown University
in Rhode Island, where he received his BA in 2001 and briefly
worked in the field of finance. His interest in photography led him
to take courses at the Rhode Island School of Design and pursue
an MFA from The School of the Art Institute of Chicago, which he
received in 2008. Moro currently teaches photography and digital
media at Otterbein University as an Assistant Professor. Moro’s
work has been exhibited nationally and internationally including
a solo exhibition at the Museum of Contemporary Art, Chicago.
IN THE RESIDENCY
December 2010
Through the lens of the sauna culture, I attempted to find a thread
that connected myself to the Finnish people and culture. My
understanding of the Finish sauna tradition is that it is similar to
that of a Japanese tea ceremony. It is a sacred place where participants
leave behind the chaos of everyday and aspire towards a
sense of tranquility and refinement. The act is a transformative
practice both mentally and physically.
I visited local sauna establishments such as Rauhaniemi, Rajaportin,
Hämeenkyrön Talviuimarit to try to capture the experience
of euphoria through sauna.
ELIA ELIEV Canada
eeliev@hotmail.com // http://cargocollective.com/eeliev // Currently working and living in Canada
Elia Eliev’s research focuses on the exploration of post/queer
political identities, and masculinities in contemporary situated
artistic practices and subcultural queer productions.
He is currently enrolled in the Ph.D. in Women’s studies (Gender,
Power and Representations) at the Institute of Women’s studies
in Ottawa.
IN THE RESIDENCY
September - October 2010
Through divers experimentations of new media and performance,
my artistic production revolved around the desire of the
realization and recognition of difference in the gay communities.
Moreover, I was interested in knowing how to circulate such difference
in both the social and intimate spheres.
ALICIA VIANI
Oregon, USA
vialicia@gmail.com // Currently working and living in Portland, Oregon, USA
I am a child and family therapist at a community mental health
agency in Portland, Oregon. My background and degree is in
social work. In Finland, I researched women’s sexuality and wrote
a book for a teenage audience based upon interviews with Finns
on how they have positive experiences and take care of themselves.
Besides the time and energy that goes into working and
writing, I spend a great deal of time seeking Finnish-like saunas
in Oregon and playing music.
IN THE RESIDENCY
August 2010
At Arteles, I wrote a book for teens about young Finnish women’s
sexuality based on interviews with Finns that took place during
2009-2010.
CHARLIE WILLIAMS USA
c@charliewilliams.org // www.charliewilliams.org // Currently working and living in Bath, UK
I am a sometime pianist who has become interested in using
technology to make musical interactions culturally relevant to
those with and without a formal musical background and training.
“ Musical robots.“
IN THE RESIDENCY
August 2010
At Arteles I wrote a couple of software pieces including a
“sound mirror” in which you only exist to the extent that you
speak; a “sound bubbles” game in which pitch (but not spoken
word) causes your projected image to blow a colorful bubble
which then floats away when you stop singing; and a project to
make one step on a dark staircase light up as you approach it.
(http://vimeo.com/cwcw)
I also worked on some sound-interactive pieces involving location
recordings around Arteles, and co-wrote a song every day with
Emma Hooper for Arteles Radio.
“ Though she now lives in Bath, both Emma
and the dinosaurs she sings about are originally
from Alberta, Canada. These songs are
the dusty bones of home.“
EMMA HOOPER, WAITRESS FOR THE BEES Canada
ephooper@gmail.com // waitressforthebees.bandcamp.com // Currently working and living in Bath, UK
Waitress for the Bees is Emma Hooper’s solo project, using viola,
accordion, saw, electronics, and vocals to play you quirky and
affecting songs about dinosaurs that will make your heart hurt.
Last August, The Waitress for the Bees’ performance in Hämeenkyrö,
Finland, made some knights cry and earned Emma a Finnish
cultural knighthood. . (A selection of other recent performances
include Fusion Festival, Germany; Bristol Harbourside Festival,
UK; and L’International, Paris, France.) The Waitress for the Bees’
first album, ”Albertosaurus” was released in the Spring of 2011.
Emma Hooper was born in the cold blue of Alberta, Canada,
where she spoke French and English, built things out of snow and
attended lots of music lessons. She now lives in the soft green
of the UK, where she plays viola with lots of brilliant bands like
Peter Gabriel, Get The Blessing, Newton Faulkner, The Cedar,
and, of course, her own solo project, Waitress for the Bees. She
lives in Bath, but goes home to Canada as often as she can.
IN THE RESIDENCY
August 2010
Arteles is where the Albertosaurus project was brought to life.
Between picking berries and swimming in lakes, the songs were
conceived, written, and demoed. Inspiration from all the other
artists working around me helped to keep things driven, motivated,
polished and, of course, a lot of fun.
HANNA TAI
Australia
hannatai@gmail.com // www.hannatai.com // Currently working and living in Melbourne, Australia
I’m interested in the way cosmological ideas play out at the scale
of everyday life. I examine how experiences, objects, images,
relationships and movements can be manifestations or indicators
of something true and meaningful. My practice is multidisciplinary
and embraces the hope, futility and humour in trying to
understand.
IN THE RESIDENCY
July 2010
“While on my residency I was introduced to the Finnish concept
“Jokamiehenoikeus”, literally translated as “every man’s rights”.
I wanted to exercise my right to cross through time and space,
so I built a log raft using wood from the surrounding forest and
paddled it across Lake Parilanjärvi.
The first time I took the raft to the lake it almost sank. It was too
heavy and I had tried paddling it with the small oar I found in the
Arteles kitchen (later I was told this was not a small oar, but a
spoon for stirring big pots of soup).
The second time I made it across and back again. You can see
the resulting Freedom to Roam video here: www.hannatai.com/
freedom.html
The many great staff and artists at Arteles provided me with saws
and axes, and helped me tie knots and collect containers to keep
the raft afloat. They also showed me the way to the sauna. I think
of the sauna often.”
MICHAEL PULSFORD Australia
michael.pulsford@gmail.com // www.michaelpulsford.com // Currently working and living in Melbourne, Australia
I’m a performer, songwriter and improviser. I’m interested in
improvisation both as a means of investigation and as a way of
negotiating the world.
IN THE RESIDENCY
July 2010
I made a sound design for Helsinki International Theatre’s devised
performance ,’Cor’.
MAYA ARUCH Israel
maya531ster@gmail.com // www.mayaaruch.weebly.com // Currently working and living in Jerusalem & Tel Aviv, Israel
My works are individual pieces of art which, when looked upon,
compose a whole, just like a patchwork.
I do video art, I sculpt, and try to find the connection between
them within a given space.
I work in space and with space.
It is important that the viewer be a part of the work.
Only then will the work be complete.
IN THE RESIDENCY
July - August 2010
During my time in Arteles I worked on several projects, installations
and videos. The first project was a light sphere trapped in
Arteles’s cellar. The work was about the metaphysical space inside
us- our inner world and the mandatory connection between the
former and the space that surrounds us. To do that I use materials
which are difficult to perceive directly, but they do exist such
as light, and smoke. The second work entitled - “Match Point”
dealt with the question of nomadism vs. the sense of belonging.
In order to demonstrate it, I created a sphere which was one-half
above the ground and the other half was dug into the earth. The
meaning of it is the sphere can be a whole only when it’s in the
ground. The problem was that the sphere, whose characteristics
are being dynamic and in motion, are just not useful in this case.
I also made several videos such as: “Everything is ok”, “Insight”
and “Close Up”.
ARTELES
Hahmajärventie 26
38490 Haukijärvi
Finland
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