Deltaworkers is a nomadic artistic production and residence program that investigates the southern states of the U.S. as one of the last mythical places in the West. We host and present European artists from different disciplines in New Orleans, a city that forms the perfect gateway to the south; a region where many of the historical, socio-political and cultural roots of U.S culture can be found.

Please note that Deltaworkers will receive its last residents in the Spring of 2020!

Location: Chateau Curioso

Artists 2024

At the moment were processing the applications for 2024. Check back soon for updates!

Events 2024

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There were no resident artists in 2022!


We haven't yet planned any events for 2022!



There were no resident artists in 2021!


From Grief to Forgiveness, an Alchemical Process
Saturday August 14 - Sunday September 5th, UNO Gallery. Opening 14th from 6pm - 9pm

Sunday, June 13th, online collective listening session



Artun Alaska Arasli

TR, 1987

Artun Alaska Arasli (1987, Ankara) is an artist who lives in and works from Amsterdam, NL. He graduated from the Gerrit Rietveld Academie in 2011, and later attended the Staedelschule in Frankfurt am Main. He was a resident at the Van Eyck Academie in 2019. Arasli has had solo exhibitions at Kantine in Brussels, Rozenstraat in Amsterdam and The Tip in Frankfurt am Main. He regularly curates exhibitions, most recently “Parallax” at Wilfried Lentz Rotterdam and “Porcupine” at Van Eyck Academie in Maastricht (both 2019). In 2016 he has written and directed a theater play, The Beauty Commission, that premiered at the Stedelijk Museum Amsterdam.

Artun Alaska Arasli will work on an expanded version of the infamous play 'A Streetcar Named Desire' by Tennessee Williams. The perspective changes to that of the house where the story takes place in. This new version also takes into account the history of the play and the history of the house in relation to the constantly changing city. By taking a non human view it will be possible to look at our current way of living, life in New Orleans and relations in general in a fresh way.

Carly Rose Bedford


Carly Rose Bedford is a multidisciplinary artist (AU/NL) who’s practice consists of performance, sculpture, research and curation. Their work looks towards sites where power is produced and naturalised under the premise of normalcy. They work with a longstanding research on what they call ‘Material Perfomativity’, a methodology that centralises the haptic (bodily) experience while colliding it with material and our habituated relationship to its uses and contexts. This methodology works toward creating nuanced propositions that enable enactment of queer thematics without always reverting to representations of the body and identity politics. Parallel to their sculptural practice Carly Rose investigates methods for institutional critique that considers ways to the engage and transform power structures standardised within institutions through a process of pedagogical exchange, positioning, workshops and exhibition making. They have shown works Nationally and internationally at Institutions such as the Palaise du Tokyo (2017) and the Stedelijk Museum (2019) and TENT Rotterdam. They have received support for their work from Australian Arts council, Ian Potter Foundation, Amsterdam Fonds for the Kunst and the Mondriaan Fonds. They were recently nominated and announced the winner of the MK award.

At Deltaworkers, Carly Rose Bedford would like to examine the swamps surrounding New Orleans and the greater swamps of Atchafalaya basin to seek out readings/mythologies of the swamp concerning power and resistance, both historically and mythically. They will entangle themselves in the engagement, speaking with the inhabitants of New Orleans about their personal experiences, perceptions and swamp time dreams. Mine out traces where the swamp has left its mark, where it embeds itself in the local mythology and how this narrative is shaped by the history of the narrator in relation to the past. Bedford want to observe the swamp through the sensual immediacy of their body. They will research how the Swamp Space can be experienced and what can be embodied from these affective encounters.

Inas Halabi

geen, 1988

Inas Halabi (b.1988, Palestine) is an artist working predominantly with film. Her practice is concerned with how social and political forms of power are manifested and the impact that overlooked or suppressed histories have on contemporary life. She holds an MFA from Goldsmiths College in London and recently completed a two year residency at De Ateliers in Amsterdam. In 2016, she was awarded first prize for the A.M. Qattan Foundation’s Young Artist of the Year. Recent exhibitions and screenings include the Mosaic Rooms, London (2019); TENT, Rotterdam (2019); De Ateliers, Amsterdam (2019); Silent Green Betonhalle, Berlin (2019); Smith College Museum of Art, USA (2018); Alte Fabrik, Rapperswil (2018); al-Ma'mal Foundation for Contemporary Art, Jerusalem (2017); OFF-Biennale Budapest (2017), and the 13th Sharjah Biennial’s Offsite project, Shifting Ground (2017). She lives and works between Palestine and the Netherlands.

Inas Halabi would like to develop research (for new work) that will survey the landscapes of New Orleans and the broader south to trace the political violence, both of the past and present, possibly taking the banks of the Mississippi River as a starting point. She borrows Masao Adachi’s fukei-ron (landscape theory) which posits that the filming of everyday landscapes can reveal the structures of oppression that underpin one’s socio-political environment. Rather than to use a script or a traditional method of narration, she plans to trace the history of the south through every day (filmed) observations.

Frank Keizer

NL, 1987

Frank Keizer (1987) is a poet, critic and editor. He is the author of two chapbooks and two volumes of poetry, Onder normale omstandigheden (Under Normal Circumstances, 2016) and Lief slecht ding (Sweet Bad Thing, 2019). His poems, which he has performed at numerous literary festivals all around the world, were translated into English, French, German, Turkish, Romanian and Indonesian. He works as an en editor for Perdu, a poetry foundation in Amsterdam where he heads a publication series for innovative poetry, as well as for nY, a Flemish literary magazine devoted to literature and criticism. His current writing project Hot Autumn revolves around the crisis of current political, historical, ecological and literary imaginaries, and the urgent need to develop critical languages situated between science, theory and literary writing that respond to this crisis.

During his stay in New Orleans, Frank will continue his current research on the possible languages connected to the post-climatic world. Specifically in New Orleans he will look into the development of collective forms of knowledge, - learning and living in the post-hurricane, and ecologically threatened landscape,- such as new practices of storytelling and survival and the teaching of ecological literacy. Through field work, visiting archives, conversation and group study with people in town, he wants to create a rich base to write from. (website is in Dutch)

Nhung Dam


After a receiving a degree in Psychology, Nhung Dam studied acting at the Amsterdamse Toneelschool and Kleinkunstacademie. She operates as theater maker, actrice and writer. Nhung acted with several theater companies like Het Nationale Toneel, and is often casted for tv-series and films. With her own theater plays she performs at theatre festivals. Nhung wrote several theatre plays that are translated into German and English. She writes for the newspaper De Volkskrant and is part of the editorial board of literary magazine De Tirade. Her debut as a fiction writer, Duizend Vaders (a thousand fathers) got published with Bezige Bij and in 2019 it has been published in Germany.

