Past Residents

United Kingdom, Ireland, The Netherlands

Past Resident
2025: Netherlands Film Fund, CBK (Center for Visual Arts) Rotterdam

Artist

Helen Anna Flanagan

Helen Anna Flanagan works across video, installation, performance, and writing. She investigates social structures and the political subtext of the everyday, focusing on affect, emotion, labour, and the body. Employing a loaded visual language shaped by popular culture and her working-class background, Flanagan examines how we navigate our place within society and construct our understanding of ourselves and others. Through this lens, she brings to life eccentric characters, exploring the anxieties, desires, and fantasies that animate them.

Helen Anna Flanagan has exhibited work at FACT Liverpool, United Kingdom; WIELS Centre for Contemporary Art, Belgium; and IKOB Museum of Contemporary Art, Belgium, among others.

video, neon light, tube light, wood, carpet, paint. Curated by Daniella Géo

Helen Anna Flanagan, Gestures of Collapse, 2020, video, 20 mins.

Helen Anna Flanagan, X-Y, 2021, video installation, 12:20 mins.

video, brick, vinyl, electric motors, papier-mâché, steel, paint. Curated by Brenda Guesnet.

Helen Anna Flanagan, Gestures of Matter, 2021, video installation, 12:30 mins.

video, vinyl, pine wood, paint, custom sun lounger. Curated by Tania Nasielski.

Helen Anna Flanagan, Deeply, Madly, 2022-23, video installation, 27 mins.

video, curtain, garden benches. Curated by Zoë Gray & Helena Kritis.

Helen Anna Flanagan, Blood Sisters, 2021, video installation, 9 min.

Residents from Ireland

Sonia Shiel

Ireland

Temple Bar Gallery + Studios, Dublin

2014

Eva Richardson McCrea

Germany, Ireland

Temple Bar Gallery + Studios, Dublin

2025

Aileen Murphy

Ireland

Temple Bar Gallery + Studios, Dublin

2023

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Austria

Past Resident
2025: Federal Ministry of Housing, Arts, Culture, Media and Sport Republic of Austria

Artist

Karin Fisslthaler

Karin Fisslthaler works across fine art, experimental film, and sound/music/performance (under the name Cherry Sunkist). Her practice spans video, film, collage, and installation, with a focus on found footage, from cinematic to pop-cultural artifacts. Through this material, she investigates how media retroactively shapes notions of identity, communication, and human relationships.

Karin Fisslthaler has exhibited works at Belvedere 21, Vienna; Ann Arbor Film Festival, Michigan; and Photo Museum Ireland, Dublin, among others.

Events & Exhibitions

Artists at Work: Karin Fisslthaler in Conversation with Işın Önol

December 16, 2025, 6:30–7:30pm

2025 Fall Open Studios

November 14–November 15, 2025

Karin Fisslthaler, Sie puppt mit Puppen/ She Dolls with Dollies, 2024, found-footage animation, 2:45 min.

Karin Fisslthaler, WOMEN (VALIE) for VALIE EXPORT, 2025, Live Audio/Video Performance, 15 min.

Karin Fisslthaler, WE`RE LIKE CRYSTAL, 2017, exhibition view.

Karin Fisslthaler, TIMES, 2025, manual image transfer on paper, collage and color pencils, 378 × 51 in. (960.12 × 129.54 cm).

Karin Fisslthaler, Kristall (Belle de jour/A), 2015, paper object, layered film-stills on fine art print, cut out and collage, 12 × 7 × 1 in. (30.48 × 17.78 × 2.54 cm).

Residents from Austria

Robert Gabris

Austria, Slovakia

Federal Ministry of Housing, Arts, Culture, Media and Sport Republic of Austria

Studio #218

Michaela Payer and Martin Gabriel

Austria

Federal Ministry of Housing, Arts, Culture, Media and Sport Republic of Austria

Studio #212

Elisabeth Molin

Denmark, United Kingdom, Austria

Danish Arts Foundation

2026

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India, Canada

Past Resident
2025: Canada Council for the Arts, British Columbia Arts Council

Artist

Manjot Kaur

Manjot Kaur’s drawings, paintings, and time-based media seek to de-patriarchalize women’s bodies while celebrating the sovereignty of nature. She cross-pollinates ancient mythologies and histories to reflect on relationships between humans and more-than-humans. Her practice moves between speculative fiction, archetypal allegories, and precarious ecologies, challenging the human-centered worldview and advancing a mode of thought that dismantles hierarchical notions of being.

Manjot Kaur has exhibited work at Tai Kwun Contemporary, Hong Kong; Drawing Room, London; and Stiftelsen Tensta konsthall, Sweden, among others.

