Work plan:
My approach to the 3-month artist residency with Ateljé Stundars is to create a lens-based series incorporating: video art, 16mm film, and analog film photography. My project would profile the cityscape and natural landscape found in and around the village of Solf.

Apart from shooting video and film in Soft and its neighbouring area, I would be mainly working on developing editing plans, and to edit video and film in the studio during the residency period.

"Timing & Pacing" as the subject matter:

As both time-based media, video and film provide much of their very own manifestation on the subject matter regarding to sequential order; displacement of senses; deployment of emotions; velocity of narrative; and the calling for resonances.

At Ateljé Stundars, I would be creating a lens-based series employing digital video (4K), celluloid film (16 mm), and film photography (120 format). My aim is to create interdependent moving images and still images for new bodies of work:

1. A location-responsive multi-channel Video Installation
2. An Artist Film in 16 mm that reflects upon everydayness through spatial narratives
3. Film Photography that captures the invisible-to-human-eye tones and subtle dynamic range of colours of the wintry scenery

The notion “Nature always finds a way” has been be the conceptual framework for me to develop lens-based series in my practice. As a head-to-toe city girl, I always sense that the ragged nature is an alien subject/object for me to handle. I found inhabiting in a metropolitan city that is swallowed up by needle-like high-rise buildings something very normal. And yet I got lumped to such cityscape and the living matters that found within.

To be concise, I turn to art to figure out a way to represent my surroundings, whilst my art turn to the nature for growth.

www.jojolenelene.net

Work plan:
We have been working together as an artist duo for almost 20 years. Our work is characterized by media diversity, in which photography, video, object and installation are placed in relation to each other within the framework of conceptual works. In addition, there are interdisciplinary and curatorial projects.

We seek for the challenge of temporary work situations, where installations often arise on site. However, cooperation projects with the newly acquired, expanded network at the respective locations can also emerge. In this senses, we are looking for another interesting place where we can immerse ourselves intensively for a certain time.

For our project in Stundars we want to tie in with our narrative works. We are fascinated by rural areas in contrast to urbanity. Our rural view sees the landscape as the main protagonist, as methaphor, medium and matrix for images, forms and gestures that trigger a flow of creativity. Their given mysterious charisma evokes mystically hidden trains of thought.
Acting / reacting in the landscape – Touching moments of body, time and space captured in video camera

We want to react to certain landscape sections with simple actions, add something to or set something against them and thus establish a communication with the surroundings. We are concerned here with the relationship between the individual / the object and the landscape, about physicality in space. The starting point are everyday, individual or supposedly intimate sequences of actions that are set in the landscape.

We see the further processing of the individual snapshots as a multi-channel audio-video installation in which the various fragmentary storylines are placed in a causal relationship to one another and condense. Evoking Reality – Finally, a blurred border between memory and imagination is to be created.
We want to focus on our subjective perceptions of the situation on site in the creative process of doing. From earlier stays, we know the Finnish, and in particular the Ostrobothnian landscape with their everyday world. - So we want to approach our project with a unbiasedly view and are looking forward to everything new and unexpected.

Our network of artists in Finland has drawn our attention to the Residence Programme in Stundars. We would be very pleased if we could start our project within this Residence Program. In this mind, we are applying for a 3-month stay in Stundars in 2020.

www.supe.ch

Work Plan:
My current topic of artistic practice and research relies on the observation and practice of something called the infraordinary. This subject often eludes definition, but through different concepts one has the possibility to approach. In the work that I have been doing one of these concepts is the idea of gesture, what can gesture be, how does one approach it and how does it work in relation to the infraordinary, to that one experience but is unable to hold as a permanent quality.

My intention is to continue developing this work/concepts and every place brings with itself a different opportunity to approach it.

I plan to focus mainly in two practices:

A. Writing part of my dissertation work “On the Infraordinary”, specifically the approach to the relation to the art event and artistic practices in the everyday through the statement “What happens when nothing happens” :

B. Production of video work of the area which will reflect the writing subject while on the residency.

About the Infraordinary:

In 1973 Georges Perec wrote a text, an article, titled "Approaches to what?". In it, he proceeds to propose a series of questions which approach a phenomenon named "Infraordinary."

