hybrida.space is an art/curatorial initiative launched by artists Giorgos Tsiongas (GR) & Joar Torbiörnsson (SE) in 2021, focusing on creating virtual/physical ground & open-ended curatorial frameworks, where artists can develop and show new work.
They see a growing need for art practitioners to engage in an open, playful, transparent, and non-hierarchical exchange with one another, and to create fluid boundaries between different roles such as curators, organisers, and audience. As hybrida.space, they are seeking ways to facilitate this need by bringing creative individuals together and creating constellations, in which artistic freedom and experimentation are key components. Hence, their working logic follows the path of a curatorial and artistic experiment: a wager pushing the boundaries of what really makes a residency plan or an art exhibition. They are motivated by the question: how can one generate and sustain experimental ways of working in the art field?
As an artist-driven initiative, they strive to offer the opportunity for peers in different stages of their careers to connect and to develop work under the following beneficial circumstances: they are given the freedom to experiment and an opportunity to create and display their work in an alternative context. Moreover, they get a chance to expand their (international) network and open up to new audiences. They also believe that artists should always receive fair pay for their work.
They favor an open and experimental approach in regard to curation, collaboration, and making exhibitions. One that is all-inclusive in terms of medium, mode of production, nationality, gender, and ideology. They endorse collaborations based on mutual respect and meaningful exchange, starting from the common drive to create and reflect.
A final group exhibition that will be open to the public for 2 weeks.
There will be a varied setup of electrical and handheld tools available on site. For what can’t be made on-site, there is a possibility to use professional workshops in the nearest city (Karlstad, 40 minutes drive). The area covers 300.000m² and they have access to a large two-story garage and the natural environment in the area, for the purpose of making and showing work.
The housing standards are basic and unrenovated, regarding state and comfort. The specifics of the residency in the village of Älvsbacka (which has about 50 inhabitants) include buildings that serve as accommodation, working, and exhibition space. There is a housing unit where every participant will have their own room, bed, desk, and chair.
They have eight open spots for the residency period for 2023. Four of them are reserved for artists from the following Nordic countries: Denmark, Finland, the Faroe Islands, Greenland, Iceland, Norway, Åland, Estonia, Latvia, and Lithuania. International artists residing in these countries are also eligible. The remaining four places are for artists from any country, including Sweden.
The residency period is taking place from the 22nd of May and lasts until the 23d of July. It also includes a few online meetings before the official start in May. The dates may be subject to change.
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 she participated with still-life paintings of flowers in exhibitions at the Royal art academy. The estate contained a prominent art collection with works from Rembrandt, Tizian, and van Dyck.
In the late 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 young boys. Parts of it were burnt down by some of these inmates in 1915. 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 a few times. 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. During the last year, the estate has been bought and restoration has begun.
The larger district of Älvsbacka spreads out over a surface of 70.000km² and has around 270 permanent inhabitants.
The closest town with a supermarket is 15 minutes by car
Closest city: 45 minutes by car