Events & Exhibitions

2025 Fall Open Studios

November 14–November 15, 2025

Here Goddess Lajja Gauri is represented giving birth to an ecosystem rather than a human child. The works propose alternative means to think about the notions of motherhood, care, symbiosis, and reciprocity as well as explore the interrelation between humans and non-humans. The goddess Lajja Gauri is associated with abundance, fertility, and sexuality. She is usually invoked for vegetative fertility and good progeny. A blossoming lotus replaces her head and neck denoting blooming youth. She is sometimes shown in a birthing/squatting posture, but without outward signs of pregnancy.

Manjot Kaur, When She Birthed an Ecosystem (detail), 2020, watercolor and gouache on paper, 15 × 11 in. (38.1 × 27.94 cm).

Jharokha is a stone window, characteristic of Indian architecture, protruding from the wall of a building on the upper floor of a Haveli or Palace, overlooking a street, market, court or other open spaces. Because of this position, a Jharokha is often used as a pulpit, and the portraits of male rulers are often depicted from such a window in Indian miniature paintings. The concept of work takes reference from existing Indian Mughal miniatures paintings, in which portraits of kings and princes are depicted in architectural settings. I replaces the image of a ruler in Jharokha with a tree. Here, the tree becomes the protagonist acknowledging the plant intelligence and giving voice to the plants. To cultivate the ability to envision flora as regal figures, this work seeks to champion the idea of granting personhood to the botanical world, challenging the prevailing patriarchal attitude towards ecology. This painting reflects on the interconnectedness of nature and humanity, to subvert the traditional attitudes that marginalize the significance of ecological balance. What kind of world would we inhabit if trees were the rulers and kings?

Manjot Kaur, The Portrait of a Tree in a Jharokha (detail), 2025, watercolor, gouache and gold foil on wasli paper, 25 × 30 in. (63.5 × 76.2 cm).

In this painting, a Chthonic Being emerges through the hybrid form of a Yogini embodying the spirit of the endangered blackbuck - a graceful and endangered antelope, embodying both vulnerability and strength. She rides a chariot not made of metal or stone, but of living plants, which takes reference from calotropis gigantea(akk in hindi), dragonfruit vines, acacia, and wild grasses. These are plants rooted in resilience, survival, and connection to arid landscapes. Held in her hands are the exposed roots of a vast and fragile ecosystem. From these roots unfold scenes of cracked desert soil, a blackbuck pair, a waterbody, grasslands, mangrove trees and acacia trees amongst others—echoing the diverse and fragile ecologies of Kutch, one of the regions inhabited by Blackbucks. Rather than presiding over nature from above, this Chthonic Being carries the land with her, nurturing and protecting it as an extension of herself. This work reimagines myth as a living force for ecological justice. It challenges human-centered hierarchies and imagines a world where plants, animals, and landscapes are active participants in their own futures. The painting becomes a call to listen—to the roots, to the soil, and to the forgotten voices of the wild.

Manjot Kaur, Custodians of the Grasslands (detail), 2025, watercolor and gouache on paper, 31³/₈ × 22¹³/₁₆ in. (79.76 × 57.91 cm).

In this painting, a Chthonic Being emerges in symbiosis with the Steppe Eagle—an endangered raptor whose migratory presence ties together vast and threatened habitats. Seated atop a floating orb of leaves and undergrowth, she hovers above a dense green thicket, as if suspended between land and ether. Held in her hands is a massive tree with branches like thread. This tree is made not of a single trunk, but of many smaller trees intertwined, suggesting communal strength and interdependence of trees. Fourteen Steppe Eagles perch on the limbs of the tree. Their weight is bending the tree into an umbrella-like canopy over the Chthonic Being. Together they are forming a gathering space—a convocation in progress. The Chthonic Being herself sits poised in a posture of dialogue, evoking the image of a mediator or advocate preparing to speak on behalf of the birds she represents. The work imagines a speculative council in which eagles gather as beings demanding presence, rights, and recognition. Rooted in the Chthonic Beings series, this painting expands the idea of multispecies governance. It portrays an alternative reality where mythic figures serve as ecological diplomats, holding space for non- human voices to convene, negotiate, and be heard.

Manjot Kaur, The Convocation of Eagles, 2025, watercolor and gouache on paper, 31³/₈ × 22¹³/₁₆ in. (79.76 × 57.91 cm).

In this painting, a Chthonic Being has the head of a critoically endangered bird “Sumatran Ground Cuckoo. She is depicted recling on a cluster of leaves, as if her throne and hovering above the body of water or maybe mountains. She is holding a tree (of life) and is in conversation with a Polymorphous Being. The Polymorphous Being is comprised of the head of Sumatran Ground Cuckoo and various kinds of leaves, fungi, moss, grasses and branches intertwined with each other. The concept of Yoginis and Polymorphous Beings are explained in the above slide.

Manjot Kaur, On the Orb of Leaves (detail), 2025, watercolor and gouache on paper.

Residents from Canada

Élise Lafontaine

Canada

Canada Council for the Arts

2026

Kent Merriman

Canada

Alberta Foundation for the Arts

Studio #213

Heather Nicol

Canada, United States

Canada Council for the Arts

2026