about

In a world where tyrant covid grabbed his power and is still ruling our lives, we were all forced to make a standstill in one way or another. Now one year after the first lockdown, we’re getting the opportunity to work together again as a group on the cusp of Spring. It feels like a fresh breath of air. Within one week, with all the participants of the MA Masters Artistic Research of KABK in The Hague, we created the project Sun Kissed // Fog Off. It works like a kaleidoscope and set of gems that share their energy wherever they are presented. We have embraced the restrictions of the pandemic and found a way to deal with obstructions like not being able to touch or physically gather. So we started from looking into the possibilities instead and turned those restrictions into ways of presenting the art works in ways that fit and connect to this specific moment in time. Questions of time and space became important in creating the right relations during the collaborations and between works. What does it mean to present a sculpture in physical space and on the internet? How can they get a physical sense of the works when seeing an image of for instance a painting? How does the audience perceive live performance on their laptops at home? And how do we deal with time zones and having colleagues missing out on physical meetings because they cannot be in The Hague? Sun Kissed // Fog Off expands from Korea through Colombia and through the internet to all corners of the globe and digital realms.

The kaleidoscope is always in flux. Sun Kissed by that energy, we playfully say Fog Off.

Bálint first started working in the film industry as a child actor, from there he moved to the other side of the camera. He finished at the University of Brighton with awards from South-Korea and Japan. After finishing university he founded his own production company, Gallivant Film with which, following several shorts fictions and docs he completed his second feature film, Granny Project which has won the MDR Prize at Dok Leipzig. He's one of the producers behind Another News Story, about journalists documenting the refugee crisis, across seven countries, in competition at the KVIFF, ZFF and IDFA in 2017.

Parting from a strong affinity with core aspects of existential philosophy, while contrasting with a dialectic note of esoteric upbringing, my recent works inquire into the past. More concretely into the early modern period and its relation to the present, seeking for critical understanding and new openings.

Since 2004 I have been engaged in the running of an art space in The Hague, 1646.

www.clarapalli.com
www.1646.nl

Monastirioti, as an artist, is working with the process of breathing and the asthmatic breath. As the false breath transcends from a bodily symptom to an existential symptom, breathing becomes a constant reminder of being alive and conscious. In her installations, she collects organic and automatic breaths as the main element to investigate the relation between technology and human beings; while addressing the stark contrast in search of a silver lining.

www.daphnemonastirioti.com
@daphne_monastirioti

Elisa works around the integration of technology within society and nature, addressing themes such as the value of data, information infrastructures, and the figure of the diagram as a tool for speculation and knowledge generation.

At the intersection of art, science and digital cultures, she has been artistic coordinator and production manager of public and independent critical technologies and new-media art festivals, such as Tentacular and Madatac. She is part of the collective Multiplay and frequently collaborates with AIDI, a Madrid-based initiative supporting collaborative design and DIWO practices.

The website you are now navigating is her contribution to this exhibition.

www.elisacuesta.com
e_cuestaf

In an exploration of the ‘crowd’ through the eye of friendship, Emily examines the dynamics between our urge to ‘belong’ and our loss of individualisation, and subsequent ability to hide behind others, within these close knit-cliques. In this, she is interested in reframing what the ‘crowd’ can be, exploring why it is always defined as a mass, and questioning why we can not project the analyses of crowd psychology onto a smaller group of individuals, if they share common emotions. Emily’s figurative paintings, presented in narrative installations, explore the ambiguity and anonymity of individuals in these crowds, focussing on the fine lines between harmony and friction, intimacy and violence in group dynamics. She applies these dynamics to the constellation of her installations, exploring a relationship between the ‘human crowd’ and the ‘material crowd’. Within this, each individual element of a work is an agent in the ritual of its own crowd, and part of a new organism. The facilitator of this crowd is turpentine, just as the facilitator of the painted crowd is alcohol. Therefore, the painting, as a physical being itself, is a protagonist in its own narrative, where the group dynamics of the figures become a pretext for its installation.

www.emilystevenhagen.com
@emilystevenhagen_art

This exhibition I use as a self-initiated residency exploring fraud. I will participate from a distance by printing the data I collect to a printer I placed in the exhibition space.

I’ll use this data in the long term project I am working on about me, an artist (who feels like a fraud) and my relation to A, a scientist who is a fraud. You could see the printer as my presence in the space and me as a ghost artist.

@eva_van_ooijen

I am a British artist whose work asks how socio-political conditions pervade ecosystems, ultimately questioning what it means to be human in a time of profound environmental change.

Treading a precarious ground between science-fiction and science-fact (and the muddy sludge in between), my works frequently weave contemporary folkloric stories from popular science origins. In these tales you may encounter resurrected extinct species, other-than-humans cast as leading protagonists, or perhaps a singing tardigrade goddess.

Alongside my individual practice I also work collaboratively as part of duo ZOOX, and founded The New Flesh, a residency program for early career artists working with moving image and costume.

www.georginabrinkman.co.uk
@___zoox

As a choreographer, performer and artist, I wonder, what is the transformative potential of creating and applying corporeal techniques in the interstices of art making/presenting and daily life?

