Brunakra offers residency for artists, writers, journalists, or anybody that carries ideas that requires time and space to realize. The period is supposed to end with an exhibit or presentation of the completed work to the public or specially invited guests. This is our log of previous visiting residents.

Where the body ends, the end of the body

This April we are happy to welcome Dr. Alexandra Middleton. Her research explores peoples’ lived experiences with highly experimental science and embodied technologies. Her work integrates feminist studies of science and technology, embodiment studies, neuroscience, disability studies, sensory ethnography, design anthropology and creative nonfiction. Middleton’s first book project, The Connector, follows the first people to live with intimately integrated neuromusculoskeletal prosthetic limbs in Sweden. Her work has appeared in journals such as Frontiers in Neurorobotics, BioSocieties, and the Journal of Pain Research, and has been supported by the National Science Foundation, the European Research Council, the American-Scandinavian Foundation, Princeton’s Porter Ogden Jacobus Fellowship, and the Marie-Sklodowkska Curie Fellowship (beginning in 2024). Middleton is also a creative nonfiction writer whose essays have recently appeared in The Rumpus and Entropy. She is the founder and facilitator of WITHIN, embodied somatic writing workshops for writers and artists that weave somatic attunement, meditation, and creative writing.

How we appreciate where our bodies exist in relation to the surrounding world may ultimately be defined by how our bodies collide with what is around us: the glass ceiling, the hot pot, the hammer on the thump. The Swedish writer Helena Granström elaborates in her essay To reach the World – the painful experience of living life to the full (Translated from ”Att nå fram till världen – om den smärtsamma längtan efter att få leva fullt ut”, on how the borderline of the body is pain. The question is then, how do you reconsider the self and the body, when living with intimately integrated replacement body parts? How does pain function not only as pathology, but also as a messenger? Can sensory experience be reverse-engineered? Alexandra explores, as a researcher and writer, the embodied experiences of the first humans living with highly experimental prostheses, expanding beyond the narrow science-fiction imaginaries (the Cyborg, Terminator, or Darth Vader) conjured by human-machine relations to reveal an intimate, peopled portrayal of a science-in-the-making.

Samaneh Roghani

We are proud to welcome Samaneh Roghani as resident in August 2021. For some, resistance to power is mainly a theoretical exercise. For Samaneh Roghani, it is a life-changing experience, and a bearing theme in Roghanis own artistic practice. Oppression in the public and political arena always ends in the personal and private experience. Roghani explores this mechanism and puts personal experiences into public display.

If practical head-on resistance to power risks confirming or even strengthening power’s structural grip, exposing power’s personal implications might instead transform vulnerability into strength. Samaneh Roghani takes oppression as personal as it in fact is. Through exposing vulnerability and fear, Samaneh reveals oppression’s deep and life-changing implications to the private life.

”Fear is a feeling that I have lived with, ever since I decided how I want to live my life, and learned my rights as a woman. Where these matters can’t be taken for granted, attaining them is a struggle.” (Samaneh Roghani)

Samaneh Roghani (b. 1984) is an Iranian artist based in Malmö, Sweden. She has a Bachelor of Photography from Azad University in Tehran. A BFA and an MFA from Malmö Art Academy.

Roghani weaves together personal stories with universal narratives about people struggling for a better life. There is opposition, resistance, and migration in the face of fear, ostracism, and oppression.

Roghani uses a variety of media and techniques, including photography and video. Entangling her personal experience by reproducing self-portraits in the very fabric of her works.

Focusing on installations that give the audience a multi-sensory experience by combining visual, auditory, and tactile elements. Creating powerful immersive experiences to convey an understanding of the conditions of our contemporary societies.

This residency is curated by UNICORN – Artists in Solidarity in Malmö part of the IA&AR Network co-funded by Nordic Culture Point with support from Malmö Konsthall and in part hosted by BRUNAKRA Temporary, coordinated by the AR-Secretariat as part of the wider Artists at Risk (AR)-Network.

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Dagie Brundert and Intentionally Coincidental Humorous Universes (ICHU).