At Deltaworkers, Nhung starts working on her new novel. She will immerse herself in the city and southern Louisiana, where she is interested in stories by people that are not from there. Starting from her own Vietnamese roots and a family history of displacement, the Vietnamese community is one of the groups she wil connect to. Her novel will develop based on the stories she collects and the conversations she will have. Place and environment are key to the final story and therefor Nhung takes the position a an observer and listener. (website in Dutch)

Siegmar Zacharias


Siegmar Zacharias is a performance maker, researcher, curator. She explores the politics of alienation & intimacy in embodied thinking/being with matter and matters in collaborations with humans and non-humans. The work develops formats of performances, installations, discursive encounters dealing with questions of agency, ecology of artistic practice, modes of visceral rationalities. Learning from uncontrollable materials like, smoke, slime, swamps, earthquakes, the nervous system she is working towards a posthuman feminist poet(h)ics. Siegmar studied philosophy und Comparative Literature in Berlin (FU) and London (UCL), and performance at DasArts Amsterdam. She teaches internationally and is a regular guest lecturer at DOCH Stockholm, HZT Berlin, Bard College Berlin. Since 1993 she has been working on non-violent communication strategies with workers representatives. She is a Phd candidate at Roehampton University on a AHRC TECHNE scholarship. Her work has been shown internationally.

One of the things Siegmar will take on at Deltaworkers is to continue working on her drooling practice.It is an ongoing practice that explores the uncontrollable materiality of speech - drooling as a way of thinking. The Question is how much we are willing to swallow and when do we stop swallowing? What happens to the question of digestion in relation to the undigestible or toxins and toxic situation? How is this, a question of ethical dynamics situated in a hegemonic history of domination and control. The location of drool is the locus of intertwined exteriorities and interiorities. It is the locus of food, sex, language, breath, meaning making and sounding. She is researching practices of intimacies with death and extinction in the human / non-human delta.


You Don’t Need Nothing
Thursday, June 18th, 5pm, launch of four publication at Chateau Curioso (641 Caffin Av)

Wednesday, June 17th, a 48hr sequence of transmissions from the swamps, on Instagram

[The inner rooms fade to darkness…]
Thursday May 21st, 7pm, Chateau Curioso (641 Caffin Avenue) and online (details follow on the 20th)

SLOW VIOLENCE (Tracing the Invisible)
Sunday May 17th, 4pm New Orleans time. A film in real time. on Deltaworker's Instagram Live (

A Collective Note taking Here and There
Thursday May 7th, 2020, at 2pm New Orleans / 9pm Amsterdam Online:



Elsa Brès


Elsa Brès (FR) graduated from Paris-Belleville school of architecture and le Fresnoy national studio of contemporary art. Her work navigates between documentary and science-fiction to explore the relationships between design and environment. Her films, videos and installations take possession of hybrid natures and transformed geographies. By a speculative gesture, rooted in her architecture background, the works are distorted to create spaces of negotiation with reality which conjure new stories, new narrators, new forms. Her work has been shown in festivals like FID Marseille, IndieLisboa, Kasseler Dokfest, 25 FPS festival, Lima Independiente, and exhibited at LOOP Barcelona, Palais de Tokyo (Paris), Villa Médicis (Rome), among others.

During her stay at Deltaworkers, Elsa will shoot her new film SWEAT. SWEAT is a meander film shot on the Mississippi river in Louisiana, a fragile and moving milieu, modeled and transformed by the successive exploitations of its resources. The film follows the character of Guillaume de l’Isle, the first cartographer of Louisiana, wandering and lost since the beginning of the 18th century. He’s been traveling the river for the last 300 years without managing to measure precisely the always changing environment of the Mississippi delta.

By thinking of the map as first an act of control of space, we follow De l’Isle on his journey where he meets other major and minor figures of the history of the river’s design. The cast of the film is solely composed of New Orleans performers. The film perverts and diverts those historical figures through the control of the river by human power and thus suggests another storytelling, another aesthetics and another politics for the milieu of and around the Mississippi.

Bianca Lucas


Bianca Lucas (Poland) completed her first degree at Goldsmiths College, University of London. In 2017, she graduated from a three-year filmmaking course at Béla Tarr's the Film.Factory, Sarajevo. Her films have been screened at festivals such as International Film Festival Rotterdam, New Horizons International Film Festival, Premiers Plans d’Angers, Winterthur Kurzfilmtage among others. Throughout her studies, she has been mentored by filmmakers such as Carlos Reygadas, Gus Van Sant, Abel Ferrara, Pedro Costa, Apichatpong Weerasethakul, Guy Maddin, Agnieszka Holland, and many more. Her work seeks to occupy the intersection between narrative fiction and documentary cinema. She is currently based in Paris.

At Deltaworkers, Bianca is developing two projects that are strongly connected to the south- inspired by both Southern Gothic literature and the region's history of violence. She hopes for her stay to culminate in a short docu-fiction film and a feature-length script.

The short film project follows a young man living in a community on the Louisiana-Mississippi border. Burdened by a history of savage colonialism, slavery and bloodshed- that seems to taint many personal lives by virtue of ‘cursed’ energy- most surrounding residents take the ‘blue pill’ to forget: drowning the echoes of past ghosts out in alcohol, gambling, crystal meth, and sensationalist television. Confronting not only the history and paradoxes of this blood-soaked land, but also the protagonist's own family's painful past, the project aims to look at the ways in which, as a society, we deal with a vicious cycle of inherited violence. Is it possible to break free from patterns dictated by communal and personal trauma?

The script project/ research focuses on the so-called Fiancées de la Baleine- the 'undesirable' women recruited from an asylum in Paris and shipped to Louisiana to help populate the colony. This project looks into old notions of what 'undesirable' (so-called 'hysterical') women were considered to be, how this still shapes our perception today and, more generally, into the often-forgotten brutality of the original french colonies in Louisiana and Mississippi.

Geo Wyeth


Geo Wyeth (US, based between Rotterdam/Amsterdam, NL, and New York City) works with music, performance, installation, and video. Presented at New Museum, Stedelijk Museum Amsterdam, TENT (Rotterdam), Showroom MAMA (Rotterdam), MoMA PS1 (Greater New York 2016), LA MoCA, New York Live Arts, The Studio Museum in Harlem, Boston ICA, Kate Werble Gallery, La MaMa Theatre, Human Resources, The Pyramid Club, and Joe’s Pub. They were in residence at the Rijksakademie van beeldende kunsten for the years 2015-2016 in Amsterdam.

