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Short presentations by the artists

Danai Anesiadou
Born in Germany, raised in Belgium, living in Brussels/Athens and working as an artist in the expanded field of performance and ‘social sculpture’: it should come as no surprise that the mercurial biographical trajectory of Danai Anesiadou has produced an artistic practice of matching convolution, confusion even. Tapping from a wide variety of sources in the adjoining realms of leftfield popular (‘low’) culture and the canonical forms of ‘high’ culture, the art of Anesiadou – and an ever-changing cast of collaborators and travelling companions, is perhaps best appreciated and enjoyed against the referential backdrop of avant-garde cinema and genre-bending theatre/performance art. This has made her all too aware of the necessity of dialogue in the production of any cultural artifact. She convincingly married a strong sense for the theatre of autobiographical confession with a long-standing interest in the netherworld of magical practices and its secret knowledge. Anesiadou practices an art of shadows and traces, of relics and remains. There is an emphasis on the occult nature of her practice: time and again, something is hidden; time and again, something is revealed.

Danai Anesiadou studied at Konkinglijk Academie voor Schone Kunsten (Gent) and at DasArts (Amsterdam).  Her work and performances have been featured at Kunsthalle Basel (Basel); the 5th Berlin Biennial (Berlin); WIELS (Brussels); MuHKA (Antwerp); Witte de With (Rotterdam); David Roberts Art Foundation (London); Royal College of Art (London); Etablissement d'en Face Projects (Brussels); Kiosk (Ghent); LUX/ICA Biennial (London); Kunsthalle Wien (Vienna) and Palais de Tokyo (Paris).

Erika Kristofersson Bredberg
“Glass is my material and my absolute driving force. I prefer to work in the borderland between the functional and the sculptural. Black is my favourite colour and invisibility my vision, and, at the same time, my absolute opposites."
“I am inspired by blackness and smoke. Large belching smokestacks that pump out thick, white clouds. The sky fascinates me and the sea scares me. I like large, callous hands with traces of hard work and knowledge as much as I melt at the sight of porcelain-pale fingers with bright red nails.”

Erika is a glassblower/artist from Västernorrland who values her expertise of glassblowing very highly. She frequently explores the relationship between the identity of someone who creates and the material in which said person works.

“My current project, which I call Streetblås, is about positioning glass as a material in a new context. A context in which glass assumes a place in environments that exist largely unseen. Objects in the street which are just there and whose existence do not require reflection. But as soon as something is altered on the objects – for example if someone paints on it, puts a sticker on it or just scribbles a signature on it, and thus acknowledges the object – then suddenly everyone notices the object and often they want to remove everything that has been added and has provided the object with an identity."

“I want to explore the existence of objects. How much space is glass allowed to assume on these street objects? What does the passer-by see? Will my glass be allowed to remain when the sprayed signature is removed? Who decides which materials have the right to assume a place and which have not? Streetblås is about displaying blown glass in a new context. It is about our right to show our existence by making an impression with our materials.”

Johan Bergström Hyldahl
Johan Bergström Hyldahl (b. 1984) works with film, photography and sculpture. Johan is interested in the borderland between kitsch and the introspective, between the caricature-like humorous and the rational, in projects that reflexively approach the conventions of the logic of feature films. His imagery and narrative are often driven by paraphrases from the canon of art history and history.
Johan Bergström Hyldahl is based in Stockholm, and holds a MFA from the Royal Institute of Art, Stockholm, and an MSc in Finance from the Stockholm School of Economics. Johan has also studied Fine Arts at Hunter College, New York.

Alex Mirutziu
An enfant terrible of his generation, Alex Mirutziu’s installation-based performances and writings question the ways in which the space after something ends is orchestrated. He uses design in its most bureaucratic sense, collecting imprints of personal and historical events, and using understanding and sincerity as factors in the materialization.
The artist has also created a collective which includes a hyper-object — namely himself at 29 – and often operates within its structure. The collective’s modus operandi is retroactive irony.

