Frontiers in Retreat


Opening of Nabb+Teeri's exhibition today at 14-15

October 25 – 29, 2016 at TI-LA2016, Jyväskylä, Finland


Kun selviää, että me molemmat olemme taiteilijoita, taksikuski kertoo loistavalla englannin kielellä kaupungin molempien taidemuseoiden olevan suljettuina. Nikola Teslan nimikkomuseo on kuitenkin avoinna ja ehdottomasti vierailemisen arvoinen. Kuljettaja ylistää Teslaa väärinymmärrettynä nerona, jonka maineen sekä suurimman osan jäämistöstä amerikkalaiset veivät. Mies kertoo meille, kuinka Tesla oli parisataa vuotta aikaansa edellä, mitä tulee kaukosäätimiin, sähkömoottoreihin tai langattomaan sähköön. Langattoman sähkön kehitystyö jäi kuitenkin Edisonin kuparijohtimien varjoon. Kuski maalailee kupariteollisuuden salaliittoa, joka sai unohtumaan Teslan utopian kaikille ilmaisesta sähköstä. Lopuksi mies varoittaa kulkukoirista, jotka voivat tappaa jopa ihmisiä. Kuulemma lauma nälkäisiä koiria on syönyt 12-vuotiaan tytön jossain talvisella syrjäseudulla tämän ollessa matkalla koulusta kotiin. 

Perillä Zemunin Pregrevicalla on lämmintä ja pimeää. Hepokateista lähtee huumaava surround-ääni yhdellä poikkikaduista, jonka ylle kaartuvat suuren, tuntemattoman puun liuskaiset sormilehdet. Tonava erottuu pimeässä tummanharmaana vyöhykkeenä. Taloa ympäröivän muurin sisäänkäynnin kohdalla, metalliportin alla kulkee loputon vyö punaruskeita muurahaisia. Betonilaatan pintaa halkovat kevyet, aaltoilevat urat.


Nabb+Teeri 43/52

October 25 – 29, 2016

Kauppakatu 19, Jyväskylä 
Open Tue-Sat 12-18

Opening will be held on Tuesday 25th at 14-15. Both artists will be present.



Zooetics interview on the Icelandic newspaper DV

The Icelandic newspaper DV interviews Zooetics about the recent Future Fictions Summit that took place in Ásbrú and the LISTASAFN REYKJAVIKUR REYKJAVIK ART MUSEUM in Iceland. Read the interview (Icelandic)


Future Fictions Summit

A zooetic gathering in the high Noth Atlantic on October 22, 2016 at Reykjavik Art Museum

During 13 – 16 October, 2016 A___Zooetics (a project exploring intersections between human, non-human and poetic knowledge spheres—, invited an international group of scientists, artists, designers, theorists and writers to stay and work at Ásbrú, the site of a former NATO base on the Reykjanes peninsula in Iceland. The three days of explorations that took place on and near the base will be staged and performed at Reykjavík Art Museum in conversation with a keynote lecture by sociologist Jennifer Gabrys (Goldsmiths, University of London, UK, author of Program Earth: Environmental Sensing Technology and the Making of a Computational Planet).

The transition of Ásbrú from a fenced-off military zone to a creative-economy incubator inspires a lot of questions about the technoscientific imaginaries feeding this transition and fueling our sense of the future. These kinds of military infrastructures are already incorporated into the future fictional narratives of a seamless transition towards innovation, resource extraction and subservience to global market forces. The Future Fictions Summit enacted a think tank that performed a variety of excavations into past and future narratives of Ásbrú as a laboratory of Iceland and the high North. The findings of this gathering comprise of a series of models that invite a reprogramming of relations between the body, territory and nonhuman forms of life, opening up alternative temporalities and uncanny sensorial powers. In these models, algae that resides on Hafnir shores in the vicinity of Ásbrú are offered as a source of transformation on a variety of scales—from the intimate to the oceanic. 

The Future Fictions Summit will be finalized with Gabrys’s lecture “Sensing Environmental Conflict with Lichens: Bioindication and Expressive Modes of Environmental Politics”. She will present the notion of bioindication as a process that reorients environmental sensing toward engagements that are less focused on singular entities and directed more towards the sprawling affiliations and milieus established by environmental pollutants.

Future Fictions Summit contributors: Nomeda & Gediminas Urbonas, artists (Massachusetts Institute of Technology, USA), Tinna Grétarsdóttir and Sigurjón Baldur Hafsteinsson, anthropologists (University of Iceland, IS); Oksana Anilionytė, fashion designer (Royal College of Art, UK); Nikola Bojić, designer (Massachusetts Institute of Technology, USA); Garðar Eyjólfsson, designer (Iceland Academy of the Arts, IS); Lucas Freeman, writer (Massachusetts Institute of Technology, USA); Eydís Mary Jónsdóttir (IS); Ashley Rizzo Moss, performer (Massachusetts Institute of Technology, USA); Thomas Pausz, designer (Iceland Academy of the Arts, IS); Kristupas Sabolius, philosopher (Vilnius University, LT); Hildigunnur Sverrisdóttir, architect (Iceland Academy of the Arts, IS); Viktorija Šiaulytė, curator (LT); Sigrún Thorlacius, designer (IS); Tracey Warr, writer (UK).

Future Fictions Summit is brought together by A___Zooetics project, a five-year-long art-led interdisciplinary program of lectures, workshops and exhibitions exploring new ways to engage human knowledge and research with other forms of life in the biosphere in order to imagine new interfaces for future interspecies ecologies. The gathering and summit were co-developed and hosted by Occupational Hazards project, an initiative of scientists and artists based in Iceland, investigating the site of Ásbrú, unresolved narratives of the present and concepts of ecology, active citizenship and the future that unfold in shifting geopolitical conditions and emerging new waters in the Arctic.

Supported by: Ministry of Culture of the Republic of Lithuania and Lithuanian Council for Culture, Nordic Culture Point, University of Iceland, Icelandic Ministry of Education, Science and Culture, The Icelandic Art Fund, Kadeco and Uppbyggingarsjóður Suðurnesja. A___Zooetics is part of the Outreach and Education Program of the Frontiers in Retreat project (2013–2018, EACEA 2013-1297). Frontiers in Retreat has been funded with support from the European Commission. This communication reflects the views only of the authors, and the Commission cannot be held responsible for any use of the information contained herein.


FUTURE FICTIONS SUMMIT / 22 October 3–5p.m. Reykjavik Art Museum / Tryggvagata 17, Reykjavík

More information:

info [​at​] +491759293971



Animal Cosmopolitics: The Art of Terike Haapoja

T.J. Demos on Terike Haapoja's art on creativeecologies.ucsc.eduAugust 2016


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