Hybrida Artist-in-Residency program is taking place for 4 weeks online and 2 weeks on location in Älvsbacka in the west of Sweden.

The digital phase is currently ongoing; follow our digital work process in real time by clicking the "Live" button!

Participants

Alena Alexandrova
Residues

Alena is invited to participate in the role of writer and researcher, her current research and investigations connect to the form of the residency as well as the physical location through several topics such as archaeology, the afterlife of photographic images, technology and its impact on memory and history.

During the residency she will work on her project Residues, which will retrace and map a network of material and visual residues, remnants and traces related to the history of the site, and will involve her own investigations of the conceptual weight of discarded material and fragments that never make it to the final work or text. These residues will become the protagonists in a story that will attempt to witness a strange, possibly traumatic and revolutionary event, and will question the status of residues in digital space, which is associated with a particular form of flattening of experience.

Alena will also provide some critical reflection on the residency program overall – this will take the form of a short essay regarding the residency experience and process, which will accompany the final exhibition.

Alena Alexandrova is a cultural theorist and an independent curator based in Amsterdam. She teaches theory at the Gerrit Rietveld Academy, Amsterdam. She holds a PhD from the University of Amsterdam. Currently she is writing a book Anarchic Infrastructures: Re-Casting the Archive, Displacing Chronologies and working on Unclaimed Images, a project investigating the afterlife of photographic images (in collaboration with photographer Johannes Schwartz). She is the author of Breaking Resemblance (Fordham University Press, 2017) and has published internationally in the fields of aesthetics, performance and visual studies, and regularly contributes to art publications and catalogues. She has curated exhibitions around the conceptual figure of anarcheology.

Site/Social

 Unclaimed Images, Alena Alexandrova/Johannes Schwartz, 2021

Bob Bicknell-Knight
Studio View

I’m an artist, curator and writer working in installation, sculpture, painting, video, and digital media. My work is influenced by surveillance capitalism and responds to the hyper consumerism of the internet. I’m interested in ideas surrounding the automation of work and global power structures, as well as critically examining contemporary technologies.

During the Hybrida Residency I’ll be continuing an ongoing body of work concerning digital personas. For several years I’ve been crafting an online identity of a painter. I spend days crawling the internet, sourcing images of artist studios which I then edit my own digital images into. These images are then posted to social media sites and developed into physical paintings. Throughout the residency I will continue to build this fabricated persona, making digital and physical artworks that explore ideas surrounding misinformation and performing for social media.

Site/Social

Bob Bicknell-Knight, Bit Rot, 2020. Installation View. Solo exhibition at Broadway Gallery, Letchworth, UK. Courtesy of the artist.

Faysal Mroueh
sleep maps (temp title)

My practice explores how narrative functions in three-dimensional space and the resulting potential for investigating themes through fiction. The installations present settings relating to tropes of science-fiction that evoke pathological, sexual experiences as well as reimagined human-animal relations and symbolism. Scenographic elements are utilised in physical and virtual space as manifestations of platforms hosting dialogues, chatrooms and role-playing games that combine organic and artificial textures and emphasise compulsive desires. In this vein, the expression of the work translates into a theatre of role-play, in which fear and desire are spacialised and embodied. These themes are accompanied by a formal research into virtual reality and computer games as examples of total art, their preoccupation with space, their combination with narrative theory and digital literature and how their practices are rooted in pre-electronic literary and artistic traditions.

For the Hybrida residency, I aim to produce two VR environments that depict compiled biomes foregrounded by fragmented architectures, props, abstractly textured forms and other elements that undermine the linearity of their setting. Viewed from a fixed position, these environments rely on the viewer’s perspective, perception of texture and corporeal tension as their narrative drivers and rely on the shifting mythology of the accumulated imagery and the speculative implications of the physical body within VR for their symbolic structure. The VR headsets will be mounted within two skeletal viewing booths and accompanied by a sound piece consisting of material collected online and field recordings from the rural site.

Site/Social

Screenshot from ‘Underground Sea part II’, 2021

Gabriel Bott Anderstedt
Earthbound (title in progress)

The project I am currently developing deals with the notion of being human and the wish to travel past the borders of our species.

