aux-air residency programme
AUX-AiR is an artist-in-residence programme for artists, curators, researchers and makers that work within sonic worlds.
Our residencies include free workshops and open studios for the public, and critical mentorship and networking opportunities with leading UK sound based practitioners for our artists. Each residency strand will culminate in an exhibition and performance.
AUX-AiR18 is funded by Arts Council England and MIddlesbrough Council, and supported by MIMA, Navigator North and Platform A Gallery.
‘Applications are now closed’
Leslaw Tetla studied architecture at the Technical University of Silesia in Gliwice and art at the Academy of Fine Arts in Krakow. His work has included painting, installations and site-specific works in which he explores the influence of architecture, the space created by man, on the behaviours of its users.
He currently works as an Associate Professor at the Academy of Fine Arts in Katowice, where he is the head of the Interdisciplinary Actions Studio.
He is an initiator and curator of many artistic projects and exhibitions, among others: Chiosc, Rondo Sztuki Gallery in Katowice, Space as a tool for shaping social attitudes, Natural History Museum in Chisinau, Moldova, Last Shot, Silesian Museum in Katowice.
He is a winner of awards, among others: Scholarship of the Minister of Culture and Art, Scholarship of the Tadeusz Kulisiewicz Foundation, Prize of the XXIII Festival of Polish Contemporary Painting in Szczecin. In 2016 he was the Cleveland State University Visiting Polish Scholar and Kosciuszko Foundation Fellow.
Rina Sagoo is an artist working in digital interactivity, installation and sound. Her work focusses on ideas around presence and sonic traces; seeking experiences of our common humanity.
Andrew Demirjian is an interdisciplinary artist who creates experimental assemblages of image, sound and text that contest narrow regimes of media conventions. Typologies, the language of naming and the politics of categorization are often a focus of his projects. The pieces take the form of interactive installations, generative artworks, audiovisual performances and single channel videos.
Andrew’s work has been exhibited at The Museum of the Moving Image, Eyebeam, Rush Arts, the White Box gallery, the Fridman Gallery, Cyberfest, Fieldgate Gallery, the Center for Book Arts and many other galleries, festivals and museums. The MacDowell Colony, Puffin Foundation, Artslink, Harvestworks, Diapason, The Experimental Television Center, The Bemis Center, LMCC Swing Space, The Visual Studies Workshop and the New Jersey State Council on the Arts are among some of the organizations that have supported his work.
Andrew teaches theory and production courses in emerging media in the Film and Media Department and IMA MFA program at Hunter College.
Laura Hunt is a Sydney based artist and musician working with mixed media installation and sound. Hunt is interested in invisible forces and political philosophy. She has been involved in multiple Museum of contemporary Art events in Sydney as well as participating in Underbelly Arts Festival, Island salon on Cockatoo Island in 2015.
Hunt has performed with band Ghastly Spats at The Sydney Opera House in 2014; as well as touring interstate in Australia with various projects and releasing a multiple cassettes/records with Australian labels R.I.P Society, Exxe records, Paradise Daily, Heinous Anus, and Special Awards.
She has exhibited sound work and sculpture throughout Sydney and has spent the beginning of 2017 at Cité international des arts in Paris.
Anyse Ducharme is a Canadian artist, based in northern Ontario. Her work is engaged with the circulation of digital imagery and the malleability of data. She has exhibited nationally and internationally, notable shows include Proof 23 at Gallery 44 (Toronto), extended party mix at Satellite Gallery (Vancouver), (Arti)fiction/Realities at la Galerie du Nouvel-Ontario (Sudbury), Digital Alterities at InterAccess Electronic Media Arts Centre (Toronto), and as part of the Flash Forward festival for emergent photography (Boston, Portland, Toronto).
Shan Shan is an experimental filmmaker and video artist. Her film and installation work has been shown in the U.S and internationally. Working with both analog film and digital video, Shan Shan is very interested in the visual experience that can’t be contented by conventional dialogue. Her research centered practice focuses on exploring digital humanities and socio-political interactions.
