Artist Residencies

Ahmet Öğüt is constantly seeking to create works that address complex social issues (immigration, demographic problems, the impact of economic activity on everyday life and workers’ re-appropriation of working tools), with a sense of humour that highlights rather than masks the seriousness of their subject matters.

Sohrab Mohebbi is a curator at the Sculpture Center in New York. Since 2018, he has curated solo shows by Jean-Luc Moulène, Banu Cennetoğlu and Fiona Connor. For four years, he was an associate curator at REDCAT, an arts centre related to the California Institute of the Arts (CalArts).

Peio Aguirre regularly contributes to frieze magazine. As an independent curator, he was in charge of the Spanish Pavilion at the Venice Biennale 2019 with artists Itziar Okariz and Sergio Prego.

Anna Colin is the co-director of the Open School East in Margate, England – a space dedicated to artistic development and the exchange of knowledge and savoir-faire between artistic and local communities. She is also an associate curator at Lafayette Anticipations –Galeries Lafayette Foundation in Paris.

Annie Godfrey Larmon is a regular contributor to the American magazine Artforum. She is now writing a book about artists Beverly Pepper and Mary Reid Kelley, as well as her first novel.

Pierre-Alexandre Mateos and Charles Teyssou are a curator duo based in Paris. In May 2018, they curated the ‘Cruising Pavilion’ exhibition at the 16th Venice Architecture Biennale, interrogating the relationship between minority sexual practices and architecture. A second iteration of their curatorial project was exhibited at Ludlow 38, in New York, in February 2019, and the third and last edition took place at ArkDes in Stockholm, Sweden, in the fall of 2019. In September 2018, they were the curators of a group exhibition on neo-liberal baroque at Converso, Milan. They often contribute to magazines such as Flash Art and L’Officiel Art.

Paul B. Preciado is a writer, a curator and an internationally recognized figure in the fields of the philosophy of the body, gender studies and sexual politics. His first book, Countersexual Manifesto, became a reference point for queer and transfeminist European activism. He is the author of Testo Junkie. Sex, Drugs and Biopolitics and Pornotopia. He recently published An Apartment on Uranus, a collection of his articles for the French daily newspaper Libération since 2013.

Florentina Holzinger’s dance pieces are driven by the notion of identity, sexual and physical transgression. Drawing inspiration as much from Viennese Actionism, body art and bodybuilding as from classical ballet, cabaret and even circus, she deconstructs, performance after performance, the very definition of femininity.

Yuri Pattison uses digital technologies, video and sculpture to conduct extensive research on the social and political ramifications of accelerated technology development and visual density in the all-digital age.

Mohamed Bourouissa’s videos, sculptures, photographs and installations have often taken the margins of our society as a starting point. Since his debut, he has been creating a range of super contemporary portraits that try to escape the sociocultural stereotypes of our time, thanks to a constantly renewed collaborative and exchange-driven practice.

Kiluanji Kia Henda questions, and not without humour, the colonial past of Angola, his native country, as well as the history of the African diasporas in Europe and today’s migration tragedy, while tackling the notions of identity, modernity and political engagement in his artistic practice.

Cecilia Bengolea perceives performance as an animated sculpture that allows her to become object and subject simultaneously within her own work. Her practice is translated in video, performance and sculpture. She researches on anthropological community dance forms both contemporary and archaic. She’s particularly interested in composing with nature symbolics and energies , the elements and within a community of close collaborators such as François Chaignaud, Craig Black Eagle, Erika Miyauichi. She lives and works in Paris.

Since 2015, Flora Katz has been working at the university Paris 1 Panthéon-Sorbonne on a thesis called: Speculative Realisms and Contemporary Art, Possible Aesthetic and Critical Dialogues: Pierre Huyghe. Concurrently with her research, she teaches at the Institute of Higher Art Education in Paris, collaborates with many reviews (Artpress, Mouvement, Cura) and curates exhibitions.

In his work, this multimedia artist brings past, present and future landscapes and ecosystems to life thanks to his micro and macro view of the environment, and through the lens of virtual reality, based on a long process of research in the field and with specialists in species conservation.

