NameNavn YearÅr Project title / descriptionProsjekt tittel / beskrivelse CategoryKategori
Gitanjali Dang (IN) 2017 Røst AiR - OCA AIR collaboration Artist in residence Gjestekunstner
Gitanjali Dang is a curator, writer and overall shape-shifter. In 2012, she founded Khanabadosh, an itinerant arts lab. Khanabadosh lives off latitude, magic and agnosticism, and is interested in everything. It is particularly interested in constantly rethinking what it—and everything around it—is about. In 2015, Khanabadosh, in collaboration with Institute for Contemporary Art Research, Zurich University of the Arts, cofounded Draft, which explores contemporary art that produces, contributes to or provokes public debate.

Gitanjali lives and loves in Mumbai and wherever else this living, and loving might take her.

Gitanjali Dan´s stay is made possible through a collaboration with Office Of Contemporary Art Norway.

Webpages: khanabadosh.info draftprojects.info aarandaar.net
Gitanjali Dang is a curator, writer and overall shape-shifter. In 2012, she founded Khanabadosh, an itinerant arts lab. Khanabadosh lives off latitude, magic and agnosticism, and is interested in everything. It is particularly interested in constantly rethinking what it—and everything around it—is about. In 2015, Khanabadosh, in collaboration with Institute for Contemporary Art Research, Zurich University of the Arts, cofounded Draft, which explores contemporary art that produces, contributes to or provokes public debate.

Gitanjali lives and loves in Mumbai and wherever else this living, and loving might take her.

Gitanjali Dan´s stay is made possible through a collaboration with Office Of Contemporary Art Norway.

Webpages: khanabadosh.info draftprojects.info aarandaar.net




khanabadosh.info

Malin Arnell (SE) + Mario Fjell (SE) 2017 Artist in residence Gjestekunstner
When Malin Arnell (SE) and Mario Fjell (SE) come together they become an interdisciplinary art worker, collaborator, researcher, educator and musician. During the spring of 2017 they have shared breaths through Los Angeles, New York, Amsterdam, Stockholm, Treignac and Berlin. Now in-de-flating Skomvær.

They explicitly do affectivity within a queer eco-erotic ethics of polymorphous perversity and care making. They explore key issues for participation in territorial environments by emphasizing the sticky shivers of self-touching through vibrating togetherness. Masturbatory cooperation and a dis-location of frictions opens up for an unending dynamism of entanglements aka. everything in the name of all things queer.

During their 2 week stay at Røst Air they will engage the feeling-with attentiveness in the non-locality of the horizon by the scream and cry for a volcanic release - for one force to join another force to enable a dissolution into a diffractive togetherness - in the presences of the location in its becoming.

www.malinarnell.org https://mariofjell.wordpress.com
When Malin Arnell (SE) and Mario Fjell (SE) come together they become an interdisciplinary art worker, collaborator, researcher, educator and musician. During the spring of 2017 they have shared breaths through Los Angeles, New York, Amsterdam, Stockholm, Treignac and Berlin. Now in-de-flating Skomvær.

They explicitly do affectivity within a queer eco-erotic ethics of polymorphous perversity and care making. They explore key issues for participation in territorial environments by emphasizing the sticky shivers of self-touching through vibrating togetherness. Masturbatory cooperation and a dis-location of frictions opens up for an unending dynamism of entanglements aka. everything in the name of all things queer.

During their 2 week stay at Røst Air they will engage the feeling-with attentiveness in the non-locality of the horizon by the scream and cry for a volcanic release - for one force to join another force to enable a dissolution into a diffractive togetherness - in the presences of the location in its becoming.




AKCG 2017 Hydrofobia 2017 Artist in residence Gjestekunstner
(akcg) anna kindgren and carina gunnars

We are invited to Røst air summer 2017 to contribute with a text. We will continue a work that deals with in what ways the capitalist system is intertwined with climate change. As two sides of the same coin. The investigations are filtered through our art practice and through a backdrop of queer ecology practiced since years, at Røst Air. We are working with one hand against the ground our feet are standing on. Skomvaer, Lofoten, is surrounded by water. A vital ingredient in our very bodies, of animals and humans. All life on Earth depends on this fluid. Nonetheless water is more and more contaminated, in order to produce the desire driven living conditions that are inherent to a neoliberal economical system. How do we relate to water as rain? As fog? As steam? As a well? As in ocean? And how are we to hand over water to coming generations? How has water been portrayed? One of our tools, aquarelle, from Latin aqua=water takes it’s transparency from exactly water. Water and dirt. Pigments. This work will not be used as water in washing as in green washing, art washing, queer washing or whatever washing? Alf Hornborg states in The Myth of The Machine “Even our very talk about “sustainable development” is unsustainable.” We will not talk about sustainability. When a deliberate imbalance, caused by a system that benefits from it, increases on all levels, when global warming makes ices and permafrost thaw, water becomes part of the threat. Still…water connects us! Over water we can travel, but over water people are also forced to escape from climate change and from war and conflicts. In water refugees drown. Our motivation is, formulated with the help of Judith Butler’s orienting principle, to investigate and look for an equitable distribution of vulnerability. Between people, within the system but also beyond. We want to search together with artists and others that work intensely with all our possible tools, for a crack that makes it possible to escape out of the system that promised us freedom, but made us prisoners of a more and more cybernetic market fundamentalism.

We realize that gentrification is going on in our lives in a fractalized world. Our inner landscapes have been redrawn and this is mirrored in and shapes the exterior scape we all have to relate to. When governmentality is calibrated as a sign of confusion we try to get a grip with our bare hands. The tools are the artist’s. With them we create possibilities for bacteria to grow. They will slowly decompose the oil that was poured on troubled water.

We have collaborated in various constellations for many years. Between 2000 – 2006 in the project love and devotion with artists Ingrid Eriksson and Karin Johnson. Our works touch upon different disciplines. However, the point of departure is that we are artists and nothing else. Our works often develop out of a specific situation or issue. When our interest is aroused, we are impregnated by meeting people, studies and journeys – experiences that help us move further into a more profound understanding of the situation. We do not hurry this process.

The recent neoliberal revolution in Sweden has made us reassess the financial and political situation that we are slowly engulfed by – both locally and globally. Our objects of inquiry are Swedish institutions and cities. Among other things, we have explored the urban space and its limitations for civic activities, which are regulated by law and by commercial interests. A research trip to Brazil inspired our interest in the urbanity we encountered there.

Lately we have developed a project that focuses on some ideas and impressions we have had for several years: shadows, urban invisibilities. The mind boggles when we think of how little we know, how blinded we have become. Focusing on the shadowy worlds has a tendency to provoke strong feelings – fear, aversion, displeasure and passive aggressiveness. “First you’ll close your eyes to the pictures. Then you’ll close your eyes to the memory. Then you’ll close your eyes to the facts. Then you’ll close your eyes to the entire context.” Nicht löschbares Feuer, Harun Farocki, 1969 [Inextinguishable Fire].

If you approach that which is repressed and disregarded, you risk being accused of sensationalism and speculation. We explore how we can use our visual and aesthetic experience in order to communicate this phenomenon. How to give prominence to other voices in a collaboration, in which the focus may be channeled in the opposite direction? Come to think of it, who creates the shadow?
(akcg) anna kindgren and carina gunnars

We are invited to Røst air summer 2017 to contribute with a text. We will continue a work that deals with in what ways the capitalist system is intertwined with climate change. As two sides of the same coin. The investigations are filtered through our art practice and through a backdrop of queer ecology practiced since years, at Røst Air. We are working with one hand against the ground our feet are standing on. Skomvaer, Lofoten, is surrounded by water. A vital ingredient in our very bodies, of animals and humans. All life on Earth depends on this fluid. Nonetheless water is more and more contaminated, in order to produce the desire driven living conditions that are inherent to a neoliberal economical system. How do we relate to water as rain? As fog? As steam? As a well? As in ocean? And how are we to hand over water to coming generations? How has water been portrayed? One of our tools, aquarelle, from Latin aqua=water takes it’s transparency from exactly water. Water and dirt. Pigments. This work will not be used as water in washing as in green washing, art washing, queer washing or whatever washing? Alf Hornborg states in The Myth of The Machine “Even our very talk about “sustainable development” is unsustainable.” We will not talk about sustainability. When a deliberate imbalance, caused by a system that benefits from it, increases on all levels, when global warming makes ices and permafrost thaw, water becomes part of the threat. Still…water connects us! Over water we can travel, but over water people are also forced to escape from climate change and from war and conflicts. In water refugees drown. Our motivation is, formulated with the help of Judith Butler’s orienting principle, to investigate and look for an equitable distribution of vulnerability. Between people, within the system but also beyond. We want to search together with artists and others that work intensely with all our possible tools, for a crack that makes it possible to escape out of the system that promised us freedom, but made us prisoners of a more and more cybernetic market fundamentalism.

We realize that gentrification is going on in our lives in a fractalized world. Our inner landscapes have been redrawn and this is mirrored in and shapes the exterior scape we all have to relate to. When governmentality is calibrated as a sign of confusion we try to get a grip with our bare hands. The tools are the artist’s. With them we create possibilities for bacteria to grow. They will slowly decompose the oil that was poured on troubled water.

We have collaborated in various constellations for many years. Between 2000 – 2006 in the project love and devotion with artists Ingrid Eriksson and Karin Johnson. Our works touch upon different disciplines. However, the point of departure is that we are artists and nothing else. Our works often develop out of a specific situation or issue. When our interest is aroused, we are impregnated by meeting people, studies and journeys – experiences that help us move further into a more profound understanding of the situation. We do not hurry this process.

The recent neoliberal revolution in Sweden has made us reassess the financial and political situation that we are slowly engulfed by – both locally and globally. Our objects of inquiry are Swedish institutions and cities. Among other things, we have explored the urban space and its limitations for civic activities, which are regulated by law and by commercial interests. A research trip to Brazil inspired our interest in the urbanity we encountered there.

Lately we have developed a project that focuses on some ideas and impressions we have had for several years: shadows, urban invisibilities. The mind boggles when we think of how little we know, how blinded we have become. Focusing on the shadowy worlds has a tendency to provoke strong feelings – fear, aversion, displeasure and passive aggressiveness. “First you’ll close your eyes to the pictures. Then you’ll close your eyes to the memory. Then you’ll close your eyes to the facts. Then you’ll close your eyes to the entire context.” Nicht löschbares Feuer, Harun Farocki, 1969 [Inextinguishable Fire].