In the work, there is a gap between the dreams and the realities of Wyeth's characters. They are mostly loners or strangers, hovering in this space, devoted to their position but hoping that somehow that they can get out of it. They take a good deal of inspiration from the blues, a quotidian lamentation of the loner, and more recently 11th century Christian mystic Hildegard von Bingen’s Ordo Virtutum, where the Soul longs to leave the Body. In their work, music and song are portals, openings, and carriers of mood. All materials generated are an extension of that mood.

Wyeth's current project features an imaginary civil servant known as the Muck Raker from the city agency the Muck Studies Department (2018). Referencing an 1890s American term for a certain brand of anti-corruption investigative journalism, the figure roams through the low lying waters of Holland and the USA, literally raking the muck at the bottom to try and make the bubbles come up to the surface, releasing methane into the air, with a desire for everyone to “smell it.” "The Muck Raker is interested in the ethical questions around “releasing” truth, or evidence, and precipitating action based on troubling ideas of what is considered “common" or "good. The Muck Raker is a figure primed for the Louisiana landscape. "Wyeth wants to use their desire and principles as a guide in the research and activities during the residency months.”

Kari Robertson


Kari Robertson is a visual artist and curator originally from the U.K now living and working in Rotterdam, The Netherlands. She graduated with an M.A in Fine Art from The Piet Zwart Institute in 2016.

For the past several years Kari has been working in time-based media, primarily sound, analogue film, and digital video. She often makes installations where a single moving image is divided across multiple screens—or transcends multiple temporalities—connected by a shared audio track. By creating constellations of works; groupings with space between pieces, she allows for contingent and unpredictable relationships between material and meaning to occur. Recent works explore contemporary subjectivity through narrative. Kari's works often begin with a theoretical proposition and then try to animate and personalize this material through forcefully situating it in specific characters, she understands this as creating scenarios through speculative embodiments. Humour and absurdity are prevalent within these works.

At Deltaworkers Kari will develop a new body of moving image works, starting from an interest in how ‘architecture’ can be considered in expansive contexts that transcend human design, or manufactured materials. In the Louisiana swamps the term ‘aquatic architecture’ becomes a focus, which is produced somehow by, or for, water. Aquatic architectures may be soft or permeable rather than rigid or fixed, temporary rather than permanent, entangled and polluted. It will likely be difficult to define where exactly they begin or end.

Using her methodology of employing characters, narrative, humour, and absurdity to analyse complex material, Kari will explore hydro-entanglements between water, humans, and other creatures and the interwoven ecological, mythological, and biological stories around them.

Dean Bowen

Dean Bowen (NL, based in Rotterdam) is a poet, performer and psychonaut. He examines the dynamics of the composite identity and how this relates to a political and social positioning of the self. His debut collection Bokman is lyrical, passionate and furious; a personal quest that aims to reveal universal patterns and allows many voices to speak. In stunning fashion, he unravels his own grief and grievances situated on different continents. In doing so, he uproots forgotten histories and dissects the structures that sustain our oppressive political realities. How does an individual stay alive within all those mechanisms? Bowen published on the online platforms Samplekanon and Hard // Hoofd and in magazines such as nY, Tirade and Revisor. His poetry and powerful performance has seen him grace stages both nationally and internationally. Dean Bowen works at Perdu an Amsterdam-based literary platform focused on poetry and experiment. He won the first Van Dale SPOKEN Award and his debut Bokman was nominated for the C. Buddingh Prize. Bowen questions how he and others relate to the idea of their 'blackness' in relation to the diasporic spreading of black bodies over different continents. This ethnic and cultural identity marker has become an international transcontinental dialogue that aims to disrupt the alleged hegemony of the western imperialist narrative. Through his writing he feels connected to this larger conversation, also because he always feels a stronger link to the black literary tradition than the Dutch. For the new book, he will immerse himself in New Orleans to find vital links to these larger questions around global blackness, and further his non-Dutch style of writing. Kristina Kay Robinson will be a conversation companion guiding him through the literary and social political realms of the city.

Simon(e) van Saarloos

Simon(e) van Saarloos is a US born writer and philosopher, living in Brooklyn, NY and Amsterdam, NL. Simon(e) writes the “e” in her name between parentheses because she questions gender norms and doubts anything that appears ‘as given’ or self-evident. Also, what’s between parentheses might be more meaningful than what is said to be meaningful. She is the author of 4 books: Enz. Het Wildersproces [Etc. The Geert Wilders Trial, 2018], Het monogame drama [The monogamy Drama,] and De vrouw die [The Woman Who], Ik deug/deug niet [To Be Good or Not Be Good]. At the moment she takes part in the two year masters of visual arts at the Dutch Art Institute in The Netherlands. In general her work, Simon(e) is interested in how memory works. In diverse forms of writing she unravels the impact that overlooked or suppressed histories have on contemporary life. At the moment she is working on a larger essay about 'queer forgetting' and political memory. The New Orleans research will feed into this. For awhile now she has an interest in the lgbtq history of the southern states of the US, and more specifically New Orleans. As a queer woman with an interest in critical theory, queer and anti-racism activism, Simon(e) has met with several people from the lgbtq community that fled the south but who still to this day miss the southern hospitality, the slower pace, the food, and the social and cultural life. This intrigued her and became the incentive to dive into the (queer) city and do field research outside the city to better understand the queer histories of the Deep South.


Tuesday May 28th, 7pm, presentation by Kari Robertson at The Pool of the North Rampart Community Center, 1130 N Rampart Street

The Miscegenation Blues, at the Muck Studies Dept.
Friday May 24th, performance by Geo Wyeth, 7pm, 8pm, 9pm, Chateau Curioso, 641 Caffin Avenue

A Moment At The Maple Leaf
Sunday May 19th, 3pm, literary readings by Dean Bowen at the Maple Leaf Bar, 8316 Oak Street

Rubber Flower Poetry Hour
Tuesday May 7th, poetry reading, 1628 Frenchmen street

Love Canal
Wednesday May 1st, two films by Elsa Brès, and one surprise. Aperture Series of Shotgun Cinema at Southern Rep Theater, 2541 Bayou Rd

Lazy Larva & Medusa: Tender Version
Wednesday April 17, two performances by Eglė Budvytytė and Tomislav Feller at Camp Abundance, 3001 Bruxellesstreet

Tracing my Lover’s Wrinkles in a Non-linear Way
Tuesday April 9th, talk by Simon(e) van Saarloos and performance by Maryboy, at SALON - Canal Place

The Anatomy of a Ghost
Sunday March 31st, screening and talk by Bianca Lucas at Chateau Curioso, 641 Caffin Avenue



Alexandra Martens Serrano

SV, 1991
Martens' artistic practice suggests and speculates alternative models of allowing objects to communicate knowledge and experiences by forming platforms in which, for a brief moment, stories which are not yet governed by the primacy of reason can be brought forth. As a result, the search for the transcendental object is born in a space where play compels reality to surrender the dogma of its unconditional validity in order to flirt with possibility. In her work Martens tends to examine the formation of beliefs and modes of discourse in a semi anthropological and associative approach, in which the concept of estranged history is contemplated. Through the investigation of objects, images and symbols the historical narrative of thought processes within the cognitive development of humans is questioned and altered to challenge the streams of information which have led to the conventions and principles of our norms and behaviours today.

