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Germany, Switzerland

Current Resident: Sep 1, 2023–Feb 29, 2024

Senate Department for Culture and Europe, Berlin

Studio #205

Artist

Okka-Esther Hungerbühler

Artist Okka-Esther Hungerbühler works with both painting and sculpture to explore different themes. In her paintings, Hungerbühler returns to the shape of the „princess dress“, which she uses abstractly, and depicts rooms as colored sketches of interiors. Her sculptures are creature-like, with a highly simple body shape composed of decorative materials.

Okka-Esther Hungerbühler has exhibited work at Kunstverein Dresden, Dresden; Schwartzsche Villa, Berlin; and mumok Wien, Vienna, among others.

Okka-Esther Hungerbühler, Red flower, 2022, papier-mâché, ostrich feathers and animatronics, 62 × 19 in. (157.48 × 48.26 cm)
Okka-Esther Hungerbühler, Goose, 2022, paper, adhesive foil, glitter, animatronic, 31 × 19 × 23 in. (78.74 × 48.26 × 58.42 cm)
Okka-Esther Hungerbühler, Everybody against everybody, 2018, wrapping paper, glitter, glue and feathers, dimensions variable
Okka-Esther Hungerbühler, Monster Dress, 2023, acrylic on canvas, 39 × 35 in. (99.06 × 88.9 cm)
Okka-Esther Hungerbühler, Empty bar from above, 2018, acrylic and marker on canvas, 37 × 39 in. (93.98 × 99.06 cm)

Residents from Switzerland

Pascale Birchler

Switzerland
Pro Helvetia, Atelier Flex - Kanton Zug
Studio #213

Elza Sile

International Enemies, dimensions variable, exhibited under (Mir-Nul) at Kim? Contemporary Art Centre, Riga, 2022
Latvia, Switzerland
Kim? Contemporary Art Centre
2022

Flurin Bisig

Switzerland
Albert Koechlin Stiftung
2022
Belgium

Current Resident: Jul 1, 2023–Dec 31, 2023

Edward Steichen Award Luxembourg

Studio #206

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.

evalhoest.com
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
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

Felix Kindermann

In staging the choir Ghent Singers as a moving sculpture, Felix Kindermann‘s
Germany, Belgium
Ministry of Culture of the Flemish Community Visual Arts Department, Tony & Sissi Moens
2023

Kristian Nemeth

Crystal glass is known for its fragility. By layering crystal glass objects I multiply the feeling of fragility. Individual crystal glass objects are not glued together and as such may break by simple sound waves produced by passer-by.
Belgium, Slovakia
International Visegrad Fund
2022

Ariane Loze

Belgium, France
La Fondation pour l'Art Contemporain Claudine et Jean-Marc Salomon
2020
Denmark

Current Resident: Sep 1, 2023–Jan 31, 2024

Danish Arts Foundation

Studio #207

Artist

Esben Weile Kjær

In his performances, installations and sculptures, Esben Weile Kjær examines identity among his own generation and explores the role of popular culture and technology in determining our experience of community and freedom.

Esben Weile Kjær has exhibited works at Arken-Museum of Contemporary Art, Denmark; Centre Pompidou, Paris; and Mumok, Vienna, among others.

Esben Weile Kjær, HARDCORE FREEDOM, 2020, installation, Copenhagen Contemporary
Esben Weile Kjær, HYPER!, 2022, performance, Museum Tinguely, Basel
Esben Weile Kjær, BUTTERFLY!, 2023, painted bronze, Arken - Museum of Contemporary Art
Esben Weile Kjær, Mirror, 2022, stained glass, Kunsthal Charlottenborg
Esben Weile Kjær, Light dancer, 2023, mixed media, light and sound installation

Residents from Denmark

Ida Schyum

Installation view, Jacolby Satterwhite, A Feeling of Healing, the Museum of Contemporary Art, Roskilde, 2022. Photo: David Stjernholm.
Denmark
Danish Arts Foundation
Studio #204

Hannibal Andersen

An arrangement of colors trademarked by companies such as Duracell, Red Bull, Lidl, UPS, FC Barcelona, 3M (post- it) among others, all borrowed from the European Intellectual Property Office, EUIPO. The “color marks”, as they go by, grant businesses the exclusive right to use the colors in a variety of commercial contexts.
Denmark
Danish Arts Foundation
2023

Carl Mannov

Denmark
Danish Arts Foundation
2023

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