An individual’s seemingly impossible and solitary project: to merge with photosynthetic way of life by force feeding on plants. I am currently developing a short story / animation linked to the topic described above. The first scene describes a character floating in water, surrounded by plants, singing a lullaby. The lullaby is telling the story of defeat. A failure of transition, but also, the notion of relief and acceptance. How to stay with one self.

During my stay at the residency I am planing to continue the same project. My plan is to 3d scan different trees found in the woods surrounding the residency in Sweden. The 3d-scaned trees will then be included as part of the animation as 3d-models. The animation will depict the journey from the trunk of one of the trees – down to its root-system – the root system merges with veins and the eco-system of the human body.

Site/Social

Still from animation (earthbound)

Geirthrudur Finnbogadottir Hjörvar
Untitled

My art practice may be described as a synthesis between historical references, metaphysical speculation and the materiality of contemporary culture. My current body of work centers around the interpenetration of ideological / material matrices and how they produce the infrastructures of (intersubjective) reality. (Herein have economic paradigms remained a main occupation and resulted in a series of works on subjects spanning from “Real Estate” to “Financial Instruments.”

What I want to investigate within the frame of a residency project is the metaphorical qualities of physical laws within virtual space. It is a preoccupation based on the process of 3D modelling as a way of conceiving sculptural form that led me to explore more consciously the aesthetic consequences of the physical being translated into the digital and in developing sculptural form that is native to a digital logic and theoretically subject to a radically different aesthetic.

Site/Social

Video still from “Credit (Retail Display nr.2),” 2021

Jeroen Kortekaas
Decentered

Jeroen Kortekaas creates sculptures and images in which motifs of transportation — such as flight, traffic signals and signage — become metaphors for metamorphosis. In his work he is interested in relationships where the notion of unitary subjectivity becomes challenged.

During the residency, Jeroen will work on his project Decentered, looking at the problem of subjectivity through the lens of the Greek concept the Pharmakon, as used by Plato in Phaedrus. The Pharmakon, both poison and medicine, disrupts our habitual paths even if we were not wishing for it, leading us beyond the boundaries of our village to the crossroads: a space of choice, possibility and network flows, a site of continuous exchange, signals and undercurrents.

Site/Social

With Flying Colors, 2019

Mary Furniss
Blackening the Green

Currently my practice centres around the development of a queer ecological occult narrative that investigates permaculture, toxicity and herbal alchemy through an art practice encompassing drawings, installations, sculptures and paintings.

During the residency I want to explore through my artistic practice and research how toxicity is creating what Black Metal musicians and theorists describe as the blackening of the green. Specifically the death of ecology, and how occult, alchemical and mystic perspectives on nature can help us re-imagine and understand ecology from an anti-anthropocentric viewpoint.

Site/Social

Untitled (chapter 2. p3) 2021. Ink and pencil on paper. 21 x 29.7cm

Concept

We wish to activate our platform Hybrida by inviting you to an art residency that consists of two consecutive phases: one taking place digitally, the other one on location. Rendering the creative process and its stages within this hybrid format, we aim to explore diverse ways of ‘reading & writing’ art content and the topologies that this approach can generate.

as opposed to technē?

It’s becoming harder to dissect art practice from its connection to technology —their boundaries seem to be dissolving while the world is being redesigned digitally at an increasing speed.

pixel perfect, evoking a craving for dirt, mud & moisture

Do artists have the right tools / or the time / to question how they produce, communicate or transact cultural objects and experience?
If artistic activity has always been synonymous with paving new ways to experience the world around us, allowing for new models and abstractions, what happens now that the toolkit is becoming more and more virtual, and our reality more flat and shiny?

user—tester—hacker

How can we employ the disposition of the artist both as antagonist and implementer again? Definitely, the time is now to renegotiate the modes of producing, handling and assessing content—its type and distribution. One needs to find a good stance so to be able to recognise the outlines and shapes of things; the patterns that prompt to points of reference and departure.
How can artists develop a critical and hybrid perspective instead of only tokenise their new virtual role?

