Xenoform Labs also offers a less formal “Stopover Residency”. This is a 3-4 day residency at Xenoform Labs, which is offered to selected artists, thinkers and curators. The idea is that if you are in San Francisco doing a stopover for another trip, you have a space for creative inquiry.

This is an alternate to the 1-month long Xenoform Labs Residency, which is more structured with a deeper commitment.

How it works
During the Stopover Residency you will brainstorming ideas and prototyping new work. Together or with other relevant artists, we will share research, develop a dialogue around a shared idea, perhaps generate some prototypes or directions for new work to go in.

In the evening, we will conclude the activity with a public presentation: a talk or exercise to engage about 15 selected people in the art and tech community in San Francisco.

Spring Stopover Residents

Feb 25-Mar 1, 2019
Jeannine Shinoda

Her current work, Kitchen of Inquiry, is a series of art-based food experiments. Part of this series is Speculative Gastronomy, a project that utilizes machine learning and a curated selection of cookbooks to look at how language, process, and food can convey ideas, ideologies and concepts. The intended products of this project are meals to be eaten by participants and an art book that includes photographs and recipes of the process. For her Stopover Residency at Xenoform Labs, Shinoda will be cooking and serving AI generated recipes and investigating how her project can contribute to the digitization of our food culture history.

Jeannine Shinoda is a semi-nomadic artist, architect and chef. Her writing Whole Parts: On Rupture and the Other Side of Generosity can be found in the most recent issue of Performance Research (Taylor and Francis Ltd, UK). Shortly after her stopover residency, Shinoda will be traveling to Japan to continue her work at the Kamiyama Artist in Residence (Bed and Studio Program).


Jan 15-18, 2019
Nathaniel Stern

His current project, The World After Usis a series and exhibition of media sculptures, prints, and installations that materially speculate on what our devices – phones, tablets, batteries, LCDs, etc – might become, whether over decades, or thousands or millions of years. It consists of three parts, which include:
  • subjecting phones to heat and pressure, extreme cold or high speed blending (for example), as a kind of artificial geological time – exhibited as ”Phossils;”
  • growing “Server Farms” inside computers and other technological devices; and 
  • producing “Phonēy Prints” and “Circuitous Tools,” where dead electronics become raw materials for manufactured utilitarian goods;
all exhibited together in sculptures, installations, prints, texts, and photographs. At stake, whether in our everyday interactions or on a much larger scale, are the (digital) relationships between humans and the natural world on the one hand, between politics and commerce on the other.

Nathaniel Stern is an artist and teacher, and author of Interactive Art and Embodiment: The Implicit Body as Performance (Gylphi 2013) and Ecological Aesthetics: artful tactics for humans, nature, and politics (Dartmouth 2018). He holds a joint appointment as Associate Professor of Art and Mechanical Engineering University of Wisconsin – Milwaukee, and is a Research Associate at the Research Centre, Faculty of Art, Design and Architecture, University of Johannesburg