arteles_catalogue_2010-2013
Arteles Creative Center's residency artists and their projects 2010-2013
Arteles Creative Center's residency artists and their projects 2010-2013
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<strong>2013</strong>-2012-2011-<strong>2010</strong>
THANK YOU.<br />
Arteles would like to thank all the residents, collaborators<br />
funders and supporters for their work, participation and activity.<br />
This <strong>catalogue</strong> would be much emptier without you.<br />
Best Regards,<br />
Arteles Team<br />
ARTELES<br />
CREATIVE CENTER<br />
Hahmajärventie 26<br />
38490 Haukijärvi<br />
Finland<br />
+358 341 023 787<br />
info@<strong>arteles</strong>.org<br />
www.<strong>arteles</strong>.org<br />
Design: Teemu Räsänen. All rights reserved. Arteles 2015
ABOUT<br />
// //<br />
Presenting <strong>2010</strong>-<strong>2013</strong> residency artists and their projects.<br />
All the past residency program participants have been asked<br />
to send information about their projects done in Arteles<br />
Creative Center. Those who have given the information so far are<br />
presented in this <strong>catalogue</strong>.<br />
Arteles <strong>catalogue</strong> was published first time in the beginning of<br />
2012 and it is updated frequently.<br />
You can find the latest version of the Arteles Catalogue from<br />
http://www.<strong>arteles</strong>.org/artists_projects.html<br />
All rights reserved. Arteles 2015
FUNDERS<br />
// //<br />
ARTELES CREATIVE CENTER & RESIDENCY PROGRAM<br />
_ ARTS PROMOTION CENTER FINLAND<br />
_ SKR - FINNISH CULTURE FOUNDATION / PIRKANMAA REGIONAL FUND<br />
_ HÄMEENKYRÖ / HÄMEENKYRÖN YRITYSPALVELUT OY<br />
_ EUROPEAN UNION / JOUTSENTEN REITTI RY<br />
OTHER<br />
_ ARTS COUNCIL OF PIRKANMAA [7] [10]<br />
_ FRAME [11]
COLLABORATIONS [in alphabetical order]<br />
// //<br />
_ ART 360 PROGRAM [9]<br />
_ ARTS COUNCIL OF CENTRAL FINLAND [3]<br />
_ BACKLIGHT PHOTO FESTIVAL [4]<br />
_ CENTER OF CREATIVE PHOTOGRAPHY [3]<br />
_ ESKARO [8]<br />
_ CREATIVE SCOTLAND [2]<br />
_ GALLERY 3H+K, PORI [6]<br />
_ GALLERY ALKOVI, HELSINKI [6]<br />
_ GALLERY RAJATILA [7]<br />
_ HAUKIJÄRVELÄISET ASSOCIATION<br />
_ HÄMEENKYRÖ BOROUGH [8]<br />
_ INSTITUTO ITALIANO DI CULTURA FINLANDIA [2]<br />
_ JYVÄSKYLÄ ART MUSEUM [3]<br />
_ JYVÄSKYLÄ UNIVERSITY OF APPLIED SCIENCES [3]<br />
_ KIASMA [1]<br />
_ LIVE HERRING GROUP [3]<br />
_ NÄKYMÄ PUBLIC ART SHOW 2011 [6]<br />
_ MAKE 8ELIEVE<br />
_ PIIPOO RY [12]<br />
_ PORI ART MUSEUM [7]<br />
_ PERFO! (CULTURAL CENTER TELAKKA TAMPERE) [6]<br />
_ PISPALA CENTER FOR CONTEMPORARY ARTS [5] [6]<br />
_ PTARMIGAN HELSINKI & TALLINN [6]<br />
_ RAJATAIDE ASSOCIATION [5]<br />
_ RED CROSS / REGIONAL DIVISION [13]<br />
_ RECYCLING CENTER, HÄMEENKYRÖ [8]<br />
_ TAMPERE UNIVERSITY OF APPLIED SCIENCES [3]<br />
_ TAMPERE ARTIST ASSOCIATION [5] [9]<br />
_ TAMPERE CITY / CULTURAL OFFICE [5] [12]<br />
_ TAMPERE TRADE FAIR [9]<br />
_ TUNTURI HELLBERG LTD<br />
_ TEHDAS RY [7]<br />
_ TIKKURILA [8]<br />
_ TR1 KUNSTHALLE [7]<br />
_ UNIVERSITY OF JYVÄSKYLÄ [3]<br />
_ XL ART SPACE HELSINKI [6]<br />
_ ORE.E REFINERIES [7]<br />
EXPLANATIONS<br />
// //<br />
[1] Arteles Citywalks - URB - Urban Art Festival 2011<br />
[2] Arteles Studios<br />
[3] Artist Talks<br />
[4] Backlight Sympsium<br />
[5] CARE - Contemporary Art Residency and Exchange Program<br />
[6] Direct use of Arteles network artists<br />
[7] Satellite Platform - Lecture series<br />
[8] Residency program’s material support<br />
[9] Tampere Art Fair<br />
[10] Art Dubai fair<br />
[11] Istanbul Biennale<br />
[12] Artisokka -project<br />
[13] Art projects
RESIDENTS<br />
Arteles Creative Residency Program, January - November <strong>2013</strong><br />
Argentina<br />
Australia<br />
MARÍA EMILIA SILVETTI // Painting & poetry<br />
NIZHA BUSTOS SALIM // Music<br />
SIMON GARDAM // Media art<br />
PILAR MATA DUPONT // Visual art<br />
JODY QUACKENBUSH // Visual art<br />
ANNIE NGUYEN // Visual art<br />
ADAM GIBSON // Visual art & music<br />
HENRY ANDERSEN // Sound & music<br />
JACQUI MILLS // Visual art<br />
Mexico<br />
Netherlands<br />
New Zealand<br />
Norway<br />
Poland<br />
IVÁN KRASSOIEVITCH // Visual art<br />
MAARTEN BOEKWEIT // Visual art<br />
JOANNE DRAYTON // Visual art<br />
SUZANNE VINCENT MARCHALL // Visual art<br />
KRISTIN NANGO // Dance & performance<br />
SENA WOLF // Visual art<br />
Belgium<br />
Brazil<br />
Canada<br />
Colombia<br />
BEATA SZPARAGOWSKA // Visual art<br />
BEATRIZ MOGADOURO CALIL // Visual art<br />
VICTOR LEGUY // Visual art<br />
CARLA CHAIM // Visual art<br />
JORMA KUJALA // Visual art<br />
NATASHA ALPHONSE // Visual art<br />
DEVON MICHIGAN // Performance, occult, music<br />
DANA BUZZEE // Installation & photography<br />
PAOLO GRIFFIN // Music composition<br />
DANIELLE BLEACKLEY // Sound, Ink,Textile<br />
VANESSA VAUGHAN // Visual art<br />
CHRISTIANA MYERS // Visual art<br />
SYDNEY SOUTHAM // Visual art<br />
JULIE PASILA // Visual art<br />
JEAN PAUL GOMEZ // Photography, video, installation<br />
LARRY MUÑOZ // Visual art<br />
Spain<br />
Sweden<br />
Switzerland<br />
Turkey<br />
UK<br />
GLÒRIA ESCALA VIDAL // Performance & installation<br />
JOSE BAHAMONDE // Video, 3D, motion graphics<br />
MYRIAM GUILLAMÓN // Video, 3D, motion graphics<br />
JIMMY ALM // Visual art<br />
MAURITZ TISTELÖ // Poetry & visual art<br />
LILIAN BEIDLER // Visual art<br />
CAROLINE VON GUNTEN // Drawing, Installation<br />
SEZA BALI // Photography<br />
ELIZABETH ARMOUR // Jewellery, craft, digital design<br />
SOPHIE LEE // Photography, installation, artist books<br />
EDWARD SANDERS // Painting<br />
MARTHA JURKSAITIS // Visual art<br />
KADIE SALMON // Visual art<br />
JAMES GOW // Visual art<br />
AMELIA CROUCH // Visual art<br />
Denmark<br />
Finland<br />
France<br />
Germany<br />
Hong Kong<br />
Iran<br />
Ireland<br />
Italy<br />
IDA-ELISABETH LARSEN // Dance & performance<br />
MARIE-LOUISE STENTEBJERG // Dance & performance<br />
OLLI HORTANA // Film<br />
VIRPI VELIN // Photography<br />
KIA KUJALA // Mixed<br />
RAILA KNUUTTILA // Visual art<br />
EMILIE MCDERMOTT // Video, installation, performance<br />
VERA HOFMANN // Visual art<br />
SABINE SCHRÜNDER // Visual art<br />
JACQUELINE HEN // Visual art<br />
VIOLET SHUM // Visual art<br />
SHOHREH GOLAZAD // Multimedia<br />
IAN NOLAN // Painting, installation, intervention<br />
PIERCE HEALY // Visual incongruities, storytelling, sound<br />
MIRKO KANESI // Visual art<br />
ARABELLA PIO // Visual art<br />
BENEDETTA ALFIERI // Visual art<br />
ALBERTO VENTURINI // Visual art<br />
EMANUELE LOMBARDINI // Visual art<br />
USA<br />
CHAD MOUNT // Painting, video<br />
NICOLE GRECO-LUCCHINA // Visual Arts, typography<br />
AMBERA WELLMANN // Painting<br />
STEPH ZIMMERMAN // Sculpture, photography, graphic<br />
AMY JONHSON // installation, photography, performance<br />
LYNDON BARROIS, JR // Painting & drawing<br />
ADDOLEY DZEGEDE // Visual art<br />
MATTHEW SCOTT GUALCO // Writing, texting, drawing<br />
RYAN SOMERVILLE // Music<br />
CATHERINE J. HOWARD // Visual art<br />
SUSAN E. EVANS // Hybrid media & photography<br />
BRENNA NOONAN // Music<br />
AMBER DOE // Visual art<br />
MAEGAN STRACY // Visual art<br />
DUSTY RABJOHN // Visual art<br />
KRISTY HEILENDAY // Visual art<br />
AGNES FIELD // Visual art<br />
ALISON CHEN // Visual art<br />
SHELBY SEU // Visual art<br />
JESSICA MILAZZO // Visual art<br />
SHARON LACEY // Visual art<br />
SALMA BRATT // Literature<br />
COALFATHER INDUSTRIES // Visual art<br />
HEATHER SINCAVAGE // Visual art
RESIDENTS<br />
SILENCE . AWARENESS . EXISTENCE - Theme residency program, December <strong>2013</strong><br />
Ellis Hutch // Installation, sound, drawing<br />
Australia<br />
Sasha Margolis // Sound art, installation, music<br />
Australia<br />
Sam Fagan // Visual art<br />
Australia<br />
Alexis Williams // Sound, installation, biology<br />
Canada<br />
David Boyce // Conceptual art, photography Hong Kong / New Zealand<br />
Teresa Miró // Visual art<br />
Spain<br />
Simon Gerrard // Photography, installation, light<br />
UK<br />
Shawné Holloway // New media, sound<br />
USA<br />
Jessica Anderson // Sculpture, photography, installation USA<br />
Matthew Clark // Visual art<br />
USA<br />
Birgit Larson // Performance, drawing<br />
USA
RESIDENTS<br />
2012<br />
Australia<br />
MICHELLE DICINOSKI // Media art<br />
Russia<br />
TATJANA GORBACHEWSKAJA // Visual art<br />
RYAN McGENNISKEN // Visual art<br />
HOLLIE KELLEY // Visual art<br />
Slovenia<br />
NATASA KOSMERL // Photography<br />
GRACE KINGSTON // Visual art<br />
GREGA LOŽ // Illustration<br />
LAURA BATCH // Visual art<br />
TOM HOGAN // Sound & Music<br />
South Africa<br />
LAUREN VON GOGH // Visual art<br />
ADAM GIBSON // Sound & Music<br />
ROBYN COOK // Visual art<br />
JACQUI MILLS // Visual art<br />
JENNA BURCHELL // Visual art<br />
Bulgaria<br />
IVAYLO GUEORGIEV // Visualart<br />
South Korea<br />
SAEBON KIM // Visual art<br />
JI HYE YEOM // Visual art<br />
Brazil<br />
RENATA PADOVAN // Visual art<br />
LARISSA PINHO ALVES RIBEIRO // Visual art<br />
Spain<br />
ALBERTO MARTÍNEZ CENTENERA // Visual art<br />
STEFFANIA PAOLA ALBANEZ // Visual art<br />
ANA GALAN // Visual art<br />
Canada<br />
JENNIFER PICKERING // Visual art<br />
Switzerland<br />
NATALIA COMANDARI // Visual art<br />
VANESSA BRAZEAU // Visual art<br />
ROMAIN LEGROS // Visual art<br />
ELLA COLLIER // Visual art<br />
SIBYLLE IRMA // Visual art<br />
JULIE PASILA // Visual art<br />
Chile<br />
CARLOS LABBÉ JORQUERA // Literature<br />
UK<br />
LAURA CARLOTTA WRIGHT // Lense based arts<br />
DAN COOPER // Sound & Music<br />
MONICA RÍOS VASQUEZ // Literature<br />
PATRICK LOAN // Visual art<br />
ANNABELLE CRAVEN-JONES // Visual art<br />
Finland<br />
ANU TURUNEN // Visual art<br />
EMMA REEVES // Visual art<br />
CAMILLA EMSON // Visual arT<br />
France<br />
EMILIE COLLINS // Visual art<br />
USA<br />
MARY-ELLEN CAMPBELL // Visual art<br />
Hungary<br />
TAMAS SZVET // Visual art<br />
GRACE NEEDLMAN // Visual art<br />
CHRISTOPHER D WILLE // Media art<br />
Israel<br />
OFRI LAPID // Visual art<br />
MARK WUNDERLICH // Poetry<br />
DOROTHY K. MCCALL // Art history<br />
Italy<br />
SARAH EDITH LOMBROSO // Illustration<br />
MARLENA MORRIS // Photography<br />
ROBERTO PUGLIESE // Sound & Media art<br />
PAUL ZMOLEK // Dance & Performance<br />
JOSEPHINE A. GARIBALDI // Dance & Performance<br />
Japan<br />
MIKA MIZUNO // Photography<br />
SUSAN EVANS // Visual art<br />
AQUICO ONISHI // Visual art<br />
JAMIE URETSKY // Visual art<br />
TOSHIHIKO SUZUKI // Architecture<br />
DELILAH JONES // Visual art<br />
YUKI SUGIHARA // Design<br />
JOHANNA BREIDING // Visual art<br />
MARY RASMUSSEN // Visual art<br />
Malaysia<br />
VALERIE NG // Painting<br />
MELANIE EDWARDS // Music<br />
STEPHANIE CHAMBERS // Visual Art<br />
Mexico<br />
DANIEL ORLANDO LARA // Photography<br />
JESSELISA MORETTI // Visual art<br />
CARRIE NAUGHTON<br />
// Literature<br />
SIMEN JOACHIM HELSVIG // Visual art
RESIDENTS<br />
2011<br />
Argentina<br />
Australia<br />
Belgium<br />
CAROLINA TRIGO // Media-art, Performance<br />
THE MOTEL SISTERS // Action<br />
PILAR MATA DUPONT // Video, performance<br />
JENNA CORCORAN // Installation<br />
KATHERINE SHRINER // Painting<br />
JESSICA MONTFORT // Painting<br />
JAN VERBRUGGEN // Sculpture, Painting<br />
KAREL VERBUGGEN // Engineering<br />
PIETER GYSELINCK // Sound<br />
Italy<br />
Japan<br />
South Korea<br />
Spain<br />
HELENA HLADILOVA // Fine art<br />
PAOLA RICCI // Sculpture<br />
HANAE UTAMURA // Transart<br />
HWAYOUN LEE // Drawing<br />
HYOJUNG JUNG // Film, video<br />
HYEKYONG YUN // Photography<br />
VICTOR GONZALEZ CASTRILLO // Writer<br />
MARIA SANCHEZ // Curator<br />
Canada<br />
Croatia<br />
China<br />
Finland<br />
France<br />
Germany<br />
Greece<br />
Honduras<br />
ANDREANNE FOURNIER // Media art<br />
AARON WELDON // Painting<br />
JEANNE MARSHALL // Textile<br />
RICHARD IBGHY // Conceptual art<br />
MARILOU LEMMENS // Conceptual art<br />
CHRISTIAN CHAPMAN // Painting<br />
ANNE MARIE DUMOUCHEL // Performance<br />
ANA GEZI // Painting<br />
JOLENE MOK // Transdisciplinary<br />
ULRICH HAAS-PURSIAINEN // Curator<br />
OLLI HORTTANA // Photography<br />
HÉLÈNE BARIL // House painter<br />
JEANNE DE PETRICONI // Sculpture<br />
SORAYA RHOFIR // Video art<br />
BERENICE SCHRAMM // International Law<br />
MARIE MONS // Design<br />
SABINE SCHRÜNDER // Photography<br />
VERA HOFMANN // Photography<br />
NINA FARSEN // Design<br />
GEORGIA KOTRETSOS // Conceptual art<br />
ALEXIS AVLAMIS // Painting, Drawing<br />
DINOS NIKOLAOU // Media Art<br />
ALMA LEIVA // Transdisciplinary<br />
Switzerland<br />
Taiwan<br />
Turkey<br />
UK<br />
USA<br />
CETUSSS // Design, art, sound<br />
JULIET FANG // Fine arts<br />
DIDEM OZUBEK // Design<br />
LUCY DRISCOLL // Illustration<br />
LUCY BAKER // Fine art<br />
EDWARD LAWRENSON // Painting<br />
SAMANTHA EPPS // Fine art<br />
HILJA ROIVAINEN // Painting<br />
LAURA DONKERS // Conceptual art<br />
MATT SHERIDAN // Media arts<br />
SUSAN BERKOWITZ // Photography<br />
LUCAS COOK // Photography<br />
SHARI PIERCE // Fine art<br />
KARIN HODGIN JONES // Installation<br />
MONTANA TORREY // Videoart<br />
DAN SPANGLER // Media Design<br />
KATIE ZAZENSKI // Installation<br />
TREVOR AMERY // Installation<br />
GAYLORD BREWER // Poetry<br />
ARIEL MITCHELL // Textile Art<br />
GEORGIA ELROD // Painting<br />
TRAVIS JANSSEN // Media-art<br />
COLIN WOODFORD // Sound art<br />
BRENDAN CARN // Music<br />
KELLY MONICO // Video<br />
MIKE KOFTINOW // Painting<br />
EILIYAS // Sound art<br />
GWYNETH ANDERSON // Animation<br />
MARISSA GEORGIOU // Conceptual art
IN THE RESIDENCY<br />
<strong>2010</strong> June ><br />
Australia<br />
MICHAEL PULSFORD // Sound art<br />
France<br />
CAROL MÛLLER // Photography<br />
HANNA TAI // Installation Art<br />
MAXIME BONDU // Installation<br />
SALLY DAVISON // Actor<br />
NICOLAS CILINS // Installation<br />
Brazil<br />
LEANDRO LEITE // Choreographer<br />
Israel<br />
MAYA ARUSCH // Fine Arts<br />
Canada<br />
EMMA HOOPER // Research and music<br />
Slovakia<br />
EMESE HRUSKA // Research, music<br />
ELIA ELIEV // Visual arts, research<br />
JOHN LUI // Photography, design<br />
The Netherlands<br />
BREGTJE WOLTERS // Drawing<br />
RICHARD IBGHY // Conceptual art<br />
MARILOU LEMMENS // Conceptual art<br />
USA<br />
TAKESHI MORO // Photography, media art<br />
CHARLIE WILLIAMS // Composer<br />
Estonia<br />
ANNA JAANISOO // Theater director<br />
ALICIA VIANI // Research, Music<br />
DEREK LARSON // Artist, Curator<br />
Finland<br />
EERO YLI-VAKKURI // Multidisciplinary art<br />
INKA JURVANEN<br />
// Drawing<br />
Vatican City<br />
STEPHANO SUH // Graphic design<br />
EEVA TALVIKALLIO // Research<br />
IIDA-MAARIA LINDSTEDT // Actor<br />
PAULA LEHTONEN // Media-art
RESIDENTS + PROJECTS
IN THE RESIDENCY<br />
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December <strong>2013</strong><br />
“Quantifying invisible measurements<br />
with careful imprecision”<br />
JESSICA BROOKE ANDERSON<br />
USA<br />
brooke.ja@gmail.com // www.jessicabrookeanderson.com<br />
Taking the position as neither a skeptic nor a promoter, my research<br />
examines the role of holistic healing practices in contemporary<br />
culture. I am interested in the boundary between the mind and body<br />
as well as personal relationships to health, science, medicine, and<br />
biologic phenomena. Reminiscent of laboratory investigations, my<br />
invented scenarios answer questions with questions and provoke<br />
participatory explorations of the individual self.<br />
Reframing existing treatments heightens their tension of purpose<br />
and provides viewers with neutral environments of investigation.<br />
By repositioning scientifically grounded phenomena into the<br />
context of a gallery, information begins to transcend ratiocination<br />
and calls upon a physical conversation between mind, body,<br />
and personal experience. In my work, invitations for experience<br />
occur through demonstrative videos, interactive objects/devices,<br />
evocative statements of research, and performative exercises.<br />
Together, each of these installation elements create a multidimensional<br />
environment of investigative viewing, biologic<br />
questioning, experiential answering, and opportunities for viewers<br />
to test their own boundaries of belief.
WHICH WAY WOULD YOU LIKE TO GO?<br />
Scientific research has determined that meditative actions<br />
change the interior landscape of the body. Examples of such<br />
changes include the physical structure of the brain, increased<br />
speed of neurons, growth in circulatory enzymes, and the altering<br />
of genetic code. Separate research has determined that the body’s<br />
somatosensory and interoception networks are triggered when<br />
an individual performs a familiar task with their eyes closed,<br />
resulting in heightened brain activity and personal awareness.<br />
But what happens to the body when the two are combined?<br />
“Meditation Walking,” the project conducted during my<br />
month at the Arteles Residency, challenges these notions of<br />
measurement and explores the biologic impact of engaging in a<br />
walking meditation without sight. By using a marker to trace the<br />
continuous movement of individual mediators, the project became<br />
an improvised human seismograph. The wavering marks on the<br />
paper functioned as quantifiable measurements of the performed<br />
experience while the compression of the collected data bypassed<br />
all means of traditional analysis. Every ebb and flow of meditation<br />
was recorded, but every moment is indistinguishable from the<br />
rest.<br />
As a record of the brain’s systematic transformation and the<br />
layering of time spent in transition, “Meditation Walking” merged<br />
the internal experience with the physical process. The generated<br />
evidence served as an indecipherable record of an internal,<br />
cognitive shift and confronted ideas of arbitrary measurement,<br />
personal opinion, and self projection.
IN THE RESIDENCY<br />
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December <strong>2013</strong><br />
“Playing in the gloaming of<br />
your self-awareness”<br />
ALEXIS WILLIAMS<br />
Canada<br />
digitalucid@gmail.com // www.alexiswilliams.net<br />
The average healthy mind ignores information that is not obviously<br />
relevant. (This unawareness is literally ignorance) My work often<br />
attempts to draw attention to things that were always visible but<br />
were overlooked or ignored. I aim to alter my viewer’s awareness<br />
to reveal things we cannot see until we learn how to see them<br />
while suggesting that other things in life might be unperceived<br />
or unintentionally disregarded. My time at Arteles is spent<br />
researching the inaccuracies of our perception and how technology<br />
and culture affect our understanding of our world and of ourselves.<br />
My current project will attempt to inspire change in perception of<br />
the self by pointing out the inaccuracies of our senses and of our<br />
ignorance of nature. The work produced will celebrate the liminal<br />
moment of freedom from identity that happens when you realize<br />
that you are not exactly what you thought you were. It will strive to<br />
achieve with science and reason a state between self-awareness<br />
and egolessness that is usually only achieved in spiritual ritual. As<br />
an artist Interested in cognitive dissonance, paradigm shifts and<br />
moments of realization, I am drawn to the lecture and ceremony<br />
as methods to perform this work. The piece will be both a guided<br />
meditation and a biology lesson presented as an audio installation<br />
and a live performative talk at conferences.
WHICH WAY WOULD YOU LIKE TO GO?<br />
While I write my thesis which will be a guided meditation<br />
on inaccuracies of our perception of nature and of the self<br />
I participated in several international artist residencies. My<br />
stay at Arteles was spent researching pop neurology and<br />
meditation. Specifically I studied how our attention works and<br />
how we form self-awareness. This text piece is one of a series of<br />
cognitive drawings that uses alternating parallel intelligible and<br />
nonsensical information to draw a line with attention. It plays with<br />
our intuitive tendency to pay attention to things our brains find<br />
meaningful and to ignore information that does not make sense.<br />
While experimenting with meditation in Finland it was snowing<br />
so I made a 40 meter wide meditation labyrinth in the snow in<br />
the dark. I used a traditional design that is used to unwind and<br />
to help guide you to your center. Walking a meditation labyrinth<br />
is supposed to bring clarity over obstacles and help to find one’s<br />
path. While walking my labyrinth for the first time I worried that<br />
I had made a mistake building it and that my path was looped or<br />
flawed. I realized that I needed to have faith and that the only way<br />
to see if it was the correct path was to follow it completely. The<br />
affirmation I am using while studying self-hypnosis is “”I am exactly<br />
where I am supposed to be””, as in, “”I am on the right path””.
IN THE RESIDENCY<br />
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December <strong>2013</strong><br />
ELLIS HUTCH<br />
Australia<br />
ellishutchart@gmail.com // ellishutch.tumblr.com<br />
Close to the berg the pressure makes all sorts of quaint noises.<br />
We heard tapping as from a hammer, grunts, groans and squeaks,<br />
electric trams running, birds singing, kettles boiling noisily, and an<br />
occasional swish as a large piece of ice, released from pressure,<br />
suddenly jumped or turned over.” Frank Worsley, Antarctica 1914<br />
I’m work with video, photography, installation and sound. I’m<br />
currently obsessed with Antarctica and the moon. I’m fascinated<br />
by photography of remote and extreme environments, and by how<br />
it’s possible to visit those inaccessible places vicariously inspired<br />
by the images and writings of astronauts and explorers.<br />
One of the questions that interests me is how do explorers and<br />
astronauts translate experiences that occur at the limits of<br />
their ability to perceive for remote audiences? Spending time<br />
at Arteles during winter will give me an opportunity to work in<br />
an environment that foreign to me. My working method is to<br />
undertake a phenomenological investigation – taking into account<br />
the insights I’ve gained through historical/archival research and<br />
the theoretical research I have conducted into phenomenology,<br />
action and perception.
Photos: Birgit Larson<br />
THE LOST ASTRONAUT<br />
I addressed the residency theme of ‘Silence, Existence,<br />
Awareness’ by shifting my usual working methods. Rather than<br />
starting with historical/archival material and specific concepts<br />
to generate the work, I focussed on the sensory experience of<br />
walking every day. Leaving at different times and choosing a<br />
variety of paths across fields, down roads and into the forest I<br />
confronted my fears of the dark, of walking on ice and of exploring<br />
an unfamiliar environment.<br />
The lost astronaut images were made as a result of paying<br />
attention to the feeling of being lost and ‘out of place’. Wearing<br />
the psychic life-support system my imaginary astronaut was able<br />
to inhabit the unfamiliar environment while remaining isolated,<br />
an observer.<br />
The astronaut’s aim is to get to the moon, in the meantime she<br />
will continue searching and observing.
IN THE RESIDENCY<br />
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December <strong>2013</strong><br />
CLARK & MIRÓ USA / Spain<br />
MATTHEW CLARK & TERESA MIRÓ<br />
matthewclark@mtclark.com & teresa@teresamiro.com // www.cargocollective.com/clarkmiro<br />
The collaborative work of Clark & Miró explores issues related<br />
to personal awareness, invisible forces, and habitual patterns<br />
that underlie and shape existence. A seemingly polarized, two<br />
sided object or situation is in reality unified. There is only one<br />
continuous side to existence. Good and bad, darkness and light are<br />
part of the same whole. Metanoia is carried out by the acceptance<br />
of this interconnected life, finding value in the negative, and<br />
transforming the thought process. Reforming the psyche is a<br />
mode of self-healing, which is followed by a change of conduct,<br />
the initial step towards collective awareness and empowerment.<br />
Clark Miró is a collaborative platform established in Phoenix,<br />
Arizona. Teresa Miró was born in Spain and Matthew<br />
Clark is from the United States. They share an intermedia<br />
approach to art combining photography, digital illustration,<br />
graphic design, painting, digital modeling and animation.
YOU GET A LOT OF MAGNETS<br />
In a magnetic field, the field is not just within the magnet, it is<br />
all around it. If the north pole of the magnet is cut, the result is<br />
not an isolated north pole, but two magnets each with a complete<br />
magnetic field.<br />
Living organisms are much more like the field phenomena than<br />
like machines. If you cut a plant in little parts, each cutting can<br />
become a whole new plant.
IN THE RESIDENCY<br />
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December <strong>2013</strong><br />
SIMON GERRARD<br />
UK<br />
simon.gerrard@gmail.com // www.simongerrard.com<br />
Redirecting light and therefore avoiding re-appropriation, I play<br />
with the viewers interpretation of light and reality, time and<br />
place. My enthusiasm lies in slide photography and projection/<br />
installations, the exploration of layering slides and their manual<br />
formation, incorporating silk-screened layers with colour reversal<br />
film. My work explores our connection to the present, sensory<br />
awareness and emotional reactions, attempting to remove the time<br />
lag between mind and emotions. Creating a viewing experience<br />
that deepens our sense of reality and emotional connection to<br />
ourselves/subject in the perceived simple act of engaging with an<br />
image. Much of my work is rooted in the belief that we are no<br />
more or less than our surroundings and seeks to create gallery<br />
environments that understand our existence rests solely on this<br />
relationship.
DELIMITED<br />
Delimited’ explores the perpetual reliance on distorted perception<br />
and objective matter of fact. It challenges the faith we place in<br />
existing conceptual structures and examines the struggle of<br />
trying to prevent our thoughts from pinning down immediate<br />
experience.<br />
The work seeks to uncover the residual unknown.<br />
It traces novel gesture and the absent body, mapping our visceral<br />
space to reach a greater depth of awareness.<br />
‘Delimited’ manifests in a subjective experience but intends to act<br />
as a conduit to another.
IN THE RESIDENCY<br />
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December <strong>2013</strong><br />
“a time-lapsed trip through chromatic,<br />
emphatically dodgy hyper-futurist smog”<br />
SASHA MARGOLIS<br />
Australia<br />
sasha.margolis@gmail.com // somnambulist.squarespace.com<br />
Sifting through the sonic waste and discarded technology left by<br />
the roadside of a world speeding too fast into the future. Field<br />
recordings, found sound, tape manipulation, noise, effects units,<br />
digital and analogue synthesis. Currently pursuing live and studio<br />
created soundscapes using various psychoacoustic and binaural<br />
techniques and archaic tape based drones.<br />
Sasha is supported by the ArtStart grant from Australia Council<br />
for the Arts.
TRANSMISSIONS FROM 61°N, 23°E<br />
The boreal white backdrop gives way to a muted palette of browns<br />
and greens in a trickle of meltwater and wind. Saunas in subzero<br />
Celsius. Black Christmas. Psychogeography informs an<br />
acoustical traverse. Listen:
IN THE RESIDENCY<br />
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December <strong>2013</strong><br />
SHAWNÉ MICHAELAIN HOLLOWAY<br />
USA<br />
cleogirl2525@gmail.com // www.shawnemichaelainholloway.com<br />
SHAWNÉ MICHAELAIN HOLLOWAY is a dirty new media artist<br />
from Chicago, IL. Her work critically examines topics such as<br />
alternative sexuality, racial sensitivity, and social media. From<br />
.gifs to live performances, she has shown work internationally<br />
in both physical and online galleries. Some highlights include<br />
invitations to: participate in the SIMULTAN experimental video<br />
festival in Timisoara, Romania; lecture at hacker/art festival<br />
Notacon 9 & 10 in Cleveland, Ohio (USA); organize a workshop/<br />
lecture/panel in Chicago, IL at GLI.TC/H 20112; and write essays<br />
for both the Dirty New Media exhibition at the Barber Institute of<br />
Art in Birmingham, UK and the In Media Res online symposium.
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have the IP address 121.313.1.114””)<br />
var images.completed (100% authentic(ated/:) 75 PNGs ov 250<br />
PNGs) = functionEachAs (ctrl+P 1sec. from 30day XP _n_ res)<br />
var xp-incl = [“”anxiety””, “”loneliness””, “”empathy””,<br />
“”tranquility””, ”gratitude””, ”shame””, “”lust””,<br />
“”exxxploration””, “”kinship””, “”liberation””,]<br />
var process = [“”imageArchiv+””, “”force quit _n_ (re)boot<<br />
or >^^^load””, “”unzipping gigs ov .zip+.rar_s over TLS/SSL<br />
protocols “”, “”cracking unknown file types””, “”(compulsive)<br />
CTRL+3/prntScrn””, “”contentAware(ness)””, “”persistance /<br />
integration / en)coding””, ;]<br />
var visual output = layered.artifacts [“”remi.xxx*d ov ><br />
microXpression_sta.xxx > + 30s ov daily fluid online irl<br />
integration””]} ><br />
IN THE RESIDENCY<br />
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December <strong>2013</strong><br />
BIRGIT LARSON<br />
USA<br />
birgit.larson@gmail.com // www.birgitlarson.com<br />
Life and artwork for me right now is loosely guided by my relationship<br />
with anxiety. I’ve found it’s a powerful force. By recording others,<br />
setting social parameters and inventing guidelines of interaction I<br />
have both excuses to face anxiety and reasons to create more of it.<br />
I’ve found I am especially interested in anxiety’s connection to moral<br />
framework. I’m also interested in the history and role of anxiety in<br />
mental heath and mental health’s history as seen through artists.<br />
I do some fun things too, like having entire conversations with the<br />
sound “ribbit” or learning to hypnotize myself.
SELF REVEALED THROUGH ORAL COMMUNICATION IN RELATION TO ANXIETY, SO SERIOUS.<br />
For the month of December my main focus was to be conscious of<br />
building an environment, practice and mindset for myself that had<br />
the potential to turn into a project rather than being consumed<br />
by production of specific goals. I spent a fair amount of my time<br />
researching, meditating and letting go of projects, emotions and<br />
ideas that I didn’t want. My attention turned towards my personal<br />
social habits within the intimate group in relation to habits I’d<br />
formed living in New York. I wanted to focus on exploring my<br />
own anxiety in intimate settings. I put myself in a sort of social<br />
contract to have a recorded conversation with each of the other<br />
artists at Arteles about their roots and moments of anxiety. I then<br />
edit the conversations so that only my voice is heard. The result<br />
is that I force myself to take the responsibility of becoming the<br />
only subject in the conversation amidst anxiety. The conversation<br />
of myself with silence reveals how I socially adapt and am defined<br />
through other people and how my vulnerability changes with each<br />
conversation.
IN THE RESIDENCY<br />
SILENCE.AWARENESS.EXISTENCE - Theme residency program, December <strong>2013</strong><br />
“ Nothing is ever easy,<br />
except when it is.”<br />
DAVID BOYCE<br />
Hong Kong / New Zealand<br />
davi9d@davidboyce.net // www.davidboyce.net<br />
I am interested in many things. Memory, language, spirituality,<br />
identity and influence are but a few of these. I take these<br />
interests and develop obsessions. These obsessions are<br />
the base of what I sometimes turn into art. Some of this art<br />
is tangible and exists for extended periods of time, other<br />
times it is offered up into the ether to pass almost unnoticed.<br />
I am intrigued by beauty, but also have a soft spot for ugliness, the<br />
mundane and the overlooked. I like what people pass by without a<br />
second look or backward glance. Where people rush, I try to go a<br />
little slow. My work is usually project driven and I can be working<br />
on several things at once. Some come to life quickly, others can<br />
take years of false starts, interesting side roads and diversions.
Stand in front of a camera and think your portrait into existence.<br />
Continue trying until you are successful.<br />
Clear your mind. Look into a camera loaded with 5x4 inch film (Black and<br />
White or Colour, the aesthetic choice is yours). Think of the face of someone<br />
you once loved but love no more. A quarter of a second should be enough.<br />
Then take the film from the camera (unexposed, but for your thoughts),<br />
and place it where you will forget about it over a period of time.<br />
Place your camera in front of a speaker, (or, preferably, take it to a performance<br />
of live music). Think about the camera soaking up and absorbing the<br />
music. Take your camera and thinking of the music it absorbed, look for a<br />
visual resonance to the music. Photograph that resonance until you feel<br />
the resonance dissipate.<br />
In the darkest of night. Walk for 30 minutes holding your camera in<br />
your hand with the shutter open. Repeat until exhausted.<br />
EXPERIMENTATION, RESEARCH, AND A DESIRE TO MAKE MISTAKES.<br />
I came to Finland with an idea, well actually several ideas, but<br />
one in particular, to make a series of restful, monochromatic<br />
photographs. I also wanted to do some thinking on where my<br />
art practice was taking me. In the end the monochromatic<br />
photographs didn’t happen, but other things did. I started to<br />
make simple drawings, something I have not done in a long<br />
time. I let myself, no, I encouraged myself to make mistakes and<br />
experiment with ideas. In the end I felt I made advances on things<br />
that had been problematic to me for some time. I also started<br />
to develop a new body of work around the idea of instructions to<br />
make photographs. I am now working on how to present the work.<br />
I also left with a notebook full of ideas for new projects, and ideas<br />
on revitalising some existing ones. Some of which might require<br />
a return to Finland.
IN THE RESIDENCY<br />
November <strong>2013</strong><br />
ARABELLA PIO<br />
Italy<br />
arabellapio@gmail.com // www.arabellapio.it<br />
My investigative process involves both aestheticizing and<br />
politicizing my personal experiences and relationship with the<br />
surroundings, raising questions that concern cultural identity and<br />
basic human interactions, among other things.<br />
In these social and cultural inquiries I try to create narratives<br />
that fluctuate between fictional and historical anecdotes and<br />
where a change, although infinitesimal, can take place, diverting<br />
imagination from the familiar trajectory.<br />
Formally, my work tends to evolve into photographs, texts,<br />
installations, spoken-word events, or slideshows.
