Sayed Sattar Hasan

Sayed Sattar Hasan is a British born artist and Goldsmiths, MA, graduate (2009) currently based in Oslo, Norway. Hasan uses a variety of mediums from lens-based media to sculptural installation, and describes himself as a process- based artist.

His practice explores notions of tradition, heritage and belonging and how they are continually subject to change. Hasan often produces autobiographical narratives, based on his relationships with people, places and belief systems, and looks to express the fragility, humour and complexity of everyday life in his work. Influenced by his mixed-race identity, Hasan likes to negotiate tensions drawn by cultural and historical lines by embracing identity as a hybrid condition and expressing himself in unorthodox ways.

Hasan has had solo shows at Stephen Lawrence Gallery, UK (2017), New Art Exchange, UK (2016) and NN Contemporary, UK (2015)., and his work has appeared in international art and photography festivals such as 2nd Changjiang, Video and Photography Biennale, China (2017), EM Pavilion at the 56th Venice Biennale (2015).

He has produced several public installations; Southbank Centre, London, UK (Alchemy, 2017) and Heathrow Terminal 5 (2012) and participated on international artist residency programmes at the National College of Art, Lahore, Pakistan (2014) and The Baltic residency exchange program between the UK and South Korea (2018).

Images from 'My Granddad's Car', a collaborative project by Sayed Sattar Hasan and Karl Ohiri (2016).

Patricia Sandonis

Patricia Sandonis is a conceptual artist based in Berlin. She studied fine arts in the Complutense University UCM, Madrid (2007) where she received an exchange scholarship for the FH for design in Schwäbisch Gmünd in Germany. A scholarship from the sculpture Park at Universal Museum Joanneum was the starting point of her interest for art in the public realm - now present in most of her works. She holds a Master in Art in Context from the UdK University in Berlin (2014).

Her artistic works has been shown in art institutions including Patio Herreriano Museum, Valladolid in Spain, Palazzo Ducale in Genova, SBK in Berlin, Heidelberger Kunstverein and Salzamnt in Linz. In 2016 she was invited to Villa Massimo in Rome, for a residency where she started the visual research for the artistic work she currently producing which relates to the question of how the unilateral narration of history can influence the perception of places that could be differently perceived if history would have included missing elements. Sandonis views her work as research on visual mechanisms to use on the development of the next generation monuments that will influence the collective memory of the future.

Sandonis's participation in residency eleven, Monumental—Temporal has been made possible due to kind support from the Embassy of Spain.

Catriona Robertson

Catriona Robertson is a sculptor based in London. She holds a BAFA (Hons) from Central Saint Martins, London (2010) and forthcoming MA in Sculpture at the Royal College of Art, London (2019). Catriona also works as a Technician in 3D fabrication at Central Saint Martins, London teaching students at Foundation, BA and MA level.

The making and un-making process is an integral part of her sculpture, working with constructive materials and some found objects to create sculptural assemblages that have an architectural resemblance with a raw sense of formation. Drawing from the in-between moment that may be overlooked at first glance, her work evokes performativity in a solid form; the potential state in which there is an element of chance or possible destruction. Her sculptures create an opposition of material and surface – forming tension and fragility, whilst questioning the permanence of the material against traditional sculptural practices.

Catriona was recently artist-in-residence at the Merz Barn, Elterwater, UK and co-ordinated a summer residency programme for Royal College of Art Students in July 2018. In 2015 she was awarded the REFRESH grant by Central Saint Martins for an artist residency in Onishi, Japan at Shiro Oni Studio, as well as artist-in-residence at Liebig 12, Berlin from December 2011-February 2012.

Catriona has exhibited at: the Merz Barn, Elterwater, England, (July 2018), the Hockney Gallery, Royal College of Art Kensington, London, (June 2018), ‘WIP Show’ at the Sculpture Building, Royal College of Art, Battersea, London (January 2018), and at the Futuro House, SafeHouse London (February 2016) and Central Saint Martins, Kings Cross London (January 2016). As well as international exhibitions at the Galeri Mejan, Skeppsholmen, Stockholm (August 2016), the Futuro House, exhibition during artist residency in Onishi, Shiro Oni studios Gunma prefecture at the civic Centre, Onishi, Japan (July-August 2015) and was further selected for the ‘Kanna Art Festival’ selected Shiro Oni artists, Fujioka Gunma prefecture, Japan (September 2015).

Image 1. Connected – 2016. Exhibition at SafeHouse, Peckham, London.

Image 2. Un-Monument 2018 , Royal College of Art Battersea, London. Concrete, steel, resin, polyurethane, plywood, plaster, acrylic.  50 x 70 x 410 cm.

Image 3. Moulded 2017, Concrete, plaster, thistle, plywood. 78 x 42 x 30 cm.

Image 4. Merzsaüle 2018, Merz Barn Elterwater, Langdale England. On show until October 2018.  Concrete, slate, slate clay, plaster, plywood, found objects (steel, newspaper, rope, card, plastics).

Evgeniya Martirosyan

Evgeniya Martirosyan is an artist based in Ireland with a background in philosophy and design. She graduated from the Crawford College of Art and Design in 2016, receiving a number of residencies and exhibition awards, including residencies at National Sculpture Factory and Sample Studios, Ireland and an exhibition award at Cork Film Centre. Her most recent work has been shown at 126 Gallery, Galway Arts Festival, Ireland; Leeds Digital Festival, UK ; and TACTIC Gallery, Ireland.

Working primarily in the mediums of sculpture and installation, Martirosyan is interested in exploring the concepts of time, matter, chaos and transformation. She builds complex dynamic structures and uses transient organic matter, reflecting on the poetic possibilities of the fluid and constantly shifting state of things.

