Sleeper is an artist, educator, and aspiring technologist whose work weaves through various topics concerning recent technologies, overt activist positions, popular philosophy, and dark comedy. He investigates the ways that these topics overlap for us as we navigate, with limited success, complex political crises through clumsy interfaces, problematic devices, and faulty systems. These investigations arrive for the viewer in the form of inherently interdisciplinary artworks and curatorial experiments, which provoke questions about how we work toward a more desirable collective future, among the machines, atop a planet in crisis.

www.clintsleeper.com.

_absurd-freedom_
Clint Sleeper
2026, HD Video
Drawing on Camus and the inherent frustration emerging from our failure to reconcile a life of reason with a universe otherwise, I write a desperate love {e}mail to (a) tiny_llama or prepare a misguided lecture on the existential underpinnings of a technocratic near future. The frustrations of living a free life are passed on to those who inherit the universe. And until then, we are warmer. *Images and sound (excluding voiceover) from out of date AI libraries running locally.
Developed as an artist in residence at BKN during the summer of 2026 for Small File Media Festival and AI Slop Film Festival.

Common Dreams, AI- REM
Chalet Comellas, Clint Sleeper, Mark Baker
2026, HD Video
Videos from AI generators are stylized and layered with images from Venice (“the city of dreams”) to illustrate and complicate the seven most frequently queried dreams, from which people request interpretations by popular large language models. Further complicated with a poem from Walt Whitman and an original score, the peculiar dreamscapes seem to ponder questions about how much the machines can know about us, or what, if anything, we know about ourselves.
Developed as an artist in residence at BKN during the summer of 2025 for Le Musée d’Art Normal.

Ekaterina Sisfontes is a multidisciplinary artist born in Moscow and based in Sweden since the age of eighteen. She works with conceptual installation, sculpture, photography, and performance, and her practice explores materiality, perception, and embodied experience through precise, research-based artistic frameworks.

Over the past five years, performance has become a central focus of her work, deepening her exploration of presence, vulnerability, and audience interaction.

Alongside her artistic practice, she has curated numerous contemporary art exhibitions and served as chair of the jury for several international art festivals.

She is currently the chairperson of the artist-run collective DUO Contradiction and a board member of BKN Art Residency, where she contributes to programme development and international artistic exchange.

Webpage:www.sisfontes.com

Instagram:@ekaterinasisfontes

Email: info@sisfontes.com

Massugnsbyns brottet, watercolors on paper, 2026

Urgent, News
1.5 x 5 meters, acrylic on canvas

First presented at the LeDocEnScene festival in Montreuil, France, on March 23, 2024.

Since the beginning of the war, I have been consuming the news like a mute witness to the catastrophe, functioning like a retina. My day begins with the ticker of a well-known news source, with a black bar and red and yellow reflections. My day ends by watching this ticker.

If art is capable of creating modalities aimed at cognitive justice, I do not have the possibility of finding such a modality and the capacity to be a citizen. That is why I am taking the first step, by fixing the witness’s position in its maximal consumption. I chose painting as an attempt to slow down, to try to find another space-time for the news. Of course, this attempt was doomed to failure. Even the speed of the canvas’s creation reached indecent values, and for contemporary painting, you can still see wet spots here. I am finishing this text after the opening of the exhibition and I must admit to being astonished by the unusual speed of thought and the images and names that come back to my memory in an attempt to understand my experience.

One of these memories was the name of the exhibition in Paris URGENT PAINTING in 2002, in a new attempt to bring painting back to the news agenda. It was around that time that I began my path in painting and I have never been able to choose anything else, just as I cannot choose other news. Despite the absurdity of reflection through matter and form, I continue compulsively to choose color.

I  am predominantly a landscape painter, using acrylic on hardboard and hardback book covers. I am drawn to the woodlands, copses, plantations and other tree configurations of my surrounding area: Björkhagen, Nackareservatet, Ältafältet but also further afield: Värmland, Skåne, Gotland and my native Scotland also feature in my work. I am interested in our relationship with the woodland and how it has developed: as a source of fuel, a hunting ground, the many symbols, the mystery and memory, and how it continues to affect our collective subconscious.

