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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

+358 341 023 787

info@arteles.org

www.arteles.org

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