Alma Mathijsen

NL, 1984
Alma Mathijsen was born in Amsterdam, The Netherlands. She earned her Bachelors Degree in Image & Language at the Gerrit Rietveld Academie and Creative Writing at Pratt Institute in New York. She is the author of six plays, a collection of short stories and three novels. Her first novel Everything is Carmen was published by The Busy Bee in 2011, followed by The Great Good Things. Her latest novel Forget the Girls has been critically acclaimed, and is nominated for the BNG BANK Literary Prize. Mathijsen writes essays on feminism, representation and grief for NRC Handelsblad. Her work has also appeared in Vice US and Vice UK. In the winter of 2016 Alma Mathijsen found herself on strangely familiar grounds while on a road trip through Louisiana and Mississippi. Strangely, because she had never been there or anywhere else in the Southern States before. While visiting several plantations in the area she wondered when in her life she had also looked the other way. The vast majority of the plantations tell beautiful stories about the lives of rich white rulers, and conveniently forget to mention the enslaved people. Things she saw made her realize that she too contributes to racism in society. What stories had she been telling herself in order to look away? Now what to do with that knowledge as a human being and a writer?

Io Cooman

BE, 1990
Io Cooman is a photographer and photo-editor for newspapers such as De Volkskrant (NL) and De Tijd (BE) with a strong interest in visual anthropology, colonial history and the impact of images in media. Her photoseries Io Cooman’s Collection of Human Beings Inhabiting the Southwestern Parts Of The Low Countries (2013) explores the propagandistic imagery made in Belgian Congo during the colonial era of Leopold II. In her work she balances theory and photography. The main focus lies on herself as a photographer and on the power and responsibility that comes along with making and distributing images. When in New Orleans she will continue her research for a way to incorporate reflexivity, a strong theoretical base and participation in photography. A medium that is, after all, a rather classic tool to tell a story.

George Korsmit

NL, 1953

George Korsmit studied monumental design and painting at the School for Art & Design St.Joost (1972-1977) in Breda, The Netherlands and has been working as an artist since 1980. His work consists of paintings, sculptures, wall and floor paintings, films and installations, often based on a system of ritualized coincidence and since 2010 often in collaboration with others. His works have been shown at a.o. the Stedelijk Museum Amsterdam; Museum De Pont Tilburg; Museum Voorlinden, Wassenaar; Kunstverein Bentheim; De Garage, Rotterdam; Club Solo, Breda. His work is represented in the collections of a.o. the Central Museum Utrecht, Schunck Heerlen, Museum Kulturspeicher in Würzburg, Deutsche Bank London and Museum Voorlinden/Caldic collection. Commissioned by STROOM and the Ministry of Housing and Construction his work was realized in public space several times. George Korsmit has been a lecturer MFA & BA at the school for Art & Design, St. Joost in Breda/’s-Hertogenbosch since 1989. 

Together with Saskia Janssen, in 2005 he established The Rainbow Soulclub, an art studio in an Amsterdam shelter for the homeless and long-term drug users. Since then, they have run a weekly program in the studio, often together with their art students.

Saskia Janssen

NL, 1968

Saskia Janssen mixes a variety of media in her socially engaged site-specific works. Often to make situations or groups of people visible that are invisible at first. Over the past years she has collaborated with a.o. sailors, nightclub singers, hard drug users, Buddhists, psychiatric hospital patients and inmates. The outcomes of these collaborations have taken the form of installations, recorded albums, drawings, performances and printed publications. She graduated from the Royal Academy of Fine Art in The Hague and was a resident at the Rijksakademie, Amsterdam (’96-’97) and at I.S.C.P., NewYork (2015). Her works and projects have been exhibited a.o. at Museum of Modern Art, Arnhem; Museum Het Dolhuys, Haarlem; Ellen de Bruijne PROJECTS; Museum De Paviljoens, Almere; HVCCA, Peekskill; TENT, Rotterdam. Janssen is represented by Ellen de Bruijne PROJECTS and teaches at de Gerrit Rietveld Academy in Amsterdam.

Together with George Korsmit, in 2005 she established The Rainbow Soulclub, an art studio in an Amsterdam shelter for long-term drug users. Since then, they have run a weekly program in the studio, often together with their art students.


The seedy cocktail lounge of reality
Tuesday May 29 at 6.30PM, book presentation by Alexandra Martens, at The Stacks, 900 Camp Street (inside the CAC).

No Walls / Flowers from the Cardboard Hotel
Tuesday May 22 at 7:00PM, presentation & discussion around issues with artistic social practices by Saskia Janssen, George Korsmit and Dawn DeDeaux, at Camp Abundance, 3001 Bruxelles St, New Orleans.

Private Salon with Alma Mathijsen
Wednesday May 2 at 7:00PM, private salon with readings by Alma Mathijsen, Jami Attenberg, Kristina Robinson, Cassie Pryun, Anne Gisleson and songs by Michael Jeffrey Lee, at the studio of Anne Gisleson.

Stranger with a camera
Tuesday April 24 at 6:30PM, screening of Stranger with a Camera followed by a talk & discussion with photographer Io Cooman, at the New Orleans Photo Alliance, 1111 St. Mary St.

The Dutch are not the Danish
Tuesday April 17 at 6PM, public talk by Maaike Gouwenberg, Saskia Janssen & George Korsmit, in the Stone Auditorium at Newcomb Art Department of Tulane University, 6823 St. Charles Ave, 202 Woldenberg Art Center.



