Mathis Altmann
Born 1987, Munich – Germany, based in Los Angeles and Zurich

Residency in Achterhaus
May – September 2014

Website
http://freedmanfitzpatrick.com/artists/mathis-altmann

Henry Andersen
Born 1992 in Sydney, Australia
lives and works in Brussels, Belgium

Residency in Achterhaus
May – June 2019

During the time at Achterhaus: revisiting an old-project from when I was a student, in which (project) I scanned pages of a copy of Discipline and Punish (Foucault, M. 1975) having once belonged to my father and which bear evidence of his thoughts as a young Marxist filmmaker in the form of scrawled writings in the margins. These notes became the basis of a digital font of my own design which allows me to type some semblance of his script.

In Hamburg. I experimented with (again) re-appropriating this found script as a tool for producing concrete poetry. Tests in terms of forms and possibilities, but also experiments with plotter printing leading shortly thereafter to the construction of a printer of my own. Also while there: preparations for a collective reading performance with my duo ‘Slow Reading Club’ which we presented at Kunstverein Hamburger Bahnhof in Septembr 2019.

A “coming of age reader” about teenager-hood and transition to mark the 20th anniversary of the young art-space + a long-sleeve t-shirt (in collaboration with Hamburg label ADDLABEL) as an edition to accompany the reading session.

Ayelet Ben Dor
Born in Bat Yam – Israel, based in Tel Aviv – Israel

Residency in Achterhaus
October – December 2014

Website
www.cargocollective.com/ayeletbendor

I am a visual artist, in the past few years video and animation became my main tool of expression. I build objects, paint and draw, eventually constructing it all into film. Fragmentation is important in my work – each frame may stand on its own. I try to reveal almost everything to the viewer: the manner in which the animation is comprised of single frames, the fact that the objects are made by hand and of cheap materials, the „special effects“ obtained in the most primitive ways. My work is laborious and slow, but it has a sense of directness, sort of like the idea of blues or punk music. My birth land affects the way my art looks. The sun is bright and merciless here: it reveals all and there is nowhere to hide; its beams are leaving marks on the skin, influences and alters the body; the landscape loses all shades; there is nothing lurking in the shadows My drawings and films are a result of this landscape: most things are flat and on the surface, the only way to reveille nuances is by concealing them behind masks, in half darkness, underground or underwater, letting them nourish in ambiguity.

Marwa Arsanios
Based in Beirut – Lebanon

Residency in Achterhaus
Januar 2015

Website: http://www.marwaarsanios.info/home.html

Nino Kvrivishvili
Born and based in Tbilisi – Georgia

Residency in Achterhaus
February – March 2015

Website
http://www.melikebilir.com/de/nino-kvrivishvili.html

Marwa Arsanios
Based in Beirut – Lebanon

Residency in Achterhaus
January 2015

Website: http://www.marwaarsanios.info/home.html

Matthias Gabi
Born in Bern 1981, based in Zürich

Residency in Achterhaus
April – September 2015

Website
www.matthiasgabi.ch

Humberto Junca
Born and based 1968 in Bogota – Columbia

Residency in Achterhaus
October – December 2015

Website
humbertojunca.com

Photos
1 by Sarah Hildebrand
2-4 Humberto Junca himself

I worked at Achterhaus with common things that surround me at that time (Autumn and Winter of 2015) in Hamburg. The night of the 20th of November I exhibited the (partial) results of my residency at 2025 in a show I called “geliehene Worte” (loan words). Obviously, after my arrival language and words became really important. The work I did at Achterhaus was about language and about the landscape where I was living at. More precisely, it was about the limits of spoken language, and the immense possibilities of meaning found in non linguistic signs… the meanings of our acts, the meanings of the material (the tepidity of the wool, for example).
I exhibited the word “Verwandlung” (transformation) constructed with eleven handmade embroideries (eleven handmade letters) crafted with the wool of old scarfs. Also I recorded and played (with) the sound of acorns falling over the streets and over parking cars at night around Achterhaus. I picked up many of these seeds from the streets and constructed with them another word, “Auslegung” (interpretation); and made with them a couple of other installations (accumulations and a funny line of bended acorns).