If you approach that which is repressed and disregarded, you risk being accused of sensationalism and speculation. We explore how we can use our visual and aesthetic experience in order to communicate this phenomenon. How to give prominence to other voices in a collaboration, in which the focus may be channeled in the opposite direction? Come to think of it, who creates the shadow?




http://akcg.org/

Ande Somby (Sápmi) feat. Chris Watson (UK) 2017 Yoiking With The Winged Ones at Tromsø Kunstforening Røst AIR curatorial work Røst AIR curatorial work
Røst AiR
in collaboration with
Ny Musikk
presents:

Yoiking With The Winged Ones
can be experienced at
Romssa Daiddasiida / Tromsø Kunstforening
22.5 - 5.6.2017

Yoik and concept by Ande Somby (Sami)
Sound recording and six channel spatialisation by Chris Watson (UK)
Light design by Nicolas Horne
Curated and produced by Elin Mar, Røst AiR

The installation is based on the album: Yoiking with the winged ones – Ande Somby, Ash International via Touch, 2016

Røst AiR is an artist run, avantgarde AiR program, communal workshop and we arrange, curate and facilitate happenings, workshops, seminars, gatherings and lead botanical walks.

We are proud to collaborate with Ande Somby and Chris Watson, whom we are a both great fans off when presenting Yoiking With The Winged Ones as a 6 channel sound installation at Romssa Daiddasiida/Tromsø Kunstforening.

The sound installation has been curated and planned to take place during the IKT post congress program as a collaboration between Røst AiR and Ny Musikk.

Yoiking With The Winged Ones is part of Røst AiR ongoing focus on Sami art, culture and history, and is honouring Traante 2017, -a celebration marking the 100 years that have passed since the first congress for the Sami people was held in Trondheim between February 6th and 9th in 1917. Traante 2017 is both a national celebration in Norway and a jubilee for Sami people from Sweden, Finland and Russia as well.

We wish you all a transforming listening experience.

PDF Download:
— yoiking_with_the_winged_ones.pdf
Røst AiR
in collaboration with
Ny Musikk
presents:

Yoiking With The Winged Ones
can be experienced at
Romssa Daiddasiida / Tromsø Kunstforening
22.5 - 5.6.2017

Yoik and concept by Ande Somby (Sami)
Sound recording and six channel spatialisation by Chris Watson (UK)
Light design by Nicolas Horne
Curated and produced by Elin Mar, Røst AiR

The installation is based on the album: Yoiking with the winged ones – Ande Somby, Ash International via Touch, 2016

Røst AiR is an artist run, avantgarde AiR program, communal workshop and we arrange, curate and facilitate happenings, workshops, seminars, gatherings and lead botanical walks.

We are proud to collaborate with Ande Somby and Chris Watson, whom we are a both great fans off when presenting Yoiking With The Winged Ones as a 6 channel sound installation at Romssa Daiddasiida/Tromsø Kunstforening.

The sound installation has been curated and planned to take place during the IKT post congress program as a collaboration between Røst AiR and Ny Musikk.

Yoiking With The Winged Ones is part of Røst AiR ongoing focus on Sami art, culture and history, and is honouring Traante 2017, -a celebration marking the 100 years that have passed since the first congress for the Sami people was held in Trondheim between February 6th and 9th in 1917. Traante 2017 is both a national celebration in Norway and a jubilee for Sami people from Sweden, Finland and Russia as well.

We wish you all a transforming listening experience.

PDF Download:
— yoiking_with_the_winged_ones.pdf




Various contributors 2017 Ocean Seminar Vol 1 Seminar Seminar
We invite you to join us this summer at Røst in Lofoten, Norway /Sápmi for a four day ocean seminar, where artists and scientists will speak about their research and work which is directly connected to the ocean in one way or another. From the perspective of nature science, political science and a variety of artistic methods and expressions.

There are several reasons why Røst AiR wish to engage in a multidisciplinary gathering to exchange work and knowledge concerning the ocean and it´s marine ecology. With our location on the island Skomvær, surrounded by the North Atlantic sea, it is hard to overlook. The world's largest known deep water coral reef is located in the Røst archipelago and is among the richest habitats we have. Røst is also home to one of Northern Europe’s largest pelagic seabird colonies situated in the Nykan nature reserve. However the seabird populations are in a crisis and have been struggling along since the Atlantic Herring population collapsed in the 60´ies. Pollution, badly managed fisheries, and climate change are all impacting the seabirds current situation, both here on Røst and in the far away places they spend their winters. And as the story goes with most other circumpolar seabird colonies, year after year with decline in population, colonies and eventually bird mountains become silent. To take one example, Vedøya, Europes most extravagant and lively birds mountains, had in 1980, after years of decline, still an impressive breeding colony of 22000 pairs of Kittiwakes and 12000 pairs of Guillemots, as well as numerous Puffins and Razor Bills. in the spring of 2017, it is empty. This is climate change in practice, and the air mirrors the sea. The Røst archipelago is also situated amidst a grand economic and geopolitical battle which concerns the oil drilling in Lofoten, Vesterålen and Senja and the struggle to end the Norwegian oil age.

Røst AiR is an artist run AIR initiative and communal workshops, founded in 2012. Since the summer of 2013 members of the Røst AIR working group and our guest artists have lived out with this wild landscape on the island of Skomvær and it´s 150 year old lighthouse station. Every summer we have invited different scientists to join us to share their work with us so that we slowly build up our knowledge about the ecosystem surrounding us, and how we can gradually learn to live more sustainable. Being out in this grand, open landscape, one learns to understand how vulnerable it actually is. They say we know more about the surface of the moon than of our deep oceans. So we invite you to join us this summer at Røst for a four day ocean seminar, where artists and scientists will speak about their research and work which is directly connected to the ocean in one way or another. From the perspective of nature science, political science and a variety of artistic methods and expressions.

PDF Download:
—opencall_oceanseminar.pdf
We invite you to join us this summer at Røst in Lofoten, Norway /Sápmi for a four day ocean seminar, where artists and scientists will speak about their research and work which is directly connected to the ocean in one way or another. From the perspective of nature science, political science and a variety of artistic methods and expressions.

There are several reasons why Røst AiR wish to engage in a multidisciplinary gathering to exchange work and knowledge concerning the ocean and it´s marine ecology. With our location on the island Skomvær, surrounded by the North Atlantic sea, it is hard to overlook. The world's largest known deep water coral reef is located in the Røst archipelago and is among the richest habitats we have. Røst is also home to one of Northern Europe’s largest pelagic seabird colonies situated in the Nykan nature reserve. However the seabird populations are in a crisis and have been struggling along since the Atlantic Herring population collapsed in the 60´ies. Pollution, badly managed fisheries, and climate change are all impacting the seabirds current situation, both here on Røst and in the far away places they spend their winters. And as the story goes with most other circumpolar seabird colonies, year after year with decline in population, colonies and eventually bird mountains become silent. To take one example, Vedøya, Europes most extravagant and lively birds mountains, had in 1980, after years of decline, still an impressive breeding colony of 22000 pairs of Kittiwakes and 12000 pairs of Guillemots, as well as numerous Puffins and Razor Bills. in the spring of 2017, it is empty. This is climate change in practice, and the air mirrors the sea. The Røst archipelago is also situated amidst a grand economic and geopolitical battle which concerns the oil drilling in Lofoten, Vesterålen and Senja and the struggle to end the Norwegian oil age.

Røst AiR is an artist run AIR initiative and communal workshops, founded in 2012. Since the summer of 2013 members of the Røst AIR working group and our guest artists have lived out with this wild landscape on the island of Skomvær and it´s 150 year old lighthouse station. Every summer we have invited different scientists to join us to share their work with us so that we slowly build up our knowledge about the ecosystem surrounding us, and how we can gradually learn to live more sustainable. Being out in this grand, open landscape, one learns to understand how vulnerable it actually is. They say we know more about the surface of the moon than of our deep oceans. So we invite you to join us this summer at Røst for a four day ocean seminar, where artists and scientists will speak about their research and work which is directly connected to the ocean in one way or another. From the perspective of nature science, political science and a variety of artistic methods and expressions.

PDF Download:
—opencall_oceanseminar.pdf




Derek Glenn Martin 2017 The Passage from Self to The Earth Artist in residence Gjestekunstner
Objective: Røst

“The Passage from Self to The Earth”



Bycatch is an environmental fishing crises classified as incidental capture of non-target species. Bycatches can often leave netted oceanic life to drown or if captured aboard the ship, left to die or weakened to then be dropped back to the waters. I look to build a rapport with local fisheries/fishermen/women under the residency as well as expansion of self to the natural world under the secluded but vast landscape.



Bio: Martin is visual and performance artist based in New York. He has amassed solo, two-person and group shows nationally and internationally, taking his practice abroad to Poland, Germany, London, Egypt and throughout the United States. His latest works aim to rebuild a visual bridge of connectivity to our environment and expose environmental issues. He works site-specifically and implements natural materials and ancient practices to permeate and inform the work: “linking ourselves back to what once was sacred”. He is under research as an artist in residence at Røst in Norway. His work is held in public and private collections.
Objective: Røst

“The Passage from Self to The Earth”



Bycatch is an environmental fishing crises classified as incidental capture of non-target species. Bycatches can often leave netted oceanic life to drown or if captured aboard the ship, left to die or weakened to then be dropped back to the waters. I look to build a rapport with local fisheries/fishermen/women under the residency as well as expansion of self to the natural world under the secluded but vast landscape.



Bio: Martin is visual and performance artist based in New York. He has amassed solo, two-person and group shows nationally and internationally, taking his practice abroad to Poland, Germany, London, Egypt and throughout the United States. His latest works aim to rebuild a visual bridge of connectivity to our environment and expose environmental issues. He works site-specifically and implements natural materials and ancient practices to permeate and inform the work: “linking ourselves back to what once was sacred”. He is under research as an artist in residence at Røst in Norway. His work is held in public and private collections.




http://www.derekglennmartin.com/

Calder Harben 2017 Røst AiR Ocean Observatory v 1.0 / Listening to water Artist in residence Gjestekunstner
Calder Harben is a visual and sound artist, Canadian born and currently based in Copenhagen (DK). In 2015 Harben received an MA from Tromsø Kunstakademiet, and a diploma from Nordic Sound Art program. As trans person, their gender is fluid moving beyond a binary of male/female. These liminal experiences inform their exploration of interstices. Harben engages in individual, collaborative and community-based projects on topics of ecology, human/more-than-human, and borders. They approach their work through a lens of queer, decolonial and embodied practises. Calder Harben is a visual and sound artist, Canadian born and currently based in Copenhagen (DK). In 2015 Harben received an MA from Tromsø Kunstakademiet, and a diploma from Nordic Sound Art program. As trans person, their gender is fluid moving beyond a binary of male/female. These liminal experiences inform their exploration of interstices. Harben engages in individual, collaborative and community-based projects on topics of ecology, human/more-than-human, and borders. They approach their work through a lens of queer, decolonial and embodied practises.



http://www.calderharben.com

Maja Nilsen 2017 Artist in residence Artist in residence
Maja Nilsen is a Norwegian artist (1978) based din Berlin and Norway. She has an MFA from Trondheim Academy of Fine Art (2003-2005) and a BA from Trondheim and Dublin.

