Past Residents

Country
Year
Residency Program
Resident Type
List Grid
Residents Map
Denmark

Past Resident
2024: Danish Arts Foundation, Knud Højgaards Fond

Artist

Stine Deja

Stine Deja works across a variety of media, including total installation, sculpture, soundscapes, and 3D animation, to explore the effects of technological development on our psychology, living conditions, and behavior patterns. Combining extensive conceptual research with an otherworldly aesthetic and satirical wit, Deja’s work provides an absurd and critical perspective on the future of human culture.

Stine Deja has exhibited work at Tranen, Denmark; Beijing Times Art Museum, China; and MUDAM, Luxembourg, among others.

Divine Desires by Stine Deja & Marie Munk at Alba Gallery, Vienna. Install shot by Kunstdokumentation.com
Stine Deja, Divine Desires, 2022, curtains, electro galvanised steel, aluminium, vinyl print, tv, video, polystyren, motor, and polyeruthan rubber, dimensions variable
Cold Sleep by Stine Deja at Tranen, 2021. Curated by Toke Lykkeberg. Photo by David Stjernholm
Stine Deja, Cold Sleep, 2020-21, stainless steel construction, Ipads, terracotta sand, animation, sleepingbag suit, sound, and motors, dimensions variable
Dawn Chorus by Stine Deja at Vestjyllands Kunstpavillion. Curated by Paola Paleari & Anne Zychalak Stolten. Install shots by Jacob Friis-Holm Nielsen
Stine Deja, Dawn Chorus, 2021, elefant grates, water, strollers, tv’s, animation, sound, and light filter, dimensions variable
Stine Deja, ASSEMBLY, 2021, steel, speakers, AMP, cables, jackets, and sound, dimensions variable. Photo courtesy by Stine Deja
Last Resort by Stine Deja at Annka Kultys Gallery, London. Photo courtesy: the artist and Annka Kultys Gallery
Stine Deja, Last Resort, 2019-20, sand, aluminium structures, Sleeping bags, Ipads, animation, and rachet straps, dimensions variable

Residents from Denmark

Jens Settergren

Denmark
Danish Arts Foundation
Studio #304

Lotte Nielsen

Denmark
Danish Arts Foundation
Studio #306

Marie Munk

Denmark
Danish Arts Foundation
2024
Italy

Past Resident
2024: The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York

Artist

Valentina Furian

Valentina Furian’s practice explores the connection between reality and fiction, pushing the boundary between this duality. Her research is focused on the existing relationship between humans and natural beings; examining the worth of the wilderness, animal and human domestication as a kind of power. As a result, her landscapes are frequently filled with non-human performativity.

Valentina Furian has exhibited work at MAXXI – National Museum of XXI Century Arts, Rome; Rencontres Internationales Paris/Berlin, Paris; and Fundación Proa, Buenos Aires, among others.

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
Ciacco, 2021, installation view at
Valentina Furian, Ciacco, 2021, video installation, 2-ch HD video, 5.1 Dolby sound
Centauro, 2023, film frame, courtesy of the artist, GAMeC and Fundación Proa
Valentina Furian, Centauro, 2023, HD video and stereo sound
55, 2019, installation view at
Valentina Furian, 55, 2019, video installation, 2-ch HD video and 8-ch audio
Valentina Furian, 55, 2019, video installation, 2-ch HD video and 8-ch audio
Drago, 2021, installation view at Francesco Fabbri Foundation 2021, ph. gerdastudio, courtesy of Francesco Fabbri Foundation and the artist
Valentina Furian, Drago, 2021, video installation and 2-ch HD video

Residents from Italy

Chiara Ianeselli

Quel jour sommes-nous, 15-30 June 2022, co-curated with Bakul Patki, at Tokonoma, Kassel. Credit: Rene Graf. quel jour sommes-nous? (what day is it?) is a research project in the form of an exhibition that questions what makes an artwork - investigating the performativity and process of an exhibit, the acts that brought it into existence, and the context of its presentation. Featuring seventeen established and emerging artists, quel jour sommes-nous? explores the differing forms, lifespans, and pathways of artworks – with historicised and timeless, appropriated and reapproriated, unauthored and unauthorised, dismantled and intangible works, all of which sit beside a graduate piece that will be graded in situ, just ahead of the exhibition’s opening. An “unfinished” work will also be included. The concept of a finished work of art – one that is deemed ready to be shared – has been debated throughout art history, particularly in relation to potential different readings once it has been pulled from a definite temporal context. Continuing the contentious conversation around when a piece of art is complete, one work in progress will be taken from an artist’s studio, at a time of the curators’ choosing, and inserted into the exhibition. quel jour sommes-nous? reflects upon the evolution of the creative process – the choices, challenges and breakthroughs that come with making art – asking when, within this process, does something become a work of art, and who gets to decide? On which day is something ready to be sold or exhibited? Is today the day the artist has to surrender a work they might never see again? Extending this reflection on when a work comes into existence, the exhibition also asks whether it is possible for artworks to exist without an audience. How much is the public required for the creative process to be complete, and how preeminent is the artist’s vision in influencing the viewer’s experience of the work? quel jour sommes-nous? does not profess to answer these questions, but hopes to encourage examination and inspire further exploration. It is at once exhibition as research and research as exhibition
Italy
Italian Council - Directorate-General for Contemporary Art and Architecture and Urban Peripheries (DGAAP) at the Italian Ministry for Cultural Heritage and Activities
2024