- PIDÄN SUOMESTA JA SUOMI PITÄÄ MINUSTA (I LIKE FINLAND AND FINLAND LIKES ME)<br />
- ADAPTATION VS. HABIT (SOUND INSTALLATION)<br />
- FAKE MOOSE TOWER<br />
The residency at Arteles was for me a valuable time to explore<br />
processes and media I had never approached before, like<br />
video and sculpture. Although not concluded they represent a<br />
starting point for further reflection and development.The three<br />
projects investigate the inescapable complexity stemming from<br />
an encounter, be it between human beings, cultures or nations.<br />
The video “Pidän Suomesta ja Suomi pitää minusta” stemmed<br />
from the dramatic consequences of recent episodes of illegal<br />
immigration in Italy and represents a reflection on the issues and<br />
implications concerning the phenomena of migration, integration<br />
and mutual trust. The sound installation “Adaptation vs. Habit”<br />
focuses on the effort and resistance experienced when usual<br />
mental patterns are challenged and undergo a sudden change.<br />
The red moose tower was conceived and experienced as a gesture<br />
of emulation and rebellion against tradition.
IN THE RESIDENCY<br />
November <strong>2013</strong><br />
“ Write more letters ”<br />
NICOLE GRECO-LUCCHINA<br />
ngrecolucchina@gmail.com<br />
USA<br />
Antiquated processes require time and precision that are becoming<br />
increasingly lost in a digital, mass-produced world. Art forms that<br />
demand strict discipline -- that are less forgiving of mistakes, retains<br />
the sanctity of craftsmanship that cannot be found behind a screen.<br />
As a self-proclaimed luddite, Nicole Greco-Lucchina is a visual<br />
artist interested in antiquated typographic processes. Her fixation<br />
on typography has led her to explore human relationships with<br />
linguistics, especially the appropriation and manipulation of<br />
language. Focussing in hand-lettering, signage, and calligraphy,<br />
she prefers to work as far from a computer as possible. Themes<br />
that most commonly inform her work include time, memory,<br />
nuances of verbal communication, and dystopian perceptions of<br />
modern technology.
SKETCH, SCALE, AND SPEED<br />
I arrived at Arteles with the intent to approach my time<br />
in-residence from a technical standpoint. The practice of handlettering<br />
is a craft that requires much time and repetition in order<br />
to acquire precision through muscle memory.<br />
Because my work is produced solely by manual process, I spent<br />
my days studying and reproducing various typefaces by hand.<br />
This included practice in making straight lines, fluid curves, and<br />
uniformity within font families second-nature.<br />
As a result, I left with a collection of tests that illustrate my<br />
process from beginning to end -- a trial and error series that<br />
demonstrates the challenges of kerning and drawing type without<br />
the help of technology.
IN THE RESIDENCY<br />
September - October - November <strong>2013</strong><br />
SUSAN E. EVANS<br />
USA<br />
see@susaneevans.com // www.susaneevans.com<br />
Exploring expectation; collection; storage; organization;<br />
categorization; processing; evaluation; retrieval; association; and<br />
dissemination, Susan E. Evans questions the psychological and<br />
scientific structures shaping information, knowledge, memory,<br />
image, and landscape. The nexus and overlapping of these themes<br />
have become her main source of inspiration. A multi-disciplinary<br />
conceptual artist, Evans employs a variety of media techniques,<br />
installation/sculpture, performance and other forms of hybrid<br />
combinations, in the execution of her art work. Evans’ works are<br />
represented in the following collections: George Eastman House;<br />
Los Angles Contemporary Museum of Art; Museum of Fine Art;<br />
Houston; Detroit Institute of Art; Musée de l’Elysée; Southeast<br />
Museum of Photography; Cincinnati Art Museum; Akron Museum<br />
of Art; The Henry Museum; Center for Creative Photography…
LUONNONKAUNIS SUOMI<br />
After analyzing a cross-section of tourism materials, I<br />
identified multiple recurring photographic cues used to<br />
communicate the “image” of Finland. The consistent seasonal<br />
use of specific visual elements makes these images iconic,<br />
if not stereotypical. Incorporating these cues, I created<br />
descriptive text images based on the Finnish landscape and<br />
then photographed these text “images” onto medium format<br />
film. This exposed film was then transported to Finland.<br />
As a means to evidence the ingrained symbiosis between the<br />
Finnish people and their environment, I cordoned off small<br />
“plots” of land within a variety of regional ecosystems and<br />
“planted” the unprotected exposed rolls of film into the ground.<br />
These rolls of film were left in the earth for two months.<br />
During this time, the surrounding soil, vegetation, and weather<br />
directly interacted with the exposed photographic materials.<br />
It is not necessary to show the final images because they<br />
incorporate the well-established photographic memes of Finnish<br />
tourism and are quite familiar to its people and those who travel<br />
there. The tension of the work lies in the question of how to handle<br />
(or conserve) these final rolls of film. If they remain as they are, the<br />
viewer is forced to trust the constraint of the project and will always<br />
question the existence of the images. To process the film takes the<br />
work in another direction: not only would I give up my copyright to<br />
the images, the final imagery would be evidence of the subjective<br />
observer as well as the unpredictable, uncontrollable environment.
IN THE RESIDENCY<br />
November <strong>2013</strong><br />
“ I can’t prove you are<br />
guilty but I know ”<br />
MIRKO CANESI<br />
Italy<br />
mirko.canesi@gmail.com // www.facebook.com/mirko.canesi<br />
My research ranges from traditional painting to digital. I perform<br />
urban intervention and viral attacks on social networks. Actually<br />
my main focus is on Nature especially on how it can be part<br />
of an art process and its emotional or conceptual meaning.<br />
I use leaves and living vegetation designed as the final<br />
support; as they contain life, intervenefirectly on them still<br />
attached to the plants, becomes how to work with life itself.<br />
In particular, I want to make clear the meaning of violence<br />
exercised by human intentionality on another living being. The<br />
plants which, by their nature can not react, lend themselves to<br />
communicate this concept. The “Fall and Rising...” series involves<br />
the use of various materials without compromising the plants<br />
life; it suggests to the viewer a feeling of empathy with the plants<br />
themselves me finally to decide to intervene directly on leaves and<br />
vegetation designed as the final support. They contain life: painting<br />
on them still attached to the plants becomes painting on life itself.<br />
In particular, I want to make clear the meaning of violence exercised<br />
by human intentionality on another living being. The plants which,<br />
by their nature can not react, lend themselves to communicate this<br />
concept. The “Fall and Rising...” series involves the use of various<br />
materials without compromising the plants life; it suggests to the<br />
viewer a feeling of empathy with the plants themselves
STUDIO FOR A NEW ”FALL AND RISING, FALL AND RISING, FALL AND RISING...” PROJECT.<br />
During the stay I worked on several projects concerning nature<br />
and art.<br />
In the project pictured above I gathered pine needles from the<br />
surrounding fores and crushed them into a paste. I used this<br />
crushed pine paste to repair the scars of wear within the concrete<br />
steps at the entrace of the residency. Using nature to repair<br />
the steps makes evident the relationship between nature and<br />
environment with both concrete and society.
IN THE RESIDENCY<br />
November <strong>2013</strong><br />
JEAN PAUL GOMEZ<br />
Colombia<br />
jeanpaulgomez0@gmail.com // www.jeanpaulgomez.com<br />
I refer to domestic environments as markers of transience and<br />
contiguous displacement by using furniture and everyday life<br />
activities, in opposition to public and open spaces. Influenced by<br />
my own living transitional patterns, and by my understanding<br />
of our collective memory, I work in a repetitive nomadic<br />
tendency, in which I record traces of time and human gestures.<br />
I explore the possibilities of working with quotidian activities<br />
such as eating, walking, cooking, sleeping- as potential actions<br />
for metaphors, as well as references of human condition.<br />
By eliminating the essential functionality of these actions,<br />
I elevate their significance to a ritualistic state, encoding<br />
the seemingly absurdity layers of content- ranging from the<br />
poetic to the political- as a vehicle to further the conversation<br />
through metaphors rather than through rational thought.
UNTITLED<br />
In my recent body of work I create transitional spaces that<br />
suggest the process of altering daily life activities into a ritualistic<br />
state. Through video, photography and installation, I explore<br />
the metaphoric possibilities of working with simple tasks such<br />
us cooking, sweeping, walking, sleeping, as potential actions<br />
that indicate both physical and psychological transformations.<br />
Influenced by my own transitional patterns as an immigrant, and<br />
challenging my notion of ‘place,’ I see my work as a constant<br />
negotiation between human condition and my hybrid cultural<br />
background.
IN THE RESIDENCY<br />
November <strong>2013</strong><br />
AMBERA WELLMANN<br />
Canada<br />
ambera.wellmann@gmail.com // www.amberawellmann.com<br />
Ambera Wellmann is a visual artist from Halifax, Nova Scotia.<br />
Working with imagery culled from photographs and video stills,<br />
she uses painting as a method of exploring the territory where<br />
technology and affect intersect. Often observed with a dark sense<br />
of humour, her work occupies a space between between object<br />
and image, questioning the role of representation in shaping<br />
knowledge, identity and a collective sense of time and space in<br />
postmodern culture. Her work has been exhibited in New York,<br />
San Francisco and across Canada, including the Museum of<br />
Contemporary Canadian Art in Toronto. She is currently based in<br />
Seoul, South Korea.
PAINTING<br />
Upon arriving in Finland, I was interested in the gradual loss of<br />
daylight that takes place throughout the month of November.<br />
Absence of light produces a particular kind of vision that we call<br />
‘dark’. Seeing darkness is not a lack of visual input; our eyes<br />
are engaged in a very active inhibitory process, one of stimulation<br />
rather than inertia. This principle informed my approach to a<br />
series of paintings created using found photographs at Arteles,<br />
where darkness or obscurity added to the imaginative potential of<br />
a work. They began as straightforward representational paintings<br />
that were gradually broken down, rubbed away, and layered over<br />
again in a search for a kind of unseen image. The same way our<br />
eyes gradually adjust to darkness and reveal things that may<br />
or may not be there, the paintings took on an ambiguous space<br />
that slowed down perception, where elements of representation<br />
unraveled into abstract mark, and mark became a reality of its<br />
own.
IN THE RESIDENCY<br />
October <strong>2013</strong><br />
“ My art is an attempt to reflect the<br />
constant pursuit of balance. ”<br />
MARÍA EMILIA SILVETTI<br />
Argentina<br />
memiliasilvetti@hotmail.com // www.memiliasilvetti.com.ar<br />
My current work is focused on painting, literature and poetry.<br />
I am interested in chaos, nature and the human being.<br />
I am now trying to be open to the power of improvisation and perception<br />
in the practice of art. As a result of this change, my compositions have<br />
mutated into abstract and my work with colour was empowered.<br />
For some time now I have been interested in astrology and<br />
spirituality as a search of understanding and personal realization.<br />
That research inspired a conceptual project I have been working on<br />
which I would like to develop during my residency. It would be an<br />
excellent time to merge my usual fields of work and explore other<br />
methods, ideas and activities.
THE KARMA BUMS COMMUNITY<br />
HOLY SPACE<br />
My project The Karma Bums Community is a parody of a spiritual<br />
community. It was founded by el chico Proteína (Rock star &<br />
Visionary leader), Cony Cilantro (Actress & Love guru) and<br />
Georgina Cinnamon (P. R. & Cool hunter).<br />
The Karma Bums Community mission is to help people to find<br />
happiness fast, easy and cheap.<br />
After heavily investing in Research & Development, they have<br />
discovered the formula for happiness:<br />
LOVE + PLENTY + WORK + INNER LIFE + SOLIDARITY + FUN +<br />
IMAGE = HAPPINESS<br />
With these concepts in mind, they are developing some products<br />
such as: Love Trauma Cleansing Water, Fast Love Cans, Mind Max<br />
White, Miracle Age Cream, Veggie Burger Seeds, Wonder Protein<br />
Set and much, much more.<br />
In Arteles, I made an installation in the sauna representing a<br />
sanctuary dedicated to<br />
El chico Proteína, Cony and Georgina. I used different objects<br />
from the Flea and Free Markets of the area as the offerings to<br />
worship the idols.<br />
It may not rain Coca Cola to be forever happy. Join TKBC and let´s<br />
surf together the wave of eternal joy.<br />
www.thekarmabumscommunity.com<br />
Flip your karma now and visit our Holy Space!
IN THE RESIDENCY<br />
October <strong>2013</strong><br />
“ The nature is an illness of our ideas”<br />
GLÒRIA ESCALA VIDAL<br />
Spain<br />
marxapeu@yahoo.es // sandrasadras.blogspot.com.es/<br />
I want to reflect on our relationship with nature that we need to<br />
control, dominate and exploit it. The organization that we demand<br />
to our environment to feel safe, it may be good for ones and bad for<br />
others. The territory is our history, so the places are our memory. In<br />
my last work I have investigated the history of dams and reservoirs<br />
in Spain since 1933 until today. It is a long history with: a Republic,<br />
Civil War, the Second World Mundial, decades of dictatorship and<br />
later democracy. In Finland I would like to uncover other way of<br />
relating to territory. Arteles is my opportunity to continue in my<br />
research.
JOURNEY TO ITHACA<br />
In my first photos in Arteles, I uncovered rooms and sites that<br />
transparent figures appear who were there instants, but now it<br />
only remains a soft footprint. I was speaking about idea of person<br />
transiting in this space.<br />
This figures looked like ghosts, maybe because my first impression<br />
when I stayed in Helsinki in January was to know vision of death in<br />
Finnish art like something daily, as winter and night.<br />
The big windows of the house, the relation between inside and<br />
outside, the light come into rooms and the darkness. Transparency<br />
of the glass of windows, glass and crystal object that decorates<br />
home (vases, glasses and lamps) I have seen in second hand<br />
kirpputorit (flea markets). All of this frames and distorts light<br />
with reflections. We see what we want to see.<br />
I went to Lapland until Ivalo, to a thousand kilometres from<br />
Arteles by train and bus. When I arrived I took some photos of<br />
river with ice pieces moving. I thought this is the natural crystal<br />
nine months a year. I had a big experience at end of my trip to Ivalo,<br />
when I saw a real frost to sunrise. Kilometres and kilometres of<br />
crystal trees, white and shining.<br />
I chose Finland for my new art project because I knew just its<br />
geographical location and its name that has always seemed the<br />
end (”end” in spanish ”fin”) of something, perhaps the end of<br />
world I know.
IN THE RESIDENCY<br />
September <strong>2013</strong><br />
TWO-WOMEN-MACHINE-SHOW<br />
IDA-ELISABETH LARSEN &<br />
MARIE-LOUISE STENTEBJERG<br />
Denmark<br />
contact@twowomenmachineshow.com // twowomenmachineshow.com<br />
two-women-machine-show is a project name under which the<br />
choreographers and performers Ida-Elisabeth Larsen and Marie-<br />
Louise Stentebjerg have joined forces. Since their first collaboration<br />
in 2011 the duo have been occupied with themes such as massphenomenon,<br />
monoculture, the uniform, and unison movement.<br />
They access their work from three angles: Their choreographic<br />
method; Found material in a live-art context, their conscious<br />
approach to the duo format as a genre in itself and lastly by them<br />
being Danish their personal experience with mono-culture is an<br />
inevitable inspiration to their work.<br />
two-women-machine-show is currently supported by the Danish<br />
Arts Council for the early phase of development of their new work<br />
Who’s my Buddy?, which is bound to premiere at Københavns<br />
Musikteater in January 2014. The duo has been invited in residency<br />
by Laboratoriescenen, Cph; WASP, Bucharest and Arteles Creative<br />
Center, Haukijärvi. Recently they were awarded with a double<br />
grant from the Danish Arts Foundation to continue their research.
BUILDING MILITANT BODIES<br />
In June <strong>2013</strong> the duo decided to officially declare war upon<br />
themselves. Their intention was to overthrow the governing<br />
authorship inhabiting them. Taking this rebellion against a<br />
dictating inner voice quite literally, they deliberately confused<br />
metaphors with worldly violence. During their stay at Arteles<br />
the duo therefore researched on different types of warfare<br />
strategies and on how to associate these with conceptual<br />
and body-based practices. They found a resonance between<br />
specific warfare glossaries and choreographic displays, delving<br />
into institutional military systems and management of bodies<br />
down to alternative activist tactics (feminist movements,<br />
territorial liberation, suicide missions and guerrilla warfare).<br />
In many ways their stay at Arteles laid the ground work for the piece<br />
My Body is a Barrel of Gunpowder (jan.2014). Here the duo aims<br />
to materialize their struggle against self-regime governance and<br />
use militarism as source material for a dance against themselves.
IN THE RESIDENCY<br />
July - August-September <strong>2013</strong><br />
EMILIE MCDERMOTT<br />
France / USA<br />
contact@emiliemcdermott.com // www.emiliemcdermott.com<br />
Emilie McDermott is a French and American artist currently<br />
working and living in Paris, France.<br />
She undertook her art studies at the Sorbonne University in Paris<br />
where she graduated with a Bachelor and Master of Arts in 2011.<br />
She completed her Master of Fine Arts (DNSEP) in June <strong>2013</strong> at<br />
The Ecole Nationale Supérieure d’Arts de Paris-Cergy (ENSAPC),<br />
where she worked alongside art critics and artists such as<br />
Frederico Nicolao, Bernard Marcadé and Veronique Joumard.<br />
Her art encompasses video, installation and performance. Blurring<br />
the boundaries between fiction and reality, she creates immersive<br />
environments capturing liminal states on an intimate and confined<br />
scale.<br />
Her recent work focuses on questions of departures, which evoke<br />
a loss of links with the living, the dead, places and objects that<br />
once were but are now left behind. In this space, existing or new<br />
rituals and idiosyncrasies can build a bridge between the past and<br />
new life : identity is not lost or abandoned but transformed.
MÖKKI - IF BEING A LONG TIME AMONG THE OTHER PEOPLE...<br />
During my stay at Arteles, I worked on the experience of solitude,<br />
as a state of melancholy, whether desired or undesired, and<br />
its consequence in the way we lead and perceive our own lives.<br />
My first work created was an endurance based performance on<br />
disorientation during which I unraveled 1 km of knotted fishing<br />
net, alone, between two glass windows in a fair-like environment.<br />
I pursued my research with Mökki, a two channel video installation,<br />
contrasting two experiences of solitude and indirectly cultures,<br />
yet which finally converge towards the same question : where to<br />
go next?
IN THE RESIDENCY<br />
August-September <strong>2013</strong><br />
“ Be careful what you wish for.”<br />
AMY JOHNSON<br />
USA<br />
amyjohnsonstudio@gmail.com // amyjohnsonstudio.com<br />
I have recently been interested in performance and developing a<br />
character that reflects my own life, fairy tales and the landscape of<br />
northern latitudes. Ideas of endurance, solitude, identity, fantasy<br />
and reality all weave together to create an unknown narrative.<br />
I am interested in exposing feelings of vulnerability balanced with<br />
strength and reconciling romantic ideals with the often mundane<br />
truth.<br />
I have background in ceramics and have further developed my<br />
work with mixed media sculpture, installation, fibers, photography<br />
and performance.<br />
Amy Johnson is supported, in part, by a grant from the Alaska<br />
State Council on the Arts and the National Endowment for the Arts.
”TEMPTED STILL” WORKING TITLE<br />
AMY JOHNSON, MYRIAM GUILLAMON, JOSE BAHAMONDE<br />
During the month of August, visual artist, Amy Johnson<br />
worked to develop a character and costume which were not<br />
only a study and process created by a reflection of new and<br />
unknown surroundings but also her experiences in negotiating<br />
something seemingly romantic with the reality of the unfamiliar.<br />
In September, media artists Myriam Guillamon and Jose<br />
Bahamonde sharing ideas with Johnson regarding myth and<br />
reality, femininity, the natural world and the necessity for a more<br />
empathetic social paradigm, began working collaboratively to<br />
produce a short film.<br />
With histories and interests in visual/performance art,<br />
cinematography, and 3-D animation this artistic team discovered<br />
the strength of combining conceptual ideas and skills to develop a<br />
project that is rich and layered with experience and visual beauty.<br />
Together these three residents will continue to work together<br />
post-residency to complete the work.
IN THE RESIDENCY<br />
September <strong>2013</strong><br />
JOSE BAHAMONDE & MYRIAM GUILLAMÓN<br />
myriam@launicasepiacreativa.com // www.lusc.es<br />
Spain<br />
As a profession, we work in advertisement but as for our common<br />
artistic concerns, we are interested in navigating the new and<br />
surrealistic grounds. We are eager to explore the border between<br />
reality and fantasy. Thirteen years of living together has proved<br />
our very common dreams and fantasies, halfway to dreams and<br />
sleeplessness. What made us come here, take refuge to the nature,<br />
to be very close to our true selves, to unleash our imagination from<br />
bounds of normal urban life.
”TEMPTED STILL” WORKING TITLE<br />
AMY JOHNSON, MYRIAM GUILLAMON, JOSE BAHAMONDE<br />
During the month of August, visual artist, Amy Johnson<br />
worked to develop a character and costume which were not<br />
only a study and process created by a reflection of new and<br />
unknown surroundings but also her experiences in negotiating<br />
something seemingly romantic with the reality of the unfamiliar.<br />
In September, media artists Myriam Guillamon and Jose<br />
Bahamonde sharing ideas with Johnson regarding myth and<br />
reality, femininity, the natural world and the necessity for a more<br />
empathetic social paradigm, began working collaboratively to<br />
produce a short film.<br />
With histories and interests in visual/performance art,<br />
cinematography, and 3-D animation this artistic team discovered<br />
the strength of combining conceptual ideas and skills to develop a<br />
project that is rich and layered with experience and visual beauty.<br />
Together these three residents will continue to work together<br />
post-residency to complete the work.
IN THE RESIDENCY<br />
September <strong>2013</strong><br />
ELIZABETH ARMOUR<br />
UK<br />
elizabeth.r.m.armour@gmail.com // www.elizabetharmour.com<br />
Designer and Maker, intrigued by the natural world, the people I<br />
meet and the latest technologies.<br />
Growing up in a small village on the West Coast of Scotland,<br />
overlooking a Loch and surrounded by the lush green landscapes<br />
of Argyll, I feel I’ve always had a fascination for flora and fauna.<br />
I Trained in Jewellery and Metalwork at Duncan of Jordanstone<br />
College of Art in Dundee graduating in 2012. Since then I have<br />
taken part in exhibitions such as the 3D Printshow, Kinetica<br />
Art fair, created work for galleries and taken commissions<br />
of my jewellery work. I have also delved into my interests<br />
in design for performance (prop making) and volunteered<br />
working at events for the 3D software company Anarkik 3D.<br />
My work stems from a curiosity for ‘little hidden gems’ found<br />
mainly on the forest floor. I like to ‘tear down’ these plants,<br />
fungi or lichen to find out how they work, where they fit within<br />
the natural cycle, observing them closely through drawing<br />
from life or under a microscope. Through this I create work<br />
which highlights the intricacy and beauty of these. I use<br />
mixed media such as silver, perspex and 3D Printed nylon<br />
to reflect the organic forms, patterns, textures and colours<br />
within my wearable objects. I aim for the wearer to explore<br />
and enjoy all of these elements, with bold statement pieces.<br />
I wish to continue and develop my work and explore larger scale<br />
pieces.
THE EXPERIMENT<br />
For me Arteles was a chance to take a breath and have time away<br />
from my normal ways of working, it was a kind of experiment to be<br />
without jeweller’s tools..and to work in a studio with no jewellers<br />
at all! At times I found this frustrating- not being able to go to my<br />
bench and use specialised equipment; however this allowed me to<br />
think about my practice, my next stage for my return to Scotland.<br />
I researched, read traditional Finnish folklore, learnt how to<br />
take a good photograph (!) did a lot of illustrations and drew<br />
ideas for new designs to translate into metal. I absorbed the<br />
beautiful Finnish countryside as much as possible, collected<br />
natural objects, created ‘spore’ prints, recording these through<br />
photography, video and drawing. Myself and Myriam Guillamon<br />
Martin also did a fun collaborative project; ‘Mandala’, using neon<br />
recycled fabrics, we created large mandala patterns outside in<br />
the residency grounds. My time in Finland at Arteles opened up<br />
new ideas and inspiration for future projects.
IN THE RESIDENCY<br />
September <strong>2013</strong><br />
DANA BUZZEE<br />
Canada<br />
dana.buzzee@gmail.com // danabuzzee.com<br />
I name myself a Witch.<br />
A woman with an unnatural connection to nature is a Witch, she<br />
draws her magic from that connection. A Witch is is problematic<br />
to the conventions of her gender and the expectations of her sex,<br />
in turn challenging the patriarchal and heteronormative– she is<br />
a difficult woman. I am a difficult woman and I respect difficult<br />
women. Difficult means power when it comes to understanding<br />
gender and the context for gender that our society provides
NOITA<br />
My stay at Arteles was focused on further developing my own<br />
understanding of what it means to have a studio practice and to<br />
research through making. The dedicated time and space offered<br />
at Arteles allowed me to work on Installation, Performance,<br />
Photography, Zine Making, Sound and Knitting both as singular<br />
mediums and in an interdisciplinary way. The diptych that I choose<br />
for inclusion in this publication succinctly represents my practice,<br />
my work while in residence, and achieves an aesthetic sensibility<br />
I wish my art to embody. noita grew from trying to understand the<br />
connections between this northern wild and the one I call home.
IN THE RESIDENCY<br />
September <strong>2013</strong><br />
DANIELLE BLEACKLEY<br />
Canada<br />
daniellebleackley@gmail.com // cargocollective.com/lostkittenprojects<br />
Danielle is an interdisciplinary artist and educator based in<br />
Toronto, Canada. Her artistic work and teaching projects are<br />
committed to a focus on language, materiality and the body,<br />
In her research and work she concentrates on sense experience,<br />
and the gestures and movements that originate in the body:<br />
the breath, the heartbeat, a voice or a touch. Her works<br />
explore the ability the body has to receive and archive intimacy<br />
and experience. Intimacy, in Danielle’s work, is regarded<br />
as a revealing of self; to another person, or a city, or a way<br />
of moving the body - perhaps through water, or landscape.<br />
Intimacy, in this sense, refers to an encounter that leaves an<br />
impression, something felt and experienced through the senses;<br />
an experience that cannot be physically touched or held yet<br />
it stays with you, leaving a metaphoric inscription on the body.<br />
In residence at Arteles, Danielle plans to research three important<br />
aspects of Finnish culture: landscape, textiles and the practice of<br />
sauna – and specifically, how each of these connect to, and affect,<br />
the body. The landscape and light that the body experiences, sees,<br />
feels and moves through each day; the intimacy of textiles, their<br />
closeness when worn against the body or, covering the body as<br />
it sleeps. And, the Finnish practice of sauna, its physicality and<br />
ritual, a cleansing act of endurance for the body.
ACROSS TERROIR<br />
‘become like a sheet of blotting paper and soak it all in. Later on<br />
you can figure out what to keep and what to unload.’<br />
haruki murakami, from kafka on the shore<br />
‘we write to taste life twice, in the moment and in retrospect.’<br />
anaïs nin<br />
across terroir is a starting point.<br />
it is an exploration in embracing process, and in research<br />
through writing.<br />
writing that involves the body. writing that is larger than the<br />
body.<br />
a roll of paper attached to the wall, pouring down to the floor.<br />
i write and write.<br />
my body is intimately involved.<br />
my bare feet lightly touch the paper, my hand leading each<br />
stroke of the brush to apply the ink.<br />
the ink that drenches the page in meditation, question and<br />
recollection.<br />
with a methodology that embraces intuition, sense experience,<br />
the ephemeral, the poetics of landscape and invisible histories,<br />
I compile articulations that move toward answers, and toward<br />
action.<br />
projects and research to gather with me.<br />
the words written begin to unearth what i have found in finland.<br />
the incredible generosities, the skies so wide they pull at your<br />
throat, my time atop hiidenvuori, woven moonlight and lakes and<br />
forests so magnetic.<br />
i search for threads, and for lines.<br />
lines that form words, that demonstrate the path from one place<br />
to another, that weave together to form a textile.<br />
and the lines that ground our body into the earth.
IN THE RESIDENCY<br />
September <strong>2013</strong><br />
SEZA BALI<br />
Turkey<br />
seza@sezabali.com // www.sezabali.com<br />
Seza Bali is a Turkish artist working in the field of photography<br />
in Istanbul, Turkey. She received her BA in Fine Arts from The<br />
George Washington University and her MFA from San Francisco<br />
Art Institute. Her work has been exhibited internationally<br />
including in Elipsis Gallery, Istanbul Turkey; San Francisco<br />
Airport Museum, Togonan Gallery, Space Gallery and Root<br />
Division in San Francisco, CA. She participated to UNSEEN<br />
photo fair in Amsterdam and Contemporary Istanbul <strong>2013</strong>.<br />
Her works mainly deal with landscape and the natural world<br />
through which she explores the notions of real, imagination,<br />
space and the sublime. She is interested in photography’s ability<br />
to create a new visual world and and is always curious to see what<br />
a moment will look like as a photograph.
PROCESS PROGRESS / PROGRESS PROCESS<br />
During my time at Arteles I worked on several ongoing<br />
series. One body of work was about practicing the act of<br />
photographing and observing my surroundings - a response<br />
to my experience in an unfamiliar place. Another series was<br />
about combining two of my strong interests in my art practice:<br />
the natural world and usage of patterns and symmetry.<br />
In the last years of my studio practice, I have been using<br />
photography as a tool rather than its intended purpose of freezing<br />
a moment in time. Often I use a photograph with which I create<br />
a new visual language by digital alterations and interventions.<br />
I take bits and pieces of the natural world (photographing<br />
elements such as trees, branches, foliage, hay) and use them<br />
to create imagery that is rooted in symmetry and repetition. The<br />
original photograph is no longer recognizable and the resulting<br />
images are reminiscent of tiles by their size and shapes.<br />
The beauty found in symmetry is simply undeniable; and in the<br />
root of my practice I want to create beautiful images. The natural<br />
world is where I find my inspiration; textiles, wallpaper, geometry<br />
and decorative tilework are what feed my imagination.
IN THE RESIDENCY<br />
August <strong>2013</strong><br />
“ Creating through experiences.”<br />
PAOLO GRIFFIN<br />
Canada<br />
nix.griffin@gmail.com // www.pgriffinmusic.com<br />
Currently, my work is focused on achieving a hybrid between<br />
the traditional Western genre of art music (which we know as<br />
classical music and its modern form), and Latin American music,<br />
specifically, the music of Peru. During my stay at Arteles, I hope<br />
to realize this ambition by creating a dance set that combines<br />
the lively and complex rhythms of Peru, with the rich, complex<br />
harmonies of Western art music.
METAL CONSTRUCTION - MUSIC FOR ELECTRONICS<br />
VUELTA - MUSIC FOR PERCUSSION & DANCERS<br />
I had two goals at Arteles: I wanted to write a piece of music<br />
that drew on the rhythms of Latin America, while also drawing<br />
on the rich harmonic tradition that comes from what we<br />
know as classical music. The result is a work-in-progress<br />
of music intended to be choreographed for four dancers.<br />
I also wanted to begin exploring the world of electronic music and<br />
electro-acoustic sounds. Over the course of the month, I became<br />
more proficient at using different sequencing and music-oriented<br />
programs, and the result of this was my first electronic piece,<br />
titled ‘Metal Construction’.
IN THE RESIDENCY<br />
June <strong>2013</strong><br />
“ The important thing about one liners,<br />
like art and soup, is knowing<br />
what to leave out.”<br />
IAN NOLAN<br />
Ireland<br />
inolan@live.com // http://iannolan.weebly.com<br />
Ian Nolan is an artist living and working in Dublin, Ireland. He<br />
graduated from The National College of Art and Design in 2012<br />
with an Honours Degree in the History of Art and Fine Arts and<br />
was the winner of the Model Niland Residency Award at the 2012<br />
RDS Student Art Awards. Since leaving college, he has been<br />
exhibiting in group shows across Ireland and internationally and<br />
is co-founder of ArtHouse, a collaborative arts initiative based in<br />
Dublin City. His work deals primarily with the way we encounter<br />
and perceive our relationship to the world around us. Working<br />
primarily in painting, installation and intervention, Ian attempts<br />
to create situations where the consequence of the relationship<br />
between the individual and their environment is brought to the<br />
fore.
PROJECT TITLE: LIVING IS EASY<br />
Shortly after my arrival in Finland, I began to consider how little<br />
say I had in the ways and means I use to function in the world<br />
and to relate to the places I inhabit. An attitude soon developed<br />
whereby I would try to use my time to cultivate my own personal<br />
relationship with the environment. I began by devising ways of<br />
growing berries and plants using discarded wood, metal and<br />
plastics as materials and making use of water I drew from a<br />
disused well. A ritual slowly evolved where time was spent<br />
working with my objects and where time was spent reflecting,<br />
socialising, playing music etc. also and soon I realised how all<br />
these forms of habit and ritual formed part of how I related to the<br />
places and situations I encountered. For the exhibition at Hirvitalo<br />
I exhibited a segment of grass I had sectioned off and removed<br />
from the earth, alongside a workbench designed to contribute<br />
to its maintenance. The workbench itself was stocked with the<br />
materials that formed part of my ritual developed in sustaining<br />
my relationships and myself during the course of the residency<br />
and on a daily basis, attendants of and visitors to the gallery<br />
would repeat the ritual itself in the maintenance of the grass.<br />
The result is a performative installation where object, ritual and<br />
concept intertwine and where narrative is continued, developed,<br />
altered and shared by others in the sustenance of a narrative of<br />
relation I myself began.
IN THE RESIDENCY<br />
July - August <strong>2013</strong><br />
“ To go almost unnoticed, until<br />
a subtle absurdity emerges upon<br />
closer investigation. ”<br />
LYNDON BARROIS JR.<br />
USA<br />
lyndonbarrois@gmail.com // lbarroisjr.blogspot.com<br />
My recent compulsion to re-fashion history has led me to crafting<br />
images that offer an updated interpretation of the characters<br />
and symbolism of the Kalevala epic. To bridge tradition with the<br />
contemporary, regular with the absurd, threading the past and<br />
present, from one cultural construct to another.
FOREIGN IMPOSITIONS<br />
First Impostion //<br />
Probing the Kalevala for significant objects and representing them<br />
as contemporary subjects of high fashion. Visualizing absurdities in<br />
the text to explore what is lost in the gap between language and image.<br />
Second Imposition //<br />
Using vintage Suomen Kuvalehti magazines to create drawings in<br />
which a mysterious symbol has infiltrated a sun-bleached society.<br />
Projects fueled by a fascination with the plight of Moomin Valley<br />
materialized in my mind only.
IN THE RESIDENCY<br />
July - August <strong>2013</strong><br />
ADDOLEY DZEGEDE<br />
USA<br />
addoley@gmail.com // www.addoley.com<br />
Currently, my focus is on the connection between objects/<br />
materials and memory. I create sculptures, installations and<br />
animations that make use of objects/materials in order to reflect<br />
on my personal history. While in Finland, my hope is to find/create<br />
some kind of material connection to my Finnish ancestry, of which<br />
I know very little.
EPHEMERAL PAST > MATERIAL PRESENT<br />
I came to Arteles at the height of summer, when the sun stayed<br />
out to play and a new type of berry seemed to ripen each week.<br />
While exploring my Finnish roots and trying to find a personal<br />
connection to Finland, I found myself highly influenced by the<br />
presence of “”being here””. The difficulties in language, the<br />
incessant mosquitoes, the pleasures of seasonal food and the<br />
Kalevala all found their way into video works that I completed<br />
during the residency. This was a surprise to me, as I had expected<br />
to make sculptures and installations, in addition to animations.<br />
During the second half of my stay, I discovered rich and<br />
varied information about my family, from seeing the locations<br />
where my great-grandmother used to live (now a pizza<br />
shop and a chili shop) and work (a factory building that still<br />
stands, but as housing), to obtaining photos and architectural<br />
drawings of these places from archives in Tampere. These<br />
findings will continue to inform my work in the near future.<br />
It would be remiss of me to not mention the vast amount of<br />
desserts I made at Arteles, from Mustikkakukko filled with<br />
bilberries picked in a nearby forest, to a Red Currant Cardamom<br />
cake dotted with berries growing on the lawn outside my bedroom<br />
window. These delicious experiences have led me to wonder how<br />
food, as a sensual experience, can play a bigger role in my work.
IN THE RESIDENCY<br />
July <strong>2013</strong><br />
HEATHER SINCAVAGE<br />
USA<br />
info@heathersincavage.com // www.heathersincavage.com<br />
My work is a process of question and response. I tend to assess<br />
materiality and markmaking as a conduit for that process. Often<br />
the question begins simply. But often simple questions expand<br />
to dissect one’s identity, formation of “self,” and the facades<br />
or barriers we create for ourselves. The work is not confused<br />
with having answers but instead the methodology one creates to<br />
ask the question then further how the journey of answering the<br />
question unfolds. Its a relationship in contrast; a push and a pull;<br />
a transparent dialogue between sides.
THAT WHICH WE HOLD DEAR (STUDIES)<br />
“That Which We Hold Dear” is a new body of work that I began<br />
to develop at Arteles. In much of the work, drawing of the circle<br />
becomes a reflection of the wholeness one looks to achieve<br />
during analysis of the “Self.” This involves self reflection, the<br />
acceptance of errors, facades and props we build as coping<br />
mechanisms, indecision, and the accumulation of experiences.<br />
The work, typically involving a reflective surface, invites the viewer<br />
to contemplate their identity and their follies in what would seem<br />
to be simple tasks- drawing a perfect circle, creating a cube, or<br />
splitting a tree. The result of each task suggests the beauty in that<br />
imperfection.
IN THE RESIDENCY<br />
July <strong>2013</strong><br />
“ Keep your love of nature, for that is the<br />
true way to understand art more and<br />
more.” Vincent Van Gogh<br />
VIOLET SHUM<br />
Hong Kong<br />
violetshum@yahoo.com.hk // www.violetshum.com<br />
Violet Shum Ka Wai, born in Hong Kong. She gained the VSC<br />
Freeman Foundation Asian Artists’ Fellowship <strong>2010</strong>-11, and in<br />
2012, the finalists and the People’s Choice Award of Cliftons Art<br />
Prize. Shum have few different roles cross graphic and visual<br />
artist. She participate in art as well as the educational projects.<br />
Through an existence in multiple identities and perspectives,<br />
Shum realises her own values and aspirations.<br />
The era of industrial development, interpersonal relationships<br />
were relatively simple; now with scientific progresses, this<br />
relationship seems to have a complex development. I have been<br />
using industrial materials in the making of art and dealing with<br />
some tradition methods. I want an art that makes sense of, and<br />
evokes the emotions that we can feel and experience, and this<br />
method can compensate for the value of the material that has<br />
never been revealed. I think that the skills inherent within the<br />
unique nature of that emotion and the repeated experience could<br />
be read in different ways. I am experimenting with the creation<br />
of a situation to examine the relationship between viewers and<br />
the artworks, and the issue of its interpretation. My artworks are<br />
about nature. I know that the change of the forms is the key to<br />
understanding. By using traditional methods to transform these<br />
materials invited the audience to participate in the discussion.
