Past Residents

Country
Year
Residency Program
Resident Type
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Canada

Past Resident
2023: Canada Council for the Arts

Artist

Janet Jones

Janet Jones’ paintings evoke abstract impressions of our modern urban world and cyber cities where the real, virtual, local, and global collide to form a techno-sublime environment.

Janet Jones has exhibited work at the Museum of Contemporary Art, Canada; Patrick Mikhail Gallery, Canada; and Kunsthalle Erfurt, Germany, among others. 

Events & Exhibitions

2023 Spring Open Studios
April 21–April 22, 2023
Who's watching who? A reflection on the zeitgist of current cybercities
Janet Jones, Who's Watching Who?, 2021, acrylic and gouache on patterned canvas, 18 × 18 in. (45.72 × 45.72 cm).
An installation view of the exhibition 'Gathering Fictions' at the Varley Art Gallery, Toronto, ON. 2022.
Janet Jones, Gathering Fictions, 2022, acrylic and gouache on patterned canvas.
A contemporary reflection on Barnett Newman's painting 'Voice of Fire' now owned by the National Gallery of Canada. In this piece I've changes the title to many voices and to love instead of fear.
Janet Jones, Voices of Love and Who's Looking at Who?, 2021, acrylic and gouache on patterned canvas, 160 × 120 in. (406.4 × 304.8 cm).
A reflection on Paul Klee's 'Angelus Novus' bought by the Jewish/German culturl critic Walter Benjamin during WWII in Germany. How does it relate to our present Zeitgeist?
Janet Jones, Benjamin's Angel, 2022, acrylic and gouache on patterned canvas, 52 × 92 in. (132.08 × 233.68 cm).
Reflections, as a flaneuse, from walking through Berlin.
Janet Jones, Black Holes, 2022, acrylic and gouache on patterned canvas, 52 × 92 in. (132.08 × 233.68 cm).

Residents from Canada

Asal Andarzipour

Canada, Iran
Alberta Foundation for the Arts, Behdad Esfahbod
Studio #213

Braxton Garneau

Canada
Elizabeth Greenshields Foundation, Edmonton Arts Council, Canada Council for the Arts
Studio #202

Jude Griebel

Canada, United States
Canada Council for the Arts
2016
Germany, Iceland

Past Resident
2023: Icelandic Art Fund, The Icelandic Visual Artists Copyright Association, Gallery Gudmundsdottir, The Association of Icelandic Visual Artists (SÍM)
2023: The Icelandic Visual Artists Copyright Association, Gallery Gudmundsdottir, Icelandic Art Fund

Artist

Hulda Rós Gudnadóttir

Hulda Rós Gudnadóttir explores social engagement, connections and ideas between socio-economic systems and the environment through installations, paintings, sculptures, objects, photographs, film, and performances. Gudnadóttir’s multidisciplinary practice connects the artist’s personal perspective to global histories.

Hulda Rós Gudnadóttir has exhibited work at Berlinische Galerie, Germany; Künstlerhaus Bethanien, Germany; and Reykjavik Art Museum, Iceland, among others.

 

Events & Exhibitions

2023 Fall Open Studios
November 10–November 11, 2023
Artists at Work: Maess Anand and Hulda Rós Gudnadóttir
March 28, 2023, 6–7:30pm
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.
Hulda Rós Gudnadóttir, S-I-L-I-C-A 02, 2022, archival pigment print on Hahnemühle paper, 311/2 × 473/16 in. (80.01 × 119.89 cm).
Hulda Rós Gudnadóttir, Shipyard Paintings 01, 2020, ship paint on aluminium, 161/2 × 49 in. (41.91 × 124.46 cm).
Hulda Rós Gudnadóttir, WERK 01, 2021, archival pigment print on Hahnemühle Fine Art paper, 271/2 × 223/8 in. (69.85 × 56.9 cm).
Hulda Rós Gudnadóttir, Hooked, 2019, patinated bronze, 1 × 4 × 1 in. (2.54 × 10.16 × 2.54 cm).
Hulda Rós Gudnadóttir, S-I-L-I-C-A, still, 2023, 4k video, 70 min.

Residents from Germany

Lukas Marxt

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

Szu-Ying Hsu (Ida)

Taiwan, Germany
Ministry of Culture, Taiwan
Studio #302

Matthias Garff

Germany
KdFS Kulturstiftung des Freistaates Sachsen
Studio #214
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