Past Residents
Past Resident2013: Foundation for a Civil Society
Miran Blažek
Miran Blažek builds his work as recorded time of the constant quest for the meaning of the ordinary things we interact with in everyday life in order to build personal, emotional and mental caches of images. In his work there is a series of symbols which constitutes an open story where the words do not meet the needs of visual representation. His works function through traces which indicate that they derived from painting.
Born in 1983 in Osijek, Croatia, Miran Blažek graduated with a BA from the Academy of Fine Arts, Zagreb in 2006 and completed his postgraduate studies in 2012 at Fine Arts Academy, Ljubljana. Since 2011 he has served as an external assistant in drawing classes at the Art Academy in Osijek. His selected soho exhibitions include Monochrome, Waldinger Gallery, Osijek, Whirlpool, CEKAO Gallery, Zagreb and Whirlpool the lost paintings at Kazamat Gallery, Osijek. Selected group exhibitions include T-THTaward@MSU, the Museum of Contemporary Art, Zagheb; Tu smo 3 (We are here 3) at the Museum of Contemporary Art, Pula; Radoslav Putar Award, Finals at Galzenica Gallery, Velika Gorica; Osijek-Pecuch/Eszek-Pecs, Nador Gallery, Pecs; Meeting point, Arab; The Essl Art Award, Glyptotheque, Zagreb and FONA, Kortil Gallery Rijeka.
Events & Exhibitions
Salon: Miran Blažek and Mark Ther
March 26, 2013
Miran Blažek, Still Life, 2012, Raw canvas on wall, 72 × 62 in. (182.88 × 157.48 cm). Courtesy of the artist.
Miran Blažek, Whirlpool (Yugoslavia), 2006, Acrylic on wood, 39 in diameter. Courtesy of the artist.
Miran Blažek, Whirlpool (DDR), 2006, Acrylic on wood, 39 in diameter. Courtesy of artist .
Miran Blažek, Monument, 2012, Oil on canvas, 98 × 59 in. (248.92 × 149.86 cm). Courtesy of the artist.
Miran Blažek, At The Right Place at the Right Moment, 2012, Burned carpet, 51 in diameter. Courtesy of the artist.
Past Resident2013: Mondriaan Fund
Paulien Oltheten
Paulien Oltheten creates series of photographs and videoworks which explore human relations in public space and examine the similarities and differences in cultures through physical activity. She extends the photo and video works by commenting with sketches and text and will restage behaviors from the photos and videos by herself or with the help of spectators. The result appears as a kind of archive, an anthropological study, and allows us to reconsider the context of reality. It is a study full of gentle humour.
Paulien Oltheten (born 1982) is based in Amsterdam where she studied at the Rijksakademie until 2006. Her solo exhibitions include; It’s my imagination, you know, Gallery Fons Welters, Amsterdam; Kitbag Questions, Dvir Gallery, Tel Aviv and Walk on a line, Nederlands Fotomuseum, Rotterdam. Group exhibitions include Desire Lines, ACCA Melbourne; Daegu Photo Biennial; Safari, Le Lieu Uniques, Nantes; CREAM festival, BANKart Studio, Yokohama and Off the Record, Stedelijk Museum, Amsterdam. Oltheten has published the monographs Theory of the Street, 2007; A Sort of Lecture, 2011 and Photos from Japan and my Archive 2011. She was the recipient of the 2012 Dutch Doc Award.
Paulien Oltheten, Small Roll of Thoughts, 2010-2012, Black and white print. Courtesy of the artist.
Paulien Oltheten, Caressing the Bus, 2011, Video installation, 1 min 21 sec. Courtesy of the artist.
Paulien Oltheten, Bellies, 2010, C-print. Courtesy of the artist.
Paulien Oltheten, Crossing, 2010-2012, HD video, 2 min 23 sec. Courtesy of the artist.
Paulien Oltheten, It's My Imagination, You Know, 2012, Mixed media. Courtesy of the artist and Gallery Fons Welters, Amsterdam.
Residents from The Netherlands
Past Resident2012: Creative Australia
Kellie O’Dempsey
Through performance drawing, Kellie O’Dempsey explores liminal space and movement as narrative. With drawing as her dialogue, O’Dempsey spontaneously translates the immediacy of experience into line, form and gesture with charcoal and ink and more recently an electronic drawing device. Often working in collaboration with musicians, performers and artists, her process investigates the interconnected experience of human engagement. Via improvisation, elements of performance are translated into drawn works as an immediate means of response. Her work is currently focused on the synthesis of analogue and digital drawing.
Kellie O’Dempsey has developed installations in a vast array of spaces including: in the rehearsal studios of a ballet company (Queensland Ballet 2003), rock festivals, in The Barbican Theatre-London (2005) to commuters in subway during rush hour in Melbourne (2007). Performances and residencies include: Soundlabs, Italy, 2005-2006; Festival Internationale de Benicassim, Spain, 2005-2006; M on The Bund, Shanghai, 2009-2010; Judith Wright Centre of Contemporary Art, 2011; Elephant Rock cliff face – BLEACH 2012; Live collaborative performance with Michael Dick, Brian Richie and the Tasmanian Improvisers Orchestra at MONA FOMA, Hobart, 2012, The 18th Biennale of Sydney and upcoming at Draw International, France, 2013.
Kellie O’Dempsey, Mona Foma, 2012, Live performance paper, ink, paint, digital project, and orchestra. Courtesy of the artist.
Kellie O’Dempsey, Mona Foma, 2012, Live performance paper, ink, paint, digital project, and orchestra. Courtesy of the artist.
Kellie O’Dempsey, Moving Lines, 2011, Live performance paper, ink, tagtool, and digital projector. Courtesy of the artist.