The things I showed at 2025 lied somewhere between concept and handcraft while pointed to the inevitability of metamorphosis. (And yes, I do think now that all the words we use are loan words.)

Monika Fryčová
Born 1983 in Prostějov – Czechoslovakia, based in Seyðisfjörður – Iceland

Residency in Achterhaus
January – February 2016

Website
www.monikafrycova.net

In Achterhouse :
Beside editing preface and re/writing my unreleased composition Ekrphrasis,
I developed several mixed media works focused on audio/visual experience, meta-analysis of the human condition. The living and exploring.

The North Riviera n.1
performance lecture in Dorothea Schlueter Galerie

(image : Beni KLON)

(image : Jan Zalio)

The North Riviera n.2
stills from video – performance : The principals of couch surfing – airbnb – with fake taxi driver, fake documents and as a fake
Icelandic stewardess looking for place to sleep mainly in Blankenese Hamburg area. (part of installation work in 2025)

Playing surfobard, drawing and emergency flare (fragments from happening in 2025)

(image : Monika Fryčová)

Fuyaka Shindo
Born and based in Sapporo – Japan

Residency in Achterhaus
March – April 2016

Website
http://fuyukashindo.tumblr.com/

Photos
shindo1.jpg : Sarah Hildebrand
shindo2.jpg : Sarah Hildebrand
shindo3.jpg : Nils Emde

Garrett Nelson
Based in Switzerland and Mexico City

Residency in Achterhaus
May – July 2016

Website
www.garrettnelson.ch

Lucien Durey
Born 1984 in Regina – Saskatchewan,
based in Vancouver – British Columbia

Residency in Achterhaus
August – October 2016

Website
www.luciendurey.com

Photos
Sarah Hildebrandt

Designating the residency apartment as exhibition space and primary source for material, „Swimming Pool Blue,“ explored conditions of artist residency deemed inessential—its accumulation of objects and furniture, its spacial histories, and its associated anxieties, such as loneliness, distraction and language incompetence.

Working with an abundance of mirrors left in the residency, I scraped the paint off their backs, dissolving their silver layer with laundry bleach. 8 Hours of the Relaxing Sounds of Waves (2016) was made using a glass table in the residency (a 1985 Ikea table by Niels Gammelgaard) that happened to fit perfectly into the bedroom doorway. I had initially wanted to paint it blue, as there was a can of blue paint in the residency, but when I went to do that I realized it was swimming pool paint, fumy and unusable. I let the colour be led by other factors and „Swimming Pool Blue,“ became the title of the show. When the exhibition ended, I scraped the paint off the glass and returned it to its place.

Lucien Durey is an artist based in Vancouver, Canada. His performative works engage with collections, found objects and ephemera. He holds a BFA from Emily Carr University of Art + Design and an MFA from Simon Fraser University’s School for the Contemporary Arts.

Florencia Caiazza
Born 1982 in Buenos Aires, based in Argentina – Ireland

Residency in Achterhaus
November – December 2016

Website
www.florenciacaiazza.com

Photos
1-3 Sarah Hildebrand
4-7 Robert Harte

I have a deep interest in raw materials, their possibilities and limits. My work focuses on reaction and behaviour of opposing material forms. I am interested in approaching the materials as an amateur does. Without technique and no practical knowledge. I find my own path to work through long and patient periods of studio practice.

In many cases I choose a material and explore it’s limits in combination with another
opposing material, in terms of weight, texture, propose, uses, context, etc.

In the last few years I have worked with cement, combining it with paper, styrofoam, and carpets. My exploration of materials often focuses on repetition, a patient accumulation of gestures and actions that become a sculptural volume. Through layers of actions I force material encounters to coexist as a self. More recently I have been exploring with textiles.

Drawings, the work I developed in Achterhaus, is a work in progress in which I explore the basics of drawing through the textile medium. The work is composed of a number of A4 sized knitted pieces. It condenses many hours of learning by instinct and drags with each piece the knowledge and the mistakes of the previous. Each piece explores a new aspect of drawing or the combination which I have newly learnt.

In my art practice I approach the materials instinctively without anticipation or research. Using this method drawing results in a clumsy rawness which contrasts with the delicacy of the material and the planning and techniques crucial to the medium. As the work grows in pieces, the lines and drawings became more complex and exploratory.

