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.

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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:


Found Sounds and This American Dream project

Jacinta Yelland and Ethan Mentzer stayed with us for a month working on both their projects, Ethan as beeing a composer, producer and musician collected sounds in the surrounding area while Jacinta interviewed people about life in Sweden. They both refined their findings into a two set presentation that was shown in the shack at BRUNAKRA.

Jacinta´s project aims to reflect over what happened with the American Dream and what it derived from. When moving from Australia to USA life wasn’t as she expected. Then she read about Sweden. The more facts she came across the more frequently Sweden where mentioned as a benchmark for how a society could be structured. Her work is in the form of physical theatre, a mix of storytelling, dance and an actual break down of facts and stats. Read more about the project at Jacinta´s own site Thisamericandreamproject.

Ethan has during his four weeks here collected sounds through his project Found Sounds. From these samples he composes music that is in between noice/soundscapes and beat driven compositions likewise driven by POP DNA as much as soul searching.

Ystad Allehanda wrote a very nice piece about their stay.

Jacinta and Ethan in Ystad Allehanda


Estimates by Hildegard Skowasch

It has been a frosty spring in Southern Sweden with continuously changing weather, windy, rainy, cold, hail, some sun and then more cold until Hildegard Skowasch´s last day when the sun broke through and warmth came. Hildegards presentation of her work where visited by the usual suspects together with some new acquaintances. Art, sun and beer, it was as Lou Reed sang Such a perfect day.




Jose Bote

We strive to expand the Residency Program into an open invite for different expressions and fields of work. Jose Bote is the first playwrighter to attend the program and will stay at BRUNAKRA the last two weeks in June 2017.


Jose writes as well as directs theatre. In his own playwrights he’s been collecting and reassembling from popular culture and the film classics, while he as a director been mostly interested in staging plays by the masters, specifically Alessandro Baricco, Eugène Ionesco, Calderón de la Barca and William Shakespeare.

A couple of years ago Jose visited Cambodia as a tourist, bicycling though the country and where struck by the intensity of the memories from the genocide taken place on the same sites some forty years earlier. As wars actually has declined the last hundred years the tools for destruction are today infinite. When the killing starts it has no real end, manifested not least by the memorial sites that now covers these places. We duck for cover, resurrect and build memorials. Not to not forget, but to give hope. It’s a needed manifest to save ourselves from the act.

At BRUNAKRA Jose will work on a manuscript where these mechanisms are investigated. He is conducting research from genocides in three different parts of the world and from three different periods this last century, the Armenian Genocide 1915, The Cambodian Genocide 1975 – 1979 and lastly the Rwandan Genocide 1994. As memories again are getting politicized and truth only reflects view points and even the collective memory of The Holocaust is fading, it’s more than ever (As we always say about this time) important to reflect in big and small over what drives the forces of society into madness or alternatively into prosperity. And as banal as it may seem prosperity is basically the combination of political freedom, freedom of speech, peace and a decent meal. The Freedom to say that 2 + 2 = 4.

Hildegard Skowasch

Whenever the label expressionist is used to describe an artist’s work, it could be understood with a certain amount of irony. What would the opposite of expressionism be for an artist? Artworks that express nothing? …and yes if so, that would be decoration.

When we choose participants in our residency program we try to not make to much of a judgment on the artistic quality of the applicant, it would, as we see it, be all too difficult to make such conclusions based on a mail, a website or sent images which is the most common way we receive stuff. Instead we focus on the sincerity of the applications, does this seam as a person that would appreciate to stay here, is there a plan for the time staying here, what is the objective for the stay?

That might be why the majority of the applicants that stayed at BRUNAKRA has been artists not working with objects, but rather with concepts, which mostly taken form in installations or performances. In this perspective Hildegard is an exception, her work is physically present and clearly expressive already when seen in an image. In one way she reminds us of the Wild Art from Berlin’s and New York’s eighties but foremost this expressions reached out to us instantly as we received Hildegards application. We’re very glad to welcome Hildegard as resident in April/May 2017.

Hildegard’s Artist Statement


They are improvisations. I combine elements which normally do not belong together and rework them until they become a compatible whole.

They develop intuitively and are drawn from personal experience. Errors and accidents are an inherent part of the work process and open up other avenues of exploration. Everything is in motion, nothing is fixed. Each work represents a single illustration and can lead to other examples.
Paper is the primary material but other materials can be used in combination.

Amorphous bodies form the basis for shaping three-dimensional forms. By adding small details they undergo a metamorphosis which can be poetic, magical, witty or even disturbing, producing unexpected insights.

My works comprise both figurative and abstract pieces which act reciprocally and are co-determining. The figures can be viewed as characters in an imaginary play. Together with abstract elements and drawings, they act as an ensemble on stage creating their own scenes and tableaus. This interaction becomes improvisation itself.

More info is found on Hildegards own website

Hildegard Skowasch residency at BRUNAKRA is supported by:




Jacinta Yelland and Ethan Mentzer

We’re happy to welcome Jacinta Yelland and Ethan Mentzer for our resident program during spring 2017.

Jacinta and Ethan are both hunters and collectors, in their separate lines of work. Jacinta through theater, by exploring the foundations of community building, versus an ‘every man for himself’ mentality that persists in todays society. Drawn to explore the medium in hopes of finding ground for 1. dialogue, 2. acceptance 3. positive social change.

Ethan explores and experiment with Found Music digging into the opportunities of sampling and looping pioneered by the hip-hop genre, Ethan records or sample “found sounds” and reconstructs them into sonic collages or in other words, musical compositions.

Tranquility and contrast

Jacinta is an Australian actor and theatre creator. She graduated from Queensland University of Technology with a Bachelor’s degree in Creative Industries majoring in Drama and completed her final year at the University of Leeds, England. She has travelled across Australia and the world to train and perform with renowned theatre practitioners and companies including Philippe Gaulier, Sankai Juku, John Gilkey, Steph Kehoe, Pig Iron Physical Theatre Company, RealTV, Upright Citizens Brigade and Zen Zen Zo Physical Theatre Company.

Ethan has been making music all of his life. He is a musician, composer, songwriter, producer and sound engineer. He graduated with honors from Berklee College Of Music with a Bachelor of Music majoring in Music Production and Engineering.

Ethan views his role as a musician in the studio as part artist (creating from the soul or the unknown), part craftsman (honing skills, practice and knowledge) and part scientist (performing controlled experiments using sonic waves to create or manipulate emotion in the human body or psyche).