Frontiers in Retreat


Special Powers: from the frontiers of Frontiers in Retreat

a duel screening at KC GRAD on October 18, 2016

Carl Giffney & mirko nikolić

Special Powers :  a duel screening of two new films produced through multiple residencies within the project Frontiers in Retreat, a 5 year project supported by the EU Culture Programme that involves a network of 8 artist-in-residency organisations across 7 European countries, focused on investigating relationships between art and ecology. In different ways, the two films relate to the topics of material and spiritual dependency, the politics of freedom and of desire.  Human, and more-than-human, companionship and many relationships we as humans are making with nonhuman elements of our environments are central to these works.  


Carl Giffney

I really don’t feel them, HD + stereo (2016), 98 min.

I really don’t feel them is a feature length documentary shot in The Netherlands, Scotland and Finland. The film forms part of Frontiers in Retreat supported by the EU Culture Programme, Scottish Sculpture Workshop, Mustarinda (FI) and the Helsinki International Art Programme (HIAP). The film documents the making of a unique pair of bronze Dutch clogs that are forged in Scotland as the Independence referendum is taking place. These special shoes are eventually brought on a trip up the length of Finland, travelling North to the Saami people, the only indigenous people in Europe, who live in Northern Finland, Sweden, Norway and Russia.


mirko nikolić & dr Aleksandra Mitovski, Duško Jelen, Marika Troili, Tuomas A. Laitinen, Technical Faculty in Bor, RTB Bor, E-reciklaža Niš

mineralizacija, (2016), 75min.

Humans share tissues and destinies with metals, we are mineralisations ourselves. Despite or perhaps because of this deep interweaving we are obsessed by the lure of crystals and minerals, ready to turn mountains upside down for them.... Other than projects of domination, these processes of desire for the nonhuman, harbour other, more mutual, intimacies.

mineralizacija documents a metallomorphic performance of a handful of copper molecules, conceived and realised in collaboration with miners and metallurgists of the Mining and Smelting Concern Bor, scientists and technologists of the Technical Faculty in Bor, and staff of e-recycling facility in Niš. Through an asymmetrical conversation with the red metal, the performance enacts a withdrawal away from the collective techno-capitalist rush.

mineralizacija was realised during the residency with Cultural Center Grad, and was supported by Ministry of Culture and Information of the Republic of Serbia.



Notes on a Scene: The Museum of Nonhumanity

Elspeth Mitchell on Museum of Nonhumanity and Finnish art scene on One Quart Magazine

Curator Elspeth Mitchell reviews Terike Haapoja & Laura Gustafsson's Museum of Nonhumanity and shares her impressions of the Finnish art scene on One Quart Magazine. What she noticed was, that today and for long time, there has been an attention to ecology, new materialisms and non-human others, and a desire to rethink the relation or hierarchy between humans and other living things.

"I could go on for days about this installation. It was rich, diverse and difficult. I felt held by the installation in a way not usually experienced in the black box of gallery films but also undone by the words, images and associations. What do you do after seeing something different and important? Well, write about it is one thing. Yet, as a final word I was left wondering how much this ‘museum’ actually spoke of non-humanity (if we can even know what that word means) and how much it told us about humanity, or ourselves, instead. To be sure, this is no failure. Instead, I suggest that the Museum of Non-Humanity and its accompanying programme highlighted how much work there is to do before the universalised human subject (read: white, heterosexual, male subject) can really, truly rid itself of its own centrality and its own ego." Continue reading



Terike Haapoja at Creative Time Summit: Occupy the Future, Oct 14 – 16, 2016

Haapoja's speach is part of “Enter the Anthropocene” sessios, moderated by May Boeve from, with presentations from Nut Brother and Newton Harrison.


The Creative Time Summit-the world’s largest international conference on art and social change-is headed to Washington, D.C.! Creative Time Summit DC: Occupy the Future will be held at D.C.’s historic Lincoln Theatre on October 14 – 16, 2016.