The format of this residency serves to put these thoughts to the test, yet it is mostly a starting point and a way of working.

Digital: Phase I

During the digital phase of the residency, our base is the virtual studio format through the use of an online co-working platform. The activity of everyone on this platform is accessible to the public in real time.

The mode of working can take various shapes: the participants may transcribe their project ideas freely, generate creative outcomes in any form, carry out research online etc, and building on their trajectory in the space of the virtual platform.

Along the way, there will be various input in the form of brief texts, links and perhaps online lectures. On specific dates we will be meeting on the platform for online sessions (studio visits) that will give everyone the chance to present their progress to the group and receive feedback.

Physical: Phase II

After the conclusion of the digital phase, we will be working on location in Älvsbacka in Sweden.

There will be set meal times, screenings, group discussions and a few brief excursions to locations of cultural importance in the region. Overall, the participants may work according to their own natural rhythms, and build towards a final group exhibition.

The project is based on the idea of active participation from everyone involved, and value is to be created by the level of engagement from peers.

There are no specific requirements regarding final outcomes; however participants are expected to:

  • develop an individual art project/research in 2 phases
  • present an outcome in any format for the final group exhibition
  • allow documentation/representation of your work to be hosted by hybrida.space and our social channels
  • not cause any material damage on the natural environment or the facilities of use

Location (History + Field Guide)

The larger district of Älvsbacka is 70.000 km2 in size and has around 270 permanent inhabitants.

Our specific location includes buildings that serve perfectly for accommodation, working and exhibition space.
The rural character of the area invites for an uninterrupted work process. The participants are free to interact within the area and consult the organisers to handle any of their requests when it comes to guidance, using equipment and spaces.

The area covers 300.000m² and there is access to two large facilities, and the natural environment in the area, for the purpose of making and showing work. There are two housing units for accommodation with many single rooms.

  • Closest town with supermarket: 15 min by car
  • Closest city: 45 min by car

History

Älvsbacka is located in the periphery of the large iron belt of central Sweden. Iron processing began here already in the early 1600s and was at the time one of the larger metal manufacturers of the region, enabled by the power derived by the difference in elevation in between the two lakes, Gräsmången and Lersjön.
A Swedish nobleman, Carl Johan Didrik Ulrik Croneborg, who was chargé d’affaires for Sweden at the conference of Vienna during the years 1824–1827, married the daughter of one of the wealthiest men in Austria, after which they took possession of Älvsbacka and built a mansion on the estate, at the time also one of the larger in the region. The lady of the household, Betty Croneborg, (previously Barbara Geymüller) was a painter inspired by the Dutch golden age, and participated with flower still lives in exhibitions at the Royal art academy. The estate contained a prominent art collection with works from Rembrandt, Tizian and van Dyck.

In the mid 1800s the mill went bankrupt due to a major crisis in the Swedish iron industry, known as “the death of the mill towns”. The mansion was turned into a reformatory for boys. Parts of it was burnt down by some of these young inmates in 1915. Five years later the last remains of the Croneborg mansion was moved by sled to be assembled elsewhere. From 1939 it was used as a vocational school for crafts, painting and carpeting. It was then sold and turned into a tourist resort, and in 1989 it was rented out to host various waves of refugees from the Balkans and the Middle east. Since then the estate has switched hands just to be sold some years later. Without the necessary investments in maintenance, large parts of the estate’s many buildings and parks have fallen into poor shape during the last 25 years.

Field Guide

Älvsbacka parish is in many ways a borderland located in the northern part in the municipality of Karlstad. In contrast to Älvsbackadalen’s deciduous forest-encircled arable land and the beautiful lakes, the dark, thorny silhouettes of the coniferous forest stand against the horizon to the north and east. If you look west, you can see a more varied profile with a landscape of steep hills. There is the basic rock type hyperite, so hard that the glaciers of the ice age was not able to level out the rising hills. Despite its hardness, the hyperite is easily weathered and gives rise to a rich and vegetative flora.