Celina Bordino
Córdoba, Argentina – Barcelona, Spain

Residency in Achterhaus
January – March 2017

Website
www.celinabordino.com

Photos
Celina Bordino

Since I’ve been living in Barcelona, I’ve been drawing attention and I have carefully observed those spaces where immigrant communities meet each other in different city areas. I am interested in what happens in these places where experiences are shared becoming networking sites, where people spend time exchanging information about the immigrant issues or just to arrange to start a new business or spending time together. They recreate a new life hanging out around these places, keeping alive the native language in the meantime, they try to start a new story in a new country. I started with this project in Barcelona, first. I kept on working with emigrants that returned to the Galician region after leaving Spain towards America or North Europe. In this process I begin walking through the city trying to understand its own cartography.The next steps, when I find this places I start to connecting with people, asking them, insisting on my visits and being curious about hearing their immigrant stories. Is also important for me to add my own experience during the project in a new city. The pictures of these empty places are complemented by some writings, interviews and sounds recorded which talk about what is going on around these sites.

After a few days in Achterhaus I realized that I was attracted to knowing the Latin American community in Hamburg. For three months I have been mapping the city looking for places where this group meets. I visited them, told them where I come from, talked about what I was doing in Germany, shared my project. I sat down, observed and listened to what was going on there. The last month I made pictures in those places and nowadays I am working on some stories they told me during this period. “A day will come when you have to decide whether staying or coming back”, she told me. This was the Aktion #170 in 2025 e.V in which I invited some people I met during my residency to play and share time together as if they were in these spaces I photographed.

Lucien Durey
Born 1984 in Regina – Saskatchewan, based in Vancouver – British Columbia

Residency in Achterhaus
August – October 2016

Website
www.luciendurey.com

Photos
Lucien Durey

Designating the residency apartment as exhibition space and primary source for material, „Swimming Pool Blue,“ explored conditions of artist residency deemed inessential—its accumulation of objects and furniture, its spacial histories, and its associated anxieties, such as loneliness, distraction and language incompetence.

Working with an abundance of mirrors left in the residency, I scraped the paint off their backs, dissolving their silver layer with laundry bleach. 8 Hours of the Relaxing Sounds of Waves (2016) was made using a glass table in the residency (a 1985 Ikea table by Niels Gammelgaard) that happened to fit perfectly into the bedroom doorway. I had initially wanted to paint it blue, as there was a can of blue paint in the residency, but when I went to do that I realized it was swimming pool paint, fumy and unusable. I let the colour be led by other factors and „Swimming Pool Blue,“ became the title of the show. When the exhibition ended, I scraped the paint off the glass and returned it to its place.

Lucien Durey is an artist based in Vancouver, Canada. His performative works engage with collections, found objects and ephemera. He holds a BFA from Emily Carr University of Art + Design and an MFA from Simon Fraser University’s School for the Contemporary Arts.

Andrea Bakketun
Oslo – Norway

Residency in Achterhaus
Juli – September 2017

Website
www.andreabakketun.net

Andrea Bakketun

Christian Tony Norum

Andrea Bakketun

Andrea Bakketun

Andrea Bakketun

Andrea Bakketun

Andrea Bakketun

Christian Tony Norum und Andrea Bakketun

Fotos: Pelle Buys, Sarah Hildebrand, Andrea Bakketun

Hunter Longe
Lives and works in Rotterdam – The Netherlands and Geneva – Switzerland

Residency in Achterhaus
October – December 2017

Website
www.hunterlonge.com

Hubert Hasler
Lives and works in Vienna (Austria) and Munich (Germany)