NATURAL SCENERY FROM HANDICRAFT<br />
Looking at my multi-dimensional works: from Glorious Times: big<br />
scaled golden flowers made from barbed wire, to Plastic Swarms:<br />
grasshoppers made with waste plastic, and A! Project: sunflowers<br />
made with dried grass, it is not difficult to find some common traits<br />
in the way I present my works and use materials, and the evolution<br />
of my concepts. All my works reveal figurative natural products with<br />
flexible use of artefacts such as barbed wire and plastic bags, etc.<br />
Most probably, many viewers would easily refer these<br />
artworks as a response to the Post Industry environment.<br />
Actually we often neglect the fact that Industrial Revolution<br />
didn’t give too strong an impact to the artwork, except those<br />
commercial painting, for until now many artists still express<br />
themselves by painting stroke by stroke on the canvas.<br />
In my works I replace some traditional art such as painting<br />
and wood carving with popular handicrafts that could earn a<br />
living such as weaving and tying. These handicrafts not only<br />
respond directly to the production mode of the present society,<br />
but also correspond to its paradox chemistry. On one hand these<br />
handicrafts and skills are still in current use, though not everyone<br />
knows how to do, yet they are still within reach in daily life. Many<br />
people think that they are the “latest” handicrafts. However,<br />
at the same time, these handicrafts are gradually diminishing.<br />
When I use artefacts as materials in my work, I hope to bring<br />
the spectators from a high-tech society to a more humane<br />
environment. I try to bring the audience into a hand-crafted<br />
nature, and seeing these works tangle with nature and the city.
IN THE RESIDENCY<br />
June <strong>2013</strong><br />
SHARON LACEY<br />
USA<br />
sharon@sharonlacey.com // sharonlacey.com // Currently working and living in Boston, USA<br />
Most of my works are oil on linen. My interests include the<br />
human figure, the painting process, and art historical precedent.<br />
I use traditional techniques in my work with an interest in how<br />
the continuity of methods from earlier periods to the present<br />
day supports images that convey the universal rather than the<br />
parochial. I prefer depicting common human actions rather<br />
than those specific to a particular time or place. Each series of<br />
paintings begins with a particular formal concern and the specific<br />
imagery emerges through the painting process itself without<br />
direct use of external sources. I have studied art, literature, and<br />
art history at the Catholic University of America in Washington,<br />
DC, the New York Academy of Art in New York, NY, and at the<br />
University of London in London, UK. My current research interests<br />
include early craft treatises, paint technology, and the history of<br />
artists’ workshop practice and training.
IDYLLS (FOUR DIPTYCHS)<br />
At Arteles, I worked on a series of oil paintings on paper<br />
entitled ‘Idylls (Four Diptychs)’. Both the diptych format and<br />
the multiple figure compositions relate to my recent studies in<br />
medieval manuscripts, in particular Bodleian, MS Tanner 184.<br />
I am intrigued by manuscript paintings in which groups of figures<br />
operate visually as a single shape, and lately I have tried to use<br />
figure groups in a similar way in my paintings. As with my previous<br />
work, the imagery in these diptychs emerged through the painting<br />
process itself with no preliminary sketches or external sources.
IN THE RESIDENCY<br />
June <strong>2013</strong><br />
HENRY ANDERSEN<br />
Australia<br />
info@henryandersen.com // henryandersen.com // Currently working and living in Berlin, Germany<br />
I grew up in Perth, Western Australia where I studied composition<br />
and music technology at the Western Australian Academy of<br />
Performing Arts. From the beginning of this year, I’ve been<br />
living in Berlin and studying with composer / sound artist Peter<br />
Ablinger. Since moving to Berlin, I’ve increasingly found my<br />
interest drawn to projects outside the normal scope of musical<br />
performance. This has meant broadening my practice to include<br />
works for galleries and other non-concert hall settings, works for<br />
non-musical performers or for no performers at all.<br />
For me, this is not an alternative to my work as a composer but<br />
an extension. It allows me to explore those interests of mine that<br />
I can’t explore through standard musical situations.<br />
I am interested in the contexts in which people receive sound.<br />
I am interested in music and sound tailor made for specific<br />
spaces or situations.<br />
I am interested in music that shirks its traditional responsibility<br />
as storyteller and embraces its potential as sculpture.<br />
I am interested in how artists from different media collaborate in<br />
the absence of a shared language.<br />
I am interested in sound as a cultural trigger point or statement<br />
of identity.<br />
I am interested in imagined and inaudible sound.<br />
My time in Finland has given me a valuable opportunity to<br />
establish and play with these interests.
SAD SONGS IN GLASS JARS’ & ’THE RIPE ONE BE RADIANT’<br />
Sad Songs in Glass Jars:<br />
With ‘Sad Songs in Glass Jars’, I wanted to create a small,<br />
private experience for the listener. The piece consists of<br />
three speakers positioned in glass jars. These speakers<br />
play recordings of 1920s blues, jazz and early American folk.<br />
The jars are placed on the ground with the speakers playing very<br />
quietly so that listeners must kneel down to the ground to receive<br />
the sound. Amplified through the glass jars, these recorded<br />
sounds become small and fragile. They act via suggestion<br />
and association rather than simply as sounds in themselves.<br />
The Ripe One Be Radiant:<br />
‘The Ripe One be Radiant’ is a performance piece exploring<br />
the role of gesture in conversation and competition. The piece<br />
uses two homemade contact microphones connected to the<br />
underside of a canvass. These microphones amplify vibrations<br />
in the canvass through two speakers in the performance space.<br />
In this way, The Ripe One be Radiant uses both sound and<br />
paint to illustrate the play of gestures that make up the piece.<br />
Two performers take it in turn to make a gesture on the canvass<br />
and erase the previous gesture of their competitor. As this is<br />
happening, the performers use a roller to gradually fill the<br />
canvass with blue paint - the piece is finished when the entire<br />
workable area has been covered. Within this simple framework,<br />
the performance is improvised. I’m interested in the tension<br />
between the two performer’s backgrounds this affects the<br />
choices they make while performing. The piece was performed<br />
at Heiska by painter Sharon Lacey and dancer Irina Baldini.
IN THE RESIDENCY<br />
June <strong>2013</strong><br />
“ Air and light and time and space -<br />
and a human being in such a landscape.”<br />
ADAM GIBSON<br />
Australia<br />
adamfgibson@yahoo.com.au // adamfgibson.com // Currently working and living in Sydney, Australia<br />
Adam Gibson is a Sydney artist whose work covers spoken word,<br />
music, installation art, performance works, sculpting, video work,<br />
painting, photography, among other things… It is a fundamentally<br />
“landscape-based” practice, being influenced by land views and<br />
travel and sense of being “in” and/or part of different environments.<br />
He performs regularly with his band The Aerial Maps,<br />
whose first album won Best Spoken Word Release 2005-<br />
<strong>2010</strong> at the <strong>2010</strong> Overland Poetry Awards and whose second<br />
album was described as “”an Australian classic””, with the<br />
band lauded as “”one of the most valuable in Australia””.<br />
Adam has also exhibited in a number of Sydney spaces and<br />
galleries, took part in the <strong>2010</strong> Shanghai Porosity Studio at<br />
Donghau University, Shanghai, is currently completing a Master<br />
of Fine Arts, (PhD. eventually) at the College of Fine Arts in Sydney<br />
and is actively involved in a wide range of artistic endeavours.
AUSTRALIA RESTLESS’ (IN FINLAND)<br />
I am looking at “”longing”” for certain places. I am looking<br />
at missing things. I am looking at moving and travelling and<br />
the associated gains and losses. My life has been one of<br />
movement and new cities and towns and horizons and landand<br />
sea-scapes. All my life, it’s an inventory of absence. What<br />
signifies the places we pass through, what do we lose in the<br />
moving-forward, the landscapes and places we forget, or those<br />
which lodge deep in us and we feel a near-physical loss for?<br />
At Arteles this year I have been working on a series of linked<br />
works under the title of “”Australia Restless””. This goes to my<br />
sense of longing for a sense of “”home”” landscape but also<br />
my restless need/desire to travel the world. Hemingway said he<br />
could only really “”see”” and write about America once he was<br />
out of it, and in a similar fashion I have used my time at Arteles<br />
to look at my vision and sense of Australia, and attempt to<br />
understand my longings for that landscape and what it is I miss.<br />
In concert with that, I have also sought to attempt to articulate<br />
the feelings that have specifically arisen from being immersed in<br />
Finland and the Finnish landscape. This has yielded a number of<br />
video and photographic works, plus a collection of spoken word<br />
tracks. How these will develop in the future, and how they fit into<br />
my broader work, I am as yet unsure, but they feel resonant and<br />
felt necessary to do whilst at Arteles.
IN THE RESIDENCY<br />
May <strong>2013</strong><br />
“ I am a Scottish artist currently<br />
living in London.”<br />
KADIE SALMON<br />
Scotland, UK<br />
kadiesalmon@hotmail.co.uk // www.kadiesalmon.wix.com/kadiesalmon // Currently working and living in London, UK<br />
My practice is driven by my fascination with historic notions<br />
of romance and desire and how these can be re-used and<br />
re-interpreted in a contemporary context. I am constantly<br />
searching for new sites, characters and stories that I can explore<br />
and dissect; pulling out the details that I feel are significant and<br />
using them in my own work as a displaced symbol of romanticism.<br />
For some time now I have been interested in the use of narrative<br />
and story-telling, and how these qualities or references are<br />
manifested in visual art. I tend to explore this in my own work<br />
by breaking up narrative sequence, displacing and contrasting<br />
images whilst disrupting and playing with space: this usually<br />
results in a collage of visual imagery and medium in the form of<br />
photography, sculpture and installations.
DON’T KNOW HOW TO TELL’<br />
(THE TITLE FOR MY BODY OF WORK THAT I MADE WHILST ON THE RESIDENCY- A COLLECTION OF PHOTOGRAPHS AND MODELS)<br />
I have spent the last month at Arteles furthering my research<br />
into notions of romanticism and narrative particularly in relation<br />
to the beautiful, vast landscape, isolated buildings and the<br />
traditional folklore and stories that are associated with Finland.<br />
I produced a series of long exposure photographs alongside small<br />
models of the surrounding architecture and local structures that<br />
I felt drawn to.
IN THE RESIDENCY<br />
May <strong>2013</strong><br />
“I am an observer, an explorer,<br />
a collector of experiences.”<br />
JAMES GOW<br />
Scotland, UK<br />
jamesgow@hotmail.com // www.jamesgow.com // Currently working and living in Glasgow, UK<br />
My work, which spans environmental, community and<br />
public art, reflects my preoccupation with both people and<br />
place and the stories, memories, hidden histories that<br />
reside in both. I record what I observe through a variety of<br />
media – I travel light and often use what I find on my journey.<br />
My travels have taken me across Scotland, Finland and beyond<br />
and the people and places I have encountered have shaped and<br />
directed my practice. Co-creation and collaboration are often at<br />
the heart of my work - bringing people together through a piece<br />
of collaborative artwork has been integral to my development as<br />
an artist. The rich layers that make up a community, a place, its<br />
people, are peeled away and recorded through my practice.
HÄMEENKYRÖ, PEOPLE AND PLACE<br />
During my residency at Arteles I was overawed by the endless<br />
Finnish skies, the stunning Finnish landscapes, and how the<br />
Finnish people have left a lasting mark on the environment.<br />
My explorations of the local environment inspired a series<br />
of line drawings, examing how people interact with the<br />
places they occupy and the lasting effect they leave behind.<br />
I deliberately omitted trees and people from my landscapes;<br />
by doing so I aim to reveal the vast space that humanity<br />
barely fills and emphasise our fleeting time in this world.<br />
I worked with other residents at Arteles to produce a series of<br />
collaborative pieces that reveal the places that have inspired<br />
us during our visit to Finland. This culminated in an intimate<br />
series of postcards that link the places I am drawing to people<br />
exploring the Finnish landscape and their own connections to<br />
it. The series of postcards reflect our personal connections<br />
to the environment in and around the Arteles Creative Center<br />
and reveal our temporary place within these environments<br />
as well as our personal inspirations each place provided.<br />
This series of postcards will be produced when I return home with<br />
each artist receiving their individual postcards to be posted from<br />
wherever they are in the world back to the center, leaving Arteles<br />
a lasting memory of the effect the place has had on us.
IN THE RESIDENCY<br />
May <strong>2013</strong><br />
“music is a constant practice,<br />
a continuous searching process.”<br />
NIZHA SALIM BUSTOS<br />
Argentina<br />
nizha_s@hotmail.com // www.facebook.com/NizhaSalim // Currently working and living in Salta, Argentina<br />
I am a musician. My instruments can be either the violin or my<br />
voice. The ways or forms in which i will make music can vary<br />
depending on different factors, but i can say that is through melody<br />
that i can better find a way to express myself and to explore<br />
and search for different and new possibilities in the sound field.<br />
What I will always seek in a melody is emotion. From my<br />
point of view emotion is the motor that pulls the melody<br />
through and it is there where it’s escence and meaning relays.<br />
For me music is a constant practice, a cointinuous searching process,<br />
there’s always a new place to explore, new ways to say and<br />
sound.
FINNISH SKY<br />
In Arteles I worked on a series of compositions that found<br />
inspiration in Hameenkyro’s landscapes and surroundings.<br />
My research was centered on finding the emotional metaphors<br />
that the environment evoqued in me. The absorving<br />
beauty and quietness of Hameenkyro brought a complex<br />
palate of emotions, sensations, sounds, words, images<br />
which i would later try to sinthesize into songs and lyrics.<br />
Although the work is still in progress I am updating some<br />
of the work in my profile site in facebook and soundcloud.<br />
This whole month in Arteles gave me the time and space for contemplation<br />
and research for new motives of inspiration. But it was<br />
also an amusing group experience of sharing and learning from<br />
each other.
IN THE RESIDENCY<br />
April-July <strong>2013</strong><br />
“ Live, learn, share.”<br />
OLLI HORTTANA<br />
Finland<br />
vonhorttonspictures@gmail.com // https://vimeo.com/user7923950/videos // Currently working and living in Helsinki, Finland<br />
I’m a visual artist, focusing on short films. The most important<br />
aspects in my films are feelings, emotions. As my main work I<br />
have been editing television for many years. I have been working<br />
as a photographer too.
SILJAN SUVIYÖ (SILJA’S SUMMER NIGHT)<br />
I did a short movie, based on a novel by Frans Emil Sillanpää,<br />
Finnish Nobel Prize winner in literature. A Girl, a boy and a<br />
summer night.
IN THE RESIDENCY<br />
April <strong>2013</strong><br />
“Art should be accesible and productive<br />
and not alienate the general public.”<br />
DUSTY RABJOHN<br />
USA<br />
drabjohn@gmail.com // www.dustyrabjohn.com // Currently working and living in Chicago, IL USA<br />
I am an artist and teacher. I focus primarily on painting and am<br />
driven by current sociopolitical issues. I think art should be a<br />
democratic form, accessible to those who seek engagement with it.<br />
I seek to produce work that is meaningful and relevant and communicates<br />
to the general population.
AWKWARD ANIMALS<br />
At Arteles I created a series of large-scale paintings depicting<br />
animals native to Finland in situations of conflict with human<br />
social structures. I like the use of animals as metaphor for indigenous<br />
culture and I think they serve to provide a more objective<br />
view on issues like corporate globalization, nationalism, borders,<br />
and urbanization. I also wanted to create a site-specific mural<br />
for Arteles which resulted in a lonesome cowboy, isolated in a<br />
disco room.
IN THE RESIDENCY<br />
April <strong>2013</strong><br />
“Think it over, think it under”<br />
SENA WOLF<br />
Poland<br />
senawlf@gmail.com // senawolf.com // Currently working and living in New York, USA<br />
Sena Wolf is a multimedia artist based in New York City. She was<br />
born in Wroclaw, Poland where she studied Cultural Theory at<br />
Wroclaw University. She received her BFA degree from Hunter<br />
College of New York, where she was the recipient of a Kossak<br />
Painting Fellowship. Her work has been exhibited in New York<br />
at the Bertha and Karl Leubsdorf Art Gallery, the Leslie–Lohman<br />
Gallery, and The Rotary. Her work has included installation,<br />
sculpture, video and performance and addresses social and cultural<br />
issues.<br />
Artist’s statement:<br />
I am invested in the visual traits of the processes that create the<br />
present- day concept of the other. I explore the space Homi K.<br />
Bhabha calls ‘in-between’, a space which has a potency to elaborate<br />
a new personal or communal identity. In my performances, I<br />
reenact and reinterpret the moments and processes that contribute<br />
to the articulation of the difference in culture. I understand<br />
these processes to be formulated performatively by an individual<br />
and by how individuals position themselves to create a subjective<br />
perspective of their own cultural otherness.<br />
In my work I often focus on the compartmentalization of the spaces<br />
we inhabit, as a mean of symbolic designation of one’s identity.<br />
By rearranging the components of the space, I deconstruct<br />
the visual stories they tell and create alternative narratives that<br />
enable the viewer to move beyond their own singular perspective.
METAMORPHOSIS<br />
In ”Metamorphosis,” the performer carries out the simple act of<br />
cutting cloth. In the background, through distorted radio waves,<br />
we hear instructions on how to create a large-scale flag. The<br />
shots of cutting are intertwined with scenes of the performer<br />
blindfolding her eyes with cut pieces of fabric. Every layer creates<br />
a new association—a terrorist, a death row inmate, a ninja.<br />
The first aspect of “Metamorphosis” which dominates the actual<br />
performance is the liberation from the abundance of the material<br />
followed by a symbolic, ritualistic act of constraining one’s<br />
vision (understood as both a positive and a negative separation).<br />
Another perspective comes from the video medium itself, which<br />
captures different shapes, each suggesting a new association.<br />
The flag, a symbol of ultimate ownership, bonds these two acts<br />
and puts them under an absurd yet suggestive persecution.
IN THE RESIDENCY<br />
April <strong>2013</strong><br />
“Painting is like riding a wild,<br />
untamed thing.”<br />
AGNES FIELD<br />
USA<br />
agnesfield@gmail.com // kala@hipfishmonthly.com // Currently working and living in Astoria, USA<br />
Agnes Field’s studio is based in the empire of Astoria, OR in the<br />
middle of NW Cascadian wet and mossy landscape on a 50 acre<br />
sustainable farm. She completed her Masters degree in studio<br />
fine art at New York University and since then has been selfemployed<br />
as an artist/painter and curator. She works with mixed<br />
media on a variety on surfaces-always looking for what is beneath<br />
the surface.
SOINTULA: FINDING HARMONY<br />
Experimenting using sauna ash and paint/photography searching<br />
for images that express the feeling of accord, a tone of cultural<br />
harmony. Completed about 70 small images using ash, paint and<br />
photography and sculpture relating to the found environment.
IN THE RESIDENCY<br />
April <strong>2013</strong><br />
“Photography allows me to study<br />
the nature of existence.”<br />
VIRPI VELIN<br />
Finland<br />
virpi.velin@gmail.com // www.virpimirjamivelin.blogspot.com // Currently working and living in Helsinki, Finland<br />
Photography allows me to study the nature of existence. I’m<br />
interested in scale, distance, optical illusions, aerial view points,<br />
codes, cryptics and inverted images. The camera transforms<br />
into a microscope as well as a telescope. Different structures,<br />
emotional, cultural, material structures and systems interest<br />
me, how they are built and how they manage to stay together or<br />
why they fall apart. The visible reality seems to be a reflection<br />
of an invisible, emotional and intellectual reality. Moving to those<br />
unknown areas where rules and structures dissolve and new view<br />
is revealed, is an ongoing and fascinating journey.
TRACE, TRACK, RACE, TRACK, GRACE.<br />
During my residency in Arteles I aimed to re-connect with the<br />
feminine archetype and force of St. Mary, that revealed herself<br />
to me while I studied and worked in ENSP, Arles, France in 2009.<br />
Committing to being outdoors, walking daily and making photographs<br />
of what I saw and experienced in nature, helped to rebuild<br />
this connection. In Arteles I was inspired by human and animal<br />
tracks and made a series of photographs with tracks of a fallen<br />
cloth on the soft surface of new snow. In the process I inverted the<br />
photographs and they became traces of Mary of Egypt (ca. 344-<br />
ca. 421), who changed her life profoundly from a prostitute into a<br />
hermit. According to the writings of St. Sophronius , she lost her<br />
clothing over time while walking in the desert.
IN THE RESIDENCY<br />
April <strong>2013</strong><br />
“The truth is not out there.”<br />
KRISTY HEILENDAY<br />
USA<br />
k.heilenday@gmail.com // www.heilenday.com // Currently working and living in Richmond, Virginia, USA<br />
Kristy Heilenday received her B.F.A from the School of the Arts at<br />
Virginia Commonwealth University in Richmond, Virginia in <strong>2010</strong>.<br />
She creates private commissions, illustrations for publication<br />
and an ongoing body of personal work. She participates in various<br />
group shows, both locally and internationally, and has held two<br />
solo exhibitions.<br />
She is interested in the idea of beliefs – whether they’re related<br />
to science, folklore, myths, conspiracy theories, or religion – and<br />
where people choose place their convictions, however probable<br />
or tenuous the concepts may seem.<br />
Kristy researches different beliefs and will sometimes try to convince<br />
herself of their legitimacy, which she does by following various<br />
research channels that assert the reality of the idea. This process<br />
allows Kristy to bounce back and forth between reality and<br />
perception, representational and abstract. She says she wants to<br />
believe, because believing is fun, but at the end of the day her<br />
reason and skepticism tend to take over. However, she doesn’t<br />
try to act like the authority on any matter; she simply enjoys the<br />
investigation and invites the viewer to make his or her own interpretation.
MYSTERIOUS FINDINGS<br />
I committed my time at Arteles to exploration. I researched new<br />
ideas, worked with new materials and processes, probed my fellow<br />
residents and new acquaintances for their experiences and<br />
knowledge (of the bizarre or fabled variety), and explored the<br />
expanses of the Arteles property and beyond. I used these various<br />
bits of information as inspiration for my new work, which I will<br />
continue to create in the months following my residency.
IN THE RESIDENCY<br />
April <strong>2013</strong><br />
“I am an analogue film and<br />
photography artist!”<br />
MARTHA JURKSAITIS UK<br />
cherrykinocinema@yahoo.com // www.cherrykino.blogspot.com // Currently working and living in Leeds, UK<br />
I’m an analogue film and photography artist with a specific interest<br />
in the sensual possibilities of analogue images and their potential<br />
to help us expand our sensual consciousness and reach a deeper<br />
connection with the material and energetic worlds we are part of.<br />
I use Super 8 and 16mm film, as well as small, medium and large<br />
format photography, and I hand-process all my work, preferring<br />
a tangible approach to my materials. I love to explore unusual DIY<br />
methods of image-making, and have recently developed a strong<br />
desire to look at more ecologically sustainable processes, such as<br />
developing film in a coffee-based developer and fixing the film in<br />
salt water. I also run a small film art organisation called Cherry<br />
Kino that aims to make analogue film more accessible to others<br />
through workshops and resources, and I am passionate about the<br />
huge variety of aesthetics and expression that analogue film formats<br />
make possible. Having a deeply personal approach is central<br />
to my art, as I feel that through being as personal as we can<br />
be, something universal can emerge.
TRAVELLING LIGHT<br />
At Arteles, I decided to pursue film and photography methods<br />
that tread a little lighter on the earth, exploring the use of coffee,<br />
washing soda and vitamin C to make a film developer, and<br />
fixing film in saltwater, using ingredients that were all sourced at<br />
the local shops. I made some black and white Super 8 films, and<br />
applied non-toxic watercolours to them, as well as shooting some<br />
16mm photography using vintage spy cameras from Russia and<br />
Japan and loading them with high contrast microfilm. I also used<br />
Polaroid film in various formats, including creating pinhole Polaroids<br />
using a variety of exposures and handmade photographic<br />
filters. I wrote a lot of poetry while at Arteles too, which was completely<br />
interconnected with the images I made, and the freedom I<br />
feel here has enabled me to gain a whole fresh perspective on my<br />
artistic direction and to combine my ideas, emotions, technical<br />
skills and intuition into an integrated whole that feels authentic<br />
and good!
IN THE RESIDENCY<br />
March <strong>2013</strong><br />
“Don’t talk about it be about it.”<br />
AMBER DOE<br />
USA<br />
amberdoe@gmail.com // cargocollective.com/amberdoe // Currently working and living in New York, USA<br />
Amber is an artist, a canaille, a former Quaker school attendee,<br />
an aries with a moon in cancer, and rising sun in virgo, a sculptor,<br />
filmmaker, jewelry enthusiast, performance artist, choreographer,<br />
canary, fire starter, fashion and textile lover, mom and<br />
grandmom fan, amateur motorcycle photographer, storyteller,<br />
traveler, and bon vivant.
1. 2.<br />
3. 4. 5.<br />
1. GOD PARTICLE/HIGGS-BOSON - SCULPTURE.<br />
2. CHAPEL - SITE SPECIFIC INSTALLATION.<br />
3. DOLLY AND ME - VIDEO.<br />
4. I AM NOT SORRY - CANVAS AND THREAD.<br />
5. THIS IS NOT ABOUT RACE - CANVAS AND THREAD.<br />
LUMI CREW - CHOREOGRAPHER, DANCER.<br />
Developed with my fellow artists and residents an artist dance<br />
troupe called Lumi Crew.<br />
God Particle-Higgs Boson/ Chapel are sculptures inspired by the<br />
discovery of the Higgs-Boson also known as the “God Particle.”<br />
The Higgs-Boson is thought to be the key element that holds the<br />
physical fabric of the universe together. Chapel is site specific<br />
installation that works in tandem with the God Particle exploring<br />
the human need to create and build places to worship together.<br />
Dolly and Me is an ongoing video project exploring identity. i am<br />
not sorry is is a series of small hand sewn canvas frames. The<br />
piece explores my overuse of the word “sorry” and habitual apologetic<br />
manner. It is intended as a fun, cathartic release from the<br />
polite and gendered box I feel trapped in most of the time. this<br />
is not about race is a cheeky statement about being a minority.<br />
Growing up as a black female in America everything always feels<br />
about race first and gender second. It’s about wanting a feeling<br />
of freedom even if it’s fleeting and can only be felt through these<br />
hand sewn boxes.
IN THE RESIDENCY<br />
March <strong>2013</strong><br />
ALBERTO VENTURINI<br />
Italy<br />
albertoventurini@hotmail.it // Currently working and living in Milano, Italy<br />
I am one, zero, confused and inconsistent. Lost, I keep wandering,<br />
my works don’t dry up in themselves, unfinished they are part<br />
of an endless chain.The direct object turns into subject. Binary<br />
codes dart, supposedly unreadable. I don’t want to dismantle<br />
them, I don’t want to see the gears, I follow the sparks, they go,<br />
they blow on me. No free will, visceral instinct, incalculable creative<br />
violence and cuckolded referee. Failures, vital lymph, endless<br />
fuses, move me like a puppet, burn to ashes and come back<br />
to life. Sometimes the fight makes my will still, active power with<br />
no fuse, intentional slight paraly- sis, victim of not being what I<br />
want. I am one, but among many that I analyze and study and<br />
mistrust, the comparison is unavoidable and is water. Anorexic<br />
or bulimic, I still need to feed before throwing up. Inconsistency<br />
keeps me alive and makes me fight it every time through flattery.
OUT OF OUR OWN PRIVATE IDAHO<br />
The first part of the performance was a silent walk. During this<br />
walk, body language and sounds were the only way to communicate.<br />
Speaking was not permitted. The second part was a collective<br />
action, still silent, aimed to wipe the snow out from a big<br />
rock in the middle of our path. The ambient sound was so free it<br />
bounced off the rock. Performers were allowed to build their own<br />
notes inside the natural staff, in a various and unpredictable way.<br />
The ambient was interpreted as a huge sounding board. The last<br />
part was another walk in the opposite direction of the first one -<br />
but speaking was allowed. In this, different thinkings arose about<br />
the value we attribute to stopping and thinking, about the meaning<br />
of life, either in a superficial way or not.
IN THE RESIDENCY<br />
March <strong>2013</strong><br />
“Is this important?”<br />
CHRISTIANA MYERS<br />
Canada<br />
clmyers4@gmail.com // christianamyers.tumblr.com // Currently working and living in Montreal, Canada<br />
Christiana Myers is an emerging artist and curator interested<br />
in exploring the things people do, the things they don’t do,<br />
connections, disconnections, comforts, discomforts, nostalgia<br />
and regret. Her recent work focuses on the dynamics of<br />
interpersonal relationships and the way in which space can affect<br />
communication and it’s breakdown. She holds a BFA from Mount<br />
Allison University.
WHAT ARE YOU TIRED OF SAYING? WHAT ARE YOU TIRED OF HEARING?<br />
While at Arteles I focused on absorbing my experience in Finland<br />
through experimenting with methods of documentation.<br />
Among these I made an animation, small installations, and journals.<br />
My favourite though, was a project that included the locals<br />
of Hämeenkyrö. I used the opportunity of sitting in on an english<br />
language class to gain some insight into the communication<br />
habits of Finnish people. I asked them to write down something<br />
they were tied of saying and something they were tired hearing,<br />
first in Finnish and then in English. I was interested in observing<br />
the filtration of these statements into the second language of<br />
the speaker/listener, referencing the subjectivity of conversation.<br />
What people chose to write not only reflects the tensions in their<br />
relationships but in some cases the culture of life in Finland.
IN THE RESIDENCY<br />
March <strong>2013</strong><br />
MAARTEN BOEKWEIT<br />
The Netherlands<br />
maartenboekweit@gmail.com // www.maartenboekweit.nl // Currently working and living in Hague, The Netherlands<br />
Failure, uncertainty and clumsiness are central themes in my<br />
work. Both in form and content I like to keep my projects simple<br />
and light.<br />
To give a description of my ambition as an artist I’ll use the example<br />
of a situation I have experienced in my side job as a feeding<br />
assistent at a hospital.I sat there in a serious staff meeting. My<br />
colleagues tried in a spasmodic way to express their views to the<br />
team leaders. The main issue was that they felt they really could<br />
not handle any more tasks on top of their normal work. The team<br />
leaders tried to explain to the staff why they had to. At one point, a<br />
colleague very inconspicuously tried to pour herself a cup of tea,<br />
but then the lid fell into her cup. At that moment the tense faces<br />
brightened and everyone had a laugh.I really think the power of<br />
an accident is easily underestimated. Unforeseen situations can<br />
change the atmosphere so that one will think differently and suddenly<br />
be able to deal with each other in a more relaxed way.<br />
This fall Maarten Boekweit will be a graduate student at Goldsmiths<br />
University. He recently exhibted in 1646 in The Hague, De<br />
Hotel Maria Kapel in Hoorn, Heden inThe Hague and the Salone<br />
the Mobile in Milaan and Greenboro North Carolina.
THE TRASHCAN<br />
In Arteles I discovered the pleasure of dancing. For me a new form<br />
of expressing myself artistically. With the group we developed<br />
a dance that we performed in the k-supermarket in Hämeenkyrö.<br />
During the development of the choreography I got asked<br />
about the movements I make during my new side job at home.<br />
I just started working as a garbage man. The picture in the <strong>catalogue</strong><br />
is a tutorial about the movements. Later I got the idea to<br />
teach the dance to the Finnish people on the street but the month<br />
of my residency was already over. So now I am teaching the dance<br />
to the people in The Hague in the Netherlands.
IN THE RESIDENCY<br />
March <strong>2013</strong><br />
Sydney Southam is a Canadian<br />
multi-disciplinary artist working in<br />
video, film,photography, painting<br />
and performance. ”<br />
SYDNEY SOUTHAM Canada<br />
ssoutham@gmail.com // www.sydneysoutham.com // Currently working and living in Vancouver, Canada<br />
I am a multi-disciplinary artist working in film, video, photography,<br />
painting and performance. My practice engages extensively<br />
with the archive, addressing themes of memory, death, nostalgia,<br />
loss and childhood. I often edit archival film footage of events<br />
I was not actually present for to create post-memories that are<br />
subjective, postmodern and visceral yet personal. I graduated<br />
from Central Saint Martins in 2011 with a BA Fine Art. I also holds<br />
a previous combined BA degree in English, Philosophy and Cinema<br />
Studies from University of Toronto.
ONE SECOND POSTCARDS FROM A GHOST/LUMI CREW<br />
While at Arteles, I focused on two projects. I began the month<br />
working on an experimental documentary I call “Postcards from<br />
a Ghost”. My goal was to make a film about the transient nature<br />
of being on a residency, and what the life of an artist looks like. I<br />
interviewed all the other artists at Arteles, and filmed every day<br />
life. The second project I worked on was the collaborative, experimental<br />
performance art group Lumi Crew. Every day we met for<br />
dance practice, developed alter egos, and eventually performed a<br />
K-Supermarket to a bewildered crowd. These two projects overlapped,<br />
and the story of Lumi Crew and our alter-egos became<br />
intertwined with the narrative of the documentary I was working<br />
on. For me, Arteles was magical, and will always hold a special<br />
place in my heart.
IN THE RESIDENCY<br />
March <strong>2013</strong><br />
JACQUELINE HEN<br />
Germany<br />
jacqueline.f.hen@gmail.com // janeh.de // Currently working and living in Berlin, Germany<br />
Studying Visual Communication with a focus on Environmental /<br />
Experience Design at the University of the Arts in Berlin.<br />
”Environmental Design is a humancentered discipline that is<br />
focused on the design of a users total experience...from the first<br />
moment of encounter to the last moment of interaction. We span<br />
the creative environment beteween spatial, object and emotional<br />
communication” (Art Center Collage of Design).
ONE SECOND<br />
I started to record one second of my life each day and edditing it<br />
together in order to record my life but also to reevaluate how I<br />
approaches each day. One second is enough to bring back the rest<br />
of the memories of that day. I will try to continue this throughout<br />
my life. 1 year fits in 6 min of film. 10 years in 1 hour.
IN THE RESIDENCY<br />
March <strong>2013</strong><br />
LUMICREW<br />
International<br />
thelumicrew@gmail.com // lumicrew.tumblr.com<br />
“Lumi for life”<br />
Lumi Crew is a collaborative art project that aims to explore personal<br />
mythologies and social interactions. The artists involved<br />
are Vanessa Vaughan, Sydney Southam, Amber Doe, Jacqueline<br />
Hen, Christiana Myers, Maarten Boekweit, and Alberto Venturini.
LUMICREW GOES K-SUPERMARKET<br />
During our stay at Arteles, all march residents joined together for<br />
a HipHop crew, made alter egos for each member and performed<br />
our dance at the local supermarket.<br />
“Arteles Art Residency presents the inaugural performance from<br />
world-renowned dance troupe the Lumi Crew.<br />
After many weeks of preparation, these skilled and multi-talented<br />
performers will be converging at the K-Market at 4 pm on Thursday,<br />
March 28 for their European debut.<br />
Drawing upon their diverse influences as international artists,<br />
this will be a 5 minute Hip-Hop dance unlike any other. Expect to<br />
be surprised and amazed.<br />
This ground-breaking performance is 100% free.”
IN THE RESIDENCY<br />
February/March <strong>2013</strong><br />
VANESSA VAUGHAN<br />
Canada<br />
vvaughan.artist@gmail.com // www.vvaughan.com // Currently working and living in Montréal, Canada<br />
I direct large-scale installations that include sculpture, stopanimation,<br />
sound and drawings. I like making objects and I work<br />
in several mediums at once. I am interested in myths and the<br />
fantastical. I tell stories in my work using symbols revealing and<br />
hiding a contrived morality. I also play with time, exploring stories<br />
on multiple timelines through various media. I like to interact<br />
socially and take bits and pieces of moments and build on them<br />
as a narrative base. These moments might be awkward, funny or<br />
painful. This usually happens intuitively without any plan.
I AM SORRY AND THE DEATH PROJECT<br />
I worked on several projects while at Arteles, some collaborative<br />
and some individual. After experimenting with many stop<br />
motion loops in the studio I noticed I was apologizing often out of<br />
politeness and otherwise and decided to make a piece about it.<br />
I also wanted to use the uniqueness and calmness of our natural<br />
surroundings and was inspired by another resident to make fake<br />
blood and venture outside. I took many stills of me dying in the<br />
snow. These are being transformed into some animated gifs.
IN THE RESIDENCY<br />
February/March <strong>2013</strong><br />
“Art always happens<br />
in between.”<br />
LILIAN BEIDLER<br />
Switzerland<br />
loul@gmx.ch // www.loul.ch // Currently working and living in Switzerland<br />
“Done again.”<br />
Sound being a fundamental component of my work, I range from<br />
installation, performance and acousmatic composition. I am<br />
interested in the relation between sound and body and object<br />
as mobile parameters in a particular space. Functional objects<br />
like machines or devices with modified uses often serve as basic<br />
materials for my artistic interventions.<br />
My artistic work often focuses on the in-between: I am looking for<br />
a vector between sound and language and image, between installation<br />
and performance and space, I range between abstraction<br />
and narration andconcreteness. I get crazy about abutments<br />
and marginal crossovers between reality and fiction, between<br />
analogue and electronic sound, between original and dublicate,<br />
between perceptible and suspected.<br />
The used medium concerns me as a representation of different<br />
cut surfaces, as an agile cone of light, which can illuminate<br />
into different directions, and its influence on my compositions. I<br />
choose a certain medium to try to change the perception of preexisting<br />
denominations by highlighting the fragileness of the intermediate<br />
and the filigree of the peripheric.<br />
And I like to dance.
(WORKING TITEL)<br />
I did a little shake in the woods.<br />
I composed a reed organ piece.<br />
I sang.<br />
I cried.<br />
I dreamt.
IN THE RESIDENCY<br />
February <strong>2013</strong><br />
BENTEN CLAY<br />
Germany<br />
goodnews@bentenclay.com // bentenclay.com // Currently working and living in Berlin, Germany<br />
BENTEN CLAY is a global corporation with a cross-disciplinary<br />
approach. The focus lies on the production of a long-term project<br />
titled Age of an End in which the appearance of the now is analyzed,<br />
assessing the limitation of natural resources, their implementations,<br />
as well as mechanisms of power and volatility inherent<br />
to the human pursuit of control.
