Ateljéer med stöd av:
OPEN CALL FOR 2022
STUDIO GRANT HOLDERS
Yi Wen Chen, Taiwan
My artistic practice is mostly inspired by my life experience and memory. Connecting with nature and unnaturalness, my sculptural works usually respond to environment surrounds me.
In the past two years, I’ve started a series of creations based on statements and transformations of individual stones. I’ve created stories of stones in different moments and places, imagined how it would act in certain circumstances.
There’s a folk song from my hometown influenced me: ‘The feather sinks into the water and the stone floats.’ Starting with the lyric, I’m planing to spend most of my staying observing environments, conversations with people and accidents in life. I will leave those in my exhibition before I leave Björkö. The publish will be mainly sculptures which relate to stories about the stone.
Dates: Feb 10 - April 9
Directed: Out of Rock
Annika Schuh, based in Freiburg, DE
Coming from a psychology degree, I ended up sculpting after getting in touch with art therapy in a further training.
Now I work on installative objects, sculptures, and recently also photos and performances. I use to work intensely with one material for long time periods and explore what it can bring up. Lately I have been working a lot with latex milk.
I smear the viscous/squishy milk upon a clay negative and peel it off once it has dried. This is how a bumpy and spiky skin is formed. Skin is a great example of the complexity of our world for me. It actually is the most versatile organ of a human or animal organism.
On the one hand it is a protection against environmental influences and it serves as an enveloping organ for the demarcation of inside and outside as well as the maintenance of homeostasis (internal balance).
On the other hand it is very permeable, transports molecules and is often the contact point to everything that surrounds us. It is the largest organ of sensory perception in terms of surface area and skin contacts in body contact are vital and carry actual social bonds.
Also, paleness or reddening and swelling of certain skin areas due to altered skin blood flow can represent special communication signals.
These very different properties of skin, as an example of boundaries, interest me.
During the residency I will continue to work with latex and try to work out the property of the contact surface and sensory perception of the skin, so that it does not only function as a border between inside and outside. Everything influences each other and will never be free of contact. To implement this I can imagine auditory, visual or haptic elements being incorporated. Formally, I would like to delve further into photo and video.
Dates: Feb 14 - March 13
Studio 15 tentative (March 13-15)
Anastasia Zhikhartseva, Saint Petersburg
I'm an artist from Russia. I graduated from Saint Petersburg Academy of Arts and continue my artistic practice mostly as a painter including printing, sculpture and performance.
Last time I used a method which resembles some kind of automatic writing. Recording the stream of emotional reflections allowed me to speak out without an addressee. Words overlaid each other to the point of transformation into a picture or color, where they became illegible. This was a way to create an image and at the same time encrypt the personal message contained in my writing. The texts touched on topics of anxiety, burnout, social insecurity. Now mostly they are about war and the feelings about the situation in which we all have been involved. Lately I started to mix text clouds with parts of paintings.
This practice has given me a sense of liberation, of being truly heard, that my issues resonate with others and that I escaped mental isolation and bonded with society. I am looking forward to seeing how staying in nature close, calmness and safety space at the residence will affect my method, topic and materials.
Dates: Apr 14 - May 22
AiR BKN RESPONSE
Mira Aasma, based in Stockholm
"Mira Aasma is a sound and video artist who mixes experimental pop music with collecting field recordings, video clips and photographs. She grew up in the outskirts of Gothenburg, in a house by the forest. Spending most of her time outside - around the stream, by the ocean and in the mountains, nature became the foundation of everything she creates.
Raised in a samba percussion group, with an Estonian grandmother introducing her to choir music, and in a home filled with CDs such as Sade, Enya and Cesaria Evora, she explored the magic of music through athmospheric voices and progressive rythms - which still make up the core of her creations.
After being part of bands, percussion groups and choirs, she grew into a passionate and restless creator taking control over her ideas through music production and composing. Moving on to studios, Europe tours, songwriting camps and producing music for other artists, she’s landed in creating Aasma - a kind of drag, a character representing a part of her that is always there. The one that lies down beneath the trees to reload, that’s enchated by the morning dusk, the one takes every chance to be among mountains.
