Past Residents
Michelle-Marie Letelier
Michelle-Marie Letelier is interested in exploitation of minerals, working across topographic changes of a landscape, juxtaposed with the speculation of resources within the current economic framework. She spent her early life in Chuquicamata, the biggest open-pit copper mine in the world, in the Atacama Desert. This served as a starting point in her practice, documenting the town’s burial process through video and photography. Since settling in Berlin, Letelier has focused on copper and coal: minerals which have also become objects themselves in her drawings, paintings, objects and installations. Letelier’s work carries heavy socio-political overtones, especially in times of unveiled globalization, the increasing scarcity of raw materials and the crisis of the neoliberal model.
Michelle-Marie Letelier (born 1977, Rancagua, Chile) obtained her BFA at the Universidad Católica de Chile. Her recent solo exhibitions include Die Feinfühlige Zone, Die Ecke Gallery, Santiago and Doomed Scape,Perlini Arte Gallery, Padua. Her group exhibitions include Magic Block, Stiftelsen 3.14, Bergen and To Seize Matter and Leave a Landscape, X Video and Media Arts Biennial, Museum of Contemporary Art, Santiago. Her videos have been exhibited in several screenings and festivals across the world. In 2005, Letelier participated in the Mercosur Biennial and in 2012 she was awarded the first edition of ORA International Art Prize. Letelier lives and works in Berlin.
Events & Exhibitions
Salon: Michelle-Marie Letelier and Akansha Rastogi
July 8, 2014
Michelle-Marie Letelier, The Prediction of Tarapacá, 2014, Mixed media, 17 x 157 x 157 in. Courtesy of the artist.
Michelle-Marie Letelier, Energeia Series, 2012, Mixed media, 4 x 6 in. Courtesy of the artist.
Michelle-Marie Letelier, Wo Fass Ich Dich, Unendliche Natur?, 2011, HD video, 5 min. Courtesy of the artist.
Michelle-Marie Letelier, Doomed scape, 2012, Drawing, 83 x 124 in. Courtesy of the artist.
Michelle-Marie Letelier, Doomed scape, 2012, Installation view. Courtesy of the artist.
Past Resident2014: Danish Arts Foundation
Jacob Kirkegaard
Jacob Kirkegaard’s work derives from unaudible or unheard acoustic phenomena. With sensors and recording methods, the material is unfolded into compositions, sound works or visual, spatial installations. Kirkegaard has explored sonic environments such as subterranean geyser vibrations, empty rooms in Chernobyl, a rotating TV tower, Arctic hydrosonic calving glaciers and even tones generated by the human inner ear itself. Kirkegaard listens behind the immediate and challenges our perception and the world around us.
Currently based in New York, Jacob Kirkegaard is a graduate of the Academy for Media Arts in Cologne. Since 1995, he has presented his works at galleries, museums, venues and conferences throughout the world including the Museum of Modern Art, New York; LOUISIANA Humlebæk, Denmark; KW, Berlin; The Menil Collectio and the Rothko Chapel, Houston and at the Aichi Triennale. His sound works have been released by labels including Touch, Important Records and Posh Isolation.
Events & Exhibitions
Salon: Thora Dolven Balke and Jacob Kirkegaard
July 22, 2014
Jacob Kirkegaard, AION, 2005, Photography, 12 x 16 in. Courtesy of the artist.
Jacob Kirkegaard, ISFALD, 2013, Installation. Courtesy of the artist.
Jacob Kirkegaard, Nagaras, 2008, Photography, 20 x 20 in. Courtesy of the artist.
Jacob Kirkegaard, Through the Wall, 2014, Installation. Courtesy of the artist.
Jacob Kirkegaard, Thirst, 2013, Installation. Courtesy of the artist.
Residents from Denmark
Past Resident2014: Ministry of Culture of the Flemish Community Visual Arts Department
Manor Grunewald
Manor Grunewald is first and foremost as a painter, although he is also active in the fields of sculpture, installation and prints. His work is characterised by the constant analysis of the development of the pictorial in our daily environment. He finds and collects the sources of his images everywhere in daily life: in newspapers, advertising, books, comics, digital media and even illustrations of biological microcosms and macrocosms. His image archive serves as a source of inspiration, and his found pictorial material is often altered, partially on purpose and in some cases arbitrarily, by copying, enlarging or collaging. The artist thus creates new pictorial information, which is largely free of cognitively controlled processes and which reveal the unfamiliar, allowing this to become the content of his painting.
Manor Grunewald’s works have been exhibited across Europe and in the United States. In 2011, he was nominated for the Young Belgian Painters Prize at BOZAR. Recently, he has completed solo projects at Arco Madrid, Volta New York and Volta 9, Basel. Grunewald has presented recent solo exhibitions at Galerie Fortlaan 17, Ghent and Chaplini Gallery, Cologne. He will take part in a group exhibition with Evan Gruzis and Christian Vetter at Super Dakota Gallery, Brussels in April 2014.
Manor Grunewald, Unhelpful Hunt - Ze hat is not mine, I'm only trying it on for size, 2013, Installation view. Courtesy of the artist and Chaplini Gallery, Cologne.
Manor Grunewald, Unhelpful Hunt - Ze hat is not mine, I'm only trying it on for size, 2013, Installation view. Courtesy of the artist and Chaplini Gallery, Cologne.
Manor Grunewald, Life's a beach - grey, 2013, Oil, acrylics, spray paint, lacquer, paper, uv print on wood, 47 × 71 in. (119.38 × 180.34 cm). Courtesy of the artist.
Manor Grunewald, Untitled (Organic Mess #2), 2013, Oil, acrylics, spray paint, silkscreen, foil on canvas, 35 1/2 x 27 1/5 in. Courtesy of the artist.
Manor Grunewald, Sloping Attempt (Atom Ant), 2013, Wood, epoxy, plaster, oil, spray paint, metal, foam, 55 1/2 x 50 3/4 x 10 in. Courtesy of the artist.
