Past Residents

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The Netherlands

Past Resident
2024: Mondriaan Fund

Artist

Coralie Vogelaar

Coralie Vogelaar is a multidisciplinary artist who combines social science with her artistic practice. By viewing the human body from a machine-cognitive perspective, Vogelaar explores the relationship between humans and technology. She creates performances and multimedia installations in collaboration with experts from various disciplines such as data analysis, choreography, and sound design.

Coralie Vogelaar has exhibited work at Stedelijk Museum, The Netherlands; HeK (House of electronic Arts), Switzerland; and Photographers’ Gallery London, England, among others.

Events & Exhibitions

Artists at Work: Coralie Vogelaar in Conversation with Chiarina Chen
January 16, 2024, 6:30–7:30pm
2023 Fall Open Studios
November 10–November 11, 2023
2023 Spring Open Studios
April 21–April 22, 2023
This interactive installation examines our urge to exert control over our body, the uncontrollable nature of the conditions that influence how we feel, and the data systems that analyze our state of wellbeing. Visitors are invited to take a seat and place a sensor on their earlobe. Their heart rate variability (HRV), the period between heartbeats, will immediately become audible as the sound of ticking metal friction on ceramics, and squeaking polysterene. Changes in HRV directly impact on the sound composition by Sjoerd Leijten and vice versa. The sensors register all the irregularities of the heartbeat, which fluctuates in response to physical and emotional factors. Because of the complexities involved in identifying the cause of individual fluctuations, science often dismisses small variations as irrelevant, and only average readings are used for examinations. Coralie Vogelaar explores the “noise” that is ususally filtered out in this hybrid cross of technological research and fine art - the installation exudes the atmosphere of a test environment, with its aluminium tubing, visible cables, and the inbuilt and pre-programmed conditional rules. Vogelaar demonstrates that our mood states are more complex than would be suggested by an averaged out measurement. She embraces this complexity by combining data-sampling systems with the physical experience of sound, rather than imposing any scientific framework or delimitation
Coralie Vogelaar, Interpersonal Biofeedback Apparatus Encoding Cardiac Fluctuations, 2021, interactive 10-channel audio installation, 240 × 200 × 80 in. (609.6 × 508 × 203.2 cm).
This work explores deconstructed facial expressions according to the Facial Action Coding System. This system forms the basis of contemporary emotion recognition software. With the help of the tracking mechanism of a mobile phone the performance demonstrates a computational approach to our emotions.
Coralie Vogelaar, Emotions from an Algorithmic Point of View, 2018, live performance, 20 min..
Half human, half machine, the figure of the video installation Infinite Posture Dataset is stuck within the confinements of the screen and either following or giving certain instructions to the rhythm of the machine. She is wearing a tight suit reminiscent of the ones used for motion capture techniques, involving the digital registration of body movement. In the work the performer is talking about the feelings stirred in her body memory while performing the movements and which results in spoken out loud, incoherent emotions. Her limbs also seem to have been detached. All in all, the spectator is left with random pieces of the puzzle. In similar cases we would usually focus on the face, but that too is hidden. While observing the deconstructed and reformulated poses of the performer, could the machine perhaps understand what she is trying to communicate? Vogelaar reveals how the bigger picture continues to be intangible to both human and machine. Neither human, nor machine has all the answers
Coralie Vogelaar, Infinite Posture Dataset, 2020, 65 in flatscreen, Relax Zone Pro Inversion Table, weight plate and motor, 15 min..
Half human, half machine, the figure of the video installation Infinite Posture Dataset is stuck within the confinements of the screen and either following or giving certain instructions to the rhythm of the machine. She is wearing a tight suit reminiscent of the ones used for motion capture techniques, involving the digital registration of body movement. In the work the performer is talking about the feelings stirred in her body memory while performing the movements and which results in spoken out loud, incoherent emotions. Her limbs also seem to have been detached. All in all, the spectator is left with random pieces of the puzzle. In similar cases we would usually focus on the face, but that too is hidden. While observing the deconstructed and reformulated poses of the performer, could the machine perhaps understand what she is trying to communicate? Vogelaar reveals how the bigger picture continues to be intangible to both human and machine. Neither human, nor machine has all the answers.
Coralie Vogelaar, Infinite Posture Dataset (Making off), 2020, still image..
Two photographs of the same event, taken at the same moment and from the same vantage point: one of the photographs has appeared thousands of times on the Internet, the other barely or not at all. Why is one image more successful than the other? In Recognized / Not Recognized, Coralie Vogelaar (NL, °1981) creates a comparative study of popular and unpopular news images. The result is an intriguing video installation.


