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.

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.

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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



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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