Residency in Achterhaus
June 2018

Website
www.huberthasler.de
huberthasler @instagram

// Overrun. Überrannt. Sofort springt der (Hashtag-)Reflex der Besorgten an. Wer wird hier überrannt? Von wem in welcher Absicht? Im Chor: „Cui bono, cui bono?“ Wo gerade noch sattes Grün mit vermeintlich beängstigender Präsenz die Betrachtenden umgibt, tönt im nächsten Moment der im Baumarkt-Grün gehaltene Weltenfresser. Genüsslich saugt er schreddernd Neophyten mit industriell-unerbitterlicher Präzision und verwandelt, gleich neben den Fotografien Hubert Haslers, damit den Seinszustand der Pflanzen. Defragmentiert und aufgelöst, ihrer  wachsenden Pracht beraubt, tauchen sie schließlich wieder am Boden auf. Dort kann man sie gefahrlos betrachten, von oben auf sie herabsehen und, wenn man sich denn die Mühe machen möchte, re-konfigurieren. Ein einfacher Handbesen reicht dafür. So wie fotografische Abbildungen Augenblicke zu bannen vermögen und dergestalt beherrschbar machen, entführt der Ausstellende das Floristische ins Bauliche hinein, ehe das Neophytische endgültig seine postmoderne Defloration durch den Häcksler erlebt. Doch ohne Außen kein Innen – Grenzziehungen bilden diskursiv-machtvolle und subjektive Akte ab. Entsprechend begibt sich der Künstler Hasler hinaus und nimmt das vermeintlich Nischenhafte in den Blick, um dort die Pflanzen zu finden, die am Wegesrand in unbeachteter, marginalisierter, manchmal auch als invasiv-gebrandmarkter Gegenwart wachsen. Ein gesamtheitliches Bild dieses biologischen dekonstruierten Imperalismus entsteht somit erst durch das aufmerksame Suchen und Finden, das Abbilden und Ausstellen sowie die Rezeption durch den Besucher dieses Prozesses. – Rudolf Inderst

/ overrun. Immediately the (hashtag) reflex of the concerned people starts. Who is overrun here? By whom in what intention? In the choir: „Cui bono, cui bono?“ Where just lush green with supposedly frightening presence surrounds the observer, in the next moment a hardware-store-greenish world muncher Weltenfresser sounds. With relish, he sucks shredding neophytes with industrially unrelenting precision and transforms the state of being of plants right next to Hubert Hasler’s photographs. Defragmented and dissolved, deprived of their growing splendor, they finally reappear on the ground. There you can look at them safely, look down on them and, if you want to bother, reconfigure. A simple hand brush would do it. Just as photographic images can capture moments and make them manageable, so does the exhibitor take the floristic into the constructional before the neophytic finally experiences its postmodern defloration by the shredder. But no outside without an inside: boundary lines depict both discursive-powerful and subjective acts. Accordingly, the artist goes outside and takes a look at the supposedly niche in order to find the plants that grow along the wayside in an unnoticed, marginalized, sometimes even invasively-branded present. A holistic picture of this biological deconstructed imperialism thus arises only through the attentive search and find, the mapping and the exhibiting as well as the reception by the visitor of this process.

Rudolf Inderst

 

Hugo Scibetta
Born 1991 in Pont de Beauvoisin, France
lives and works in Grenoble, France

Residency at Achterhaus
January – March 2019

Website
www.hugoscibetta.com

Hugo Scibetta deals in his artistic practice with the perception of places, landscapes or events through digital media. He examines the relation between situations and their representation in order to illuminate the significance of the intersections of image and reproduction for artistic production under current conditions.For his exhibition at VIS, Scibetta has produced a series of paintings based on Google Street View images and smartphone photographs of the French community of Saint-Béron. The painterly translation of the motifs can be imagined in the background through a grid structure that each of the four works occupies. Unlike raster graphics, which transfer images into computer-readable data, Scibetta transforms the original motif into invisibility through monochrome color patterns. The arrangement of the four paintings questions the function of images and includes space as an additional level in the painterly examination. Scibetta consciously creates a blank space that reflects on the conventions of the production of images and addresses the condition of art which “exists within, produces and reproduces, performs or enacts structures and relationships that are inseparably formal and phenomenological, social, economic, and psychological“. (Andrea Fraser)
– Nadine Droste

Hugo Scibetta, installation view, VIS, Hamburg, 2019. Photo: Fred Dott

Hugo Scibetta, installation view, VIS, Hamburg, 2019. Photo: Fred Dott

Hugo Scibetta, installation view, VIS, Hamburg, 2019. Photo: Fred Dott

Hugo Scibetta, installation view, VIS, Hamburg, 2019. Photo: Fred Dott

Hugo Scibetta
VIS_23.02.2019_1 (Black), 2019
Acrylics on canvas
180 x 140 cm
Photo: Fred Dott

