{"id":8978,"date":"2026-09-14T10:48:52","date_gmt":"2026-09-14T13:48:52","guid":{"rendered":"https:\/\/sacatar.org\/histories-of-movement-and-metamorphosis\/"},"modified":"2026-09-15T11:39:11","modified_gmt":"2026-09-15T14:39:11","slug":"histories-of-movement-and-metamorphosis","status":"publish","type":"post","link":"https:\/\/sacatar.org\/en\/histories-of-movement-and-metamorphosis\/","title":{"rendered":"HISTORIES OF MOVEMENT AND METAMORPHOSIS"},"content":{"rendered":"\n

Even though the six artists arriving for Sacatar\u2019s fourth residency session of the year come from different countries and engage with different themes and creative disciplines, transformation seems to be a common thread in their practices.<\/p>\n\n\n\n

How movement turns into music, how a territory changes its name, how displacement shapes one\u2019s experience. In a world of overlapping crises, these artists are looking at change, becoming, and reclaiming. <\/p>\n\n\n\n

French visual artist Claude Eigan<\/strong>, who arrives at Sacatar through a partnership with La Friche la Belle de Mai (Marseille), looks at metamorphoses in oceanic life to challenge binary understandings of living organisms;<\/p>\n\n\n\n

Amongst his many endeavors, Swedish artist, curator, and collector Jonas Liver\u00f6d<\/strong> researches the relationship between altered states and creativity, as well as funerary and death rites;<\/p>\n\n\n\n

The work of Brazilian multidisciplinary artist Laila Garroni<\/strong> is informed by her own experience of being constantly on the move, the broader context of the African diaspora, and themes of migration and displacement;<\/p>\n\n\n\n

Greek dancer Marianna Sfyridi<\/strong> is based in the UK and develops a practice that connects dance, Capoeira, and rituals, with a focus on migration, ecology, and collective knowledge;<\/p>\n\n\n\n

Bahian visual artist and filmmaker Raiz Rozados<\/strong> arrives at Sacatar with support from SECULT-BA. She aims to recreate the map of Kirimur\u00ea (the Tupinamb\u00e1 name for the Bay of All Saints) from a countercolonial perspective; <\/p>\n\n\n\n

South Korean-born, Netherlands-based composer Seung-Won Oh<\/strong> joins the session through Sacatar\u2019s cross-residency partnership with MacDowell. At Sacatar, she\u2019ll look at how percussionists\u2019 movements can inform dancers, and how the sounds of dancers\u2019 movements can be incorporated into compositions. <\/p>\n\n\n\n

These artists will be in residence at Sacatar from September 14 to November 16, 2026.<\/strong><\/p>\n\n\n\n

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Photo Credit: Alexandre Morvan<\/figcaption><\/figure>\n\n\n\n

CLAUDE EIGAN<\/strong>
Visual Arts
France<\/strong>
In partnership with Friche la Belle de Mai and Villa Fatumbi<\/em><\/p>\n\n\n\n

Claude Eigan (b. 1983, Saint-Germain-en-Laye, France) lives and works in Marseille. His sculptural and installation-based practice explores non-normative bodies, their vulnerabilities, and the spaces they inhabit and transform. Rooted in queer experience and informed by science fiction, his work alters everyday objects by manipulating their scale and incorporating bodily elements to disrupt their familiarity, through a process he describes as \u201cdigestion\u201d. <\/p>\n\n\n\n

During his residency at Sacatar, Claude will expand his ongoing sculptural research into metamorphosis, drawing inspiration from marine life and its changing forms, which challenge binary understandings of bodies and living organisms. Through drawing, clay sculpture, and direct observation of Bahia\u2019s coastal environment, his research will remain open to the influence of the island\u2019s landscapes, biodiversity, and exchanges with fellow residents. <\/p>\n\n\n\n