The Aasma team - today based in Stockholm - includes creators in visual art, fashion, tech, light design and sound design, that constantly work together lifting each other’s visions."
På BKN arbetar Mira Aasma med ett nytt material där hon bjuder in olika musiker. Inspelningen sker i en av Björkös många redargårdar, Per-Andersgården, detta tacklare samverkan med Björkö-Arholma Hembygdsförening.
Dates: Jan 25-28
Studio: 15 & 11
Dates: Feb 9-13
The materials, processes, spaces and activations in my work evolve and adapt with the fluidity of shifting access needs, and how I can best access new environments that continue to inspire me. Of late, I have been working on a series critically examining care and accessibility as they function in the natural world. From Myco/Access work with mushrooms in Finland, to Waterfront Access Mapping with Works on Water in NYC, I try to read access, sustainability, resilience and wellbeing in the specific social, cultural and environmental conditions under which I live and work.
At AiR BKN, I will continue to develop a series I'm calling Sensory Diagnostics: Sensory Diagnostics is an ongoing media-data* series defining the act of noticing as an embodied and multisensory experience. To know a site (a body, a place, and everything existing in between) requires participation in an ongoing dialogue, a commitment to long-term, deep listening and observation. Reimagining the terms, tools and procedures of clinical data-collection around the aesthetics of accessibility, we generate a deeper awareness of relationship between our bodies and the spaces we inhabit, and dream solutions for the ongoing care of these intersecting ecologies. At AiR BKN, I imagine this will begin with aesthetic experiments involving birch, rotting logs and roots, with the potential to expand towards any immediate environmental condition, aesthetic, or relationship that strikes the chord of care and wellbeing of the body in place. *media-data: Text, visual, audio and multisensory residuals are gathered and re-presented to archive site-specific, performative practices and processes within this series. /ZH
Hart is currently the director of Art and Disability Residency programs at Art Beyond Sight. She received her MA in interdisciplinary studies from NYU Gallatin (2015), and her BA in studio art from Brandeis University (2013) . In 2021 Hart was a resident artist for Culture Push with Works on Water’s Tending The Edge ccohort. She has been granted awards and studio fellowships from The Studios at Mass MoCA- Assets for Artists (2017), NYC Department of Cultural Affairs (2021) Arteles Creative Center Finland (2017, 2021) and Soulangh Cultural Park, Taiwan (2018). Hart has exhibited with The 8th Floor Gallery, The Old Stone House of Brooklyn, and Flux Factory in NYC, and installed a solo exhibition abroad in Taiwan . Her work has been published in Hyperallergic, and her writing contributed to creative and scholarly projects across the Disability Arts community. She has designed and led programs, workshops and residencies with The Museum of Art and Design, Civic Art Lab, More Art and various international arts residencies to create accessible engagement workshops and collaborations on art, accessibility, mindfulness and wellbeing.
Dates: Dec 2 - Feb 13
I was born in Rosario, Argentina in 1973. My family moved to Brazil when
I was still a child so I grew up mostly in Porto Alegre, Brazil,
although going to Argentina to visit the rest of the family every summer
for several years. Since then, I have also lived for different periods
of time in England, Italy, Germany and the United States. I am currently
based in Montreal, Canada, since 2013 (although I am currently in
Germany since the beginning of the pandemic in 2020).
One of my current projects is the development of a theater play by August Strindberg, "Easter", a work of his that is less well-known but that I like very much (I am sending a copy of the play in attachment). It takes place in Sweden at the end of Winter (Easter time). Having a theater director and an amateur actor group there is excellent for discussions and to better develop the project, perhaps working on some scenes and on the art concept. I had plans to perform this play last year with a local theater group here in Germany (at Komplex Theater), but unfortunately the corona lockdowns made it impossible. It would be nice if it was possible to rehearse it and perform it somewhere in 2022.
