Past Residents

Country
Year
Residency Program
Resident Type
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Greece

Past Resident
2021: The J.F. Costopoulos Foundation

Artist

Stefania Strouza

Stefania Strouza’s practice explores how cultural narratives of diverse epochs connect to produce new identity projects. It examines the spatial mobility of such narratives, the exchange of forms and symbols across large distances, and the cross-cultural syncretisms that emerge from it. The artist materializes these ideas through sculptural works and installations that draw associations between the symbolic world of objects and notions of temporality, geography and the body.

Stefania Strouza has exhibited work at The 3rd Industrial Art Biennial, Croatia; NEON, Greece; and Neue Galerie Innsbruck, Austria, among others.

Events & Exhibitions

Artists at Work: Stefania Strouza and Daphne Dragona
September 28, 2021, 1-2pm
Stefania Strouza, 212 Medea (Perpetual Silence Prevails in the Empty Space of Capital), 2020, expanded polystyrene foam, plywood, epoxy resin, varnish, 90 ³⁵/₆₄ × 59 ¹/₁₆ × 47 ¹/₄ (230 × 150 × 120 cm).
Stefania Strouza, 212 Medea (If only I had stayed the animal I was), 2020, metallised cane roots, insulation foam, spray-paint, aluminum foil, pins, 20 ⁵⁵/₆₄ × 13 ²⁵/₆₄ × 15 ²³/₆₄ (53 × 34 × 39 cm).
Stefania Strouza, Pro itu et reditu, 2019, ceramic, bronze, 12 ⁶³/₆₄ × 8 ¹⁷/₆₄ × 4 ²³/₃₂ (33 × 21 × 12 cm).
Fundamentos Líquidos
Stefania Strouza, Fundamentos Líquidos (Liquid Foundations), 2018, bricks, wood, and queen conch shell, 47 ¹/₄ × 78 ⁴⁷/₆₄ × 39 ³/₈ (120 × 200 × 100 cm).
Stefania Strouza, The center will not hold, 2019, plaster, liquid plastic, pewter, and acrylic paint, 106 ¹⁹/₆₄ × 66 ⁵⁹/₆₄ × 3 ¹⁵/₁₆ (270 × 170 × 10 cm).

Residents from Greece

Tamara Kametani

Slovakia, Greece, United Kingdom
International Visegrad Fund
Studio #301

Antonis Pittas

Greece, The Netherlands
Mondriaan Fund
2025

Raffaela Naldi Rossano

Italy, Greece
The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York, Directorate-General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and International Cooperation, Directorate-General for Contemporary Creativity of the Italian Ministry of Culture
2024
Canada

Past Resident
2021: Conseil des arts et des lettres du Québec

Artist

Kim Kölle Valentine

Kim Kölle Valentine is interested in examining the historical implications of how humans understand, remember, and place themselves within stories. Working across video, drawing, installation, and text, Kielhofner collects images and material, and opens an imaginary space where the notions of self and place can be re-written.

Kim Kölle Valentine has exhibited work at Dazibao, Montreal; VOX Contemporary Image Center, Montreal; and Institute of Contemporary Arts, London, among others.

Events & Exhibitions

2021 Fall Open Studios
November 13, 2021
Homecoming Outdoor Screening
August 20, 2021, 8–9:30pm
Kim Kölle Valentine, The Coldest Day of the Year, 2020, video, 8:36 min.
collage of photos and small objects
Kim Kölle Valentine, Whose Language You Don't Understand, 2018, video, 62:00 min.
many colored glasses, pencils, and puzzle pieces
Kim Kölle Valentine, THIRD READING, 2017, video, 10:58 min.
collage of images including jellyfish and Alexandra Bastedo
Kim Kölle Valentine, READING PATTERNS TOGETHER, 2016, video, 8:15 min.
three walls with video projections and benches
Kim Kölle Valentine, A Spot on the Sun, 2015, video installation, variable dimension.

Residents from Canada

Antonietta Grassi

Canada
Conseil des arts et des lettres du Québec, The John Simon Guggenheim Memorial Foundation
Studio #205

Keli Safia Maksud

Tanzania, Canada
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Ground Floor

Asal Andarzipour

Canada, Iran
Alberta Foundation for the Arts, Behdad Esfahbod
2025
Austria, Germany

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

Artist

Anna Witt

Anna Witt’s artistic practice is performative, participatory, and political. She creates situations that reflect interpersonal relationships and power structures as well as conventions of speaking and acting. Her public experimental arrangements often physically draw passersby by repeating imitation of specifically coded gestures and developing complex choreographies, thus giving the participants an opportunities for individual articulation and authorship.

Anna Witt has exhibited work at Belvedere 21, Vienna; Seoul Museum of Art, Seoul; and KW Institue for Contemporary Art, Berlin, among others.