In recent years Mirutziu has lectured in performance- and theatre-focused institutions such as Royal College of Arts, London, to Von Kraal Theatre, Estonia, and has collaborated with artists including, Grit Hachmeister (DE), Paul Devens (NL), Elias Merino (ES), Graham Foust (US), Bjorn Friborg (SE). His most recent projects have been hosted by ZDB, Lisbon, Power Plant, Toronto, The Glass Factory Lab, Boda, Mucsarnok Kusthalle, Budapest and the Center for Contemporary Art, Warsaw.

studio nāv
studio nāv is a spatial practice consisting of Carl Fransson and Thomas Paltiel. While educated primarily at Edinburgh College of Art where they both received their MArch/Dipl. of Architecture, their professional and educational experience has been more widespread: working for architectural and artistic practices in both Switzerland and Norway. To date studio nāv has worked in close collaboration with artist such as, Oneohtrix Point Never, Lars Ramberg and Lina Selander.
Whether working with constructs of temporality or permanence, the studios underlying ambition is to establish or expand from the particularity of a given context. More often than not, these constructs are of an abstract and suggestive nature - challenging a direct reading of the work. What is shared is a concern for material and spatial conception, and the relation between surface, space and the viewer.

Anuj Sharma
Fashion designer Anuj Sharma (IND) is part of Iaspis Studio Grant Residency Programme in 2015. Mainly working with areas of craft development and performance wear, Sharma’s other areas include teaching fashion and understanding human behaviour with the help of fashion. He has previously shown collection in Japan, UK and has been a regular at Lakme fashion week in Mumbai.

Anuj Sharma entered into fashion with his debut collection called Sunday Market in 2007, after his post-graduation studies in Apparel Design at the renowned design school, National Institute of Design (NID), India and a Masters in High-performance Sportswear Design at the University of Derby, UK, for which he was awarded the Charles Wallice India trust scholarship in 2002.
Anuj Sharma has come up with a unique method to construct clothes without any machine, tools or stitch technique. It is titled Button Masala. The method has led to the Button Masala collection, which has been shown internationally for e.g. as part of the travelling exhibition Connecting Concepts by Dutch design DFA, and part of the exhibition Bliss at the Taiwan design expo 2011. He was invited to give a TED talk on the method of his button masala collection in TED x Delhi and he was awarded the Most Innovative Collection of the Year Award 2009 for his collection Button Masala at Marie Claire Made in India Fashion Awards.
Sharma is frequently invited as workshop leader and lecturer to talk about his innovative design and method development, for e.g. in South Africa as a part of India Africa programme, and the India Design Forum which was held at NCPA, Mumbai, 2013. In 2011 Sharma was invited by HCL to give a talk on unconventional management during World Economic Forum at Davos in Switzerland.
Sharma has recently also attended Fashion Coterie in New York, participated with a show at Alchemy festival in London and was selected amongst four finalists for International Young Fashion Entrepreneur of the Year award (IFFEY) by British Council, India.
It is a simple joinery system, which replaces sewing from the clothing or home furnishing. The technique involves only buttons and rubber bands. It is pretty much like tie and dye technique but done with rubber bands. Button masala is a very quick construction method, possibly the cheapest in the world and the greenest for the environment. Each product can be recycled and restructured by simply removing the buttons and putting them in another place. The technique is also used to make carpets, bags, jewelry, shoes and many other useful products. What is nice is that that everyone can use the technique. The technique is easy to be taught and is an open source. It’s already been taught to almost 6000 people across countries.
Please have a look at TED X video of Button Masala and also visit button masala page on Facebook to understand its simplicity. The links are attached below:

Matilda Haritz Svensson
I work with sculptural ceramics assembled into compositions. The sculptures are loose forms constructed by simple means in which thought and action are juxtaposed. It is intended to be powerful yet awkward, with the mistakes clearly accounted for. A composition may be mobile, using engines or my action, but it may also be stationary. I explore the characteristics of forms and what they are able to do.

Matilda Haritz Svenson (b. 1982) received her Master’s degree from the School of Design and Crafts in Gothenburg in 2011. She has exhibited at among others Keramiskt Center, Höganäs and Galleri KC, Gothenburg. She is currently developing a public artwork for the New Karolinska Hospital in Solna.
Updated: 2015-01-19 Tell a friend


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