NEXT STEPS TOWARDS GLOBAL LEADERSHIP.<br />
This year’s visit to Arteles had 3 main objectives:<br />
Administration:<br />
We visited our Finnish partners to negociate further project<br />
plans, held informal meetings with new business contacts<br />
and initiated due diligence investigations for possible M&A.<br />
Internally we developed the annual target agreement for <strong>2013</strong>.<br />
Research & Development:<br />
The R&D department, the largest division of our company,<br />
continued working on their studies and findings about<br />
nuclear waste repositories.<br />
Leisure:<br />
We follow the principle ”mens sana in corpore sano” in our<br />
corporate governance codex.”
IN THE RESIDENCY<br />
February <strong>2013</strong><br />
PILAR MATA DUPONT<br />
Australia<br />
info@pilarmatadupont.com // www.pilarmatadupont.com // Currently working and living in Perth, Australia<br />
Pilar Mata Dupont is a multidisciplinary artist working mainly in<br />
photography and film. She has exhibited collaborative and solo<br />
work at galleries such as Centre Pompidou, Paris; The Akademie<br />
der Künste, Berlin; Museum of Contemporary Art, Sydney; Gallery<br />
of Modern Art, Brisbane; on Cockatoo Island for the 17th Biennale<br />
of Sydney and in festivals like Art Basel, Miami; The Berwick Film<br />
and Media Arts Festival, UK; and the CineB Film Festival, Chile.<br />
In <strong>2010</strong> she won the prestigious $100,000 Basil Sellers Art Prize<br />
with Tarryn Gill for their film ‘Gymnasium’.<br />
Her work engages with, or subverts, tropes used in storytelling<br />
through the re-imagination of collected memories/histories and<br />
mythologies, and investigates into the genre of magic realism as<br />
a device to explore the effects of colonialism, nationalism, and<br />
militarised societies.
KAIHO III<br />
During my month at Arteles I completed the last of my ‘Kaiho’<br />
trilogy, which I began at my first residency at Arteles, in June<br />
2011. The ‘Kaiho’ series is a video based triptych relating to the<br />
concept of the ‘kaiho’ (Finland’s version of saudade or longing<br />
for something unobtainable). The series was created by melding<br />
collected memories from Finnish people with aspects of Finnish<br />
mythology, including the Kalevala; Finnish tango; and itkuvirsi<br />
(Karelian lament singing). The works also investigate newer<br />
uses of Finnish mythologies, such as their application to promote<br />
nationalist sentiment by right-wing populist parties, such as the<br />
True Finns.<br />
‘Kaiho III’ delves into the newer mythology of Finland by playfully<br />
examining nostalgic and nationalistic views on war and sport. The<br />
idea stemmed from an interview with theatre director, Kristian<br />
Smeds, about his 2009 stage version of ‘Tuntematon Sotilas’<br />
where he mentions that to get a Finn passionate one just needs to<br />
bring up the Winter War or the 1995 ice hockey championship win<br />
over Sweden. Important battles of the Winter War, where Finland<br />
fought the invading Soviet Army from November 1939 until March<br />
1940, were broken down into basic actions, and developed into ice<br />
hockey plays for a one-on-one game.
IN THE RESIDENCY<br />
February <strong>2013</strong><br />
ART HOME DELIVERY SERVICE<br />
ART ON DEMAND<br />
Lilian Beidler Switzerland / Pilar Mata Dupont Australia / Vera Hofmann Germany/<br />
Brenna Noonan USA / Sabine Schründer Germany/ Vanessa Vaughan Canada<br />
info@a-o-d.org // a-o-d.org // Currently operating internationally<br />
ART ON DEMAND (AOD) is a collaborative participatory project.<br />
Its primary aim is to make art accessible by taking it out of the<br />
expected exhibition spaces and bringing it to targeted private<br />
spaces, creating tailor-made works that are intimate, useful and<br />
immersive.<br />
There are two keystones to AOD:<br />
1. The AOD Actions – performed by AOD member artists as well<br />
as satellite artists. “Exploring by doing”.<br />
2. AOD Reflections – A theoretical component consisting of<br />
reviews, essays, and articles written by AOD members and<br />
contributors.<br />
AOD is interested in creating an international network of artists<br />
that will perform, interact and write about accessibility, value,<br />
economics and intimacy.<br />
AOD was founded at Arteles Creative Center, Finland in February<br />
<strong>2013</strong>.
ACTION 1, HÄMEENKYRÖ, FINLAND<br />
”<br />
The inaugural action was performed by the founding members<br />
of AOD in February <strong>2013</strong> and consisted of a Delivery Menu<br />
offering a variety of site-specific artistic experiences and/or<br />
tangible custom-made items. The menu was distributed around<br />
the community prior and an article was published in the local<br />
paper to advertise this one-day event. Customers could order in<br />
advance or on the actual day. The AOD team allotted 30 to 45<br />
min per order and donned themselves in red to mark themselves<br />
as a team. Six deliveries were made that day over a spread out,<br />
remote community.
IN THE RESIDENCY<br />
January <strong>2013</strong><br />
“Visual Culture Documentarian”<br />
CATHERINE J HOWARD<br />
USA<br />
131313sketchbookproject@gmail.com // 131313sketchbookproject.com // Currently working and living in Durham, NC, USA<br />
Artists are doing remarkable and inspiring things all over the<br />
world, and the lessons they have learned along the way can help<br />
all of us in our own endeavors. The 13/13/13 Sketchbook Project<br />
is a journey to live with 13 collectives of artists across the globe<br />
that use art to revitalize their communities — and then transmit<br />
their techniques for creating influential creative projects.<br />
After this year of research, the 13/13/13 Sketchbook Project<br />
will culminate in a holistic system – digital and physical – that<br />
will connect artists and social activist groups all over the<br />
world and give them the resources to make their communityempowering<br />
projects more impactful and sustainable.<br />
Follow along at http://131313sketchbookproject.com.<br />
About Catherine J Howard: In just 13 months, I shifted<br />
my life from an office to a shoulder bag, from binders and<br />
spreadsheets to journals and colored pencils. In my prenomadic<br />
life, I was an exhibiting artist, teacher, curator, and<br />
arts administrator in Raleigh-Durham, North Carolina in the<br />
USA. Check out previous projects at catherinejhoward.com.
13/13/13 SKETCHBOOK PROJECT -- TAMPERE/HÄMEENKYRÖ, FINLAND<br />
Cresting below the cloud line in the airplane, I was welcomed to<br />
Finland by glimmering streetlights and groves of trees checkering<br />
the snowy ground. The hype was founded — Finland is beautiful<br />
in the winter.<br />
The glimmers of this project began sparking in March 2012, when<br />
I arrived in Cape Town, South Africa to work with a collective of<br />
street artists to spread the message that public creative expression<br />
can spark social change. The street artist friends I made<br />
there are dedicated to spreading color, pride, and compassion,<br />
and our adventures together cemented for me how deeply creative<br />
individuals can impact their communities. I was hooked; the<br />
13/13/13 Sketchbook Project was sparked by an irresistible urge<br />
to find insights from artists across the globe who use visual art to<br />
challenge and revitalize their communities.<br />
So why visit Finland to talk to artists during frigid, snowy January?<br />
Well, Finland’s environment has engendered a culture of<br />
hardy fortitude and generosity. The weather and geographic isolation<br />
require that Finns stay in-tune with nature while relying<br />
heavily on their neighbors. (If you fall through a frozen lake or hit<br />
a reindeer with a car, someone had better be looking out for you.)<br />
The Finnish culture and language have also steadfastly survived<br />
centuries of Swedish and Russian reigns through the reliance on<br />
the philosophy of “sisu.” “Sisu refers not to the courage of optimism,<br />
but to a concept of life that says, ‘I may not win, but I will<br />
give my life gladly for what I believe.’ It stands for a philosophy<br />
that what must be done will be done, and it is no use to count the<br />
cost.” (p. 10 “Of Finnish Ways” by Aini Rajanen)<br />
This watchfulness and dedication to what “must be done” has<br />
evolved into an egalitarian social structure that is lauded around<br />
the world. And why research the arts here? Well, Finland has a<br />
very notable statistic: no country in the world spends more per<br />
capita on the arts.<br />
Artists hold the keys to humanist, interdisciplinary thinking. Artists<br />
around the world are changing their communities on shoestring<br />
budgets. Yet, here are the Finns who have recognized the<br />
power that artists have to enact social change and have been funneling<br />
funds to further this creative potential. This support begs<br />
the question: How do Finnish artists use this financial support to<br />
create artwork that engages the rest of the Finnish community?<br />
Although I reached no definitive conclusions to that question, Finland’s<br />
lessons on stillness have seeped into my spirit and altered<br />
how I interact with the world. The utter silence of the snow at night<br />
creates a delicate veneer of glass that crystallizes the entirely<br />
world and enables you to be entirely present. The most powerful<br />
emotions happen when the outside world is perfectly calm, and<br />
you are alone. And that is a lesson that should be passed on to<br />
everyone.
IN THE RESIDENCY<br />
January <strong>2013</strong><br />
“Great works are performed not<br />
by strength, but by perseverance”<br />
JOANNE DRAYTON<br />
New Zealand<br />
jdrayton@unitec.ac.nz // joannedrayton.weebly.com // Currently working and living in Auckland, New Zealand<br />
Joanne Drayton is a writer, artist and academic. Her book The<br />
Search for Anne Perry (2012), has just been released in Australasia<br />
and Canada. Her critically acclaimed Ngaio Marsh: Her Life<br />
in Crime (2008) was a Christmas pick of the Independent when it<br />
was released in the United Kingdom in 2009. Other biographies<br />
by Joanne Drayton include Frances Hodgkins: A Private Viewing<br />
(2005); Rhona Haszard: An Experimental Expatriate New Zealand<br />
Artist (2002); and Edith Collier: Her Life and Work, 1885–1964<br />
(1999). She has curated exhibitions of Collier, Haszard, Hodgkins,<br />
and D. K. Richmond, and publishes in art and design history, theory<br />
and biography. Her research interests include New Zealand<br />
art and design history; colonial art and diaspora; the modernist<br />
expatriate artist; netsuke and bone and ivory carving. She is currently<br />
working on a new biographical project and carving a postcolonial<br />
chess set in response to the Lewis pieces in the British<br />
Museum. Joanne Drayton is Associate Professor in the Department<br />
of Design at UNITEC in Auckland.
ACROSS THE BOARD: A POST-COLONIAL CHESS SET<br />
“Across the Board” is a semi-autobiographical project inspired<br />
by the urge to bring carved representations of my ancestors and<br />
my partner’s ancestors to a chessboard, which is a metaphor for<br />
the post-colonial relationship in New Zealand between Maori and<br />
Pakeha. The outcome will be a chess set and a non-fiction narrative<br />
driven, not just by historical and theoretical research, but by<br />
the practice based investigations of a twenty-first-century carving<br />
studio. Susan Stewart’s book On Longing (1993) provided me with<br />
some thought provoking ideas around the notions of nostalgia<br />
and the souvenir, which gave me the beginning of a theoretical<br />
context for my work.<br />
My origins are Scandinavian, so nostalgia, a sense of longing, a<br />
desire to participate even vicariously in the family, the village, the<br />
firsthand community of my ancestors were things I recognised<br />
and they inspired me. The project evolved to become something<br />
more post-colonial in conception with the inclusion of my partner’s<br />
ancestry, which is Maori.<br />
In 2009, I began to carve my response to the Lewis pieces, discovering<br />
as I went the importance of research by ‘making’ or ‘practice’,<br />
and the concept that engagement with objects and their<br />
materiality unfolds layers of information that provokes questions<br />
about meaning, intention, and process that may not necessarily<br />
occur within a conventional methodology.<br />
The project I set myself on my Arteles Residency in Finland, was<br />
to complete one side of my set by carving the knights.
IN THE RESIDENCY<br />
January <strong>2013</strong><br />
EDWARD SANDERS<br />
UK<br />
edwardpsanders@gmail.com // www.edwardsanders.info // Currently working and living in United Kingdom<br />
Howard hung up the telephone. He went into the kitchen and<br />
poured himself some whiskey. He called the hospital. But the<br />
child’s condition remained the same; he was still sleeping and<br />
nothing had changed there. While water poured into the tub, Howard<br />
lathered his face and shaved. He’d just stretched out in the<br />
tub and closed his eyes when the telephone rang again. He hauled<br />
himself out, grabbed a towel, and hurried through the house,<br />
saying, “Stupid, stupid,” for having left the hospital. But when he<br />
picked up the receiver and shouted, “Hello!” there was no sound<br />
at the other end of the line. Then the caller hung up.
1ST JANUARY <strong>2013</strong><br />
Acrylic on unstretched canvas. 2x1.5m
IN THE RESIDENCY<br />
November 2012<br />
PATRICK LOAN<br />
UK<br />
patrickloan@yahoo.co.uk // Currently working and living in Vienna, Austria<br />
Patrick Loan’s practice focuses on the spatial environment of<br />
sports stadia and the identity and celebrity of sports stars. In<br />
his performance-based work he takes on the identity of sports<br />
stars using low-tech materials to make masks and props. He also<br />
works with video, photography, drawing and printmaking. His<br />
fascination with sport leads him to explore identity, place and<br />
architecture.<br />
Loan has a developing interest in how the viewer relates to an<br />
image or performance in an architectural space or in natural<br />
surroundings, and how that space can be activated by the use of<br />
simple low-tech means.<br />
Patrick Loan has exhibited in the UK, Europe and the USA.
Mäkihyppääjä: Matti Nykänen<br />
(Ski jumper: Matti Nykänen)<br />
My original idea was to come to Haukijärvi and travel to the<br />
nearby areas of Hämeenkyro and Tampere in order to undertake<br />
research into the sporting culture of Finland, and in particular<br />
to examine the career and fame of Matti Nykänen, a Finnish ski<br />
jumper whom I remember watching on TV as a teenager in the<br />
1984 and 1988 Olympic Games.<br />
‘Podium / Palkintojenjakokoroke (1983)’<br />
Whilst researching the career of Matti Nykänen, who was at his<br />
athletic peak in the mid to late 1980s, I found a photograph of him<br />
as a young man in 1983 winning a ski jumping competition in a<br />
book in the reserve collection of Tampere library. Using this photograph<br />
as a reference point, I built a wooden podium using the<br />
same colour and font as the original one. This was used as a prop<br />
in a series of performances where I took on the identity of each<br />
of the three ski jumpers in the photograph using masks of their<br />
faces and cut-out cardboard trophies and recreated their poses<br />
on the podium.<br />
The first ‘Podium / Palkintojenjakokoroke (1983)’ performance<br />
took place at night during which the sound of a cheering and<br />
applauding crowd reverberated through the forest from loudspeakers<br />
as each ski jumper in turn got onto the podium and<br />
held his pose. As the applause reached its crescendo a theatre<br />
spotlight was directed onto each athlete; as he stepped off the<br />
podium, the sound was lowered and the light turned off.<br />
The podium evolved from simply being a prop for a performance<br />
and became a discordant sculptural object in the woodland<br />
landscape.
IN THE RESIDENCY<br />
November 2012<br />
OFRI LAPID<br />
Israel<br />
info@ofrilapid.com // www.ofrilapid.com<br />
// Currently working and living in Berlin, Germany<br />
This project is a part of a series, which take place in rural villages<br />
worldwide (Bulgaria, India, Peru, Finland), and aim to explore<br />
society’s perception of its local history and material heritage.<br />
The projects are often a result of a process, in which I involve<br />
myself in the lives of people, and invite them to contribute to the<br />
making of the installation. In this manner the local people become<br />
simultaneously both viewers and participators in the construction<br />
of their own displays, thus creating an alternative ethnographic<br />
representation, which exposes both the social context of the making<br />
of a collection and the relations between people and objects.
TO WHOM DOES THE LAMP COMMUNICATE ITSELF THE MOUNTAIN? THE FOX?<br />
Spending November, the darkest month of the year (The days are<br />
not the shortest but there is no snow to reflect the sunlight) by the<br />
rural community of Hämeenkyrö, led me to investigate the ways<br />
people illuminate their domestic environment and thereby study<br />
the social aspects of light.<br />
In order to gain a better understanding of the local culture of hospitality<br />
and the construction of indoor “”lightscapes””, I initiated<br />
contacts with residents and got invitations to visit private homes.<br />
On each visit I measured light intensity, light-temperature, the<br />
distance between lamps, as well as the direction of the cast shadows.<br />
I presented the information I collected as an installation<br />
consisting of a table, lamps, photographs and information sheets.<br />
The display of data was intended to draw attention to the function<br />
of light in the domestic environment, as for its function in the<br />
display.<br />
The local families admitted that conducting light plays a crucial<br />
role in hospitality, but also serves an instrument in spying on<br />
neighbors. In order to further investigate the social aspect of light<br />
I invited the residents for a visit in the open studios. I asked the<br />
guests to bring along a lamp they chose from their home. One<br />
by one lamps began to light up the exhibition space. Later on in<br />
that evening guests spontaneously began to tell stories about the<br />
lamps and the meanings they held for them, bringing up memories<br />
of family members, religious and local traditions. The situation<br />
resembled a social gathering around the campfire, encouraging<br />
people to verbalize their emotions.
IN THE RESIDENCY<br />
November 2012<br />
“At the center of my work is an<br />
examination of the location and<br />
circulation of power and information.”<br />
JENNIFER PICKERING<br />
USA<br />
jenpickering@gmail.com // www.jenpickering.com // Currently working and living in Okanagan Valley, British Columbia<br />
My practice presents a consideration of objects and institutions<br />
as crucial nodes in the circulation of knowledge. I have used<br />
books and libraries to create a reference for the viewers’ reflection<br />
of their own placement within this circulation. Subsequently,<br />
I worked with suitcases to reference travel and examine the possibilities<br />
and limitations of the embodied movement of people and<br />
information.<br />
The formal qualities of objects, particularly material, colour and<br />
light are fundamentally important to me. Minimalism, through its<br />
attention to method and material has influenced my work. With<br />
minimalism I share an engagement with social critique. Yet unlike<br />
sculpture of the 1960’s and 70’s, I specifically focus on the examination<br />
of historical processes and recollection.<br />
I am currently developing the Mars / Moon Project, which uses<br />
an urban legend as a basis for the exploration of a complex set<br />
of relationships where society, science and knowledge intersect.<br />
In this story Mars is said to be approaching the Earth so close<br />
that it will appear at the same size as the Moon in the night sky.<br />
This narrative is unique among urban legends because it does not<br />
consider events in urban space. Rather, it attempts to understand<br />
the approach of something remote – Mars, which has a long history<br />
of anchoring the futuristic imagination.<br />
The Mars / Moon Project project has been developed in collaboration<br />
with Art Historian Jasmina Karabeg, who in her scholarship,<br />
focuses on the notion of the future as a crucial determining factor<br />
that shapes today.
MARS CAFÉ<br />
The Mars Café is a social intervention, where participants take an<br />
active role in the imagination of the future. The Café is planned as<br />
an ongoing international discussion forum that explores a diversity<br />
of perspectives about our collective futures. As an artistic project<br />
the discussions take place within a site-specific media work<br />
that references our connections to each other and to something<br />
larger – the planet Mars.<br />
At Arteles, the Mars Café was held in the “Mars lounge”. I transformed<br />
this everyday space to suggest a future movement by projecting<br />
a video onto the coffee table. The video figures the possibility<br />
of a trip starting as a circular cut through the coffee table.<br />
Then it reaches down to the centre of the earth, emerges on the<br />
other side and shoots up through space to the surface of Mars.<br />
The video includes images from the room, satellite imagery and<br />
the textures and colours of the rocks that form local geology.<br />
Participants were invited to discuss ideas, which will impact our<br />
collective futures. Among environmental and political topics, we<br />
also spoke about the changing ways of social life. While talking<br />
about some failed experiments in communal living we chatted<br />
about how as residents we benefited from sharing and cooking<br />
as a group. I for instance, leaned how to bake Korvapuustit and<br />
Karjalanpiirakka, two traditional Finnish dishes. While the Korvapuustit<br />
with it’s double spiral suggests movement, I couldn’t<br />
help but imagine us all aboard a Karjalanpiirakka shaped vessel<br />
hurtling across time and space.
IN THE RESIDENCY<br />
November 2012<br />
ANNABELLE CRAVEN-JONES UK<br />
annabellecraven-jones@live.co.uk // www.annabellecraven-jones.co.uk // Currently working and living in UK<br />
PURE GREY LATITUDE SYNDROME (NORDIC)<br />
Screensaver with audio 2 mins 40 loop, laptop, chair, table,<br />
headphones<br />
LOW CLOUD S.A.D. (PRISMATIC LIGHT THERAPY)<br />
3 photographic filters, 9 magnets, A4 graph paper, lamp, table<br />
ANTIDOTE (TRIANGULAR PRISM)<br />
Marker pen on 80gsm paper, 210 x 297 mm
PROPOSAL FOR LIGHT THERAPY (PILVI) 2012<br />
SOMEWHERE THERE IS THE SOUND OF SOMEONE THINKING IN<br />
A WOOD (GREY NOISE INVERSE)<br />
Video with sound 1 min 27 loop, laptop, chair, table<br />
AFFECTIVE AUTO STREAM (LIVE CONSCIOUSNESS)<br />
Location: Finland. 100m Ethernet cable, live webstream, laptop,<br />
dimensions variable<br />
Diagram for AFFECTIVE AUTO STREAM (LIVE CONSCIOUSNESS)<br />
9 prints on 80gsm paper, 210 x 297 mm
IN THE RESIDENCY<br />
November 2012<br />
CAMILLA EMSON UK<br />
info@camillaemson.com // www.camillaemson.com // Currently working and living in London, UK<br />
My work begins with words. I’m interested in how words never<br />
have just one meaning; how these multiple possibilities affect<br />
how humans can make choices, make change, speak truth to<br />
power. How power uses language to de ”In my practice I use my<br />
body with materials to intuitively channel kinds of repair.<br />
My experimentation with materials has involved wrapping objects,<br />
sewing canvases, firing cracked glass and drawing through contact<br />
dance. My work is abstract yet often acutely conveys the<br />
sensations of physicality. I try to crudely confront the nature of<br />
stability.<br />
My sewn works convey a fragile and feminine sensitivity, while the<br />
glass works withhold despite appearing ephemeral and unstable.<br />
More vitally, my CI drawn work investigates a kinaesthetic potential.<br />
I explore how the development of contact and improvised<br />
movement can harness an excavation of stored memory from<br />
inside the body. Acting upon a more essential kind of repair, while<br />
making the invisible visible.<br />
The multi-disciplinary nature of my practice constantly re-defines<br />
form, process and transformation.” fine truth. To define power. I<br />
hope to open up space with my work for readers/viewers to begin<br />
to think about how one reads, how the way each one of us thinks<br />
or reads is very much what makes language become sense or<br />
nonsense.<br />
I’m the author of a chapbook, Memory of My Mouth, available<br />
from dancing girl press. In addition to my work at Arteles, I’ve<br />
been fortunate enough to receive grants and fellowships from the<br />
Oregon Arts Council, the Vermont Studio Center and the University<br />
of Virginia, where I was a Henry Hoyns Fellow. Other of my work<br />
can be found in places like Ancora Imparo, Coldfront, Poecology,<br />
High Desert Journal and my online workspace.
MARKING THE INVISIBLE (WITH ASH)<br />
My most recent Live Art piece Marking the Invisible uses CI with<br />
powdered graphite on paper to mark the development of kinaesthetic<br />
potential. At Arteles, I decided to exchange my use of<br />
graphite with ash collected from the outdoor sauna. I am interested<br />
in exploring how materials and the body can be understood<br />
as a continuum. The ash was the equivalent of a trace, a residue<br />
of released memory through CI, and the human body, over time,<br />
showed signs of increased consciousness. In part, the drawings<br />
are simply documentation but they also help me visualize and<br />
conceptualize exchanges between different materials and the<br />
body.<br />
I also used my time at Arteles to explore the process of making<br />
felt using locally farmed wool.
IN THE RESIDENCY<br />
November 2012<br />
MICHELLE DICINOSKI<br />
Australia<br />
m.dicinoski@gmail.com // michelledicinoski.com/ // Currently working and living in Australia<br />
Michelle Dicinoski writes poetry and non-fiction. Her poetry collection<br />
Electricity for Beginners was published in 2011. Her memoir<br />
Ghost Wife: A Memoir of Love and Defiance will be published<br />
by Black Inc. in <strong>2013</strong>. The final corrections to this manuscript<br />
were made at Arteles in 2012.
They reckon it a fake asylum<br />
a suspect body.<br />
We risk anything<br />
but you do not see.<br />
A body when inhaled<br />
leaves no trace.<br />
While at Arteles, I worked on a few projects. The most surprising<br />
(to me) was a short series of “found” poems made by altering a<br />
secondhand novel. I bought a copy of Agatha Christie’s The Big<br />
Four from a local flea market and made several poems by blacking<br />
out and/or cutting up some of the pages. I initially planned<br />
only to make blackout poems, but soon realised that cutting out<br />
sections of pages would also juxtapose text in interesting and<br />
unpredictable ways. Most of the poems can work separately or<br />
together, and can be read in a range of ways, depending on the<br />
reader’s approach. The cut-up book was displayed at LA Kirpparitaidemessut<br />
as part of a group Art Fair but (accidentally) never<br />
returned. Its current location is a mystery.
IN THE RESIDENCY<br />
November 2012<br />
TAMÁS SZVET<br />
Hungary<br />
kszvet@yahoo.com // szvet.blogspot.com // Currently working and living in Budapest, Hungary<br />
I have a multi-layered artistic interest. I am enthusiastic with the<br />
opportunities offered by the latest technological inventions. I use<br />
these innovations socio-critically, and in an experimental way<br />
as well.<br />
The convergence of science and art is a central focus in my work.<br />
I play with technological invention in order to convey my fascination<br />
with fields of energy and our place in the world, through<br />
levitation, illusion, reality and non- reality and where the thin veil<br />
between these lie.<br />
Objects and installation I made are rather experimental, but at<br />
the same time also conceptual. I always start with a conceptual<br />
question and look for solutions that try to give an answer to art<br />
theory questions through the applied techniques. Lengthy art historical<br />
and scientific researches precede the creating activity, so<br />
the researches become a basic act in my work.
PLACEBO HISTORY<br />
My installation is focusing on historical gaps. I have projected<br />
images and stars using an astro planetarium projector, while the<br />
story was told.:<br />
“Origin of the Hungarians is unknown. Being uncertain in the past<br />
creates unconfident feelings in the present, and people looks<br />
back, instead of ahead. When the past is blurry and history has<br />
gaps, we might believe to other theories.<br />
Where comes the Hungarians?<br />
How they colonise and why they migrated?<br />
9 million 999 thousand people cannot live without past! Maybe the<br />
craziest theory could be enough to fulfil the emptiness, so people<br />
could focus to the future and not the past any more.<br />
...<br />
Hungarians came from the planet called Sirius, before its sun<br />
exploded. Cristal heated Spaceships transfer them throw the universe,<br />
when they reach the planet called Earth. They were a great<br />
nation, with rich pastures and huge area. They were the emperor<br />
of Europe. Powerful and independent, talented and clever, beauty<br />
like the sun, and strong like the paprika.<br />
If you look closely and deeply in their eyes, you can still see far<br />
away galaxies shine!”
IN THE RESIDENCY<br />
October 2012<br />
“Stories, stories, stories..”<br />
MARIE LOUISE COOKSON UK<br />
marie.l.cookson@gmail.com // www.wellfanmybrow.blogspot.com // Currently working and living in Manchester, UK<br />
A writer and performer based in Manchester, UK, I have written<br />
and performed a number of short stories, monologues, and film,<br />
radio and stage scripts. These have included my short play: ‘Get<br />
The Confidence, Get The Love’ as part of Manchester Contact<br />
Theatre’s selection of new writing; and a 10 minute film, ‘Bloodless<br />
Offering In B Minor’ in collaboration with Nexus Art Cafe and<br />
Manchester based filmmaker Graeme Cole.<br />
With a particular passion for comedy, both in literature and in performance,<br />
two years ago, I set up a fictitious humour blog called<br />
Well Fan My Brow And Shut My Mouth. Inspired by a combination<br />
of Laurel and Hardy films, and the works of PG Wodehouse,<br />
Dorothy Parker and John Kennedy Toole, I update my blog weekly,<br />
writing short, often satirical, stories under the guise of ‘Mitzy,’ as<br />
the character chronicles the outlandish tales of North West life.<br />
Earlier this year, I performed a selection of blog extracts at The<br />
Manchester Independent Book Market, a free event held annually<br />
to promote both small presses and local writers. One of my pieces<br />
entitled, ‘Is This Your Life’ was included in an eBook (available<br />
to download at Amazon) called, ‘The Hat You wear’ which featured<br />
works by other prose writers and poets who also appeared at the<br />
festival.
My two passions are literature and performance and during my stay,<br />
I focused on writing two short stories, ‘The Silence And The Speech’<br />
and ‘Sleep Scars’ and creating a comedic performance piece<br />
specifically about my time at Arteles.<br />
‘The Silence And The Speech’ is a story exploring the concepts<br />
of silence and speech. In anthropomorphising these, I set out to<br />
create a playful and humorous tale about what would happen if<br />
‘The Silence’ swapped places with ‘The Speech.’ This story grew<br />
out of an early conversation at Arteles about the fact that Finnish<br />
people are very comfortable with silence. I thought it would be<br />
fun to explore what may happen if ‘Ms. Speech’ could interchange<br />
with ‘Ms. Silence.’<br />
‘Sleep Scars’ is set in an unspecified place and time in the future<br />
where people are able to donate their healthy sleep after they<br />
have died. ‘Levy’ is a heavily sleep-deprived man who is given the<br />
opportunity to receive a sleep donation in exchange for money.<br />
After his first good night’s sleep, however, he begins to experience<br />
serious side effects; namely, discovering scars on his body<br />
bearing traces of the donor’s fatal wounds. Levy is then left with<br />
a choice: to have the sleep reversed and revert back to his old<br />
insomniac existence or to bleed to death. I am often inspired by<br />
the notion of sleep and sleeping in an unfamiliar place inspired<br />
my idea for this story.<br />
Finally, ‘Good Evening, Arteles’ was a comedic performance piece<br />
intended to be a sort of spoof newscast about life at Arteles. I<br />
loved writing this and performing it both to fellow residents and<br />
Arteles staff. Since it was also filmed, I hope that future residents<br />
will enjoy watching it, too.
IN THE RESIDENCY<br />
October 2012<br />
ÜLGEN SEMERCI Turkey<br />
ulgen.semerci@gmail.com // www.ulgensemerci.com // Currently working and living in Istanbul, Turkey<br />
Ülgen Semerci was born and raised in Istanbul, Turkey. She<br />
received her BFA in painting and drawing from Concordia University,<br />
Montréal QC, and her MFA in painting from New York Studio<br />
School. Currently Semerci lives and works in Istanbul.
The purpose behind my time in Arteles was establishing dialogue with artists<br />
from different backgrounds and disciplines, getting out of my comfort zone<br />
and pushing boundaries of my practice.<br />
During my stay, not only Finnish landscape became a significant<br />
element in my process, but also I had the opportunity to engage<br />
with other artists in potential collaborations.<br />
I collected material, drew, took photographs, made prints and<br />
brought them together in a process of collaging, taking apart,<br />
then bringing together again. The work I did in Arteles is the<br />
opening of a new body of work which I’m eager to explore. “
IN THE RESIDENCY<br />
October 2012<br />
“How power uses language<br />
to define truth.”<br />
ZAYNE TURNER USA<br />
zayneturner@gmail.com // www.zayne.posterous.com // Currently working and living in USA<br />
My work begins with words. I’m interested in how words never<br />
have just one meaning; how these multiple possibilities affect<br />
how humans can make choices, make change, speak truth to<br />
power. How power uses language to define truth. To define power.<br />
I hope to open up space with my work for readers/viewers to<br />
begin to think about how one reads, how the way each one of us<br />
thinks or reads is very much what makes language become sense<br />
or nonsense.<br />
I’m the author of a chapbook, Memory of My Mouth, available<br />
from dancing girl press. In addition to my work at Arteles, I’ve<br />
been fortunate enough to receive grants and fellowships from the<br />
Oregon Arts Council, the Vermont Studio Center and the University<br />
of Virginia, where I was a Henry Hoyns Fellow. Other of my work<br />
can be found in places like Ancora Imparo, Coldfront, Poecology,<br />
High Desert Journal and my online workspace.
TRUTH OR CONSEQUENCES & OTHER POEMS<br />
Visual and Concrete poems, which began a series titled “Truth<br />
or Consequences.” I also completed revisions of my first book<br />
manuscript, some lyric essays, and began a long poem-in-series,<br />
titled “Her Radioactive Materials,” which may become the center<br />
of a second book.
IN THE RESIDENCY<br />
September 2012<br />
GRACE NEEDLMAN USA<br />
gneedlman@gmail.com // www.graceneedlman.com // Currently working and living in London, UK<br />
Through drawing and painting, I deal with my experiences of identity<br />
as a product of conflict and accumulation. How do we develop<br />
a sense of self through the traditions, expectations, prejudices,<br />
and rituals of different cultural, political, geographic communities?<br />
How do we come to claim certain stories as our own?<br />
Inspired by fairy tales, comic books, nightmares, newspapers and<br />
memory, I aspire to visual, material, associative density in my<br />
work.
CROWDED/ALONE<br />
My time at Arteles was about digesting stored-up ideas and cultivating<br />
new material processes. After an intense year in overcrowded<br />
London, a month in the Finnish wide-open offered time<br />
alone to think and read and sketch through ideas about my relationship<br />
to the city and its people. Working from images of the<br />
London riots while researching James Ensor’s crowd-scenes, I<br />
began developing new ways of making collages, watercolors, and<br />
masks. As much as I appreciated having time in my own head, I<br />
love even more the brilliantly critical, supportive dialogues and<br />
friendships fostered in the residency.
IN THE RESIDENCY<br />
September 2012<br />
“In the spaces between<br />
online and offline.”<br />
GRACE KINGSTON<br />
Australia<br />
gracekingston@gmail.com // gracekingston.com // Currently working and living in Sydney, Australia<br />
“As densely networked, highly malleable, and ultimately virtual<br />
spaces, social networking sites elude traditional means of exploration.<br />
Grace Kingston’s artistic practice seeks to address this<br />
void, materialising our virtual spaces in an embodied and figurative<br />
state in order to make “real” the self that exists only in signified<br />
space” - N. Wolf
MOSS WORKS<br />
The Arteles residency has been the ideal setting for me to expand<br />
on my practice. After recently completing the long-term project of<br />
my MFA in Sydney, I was ready to spend some concentrated time<br />
on pure experimentation. I was inspired by the varied practices of<br />
the other residents, the huge facilities and the forrest surrounding<br />
the Creative Centre. I had the time to go in a lot of different<br />
directions as well as completing a sustained body of experimental<br />
pieces with natural materials. Specifically, I aimed to consider<br />
how technology is heavily intertwined with our lives, even in nonurban<br />
settings. To do this I reversed the dynamic of street art - a<br />
permanent mark seen by many in the city - to ‘Moss Stencils’,<br />
icons of social networking and technology etched into a rural<br />
environment. These marks are transient, and seen by few. Familiar<br />
symbols and phrases such as ‘Like’ make a playful juxtaposition<br />
within a non-built setting, and perhaps remind the viewer<br />
how much of the world around us is mediated by our devices.
IN THE RESIDENCY<br />
September 2012<br />
“For me art isn’t about<br />
pictures on the wall anymore<br />
- it’s about connecting;<br />
communicating a message<br />
via interaction.”<br />
JENNA BURCHELL<br />
South Africa<br />
jennaburchell@gmail.com // www.jennaburchell.com // Currently working and living in Pretoria, South Africa<br />
In my artworks I muse over a question; what is changing from the<br />
natural into the mechanical as we increasingly mediate our life<br />
experiences through new technologies.<br />
Often this is expressed through hand built, mechanical environments<br />
that invoke the organic. This parody of the natural against<br />
the man-made offers an exploration of the changing relationship<br />
or displacement of the natural/self/home with the man-made/<br />
other/foreign.<br />
A collaborative approach with varying industry professionals is<br />
adopted to achieve the technologically driven functionality and<br />
aesthetics of the artworks. This forges an interesting inter-disciplinary<br />
dialogue between art practice and industry.
81° NORTH<br />
My current project, 81° North, is inspired by my stay in Finland.<br />
81° North is the amount of latitude degrees Finland is away from<br />
South Africa. The artwork creates a dialogue of exchange between<br />
these two distinctive countries.<br />
81° North is an installation artwork consisting of a mechanical,<br />
sculptured field of grass constructed with 1500 blades of copper<br />
wire and hand sculpted grass heads. It reflects the rich coppery<br />
gleam of a field of grass in late autumn.<br />
The installation simulates the language of wind as it caresses a<br />
field of grass. This simulation is based on real-time wind data<br />
transmitted from a sensor in a grass field located by Arteles. This<br />
data is instantaneously processed through software to generate<br />
a ‘wind language’ that is enacted onto the installation artwork<br />
instantaneously. 81° North contrasts the foreign wind data with<br />
the local context in South Africa where it will be exhibited, creating<br />
a feeling of being transported to someplace that is Other.
IN THE RESIDENCY<br />
September 2012<br />
sound and media artist<br />
ROBERTO PUGLIESE Italy<br />
pugliesr@gmail.com // www.robertopugliese.net // Currently working and living in Helsinki Finland<br />
My work consists of compositions, installations and performances<br />
based on sound in combination with visuals and audience participation.<br />
I use sound and its transformation to establish alternative<br />
relations between audience and the space. By collecting and digitally<br />
processing found sound and photographic material, I work<br />
towards a common language among visual and sonic landscapes.<br />
My work Traffic with Rachel O’Dwyer has been exhibited at the<br />
Science Gallery (Dublin, <strong>2010</strong>) and Eyebeam (NY, 2011) and PuShy<br />
at the Plektrum Festival (Tallinn, Estonia, 2011). Recently I have<br />
been collaborating with dancers and choreographers for the creation<br />
of alternative stages and forms of new media performance.<br />
As a media artist I am interested in the role of sound in shaping<br />
the experience of places and the sense of presence in our daily<br />
life. Sound can be accommodating, dominating, coordinating,<br />
ensuring or hunting. All these characteristics pervasively influence<br />
our experiences. We participate with our actions in the creation<br />
of the soundscape, being it natural, mechanical or digital.<br />
The very nature of the experience of sound is physical and intimately<br />
connected with the sense of touch. Audio-tactile exploration<br />
is the first form of sense making of the world since our<br />
birth. The memories connected to it are traces of the early relation<br />
we established with our environment. While hidden in places<br />
we inhabit and construct with our practices and activities, sound<br />
and touch are unveiled and sharply resonate in unfamiliar places.<br />
My artistic practice springs from this philosophical standpoint,<br />
the phenomenology of the senses of touch and hearing, and<br />
moves towards strategies of decoupling, augmenting, subverting<br />
the usual “contact” with those channels. The result is a magnification<br />
of their impact, not just as a force, but also of their importance<br />
as mediator of our experience. For this, sound is a central<br />
element in my works. They are multimedia pieces where the<br />
viewer participates and re-establishes a previously altered, offset<br />
relation with the location.