Events & Exhibitions

2021 Fall Open Studios
November 13, 2021
Homecoming Outdoor Screening
August 20, 2021, 8–9:30pm
“Trecce in Fiamme/ Braids on Fire (2 channels HD video 2021) is a video installation in which one part is focused on a conversation and, the other imagines the women of Forcella as almost divine creatures capable through sisterhood and solidarity of becoming present in a society which often puts them apart and closes them away, diminishing us all: in fact, the artist has realized one of the videos letting them to perform as heroic women like in classical frescos where the public spaces of their daily lives became the shared spaces in which to affirm their bold struggled lives. From this process Anna Witt came to imagine a set of performances in which the care for the souls in purgatory in a practice of faith evolves into an inspiring conversation between the women of today with the histories of women of the past, despite the great period of time that might at first appear to separate them. Here is an open conversation between mothers and daughters, between the past and the present, that asks what needs to be done, what may we learn from the past, and what the values are of lives which for too long have been lived in the silence of the “narrative of established history”, lives that actually form and make the strength of society and of future generations.
Anna Witt, Braids on Fire, 2021, 2-channel HD Video, 15 min.
How does automatization and artificial intelligence affect the working situation in an industrial town like Toyota city? What are its effects on the human condition and what does labor mean to each one personal? Factory workers and employees of the car industry in Toyota city came together to discuss their personal experiences and expectations towards the future of labor, automatization and artificial intelligence. In addition to the discussion, imaginative utopian and dystopian aspects are expressed through elements of body movement, sound and performance. The workers extracted movements of their daily working routines and transformed them into a collective choreography. In an act of creativity, they experimented with acoustic instruments and created a reverse process of production by dismantling working clothes. By carefully cutting of piece after piece of cloth from each other’s bodies, they created a playful yet intense moment of liberation. The work was developed in an experimental collaborative process of the artist and the participants together.
Anna Witt, Unboxing the Future, 2019, 3-channel 4K video, 29:09 min.
Kagran and Kaisermühlen are areas in Vienna’s 22nd district that concentrate a piece of the city’s history. Formerly a working-class neighbourhood and stronghold of council housing, it was one of the last bastions of the Socialist Party in its fight against Austrofascism. What interests Anna Witt most about this history is the vibrant utopia, the belief in the collective and in solidarity. The work of the visual artist, who was awarded the Otto Mauer Prize in 2018, is performative and participatory – this allows her to delve into questions that are important to her: How much community still exists in our society? In what way are the residents of a “Gemeindebau” connected nowadays? For Beat House Donaustadt Witt uses an ultrasound scanner to record their heartbeats. At the start of the Wiener Festwochen, the residents open their windows, letting their individual rhythms drift out and join to form a collective sound. The sound of the city.
Anna Witt, Beathouse Donaustadt, 2019, collective performance, 20 min.
Anna Witt is following a group of young people in Leipzig while developing a manifest for a potential youth movement. The young adults spent several months realizing the project in close cooperation with the artist. During their conversations, they are discussing their personal ideas of social utopias and are expressing their own feelings within the prevailing systems. By questioning and deconstructing consisting norms and values of our society, they are following their ideas of these concepts and their meanings to articulate the youth movement’s inherent purpose. According to their own imagination and sensations, they translated their manifest into physical forms of expression and performative interventions in the public space. The project has been developed in significant contribution by the group, not just as participants but as coauthors from the beginning throughout the whole process. Utopian approaches are openly express without comment and provoke the viewers to position themselves. Fathoming authorship and hierarchies within participatory concepts play a particular role in Anna Witt’s artistic practice. In doing so, the artist creates fictional spaces to enable a certain distance when questioning society and own positions in a playful way. In collaboration with Maria Bujanov, Phillip Borchert, Anja Engelhardt, Belve Langniss, Blandia Langniss, Chiara Rauhut, Lena Schubel
Anna Witt, The Radical Empathiarchy, 2018, 2-channel HD video, 20:10 min.
The video project Care is about two geriatric nurses in Japan. A group of amateur dancers developed a piece of choreography based on the work routines and experiences of two young Indonesian nurses working in dementia care. The dancers, influenced by Butoh and improvisational dance, were in some cases already around eighty themselves. They performed their personal interpretation of the care work as an intervention in the public space of the Maebashi city center, which is feeling the effects of an aging and shrinking population. On a textual level, the nurses explain what motivated them to leave Indonesia and look for work abroad. We learn of a massively aging society in which the care of the elderly—a task traditionally performed by daughters and daughters-in-law—is not a topic of public discussion. The problem and those involved in it do not receive any attention or recognition. The dancers in the video Care interpret the personal experiences and movements of the Indonesian nurses, whose existence in society remains largely invisible. Closeness, physical contact, self-surrender, allowing oneself to be carried, empowerment, and disempowerment are important themes of interpersonal relations, which always concern the dignity of the individual and are thus politically charged.
Anna Witt, Care, 2017, HD video, 18:12 min.

Residents from Germany

Villiam Miklos Andersen

Denmark, Germany
Danish Arts Foundation
Studio #207

Irène Mélix

Germany
KdFS Kulturstiftung des Freistaates Sachsen
Studio #214

Markéta Adamcová

Czech Republic, Germany
International Visegrad Fund
Studio #201