Claude\u2019s work has been exhibited at Triangle-Ast\u00e9rides in Marseille; Zach\u0119ta National Gallery in Warsaw; Gallery Klemm\u2019s in Berlin; Maison Populaire in Montreuil; AB7 Athens Biennale; Bangkok Biennale; Artemis Fontana in Paris; Sophie Tappeiner in Vienna; and Horse and Pony Fine Arts in Berlin.<\/p>\n\n\n\n

This residency is part of a partnership between Sacatar and Friche la Belle de Mai, in Marseille. Through this partnership, Sacatar will host Claude Eigan (a Friche Fellow), and Friche la Belle de Mai will host Bahian artist Alex Oliveira (a Sacatar Fellow).<\/p>\n\n\n\n

This partnership is supported by Villa Fatumbi and the French Embassy. More information on this partnership here<\/a><\/strong>.<\/p>\n\n\n\n

In partnership with<\/p>\n\n\n\n

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Claude Eigan
Inner Saboteur<\/em>
Wood, plaster, resin, paint, varnish
Variable dimensions
2022
Photo credit: Filip Preis<\/figcaption><\/figure>\n\n\n\n
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Photo credit: David Eng<\/figcaption><\/figure>\n\n\n\n

JONAS LIVER\u00d6D
Visual Arts
Sweden<\/strong><\/p>\n\n\n\n

Jonas Liver\u00f6d is a Swedish artist, curator, and collector. His practice moves freely between sculpture, text, collections, lectures, and clothing. Working in the intersection of cultural history and visual arts, he uses a \u201ccollage approach\u201d to collect, curate, archive, combine, and compile ideas, texts, situations, stories, objects, and images. <\/p>\n\n\n\n

Current projects include a research project on historic graffiti, a mechanical miniature model of Dante\u2019s Inferno<\/em>, a permanent public artwork in the form of a sculptural pavilion, experimental camps and classes with students, a major museum show of his sculptures, as well as collecting materials on creativity and altered states of consciousness for his online archive, Otherworldly<\/em>.<\/p>\n\n\n\n

His home in Sweden also functions as an eclectic cultural hub that hosts studios, a public library, events, and residencies. It also hosts two museums: the Liver\u00f6d Wunderkammer<\/em>, a museum dedicated to the wondrous, and the Vanitas Pavilion<\/em>, a lively museum on death and funeral culture. <\/p>\n\n\n\n

Jonas regularly collaborates with art institutions in Sweden and abroad, most recently with a major exhibition at the R\u00f6hska Museum in Gothenburg. Liver\u00f6d\u2019s latest book, Grand Assembly: An Encyclopedic Inventory, is an artistic encyclopedia. <\/p>\n\n\n\n

In Bahia, he intends to explore several topics, amongst which are the lambe-lambe theatre (which relates to his work with miniatures and puppetry) and the history of psychiatry and art in Brazil.<\/p>\n\n\n\n

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The Vanitas Pavillion, Liver\u00f6d\u2019s own museum of death and funeral culture in Sweden. The museum includes a public library of death and funeral literature, as well as a residency. <\/figcaption><\/figure>\n\n\n\n
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Photo Credit: Luiza Castro<\/figcaption><\/figure>\n\n\n\n

LAILA GARRONI<\/strong>
Literature
Brazil<\/strong><\/p>\n\n\n\n

Laila Garroni is a multidisciplinary artist with degrees in Journalism from PUC-RS and Theater from the Stella Adler Studio in New York. She works across audiovisual media, literature, and theater. In 2024, she received the Carolina Maria de Jesus Prize for Literature. As an actress, screenwriter, and creator, she has produced films, theater, and audiovisual projects in Brazil and New York, including Filhos da Liberdade<\/em> (Amazon Prime) and Calidris<\/em>, a feature film selected for the Munich Film Festival. <\/p>\n\n\n\n