The other main project is a short script tentatively called "Ibsen vs. Strindberg'' (it will probably change name). Synopsis: the two most famous Scandinavian playwrights are surprised to wake up after Death and meet each other in the Afterlife -- which looks surprisingly like a frozen Northern landscape. After an initial unfriendliness, they finally approach and start to discuss their ideas, their plays, their dreams, and even their influence on later artists such as Ingmar Bergman. Some of their most famous characters also appear and enter the discussion, supporting one side or the other. Meanwhile, both authors wonder what other surprises will come as they wait for the Eternal Judgement. I originally conceived this story as a play, but I think now that it would be interesting to make it into a script for a film. Being in Sweden, I would be able to create video footage for this project, as it is important to have some images from the local Nordic landscape. This is still a work in progress which is evolving.
Other than that, I would be happy to meet other artists.
Dates: Jan 3-Feb 10
Lola MuñozLola Muñoz was born in the Mediterranean city of Valencia, Spain, in 1983, a multidisciplinary artist, teacher of Art and Yoga Workshops for Children, after living in Mexico, where she formed a beautiful family with which she resumed her artistic and teaching career. She returned to Spain fascinated by nature, Mexican culture and its beautiful crafts, her work focuses on the search for the innate qualities of the human soul such as love, calm, femininity, balance, duality, compassion, inner peace and wisdom, all represented through the study of the different archetypes and symbols present in all cultures with a cosmogony such as: Mesoamerican, Nordic or Eastern cultures. She makes her own hand-drawn and oil-painted collages, linographs, and mixed media.
She seeks understanding and healing in each work, always open to inner knowledge and the freedom that artistic creation gives her, fascinated by ancestral cultures and their symbols, takes as reference the flora, fauna, astronomy and natural cycles that surround her to interpret the concepts that she studies.
During her residency at Björko Konstod Lola Muñoz, she will carry out a series of artworks on wooden slices in which she will work conceptually on 13 qualities of the human Soul. She will carry out the conceptualization of the virtues of the soul through collage / images and symbols on painted universes. She will take images of nature, symbols present in Viking culture, legends, sacred geometries, cycles, metamorphoses and astronomy that surround it. Demonstrating that we are one with nature, it seeks for the viewer to remember the innate values of his human soul, such as Love. Because the human being with the capacity to love, if he discovers himself and finds in himself the essences of all the virtues, he will be able to change the world if he so wishes. We must remember our innate qualities and thus find true happiness, connecting with our inner world through Art to awaken the seeds of well-being that all beings carry within. Her proposal consists of two parts: a field study, where she would study Viking symbolism and native animals and plants. And another part where she would look for some logs and wood where she will make the artworks. The elements would be glued with collage and decoupage techniques, resulting in a series worked on a warm material such as wood, which by its nature evokes positive feelings of harmony and warmth, seeking as a purpose the exhibition of all the Works together in an environment natural, showing the connection between us, nature and the cosmos, as a metaphor for the union between mind, body and spirit, all in balance, seeking that each viewer connects through their spiritual awareness with the elements exposed in the Exhibition.
Dates: February 1- March 1
Daniel Torarp, Baerad i Stockholm
Born in Gothenburg and raised in suburban Stockholm. Admonished to bench my drawing-book during class but passing it around for literature. Drawing caricatures of rockstars at music festivals and with a stint of film, eventually returning to still lifes. Before attending Goldsmiths, one of our most Postmodern Fine Art Universities. Leaving with an interest in one of our most ancient handicrafts.
Playfully combining the traditional technique of marquetry with our industrial paraphernalia. Honing my interest in the assemblage of fictive polarities to explore nature's and culture's supposed demarcations. Somehow sparking a sense of timelessness, people and reviewers have repeatedly told me. Certainly, a widening of the perspective over time is a worthwhile pursuit in the midst our seemingly perpetual, convincing unrealities.