Anetta Mona Chişa

CZ, 1975
Anetta Mona Chişa is a visual artist based Prague. She works at and with the limits of sculpture often employing language and performative utterances in her acts. She is seeking for a way of bringing forth the sensible, material and immaterial nature of reality oscillating between the virtuality of materiality and the materiality of virtuality. She also works in collaboration with Lucia Tkacova. At the heart of their collaboration lies their quest to find a means of reconciling the political with the aesthetic validity of art. Her works and collaborative projects have been exhibited among others at Kunstraum NOE Vienna, GAK Bremen, Art in General New York, n.b.k. Berlin, the 54th Venice Biennale, MoCA Miami, MuMoK Vienna, Manifesta 10, The Power Plant Toronto and Taipei Biennale. Anetta is visiting us with support from FUTURA in Prague in the context of a residency exchange.

Elfie Tromp

NL, 1985

Elfie Tromp has published two novels: Goeroe (Guru) and Underdog. The latter was nominated for the BNG prize for literature and the Dioraphte literatour prize. In 2013 she received the VPRO (a Dutch television network) Bagagedrager, a price for young travel journalists. She writes columns for Metro, is a regular contributor to Vrij Nederland (a Dutch weekly), does interviews for VPRO and makes theater.

After an emotionally turbulent year Elfie’s practice suddenly started to include poetry, graphic novels and dark confessional literature. Thematically all centred around the cruelty of love. What better place to dive into this than the city that forms the stage for A Streetcar Named Desire?

Siri Borge

NO, 1985
Siri Borge is an artist and curator form Stavanger, Norway. She often works site specifically and from a Feminist and environmental point of view. The small, wealthy town of Stavanger is known as ’The Oil Capital of Norway,' but things aren’t looking great. Due to plummeting oil prices the economy is declining. The local government isn’t able to turn the tide and is failing to focus on stimulating sustainable industries. Stavanger’s social structure is rapidly changing, something that Borge is witnessing up-close. She is interested in the economic and socio-political similarities and differences between her hometown and New Orleans. This inquiry will serve as a starting point for an artistic investigation on how the the oil industry impacts the fabric of local communities.

Borge's residency is made possible by the city of Stavanger and the Rogaland Fylkeskommune and is a collaboration between Deltaworkers and PARSE.

Giovanni Giaretta

IT, 1983
The artistic output of Giovanni Giaretta narrates the ordinary in an unexpected way, telling of a world made of minor gestures and situations that offer the revelation of an unexpected reality, another dimension. The artist demonstrates his interest in an anthropology of everyday life, at times pursuing hypothetical scientific principles to make a more filmic perception of the real become clearly visible. In New Orleans Giaretta starts his investigation with a text that Roger Caillois wrote together with Georges Bataille in 1934 at the College of Sociology: 'La mante religieuse. De la biologie à la psychanalyse'. This essay is an anthropological research on how mankind relates to the Praying Mantis as an evil creature, or a ghost, able to kill just with its gaze. The manner in which Caillois and Bataille use the paranormal as a tool for analysis informs Giaretta's research into how horror and fear are related to specific types of architecture, looking for the uncanny as described by Anthony Vidler in his essay 'The Architectural Uncanny. Essays in the Modern Unhomely' from 1992.

Martha Colburn

US, 1971
In her work, Martha Colburn uses the stop-motion animation technique to create films and as an extension to them, performances, costumes and exhibitions that transcend the traditional confines of cinema. Her primary focus is on contemporary culture through the eye of art history and historical fact and fiction, addressing sexuality, politics and art. In New Orleans Colburn wants to collaborate with and learn from specialists in costume design, introduce her practice to the local scene through live events and give animation workshops. She will also continue and intensify existing collaborations with musicians and artist from the city.

Jan van Tienen

NL, 1985
Jan van Tienen recently published his first novel 'Er is niet wat hier nog blijft' (Nothing here remains, not yet translated into English). It describes a very dark period in his recent family history. He studied History and was editor in chief at the Dutch branch of VICE. Before that he studied Journalism and grew up in Zeeland, the most southwestern province of the Netherlands. In New Orleans van Tienen will continue the research for his second novel. It focusses on the relationship between medieval flagellants and the end of days. Which apparently has a connection to the Cajun Courir de Mardi Gras.

Christina Gruber

AT, 1987
Christina Gruber is an artist and freshwater ecologist living and working in Vienna, Austria. She works at the intersection of art and science; her work deals with societal phenomena that shape our world. These relate to the Anthropocene, a concept that describes human beings as the main force changing the earth’s surface. Gruber investigates the effects humans have and had on the landscape and how they’ve shaped the earth’s surface. In the last years water is of special interest to her. She sees it as the element that all things on earth, including humans, have in common. It is the connector between stories of different places and layers, running through everything that exists on this earth, from clouds to datacenters. In New Orleans she will focus on the relationship between the Mississippi river and the people that live in its proximity. Supported by:


Delta Vortex
Friday July 14 at 5PM, launch of limited edition t-shirt by Ashley Teamer, at Defend New Orleans Downtown, 600 Carondelet Street, Suite 140.

Spring Wrap-up
Tuesday May 30 8PM, performances and screenings by current residents Martha Colburn, Siri Borge, Elfie Tromp and Giovanni Giaretta and screening of DAT LIKWID LAND, the film of 2015 resident Jacob Dwyer, at Arts Estuary, 1024 Elysian Fields Avenue (in the backyard of NPN).

Politics of Imaging
Wednesday May 24 at 6PM, screening of Episode 3: Enjoy Poverty by Renzo Martens + panel discussion with Bmike, Big Chief Brian Harrison Nelson, Garrett Bradley and Kristina Kay Robinson, at the Joan Mitchell Center, 2275 Bayou Road.

Archeologies and Other Stories on Roach-O-Vision
Monday May 1 to Wednesday May 31, continuous screening of Archeologies and Other Stories by Giovanni Giaretta on Roach-O-Vision, a livestream by Animal Planet.

Private Salon with Jan van Tienen
Thursday April 20 at 7:00PM, private salon with Jan van Tienen, at the house of Maurice Ruffin.

Digital Water
Wednesday April 12 at 6PM, lecture and book launch of the International Cloud Atlas Vol. III (2016, 2nd edition) by Christina Gruber, at The Stacks, 900 Camp Street (inside the CAC).

Shot In New Orleans
Thursday March 30 at 8PM, screening of films by Deltaworkers residents Léa Triboulet (FR), Jacob Dwyer (GB) & Giovanni Giaretta (IT), at St. Mary Majaks, 918 St. Mary Street.

Full Aperture: Martha Colburn in person
Saturday March 18 at 8PM, screening of films by Martha Colburn, hosted by the New Orleans Photo Alliance (1111 St. Mary Street), organised by Shotgun Cinema.