As a Black woman in the diaspora, born in southern Brazil and constantly on the move, Laila draws on experiences of discomfort and inspiration, which she explores through art by celebrating or demystifying them. Black affect and the legacy of African cosmology inform these investigations. Her practice involves creating scenarios that make visible and accessible what she describes as the fertile paths she creates for herself. <\/p>\n\n\n\n

During her residency, Laila plans to complete her book Quando o Furac\u00e3o te Leva para Casa (When the Hurricane Takes You Home)<\/em>, focusing on its final chapter. She will explore different literary genres in search of a form that complements the first part of the book, which recounts her journey of self-discovery, exile, and healing following a nervous breakdown during the COVID-19 pandemic and the protests over the death of George Floyd in New York City, where she was living at the time. <\/p>\n\n\n\n

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Casting for the feature film Malick<\/em>, which tells the story of a Senegalese immigrant who is a victim of human trafficking and is trying to adapt and rebuild his life in Porto Alegre (RS). Photo credit: Luiz Ferreirah <\/figcaption><\/figure>\n\n\n\n
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Photo Credit: Miftin Al-Haddithi<\/figcaption><\/figure>\n\n\n\n

MARIANNA SFYRIDI<\/strong>
Multidisciplinary Arts
Greece > UK<\/strong><\/p>\n\n\n\n

Marianna Sfyridi is a Greek dancer and choreographer. With a background in Pharmacy and physical theater, her work spans dance, performance, and capoeira. Marianna\u2019s work often takes place in nontraditional spaces and is informed by an anticolonial and nonhierarchical approach. <\/p>\n\n\n\n

Originally from a Greek island centered around a fishing community, she studied dance in Greece, Brazil, and the United Kingdom, including at The Place in London. Her doctoral research at the University of the Arts London examines how the microcosm\u2014and, in particular, soil bacteria\u2014can act as spatial choreographers of human beings. That research includes fieldwork in Brazil focused on dance anthropology and the relationship between Greek folk dance and Capoeira. She frequently teaches and choreographs inclusive groups, addressing themes of migration, ecology, and collective knowledge systems. <\/p>\n\n\n\n

Marianna\u2019s focus on migration, belonging, and collective memory culminated in NOSTOS: Migrating Bodies, Migrating Dances<\/em>, a short documentary and performance-based research project developed through fieldwork across Europe and Brazil. The project examined how movement practices travel, adapt, and persist across cultures. <\/p>\n\n\n\n

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NOSTOS Migrating Bodies, Migrating Dances <\/em>
short film still, 2023,
Photo credit: Marianna Sfyridi<\/figcaption><\/figure>\n\n\n\n
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Photo Credit: Laryssa Machada<\/figcaption><\/figure>\n\n\n\n

RAIZ ROZADOS
Multidisciplinary Arts
Brazil<\/strong>
In partnership with SECULT<\/em><\/p>\n\n\n\n

Raiz Rozados is a visual artist, filmmaker, and Indigenous artist involved in the Pindorama indigenous reclamation movement. She works across film, photography, painting, ceramics, and ritual performance. In film, Raiz directs hybrid works that combine documentary, fiction, video art, and ritual. In painting, she conducts ongoing research into geopaints and handmade watercolors, guided by a poetic approach to depicting people and territory using earth. <\/p>\n\n\n\n

Bringing together Indigenous, Afro-diasporic, and mestizo ancestral technologies, Raiz Rozados\u2019 work connects memory, territory, and popular struggles. She aims to use art as a form of provocation, a path toward healing, and a vehicle for visionary fiction. Raiz has been a Fellow at Afrotonizar, Tipiti, and Mulher Territ\u00f3rio residencies, and her work has been shown in festivals including Panorama, Z\u00f3zimo Bulbul, and Guarnic\u00ea. She is also a member of the multidisciplinary nomadic platform Balsa and collaborates with Ateli\u00ea Mukambu. <\/p>\n\n\n\n