When the last ice sheet melted and slowly backed north, the sea and the land rose south of the ice front. In the valley of Älvsbacka we can find the highest level of the sea at 175 m above the current sea surface. We can most clearly see this highest coastline in the relatively steep slopes west of Östanås, where large strings of stone can be found in the forest. The constant blows of the waves against the shore meant that all fine material was washed out, the finest, the clay, washed out at the far end and enriched on the “bottom” of the “fjord”, which today is parish since long-used agricultural land.

Today’s deciduous forests are often found on land that was cultivated in the past, we therefore find plenty of remnants of former habitants in the form of cairns, small house foundations, walls, cellars, etc. In the deciduous forest we sometimes also find pits for wolf hunting, as it was roaming close to the former buildings.

Despite its relatively small area, the parish has a comparatively rich and varied fauna and flora, much due to the fact that different habitat types and climate zones meet here. The height difference between the lowest and highest point is about 265 m. In Östanås there are no less than 17 different deciduous tree species, among others a relatively good amount of Elm and Oak, mainly around Östanås river.

Deciduous forest
Most of the deciduous forests have arisen in what was in the past pastures and hayfields and have grown spontaneously. On the traditional forest lands, there are mostly younger deciduous forests that have emerged after 60s and 70s. Older deciduous forest is found in slopes and in the form of swamp forests, they often have high natural value.

Norrlandsskogen
The area is located north of the border of what is sometimes called “Limes Norrlandicus” the so-called. the northern border. Forests and bogs characterize the area, which is sometimes spiced with small black ponds. These coniferous forests stand on a granite base and the topography is usually flat and poor in variety.

The Hyperite Forest
The area is located in the western and south-western part of the parish.
Characteristic of this area is a partly dramatic topography, with slopes and sometimes precipices, vegetated woodlands and a rich fauna and flora. Spruce is the dominant tree species, but the leaf element is partly striking, not least in the slopes. On fertile soils, vegetation is usually dominated by herbs and tall grasses.

Wildlife
Moose, Deer, Forest hare, Fox, Badger, Marten, Squirrel, Ermine, small Weasel, Beaver, Badger, amongst many other. Lynx, bear and wolf are occasionally spotted.

Birds
Hazel hen is by far the most common forest hen, larger woodpecker and crows dominate among the woodpeckers, a less common bird seen in the area where hazel is found is the nutcracker. The barn owl regularly nest here. In recent times, Eagle owl
have also been seen.

Out in the meadows and pastures of the forest area, in Älvsbacka several unusual butterfly species in our country can be seen.

*The field guide is a free translation of a text written by Jan Bengtsson.

Organisers

Hybrida is an art/curatorial platform launched by artists Giorgos Tsiongas (GR) and Joar Torbiörnsson (SE) in 2021, focused on creating virtual & physical space and open ended curatorial frameworks for young contemporary artists to show work in. The residency is a non-profit project.

With the support of:

FAQ

Dates

Open call:
22/5 – 13/6

Residency (online):
24/6 – 20/7

Residency (on location):
23/7 – 6/8

Exhibition:
6/8 – 19/8

Arrangements

Accommodation includes food (breakfast, lunch & dinner), room with bedlinen, shared bathroom, common areas, equipped shared kitchen, designated work areas.

Note that the housing is basic (furniture, equipment etc).

  • There will be a basic variation of electrical and manual hand held tools available on site
  • Special requirements handled on request
  • Travel expenses covered up to 2500 sek (about €250)
  • Production budget of 2000 sek (about €200)
  • Participation includes remuneration of 3000 sek (about €300) upon the completion of the residency
Application

The residency is suited to art practitioners from all countries and disciplines.

We have invited 7 artists in total while reserving 3 spots for artists from the Nordic countries.

Info requested in the application:

  • Description of your art practice
  • Project proposal
  • CV & portfolio with 5 works in one PDF file (surname_last name)
Evaluation

The final selection is made by the organisers based on how the project proposals combine both the digital and physical phase of the residency, and the viability of execution in relation to timeframes and resources. We also look into how the project proposals and practices of the applicants interlink and resonate with each other.

