Work plan:
A residency at Ateljé Stundars will give me the time, space, and location to create new work, which builds on my work addressing transition, uncertainty, and expectations through digital photography and the intersection of still photography with other lens-based media including video and projection. While one aspect of my project is to finish new work, another significant part of my proposal is recording visual imagery, both still and video, and soundscapes that will become part of future projects.

Site is important to my practice as it relates to the concept of a journey, temporality, and memory. My recent video subjects are directly influenced by my location- either filming sections or clips of the surfaces and paths that I take during my daily walks or filming natural elements that reflect transiency such as rivers or tides. The location of the residency in the village of Solf immediately drew my interest due to the size and character of the community and its natural environment, which will not only be inspirational, but will also become an integral source of still and moving images. I envision many opportunities to add to my collection of videos documenting paths travelled. The exact nature of these will vary depending on the time of year I am awarded the residency – ranging from footprints and paths through snow to walks in a thawing or growing landscape. While in residence, I will continue work on a larger layered video piece that incorporates the many sections of the walks and, through changes of opacity, depicts the confusion and disorder of not seeing a clear path in front of you.

Another part of my practice involves creating digital composites. For this body of work, I will photograph architectural elements in the community and the Stundars Museum, and develop relationships with community members so I can photograph local, domestic interiors as well. In postproduction I will remove the scenes seen through the window to create “voids” and then layer still images or video clips to create a juxtaposition that examines the expectations during times of change and the way in which memory informs interactions with the present.

I am eager to photograph during the “twilight” or dusk hours, to use the transient quality of that light as an integral part of my work focusing on change. I have always had a sense of nostalgia, or a desire for home, during twilight. In stories and fables, twilight is often a time that marks transition as well, a liminal time. I would like to expand my subject matter to include natural elements such as tree branches, photographed in the hours of dusk, to use in a new body of work that speaks directly to my unease with this transitional time of day.

www.allisonaroberts.com

Work plan:
The combination of two-dimensional paintings with mono-print technique and three-dimensional metal structure make the base of my project.

The lines in three-dimensional space are the strip cuts of iron plate with irregular edges, which will be connected by the welding machine.

In the following, the metal three-dimensional, which is a combination of traditional Iranian and European Gothic architecture, will be replaced against two-dimensional print.

Confrontation of two architectural spaces from two civilizations with similar attributes is the inspiration for the creation of this project. (Replacement of metal with other similar material in form is possible)

Work plan:
I apply to Ateljé Stundars to carry out artistic research and work on a group of wooden sculptures. My sculptures and installations take the shape of tools and equipment, workbenches or workspaces. At Stundars, I will focus on sculptures that are related to hand-tools.

For my artistic research I will study tools of the surrounding villages and in Stundars museum. Parallel to this research I will work on wooden sculptures which take up elements of these tools. After research in East Asia, the Baltics and Central Europe, I wish to realize this project in the context of Ostrobothnia and the local culture of wood.

I will bring a minimal selection of traditional hand-tools for working wood. This equipment allows me to work independently of machines and electricity. I will be able to work in the studio or take my tools to any other suitable location. However, my old-fashioned tools also serve another purpose: Whether in Asia, the Baltics, Northern- or Central Europe, this approach of working with hands has helped me find a connection to people, begin conversations and learn from each other.

My proposal for Stundars relates strongly to a project I am carrying out at the moment in cooperation with Luostarinmäki Handicrafts Museum in Turku. After many research visits, I will next week open an exhibition of my sculptures and carry out public sculptural workshops. I am especially interested in comparing the two museums, their collections and their environment.

Ostrobothnia is of specific interest to me both compared to my experience in Finland and abroad. After living at the southern coast of Finland and excursions into Lapland and Kainuu, I would like to know more the linguistic, geographical and cultural connections to Sweden. After having spent significant time in populous countries and large cities, I am especially interested in the rural seclusion. I see the residency as a possibility to working in concentration, and have time to think slowly.

In my work as an artist and educator I give equal importance to the working process, the working place and the product of the working. I use pre-industrial tools and obsolete technology to think about working with hands in a post-industrial society. My goal is to gain a better understand of who we are, what we are doing with our hands and minds and what we can do for the future.

www.janluetjohann.de

Work plan:
The proposal I am making for Ateljé Stundars residency program is to expand and produce new series of work related to the my research concerning material perception, drawing inspiration from nature and surrounding landscapes. Furthermore, my time spent at the residency would include introducing performative elements to my work that could convey the language of material encounter and narratives concerning making, nurturing for materials and the power play between the maker and material. In conclusion, I aspire that this could be a very productive approach to engage with my practice and generate new trajectories for my work to situate in, in collaboration with Ateljé Stundars.

www.amandahellryd.com

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:
My practice pursues an open-ended investigation of perception, time, space, materiality, non-human vitality and otherness, with a focus on the limits and thresholds of human perception and attention. The genesis of my works based on environmental sound recordings are dedicated listening experiences in a variety of places and sonic environments, ranging from field trips in remote locations to detailed sonic explorations of mundane contexts. In my phonographic (field recording) practice I am fascinated with finding and revealing ‘hidden’ acoustic phenomena, including sounds which are literally beyond our hearing range, which are difficult to access, interior acoustic spaces, overheard, unnoticed, and ‘unheard’ sounds. My approaches both in the field and in the studio are based primarily on experimentation with unconventional listening/recording strategies, sound-sculpting and spatial compositional strategies. Focused listening, careful attention to detail, and the investigation of minimal resources to create maximum perceptual impact are crucial in my artistic process.

A primary activity during the residency at Ateljé Stundars will be composing new work based on environmental sound matter, drawing on my ongoing archive of original materials assembled during more than ten years of listening practice and field explorations across many different locations globally. Specifically, I plan to work on my ongoing long-term body of work m·e·s·h [earthworks]. Active since 2013, this project embodies a continuing artistic trajectory operating across different contexts as an open-ended, exploratory and mutable framework with multiple public manifestations. So far, the project comprises more than twenty pieces for intimate headphone listening which have been sounding out in a variety of milieus, commissioned and disseminated via physical and digital releases and collective listening events. As a whole, the project manifests through installations in art gallery contexts. During the residency, I plan to work on a radiophonic piece based on this body of work, and on new compositions in the series toward forthcoming releases and exhibitions. Furthermore, a central objective for this residency period is to develop fieldwork. Living in Ostrobothnia for three months will be an exciting opportunity to spend time exploring the sonic ecologies of this unique territory, which will result in the creation of new work along with the newly created materials. The rich avian life, geological sites, forests, plains, and the Kvarken Archipielago are promising aspects and locations to be investigated. I am grateful for considering my application for a residency at Ateljé Stundars in Solf during 2020 and look forward to hearing from you soon.

www.pablosanz.info

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:
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 residency 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)
Zhiwan Cheung (USA)

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)