Element.a Element.a project, nomadic experimentation artistic pluridisciplinary Element.a Residency is a non-profit association that proposes to artists of all disciplines to work together for six weeks to create a collective work.

Through this process, we seek to highlight the link between artists, to understand their influences, and to find what unites them in creation. We wish to open up the dialogue to all forms of artistic expressions and to highlight their complicity and their osmosis. Influenced by the experiences of John Cage and Rauschenberg who unveiled the possible bridges between the arts, we open ourselves to transversality. Animated by this desire to go beyond borders, each residence will be in a new territory adding a unique moment to this moment of creation. Thus we go beyond the existing division of art, to give shape to "something else" beyond these disciplines. Chrystèle Moulun Casanova, Art Director and Founder. Element.a Residency est une association à but non lucratif qui propose à cinq artistes de toutes disciplines, de travailler ensemble pendant six semaines, à la création d’une oeuvre collective. Par ce procédé, nous cherchons à mettre en avant le lien entre les artistes en residence, comprendre leurs influences, et trouver ce qui les unis dans la création. Nous souhaitons décloisonner, ouvrir le dialogue à toutes les formes d’expressions artistiques et mettre en valeur leur complicité, et leur osmose. Influencés par les expériences de John Cage et Rauschenberg qui ont dévoilé les ponts possibles entre les arts, nous nous ouvrons à la transversalité. Animés par ce souci de dépassement des frontières et de mélange des univers, chaque résidence se fera dans un territoire nouveau ajoutant un moment unique à ce moment de création. Ainsi nous allons au-delà de l’existante division de l’art, pour donner forme à « autre chose » situé au-delà de ces disciplines. Chrystèle Moulun Casanova, Directrice artistique

Mission: Cherche à matérialiser le lien qui unit les différentes expressions de la création.

New song alert! Ah! Kosmos & Melike Şahin! Original Artwork by Burcu Karademir

New song alert! Ah! Kosmos & Melike Şahin!
Original Artwork by Burcu Karademir

Melike Şahin’le yeni şarkımız UKDE geliyor! Gulbaba Records

Kapağımızı hayal eden, çeken işleyen göz Burcu Karademir

Pre-save: http://smarturl.it/953iud

New song alert! This friday with Melike Şahin!
Our artwork is imagined and done by Burcu Karademir

Laure Catugier EA.3 Artist in residency with an• other here in Berlin

Laure Catugier EA.3 Artist in residency with an• other here in Berlin

First bath in Schlachtensee with @laure_catugier @anotherhere.residency #anotherhereresidency #berlin #schlachtensee #laurecatugier #visualartist #bath #art #residency 💦

Art Seen - Contemporary Art Projects & Editions

Art Seen - Contemporary Art Projects & Editions

👉To ensure the safety of our fellow citizens, Art Seen will be temporarily closed due to the current situation regarding COVID-19.

Please do not hesitate to contact us with any inquiries at [email protected] or call us at +357 22006624 and please do refer to our website, online-shop, Facebook and Instagram.

We will keep you updated and wish you all good health.

We look forward to re-opening @artseen_contemporary gallery in the near future and welcoming you soon!

#STAYhome #STAYsafe #contemporaryart #artseen #artseengallery #artseenprojects #artseenartists #collectingcontemporaryart #artlover #cyprusart #nicosia #cyprus

📸Image: Detail from the current solo exhibition @vickypericleous #TheIdleFountain
| curated by #MariaStathi | the exhibition will be extended, dates to be announced soon.

Art Seen - Contemporary Art Projects & Editions

Art Seen - Contemporary Art Projects & Editions

💥’Anti-model for a Future’, 2020
Fiberglass, fake gypsum, fake mosaic
140 x 197 x 60 cm

#TheIdleFountain @vickypericleous #soloexhibition | curated by #mariastathi @artseen_contemporary

>The exhibition continues until the 10th of April. 👉 Visiting hours Mon, Wed, Frid 15:30 - 19:00 or any time by appointment +357 22006624

Photo by #nicoslouca

#artseen #artseengallery #artseenprojects #vickypericleous #contemporaryart #coceptualart #installations #ceramics #video #sculpture #art #contemporaryartist #collectingart #contemporarycurator #mariastathi #artseenartists #nicosia #cyprus

In Cyprus !

In Cyprus !