The work of Maja Nilsen is created from memory and imagination, residing somewhere in the tension between autobiographical reference points and poetically immersed dream worlds. She works in a cross/multimedia manner that mostly results in site-specific projects, collages, sculpture and lately also scenography and costumes.

Nilsen is interested in how people have lived their lives and how we through history have tried to understand the world around us. How do we seek explanations of complex issues and phenomena throughout including science, religion and folklore? Her art tends to expose connectivity with the past, present and future existences. She has been specially occupied by how people relate to nature and how places and scenery affect us. Her own background, which has consisted of fishing families for many generations, has especially preoccupied her artistic practice.
Røst AiR 2017

Jeg skal arbeide videre med 2 prosjekter som begge på ulike vis er knyttet til Skomvær, områdets geologi, det som skjuler seg på havets dyp og øya som sted.

Et tekst -og lydprosjekt, en slags indre sang, som fabulerer rundt min interesse for kaldtvannskorallene ved Røstrevet, samt det hellige og sakrale.

Det andre er et videoinstallasjon som er inspirert av sagnet om den mytologiske og utopiske øya Utrøst. En øy som viser seg for fiskere i havsnød og hvordan de må forvandlet seg til skarver for å se om sine kjære igjen. Historien er samtidig universell; det finnes uttallige myter om øyer som er forsvunnet eller skjult seg for oss, som forteller om våre drømmer, våre lengsler, men samtidig advarer mot grådighet og varsler om at vi skal vise respekt for naturen.




http://www.majanilsen.com/

Rozemarie Heggen 2017 Artist in residence Gjestekunstner
Rozemarie Heggen

– energy therapist, multidimensional healer, sound healer, musician

My love for sound plays a central role in my life. I believe in the power of sound, for now and in the future, as a catalyst for healing and growth in consciousness. Through proper use of intention, awareness and sound, one can actually influence physical processes, resolve blockages, make connections, and heal at cell- and DNA level.

Since childhood I’ve been fascinated by making and undergoing sound. As a professional musician I kept searching for the power, depth, and the essence of sound. As a result I’ve been releasing more and more structures, musical structures and ego structures.

At the very moment I consciously combined energetic studies and research with using sound for healing, everything fell into place within myself, and I understood the potential and possibilities. And this powerful tool, using sound to become whole again, is available for everyone!

I am here to co-create these New Times together with the sounds, the universe, and other conscious beings. Pioneering, scratching my brain, not knowing, being amazed, letting go of old paradigms, and more and more realizing myself, is what I’m interested in.

I am dreaming of a world where concepts such as equality, respect, and integrity are core values. Including the feminine and masculine energies, both within oneself as well as globally and collectively. This brings about a huge shift in all areas. In nature, security, health, consciousness, art and sciences.

My music is inspired by all audible and inaudible sounds in the universe, such as physical movement, art, architecture, good food, electronics, quantum physics and nature. I have extensively toured internationally and recorded many CD’s, with a focus on experimental, improvisational and contemporary music.

As an energy therapist and multidimensional healer I have studied and worked at a spiritual centre in the Netherlands. Since 2011 I run my company Pink Dragon as a therapist, sound healer and musician. I work with people individually, and in groups giving workshops, concerts and performances.

Other:

www.pinkdragon.nl

(energy therapist and sound healer, in Dutch)
Rozemarie Heggen

– energy therapist, multidimensional healer, sound healer, musician

My love for sound plays a central role in my life. I believe in the power of sound, for now and in the future, as a catalyst for healing and growth in consciousness. Through proper use of intention, awareness and sound, one can actually influence physical processes, resolve blockages, make connections, and heal at cell- and DNA level.

Since childhood I’ve been fascinated by making and undergoing sound. As a professional musician I kept searching for the power, depth, and the essence of sound. As a result I’ve been releasing more and more structures, musical structures and ego structures.

At the very moment I consciously combined energetic studies and research with using sound for healing, everything fell into place within myself, and I understood the potential and possibilities. And this powerful tool, using sound to become whole again, is available for everyone!

I am here to co-create these New Times together with the sounds, the universe, and other conscious beings. Pioneering, scratching my brain, not knowing, being amazed, letting go of old paradigms, and more and more realizing myself, is what I’m interested in.

I am dreaming of a world where concepts such as equality, respect, and integrity are core values. Including the feminine and masculine energies, both within oneself as well as globally and collectively. This brings about a huge shift in all areas. In nature, security, health, consciousness, art and sciences.

My music is inspired by all audible and inaudible sounds in the universe, such as physical movement, art, architecture, good food, electronics, quantum physics and nature. I have extensively toured internationally and recorded many CD’s, with a focus on experimental, improvisational and contemporary music.

As an energy therapist and multidimensional healer I have studied and worked at a spiritual centre in the Netherlands. Since 2011 I run my company Pink Dragon as a therapist, sound healer and musician. I work with people individually, and in groups giving workshops, concerts and performances.

Other:

www.pinkdragon.nl

(energy therapist and sound healer, in Dutch)




http://www.rozemarieheggen.nl/

Marie Kaada Hovden 2017 Artist in residence / Working Group Gjestekunstner / Arbeidsgruppa
Jason Rosenberg 2017 Artist in residence / Working group Gjestekunster / arbeidsgruppa
Jason Rosenberg is an artist based between New York and Northern Norway. He is a member of the Røst AIR working group. During Røst AiR season 2016, Jason has been working on a series of ink drawings on paper which focus on extracting messages from rocks through meditation, observation, and chance. He is also currently working on making an artist cookbook for Røst AIR which will bring together 5 years worth of recipes cooked and created on Skomvær, as well as information about the edible plants and seaweeds that grow wild on the island. Jason Rosenberg is an artist based between New York and Northern Norway. He is a member of the Røst AIR working group. During Røst AiR season 2016, Jason has been working on a series of ink drawings on paper which focus on extracting messages from rocks through meditation, observation, and chance. He is also currently working on making an artist cookbook for Røst AIR which will bring together 5 years worth of recipes cooked and created on Skomvær, as well as information about the edible plants and seaweeds that grow wild on the island.



http://www.jason-rosenberg.net

Elin Már Øyen Vister 2017 Soundscape Røst - Røst AiR Ocean Observatory v 1.0 Artist in residence / Working group Gjestekunstner / Arbeidsgruppa Røst AiR
Elin Már Øyen Vister (b. 1976)


Elin Már Øyen Vister is an artist who works with listening as an artistic practice, sensory walks, installations, performance, experimental music, sculptural elements, organic material and text. Her work adresses issues of climate change and climate grief, nature-culture dichotonomies, body and gender. Their work is informed by decolonial action and thought, postcolonial feminist and queer ecology perspectives; thus theory and practice are given equal importance.

Sound works such as those in the Soundscape Røst series and Fjellene forteller at stillheten er døden [The Mountains tells us that silence is death], explore a place, its inhabitants and their relations—investigating how personal histories are often political, and how the present moment of a place continuously orients itself both forwards and backwards in time. These investigations provide the creative basis for reflections on the sociopolitical and nature-cultural histories associated with a place, and their relationship to aesthetic form: how can this story best be told, how can its tensions be explored and made visible?

Øyen Vister’s work often depart from listening and sonic investigations, tuning in to place, environment and time in a focused manner. Improvisation and acute perception are as important here as the elaboration of sensory impressions. Reflecting this focus on embodied or corporeal investigation, Vister has started working physically with audiences, through performances in which she encourages participation and explores the exchanges that this leads to.

Elin Már is part of Røst AiR working group and funded Røst AiR in 2012
Elin Már Øyen Vister (b. 1976)


Elin Már Øyen Vister is an artist who works with listening as an artistic practice, sensory walks, installations, performance, experimental music, sculptural elements, organic material and text. Her work adresses issues of climate change and climate grief, nature-culture dichotonomies, body and gender. Their work is informed by decolonial action and thought, postcolonial feminist and queer ecology perspectives; thus theory and practice are given equal importance.

Sound works such as those in the Soundscape Røst series and Fjellene forteller at stillheten er døden [The Mountains tells us that silence is death], explore a place, its inhabitants and their relations—investigating how personal histories are often political, and how the present moment of a place continuously orients itself both forwards and backwards in time. These investigations provide the creative basis for reflections on the sociopolitical and nature-cultural histories associated with a place, and their relationship to aesthetic form: how can this story best be told, how can its tensions be explored and made visible?

Øyen Vister’s work often depart from listening and sonic investigations, tuning in to place, environment and time in a focused manner. Improvisation and acute perception are as important here as the elaboration of sensory impressions. Reflecting this focus on embodied or corporeal investigation, Vister has started working physically with audiences, through performances in which she encourages participation and explores the exchanges that this leads to.

Elin Már is part of Røst AiR working group and funded Røst AiR in 2012




www.childofklang.no

Caroline Ho-Bich-Tuyen Dang 2017 Artist in residence Gjestekunstner
Røst AiR 2017

Røst includes several islands; however, my project will focus on Skomvær where wewill be primarily living and working.My new approach to my art practice has been to integrate my artistic work/life withmy daily activities/life. This creates a coherent and holistic existence but challenging as the borders between the two is blurred.

On Skomvær, I would like to adopt a traditional practice of artmaking of drawing and sketching. I would like to collect and draw as many living plants on Skomvær as I can find. It will be likened to a botanical collection of pressed/dried plants and a study drawing.
Røst AiR 2017

Røst includes several islands; however, my project will focus on Skomvær where wewill be primarily living and working.My new approach to my art practice has been to integrate my artistic work/life withmy daily activities/life. This creates a coherent and holistic existence but challenging as the borders between the two is blurred.

On Skomvær, I would like to adopt a traditional practice of artmaking of drawing and sketching. I would like to collect and draw as many living plants on Skomvær as I can find. It will be likened to a botanical collection of pressed/dried plants and a study drawing.




Jaya Ramchandani 2016 Towards an Energy Manual Artist in residence Gjestekunstner
Co-director of The Story Of Space festival in India. Scientist and teacher. Co-director of The Story Of Space festival in India. Scientist and teacher.



Queer Ecologies # 2 2016 Queer Ecologies # 2 Workshop Workshop
Participants 2016:

Anuj Vaidya (IN)
Calder Harben (NO)
Camilla Nicolaisen (NO)
Elin Már Øyen Vister (NO)
Hilary Jeffrey (UK)
Jaya Ramchandani (IN)
Maja Moesgaard (DK)
Marie Kaada Hovden (NO)
and guest visit by Katya García-Anton

Our working process of an intensive seminar format is informed by the isolation and individualization that characterises the working conditions of many cultural producers. It is also in response to the artificial boundaries that separate academic fields (between scientific, activist and cultural practices), and our desire is that the Queer Ecologies seminar encourages both inter-disciplinary imaginaries, as well as trans-national collaborations.

Queer Ecologies #2 consisted of a 2-week intensive seminar held August 8 to 23, 2016, hosted by Røst Artist in Residence on Skomvaer Lighthouse Station, in the Røst Archipelago of Nordland, Northern Norway.