Moreover drawn to Björkö Konstnod with a certain place in my heart for art residencies. Having organised Tomma Rum (Empty Spaces) for the past decade. An ambulating such, surprising one Swedish conurbation after another with contemporary art.
At AiR BKN I hope to further develop my past and current divarications, as well as to reverberate new interests with attending colleagues
Studio: 1 + woodworksop
Dates: March 1- 31
Barbara van Ittersum, Based in Amsterdam
van Ittersum (1965) studied painting, graphic and audiovisual design
before she decided to specialize herself in photography at the
University for the Arts in Utrecht (HKU). Van Ittersum has a tangental, raw, decadent, punkish approach to her staged photography as well as performances.
She has been working as a photographer since 1987 and has held many expositions as well as doing acclaimed work for magazines and outdoor advertisements.
In Barbara's search for the underlying truth she surpasses the boundaries of conventionality and good taste which results in images of vanity and lust, cruelty and pride, fear and loneliness; a reflection of her passionate and outgoing personality.
Her pictures function as a mirror for others as well and because of her impulsive view of life associations concerning happenings from daily life are put into a different perspective.
Van Ittersum’s work has been frequently exhibited over the last few decades. Breakthrough exhibitions at the Palais de Tokyo in Paris and the Clair Obscure Gallery in Los Angeles (2005) gave her artistic language a multifarious signature.
David Schwarts, at the time art critic for CBS Radio in the United
States, describes Van Ittersum in those years as one of the most
talented avant-garde photographers in the world.
At BKN I will endulge in nature and work intensly in the darkroom in addition to prepare for performance.
New book Barbaranalogica >>>
1) Portait of Barbara Van Ittersum by Ginger Kalinka, 2) Still life, 3) Local Heroes
STUDIO GRANT HOLDERS
Gerhard Kowald, AustriaI was born 1957 in Graz Austria and studied painting and art education at the University „Academy of Fine Arts“ in Vienna. I´m living and working in Salzburg Austria as a teacher of visual arts and media and a freelance photographer developing my own (long-term-) projects since the 1990s. I have a lot of experience in teaching photography and media to students of any age in schools. But I must confess my English in conversation is not too good.My photographic education was self-taught as well as through several workshops at Galerie Fotohof in Salzburg and a masterclass at Anzenberger Gallery in Vienna Austria.Among my teachers were Laura El-Tantawy Klaus Honnef Tamarra Kaida Martin Kollár Andrew Phelps Reiner Riedler Simon Roberts and Herman Seidl. In my current work I focus my interest on depicting the structural change of urban peripheries and rural regions. Another focus is on social and humanitarian issues concerning labor migration and homelessness.From the beginning I habe been interested in the man-altered landscape and the language and specifity of architecture espacially anonymous achitecture in my photographic work. I´m trying to capture people´s living environments with a critical-ironic but also emphatic eye. But also formal aspects play an important role in my photographic work. I´m very excited about my stay at Björkö Konstnod and look forward to meeting Anna Viola and you and all the other residents.I am very curious about the surroundings the nature and the people who live here. One first idea for a program during my stay: I would like to get in touch with the inhabitants of Björkö I am interested in their living conditions and traditions and I would like to take pictures in their living environment. Do you think the people of Björkö are open to this? Probably they are contacted from time to time by artists during their AiRs? Maybe they are already tired or annoyed by it. I don´t know.In any case I'm already looking forward to my stay at Björkö Konstnod.
Dates: TBD 1-29th oct (possibly start in Sept)
Naomi Nowak, Baserad i Roslagen
Naomi Nowak är konstnär och smyckesdesigner som jobbar med traditionella, taktila metoder. Genom akvarell, blyerts, bläck, lera, vax och mineral utforskas den närvarande myten, drömtiden som bara knappt döljs under vardagen.
Arbetets nav är detaljerat måleri vars form ekar förra sekelskiftets sagoillustrationer, surrealism och seriekonst. Måleri kan vara bön eller meditation, en fördjupning vars syfte ligger bortom nöje eller självförverkligande och förhoppningsvis tjänar skönheten i de parallella världar där verkens berättelser vävs.
