ART RESIDENCY

We host artistic practices, practice-led researches and projects that 

– engage with the imagination and the feeling body, with individual and collective dreaming

– emerge from the relational entanglement with the environment we live in and co-shape, from the relationship with the ‘natural others’

– seek to develop new cosmologies that might give us tools to find new languages and spread them.

HOW RESIDENCES TAKE PLACE

The tailor-made residencies are a way to support the specificity of your research or artistic proposal and its potential. The form and length of your residency is defined in dialogue with your ideas, practices and needs.

We usually host one or two artists, researchers at a time working in parallel, as a pair, or larger groups. Each artist is allotted a private room for the duration of their residency. The kitchen and the studio are shared, while many who come use the outdoors as their workspace. 

The uniqueness of the place is the quietude and proximity of the beautiful and intense natural environment enabling you to immerse and focus on your work, while there are always opportunities for interaction with others who reside there. 

WHAT WE OFFER

We offer

– Apartment cca 125m2 with 3 small single bedrooms, 10 beds
– Studio app. 60m2
– Fully-equipped common kitchen and living space
– Bathroom and toilet shared
– Sauna
– Internet on cable
– Sound system in studio
– Projector and a screen
– General tools
– Woods and stuff from the workshop

We also offer

– sharing of your research or creative process
– mentoring meetings
– public showing of your work
– feed-back reflection on your work
– introduction to the local art scene in Slovenia

The traces your different proposals leave at the facility further define the place. The swing section in the forest, the whispering tree, the sculptures, paintings and installations that fill the walls, the songs you sang, all become part of the place.

You can apply all year long by sending an e-mail to malakline@gmail.com

ELIAS DREAM RESEARCH & CREATION PROGRAM

In autumn 2024 we offer a fully funded 2-months long research or creation residency to two artists working in the performance art field as a part of ELIAS DREAM RESEARCH AND CREATION PROGRAM (EDRCP) taking place at ELIAS 2069 Institute, Slovenia, from 9 October until 6 December 2024.

Click on the link to learn more.

RESIDENT ARTISTS & PROJECTS

performative practice based on dreams and dreaming

The research revolves around the idea of a garden, the garden as a refuge, as wild order, ordered wilderness, a place that requires care and attentiveness. The garden as an expression of humanity, that is co-created with nature consciousness. In this definition a garden is a place, that we give a certain direction, but it also has a life. My body is a garden, the space I live in is a garden, a project is a garden, the studio is a garden, paradise is a garden. How does the garden appear in our night dreams, what stories and creatures appear around the notion of the garden? How can these dreams manifest in specific places? This is an exploration of the possibility of how can we, alone and together create through our night dreams a paradisical place.

Zolfo Rosso is an experimental historical poem about a fragment of the Mediterranean past. In 12th-century Sicily, geographer Muhammad al-Idrisi is composing a chart of the 'known world', commissioned by Norman King Roger II. The map is famously known as ‘Kitab nuzhat al-mushtāq fī ikhtirāq al-āfāq’ (The Pleasure of the One Who Longs to Cross the Horizons), or Latinised 'Tabula Rogeriana' (Book or Roger). Rooted in a syncretic and multicultural Mediterranean tradition, the making of the map blossoms in a dream, and the knowledge of the world gets transmitted through sensorial magic.

writing project on womanhood

Based on the ancient story of Inanna, artist duo Boogaerdt/VanderSchoot (NL), together with dream expert Mala Kline (SL), developed the sound- and video installation ‘Into the Great Below’. As the old world is dying and a new one struggles to be born, we make a visionary journey through the hidden dream realms of the subconscious to visit the sanctuary of Inanna, the Great Mother of all. Here we can call on the new world to appear for us.  Inspired by the ancient Sumerian cycle of hymns to Inanna, this visionary journey transport us by a slow, almost hypnotic repetition, into another realm. As if we are falling out of all the frameworks into a deeper, more eternal soul-place, a place the mind does not wish to forget. A place in which we suddenly remember source again

traces, a performative walk in and with a forest, leads the audience into a story which not only questions the connection between people and the land but actively places the audience within. It invites to stroll along interactive, installatory and performative stations through a landscape of wonder. Tracing the landscape, the performance intertwines with the forest. Using tree-climbing techniques, dance and circus, the forest and the trees become embodied parts of the choreography. In a narrative full of connectivity, subtle fragility, humour and care the flora, fauna and the climate all equally creators, stage, scenography and the play itself.

 

Rivers speak. Always have. Very loudly and incessantly. With the current and also gladly against it. Only we have forgotten to listen to them and to pick all the traces, stories and wisdom from the banks. It is so simple. And it is more important than ever. Let's make a start: listen carefully!