Here’s a peak into how we organized our time together:

http://www.queerecologiesnetwork.com/seminars/

The Queer Ecologies Network is an inter-Nordic, interdisciplinary collective network of artists, scholars, activists, philosophers, curators and others, with interests overlapping at the intersections of ecology, politics, and artistic and cultural production.

The network chooses to align itself in solidarity with decolonial and anti-capitalist discourses and practices, and takes inspiration from rich history of artistic production, direct action resistance and intellectual debate.

Røst Artist in Residence is a key collaborator for the network, helping to initiate and host the seminar. The queer ecologies seminar that took place in 2015 and 2016 were both held on the island of Skomvær in Northern Norway/Sapmi, next to the Nykan Nature reserve. The seminar activities are all situated by being in place and thinking through, the island and our coexistence there.
Participants 2016:

Anuj Vaidya (IN)
Calder Harben (NO)
Camilla Nicolaisen (NO)
Elin Már Øyen Vister (NO)
Hilary Jeffrey (UK)
Jaya Ramchandani (IN)
Maja Moesgaard (DK)
Marie Kaada Hovden (NO)
and guest visit by Katya García-Anton

Our working process of an intensive seminar format is informed by the isolation and individualization that characterises the working conditions of many cultural producers. It is also in response to the artificial boundaries that separate academic fields (between scientific, activist and cultural practices), and our desire is that the Queer Ecologies seminar encourages both inter-disciplinary imaginaries, as well as trans-national collaborations.

Queer Ecologies #2 consisted of a 2-week intensive seminar held August 8 to 23, 2016, hosted by Røst Artist in Residence on Skomvaer Lighthouse Station, in the Røst Archipelago of Nordland, Northern Norway.

Here’s a peak into how we organized our time together:

http://www.queerecologiesnetwork.com/seminars/

The Queer Ecologies Network is an inter-Nordic, interdisciplinary collective network of artists, scholars, activists, philosophers, curators and others, with interests overlapping at the intersections of ecology, politics, and artistic and cultural production.

The network chooses to align itself in solidarity with decolonial and anti-capitalist discourses and practices, and takes inspiration from rich history of artistic production, direct action resistance and intellectual debate.

Røst Artist in Residence is a key collaborator for the network, helping to initiate and host the seminar. The queer ecologies seminar that took place in 2015 and 2016 were both held on the island of Skomvær in Northern Norway/Sapmi, next to the Nykan Nature reserve. The seminar activities are all situated by being in place and thinking through, the island and our coexistence there.




http://www.queerecologiesnetwork.com/

Anuj Vaidya 2016 Artist in residence Gjestekunstner
Anuj Vaidya is artist, educator and media curator who spends life between India, the US, and other realms not traced on human maps. He received his BHA in English/Theater Arts from Carnegie Mellon University, and MFA in Film/Video/New Media from the School of the Art Institute of Chicago. His work as an artist straddles the cusp between performance and film, and addresses issues of gender, sexuality and ecology. Humor and the absurd come together in the form of camp in his work.

Since 2008, Anuj has been co-director for the 3rd i South Asian Film Festival in San Francisco. Apart from programming the annual film festival, he has also collaborated on the biannual mini-festivals 3rd i’s Green Eye and 3rd i’s Queer Eye, and the touring film series Cruel Cinema: New Direction in Tamil Film and Other Species, Other Times: New Video Art from India.

His own artistic practice has grown from addressing questions around the constructed nature of gender/sexuality (through films like Chingari Chumma and Bad Girl with a Heart of Gold) to the constructed nature of nature/culture. In his most recent work, Miss Piggy, Live with Diane Sawyer, Miss Piggy (played by the artist himself) gives an interview about her latest celebrity cause – ecology.

Anuj’s upcoming project, Forest Tales is a queer eco-feminist film adaptation of the Indian epic, The Ramayana. Deeply invested in a sustainable, artisanal process, the work will make various stops along the way to examine craft and pedagogy through technology and collaboration. A key goal of the production is to devise an energy solution that does not involve fuel or electricity.

Anuj has previously worked as an archivist/librarian at the Pacific Film Archive, University of California, Berkeley, and currently teaches queer studies at Montclair State University, New Jersey. His works have been screened and performed at various international venues including Pacific Film Archive (Berkeley, US), Sarai (New Delhi, India), the Fukoka Art Museum (Fukuoka, Japan), and more.

OCA has supported Anuj Vaidya´s stay at Røst AiR in 2016
Anuj Vaidya is artist, educator and media curator who spends life between India, the US, and other realms not traced on human maps. He received his BHA in English/Theater Arts from Carnegie Mellon University, and MFA in Film/Video/New Media from the School of the Art Institute of Chicago. His work as an artist straddles the cusp between performance and film, and addresses issues of gender, sexuality and ecology. Humor and the absurd come together in the form of camp in his work.

Since 2008, Anuj has been co-director for the 3rd i South Asian Film Festival in San Francisco. Apart from programming the annual film festival, he has also collaborated on the biannual mini-festivals 3rd i’s Green Eye and 3rd i’s Queer Eye, and the touring film series Cruel Cinema: New Direction in Tamil Film and Other Species, Other Times: New Video Art from India.

His own artistic practice has grown from addressing questions around the constructed nature of gender/sexuality (through films like Chingari Chumma and Bad Girl with a Heart of Gold) to the constructed nature of nature/culture. In his most recent work, Miss Piggy, Live with Diane Sawyer, Miss Piggy (played by the artist himself) gives an interview about her latest celebrity cause – ecology.

Anuj’s upcoming project, Forest Tales is a queer eco-feminist film adaptation of the Indian epic, The Ramayana. Deeply invested in a sustainable, artisanal process, the work will make various stops along the way to examine craft and pedagogy through technology and collaboration. A key goal of the production is to devise an energy solution that does not involve fuel or electricity.

Anuj has previously worked as an archivist/librarian at the Pacific Film Archive, University of California, Berkeley, and currently teaches queer studies at Montclair State University, New Jersey. His works have been screened and performed at various international venues including Pacific Film Archive (Berkeley, US), Sarai (New Delhi, India), the Fukoka Art Museum (Fukuoka, Japan), and more.

OCA has supported Anuj Vaidya´s stay at Røst AiR in 2016




https://handspuncinema.wordpress.com/

Maja Moesgaard 2016 Artist in residence Gjestekunstner
I am a visual artist living in Copenhagen, Denmark. In my work I explore the intersections between time, the circulations and politics of emotions, language, resistance, the collective, the shared and the individual, alternative organizing, resistence and shared narratives. My practice is closely connected to my political and social communities and activist work, and it is most often from a political frustration my research questions are formulated.

My two major concerns right now are, one, how to deal with a world, where the consumption of the few extremely material priviledged, alterns the climate in drastic and devastating ways, causing immediate and long term crisis. And, second, how to fight structures saturated with racism and white priviledge (I am white).

Drawing, text, animation, sewing and sound are my preferred mediums and my theoretical approach is predominantly queer-feminist.

I have a MFA from the Royal Danish Academy of Fine arts, a MA in gender studies from Goldsmiths University London and a BFA in geography from Roskilde University

During my residency at Røst I'll take part in and organize Queer Ecologies #2, as well as spending some time researching for a new animation I'm working on in collaboration with my friend and author Lone Aburas.

Maja´s travel and stay was support by Culturepoint Nord in 2016.
Maja Moesgaard er uddannet billedkunstner fra Det Kongelige Danske Kunstakademi med en teoretisk mastergrad i gender studies fra Goldsmiths University, London, samt en Bachelor i geografi fra Roskilde Universitet. I min kunstneriske praksis udforsker jeg særligt identitet, følelser, sprog, tid, det kollektive og det individuelle samt relationerne imellem de nære og de store fortællinger erfaret fra queer-kroppen. Mine foretrukne medier er tegning, tekst, animation/video og lyd. Som en del af min praksis arrangerer jeg div. læse- og arbejdsgrupper, herunder Queer Ecologies, Det ku’ være politisk, Klimagruppen, Tredje Aktør.

Maja´s gjestekunstneropphold var støttet av Kulturkontakt Nord i 2016.




http://www.majamoesgaard.blogspot.dk

Marika Troili and Mirko Nikolic 2016 “Only a persistent shift” and Others’ Stories Artist in residence Gjestekunstner
“Only a persistent shift” and Others’ Stories film, text, performance 2015 -

“Only a persistent shift” and Others’ Stories is an evolving narrative about our personal colonisation and decolonisation of an island populated by a multitude of unknown entities of extra-human consistencies. Interweaving everyday events from our stay with elemental and molecular speculations we are trying to outline coexistence among radically different entities that find themselves in a common time and space. “Are we supposed to get this close?” and how close to other things and beings, is a key question… To approach this horizon, we retrace some philosophies thinking the outside of humanity, but, ultimately, the things and forces come to meet us in unpredictable ways. We attempt to retell these real, imagined or desired encounters through a combination of text, film and performance.

Marika Troili is an artist based at Stockholm. Her practice addresses, through a wide range of mediums, the distinguishing yet evasive discoursive elements of the contemporary late capitalism and attempts to temporarily fix their ‘free flow’ in assemblages of materials and objects, or bodies and performative acts. Troili holds MFA from the Royal Institute of Art in Stockholm. Recent exhibitions include: Prekär, Arbetets Museum, Norrköping; To the Reader, BAK Utrecht; Cosmotopia, Batiment d’art contemporain, Genève; She a Factory, Romanian Cultural Institute, Stockholm and Thrill in Movement, Mikser Festival, Belgrade.

Mirko Nikolic’s research and artistic practice critically rework semiotic-material agglomerates produced and perpetuated by economic and political apparatuses, trying to reconfigure the cuts among agencies that put other-than-human elements at unilateral service of humans. Recent projects tackled the financialisation of biosphere and carbon-dioxide (all that is air melts into city, arebyte gallery, London), quantification of labour in sheep herding and wool industry (counting live stock(s), UK E?ka, Zrenjanin), correlation between the internet and the atmosphere (office of ecological labour; UCA, Canterbury), and mining as a shared becoming of humans and the earth (HIAP, Helsinki; KC “Grad”, Belgrade). He is currently pursuing a PhD in Arts & Media Practice at the University of Westminster, London.

http://marikatroili.se/

http://www.mirkonikolic.com/ Mirko and Marika´s stay at Røst AiR was supported by Culturepoint Nord AIR support.
“Only a persistent shift” and Others’ Stories film, text, performance 2015 -

“Only a persistent shift” and Others’ Stories is an evolving narrative about our personal colonisation and decolonisation of an island populated by a multitude of unknown entities of extra-human consistencies. Interweaving everyday events from our stay with elemental and molecular speculations we are trying to outline coexistence among radically different entities that find themselves in a common time and space. “Are we supposed to get this close?” and how close to other things and beings, is a key question… To approach this horizon, we retrace some philosophies thinking the outside of humanity, but, ultimately, the things and forces come to meet us in unpredictable ways. We attempt to retell these real, imagined or desired encounters through a combination of text, film and performance.

