Past Residents

List Grid

Past Resident
2023: Danish Arts Foundation

Artist

Julian Juhlin

Julian Juhlin creates theatrical visual art using staging techniques he learned while working as a stage designer, establishing a distinct iconography in the artist’s practice. In his works, Juhlin stages figures and objects derived from his own experience, placing them in visual scenes frozen in time in an attempt to maintain and preserve specific stages of life.

Julian Juhlin has exhibited work at Copenhagen Contemporary, Denmark; Prague Quadrennial, Czech Republic; and Royal Danish Theatre, Denmark, among others.

Events & Exhibitions

2022 Fall Open Studios

November 18–November 19, 2022

Julian Juhlin, The Boy Who Will Never Leave Home, 2012-ongoing, installation, performance and video

Julian Juhlin, Halfdans Hokus Pokus, 2019, set design, 315 × 748 × 236 in. (800.1 × 1899.92 × 599.44 cm)

Julian Juhlin, Virgin Tour - Czech Republic, 2019, performance and installation, 196 × 196 × 149 in. (497.84 × 497.84 × 378.46 cm)

Julian Juhlin, Virgin Tour - Tokyo, 2022, performance and installation, 78 × 149 × 66 in. (198.12 × 378.46 × 167.64 cm)

Julian Juhlin, Virgin Tour - New York, 2022, film, 8 min.

Residents from Denmark

Charlotte Sprogøe

Denmark

Danish Arts Foundation

Studio #207

Vibe Overgaard

Installation and Performance at Celsius Projects Malmö. Photo: Lena Bergendahl

Denmark

Danish Arts Foundation

Studio #201

Tina Maria Nielsen

Denmark

Danish Arts Foundation

2022

Greece

Past Resident
2022: ARTWORKS

Artist

Iria Vrettou

Iria Vrettou’s practice focuses on concepts and modes of hybridity as research and practice methods, while also addressing aspects of hand-drawn animation in relation to larger cinematic and performative practices. Her research focuses on environmental and social issues, as well as the function of the ‘screen’ in the context of cultural production and political processes. She also investigates the creation of art works that can function as disquieting, complete spatiotemporal experiences.

Iria Vrettou has exhibited work at Onassis Stegi, Athens; CYLINDER gallery, Seoul; ERGO Collective, Athens; and Space 52, Athens, among others.

Events & Exhibitions

2022 Fall Open Studios

November 18–November 19, 2022

‘Daemonic Ecran Vivant’ is a moving portrait based on the concept of Tableau Vivant. The piece operates on specific hand drawn animated loops. The emphasis is placed on the movement of bodies, human, non-human, and more-than-human. It investigates how such movements can be perceived as dance for various concepts & species and the atmospheres that these create. If we consider life cycles as an expression of symbiosis then we can easily discern a ritual of perpetual transformation: the choreography of life. Image #2

Iria Vrettou, Daemonic Ecran Vinant, 2020, moving image, 1:33 min.

“Necropsy of a Void (9 and a half Serenades for the exorcism of Ghosts)” is an animated film created by Adrianos Efthymiadis and Iria Vrettou, commissioned for the exhibition “Is Everybody In? The Ceremony is about to begin.” The work responded to the concept of the exhibition which explored the meaning and emerging forms of ‘the ritual’. Necropsy of a Void, is an elegy, a song about an impossible ritual: these nine and a half serenades ritualize this process of necropsy of the void, to sing the impossible process of conceptualizing the void and cutting into it, to conjure ghosts past and ghosts’ future, invite them in a dance, much like the dances that are lost to us because of the pandemic, in the break that we experience.

Iria Vrettou, Necropsy of a Void (9 and a half Serenades for the Exorcism of Ghosts), 2021, moving image, 8:47 min.

In 1612 Galileo wrote to his friend, the painter Lodovico Cardi, known as Cigoli: “The statue does not have its relief by virtue of being wide, long and deep but by virtue of being light in some places and dark in others. And one should note as proof of this that only two of its three dimensions are actually exposed to the eye: length and width (which is the superficies . . . that is to say, periphery or circumference). For, of the objects appearing and seen, we see nothing but their superficies; their depth cannot be perceived by the eye because our vision does not penetrate opaque bodies. The eye then sees only length and width and nev- er thickness. Thus, since thickness is never exposed to view, nothing but length and width can be perceived by us in a statue. We know of depth, not as a visual experience per se and absolutely but only be accident and in relation to light and darkness. And all this is present in painting no less than sculpture... But sculpture receives lightness and darkness from nature herself whereas painting receives it from art.”

Iria Vrettou, Galileo's Relief, 2016, moving image, 1:15 min.

his bush is a feeling “ is a performative piece that, animates a discussion and queers space in order to conjure unexpected identities. Identities arising from within the Volcano and materialising out into in the botanical garden”

Iria Vrettou, This bush is a feeling, 2022, performance, 20:00 min.

Homer Dreamt Before He Slept”, is a video-installation performance by Iria Vrettou which was done as part of Ios Festival 2021 and took place at the square of a small church. The performance conjures Iria (female primordial god-messenger) who blurs the Homeric myth with Hesiod’s cosmology. This performance is part of an ongoing research on myth and ritual vis a vis body politics and queer ecologies. The music is composed by artist Anto Lopez.

Iria Vrettou, This bush is a feeling, 2021, performance video, 12:00 min.

Residents from Greece

Dimitra Kondylatou

LUXENIA, 4K, stereo, (& DCP 5.1), 24fps, 2.39:1, 00:10:04, 2021

Greece

ARTWORKS

2022

Ιris Touliatou

Greece

ARTWORKS

2021

Stefania Strouza

Greece

The J.F. Costopoulos Foundation

2021

Austria

Past Resident
2022: Federal Ministry for Arts, Culture, the Civil Service and Sport of Austria
2021: Federal Ministry for Arts, Culture, the Civil Service and Sport of Austria

Artist

Anaïs Horn

Anaïs Horn’s work intertwines literature, text, photography, video, drawing and painting to explore intimate moments. With a focus on liminality and coming-of-age, Horn observes people and their spaces. In her artistic process, she investigates time, memories, the body and its traces, the cautious intrusion of privacy, the aesthetics of reality, and fugacity. Her images take shape by exploring surfaces and objects, and they frequently unfold into spatial installations.

Anaïs Horn has exhibited work at Camera Austria, Graz; Paris Photo, Curiosa Section, Paris; and MAK-Museum of Applied Arts, Vienna, among others.

Events & Exhibitions

2022 Fall Open Studios

November 18–November 19, 2022

2020 Fall Open Studios

November 17–November 18, 2020

Anaïs Horn, Longing Ghosts in Deep Blue Paranoia, 2022, photography, drawing and installation, dimensions variable

Anaïs Horn, Les Fenêtres, 2022, photography and painting, dimensions variable

Anaïs Horn, Die Hand voller Stunden, so kamst du zu mir, 2021, photography and installation, dimensions variable

Anaïs Horn, You would wear it as pajamas and even to go out with it before breakfast, 2021, yukata object and several photo prints on crêpe de Chine, dimensions variable