Summer Residents 2024
Andrea Celeste La Forgia & Max Fletcher, Linus Bonduelle, Nadine Ghandour & Gweni Llwyd, Thais Akina & Ramón Jiménez Cárdenas and Valerio Conti

01.07.2024 – 31.08.2024

Soupspoon Summer2023 Rib Soupspoon Summer2023 Rib
Midnight Diner, an event by our 2023 summer residents SOUPSPOON Collective. Photo: SOUPSPOON Collective

Congratulations to Andrea Celeste La Forgia & Max Fletcher, Linus Bonduelle, Nadine Ghandour & Gweni Llwyd, Thais Akina & Ramón Jiménez Cárdenas and Valerio Conti for being selected for the 2024 Summer Residency at Rib. A big thank you to CBK Rotterdam for helping us support multiple proposals, enabling reciprocation around shared questions and to modestly reduce the effects of competition inherent in open calls.

We are very happy to see that the residents’ proposals are spinning The Last Terminal in such different and exciting directions. The residency covers the months of July and August and is concluded with a final event organized by the residents in early September.

Andrea Celeste La Forgia and Max Fletcher will focus on children’s literature. They reflect on Jacqueline Rose’ contention that children’s literature as a genre is an impossibility, since it is inherently rooted in adult fantasy. The artists also explore Antonio Gramsci’s fragmented and yet to be fully collated children’s fiction that emerged through a collaborative enterprise with his children while he was imprisoned.

Nadine Ghandour and Gweni Llwyd consider the techno-psychological impediments arbitrating the tragic production of the film Le vent des amoreoux by filmmaker and Risk boardgame inventor Albert Lamorisse. Birds-eye view, landscape as character, “zoom” and alternation between micro and macro, aesthetics of theatrical statecraft and fiction, diplomacy, spectacle and conflict of interest will guide their journey.

Linus Bonduelle, a former intern of Rib, toys with “the fantasy of the manual labourer” turning to mental exercise. Already months into writing on Volume II, Part 4: The Conformist he is drawn to its “apparent insistence on opacity”. Rib is used as a storage for found objects from the neighborhood, lingering as “silent witnesses’” As a vestibule, inviting others. A festive retreat book toasting to À rebours (1884). Rethinking material remains of deceased artists.

Thais Akina and Ramón Jimenez Cárdenas want to reflect on the sonours relations of The Last Terminal, Rib’s exhibition series. Their kickstart are “instrumentos matados” (killed instruments), where the piercing of the object at the moment of the owner’s passing takes away the possibility of sound. Using Rib as their “cave”, they invite composers and sound artists to a public listening activation.

Valerio Conti will explore the apocalypse of the human, which he contends “involves freeing oneself from any identity and subjectivity constraints, to become pure flesh without subject. This is achieved through a pornographic process of materialization that pushes desire to its extremes. Thus, pornography becomes a tool for dissolving the subject turning them into objects devoid of will. This radicalization of desire leads them to abandon human form and delve into the non-human essence of flesh.”