Who am I, and, what am I doing here. As a child, you woke up in the night suddenly talking out in the dark, loud out to hidden ghosts. Putting out the most existential question of all. That of randomness and existence. We’re looking forward to have Dagie Brundert from Berlin Germany as resident in March 2020.

Dagie Brundert invites coincidence to participate in her work and uses this for creative potential and humor. Convinced that beauty is everywhere. She burns it on film and steps outside to capture it. No script. Just being aware and awake through the camera. Focusing on the small things. Little stories, one message, one thought that evolves and develops through biochemical processes. Confident that there is a certain humor in the universe.

”I‘m convinced that I‘m in the business of throwing small, short beauty bombs into the world, I cannot help it and I‘ll never stop it. The world is complicated, dangerous and beautiful, people are brutal, greedy and stupid, but also confused, loving and incredibly social.”

Not obviously political (It’s a political statement), her work is always personal and plays in a small, manageable space, bubble, universe. However, you can extrapolate this space.

”I don‘t want to image the world one-to-one, I want to image the insides and the cracked imperfectness and second-view beauty of the world by an imperfect and sometimes out of focus (but in of heart!).”

Dagie Brundert was born in a small town in the middle of West Germany. In her twenties, she moved to Berlin and studied visual arts / experimental film, and Fell in love with her super 8 camera (Nizo) in 1988. Since then she’s been a particle-finder, a wave-catcher, and a good story-teller. She carries her super 8 camera with her traveling, walking around, eyes open and antennas upright. She tries to absorb weird beautiful things from this world. Chews them and spits them out again.


This residency at BRUNAKRA is financed by Goethe Institut Schweden:


Call your mom - Truce Overhead

Call your mom & Say You’re Sorry

When you move, I move! After two years delay due to the pandemic we’re happy to finally have Call Your Mom  in residency during April 2022. To say sorry is to move harts. Acceptance is everything, look firmly on what you have around you, and adopt, react, interact.

Say You’re Sorry is Call your Moms grandest project yet – a set of collaborative forgiveness experiments spanning four countries and eight US states. In each place we work with artists, faith groups, and social justice movements to formulate questions and solutions on making amends. What does a forgiving future look like? What redemptive tools do we have to lend to one another?

Say You’re Sorry is a multimedia exploration of forgiveness and redemption. Call Your Mom will be developing various aspects of Say You’re Sorry at residencies across the country and world.

Call your Mom: Collaboration is our holy idea.

  • When we are wholly ourselves in creation, new languages and powers are possible.
  • Collaboration requires trust and earnest engagement. 
  • As collaborators, we define the rules of ownership. Ownership is collective and each idea is built from the culture of our togetherness. 
  • Audiences are not only viewers, they are also collaborators. 
  • Collaboration is commitment to one another in resistance to a culture of transaction and individualist gains. It is the practice of learning and yearning to live non-transactionally. Prolonged collaboration means trust in the unlimited giving of each collaborator without needing to reap its benefits. 
  • Collaboration creates its own beauty.

Call Your Mom is a multimedia performance group and making family. Founded in 2014, Mia Massimino, Emma Bergman, Sophie Goldberg, and E Cadoux work in a horizontal structure to make evocative, empathetic, and multimodal art. Our works include THIS CLOSE (2016), an interactive stage show about translation and miscommunication, Household (2017), a large-scale installation about domesticity and emotional ghosts, and Too Day (2018), a fictional holiday celebrating rituals between strangers.

Rabota – Come Fly with the Borderliner

Think of society as a complex structure of rules, where some rules are hidden and not spoken off, while other rules are on full display and in the open, through our daily life we navigate this web of rules, more or less intuitive, not aware of how they operate. This deep web of rules is the agreement that we all subscribe to while participating in society. These rules define both what’s allowed and what’s not allowed. On general terms the net consists both on super levels, but also fragmented into different sub-structures, these sub-structures could be called discourses.

To allow things to change, society needs transformational functions to bind different threads together and make the web ever-growing and ever reform into new shapes.