Oliver Bulas

DE, 1981

Oliver Bulas creates 'constructed situations' in which the visitor immerses. He uses performance and prefers to work in the public space. He is wondering if the public space is a place where differences clash and are negotiated. A place where maybe a short flash of social space can incidentally shine up as a utopian moment. His work is a continuing investigation into what constitutes the social and the public spaces in our capitalist times in which everything is exchangeable.

At the moment Bulas is residing in Capacete in Rio de Janeiro. In New Orleans he wants to draw parallels between the two cities in a speculative scenario. Starting from fine art's appropriation of tribal cultures he will advance these processes into a future in which he imagines it to its most extreme conclusion.

Supported by:

Olivier Willemsen

NL, 1980

Olivier Willemsen grew up on an old farm on the outskirts of Haps, a Dutch village right on the border with Germany. After school he would spend his afternoons on the banks of the little stream that ran from his back garden to the horizon, watching over the water creatures like a lifeguard. At the age of eighteen he left for Amsterdam, where he studied history, but he became a full-time writer. His novel Morgen komt Liesbeth (Liesbeth’s Coming Tomorrow), published in late 2014, was nominated one of the two best first novels of the year by the Dutch daily newspaper Trouw. His second novel is due in mid-2016. Olivier Willemsen lives alternately in Amsterdam and on an island near Grou, in Friesland.

In the Southern States Olivier will work on his second novel for which he will specifically look into the role of border patrol during the cold war. Next to that he will start working on his third novel. Moira Crone, author of The Not Yet, will help him in the initial stages of this novel.

Supported by:

Eric Giraudet de Boudemange

FR, 1983

Eric Giraudet de Boudemange has a practice that starts from field work; an ethnographic experience outside the studio. In the past few years he has focused on traditional games and local practices in France, Belgium and the Netherlands, using them as tools to give shape to personal poetic narratives. He became a specialist in pigeon breeding, labyrinths, and had Theseus execute a rugby dance on bawdy songs. The 'stories' often talk about history, politics, folk culture, pop culture, landscape, biology and sex with a taste for absurdist British humor. The field work turns into colourful and playful installations containing sculptures, performances and video.

During his stay in Louisiana, Eric will look into diverse roots, hybrid languages, myths, music and folklore connected to the Cajuns and French Creoles, alongside a research into a specific group therapy that works with family constellations to reveal hidden histories. By digging into Cajun culture and history, a lot could be revealed about our own European medieval legacy. Eric will create his 'stories' by intertwining very different elements of research. He will use aspects of role playing games alongside the manifold constellations of families of French decent to reveal new narratives inspired by Cajun folk culture and myths.

Toon Fibbe

NL, 1987
Toon Fibbe employs tropes of performance art to function as tools for research. He intervenes in situations through a performative exploration of characters – real, fictional, current or historical – and collects material on his way. His activities spawn objects, texts and dialogues. More recently, he has predominantly been working with the character of the spy as dealer in secrets, someone who codes and decodes information, someone whose identity is unclear and who plays a role in the flow and distribution of information. In New Orleans Toon will investigate capitalist hauntings from the future: capital isn't interested in the present or the past but only in profit, and profit is gained in the future. In the light of the redevelopment of large parts of primarily the poorer areas of the city over the past decade he is interested in the idea of the haunted house; not in the last place because a haunted house is a cheap house. Amongst other things, he will use the 3d models of these redevelopment projects as an effigy of sorts while looking for connections between the past, present and future and between the virtual and the actual trying to influence all of them at once.

Maarten Vanden Eynde

BE, 1977
Maarten Vanden Eynde's work is situated exactly on the borderline between the past and the future; sometimes looking forward to the future of yesterday, sometimes looking back to the history of tomorrow. He has been exhibited internationally in independent art spaces, centers for contemporary art and museums of modern art. In 2005 he founded the organisation Enough Room for Space, a mobile platform for site-specific projects, together with Marjolijn Dijkman. Vanden Eynde is represented by Meessen De Clercq Gallery in Belgium and Kunstruimte Wagemans in The Netherlands.

As part of the project Congo Recall, he wants to revisit New Orleans and look for the remnants of Congolese culture. New Orleans, and to a large extend the Deep South (or the Cotton States) as a whole, is the landing place of African culture in the United States. The first ship that arrived in New Orleans from the other side of the ocean, included two African noblemen (most likely from the Kingdom of Kongo), who were free men and equal explorers. Only after the trade agreement with Portugal ended in war, people from the Kingdom of Kongo became enslaved people and were transported to America. By 1860, the highest number of enslaved people ever to arrive in Louisiana were coming from the Kingdom of Kongo. For a long time the largest slave market in America was based in New Orleans. The connections are still present but either popularised (~ Congo Square) or unclear (~ Mardi Gras Indians).

The research project Congo Recall refers both to the 'recalling' of mal-produced objects, which are send back to the manufacturing company for review after malfunctioning, and the ‘recall’ button on a telephone to call back the same number in case of a bad or no connection or when the line was occupied. But most importantly it is a focus on how Congo is 'recalled' or remembered today, by Congolese people themselves and by the rest of the world. At the same time it offers an opportunity to imagine how Congo will be 'recalled' in the future.

Supported by:


The Outer Limits
Thursday December 1 at 8PM, screening of films by Carlos Motta, Laure Prouvost & Roy Villevoye, at St. Mary Majaks, 918 St. Mary Street.

Private Salon with Olivier Willemsen
Wednesday June 1 at 6:30PM, private salon with Olivier Willemsen, at the house of Moira Crone.

Days of Future Past / EPILOGUE
Tuesday May 31 at 6PM, Opening of the Inner Beauty Salon + Performance and talk, at the Inner Beauty Salon, 1109 Old Spanish Trail, Scott, Louisiana.

The Dark Prince of Finance
Thursday May 26 at 8PM, lecture-performance by Toon Fibbe, at Sojourner Truth Neighborhood Center, 2200 Lafitte Street.

National Readathon Day
Saturday May 21 at 11:30AM, reading by Olivier Willemsen, at Faulkner House Books.

Days of Future Past
Saturday May 21 at 1:30PM and 3PM & Sunday May 22 at 3PM, historical experiment by Eric Giraudet de Boudemange, in Vermilionville, 300 Fisher Rd, Lafayette.

3 Short Films Selected by Maaike Gouwenberg
Thursday April 21 from 4PM to 5:30PM, screening program by Maaike Gouwenberg, in the theater in Ferguson Student Center on UA campus, Tuscaloosa, Alabama.