💥🙏🌟Thanks to everyone who came to the #TheIdleFountain #soloexhibition by Vicky Pericleous#VickyPericleous 👏 full house last night ⚡️this is a show not be missed!⚡️

>The exhibition continues until the 10th of April. @artseen_contemporary Mon, Wed, Frid 15:30 - 19:00 or any time by appointment +357 22006624

~The exhibition highlights a series of tensions between narratives and contexts, while moving, neither back nor forth, looking neither near nor far, but simultaneously, in images, spaces and sites in and beyond the gallery space. Producing an overlapping of variant scenarios –and proximities– that could, or not, extend in and out of each work. These spatio-temporal acts set up a suggestive system of mobility across spaces and temporalities, as in a meta-geographical approach. The exhibition examines not only these spaces and their representation, but also the space(s) produced between them.~

#artseen #artseengallery #artseenprojects #vickypericleous #contemporaryart #coceptualart #installations #ceramics #video #sculpture #art #contemporaryartist #collectingart #contemporarycurator #mariastathi #artseenartists #nicosia #cyprus @ Art Seen - Contemporary Art Projects & Editions

Art Seen - Contemporary Art Projects & Editions

Art Seen - Contemporary Art Projects & Editions

‘Attempts to Escape’ ⚡️ Opening on the 27th of March 2019

Participating artists: ’ Spyros Anastasiou (CY) @spyrtos1 , David J. Batchelor (UK) @batch123 , Aikaterini Gegisian (GR) @aikaterini_gegisian , Eva Marathaki (GR) @evamarathaki , Kyriakos Kallis (CY), Phanos Kyriacou (CY) @phanos.kyriacou , Vicky Pericleous (CY), Société Réaliste (FR) @ferencgrof , Georgia Sagri (GR) @georgiasagri , Maria Theodoraki (GR) #mariatheodoraki , Diana Taylor (UK) @dianataylorartist , Mark Wallinger (UK) #markwallinger .

#artseen #groupexhibition #attemptstoescape #artseengallery #artseenprojects #art #contemporaryart #conceptualart #sculpture #video #installation #collage #photography #artexhibition #contemporarycurator #mariastathi #artseenartists #collectart #instanart #nicosia #cyprus

Art Seen - Contemporary Art Projects & Editions

Art Seen - Contemporary Art Projects & Editions

⚡️Installing Kyriakos Kallis ‘Colonies’, 2019, site specific installation⚡️Attempts to Escape’ 💥opening 🔜🔜🔜 27th of March 2019

Participating artists: ’ Spyros Anastasiou (CY) @spyrtos1 , David J. Batchelor (UK) @batch123 , Aikaterini Gegisian (GR) @aikaterini_gegisian , Eva Marathaki (GR) @evamarathaki , Kyriakos Kallis (CY) #kyriakoskallis , Phanos Kyriacou (CY) @phanos.kyriacou , Vicky Pericleous (CY), Société Réaliste (FR) @ferencgrof , Georgia Sagri (GR) @georgiasagri , Maria Theodoraki (GR) #mariatheodoraki , Diana Taylor (UK) @dianataylorartist , Mark Wallinger (UK) #markwallinger .

#artseen #groupexhibition #attemptstoescape #artseengallery #artseenprojects #art #contemporaryart #conceptualart #sculpture #video #installation #collage #photography #artexhibition #contemporarycurator #mariastathi #artseenartists #collectart #instanart #nicosia #cyprus

EA.3 BERLIN 2018 / HAUSORDNUNGSTOPIA / Performance (extract)

HAUSORDNUNGSTOPIA performance by Marta Antinucci , Laure Catugier, Nathalie Novain, Aleks Slota and Marie Takahashi For EA.3 BERLIN 2018.

Element.a Project is a non-profit association that proposes to artists of all disciplines to work together for six weeks to create a collective work. Through...

Sylvia Nicolaides in the Berlinale Talents

Sylvia Nicolaides in the Berlinale Talents

Ready for some wall-to-wall talent? Meet our class of 2019! Culturally and artistically diverse, these 250 filmmakers from 77 countries have a lot to share with the world, whether through community activism, sustainable production or alternative distribution forms. And well over half of them are women.