The Infraordinary had been in Perec’s practice for some time already; he had been making this visible through the medium of writing. After all, when Perec was asked what he was, he always replied: “I am a writer”. I feel inclined to specify this statement since, even if he is known as a writer through his books, it seems that his practice goes beyond the single label of “writer”. His thoughts and ideas are conveyed all throughout his books, texts, essays and articles, and yet, the Infraordinary is always active within them even after those pieces have been completed and are deemed finished.

Alongside the 1973 text by Perec, and 28 years later, Paul Virilio offers yet another glimpse of, not a definition, but an account of events which mark a way into describing the Infraordinary:

“... Hence our approach to the city, for instance, no longer connected to traditional notions of urban geography (cadastral survey, social classes, concentration, density and other phenomena); rather, it connected to what we termed the ‘infra-ordinary’, i.e. what we do when we do nothing, what we hear when we hear nothing, what happens when nothing happens. Outside of the city nothingness can perhaps exist (...) but it certainly does not exist in the city. In the city there is never a void. There is always background noise, there is always a symptom, a sign, a scent. So we were interested
precisely in those things which are the opposite of the extraordinary yet which are not the ordinary either – things which are ‘infra’...”

With this, Virilio takes us further into understanding how the Infra-ordinary might be working and in relation to what . Meaning, the dynamics of the Infraordinary - in the particular case of the work of Virilio and most of Perec’s observations upon the quotidian - the way this phenomenon relates to the city and the different approaches it allows the Infraordinary to emerge and become visible.

www.andreacoyotziborja.com

Work plan:
It seems that we as a society have done everything in our power in the last decade to put a clear boundary between "humanity" and "nature," as if it were something separate from us, something that we have conquered and risen above. Due to the Corona epidemic, we were forced to stop and question ourselves, our identity as human beings. Have we genuinely risen above the inhuman, or was it just a foolish delusion? And how powerful and meaningful are we, truly?

At moments of confusion, I tend to browse my history books and look for answers about the future, in the past. In my practice, I tend to lean on the ancient Slavic world. I am currently trying to understand how the Slavic people dealt with crises such as epidemics and how they coped with death and loss.

During the residency at Ateljé Stundars, I would like to make a visual impression of my research. My project would question our self-identity, our perception of superiority, and the recognition of us versus nature. I am planning to work with hand embroidery and textile analog printing. I also wish to capture the landscape in and around the village of Solf in my textile work.

A three-month residency at Ateljé Stundars would allow me to get inspired by new landscape and culture and to create a broad body of work. Additionally, I hope to create an embroidery workshop for the local community, and to exhibit the outcomes, alongside my work in an open-air exhibition. I am highly motivated to make a productive winter in Finland, to get inspired, to learn, and to contribute as much as I can.

www.anisiaaffek.com

Work plan:
Our project at Ateljé Stundars will be a hybrid research and artistic project that focuses on a newly imagined set of instruments for the duo that can help us create music focusing on the relationships between humans and nature. Using textiles and electronics, we plan to extend our previous Fuzzy Synth project in a way that deepens the relationship between these two mediums to create a musical symbiosis where tying knots, knitting, and realigning threads and fabrics results in changes in timbre and pitch.

Our Fuzzy Synth project began with a pursuit of the same idea, but as with any ongoing research it is something that is constantly evolving and growing deeper. Our current instruments allow for textile and electronics to inspire each other, but not interact physically with changes to the sound. By beginning to use conductive thread, we believe we can create new and innovative instruments that truly integrate these two mediums.

Using nature as a starting point for the design of the textile environments, we hope to highlight themes increasingly important to the duo. We hope to answer the question of how nature can be a functional agent for the creation of music, not only in the process of field recording (a direct capture of sonic environments) but also in the tools we create.

An equally important part of the project will be the writing and recording of music. The goal of the composition is to create through sound an environment for the listener, inspired by the concepts of Aural Architectures and Perceptual Geography of Marianne Amacher. Bouncing off of these ideas, we’d like to fully embody through music the architecture of a place like Solf in a way that delivers the listener to a physical auditory structure for the duration of the music.

Taking advantage of the creative environment of Solf village, we would like to learn and incorporate newly acquired skills and approaches into this artwork. Our past experiences in Finland have left us with a lasting fascination with the Finnish forests, and the cultural and mythical worlds modelled after them. Through this project, we are seeking to find new types of connections between nature and music.

www.passepartoutduo.com

Work plan:
“The Origin” investigates the fundamental relationship between the body and the earth. A well-known passage from The Book of Genesis tells us how God created man from earth. Earth was understood as the element from which human bodies originate, and it was where they returned after death. The same idea can also be formulated in scientific terms: the elements that compose the human body and earth are to a large extent the same – oxygen, carbon, hydrogen and nitrogen, among others.

