Past Residents

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Past Resident
2022: ARTWORKS

Artist

Iria Vrettou

Iria Vrettou’s practice focuses on concepts and modes of hybridity as research and practice methods, while also addressing aspects of hand-drawn animation in relation to larger cinematic and performative practices. Her research focuses on environmental and social issues, as well as the function of the ‘screen’ in the context of cultural production and political processes. She also investigates the creation of art works that can function as disquieting, complete spatiotemporal experiences.

Iria Vrettou has exhibited work at Onassis Stegi, Athens; CYLINDER gallery, Seoul; ERGO Collective, Athens; and Space 52, Athens, among others.

Events & Exhibitions

2022 Fall Open Studios

November 18–November 19, 2022

‘Daemonic Ecran Vivant’ is a moving portrait based on the concept of Tableau Vivant. The piece operates on specific hand drawn animated loops. The emphasis is placed on the movement of bodies, human, non-human, and more-than-human. It investigates how such movements can be perceived as dance for various concepts & species and the atmospheres that these create. If we consider life cycles as an expression of symbiosis then we can easily discern a ritual of perpetual transformation: the choreography of life. Image #2

Iria Vrettou, Daemonic Ecran Vinant, 2020, moving image, 1:33 min..

“Necropsy of a Void (9 and a half Serenades for the exorcism of Ghosts)” is an animated film created by Adrianos Efthymiadis and Iria Vrettou, commissioned for the exhibition “Is Everybody In? The Ceremony is about to begin.” The work responded to the concept of the exhibition which explored the meaning and emerging forms of ‘the ritual’. Necropsy of a Void, is an elegy, a song about an impossible ritual: these nine and a half serenades ritualize this process of necropsy of the void, to sing the impossible process of conceptualizing the void and cutting into it, to conjure ghosts past and ghosts’ future, invite them in a dance, much like the dances that are lost to us because of the pandemic, in the break that we experience.

Iria Vrettou, Necropsy of a Void (9 and a half Serenades for the Exorcism of Ghosts), 2021, moving image, 8:47 min..

In 1612 Galileo wrote to his friend, the painter Lodovico Cardi, known as Cigoli: “The statue does not have its relief by virtue of being wide, long and deep but by virtue of being light in some places and dark in others. And one should note as proof of this that only two of its three dimensions are actually exposed to the eye: length and width (which is the superficies . . . that is to say, periphery or circumference). For, of the objects appearing and seen, we see nothing but their superficies; their depth cannot be perceived by the eye because our vision does not penetrate opaque bodies. The eye then sees only length and width and nev- er thickness. Thus, since thickness is never exposed to view, nothing but length and width can be perceived by us in a statue. We know of depth, not as a visual experience per se and absolutely but only be accident and in relation to light and darkness. And all this is present in painting no less than sculpture... But sculpture receives lightness and darkness from nature herself whereas painting receives it from art.”

Iria Vrettou, Galileo's Relief, 2016, moving image, 1:15 min..

his bush is a feeling “ is a performative piece that, animates a discussion and queers space in order to conjure unexpected identities. Identities arising from within the Volcano and materialising out into in the botanical garden”

Iria Vrettou, This bush is a feeling, 2022, performance, 20:00 min..

Homer Dreamt Before He Slept”, is a video-installation performance by Iria Vrettou which was done as part of Ios Festival 2021 and took place at the square of a small church. The performance conjures Iria (female primordial god-messenger) who blurs the Homeric myth with Hesiod’s cosmology. This performance is part of an ongoing research on myth and ritual vis a vis body politics and queer ecologies. The music is composed by artist Anto Lopez.

Iria Vrettou, This bush is a feeling, 2021, performance video, 12:00 min..

Residents from Greece

Antonis Pittas

Greece, The Netherlands

Mondriaan Fund

2025

Raffaela Naldi Rossano

Italy, Greece

The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York, Directorate-General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and International Cooperation, Directorate-General for Contemporary Creativity of the Italian Ministry of Culture

2024

Sofia Stevi

Greece

ARTWORKS

2023

Donate

Denmark

Past Resident
2023: Danish Arts Foundation

Artist

Julian Juhlin

Julian Juhlin creates theatrical visual art using staging techniques he learned while working as a stage designer, establishing a distinct iconography in the artist’s practice. In his works, Juhlin stages figures and objects derived from his own experience, placing them in visual scenes frozen in time in an attempt to maintain and preserve specific stages of life.

Julian Juhlin has exhibited work at Copenhagen Contemporary, Denmark; Prague Quadrennial, Czech Republic; and Royal Danish Theatre, Denmark, among others.

Events & Exhibitions

2022 Fall Open Studios

November 18–November 19, 2022

Julian Juhlin, "The Boy Who Will Never Leave Home", 2012-, Performance, installation, video in the artists home and childhood home in Copenhagen.

Julian Juhlin, The Boy Who Will Never Leave Home, 2012-ongoing, installation, performance and video.

Julian Juhlin, "Halfdans Hokus Pokus", 2019, Set design and costume design, Royal Danish Theatre.