Focused on notions of queer sexuality and sexual education, I introduce myself as the sex therapist of Sun Kissed / Fog off exhibition, offering a guide for your hands through a private workshop on soothing and oily rubbing: Interdigital Scissoring / Reparative workshop.

www.estherarribas.com

Haevan Lee is a contemporary artist who expresses the regional context of specific places through various forms including painting, installation, video. DMZ Landscape Series turns restricted or photography-prohibited areas into paintings. The artist has created painting-sculptures by superimposing the layers of landscapes that she experienced while staying at Peace Culture Bunker, an anti-tank defense shelter built after armed North Korean guerillas invaded Seoul, South Korea in January 1968, and presented the works in the exhibition Goliaths, Tanks (Seoul, 2018). She is planning and producing Dopa+Project, a collaborative project and currently contributes to various exhibitions including Pyeongchang Biennale (2017) and Bangkok Art Biennale (2020).

www.haevanlee.com/
@haevanly

Lena Longefay considers her practice as a composition, a constant research process of shaping and sharing. Interested in feminist doings, she plays with religious, domestic, pop culture or institutional representations to subvert and destabilize them, activating antifascist perspectives of community making. She works with installations gathering sculptures, writings, found images, drawings, sounds, objects that sometimes are animated though lecture performances.

She is at the moment reflecting on friendships as transformative micropolitical relationships, generating communities where art making makes sense.

Currently based in The Hague.

@lenalongefay

I love spaghetti, preferably served with piping hot tomato sauce. My works situates itself at the fringes and edges of the everyday and the oh-so-common, the functional and the not-exactly-all-too practical. I work with ceramics, papier-mâché, wood, text, video, stitching and plants and arrange them in colourful, over-boarding, even romantic installations – intended to at least partially taste like a generous plate of pasta smothered in red.

My installations often resemble curious interior spaces, living rooms, bathrooms or kitchens alike. I am interested in dreams and wishful thinking, functionality and feeling like a necessary part of a system – in short I am interested in belonging, how I belong, how we belong, how things belong to a situation. My work is increasingly influenced by botany and feminist practices, by talking and stories that are handed down from one generation to the next.

www.leoniebrandner.com
@brandner.leonie

Let me read you something… have you ever done that before?? What are you wearing? Tell me what you want to do to me… Feeling your…. inside me…. soaking wet.

www.eleonoraremmen.nl
www.eleonorajohanna.hotglue.me
@eleonoralien

In his artistic research, Omid Kheirabadi (b.1992, Iran) tackles questions of European (Western) hegemony, economic disparities, power, labour, industry, immigration and discrimination head-on. The established practice of centring his experiences based on his own social and economic life is committed and the growing string of hourly fast-food jobs is relevant and grants easy access to all these topics. What is striking about his work is that the most unrelated spaces are interconnected by the economically driven movements of an "outsider". Originally from Tehran, and now living in Rotterdam, he couches his investigation in the space of sincerity/irony and humor. On a practical level Omid has been experimenting with the images, video, combination of performance with video or interactive content.

www.omidkheirabadi.com
@omid.kheirabadi

Renata Mirón is an artist and designer whose work lies among issues of gendered labor, ritualistic actions, the contradictions in identity formation and the position of textiles within the fine arts world. She threads, knits and sews attempts of connection, of reconciliation with the embodiment of contradictions and with a parasitic nostalgia. She is currently exploring machine knitting as a moment to mend snippets of opacity between body and machine, hand making and industrial making.

@kulturfolger
@renmgr0
www.salon.io/renata
3310779@kabk.nl

In a constant effort to align mind, body and world, Rosa listens. She also reads and writes. She moves, spends her days outside. She encounters. She composes multi-sensory pieces, she modifies spaces, she rearranges. She wonders about time. Clock-time, thought up time, lost time, value of time, experienced time, deep time, timescales and everything changes all the time. Human scales, measuring scales, animal scales, plant scales. She celebrates not knowing in words, knowing in the body while finding the use of sounds as language fascinating. She loves communication but words are overrated.

www.rosavanwalbeek.nl
@walbeekrosavann

I am from Curaçao, an island in the Caribbean that is part of the Dutch kingdom. In my artistic practice, I tell an autobiographical story that I link to my social perception. This link has to do with a connection between my birthplace Curaçao where most of my stories are rooted, Latin American influences, and the Netherland. My social perception might lead me to critics that I translate in artworks. My perception can also bring humor to my artistic practice. I am interested in the reaction of the spectators to my outcome. So, this triangle of interaction results in what I call a complete view of my work. I'm now working on a consensus of all the mediums that I use in my artistic practice.

@shardeniafelicia
shardeniaf@gmail.com

Xenia Klein b.1992 (SE) works with writing, printmaking, photography and artist books. Researching eclectic writing and thinking (widely speaking, broadly understood) – combining mysticism, romanticism, poetry, conversion theology, idealism, moralism and anarcho-communism (to mention a few... – we’re talking about eclecticism here) – in arguing for the importance of eclecticism in the act of thinking otherly.

www.xeniaklein.com