Past Residents
Viktor Kopp
Viktor Kopp’s work is both dry and whimsical, playing on notions of illusion in painting with a deep focus on the formal logic of perspective and geometric abstraction. His work begs the question of what lies behind the illusionistic space of the painting, pointing to the inherent flatness of the work and the contrivance of depicting space within. In these paintings, Kopp breaks with both flatness and representation in a space of three-dimensional illusion, one without gravity, shadow or dimension. A flat tablet of grey abstraction turns and floats within a dense white blankness of a monochromatic yet intricately painted void. His work shows abstraction as his motif and subject, peeling away to reveal only more abstraction.
Viktor Kopp (b. 1971, Stockholm) completed studies in fine art in Malmö, Gothenberg and Helsinki. His selected solo exhibitions include Bureau New York, Ribordy Contemporary, Geneva; Galleri Magnus Åklundh, Malmö and Konsthallen Passagen, Linköping. His group exhibitions include: Moderna Exhibition, Moderna Museet, Stockholm; Edstranska, Malmö Art Academy, Malmö; The Art of Cooking, Royal/T, Culver City; Underemployed, Salon Zurcher, New York; Abstract and Traces, Ribordy Contemporary, Geneva and Solid-State, Bureau, New York. Kopp teaches painting at the Malmö Art Academy and lives and works in Stockholm.
Viktor Kopp, Four Corners, 2012. Courtesy of the artist and Bureau, New York
Viktor Kopp, 2011. Courtesy of the artist and Galleri Magnus Åklundh, Malmö
Viktor Kopp, Double Door Yellow, 2011, Oil on canvas, 65 × 69 in. (165.1 × 175.26 cm). Courtesy of the artist
Residents from Sweden
Past Resident2014: Nicodim Gallery
Santiago Taccetti
Santiago Taccetti centers his work on the concepts of simulation and deceit. Our relationship with technology and how it continuously defines our social identity is revised using everyday materials and found objects in ways that stimulate new perspectives from which to perceive contemporary culture. Taccetti’s process thrives on the tension between planned and random elements encountered during the investigative process. The misuse of basic construction materials by means of an abusive interaction with external arbitrary factors like time and natural conditions, produce a series of errors and accidents that alter any predetermined output. All that emerges from these collaborations is embraced as part of the working process; they become fundamental tools redefining the conventional notions of identity and authorship.
Santiago Taccetti (born 1974, Buenos Aires) lives and works in Berlin. He has exhibited his work in art centers and galleries such as Centre d’art, Santa Monica; Centre de Cultura Contemporanea, Barcelona; Istituto ItaloLatinomericano, Rome; La Panaderia, Mexico City; Centro Cultural, San Martin; Centro Cultural Recoleta, Buenos Aire as well the Baryshnicov Art Center and the OMI Sculpture Park, New York. He participated in Proyectos Ultravioleta Residency, Guatemala, 2010; the 2011 Watermill Center Residency, New York, and most recently Art Omi Residency, New York.
Santiago Taccetti, Bear tries to beat heat, 2013, Mixed media. Courtesy of the artist
Santiago Taccetti, Non-smokers, 2013, Mixed media. Courtesy of the artist
Santiago Taccetti, Sugar, glucos, syrup, starch, gelatin and citric acid, 2013, Sculpture, 78 x 20 x 40 in. Courtesy of the artist
Santiago Taccetti, Nothing to see here, 2012, Installation, 95 x 95 x 95 in. Courtesy of the artist
Santiago Taccetti, Nothing to see here, 2012, Installation, 95 x 95 x 95 in. Courtesy of the artist
Residents from Germany
Past Resident2014: Inlaks Shivdasani Foundation
Akansha Rastogi
Akansha Rastogi develops and mediates relationships between the exhibit, curator, artist and the exhibition space. She engages with the exhibition as a medium and as a form through her curatorial and research projects. Her interest is in different kinds of knowledge production within exhibition spaces and a study of vocabularies formulated during the process of exhibition-making. In her curatorial practice, Rastogi manufactures methods and cycles of reiteration and retrieval, mnemonic conditions, access and mesh-making, in relation to the performativity of exhibitions and exhibition spaces. Her ongoing project Grazing sidelines the narrative and produces a post-embedding, self-alluding structural field that further addresses this interiority and performative duration.
Akansha Rastogi (born 1985) is Curator, Programming and Exhibitions, at the Kiran Nadar Museum of Art (KNMA), New Delhi. She completed her degree in English literature from Delhi University and Master’s Degree in the History of Art. Her recent exhibitions include Zones of Contact: Propositions on the Museum, 2013 and the Inhabiting the Museum performance series, 2011-14, KNMA. Rastogi is part of the artist collective WALA and received a FICA Public Art Grant for performance projects. She is the recipient of the 2014-15 IFA Research Grant for studying Exhibition Histories and Practices of Indian Modern and Contemporary Art.
Events & Exhibitions
Salon: Michelle-Marie Letelier and Akansha Rastogi
July 8, 2014
Ranbir Kaleka, Reading Man 2, 2011, Digital print and script-log. Courtesy of the curator and exhibition Parenthetic Exercises: Archiving Ranbir Kaleka's Studio
Ranbir Kaleka, Slide projection of 74 found tracings, drawings, preparatory sketches, mappings, layouts and details of paintings. Courtesy of the curator and exhibition Parenthetic Exercises: Archiving Ranbir Kaleka's Studio
Ranbir Kaleka, Parenthetic Exercises: Archiving Ranbir Kaleka's Studio, 2008-2009, Drawing on tracing paper. Courtesy of the curator and exhibition Parenthetic Exercises: Archiving Ranbir Kaleka's Studio
Ranbir Kaleka, Grazing, 2013, Exhibition view. Courtesy of the curator
Ranbir Kaleka, Grazing, 2013, Digital print. Courtesy of the curator
![a ‘sadabahar’ [the name translates to ‘always prosperous’] plant grow in the limited resources of a brick wall crack](https://iscp-nyc.org/wp-content/uploads/2024/04/sada1-500x350.jpeg)