Occurring in the nation’s capital just weeks before the 2016 Presidential Election, the Creative Time Summit DC will take this important moment to collectively consider what it might mean to radically transform the current state of democracy. Around the world both the left and the right are making their dissatisfaction with the center known, setting the stage for a virulent electoral season. Shaking up the political landscape, worldwide social movements — from Arab Spring to #BlackLivesMatter — are now ingrained in popular discourse. The 2016 Summit offers a platform for citizen-led strategies and grassroots movements working within, as well as disrupting, electoral politics. As we work to push forward the ideals of human rights in practice, what does it mean to actually occupy power in a future as yet unwritten?

Creative Time Summit


Nabb+Teeri: Renderings, Oct 12 2016 at European center for culture and debate GRAD, Belgrade, Serbia

Artist duo Nabb+Teeri have spent six weeks in Frontiers in Retreat residency at KC GRAD. On Wednesday 12th of October they will give a presentation Renderings that will feature works and ideas inspired by their stay in two locations in Serbia: Belgrade and Sirogojno. Nabb+Teeri will share their thoughts, photos and stories, verbal and visual displays about their journey in Serbia, and the latest developement in their 3D animation and collage works.


6–8pm, KC GRAD, Braće Krsmanović 4, 11000 Belgrad


Zooetics: Future Fictions

During 13 – 16 October, 2016 Zooetics invited an international group of artists, designers and writers to stay and work at Ásbrú, the site of a former NATO base on the Reykjanes peninsula, Iceland.

Its transition from a fenced-off military zone to a creative-economy incubator inspires a lot of questions about the technoscientific imaginaries feeding this transition and fuelling our sense of the future. One core element of such an imaginary could be called the ‘quantified self’ with its ‘technologically enhanced body’. This workshop scales up ‘the self’ from the human body to the ecological and the geopolitical. It considers a range of forms and practices—from wearable technologies to bioindication to social engineering—that weave and mash together past and future fictions for Iceland and the greater Arctic.

Contributors: Nomeda & Gediminas Urbonas, artists (MIT, USA), Tinna Grétarsdóttir and Sigurjón Baldur Hafsteinsson, anthropologists (University of Iceland, IS); Oksana Anilionytė, fashion designer (Royal College of Art, UK); Nikola Bojić, designer (MIT, USA); Garðar Eyjólfsson, designer (Iceland Academy of the Arts, IS); Lucas Freeman, writer (MIT, USA); Ashley Rizzo Moss, performer (MIT, USA); Thomas Pausz, designer (Iceland Academy of the Arts, IS); Kristupas Sabolius, philosopher (Vilnius University, LT); Viktorija Šiaulytė, curator (LT); Sigrún Thorlacius, designer (IS); Tracey Warr, writer (UK).



Tracey Warr at HIAP Open Studios Sept 15, 2016


Conquest: Daughter of the Last King

Artist and writer Tracey Warr’s new novel is now published

It’s interesting to think about how contemporary details find their way into historical fiction. I’m not talking about errors and anachronisms, but how writers use what they see and hear around them and turn it into something else in their fiction. The locusts kept in a classroom by the creepy tutor in my new novel, for instance, are based on my own schooldays in north London when we had a huge vitrine of chirping locusts down one side of the classroom.

Read more about Tracey Warr's reflection on the new novel on her website

Impress Books



Kati Gausmann: nordlicht / light from the north

at Kunsthalle Emden October 2, 2016 – January 22, 2017

Frontiers artist Kati Gausmann is exhibiting her work nordlicht at Kunsthalle Emden, Germany. Using the medium of drawing, the project nordlicht / light from the north examines the progress of shadows as a temporal-spatial phenomenon.  


Kuntshalle Emden


The Lumen Prize 2016

Sylvia Grace Borda and her collaborator John Lynch for won the first prize in the Web Based art category

"Farm Tableaux marks the first known and on-going artwork created specifically for Google Street View. Farm Tableaux illustrates food culture in a way that moves us beyond lifestyle magazines and TV reality shows.  The images of Finnish farming and food production captured in Farm Tableaux reflect the on-going realities of farm work from field labour to food processing. Each of the various scenes have been produced collaboratively with food producers and in a unique partnership with Google Trusted Photographer, John M Lynch."

The Lumen Prize


New FiR Artist Interview featuring Mari Keski-Korsu is published!

Mari Keski-Korsu has recently co-directed the Pixelache Festival 2016 "Interfaces for Empathy" and continues working through creating environments for empathy to happen.

Humanity, empathy and alpacas text by Tessa Aarnisuo