We are consistently trying to understand what the forest is. I aim to interpret the impression, the experience of landscape without trying to impose a pre-conceived order upon it.I see myself in the modern landscape tradition of Beckmann, Nolde and Kirchner and in Sweden by Åke Pallarp and Hans Viksten.

Webpage: derekmurrayoliver.com

Instagram: @derek_murray_oliver_

Painting on book covers                     

Naomi Nowak is a painter and jewellery designer with a secret sordid past as a graphic novelist (NBM publishing). Her favourite mediums are watercolour, graphite and ink. Jewels are hand carved and cast in sterling silver using old school lost wax technique. She’s all about lo-fi and analogue. 

Her paintings are often detailed and partially in the tradition of turn-of-last-century fairy tale illustration. Other sources of inspiration are surrealism and comics.

Email: naominowak@bjorkokonstnod.se

Instagram: @naominowak

I am a Polish-Swedish artist based in Stockholm with an interdisciplinary practice in which photography, text, and other visual expressions interact. I work with photography, painting, drawing, performance, and video, allowing the medium that best responds to the current investigation to guide the process.

Photographic observations often serve as a point of departure and are further developed through drawing and painting, while performance and text function as reflective and immersive spaces for storytelling. My practice is rooted in autobiography and documentary approaches, revolving around questions of memory, identity, and embodied experience.

In recent years, text has become an integrated and parallel tool in my artistic practice, both as a method and as a primary form. This has led to an in-depth engagement with an autobiographical prose book, in which I explore how visual perception can be translated into literary language.

In this project, I investigate how memories, documentary material, and personal experiences can be woven together into a cohesive prose text. The book will also include newly created drawings as an integrated part of the artistic expression, where text and image interact and shift one another’s meanings.

By starting from the autobiographical, I aim to open up broader questions concerning time, the body, and memory. My practice is characterized by a long-term investigation into how personal experiences can be processed and articulated through different forms of storytelling, which in this project is further developed within a literary format.

Webpage: http://gabriellanovak.com

Email: gabriellanovak@icloud.com

Eva Larsson (born 1964 in Borås). After graduating from Konstfack in 1988, Eva Larsson has been active as an artist. She exhibits regularly in Sweden and internationally and has carried out several public art commissions. Eva’s works express a universal human theme. They often highlight questions of conformity and norms versus freedom and courage. Through body language and gestures, the objects come to life. A space for reflection opens up, where the viewer’s thoughts and memories can be activated.

For the past three years, she has been a member of the board of the Swedish Sculptors’ Association and is currently involved in the association’s 50th anniversary and a nationwide peace project under the theme Sculpture as a Peaceful Instrument. She is represented by the Public Art Agency Sweden as well as in several municipalities, regions, and museums.

Eva Larsson is primarily active in Stockholm but also has workplaces in Roslagen and in India.

mail: info@evalarsson.com

instagram: @Eva Larsson

Facebook: Eva Larsson /Art
Webpage: evalarsson.com

Vär Er! 2026, 2026, linocut print on 120 g Fabriano paper, found object, oak, linoleum

“Often she had left this suitcase in a street corner, on a platform, and when she had moved on there were the words Värj er to be read. A few small words, quickly erased, which appeared again on other stones. Once she had hurried through the streets all night carrying the suitcase (…) Värj er, she had stamped onto the pavement, had blackened the stamp again and again, had left behind this trace of Värj er in the city, barely looking back anymore, as if she wished to be arrested.”
— The Aesthetics of Resistance, Volume 3, Peter Weiss, 1976–81.

The work borrows its title from the two words stamped onto the streets of Berlin by the German resistance fighter Charlotte Bischoff in Peter Weiss’s novel The Aesthetics of Resistance. It refers to a desperate act intended to make someone stop and awaken from their sleep, to defend themselves against madness and to resist. Värj Er is a performative gesture, a bodily act carried out by a precarious body in order to reclaim a space, even if only for a moment before it is erased. To borrow Judith Butler’s words, actions such as this mobilize the space itself, calling upon the sidewalks and animating and organizing the architecture. How do we defend ourselves against the fascism, exploitation, and extractive forces of our present time? Värj Er is the echo of a future past.