Sedan snart tio år tillbaka har konstnärsskapet förlängts i kroppsnära ting - smycken i silver (handskulpterade och gjutna i silver eller brons) och då och då klädkollektioner i 100% återvunnen textil. Demokratiska och ekologiska sätt att bära med sig en skärva konst som funnit hem hos människor världen över.
Nowak har ställt ut i Portland (Hellion Gallery), Los Angeles (Hive Gallery), Berlin (Strychnin) och Stockholm (Seriegalleriet, soloutställning). Hon har gett ut tre grafiska romaner på NBM publishing (USA) och illustrerat böcker bl.a för Vertigo.
Maria Erikson, Estland
Maria Eriskon (b. 1985, Estonia) lives and works in Tallinn while pursuing an MFA degree in printmaking study area from the Academy of Fine Arts in Helsinki, Finland. Engagement and contact are central in her work. She explores notions of matrix, multiplication and communication in the context of materiality and time. Seeking to re-think the subject and object in printmaking, she investigates transformations of material through wear and contact, the methodology of craft and the process of art-making, and the ephemeral nature of material itself.
Erikson recent exhibitions include solo-shows Ideal Landscapes at Göteborgs
Konstförening (2020), and Borderspace at Project Room gallery Helsinki (2020).
Together with Bolaget Vardagsbilder her works have been displayed at Galleri Sander, Norrköping (2021), and Kungsbacka Konsthall (2020). In 2019 she participated in and co-curated Resemblance Through Contact. Grammar of Imprint, exhibited both at Tartu Art House and EKA gallery in Tallinn. Erikson has been awarded a grant by Ann-Margret Lindell Scholarship fund (2021, SWE) and is a recipient of the Eduard Wiiralt foundation scholarship, awarded by the Ministry of Culture Estonia (2019).
During their residency at Björkö Konstnod Nowak and Erikson will explore the relationship between the human form and nature. They are interested in both the physical and emotional space which we inhabit, and the bodily proximity organic matter shares. Artists who on the surface work with very different approaches and mediums sometimes share an igniting spark in common, in this case a connection to pre-christian beliefs and the language of trees. If the stark weather of Björkö allows, most of their work will be outside, in collaboration with the island itself. They seek to co-create site-specific body of work interweaving found objects with drawing, photos, as well as sculpture-like pieces using materials from the area. Their process includes photographic documentation.
Dates: April 13-31
"I see myself as an interdisciplinary artist and designer working with textiles, photography and material research. In a world that is creating more and more challenges, I am part of finding some answers. In my work I reflect today´s society, raise awareness and try to develop solutions. In this process design becomes the dialogue, the tool to communicate.
A conscious approach towards materials and the message in my projects is very relevant to me. I am very interested in Bio-Design, in developing new materials or in using existing materials in a new way.
With my background in fashion design I am really interested in using fashion as a conversation starter. Constituting something everybody needs and uses, fashion has an immense power to exert influence and to make a change. In my work I use clothes to question perspectives, sometimes as a speculative design with an artistic approach. Often it is meant to ask even more questions, to be thought-provoking and to inspire people.
.. Like can we use clothes as a device to clean the air?
.. How to dress for the Pole Party?
.. Can we use clothes to act more consciously, shifting our focus to the inside?
During my time at BKN I will work on a project that questions our view on owning, territory and connectedness. It will be based on written conversations between people, weaving a story that itself creates a conversation and includes photography and words combined with textile. I am using natural materials to create regenerative fashion as a kind of sculpture. In Björkö I want to find a common language between nature and humans. Moving pictures are going to be created telling the story of our owned planet."
Dates: April 1-30
Agenor Marti, Cuba/US
I was born in Havana, Cuba. I left the island very early in my life and I´ve been traveling ever since(first with my parents and later by myself).I believe my early interest in the visual arts(of which MY FATHER was an accomplice) helped me cope with the exile experience (first) and with the constant cultural clashes I had to face ever since.As a result, I like to think of my work as a universal one.I studied Fine and Applied Arts in different places of South America and I believe those different perspectives also helped me.I´ve done everything there´s to do in Visual Arts(from traditional painting to animation, including Illustration, Graphic Desing, etc),and that´s is something I´m specially proud of. However, there´s always one more frontier to break through.
I am interested in achieving syntheses and that is my focus. I consider each of my paintings as a constituent element of a bigger organism. Even though my work has experienced radical shifts in stylistic terms, I think there is always a constant, a particular way of approaching the object that emphasizes precision and detachment.
I believe the great crusade of our time is how to intelligently define an entity in the context of previously unknown levels of complexity in the observable world. Modern science, in particular the natural sciences, struggle with this problem like never before. This matter is so urgent that one could say that finding an applicable paradigm for the methodical definition of entities is the paramount intellectual and philosophical problem of our age.
I like exploring signs and symbols. I believe they are the circulatory system of what we call human experience.
I believe the animistic use of the sign, in particular, is an exercise in power in its purest form, and I am fascinated with the fact that everything is justified, channelized, and operated based on a visual dynamic. That the purpose of the magical action, from the depth of the primitive, is similar to this most modern of quests: to find the proper definition of haecceity down to the lowest common denominator in any given phenomenon. To define essences.
I think the tools of us artists may be different, but in a world where everything becomes more complex by the minute, we share an aim with the natural sciences.
At this stage I am exploring other sign systems. Especially those of maps, diagrams and flags. The goal is to successfully assimilate those respective iconographies into my painting. I think this exploration is of the utmost importance when it comes to the rethinking of a world that is absolutely complex. By way of the imposition of the new language onto the pictorial reality, I induce a ritualized death of beauty in a method that is based in renouncement of
the accomplished aesthetic unit. The idea The painting turns into an explanation of itself, it becomes a foreign to its own unicity and therefore it becomes estranged from the other phenomenal levels with which it coexist in intimate and promiscuous relation. It’s delineated against the rest of the world of phenomena. It becomes an entity.
Concerning your program, I seek to place myself outside my normal setting, in order to see some pictorial problems I am facing from a different perspective. Somewhere with a complex history and culture that will allow me a full immersion and, in the process, engage in that flow of ideas with others with an artistic sensibility that constitutes a prerequisite for true inspiration.
My objective during a visit to your residency program will be to advance that integration of procedural visual languages to the pictorial, artistic universe. I believe this will set down the methodological basis for a new visual language.
Dates: March 13-April 13
Directed: Out of Rock
"arriving to Björkö Konstnod in a different season is a way to discover Nature and its own cycles at this specific place of the Stockholm's archipelago.
my intention for this residency is to continue working on series of drawings-collages inspired by the natural elements I find in the surroundings - leaves, stones, flowers. the end of the winter is getting closer, the colours in the forest would still be in the grey palette so I would like to use mica for the light reflections, skilla flowers for the deep blue-violet nuances but also water colours to play with depth and perspectives. I incorporate gold leaf in my compositions to enlighten the natural pieces.
as my collages demand long working hours and meditative state of mind, being cut of everyday life is a good opportunity for me to concentrate and spend my energy.
at this time, I also plan working on analog photographies which will be taken on Arholma island in order to create a book about Minneslund - an incredible spiritual place, where love, longing, loss and death are connected with the sea and the forest." bf
Dates: March 28 - April 30
Lisa and Hugo Gordillo, Michigan
Lisa (b. Philadelphia, Pennsylvania, U.S.A.) and Hugo Gordillo (b. Guatemala City, Guatemala) first met as artists-in-residence at the Vermont Studio Center, where neither spoke the other’s language. Over time they have sounded out, written, and built a working relationship that connects their countries’ common stories; and made a little blue house together in rural upper Michigan. The pair is interested in the capacity of art for storytelling, in what collective memory looks like, in how many sides we see, and how many sides we miss, and why that might be. Their collaboration Brazada, which roughly translates as, as far as outstretched arms may reach, follows the Guatemalan civil war and U.S. complicity in its most violent acts. Their work builds on Hugo’s career as a journalist (1980-2012), and his current work as a writer and poet, and on Lisa’s background as a sculptor and performance artist. Together, Brazada creates works of art and writing that offer entry points into a difficult international narrative whose history remains mostly unacknowledged.