Marika Troili is an artist based at Stockholm. Her practice addresses, through a wide range of mediums, the distinguishing yet evasive discoursive elements of the contemporary late capitalism and attempts to temporarily fix their ‘free flow’ in assemblages of materials and objects, or bodies and performative acts. Troili holds MFA from the Royal Institute of Art in Stockholm. Recent exhibitions include: Prekär, Arbetets Museum, Norrköping; To the Reader, BAK Utrecht; Cosmotopia, Batiment d’art contemporain, Genève; She a Factory, Romanian Cultural Institute, Stockholm and Thrill in Movement, Mikser Festival, Belgrade.

Mirko Nikolic’s research and artistic practice critically rework semiotic-material agglomerates produced and perpetuated by economic and political apparatuses, trying to reconfigure the cuts among agencies that put other-than-human elements at unilateral service of humans. Recent projects tackled the financialisation of biosphere and carbon-dioxide (all that is air melts into city, arebyte gallery, London), quantification of labour in sheep herding and wool industry (counting live stock(s), UK E?ka, Zrenjanin), correlation between the internet and the atmosphere (office of ecological labour; UCA, Canterbury), and mining as a shared becoming of humans and the earth (HIAP, Helsinki; KC “Grad”, Belgrade). He is currently pursuing a PhD in Arts & Media Practice at the University of Westminster, London.

http://marikatroili.se/

http://www.mirkonikolic.com/ Mirko og Marika´s gjestekunstneropphold er støttet av Kulturkontakt Nord AiR support




http://marikatroili.se http://www.mirkonikolic.com/

Margrethe Iren Pettersen 2016 Artist in residence Gjestekunstner
Margrethe Iren Pettersen (NO) is a florist with a Bachelor’s degree from the Academy of Contemporary Art in Tromsø. As an artist and cultural producer, she likes to take a place or landscape as a starting point from which she derives interdisciplinary narratives. In the past, Pettersen has worked with forgotten gardens and poisonous plants and weeds. By combining these organic materials with sound she explores the connections between nature and culture, often reflecting on the themes of ecology and transformation in one way or another. Pettersen is interested in different ways of disclosing art, which is why a single work often takes many different forms ranging from interactive sculptures, outdoor happenings, public cultivation and soundwalks, to more traditional pieces in a gallery. Last year Petterson was part of ART Ii Biennale of Northern Environmental and Sculpture Art (FI). This year her work has been exhibited at RAM Gallery (Oslo), Svolvær Artist Association and Tromsø Center for Contemporary Art. Pettersen has started several artist-run spaces. At the moment she is on the board of Røst Artist in Residency and Loftet Arbeidsfellesskap (a studio collective in Tromsø). Margrethe Iren Pettersen (NO) is a florist with a Bachelor’s degree from the Academy of Contemporary Art in Tromsø. As an artist and cultural producer, she likes to take a place or landscape as a starting point from which she derives interdisciplinary narratives. In the past, Pettersen has worked with forgotten gardens and poisonous plants and weeds. By combining these organic materials with sound she explores the connections between nature and culture, often reflecting on the themes of ecology and transformation in one way or another. Pettersen is interested in different ways of disclosing art, which is why a single work often takes many different forms ranging from interactive sculptures, outdoor happenings, public cultivation and soundwalks, to more traditional pieces in a gallery. Last year Petterson was part of ART Ii Biennale of Northern Environmental and Sculpture Art (FI). This year her work has been exhibited at RAM Gallery (Oslo), Svolvær Artist Association and Tromsø Center for Contemporary Art. Pettersen has started several artist-run spaces. At the moment she is on the board of Røst Artist in Residency and Loftet Arbeidsfellesskap (a studio collective in Tromsø).



http://www.margretheart.blogspot.no

Hilary Jeffery 2016 Artist in residence Gjestekunstner
Hilary Jeffery has been working as a musician since the early ’90s and describes himself as a “desert trombonist” after his journey to the Sahara in 1990, accompanied by a trombone. Hilary believes that the sense of silent-space experienced during this desert journey is a central and sustaining influence for his music. As a musician he aims to share this experience, creating inner-space for listeners and fellow musicians to explore. He currently plays in many groups including Inconsolable Ghost, Tonaliens, Zinc & Copper and zeitkratzer.

During his visit in Summer 2016, Hilary will be working on ideas for a Lysn-ing environment on Røst. "Lysn" is Hilary's minimal psychedelic ensemble which has a continuously changing line up and plays music for the inner-space age. In November 2015 Hilary worked with musicians from Murmansk and Bodø in a version of Lysn especially created for the 2015 Dark Ecology journey. Together they created "Murmansk Spaceport" from where they travelled to Jupiter. Hilary plans further explorations from Røst to other fantastic regions in a new incarnation of Lysn in 2017. This new work will be inspired by Røst's unique soundscape, Sami cosmology and science fiction by writers such as Samuel R.Delaney, Ursula K. Le Guin and Marge Piercy. The Norwegian Arts Council Gjestekunstneroppholdsstøtte have supported Hillary Jeffery´s stay.
Hilary Jeffery has been working as a musician since the early ’90s and describes himself as a “desert trombonist” after his journey to the Sahara in 1990, accompanied by a trombone. Hilary believes that the sense of silent-space experienced during this desert journey is a central and sustaining influence for his music. As a musician he aims to share this experience, creating inner-space for listeners and fellow musicians to explore. He currently plays in many groups including Inconsolable Ghost, Tonaliens, Zinc & Copper and zeitkratzer.

During his visit in Summer 2016, Hilary will be working on ideas for a Lysn-ing environment on Røst. "Lysn" is Hilary's minimal psychedelic ensemble which has a continuously changing line up and plays music for the inner-space age. In November 2015 Hilary worked with musicians from Murmansk and Bodø in a version of Lysn especially created for the 2015 Dark Ecology journey. Together they created "Murmansk Spaceport" from where they travelled to Jupiter. Hilary plans further explorations from Røst to other fantastic regions in a new incarnation of Lysn in 2017. This new work will be inspired by Røst's unique soundscape, Sami cosmology and science fiction by writers such as Samuel R.Delaney, Ursula K. Le Guin and Marge Piercy. Norsk Kulturråd´s Gjestekunstneroppholdsstøtte er mottatt for Hillary Jeffery´s opphold.




http://www.hiljef.com

Yendini Yoo Cappelen 2016 Artist in residence Gjestekunstner
Yendini Yoo Cappelen is a Norwegian actor and improvisation musician. Summer 2016 she was invited to Skomvær to work on a collaboration together with Marie Kaada Hovden. During her the two week residence in June, they started the work on their upcoming concert performance "Befaring langs storsirkelen", which is based on a poem with the same title by poet Finn Strømsted. Their work will continue throughout the fall 2016, in Oslo and at Hydrogenfabrikken in Fredrikstad. In February 2017 they premiere at Blå Grotte in Fredrikstad. Yendini Yoo Cappelen is a Norwegian actor and improvisation musician. Summer 2016 she was invited to Skomvær to work on a collaboration together with Marie Kaada Hovden. During her the two week residence in June, they started the work on their upcoming concert performance "Befaring langs storsirkelen", which is based on a poem with the same title by poet Finn Strømsted. Their work will continue throughout the fall 2016, in Oslo and at Hydrogenfabrikken in Fredrikstad. In February 2017 they premiere at Blå Grotte in Fredrikstad.



Jonas Qvale 2016 Artist in residence Gjestekunstner
Tejal Shah 2015 Artist in residence Artist in residence
Tejal Shah (b.1979, Bhilai, India; currently lives in Goa, India) graduated with a BA in photography from RMIT, Melbourne, spent a year as an exchange student at The Art Institute of Chicago and another summer trying to get an MFA from Bard College in upstate New York.

Their* practice incorporates everything and anything, including video, photography, performance, food, drawing, sound, installation, and modes of sustainable living. Queerying everything, they often unselfconsciously manifest “the inappropriate/d other”–one whom you cannot appropriate and one who is inappropriate. Experiencing their works entails entering alter-curious worlds riddled with fact, fiction, poetry and mythology, that compel us to engage with layered propositions on the relationships between interspecies, ecology, gender, post-porn, sexuality and consciousness. Having recently come out as an ecosexual, they think of themselves as ‘some kind of artist working on some kind of nature’.

In works such as Chingari Chumma (2000), Trans- (2004-5) and Women Like Us (2010), they focus on the social and biological constructs of gender. I Love My India (2003), filmed at a public recreational space in Bombay questions India’s democracy in the candid, apathetic, ignorant or informed interviewed responses to the communal riots in Gujarat in 2002. Their work both references and transcends otherness in“What are You?” (2006), highlighting the complexities of the highly marginalized Hijra (eunuch) community and proposes an egalitarian, poly-gendered society. Between the Waves (2012), a 5-channel video installation marks a turning point towards queer ecology in Shah’s practice. It tells the viewers a grand narrative, figuratively and metaphorically, as if they have created a new story of the origin of species that has been forgotten for a long time, or has been found from the distant future, something that seems out of place everywhere. Their works have shown worldwide at museums, galleries and film festivals, including the Tate Modern (2006), Centre Pompidou (2011), Documenta 13 (2012) and British Film Institute (2013).

* We have avoided using personal pronouns as an experiment and expression of retirement from gender conformity.
Tejal Shah (b.1979, Bhilai, India; currently lives in Goa, India) graduated with a BA in photography from RMIT, Melbourne, spent a year as an exchange student at The Art Institute of Chicago and another summer trying to get an MFA from Bard College in upstate New York.

Their* practice incorporates everything and anything, including video, photography, performance, food, drawing, sound, installation, and modes of sustainable living. Queerying everything, they often unselfconsciously manifest “the inappropriate/d other”–one whom you cannot appropriate and one who is inappropriate. Experiencing their works entails entering alter-curious worlds riddled with fact, fiction, poetry and mythology, that compel us to engage with layered propositions on the relationships between interspecies, ecology, gender, post-porn, sexuality and consciousness. Having recently come out as an ecosexual, they think of themselves as ‘some kind of artist working on some kind of nature’.

In works such as Chingari Chumma (2000), Trans- (2004-5) and Women Like Us (2010), they focus on the social and biological constructs of gender. I Love My India (2003), filmed at a public recreational space in Bombay questions India’s democracy in the candid, apathetic, ignorant or informed interviewed responses to the communal riots in Gujarat in 2002. Their work both references and transcends otherness in“What are You?” (2006), highlighting the complexities of the highly marginalized Hijra (eunuch) community and proposes an egalitarian, poly-gendered society. Between the Waves (2012), a 5-channel video installation marks a turning point towards queer ecology in Shah’s practice. It tells the viewers a grand narrative, figuratively and metaphorically, as if they have created a new story of the origin of species that has been forgotten for a long time, or has been found from the distant future, something that seems out of place everywhere. Their works have shown worldwide at museums, galleries and film festivals, including the Tate Modern (2006), Centre Pompidou (2011), Documenta 13 (2012) and British Film Institute (2013).