Browse through their profiles and explore their fascinating array of projects here! 👉 bit.ly/BTClassOf2019

Photo: Participants Lina Roessler & Maya Postepski at last year's Talents Circles © David Ausserhofer, Berlinale Talents 2018

Laure Catugier At Binnar

Laure Catugier At Binnar

MARA:TONE, vários artistas
17 Nov. // MOSTEIRO DE ARNOSO (STA. EULÁLIA) 15h-19h30
Entrada livre

- - -

MARA:TONE é uma série de vídeos de diferentes proveniências e vontades, agrupados na liberdade dos sentimentos e das urgências, tenham eles ou não por base de criação a ausência dessa mesma liberdade. O corpo viaja pela performance, arquitectura, empatia, sonho e perda. E nessa viagem chega a ser um não-corpo.

Palavras-chave: Eu e o outro. Nós e o mundo. Eu e a natureza. A noção de fronteira, física, espiritual, mental, moral. Relação com o tempo. Relação com os objectos, com o que eles carregam para o indivíduo e as sociedades. Relação com o quotidiano.



EVANESCENT (THE DISSIPATION OF MEMORY) » In Evanescent or (The Dissipation of Memory) I set out to construct a mound of sand that stands equal to my height. In creating the work I set out to explore themes such as memory, passage of time, and death. The performance originated as I began to concern myself with the idea that the deterioration of memory, like many facets of nature, is unavoidable. I was particularly interested in the notion that by losing memories of those who have died, that their identity too vanishes. The sand sculpture serves as representation of these memories and their fragility.
As I erect the sculpture I repeatedly see it crumble, forcing me to revisit parts I had already built. Further complicating my task are the waves that are constantly eroding the sand as the water pushes and pulls at the sculpture’s base. The division of the structure into handfuls of sand speaks to our nature of pulling memories to construct lives. Eventually though the sculpture as a whole will wither away and become indistinguishable from the sand surrounding it. This unavoidable fate mirrors how we too must succumb to elements of time and nature.

TAKING DOWN THE POLE THAT KILLED MY BROTHER » The performative work Taking Down the Pole that Killed My Brother is a video documented performance in which I allow myself to enter the narrative of my brother’s death. In the video I have tied a rope around a wooden telephone pole; the structure standing in for the pole my brother’s car crashed into during his fatal accident. I begin to pull on the rope, attempting to take the pole down, committing myself to using all of my strength. As the video progresses I begin resorting to many variations in which I can pull as I search for nonexistent method in which I could actually remove the pole. Similar to other performative works I have done, this video contains themes of futility, endurance, and the act of failure. In the video I continue to attempt to take down the pole for approximately ten minutes, repeatedly attempting an impossible act. Despite the many ways I try and the amount of strength I exert there exist no possible way to redeem his death and allow myself a victory.



FEET » “Feet” approaches control, discipline and placement of the body. By splitting a series of movements in half, the figure becomes two distinct parts; their connection is questioned, but reliance amplified. Despite the attempt to separate, one part acts and the other must follow. The whole remains inescapably linked.
Christina Gednalske uses various mediums – video, performance, photography, painting, and writing – to examine presence through body, memory, and place.


// ZIAD NAITADDI (Marrocos)

DAJAR » As a photographer coming from cinema, I can consider this project as a second episode of my first project about Morocco, which titled «PHOTOGRAMMES FROM MOROCCO». This time, the main idea is to explore the soul of my country but inside daily life of a family and by different point of views of characters from different generations. Trying again to express photographically these moments of life which are very dark and seem temporary but to express deeply an eternal state of human soul of photographed characters.



CONSTELLATION » Un ours au jardin des plantes. Un ours hors du monde. / A bear at the zoo. A bear out of the world.


// KAME (Kosovo, Suíça)

VACUUM POINT » Concept Try to touch the: Point, argument, space, proof, score, clause, drop, spot, dot, issue, matter, question, subject, affair, sense, understanding, meaning, significance, comprehension, place, country, seat, nation, location, purpose, aim, goal, scope, view, comma, attribute, peculiarity, virtue, character, top, tip, peak, pinnacle, summit, feature, trait, attribute, character, facet, moment, instant, hour, minute, jiffy, rate, scale, staircase, degree, level, point, detail, subtlety, specification, particularity, point, daintiness, essence, crux, core, substance, heart, point!


