First residency artists for FM[Ai]R 23 on site
Last October, the Curatorial Board of FMR 23 selected four applicants from the open call for the Artists-in-Residence program. The first two of them, TinTin Patrone and Swaeny Nina Kersaan, have now arrived in Linz. They are staying at the Atelierhaus Salzamt, exploring the festival grounds in the coming days and preparing their site-specific works for FMR 23, which will take place in Linz’s southern harbor district from June 6 to 11, 2023.
TinTin Patrone (DE)
Christina Köhler is a German-Filipino composer, musician, actress, film and music producer, painter, performance artist and author. She completed her diploma studies in free art at the Hamburg University of Fine Arts (with Isaac Julian, Asmus Tietchens, Haegue Yang, Matti Braun, among others). Also working as TINTIN PATRONE, she founded the group Krachkisten Orchestra in 2009, the International MusicMotorcycleClub in 2012, and runs various musical and artistic individual projects in parallel. In her artistic work she is especially interested in the connections between music, art, sound and experimental gesture. One focus of her creations lies on the visual elements of music, the tension between conceptual ideas and physical existence. Her performances and installations include elements from musical Concept-Art, Fluxus and social engaged art. Another important inspiration that informs her artistic practice is the culture of associations and clubs. TinTin Patrone often performs with her orchestra or cooperates with other artists and collectives.
Swaeny Nina Kersaan (NL)
Swaeny Nina would jokingly profile herself as a bitterbal (a Dutch meat-based snack) in the Metaverse or a performing proxy AFK. Both are not, truly, representatives of her identity, she, like any other, contains multitudes of them. Swaeny Nina is both a researcher and a creative consultant of digital culture. She’d also classify herself as an avatar artist and visual writer whose practice involves digital media, surveillance, avatars and the commodification of digital self-representation. With her participatory projects and essay (videos and digital-) artworks, Swaeny Nina demonstrates that contending increasingly powerful computed control is critical in ensuring agency over our identities. The basis of her work often lies in counter-theory, but –like her identity– Swaeny Nina is not bound by a specific medium or location. After studying graphic design at GLR in Rotterdam, she graduated from ArtEZ University of the Arts Arnhem and obtained her Masters of Art and Visual Culture at the University of Westminster in London.