Raffaela Naldi Rossano

Raffaela Naldi Rossano, Warp, video installation, mixed media, variable duration, 2022. Co-commissioned and co-produced by LIAF and TBA21 Academy. Developed in the context of a residency on the research vessel Helmer Hanssen. View at Fantasmagoriana, LIAF 2022, curated by Francesco Urbano Ragazzi.
Photo Kjell-Ove Storvik. C.sy the Artist

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

Vanina Saracino

Patricia Domínguez, Matrix Vegetal (2022). Installation at the Archenhold Observatory, Berlin. Exhibition: Other Minds (Screen City Biennial). Photo: Marjorie Brunet Plaza. Courtesy the artist.
Italy, Germany
Artis
2023
Canada

Past Resident
2024: Alberta Foundation for the Arts, Edmonton Arts Council

Artist

Alma Visscher

Alma Louise Visscher creates fabric-based installations, jewelry and drawings that consider resources and material culture and the poetic possibilities and problems within these. Through process and materials, she explores the intersection of materiality and the unknowable, the ecology of places, and the things that hold us, care for us, and comfort us. These motivations have led her to explore materials such as working with natural dyes and inks sourced from her immediate environments and repurposed textiles and materials.

Alma Louise Visscher has exhibited work at Art Gallery of Alberta, Alberta; Idea Exchange. Ontario; Kimura Gallery, Alaska, among others.

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
A drawing on white paper made with black ink. The drawing is made up of small brush strokes and depicts a fabric-like form.
Alma Visscher, Odradek, 2021, handmade ink on paper, 14 × 10 in. (35.56 × 25.4 cm)
A white page with overlapping abstract forms in the centre. The marks are made with ink, fabric, and paper.
Alma Visscher, Hedge Study, 2023, cedar ink, handmade paper and fabric on paper, 12 × 17 in. (30.48 × 43.18 cm)
A painting made up up pleated fabric in a variety of colours.
Alma Visscher, holding it together, 2021, machine pleated and dyed and airbrushed found fabric, 36 × 24 in. (91.44 × 60.96 cm)
Two panels of fabric connected by sheer draped fabric. Left panel is predominantly grey and white with some pink. Right panel is more pink and peach with some yellow.
Alma Visscher, The waiting, 2019, hand painted and airbrushed cotton and linen fabric, grommets and draping, 108 × 35 in. (274.32 × 88.9 cm)
Seven fabric tote bag like forms are installed in a triangle shape on a white wall. The fabric is painted a range of pinks and pastel colours.
Alma Visscher, Portable Paintings, 2018, hand dyed and sewnfabric, dimensions variable

Residents from Canada

Antonietta Grassi

Canada
Conseil des arts et des lettres du Québec
Studio #208

Stanley Wany

Ase (pronounced “ah-sheh”; also spelled ashe) Yoruba words often have multiple meanings: Ase is generally defined as “the power to make things happen” and also refers to the spiritual life force that flows through things, much like the Chinese concept of chi. Deepening the exploration of my relationship with my ancestors, Ase, a drawing that measures almost two meters high by three meters long. For this piece, charcoal, a medium with archaic roots, is used to evoke powerful waves crowned by troubled sky. Towards the bottom of the drawings, the waves melt into abstraction, dripping onto the white surface of the paper. The title Ase, referring to Yoruba culture, embodies my ongoing relationship with my ancestors, those who perished in the sea as well as those with whom known ties have been cut by the transatlantic slavetrade. When creating this work, I also reflected on what it meant to be Black in the Americas and how my identity had been defined by the dominant society. I turned to the writings of Stuart Hall, Franz Fanon as well as of Edouard Glissant, whose concept of “creolisation” serves as a focal point in my practice going forward.
Canada
Conseil des arts et des lettres du Québec
Studio #222

Kara Springer

A hanging wall work consisting of deep purple prints of high resolutions scans of clay hanging over a poplar wood rod mounted on the wall.
Canada, Barbados
Canada Council for the Arts
Studio #305