Earth’s prophecies – writing project on dreams of the Earth

Heat – performance and writing project on dreams

Final act is a monodrama, which from the perspective of death as the last final act, questions all the fine threads of life that precede it. It deals with an intimate narrative about the act of dying and opens up questions that arise in terms of society and the collective fear of death. The play unfolds memory maps, places of postponement and waiting for the final act. It contrasts life and death, reality and imagination, a theatrical performance and a funeral ceremony, serene silence and a concert celebrating life. What happens at the moment of departure? What is life from the perspective of death? How do people imagine death? How would you like to die? Why do people build high fences and small tables around which they gather during their lifetime?

A few years ago Meryem Bayram became intrigued by an object she found on the beach in Tekirova/Turkey. No one could tell her what it was. She kept looking and recently came across a similar object on an etching from the Ottoman era where a ritual object – the Nahil – had the same shape in a procession. The industrial materials of the found object make the resemblance impossible. She realized that objects do not have a self-evident content, and that for her, coming from a diverse cultural background, “translatability of objects” is a basic issue. What meanings are given to the object, is there such a thing as a universal, utilitarian basic form and meaning? Bayram shares her fascination with how meanings can shift, are filled in differently and sometimes also create new forms.

Across a sixteen-minute video and forty-minute dance performance without intermission, whereverever playfully traces possible beginnings and belonging by following the question “how did we get here?” Recorded on location in Mardon + Mitsuhashi’s respective ancestral homelands, Finland and Japan, the video intertwines visits with relatives, folk and contemporary dancing, and observational images of the built and natural environments with a focus on gesture, movement, and impulse. As the video cuts rhythmically between each place, it oscillates between a sense of distance and presence, past and present, as Mardon + Mitsuhashi orientate themselves as visitors to their hereditary homes and construct a postcard for their future kin. A sampled glitch in the soundtrack, anaglyph effect on images, and a doubling in framing across the two places, disrupts a sense of linear time to unfold a vastness of relations.

GI GURDJIEFF IS DEAD, OR, THE 22nd CENTURY, will continue my investigation into formal dance and music structures combined with research on dreams

DREAM MACHINES is a series of inflatable light sculptures. Participants lay with their eyes closed, undergoing a trance induced light meditation with a variation of light pulsations. The Dream Machines references the kinetic sculptures and experiments of Brion Gysin and Ian Sommerville from the 1960’s. Dream machine calms down the brain activity to the frequency of so-called “alpha waves” which is experienced as a state of wakeful relaxation or dreaming. Dreaming is a moment of introspection, healing and connectedness. It allows for gathering together together to envision another way of being.

Dream incubation research: through the practice of intentional dreaming, lucid dreaming, and express images and feelings from the dream. These are expressed in movement, quasi choreographies, sounds, stories, songs and sculpture of natural Materials.

Writing project on intimacy, parenting and cosmology

Performance Project on Welsh folkloric tradition - Y Fari Lwyd

*NATURE* is the project that considers the possibilities of the dance practice to be the environment for our common thinking processes, rather than representation of stories, characters and drama borrowed from the theatre. We intend to observe if and how we can enter dance in the same way we enter the nature, when nature does not want anything from us.

The Concert research

DREAMING TOGETHER is a co-creation residency between 7 women from different countries (Slovenia, Italy, Sweden and Norway). These women are researchers and practitioners who each in their own ways work with prototyping future societies, engaging with different complex societal challenges like climate change, equality and inclusion, future of work, and more. One of the shared point of encounter is that all of them are using artistic and design practices to support transformation processes in society. The purpose of this residency was to create a safe and trusting space to support participating women with an explorative, caring, emergent and co-created process and space, where they can share their creative practices and support each other on their own personal journeys of transformation. Practices, such as contemporary dance, poetry writing, voice work and improvisation, imagery work, personal manifestations through collage making, portrait drawing, nature and body exploration, breath work and Korean kaligrafy were explored.

Exploring a creative process inspired on Michael Chekhov, based on pinning real sensations and feelings through the creation of images which emerge by the channel of our imagination, aiming to create an internal event that becomes a real experience.

Two research projects that are exploring in what ways can artistic practices support people working in the Swedish public sector to go through personal, team and organizational transformation, moving from traditional hierarchical management models and ways of working towards future work that is based on emergence, self-organised teams, cross-border collaboration within the larger ecosystem/community, distributed power and leadership, strengthened autonomy of workers through self-leaderhip and higher engagement of citizens in co-creation and decision-making processes. We will develop new methods based on embodied artistic practices, poetry, and photography that will engage and support participants in the research projects in their transformation journeys on the individual, team, organisational and ecosystem levels.

Film project Incubus of Budapest: based in the peripheries of Budapest. We are meeting with a series of essential workers who are running the city. As we are getting to know them closer we discover their injuries caused by their works and lifestyles, and parallel to that also their joys and fears that bind them to the city, and that is growing into a shadow being, to the Incubus of Budapest.

Life practice to find a way home

Un-naming Gaze and perceptional inclusion: How can we remain open to, and how do we move by the abundantly multiple sensorial information that we are constantly engulfed and made by?

