The residency Villekulla is meant to be in a process of constant transformation; editing, developing, focusing, re-elaborating and re-enacting.
Our main interest lays in one’s current state of thoughts, experiments and expression, rather than in what has been achieved in the past. Which traces are followed, what influences are taken into account?
Besides fertilising a space of focus on one’s own artistic activities, it is fundamental to us to as well constitute a basis for exchange and a nourishing ground for cultural discourse for and with the immediate environment of the residency. What components take part in and define the artistic processes? Does the village baker get invited for breakfast or included in the process of a work? Are the picked pears just put in the cellar or do you enjoy their juice?
Simon Lauch Fürstenberger, Leonie Jucker, Anina Grupp, Mina Achermann & Noah Krummenacher, Alice Peach
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Landing in paradise surprises to be hard, I stumble and bump into every corner there is to find as hospitality proves in funny traditions; thankfully deliberately upheld by all solid things that try to kick me awake. Should I better open or close the roof, I wonder, it looks like rain and the plants need water.
Not so long ago, I was told that the awakened rule the nightmares dreamed by those still asleep. And as much as I’d curiously expatiate what transgresses daylight-logic, my morning finds it so hard to remember dreams, no reasons for anything that embodies the wanting to talk about something only.
Rather matter that stays to itself, to its ontological anarchy, its heteronomous material-ethical gift, its perpetual transformative potential.
Anyways, there won’t be nothing big to move today anymore, really, thus embracing what’s to happen tomorrow without having touched anything yet should be alright. I cannot tell if it’s raining still or again really.
For now, being alone around and outside is more or less the same, the dependency to and from the vis-a-vis redoes its circles, no matter if we think about it or not.
I realised to still be waiting for something to reassure me being around, anything that offers to trust trusting. Virtuality comes to compose its grandest effects right here; I guess we’re the strongest version of ourselves sticking to explore the small things and figuring what they want from the hands they’re touched with. A willow bends over the countless carps in one of the countless ponds, the branches drumming the water. Swimming, we weren’t aware that there was that many fishes and got scared, retrospectively and unsure of what precisely.
She hasn’t been to a house this moonstruck in a while, my mom said, but kept on worrying privily for a kid to fall in between the steps of the stairs. Still, no reasons for anything that wouldn’t bear more than analogically exemplifying the image, the idea or its relating body. Still no reasonable attempts for reasonable monuments. Nonetheless I want to believe in every connection made anew, it’s a heavy day today, so I dress lightly.
During my residency at Villekulla, I worked primarily with objects and materials that were to be found in and around the house. Using things that either wouldn’t call for a specific owner or that belong to somebody else, I wanted to engage the findings temporarily only, and in a way that they could find their way back to where they were picked up again. Assembled in an amateurist, playful and collage-like style but with detailed manual dexterity, the installations push technological norms to absurdity. The properties of objects and the ways we engage with them get questioned and their temporary repurposing thus stresses the difference in value between an art object and a not-yet art object. More documentation can be found here.
Also from me thanks to the people, who organize the residency and to Elena, Yvonne, Mirjam, Ronja and Anna who created a very warm und nice atmosphere during this month! – It was a pleasure to stay at VillaVillekulla!
bonding, tearing, cutting
for the heat
take a look
out of trees