Past Residents

Country
Year
Residency Program
Resident Type
List Grid
Residents Map
Belgium

Past Resident
2023: Edward Steichen Award Luxembourg

Artist

Eva L’Hoest

Eva L’Hoest’s practice employs digital language to explore questions of origins and memory. Through audiovisual installations, L’Hoest reflects how collective and individual mental images can be reactivated by using technological means, and employs data from our digital age as mythology to create new territories of relationships at the crossroads of distinct worlds, times, and media.

Eva L’Hoest has exhibited work at 23rd Biennale of Sydney- Museum of Contemporary, Australia; Riga International Biennial of Contemporary Art, Latvia; and Okayama Art Summit – Triennial of Okayama, Japan, among others.

Events & Exhibitions

2023 Fall Open Studios
November 10–November 11, 2023
Drawing inspiration from archaeological research and the scholars at UCL - Aegean Interdisciplinary Studies, Eva L'Hoest has employed CGI to craft a mesmerizing visuals projected on a grand scale at Bozar during the performance of four symphonies: Philip Glass, Jean Sibelius, Anders Hillborg, and Stravinsky, interpreted by the Belgian National Orchestra. These images deftly establish parallels between the fervent worship of the Egyptian sun and our insatiable addiction to energy, between the eternal essence of the mythical firebird and the enduring half-life of radioactive waste, and between Sibelius' swan and the regenerative powers of nature.
Eva L’Hoest, Firebird, 2023, video Installation.
The Inmost Cell takes its starting point from a calenture, a maritime mirage where the sea becomes an inviting grassy field, and the ruins of three underwater islands flooded at the creation of the Riga dam. In a fusion of the rural and the maritime landscape, Latvian mythological figures seem to emerge from the guts of a machine. Through the combination of various digital processes, Eva L’Hoest turns her photographic reportage of the outskirts of Riga into three-dimensional fluid architectures. These lost elements of Latvian culture mark a site of synthesis between humans, nature and man- made ruins. Across slow, contemplative tracking movements, its different realities merge as forms fall one after the other, and passageways are created between places and memory.
Eva L’Hoest, The Inmost Cell, 2021, video installation.
Above the Atlantic Ocean, sleepers are manually scanned by the artist along the aisle of a plane during a long-distance flight. Under Automata make the portrait of a contemporary scene using a camera from the video games industry. As an anthropometric tool, this camera shares the same technology as the "Full Body Scan", the surveillance system used at the airport's borders. The bodies and objects are partially re- composed by the software, which gives rise to a cinematographic pan as well as a substance-image vision.
Eva L’Hoest, Under Automata, 2019, VR.
Eva L’Hoest’s videos transport us into environments which, though familiar, are inhabited by hybrid materials and hazy figures. The transient forms that she creates derive from reality, and then, through various technological tools, acquire a fluid texture and an unsettling autonomy. In her video installation, the characters move from screen to screen while memory fragments, captured by an MRI and artificial intelligence, and grotesque, timeless, miniature characters appear successively, seemingly inhabiting the dream of an avatar asleep. To give life to these creatures, Eva L’Hoest uses files taken from a video games and neuroscience, coupled with the accidents of virtual images and with the flaws of algorithms to compose singular landscapes where the look of human and machine are mingled.
Eva L’Hoest, Shitsukan Of Objects, 2019, video installation.
The Vertices Vertigo series proposes the embodiment of a virtual gesture and tableaus with dimensions that are both haptic and ephemeral. Through a partnership with the Sirris research center, Eva L’Hoest revisits the Z- Corp print technology, a rapid prototype technology for the creation of industrial models. In this triptych, the printer is manually stopped during the printing process and the piece is revealed by the artist’s hands. The residual powder from the print reservoir, known as the “Powder Bed”, can still be seen on the surface of the piece. The highlighting technique, also called “bump map”, creates the transcription of a drawing in which the machine decodes the original hand- drawn line. The softness of the colors, their powdery texture and enhanced volume transform these works into tableaus of a new age in which the machine and the artist jointly produce a common emotion.
Eva L’Hoest, Shitsukan Of Objects, 2018, sculpture.

Residents from Belgium

Shir Handelsman

Belgium, United States
Artis
2024

Kristian Nemeth

Belgium, Slovakia
International Visegrad Fund
2022

Felix Kindermann

Germany, Belgium
Ministry of Culture of the Flemish Community Visual Arts Department, Tony & Sissi Moens
2023
Germany

Past Resident
2023: DAAD-Deutscher Akademischer Austausch Dienst German Academic Exchange Service, North America

Artist

Alex Nowak

Alex Nowak is a transdisciplinary artist creating sculptures and paintings in the realm of a comical archeology. Blurring the lines between the built environment and the natural world, his artworks are characterized by raw texture and organic forms. Nowak explores spatial stories about the human figure that are influenced by folk props and horror fiction. His work aims to interweave artistic materiality with contemporary social and philosophical theory.

Alex Nowak has exhibited work at Folkwang Museum, Germany; Banff Centre for Arts and Creativity, Canada; and KIT, Germany, among others.

Alex Nowak, Puppets on Fire, 2023, paint, styrofoam and stucco, installation view, dimensions variable.
Alex Nowak, Angelisa Frayed, 2023, paint, styrofoam and stucco, 20 × 90 × 20 in. (50.8 × 228.6 × 50.8 cm).
Alex Nowak, Puppets on Fire, 2023, paint, styrofoam and stucco, installation view, dimensions variable.
Alex Nowak, Puppets on Fire, 2023, paint, styrofoam and stucco, installation view, dimensions variable.
Alex Nowak, Untitled, 2017, paint, styrofoam and stucco, from the group exhibition "Mary and the Vulcano" at KIT, Düsseldorf, 80 × 80 in. (203.2 × 203.2 cm).

Residents from Germany

Matthias Garff

Germany
KdFS Kulturstiftung des Freistaates Sachsen, iscp
Studio #214

Ina Gerken

Germany, United States
RYAN LEE Gallery
2025

Bob Kil

United Kingdom, Germany
Senate Department for Culture and Europe, Berlin
2024
South Korea

Past Resident
2023: DOOSAN Art Center

Artist

Dew Kim

Dew Kim’s artistic approach is based on exploring the many intersections between art, religion, and identity that occur at the junction of change and collision. Kim uses installations and video art to examine topics such as sexuality, queerness, feminism, sadomasochism, pop culture, religion, mysticism, and the body.

Dew Kim has exhibited work at Various Small Fires, Seoul; National Museum of Modern and Contemporary Art, Seoul; and Para Site, Hong Kong, among others.

Dew Kim, Total Praise, 2023, mixed media with wood and lenticular, 351/2 × 39 × 1 in. (90.17 × 99.06 × 2.54 cm).
Dew Kim, Let the Church Say Amen, 2023, mixed media with steel, beads, metal and silicone casting, 31 × 67 × 4 in. (78.74 × 170.18 × 10.16 cm).
Dew Kim, Enrapture, 2022, wood, lenticular print and mixed media, 371/2 × 71 × 15/8 in. (95.25 × 180.34 × 4.06 cm).
Dew Kim, LOOK, 2022, iron, aluminum, clay, a neon light, a light stick, 3D printed resin and iPhone, 291/2 × 45 × 12 in. (74.93 × 114.3 × 30.48 cm).
Dew Kim, LOOK, 2020, single channel video, 4:18 min.

Residents from South Korea

Ailyn Lee

United States, South Korea
Anonymous
Studio #210

Sungsil Ryu

South Korea
DOOSAN Art Center
2024

Heemin Chung

South Korea
DOOSAN Art Center
2024