The author of The Story of Junk: A Novel, as well as an art critic and journalist. Based in New York, she has been covering the international art world for more than 25 years for many publications, including The New York Times and T Magazine, Bloomberg News, Artforum and Artforum.com, The Art Newspaper and W Magazine. She has also contributed critical essays to monographs or exhibition catalogues on artists including Anish Kapoor, Keith Sonnier, Marilyn Minter, Francesco Vezzoli, Elmgreen & Dragset, Mark Morrisroe and James Nares. During her 2017 residency at Luma Arles, she worked on Why Jeff Koons?, the first book to take complete account of the artist's life and career, to be published in the United States by Henry Holt & Co.

She studied at the Lycée Henri-IV and was a criminal lawyer until 2018. 
She has published two novels: Play Boy (Stock, 2018), and Love Me Tender (Flammarion, 2020). As part of her residency at Luma Arles, Constance Debré is working on her next opus. “The work begun in my previous books, which I intend to continue in this way, explores the possibility (?) of being oneself.” It raises the question of the construction of an identity shaped by a double movement, the horizontal movement of narration, as well as the vertical movement of the emancipation of the subject (the narrator) from social, sexual and family identities. Construction, deconstruction, as it were.  

Precious Okoyomon is both a poet and an artist who lives in New York and creates portals to new worlds. Okoyomon had solo shows at the MMK, Frankfurt, this year, and at Luma Westbau, Zurich, in 2019. Their second book But Did U Die? will be published by Serpentine/Wonder Press in 2020.

Born in Bordeaux (France) in 1994. She lives and works in Marseille.
Sara Sadik is an artist. She works on French youth from working-class neighborhoods and its culture, documenting its mysteries and deconstructing social mythologies, particularly those related to adolescence and masculinities. Her work is expressed in videos and performances, ranging from documentaries to science fiction and reality TV. During her residency at Luma Arles, Sara Sadik will prepare a docu-drama on Arlesian youth. 

Born in Paris (France) in 1993. He lives and works between Paris and London.
Alexandre Khondji is an artist. He studied at Bard College, in New York, and more recently at the Royal College of Art, in London. His artistic practice questions the status of the image and the work of art through their power of exhibition and manifestation. His work is also accompanied by theoretical research that he will seek to develop during his residency.

Christodoulos Panayiotou's research focuses on the identification and discovery of hidden narratives in the visual evidence of history and time. His most recent solo exhibitions were held at the 56th Venice Biennale as part of the Cypriot Pavilion; at the Centre de Création Contemporaine Olivier Debré, Tours; at the Camden Art Centre, London; at the Musée d'Orsay, Paris; at Casa Luis Barragán, Mexico City and at the Moderna Museet, Stockholm.

Maria Hassabi is an artist and choreographer, who practices equally in performance, installation, sculpture, photography and video.

Her recent solo exhibitions include Secession, Vienna (2021); Pulitzer Arts Foundation, St. Louis (2019); MUDAM, Luxembourg (2019); Centre Pompidou, Paris (2019); and the National Gallery of Canada (2019). Louis (2019); MUDAM, Luxembourg (2019); Centre Pompidou, Paris (2018); K20, Kunstsammlung Nordrhein-Westfalen, Düsseldorf (2017-18); Walker Art Center, Minneapolis (2017); Museum of Modern Art, New York (2016); Hammer Museum, Los Angeles (2015); The Kitchen, New York (2019, 2016, 2013, 2011, 2006); Stedelijk Museum, Amsterdam (2015); Australian Centre for Contemporary Art, Melbourne (2014); Centre d'Art Contemporain, Geneva (2012); Performance Space 122, New York (2007, 2009). 

Atheel Elmalik is a thinker, writer and filmmaker committed to the work of rendering black and African diasporic life on screen with specificity. She is interested in exploring liberated relationships of people to land and one another through stories of movement and migration, intergenerational healing, and connection to the sentience of the more than human world. 