At Sacatar, she seeks to renew connections between art, territory, and ancestry in Kirimur\u00ea (the name given by the Tupinamb\u00e1 people to the Bay of All Saints). Drawing from historical, cosmogonic, and narrative research with the Tupinamb\u00e1, she plans to collect pigments, create ceramics, and produce geopaints for an installation that recreates a map of Kirimur\u00ea from a countercolonial perspective. To do so, she hopes to draw from memories of quilombos and settlements, challenging capitalist conceptions of landscape, and creating a living, continually evolving cartography. <\/p>\n\n\n\n

In partnership with<\/p>\n\n\n\n

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<\/div>\n\n\n\n
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Pindorama Matriarchal Flag<\/em>
Raiz Rozados
Painting with clay and annatto on 300 mg Canson paper
42 x 59.4 cm<\/figcaption><\/figure>\n\n\n\n
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Photo Credit: Alex Schr\u00f6der<\/figcaption><\/figure>\n\n\n\n

SEUNG-WON OH<\/strong>
Music
South Korea > Netherlands<\/strong>
In partnership with MacDowell<\/em><\/p>\n\n\n\n

Seung-Won Oh is a Korean-born, Netherlands-based composer whose music combines the rigor and imagination of contemporary art music with ritual and theatrical dimensions. Educated in South Korea, the United States, and the Netherlands, she has developed an artistic practice that moves between sonic, theatrical, and ritual forms of expression, balancing intellectual inquiry with visceral expressivity. Recent highlights include Spiri III: Sacred Ritual<\/em>, commissioned by the Royal Concertgebouw Orchestra, and YeonDo<\/em>, a theatrical requiem commissioned by November Music that received the Kees van Baaren Prize. <\/p>\n\n\n\n

Seung-Won explores ritual, resonance, and large-scale musical form through orchestral, chamber, and interdisciplinary performance. Informed by architectural thinking, spatial imagination, and the physical presence of performers, her work frequently integrates theatrical and ritual elements. <\/p>\n\n\n\n

During her residency at Sacatar, she aims to develop an interdisciplinary percussion, dance, and theater work that explores the generative relationship between the movements of percussionists and the sounds produced by dancers. Bringing performers into a shared performance ecology, she hopes to examine how the physical actions of percussionists can become choreographic material, while sounds generated through dancers\u2019 bodily gestures and contact with the floor feed into the musical fabric. <\/p>\n\n\n\n

Seung-Won Oh is the first artist to arrive at Sacatar as part of the Sacatar-MacDowell partnership, which creates opportunities for former Fellows of each institution to undertake a residency at the other. More information about the Sacatar-MacDowell partnership here<\/a><\/strong>.<\/p>\n\n\n\n

In partnership with<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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Aphonic Dialogue<\/em>
Photo Credit: Alex Schro\u0308der<\/figcaption><\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Even though the six artists arriving for Sacatar\u2019s fourth residency session of the year come from different countries and engage […]<\/p>\n","protected":false},"author":3,"featured_media":8932,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[30],"tags":[],"class_list":["post-8978","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artists-en"],"_links":{"self":[{"href":"https:\/\/sacatar.org\/en\/wp-json\/wp\/v2\/posts\/8978","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sacatar.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sacatar.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sacatar.org\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/sacatar.org\/en\/wp-json\/wp\/v2\/comments?post=8978"}],"version-history":[{"count":7,"href":"https:\/\/sacatar.org\/en\/wp-json\/wp\/v2\/posts\/8978\/revisions"}],"predecessor-version":[{"id":9066,"href":"https:\/\/sacatar.org\/en\/wp-json\/wp\/v2\/posts\/8978\/revisions\/9066"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sacatar.org\/en\/wp-json\/wp\/v2\/media\/8932"}],"wp:attachment":[{"href":"https:\/\/sacatar.org\/en\/wp-json\/wp\/v2\/media?parent=8978"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sacatar.org\/en\/wp-json\/wp\/v2\/categories?post=8978"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sacatar.org\/en\/wp-json\/wp\/v2\/tags?post=8978"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}