To Live in the South, One Has To Be a Scar Lover
Thursday April 14 from 6PM to 8:30PM, book presentation by Deltaworkers, at the Stacks.

We Could Dance in Circles Around the Campfire by Night, Disappearing as Fume Into a Distant Day
Tuesday March 29th from 12PM to 6PM, finissage by Oliver Bulas, at PARSE

Research session Maarten Vanden Eynde
Tuesday March 22nd from 7PM, private research session by Maarten Vanden Eynde, at Studio Dawn DeDeaux.



Léa Triboulet

FR, 1987

Léa Triboulet studied scenography at the Ecole Supérieure des Arts Décoratifs de Strasbourg, where she started to make shorts films and received her masters degree with honours in 2010. After graduating she worked for several production companies. In 2013 she joined the Film Factory, an international program leaded by the Hungarian director Béla Tarr in Sarajevo. Her films revolve around the concept of mourning and in New Orleans she will specifically focus on mixing fiction with documentary whilst investigating how to deal with affection in a cinematic form.

Supported by:

Jacob Dwyer

GB, 1988
Jacob Dwyer has a background in Fine Arts and experimental film. One of the positions he takes as an artist is that of the “outsider” and the subsequent possibilities of mobilization within the audience when engaging with this position. At Deltaworkers Dwyer will investigate the character Ignatius J Reilly of John Kennedy Toole’s famous New Orleans novel ‘A Confederacy of Dunces’ alongside the methodologies used by illegal tour guides that show tourists around the many famed graveyards of New Orleans.

Janna Graham

CA, 1978
Janna Graham is a sound artist and radio producer based in Yellowknife, Northwest Territories (Canada). She is a community radio advocate who believes in the power of participatory media. Her work has been broadcast on public and community radio across the country and on low-power pirate transmissions in her neighborhood. During her residency at Deltaworkers, Janna is researching the power of song and story to preserve language in South Louisiana. As a Canadian of Acadian descent, she's gathering material for a series of site-specific sound installations in Acadian Canada.

Supported by:


Chattel and Bone // Sonic Circumnavigations
Wednesday November 4th from 2PM to 4PM, radio talk by Janna Graham, at WTUL (91.5 FM) during The Tripple ya Tripple ya oh Zee show with DJ Domatron

The Colour Out Of Space
Friday October 16th - November 21st, exhibition curated by Maaike Gouwenberg & Joris Lindhout, at PARSE

What the night brings & Sofia B. didn’t sleep well
Sunday October 11th at 7:30PM, Screening by Léa Triboulet, at Antenna Gallery

Tuesday September 8th at 8PM, Performance by Jacob Dwyer, at Good Children Gallery



Dafna Maimon

FI, 1982

Dafna Maimon (FIN/IS, 1982, lives in Berlin) works with film, video, and performance. Her work explores human drama and the construction of the self through invented autobiographical characters that battle with the configuration of individuality, alienation, the body, and the perception of reality. Her films showcase the economy of close personal ties as well as to materialise through them, placing value on the idea of community on a grassroots level. Equally central within Maimon’s practice is the research and employment of the constructs of cultural artefacts such as cinema, TV, theater and science.

During her stay at Deltaworkers, Maimon created the live video Other Odyssey. Set in a cinema it rethinks the beginning of Stanley Kubrick’s iconic film 2001: A Space Odyssey from the perspective of the matriarchal Bonobo primate, humans closest relative and the only being on the planet that practically eliminated violence from her society. Other Odyssey fantasises about returning to that moment depicted in the film when the early human apes realise that a bone could be used as a weapon and tool for oppression or dominance, and proposes an other use for it, a use more in line with the affective and sensual lifestyle of the Bonobo’s.

Other Odyssey is supported by the Finnish arts promotion center TAIKE.

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Jeremiah Day

US, 1974
Jeremiah Day’s work employs photography, speech, and improvisational movement. Questions of site and historical memory are explored through fractured narratives. Day works with what writer Fred Dewey has called ‘the non-fictional imagination,’ reflecting on sites of memory and politics to produce metaphors to help with our contemporary struggles. In 2008, Day had a working residency in Alabama to understand and commemorate the Lowndes County Freedom Organisation – an independent political party dedicated to civil rights that came out of the Selma-Montgomery March and is famous for being the originator of the Black Panther icon. During his stay at Deltaworkers, Day organised a mini-symposium at Xavier University that looked at the role of the guide, witness, story-teller: an afternoon of performance, presentation and discussion taking up the problem of memory and politics in a spirit of peer dialogue and public reflection. Guest speakers were Joanne Bland and Jackie Sumell. JD1 JD01 JD2 JD3 JD4JD6

Tijdelijke Samenscholing

Tijdelijke Samenscholing (“Temporary Gathering”) is a Dutch theatre group consisting of musician Stan Vreeken and actors Michiel Bakker and Carole van Ditzhuyzen. In their work, they combine social political and literary sources with personal stories, themes or thoughts. Like the actors, the music in their performances has its own autonomous voice, and is not used to support the play or to create a specific mood. The music looks at the themes in the play in a totally different way, which creates an extra layer in the text-based theatre plays of Tijdelijke Samenscholing. Again and again, the performances present a balancing act between truth and lies, public and private, the reality outside and the actual situation on stage. Tijdelijke Samenscholing was in New Orleans to research their next piece, which investigates the origins of jazz and the role that music plays in public space. For this play, the group collaborates with The Big Hunger, the band of which Stan Vreeken is a member. They looked for answers to questions like: has music thrived in spite of the city, or has it restored it? How have different traditions informed one another? Has New Orleans’ music performed a role in social justice? Is music’s existence at odds with the people who live here, has it catered to some while alienating others, or has it carved out the city as we know it? And how has that changed throughout the city’s history, between tragedy and tourism, inequality and the internet? Over the last years, the five musicians of The Big Hunger have built up an extensive live-reputation in Amsterdam, where they are hosting their own pop-session. The alternative pop-songs of The Big Hunger are soulful, dynamic, and clearly stand out from other acts in the Netherlands. TS10 TS11TS1 TS2 TS3