Coralie Vogelaar, Recognized/Not Recognized, a comparative movement analysis of popular and unpopular news images, 2017, two channel video installation, 9 min..

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
Denmark

Past Resident
2023: Danish Arts Foundation

Curator

Charlotte Sprogøe

Charlotte Sprogøe is a curator working with performance and installation. She previously worked as Chief Curator at Kunsthal Arhus and has held positions at Tranen Contemporary Art Center, The Danish National Gallery, and Brandts Museum, among others. Sprogøe is currently a PhD fellow in Curatorial Practice at The Royal Danish Academy of Fine Arts.

Charlotte Sprogøe has curated exhibitions at Kunsthal Charlottenborg; Kunsthal Aarhus; Brandt Museum, all in Denmark, among others.

Events & Exhibitions

2023 Spring Open Studios
April 21–April 22, 2023
Installation view of Cecilia Bengolea's work "Deary Steel" for the exhibition "Red Light Green Light", 2022, curated by Charlotte Sprogøe.
Installation view of Korakrit Arunanondchai's work "Songs for Living" for the exhibition "Red Light Green Light", 2022, curated by Charlotte Sprogøe.
Installation view of Alex Baczynski-Jenkins' work "Unending love, or love dies, on repeat like it's endless" for the exhibition "Red Light Green Light", 2022, curated by Charlotte Sprogøe.
David Douard, 2014, sculpture, exhibited at the exhibition "Still Waters Run Deep".
Part of Sensibility at Tranen, 2016.

Residents from Denmark

Tora Schultz

Denmark
Danish Arts Foundation
Studio #207

Asta Lynge and Jakob Ohrt

Denmark
Danish Arts Foundation
Studio #305

Marie Munk

Denmark
Danish Arts Foundation
2024
Austria

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

Artist

Evelyn Plaschg

Evelyn Plaschg’s works explore the body as it transitions between mediated staging and raw emotion. Her paintings are based on stills from smartphone videos in which the body serves as a platform for psychological as well as social states.

Evelyn Plaschg has exhibited work at Kunstverein Bremerhaven, Germany; Kunstverein Nürnberg, Germany; and Gallery Layr, Austria, among others. 

 

 

 

 

 

 

 

Events & Exhibitions

2023 Spring Open Studios
April 21–April 22, 2023
Evelyn Plaschg, Albert Chromed, 2020, pigment on paper, 39 × 24 in. (99.06 × 60.96 cm).
Evelyn Plaschg, Saboteurs, 2022, pigment on paper, 50 × 30 in. (127 × 76.2 cm).
Evelyn Plaschg, In Condensation, 2021, pigment on paper, 67 × 39 in. (170.18 × 99.06 cm).
Evelyn Plaschg, Untitled, 2021, inkjet Prints, dimensions variable.
Evelyn Plaschg, Dove Dive, 2022, pigment on paper, 61 × 35 in. (154.94 × 88.9 cm).

Residents from Austria

Marianne Vlaschits

Austria
Federal Ministry for Arts, Culture, Civil Service and Sport of Austria
Studio #218

Ulrike Königshofer

Austria
Federal Ministry for Arts, Culture, Civil Service and Sport of Austria
2024

Irina Lotarevich

Austria
Federal Ministry for Arts, Culture, Civil Service and Sport of Austria
2024