This transformational function is the author-function. The author-position is charged with a certain sovereign authority to act inside and outside of the structures. To disturb or disrupt the rules of the game. These author-functions may be shaped in different contexts, where art is one.

Artistic practices balance on the border between being inside and outside of given rules and acts by this, trans-discursive. Somewhere there are other powers, that may hide on the super levels that hand out this authority. The artistic authority to declare a state of exception, and to seek to define what’s necessary and urgent. But the sovereign position is never given from above, but always empowered from below. Those who empower the sovereign position are also those who allow the offset to slide outside of the rules. It’s a critical position that needs to be scrutinized and inspected.

We’re happy to have Rabota in residency September 2022. Rabota was founded in 2014 by artists Marika Krasina and Anton Kryvulia. Relying on the practice of dialogues, they have defined a concept of non-knowledge. This theme unfolds into the idea of «Human as an Arch»: arch is a contour, filled with different content (sky, trees, other arches) that makes it arch visible. Rabota strive to interpret nonknowledge as an incompleteness, unheld, something that didn’t occur, as an incognito companion of human: a trace of the absent.

”We plan to introduce our personal belongings as a material for the construction. The recordings that we collect in our expeditions will become the sound basis for the creation of interactive musical objects, managed in the performative act process. We consider opening our developments for discussion with specialists, colleagues, and an audience is required. For this purpose, we developed media-rave-conference, the format of performative lectures using multimedia technologies. Along with the performative installation, we are going to operate with this format in our future works.”

The result of the project will be public performative and lecture events, theoretical materials and other documentation rendered in a book and art objects created in the process.






Vi är stolta att presentera RABOTA på GYLLEBOVERKET som den avslutande kvällen i föreläsningsserien Tankarnas trädgård. Välkommen Tisdag 6 September 18:30, soppa serveras i pausen. Föreläsningen sker som ett media rave, därefter samlas de som vill till ett samtal om kunskap, konstens betydelse och frivillig liksom påtvingad transformation.


We are proud to present RABOTA at GYLLEBOVERKET holding the the last night in the lecture serie The Garden of the Mind. Welcome Tuesday Sep. 6th, 6.30PM. There is soup served during the break. The lecture will be presented as a media rave, whereafter those who want gather for a conversation on the reliance of knowledge, art, and voluntary as well as involuntary transformation.



We assume our work as the practices of resistance and overcoming; we are developing a model of action. We are testing the strategies to face impassable circumstances in our living and working experience. We accepted the current universal threats as a professional challenge with which we operate by employing particular artistic practices.z


genre: Permanent Practice

duration: Since 2014

tags: Open, General Domain, General Audience, Art, Artist, Art and Labour, Politics of Autonomy, Media-Asceticism, Whatever, Globality, Art-in-Itself


To Be With Art Is All We Ask. GILBERT & GEORGE

Our work is indistinguishable from daily life, it has neither an art product nor any material result, only the experience. In that experience we endeavor to revise the concepts of art and the artist, submitting our human destiny to this particular task.

A R T – I N – I T S E L F
Our mode means the refusal of production, institutional autonomy, and real constant risk. The work occurs along the way; its basis is our dialogues revealed in the space of leisure (σχολή).

Our job is not to work. This outwardly simple definition is revealed by our name in translation from Russian: Rabota (Работа) means at least three things simultaneously: labor, the object created as a result of production, and also profession. An artist’s labor in current social conditions stands at the lowest level of the social ladder. Artist in his situation of total precariousness and constant risk transforms, according to Marx, into a revolutionary class[1]. Our revolution declares itself in the termination of art production in favor of contemplation and thinking. We assume our work as a daily, constant will for creatively recollecting and re-creating the world and ourselves, such as daily unproductive work similar to the job of a chimney sweeper or dishwasher. Society captures the space of politics, turning art into an object of consumption, we, in response to this, come to the territory of labor and make an artistic act (ποίησις) the subject of unproductive work[2].

If one in his solitude drops out of the political world, then two, being together, always carry it with them. We met in Venice at the end of 2014, having arrived from various places. We threw all our swag into the Venetian lagoon and set out to explore the New World, with a notion not to come back anywhere.

