Past Residents

Country
Year
Residency Program
Resident Type
List Grid
Residents Map
Switzerland

Past Resident
2024: Pro Helvetia, Atelier Flex - Kanton Zug

Artist

Pascale Birchler

Pascale Birchler creates theatrical installations that form a multi-layered system of visual connotations. Her work explores the embodiment of loneliness and stalemate, as well as the contemporary status quo.

Pascale Birchler has exhibited work at Istituto Svizzero, Rome; UCCA Edge, Shanghai; and Gallery Peter Kilchmann, Zurich, among others.

Events & Exhibitions

2023 Fall Open Studios
November 10–November 11, 2023
2023 Spring Open Studios
April 21–April 22, 2023
Pascale Birchler, Da sind wir, losgekettet von der Sonne (Here we are, unchained from the sun), close up, 2022, sculpture, wood, modeling clay, glaze, pigments, artificial hair, oil painting on wood, acrylic glass, metal frame, flowers, wire and textile, dimensions variable.
Pascale Birchler, Da sind wir, losgekettet von der Sonne (Here we are, unchained from the sun), 2022, sculpture, wood, modeling clay, glaze, pigments, artificial hair, oil painting on wood, acrylic glass, metal frame, flowers, wire and textile, dimensions variable.
Pascale Birchler, In den Wiesen I-III (In the Meadows I-III), 2020, aquarellle and colored pencil on paper, 865/8 × 59 in. (219.96 × 149.86 cm)
Pascale Birchler, Schmetterlingsstühle I / II (Butterfly Chairs I / II), 2019, metal and glass with burned glasspainting, dimensions variable.
Pascale Birchler, Die Dichter (The Poets), 2018, wood, padding, modelling glay, glaze, textile and oil pencil, dimensions variable.

Residents from Switzerland

Sara Sjölin

Jettes Dinerskole is a comedy that takes place between a guest teacher and the evening school students from Fyn's Laboratory for Young Art. We follow a script meeting and the location (Jette's Diner), where the recordings become, simultaneously, the students' short film and Sara Sjölin's work; a film about a workshop on making film.
Sweden, Switzerland
Danish Arts Foundation
Studio #207

Okka-Esther Hungerbühler

Germany, Switzerland
Senate Department for Culture and Europe, Berlin
2024

Elza Sile

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

Past Resident
2023: Edward Steichen Award Luxembourg

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.

Events & Exhibitions

2023 Fall Open Studios
November 10–November 11, 2023
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

Apichaya Wanthiang

28'54'' video installation projected on three layers of netting, coconut and palmyra leafes, headlamps, four paintings
Norway, Thailand, Belgium
OCA - Office for Contemporary Art Norway
Studio #220

Shir Handelsman

A short video work, which presents an opera singer, standing on a lifted platform and singing a Martyr's wish for redemption.
Belgium, United States
Artis
2024

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
Ireland

Past Resident
2023: Temple Bar Gallery + Studios, Dublin

Artist

Aileen Murphy

Aileen Murphy creates paintings that convey corporeal and psychological tenacity. Murphy employs painting as an artistic process in which color and motion are living wires.

Aileen Murphy has exhibited work at Temple Bar Gallery + Studios, Dublin; Deborah Schamoni, Munich; and Amanda Wilkinson, London, among others.

Events & Exhibitions

2023 Fall Open Studios
November 10–November 11, 2023
Painting
Aileen Murphy, soprano crush, 2023, oil, oil bar, acrylic ink and pencil on canvas, 707/8 × 627/8 in. (180.09 × 159.77 cm)
painting
Aileen Murphy, Hi! Arrangement, 2022, oil and pigment on canvas, 755/16 × 701/16 in. (191.26 × 178.03 cm)
Aileen Murphy, PANTING, 2019, exhibition view. Temple Bar Gallery + Studios, Dublin
painting
Aileen Murphy, In the gale, with Gale, 2020, oil and oil bar on canvas, 76.8
food that I would feed my lover, Deborah Schamoni
Aileen Murphy, food that I would feed my lover, 2022, exhibition view. Deborah Schamoni, Munich

Residents from Ireland

Sonia Shiel

One irregularly shaped painting hangs on a white wall. It has botanical qualities, with a dark green vertical section splitting in two, and bordering a burst of yellow. Inside the yellow section are spiraling spurts of seed-like red and orange, and fringed with a green frill.
Ireland
Temple Bar Gallery + Studios, Dublin, Arts Council of Ireland
Studio #302

Celina Muldoon

live performance, moving image and installation
Ireland
Arts Council of Ireland
2023

Aideen Barry

Ireland
Temple Bar Gallery + Studios, Dublin
2023