Image 1: The Shape of Emptiness, 2017. Metal, air compressor, silicone tubing, water, washing up liquid, plastic, timer. Photo: Jed Niezgoda.

Image 2: Between Something and Nothing, 2017. Refrigeration system, acrylic, copper piping, metal tray, timer. Photo: Jed Niezgoda.

Image 3: Dream Machine, 2017. Metal, plastic, acrylic tubing, corn syrup, led light. Photo: Jed Niezgoda.

Image 4: Your Quantum Uncertainty, 2016. Metal, water, water pump, tubing, wood, live projection.

Martirosyan's participation in residency eleven, Monumental—Temporal has been made possible due to kind support from the Arts Council of Ireland Travel and Training Award.

Claudia Mann

Claudia Mann is a sculptor whose work is process oriented and conceptual. She also resorts to other media in her work, e.g. video, photography and language which serve as mirrors reflecting her sculptural works. 

"Outer space is just as relevant for me as the centre of the earth. We are space. In order to comprehend the dimensions of space right up to the centre of the earth one should be fully aware of the fact that the ground only seems to be an impenetrable surface. However, it consists of air as well as material. Ground is a very self-centred version of what in fact is only material. That is why it is a component of the definition of ‘horizon’. It stretches to the horizon. One’s location starting with the feet, eye level and then what one sees is all physically dependent on this. (…) 

The ground is the starting of sculpture and the sculpture itself. But the human entity is and remains the reference. In the past I used to move and work above this ‘surface’. By means of various processes the necessity arose to break through it and to perceive it. What exactly is the ground? Where does it begin and where does it end? To perceive something and then to clearly accept it for what it is a form of appropriation. Not merely the wish to hold onto a thought but to own its equivalent made of matter. Air is just as much matter, we are matter. Perception means using the senses. However most of the time we use our senses unconsciously. It is interesting to become aware of one’s own senses."

Image 1: Aero, 2016. Resin, metall, soil, sand 205 x 140 x 217 cm.
Photo: Ivo Faber, VG Bild-Kunst Bonn De Statua, KIT Düsseldorf.

Image 2: SOLID AERO, 2017. Inkjet print.
Photo: Claudia Mann, VG-Bild Kunst, Bonn.

Image 3: Cast, 2016. Resin, metal, 260 x 320 x 120 cm.
Photo: Dejan Saric, Kunstraum Düsseldorf Förderpreisträger 2016.

Image 4: Tombé.Tambour, 2016. Tarred board, resin, grass, wood, 205 x 621 x 621 cm. New Talents Biennale 2016, Poststrasse, Cologne

Mathew Lacosse

Mathew Lacosse (b. 1990, CA) is an artist and organiser whose work reevaluates and embellishes both architectural and natural space—its components, histories, and potentials. He holds a BFA (Hons) from the University of Manitoba (2018) and is currently living in Oslo.

Lacosse has exhibited at Gallery 623 (Solo, Winnipeg), Platform Centre for Photographic and Digital Arts (Winnipeg), and curated exhibitions at the Winnipeg Architecture Foundation, GoSA, Nuit Blanche Winnipeg, and others. His writing has appeared in SCAN Journal and rip/torn magazine.

Image 1: Between Two Bridges, Wild Grass, 2016

Image 2: Separation, Reclaimed Spruce and Fir, 2017

Image 3: SOFA Students Association, Spectator / Boundary Net, Exhibition for Nuit Blanche in Winnipeg, Canada. 2017

Kjetil Detroit Kristensen

Kjetil Detroit Kristensen (b.1981) is an artist based in Oslo, Norway. He is currently occupied with his ongoing contemporary post-studio practice, interest for self-initiated venues, performative strategies, site (and situation) specific projects, pseudonyms, monochromes and polar bears. And also a belief that public art and democracy somewhat are the same, since the one thing cannot function without the other.

Kristensen is founder of the artist-run laboratory for art & public space Detroit Kunsthalle and co-founder of the organisation and collective September Split. He co-founded the collaborative curatorial platform and professional skateboard-art-team Contemporary Cruise Crew as well as the artist-run studio space VORTA at Lokomotivverkstedet in Middelalderparken, Oslo.

Kristensen holds a BA from the Tromsø Academy of Contemporary Art (2011) and a MFA from the Oslo National Academy of the Arts (2018). He has exhibited at Nebbelux, Fredrikstad; Gallery SØ, Copenhagen; Trinosophes, Detroit; Studio17, Stavanger; space 4235, Genova; The NY Art Book Fair, New York; MOCA - Museum of Contemporary Art, Haikou; Rogaland Kunstsenter, Stavanger; Tromsø Kunstforening, Tromsø; Akademirommet - Kunstnernes Hus, Oslo; Kurant Visningsrom, Tromsø; Occupy Landscape, Stavanger; Dronning Sonja KunstStall at The Royal Palace, Oslo and Festspillene i Nord-Norge, Harstad among others.

Gereon Krebber

Sculptor Gereon Krebber studied at the Kunstakademie Düsseldorf and the Royal College of Art, London, and has exhibited extensively since the early 2000s. His work has featured in solo and group shows in Los Angeles, New York, Berlin, Cologne, Dusseldorf, London and elsewhere, and he has received commissions to develop public work in Bonn, Bochum and Viersen (DE). Awards received include the UK’s Jerwood Sculpture Prize (2003) and the Wilhelm-Lehmbruck-Stipendium (Duisburg, 2009).

His working processes probe questions about sculpture as a discipline in relation to site, time, language, communication and the body, and extend across a highly experimental range of media, including writing and speech: for example, via the Laberflash, a new form of performance that he has developed, in which participants’ bodies, voices and thinking processes become unexpected new media for sculptural experimentation.