COVID-19

Hygienic protocols are in place according to the Swedish COVID-19 regulations.

If the circumstances of travel and safety will hinder us to carry out the (full) residency program then we reserve the right to make changes to it.

Alena Alexandrova
Residues

Alena is invited to participate in the role of writer and researcher, her current research and investigations connect to the form of the residency as well as the physical location through several topics such as archaeology, the afterlife of photographic images, technology and its impact on memory and history.

During the residency she will work on her project Residues, which will retrace and map a network of material and visual residues, remnants and traces related to the history of the site, and will involve her own investigations of the conceptual weight of discarded material and fragments that never make it to the final work or text. These residues will become the protagonists in a story that will attempt to witness a strange, possibly traumatic and revolutionary event, and will question the status of residues in digital space, which is associated with a particular form of flattening of experience.

Alena will also provide some critical reflection on the residency program overall – this will take the form of a short essay regarding the residency experience and process, which will accompany the final exhibition.

Alena Alexandrova is a cultural theorist and an independent curator based in Amsterdam. She teaches theory at the Gerrit Rietveld Academy, Amsterdam. She holds a PhD from the University of Amsterdam. Currently she is writing a book Anarchic Infrastructures: Re-Casting the Archive, Displacing Chronologies and working on Unclaimed Images, a project investigating the afterlife of photographic images (in collaboration with photographer Johannes Schwartz). She is the author of Breaking Resemblance (Fordham University Press, 2017) and has published internationally in the fields of aesthetics, performance and visual studies, and regularly contributes to art publications and catalogues. She has curated exhibitions around the conceptual figure of anarcheology.

Site/Social

 Unclaimed Images, Alena Alexandrova/Johannes Schwartz, 2021

Bob Bicknell-Knight
Studio View

I’m an artist, curator and writer working in installation, sculpture, painting, video, and digital media. My work is influenced by surveillance capitalism and responds to the hyper consumerism of the internet. I’m interested in ideas surrounding the automation of work and global power structures, as well as critically examining contemporary technologies.

During the Hybrida Residency I’ll be continuing an ongoing body of work concerning digital personas. For several years I’ve been crafting an online identity of a painter. I spend days crawling the internet, sourcing images of artist studios which I then edit my own digital images into. These images are then posted to social media sites and developed into physical paintings. Throughout the residency I will continue to build this fabricated persona, making digital and physical artworks that explore ideas surrounding misinformation and performing for social media.

Site/Social

Bob Bicknell-Knight, Bit Rot, 2020. Installation View. Solo exhibition at Broadway Gallery, Letchworth, UK. Courtesy of the artist.

Faysal Mroueh
sleep maps (temp title)

My practice explores how narrative functions in three-dimensional space and the resulting potential for investigating themes through fiction. The installations present settings relating to tropes of science-fiction that evoke pathological, sexual experiences as well as reimagined human-animal relations and symbolism. Scenographic elements are utilised in physical and virtual space as manifestations of platforms hosting dialogues, chatrooms and role-playing games that combine organic and artificial textures and emphasise compulsive desires. In this vein, the expression of the work translates into a theatre of role-play, in which fear and desire are spacialised and embodied. These themes are accompanied by a formal research into virtual reality and computer games as examples of total art, their preoccupation with space, their combination with narrative theory and digital literature and how their practices are rooted in pre-electronic literary and artistic traditions.

For the Hybrida residency, I aim to produce two VR environments that depict compiled biomes foregrounded by fragmented architectures, props, abstractly textured forms and other elements that undermine the linearity of their setting. Viewed from a fixed position, these environments rely on the viewer’s perspective, perception of texture and corporeal tension as their narrative drivers and rely on the shifting mythology of the accumulated imagery and the speculative implications of the physical body within VR for their symbolic structure. The VR headsets will be mounted within two skeletal viewing booths and accompanied by a sound piece consisting of material collected online and field recordings from the rural site.

Site/Social

Screenshot from ‘Underground Sea part II’, 2021

Gabriel Bott Anderstedt
Earthbound (title in progress)

The project I am currently developing deals with the notion of being human and the wish to travel past the borders of our species.