Timmy van Zoelen

NL, 1982
Timmy van Zoelen (NL, 1982) exercises his idiosyncratic views by sharing his salacious and facetious speculations on nature, currency and ideology. Cruising over the terrain of voluptuous emotions he moves from propulsion to representation, from foreplay to display, while continuously analysing desire. Therefore his practise is one of struggling, between abstinence and indulgence, and between the tangible and the virtual. While the allure of appropriation and the ease of digital image production encourages artists to produce work solely in and of the digital, Timmy continually traverses the blurry lines between virtual and corporeal life and investigates its effects. During his residency van Zoelen worked on a new film in which objects, narratives, theory, and performances intertwine into a damp and hot swamp-sci-fi. A film where ideas about ecology, myth, and consumerism overlap and melt together. Well known places and ideas evaporate and new forms become manifest in a series of performances and sculptures, that are used in the film. TZGC1 TZGC2 TZGC6 TZwale1 TZWale2 TZWale3


They Humiliate The Human
Sunday December 14th at 5pm, performance and film by Timmy van Zoelen at Deltaworkers HQ

Other Odyssey
Friday December 5th at 7PM, performance directed by Dafna Maimon at Second Line Stages Cinema

Holding On (By The Skin Of Teeth)
Saturday November 22nd at 3PM, conversation between Jeremiah Day, Joanne Bland and Jackie Sumell at Xavier University

in tandem
Wednesday November 19th at 7.30PM, screening of video works by Erkka Nissinen & Nathaniel Mellors at Press Street.

Video Art Manual
Sunday November 16th at 7PM, screening & book sale around Keren Cytter at Indywood Movie Theater.

Deltaworkers at the Core Residency Program
Friday November 14th at 3PM, presentation by Joris Lindhout and Maaike Gouwenberg at the Core Residency Program, Houston, Texas.

Deltaworkers at Tulane University
Wednesday October 29th at 4.45PM, presentation by Joris Lindhout and Maaike Gouwenberg at Tulane University.

The Nature of The Search
Tuesday October 28th at 8PM, conversatation with Remy Jungerman, Brooke Davis Anderson, Teresa Parker Farris & presentation by Tijdelijke Samenscholing at 641 Caffin Ave.

PechaKucha Night | New Orleans | Volume 14 – We Can Do It!
Wednesday October 8th at 7PM, introduction to the Deltaworkers program for fall 2014 at The Rusty Nail.

Statues Also Die
Thursday October 2nd at 7PM, artist talk by Timmy van Zoelen & performance by The Big Hunger at Good Children Gallery.

How to apply

Deltaworkers' last residency season is during the spring of 2020. From 2021 onwards we will be visible in New Orleans and the Southern States in other ways.


In the fall of 2010 we—Maaike Gouwenberg and Joris Lindhout—made a three-month road trip through the southern states of the US. The specific aim of this trip was to investigate notions surrounding the Southern Gothic literary genre, on which we were writing a book and creating an exhibition. Our continued fascination with the southern states sparked our ideas for Deltaworkers, a platform through which we can share our intrigue for this part of the world.

The name Deltaworkers is taken from the the two cities we are based in: Rotterdam (NL) and New Orleans, which are both located in a river delta.

Some practicalities:

  • Deltaworkers receives residents roughly from March until May.
  • The maximum residency period is 90 days, the minimum 4 weeks.
  • We offer communal living spaces, an assistant and introduction to our extended network based on the original proposal.
  • We do not require a final outcome at the end of the residency period but we do want to show the eventual outcome in New Orleans when applicable.
  • We do require at least 1 public presentation at one of our partner institutions.
  • We are multi-disciplinary and accept visual artists, designers, theatre makers & performers, filmmakers, writers and musicians.
  • We can host up to 4 residents at a time.

Maaike Gouwenberg is a curator and producer working between Europe and the US, where she is part of the Performa team in New York. Focused on performative practices, and through long-term collaborations with artists and curators, she specializes in the intersection between theater and the visual arts. In 2010, Gouwenberg initiated A.P.E. (art projects era) with artist Keren Cytter. A.P.E develops projects that cannot be realized within traditional institutional formats or frameworks. She is a board member of de Appel Arts Center, Project Space 1646, and musical theatre group Touki Delphine.

Joris Lindhout studied Interaction Design and holds an MA in Fine Arts. He is an alumnus of the Jan van Eyck Academy in Maastricht (NL) where he investigated the social implications of fantastic literature in the Low Countries. In 2017 and 2018 he’ll go back to University and will explore the idea of ‘Digital Anxiety’ at Tulane University’s graduate Digital Media program.


Maggie McWilliams was born and raised in Shreveport, Louisiana. She received her BFA from Tulane University in Photography and English with a concentration in Literary Theory and Southern Gothic Literature. These two artistic perspectives converge in her work in an attempt to revive the mystic, obscure, and sublime in the photographic aesthetic. She currently live and works in New Orleans where she is passionate about supporting contemporary art and promoting experiential innovation within the arts community.


In 2019 Deltaworkers is located at Maria Levitsky's Chateau Curioso - a former school turned mini-farm located in the Holy Cross side of the Lower 9th.

Contact us

Based in Amsterdam, the Netherlands
Chamber of Commerce: 605 484 60

NL +31 6 14 18 4486 & US +1 504 222 3127 (Maaike)
NL +31 6 28 33 9456 & US +1 504 460 7857 (Joris)
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I'd rather love the spikey parts
An interview with Alma Mathijsen by Isabelle Barany for the Antenna blog.

Je werkt gewoon harder aan een fjord of op een landgoed (in Dutch)
Ebele Wybenga writes an article about the use of artist in residence programs for Dutch newspaper NRC.

Over schrijven in New Orleans (in Dutch)
Mark Riesthuis interviews Jan van Tienen about his time in New Orleans. Published on the website of the Dutch public t.v. network VPRO.

On His Trail: Jacob Dwyer’s “DAT LIKWID LAND”
Review on 2015 resident Jacob Dwyer's video DAT LIKWID LAND: "Innovative framing from multiple perspectives (e.g. square-format screen grabs from a computer), vividly saturated coloration, and long tracking shots add an inventiveness and playfulness to the search, while anonymous personae and portentous camera work add a touch of ominousness—as in films by David Lynch or Chris Marker, where, with each new clue unearthed, the mystery only grows deeper."

New Orleans Art: The Year in Review
D. E. Bookhardt mentions us in his end-of-the-year article on the New Orleans arts scene.

Haunted Housing: An Interview with Toon Fibbe
Interview with 2016 resident Toon Fibbe about his research into the ghost of capital: "I thought that if there were a place where a ghost of capital could live, it would perhaps be in the digital renderings of [the post-Katrina] mixed-income developments."

Field research in the Southern States
Interview with TransArtists about how we embed ourselves in New Orleans and about being on the road.

Pionieren in New Orleans (in Dutch)
Interview with Domeniek Ruyters about the why and how we have founded Deltaworkers. Published on the website of the Dutch art periodical Metropolism M.


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