I focus on the gaze and the role of eyes in movement. In the research residency I want to look at water. For me, water is inclusive, indifferent, and yielding as it has no form of its own, it has no self: no inside nor outside. Yet, it always has a shape as it takes the form of the other. Water both contains and is contained. Its absence of having its own shape is a state of emptiness. But because of this emptiness, water can carry, move, and animate everything without exclusion. This is the base of my motivation to carry on with my research. I do not want to be water, but rather like water be a container and be contained. I desire to find ways and practice skills that with my body I can reflect like water does, on the mundane beauty of otherness that comes forth from a positioning of multiple perspectives.

Performance project Lace: 1st try: The Bow

The performance Lace is being developed at the crossroads of the memories and biographies of the dancers and their current consciousness. The present exists independently of the past, and it is only when we liberate ourselves from the confines of our memories that we can reestablish a connection with reality. At this level, the project challenges everything that socially constructs our identities, questioning all the elements that make us appear as part of a nation, a state, or a political system. It also questions everything that legitimizes modern global inequality, aggression, and violence, revealing them as constructs that lose their validity within the realm of art, where language loses its semantic significance. What endures as real is the living moment, a moment in which genuine relationships are formed through body language, movement, intuition, and our unconscious. What truly defines us is our response to reality and our sensitivity to others, exemplified by openness and compassion toward the common and the community.

INTERDEPENDENT FATIGUE Sata Taas a collective of three female indigenous artists from Sahka (Yakutia) told me in an encounter, that they see the earth and their own bodies as part of the same whole. We are the earth. That means that if the earth is sick, we are also sick. If the earth is exhausted, we are also exhausted. This made me realise on an embodied level that burn-out, and other physical and mental illnesses, that I and increasing number of people suffer from, aren’t isolated individual problems or failures, but the diseases of a system that separates itself from the earth, from nature, from its own body and from the knowing that life only exists in relation. Modernity is extractive and exhaustive in essence and does not believe in such interdependent way of being, How do we deal with this growing fatigue of our and other living bodies? How can we become aware of and tap into different sources of energy in ways that speak to and nourish life (instead of depleting and destructing life energy)? How do we find the pause button? For I do believe that there is one. And that within the pause an awareness can grow of how we want to live. I think of the pause as both a space and a practice from where we can find ways back to being in interdependent relation. In my research, I look at these questions within the context of work, and I am specifically interested in the movement from individual to collective ways of working that incorporate pausing as practice.

PAUSING PARTNERS With Pausing Partners, I aim to create an interactive dramaturgical tool in the form of a performative card set, audio piece and workshop that facilitates conversations, creates awareness, and stimulates action regarding the handling of (different forms of) energy in individual and collective work situations - and the relationship between them. Pausing Partners is part of my larger practice-based artistic research project into dramaturgies of work within ongoing crises of exhaustion, that searches to move from individual to collective pausing practices that (re)generate life energy. (= movement).

Dance trilogy in which we explore Slovenian identity through dance and film. In this creative process we are working toward unravelling certain Slovenian traditions and folklore, re-question their meaning, purpose, and value they hold in my thinking body and greater personal artistic meaning-making and identity;  the ideas and research will result in a short dance, experimental film.

Dreamwork for my own practice and to share with others through sessions, dream circles and workshops

The project is about tuning into our nature environment through our bodies and voices in order to move towards a more thriving and symbiotic human/non-human relationship. In this context we will be exploring the phenomena of natural self-organizing systems, such as the ant colony system or the so-called "murmurations”, which can be observed in flocks of certain birds or fish. The phenomenon of natural self-organizing systems of animals raises the question for scientists whether all living things on Earth could be a single organism animated by a single consciousness that pervades the universe.

Visual artist

We live in times of big changes all over the world, facing loss, transitions and conflicts on various levels – from very personal levels, to changes in society orders and values, being confronted with war as well as loosing certainty for the future as we are facing climate change and with it bigger global political shifts. How can we deal with those challenges as a community, finding peace in stepping into the unknown together and supporting each other in the face of change and letting go of the old, instead of splitting and disconnect from each other? Within my project I seek to create an interactive performance piece, dealing with this question and the individual and communal stories linked to it.

a site-specific experiment. Central to our exploration will be the investigation of monsters and hybrid creatures, drawing inspiration from the surrounding territory and cultural context as well as from the methodologies and knowledge on dreams offered by the space and its inhabitants. Can the figure of the monster serve as a system to glimpse the disrupted and exhausted environment we inhabit, challenging conventional boundaries and inviting exploration into alternative narratives through embracing complexity and hybridity? 

We will create floating comfortable sleeping structures in the forest and each morning share dreams. We will further experiment with audio visual light performance at night as a performative dream ritual initiation. Can we create an intimate entangled experience between the living and technology?