An individual’s seemingly impossible and solitary project: to merge with photosynthetic way of life by force feeding on plants. I am currently developing a short story / animation linked to the topic described above. The first scene describes a character floating in water, surrounded by plants, singing a lullaby. The lullaby is telling the story of defeat. A failure of transition, but also, the notion of relief and acceptance. How to stay with one self.

During my stay at the residency I am planing to continue the same project. My plan is to 3d scan different trees found in the woods surrounding the residency in Sweden. The 3d-scaned trees will then be included as part of the animation as 3d-models. The animation will depict the journey from the trunk of one of the trees – down to its root-system – the root system merges with veins and the eco-system of the human body.

Site/Social

Still from animation (earthbound)

Geirthrudur Finnbogadottir Hjörvar
Untitled

My art practice may be described as a synthesis between historical references, metaphysical speculation and the materiality of contemporary culture. My current body of work centers around the interpenetration of ideological / material matrices and how they produce the infrastructures of (intersubjective) reality. (Herein have economic paradigms remained a main occupation and resulted in a series of works on subjects spanning from “Real Estate” to “Financial Instruments.”

What I want to investigate within the frame of a residency project is the metaphorical qualities of physical laws within virtual space. It is a preoccupation based on the process of 3D modelling as a way of conceiving sculptural form that led me to explore more consciously the aesthetic consequences of the physical being translated into the digital and in developing sculptural form that is native to a digital logic and theoretically subject to a radically different aesthetic.

Site/Social

Video still from “Credit (Retail Display nr.2),” 2021

Jeroen Kortekaas
Decentered

Jeroen Kortekaas creates sculptures and images in which motifs of transportation — such as flight, traffic signals and signage — become metaphors for metamorphosis. In his work he is interested in relationships where the notion of unitary subjectivity becomes challenged.

During the residency, Jeroen will work on his project Decentered, looking at the problem of subjectivity through the lens of the Greek concept the Pharmakon, as used by Plato in Phaedrus. The Pharmakon, both poison and medicine, disrupts our habitual paths even if we were not wishing for it, leading us beyond the boundaries of our village to the crossroads: a space of choice, possibility and network flows, a site of continuous exchange, signals and undercurrents.

Site/Social

With Flying Colors, 2019

Mary Furniss
Blackening the Green

Currently my practice centres around the development of a queer ecological occult narrative that investigates permaculture, toxicity and herbal alchemy through an art practice encompassing drawings, installations, sculptures and paintings.

During the residency I want to explore through my artistic practice and research how toxicity is creating what Black Metal musicians and theorists describe as the blackening of the green. Specifically the death of ecology, and how occult, alchemical and mystic perspectives on nature can help us re-imagine and understand ecology from an anti-anthropocentric viewpoint.

Site/Social

Untitled (chapter 2. p3) 2021. Ink and pencil on paper. 21 x 29.7cm

We wish to activate our platform Hybrida by inviting you to an art residency that consists of two consecutive phases: one taking place digitally, the other one on location. Rendering the creative process and its stages within this hybrid format, we aim to explore diverse ways of ‘reading & writing’ art content and the topologies that this approach can generate.

as opposed to technē?

It’s becoming harder to dissect art practice from its connection to technology —their boundaries seem to be dissolving while the world is being redesigned digitally at an increasing speed.

pixel perfect, evoking a craving for dirt, mud & moisture

Do artists have the right tools / or the time / to question how they produce, communicate or transact cultural objects and experience?
If artistic activity has always been synonymous with paving new ways to experience the world around us, allowing for new models and abstractions, what happens now that the toolkit is becoming more and more virtual, and our reality more flat and shiny?

user—tester—hacker

How can we employ the disposition of the artist both as antagonist and implementer again? Definitely, the time is now to renegotiate the modes of producing, handling and assessing content—its type and distribution. One needs to find a good stance so to be able to recognise the outlines and shapes of things; the patterns that prompt to points of reference and departure.
How can artists develop a critical and hybrid perspective instead of only tokenise their new virtual role?