Atheel received a Bachelor’s degree in Anthropology from Stanford University where she focused her degree on African Studies and Visual Studies. She then held curatorial fellowships at art institutions such as the Museum of Modern Art in New York in the Media and Performance Art department, the Studio Museum in Harlem, and Yerba Buena Center for the Arts in San Francisco. After spending the last two years assisting and managing artist Arthur Jafa’s studio in Los Angeles, she is currently developing her first narrative film through Jafa’s newly formed film studio, SunHaus, which she will be working on while in Arles. 

Shahryar Nashat is a visual artist. He has had shows at MoMA, New York (2020); SMK, Copenhagen (2019); Swiss Institute, New York (2019); Kunsthalle Basel, Switzerland (2017); Portikus, Frankfurt, Germany (2016); Schinkel Pavillon, Berlin (2016). 

Through a documentary aesthetics, Ahlam Shibli's photographic work addresses the contradictory implications of the notion of home; it deals with the loss of home and the fight against that loss, also with the restrictions and limitations that the idea of home imposes on individuals and communities marked by repressive identity politics. Her work has been presented, among others, in ICO, Seoul Museum of Art, Fotonoviembre, IVAM, Museum der Moderne Salzburg, MSU, UGM, Remai Modern, S.M.A.K., documenta 14, Cassa di Risparmio, Camera Austria, Carré d'Art, Zachęta, Qalandiya International, Henie Onstad, Muzeum Sztuki, MACBA, Jeu de Paume, Serralves, Reina Sofía, Haus der Kunst, Galeria Kombëtare e Kosovës, 3rd Thessaloniki Biennale, Fondazione Sandretto Re Rebaudengo, Tate Modern, Muzeum Sztuki Nowoczesnej w Warszawie, Darat al Funun, KW, CGAC, Pompidou, Documenta 12, Bienal de São Paulo, Kunsthalle Basel, Busan Biennale, Seville Biennial, Istanbul Biennial, T1 Torino Triennale, Yokohama Museum.

Linder’s practice focuses on the specifics of dance and how different forms or genres relate to notions of technology, desire, value and power. At the age of sixteen, Linder was scouted by The Royal Ballet School in London and left Australia to pursue a career as a dancer. Linder’s early training was later consolidated during formative years spent with The Michael Clark Company and Meg Suart's Damaged Goods where he began to develop the critical and experimental strands that inform his choreographic work.

At the crossroads of multiple disciplines and identities, Habibitch is an Algerian-born, Paris-based, decolonial feminist queer artist-activist who has built an art practice that is as “woke” as her politics.

Using spaces ranging from the ballroom scene to alternative festivals and institutional places, Habibitch’s performances and speeches are always intersectional, decolonizing the dancefloor wherever she goes. “Dance your politics and politicize your dance” is the vital punchline of this Swiss knife artist.

Hannah Black is an artist and writer based in NYC. Recent shows include “Bad Timing” at Den Frie, in Copenhagen, and “2020” at Fitzpatrick Gallery, in Paris. She is the author of two small books, Tuesday or September or the End (2022) and Dark Pool Party (2016). She is represented by Isabella Bortolozzi Gallery in Berlin and Arcadia Missa in London. 

Adam Haar Horowitz, PhD, works to translate brain science into experiences and interventions, with a focus on sleep and dreams. He is a co-inventor of the Dormio device and Targeted Dream Incubation technique, which facilitate control of dream content. At the moment, he is building tools for nightmare treatment with psychiatrists at the US Dept of Veterans Affairs, and co-organizing MIT’s Dream Engineering Symposium focused on scientific ethics and education. He’s proud to serve on the board of the Center for Law, Brain, and Behavior, on the Selection Committee for the MIT Center for Art, Science & Technology, and on the Sounding Board of Boston’s NPR. Adam has a background in research at Harvard metaLAB and MIT’s McGovern Institute for Brain Research. His work has been presented in Nature, Science, National Academy of Sciences, GoogleX, 60 Minutes and the World Economic Forum. Adam received his PhD from MIT, working between the MIT Media Lab and the Harvard Medical School Center for Sleep and Cognition.