Shan Shan is currently an Assistant Professor in Media Arts at Sacred Heart University, Connecticut, US.
Pascal Ungerer is a visual artist form Cork, Ireland. Here works in an interdisciplinary practice incorporating various elements of photography, video, painting and sound in his art making process. Much of his work is based on themes around social, geo-political or ecological issues.
He is currently based in London.
Tomie Seo is a Japanese female artist, and her work depicts the world’s structure and hidden meaning through socio-political and philosophical view-points by focusing on provocative issues and movements as subjects, stating that every phenomena of this world are all intertwined.
She obtained a BFA from the School of the Art Institute of Chicago and a MA in Painting from Royal College of Art, and she participated in Atlantic Center for the Arts, Vermont Studio Center and Flint Public Art Project.
She currently lives and works in Tokyo, Japan.
James Watts explores the physicality of sound making from a background of experimental music and noise. Instrument bodies are made manifest then pushed to limits of exhaustion.
The exertion of the scream, the stretch of the diaphragm and the tightening of the tendons is made manifest through text, performance and sculpture.
Using space as a material with the motion and affects of sound, I investigate the spatial narrative created via the inhabitation of the viewer and the perception of sound.
My background in Architecture informs the way in which work can inhabit a place and the spatial parameters of its context; giving insight into the way in which boundaries and intersections of spatial territory could be manipulated then occupied.
Through investigation into the sonic potential properties of space and sound, conditions of an affect laden automated future, are addressed through access to a dialogue positioned in giving agency to dismantling notions of a predefined future.
Makeda is interested in health, bass and creating utopic realities. As a composer, sound artist and DJ, Makeda is energized through creating sonic dualities: the oddity of a hypermasculine 180-bpm jungle or footwork dancefloor, beside dub, ambient and the new left club sound. The aforementioned all inform the atonality and asexuality of her own music.
Through sound Makeda aims to question her own role in conveying ideas, as well as those of the broader music community, activists and conservatives alike. She advocates a movement toward a community who support each other and work together.
Kin designs site-specific, interactive artworks that often combine repurposed and recycled materials and structures found within the environment with contemporary technology (i.e. motion sensors, digital software, tracking devices, etc).
In the past few years, she has created installations for arts festivals, frequently collaborating with local people, including pieces for DNweekeND (Doncaster), Chorlton Arts Festival (Greater Manchester), Sound UK (rural touring in Wiltshire, Devon and Cornwall), Reuse Aloud (New Bridge Project, Newcastle), Sand, Sea, Sculpture (Essex), Wandsworth Arts Festival (London), InTransit festival (Kensington and Chelsea, London), Hackney WickED (London) and the Poor Door at A-Side B-Side Gallery (London).
Her installations are often designed for unusual, non-traditional art spaces, including disused shop units, playgrounds, green spaces, piers, beaches, and derelict buildings. The artist works under many pseudonyms, Kin being one manifestation of the artist’s practice that focuses on our interactions with rural and urban environments and how they can mediate relationships between people. During the residency, Kin will be creating an installation that explores the pervasiveness of contemporary surveillance and its integration into our ‘natural’ environment.
Supported by Arts Council England.
Dickie Webb operates from a nomadic art practice and currently migrates between Northern and Southern hemispheres, an ongoing commute for the last fourteen years. Due to this continual migration, Webb's life has become dislocated from societal norms. Webb's nomadic lifestyle means he has had to adapt and question our connection to landscape, altering his understanding of what is considered home and the role of society's expectations.
Current research utilizes both Marc Auges' 'non-places' and Michel Foucaults' 'Heterotopias' as initial starting points. Webb uses these imaginary and transient sites as a means to reveal anomalies, inaccuracies similar to those displayed within human personalities. This connection to space through its anthropomorphic qualities prompts Webb to consider space as a representation of current issues experienced within both the individual and collective.
Using space as a metaphor and as a medium Webb looks past the architectural structure and explores the liminal qualities, discovering this blurred arena from an outsiders perspectives.