The format of this residency serves to put these thoughts to the test, yet it is mostly a starting point and a way of working.

During the digital phase of the residency, our base is the virtual studio format through the use of an online co-working platform. The activity of everyone on this platform is accessible to the public in real time.

The mode of working can take various shapes: the participants may transcribe their project ideas freely, generate creative outcomes in any form, carry out research online etc, and building on their trajectory in the space of the virtual platform.

Along the way, there will be various input in the form of brief texts, links and perhaps online lectures. On specific dates we will be meeting on the platform for online sessions (studio visits) that will give everyone the chance to present their progress to the group and receive feedback.

After the conclusion of the digital phase, we will be working on location in Älvsbacka in Sweden.

There will be set meal times, screenings, group discussions and a few brief excursions to locations of cultural importance in the region. Overall, the participants may work according to their own natural rhythms, and build towards a final group exhibition.

The project is based on the idea of active participation from everyone involved, and value is to be created by the level of engagement from peers.

There are no specific requirements regarding final outcomes; however participants are expected to:

  • develop an individual art project/research in 2 phases
  • present an outcome in any format for the final group exhibition
  • allow documentation/representation of your work to be hosted by hybrida.space and our social channels
  • not cause any material damage on the natural environment or the facilities of use

The larger district of Älvsbacka is 70.000 km2 in size and has around 270 permanent inhabitants.

Our specific location includes buildings that serve perfectly for accommodation, working and exhibition space.
The rural character of the area invites for an uninterrupted work process. The participants are free to interact within the area and consult the organisers to handle any of their requests when it comes to guidance, using equipment and spaces.

The area covers 300.000m² and there is access to two large facilities, and the natural environment in the area, for the purpose of making and showing work. There are two housing units for accommodation with many single rooms.

  • Closest town with supermarket: 15 min by car
  • Closest city: 45 min by car

History

Älvsbacka is located in the periphery of the large iron belt of central Sweden. Iron processing began here already in the early 1600s and was at the time one of the larger metal manufacturers of the region, enabled by the power derived by the difference in elevation in between the two lakes, Gräsmången and Lersjön.
A Swedish nobleman, Carl Johan Didrik Ulrik Croneborg, who was chargé d’affaires for Sweden at the conference of Vienna during the years 1824–1827, married the daughter of one of the wealthiest men in Austria, after which they took possession of Älvsbacka and built a mansion on the estate, at the time also one of the larger in the region. The lady of the household, Betty Croneborg, (previously Barbara Geymüller) was a painter inspired by the Dutch golden age, and participated with flower still lives in exhibitions at the Royal art academy. The estate contained a prominent art collection with works from Rembrandt, Tizian and van Dyck.

In the mid 1800s the mill went bankrupt due to a major crisis in the Swedish iron industry, known as “the death of the mill towns”. The mansion was turned into a reformatory for boys. Parts of it was burnt down by some of these young inmates in 1915. Five years later the last remains of the Croneborg mansion was moved by sled to be assembled elsewhere. From 1939 it was used as a vocational school for crafts, painting and carpeting. It was then sold and turned into a tourist resort, and in 1989 it was rented out to host various waves of refugees from the Balkans and the Middle east. Since then the estate has switched hands just to be sold some years later. Without the necessary investments in maintenance, large parts of the estate’s many buildings and parks have fallen into poor shape during the last 25 years.

Field Guide

Älvsbacka parish is in many ways a borderland located in the northern part in the municipality of Karlstad. In contrast to Älvsbackadalen’s deciduous forest-encircled arable land and the beautiful lakes, the dark, thorny silhouettes of the coniferous forest stand against the horizon to the north and east. If you look west, you can see a more varied profile with a landscape of steep hills. There is the basic rock type hyperite, so hard that the glaciers of the ice age was not able to level out the rising hills. Despite its hardness, the hyperite is easily weathered and gives rise to a rich and vegetative flora.

