Bryndís Björnsdóttir (IS), b. 1983, is an artist and writer. She lives in Berlin where she studies bodily inclinations and their breaking point. From the production line of privatized natural resources in Iceland comes a black plastic stick. The stick is used to strengthen boxes for the exporting of salt fish. The extraction process and non-recyclable by-product of the industry is a tale of a process similar to the creation of the mythical figure of the Mountain Woman of Iceland, conceived by male poets at the beginning of colonized Iceland’s independence movement in the late 19th century. The female personification of Iceland has roots to ancient indo-european mythology, symbolizing nature, the impenetrable national body with the surrounding sea of the island as her chastity belt. The Mountain Woman of Iceland is the end product of a nation-state. A hybrid version of Mountain Woman, presented by Bryndís Björnsdóttir, invites you to kill time in an existential leisure activity of playing cards at a stationary raft while she unearths subjectivities of oral heritage and performs on 26^th of August a coming-into-presence.

During her residency at the Nida Art Colony, Bryndís Björnsdótti will formulate a new performance titled Landráð II: Unearthing, for the summer exhibition When The Sea Looks Back.Bryndís residency is supported by a Kulturkontakt Nord Mobility Grant.

Rokas Dovydėnas (LT) is a PhD student at Vilius Academy of Arts. He has been participating in exhibitions since 1994 and curating shows since 1999. Since 2016 he has been the chairman of Lithuania Interdisciplinary Artists Association. Lives and works in Vilnius.

At Nida Art Colony Rokas Dovydėnas will focus on writing his PhD thesis. Researching the history of ceramics, he seeks to reveal the huge influence historical art has on a contemporary artist/designer. In his research project Rokas will present three stories of ceramic failure. It's going to be about European copying of Chinese porcelain and Soviet ceramics in Lithuania in 1954–1970 as representations of the “copying without the original” tradition and new strategies of copying.

Golden Diskó Ship is Theresa Stroetges (DE), a Berlin-based multi-instrumentalist and video artist who performs live as a one-girl orchestra. Her imaginative soundscapes, shifting from delicate melodic lines steeped in nostalgia to the feedback arcs and textured distortion of machine abuse, evoke lucid dreams and have won critical praise for their fresh, eclectic collages of electronic and acoustic sound. Her debut solo album, Prehistoric Ghost Party, was produced at the legendary Faust Studio, home of the Klangbad label, and her tracks have also been released on Monika Enterprise’s City Splits # 1 and The Wire Tapper’s June 2012 compilation. (CTM concerts)