Past Residents

Country
Year
Residency Program
Resident Type
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Luxembourg, The Netherlands

Past Resident
2022: Edward Steichen Award Luxembourg

Artist

Claudine Arendt

Claudine Arendt draws inspiration from the interactions of the viewer and the technological, as well as the exploration of potential material expressions. In her production, Arendt has created a wide range of projects, from controlling oversized sneezing noses during the pandemic to making zooplankton tangible and accessible, inspired by its puzzling of underwater drifting organisms. The artist creates public exhibitions and performances, and has spoken at science and ceramics conferences.

Claudine Arendt has exhibited work at Art Rotterdam, Prospects and Concepts, The Netherlands; Oeuvre Nationale de Secours Grande-Duchesse Charlotte, Luxembourg; and Kukačka, This is not Art, Czech Republic, among others.

Events & Exhibitions

Artists at Work: Claudine Arendt with Jess Wilcox
December 6, 2022, 6-7pm
2022 Fall Open Studios
November 18–November 19, 2022
Ahead of Time, The Times Ahead, 2021, sculpture fountain, polyester and computer-controlled water pump
Claudine Arendt, Ahead of Time, The Times Ahead, 2021, polyester and computer-controlled water pump, 118 × 193 × 78 in. (299.72 × 490.22 × 198.12 cm).
Sound & Shadows, 2021, porcelain, shaped after echo from zooplankton
Claudine Arendt, Sound & Shadows, 2021, porcelain, shaped after echo from zooplankton, 57/8 × 211/16 in. (14.99 × 6.86 cm).
mine, 2021, papier mâché, epoxy, rolling sculpture alone in the city, Photo: Tomáš Knoflíček
Claudine Arendt, mine, 2021, rolling sculpture, papier mâché and epoxy, 24 × 67 in. (60.96 × 170.18 cm).
Insectoid, 2021, performance in public space, Photo: Chun-Han Chiang
Claudine Arendt, Insectoid, 2021, performance in public space, 78.7.
ready when you are, 2019, performance, foam cocoon with performer inside
Claudine Arendt, ready when you are, 2019, performance and foam cocoon with performer inside, 13711/16 × 983/8 in. (349.76 × 249.94 cm).

Residents from The Netherlands

Inge Meijer

The Netherlands
Mondriaan Fund
Studio #219

Antonis Pittas

Greece, The Netherlands
Mondriaan Fund
2025

Ginta Tinte Vasermane

Latvia, The Netherlands
Amsterdams Fonds voor de Kunst, Stichting Stokroos
2022
Estonia

Past Resident
2022: Estonian Contemporary Art Development Center, Cultural Endowment of Estonia

Artist

Taavi Suisalu

Taavi Suisalu creates cultural-ecological contexts that operate on technical, metaphorical, and poetical levels at the same time. His work takes the form of interactive installations, performative situations, and curatorial endeavors that combine traditional and contemporary sensibilities while activating spaces for imaginative encounters. Suisalu balances artistic and scientific approaches, studio, and fieldwork. His practice is influenced by contemporary social phenomena and their connections to technological developments, with a focus on social beings’ behavior, perception, and thinking.

Taavi Suisalu has exhibited work at Contemporary Art Museum of Estonia (EKKM), Tallinn; Bozar, Brussels; and Le Lieu Unique, Nantes, among others. 

Events & Exhibitions

Artists at Work: On Sonic Politics
November 29, 2022, 6–7pm
2022 Fall Open Studios
November 18–November 19, 2022
Part of the show 'Attention figures' at the Contemporary Art Museum of Estonia
Taavi Suisalu, Biitmani, 2022, photography, 36 × 24 in. (91.44 × 60.96 cm).
Solo show 'Datafanta' at University of Tartu Art Museum
Taavi Suisalu, Datafanta, 2020, animation, sound, instrument and grain of sand from Pompeii, dimensions variable.
Part of 'Wanderlust' at Gallery Voronja
Taavi Suisalu, Touch of the Network, 2019, kinetic object and video, 5:15 min..
Part of light festival 'Radical light'
Taavi Suisalu, Waiting for the Light, 2018, installation.
Part of 'Archaeology of the Screen' in KUMU
Taavi Suisalu, Distant Self-Portrait, 2016, installation, 550 × 118 in. (1397 × 299.72 cm).

Residents from Estonia

Karel Koplimets

Estonia
Estonian Contemporary Art Development Center
2024

Helena Keskküla

Estonia
Estonian Contemporary Art Development Center
2023

Mia Raadik

Estonia
Estonian Contemporary Art Development Center
2021
Norway, Zambia

Past Resident
2023: OCA - Office for Contemporary Art Norway

Artist

Anawana Haloba

Anawana Haloba’s artistic practice is an ongoing investigation of societies’ positions within various political, social, economic, ideological, cultural, and post-independence frameworks. Haloba drafts poetry in the form of sketches for her work, from which she abstracts to performative-based artworks in moving image, installation, and sound. She constructs scenarios in which the material culture of any given location can be probed and reconsidered within the context of rapidly shifting contemporary subjectivities.

Anawana Haloba has exhibited work at Center Georges Pompidou, France; Biennale di Venezia, Italy; and Sao Paulo Biennial, Brazil, among others.