Mati Diop was born in Paris on June 22nd, 1982. Since the early 2000s, she has built an eclectic body of work that has won awards at various international festivals. With her first feature film Atlantics (2019), winner of the Grand Prix at the Cannes Film Festival followed by Dahomey (2024) awarded by The Golden Bear of Berlinale, she has established herself as one of the leading auteurs of international cinema and of a new wave in African and diasporic cinema.  

She grew up in a french-senegalese family, between a musician father, Wasis Diop, and a photographer and art buyer mother. She is the niece of Djibril Diop Mambéty, director of the cult Senegalese film Touki Bouki(1973). Her nomadic, romanesque and political cinema which challenges the boundaries between genres and formats is an extension of her mixed identity.

Her formalist approach is rooted in an early curiosity for the fine arts, particularly video and sound. At the age of 20, she began working in theater, creating sound and video for plays. In 2004, she shot her first self-produced short film, Last Night. In 2006, she joined Le Pavillon, Palais de Tokyo’s artist-in-residence programme and research lab. After a brief passage at Le Fresnoy (National studio of contemporary art), she’s chosen to play the female lead in Claire Denis’ 35 Shot of Rum (2008). Her encounter with the French director confirmed her desire to become a filmmaker.  

And so begins the composition of a Dakar epic in three chapters that unfolds over a decade. Atlantiques(2009, Rotterdam Festival Tiger Award), A Thousand Suns (2013, FIDMarseille Grand Prix) and Atlanticsform a manifesto that signs a political choice: a cinema committed to Senegal, with its working-class youth as its beating heart. From the phenomenon of clandestine immigration that devastated Senegal's working-class youth to the deposition of the Wade regime in 2012, and the disappearance of Senegalese and, more broadly, African cinema, which golden age was embodied by the subversive and political work of her uncle Djibril Diop Mambéty, each film is an archive of an era and its contemporary issues. For the director, cinema is a tool of reappropriation to restore  missing images, question degrading colonial representations and invent heroes who have deserted the African imagination. 

In parallel, the filmmaker made several short films, including Big in Vietnam (2011, Tiger Award at the Rotterdam Film Festival) and Snow Canon (2012, selected at the Venice Film Festival), which explore recurring motifs and themes of her cinema : the solitude of exiled bodies, cities and landscapes imbued with mythology and mystery, and nights from which dances and ghosts emerge. These themes are echoed in Tokyo Trip (2023), produced for Chanel, and In My Room (2020), commissioned by Miu-Miu. She continues her video practice with Liberian Boy (2015) and Naked Blue (2022), co-directed with Manon Lutanie. Between 2020 and 2021, she also shot two music videos in Paris, for Bonnie Banane and Wasis Diop, as well as a commercial film with Solange Knowles.

With the creation of Fanta Sy, a film house based in Dakar, she pursues her artistic commitment on the African continent.

Torbjørn Rødland was born in Stavanger, Norway, in 1970.
He lives and works in Los Angeles.

Curiosity, criticality, artifice and reverence for the natural world appear throughout Torbjørn Rødland’s work and often in the same image, forging links between twentieth-century art photography and twenty-first-century approaches to image-making. His latest project book is titled The Pregnant Virgin.

Federico Campagna is an Italian philosopher based in London.  

His latest books, Prophetic Culture (Blomsbury, 2021) and Technic and Magic (Bloomsbury, 2018) explored how ‘worlds’ can be born, destroyed, and created anew. In The Last Night (2013), he looked at contemporary work as a form of religion. His books have been translated in simplified Chinese (forthcoming), German, Italian, Norwegian (forthcoming), Spanish, and Turkish. 

He is a Lecturer in Intellectual History at the art university ECAL in Lausanne, Associate Fellow at the Warburg Institute in London, and Critical Fellow at the Royal Academy Schools in London. 

He is the co-founder of the Italian philosophy publisher Timeo and a director at the Anglo-American radical publisher Verso. He frequently collaborates as public speaker, podcaster and writer with some of the main international museums, contemporary art galleries and biennales. 

He holds a PhD from the Royal College of Art, an MA from Goldsmiths University of London, and a MSc and BSc from Bocconi University in Milan.

Erika Verzutti was born in São Paulo in 1971, where she lives and works.

