Nicolas Provost’s work reflects on the grammar of cinema, the human condition in our collective film memory and the relation between visual art and the cinematic experience. His films provoke both recognition and alienation, and succeed in catching our expectations in an unraveling game of mystery and abstraction. With manipulations of time, codes and form, cinematographic and narrative language is analyzed, accents are shifted and new stories are told.
Nicolas Provost (born in Ronse, Belgium) lives and works in Brussels following 10 years in Norway. His films have been exhibited worldwide and have earned awards and screenings at prestigious festivals including the Sundance Film Festival, Venice Film Festival, Berlinale, San Sebastian Film Festival and Locarno Film Festival. Solo exhibitions include The Seattle Art Museum; Musée d’art moderne et contemporain, Strasbourg, France; Tim Van Laere Gallery, Antwerp, Belgium; and Haunch of Venison, London. His award-winning first feature film The Invader had its world premiere at the Venice Film Festival 2011.
Residents from Belgium
Erlend Hammer is interested in working with a small group of artists on a number of exhibitions. In working frequently with a small number of artists, strong relationships develop over time. A project begins with the discovery of a catchy title. For Bunnies, it must be bunnies, Lautom Contemporary, Oslo, 2009, he invited artists to make works about rabbits. For Oh how time flies, Bergen Kunsthall, 2011, the show came about because an artist had a work rejected for another exhibition; this work then became the namesake for Hammer’s project.
Erlend Hammer trained as an art historian at the University of Bergen, Norway and holds a degree in creative curating from the Art Academy, Bergen. From 2005-2008, he was a freelance art critic, and in 2008 his book Collected Art Criticism 2005-2008 was published by CTRL-Z Publishing. In 2011, Hammer began writing regular commentary for the daily newspaper Dagbladet. In 2011-2012 he was Assistant Editor and then Acting Editor ofKunstkritikk, a Nordic web journal for art criticism. He is currently co-curator of the 7thMomentum Biennial to open in Moss, Norway in June 2013.
Residents from Norway
Ambie Abaño’s shift from painting to printmaking brought her to an exploration of the medium as she investigates portraiture in relation to both material and process. From two-dimensional prints, her experimental works led to the creation of portraits and figures in sculpture, mixed media works, and installations, always with an element of traditional printmaking processes.
Ambie Abaño (born Manila 1967) abandoned the practice of architecture in favor of being a visual artist. She exhibits widely in the Philippines and across Asia. Abaño is a faculty member at the University of the Philippines College of Fine Arts. For the past six years, she served as president of the Philippine Association of Printmakers and remains active in their training program. Her solo exhibitions include: SurFACE (2011); Sanctuaire des memoires (2012) at the Alliance Francaise de Manille, and TransFIGURATION at the Cultural Center of the Philippines (2006). She participated in A/P: Analog Playground, Ateneo Art Gallery, Manila; The Speaking House, Kerala, India (2012); Asian International Art Exhibition (2007-2011), and Open Studios at Cité Internationale des Arts, Paris (2011).