We discover the weak traces of a new planetary unit in which there are no more borders, no nations, parties, no more governments, and war. In search of planetary politics, we drifted around, trying not to bind with national institutions, avoiding social infrastructures[3]. We do not have a home anywhere; we conceive the world as our global apartment. Rooted in autonomy, our political attitude is exposed by our life. We have to balance not to fall into a cleft in the changing world. Our art, the choice of means, and subjects come from this voluntary precariousness. We chose autonomy and pay for it the price.

We stopped enclosing ourselves in flats with a world beyond. We are detecting the world inside any room so often as we can converse and think. We no longer live in one place, and not because we lack one. Rather, the opposite — everywhere is the same spot, same capacity. We work everywhere, in the forest, in the city, on the fields, in the cabins, in the boats, on the night road, wherever we could talk.

We are on a permanent journey since we met; the list of personal possessions has been reduced to the required minimum, and now it can always be rapidly packed and taken as hand luggage. This limited bunch of items becomes our constant companion, forming something like a common body, over which we observe with interest; from the very beginning, the life of our things becomes a matter of our artistic practice. We turn our belongings into art objects and then return them to everyday use. Their life as art objects is instant and solemn; they do not become a product awaiting its fate in the dark warehouse. They return to their source, revealing its flickering imprint on themselves. The spectators can witness these metamorphoses, synchronizing with us in time and space.

We have been working in this mode for six years. We have visited more than 40 countries; in places that seem tempting to us, we stay as long as the visa regime allows. Sometimes we interrupt our autonomous migration for a short while to take part in exhibitions, AiR projects, and festivals.

Our practice
Free time
Art is not a public activity addressed to the market and the entertainment industry; not so much objects and stories for experiencing but the daily and invisible work of recreating, recollecting, and reinventing the world and the artist himself. This work is impossible without free time, and leisure, which the ancient Greeks called σχολή. Being the most fragile state of a human, it currently occurs as a victim of anxiety, poverty, and despair, leisure must be specially maintained. Even though such an unproductive understanding of the artist’s work was already relevant for Plato, we have to introduce it as such again.

Our work is indistinguishable from our daily life. Our way of action means the refusal of production. We assume artistic work as a daily, constant will for creatively recollecting and re-creating the world and ourselves, such as daily unproductive work similar to the job of a taxi driver or window washer. If society captures the space of politics, turning art into an object of consumption, we, in response to this, enter the territory of labor and make an invisible, existing-in-itself artistic act the subject of social relation.[4]

Johannes Cladders, the curator, noticed once: “I have always believed that it is the artist who creates a work, but a society that turns it into a work of art”.

To turn such an unproductive practice into a condition of art and make the artist with his work-in-itself visible a witness is needed. It requires the observer’s appearance, carrying out the practice of materialization, in which a hidden and aimless process renders into the matter. As a result of such materialization, the artist’s unproductive practice acquires material qualities, which at a specific moment can be installed, stored, and transmitted.

Like the Labridae fish, which can change sex in extreme circumstances, we had set up such outer observers from ourselves. This alien, curatorial mode of action allows combining synthetically unproductive practices with materialization, communication, and presentation. The material achieved resulted from the fixation of such unproductive artwork: documentary video and photography, audio recordings, notebooks, index of things, maps, and the things themselves act as a source for materialization and re-materialization of artwork without direct production.

Artistic practice, engaged in the constant recollection of its origins, and curatorial practice following the unproductive artistic process and materializing it, together constitute our work.