Julian Juhlin, Halfdans Hokus Pokus, 2019, set design, 748 × 315 × 236 in. (1899.92 × 800.1 × 599.44 cm).

Julian Juhlin, "Virgin Tour - Czech Republic", 2019, Performance, installation. 10 days, 100 hours. Prague Quadrennial.

Julian Juhlin, Virgin Tour - Czech Republic, 2019, performance and installation, 196 × 196 × 149 in. (497.84 × 497.84 × 378.46 cm).

Julian Juhlin, "Virgin Tour - Tokyo", 2022, Performance, installation. Shop widow. Chiyoda, Tokyo.

Julian Juhlin, Virgin Tour - Tokyo, 2022, performance and installation, 149 × 78 × 66 in. (378.46 × 198.12 × 167.64 cm).

Julian Juhlin, "Virgin Tour - New York". Coming up, 2022. Film. 8 min.

Julian Juhlin, Virgin Tour - New York, 2022, film, 8 min..

Residents from Denmark

Tora Schultz

Denmark, Sweden

Danish Arts Foundation

Studio #207

Asta Lynge and Jakob Ohrt

Denmark

Danish Arts Foundation

Studio #305

Marie Munk

Denmark

Danish Arts Foundation

2024

Donate

France, French Guiana, Guadeloupe, Martinique

Past Resident
2023: Tauck Ritzau Innovative Philanthropy

Artist

Johanna Mirabel

Johanna Mirabel explores pictorial representation, shifting between abstraction, expressionism, and realism. She stages contradictions and juxtapositions using lush vegetation, partially present and disparate objects to evoke the inherent complexity of life between different cultures. Inspired by Glissant’s Creolisation, Mirabel creates pictorial forms that appear to be in constant motion, in which the characters are embedded, nested, and ready to merge in their moving environment. The artist invites us to inhabit her work, mentally exploring them as parallel realities, as she moves between painting and sculpture.

Johanna Mirabel has exhibited work at Espace des Femmes Antoinette Fouque, Paris; Luce Gallery, Torino; and Manifesta, Lyon, among others.

Events & Exhibitions

Artists at Work: Johanna Mirabel with Stephanie Johnson-Cunningham

January 26, 2023, 6–7pm

2022 Fall Open Studios

November 18–November 19, 2022

The classical genre painting is tinged with bright colors, a reference to Tembé, an abstract art typically Guyanese recognizable by the use of red, yellow and blue. Some works are dominated by ochre and red whose different shades evoke the chromatic richness of the land of Guyana.

Johanna Mirabel, Living Room n.18, 2022, oil on canvas, 57 × 90 in. (144.78 × 228.6 cm).

The home that Johanna Mirabel depicts is the scene of a tension between universal and intimate. In the home, as in her work, only a limited circle of acquaintances is invited to enter. Thus, the figures that inhabit her paintings are inspired by friends or family members with whom the artist has strong ties.

Johanna Mirabel, Living Room n.10, 2021, oil on canvas, 81 × 78 in. (205.74 × 198.12 cm).

A place of intimacy par excellence, the layout of the space translates a way of life specific to each person, reflects a sensitivity and is embellished over time with memories sometimes materialized in objects. The organization of the home also varies according to culture, yet its evocation refers to a shared imagination. Far from being isolated, the home is for Johanna Mirabel a privileged place to connect with the world. «Act in your place, think with the world» suggested Édouard Glissant, a poet whose writings and concepts inspire the artist. The home becomes the island from which we enter into relationship with the world. This is why in his works, the border between inside and outside is porous. The spaces are delimited but never closed. Beyond the openings, doors or windows, the composition itself invites to leave the canvas. To accompany the imagination and reinforce the idea of interpenetration between the work and the place in which it is exhibited, stretched sections of canvas are sometimes freed from the painting to unfold on the wall.

Johanna Mirabel, Living Room n.8, 2021, oil on canvas, 96.

The creation of space no longer relies on perspective but on the combination of color fields, on the cohabitation of pictorial writings that redefine the inside-outside complex and give free rein to the floating of the characters. Thwarting the conventional stakes that order the world around converging vanishing lines in order to define a frame deemed stable for the human figure. By superimposing, revealing and obscuring details through constant changes between ground and space, dissolving figuration into abstraction, it is a question of offering a certain distance between the model and the spectator.

Johanna Mirabel, Cascade, 2020, oil on canvas, 85 × 76 in. (215.9 × 193.04 cm).

Breaking down artistic approaches, she mixes precise figurative representation and abstraction. Detailed faces and sketched silhouettes take place in these worlds where time seems to be suspended. The multiplicity of vanishing points reinforces the strange and dissonant character of the represented scenes. In Johanna Mirabel’s world, nature has a special place. By removing vegetation from its ornamental status, the artist questions our relationship to the environment. These interiors inhabited by domestic plants and invested by vegetation become real microcosms. New balances reconciling nature and culture are then experimented.

Johanna Mirabel, Living Room n.14, 2022, oil on canvas, 86 × 78 in. (218.44 × 198.12 cm).