* We have avoided using personal pronouns as an experiment and expression of retirement from gender conformity.




http://tejalshah.in/

Queer Ecologies 2015 Queer Ecologies # 1 Workshop Workshop
Queer Ecologies was a one week collective reading and conversation seminar hosted by Røst Artist in Residence, organized and curated in collaboration with Cal Harben (CA), Elin Mar Øyen Vister (NO) and Maja Moesgaard (DK). Participants included the above and l Camilla Nicolaisen (NO), Jaya Ramchandani (IN), Malin Arnell (SE) and Tejal Shah (IN).

Queer Ecologies take form as a collective pilot project, to which a group of artists, scholars and activists will come together at Skomvær Lighthouse station in the Røst Archipelago, Nordland, from the 1st Of August till the 9th Of August 2015. Within the first year of the program, the seminar will give space to raise questions, identify key issues, and develop a shared vocabulary in which to develop a larger program and a more extensive network, including a seminar, workshop and exhibition planned for 2016 and 2017.

Conceived as a meeting point of artistic practices, scholarship and research between artists, academics, activists and other cultural producers, we begin by asking: what does it mean to be a cultural producer in an age of climate changes? From what individual and collective positions do we speak? What would it mean to take seriously the social, political, and ecological vitality of the human and more-than-human voices we coexist with? How do negotiate points of difference between local and global framings? How do cultural scripts of gender, sexuality, class, race, environmental justice intersect within fields of cultural and intellectual, and activist production?

What tools have we available to merge, resist or disidentity with? We come together asking: how might looking to past and present political and aesthetic strategies of art and activism, lead to new imaginings beyond our present?Individually, each participant identifies uniquely with issues of environmental degradation, capitalist driven resource extraction, border fortification, and affects of political urgency...
Queer Ecologies was a one week collective reading and conversation seminar hosted by Røst Artist in Residence, organized and curated in collaboration with Cal Harben (CA), Elin Mar Øyen Vister (NO) and Maja Moesgaard (DK). Participants included the above and l Camilla Nicolaisen (NO), Jaya Ramchandani (IN), Malin Arnell (SE) and Tejal Shah (IN).

Queer Ecologies take form as a collective pilot project, to which a group of artists, scholars and activists will come together at Skomvær Lighthouse station in the Røst Archipelago, Nordland, from the 1st Of August till the 9th Of August 2015. Within the first year of the program, the seminar will give space to raise questions, identify key issues, and develop a shared vocabulary in which to develop a larger program and a more extensive network, including a seminar, workshop and exhibition planned for 2016 and 2017.

Conceived as a meeting point of artistic practices, scholarship and research between artists, academics, activists and other cultural producers, we begin by asking: what does it mean to be a cultural producer in an age of climate changes? From what individual and collective positions do we speak? What would it mean to take seriously the social, political, and ecological vitality of the human and more-than-human voices we coexist with? How do negotiate points of difference between local and global framings? How do cultural scripts of gender, sexuality, class, race, environmental justice intersect within fields of cultural and intellectual, and activist production?

What tools have we available to merge, resist or disidentity with? We come together asking: how might looking to past and present political and aesthetic strategies of art and activism, lead to new imaginings beyond our present?Individually, each participant identifies uniquely with issues of environmental degradation, capitalist driven resource extraction, border fortification, and affects of political urgency...




Claudia Firth 2015 Røst AiR working group fascilitator Workshops Workshops
Claudia Firth is a practicing artist and writer. She has exhibited widely as an artist working in photography, video, installation & performance. She is an experienced arts and media educator, teaching and running workshops in a variety of educational and community settings.

Claudia Firth kindly agreed to be our facilitator and held 2 workshops with us in 2015. The introduction took place via skype in March, leading up to a week long workshop at Skomvær in the first week of June 2015.

We read text on collaboration and community work such as "The Tyranny of Structurelessness" by Jo Freeman (1972), "icropolitiques des Groupes by David Vercauteren" (2010) and Chapter 3 - "The Circle of Vision" of The Empowerment Manual by Starhawk.

We also discussed transparency, practiced meeting ethics and worked on and revised our core values, and code of conduct and ethics and more.
Claudia Firth is a practicing artist and writer. She has exhibited widely as an artist working in photography, video, installation & performance. She is an experienced arts and media educator, teaching and running workshops in a variety of educational and community settings.

Claudia Firth kindly agree to be our facilitator and held 2 workshops with us in 2015. The introduction took place via skype in March, leading up to a week long workshop at Skomvær in the first week of June 2015.

We read text on collaboration and community work such as "The Tyranny of Structurelessness" by Jo Freeman (1972), "icropolitiques des Groupes by David Vercauteren" (2010) and Chapter 3 - "The Circle of Vision" of The Empowerment Manual by Starhawk.

We also discussed transparency, practiced meeting ethics and worked on and revised our core values, and code of conduct and ethics and more.




https://claudiafirth.wordpress.com/about/

Malin Arnell 2015 Artist in residence Gjestekunstner
Interdisciplinary artist, researcher and educator Malin Arnell (lives and works somewhere in between Brooklyn, Berlin and Stockholm) is a frequent collaborator with other artists, activists and writers.

Through her practice, she emphasizes matter, doing, and actions, focusing on the experiences around/in/of the body (her body, their body, our body), presence, participation, membership, and other affective manifestations.

Recent projects include Beyond this Point, FD13, St. Paul/Minneapolis (2015), Setting the Scene, Movement Research Festival, Fall 2014: M A T T E R I N G, Danspace Project | St. Mark’s Church, NYC (2014), Kapitel, Kaput, Kapital, Kapitulera, Capitulum: header of a text and a part of the arm - a collaboration among others, INDEX, Stockholm (2014), In This Almost, Paço das Artes, São Paulo (2014), Mo(WE)ments of labor, CCS Bard / Hessel Museum of Art, Annandale-on-Hudson, NY (2014), Slow dancing with two fans, White Columns, NYC (2014), I am not quite sure. This is an arduous terrain, Swiss Institute Contemporary Art, NYC (2013), The Oncoming Corner, a series of monthly gatherings that takes place in the artist’s loft, Brooklyn, NY (2012-ongoing), YES! Association/ Föreningen JA! (2005-ongoing).

Since 2010 she’s working on her artistic doctoral theses in Choreography at the University of Dance and Circus, Stockholm University of the Arts. She is currently a visiting scholar at the Department of Performance Studies at Tisch School of the Arts, New York University.
Interdisciplinary artist, researcher and educator Malin Arnell (lives and works somewhere in between Brooklyn, Berlin and Stockholm) is a frequent collaborator with other artists, activists and writers.

Through her practice, she emphasizes matter, doing, and actions, focusing on the experiences around/in/of the body (her body, their body, our body), presence, participation, membership, and other affective manifestations.

Recent projects include Beyond this Point, FD13, St. Paul/Minneapolis (2015), Setting the Scene, Movement Research Festival, Fall 2014: M A T T E R I N G, Danspace Project | St. Mark’s Church, NYC (2014), Kapitel, Kaput, Kapital, Kapitulera, Capitulum: header of a text and a part of the arm - a collaboration among others, INDEX, Stockholm (2014), In This Almost, Paço das Artes, São Paulo (2014), Mo(WE)ments of labor, CCS Bard / Hessel Museum of Art, Annandale-on-Hudson, NY (2014), Slow dancing with two fans, White Columns, NYC (2014), I am not quite sure. This is an arduous terrain, Swiss Institute Contemporary Art, NYC (2013), The Oncoming Corner, a series of monthly gatherings that takes place in the artist’s loft, Brooklyn, NY (2012-ongoing), YES! Association/ Föreningen JA! (2005-ongoing).

Since 2010 she’s working on her artistic doctoral theses in Choreography at the University of Dance and Circus, Stockholm University of the Arts. She is currently a visiting scholar at the Department of Performance Studies at Tisch School of the Arts, New York University.




http://www.malinarnell.org

Ginger Brooks Takahasi 2015 Malin Arnell´s guest artist Artist in residence Gjestekunstner
Ginger Brooks Takahashi (born July 26, 1977) is an American artist based in Brooklyn, New York, and North Braddock, Pennsylvania. She co-founded the feminist genderqueer collective and journal LTTR and the Mobilivre project, a touring exhibition and library. She was also a member of MEN (band). Her work consists of a collaborative project-based practice.

MOBILIVRE
In 2001, Takahashi helped co-found the MOBILIVRE-BOOKMOBILE project. The project, created by a collective of North American artists and activists, involved touring the United States and Canada in a converted Airstream trailer, which served as an exhibition space, as well as a zine and art book library. The project was dedicated to exploring "the long held tradition of bookmobiles as traveling libraries that promote the distribution of information." The project ran until 2006 and in 2003 it featured an issue of LTTR in the collection.

LTTR
Takahashi co-founded the feminist genderqueer artist collective and annual literary journal, Lesbians To The Rescue (LTTR) with Emily Roysdon and K8 Hardy in 2002.

Works:
Takahashi's multimedia practices include painting, installation work, and crafts. One of her most notable works is An Army of Lovers Cannot Fail, (2004-present), a continuing series of quilting forums. Participants stitch on Takahashi's all-white quilt, and have been organized in community spaces such as homes, galleries, gardens, and other public settings.

Some of Takahashi's recent exhibitions include: "Shared Women" at Los Angeles Contemporary Exhibitions, 2007; "Exile of the Imaginary" at the Generali Foundation, Vienna, 2007; "Locally Localized Gravity" at the Institute of Contemporary Art, Philadelphia, 2007; and "Alien She" at the Orange County Museum of Art, 2015. She has also presented at Serpentine Gallery, London, 2008; documenta 12, Kassel, 2007; Art Metropole, Toronto, 2007; and with Ridykeulous at The Kitchen, NY, 2007.

In 2009 and 2010, Takahashi was one of several artists that took part in the arts-based initiative, Queer Pier: 40 Years. Queer Pier coincided with the 10 year anniversary of FIERCE, an organization that builds leadership among LGBTQ youth of color in New York City.[Takahashi facilitated a screen printing workshop to create images that showed the contributions made by FIERCE in community organizing at the piers.

You can read more about Ginger´s and Dana Ashbrooks ongoing General Sister´s project here:

http://www.generalsisters.com/
Ginger Brooks Takahashi (born July 26, 1977) is an American artist based in Brooklyn, New York, and North Braddock, Pennsylvania. She co-founded the feminist genderqueer collective and journal LTTR and the Mobilivre project, a touring exhibition and library. She was also a member of MEN (band). Her work consists of a collaborative project-based practice.