A brief path of migration and significant topics of interest:


Venice, It / Nepal

Field recordings, developing the main concept, Himalayan drift


Karnataka, In / Lviv, Ua / Montenegro / Serbia / Dresden, De / Paris, Fr / Catalonia / Minsk, By / Moscow, Ru

Common things as a medium, field studies


Armenia / Georgia / Istanbul, Tu / Budapest, Hu / Crimea, Ua / Moscow, Ru / Milano, It / Vienna, At

Caucasus drift, phenomenological studies, White Mold painting theory, meta-collage


Sri Lanka / Karlsruhe, De / Catalonia / France / Karlsruhe, De

Bubble book, Media Ecology theory, Media studies


Porto, Pt / Andorra / Karlsruhe, De / Turkey / Greece / Mannheim, De / Novgorod, Ru / Rome, Napoli, Cicily, It / Vietnam / Laos

Interventions in ZKM museum, Media Theory, Nonknowledge drift, path to Mannheim, Ancient Russian architectural studies, Roman studies, Indochina drift


Thailand / South Korea / Moscow, Ru / Helsinki, Fi / Kuban, Ru / Thessaloniki, Gr / Toskana, Venice, It

Aesthetics of Nonknowledge, art theory, Politics of Nonknowledge


Mänttä, Fi / Durykino, Ru / Novy Svit, Ua

Managing our archive, scanning notepads, transcripts from dictaphone, Art and Labour theory, Corona and biopolitics


Moscow, Ru / Cesis, Lv / Děčín, Cz

MUSEUM, struggle, Academy research

Our practice is purely provided by autonomy, which is the essence and single purpose. Its exclusive result is an experience, one way or another expressed in Rabota’s documentation, exhibitions, and theoretical works. Since 2014, Rabota has been publishing an annual report with photos and verbatim reports of artists’ conversations.

Six Statements
There are a lot of definitions for the notion of art, one of them says that art is a constant redefinition of this notion. There’s speculation that art as a reliable thing does not exist, that it is actually just a word; distinct things could be mentioned by it. But art could hardly have been a mediator of human understanding if it wouldn’t have any general significance. There is something that connects us through an object of art with other people from different cultures and times. This something goes beyond the limits of a particular definition and correlates with the being of a human in general. The human being, in general, might be even defined as a one who is connected to this commonality, transmitted through art. What exactly is the universal meaning of art? How to denote its essence? If we don’t raise such a formulated question for ourselves, we are losing art as a subject; and after the subject, we may lose the word.

1. Art
Art is what the artist creates; an artist is the one who creates art. Art subjectifies both the artist and the spectator: therefore it could be considered the source of the human World as such.

We define an artist and art one through the other; in this joint definition, the most essential is the Act of Creation itself, in which the artist and art are realized one through another. Grasping artwork, the viewer himself inevitably performs the same symbolic act as the artist, thereby actualizing his subjectivity and autonomy.

2. Artistic act
Subject-object relationship (who/artist — what/art) is revealed in the artistic act. The artistic act establishes the space of autonomy. The artist has a conventional symbolic power to produce an artistic act.

Art can be created anywhere, from whatever, and anytime: only an artist is required. By creating the Ready Made, Marcel Duchamp pointed out the essence of an artistic act as a mechanism endowing any object with a special ontological status. By this act, an artist constitutes a general blank space (place for being) that can be occupied by any object. In addition to the fact that the object becomes a simple manifestation of blank space, its own qualities are not erased but become universal signs — the content of an empty medium, which is the art object essentially.

3. Art object
An Artistic Act can be performed on any object. All kinds of values ​​are applied to the art object from the outside.

A work of art is an object that, through its perceptive configuration, ensures the preservation of its own idea for comprehension[5]. The universal idea of ​​any artwork is the Artistic Act establishing this very space and time of being.

4. Contemporary Art
Applied values ​​define art forms. One of these forms is contemporary art. Contemporary art is the artist’s work, determined by the tasks of creating, developing and redefining the image of Contemporary as an ersatz space for human life in the conditions of ontological deprivation of the present tense.

The image of a suspended person, groundlessness, autonomous through being alien to everything, remains relevant from the first days of the existence of humans until now. “Time either does not exist at all, or is obscure and hardly exists”[6]: this thought of Aristotle defines contemporary art in the sense that the concept of Contemporary is intended to compensate for this deprivation of tense, and Contemporary Art fills this concept with constantly updated fluid content. It is impossible to settle down in the present, it is slipping away, and Contemporary, as an illusion of the expanded space through which you can take a walk, makes you feel right at home.