In her work, Erika Verzutti combines dissimilar elements and styles. She can work with classical materials such as bronze and clay or craftier ones such as papier-mâché and cardboard. Many of her sculptures reveal a special attention to nature through the use of cast fruits and vegetables, other works sources from current matters such as newspaper headlines and internet phenomena. 

She had solo exhibitions at Hessel Museum - Bard College, Annandale-on-Hudson, NY (2023); Museo Experimental El Eco, Mexico City (2023); MASP, São Paulo (2021); Nottingham Contemporary, Nottingham, UK (2021); Centre Pompidou, Paris (2019); Aspen art Museum, Aspen (2019); Pivô, São Paulo (2016); Sculpture Center, New York (2015); Tang Museum, Saratoga (2014) and Centro Cultural São Paulo (2012). Selected institutional shows are: Geneva Biennale – Sculture Garden, Geneva (2022); 57th Venice Biennale (2017), 32ª Bienal de São Paulo (2016), 34th Panorama of Brazilian Art, Museu de Arte Moderna de São Paulo (2015), 2013 Carnegie International, Pittsburgh (2013), 9ª Bienal do Mercosul, Porto Alegre (2013) and the 11th Biennale de Lyon (2011). Her work is present in the collections Tate Modern, London; Carnegie Museum of Art, Pittsburgh; Guggenheim Museum, New York; Museu de Arte Moderna de São Paulo and Pinacoteca do Estado, São Paulo, among others. 

Alice dos Reis (b. 1995, Lisbon) is a visual artist and filmmaker whose practice involves film, textiles, installation and publishing. Her films are done mostly alone or with a small crew and use diverse mediums, from 16mm to smartphones. Threading between autobiography and fiction, they are characteristically atmospheric, haunting and sometimes humoristic, confusing historical and generational timelines and perceptions. She sees her meditative work in tapestry and needlepoint as an extension of these narratives, where repetitive “mendings” in wool and cotton allow for a permanence that contrasts with the film medium. Recent works combine images of animals, religious and cultic iconography, gendered artifacts related to class and health, and visions of technology.

She has exhibited, solo and in group, at the Serralves Museum for Contemporary Art (Porto), Canal Projects (NYC), Palais de Tokyo (Paris), EYE Film Museum (Amsterdam) Kunsthalle Lissabon (Lisbon), among others. Her films have been shown in various international film festivals such as Sheffield DocFest, London IFF, and Curtas Vila do Conde IFF. Recently Alice was a recipient of Foundation Botin Visual Arts Grants (2022-2023), and previously, the Mondriaan Fonds Stipend for Young Artists (2020-2021). Alongside her work, Alice is currently a PhD candidate at the School of Creative Media, City University of Hong Kong. She also co-runs Pântano Books, an independent poetry press.

Dozie Kanu (b. 1993, Houston, TX) lives and works in Santarém, Portugal. He graduated from the School of Visual Arts in 2016 and participated in the Maumas Independent Study Program in Lisbon in 2022. Kanu’s practice focuses on a concept of sculpture that looks into the limits of form, functionality, materiality and usefulness often filtered through a personal lens drawn from the artist’s lived experiences. His singular visual language criticizes western art history canons by focusing on their diasporic condition while subtly revealing in the objects issues related to domesticity and belonging. His works resist classification and exist concurrently as communicative or performative objects.

Most recently, he exhibited at Nina Johnson Gallery, Miami (2024); Gianni Manhattan, Vienna (2024); Fondation Beyeler, Basel (2024); Drei, Cologne (2024); Galerie Barbara Weiss, Berlin (2023); Kölnischer Kunstverein, Cologne (2023); Quinn Harrelson Gallery, Los Angeles (2023); C-Mine, Genk (2023); Oregon Center for Contemporary Art, Portland (2023); Galerie Francesca Pia, Zurich (2022); for Public Art Fund in Brooklyn Bridge Park, New York (2022); SFMOMA, San Francisco (2022); Project Native Informant, London (2022); Neuer Essener Kunstverein, Essen (2022); Galeria Madragoa, Lisbon (2021); Performance Space New York (2021); The Studio Museum in Harlem, New York (2019);