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Current Resident: Sep 1, 2022–Feb 28, 2023

Studio #219

Noa Yekutieli

Noa Yekutieli’s work explores tensions between shared human experiences complicated by cross-cultural perspectives through a variety of craft mediums such as paper-cutting, hand-woven textile, and site-specific installation. Through images of landscapes and disasters, the artist examines universal patterns of destruction, loss, trauma, and memory, drawing on personal experiences as an Israeli-Japanese-American and considering conflicts related to assimilation and immigration. By incorporating patterns from various cultural contexts, Yekutieli attempts to investigate human systems in the emotional and political realms.

Noa Yekutieli has exhibited work at Contemporary Art Museum of Rosario, Argentina; Kunstmuseum Ahlen, Germany; and Nakanojo Biennale, Japan, among others.

noayekutieli.com

The Chaos in Order, 2020, manual paper-cutting, xerox prints, 138 x 138 x 95 inches

Noa Yekutieli, The Chaos in Order, 2020, manual paper-cutting and xerox copies, 138 × 138 × 95 in. (350.52 × 350.52 × 241.3 cm)

Shoji Screen, 2021, manual paper-cutting, 59 7/8 x 97 1/4 inches

Noa Yekutieli, Shoji Screen, 2021, manual paper-cutting, 59⁷/₈ × 97¹/₄ in. (152.07 × 247.01 cm)

Not a place to rest, 2022, manual paper-cutting, hand woven textile, 47 1/4 x 37 1/8 inches

Noa Yekutieli, Not a place to rest, 2022, manual paper-cutting and hand woven textile, 47¹/₄ × 37¹/₈ in. (120.01 × 94.3 cm)

From Dichotomy to Color, 2022, manual paper-cutting, hand woven textile, 20 1/8 x 32 1/4 inches

Noa Yekutieli, From Dichotomy to Color, 2022, manual paper-cutting and hand woven textile, 20¹/₈ × 32¹/₄ in. (51.12 × 81.91 cm)

Being There Absent, 2022, manual paper-cutting, hand woven textile, 82 5/8 x 55 1/8 inches

Noa Yekutieli, Being There Absent, 2022, manual paper-cutting and hand woven textile, 82⁵/₈ × 55¹/₈ in. (209.87 × 140.02 cm)

Residents from Israel

Yael Frank

$\Permanent installation of a fake coconut tree bending down from the roof along the facade of Artport Residency Building$

Israel, United States

Artis

Studio #211

Adam Liam Rose

United States, Israel

Artis

Studio #222

Gil Yefman

This crochet gender monstrosity critically reflects on the etymological evolution of the biblical pre medical term used to describe a transgender - TUMTUM, and it's use in young Hebrew in order to describe stupidity.

Israel

Artis

2021

Norway, Zambia

Current Resident: Sep 1, 2022–Aug 31, 2023

OCA - Office for Contemporary Art Norway

Studio #220

Artist

Anawana Haloba

Anawana Haloba’s artistic practice is an ongoing investigation of different 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.

anawanahaloba.net

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). The session last for 25 minutes

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

Kjersti Solbakken

Norway

OCA - Office for Contemporary Art Norway

Studio #221

Skaus

Norway

OCA - Office for Contemporary Art Norway

2022

Marie Nerland

Norway

OCA - Office for Contemporary Art Norway

2021

Norway

Current Resident: Sep 1, 2022–Nov 30, 2022

OCA - Office for Contemporary Art Norway

Studio #221

Curator

Kjersti Solbakken

Kjersti Solbakken is a freelance curator, writer, and institutional leader who has recently been appointed as the curator of the Lofoten International Art Festival (LIAF) 2024. She is the co-founder of Feil forlag and Holodeck, and former director of Kunstnerforbundet, Galleri Format, and Fotogalleriet.

Kjersti Solbakken has presented exhibitions at Kunstnerforbundet; Astrup Fearnley Museet; and Fotogalleriet, all in Oslo, among others.

nnks.no

Kjersti Solbakken, Bente Sætrang, 2020, exhibition at Kunstnerforbundet, publication

John Raustein, Når alt faller på plass, 2019, exhibition, installation view at Kunstnerforbundet, dimensions variable. Photo by Thomas Tveter

Kjersti Solbakken, artist Ahmed Umar with visitors at Kunstnerforbundet, 2018, studio programme. Photo by Thomas Tveter

Marit Paasche, Lives and Videotapes - The Inconsistent History of Norwegian Video Art, 2014, publication. Photo by Thomas Tveter

Kamilla Langeland and Maya Økland, Intimitet og nærhet, exhibition curated with Kari Skippervold, installation view at Kunstnerforbundet, dimensions variable. Photo by Thomas Tveter

Residents from Norway

Anawana Haloba

Norway, Zambia

OCA - Office for Contemporary Art Norway

Studio #220

Skaus

Norway

OCA - Office for Contemporary Art Norway

2022

Marie Nerland

Norway

OCA - Office for Contemporary Art Norway

2021

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