MOBILIVRE
In 2001, Takahashi helped co-found the MOBILIVRE-BOOKMOBILE project. The project, created by a collective of North American artists and activists, involved touring the United States and Canada in a converted Airstream trailer, which served as an exhibition space, as well as a zine and art book library. The project was dedicated to exploring "the long held tradition of bookmobiles as traveling libraries that promote the distribution of information." The project ran until 2006 and in 2003 it featured an issue of LTTR in the collection.

LTTR
Takahashi co-founded the feminist genderqueer artist collective and annual literary journal, Lesbians To The Rescue (LTTR) with Emily Roysdon and K8 Hardy in 2002.

Works:
Takahashi's multimedia practices include painting, installation work, and crafts. One of her most notable works is An Army of Lovers Cannot Fail, (2004-present), a continuing series of quilting forums. Participants stitch on Takahashi's all-white quilt, and have been organized in community spaces such as homes, galleries, gardens, and other public settings.

Some of Takahashi's recent exhibitions include: "Shared Women" at Los Angeles Contemporary Exhibitions, 2007; "Exile of the Imaginary" at the Generali Foundation, Vienna, 2007; "Locally Localized Gravity" at the Institute of Contemporary Art, Philadelphia, 2007; and "Alien She" at the Orange County Museum of Art, 2015. She has also presented at Serpentine Gallery, London, 2008; documenta 12, Kassel, 2007; Art Metropole, Toronto, 2007; and with Ridykeulous at The Kitchen, NY, 2007.

In 2009 and 2010, Takahashi was one of several artists that took part in the arts-based initiative, Queer Pier: 40 Years. Queer Pier coincided with the 10 year anniversary of FIERCE, an organization that builds leadership among LGBTQ youth of color in New York City.[Takahashi facilitated a screen printing workshop to create images that showed the contributions made by FIERCE in community organizing at the piers.

You can read more about Ginger´s and Dana Ashbrooks ongoing General Sister´s project here:

http://www.generalsisters.com/




http://brookstakahashi.com/

Kajsa Dahlberg 2015 Malin Arnell´s guest artist Artist in residence Gjestekunstner
Apart from my individual artistic practice I've been involved in several collaborations, such as the ongoing collective reading “I want a president...” together with Fia-Stina Sandlund, Malin Arnell and Johanna Gustavsson since 2010. I was involved in the project “Equal Opportunities Agreement, 5 years later” by the YES! association in 2010. I was a member of the a research group “On the Conditions of Production”, together with Kim Einarsson, Mattin, Michele Masucci, Lisa Rosendahl and Fredrik Svensk since 2009.

I was the co-initiator of the artist group the “Production Unit” together with Petra Bauer in 2004-2010.

In 2011 I co-curated the feminist performance festival “Feminists in Space” with Gritt Uldall-Jessen and Molly Haslund at Warehouse 9 in Copenhagen and was also engaged in the project of collectively writing a novel titled “The Chess Room”, initiated by Sinziana Ravini.

In 2010-11 I was an artist in residence at Künstlerhaus Bethanien in Berlin. In 2009 I curated the exhibition “A Space on the Side of the Road” together with artist Henrik Andersson at Röda Sten in Göteborg.

I received Edstrandska Stipendiet 2007.

I was an artist in residence at Tranzit, Prague, Czech Republic in 2007 and at IASPIS - Artist in Residence in Stockholm 2005-06, and I was in Belgrade as part of the Nordic Institute For Contemporary Art (NIFCA) Balkan Air program in 2005 and at the NIFCA artist in residence program in Helsinki in 2004.

I was a board member of Baltic Art Center, BAC, between 2009 and 2014.

In 2012 I was commissioned to make a public art project for KORO (Art in Public Space, Norway) in the entrance of the Ministry of Health & Care Services at the Government quarter, Teatergata 9 in Oslo and in 2013 I made a public art project for URO in the form of a newspaper about gender and public space called For Myself and Strangers that was sent out to 100.000 households all over Norway that do not subscribe to a daily newspaper.

My work is represented in the collections at Moderna Museet Stockholm, Malmö Art Museum in Malmö, Hasselblad Center in Göteborg and at the Video-Forum at Neuer Berliner Kunstverein, n.b.k, in Berlin.

Since September 2016 I am working on a practice based PhD at The Royal Institute of Art (KKH) in Stockholm.
Apart from my individual artistic practice I've been involved in several collaborations, such as the ongoing collective reading “I want a president...” together with Fia-Stina Sandlund, Malin Arnell and Johanna Gustavsson since 2010. I was involved in the project “Equal Opportunities Agreement, 5 years later” by the YES! association in 2010. I was a member of the a research group “On the Conditions of Production”, together with Kim Einarsson, Mattin, Michele Masucci, Lisa Rosendahl and Fredrik Svensk since 2009.

I was the co-initiator of the artist group the “Production Unit” together with Petra Bauer in 2004-2010.

In 2011 I co-curated the feminist performance festival “Feminists in Space” with Gritt Uldall-Jessen and Molly Haslund at Warehouse 9 in Copenhagen and was also engaged in the project of collectively writing a novel titled “The Chess Room”, initiated by Sinziana Ravini.

In 2010-11 I was an artist in residence at Künstlerhaus Bethanien in Berlin. In 2009 I curated the exhibition “A Space on the Side of the Road” together with artist Henrik Andersson at Röda Sten in Göteborg.

I received Edstrandska Stipendiet 2007.

I was an artist in residence at Tranzit, Prague, Czech Republic in 2007 and at IASPIS - Artist in Residence in Stockholm 2005-06, and I was in Belgrade as part of the Nordic Institute For Contemporary Art (NIFCA) Balkan Air program in 2005 and at the NIFCA artist in residence program in Helsinki in 2004.

I was a board member of Baltic Art Center, BAC, between 2009 and 2014.

In 2012 I was commissioned to make a public art project for KORO (Art in Public Space, Norway) in the entrance of the Ministry of Health & Care Services at the Government quarter, Teatergata 9 in Oslo and in 2013 I made a public art project for URO in the form of a newspaper about gender and public space called For Myself and Strangers that was sent out to 100.000 households all over Norway that do not subscribe to a daily newspaper.

My work is represented in the collections at Moderna Museet Stockholm, Malmö Art Museum in Malmö, Hasselblad Center in Göteborg and at the Video-Forum at Neuer Berliner Kunstverein, n.b.k, in Berlin.

Since September 2016 I am working on a practice based PhD at The Royal Institute of Art (KKH) in Stockholm.




http://kajsadahlberg.com/

Vika Begalska and Alexander Vilkin 2015 Røst AiR at Røstlandet Artist in residence Gjestekunstner
Maja Nilsen 2015 Artist in residence / Praktikant Gjestekunstner
Maja Nilsen is a Norwegian artist, born in 1978 in Klæbu, Norway. Nilsen have a MFA from Trondheim Academy of Fine Art (2003-2005) and a BA-grade from Trondheim and Dublin. She works and lives in Berlin and Norway. The work of Maja Nilsen is created from memory and imagination, residing somewhere in the tension between autobiographical reference points and poetically immersed dream worlds. She works in a cross/multimedia manner that mostly results in site-specific projects, collages and installations. When working in different places and communities, she incorporates elements of these environments, such as existing epistemologies, local histories, tradition or myth into her practice. At Skomvær Maja will continue her research on local myths, geological processes and cold water corals. Maja Nilsen is a Norwegian artist, born in 1978 in Klæbu, Norway. Nilsen have a MFA from Trondheim Academy of Fine Art (2003-2005) and a BA-grade from Trondheim and Dublin. She works and lives in Berlin and Norway. The work of Maja Nilsen is created from memory and imagination, residing somewhere in the tension between autobiographical reference points and poetically immersed dream worlds. She works in a cross/multimedia manner that mostly results in site-specific projects, collages and installations. When working in different places and communities, she incorporates elements of these environments, such as existing epistemologies, local histories, tradition or myth into her practice. At Skomvær Maja will continue her research on local myths, geological processes and cold water corals.



http://www.majanilsen.com

Diana Burkot aka Rosemary Loves Blackberry 2015 Røst AiR at Røstlandet Artist in residence Gjestekunstner
https://www.facebook.com/rosemary-loves-a-blackberry-278560245515218/

https://soundcloud.com/rosemary_loves_a_blackberry
https://www.facebook.com/rosemary-loves-a-blackberry- 278560245515218/

https://soundcloud.com/rosemary_loves_a_blackberry




https://www.facebook.com/rosemary-loves-a-blackberry-278560245515218/

Lolja Nordic 2015 Røst AiR at Røstlandet Artist in residence Gjestekunstner
I'm working on the audio-visual projects which explores the nature and urban environment conflicting and interacting in the everyday life. I mix electronic sounds with sounds that i record here at Rost Island to create a soundtrack to the landscape videos and still pictures which i also capture here at Rost. At the end it's going to be a series of short video clips with combined motion and still images in it with the unique sound of each piece. I'm working on the audio-visual projects which explores the nature and urban environment conflicting and interacting in the everyday life. I mix electronic sounds with sounds that i record here at Rost Island to create a soundtrack to the landscape videos and still pictures which i also capture here at Rost. At the end it's going to be a series of short video clips with combined motion and still images in it with the unique sound of each piece.



https://vimeo.com/loljanordic

Sam Douglas 2015 Artist in residence Gjestekunstner
Sam Douglas is a landscape painter who has exhibited extensively since graduating from The Royal College of Art, London in 2007. Sam Douglas is a landscape painter who has exhibited extensively since graduating from The Royal College of Art, London in 2007.



http://samdouglas.co.uk

Lisa Strohmayer 2015 Resident Resident
Marika Troili / Mirko Nikolic 2015 Resident Gjestekunstner
Marika Troili is an artist based at Stockholm. Her practice addresses, through a wide range of mediums, the distinguishing yet evasive discoursive elements of the contemporary late capitalism and attempts to temporarily fix their ‘free flow’ in assemblages of materials and objects, or bodies and performative acts. Troili holds MFA from the Royal Institute of Art in Stockholm. Recent exhibitions include: Prekär, Arbetets Museum, Norrköping; To the Reader, BAK Utrecht; Cosmotopia, Batiment d’art contemporain, Genève; She a Factory, Romanian Cultural Institute, Stockholm and Thrill in Movement, Mikser Festival, Belgrade.

Mirko Nikolic’s research and artistic practice critically rework semiotic-material agglomerates produced and perpetuated by economic and political apparatuses, trying to reconfigure the cuts among agencies that put other-than-human elements at unilateral service of humans. Recent projects tackled the financialisation of biosphere and carbon-dioxide (all that is air melts into city, arebyte gallery, London), quantification of labour in sheep herding and wool industry (counting live stock(s), UK E?ka, Zrenjanin), correlation between the internet and the atmosphere (office of ecological labour; UCA, Canterbury), and mining as a shared becoming of humans and the earth (HIAP, Helsinki; KC “Grad”, Belgrade). He is currently pursuing a PhD in Arts & Media Practice at the University of Westminster, London.
Marika Troili is an artist based at Stockholm. Her practice addresses, through a wide range of mediums, the distinguishing yet evasive discoursive elements of the contemporary late capitalism and attempts to temporarily fix their ‘free flow’ in assemblages of materials and objects, or bodies and performative acts. Troili holds MFA from the Royal Institute of Art in Stockholm. Recent exhibitions include: Prekär, Arbetets Museum, Norrköping; To the Reader, BAK Utrecht; Cosmotopia, Batiment d’art contemporain, Genève; She a Factory, Romanian Cultural Institute, Stockholm and Thrill in Movement, Mikser Festival, Belgrade.