The project consists of sculpting a clay replica of each of the 206 bones that make up the human skeleton. Each bone is individually modeled in life-size. The complete set of 206 clay bones will be scattered on the ground in an outdoor space. They will be completely exposed to natural elements such as rain. With time, they will deteriorate and eventually disintegrate, disappearing in the earth without leaving a trace. The audience can walk among the bones and freely approach each piece. The possibility that people will accidentally or intentionally step on the fragile clay bones is assumed as part of the inexorable process of their deterioration.

While the piece is a meditative reflection on the fragility, transience and unique significance of human life, it also conjures darker associations. Scattered human bones left to the elements evoke suppressed and forgotten histories of violence. They are the markers of killing fields, evidences of genocide and of disposable bodies, the haunting reminders of deaths denied a proper burial.

www.ferminceballos.com

Work plan:
Diana and Shelby are artists and educators whose creative practice and personal lives have developed in tandem for the past 20 years. At Atelje Stundars they plan to delve deeply into themes that have long been central to their work, while remaining receptive to ideas that emerge though the environment and culture in Solf.

Diana makes artwork in response to motherhood, daily practice and labor. She sees the home as a generative space where important work is done and her studio work functions in parallel to domestic labor.

Atelje Stundars will allow Diana the opportunity to explore these themes through the lens of a new culture, responding to the unique challenges of parenting abroad. This is likely to result in handmade books, ephemeral collections and a web-based project mirroring the physical manifestations. She hopes to also create a project in collaboration with the local public elementary school in Solf, which their children will attend during the residency. Her motivation for working in the public/community realm comes from her desire to reach an expanded audience and to situate contemporary art within the spaces we collectively inhabit on a daily basis (i.e. schools). Likewise, by sharing her work in a digital space she will be able to share her creative research with a wide and diverse audience.

Shelby makes large scale charcoal and pastel drawings based on imagery related to personal anxieties, finding catharsis through the meditational benefits that come from the act of drawing. The inherent contrast between the potential vulgarity of his imagery and how it is meticulously rendered elevates the mundane, the ephemeral, or the grotesque to a higher status, thereby reflecting parts of the human condition that are often refused acknowledgement in the mirror of traditional norms.

A three month residency at Atelje Stundars would allow Shelby to research culturally based hunting practices in Finland. He lives and works in the state of Wyoming, which has one of the most ubiquitous hunting cultures in the USA, and there is a considerable controversy about its ethical implications between rural and urban citizens – i.e. those that celebrate and depend on hunting for food vs. those that find it a repellent and vile act of animal cruelty. As a hunter, Shelby is interested in seeing how the Finnish culture deals with hunting in comparison and contrast. He would like to respond to this in a new series of drawings based on source imagery gathered while in Finland that may begin to explore divides between the romanticism of the practice and its potential darker side. If awarded a residency, Shelby plans to reach out to the local hunting community for dialogue and to hopefully document aspects of the hunt from gut piles to butchering for his creative work in drawing.

www.dianabaumbach.com
www.shelbyshadwell.com

Ateljé Stundars is located in the village of Solf (in Finnish: Sulva) in Korsholm (in Finnish: Mustasaari), Ostrobothnia on the west coast of Finland. The street address of the residence is Stundarsvägen 5, FIN-65450 Solf, Finland.

An application to participate in the residency program at Ateljé Stundars is made on our Application Form (see PDF below). The application deadline is May 31st, for residency the following year.

The guest artists at Ateljé Stundars are chosen on the basis of application:
Application form (PDF file)

To apply, please fill out the Application Form (PDF) and attach

• a complete CV
• documentation of max. five (5) artistic works, relevant to your application (preferably JPEG files). 

Application deadline: May 31st, for residency the following year. Apply by e-mail to: Den här e-postadressen skyddas mot spambots. Du måste tillåta JavaScript för att se den.