// MILAN ZULIC (Sérvia)

CIRCLE OF LIFE » “Circle of life” is my old grandma’s lace which I did unlaced, part by part, and each part of the lace scanned to make them, digitally in a moving line and make from it a new lace, but with a new technology. This is a story of my contact with my ancestors, and the circle of life of each of us.


// ŞINASI GÜNEŞ (Turquia)

ANATOLIA » In the video-work Anatolia, acts of covering and wrapping are not personalised. Cultural layers of the past do not reach as far as the cultural diversity of the region of Anatolia. The covering of the model here is gestural. However, different social roles are questioned to point to the feminine in this work. The concept for the video-work refers to the issues of taboo and privacy in addition to the cultural diversity of Anatolia itself. The feminine role which appears in social performances in society is overlapping with the covering of the model in the film. For example: employed woman, woman in the home, the woman next to her husband etc. They show the psychology of regional wrapping. The film emphasis notonly social strangulation but also that women have been converted into cultural objects. Especially, woman’s freedom… In addition to being related to the region of Anatolia, it is a visual feast on on the diversity of traditions.



UNTITLED, A MEDITATION » Shylah Pacheco Hamilton (born in Kokomo, Indiana, 1976) is an interdisciplinary filmmaker and writer. As a devotee of Oshun, Shylah is a member of Ile Orunmila Oshun under the tutelage of Chief Yeye Luisah Teish Iyanifa Oshun Miwa Fajembola Fatunmise. Her academic research and creative practices meet at the crossroads of digital diaspora and visual culture. Her body of work consists of a string of conversations about racialized and gendered diasporic identity, ecstasy and agony, and home and belonging through the eyes of the ancestors, warriors, priestesses, and healers who walk among us.



LATITUD/LATITUDE » Once my body turned into a mountain range. When I saw it, it was pretty obvious this situation was going on for quite some time now, is just that I hadn’t noticed before. Through my artistic practice, I explore the relation between the body and the landscape in how our understanding of one is affecting and reflecting on the way we understand the other; through our bodies, we map the world. The piece “latitud/latitude” is a visual poem around the limits in the sky, how we understand this spherical mantle that surrounds all of the Earth, at the same time that reflects on how the only way to naturally read a piece of sky is through the clouds.


// NADA HASAN (Egipto)

ROOM AT REGION (X) » Inspired by verbatim poems composed by Juliana Mensah, Room At Region (X) is an experimental fiction video work by Nada Hassan and fictional adaptation based on my personal experience of detention and archived anonymous testimonials of human rights defenders and people who survived being abducted and held in solitary confinement. Throughout the film, a female voice narrates a subtly cynical monologue of a woman living under an intensive surveillance system. The film tackles the concept of space, both in it’s physical and virtual meaning: “room” refers to the virtual space of her mind experiencing a post traumatic response after having been physically isolated in a solitary confinement cell. In a rush of emotions, she rediscovers the paradoxical notions of exhaustion, anger, fear and courage, duty and insecurity, affection and isolation.


// NARA WALKER (Austrália)

SILENT SCREAM » Relating social issues directly back to personal influences. Nara harnesses the intimate dialogue of the subconscious mind and physical body depicted in black and white imagery in the video piece Silent Scream. The work encapsulates raw feelings towards an ongoing struggle between the inner angst and continuous conversation within the mind of a victim of domestic violence. As new images erupt viewers are invited to become immersed into a space where words are unspoken and the story is visually depicted. Reflecting on the subject of silent women and the enforcement of passivity within society. The work was created by Nara as a process to engage the audience with conversations regarding Domestic Violence and Abuse. Empowering the voice of women to be heard.
"I am an expressionist creator in the field of art. Exploring the physically of the body, self-censorship and imagination. My work resonates the abstract body and the unconscious mind at play. I paint, draw, mix mediums and perform. The lust to create is driven by my need to move and display the relationship between my inner world in dialogue with exterior impacts .Familiar forms of the body and reflections of self are depicted within my visual work. My performances engage memory, my body and the medium to become the vessel to portray unspoken experiences as unfolding stories.”