Hugo Scibetta
VIS_23.02.2019_2 (Blue), 2019
Acrylics on canvas
180 x 140 cm
Photo: Fred Dott

Hugo Scibetta
VIS_23.02.2019_3 (Red), 2019
Acrylics on canvas
180 x 140 cm
Photo: Fred Dott

Hugo Scibetta
VIS_23.02.2019_4 (Yellow), 2019
Acrylics on canvas
180 x 140 cm
Photo: Fred Dott

Dieuwke Eggink
born 1993 in Amsterdam, The Netherlands
lives and works in Rotterdam, The Netherlands

Residency at Achterhaus
July – September 2018

Website
www.dieuwkeeggink.nl

During my time as a resident at Ateliergemeinschaft I started my research in different painting materials. in this research I shifted my focus away from the depicted image and thematised the underlying surface. In this process I moved from painting on canvas and started to work with materials like knitted canvas, plaster, silicone and different kinds of fabrics. How do these different materials and their haptic characteristics effect the way the viewer experiences the works?

Photos: Dieuwke Eggink

Anastasia Sosunova

Born 1993 in Visaginas, Lithuania
based in Vilnius, Lithuania

Residency in Achterhaus
October – December 2019

Website
https://www.anastasiasosunova.com/

Photos:  Birgit Dunkel

Title of the show: if a door is closed, a window opens |  Exhibition hosted by Anastasia Sosunova

𝓘𝓽’𝓼 𝓷𝓸𝓽 𝓳𝓾𝓼𝓽 𝓯𝓮𝓮𝓵𝓲𝓷𝓰𝓼 𝓪𝓷𝔂𝓶𝓸𝓻𝓮, 𝓲𝓽’𝓼 𝔀𝓸𝓻𝓴, 𝓪𝓷𝓭 𝔀𝓮 𝓵𝓲𝓿𝓮 𝓲𝓷 𝓲𝓽.

Every three months the Ruhrstr. 88 apartment is called ‘home’ by yet another temporary resident who brings new ghosts, stories, dreams and voyeuristic tendencies of some degree. For one week, the apartment becomes a binding agent for artists who have just met or haven’t seen each other for a very long time. ‘Meeting’ is a loose concept which might refer to basic chit chat, or perhaps it’s an attempt at collaboration by making a group show in one’s bedroom, studio, kitchen or bathroom. Some artworks will play along with the functions of domestic spaces, and some will break these patterns. Some will look just the same as a fork and a knife, and some will build bridges into the unheard-of. The door will be closed, but the window open. Passersby welcome!

Participants: Robert Bergmann, Si-Ying Fung, Conrad Hübbe, Algirdas Jakas, Nina Kuttler, Margit Lõhmus, Axel Loytved, Franziska Nast, Daniel Rossi, Anastasia Sosunova, Jakob Spengemann, Harry Thring

During the residency in Achterhaus Ateliers, Anastasia Sosunova also worked on various projects including here solo show „Barry Walking Himself“ in Kogo, Tartu, preparing print editions for the group show „Inner Pockets“ in Editorial, Vilnius, and working on the ongoing projects.

Anastasia Sosunova (b. 1993) is a visual artist based in Vilnius. Sosunova holds a BA in Graphic Art and a MA in Sculpture from the Vilnius Academy of Arts. Her multidisciplinary practice comprising of video, installation, sculpture and graphic art translates between scales, manipulating personal stories and subtle material gestures, following through their entanglements in vaster tales. These are tales about how communities and identities are formed, subsist and come undone. Often this is a practice of noticing and knowing intimately our contexts, and the ways in which we interact with them.