Events & Exhibitions

Artists at Work: Anawana Haloba and Belinda Kazeem-Kamiński
August 31, 2023, 6–7:30pm
2023 Spring Open Studios
April 21–April 22, 2023
2022 Fall Open Studios
November 18–November 19, 2022
Confessions of a delusional dictator and a museum of guilt explores the pitfalls of post-independence development during the 60s-70s throughout to 80s, the rise and failure of African Socialism, the social and economic politics struggles and the stifling of freedom of speech (expression) assembly, Social, and economical exploitation it comprises of a safety bunker, or a contemplation of a fictional president modelled on my research. Inside the bunker is a marble confession box with a two-way video work where a delusional dictator is giving his contradictory confession in front of a female priest. Also found in the bunker is some kind of memorabilia collection from either material on victims of torture or merchandise confiscated from oppositional supporters to all other materials imagined.
Anawana Haloba, Confessions of a delusional dictator and a museum of guilt, 2013-2016, video installation.
How to (re)pair my grandmother’s basket is an experimental opera by the contemporary visual artist Anawana Haloba, drawing from African philosophy and operatic traditions. The opera is grounded in the Ubuntu philosophy of encounter to create a non-hierarchical comparative method, by which to interrogate rootedness and empathy. Haloba’a opera is created and composed borrowing from operatic conventions, knowledges and sensibilities outside the European tradition, mainly from Southern Africa, such as Chiyabilo/Kuyabila and Budima from Zambia. The libretto of this experimental opera, scripted by Haloba, is a dialogue among non-gendered characters who transverse geographies, cultures, and societies, composed for these times. It engages with questions of environmental racism, the rise of nationalism in the western world, and the plight of immigrants. Her incandescent experimental libretto and composition is an extension of her doctoral exhibition at Bergen University and teaching practice, in particular a course she taught at KHiO University in Oslo, based on a comparative approach. (Re)pair opens many possible readings: repairing the basket as a new pairing of histories side-by-side, as much as the idea of recovery, or reparation (though the basket, or history, may not be ever retrievable).
Anawana Haloba, How To (RE)Pair My Grandmother's Basket, 2021-2022, sound and music installation, dimensions variable.
A DRAGON KING IN SLEEPY PRIDE ROCK explores China’s presence in Africa (Zambia particularly), taking into consideration the historical, and present day, myths and facts. My want to research this theme is partly inspired by the religiously flared-up media declaring China’s “new inroads” without looking at its long history in Africa. Now having pointed that out, this project does not aim to engage China’s presence in Africa from the Tang Dynasty (618-907) through the last imperial dynasty of Qing (1644- 1912), a period that accounts for an overwhelming knowledge of Africa. Here rather, I am interested in exploring China’s modern relations with Africa commencing in the 1950s during the cold war era, and throughout the 60s/70s, examining its social and political implications. What did this solidarity or ‘friendship of economics’, whose core agenda was eradicating colonialism and forging a common front to safeguard sovereignty of emerging nations against cold war politics, mean to a newly independent Africa? is divided in three parts “a synchronised video/sound/Animation with the animation playing from 3 old television set (early 60s-70s model) with sound from headphones. An interactive piece of train rail piece of 2.8 cm in length that always triggers sound if rubbed with dry maize grain beneath it, as way to retell the stories of both the workers and witness (people that lived along the rail). There is a saying that says one can trace their journeys through a maize cob, it’s a game kids would play while eating fresh maize- eating the grain on a cob in way that you creates irregular lines. A series of drawing from the made by layering photographic images and then re-drawing over with an ink pencil. Each drawing goes with a text especially written for it. A wall (sound memory wall) with tiny 14 home-made speakers using calabashes, cables and speaker drives that play different sound from each of the 14 station along the Tazara railway. Above where the television will installed on a time-line map of the migration and also the railway map.
Anawana Haloba, A Dragon King in Sleepy Pride Rock, 2016-2020, film, sound, drawing, and installation.
ISHALL CURE YOU WITH MY TONGUE is part of a larger installation work, Conversations with Stitched Up Lips and the second listening station. “Conversations with Stitched-Up Lips” was a “process exhibition” in which I compiled information from interviews I had with different thinkers, friends, readings and rewrote them in as conversations, and poems written by myself. The exhibition was intended to bring out a series of internal discussions of the mind, reflections, reactions and other poetic meanderings, embedded in the exercise I called “A Process of Becoming” dedicated to work of Frantz Fanon who is the main subject of my PhD research. Understanding the background, environment and heritage of Fanon was as crucial as the scriptwriting. With the recorded text, I included the ambient sounds of nature and music from Martinique. The viewer was invited to listen to fragments of text, noise and tones relating to trauma, healing and psychoanalysis via several sculptural audio stations.
Anawana Haloba, I Shall Cure You With My Tongue, 2018, sculptural and sound installation.
Close-up is an installation with sound elements revolving around salt rocks that, over a period of time, undergo a process of liquefaction. It makes reference to the bodily fluids of humans, minerals found in landscapes and the historical significance of salt as a means of exchange. The melting and trickling of the salt is a slow, timed, and amplified process that ultimately leads to relief on the one hand and extinction on the other.
Anawana Haloba, Close UP, 2010-2016, sound installation.

Residents from Norway

Apichaya Wanthiang

Norway, Thailand
OCA - Office for Contemporary Art Norway
Studio #220

Katrine Elise Agpalza Pedersen

Philippines, Norway
OCA - Office for Contemporary Art Norway
2024

Sandra Mujinga

Norway
OCA - Office for Contemporary Art Norway
2024