FIELDWORK FOR ”THE SPACE OF A YEAR”<br />
During the Arteles residency I conducted fieldwork in the form<br />
of audio and video recordings that I will use as raw material for<br />
a participatory installation called “”the space of a year””, a multichannel<br />
audiovisual installation. I focus on walking as a natural<br />
action of exploration and perception of the place where we live.<br />
By placing contact microphones on the floor, people in the space<br />
activate with their footsteps an alternative soundscape. Unexpected<br />
sounds echo and tightly follow the visitor’s exploration of<br />
the augmented space. The visitor witnesses the gradual separation<br />
or divorce between the processed sound coming from the<br />
speakers and the sound source, their feet in contact with the floor.<br />
The installation “lives” during the course of a day, presenting<br />
changing terrains and textures coming from different seasons of<br />
the year and their respective soundscapes to the visitor.<br />
Projections on the walls surround the participant. The images are<br />
highly processed videos of nature filmed in different season of<br />
the year that sequentially change during the course of the day<br />
in a 30-minute cycle. Their minimal, reduced aesthetic conserve<br />
traces of the places where originally collected.<br />
During the residency I realized the first prototype of the augmented<br />
floor on which people can walk and hear the sound of their<br />
footsteps, as if they would be walking on wet grass, or on a dock<br />
or pebbles and other terrains recorded in the surrounding of the<br />
Arteles house.
IN THE RESIDENCY<br />
September 2012<br />
EMILIE COLLINS France<br />
liliecollins@yahoo.co.uk // www.axisweb.org/artist/emiliecollins // Currently working and living in Cardiff, Wales<br />
As an artist, my practice mainly takes the form of site specific or<br />
site responsive art. It is deeply connected to people and places<br />
and, as such, my preferred ventures are residencies, which combine<br />
those elements together. My work takes the form of projects<br />
that involve my experience of places, researching relevant themes<br />
and creating work either in situ and/or in response to them. They<br />
have so far taken the form of installations using mainly natural<br />
materials, recorded rituals or performances engaging the public.<br />
The need to involve myself physically within my work has become<br />
stronger over time and I intend to focus on performance art for<br />
the foreseeable future. My background in Contemporary Textiles<br />
has up to now been a major influence on my relationship to materials<br />
and the ways in which to use them. Past projects have dealt<br />
with issues relating to nature and the environment, the body, the<br />
self, space and the notion of ‘the other’.
POLKU (The Path) / PUSSAA SUTTA (Kiss The Wolf) / HUKKA PERII (The Wolf Will Take You)<br />
My original ideas revolved around engaging with the space of<br />
the woods surrounding the residency. As such, prior to going to<br />
Arteles, I had been researching into the symbolism of the forest,<br />
folklore, myths and fairytales as well as their importance in the<br />
shaping of our psyche.<br />
Whilst in the residency, the project expanded and altered as I<br />
explored the area, discovering its contrasts. How I imagined things<br />
to be and how I sensed they actually were, strongly influenced the<br />
project as I was confronted by the dichotomies between an apparently<br />
natural, yet in reality, very controlled environment and my<br />
own quest for ‘wilderness’ and the ‘wonderful’. I became interested<br />
in the idea of archetypes and adopted a character with strong<br />
connotations, dyeing two handmade dresses red and undertaking<br />
a series of performances as well as experiential happenings<br />
centered around a wolf skin donated to the Centre during my stay.<br />
The three main performances (Polku, Pussaa Sutta, Hukka Perii)<br />
each had its own specific context, exploring and bringing up a<br />
range of themes and issues for the viewer. Whilst Polku could be<br />
seen as a ritual or initiation in the woods -viewers were invited to<br />
follow a path leading to a spot in the woods where I performedthe<br />
other two were deliberately absurd and ambivalent, toying<br />
with for example: ideas relating to superstition or the visual language<br />
of protest. I envisage the projects that took place in the<br />
residency as being the starting point for a bigger body of work.
IN THE RESIDENCY<br />
September 2012<br />
HOLLIE M. KELLEY Australia<br />
hollie.maree99@gmail.com // holliemkelley.com // Currently working and living in Australia<br />
Notions of transience and the ephemeral in nature inform my<br />
work. Finding beauty in repetition, the ornate and delicate, I look<br />
to ancient patterns and motifs as themes for re-contextualisation.<br />
I have a multi-disciplinary approach that includes: delicate<br />
paper-pattern-cutting for large-scale temporary installations;<br />
surreal portrait works in watercolour and graphite; and the intersection<br />
at which these representational and suggestive practices<br />
meet. Works are becoming increasingly focussed on interpreting<br />
cultural mythologies.
MATKA<br />
Whilst on residence at Arteles I have been inspired by the Finnish<br />
flora and mythology , interpreting the forms and folklores into<br />
surreal works on paper incorporated with figures in a state of<br />
physical flux. These works will form the basis of a duo exhibition<br />
with collaborator Ryan McGennisken to be held in Berlin late 2012<br />
titled ‘Matka’, referring to the finnish word for journey.
IN THE RESIDENCY<br />
September 2012<br />
“Wander/Wonder”<br />
RYAN MCGENNISKEN Australia<br />
R.mcgennisken@gmail.com // www.ryanmcgennisken.com // Currently working and living in Berlin, Germany<br />
Ryan McGennisken, born and raised in rural Victoria, Australia is<br />
an ambitious installation artist, drawer and wanderer. Focusing<br />
on traditional mediums of watercolour and inks, Ryan channels<br />
a profound disconnect from the nine-to-five world, or any traditional<br />
living requirements. Living out of a bag, wherever he finds<br />
himself he takes daily life, past experience and personal philosophy<br />
to create earthy dreamscapes with dark undertones of death,<br />
destruction and melancholia.
MATKA - An exhibition with Hollie M Kelley to be held in Berlin in 2012.<br />
Whilst at Arteles, I slept in late, stayed up late, drank a lot of coffee,<br />
got lost in the forests and researched Finnish mythology.<br />
I then made a number of ink and watercolour drawings based on<br />
Hunting, trapping, fishing, Gods, Shamans and Tuonela.
IN THE RESIDENCY<br />
August - September 2012<br />
SAEBON KIM Korea<br />
s.j.helsvig@gmail // www.simenhelsvig.com
LEMONS, MORNING SAUNA, POP CORN AND HIBERNATION.<br />
They are what I did when I did what I did.
IN THE RESIDENCY<br />
August 2012<br />
“I am a tree, but I am not confined<br />
to a single forest”<br />
SIBYLLE IRMA Switzerland<br />
sibylle.irma@gmail.com // sibylle-irma.blogspot.com // Currently working and living in Lucerne, Switzerland<br />
I am a visual artist who loves to listen to people`s stories.<br />
I am using different mediums, such as drawing, photography,<br />
sculpture, Installation and words.<br />
My approach to a project begins often with no actual plan in the<br />
beginning. I welcome Intuition as my guide.<br />
The process starts internally with my own physical reactions<br />
and emotional exploration in regards to the outside world. The<br />
experimentation of combining new mediums with drawing is a<br />
great part of exploring and finding what I am searching for inside<br />
myself. Discovering new ways of communication through art gives<br />
me direction for further research and progress.<br />
My work shows the personal experience of dealing with the basic<br />
emotions inspired by interaction with the wilderness and with<br />
people.<br />
Therefore I am using found objects or natural materials that I discover<br />
specifically in the environment surrounding me.<br />
Doing this also gives me the opportunity to demonstrate that I can<br />
be independent of my economic situation.<br />
Also the Idea of “recycling” is sociologically and materially important<br />
to my work and the attitude of being an artist.<br />
The work of Sibylle Irma in Arteles<br />
By Carlos Labbé<br />
Sibylle Irma went deep into the woods. She took breathless walks<br />
between the masses of birch trees that surround the Arteles’s<br />
house trying to figure out –at the begining– why that inmense<br />
verticality, what the purpose of the narrowness between them,<br />
and how these shapes affect and interact with local animals and<br />
human beings.<br />
But the artist who comes to the residence remotely resembles<br />
these local lifeforms that have been mingling with the forest for<br />
so long. She needed to go deeper into the birch woods to achieve<br />
a relevant piece of art that would organically embody the possibility<br />
of ignorance and wisdom, which can only be endowed to the<br />
creative process by the limitation of space and time.<br />
So she decided to approach the trees with something that they<br />
would accept. She started drinking birch leaf tea daily. She collected<br />
small loose branches on the forest ground, burned them<br />
in closed metal cans to obtain natural charcoal, and then spent<br />
hours among the trees to draw the woods with these pens made<br />
out of themselves. After hundreds of sketches, she learned that<br />
the verticality of nature includes also a deepness and a silence<br />
that is foreign to human noise. She went into the woods late at<br />
night to try to understand. She went naked late at night into the<br />
woods. She went into the woods late at night when it was cold. She<br />
went into the woods late at night with and without a lamp. And she<br />
felt scared. Sybille Irma discovered then that the artist can really<br />
understand her limitations of space and time if –instead of ignoring<br />
it, instead of imposing a preconcepted project, instead of making<br />
camouflage art– she exposes herself and evidences the inherent<br />
limitation of every piece of art. She wrote this investigations in<br />
big charcoal billboards. Then she started to construct the armor.<br />
She found places in the woods with small logs that fitted her body.<br />
She covered her arms, her legs and her chest. The most complex<br />
and peculiar piece was the helmet; some of her fellow artists said<br />
that it reminded them of the hats of old suomi shamans, and the<br />
kawéskar rituals too. When she finished it and put it on, she realized<br />
that the armor made her a couple of centimeters taller. And<br />
that she became more vertical now. Sybille Irma went deep into<br />
the woods again. This time she was wearing the armor made of<br />
loose birch branches, natural fabric, ornated with feathers and<br />
drawings. And at last she didn’t feel any fear there. For a fleeting<br />
moment her work drew her away from any limitations of space<br />
and time.
“ARMOR”<br />
During the residency at Arteles, I could amplify my artistic strategies<br />
and therefore the consequences of my art.<br />
I was overwhelmed by the woods and the trees here in Haukijärvi.<br />
Being in the woods provoked two very different reactions in me.<br />
At daytime, it looked like a place of energy and silence that narrowed<br />
my physical body, and at nighttime, the darkness and its<br />
shadows turned the forest into a place where it was impossible to<br />
orient myself without a torch. But even with that great invention<br />
of light, I promise, I could get lost easily.<br />
I started to collect birch branches and sticks that lay on the<br />
ground in the forest. I peeled some bark off with a knife. I then<br />
got textile yarn and used it as a thread to bind the sticks together.<br />
I made different pieces of armor to protect myself from the fear<br />
that was rising up at night when alone in the woods; calves, chest,<br />
forearms and the head must be protected.<br />
I then brought the armor for a day into the woods, to be energized<br />
by the sun. which just happened to appear when I was there, shining<br />
onto the stone where I left my armor and the helmet.<br />
I am ready now to go at night into the woods wearing the armor,<br />
fearless of what might surface in the darkness or in my mind.
IN THE RESIDENCY<br />
August 2012<br />
CARRIE NAUGHTON USA<br />
carriethis@gmail.com // Currently working and living in Tucson, Arizona USA<br />
I write novels in my spare time. People always ask me what kind<br />
of novels. I say: the entertaining kind. Science Fiction, postapocalyptic,<br />
paranormal, suspense and adventure, with a little bit<br />
of comedy in each. I firmly believe that genre fiction is as valuable,<br />
if not more so, than so-called literary fiction. Oftentimes it’s<br />
actually more literary. And a helluva lot more fun. I guess when<br />
I turned thirty I realized that there’s already enough sappy poetry<br />
in the world, no need for my own. Now I have five novels in the<br />
works with an iTunes playlist to accompany each, and a stadiumsize<br />
crowd of characters in my head.
TALO<br />
My Arteles residency plan was to finish a mystery thriller (with<br />
ghost) that I have halfway completed. But then I arrived and<br />
began to investigate the big residency house (aka Nexus 9000,<br />
though I never heard anyone actually call it that). I have wanted to<br />
write a space horror novel ever since I saw the movie Alien when<br />
I was twelve years old. I guess I needed to go to Finland to do it.<br />
The Arteles house became my blueprint for a haunted spaceship<br />
called the Talo, which of course means house in Finnish. I spent<br />
the month of August writing the opening chapters and getting to<br />
know the crew, drawing the schematics for the Talo and developing,<br />
with expert help, a lexicon of Finnish science fiction words.<br />
My novels always tend to examine community, and what it means<br />
to be part of a unique group of people for a confined period of<br />
time. I think that there’s no two better ways to contemplate that<br />
than with a ragtag crew in outer space, or with a bunch of artists<br />
in the Finnish countryside.
IN THE RESIDENCY<br />
August 2012<br />
“A story of the world after it’s over”<br />
MONICA RIOS Chile<br />
monica.a.rios@gmail.com // www.simenhelsvig.com // Currently working and living in New York City, USA<br />
Monica Rios is a writer born in Santiago de Chile in 1978. She has<br />
published the novel Segundos (<strong>2010</strong>), the essay La escritura del<br />
presente: el guión cinematográfico como género literario -in the<br />
volume De la violencia a las palabras- (2008), and coauthored Cine<br />
de mujeres en posdictadura (<strong>2010</strong>). Some of her short-stories<br />
have appeared in Lenguas (2006) and Junta de vecinas. Antología<br />
de narradoras chilenas contemporáneas (2011). She contributes<br />
regularly as a literary critic in magazines and web pages and is<br />
currently working towards a PHD in Latin American Literature.
ALIAS EL ROCÍO, A NOVEL IN FIVE PARTS AND A CODA<br />
The work of Mónica Ríos in Arteles<br />
By Carlos Labbé<br />
A robot sets fire to Hämeenkyrö. Two women talk about wood. A<br />
girl takes off her clothes and discovers that she has no body under<br />
it. You have to choose one of these stories to write a novel. Why is<br />
that? Why do you have to preserve just one log and burn the others?<br />
In Alias El Rocío [Alias The Dew], the novel that Mónica Ríos<br />
wrote during the summer residency in Arteles, these three stories<br />
are part of the thousand others that refused to subordinate or<br />
disappear under a main narrative.<br />
A robot sets fire to New Jersey. Why not? Why can’t the robot<br />
just fly from Western Finland to the Eastern Coast of USA? Mónica<br />
Ríos figured out a way to write a novel about the disappeareance<br />
of the political corpses in Chile and Latin America that include<br />
the everyday violences of the categorization and utilization of<br />
any living body everywhere in the world: from the scientist who<br />
experiments with animals in a cosmetic lab to the documentalist<br />
who manipulates children’s expressions in camera to provoke<br />
compassion in the viewer, from the writer who privileges blood,<br />
action, and sensationalism to the producer who pressures an artist<br />
to transform an avant-gard piece of art to an understandable<br />
entertainment product.<br />
A film is composed of stills; at the same time, a single still compresses<br />
the whole film. So if we took away one of its stills, would<br />
the film be partial? Mónica Ríos answered these questions to find<br />
out that even in the smallest of its phrases you have to read the<br />
entire intensity of a novel. In the six parts that compose Alias El<br />
Rocío, she explored the contrasts between a documentary, a fiction<br />
film, and the person who is watching them. These contrasts<br />
are in the plot of the novel, but above all in the squared-shaped<br />
text of the small stories that look like a screen-shot on the white<br />
pages, stills that only the reader can enchain. A robot sets fire<br />
to Santiago. A woman who studies mummification ends up being<br />
the subject of her study. A man marries her wife’s daughter. In<br />
the final chapters, these three characters meet others at Brocken<br />
Mountain, in a reinterpretation of Goethe’s Faust, where they join<br />
a crowd of animals which occupy the city, the entire country, and<br />
the world in search of the mysterious figure of El Rocío –male<br />
and female, object and living thing, human and animal– who gives<br />
sense to everything at dawn, but evaporates in the morning.<br />
The novel that Mónica Ríos wrote during her Arteles residency<br />
dethrones the plot-driven literature and empowers the reader by<br />
giving him chances: either to look at a page as an art piece or<br />
to enjoy a storytelling; either to set fire to any place he –or she–<br />
always wanted to see on fire or not to harm anything and keep<br />
the matches. Because when finally Mónica Ríos decided to really<br />
burn the stories of Alias El Rocío, during an Arteles’s evening<br />
bonfire, in a performance that she called A piece of history, she<br />
didn’t felt liberated at all: you can never be forced to choose. You<br />
can approach everything as in a still, only if you put it in motion<br />
with your own personal reading.
IN THE RESIDENCY<br />
August 2012<br />
“The choreography needs counterpoint”<br />
CARLOS LABBÉ Chile<br />
celabbe@yahoo.com // en.wikipedia.org/wiki/Carlos_Labbe // Currently working and living in New York City, USA<br />
Carlos Labbé was born in Santiago de Chile in 1977. He has published<br />
a hypertext novel, “Pentagonal: incluidos tú y yo” (2001),<br />
the novels “Libro de plumas” (2004), “Navidad y Matanza” (2007)<br />
and “Locuela” (2009), the collection of short stories “Caracteres<br />
blancos” (<strong>2010</strong> / 2011), as well as the records “Doce canciones<br />
para Eleodora” (2007), “Monicacofonía” (2008) and “Mi nuevo<br />
órgano” (2011).
LAS PËLLÍ CHEOROGRAPHIES (A NOVEL IN PROCESS)<br />
The choreography of a process<br />
About Carlos Labbé’s work in Arteles<br />
By Mónica Ríos<br />
“The choreography needs counterpoint”, declares one of the fragments<br />
of Las pëllí choreographies, Carlos Labbé’s fifth novelistic<br />
project and his work in Arteles during August 2012. The literal<br />
translation for this title would be The Spiritual Choreographies,<br />
articulated in Spanish, Mapuche, and English in order to reflect<br />
the cultural and musical counterpoint that compose contemporary<br />
identities of the West.<br />
“The choreography needs rhythm”. The story of the novel covers<br />
forty-years of The Gymnastics, a band integrated by the Mapuche-Chilean<br />
singer Gustavo Rain, the English guitarrist Joe Pedro<br />
Joe, and the Mid-Western American percussionist Dolores Statton.<br />
The chronicle of the raise and fall of these stars focuses on<br />
the love triangle between the three characters, but is above all<br />
a reflection on their affinities and differences on religion, work,<br />
and love. The journalistic tone of the authorized biography of The<br />
Gymnastics has been literally crossed-out and corrected by Gustavo<br />
Rain, who is now on a wheelchair and unable to move anything<br />
but his eyelids. The gesture of opening and closing his eyes<br />
becomes his only instrument to intervene a past of travelling,<br />
singing on stage, being nothing but a body. Memory is placed in an<br />
intense relationship with his situation as a disabled, at the same<br />
time that the action looses its localization in an account where all<br />
the names of people and places have disappeared.<br />
“The choreography needs harmony”. Las pëllí choreographies is<br />
also literature about music; it finds a way through the populated<br />
tradition of novels about musicians. It is a writing that traces the<br />
common origins of the written profession and music; the modulation,<br />
though, is not only between these two expressions or those<br />
three languages. These spiritual choreographies stage an experience<br />
of fragmented and disconnected diversity of races, origins<br />
and codes, and how would the common language of music or other<br />
bodily languages help to find vivid communication, even stronger<br />
than any other identity such as family, friendship, nationality<br />
or linguistic tradition. Las pëllí choreographies seeks to unravel<br />
the creative experience as plenitude despite its fugacity.<br />
During his stay in the residency in August 2012, Carlos Labbé<br />
crafted a choreography for all these elements in a story that dramatizes<br />
the process of socialization between Latin American,<br />
European, African, and North American people in the big cities<br />
of the West, centering in the naturalized production of new cosmovisions<br />
by mixed ethnicities in pop culture. It’s manufacture<br />
seeks to find the tone for an episode in the woods of southern<br />
Chile by experiencing the birch woods that surrounds the residency;<br />
a choreography that explores that new place where we<br />
might end up seeing our bodies and their resonances flow in an<br />
unplanned dance.
IN THE RESIDENCY<br />
July 2012<br />
MIKA MIZUNO<br />
Japan<br />
mikaphoto@live.jp // www.mikamizuno.com // Currently working and living in London, UK<br />
Mika Mizuno is a Japanese photographer, currently resides in<br />
London. When She was eight years old, a book entitled “Momo”<br />
by Michael Ende inspired her with a concept of strangeness of<br />
chaotic world. Mizuno is aiming for a key lurking the underneath<br />
of daily life, which may trigger small revolutions and disclose new<br />
possibilities to perception.<br />
She expects to graduate from MA in photography at Goldsmiths,<br />
University of London in <strong>2013</strong>. Mizuno’s work has been exhibited<br />
including a solo exhibition, group exhibitions and art fairs.<br />
BY STEPHANIE CHAMBERS at Arteles 7/2012<br />
Mika Mizuno is a photographer from Japan that I had the pleasure<br />
of sharing a month long residency with during the Summer in Finland<br />
at the Arteles Creative Center. Due to this, I was privy to her<br />
process, conceptual refinement and transformations surrounding<br />
her two projects completed during the month, ‘Predawn,’ and<br />
‘In-between.’<br />
Often, when I see a piece of artwork that I am strongly drawn to,<br />
the actual finished piece appears effortless as if it has appeared<br />
from thin air, or alternatively, if there are marks of the artist’s<br />
hand present that those marks arrived both effortlessly and naturally.<br />
With Mika’s piece, ‘Predawn,’ I felt the familiar and magnetic<br />
pull of a piece that I was captivated by, but because of our<br />
shared working space, I had the inspiring experience of observing<br />
that her work was the result of an intensely concentrated conceptual<br />
and visually explorative process.<br />
‘Predawn’ was the piece I was most drawn to during the Arteles<br />
Summer Day. It is a video piece based around Finland’s midnight<br />
Sun phenomenon. In asking Mika about the piece, she told me<br />
that for her in Japan, midnight represents darkness and that<br />
dawn represents hope, giving the night a specific emotional arc.<br />
Due to the Sun not setting in Finland during the Summer, providing<br />
an absence of darkness, she wondered how the Finns experienced<br />
the psychological arc of the night passing. It was with<br />
this intention that she began work on ‘Predawn.’ Using medium<br />
format, she photographed the Finnish countryside from midnight<br />
until 3AM over a period of a few days hoping to better understand<br />
their night. The result is a stunning video piece of these photographs,<br />
appearing on the screen one at a time, overlapping from<br />
left to right to create an imagined horizontal landscape across the<br />
screen for the viewer of the midnight Sun. The individual photographs<br />
feature black silouhettes of forests or roofs with vibrant<br />
pink and deep blue skies above them. Since they were taken at<br />
different times, the colors don’t match perfectly as each photo<br />
overlaps the next. This serves to highlight the passing of time and<br />
presents the reader with a piece of work that can truly be experienced<br />
visually.<br />
Mika’s second piece, ‘In-between,’ is a video slideshow juxtaposing<br />
two photographs at a time on the screen as squares next<br />
to each other, representing perspective and impression. In this<br />
piece, the same object is shown twice in two different ways as<br />
a means to present the viewer with a marked contrast of visual<br />
experience. The quietness of the piece creates a mental space<br />
for the viewer to thoughfully experience the pairs on screen. For<br />
me, the most successful pairs were those that completely transformed<br />
the initial object on the left into something vastly different<br />
on the right. In one pair, the left photo features Finnish wildflowers<br />
in a field and in the right photograph is a shape, close-up and<br />
silhouetted so that it’s black with a blue sky behind it, suggesting<br />
an almost human form. Another pair that supported the concept<br />
strongly includes a window on left, the crossbars of the frame<br />
silhouetted and black with only the four window pane squares<br />
to an outside field visible. The image on the right is from inside<br />
the field, with fog rolling in. This piece is quite haunting because<br />
it includes a stark dichotomy of inside and outside, yet neither<br />
space feels safe or quite settled.<br />
Visually, Mika’s work is a rare combination of both bold and sensitive.<br />
She exacts with skillful and conceptual precision what to<br />
highlight and draw the viewer to in her photographs. Both pieces<br />
completed at Arteles are stunning and tremendously engaging to<br />
view.
IN THE RESIDENCY<br />
July 2012<br />
SIMEN J. HELSVIG<br />
Norway<br />
s.j.helsvig@gmail // www.simenhelsvig.com // Currently working and living in Copenhagen, Denmark<br />
Promiscuous in terms of media and working methods but faithful<br />
to a set of interests, my work tends to deal with the conditions of a<br />
medium, of perception, or of art making itself in its most primary<br />
forms.
ROCKS ROCK ON<br />
I had planned to spend the time at Arteles doing research for a<br />
tentative exhibition project that had the relation between photography<br />
and sculpture as its point of departure. While I have read<br />
a great deal of the many books I brought to Finland, I soon realized<br />
that I needed to take advantage of being in this very special<br />
place and work in and with the surrounding environment. So, the<br />
latter half of my stay was dedicated to work with carving rocks<br />
found along the country road and subsequently placed in the soil<br />
of the forest paths, taking long bike rides with my camera along<br />
the fields and forests, making videos in the garden and building<br />
primitive stone sculptures.
IN THE RESIDENCY<br />
June 2012<br />
TATJANA GORBACHEWSKAJA<br />
Russia<br />
gorbachewskaja@gmail.com // www.flickr.com/photos/gorbachewskaja/ // Currently working in Frankfurt am Main, Germany<br />
“I am an architect and researcher. I am interested in challenging<br />
the boundaries between textile and architecture. How they can<br />
redefine our relationship to space and construction organization.<br />
Textile organisation fascinates me in its incredible light and integrative<br />
structure.<br />
I want the textile itself to become tectonic, without the help of any<br />
other support.<br />
A kind of architectural organisation is introduced where the soft<br />
elements will become rigid through collaboration, by weaving,<br />
bundling, interlacing, braiding or knotting.<br />
My research seeks to interface the yet described creative freedom<br />
of material design with the abstract order of digital systems.<br />
I believe this blend gives a possibility for the invention in the<br />
realm of the matter.
FLOW<br />
In order to save energy lightness yet hasn’t found enough attention<br />
in construction. In the future much may be gained by this<br />
enormous innovative potential.<br />
For the optimization of a structure three aspects have to be considered:<br />
the material itself, the shape and the production process.<br />
While getting lighter the balance between these three aspects<br />
becomes critical.<br />
That is why unique notion of lightness and lighting in fiber structure<br />
is investigated, as one of the highest potential for this trinity.<br />
The project investigates physical experiments that create three<br />
dimensionally heterogeneous materials with a graded stiffness,<br />
a structural hierarchy, and a locally controlled lighting dynamic<br />
performance.<br />
Studies are split up in two basic typologies and got focused on<br />
“layering” and “branch” fiber composite organizations.<br />
The models are an abstract construct, like a diagram, or DNA<br />
genes with integrated logic of programmatic and structural<br />
growth, that is able to be unfolded on the next step in the disciplinary<br />
and creative process of making architecture.
IN THE RESIDENCY<br />
June 2012<br />
“a correct geography: not as you would<br />
find it if you had a geography book and a<br />
map, but as it would be in periplum,<br />
that is, as a coasting sailor would find it.”<br />
LARISSA PINHO ALVES RIBEIRO<br />
Brazil<br />
lpinhoalves@gmail.com // larissapinhoalves.com // Currently working and living in Rio de Janeiro, Brazil<br />
Larissa Pinho Alves is a visual artist and a resercher in Literature<br />
and Contemporary Culture at PUC-Rio. She develops her art<br />
project in confluence with her research project, investigating, in<br />
both camps, the relationships between language, memory and<br />
temporality.
PHOTOBIOGRAPHIES<br />
Photobiographies is a series of images constructed from memories<br />
of an experience.
IN THE RESIDENCY<br />
June 2012<br />
STEFFANIA PAOLA Brazil<br />
stealbanez@gmail.com // www.steffaniapaola.com // Currently working and living in Rio de Janeiro, Brazil<br />
I’m visual artist and currently my interest is in the tension<br />
between fiction and reality in many directions: work, personal<br />
discourses, historical discourses, official discourses and politics.<br />
I use archives and the official discourses to create a new fiction<br />
works in many media: photography, video, collages and instalations.
BRAZILIAN LESSONS: BASIC LESSONS TO CONSTRUCT A COUNTRY<br />
In early 2012 I found about 2000 slides at a flea market in Brazil.<br />
They were images from different places around the world, from<br />
Ghazza to Milan, and also some from Brazilian States. Investigating<br />
this archive I found out that the former owner of this material<br />
was a Brazilian journalist and historian who traveled the world<br />
on a mission between 1958 and 1964. This material became the<br />
starting point for a project of self-fiction and fictionalization of a<br />
Brazilian foreign policy that I’ve named as “Brazilian Lessons”.<br />
The mission<br />
1. Assuming that the files are part of a project for a Brazilian foreign<br />
policy that aimed to present Brazil to other people;<br />
2. To continue this project in 2012;<br />
3. Knowing what other people know about Brazil today;<br />
4. Create a booklet of lessons about Brazil today, recreating an<br />
“official” Brazil
IN THE RESIDENCY<br />
June 2012<br />
“I am not an artist, really not<br />
even a photographer; I am a storyteller”<br />
ANA GALAN Spain<br />
ana@anagalanphoto.com // www.anagalanphoto.com // Currently working and living in Madrid, Spain<br />
I review the portrait formula that emerged in Italy towards the end<br />
of the 15th century, whose origins can be traced to the work of Jan<br />
Van Eyck, which associated, in painting, busts with landscapes.<br />
People are reduced to busts or three quarters, substituting<br />
through synthesis, the whole for the part. Realistic portraits<br />
that do not aim to idealize the subjects’ features, the figures are<br />
placed in a raised position before a wide landscape.<br />
A point of view and a single location. A part of the whole. An<br />
impression. A small fragment of the essence.<br />
Windows, and at the same time, mirrors. Conflict between introspection<br />
and the projection of the subject inherent to portraiture.<br />
Transparency or reflection?<br />
I was born in Madrid in 1969. After receiving my degree in Economics,<br />
I completed an International MBA, which entailed studying<br />
in three different cities: Oxford, Madrid and Paris. In the last<br />
two courses, I wrote a thesis addressing “Speculation in Plastic<br />
Art”.<br />
Since 1993 I combine my passion for photography with my profession,<br />
attending various courses in Paris and Madrid. After doing<br />
an MFA in Photography in 2009/<strong>2010</strong> at EFTI, and after attending<br />
workshops with Pierre Gonnord, Eduardo Momeñe, Peter<br />
Bialobrzeski, Lynne Cohen, Matt Siber, José Ramón Bas, Eugenio<br />
Ampudia, Alejandro Castellote, Chema Madoz… my photography<br />
becomes more personal. Since then I have participated in several<br />
collective exhibits and photography projects in France, Italy, India,<br />
Spain, Finland and USA.<br />
I work as the marketing director for a magazine in Madrid.
VIV(R)E LA VIE !<br />
Viv(r)e la vie! is a photography series “in process”, consisting of<br />
photographs of couples in profile with a landscape of a countryside<br />
in the background, and pays homage to those people who<br />
continue to live “in the moment”. As well in its coniferous landscapes,<br />
the series recreates the representation of the power of<br />
vital force, of immortality.<br />
Viv(r)e la vie! Is a photographic typology of couples of a certain<br />
age, people barely seen socially, but who have not stopped living<br />
life fully and whose close relation is photographed in the outing<br />
dances of their area. I began the series Viv(r)e la Vie! in Guadalajara,<br />
Spain, with the idea of putting together a set of series of 10<br />
couples in different cities around the world.<br />
The photographs give visibility to people which, for a certain<br />
time, have lacked such visibility and also documents the cultural<br />
diversity that exists between different cities and countries.<br />
The objective of this project would be to form an extensive visual<br />
transcultural inventory, almost as small histories of social and<br />
anthropological life of some people that are reaching a mature<br />
age, but remain active.<br />
The second series of “”Viv(r)e la Vie!”” was developed in the<br />
American city of Philadelphia in June 2011 thanks to an artist residency<br />
I was granted by the Philadelphia Art Hotel and the third in<br />
June 2012 in Pirkanmaa in Finland thanks to a residency granted<br />
by the Arteles Creative Center. The fourth series of this project<br />
will be produced in May <strong>2013</strong> in Iceland.
PROJECT<br />
June 2012<br />
LINTUKOTO (FOREST POD)<br />
STEPHANIE CHAMBERS<br />
SIMEN JOACHIM HELSVIG<br />
MIKA MIZUNO<br />
Japan<br />
AQUICO ONISHI<br />
Japan<br />
REETTA PEKKANEN<br />
Finland<br />
SUSAN E. EVANS USA<br />
USA<br />
Norway<br />
Prompted by an offhand comment at a social event, some of the<br />
July 2012 residents joined together to pool their abilities in order<br />
to build a treehouse at Arteles.
The Lintukoto forest pod project is based around the Finnish folk<br />
tradition of Lintukoto, a mythical space where heaven and earth<br />
meet and as a location under the edge of the sky (like a tent),<br />
where the birds meet when they leave Finland for the winter.<br />
In contemporary times the term lintukoto refers to a cozy, safe<br />
place. The idea is to build a pod within the forest that represents<br />
“lintukoto” of both, Finnish tradition and contemporary meaning.<br />
The forest pod is built around a single pine tree located on the<br />
wooded grounds of Arteles Creative Center in Haukijärvi, Finland,<br />
and is shaped like a double terminated quartz crystal or raw diamond.<br />
The base of the pod starts at the tree roots and the tallest<br />
point extends nine meters above the ground. The base of the<br />
diamond shape is filled in with a lattice constructed out of wood.<br />
Plants, specifically vines, will be planted in Fall 2012 or Spring<br />
<strong>2013</strong> at the base of the tree. Over the ensuing years, these vines<br />
will be trained as they grow to fill in around the wooden lattice<br />
structure, thereby creating living walls of leaves. This natural<br />
base represents Earth. The top of the diamond represents heaven<br />
and is fashioned out of sailcloth tethered with airplane wire. The<br />
pod has both, interior and exterior spaces, creating a cozy perch<br />
for viewing the nearby lake, forests and fields. This pod serves as<br />
a starting pod to which additional pods could be added to nearby<br />
trees.
IN THE RESIDENCY<br />
June - August 2012<br />
SUSAN E. EVANS USA<br />
see@susaneevans.com // www.susaneevans.com // Currently working and living in Detroit, MI, USA<br />
North American conceptual artist Susan E. Evans works, both<br />
solo and collaboratively, in a variety of media to explore ideas of<br />
language, identity, nature, memory and phenomenology. Working<br />
with photography, video, sculpture, installation, and hybrid<br />
media, Evans pulls content from a variety of sources, experiences<br />
and concepts. Dissecting, then deconstructing context, information<br />
processing, categorizations and language philosophy, Evans<br />
examines standardized visual structures and language systems.<br />
Susan E. Evans has work appearing in both public and private collections<br />
worldwide.<br />
Some of which include The George Eastman House Museum,<br />
NY; Los Angles Contemporary Museum of Art, CA; Museum of<br />
Fine Art, Houston, TX; Detroit Institute of Arts, MI; Musée de<br />
l’Elysée, Switzerland; Centro De La Imagen, Mexico; Southeast<br />
Museum of Photography, FL; Cincinnati Art Museum, OH; Akron<br />
Museum of Art, OH; The Henry Museum, OR; Center for Photography<br />
Woodstock, NY; Center for Creative Photography; AZ; and<br />
Gallery Lichblick in Koln, Germany.
EXPERIMENT, EXPLORE AND CREATE<br />
Over the summer 2012 at Arteles Center, I had the opportunity to<br />
work on a variety of creative projects, all of which were experimental<br />
and explorative in some way, however, the projects can be<br />
broken down into four main categories.<br />
Solo Projects revolved around the fact that I have traced my mitochondrial<br />
DNA and have learned out that my biological ancestors<br />
are from Finland. Working with video, photography and<br />
performance, I explored ideas of memory, history, nostalgia and<br />
mythology.<br />
Collaborative Projects with other residents presented themselves<br />
from month to month and ranged from, performance, photography,<br />
video, composing music to writing and editing. These collaborative<br />
projects either conceptually fed into ideas I already was<br />
working with or helped spark new ideas and new ways of working.<br />
New Method Projects were an opportunity for me to work from<br />
conception to fruition in unfamiliar ways with new or different<br />
materials than I am used to working with. I was able to actualize<br />
several sculptural projects, which allowed me to start thinking<br />
more dimensionally about my art works and my art practice.<br />
Experimental Projects seem to cover the rest of the things I<br />
played with while at Arteles. I gave myself permission to explore<br />
many tangent ideas, concepts and possibilities while experimenting<br />
with new ways of working.<br />
Top to Bottom, Left to Right<br />
Birch #2 41 cm x 92 cm<br />
still from The Forest HDV 4:34 mins<br />
Installation view of Creating Energy<br />
still from Looking for Adam Gibson: ‘Going to the Sauna of Lonely<br />
Hearts (Haukijärvi, Finland)’ HDV 6 mins<br />
In My Mouth…self portraits 51 cm x 61 cm<br />
details from Scenic Suomi Scenes<br />
Song Thrush, Collaboration with Sibylle Irma”
IN THE RESIDENCY<br />
June 2012<br />
“J.R. Uretsky artist and friend!”<br />
J.R. URETSKY USA<br />
jruretsky@gmail.com // www.jruretsky.com // Currently working and living in Providence, RI, USA<br />
“I make abstract sculptures about my relationship to specific<br />
people. When making these sculptures, I seek to portray how a<br />
particular person affects and influences my art practice. Using<br />
the sculpture like a prop and my relationship to an individual as a<br />
point of departure, I employ video to transform mundane actions<br />
into strange, yet relatable experiences.<br />
I received my BFA and MFA in sculpture and video and am currently<br />
working in Providence, RI. I have exhibited nationally and<br />
internationally at venues in New York, Los Angeles, Boston, and<br />
Germany. My work has been published by online and video journals<br />
such as Gaga Stigmata and ASPECT-EZ.