5. Politics
Politics is a constant effort of the autonomous subject to restore the present time, recollect himself, and reassemble the World.

In addition to the gap between the whistling infinity of the past and the whistling infinity of the future, the Contemporary is also opposed to the World existing in the present. Contemporary obscures the World and “removes politics”[7] as an act of an autonomous subject. Any statement drowns in the dialectic of Contemporary and turns into a product of consumption. Therefore, the emancipatory role of Contemporary Art exclusively is in the termination of Contemporary as an illusion.
To stop Contemporary as an illusion means to get out of the infinity of production and consumption, opposing it with attention to things as they are, thereby turning to the depth of time and World.

6. World
World[8] of human existence unfolds in the space of autonomy, arising interdependently along with human subjectivity in the present.

“In the work of art man risks losing not simply a piece of cultural wealth, however precious, and not even the privileged expression of his creative energy: it is the very space of his world, in which and only in which he can find himself as man and as being capable of action and knowledge.” Giorgio Agamben. THE MAN WITHOUT CONTENT.
“The man-made world of things, the human artifice erected by homo faber, becomes a home for mortal men, whose stability will endure and outlast the ever-changing movement of their lives and actions, only insomuch as it transcends both the sheer functionalism of things produced for consumption and the sheer utility of objects produced for use.” Hannah Arendt. HUMAN CONDITION.

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Tori Lawrence | re-residency

Secret moves in abandoned spaces. Choreographer and filmmaker Tori Lawrence is back summer 2019 to further develop JUNKSPACE, a project that she initiated while in residence at BRUNAKRA last year. She is here together with dancer Ellie Goudie-Averill and musicians Cole Highnam (hammered dulcimer, piano) and Seth Wenger (vocals) to explore spaces and shoot video. They ”[…] appear and depart like specters, weaving through doorways and manifesting unobtrusively across the room. They guide us through the dimly lit bowels of the building into a cavernous warehouse three floors above. A wooden bench with asymmetrical legs hangs from a rafter; rotating fans high up on the walls exhale through tattered pieces of fabric.” It’s a haunting escape into the unknown, movement and sounds recognisable but alien. It’s a hidden eye that follows and pauses together with the dancers, capturing every move, part member, part alienated.

What if the performance site is kept secret, revealed at the last minute? What if there is no premiere. A dance that deconstructs and reconstructs the space that it is within.

Welcome to the late night show,
Wednesday June 19th. 10PM.
Insight into the current working scores of JUNKSPACE.
Live music by Cole Highnam (hammered dulcimer, piano) and Seth Wenger (vocals).

A place-less-ness dance –
Spending two years without a site to make a site-specific performance
Performing the work in its in-progress stage, but never complete
Modularity, deconstruction, and replace-ability
Movement scores are the tethering/plan – what keeps the work together
A home-less work. Constantly in transition. You could be anywhere. You could perform it anywhere. Updating itself dependent on the site that it’s in, it will never be the same.

Chain stores, hotels, malls, restaurants, duplexes, cineplexes, complexes, multiplexes
It’s happening across America, I can’t tell where I am –
Cabinetry and technology match the decade
Maybe this throwaway culture is desirable for some. Or maybe the capitalist freedom is more important than the construction/sustainability and architecture of a space.
Or maybe architecture has ceased to exist
Living in the fallout of modernization*

The body, able to be anywhere
Transitional disposable spaces, I can’t focus
Adaptable disembodiment within chaos
Self-organization and wandering in a wall-less-ness
To shed and to keep going – leaving pieces of the body the junk leaving pieces of itself myself everywhere Jointed together by our plastic shards

Eva Vēvere

The material text

The word context has become a signifier for critical theory and contemporary cultural discussions. The use of the word, according to Google statistics, has increased in popular use throughout the last hundred years. While being used modestly during the 19th century, it took off during early modernism to really explode from the sixties and onwards as post-modernism and critical theory became the main academic and artistic norm, to finally establish itself on a stable though slightly declining line during the last decade.

