Ateljéer med stöd av:
WHERE THE FOREST MEETS SEA
texts provided by artists in Swedish or English
STUDIO GRANT HOLDERS
Beili Liu, Austin, TX
Beili Liu is a visual artist who creates site-responsive installations and performances that address themes of migration, cultural memory, labor, social and environmental concerns. Working with commonplace materials and elements such as thread, needle, scissors, feather, salt, wax, and cement, Liu manipulates their intrinsic qualities to extrapolate complex cultural narratives.
Liu has exhibited extensively across the globe, in locations including Norway, Finland, UK, Germany, Italy, Spain, Lithuania, France, Belgium, Poland, China, Taiwan and across the United States. She has presented solo exhibitions at Hå Gamle Prestegard, Norwegian National Art and Culture Museum; Galerie An Der Pinakothek Der Moderne, Munich, Germany; Museo di Villa Bernasconi, Como, Italy; Elisabeth de Brabant Art Center, Shanghai, China; Chinese Culture Foundation, San Francisco, CA; the Crow Museum of Asian Art, Dallas, TX; Art Museum of Southeast Texas, Beaumont, TX; and Women & Their Work, Austin, TX, among others. Significant group exhibitions at the National Museum for Women in the Arts in Washington, D.C.; New Orleans Art Museum, LA; Grand Rapids Museum of Art, MI; Asian Art Week, NYC; Asia Society Texas Center, Houston, TX; Artpace, San Antonio, TX; San Jose Institute of Contemporary Art, CA; and internationally at the Hamburg Art Week, Germany; M.K. Ciurlionis National Art Museum, Kaunas, Lithuania; Zhejiang Museum of Art, China; Musée de la Dentelle in Caudry, Montrouge, France; Asian Art Week, London, UK; and Bunkier Sztuki Gallery, Kraków, Poland. Liu has created public artworks in Beijing, Jilin and Shanghai, China, Bremerhaven, Germany, Taiwan, San Francisco, CA, Dallas and Austin, TX.
Liu has received numerous fellowships and awards, including the Andrew Carnegie Fellowship (2022-2024), the Pollock Prize for Creativity (2022), the Fulbright Arctic Chair, Norway, a Fulbright Distinguished Chairs Award (2021-2022), the Brian Wall Grant for Sculptors (2022), NYFA Fiscal Sponsorship (2021-2024), the Joan Mitchell Painters and Sculptors Grant (2016), the National Endowment for the Arts Challenge America Grant through the Museum of Southeast Texas (2014). In 2018, Liu was honored by the Texas Legislature as the Texas State Artist in 3D medium. Liu received the Distinction Award at the Kaunas Biennial, Lithuania (2011), and a San Francisco Mayor’s Award (2008) for her contribution to cultural exchange.
Born in Jilin, China, Beili Liu now lives and works in Austin, Texas. Liu received her MFA degree from the University of Michigan, Ann Arbor (2003) and is the Leslie Waggener Endowed Professor in the College of Fine Arts and a Regents’ Outstanding Teaching Professor at the University of Texas at Austin.
Liu's current research focus centers on the environmental crisis and examines the complex ecological, geopolitical, and environmental issues through the lens of handcraft, labor, and materiality. During the BKN residency, Liu will examine the unique local natural landscape of the northern archipelago of Stockholm, "where the sea meets the forest," and engage with local cultural groups and communities. Liu will creative a series of on-site performances/installations, documented through digital photography and videography.
AiR BKN STUDIO GRANT LENS 22
Dates: Nov 24-Dec 21
Jane Marchant, San Francisco
Jane Marchant is a writer, photographer, and collage artist from the San Francisco Bay Area. She earned her BA and MFA from Columbia University’s nonfiction writing programs, where she also focused on analogue photography.
Her identity as a multi-racial daughter drives her art, and visual experimentation centers her form as she combines analogue photographs, found materials, research, oral history, and collage into unified narrative. Her work has appeared in Guernica, Catapult, Apogee, Columbia Journal, Facility: A Magazine about Bathrooms, and elsewhere, as well as anthologized in The Beiging of America: Personal Narratives about Being Mixed Race in the Twenty-First Century (2Leaf Press). Her book art has been exhibited with the Center for Book Arts in New York City and ACCI Gallery in Berkeley, California, and she has received support from Ucross Foundation, the Headlands Center for the Arts, Kala Art Institute, Art Omi, Catwalk Institute, the John Anson Kittredge Fund, and others.
While at Björkö Konstnod, she will continue working on her book project, "An Extraordinarily Condensed Encyclopedia of Botany of the San Francisco Bay Area," a memoir taking the form of a colonial florilegium. Analogue photographs, pressed flowers, typography, and design qualify it as an interdisciplinary work of literary book art, and while in residence she will print a selection of exhibition-quality photographs, as well as curate the narrative arc of the book’s imagery
AiR BKN STUDIO GRANT LENS 22
Dates: Nov 1-Dec 21
Scott Hunter, Scotland
Scott Hunter is a visual artist and researcher operating in the environmental humanities who adopts a phenomenological approach to studying the landscape. Intrigued by ecological resistance and intelligence, his current project focuses on how nature reclaims barren landscapes and the ecologies that emerge in post-industrial sites. Integrating photographic fieldwork with camera-less imagery, he works with site-specific materials to provide deeper insight into the entanglements between humans, materiality, and the environment.
Recent project Am I The Wasteland? formed part of his MFA in Contemporary Art Practice at Edinburgh College of Art, receiving the FEUVA award for outstanding student work and awarded with a solo exhibition at the esteemed Summerhall venue in Edinburgh. Pushing the boundaries of photography, his research explores the aesthetic and scientific importance of visually representing the Anthropocene.
Comprising experimental photography, soil chromatography, and found objects from the landscape, his fieldwork draws from astute observations of the local terrain. Recent projects include recording increased precipitation directly onto photosensitive paper, scientific photographic representations of soils, and utilising organic matter -like mosses and algae- to make analogue photo developers.
Working directly with raw materials, Scott considers the origin of each material and their symbiotic relationships within the construction of images. By embedding the materiality of the landscape into the work, he asks whether a photographic practice can mediate between industrial and ecological activities.
During his time at BKN, Scott will conduct a site-specific investigation of the surrounding area, combining photographic fieldwork with soil chromatography and in-situ cameraless work using materials sourced ethically from the landscape. The study elaborates on his current Darkroom Ecology project that explores nature-based solutions to harmful chemicals used in analogue photography. By utilising the residency's darkroom facilities, he intends to expand this process beyond black and white negatives to include wet prints. In addition, he will replace silver-containing fixers with saltwater to provide a non-toxic alternative to the disposal of heavy metals in water systems.
To complement this research, Scott's Darkroom Pedology project builds a library of soil chromatograms from diverse sites to enable comparison between areas
considered pristine; and those deemed contaminated. In Björkö, he will extend the library to include pioneer species -such as lichens, mosses, and algae- to broaden our awareness of how ecological successions may emerge in such landscapes and develop into climax communities(forests) through time. Fascinated by the relationship between the wilderness of the forest and the agency of the sea, he will use his time at BKN residency to reflect, experiment with new fieldwork techniques, and develop a new body of work.
Dates: Nov 19-Jan 31
Renn Simmons, Portland, Oregon
"Renn Simmons is an Ecological Translator currently based in Portland, Oregon, USA, who uses the channels of art, ritual,poetry, and Sacred Activism to explore the heavy and healing experiences of being intimately connected to all things. By moving between mediums that layer and expand upon one another–with a focus on experiential photographic processes, time-based, and ephemeral works that engage alternative and experiential Earth-based processes and methods–her work seeks to connect humxns to the physical realities of Climate Change and Environmental Violence, while offering tonics in the form of connection, quiet, returning to natural rhythms,
and finding beauty in the shadows. Layers of process are built on top of one another, interweaving and calling back to one another, transforming and emerging from emotions felt and remembered; hazy dreams; violence, then and now; and prayers whispered alone in the depths of night.
Her work seeks to firmly locate itself in the land from which it evolves and emerges through a co-creative process with the Earth, pointing to the themes present within Sacred and Shadow Ecology, climate grief and mourning, time, decay, environmental destruction, beauty, transience, objectivity, and communal/ individual healing processes. Ecological research, spiritual practice, fieldwork, and knowledge that dismantles the mythologies around settler colonial notions of wilderness, all weave together in a desire to create antidotes that combat facism, environmental violence, and white supremacy.
During her time as a resident with BKN, she will be focusing on continuing to expand her plant-based and experiential photographic practices, which includes using Seaweeds and Ocean Water from different parts of the world to develop film and make chemigrams/anthotypes, creating and photographing ephemeral sculptures using invasive/native plants and landscapes, and creating dialogues between landscapes/waterscapes within the analogue and digital realms.
She also will be expanding on her current body of work 'Wavelines,' which uses the lines left by waves on coastal shorelines as visual representations of Climate Change. This series lives within the restraints of only using local Seaweed or Seagrasses and Oceanwater from the local area within the developing process, and making 3 sets of images, removed from one another only in that the water temperature they are developed within varies by 1.5°C/2°C/2.5°C--the projected global temperature changes the Earth is on track to experience depending on how much action is taken in the present moment to prevent further Climate Change. " RS.
Dates: Sept 25-Nov 25
Thomas Wågström, Stockholm
Svartvit subjektiv dokumentärfotografi
Min släkt kommer från Stockholms skärgård och jag är därför grundad i den världen.
Jag tillbringade alla sommarlov på en liten ö söder om Blidö och har både direkt och indirekt använt mig av skärgårdsmiljön i flera av mina projekt/böcker. (Ex. ”Observationer”)
Jag har precis sammanställt och släppt boken ”Case Closed” som är en sammanfattning av 45 års fotograferande. Men också ett avslut och en början på någonting nytt.
Ser residenset som en möjlighet att komma vidare genom att gå tillbaka till grunderna, den analoga fotografin.
Representerad med en stor kollektion på Moderna Museet och
bl.a. på Nationalmuseum och i Nan Goldin Collection. Har haft ett tjugotal separatutställningar, bl.a. på Fotografiska 2015-16 och Konsthallen i Hishult 2020. Var en av ett drygt trettiotal konstnärer som visades på Moderna Museets utställning ”Svenska förvärv 2021” i början av året.
AiR BKN STUDIO GRANT LENS 22
Dates: 24 sept - 28 octhttp://www.thomaswagstrom.com
Gerhard Kowald, Austria
"I ´m based in Salzburg, Austria and studied painting and art education at the University "Academy of Fine Arts" in Vienna. I worked as a teacher until recently, teaching art, photography and media. Since the 1990s I also work as a freelance photographer developing my own (long-term) projects. My photographic education was self-taught as well as through several workshops at Galerie Fotohof in Salzburg and a master class at Galerie Anzenberger 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 the representation of structural change in suburban and rural regions. Another focus is on social and humanitarian issues such as labor migration and homelessness. Since the beginning of my photographic work, I have been interested in the human-altered landscape and the language and particularity of architecture, especially anonymous architecture. I try to capture people's lives with a critical-ironic but also emphatic eye.
I am very excited about my stay in Björkö Konstnod and look forward to interacting with the residents. I am very curious about the environment, the regional architecture and the local people. A first idea for a program during my stay: I would like to interact with the residents of Björkö. I am interested in their living environment and traditions and would like to learn more about the conditions of how they live their lives." GK
Dates: October 1-31
Ami Skånberg Dahlsted and AnneLaure Vernet
Skånberg Dahlstedt and Vernet are coming together at BKN to do research and allow for their practices to interact.
AnneLaure Vernet visual artist, videographer and photographer, Anne-Laure Vernet has conducted her artistic practice alongside a militant feminist commitment and theoretical research in the field of art sciences revealed through the prism of gender.
Currently Senior Lecturer in Art Sciences and Plastic Arts and member of the CREM (Center for Research on Mediations-University of Lorraine), co-founder of the University Gallery 0.15//Essais Dynamiques, her theoretical research focuses on different aspects of the question of creative processes in art, such as: the social construction of the exclusion of women artists from the art world; the relationship between individual psyche and society in the creative process; and finally reception in art and its impact on the creative process.
These works are carried out in connection with her own artistic practices, all taking part in the elaboration of a plastic work which falls within the assembly, and also within the installation. In addition, she has developed part of her photographic prints for herself in a long-term work on the natural landscape, which has been the subject of acquisitions by the Cabinet des Estampes of the National Library, as well as from collectors such as Jean-Pierre Seguin, founder of the Public Information Library of the Center Pompidou (Paris).
Her pictorial, photographic and videographic research respond to each other in a poïèsis where slowness and attention to the most tenuous open up the infinite landscapes of the beats of the memory in the present. As listening and waiting, the trace of encounters and the paths offered are played out there, in fragments, driftwood of a very old oceanic feeling
Studio: 3 + 5
Dates: Oct 29-Nov98
Maja Andersson, Stockholm
Konstnär som utexaminerades 2016 och har sedans dess bott i Stockholm. Genom att kliva in i stämningar och känslor låter jag min kropp gestalta och bli ett redskap för det som inte alltid går att sätta ord på. Min kropp blir en dialog genom att skapa bilder antingen genom ett fotografi, video eller performance.
På Björkö konstnod kommer jag arbeta med projektet Kroppkakor. För 5 år sedan gick jag från att vara högfungerande till lågfungerande, kroppen blev min fiende när den egentligen försökte rädda mig. Kroppen tog kontroll och min vilja fick underkasta sig. Projektet Kroppkakor har sin utgångspunkt i en kropp med utmattningssyndrom.
Under sin vistelse inledde Maja Andersson en samverkan med Zoey Hart som bland annat resulterade i ett videoverk.
Dates: 9-19 juli
Lucas Brouwer, France/Netherlands
installation and preparatory work for Ein stein Walk part of the summer exhibition Isle of Bliss
In collaboration with Juliette Veckens.
Duration: May 30-June 14
Exhibition: July 2-Aug 31 2022 >>>
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)
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
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
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
STUDIO GRANT HOLDERS
Zulema Galeano, Barcelona
Zulema Galeano is a visual artist borned in Barcelona who focuses her field on the relationship between aesthetics and thought. Lover of the inexplicable and self questioning with admiration the existence and the mystery, inside and outside of each one of us. The symbioticism as the idea of being one. Trained in Advertising, Fine Arts,Philosophy and Fashion, her concern to learn about other cultures leads the author to travel the world to develop her artistic career.
Z. would love to experience life in the Northen Archipiélago of Stockholm, where the sea meets the forest, looking for a real peaceful rural place were being focused in local nature and the funerary rituals. The work will be developed in digital photographs.
A rare legend says that the Vikings used to bury their dead in funeral ships. These were boats that functioned as receptacles for the diffuse and their goods. They used to leave offerings according to the status and profession of the deceased to prevent him from becoming a wandering soul doomed to wander forever. It looks like some brave Suiones (an ancient Germanic tribe that lived in Scandinavia in the 12th century), traveled to Cape Verde, to reach the Cape of Good Hope in South Africa, and made their way to Indonesia. Once there, they discovered Toraja, a region of abundant wealth. Such was their luck that one day a baby died who still did not have his teeth. He was buried inside a tree. With some bamboo trunks they created a small door and placed the baby inside in a fetal position wrapped in cloth. Inspired by such a beautiful tradition, Viking women decide to incorporate this ceremony into their rituals. Shortly after returning to Björkö a woman dies, her body falls next to the pine trees and she will be buried right there, alongside her most precious artifacts.
AiR BKN STUDIO GRANT LENS 22
Dates: September 19 to Nov 19
Siri Landgren, Göteborg
Identitet, kropp och den mänskliga rösten är centrala teman i min konstnärliga praktik. Den upplevande människan som möter världen och andra varelser, famlar efter hållpunkter och agens, är något av en besatthet för mig.
Min bakgrund är inom musik, och mitt arbete rör sig huvudsakligen inom ljud, text och performance. På senare år har det skrivna ordet blivit mer och mer centralt för mig, och jag arbetar för närvarande med två textbaserade projekt. Det ena, Underlevare, är en pågående fragmentarisk berättelse om ett Göteborg efter samhällets kollaps. För Underlevare är hösten extra viktig, eftersom det är naturens tid av förfall och förberedelse för pånyttfödelse, och jag vill därför låta miljöerna kring Björkö i september bli en inspiration för vidare arbete. Det andra verket har arbetstiteln VEM DÄR och undersöker upplevelsen av att ha ett jag. På Björkö vill jag arbeta med att prova olika fysiska (och kanske digitala) inkarnationer för VEM DÄR, gärna i dialog med de andra deltagande konstnärerna.
Studio: 3, 35
Dates: 14 -23 Sept, 23-28
Oona Hyland, Ireland
Lithologies Part 1
For the first part of my residency I made a 3 m high garment dyed in ink, burnished with copper leaf and attached gravel to it. My choice of gravel relates to the Out of Rock theme and to ongoing works that seek to highlight ignored, erased or forgotten aspects of life. This work relates to the broken side of nature which is integral to it. The work is kinetic, hung from a tall tree in the forest glistening light is reflected from the facets of stone as it pivots in the breeze. The choice of the garment relates to nature and culture: “ the appropriate mode of experiencing environmental work is through direct body to body relation”. The utopian view of nature as a source of spiritual redemption is exemplified by: “ Heaven is under our feet as well as over our heads”.
Lithologies Part 2.
For the second part of my residency I am making site specific drawings (with bio degradable materials) and placements in the quarry. I see the quarry as a counter-site contesting ideas about art nature and society, disrupting traditional relationships. It is its lack of harmony or culture that makes it so fascinating. The quarry is a place of loss, a historic place of servitude, a site of challenge, of overwhelming materiality, deterioration and chaos. “The scientist (artist) never carries on a dialogue with nature pure and simple but rather with a particular relationship between nature and culture definable in terms of her particular period and civilisation and the material means at her disposal.”
“Nature has changed. Or has been changed. In relation to the quarry: everything that is given to humans is already human down to the forest and the river which we cross when we travel. But confronted with this social nature, which is quite simply culture, structural man is no different than the ancient Greek; he too listens for the natural in culture, and constantly perceives in it not so much stable, finite, “true” meanings as the shudder of an enormous machine which is humanity tirelessly undertaking to create meaning without which it would no longer be human.”
1 Robert Morris: Notes on Sculpture Part 2 In Continuous Project Altered Daily 11,13 Guggenheim 1993
2 Thoreau, Walden or Life in the Woods, 1854
3 Levi Strauss
4 Roland Barthes “The Structuralist Activity”, Partisan Review 34 no1 ( winter 1967)
Dates: June 19-July 19.
Hyland is part of the exhibition "Isle of Bliss"
participation made possible via grant form Culture Ireland.
Oona Hyland, July 2022
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
Above Maria Eriksson
Below Naomi Nowak
Naomi Nowak in video where she talks about her practice
Jule Timm, Germany
"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
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
On grant from Culture Taiwan
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.
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
Edita Jarząb (poland)
Roula Samiotaki (greece/sweden)
Joana Maria Pereira (portugal)
Mark Rautenbach (south africa)
Alevtina Kakhidze (ukraine)
More info on special page >>>
Ekaterina Shelganova, Sankt Petersburg/Stockholm
konstnär som arbetar med fotografi och video/film.
Vistelsen på Björkö Konstnod har möjliggjorts via samverkan med Konstnärsnämnden och med SWAN.
Har under vistelsen producerat en ny upplaga av Icemen och arbetar med en fotografi och posesibok, verk som presenterades på Supermarket Art Fair 2022 i Stockholm.
Shelganova 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 .Stöd från konstnärsnämnden april-juli stöd från SWAN juli-oktober.
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 - June 31
AiR BKN RESPONSE
In april 2021 AiR BKN RESPONSE had one more Russian dissident in the program whom wish to be anonymous
HAVET SOM OMGER OSS
THE SEA THAT SURROUNDS US
process based exhibition in Stockholm Archipelago. 10 sites, 10 artists 4 of them are former AiR BKN artists. Project initiated on a cliff at Malais peninsula during a residency at BKN. Haugbak and Hart did use BKN as a base in part of their art project for The Sea That Surrounds Us. Curator: Anna Viola Hallberg and "Vera".
ADAM HAUGBAK, Stockholm
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
Date: May-July for work with Singö in HAVET SOM, OMGER OSS
I mötet med Rådmansö kommer konstnären under tre helger med början den 11 juni, bjuda in besökare att knyta nät till- sammans. Det processbaserade verkets växer fram knut för knut, i mötet mellan människor, på platsen. Verket är både en gestaltning och en process.
är utbildad på konsthögskolan i Stockholm 1989-94. Har varit verksam på den konstnärsdrivna konstscenen sen 2004 och arbetat med utställningar och offentlig gestaltning sen dess. Senaste åren har Wallin ställt ut på gallerier i Sverige, Tyskland, Grekland och Kanada, tillsammans med ID:I galleri.
Studio 15Duration: June 12-19
In July 2022 we decided to take on our first intern. Una Joyce from Ireland stayed with us for 10 days to work with the curatorial program.
We look forward to explore having interns. If you want to apply send introduction to email@example.com
IN HOUSE ARTISTSAnna Viola Hallberg, artist/curatorBKN Fellow: Curator, board member
Patricio Salinas, photographer, project coordinator and technical development darkrooms
Åsa Öhrn, artist, PROD BKN, board member
Naomi Nowak, artist PROD BKN, board member
Derek Oliver, artist/writer PROD BKN
For exhibitions >>>
AiR BKN has developed a concept of Fair Studios. We constantly work on being a resilient place for artists and nature.
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