Waiting for the Joulupukki, Midsummer (Photo: Julie Pasila)<br />
Waiting for the Joulupukki, Boat (Photo: Julie Pasila)<br />
WAITING FOR THE JOULUPUKKI<br />
Waiting for the Joulupukki is a multifaceted project featuring a<br />
series of videos, private and public performances, sculptures and<br />
collaborative photographs that examine the human relationship<br />
to hope, ritual and gift giving. Using a contemporary understanding<br />
of the Santa Claus myth as a point of departure, the Waiting<br />
for the Joulupukki project creates situations for social exchange<br />
by mixing old gift giving traditions with current taboos. My hope<br />
is that these exchanges, though awkward, remain genuine and<br />
bring into high relief the human desire to hope, wish and engage<br />
in a community.
IN THE RESIDENCY<br />
May 2012<br />
ALBERTO M. CENTENERA<br />
Spain<br />
albertomcentenera@gmail.com // www.albertocentenera.blogspot.com // Currently working and living in Guadalajara, Spain<br />
I use to work in Nature, but I like to do it in a harmless way, not<br />
harmful.<br />
For me, the object is not important at all, so I don´t care if it<br />
remains on time or in the space, or not, because everything is<br />
constantly changing. That´s the reason why I don´t try to do<br />
permanent objects, just try to do something positive, even if it´s<br />
ephemeral.<br />
I think art is a very reflective process, but I don´t want to do<br />
dogmas, or big truths, but just little thoughts or ideas, as it come,<br />
it can disappear, or change. That´s what my artworks intentend<br />
to be.<br />
I´m interested in essential, not in sophisticated things. So I like to<br />
draw, or use natural elements as wood, stones or feathers. I use<br />
to built fragile structures with them.<br />
When I talk about other subjects, not related with Nature, I think<br />
I do the same: no permanent things, not sophisticated (I mean<br />
perfection), etc. I think I can define the way I work, and the way I<br />
am with words like smoothness, naïf, quiet…<br />
I´m interested too in self-management as a useful way to democraticise<br />
culture. I lead and participate in a cultural project called<br />
EACEC (Container Contemporary Art Space, in English). EACEC is<br />
a container on the street where we invite artist to make ephemeral<br />
interventions, performances, etc. It´s just a way to enjoy ourselves,<br />
collaborate with other artists, and share culture with the<br />
people.<br />
www.albertocentenera.blogspot.com<br />
www.eac-elcontenedor.blogspot.com
HAVING FUN IN THE FOREST<br />
I walked a lot by the finnish forest. I didn´t know what I was looking<br />
for, maybe myself. Being in a quite mood to create.<br />
In my time in Arteles, I was interested, most of all, in being in a<br />
direct contact with the environment. My working process is very<br />
reflective and it depends on what I see and what I feel. In a quite<br />
mood, I gather feathers, papers, stones, small branches and all<br />
the things I feel useful to express what I want to.<br />
I had a great personal experience and learned from the experience<br />
of others in Arteles.
IN THE RESIDENCY<br />
May 2012<br />
“Waiting for inspiration is a waste of<br />
time. Artists Work. Working the Work<br />
Inspires the Inspiration.”<br />
JOSÉPHINE A. GARIBALDI & PAUL ZMOLEK USA<br />
garijose@isu.edu // www.youtube.com/user/satiricalfarce // Currently working and living in Pocatello, Idaho, USA<br />
Joséphine A. Garibaldi and Paul Zmolek are working veterans of<br />
the Performing Arts – over 30 years each including 20 as creative<br />
partners; they teach, choreograph, direct and devise original<br />
intermedia dance, theatre and performance works for the traditional<br />
proscenium stage to site specific festivals across the US<br />
and abroad.<br />
Garibaldi and Zmolek, university professors of dance and theater<br />
in the US, co-direct Callous Physical Theatre. Recent projects<br />
include the re-creation of the physical theatre work The<br />
Rule of Life for video to be premiered in Italy in December 2012<br />
(based upon the lives of St. Francis and St. Clare of Assisi, The<br />
Rule of Life was conceptualized while in residence at Arte Studio<br />
Ginestrelle in Assisi, Italy) and the original opera Double Blindsided<br />
based upon Franz Kafka’s The Trial which will be premiered<br />
in April <strong>2013</strong>.<br />
The product is directly shaped by the process and thus we are<br />
process-oriented. Our process is collaborative, even when not<br />
working with people. The media leads us if we are willing to listen<br />
and the media is willing to risk exposure. Perhaps, due to<br />
our Catholic upbringings, the ritual of the process and the ritual<br />
structure of the product comes through most of our work. As<br />
Americans, where work is valued in dollars and not in sense, we<br />
have explored other cultures where art is valued and the value of<br />
the work is more than how much the job pays.
WHAT WE DID AT ARTELES:<br />
Birch Loops, May 2012<br />
Arteles Creative Center- Environmental installation in the Arteles<br />
forest.<br />
Initiated by creating an altar around a beautiful group of boulders<br />
by surrounding them with a ring a logs. This led to braiding sunstarved<br />
skinny saplings into loops and evolved into a major installation<br />
covering approximately 5,500 sq ft.<br />
Cagevent: Sometimes it Works, Sometimes it Doesn’t<br />
http://youtu.be/wGUFbPn9NSo<br />
May 28, 2012, Helsinki<br />
Kontaining performance festival produced by Ptarmigan.<br />
This collaborative performance with Helsinki-based poet Karri<br />
Kokko consisted of two separate performances of six 15 minute<br />
events inspired by John Cage and his utilization of aleatoric composition.<br />
Titles of events:<br />
I. Yksi ja Sama Asia<br />
(after Robert Rauschenberg: Erased DeKooning);<br />
II. Beginner’s Finnish Coffee;<br />
III K•O•N•T•A•I•N•I•N•G;<br />
IV. 15’ (after John Cage: 4’33”);<br />
V. Thesaurus Entry: Contain;<br />
VI. Yksi ja Sama Asia (after John Cage: Empty Words).<br />
Photo Essays:<br />
Dirt, Orange Poles, Bicycles, Birch Close-ups, Understory, Birch<br />
Groves, Ice Rink, Bogs, Studio Time<br />
In-Progress:<br />
Collected stories/movement on video/audio from fellow artists in<br />
residence about their sense of Place in this place to be edited<br />
into video work; collected birch bark to be sewn together into a<br />
tapestry.<br />
Sahti:<br />
Thanks to Pekka, visited three local brewers/experts/champions<br />
of the traditional Finnish beer. Paul has altered/improved his<br />
recipe for his home-brewed Sahti based upon what he learned in<br />
Finland and the bag of Finnish Dark Rye we brought home from<br />
Hameenkyro.
IN THE RESIDENCY<br />
Aprl-May 2012<br />
“Do what you can with what you have.”<br />
DOROTHY MCCALL USA<br />
dorothyannmccall@yahoo.com // wwwnordic5arts.com // Currently working and living in Oakland, USA<br />
Independent art historian with MA Art History, Mills College,<br />
Oakland, California. For 25 years was docent/lecturer at deYoung<br />
Art Museum, San Francisco in primitive arts. Give lectures at<br />
colleges, community, cultural and business events focusing on<br />
19th-20th century Scandinavian-American Art. Art connects all<br />
peoples and cultures: revealing possibilities while giving strength<br />
and inspiration. Since my Norwegian immigrant grandmother<br />
took me to the Chicago Art Institute at age fourteen and showed<br />
me the works of Mary Cassatt I have looked to Art for guidance<br />
and have found it. It is my quest to pass this gift on to others.
ESSAYS, INTERVIEWS AND ADVENTURES<br />
I intended to write a series of essays about the many adventures I<br />
have had during my art history life including giving a lecture on the<br />
QEII and Ellis Island on Scandinavian art and the immigrant experience,<br />
writing and giving lectures to physically and challenged<br />
museum visitors, creating art objects with them they might take<br />
them home as a memory tool and being a Camp Director in Wisconsin<br />
creating art in many forms from cooking to costumes to<br />
dancing. I have had one positive adventure after another, and I<br />
wanted to pass art on.<br />
Interviewed and wrote essays on the other artists at Arteles in<br />
April and gave the last presentation after they had talked about<br />
their work, I talked about what I learned from each one of them.<br />
It was a positive experience and an audience member asked me<br />
if I was their professor and I said, “No I am one of them.” We all<br />
laughed with love and good cheer for each other.
IN THE RESIDENCY<br />
April-May 2012<br />
ELLA COLLIER Canada<br />
collier.ella@gmail.com // www.ellacollier.com // Currently working and living in Vancouver, Canada<br />
Art and humour. Let’s all have a laugh!
EPIC FAIL<br />
IResearched failure successfully and made art about it.
IN THE RESIDENCY<br />
April-May 2012<br />
JACQUI MILLS Australia<br />
jacqrose23@gmail.com // nightbirdvision.blogspot.com // Currently working and living in Sydney, Australia<br />
Jacqui Mills is an emerging video and installation artist primarily<br />
interested in exploring theories of the gaze, and human interaction<br />
with the visual and virtual environments. A graduate from<br />
the Eora Centre for Visual and Performing Arts in Theatre, Performance<br />
and Practise (2006), and Screen (2007), Jacqui looks<br />
forward to completing her Bachelor of Fine Arts with Honours in<br />
<strong>2013</strong>. Jacqui’s debut in video for theatre was in <strong>2010</strong>, as the Audio/<br />
Visual artist for the Eora Centre’s graduating Music Theatre production,<br />
The Promise. Her body of work, Gaze (<strong>2010</strong>), explores the<br />
female body and the nature of surveillance culture, using interactive<br />
technologies, installation, sound, and performance. Her other<br />
audio/visual works from 2009 to 2012 include Liminal (Kudos Gallery),<br />
Transcendent Space, Doppelganger (Cofa Space), Universals<br />
(Sedition Gallery), and Intertwined: A Virtual Lover (Breathing<br />
Pop-Up Gallery - New Performance Art Festival Turku, Finland).<br />
Jacqui has previously engaged in collaborative work with Berlin<br />
based painter and installation artist Martin Püschel, creating<br />
works such as Distant Memories (ATVP Gallery) and Dispiteous<br />
Opera. Jacqui’s recent artistic endeavours include working as<br />
a media artist and set designer for performance, for Bully Beef<br />
Stew, commissioned by PACT Centre for Emerging Artists, and<br />
Directed by Andrea James. Her current work explores the nature<br />
of memory as a disappearing entity that is being replaced by a<br />
fetishised online video and photographic documentation of our<br />
increasingly virtual lives, and she continues producing drawings<br />
and paintings exploring themes of human connectivity.
INTERTWINED: A VIRTUAL LOVER<br />
Intertwined: A Virtual Lover is a performance/installation work<br />
exploring the nature of human interactions with virtual worlds,<br />
and the virtual self as ‘other’. The conceptual basis of this work<br />
emerged from surveillance culture, and Jeremy Bentham’s theory<br />
of panopticon, or a kind of self-surveillance, which we experience<br />
every day both in the virtual and the Real world. Considering<br />
the narcissistic nature of interactive technologies, this performance/installation<br />
attempts to highlight David Rokeby’s notion of<br />
‘technology as a medium through which we communicate with<br />
ourselves:…a mirror’. Portraying myself as the performer surrounded<br />
by visual and written representations of my virtual self, I<br />
find myself in a stalemate, entangled in a technological mess, and<br />
intertwined in an intrinsic and narcissistic relationship with my<br />
virtual self. The video documentation of the performance which<br />
took place at Breathing Pop-Up Gallery in Turku, for the New<br />
Performance Art Festival in Turku, can be viewed on my blog at<br />
Intertwined: A Virtual Lover is a performance/installation work<br />
exploring the nature of human interactions with virtual worlds,<br />
and the virtual self as ‘other’. The conceptual basis of this work<br />
emerged from surveillance culture, and Jeremy Bentham’s theory<br />
of panopticon, or a kind of self-surveillance, which we experience<br />
every day both in the virtual and the Real world. Considering<br />
the narcissistic nature of interactive technologies, this performance/installation<br />
attempts to highlight David Rokeby’s notion of<br />
‘technology as a medium through which we communicate with<br />
ourselves:…a mirror’. Portraying myself as the performer surrounded<br />
by visual and written representations of my virtual self,<br />
I find myself in a stalemate, entangled in a technological mess,<br />
and intertwined in an intrinsic and narcissistic relationship with<br />
my virtual self. During my time at Arteles I also created a series of<br />
drawings and paintings, as well as a series of videos exploring the<br />
concept of ‘place,’ which can be viewed on my blog. Intertwined:<br />
A Virtual Lover is a performance/installation work exploring the<br />
nature of human interactions with virtual worlds, and the virtual<br />
self as ‘other’. The conceptual basis of this work emerged from<br />
surveillance culture, and Jeremy Bentham’s theory of panopticon,<br />
or a kind of self-surveillance, which we experience every day<br />
both in the virtual and the Real world. Considering the narcissistic<br />
nature of interactive technologies, this performance/installation<br />
attempts to highlight David Rokeby’s notion of ‘technology<br />
as a medium through which we communicate with ourselves:…a<br />
mirror’. Portraying myself as the performer surrounded by visual<br />
and written representations of my virtual self, I find myself in a<br />
stalemate, entangled in a technological mess, and intertwined in<br />
an intrinsic and narcissistic relationship with my virtual self. During<br />
my time at Arteles I also created a series of drawings and<br />
paintings, as well as a series of videos exploring the concept of<br />
‘place,’ which can be viewed on my blog at http://www.youtube.<br />
com/watch?feature=player_embedded&v=XEeO1nzMTmM. During<br />
my time at Arteles I also created a series of drawings and<br />
paintings, as well as a series of videos exploring the concept of<br />
‘place,’ which can be viewed on my blog.
IN THE RESIDENCY<br />
March 2012<br />
NATASA KOSMERL Slovenia<br />
natasa.kosmerl@gmail.com // Currently working and living in Ljubljana, Slovenia<br />
Nataša Košmerl was born in Novo mesto, Slovenia in 1983.<br />
She studied photography at Film and TV School of Academy of<br />
Performing Arts in Prague / FAMU between 2003 - 2006, where<br />
she finished her Bachelor degree. After she continued her studies<br />
at Master program at University of art and design Lausanne /<br />
ECAL in Switzerland. Currently she is living and working in Ljubljana,<br />
Slovenia.<br />
Natasa is working mainly with subjective photography, where she<br />
tries to capture intimate moments in life.
FINLAND (WORKING TITLE)<br />
When I started to do residency program I was five months pregnant.<br />
For me this is important period, a new beginning. And I<br />
decided to point camera towards my-self. Staying in Arteles was<br />
a chance to concentrate on the change which is happening inside<br />
of me, on my partner, and our relationship, as we spend all this<br />
time together.<br />
Series will develop over longer period of time, and I will try to<br />
capture all its states: pregnancy, birth, new life, and the change<br />
which will bring into our life’s.
IN THE RESIDENCY<br />
April 2012<br />
“Sober & Lonely”<br />
SOBER & LONELY<br />
South Africa<br />
lauren@soberandlonely.org/robyn@soberandlonely.org // www.soberandlonely.org // Currently working in Johannesburg<br />
The Sober & Lonely Institute for Contemporary Art (SLICA)<br />
is a non-profit organisation whose main focus is on fostering<br />
exchanges and conversations between South African and international<br />
artists and organisations. Loosely based in Johannesburg<br />
and Durban, SLICA is a non-prescriptive platform with an intrinsic<br />
curatorial process focused primarily on performance and interactivity.<br />
As a floating platform, each concept is uniquely adapted to<br />
the specific project showcased, including exhibitions, screenings,<br />
lectures, debates and an online archive. The Suburban Residency<br />
was the first in a series of artist residency programmes hosted<br />
by SLICA.<br />
The Sober & Lonely Institute for Contemporary Art has been<br />
developed as an extension of Sober & Lonely’s artistic practice<br />
to create a platform of sharing and engagement between artists<br />
and organisations.
THE NANCY HOLT TELEPORTATION DEVICE<br />
“Nancy Holt’s environmental work Up and Under (1998) is located<br />
in the village of Pinsiö in the west of Finland. Developed by Osmo<br />
Rauhala’s The Strata Project Holt’s work creates new possibilities<br />
for environmentally damaged areas. Set in an old sand quarry,<br />
Up and Under is formed by a series of seven horizontal tunnels<br />
buried under mounds of earth. Four of the tunnels converge<br />
revealing a central vertical tunnel - a suggestion of “the centre of<br />
the world” (Rauhala, [sp]). Four of the tunnels are aligned East-<br />
West and three North-South based on the alignment of North<br />
with the North Star Polaris. According to Rauhala, the work is<br />
thus “astrally fixed on earth” - giving the sense that the universe<br />
begins and ends at the Pinsiö sand quarry.<br />
Sober & Lonely used their time at Arteles to develop a project<br />
based on Nancy Holt’s ‘Up and Under’ and came up with the following<br />
plans to further develop it:<br />
1) To explore Up and Under as a device. A structure that has the<br />
potential to activate movement and energy via teleportation<br />
2) To stage various experiments in teleportation between ‘Lab A’<br />
(Up and Under) and ‘Lab B’ (other site)<br />
3) To repurpose a repurposed site - to activate Up and Under<br />
4) To create a direct line of communication between ‘Lab A’ and<br />
‘Lab B’ - a relational project<br />
5) To record, document and then recreate a sense of the experiments<br />
within a gallery space”
IN THE RESIDENCY<br />
March 2012<br />
“Just be”<br />
VALERIE NG Maleysia<br />
valng@hotmail.com // www.valng.com // Currently working and living in Singapore<br />
My abstract works are created as a result of explorations in<br />
colour, light, depth, form and texture. In a process that involves<br />
an instinctive balance of strokes and subtle variations to convey a<br />
sense of mood and movement beyond the surface.<br />
Drawing inspiration from natural elements, hues and patterns<br />
in the environment, my oil paintings aim to evoke an experience,<br />
sensation or atmospheric feel. With compositions that express<br />
the different states and impact of nature on its surroundings.
OBSERVED THE OBSCURE<br />
Wandered in the snowy landscape.<br />
Absorbed and observed the endless variations and effects of natural<br />
forces.<br />
Relished the quiet, time and space to just be.<br />
Painted and sketched textures of trees, rocks and ice.<br />
Photographed organic patterns and discovered objects hidden<br />
under the surface.<br />
Created papier-mache objects that depict fragments from the<br />
outside.<br />
Collected thoughts for an artist book, ‘Moments of Being’.<br />
Began the many layers and marks of the painting above,<br />
‘Obscured’.
IN THE RESIDENCY<br />
March 2012<br />
IVAYLO GUEORGIEV Bulgaria<br />
ivaylo@gmail.com // http://jpgwav.tumblr.com/ // Currently working and living in NYC, USA<br />
Ivaylo Gueorgiev was born in Bulgaria. When he was twenty years<br />
old he emigrated to the United States. In 2008 he discovered the<br />
endless possibilities of the void.
EUPNEA<br />
During my stay at Arteles I was inhaling and exhaling the air<br />
around Hämeenkyrö, Finland starting at 15:55 on March 1st and<br />
ending at 18:15 on April 1st.
IN THE RESIDENCY<br />
March 2012<br />
“Void the Fill”<br />
VANESSA ’VAN DIESEL’ BRAZEAU Canada<br />
brazeauv@gmail.com // www.vanessabrazeau.com // Currently working and living in Toronto, Canada<br />
For a long time my work was an obsessive desire to understand<br />
why I was making my work. Recently I became aware that I would<br />
never fulfill this desire, and it was then that I found passion in my<br />
practice. I realized it was never about understanding why, it was<br />
being aware that I was looking. Accepting an art practice with no<br />
end beyond itself has inspired me to see the value of the void.<br />
I no longer need to know why I make things, or have answers to<br />
the questions my works raise, I only need to continue to question<br />
it. Embracing this eternal lack inspired an exploration of the<br />
notions of expenditure and utility, the labour of the artist, food<br />
consumption and exercise.
”WAITING FOR POISSON” AND MOLASSI FAN-ZINE<br />
Waiting for Poisson’ is about two Artists in an ice fishing competition.<br />
The video was inspired by an essay called ‘A Hypothesis of<br />
the Evolution of Art from Play’, by Ellen Dissanayake. It was also<br />
inspired by my interest in competition in art (artist vs. artist, vs.<br />
art world, vs. self) and its disregard within the art world, which<br />
I think comes from the misconception that artists are not characteristically<br />
athletic. Athleticism (agility, strength, intuition) and<br />
competitiveness have a direct link to survival. If the artist is not<br />
perceived as having these skills, we need to question why art and<br />
their makers still exist, which is the intent of “Waiting for Poisson”.<br />
We started an artist collective called the Spoon Gang and made a<br />
pretty badass Fan-Zine too.
IN THE RESIDENCY<br />
March 2012<br />
“Love u and goodmorning glad you are<br />
awake to read this, let’s spread more<br />
positive energy instad of trying to hurt<br />
sum1 for it - Lil B”<br />
JOE & DAN COOPER UK<br />
joejohncooper@gmail.com, dcooper2312@gmail.com // www.thesunhasblindedme.com // Currently working in London, UK<br />
Brothers & friends. Sight & sound. We can’t/won’t take criticism<br />
and we create elaborate schemes to avoid it. If we don’t try we<br />
can’t fail, and that’s fine with us.
UNTITLED BS<br />
Walked and made a magazine with our friends in the last two<br />
days. Now we try to think less and be more peaceful, but you know<br />
how that goes. Maybe we learned that life is alright kid.
IN THE RESIDENCY<br />
February 2012<br />
JI HYE YEOM<br />
South Korea<br />
yomiih@gmail.com // Currently working and living in Sao Paulo, Brazil<br />
Spanning locations in the Middle East, Asia, Africa and Europe<br />
while travelling as a medium for research, I have been practiced<br />
in two ways: one is a community based art project; another is a<br />
research based art practice. In ‘Finding a language’, I aim to find<br />
an alternative way of communication as well as make a contact<br />
zone so that people can encounter one another. Afterwards, I have<br />
transformed my personal narratives into the body of art works. I<br />
am interested in the amalgamation of those diverse social discourses<br />
with private narratives. Details are provided by material<br />
taken from my own biography, intermixed with recollections of<br />
films, literature and medias. My artistic output includes installation,<br />
sculpture, film and video, performance, collage, drawing<br />
and script writing.
WONDERLAND<br />
I have been interested in the idea why people fantasise another<br />
place and why they keep wandering around. I set a tropical island<br />
in the middle of a snowy field and interviewed with people who<br />
wanted to travel out of Finland.
IN THE RESIDENCY<br />
February 2012<br />
“I dream dream dream each day, of a<br />
wide unlimited address”- Don Walker<br />
ADAM GIBSON Australia<br />
adamfgibson@yahoo.com.au // www.adamfgibson.com // Currently working and living in Sydney, Australia<br />
I am an artist from Sydney, Australia. I primarily work with what<br />
I call “”spoken word narrative/storytelling”” – writing stories and<br />
/ or pieces and putting them to music and often performing them<br />
live.<br />
Combined or in conjunction with that I do video works, photographic<br />
works and installation pieces ... but more and more my<br />
work is moving away from more gallery-orientated works to<br />
more storytelling and performance stuff, articulating my spoken<br />
word stories / snapshots with music and making short videos<br />
to accompany them. I also perform regularly with my band The<br />
Aerial Maps.<br />
I see what I do as attempting to communicate an idea or emotion<br />
or feeling through artistic means of narrative and music. A fundamental<br />
part of what I do, a fundamental process I follow, is doing<br />
most things with a degree of speed, some would say recklessness,<br />
or at least a lack of concern for technical knowledge or skill.<br />
That’s not to say that I have a distain for finely crafted works done<br />
with amazing skill, say a brilliantly edited video or well-executed<br />
portrait, but for me, I operate on what I call, for better or worse, a<br />
punk aesthetic, where the importance lies in the idea and getting<br />
that idea done as simply and as quickly as possible.
EMPTY BARS (HÄMEENKYRÖ) AND OTHER DISLOCATED SNAPSHOTS<br />
I see a correlation between the landscape of my home in Australia<br />
and that of Finland. The wide, empty spaces, the silences,<br />
the need for a resolute sensibility in the face of a harsh climate.<br />
Thus I came to Arteles looking to do work that would respond to<br />
the unique Finnish landscape, work which sought to investigate<br />
the sense of place and/or disconnection I think I am felt in that<br />
landscape coming, as I do, from a hot, dry land of deserts and<br />
sun-scorched beaches.<br />
I believe that land “”exists”” in and of itself – it doesn’t need a<br />
human population to exist. But when human emotions and experiences<br />
are projected upon that land, it becomes “”landscape””,<br />
and thus our worlds are created. The relationship of humans to<br />
places is thus of vital importance in the creation of our impression<br />
of the world, and our place within that.<br />
As an artist, I am interested in investigating this idea through such<br />
means as spoken word and video work , plus other methods that<br />
incorporate my other areas of interest, ie. photography, sculpture<br />
and painting/object-making.<br />
My experience at Arteles in the depths of the Finnish winter was<br />
both a challenging and incredibly rewarding one. Using the above<br />
ideas, I developed a suite of spoken word works, combined with a<br />
series of video vignettes, which provided a narrative and impressionistic<br />
record of my time at the center. By attempting to “”be<br />
absorbed”” into the landscape and among the people and towns,<br />
I wanted to make a record of my time in the area, filtering my<br />
experience through the lens of my “”Australian”” identity whilst at<br />
the same time not limiting myself to any particular ideas of what<br />
IS or ISN’T art.<br />
The result was video works about empty bars, about secondhand<br />
clothing stores, about getting lost in the frozen forest with<br />
a broken heart trying to find a sauna. It all felt right, it all echoed<br />
correctly for me at the time and with a few month’s having now<br />
passed since then, such echoes continue to resonate.
IN THE RESIDENCY<br />
February 2012<br />
“I like cold places.”<br />
MARK WUNDERLICH<br />
USA<br />
markcwunderlich@aol.com // www.markwunderlich.com // Currently in Catskill, New York<br />
I am a poet, writer and translator living in New York’s Hudson<br />
River Valley. I am the author of three volumes of poetry, the most<br />
recent of which is The Earth Avails, which will be published in the<br />
United States in 2014. I teach literature and writing at Bennington<br />
College in Vermont, and I also teach in the graduate writing program<br />
at Columbia University in New York City.
THE NORTH & THE EARTH AVAILS<br />
While at Arteles, I continued to work on a manuscript of poem<br />
called The Earth Avails, which adapts, refracts, translates and<br />
reinterprets 18th and 19th Century American prayers, letters of<br />
protection and folk-spiritual documents. I also started a manuscript<br />
of prose poems called The North, which aims to describe<br />
the experience of coldness.
IN THE RESIDENCY<br />
February 2012<br />
NATALIA COMANDARI<br />
El Salvador<br />
studio@nataliacomandari.com // www.nataliacomandari.com, anitakirppis.tumblr.com/ // Currently in Geneva, Switzerland<br />
Mine courrent project is to document by filming different groups<br />
of young people (or not), who each possess their codes and references<br />
a variable in any time. Through these communities, i want<br />
to explore the behavior of hysterical disposition, culture and leisure<br />
to consumption but also a folklore and social codes reversed.<br />
With a methodology close to sociologist, i analyze and lead the<br />
search for the other research of normal and abnormal.
THE PRINCES IS DRUNK AND ANITA KIRPPIS<br />
The Princes is drunk is a video filmed in two parts: the first part<br />
is the trip on a party boat from Helsinki to Tallin . I was interested<br />
of how the industrailisation of the party changes the ways of be<br />
together and also in the differents ways of how the youth celebrate<br />
their own moderns rituals. The second part took place at<br />
the High School of Hameenkyro with their annual bachelor party.<br />
The marks of some old traditions makeing contrats with the new<br />
society and the new ways of celebrate.<br />
I also create the brand of jewelry ANITA KIRPPIS wich came with<br />
one cold, calm and white night in Arteles.
IN THE RESIDENCY<br />
February 2012<br />
“An artist is a lightning rod in a deserted<br />
area, waiting for a storm.”<br />
DANIEL ORLANDO LARA Mexico<br />
baobabd@yahoo.com.mx // www.danielorlando.com // Currently working and living in Tula Tamaulipas, México<br />
When i was a kid i remember that i liked to take pictures with my<br />
mother´s camera Polaroid. Some years later i became interesting<br />
in black and white photography. Daily life and nostalgia were<br />
my first subject. After studying at the Centro Fotografico Saul<br />
Serrano in México for two years program. I studied at National<br />
School of Photography in Arles as a resident student in 2007 then<br />
i received a scholarship from Centro de las Artes de San Agustin<br />
at the Seminario de Fotografía Contemporánea <strong>2010</strong> Centro<br />
de la Imagen. I´m open to experimenting photography with diferent<br />
techniques of image and visual expression. I like to work<br />
with personal experiences, intuition, perceptions, dreams and<br />
imagination as a visual artist and photographer. I´m interesting<br />
to approach photography in several ways. My experience in Arteles<br />
was great and intense. Now i´m in a new project at Atelier<br />
Smedsby based in Paris.
FUEGO DEL ZORRO / REVONTULET Digital photography<br />
At the beginning of the residency in Arteles the project was a little<br />
dificult about the phenommenon.<br />
So i started with two premises: making a drawing and a writing<br />
a prayer like an act of faith about the finnish nature; inspiring in<br />
ex-votos (religious naif painting from mexico)<br />
“ Dear Aurora Borealis, if i get to see you in the Haukijärvi night, i<br />
promise to be a better person, if you suddenly appear in the wood,<br />
your presence will be a honor for me during my residence in<br />
Arteles following my steps and take care us; the other residents,<br />
my friends and my family. Kiitos“<br />
The project explore my experience in Finland with the culture and<br />
the finnish nature during the residency, searching the northern<br />
lights in Haujikarvi. I started to use my imagination, perception<br />
and intuition just to create a serie of situations, accions and reaccions,<br />
some steps to get watch the northern lights and what will<br />
happened about these day.
IN THE RESIDENCY<br />
January - February 2012<br />
LAURA BATCH Australia<br />
laurabatchart@hotmail.com // www.laurabatch.com // Currently working and living in Melbourne, Australia<br />
Being born in 1991, started making sculptures in 2008, and currently<br />
completing my final year of Fine Arts degree at Victorian<br />
College of the Arts, I still feel like a very raw piece of meat that<br />
been thrown into the lions den that is the art world. My practise<br />
currently involves experimenting, exploring and creating a<br />
dialogue with site, materiality and material bounds within the<br />
context of sculpture, photography, drawing and video. I am also<br />
very interested in the discourse between architecture and sculpture,<br />
or more broadly art, and how you can intertwine both disciplines.<br />
I aim to continue working mostly with sculpture, but pursuing<br />
further studies in architecture.
WHAT WE REQUIRE IS SILENCE.<br />
Never had I seen snow before, so to see snow blanketing and<br />
absorbing the entire landscape, was strange and beautiful. My<br />
first instinct was to use and then exploit the abundant snowy landscape<br />
and freezing winter conditions. I began with exploring the<br />
Arteles site and Hameenkyro, by creating drawings, casts, photographs,<br />
and videos to document sites of interest. What dictated<br />
my choice of site is the overwhelming silence that I experienced<br />
whilst on residency, and how it was amplified within certain sites.<br />
The forest, the road, the fields, the market and my bedroom, they<br />
all were so silent, so much so you could hear your blood pulsing<br />
through your veins when lying in bed at night. Researching<br />
John Cage’s theories of silence and music, helped me to pursue a<br />
new direction for me which was soundscaping. By taking several<br />
recordings of the chosen ‘silent landscapes/ sites’ and compiling<br />
them into an immersive soundscape, which is at first seem to be<br />
a recording of nothing, the more intensely you listen the more<br />
aware of the sounds in the recordings and the sounds emanating<br />
from the surrounding you stand in. Alongside, the soundscape I<br />
created a similar video work that layered 3 or more videos I had<br />
taken of the ‘silent sites’ to create a sort of videoscape that shows<br />
how the snow absorbs the entire landscape and makes it unrecognisable<br />
and distorted in a way. Then to further distort the image<br />
I projected it through a haphazard ice sculpture that I had made,<br />
which then made the video into a blur of blue/white light. Majority<br />
of my projects started at Arteles are ongoing works to be completed<br />
on return to Finland.
IN THE RESIDENCY<br />
January 2012<br />
“Art and hacking are both forms of social<br />
engineering, art is just an intellectual<br />
and visual hack.”<br />
CHRISTOPHER D WILLE USA<br />
chris@chriswille.com // www.chriswille.com // Currently working and living in Bloomington, IL, USA<br />
Christopher Wille is an artist based in Bloomington Illinois. He<br />
received his bachelors of Art at Eastern Illinois University, and<br />
his Master of Fine Art at Illinois State University where he graduated<br />
with honors. His work combines new media with traditional<br />
metals techniques to form a hybrid. Christopher’s work has been<br />
shown nationally and internationally including New York, Texas,<br />
Arkansas, South Korea, Berlin Germany, Reykjavík Iceland, and<br />
an upcoming solo exhibition at Koh-i-noor in Copenhagen, Denmark<br />
. Recent recognition includes a Merit Award at the Emerging<br />
Illinois Artist exhibition and an Honorable Mention at The 4th<br />
Cheongju International Craft Competition, as well as three artist<br />
residencies. These include I-Park in East Haddam, Connecticut,<br />
SÍM in Reykjavík, Iceland, and Arteles in Finland.
ENcoded<br />
While at Arteles Christopher Wille developed four new works, two<br />
applications that reinterpret art, and two printed digital works.<br />
The digital prints were durational, both over a period of twelve<br />
days, and both had a performative action that was photographically<br />
recorded; one for each hour of the day. In one a catalog of<br />
objects was collected and photographed, the image was subjected<br />
to a computer virus written by Wille that degraded the image<br />
according to data collected from sensors worn while the objects<br />
were collected. The work is displayed with the degraded image,<br />
the image of the object in its environment, and finally the object in<br />
a petri dish. In the other work a series of self portraits were taken<br />
and then layered, various filters were applied, and finally twelve<br />
images were printed on clear vinyl and adhered to plexiglass.<br />
With the applications Wille reinterprets art and the way we perceive<br />
it. With The Steal famous artist work is hacked, creating a<br />
new work by Wille. The algorithm hacks the artist’s website and<br />
then, using a clipping of their work creates a new image. The<br />
application can be run several times as it gathers the information<br />
in a random way so several compositions can be created from<br />
a single artist. Warhol, Baldessari, and Banksy have been used<br />
to date. Synesthesia is an application that allows the viewer to<br />
perceive a painting with two senses, hearing and sight. A digital<br />
image of a painting fed into the program is translated into binary<br />
code one pixel at a time. This data is then played back to the<br />
viewer as a binary song.
IN THE RESIDENCY<br />
January 2012<br />
“Do something, be something, want something…<br />
I just want a sticky date pudding, thanks.”<br />
TOM HOGAN, SCOTT SANDWICH Australia<br />
tommehhogan@gmail.com // www.tomhogan.com.au // Currently working and living in Sydney, Australia<br />
Tom Hogan is a musician and performance poet. He composes<br />
music for theatre and performance, with a focus on live performance<br />
and improvisation. When his mother was pregnant with<br />
him, she saw Led Zeppelin in concert; which is probably why<br />
classic rock makes him feel all warm and safe. In this sense, his<br />
exploration of lush and rich sounds acts as a rebellion against<br />
the womb.<br />
He also mysteriously moonlights as a performance poet under<br />
the name Scott Sandwich, telling fast-paced stories about the<br />
apocalypse, death and failed first dates. He was a finalist for the<br />
Australian National Poetry Slam in <strong>2010</strong>, won the 2011 Woodford<br />
Festival Poetry Slam, and was a runner up in the 2011 Nimbin<br />
Performance Poetry World.
’KAIMA’ and ’THE KALEVALA (According To Scott Sandwich)’<br />
While discovering the difficulties of playing my guitar outside in<br />
the winter chill (essentially impossible), I spent my time at Arteles<br />
finding new ways to present my music, experimenting with film<br />
and installations. I would often turn to the works of previous<br />
artists of the residency for inspiration.<br />
Toying with field recordings and convolution reverbs, I discovered<br />
a whole range of sounds to apply to traditional harmonies and<br />
instruments, and created a body of work using these new tones.<br />
The new instruments were based on the unpredictable dynamics<br />
of the forest and landscape, stretching notes and reverbs beyond<br />
recognisable sounds while still retaining organic and natural<br />
qualities. The music I created make up the album, Kaima.<br />
During the residency, I also created the short film Shuffle, the<br />
installation Your Music, My Way and the Quick Draw Maverick<br />
Gallery.<br />
For my poetry works, I looked at a variety of ways in which the<br />
Finnish and English languages irreconcilably clash, creating a<br />
number of small works based on this premise, and explored a<br />
variety of experimental forms and written works intended to be<br />
presented alongside music.<br />
Finally, I dove into the national epic poem, The Kalevala, premiering<br />
and performing my own rendition of it at the Apollo Live Club<br />
in Helsinki, and created the short film The Kalevala (According<br />
To Scott Sandwich). The final text is represented as an installation<br />
at Arteles.
IN THE RESIDENCY<br />
January 2012<br />
“Lens Based Artist”<br />
LAURA CARLOTTA WRIGHT<br />
United Kingdom | Portugal<br />
lauracarlottawright@gmail.com // www.lauracarlotta.com // Currently working and living in London, UK<br />
I am a lens-based artist fascinated by the role which performance<br />
plays within photography. Throughout the last two years I have<br />
been producing images which should be viewed in sequence and<br />
which over time have evolved into a series of carefully staged performance<br />
pieces. These improvisations are purely for the camera<br />
and are to be viewed as still images recording an event which is<br />
already a memory.<br />
This work is directly related to issues of femininity, time, space<br />
and the gaze. In these images not only is it an inner gaze, which<br />
I inflict upon myself, but at the same time it is also a female<br />
gaze as I am a female photographer, I am both the ‘surveyor and<br />
the surveyed’. I turn the gaze back upon myself and explore the<br />
nature of woman as object and themes of identity and gender. I<br />
have tried to use a delicate touch to ensure that the relationship<br />
to the feminine is positive and not just provocative and have intentionally<br />
staged these images to evoke the theatre. As I am unidentifiable<br />
my body is a symbolic ‘everywoman’.
