Past Residents

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Past Resident
2023: Federal Ministry for Arts, Culture, the Civil Service and Sport of Austria

Artist

Belinda Kazeem-Kamiński

Belinda Kazeem-Kamiński is a writer, artist, and scholar. Her research-based and process-oriented practice rooted in Black feminist theory revolves around archives, specifically the gaps and blanks in public archives and collections. Her works, which intertwine documentary and fiction and are presented in a wide range of mediums, examine the present of an everlasting colonial past. Kazeem-Kamiński’s first artistic monograph a past without closure will be published by Sternberg Press in 2023.

Belinda Kazeem-Kamiński has exhibited work at 2023 Liverpool Biennial, United Kingdom; Camera Austria, Austria; and Kunsthalle Wien, Viena, among others.

Events & Exhibitions

Artists at Work: Anawana Haloba and Belinda Kazeem-Kamiński

August 31, 2023, 6–7:30pm

Unearthing. In Conversation © Belinda Kazeem-Kamiński, Gallery Wonnerth Dejaco

Belinda Kazeem-Kamiński, Unearthing. In Conversation, 2017, video, 13 min.

The Letter © Belinda Kazeem-Kamiński, Gallery Wonnerth Dejaco

Belinda Kazeem-Kamiński, The Letter, 2019, video, 18 min.

Fleshbacks © Belinda Kazeem-Kamiński, Gallery Wonnerth Dejaco

Belinda Kazeem-Kamiński, Fleshbacks, 2021, video, 6 min.

In Search of Red, Black, and Green© Belinda Kazeem-Kamiński, Gallery Wonnerth Dejaco

Belinda Kazeem-Kamiński, In Search of Red, Black, and Green, 2021, photograph, 31 × 46 in. (78.74 × 116.84 cm)

Respire (Liverpool) ©Belinda Kazeem-Kamiński, Gallery Wonnerth Dejaco

Belinda Kazeem-Kamiński, Respire (Liverpool), 2023, video, 16 min.

Residents from Austria

Jojo Gronostay

Germany, Ghana, Austria

Federal Ministry for Arts, Culture, the Civil Service and Sport of Austria

Studio #212

Christian Schwarzwald

RESIS 2023 exhibition: TO PAINT THE WRITTEN WORLD together with Kurt Chan ink on paper, single drawings pigment on canvas, charcoal on paper, monotypes on paper, wall drawing

Austria

Federal Ministry for Arts, Culture, the Civil Service and Sport of Austria

Studio #218

Zara Pfeifer

Austria, Germany

Federal Ministry for Arts, Culture, the Civil Service and Sport of Austria

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

Sandra Mujinga

Norway

OCA - Office for Contemporary Art Norway

Studio #220

Håkon Lillegraven

Norway

OCA - Office for Contemporary Art Norway

2023

Martinka Bobrikova & Oscar de Carmen

Gathering in front of parlament of Oslo, as protest, assembly, practicing collective nap.

Norway, Slovakia, Spain

Oslo Kommune Internasjonalt

2022

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, 90 × 20 × 20 in. (228.6 × 50.8 × 50.8 cm)

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

Hulda Rós Gudnadóttir

Part of a series of 5 photographs teased from an archive of research photographs for the SILICA art practice as research project that traces the manufacturing of semiconductors for solar cells. Oceanic transport is large part of that process.

Germany, Iceland

Icelandic Art Fund, The Icelandic Visual Artists Copyright Association, Gallery Gudmundsdottir, The Association of Icelandic Visual Artists (SÍM)

Studio #203

Jojo Gronostay

Germany, Ghana, Austria

Federal Ministry for Arts, Culture, the Civil Service and Sport of Austria

Studio #212

Okka-Esther Hungerbühler

Germany, Switzerland

Senate Department for Culture and Europe, Berlin

Studio #205