Recent exhibitions and screenings include: I: project space, Beijing (2019); Cubitt, London (2019); Contemporary Art Center, Rupert and Editorial, Vilnius (2018); Survival Kit, Riga (2018 and 2019) The Sunroom, Richmond (2018), National Gallery, Prague (2017) 

Uli Golub
Born 1990 in Eastern Ukraine
based in Oakland, California

Residency in Achterhaus
July – September 2019

Website
uligolub.com

About the exhibition »Memories from the Future. Incredible adventures of the bearded women. Behind the scenes.«
at xpon-art gallery
Can filmmaking be a practice of hospitality? Creating a movie is like giving birth. But you’re not alone. The creative team is crying and laughing, suffering and rejoicing with you. A film is a community baby. This exhibition will give you a glimpse into the process of art film conception and birth. With this exhibition we will celebrate the process of movie making and the creative team behind the scenes. We hope we will inspire others to go and give birth to more community babies of different shapes and colors. (xpon art)

a project by Uli Golub

and Creative Team:
Ariane Bethusy-Huc, Genia Loginova, Viktoria Lapidus, Naomi O’Taylor, Sergey Baryshev, Maria Markina, Anna Pakhmanova, Iryna Janca, Angelika Mayer, Isabella Langer, Soia Rabinovich, Evelina Glorija Valt, Shorouk El Hariry, Aleksander Ihnatenko, Bente Faust, Nikita Kotliar, Arne Lösekann, Alexey Markin, Veaceslav Silion, Mark Leyrer

About the artist
I am contemporary artist and aspiring film director. I am originally from Eastern Ukraine. I studied video art at Rodchenko School of Photography and Multimedia Art in Moscow. Storytelling is at the center of my art practice. From childhood I’ve been fascinated by Utopian soviet science fiction, ideas of Cosmism, Futurism and more recently I’ve been influenced by the discourse of Eco-Feminism. In this film you can definitely see some references to soviet sci fi masterpieces like Stalker or Ivan Vasilievich changes his profession.

The short film Look she’s got beard was shot during my 3 month art residency in Hamburg, Germany, thanks to the immense efforts of the local creative community and our amazing team. Our team is composed of people from different social and economic backgrounds, of different nationalities, ages, paths of life. Many of them have experiences displacement or even migration and being a refugee. The whole process of making this film turned out to be an amazing community building experience and hospitality practice.

Roi Carmeli
Born 1982 in Tel Aviv, Israel
Lives and work in Glasgow

www.roicarmeli.art

Residency in Achterhaus
January – March 2020

I am a visual artist and a musician based in Glasgow.

My research is informed by travelling to work in places that have long-lasting spiritual traditions and material culture.
For example, Hokkaido in Japan, home to the largest Ainu communities, Celtic archaeological sites in Scotland or Inka and pre Columbian cultures in Peru.
This movement helps me to recreate and imagine links between ancient objects, tools, habitats and contemporary culture, through my work fusing sculpture,
performance, sound and moving image.

My work predominantly stems from a deep process of research and interest in intersections between Anthropology and Archaeology.
I have a profound interest in pre-religious spiritual rituals, which I perceive as the earliest form of artistic expression.
Last winter, I worked with Italian Anthropologist Dario Astengo and esteemed Q’ero „Paqos“ –
Andean spiritual leaders to perform a ceremony which informed work I exhibited in Tel Aviv in January 2020.

After this project, I started my residency at the Achterhaus, took a playful approach and decided to take the time and explore the city to get inspired by it.
A week after I decided to contact Esmeralda Rosenberg – a well-known fortune teller and ask her what should I do with my time at the residency,
I wanted to see what could come out of it and take it seriously in a funny way if that makes sense.
As part of the project, I made some sculptural objects, lithography and woodcut prints and had a really interesting time that allows me also to fail if I need to.
Unfortunately the project didn’t reach a preview due to Covid 19 spread.
In a way, I created my own interpretation of Hamburg’s urban personality and symbols.

Aliha Thalien
Born 1994 in Paris, France
lives and works in Paris, France

Residency in Achterhaus
October – December 2021

“ During my residency at Achterhaus, I worked on the text and on the medium of writing. For me, it was a question of perceiving writing as drawing and confronting it with new materials. I was able to experiment with latex in particular. Through moulding, the material becomes writing and vice versa.

While preparing my move to Germany, while packing my things in France, I rediscovered old diaries from the years 2000-2010. I used these texts, remodelling them.

I also worked on the sound production to accompany this plastic work. I had fun with the fact that the final piece presents inverted text, difficult to read, even for a French-speaking person. This allowed me to question my relationship with Hamburg, the fact that I don’t speak the same language, which made these diaries even more secret. “

Aliha Thalien, January 2022