HÄMÄRÄSTÄ<br />
When I first arrived at Arteles Creative Center, I was intrigued<br />
by the soft, diffused blue light that appeared early morning from<br />
daybreak to sunrise. The Finns call it aamuhämärä, it lasts for<br />
about 20 minutes and it is created by the sun being below the<br />
horizon. This together with the Finnish Landscape became the<br />
starting point for my new body of work.<br />
Landscapes, their character and quality, help define the self<br />
image of a region, its sense of place, that which differentiates it<br />
from other regions. It is the dynamic backdrop to people’s lives,<br />
in the work I created during my Arteles residency the forest and<br />
the changing light become the backdrop for the scene played out<br />
in front of my camera, the reaction of the subjects being left alone<br />
revealed their inner thoughts and feelings, those that were in<br />
familiar territory appeared to find it strangely comforting, taking<br />
them back to childhood whilst those in an unfamiliar landscape<br />
where more hesitant and reacted less comfortably to their surroundings.<br />
Silence played a major role in this work; exaggerating<br />
the reactions to aamuhämärä and the landscape, giving the<br />
viewer a moment of contemplation and time to see what happens.
JESSICA MONTFORT<br />
Australia<br />
jessicamontfort@gmail.com // Currently working and living in Sydney, Australia<br />
Art is something I have always been interested in. I ended up<br />
becoming a medical doctor, but decided I could combine the two!<br />
I’m very new to the creative world and the more I discover the<br />
more daunting and exciting it becomes.<br />
Until now I have mainly been interested in drawing, painting and<br />
photography, but I am hoping to extend myself beyond these<br />
realms...
IN THE RESIDENCY<br />
December 2011<br />
During my time in Arteles I became incredibly inspired to try new<br />
things. I tried to use the experience to gain insight and understand<br />
more about the direction(s) I want to pursue. As I have very<br />
limited experience in Art, and this was my first Residency, I felt<br />
like a sponge, soaking everything in, the people, the environment,<br />
the weather, everything... more so than trying to put pressure<br />
on myself to create a body of meaningful work. The work I did<br />
was mostly experimental, and I am still working on a few ideas<br />
at home.<br />
Here is a link to the most meaningful piece of work I have done to<br />
date, created at Arteles December 2011:<br />
http://www.youtube.com/watch?v=PprT-N4Uyrg
HELENA HLADILOVÁ<br />
CZech Republic<br />
helenahladilova@gmail.com // helenahladilova.blogspot.com // Currently working and living in Turin, Italy<br />
Having observed reality, I basically react in two ways. Sometimes –<br />
very often by chance – I manage to record extraordinary situations<br />
which allow me to unblock mechanisms which until that<br />
point had prevented their interpretation. Otherwise, I add a narrative<br />
to an event which I believe suited to grasping, and I thus open<br />
up to reflections which could not otherwise be explored through<br />
the image alone, providing a layer of exceptionality to the everyday.<br />
Within that which we take for granted, unexpected nuances<br />
are hidden which allow us to visualise what appears to us as<br />
fragmented.<br />
Sometimes when monitoring two distant entities, we happen<br />
to note how they maintain their own individuality, concealing a<br />
deeper relationship from us. Managing to observe detail in any<br />
moment, to remain in a constant state of analyticalactivity, is what<br />
someone in search of an alternative solution needs. I believe that<br />
distinguishing is merely an act of faith.
IN THE RESIDENCY<br />
December 2011<br />
Project 1:<br />
The best of, 2011, 56 birds songs<br />
The selection of birds located in Hameenkyro, Finland.<br />
If you let the forest listen to these songs, maybe you will have<br />
more opportunities to see the local birds, The birds that will arrive<br />
will be the actors of my performance. Each time will be different<br />
and unpredictable.<br />
Project 2:<br />
School project, 2011, different materials, site specific dimensions.<br />
Using the ex school space like an art studio forced me to transform<br />
it into an exhibition space.
“There is always success in courageous<br />
experiments; this is the essence of creativity.”<br />
LUCY BAKER UK<br />
info@lucybakerart.com // www.lucybakerart.com // Currently working and living in Cardiff, UK<br />
I would identify as a mulit-disciplinary and environmental artist<br />
from Wales, UK. My current work focuses on contemporary environmental<br />
issues and is inspired by the nature-culture dichotomy.<br />
In particular I have recently been producing work that portrays<br />
nature’s ability to reclaim human constructions. Nature is a<br />
part of our daily lives and is assigned to many tasks and is heavily<br />
managed. I see the decomposition and succession processes<br />
facinating because it is a meeting place of nature and culture. The<br />
interplay between man and environment.
IN THE RESIDENCY<br />
December 2011<br />
In Arteles, I created an installation with nest boxes; some found<br />
and some new. The work is about nature tourism and my experience<br />
in Finland. In knowing that I was drawn to the country by its<br />
relationship with nature, I couldn’t escape the feeling of being a<br />
tourist. Nature tourism is an important tool in rural development<br />
and provides income allowing people to continue living rurally.<br />
Arteles has its own role in rural development and this is what I<br />
focused on.<br />
I painted typical Scandinavian designs on the boxes and incorporated<br />
local bird life as an informative aspect to my work. As<br />
I began the project with enthusiam, I included much detail. As<br />
time passed, I steadily grew less interested and impatient with the<br />
project. The final nest box was as I found it; unworked. I wanted<br />
to show the impulisve behaviour in human personality and the<br />
abandonedment of ideas. I then placed the boxes in the forest<br />
after having documented them in a gallery setting to let nature<br />
take its cause and decompose the work. The work is unprotected<br />
because I wanted to exhibit the transient quality of nature and its<br />
process of reclaim as shown in the two found nest boxes. With<br />
these, I undertook a typically human decision making process<br />
whilst painting, of when to leave a natural process and when to<br />
intervene.
“ Thinking from the feet up.“<br />
LAURA DONKERS UK<br />
laura.donkers.art@googlemail.com // www.earthebrides.co.uk // Currently working and living in Outer Hebrides, Scotland<br />
I am interested in the principle that awareness is the faculty of the<br />
whole body not just the mind. I think we can be constrained by our<br />
increasingly encoded intellectually based lives and I want to show<br />
how embodied thinking can expand our abilities to perceive and<br />
imagine making the connections that weave into understanding.<br />
Looking closely, following form and texture: tracing processes.<br />
Importance lies in the detail. Thinking alone cannot lead to knowing<br />
it is only by placing oneself within the phenomenon that one<br />
comes to fully comprehend.<br />
A site is chosen in the woodland interior. Engagement began<br />
before a decision had been made. I build an easel and start the<br />
work. The significance of the location is slowly unfolded. Free<br />
drawing exploits intuitive processes and corporeal abilities that<br />
comprehend the surface of things: The naïve evidence that lies<br />
before us. These drawings engage with our natural intelligence.<br />
Whether drawing, video or planted works my art is about<br />
learning to look from the inside out and presents the wholeness<br />
of that experience through installations that confront and envelop<br />
the viewer.
IN THE RESIDENCY<br />
November 2011<br />
I came to Arteles with a long term project in mind that considers<br />
the act of ‘planting as drawing’ viewed from a bio-cultural perspective,<br />
i.e. exploring the dependency between culture and land,<br />
and the adaption of the natural to the human and how the human<br />
inter adapts to the natural. By immersing myself in the adjacent<br />
woodland and surrounding landscape through daily walks and<br />
drawing sessions I developed an awareness of the locality. Its<br />
dampness, enclosure, mystery, silence kept me enthralled and<br />
drawings developed. Observation and documentation of the surrounding<br />
farms disclosed more of the land’s identity and its adaptations.<br />
Rows of lines reveal where the plough evaded rocks or<br />
drainage channels and carved the contours of the land ready for<br />
planting in the spring.<br />
I made a start but a month was too short!
“ Creative minds are rarely tidy.“<br />
KATIE SHRINER<br />
Australia<br />
katieshriner@gmail.com // www.katieshriner.com // Currently working and living in New York , USA<br />
The contents of a home can communicate clues about its owner -<br />
through the choice of books stacked on shelves to the stationary<br />
kept in the top draw. Katie’s work aims to capture meaning behind<br />
these everyday objects. Through her still life paintings we get a<br />
glimpse into what the artist sees and observes everyday.
IN THE RESIDENCY<br />
November 2011<br />
My work reintroduces the objects that once filled Arteles, when it<br />
served as the local school.<br />
Built in 1902 the school was significant for the village - educating<br />
the children and introducing them to cultural hobbies, such as<br />
playing music. There was also a library meant for the whole village,<br />
which was operational until the 1970’s.<br />
The most recognized student, Frans Emil Sillanpää, was a Nobelprize<br />
winning writer, famed for the artistic way in which he<br />
described the Finnish lifestyle and their connection with nature.<br />
Work 1 | ‘Library’<br />
These books were found in the attic and serve as a reminder of<br />
the buildings history. The positing of the work, in frame of the<br />
doorway, mimics how these texts would have once sat stacked<br />
together in the school library.<br />
Each text reveals a little bit of history about the space too. Among<br />
reading books and school management guides sits, Nuorena<br />
Nukkunut, one of the most important novels from Nobel-prize<br />
winning author and school graduate Frans Emil Sillanpää.<br />
Work 2 | ‘Finnish Song Birds’<br />
Walk into the hallway of Arteles and you will see the piano stacked<br />
with music books, these were once used to teach the school children<br />
how to sing. The birds, which sit perched on top, are created<br />
from music sheets which describe the Finnish landscape. From<br />
its time as a school to its current role as Arteles the relationship<br />
between the building and nature has gone unchanged. “
“ Dissecting the<br />
future culture | creating<br />
provocative perspectives“<br />
DINOS NIKOLAOU & CREATE AN ACCIDENT<br />
contact@nikolaoudinos.com // nikolaoudinos.com & createanaccident.com // Currently working and living in Athens, Greece<br />
Greece<br />
Dinos Nikolaou was born in Athens, Greece in 1983 and studied<br />
theatre at the University of Athens.<br />
He is the founder and the artistic director of the open platform<br />
Create an Accident.<br />
He works as a theatre director, visual artist, performer and<br />
independent thinker and his main research objects are time and<br />
space by the use and combination of every possible medium and<br />
material.<br />
The creation of artworks which are dissecting the human condition,<br />
underlies the springboard of his work.<br />
Using the philosophical and sociological research as tools to<br />
understand our era and its members and combining them with<br />
the demand for a nowadays art which edits the fundamental<br />
issues of human existence, he produces artworks which aspire to<br />
find and open provocative perspectives.<br />
Through this prism, his theoretical research and artistic practice<br />
focus on the pursuit of the non – assimilative. Guideline of this<br />
pursuit is the imaginary line which links Debord with Derrida and<br />
Virilio and their work about the creation of situations, incidents<br />
and accidents, respectively.
IN THE RESIDENCY<br />
November 2011<br />
“GEOGRAPHIES III / Debord Geography<br />
The Geographies, stage installations of landscapes and incidents,<br />
are part of an on-going project whose fundamental aim is the creation<br />
of uncanny portraits. The Geographies Project is always in<br />
progress, and presents the audience with an attempt of mapping<br />
singular traces and a construction of strategies regarding that<br />
which has not take place yet.<br />
The 3rd part of The Geographies Project, Debord Geography, is<br />
the construction of a hybrid which combines the performance and<br />
visual arts with the essay.<br />
A non – performance and un – installation as a “thesis” into a<br />
diverse world.<br />
A visit in a raw fun – fair.<br />
Starting from Guy Debord’s face, an artwork which explores the<br />
possible existence of a Debordgeist nowadays along with its prospective<br />
effectiveness, is designed.<br />
An in-situ project @ Arteles Creative Center”
“ Art is not about what you make,<br />
it’s about what you live!“<br />
ANA GEZI<br />
Croatia<br />
ana.gezi30@gmail.com // caknutachajanka.blogspot.com // Currently working and living in Zagreb, Croatia<br />
Seven years ago I have graduated on Academy of Fine arts in<br />
Zagreb, painting section, but despite to this my work has been<br />
strongly defined by drawing skill the most. My nature of working<br />
is consisting of connecting my memories, checking the present<br />
time, than separation and visualisation of some clear future possibilities<br />
of object in my work. Usually I do it through my drawing<br />
tehnique, because of the easiest approach and greatest speed of<br />
working, which I found very useful for my diary in pictures that I<br />
was working on in the residency. Some of the selected ideas I like<br />
to do in colour, and those works always have the greatest percent<br />
of my dreams or my fear/imagination interventions. Both ways<br />
were a great opportunity to me to firm my own social/political<br />
caricature style and to explore more of the narration in visual.<br />
Because that was always the important content of my earlier<br />
cycles, even in those of landcape painting and hulligan portraits.
IN THE RESIDENCY<br />
November 2011<br />
My work in Haukijarvi has developed as a result of ‘planting’ some<br />
of my homeland ideas on the completely new territory and that<br />
case was here territory of finnish villages. My interest there was<br />
vicious experiment with narrative and dreamlike in pictures, usually<br />
made in pencil drawing and aquarell painting in free form of<br />
diary, which was conceiving simultaneously during my time spent<br />
in residency. I wanted to affirm and give more strength to my love<br />
not only for comic-book style illustration, but also for caricature<br />
with spontaneous and naughty humour for which I get many<br />
ideas from completely usual situations in unusual and strange<br />
ambient full of new people with their own habits. Some of these<br />
works have personal, some others have political conotations. But<br />
genneraly viewed, art (sound and visual), nature, people, travelling<br />
and passion were the center interests of my work here and I<br />
am very thankful to Arteles for helping me to ‘plant’ and ‘grow’<br />
my project in November.
“ It’s out of foam.“<br />
BENTEN CLAY // VERA HOFMANN + SABINE SCHRÜNDER Germany<br />
goodnews@bentenclay.com // bentenclay.com // Currently working and living in Berlin, Germany<br />
Benten Clay is an newly founded artistic corporation run by artists<br />
Vera Hofmann and Sabine Schründer, with its headquarters<br />
in Berlin. Benten Clay explores different aspects of power, investigating<br />
socio-political and economical threats as well as environmental<br />
concerns using photography, video, installation and<br />
performance. Benten Clay’s approach oscillates between slight<br />
provocation, research, documentation and poetical discretion. Its<br />
methods embrace different roles within a societal system, playing<br />
within the ambiguous boundaries between them.
IN THE RESIDENCY<br />
September + Octorber + 1/2 November 2011<br />
////// We founded Benten Clay. We had a lot of creative output. We<br />
built a website. We made a portfolio. We agreed on continuing as<br />
a team. We will be a network. //////<br />
Benten Clay started to work on the long-term project Age of an<br />
End and focussed on the topics of Nuclear Waste and The Mentality<br />
of Power. One main focus of its work was the world’s first<br />
nuclear waste disposal site, located in Olkiluoto (130 km away<br />
from Arteles).<br />
Benten Clay’s work in Arteles involved a local actor and two<br />
neighbours, some wood and junk from the barn, four blue fishes,<br />
a machine from the local second hand store and a lot of homemade<br />
yellow cake.<br />
Benten Clay Status Report:<br />
www.bentenclay.com/20111114_BentenClay_StatusReport.pdf
GWYNETH ANDERSON USA<br />
gwyneth.anderson@gmail.com // www.gwynethvzanderson.com // Currently working and living in Chicago, USA<br />
Primarily working with video and hand-made animation, Gwyneth<br />
Anderson investigates emotion, perception, and the personification<br />
of landscapes. She makes invisible experiences visible and<br />
conducts conversations between humans and land. Her work has<br />
included site-specific video and animation screenings, performative<br />
animation, and participatory public video shoots. She has<br />
screened and exhibited work in galleries, festivals, and unaffiliated<br />
outdoor areas throughout Chicago and the midwestern USA;<br />
Tucson, USA; and Helsinki, Finland.
IN THE RESIDENCY<br />
October 2011<br />
During her stay at Arteles, Gwyneth completed videos whose<br />
intended audiences were a mossy rock, a gravel road, windblown<br />
plants, and a horizon. While in Finland, she projected these videos<br />
in front of their respective rural, non-human audience members.<br />
For a Mossy Rock and For Windblown Plants created visual<br />
analogies between the forms and movements of people and the<br />
outdoors. For a Gravel Road is an animated creation myth for<br />
gravel, and For a Horizon is a video of a finger tracing, caressing,<br />
and scratching landscapes as if made of skin. By focusing on the<br />
outdoors as audience, and concerning herself with what might<br />
entertain non-human organisms, she attempts to personify the<br />
land. The works Gwyneth created at Arteles are not site-specific,<br />
but rather thing-specific- they were created with the intention<br />
of being presented in front of other mossy rocks, gravel roads,<br />
windblown plants, and horizons in other landscapes outside of<br />
Finland.
“ Yeah.“<br />
EILIYAS ”NICHOLAS A. KELLY” USA<br />
Eiliyas@yahoo.com // www.eiliyas.com // Currently working and living in Berlin, Germany<br />
An artist that works primarily in sound and concepts. Interested<br />
in basically everything and how it interacts with everything else,<br />
and what are the furthur consequences of these interactions as<br />
well as what were events leading up to the initial stated event.
IN THE RESIDENCY<br />
October 2011<br />
The primary project “A Composition for Radio Quartet” was aimed<br />
at creating a composition that acted as a model of human interaction<br />
as well as a further critique of traditional forms of musical<br />
composition.
GEMMA TWEEDIE<br />
New Zealand<br />
gemma.tweedie@gmail.com // gemmatweedie.blogspot.com // Currently working and living in New Zealand wide<br />
Gemma Tweedie combines video, performance and project based<br />
work along with text and photography in her visual arts practice.<br />
Past work has engaged with our attempts at common understanding<br />
and explored intersecting roles of instruction, suggestion<br />
and participation. Tweedie attempts to get close with the<br />
audience while demonstrating an enduring distance. She likes<br />
this distance of contemplation and often performs blind. Having<br />
a physical barrier to mediate between the direct relationship of<br />
the audience and artist in live art reflects the truth of our communication;<br />
That we can never truly understand what we try to<br />
communicate through language. Past work involves banal and<br />
absurd, repeatedly performed actions. Tweedie has performed<br />
actions such as clearing her throat continuously and smiling<br />
encouragingly towards a future audience. Tweedie’s practice<br />
explores complexities of empowerment and resistance within<br />
dehumanising aspects of our everyday lived economies. Universal<br />
and existential concerns are always linked in with actuality<br />
as a manifestation of how people move within larger structures.<br />
At Arteles creative centre she began a series of works, exploring<br />
what happens when myths of romanticism are uncovered by gritty<br />
reality and how people deal with the gap between their escape<br />
fantasies and their daily struggles through a kind of poised but<br />
futile way of moving without progress. Tweedie is interested in<br />
rubbing up against things that are uncomfortable “things that I’m<br />
drawn by and held back by.
Prospecting, a situational performance, 1am Helsinki, Ptarmigan and Arteles creative centre, 2011<br />
IN THE RESIDENCY<br />
October 2011<br />
Prospecting is a situational performance in two parts. The first<br />
part is escape, trying to dig through concrete with plastic spoons,<br />
the second part is moving without progress /getting nowhere,<br />
dropping a spoon, to pick it up, only to drop another.<br />
The compromise of reality is all we know. There is no escape<br />
except in the façade of our glittering fantasies. So we sabotage<br />
our escape plans and dance the futility as best we can. Desperation<br />
is a feeling many people have underneath themselves or in<br />
small parts; To get away from it all, the cultural constructs, the<br />
city, to get beneath everything and leave it all behind. Prospecting<br />
deals with confinement of the open air, concrete barriers, which<br />
are invisible but all encompassing. As she moves steadily on<br />
shaky shoes, digging away at the pavement with plastic spoons,<br />
people stop and comment, “Where are you trying to get to, the<br />
other side of the world? You know it won’t work. All your spoons<br />
will be broken. Soon you will have nothing”.<br />
Futility is not clear-cut or total. Plastic spoons are pragmatisms<br />
of contemporary everyday survival, tools for eating. In the gold<br />
rushes of the 19th and 20th century, prospectors searched for a<br />
way out of poverty but rarely retired rich. Prospecting questions<br />
what we see as labour to include less apparent hyper-feminine<br />
forms. Contemporary gold diggers’ labour to create fantasies<br />
from the compromised reality they live in, in order to escape into<br />
better prospects.
“ Experience life as a stream of sounds.“<br />
MUSIC FOR INSTALLATIONS / LOUNASAN / PIETER GYSELINCK<br />
Belgium<br />
mfi@musicforinstallations.com // www.musicforinstallations.com // Currently working and living in Belgium<br />
Music For Installations (soundscapes, experimental, drones)<br />
and Lounasan (ambient music) is about experiencing. Life is a<br />
stream of sounds. Capturing that flow, is looking for answers. By<br />
observing the surroundings, by experiences, I try to make music.<br />
The studio can be anywhere. The collision of vibrations lead into<br />
soundscapes and drones which can be used in empty spaces, dark<br />
rooms, or to accompany installations. It’s an impression sent out<br />
to catch a listeners ear. He/she can only experience and reflect on<br />
what he felt or saw.<br />
Music For Installations seeks out more the experiment. Different<br />
sounds meeting each other, creating a sonic scape. These are<br />
then refined, just like you would do while create a sculpture. The<br />
project tries to send out impressions to the listener. The main goal<br />
is the listening experience and the sound adventure. The music<br />
has been used on several exhibitions and locations throughout<br />
the world. It’s not only the form that counts, but also the emotional<br />
response, wheter positive or negative.<br />
Lounasan is mind travel music. It’s about travelling without moving!<br />
The music makes your mind move into a musical trip into the<br />
cosmos. The music is available on-line as full albums and has<br />
been regarded as very ‘filmic’ by reviewers. Enthousiastic fellow<br />
dreamers are fond of the ambient soundscapes that are created<br />
and the more note-based songs that emerge. Thanks to the availablity<br />
of webshops, I can spread the music into the world.
LISTEN TO<br />
ARTELES<br />
SOUNDSCAPES<br />
CLICK HERE<br />
IN THE RESIDENCY<br />
Ootober 2011<br />
The main goal at Arteles was the creation of a cycle with music<br />
that varies from experimental soundscapes to ambient music.<br />
Every day a new piece of music was conceived and worked out.<br />
This work resulted in a 31-day musical cycle. The great Finnish<br />
outdoor is everywhere around Arteles. By moving into it, you<br />
experience the landscapes and sceneries. The local grounds,<br />
full of melancholy and the slowly moving views which dance in<br />
a monotonous ballet, are very influentual. They are used as focal<br />
points into the creative process.<br />
Back at the music table, these impressions are the source of<br />
inspiration for creating the sound pieces. By translating the landscapes<br />
into music and sound, we were able to set out a full cycle<br />
with sonic expressions.<br />
The 31 pieces will be finalized into two albums. The title will be<br />
logically ‘Haukijärvi’, the location where the music has been realized.<br />
These will be put available online on the main mp3-shops on<br />
the internet. An extra third bonus album, which will recycle the<br />
original material into a slow ambient album, will be created at the<br />
end of the whole process.<br />
Thanks to the residency at Arteles, we were able to develop a way<br />
to paint the land with music. It is then to the listener to step into it<br />
and travel along and experience the music.
CAROLINA TRIGO ARGENTINA<br />
caro@thisother.com // www.thisother.com // Currently working and living in Finland, here and there<br />
My work infiltrates the spaces between femininity and masculinity,<br />
participation and otherness. I am interested in performative<br />
bodies that leak and coagulate in arousal and erasure.
Photos by: Sabine Schründer and Vera Hofmann<br />
Untitled, 2011 / Performance piece<br />
part of Perfo! festival at Telakalla, Tampere, october 18th<br />
IN THE RESIDENCY<br />
August - September - Onwards 2011<br />
So far i have participated in two performance festivals and have<br />
also collaborated on some video and photography pieces. Being<br />
at Arteles has enabled me not only to discover Finland but also<br />
what comes with it: its people, its sense of nature, space, culture<br />
and sensibility. I am particularly grateful for how it has enabled<br />
me to form affinities between fellow artists—both local and international—who<br />
continue to inspire me and with whom I share a<br />
very genuine warmth.
“ DO WORK!!!“<br />
MIKE KOFTINOW<br />
USA<br />
koftinow@seawolf.sonoma.edu // Currently working and living in California, USA<br />
My approach to making work is that there are too many big topics<br />
that can’t be ignored. Therefore my art objects are about society<br />
and sustainability. I combine a variety of media such as; drawing,<br />
painting, print, sculpture and installation, to create imagery<br />
that have a topical narrative to it. The imagery I choose and the<br />
way the works are presented is a discussion on contemporary<br />
life and current affairs. Topics like water, environment, economy,<br />
waste and abuses of power fluctuate with a cast of characters<br />
that range from popes and presidents to peasants and paupers.
IN THE RESIDENCY<br />
September 2011<br />
Made work with a political bite to it.
“ Look behind. Look for the (Hi)story.“<br />
BÉRÉNICE SCHRAMM France<br />
berenice.schramm@gmail.com // Currently working and living in Geneva, Switzerland<br />
Thie first I could say about myself is maybe the least telling: I am<br />
a PhD 3rd year in international law. My thesis is on the cognitive<br />
mechanism of legal fiction, its uses in jurisprudence and how it<br />
tells us about the law as a powerful and creative discourse on the<br />
world. In short, I do philosophy and epistemology of (international)<br />
law but in large, I am interested by anything that helps deconstruct<br />
truthes and realities and revealing standpoints, stances<br />
and cognitive and cultural limitations, be it feminism, marxism,<br />
cultural relativism, anthropology etc. The key theme for me, i.e.<br />
what I am mainly interested in, in law and in art, is interpretation<br />
as the channel through which we (or I) relate to the world (or the<br />
other(s), be it a thing or a being). The art work I have recently<br />
embarked on is therefore linked to this and emphasizes the link<br />
between object and identity and the idea of image/prejudices.<br />
Taking pictures is quite a hobby of mine (however limited in time<br />
and in equipment) because it’s another way of interpreting the<br />
world and sharing it with others. Buying, owning and wearing creative<br />
pieces of fashion as well in that it is also another way (rather<br />
frivolous) to tell stories with yourself and the piece’s creator. And<br />
last but not least, eating (and cooking) is really important to me:<br />
food as a way to discover a culture, an environment, people and<br />
sharing knowledge and feelings, and just feel orgamiscally good.
IN THE RESIDENCY<br />
August - September 2011<br />
The photo installation I created in Arteles originates in a random<br />
visit to a second-hand shop in Hämeenkyrö, the city nearby the<br />
Residency. In this shop, things to sell are displayed by owners (in<br />
individual stalls) and not by categories: the juxtaposition of identities<br />
(or stories that I could tell myself about the owners through<br />
their objects) visually stroke me. With my piece, I tried to set off<br />
the same reaction in the audience’s eyes. Using a simple pinewood<br />
garage shelf (mimicking the stall in the shop), I asked 7<br />
artists of the Residency to arrange the same objects in the manner<br />
they liked (and did it myself) and photographed the results:<br />
my installation consists in the displaying of those 8 different<br />
arrangements and the (un)conscious comparison that their juxtaposition<br />
leads to. The first stage of the series I want to develop<br />
and entitled « Control of Identity », this « Arteles Whose Who »<br />
is one way to explore the relationship between objects and people<br />
inasmuch as your personnal background (i.e. your identity)<br />
informs and influences how you see and manipulate objects, and<br />
hence shows out in the objects’ arrangement as a sort of modern,<br />
kitsh and recycled Arcimboldo’s portraiture.
HYEKYONG YUN<br />
South Korea<br />
hyekyong.yun@gmail.com // www.hknalda.com // Currently working and living in Montreal, Canada<br />
The foundation of my practice is photographic portraiture. At the<br />
same time, I am interested in performance as an art form. Therefore,<br />
in my artistic practice, I always use the body as an object in<br />
the image and look for the relationship between the performance<br />
and photography. My personal history memory go through the<br />
body shape and movements, and results in the performance. The<br />
image of the performance presents the personal history of the<br />
subject and allows objective introspection.<br />
Also, my artistic practice uses temporalization and spatialization.<br />
It creates a connection between the fixed, still image and the<br />
performative capacity of the body in motion. I use photography as<br />
a means of capturing a moment that embodies an entire performance.<br />
While documentary photography is a means of documenting<br />
a previous event, my method of using photography is different<br />
because my image is the event. Going beyond the time and<br />
space pragmatic presented by the medium, my work adds a temporal<br />
and spatial relationship between the external gesture and<br />
the internal memory of the artist by presenting the link between<br />
the body and the fixed image in the specific context of mnemonic<br />
actions.
IN THE RESIDENCY<br />
September 2011<br />
When I walk on the street near Arteles, there is only Finnish people<br />
and I feel so ‘other’. Being otherness is not a pleasant feeling.<br />
I feel lonely again and so strange as well that I often felt same in<br />
Canada as an Asian girl. To overcome this, I started project called,<br />
‘other(ness)’. I become a hairy stranger and start taking pictures<br />
with people around here.<br />
Hair costume represents internal ‘memory’ because hair can<br />
store memory and examine personality through then. And with<br />
hair, I perform with people around, so it can be external gesture.<br />
At first, it was difficult to be ‘other’ but later I found it is me to<br />
feel ‘otherness’, not people. So this project is about not only an<br />
exploration of my research but also psychological approach to<br />
look inside of myself.
“ Once you start, the best thing is<br />
going to be happened by itself.”<br />
(favorite citation of Hermann Hesse)<br />
HYOJUNG JUNG<br />
South Korea<br />
hyojung5925@gmail.com // www.longdistance-dialogue.blogspot.com // Currently working and living in Daegu, South Korea<br />
I do drawings with pencil on papers, paintings on canvas with oil<br />
pastel in general and photographing, writing short text occasionally.<br />
And I am very interested in doing some sort of sound work<br />
in the near future. Because voice and sound motivate me quite<br />
often.<br />
Motivation for my works usually comes from a certain moment<br />
(physical and mental) of an individual’s personal life. And I wish<br />
the result of my works could transform to something else from<br />
my beginning of idea by the audiences. I wish it become unknown<br />
thing even for me when I have finished it.
IN THE RESIDENCY<br />
August - September 2011<br />
I have been working on two different spaces which are sharing a<br />
body as a neural object. The body, it makes relation and makes<br />
boundary at the same time between the two spaces ; the interior<br />
space and the exterior space. In the place apart from people and<br />
objects in a room, a hollow empty space leads correspondence of<br />
two spaces.<br />
The correspondence draws a volumed living organic form.It is<br />
heading for a certain direction, has certain weight, has certain<br />
form.And it is fluid, rhythmical sometimes, seems volumed but<br />
light, visible but we can see nothing specifically, empty and transparent<br />
exterior space.
MONTANA MCTORREY USA<br />
montanatorrey@gmail.com // www.montanatorrey.com // Currently working and living in TN, USA<br />
Montana Torrey employs the landscape as a metaphorical tool<br />
to dissect cultural dichotomies within the public and domestic<br />
spheres. She received her BFA from The School of the Art Institute<br />
of Chicago in 2003, and her MFA from The University of North<br />
Carolina at Chapel Hill in 2007. Her multi-disciplinary work,<br />
which includes outdoor installations, photography, painting and<br />
sculpture, investigates the relationships between cultural constructs<br />
and physical sites, deconstructing and problematizing a<br />
myriad of concepts including binaries such a protection/paranoia,<br />
sites of containment and the idea of literality. Torrey utilizes the<br />
concept of site-specificity by documenting, altering and suggesting<br />
a new understanding of place. Torrey attended Skowhegan<br />
School of Painting and Sculpture in 2006, and has exhibited her<br />
work at such places as A/Z West High Desert Test Sites, Ackland<br />
Art Museum, Fayetteville Art Museum, and Center for Art and<br />
Culture in Aix-en-Provence, France. Torrey has also participated<br />
in several residencies including Headlands Center for the Arts,<br />
Catwalk Residency and, in 2009, and the Vermont Studio Center.<br />
Torrey was born in Virginia in 1982 and she currently lives and<br />
works in western Tennessee.
IN THE RESIDENCY<br />
August 2011<br />
While at Arteles, I chose to focus on synthesizing language, political<br />
borders, and signs of economic disparity. The collision of my<br />
immediate environment in Finland and memory of a past landscape<br />
became the crux of my “We Buy Gold”” project. My memories<br />
of the landscape in West TN prior to arriving at Arteles,<br />
were of a landscape populated with public signage referencing<br />
quick, but dangerous modes of acquiring “fast-cash” and alleviating<br />
one’s own economic/personal doom. This collision of both<br />
public and private humiliation desperation, and personal doom,<br />
is present in the signage that heavily populates of the West TN<br />
landscape. Being completely removed from this language and<br />
immersed in a new language (Finnish). I was dependent upon my<br />
most recent place of reference that being the economic signage:<br />
“We Buy Gold”, “Fast Cash’, “Cash4You”, “Fast Loans”, etc. I am<br />
interested in the immediacy of this public language and it’s need<br />
to “remedy” personal problems. I decided to literally place this<br />
language within my immediate enviroment in Finland where I<br />
could not understand the language in an attempt to isolate, dislocate,<br />
and reinterpret the signage of West TN.
“ ART IS 4 HOTTIES. ”<br />
THE MOTEL SISTERS<br />
Naomicampbelltown, Australia<br />
motelsisters@hotmail.com // www.motelsisters.com // Currently working and living in Parramatta, NSW, Australia<br />
PARIS AN TACKY MOTEL (AKA TEH MOTEL SISTERS) R EXTREME-<br />
LY FAMOUS AN WELL-REGARDD ARTISTS FRUM TEH WESTERN<br />
SUBURBS OV NSW, AUSTRALIA. SOSHUL MEDIA IZ THAR MEDI-<br />
UM OV CHOICE AS ARTISTS, AS WELL AS PANTENE PRO V. PARIS<br />
AN TACKY ALSO PAINT (THEIR NAILS) AN JUZ LUV 2 CREATE<br />
(MEMEZ).
IN THE RESIDENCY<br />
July 2011<br />
AT ARTELEZ WE TOOK LOT OV FOTOS AN VIDEOS OV OUR-<br />
SELVEZ CUZ WE LOOKD SO FINE. WE ALSO INTER-<br />
VIEWD SUM OV TEH ART AN MUSIC SUPERSTARS DAT<br />
WUZ STAYIN AS RESIDENTS (CHEX DA INTERVIEWZ OUT @<br />
WWW.YOUTUBE.COM/MOTELSISTERS).<br />
WE KAREOKD AN DANCD AT TEH LOCAL BAR FEW TIEMS (WELL-<br />
DOCUMENTD) AN MADE AN AMAZNG GUEST-STAR APPEAR-<br />
ANCE AT P!G TING.
KELLY MONICO USA<br />
kellymonico@gmail.com // www.kellymonico.com // Currently working and living in Denver, CO, USA<br />
Kelly Monico is a visual artist and designer who creates site-specific<br />
video installations. She often rearranges ordinary materials,<br />
physically or digitally, in order to explore notions of individual<br />
identity, subjectivity, and the inherent value implied by a gesture<br />
or act of intervention. The majority of her creative projects have<br />
drawn on the use of repetitive gestures, actions and patterning,<br />
as a metaphorical means that study human behavior. Monico currently<br />
teaches design and digital media at Metropolitan State College<br />
of Denver as an Assistant Professor of Art in Colorado.
IN THE RESIDENCY<br />
July 2011<br />
During my time at Arteles Creative Centre, I had the opportunity<br />
to study various culturally specific signs and symbols within<br />
the country. In conjunction with researching the semiotics of<br />
the cultural and geographical landscape, I interviewed over 100<br />
Finnish people. Based on my research and the video footage I<br />
compiled, I designed specific pictograms (usually depicting elements<br />
of nature), which visually translate the root and suffix of<br />
each Finnish surname. The video “Behind the Name” explores the<br />
inner fabric of the Finnish people, illustrates familial origins, and<br />
depicts Finnish naming trends over the last century.
SHARI PIERCE USA<br />
info@sharipierce.com // www.sharipierce.com // Currently working and living in Munich, Germany<br />
I am a contemporary visual artist and in general the opposition<br />
of high and low, value and waste, beauty and terror seems to run<br />
through my work.
IN THE RESIDENCY<br />
July 2011<br />
In April of 2011, I had a solo exhibition in Munich, Germany of<br />
300 convicted sexual offenders from within a 5 mile radius. The<br />
photographs documented convicted sex offenders from the areas<br />
that I traveled to within the US from December- March 2011. I<br />
used the time at Arteles to reflect on this work as well as She<br />
LL Project that I started in 2009. At the same time I started a<br />
new work with photographs from the Missing Persons database.<br />
The photos are mostly of endangered runaways and missing<br />
teenage girls. Additionally, some unexpected collaborations happened<br />
with the other artists that were also AIR’s for the month of<br />
July 2011.
PAOLA RICCI Italy<br />
paolaricci@aliceposta.it // /www.paolaricci.com, www.saatchionline.com/profiles/index/id/219371 // Currently living in Venice, Italy<br />
The Greek meteorology seeks rather to describe the more uncertain<br />
movements of the air, in an attempt to explain the rarefaction<br />
of the bodies and the big difference between solid bodies, the<br />
material and what delicately approaches the blowing of the wind<br />
to the inexistent.<br />
They seek with the imagination what is hidden in the world’s naturalness,<br />
that is, how the presence of the latter is both characteristic<br />
and fleeting at the same time.<br />
We know that for some pre-Socratics the soul corresponds necessarily<br />
to the experience of a body whose matter is so ethereal<br />
that its explanation can only be compared to the air.<br />
The breath is the last thing to leave the body.<br />
For the Greeks, there was clearly a close relationship between<br />
the air, the void and the infinite, either because the soul was<br />
regarded as a particle so ethereal that it evaporated at death, or<br />
simply because the air until the horizon represented seeing as far<br />
as the eye could see.<br />
These things are best understood if we think of art as still occupying<br />
the edges and that its utterances, because they lean towards<br />
the eccentric, supply clues to what is hidden.<br />
The Occidental culture considers the world as a whole of objects,<br />
instead Chinese thought considers the world as a emanation of a<br />
vital breath, of an energy (qi) that develops on different plains of<br />
condensation, more or less visible : the rock is (qi) concentrated,<br />
the cloud is (qi) rarefied.<br />
An artist whose soul is the mass of the sculpture<br />
1. Knowledge passes through sensitive knowledge. A first aspect<br />
on which knowledge is sensitive knowledge. The space is normally<br />
seen as full, but in the empty space we perceive the sensitive<br />
space.<br />
2. The space is virtually empty, endless and grows in size. Then<br />
universes holding the space are created. I have worked to let us<br />
hear the space as empty and the eye to see a succession of dots<br />
and lines that float in the air, our sensitive part individualizes and<br />
projects them in the air as projective space. So our eye is like a<br />
point in space and everything that it intersects becomes something<br />
that adds tocreating other sensitive lines.<br />
3. The sculpture becomes an opportunity to draw the air or the<br />
empty space. The line marks the boundary between the different<br />
meanings, marking what the view does not always see, marks<br />
what is beyond the marked area. The line becomes mass and it<br />
draws the territory by which it is surrounded. Thus the overlap of<br />
different lines creates the mass that marks the space that you see<br />
if the drawing of the line were there.