Mirko Nikolic’s research and artistic practice critically rework semiotic-material agglomerates produced and perpetuated by economic and political apparatuses, trying to reconfigure the cuts among agencies that put other-than-human elements at unilateral service of humans. Recent projects tackled the financialisation of biosphere and carbon-dioxide (all that is air melts into city, arebyte gallery, London), quantification of labour in sheep herding and wool industry (counting live stock(s), UK E?ka, Zrenjanin), correlation between the internet and the atmosphere (office of ecological labour; UCA, Canterbury), and mining as a shared becoming of humans and the earth (HIAP, Helsinki; KC “Grad”, Belgrade). He is currently pursuing a PhD in Arts & Media Practice at the University of Westminster, London.




http://www.marikatroili.se

http://www.mirkonikolic.com


FRANK 2014 FRANK at Skomvær Lighthouse Salon in residence Salon in residence
Jul 14 – 20, 2014

A week-long gathering of 11 artists, curators and theorists at Skomvær Lighthouse

Vika Begalskaya (RU)
Katarina Bonnevier (SE)
Liv Bugge (NO)
Kajsa Dahlberg (SE)
Malene Dam (DK)
Mathias Danbolt (NO/DK)
Berivan Erdogan (NO)
Ester Fleckner (DK)
Sille Storihle (NO)
Elijah Yakovenko (RU/UA)
Elin Øyen Vister (NO)



In 1896, the Norwegian suffragette and photographer Marie Høeg established the first Norwegian discussion group for women called Den Selskabelige Diskussionforening, translated into English as The Sociable Association for Discussion. Out of a need to gather women to discuss the questions of the day, at the turn of the last century, the association was formed.

Inspired by Den Selskabelige Diskussionforening, FRANK gathered a group of artists, curators, architects and theorists to discuss gender issues of today from the Nordic countries and Russia. FRANK was interested in exploring the meaning of “queer” in the Cap of the North and to facilitate for an exchange regarding the the historic, political and artistic intricacies of this area.

The weeklong salon was held at Skomvær Fyr in the Lofoten islands in Northern Norway. Elin Øyen Vister and the artist residency Røst AiR hosted the group. The surroundings at lighthouse at Skomvær island generated a unique dialogue organized around the participants’ own work and research, and will function as a model for future salons.



Supported by Nordland Fylkeskommune
Jul 14 – 20, 2014

A week-long gathering of 11 artists, curators and theorists at Skomvær Lighthouse

Vika Begalskaya (RU)
Katarina Bonnevier (SE)
Liv Bugge (NO)
Kajsa Dahlberg (SE)
Malene Dam (DK)
Mathias Danbolt (NO/DK)
Berivan Erdogan (NO)
Ester Fleckner (DK)
Sille Storihle (NO)
Elijah Yakovenko (RU/UA)
Elin Øyen Vister (NO)



In 1896, the Norwegian suffragette and photographer Marie Høeg established the first Norwegian discussion group for women called Den Selskabelige Diskussionforening, translated into English as The Sociable Association for Discussion. Out of a need to gather women to discuss the questions of the day, at the turn of the last century, the association was formed.

Inspired by Den Selskabelige Diskussionforening, FRANK gathered a group of artists, curators, architects and theorists to discuss gender issues of today from the Nordic countries and Russia. FRANK was interested in exploring the meaning of “queer” in the Cap of the North and to facilitate for an exchange regarding the the historic, political and artistic intricacies of this area.

The weeklong salon was held at Skomvær Fyr in the Lofoten islands in Northern Norway. Elin Øyen Vister and the artist residency Røst AiR hosted the group. The surroundings at lighthouse at Skomvær island generated a unique dialogue organized around the participants’ own work and research, and will function as a model for future salons.



Supported by Nordland Fylkeskommune




http://www.f-r-a-n-k.org/

Mathias Hatleskog Tjønn aka Racing Heart 2014 Artist in residence Gjestekunstner
https://racingheart.bandcamp.com/



http://www.mathiastjonn.com/

Mikaela 2014 Artist in residence Gjestekunstner
Mikaela (1983) är en performance og gatekunstner, og medlem av Det Feministiske Initiativs aktivistgruppe i Moskva, Russland. Hun arbeider i hovedsak med gatekunst, sjablong graffiti og performance.Hennes politiske interesse tok form i 2008 da hun gikk med i det russiske feministrørelsen og ble medlem av Moskvas Feminist Gruppe og Det feministiske Initiativ. Mikaela er interessert i kvinners erfaringer og sosialisering, kjønnsroller og ideen om det personlige som noe politisk. Den private sfære, sårbarhet, kjønnsdiskriminering, maktfordeling, og stigmatisering. Hun beskriver sitt virke som sosialt engasjert kunst og hun bruker pseudonym for kunstprosjektene. Mikaela har deltatt i flere store kunstprosjekter i Russland og internasjonalt, og laget verk i gatene i Kiev, Moskva, Barcelona,Edingburgh og Vienna. Lenke til mer informasjon : Mikaela (1983) är en performance og gatekunstner, og medlem av Det Feministiske Initiativs aktivistgruppe i Moskva, Russland. Hun arbeider i hovedsak med gatekunst, sjablong graffiti og performance.Hennes politiske interesse tok form i 2008 da hun gikk med i det russiske feministrørelsen og ble medlem av Moskvas Feminist Gruppe og Det feministiske Initiativ. Mikaela er interessert i kvinners erfaringer og sosialisering, kjønnsroller og ideen om det personlige som noe politisk. Den private sfære, sårbarhet, kjønnsdiskriminering, maktfordeling, og stigmatisering. Hun beskriver sitt virke som sosialt engasjert kunst og hun bruker pseudonym for kunstprosjektene. Mikaela har deltatt i flere store kunstprosjekter i Russland og internasjonalt, og laget verk i gatene i Kiev, Moskva, Barcelona,Edingburgh og Vienna.



https://www.facebook.com/m.i.k.a.e.l.a.lllllll

Ane Elene Johansen 2013 Artist in residence Gjestekunstner
I am an artist living in Tromsø, Northern Norway. My artistic production is a slow train moving around the steep mountains. If you have any questions confirming my art work, please don't hesitate to contact me. I do wallpaintings, illustrations and drawings/paintings. I also make music, but that is a sidetrack at the moment. What inspires me the most, is the nature. Like the valleys, the mountains, the sea and the animals. But also the most simple questions about the communication between people. How we react on each other, and how we feel. I don't like complicated thoughts. Or, I do, but I don't. Sometimes things are talking in another way. I am an artist living in Tromsø, Northern Norway. My artistic production is a slow train moving around the steep mountains. If you have any questions confirming my art work, please don't hesitate to contact me. I do wallpaintings, illustrations and drawings/paintings. I also make music, but that is a sidetrack at the moment. What inspires me the most, is the nature. Like the valleys, the mountains, the sea and the animals. But also the most simple questions about the communication between people. How we react on each other, and how we feel. I don't like complicated thoughts. Or, I do, but I don't. Sometimes things are talking in another way.



http://www.aneelene.com/

AKCG 2013 Hydrofobia 2013 Artist in residence Gjestekunstner
(akcg) anna kindgren and carina gunnars

We have collaborated in various constellations for many years. Between 2000 – 2006 in the project love and devotion with artists Ingrid Eriksson and Karin Johnson. Our works touch upon different disciplines. However, the point of departure is that we are artists and nothing else. Our works often develop out of a specific situation or issue. When our interest is aroused, we are impregnated by meeting people, studies and journeys – experiences that help us move further into a more profound understanding of the situation. We do not hurry this process.

The recent neoliberal revolution in Sweden has made us reassess the financial and political situation that we are slowly engulfed by – both locally and globally. Our objects of inquiry are Swedish institutions and cities. Among other things, we have explored the urban space and its limitations for civic activities, which are regulated by law and by commercial interests. A research trip to Brazil inspired our interest in the urbanity we encountered there.

Lately we have developed a project that focuses on some ideas and impressions we have had for several years: shadows, urban invisibilities. The mind boggles when we think of how little we know, how blinded we have become. Focusing on the shadowy worlds has a tendency to provoke strong feelings – fear, aversion, displeasure and passive aggressiveness. “First you’ll close your eyes to the pictures. Then you’ll close your eyes to the memory. Then you’ll close your eyes to the facts. Then you’ll close your eyes to the entire context.” Nicht löschbares Feuer, Harun Farocki, 1969 [Inextinguishable Fire].

If you approach that which is repressed and disregarded, you risk being accused of sensationalism and speculation. We explore how we can use our visual and aesthetic experience in order to communicate this phenomenon. How to give prominence to other voices in a collaboration, in which the focus may be channeled in the opposite direction? Come to think of it, who creates the shadow?
(akcg) anna kindgren and carina gunnars

We have collaborated in various constellations for many years. Between 2000 – 2006 in the project love and devotion with artists Ingrid Eriksson and Karin Johnson. Our works touch upon different disciplines. However, the point of departure is that we are artists and nothing else. Our works often develop out of a specific situation or issue. When our interest is aroused, we are impregnated by meeting people, studies and journeys – experiences that help us move further into a more profound understanding of the situation. We do not hurry this process.

The recent neoliberal revolution in Sweden has made us reassess the financial and political situation that we are slowly engulfed by – both locally and globally. Our objects of inquiry are Swedish institutions and cities. Among other things, we have explored the urban space and its limitations for civic activities, which are regulated by law and by commercial interests. A research trip to Brazil inspired our interest in the urbanity we encountered there.

Lately we have developed a project that focuses on some ideas and impressions we have had for several years: shadows, urban invisibilities. The mind boggles when we think of how little we know, how blinded we have become. Focusing on the shadowy worlds has a tendency to provoke strong feelings – fear, aversion, displeasure and passive aggressiveness. “First you’ll close your eyes to the pictures. Then you’ll close your eyes to the memory. Then you’ll close your eyes to the facts. Then you’ll close your eyes to the entire context.” Nicht löschbares Feuer, Harun Farocki, 1969 [Inextinguishable Fire].

If you approach that which is repressed and disregarded, you risk being accused of sensationalism and speculation. We explore how we can use our visual and aesthetic experience in order to communicate this phenomenon. How to give prominence to other voices in a collaboration, in which the focus may be channeled in the opposite direction? Come to think of it, who creates the shadow?




http://akcg.org/