The relevance of the word context is that it points to and enlightens the importance of where something is said, and by whom it’s said. It enlightens the structures behind the words and it opens up for scrutinising the subject positions behind the voices. If you like, it explores the surroundings of the language. So what does it mean, where does it come from, what does it bear within it self?

The word derives from Latin.

  1. To weave (Latin: Textere), as in textile. The poet is a weaver who’s words bears meaning
  2. To connect (Latin: Con), as in together. The meaning makes sense to us only when placed together with its setting.

We’re happy to welcome Eva Vēvere during this spring´s second resident period at BRUNAKRA. In recent years she has put her interest into paper and books as mediums and information bearers as well as objects. During her residency she will focus on two opposing ideas – the manifestation of text as a material object; in other words, how text is transformed into an object and how paper represents ideas such as movement, time, and the clash between various aspects of reality and eras. And in the second direction – how various aspects of reality disappear, when paper and its value are transformed.

Visual artist Eva Vēvere (Latvia) is working in various media, including installation, process-based events, still and moving image. Since 2009 active with Poetic Robotism projects – a series of interactive installations and performances focusing on architecture of time and deconstruction of different aspects of life, connected both to the mundane reality and philosophic issues. In recent years, her exhibition activity has also included group shows at the Latvian National Museum of Art, annual Survival Kit festivals organised by the Latvian Centre for Contemporary Art and experimental collaborations with professionals from the fields of contemporary dance and music.

Eva Vēvere will stay at BRUNAKRA during April 8th until May 5th. The residency is held through a collaboration with Konstitutet – the agency for artistic facilitation and exchange.

Image: Lyrical Stuff, collection of paper objects and ideas made for The Rainis and Aspazija Museum, Riga, Latvia, 2018/2019



In collaboration with:




Eva Vēvere´s residency at BRUNAKRA is financed by Latvian State Culture Capital Foundation:











Institut für Alles Mögliche

As our first collaboration with Institut für Alles Mögliche two residencies are held in connection to each other from March 15th – ending April 15th.

Karl Heinz Jeron. March 15th – March 25th.
Brunakra Field Trip

Enactments of a human-animal-plant-things symbiosis

In Swedish we use the word rymdvarelser which in German would be weltraumkreaturen for what in english would be aliens. But aliens means literally främling in Swedish or fremder in German. While rymdvarelser or weltraumkreaturen simply implies that the descripted creature belongs to space it doesn’t say if it’s known to us or not. If you want to meet real life rymdvarelser or weltraumkreaturen you don’t have to search for long. They are already all around you, living on this lonely outpost in space called earth. David Bowie knew this, that we’re all strangers living in space. Alien for one another. Främling or fremder, extra terrestrial or not.

Karl Heinz Jeron was born in Memmingen, Germany in 1962. He lives and works in Athens since 2018. His art deals with every day culture, media perception and information processing. He rather creates experiences than objects. Jeron’s works span from the singing and dancing robot Sim Gishel, to compositions for electrified rotten vegetables and audio tour guides in onshore wind farms. Recent exhibitions, events and collaborations include Athens Digital Arts Festival, ZKM Karlsruhe, Ars Electronica Linz, Documenta X, ICA London, Walker Art Museum Minneapolis, Berlinischen Galerie Berlin and the Museum of Modern Art San Francisco.

Dr. Veronika Reichl. April 1st – April 15th.
Phantasms of Art Works

What are artists’ phantasms of perfect works? What are we desperate for? What do we dream of, when we think of making a huge work (a dream almost every artist entertains)? How we imagine tiny works? What precise concepts – known and preconscious – do we entertain when we speak of poetic, daring, or consequent works? What ideals do we have in mind? What are the impulses, the perceptions, the hunches that get us going? What ideas about working processes and states of being passive and active are connected to these ideas on works?

During her stay in Brunakra Veronika will work on these questions, maybe conduct some interviews and try to develop a form of how to map them.

