In his work ‘Island Shoals’, Brazão investigates Arnis as a former island and brings forward the ambiguous state of islands as both welcoming retreat and an exclusionary escape. Taking nautical charts and navigation marks as inspiration, Brazão’s work shows an abstract version of a shoal buoy — a floating device usually serving to reveal reefs, sandbanks and other hazards. Placed between mainland and the formerly flooded area, which used to define Arnis as an island, it neither allows a clear indication of a hazard nor the direction of safe water.
Hugo Brazão (b. 1989 in Madeira Island, PT) studied at Central Saint Martins in London and Faculdade de Belas Artes in Lisbon. His work develops from the paradox between fiction and reality and the importance of materiality in a world that is increasingly detaching itself from the physical.
In her work ‘A to B Suspended’ Teresa engages with the repetitive operations of Arnis’ cable ferry. Based on the tonality of the engine’s droning as a Csus4 her sound composition reverberates the voices of the local women’s choir and the naval church’s organ. Her sound performance takes place during a last journey of the ferry, however, stopping in the middle of the water and reversing speed before it reaches the other shore. Teresa’s modular and shifting layers interleave the sounds of the ferry and its natural environment, evoke hypnotic sensation and play with the possibility to reverse the perception of time — a shared instant with strangers allows the intimate and public to merge.
Teresa Cos (b. in Latisana, Friuli-Venezia Giulia, IT. Lives in London) studied at the Jan Van Eyck Academy, London College of Communication and University IUAV of Venice. She is an artist exploring the patterns and processes of repetition underlying history, society and human psychology. Her work encompasses film, sound and video installation, visual scoring, experimental music composition and performance.
During their stay, Georgina & Thomas examined the notion of the Klabautermann, a mystical sea creature, as a link between human and nature. In their video projection and live performance the microscopic world of the ship’s kobold is made tangible; technological devices meet myths and rituals — enabling new forms of sensitivity towards complex ecologies.
Georgina Hill (b. 1986, UK) studied at Goldsmiths and University College in London as well as at the University of Fine Arts in Berlin.
Thomas Pellerey Grogan (b. 1991, UK/FR) studied at the Royal College of Art in London and École Cantonale d’Art de Lausanne in Switzerland.
With backgrounds in industrial and speculative design, literature, and documentary, Hill and Grogan have developed a research-based artistic practice, investigating current and future social issues around emerging technologies and the politics of image making.
For their work ‘Sounding the Wake’, Amba & Moad investigate the history and nature of oceanographic measurements. With ‘Instruments of Resonance’ — sculptural devices recording underwater footage that equally absorb and display the effects of their immediate maritime surroundings — they generate a poly-perspectival experience. Audio-visual acts of measurements encounter a socio-historic narrative referring to the history and the ripple effects of surveying the ocean.
Amba Sayal-Bennett (b. 1991 in London, UK) studied at Goldsmiths and The Courtauld Institute of Art in London as well as Oxford University. Her practice explores performative dynamics within human and non-human assemblages with a focus on instruments of measurement.
Moad Musbahi (based in Tripoli/London, LY/UK) studied at the Architectural Association and Royal College of Arts. His work investigates migration as a method for cultural production and political expression, focusing on the social practices and forms of knowledge that it engenders.