Lisa (n. Filadelfia, Pensilvania, EUA) y Hugo Gordillo (n. Guatemala) se conocieron como artistas en residencia en el Vermont Studio Center, donde ninguno de los dos hablaba el idioma del otro. Con el tiempo han sondeado, escrito y construido una relación de trabajo que conecta las historias comunes de sus países y un pequeño hogar azul juntos en la zona rural de Michigan. La pareja está interesada en la capacidad del arte para contar historias, en cómo se ve la memoria colectiva, en cuántos lados vemos, cuántos lados extrañamos y por qué podría ser eso. Su colaboración en Brazada, que se traduce más o menos como, en la medida en que pueden extenderse los brazos, sigue la guerra civil guatemalteca y la complicidad de los Estados Unidos en sus actos más violentos. Su trabajo se basa en la carrera de Hugo como periodista (1984-2012), su trabajo actual como escritor y poeta, y en los antecedentes de Lisa como escultora y artista de performance. Brazada crea obras de arte y escritura que ofrecen puntos de entrada en una difícil narrativa internacional, cuya historia permanece mayormente sin reconocimiento.
Dates: May (exact dates to be confirmed)
Directed: Out of Rock
Hugo Gordilo and Lisa Gordillo
Lisa Gordillo with Hugo Gordilo.
RESPONSE - In collaboration with Swedish Arts Grants Committee to Ekaterina Shelganova
Shelganova född 1978 är linsbaserad konstnär.
Hon har sin examen från University of Film and Television, St-Petersburg. Genom sin praktik bedriver hon en lyhörd och subtil samhällskritik tolkad genom det Ryska samhället.
Hon har varit verksam med Chto Delat/School of Engaged Art.Hon har figurerat i några internationella sammanhang så som Nordwind Festival (Hamburg, 2015), Festival IMAGES (Vevey, Switzerland) 2016. Bland verk titlar som är utställda i Ryssland märks separat utställning 2018 vid gallery FFTN i St Petersburg.
Men även i Ryska sammanhang så som; -“Unpenetratable landscape”, 2018, solo, gallery FFTN, St-Petersburg -sound presentation of a photographic performance “Ideal Passport Picture” Ural Industrial biennale for contemporary art, 2017 och “An IDEAL PHOTO FOR AN ID vs A PHOTO FOR AN IDEAL ID”, photographic performance, gallery "Intimnoje Mesto" ("Intimate Space”) ochSt-Petersburg; Hamburg (Nordwind Festival 2015, Kampnagel) "Panopticon", Special Program of the 6th Moscow Biennale, 2015 "NowHere", 2015 art group "Chto Delat' " workshops final exhibition, St-Petersburg .
THE SEA THAT SURROUNDS US - In collaboration with Bygdegårdarna to Zoey Hart.
The Swedish Arts Grants Committee`s International Programme for Visual and Applied Arts and Region Stockholm - artists to be announced (2 on invitation and 3 on open call)
For all projects in 2020-2022 AiR BKN studios by Leader Stockholms bygd
3, 63 sqm
1, 20 sqm
11, 25 sqm
35, 76 sqm
15, 12 sqm
5, 12 sqm
Showers + bathrooms
Gallery Vestibul (wall space only)/lounch piano, soffa, table 4 chairs
Studio 28, screenings, printers, meetings
PROD BKN 2022In house artists:
Åsa Öhrn >>>
Anna Viola Hallberg
In house photographer:
. . .