This is part of an ongoing project on phantasms of artistic production. Its first part was shown at the exhibition “The Production of Nothing” curated by Ulrike Riebel and Stefan Riebel from the Institut für alles Mögliche, Berlin, Kunstpunkt, 2018:

I have to lie down – pretty much about hardly anything

“During the exhibition I am as hyperactive as possible. I collect and develop figures of thought, descriptions, instructions about all kinds of minor and hardly-any-productions, about slow, discrete and hidden production, about latency phases and the phantasm of non-production. I collect these ideas with help of the visitors: Please give me an interview (5-15 min) on your delicate, narrow or reduced production, but also on your everyday production or your fantasies of non-production or large-scale production.”

Veronika Reichl works and lives as a writer, artist and lecturer in Berlin. Her preferred formats are performative talks, sound installations, and animated films. Many of her projects are located on the threshold between art and philosophy. All her works are concerned with the stuff we think, feel, imagine and perceive without being fully aware of it.


In collaboration with Institut für Alles Mögliche:





This residency at BRUNAKRA is financed by Goethe Institut Schweden:




Where I go, you go

Spring 2018 BRUNAKRA Temporary was visited by the choreographer Tori Lawrence accompanied by the dancer Ellie Goudie-Averill, throughout four weeks in May-June 2018.

Together they explored the area while shooting for an upcoming film planed to be released end of 2018. Culminating the residency, they presented an in-progress version of the film as well as a short live site-specific performance.
The open reception was held a beautiful day, but also fragile, presenting a work in progress where the Now York dance scene met our hen house. Subtly they took us through their work, leading the attending guests from thought to video screen to the chickens and eventually out in the open fields backside of the farm.
Art is never an object, art is subject. Subject to our experiences.

Tori Lawrence

A place for exploration, rather than action.

Junkspace is what remains after modernization has run its course or, more precisely, what coagulates while modernization is in progress, its fallout.

Rem Koolhaas on Junkspace

Some years ago, Sweden experienced an intense debate regarding urbanization and the prospect for the country’s rural areas. Areas where the population is declining, where industries are moving away and investments are low. Within the discussion, these rural and remote areas were described as ”junkspaces”, originally a term invented by the Dutch architect and intellectual Rem Koolhaas to describe spaces that modernization first conquered, used up, and then ultimately left to decay. When inventing the term, he probably didn’t think of areas with rationalized forest production or high-tech equipped farming, surrounded by silence with little to offer in regards to sustainable employment, education, or career opportunities. But as the term was used, it also stuck. Junkspace was suddenly a description of landscapes that were more and more being transformed into the setting rather than being the scene.

We’re happy to welcome U.S.-based choreographer and filmmaker Tori Lawrence for the May 2018 residency period. Her interest is in exploring human traces and the connection between body, architecture, and place through both movement and film.


Working mainly in sites that are overlooked, forgotten, or abandoned, her work inspires an imaginative and sustainable way of looking at, thinking about, and using space.

Her projects have been presented internationally, including three site-specific project commissions by the Barnes Foundation in Philadelphia. She previously been awarded residencies at PLAYA (2018), Djerassi Resident Artists Program (2017), Middlebury College (2019-20), Charlotte Street Foundation (2016-17), Lawrence Arts Center (2016), and Budapest’s Workshop Foundation (2013). She received her MFA in Dance at the University of Iowa and was recently on faculty at the University of Kansas where she taught choreography.

Doing her stay at BRUNAKRA, Tori will be working on a 16mm dance film together with collaborator/dancer Eleanor Goudie-Averill. Ellie has been dancing with Tori in various live performances and films since 2012. They will use the dancing body to examine how spaces and bodies become culturally inscribed. As spaces are fashioned into places, what are the politics, prejudices, and regulations that subsequently emerge? How do the trends of human self-organization and habitation correlate to place-making? During their residency, they will create a movement-driven film that inspires an imaginative and sustainable way of looking at, thinking about, and using space. The work will offer insight in how to upcycle a space, to create a reimagined place from an existing place… to strip a space from its codes and offer a new set of codes. They will undergo movement research and produce the film within the tenure of the residency and afterward hand process the film and work with a composer to create an original soundscore.

Find more about Tori Lawrence at 



Tori Lawrence residency at BRUNAKRA is financed through: