Past Residents
Past Resident2012: Kunststiftung NRW
Matthias Hamann
Matthias Hamann examines current perceptions of nudity, in particular in fashion, advertising and pornography as well as in social media. For Hamann, many questions are pertinent, even urgent, such as: How do we process the progressive pornographization of society, in which sexually overt images are more visibly present than ever? Does the term pornography itself become obsolete once it has to be constantly re-defined and adapted? What visual idea of our individual sexuality do we project to the world through our choice of what we wear and how we dress? How do we solve the daily paradox of expressing our individuality while having to conform to society? We are constantly thinking about our appearance, Hamann says, about how and where to display images of who we want to be perceived as. Hamann wonders what are the dangers inherent in constantly sharing and showing more of who we are or pretend to be through social media.
Matthias Hamann (born 1974, Leisnig, Sachsen) holds a Diploma of Art in Photography from the Hochschule fuer Grafik und Buchkunst (HGB), Leipzig. Solo exhibitions include: Im Zweifel für Verzärtelung, MURO Gallery, Geneva; Rauschen, Buchladen Eisenherz, Berlin;Rauschen, ASPN, Leipzig, Germany (publication); and Eye against I, ASPN, Leipzig, Germany. Group exhibitions include: DUST, STYX Projects, Berlin; Portraits de Collectionneurs, MURO Gallery, Geneva; Innen Außen, 48 Stunden Neukölln ehem, Kindl Brauerei, Berlin; Zur sexuellen Identität schwuler Männer; Loris – Gallery for contemporary art, Berlin; Rauschen, HGB, Leipzig, Germany; Pilot Projekt 4, altes Walzwerk, Düsseldorf, Germany; Dreams of a Better Life, Tapetenwerk, Leipzig, Germnay; Oberflächen des Lebens, HGB Galerie, Leipzig;and Anstiftung zur Geschlechterverwirrung, Leipzig.
Matthias Hamann, Im Zweifel für Verzätelung, 2011.
Matthias Hamann, Im Zweifel für Verzätelung.
Matthias Hamann, Close-up Torsten, C-print, 743/4 × 50 in. (189.86 × 127 cm).
Past Resident2012: Ministry of Culture of the Flemish Community Visual Arts Department
Nicolas Provost
Nicolas Provost’s work reflects on the grammar of cinema, the human condition in our collective film memory and the relation between visual art and the cinematic experience. His films provoke both recognition and alienation, and succeed in catching our expectations in an unraveling game of mystery and abstraction. With manipulations of time, codes and form, cinematographic and narrative language is analyzed, accents are shifted and new stories are told.
Nicolas Provost (born in Ronse, Belgium) lives and works in Brussels following 10 years in Norway. His films have been exhibited worldwide and have earned awards and screenings at prestigious festivals including the Sundance Film Festival, Venice Film Festival, Berlinale, San Sebastian Film Festival and Locarno Film Festival. Solo exhibitions include The Seattle Art Museum; Musée d’art moderne et contemporain, Strasbourg, France; Tim Van Laere Gallery, Antwerp, Belgium; and Haunch of Venison, London. His award-winning first feature film The Invader had its world premiere at the Venice Film Festival 2011.
Nicolas Provost, Stardust, 2010, Video projection with sound, 240 in. Courtesy of Tim Van Laere Gallery, Antwerp and Haunch of Venison, London.
Nicolas Provost, Suspension, 2007, Video projection with sound, 48 in. Courtesy of Tim Van Laere Gallery, Antwerp and Haunch of Venison, London.
Nicolas Provost, Long Live the New Flesh, 2009, Video projection with sound. Courtesy of Tim Van Laere Gallery, Antwerp and Haunch of Venison, London.
Nicolas Provost, Plot Point, 2007, Video projection with sound, 180 in.
Nicolas Provost, Moving Stories, 2011, Video projection with sound, 84 in. Courtesy of Tim Van Laere Gallery, Antwerp and Haunch of Venison, London.
Residents from Belgium
Past Resident2012: Danish Arts Foundation
Rose Eken
Rose Eken’s artistic practice extends into a variety of media, focusing on video-installation, drawing, embroidery and sculpture. Eken exploits the myths of rock ‘n’ roll in the creation of new narratives. Mythically charged props are re-staged and re-scaled as tiny cardboard models, which become evocative backdrops for fictional tales. Construct and reality meet in the metaphorical gap between the real world and intimate fantasy – between raw male guitar energy and a more fragile and feminine miniature universe. Eken’s models and sculptures are clearly handmade, a combination of meticulous craftsmanship and amateurish DIY style. Her rough, cartoony ceramics, fine large-scale embroideries of bands’ set lists and miniature reconstructions of legendary guitars or drum kits, are produced with an intensity and zeal that reflect the dedication and endurance that characterize making music.
Rose Eken (born 1976, Copenhagen, Denmark) holds a BA (Hons.) in Sculpture from Edinburgh College of Art and a Master of Arts from Royal College of Art, London. She has participated in residency programs worldwide and has exhibited internationally. Recent solo shows include: Forever is a Slow Moment, Charlotte Fogh Contemporary, Aarhus, Denmark;Tomorrow is a Long Time, Künstlerhaus Bethanien, Berlin; and Sindet har Ingen Tid, Overgaden – Institute of Contemporary Art, Copenhagen. Group exhibitions include: Thank You for the Music, KIASMA Museum of Contemporary Art, Helsinki; Enter II, Brandts Kunsthal, Odense, Denmark; Halleluhwah! Hommage á CAN, Galerie ABTART, Stuttgart, and Künstlerhaus Bethanien, Berlin; and Berlin Klondyke, ODD Gallery, Dawson City, Yukon, Canada and Art Center Los Angeles (ACLA), USA. In March 2012 Eken will be exhibiting at Unspeakable Projects in San Francisco.
Events & Exhibitions
Rose Nolan: Wall Work
October 7–October 7, 2010
Rose Eken, Edition of You (100 Guitars), 2008, Cardboard, emulsion, gold and silver pen, ink, and glitter, 4 × 111/4 × 1/8 in. (10.16 × 28.57 × 0.32 cm).
Rose Eken, Music is the Healing Force of the Universe, 2010, Cardboard, masking tape, acrylic, wire, silver paint marker, and string, 5 × 6 × 4 in. (12.7 × 15.24 × 10.16 cm).
Rose Eken, Early Morning Melody, 2011, Glazed stoneware and paper clay.
Rose Eken, Sitting on the Top of the World.