GRANDMOTHER IN A BOAT » In my practice I work in various media while tackling issues within photography and documentary theory. I am interested in the parallel world created by photography and documentary narratives. While any still or moving image puts forth a truth, I am fascinated by the ways in which we interact with them and bend the truth to conform to our preconceived ideas.
In my video works I have been interested in the way we remember the past and how our methods for remembering affect that very past. Up to now I have utilised photographs and spoken accounts, which both refer back and forth between the past and the present – creating connections between the events depicted and the method of their depiction, which we utilise to understand the events. Since my video works have all looked at events from the first half of the 20th century, I have been interested in re-contextualising the narratives with present day issues, such as contrasting the thousands of Estonian refugees, who escaped Europe in 1944 with the current refugee crisis in Europe.


// DEMSAM: Elizaveta Ostapenko, Daria Kochetkova, Anastasia Prakhova, Marina Shtyk (Rússia)

» This film is a drawing, which constitutes a report of our time about what is a modern ruin. It tells a new story, with diluted information in all the fairness, but with empathy and respect for something which, managed to create a small joyful refuge for some people in the not-so-distant past.
As the first appearances show, it is hard to imagine what relationship Beethoven’s Bagatelle 25 has with Polushkino (80 km away from Moscow, Russia) where this film was shot. However, with a little research one can discover that the last function of the depicted ruined building was a recreational holiday children’s camp during the last years of the Soviet Union. The building is now abandoned and left in a Romantic ruined state. Like most of the ruins, it is an invitation for reflections, as we, as humans often react to the aesthetics of decay and dilapidation with profound feelings.
The way the architectural space is explored and shown as well as the presence of the ball is derived from the Soviet toy “Labyrinth cube”, where a ball exists and moves in the restricted space. Beethoven’s Bagatelle 25 was found on location in the form of a broken music box, as a forensic testimony of a noisy and vivacious time in the near past. The cartoon fragments were also found on the location and used as visual offerings from the same period. These elements are now limping shy in the present due to the effects of time and the human contaminations. The title itself also tries to be suggestive bringing everything at an urgent present tense and contributes to the open interpretations possibilities of the film.


BLANK » Coming from an architecture background my work is based on its codes that I misappropriate, with the aim of bringing a new focus on the norms of measurement. My practice consists mostly of photography, video, sculpture, and sound performance in which I experiment with the geometry in space. Echos in a space, shadows on a facade, melodies produced by construction elements: the resulting forms I obtain give shape to the immaterial.
To explore the relationships between
space, image & sound
To question /
the occupation of space
the occupation of emptiness
the occupation of whiteness
To put oneself in an architect´s skin /
to mesure, draw, arrange, create, elevate,
To erect abstract forms that are /
spatially volumetric
acoustically volumetric
To play /
with the viewing angles: plan, elevation,
axonometric, and isometric projection
with the spatial orientation benchmarks XYZ
with the limits of the frame: ceiling, walls, floor
To investigate /
the cityscape
the sound landscape
the mental landscape


// YEH, YILI (Taiwan)

LA RÉUNION - THE ISLAND AND THE ISLAND INDUSTRY » “La Réunion - the island and island industry” is the artwork I created during my 2011 artist-in-residence project at Réunion, on the west Indian Ocean and as a part of Madagascar under Austronesia. Réunion, sharing similar colonial history as Taiwan has, is an oversea region of France and has very diverse cultures as other Austronesia islands have. On this island, there are muslin Arabians, Indians, French, Hakka from China Guangdong, China, and Creole people. In this artwork, I fight with a Creole and an Indian at Salazie, a beautiful valley where people hided during war time as well as the “last holy land” in my eye, which symbolizes the wars of colonial era. I also play Chinese ribbons in front of French style building and mosque to indicate the fusion among multi-cultures. Extending from my consisting creational style, I create the “La Réunion - the island and island industry” project with performance and video art.



// TACTUAL INTEREST » In Tactual Interest we are following the production line of how cybernetic eggs are refined at Cream Crest Corp. Through a whimsical path of different stations, the eggs are processed into t-shirts. Some of them gets priced to be have a greater value while some of them end up as textile scrap.
The everyday schedule of the factory is rigid and with high speed. Even though the prominent presence of technical machines – the human hand is of great importance. Each touch adds value to the product.
What happens though when the system itself implies a policing agent to the persons whom are working there? Is a structured day and becoming a robot as close to bliss one could come? Can swiping your feed be the outermost rebellion to the problem with work? Smear yourself with green goo, take a bite of blue bao bread and then get stuck in the circuit.
Soundtrack by MISSMOTOR , Choreography by Emelie Markgren


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