When the last ice sheet melted and slowly backed north, the sea and the land rose south of the ice front. In the valley of Älvsbacka we can find the highest level of the sea at 175 m above the current sea surface. We can most clearly see this highest coastline in the relatively steep slopes west of Östanås, where large strings of stone can be found in the forest. The constant blows of the waves against the shore meant that all fine material was washed out, the finest, the clay, washed out at the far end and enriched on the “bottom” of the “fjord”, which today is parish since long-used agricultural land.

Today’s deciduous forests are often found on land that was cultivated in the past, we therefore find plenty of remnants of former habitants in the form of cairns, small house foundations, walls, cellars, etc. In the deciduous forest we sometimes also find pits for wolf hunting, as it was roaming close to the former buildings.

Despite its relatively small area, the parish has a comparatively rich and varied fauna and flora, much due to the fact that different habitat types and climate zones meet here. The height difference between the lowest and highest point is about 265 m. In Östanås there are no less than 17 different deciduous tree species, among others a relatively good amount of Elm and Oak, mainly around Östanås river.

Deciduous forest
Most of the deciduous forests have arisen in what was in the past pastures and hayfields and have grown spontaneously. On the traditional forest lands, there are mostly younger deciduous forests that have emerged after 60s and 70s. Older deciduous forest is found in slopes and in the form of swamp forests, they often have high natural value.

Norrlandsskogen
The area is located north of the border of what is sometimes called “Limes Norrlandicus” the so-called. the northern border. Forests and bogs characterize the area, which is sometimes spiced with small black ponds. These coniferous forests stand on a granite base and the topography is usually flat and poor in variety.

The Hyperite Forest
The area is located in the western and south-western part of the parish.
Characteristic of this area is a partly dramatic topography, with slopes and sometimes precipices, vegetated woodlands and a rich fauna and flora. Spruce is the dominant tree species, but the leaf element is partly striking, not least in the slopes. On fertile soils, vegetation is usually dominated by herbs and tall grasses.

Wildlife
Moose, Deer, Forest hare, Fox, Badger, Marten, Squirrel, Ermine, small Weasel, Beaver, Badger, amongst many other. Lynx, bear and wolf are occasionally spotted.

Birds
Hazel hen is by far the most common forest hen, larger woodpecker and crows dominate among the woodpeckers, a less common bird seen in the area where hazel is found is the nutcracker. The barn owl regularly nest here. In recent times, Eagle owl
have also been seen.

Out in the meadows and pastures of the forest area, in Älvsbacka several unusual butterfly species in our country can be seen.

*The field guide is a free translation of a text written by Jan Bengtsson.

Hybrida is an art/curatorial platform launched by artists Giorgos Tsiongas (GR) and Joar Torbiörnsson (SE) in 2021, focused on creating virtual & physical space and open ended curatorial frameworks for young contemporary artists to show work in. The residency is a non-profit project.

With the support of:

Dates

Open call:
22/5 – 13/6

Residency (online):
24/6 – 20/7

Residency (on location):
23/7 – 6/8

Exhibition:
6/8 – 19/8

Arrangements

Accommodation includes food (breakfast, lunch & dinner), room with bedlinen, shared bathroom, common areas, equipped shared kitchen, designated work areas.

Note that the housing is basic (furniture, equipment etc).

  • There will be a basic variation of electrical and manual hand held tools available on site
  • Special requirements handled on request
  • Travel expenses covered up to 2500 sek (about €250)
  • Production budget of 2000 sek (about €200)
  • Participation includes remuneration of 3000 sek (about €300) upon the completion of the residency
Application

The residency is suited to art practitioners from all countries and disciplines.

We have invited 7 artists in total while reserving 3 spots for artists from the Nordic countries.

Info requested in the application:

  • Description of your art practice
  • Project proposal
  • CV & portfolio with 5 works in one PDF file (surname_last name)
Evaluation

The final selection is made by the organisers based on how the project proposals combine both the digital and physical phase of the residency, and the viability of execution in relation to timeframes and resources. We also look into how the project proposals and practices of the applicants interlink and resonate with each other.

COVID-19

Hygienic protocols are in place according to the Swedish COVID-19 regulations.

If the circumstances of travel and safety will hinder us to carry out the (full) residency program then we reserve the right to make changes to it.