Working across sculpture and installation, my practice is characterised by a spirit of studio experimentation and an analysis of human perception. In exploring our learned and visual understanding of form, material and space, I make physical artworks and installations which question simulacrum and authenticity. My research is heavily influenced by contemporary notions of representation.
I am interested in re-negotiating our interaction with the world around us by using physical artworks that I have made - knowingly - in an age of technological and virtual acceleration. I seek to reimagine the internet, and the information it carries, as a sculptural organism. In my most recent installations, I have created speculative scenes, whereby exotic structures have seemingly travelled through an otherworldly vortex into the exhibition space, carrying physical fragments from a virtual environment.
Louise Bennett is an artist from Brisbane, Australia whose practice negotiates tensions between day-to-day experience and its mediation. Bennett narrates journeys in her car and in landscapes by using audio and text as tools to orchestrate specific experiences.
These site-specific works, in addition to her video art practice, pose questions about how our concepts of and engagements with nature and each other shift in contemporary contexts dominated by screen-based technologies.
Through a combination of digital and hand-made processes Bennett's video works become media-specific analysis of screen space as an image with both sculptural and conceptual attributes.
With her work, she likes to create new experiences to immerse the participant into the piece. The sound of her performances is mainly based on noise, dark ambient, experimental, from low to very high frequencies that one can barely hear; from minimal to glitch, from analog to digital. Part of her artistic research is based on the sound localization attributes, surround-sound psychoacoustics, acousmatic and quadrophonic sound, sound image. The best way of participating as a viewer, is to walk around through the room as any new location has different characteristics in the same time, regarding the sound but also the visuals.
They kidnapped a plant, ate for a stop motion animation and performed together with a giant water lily in a pond. They had inaudible sound objects concealed, used each other as marionettes and spent a long time to move a small stick slowly forward. They layered animals into ever-changing patterns, provided old printers with prosthesis and made Chinese pigeon whistles circle in a huge hall. They tied strings to shape sounds, let insects rain and constructed noise as unstable as possible.
ANDREA OLIVER (AO) ROBERTS
Andrea Oliver (AO) Roberts is a Winnipeg based artist whose work spans sculpture and installation, video, print, and sound performance. Known for contending with the impacts of emerging technology, trauma, and systems of belief on the self within capitalism, Roberts’ work pulls focus between object and environment, the voice and text, and form and affect.
Roberts has exhibited both group and solo presentations internationally including TRUCK Gallery (Calgary) at Plug In ICA (Winnipeg), The University of Oakland (Detroit), and SomArts (San Francisco). A founding member of the defunct feminist artist collective ngtvspc, Roberts writes on sound, gender, and technology and performs live as VOR, a solo experimental electronic project. Roberts holds an MFA in sculpture from California College of the Arts (2014) and a BFA Hons in sculpture from the University of Manitoba’s School of Art (2011).
Andrea Roberts is supported by The Auxiliary’s AUX-AiR 2018 program
ANDREA OLIVER (AO) ROBERTS
MSHR is the art collective of Birch Cooper and Brenna Murphy. Their work meshes digital sculpture, analog circuitry and ceremonial performance. The duo constructs and performs cybernetic compositions using analog synthesizers of their own design. For exhibitions, they install macro-arrangements of these sculptural instruments to create immersive light-sound-scapes. In their performances, they engage the systems through a series of unique interfaces. They also work with 3d modeling programs to design psychedelic virtual forms that are output as images and sculptures with the use of digital fabrication and as physically navigable virtual reality environments. MSHR’s sculptural, musical and electronic work inform each other deeply, creating the meta-form that is their collaborative practice. MSHR emerged from the art collective Oregon Painting Society in 2011 in Portland, Oregon, USA.
Recent group exhibitions include: National Arts Festival, “Source Fold Compositor – Module Braid,” Grahamstown, South Africa, 2018; Sonic Arcade, Knotted Gate Presence Weave, Museum of Arts and Design, NYC, 2017; Transmediale, Haus der Kulturen der Welt, Berlin, 2014.
MSHR are supported by The Auxiliary’s AUX-AiR 2018 program.