IN THE RESIDENCY<br />
June 2011<br />
Capovolto, 2011<br />
My research is directed toward elements of nature that pose<br />
questions of Western man that he hardly looks.<br />
The air around us is something that occupies a physical space is<br />
not visible that the Western man recognizes it as a void-absence,<br />
and instead I recognize as emptiness of essence of full , “emanation<br />
of life”, the our moving body moves the air and occupies the<br />
emptiness in which he enters and it exists invisible.<br />
What I did was work on the bordline between drawing and sculpture,<br />
between the sign and the volume, of the track left and air<br />
moved.<br />
I wanted to work on the edge of the immaterial as if what I made<br />
is not an object, the sculpture is a means to move the air around<br />
it rather than build an actual object.<br />
The drawing and sculpture for me to move the space in which we<br />
appear and so I want that my art work may lead the viewer to feel<br />
like seeing the artwork not as much as what he sees.<br />
I thought at this residence, where the landscape around me also<br />
the distances from the centers acquired yearly become an artistic<br />
experience to be done on foot.<br />
Being on the bordline of a search is like to be doing what that it<br />
allows to be within the limits, nature is the subject no longer be<br />
described because it has no boundaries.<br />
Walking in these valleys that surround the center Arteles what<br />
I felt strongly about is that the space and emptiness and fullness<br />
are constantly in direct communication without interruption.<br />
The opposites coexist in harmony, and the polarities are spoken:<br />
full and empty / dense and rarefied / regular and irregular<br />
light and dark / erect and droping<br />
So the outside space of Center Arteles spoke to me and I tried to<br />
give it voice.<br />
The two distant space of land are marked by pieces of tree trunk<br />
placed on the boundary line between them. In an area the pieces<br />
of tree trunk are white , because they are covered of white paper<br />
and in the other space are colored on top and on the edge of the<br />
red earth.<br />
There are two areas where the elements of color and formal, they<br />
speak differently in the space where the fullness surround the<br />
emptiness, and the other is the emptiness is in the fullness. To be<br />
at different distances in the vision slowly turn around to look for<br />
spaces without leaving an objectification, but that empathy is the<br />
way of the vision to see.<br />
The relations of opposition and complementarity of the elements<br />
are also present in the work titled “Upside Down” inside the Gallery<br />
of Center, the trunk of the tree looks like polarity as tension<br />
of image and surge of dense and often essential to achieve the<br />
image that has no form. Where the air that moves the tree does<br />
not feel stuck to the ground, but as a continuous movement that<br />
it swings in its fragility and how it upside down, where the light is<br />
at the bottom and the top is heavy. The aesthetic nature of being<br />
able to contain the opposites and contradictions to give a strong<br />
image that comes to cancel the form.
TREVOR AMERY USA<br />
Trevor.Amery@gmail.com // www.Trevor-Amery.com, www.UNDERWOODstudio.blogspot.com // Currently working & living in Baltimore, USA<br />
I make artwork in multiple mediums exploring themes of tradition,<br />
ritual, social structure, interior vs. exterior and the transience<br />
of space in different cultures. I use my art as a means to<br />
connect with new communities, develop new ways of thinking and<br />
to react to my experiences and surroundings.
IN THE RESIDENCY<br />
June - July 2011<br />
I spent two months at Arteles creating site-specific woodpile<br />
sculptures investigating how the sparseness of the countryside<br />
has influenced Finnish social structure. I chose to focus on the<br />
concept of the woodpile because of its importance not only as a<br />
raw material to Finland, but because of how it has infiltrated every<br />
aspect of Finnish life from traditional folklore to contemporary<br />
issues of self preservation. My experience at Arteles has brought<br />
my attention to how we use space, how we relate to objects, and<br />
how I can use my work as a vehicle to build relationships with<br />
individuals, communities, and cultures.
KATHRYN ZAZENSKI USA<br />
kathryn.zazenski@gmail.com // www.kathrynzazenski.com/ // Currently working & living in Baltimore, USA<br />
I am obsessed with words and language, and how they are a<br />
reflection of our personal and geographical histories. I am interested<br />
in how culture and language, both together and independently,<br />
influence the way we physically and psychologically<br />
maneuver through the world. I am interested in how and why we<br />
build relationships and how that relates to our need for systematization<br />
and categorization. I play with concrete representations<br />
of abstract thought in reaction to the information that becomes<br />
our experience of people and place. What is the structure of our<br />
lives based on? What are the systems that we live by and why?<br />
How do they work, why do they work, and what, if any are our<br />
alternatives? My work is a reaction to the questions that develop<br />
from the people I meet, the places I inhabit, and how I understand<br />
and navigate these physical and emotional relationships.
IN THE RESIDENCY<br />
June - July 2011<br />
While at Arteles I spent most of my time developing a system<br />
from which I plot words and from this created abstract line drawings.<br />
Taking one form of abstraction and creating another; I rearranged<br />
and re-definined the rules for our alphabetic symbols.<br />
With this work I am exploring how we understand ourselves in the<br />
context of others, and the modes of expression we use to communicate<br />
these relationships.
PILAR MATA DUPONT Australia<br />
pilarmatadupont@yahoo.com.au // www.pilarmatadupont.com // Currently working and living in Perth, Australia<br />
Pilar Mata Dupont is a Western Australian based artist, born to<br />
Argentinean immigrant parents, who works solo and in collaborative<br />
practices spanning photography, film and performance.<br />
She has exhibited in the UK, Japan, Chile, France and Australia<br />
and her work has been shown in galleries like Centre Pompidou,<br />
Paris; The Gallery of Modern Art, Brisbane; The Museum of Contemporary<br />
Art, Sydney and in shows such as the 17th Biennale<br />
of Sydney and Art Basel, Miami. In <strong>2010</strong> Mata Dupont and her oft<br />
collaborator, Tarryn Gill, won the prestigious Basil Sellers Art<br />
Prize in Melbourne, Australia.<br />
In her solo practice Pilar Mata Dupont is interested in re-creating<br />
or re-imagining memories or histories based on fragments<br />
of texts, photographs or peoples’ stories; exploring how memory<br />
can be warped, disfigured or glorified. She also investigates ideas<br />
of fear, loss and obsession in the context of traditional fairytales,<br />
folk stories and philosophies from around the globe.
IN THE RESIDENCY<br />
June 2011<br />
Pilar Mata Dupont, began work on what will be a triptych of films<br />
about the ‘kaiho’ (Finland’s version of ‘saudade’) while at Arteles.<br />
She shot her first scene of the film in the forest behind Arteles<br />
with two actors from Tampere. This scene explored Finnish tango<br />
movement and lyrics through an adaptation of The Kalevala, the<br />
Finnish national epic, and related it to a story relayed to the artist<br />
by an elderly man about how he lost his wife. She plans to return<br />
to Finland soon for a longer stretch to complete the work.
“ Car crashes is what has to happen “<br />
HÉLÈNE BARIL France<br />
contact.helenebaril@gmail.com // www.helenebaril.blogspot.com // Currently working and living in Paris, France<br />
Hélène Baril was born in 1978. She started devoting herself to<br />
art after quitting french National Education and studying literature.<br />
Her work intend to fix painting in both an ordinary and alternate<br />
reality. She sees herself as a housepainter so painting can<br />
be a tool that serves her sabotage of reality’s undertaking. The<br />
recurrent racing cars appearing in her drawings are the vehicle of<br />
some kind of new Don Quixote. It is a way of creating a fiction that<br />
brings up to stage search of absolute and ludicrous disillusion.
IN THE RESIDENCY<br />
June - July 2011<br />
The painting project in Arteles has both been a basic and big commitment,<br />
being at the same time in the body of what we call an<br />
artist and what we call a worker. A painter and a housepainter.<br />
The interesting thing about it was to discover there is no border<br />
between the act of art and the act of work. What makes the difference<br />
between the two status is nothing but words. What creates<br />
the difference between assuming oneself as an artist or as a<br />
worker? Words and categories. During the month of june, I have<br />
been repainting the Arteles residency barn. With the agreement<br />
of the Arteles crew and after proposing them sketches, I started<br />
repainting the barn with the colors that I recurrently use. The process<br />
was similar in july when painting the Arteles hallway. I have<br />
been the Arteles housepainter for two summer months, assuming<br />
myself as an artist.
“ Travis’ signature yielded extremely high scores<br />
on Arteles’ “Käsiala-analyysi” machine. “<br />
TRAVIS JANSSEN USA<br />
travisjanssen@gmail.com // www.travisjanssen.com // Currently working and living in USA<br />
MFA, Arizona State University<br />
BFA, University of Wisconsin, Madison<br />
Travis Janssen’s creative practice often focuses on contemporary<br />
and historic methods of printmaking as well as forays into video<br />
and installation art mediums. His interests also extend into the<br />
collaborative process and cross-disciplinary investigation, having<br />
collaborated with a variety of individuals on a diverse range of<br />
projects including prints and documentary videos. Conceptually,<br />
Janssen’s work often addresses the public and private acknowledgments<br />
of presence and issues of meditation and distraction<br />
within visual and auditory experiences in contemporary culture.<br />
Currently his research is based out of Carbondale, Illinois where<br />
he teaches printmaking and 2-D foundations at Southern Illinois<br />
University. He also likes root beer.
IN THE RESIDENCY<br />
June 2011<br />
Janssen participated in a number of projects and collaborations<br />
throughout his stay at Arteles. The onus of Janssen’s residency<br />
was placed on a two-channel video and sound installation. Within<br />
multiple spaces Travis recreated the Sun and the Moon, as well<br />
as the Milky Way galaxy. The bulk of his installation, entitled “Was<br />
that really there? I thought so.” experimented with alternative<br />
methods of viewing and listening practices and the questioning of<br />
perception and experience. Two videos were projected on opposing<br />
walls, diagonally presented, in order that they could both be<br />
viewed in alternating and highly personalized fashions. Viewers<br />
were allowed to place themselves between multiple bodies of<br />
reflective foil “water,” often craning their necks and twisting their<br />
bodies to attempt viewing both videos at once, while encountering<br />
a panoply of sound from both visual components. Within this<br />
environment, viewers constructed narratives and meanings from<br />
a diversity of moving images and dramatic sounds from various<br />
environments and moments depicted from a broad cross-section<br />
of Finnish landscapes, architectures, and culture, both private<br />
and public.
GEORGIA ELROD<br />
New York, USA<br />
georgialeee@gmail.com // www.georgiaelrod.com // Currently working and living in New York City, USA<br />
I work from an on-going collection of imagined imagery; I make<br />
many drawings and the ones that resonate to me become paintings.<br />
A loose concept serves as the starting point for my recent<br />
work: they are portraiture of unidentified characters, machines,<br />
and weird objects. The images I paint seem functional or bodily<br />
but cannot easily be named. I attempt to revere and depict a quiet,<br />
unsettling sort of “in-between”; my work is purposely suggestive.<br />
Shifting planes of color, translucency, cropping and light are all<br />
visual factors in my work. Addressing simultaneity and dualities,<br />
I’m interested in the tension that lies between the beautiful and<br />
humorous, the elegant and the awkward.
Milk Maid (Study)<br />
oil and pastel on paper, 16” x 24”, 2011<br />
Untitled Installation<br />
sticks, tinsel, toilet paper, fabric, 2011<br />
IN THE RESIDENCY<br />
May 2011<br />
I made several paintings on paper and canvas. I also completed<br />
a temporary installation in the basement and experimented with<br />
some video work. Collaboratively I participated in “Lautta Klatch”<br />
(art talks on a raft) and in the “Rounder/Kiertelija” postcard project.
“Not to know where we are is frightening<br />
and not having a sense of place<br />
is highly unpleasant.“<br />
JAN VERBRUGGEN Belgium<br />
janverbruggen@gmail.com // www.janverbruggen.be // Currently working and living in Brussels, Belgium<br />
Jan Verbruggen (-1980, Humbeek) works and lives in Brussels<br />
since 2004 where he started a project based on orientation in<br />
contemporary society. He creates paintings but his work often<br />
emerges away from the canvas towards the creation of works<br />
on paper or texts, installations and video pieces. JV assembles<br />
images that are dealing with the juxtapositions and distortions we<br />
retrieve within reality. His pictures are full of sudden twists and<br />
deconstructions, often with a disordering effect to its viewers. He<br />
deliberately wants to confront his audience with our often schizophrenic<br />
world and the misleading aspects of space and time.For<br />
JV the pictorial space of the artwork should be prolonged towards<br />
the actual space of a studio or exhibition space. By this means, for<br />
JV the extension of artist practice to a more curatorial is a logic<br />
evolution: In the past he organized several successful exhibition<br />
platforms under which the first “Actionfield” expositions<br />
during 2005, 2006 and 2007. Beginning 2009 (until March <strong>2010</strong>)<br />
he, together with Ischa Tallieu (Gallery Fortlaan17), launched<br />
“Zennestraat 17”, a large scale project space in the heart of Brussels.<br />
In the recent past Jan Verbruggen organized together with<br />
Christophe Floré, Korneel Devillé and Francis Denys, the Brussels<br />
based SECONDroom / moorDNOCES shows. He was also<br />
offered the first solo show at “Vienna International Apartment”.<br />
At the moment Jan Verbruggen is setting up the project “NOMAD,<br />
The Deconstruction of place” in collaboration with ARTELES<br />
creative centre (FL), IONION Centre of the Arts and Culture (GR),<br />
Bamboo Curtain Studio (TW)
“NOMAD, The Deconstruction of Place” presentation<br />
@ Arteles CreativeCentre, Haukijarvi, Finland<br />
“NOMAD, The Deconstruction of Place” on<br />
display @ Gallery Fortlaan 17, Gent, Belgium<br />
IN THE RESIDENCY<br />
May 2011<br />
I recently started collaborating with my brother (Karel Verbruggen,<br />
nuclear engineer). These activities (new for the both of us)<br />
are the outcome of the interventions we performed during May<br />
2011 in the landscapes surrounding Tampere, Finland and are<br />
covered under the project entitled “NOMAD, The Deconstruction<br />
of place.<br />
NOMAD is an installation project which intercedes with the site<br />
specific elements of form and function found on a locality. Such a<br />
locality becomes a “home” for the installation for a limited period<br />
of time. The NOMAD installation travels with us on our journeys.<br />
Where we stop, the installation starts to inoculate on the existing<br />
social, economic, topographic, cultural map of the locality.<br />
NOMAD tempts towards a temporary prolongation of a place. It<br />
adds a meta-layer to the constellation of the locality. NOMAD<br />
(its form and function) changes each time its location changes<br />
and generates interplay with the locality where it appears. The<br />
word “deconstruction” that we retrieve in the title refers to the<br />
process of exploring the categories and concepts that tradition<br />
has imposed on a word, and the history behind them1. We are<br />
interested in an actual understanding of the meaning of the word<br />
“place”.
KAREL VERBRUGGEN<br />
kaverbruggen@gmail.com //<br />
Belgium<br />
// Currently working and living in Brussels, Belgium<br />
Karel Verbruggen is trained as an electromechanical engineer<br />
and has been working in the fields of waterways (bridges, locks,...)<br />
and nuclear power plants. Recently he decided to quit his job in<br />
order to find out how to get more out of life.
IN THE RESIDENCY<br />
May - June 2011<br />
Initially I came to Arteles to assist my brother Jan with the<br />
“NOMAD , The deconstruction of space” project. During the residency<br />
I got involved in the “We
“ Specialization = limitation “<br />
KARIN HODGIN JONES USA<br />
karinhodgin@gmail.com // www.karinhodginjones.com // Currently working and living in Washington DC Metro, USA<br />
Karin Hodgin Jones was raised in Zionsville, Indiana, a densely<br />
wooded agricultural community that was absorbed and suburbanized<br />
by the sprawl of Indianapolis during her adolescence.<br />
She divided her time between roaming the wilderness around<br />
her family’s modest farm and exploring the advanced technologies<br />
available in the classroom of her affluent suburban school.<br />
Reconciling the difference between existing equally but separately<br />
in those two worlds cultivated an interest in examining what<br />
connects the two sides of a polemic. Identifying and elaborating<br />
the lines that bind, mediate, moderate or transition between<br />
opposites remains the central interest in her research and<br />
projects.
IN THE RESIDENCY<br />
March - May 2011<br />
“The most significant work I did during my 3 months at Arteles<br />
was a collaborative experiment called Lautta Klatch (raft talk).<br />
The project began from a series of conversations in April and May<br />
2011. Below is an excerpt of the formal invitation from Karin Hodgin<br />
Jones to guests for the Lautta Klatch:<br />
Pekka Ruuska, Jan Verbruggen and I organized a sort of symposium<br />
for the end of May. We are invited artists, lawyers, educators<br />
and public officials to attend. People from a variety of fields<br />
and experiences came to Arteles for a Lautta Klatch (Raft talk).<br />
The talk took place on a nearby lake on a raft constructed by the<br />
Verbruggen Brothers of Belgium on May 28. Through conversations<br />
about Collectivism, community, funding structures, societal<br />
values and empathy, we engaged in about an hour and a half conversation<br />
on the lake. Why the lake? We sought to explore how<br />
physical labor or an environment like a raft creates a physical<br />
empathy between people that opens up new and different dialogues<br />
than may be had during a lecture or in a classroom environment.<br />
“
“ Slowly but surely unifying<br />
the powers of the macro and microcosms<br />
through the power of observation “<br />
ARIEL MITCHELL<br />
Providence, RI, USA<br />
arielldm@gmail.com // www.arielmitchell.com // Currently working and living in San Diego, CA, USA<br />
I make work that starts with a feeling, and ends with a painting. In<br />
between, it becomes a costume, a performance, documentation,<br />
collage, sometimes drawing and a sculpture. The feelings range<br />
from escapism, being lost, knowing, fear.
IN THE RESIDENCY<br />
April 2011<br />
My stay at Arteles was transformative, and literally set me on the<br />
path I am today. I was able to make the step from object to nonobject.
“ Live fast, die young, and leave<br />
clean underwear! “<br />
MATT SHERIDAN<br />
New York, USA<br />
mcsheridan1@gmail.com // www.msheridanstudio.com // Currently working and living in Los Angeles, CA, USA<br />
I see abstraction as an agent of change. My animation installations<br />
placed in architecture are designed to be catalysts<br />
toward change. Unpacking compressed information set into<br />
motion within a location highlights lack, as compression is lossy.<br />
The lack in my animations and sound pinpoints particular desires<br />
by their absence. This opens spaces for original, individualistic<br />
thought as viewers’ instinct and intuition kick in as they navigate<br />
abstractions in motion which face and/or surround them.
IN THE RESIDENCY<br />
March - April 2011<br />
I began two animations at Arteles: one a single channel abstract<br />
loop and the other a four channel installation work about the<br />
affect of love triangles upon social space. During my time there<br />
I also experimented with and documented installation strategies<br />
in domestic space with pre-fabricated/completed animations.<br />
There were also artist presentations and talks in which I publicly<br />
re-evaluated aspects of my previous work.
ANNA DUVOVICH<br />
Montréal, Canada<br />
anne.ma.dumouchel@gmail.com // www.annaduvovich.com // Currently working and living in Montréal, Qc, Canada<br />
The industrial simulation of femininity, human communication<br />
and the notion of failure are major themes in my work. My performance,<br />
writing, video and photography projects explore both a<br />
sense of losing self-control and a celebration of the contemporary<br />
individual psyché.
IN THE RESIDENCY<br />
March 2011<br />
“At Arteles, I worked on a translation project involving letters<br />
related to a break-up, using cheap transcription devices and<br />
medical theories. Inspired by the DSM IV, I reinvented a typical<br />
love narrative by perverting it with false psychiatric analyses.<br />
I also participated to the Perfo! event held in Tampere with a performance<br />
called Chakras.”
SAMANTHA EPPS<br />
United Kingdom<br />
samantha.epps@hotmail.co.uk // www.samanthaepps.com // Currently working and living in Norwich, England<br />
Samantha’s visual practice is action and performance based,<br />
with an emphasis on how this is later shown to an audience<br />
using different methods of documentation. Recent projects have<br />
experimented with a variety of presentation techniques including<br />
spoken-word performances, the pairing of text and images and<br />
charting accumulated data gathered from durational experiences<br />
in printed documents.<br />
Samantha is also a PhD student based at Norwich University<br />
College of the Arts, her project investigates how conceptual<br />
artists from the UK, Europe and America presented original ideas<br />
and art works through exhibition <strong>catalogue</strong>s from the period<br />
1965 to 1973.
IN THE RESIDENCY<br />
March 2011<br />
During my time at Arteles i became increasingly frustrated by<br />
the limitations that my new sub-zero and snow covered environment<br />
were putting on my normal practice and lifestyle. I decided<br />
to spend the month devising projects that would enable me to<br />
make use of, cope with, and destroy the snow that surrounded me<br />
including learning how to build snow shelters, taking road trips to<br />
sites covered by snow, ingesting and melting snow.<br />
These actions, some taking place for brief moments, whilst others<br />
lasted several hours or days were often performed alone and<br />
documented using basic equipment. The time at Arteles allowed<br />
me to experiment with how i would present information about my<br />
projects to an audience including spoken word performances,<br />
power point presentations, the production of a <strong>catalogue</strong>, and the<br />
pairing of text and image.
“ Always as to be challenging! “<br />
JEANNE DE PETRICONI France<br />
depetriconijeanne@yahoo.fr // www.jeannedepetriconi.com // Currently working and living in Corsica, France<br />
Initially interested in memory and signs, Jeanne de Petriconi was<br />
fascinated by the power of nature. She captures the movement<br />
that she translates into sculptures or drawings. Based on observation<br />
of the intrinsic properties of the materials she uses in her<br />
sculpture, her creative process transforms these materials in<br />
order to run counter to them. The work of Jeanne comes from the<br />
desire to develop a story through pieces of reality. She sets up collections<br />
of places through drawings, and she expresses through<br />
sculpture, the strength of the gesture, brutal and protector, and<br />
the history contained in these pieces of reality.
Linnunrata, 2011<br />
38 road signs screwed on an aluminium band,<br />
winded around an aluminium bar<br />
400 x 80 x 110 cm<br />
IN THE RESIDENCY<br />
February 2011<br />
This unexpected sculpture has been done in febbruary 2011.<br />
Each road sign selected contains a double meaning. The signs<br />
show as well a way to a street, a path, as refer to Finland, its<br />
geography, myths, old crafts and its landscapes.<br />
The sculpture installed by a crossroads, permit us to keep in<br />
mind the first function of the road signs, and, in the same time, a<br />
part of the landscape, in having a tree aspect.<br />
Moreover, their luminescent properties, in particular lighted up<br />
at night time, evoques a winter landscape, or show us a constellation<br />
of poetic words that bring us back to the title.
EDWARD LAWRENSON<br />
United Kingdom<br />
edward-lawrenson@hotmail.com // Currently working and living in Bristol, United Kingdom<br />
I am a visual artist from Cambridge, UK. After having studied Fine<br />
Art Painting at Winchester School Of Art and L’Ecole Nationale des<br />
Beaux Arts in Paris I now live and work in Bristol and Gloucestershire,<br />
dividing my time as a studio assistant for Science Ltd. and<br />
my own practice. Via the medium of painting, both the procedural<br />
and theoretical aspects of the medium, I am attempting to explore<br />
notions of existentialism, escapism and the authority of narrative.
IN THE RESIDENCY<br />
February 2011<br />
“During the residency at Arteles I was almost overwhelmed with<br />
the beauty of the creative centres geographical setting and the<br />
community which I found there.<br />
I tried to use my time there to continue my primary artistic<br />
research whilst remaining open to new influence. The majority of<br />
my stay encouraged me to explore the idea of landscape and it’s<br />
pervading presence.”
“ Art is my soul.<br />
Art is in my soul.<br />
It is my being.“<br />
SUSAN BERKOWITZ USA<br />
susanberkowitz@msn.com // www.breweryartwalk.com<br />
// Currently working and living in Los Angeles, California<br />
I am a full time fine art alternative process’s/mixed media artist. I<br />
have recently expanded my vision,ideas and concepts to environmental/earth<br />
art. There is alot of heartache in the world and we<br />
are only given 1 life. As individuals we need to stop every so often<br />
and just be in the moment of the beauty that surrounds us. We<br />
need to remember and respect, as well as give back to the earth<br />
what the earth has given to us.I have also begun to raise money<br />
for Covenant House in Hollywood, California (An organization that<br />
helps rescue homeless/abused kids off the street and transition<br />
them to a healthy way of life). I raise money by making and selling<br />
cozy,warm fleece blankets and lighted decorative wine bottles.<br />
I have 4 studio mates at The Brewery Artist Complex that houses<br />
300 artists . I love being in this environment and being around<br />
other artists to talk, create, observe , critique, discuss art, books,<br />
life. My studio is one of the top 3 places I have found serenity. The<br />
other two places? My home and Finland
Paulina, 2011<br />
Fuji Dry Transfer on Artists Paper<br />
3 1/4 x 4 1/4 inches (unframed) 10 x 10 inches( Framed)<br />
Birch, 2011<br />
Fuji Dry Transfer on Artists Paper<br />
3 1/4 x 4 1/4 inches (unframed) 10 x 10 inches( Framed)<br />
IN THE RESIDENCY<br />
January 2011<br />
I Presented a project based on the Finland’s Kalevala Poems.<br />
With this I built assemblages from 85% of objects I found in Finland<br />
and 15% objects I brought with me that represented sections<br />
of the 50 poems or an entire poem. I then photographed these<br />
assemblages with Slide (Chrome/Dia) film and made Polaroid<br />
and Fuji instant film Dry Transfers.
“ Art is to reboot the universe.“<br />
CETUSSS France<br />
cetusss@elvisss.com // http://elvisss.com<br />
// Currently working and living in Geneva, Switzerland<br />
My work is stimulated by the construction of utopian networks,<br />
by the virtuality passing through reality, new designed symbols,<br />
my potential monstrosity, science and the universe. I use various<br />
techniques from the multi-media field.
IN THE RESIDENCY<br />
January 2011<br />
I flirted between trees and snowflakes, to build an alphabetical<br />
graph. I also tried to die with too much saunas to carry people in<br />
a sound-set resulting from the ambient noises.
EMESE HRUSKA Slovakia<br />
emese.hruska@gmail.com // Currently working and living in London, UK<br />
“Emese Hruska is a Hungarian violinist, composer and PhD student<br />
at Roehampton University, London.<br />
As a violinist, besides classical music she studied with folk fiddle<br />
players of the Carpathian Basin, then performed across Europe<br />
as a Hungarian folk dance accompanist. Since her relocation<br />
to the UK, she collaborated with musicians from Celtic, jazz,<br />
popular and South Indian musical cultures, and composed and<br />
recorded music for students at several universities in Wales.<br />
In her compositions she communicates feelings and memories<br />
from her own personal discoveries about getting on in life<br />
and how we can find the balance in ourselves to be as free and<br />
powerful in our minds as possible, to live a happy and meaningful<br />
life. Her musical pieces involve syncopation and drama,<br />
surprising harmonies and sometimes are inspired by Hungarian<br />
and Romanian folk melodies.<br />
This interest also led her to pursue a PhD in Music Psychology. In<br />
her study, she is looking at advanced musicians’ coping processes,<br />
and how these relate to musical development, to find out more<br />
about how it is possible to thrive musically and in life, in general.”
“ I love to explore – Life would be a single tone<br />
without satisfying this constant hunger…”<br />
IN THE RESIDENCY<br />
December <strong>2010</strong><br />
“Related to my academic interests, I was running group discussions<br />
with the resident artists on topics of critical thinking,<br />
preconception and open-mindedness. The aim was to understand<br />
how young contemporary artists develop their practice,<br />
and how creativity can be discovered in their professional development.<br />
The conclusion was simple and considerably enthusing:<br />
“By doing it!”<br />
Besides this, I gave five musical performances, and the environment<br />
inspired me to make new music which was recorded in the<br />
center and presented in Helsinki towards the end of the month.<br />
Subsequently, those compositions became part of a thread of new<br />
musical ideas. “
CAROL MÜLLER France<br />
momu75@orange.fr // momu.blog.lemonde.fr // Currently working and living in Paris, France<br />
As a visual artist, I’ve invested in diverse mediums including<br />
installation and performance before refocusing on photography<br />
and drawing. For the last 10 years, I’ve worked on the question<br />
of open space through my promenade in the landscapes of<br />
Northern Europe: Norway, Northern Germany, Iceland, Finland<br />
and Lithuania.
IN THE RESIDENCY<br />
December <strong>2010</strong><br />
Around the lake of Arteles, in the cold and snow of December,<br />
I walked and took photos. The oblique, winter light of Finland<br />
delicately etched the countryside in a manner that is foreign to<br />
France’s zenithal rays. I chose to capture my contemplations in<br />
a photographic method that, in certain aspects, is reminiscent<br />
of cyanotype. I created a film of six images, Hahmajârvi, that<br />
stretches out over 20 minutes and fully renders the imperceptible<br />
transformations of the landscape that I observed every day<br />
at Arteles. Even if the predominant sentiment is that of stasis, the<br />
visual voyage is permanent, ever changing. It speaks of a grand,<br />
fluid, sketch that unfolds in its own order.
“ You’re always trying to get things to come out<br />
perfect in art, because it’s real difficult in life.”<br />
(Woody Allen in Annie Hall)<br />
TAKESHI MORO Japan<br />
takeshi@takeshimoro.com // www. takeshimoro.com // Currently working and living in Chicago, USA<br />
Takeshi Moro was born in Tokyo Japan, raised in the U.K. and<br />
currently resides in Chicago, IL. Moro attended Brown University<br />
in Rhode Island, where he received his BA in 2001 and briefly<br />
worked in the field of finance. His interest in photography led him<br />
to take courses at the Rhode Island School of Design and pursue<br />
an MFA from The School of the Art Institute of Chicago, which he<br />
received in 2008. Moro currently teaches photography and digital<br />
media at Otterbein University as an Assistant Professor. Moro’s<br />
work has been exhibited nationally and internationally including<br />
a solo exhibition at the Museum of Contemporary Art, Chicago.
IN THE RESIDENCY<br />
December <strong>2010</strong><br />
Through the lens of the sauna culture, I attempted to find a thread<br />
that connected myself to the Finnish people and culture. My<br />
understanding of the Finish sauna tradition is that it is similar to<br />
that of a Japanese tea ceremony. It is a sacred place where participants<br />
leave behind the chaos of everyday and aspire towards a<br />
sense of tranquility and refinement. The act is a transformative<br />
practice both mentally and physically.<br />
I visited local sauna establishments such as Rauhaniemi, Rajaportin,<br />
Hämeenkyrön Talviuimarit to try to capture the experience<br />
of euphoria through sauna.
ELIA ELIEV Canada<br />
eeliev@hotmail.com // http://cargocollective.com/eeliev // Currently working and living in Canada<br />
Elia Eliev’s research focuses on the exploration of post/queer<br />
political identities, and masculinities in contemporary situated<br />
artistic practices and subcultural queer productions.<br />
He is currently enrolled in the Ph.D. in Women’s studies (Gender,<br />
Power and Representations) at the Institute of Women’s studies<br />
in Ottawa.
IN THE RESIDENCY<br />
September - October <strong>2010</strong><br />
Through divers experimentations of new media and performance,<br />
my artistic production revolved around the desire of the<br />
realization and recognition of difference in the gay communities.<br />
Moreover, I was interested in knowing how to circulate such difference<br />
in both the social and intimate spheres.
ALICIA VIANI<br />
Oregon, USA<br />
vialicia@gmail.com // Currently working and living in Portland, Oregon, USA<br />
I am a child and family therapist at a community mental health<br />
agency in Portland, Oregon. My background and degree is in<br />
social work. In Finland, I researched women’s sexuality and wrote<br />
a book for a teenage audience based upon interviews with Finns<br />
on how they have positive experiences and take care of themselves.<br />
Besides the time and energy that goes into working and<br />
writing, I spend a great deal of time seeking Finnish-like saunas<br />
in Oregon and playing music.
IN THE RESIDENCY<br />
August <strong>2010</strong><br />
At Arteles, I wrote a book for teens about young Finnish women’s<br />
sexuality based on interviews with Finns that took place during<br />
2009-<strong>2010</strong>.
CHARLIE WILLIAMS USA<br />
c@charliewilliams.org // www.charliewilliams.org // Currently working and living in Bath, UK<br />
I am a sometime pianist who has become interested in using<br />
technology to make musical interactions culturally relevant to<br />
those with and without a formal musical background and training.
“ Musical robots.“<br />
IN THE RESIDENCY<br />
August <strong>2010</strong><br />
At Arteles I wrote a couple of software pieces including a<br />
“sound mirror” in which you only exist to the extent that you<br />
speak; a “sound bubbles” game in which pitch (but not spoken<br />
word) causes your projected image to blow a colorful bubble<br />
which then floats away when you stop singing; and a project to<br />
make one step on a dark staircase light up as you approach it.<br />
(http://vimeo.com/cwcw)<br />
I also worked on some sound-interactive pieces involving location<br />
recordings around Arteles, and co-wrote a song every day with<br />
Emma Hooper for Arteles Radio.
“ Though she now lives in Bath, both Emma<br />
and the dinosaurs she sings about are originally<br />
from Alberta, Canada. These songs are<br />
the dusty bones of home.“<br />
EMMA HOOPER, WAITRESS FOR THE BEES Canada<br />
ephooper@gmail.com // waitressforthebees.bandcamp.com // Currently working and living in Bath, UK<br />
Waitress for the Bees is Emma Hooper’s solo project, using viola,<br />
accordion, saw, electronics, and vocals to play you quirky and<br />
affecting songs about dinosaurs that will make your heart hurt.<br />
Last August, The Waitress for the Bees’ performance in Hämeenkyrö,<br />
Finland, made some knights cry and earned Emma a Finnish<br />
cultural knighthood. . (A selection of other recent performances<br />
include Fusion Festival, Germany; Bristol Harbourside Festival,<br />
UK; and L’International, Paris, France.) The Waitress for the Bees’<br />
first album, ”Albertosaurus” was released in the Spring of 2011.<br />
Emma Hooper was born in the cold blue of Alberta, Canada,<br />
where she spoke French and English, built things out of snow and<br />
attended lots of music lessons. She now lives in the soft green<br />
of the UK, where she plays viola with lots of brilliant bands like<br />
Peter Gabriel, Get The Blessing, Newton Faulkner, The Cedar,<br />
and, of course, her own solo project, Waitress for the Bees. She<br />
lives in Bath, but goes home to Canada as often as she can.
IN THE RESIDENCY<br />
August <strong>2010</strong><br />
Arteles is where the Albertosaurus project was brought to life.<br />
Between picking berries and swimming in lakes, the songs were<br />
conceived, written, and demoed. Inspiration from all the other<br />
artists working around me helped to keep things driven, motivated,<br />
polished and, of course, a lot of fun.
HANNA TAI<br />
Australia<br />
hannatai@gmail.com // www.hannatai.com // Currently working and living in Melbourne, Australia<br />
I’m interested in the way cosmological ideas play out at the scale<br />
of everyday life. I examine how experiences, objects, images,<br />
relationships and movements can be manifestations or indicators<br />
of something true and meaningful. My practice is multidisciplinary<br />
and embraces the hope, futility and humour in trying to<br />
understand.
IN THE RESIDENCY<br />
July <strong>2010</strong><br />
“While on my residency I was introduced to the Finnish concept<br />
“Jokamiehenoikeus”, literally translated as “every man’s rights”.<br />
I wanted to exercise my right to cross through time and space,<br />
so I built a log raft using wood from the surrounding forest and<br />
paddled it across Lake Parilanjärvi.<br />
The first time I took the raft to the lake it almost sank. It was too<br />
heavy and I had tried paddling it with the small oar I found in the<br />
Arteles kitchen (later I was told this was not a small oar, but a<br />
spoon for stirring big pots of soup).<br />
The second time I made it across and back again. You can see<br />
the resulting Freedom to Roam video here: www.hannatai.com/<br />
freedom.html<br />
The many great staff and artists at Arteles provided me with saws<br />
and axes, and helped me tie knots and collect containers to keep<br />
the raft afloat. They also showed me the way to the sauna. I think<br />
of the sauna often.”
MICHAEL PULSFORD Australia<br />
michael.pulsford@gmail.com // www.michaelpulsford.com // Currently working and living in Melbourne, Australia<br />
I’m a performer, songwriter and improviser. I’m interested in<br />
improvisation both as a means of investigation and as a way of<br />
negotiating the world.
IN THE RESIDENCY<br />
July <strong>2010</strong><br />
I made a sound design for Helsinki International Theatre’s devised<br />
performance ,’Cor’.
MAYA ARUCH Israel<br />
maya531ster@gmail.com // www.mayaaruch.weebly.com // Currently working and living in Jerusalem & Tel Aviv, Israel<br />
My works are individual pieces of art which, when looked upon,<br />
compose a whole, just like a patchwork.<br />
I do video art, I sculpt, and try to find the connection between<br />
them within a given space.<br />
I work in space and with space.<br />
It is important that the viewer be a part of the work.<br />
Only then will the work be complete.
IN THE RESIDENCY<br />
July - August <strong>2010</strong><br />
During my time in Arteles I worked on several projects, installations<br />
and videos. The first project was a light sphere trapped in<br />
Arteles’s cellar. The work was about the metaphysical space inside<br />
us- our inner world and the mandatory connection between the<br />
former and the space that surrounds us. To do that I use materials<br />
which are difficult to perceive directly, but they do exist such<br />
as light, and smoke. The second work entitled - “Match Point”<br />
dealt with the question of nomadism vs. the sense of belonging.<br />
In order to demonstrate it, I created a sphere which was one-half<br />
above the ground and the other half was dug into the earth. The<br />
meaning of it is the sphere can be a whole only when it’s in the<br />
ground. The problem was that the sphere, whose characteristics<br />
are being dynamic and in motion, are just not useful in this case.<br />
I also made several videos such as: “Everything is ok”, “Insight”<br />
and “Close Up”.
ARTELES<br />
Hahmajärventie 26<br />
38490 Haukijärvi<br />
Finland<br />
+358 341 023 787<br />
info@<strong>arteles</strong>.org<br />
www.<strong>arteles</strong>.org