2019
Allison Roberts (USA)
Atefeh Majidi-Nezhad (Iran)
Jan Lütjohann (Germany)
Amanda Hellryd (Sweden)

2018
Hiram Wong (Australia / Hong Kong)
Minh Duc Pham (Vietnam / Germany)
Katrin Hotz & Jerome Lanon (Switzerland & France)
Susana Wessling (Portugal / UK)

2017
Hazel Barstow (UK / Norway)
Jo Ann Kronquist (Canada)
Juliana Irene Smith (USA / South Africa)
Behrad Hassanati (Iran)

2016
Shahrzad Malekian (Iran)
Cecilia Hultman (Sweden)
Barbara Tong (Hong Kong / UK)
Nicola Williams (UK)
Francesco Dipierro (Italy)

2015
Jane Hughes (Ireland)
Gloria Luca & Tudor Patrascu (Romania)
Anna Roberta Vattes (Germany)

2014
Anthea Bush (UK, Netherlands)
Bas Ketelaars (Netherlands)
Mariann Oppliger & Res Thierstein (Switzerland)
Johanna Kintner & Nora Mertes (Germany)
Heong uk Choi (Korea)

2013
Peter Luha & Lucia Cernekova (Czech Republic)
Soo Sunny Park (Korea, USA)
Christa Joo Hyun D'Angelo (Korea, USA, Germany)
Jochen Schneider (Germany)

2012
Rosalie Schweiker (Germany / UK)
Hanna Saks (UK)
Antje Pehle (Germany)
Sonja Hinrichsen (Germany / USA)

2011
Lisbeth Grägg (Sweden)
Anneli Holmstrom (Scotland)
Melania-Elisabeta Hangan (Romania)
Bas Ketelaars (Netherlands)
Anneli Holmstrom (Scotland)

2010
Andreanne Fournier (Canada) 
Sophie Dvorák (Austria / Argentine)
Seungchee Kang (Korea)
Mathieu Leger (Canada) 

2009 
Michal Moskop (Germany / Israel)
Pamela Schilderman (Netherlands / UK)
James Kuehnle (USA)
Morgan Craig (USA) 
Kyösti Linna (Finland)

2008
Eva Spikbacka (Sweden / Finland)
Hideki Kanno  (Japan)
Maja Rohwetter (Germany)
Karin Kamijo (Japan)

2007
Britt Kootstra (Netherlands / Saudi Arabia)
Hanni Stolker (Netherlands)
Takashi Mitsui (Germany / Japan)
Eva Spikbacka (Sweden / Finland)

2006
Yoko Iida (USA / Japan)
Maria Petschatnikov (Germany / Russia)
Natalia Petschatnikov (Germany / Russia)
Markus Shimizu (Germany / Japan)
Dragos Alexandrescu (Romania)
Carla Cruz (Portugal)

2005
Samuel Nigro (USA)
Takehiro Mizumoto (Japan)
Sofia Bilius (Finland / Sweden)    
Marina Kronqvist (Finland)
Karin Laaja (Sweden / Finland)  
Britt-Lis Lindqvist (Sweden) 
Catherine Davies (Wales)
Helen Malia (Wales)
Jeroen van de Ven (Netherlands)

2004
Sven Eggers (Germany)
Bente Lise Jakobsen (Norway)
Marianne Høyland (Norway)
Ronan Caulfield (UK)
Sally Timmons (Ireland)
Christer Carlstedt (Sweden)
Sigita Blaziunaite (Lithuania)
Samuel Nigro (USA)

2003
Bojana Romic  (Yugoslavia)
Annukka Laine (Finland)
Tatsuo Hoshika (Finland / Japan)
Sari Carel (USA / Israel)
Ingela Sand (Sweden)
Sven Eggers (Germany)

2002
Janika Herlevi (Finland)
Anna Rossow (Finland) 
Tomas Kulistak (Czech Republic)
Annukka Laine (Finland)
Tatsuo Hoshika (Finland / Japan)
Haruka Furusaka (Japan)
Eva Kobylarczyk (Poland)

2001
Asta Rakauskaite (Lithuania)
Renate Wincken (Netherlands)
Carme Bosch (Spain)
Dolores Bosch (Spain)
Teresa Nogues (Spain)
Janika Herlevi (Finland)

2000
Maxine Adcock (UK)
Merja Ylitalo (Finland)
Panu Thusberg (Finland)
Hanne Ivars (Finland)
Mary Stechschulte (USA)
Asta Rakauskaite (Lithuania)

1999
Maxine Adcock (UK)

1998 
Ulrike Kuschel (Germany)