Past Residents

Country
Year
Residency Program
Resident Type
List Grid
Residents Map
Austria, Germany

Past Resident
2023: Federal Ministry for Arts, Culture, Civil Service and Sport of Austria
2021: Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

Artist

Zara Pfeifer

Zara Pfeifer’s work is concerned with the social phenomena of large-scale infrastructure. Her documentation of the modernist housing project Alterlaa (Du, meine konkrete Utopie, 2013-17) and her series on truck drivers (Good Street!, 2018-2022) involves extended periods of immersion in the day-to-day life of her subjects. Besides photography, she reveals her findings in lectures, audio, and video recordings.

Zara Pfeifer has exhibited work at Austrian Cultural Forum, Berlin; MAK Center for Art and Architecture, Los Angeles; and Künstlerhaus, Austria, among others.

Events & Exhibitions

2021 Summer Open House
July 28, 2021, 3–9pm
Zara Pfeifer, "Du, meine konkrete Utopie" (2013–2017)
Zara Pfeifer, Du, meine konkrete Utopie, 2019, photography and textile paper, 393/8 × 1571/2 in. (100 × 400 cm).
Zara Pfeifer, "Good Street!" (2018–2022)
Zara Pfeifer, Good Street!, 2022, framed photograph , 153/4 × 235/8 in. (40 × 60 cm).
Zara Pfeifer, "ICC Berlin" (2021-2022) photo: Liz Perdacher
Zara Pfeifer, ICC Berlin, 2023, photography and vinyl, 1181/8 × 1617/16 in. (300 × 410 cm).
Zara Pfeifer, "El Archivo" (2022) photo: Taiyo Watanabe
Zara Pfeifer, El Archivo, 2023, photography and archival print, dimensions variable.
Zara Pfeifer, Rollrasen, 2023, video on two screens and pasted poster, 783/4 × 1081/4 in. (200 × 275 cm).

Residents from Austria

Marianne Vlaschits

Austria
Federal Ministry for Arts, Culture, Civil Service and Sport of Austria
Studio #218

Ulrike Königshofer

Austria
Federal Ministry for Arts, Culture, Civil Service and Sport of Austria
2024

Irina Lotarevich

Austria
Federal Ministry for Arts, Culture, Civil Service and Sport of Austria
2024
Mexico

Past Resident
2023: ISCP ​Alumni Fund
2008: FONCA - Fondo Nacional para la Cultura y las Artes

Artist

Joaquin Segura

Joaquin Segura’s artistic practice is centered on meditations on the phenomenology of history, power, and truth, engaging with notions such as sociopolitical microclimates, asymmetrical narratives, and ideology. His recent works address the ontological meaning of political extremism, language, and radical thought, with a special emphasis on its materialities. Active since the early 2000s, Segura is widely recognized as one of the leading Mexican artists of his generation.

Joaquin Segura has exhibited work at 14th Havana Biennial, Cuba; National Gallery of Victoria, Australia; and The Modern Art Museum of Fort Worth, Texas, among others.

Events & Exhibitions

Artists at Work: Joaquin Segura in Conversation with Sylvie Fortin
September 5, 2023, 6–8pm
Four rows of blue plastic barrels are surrounded by a chain link fence with barbed wire. They are in a large warehouse-like space with concrete floors.
Joaquin Segura, What kind of spring is this, where there are no flowers and and the air is filled with a miserable smell?, 2022, installation view, chain-link fencing, barbed wire, razor wire, plastic barrels and water, 216 × 87 × 473 in. (548.64 × 220.98 × 1201.42 cm).
From the series "Éminence Grise", 2020 - ongoing. Color field abstraction based on the cover of a 1967 maoist pamphlet, published by the state-run Foreign Languages Press in Beijing.
Joaquin Segura, Imperialism and All Reactionaries Are Paper Tigers, 2022, oil on canvas, 551/2 × 765/16 × 25/16 in. (140.97 × 193.8 × 5.84 cm).
Foreign Languages Press is an editorial imprint with an international reach, established in Beijing in 1952 and controlled by China International Publishing Group, a print organization overseen in turn by the Communist Party of China. It is estimated that more than 30,000 titles have been published in 43 languages since its creation, among which regime propaganda is particularly ubiquitous. This series is conformed by identical copies of a 1968 Maoist pamphlet, intervened with photorealist renderings of makeshift projectiles recovered in urban demonstrations from 2012 to date.
Joaquin Segura, Empirism & Dogma #2, 2020, acrylic and watercolor on recovered pamphlet, 4 × 6 in. (10.16 × 15.24 cm).
Installation composed by the accumulation of the exact amount of specific materials needed to reduce a human body to ashes in an open field setting. The quantities of wood, rubber and combustible used in this work -25 tires, 1675 lb of wood and 71 liters of gasoline or similar flammable liquids- were determined by independent reports of forensic research teams currently working to solve recurring episodes of mass disappearances in various regions of Latin America.
Joaquin Segura, Pyre, 2016, wood, recovered tires, jerrycans and combustible fluid, dimensions variable.
Textile renditions of intervened propaganda material edited by the Soviet Ministry of Propaganda during the Communist era, sourced through different channels: antique dealers, second-hand bookstores and flea markets.
Joaquin Segura, Ideological Clearance (Marx, Lenin, Mao), 2015, handwoven Haute-lisse tapestries, 118 × 98 in. (299.72 × 248.92 cm).

Residents from Mexico

Charlie Perez-Tlatenchi

United States, Mexico
The New York Community Trust’s Edward and Sally Van Lier Fund
Studio #303

Paloma Contreras

Mexico
Guadalupe Phillips
2024

Josué Mejía

Mexico
Fundación JUMEX Arte Contemporáneo
2021
United States

Past Resident
2024: Toby Devan Lewis

Artist

Laura Bernstein

Laura Bernstein creates layered worlds that explore human and animal behavior, as well as mythologies of metamorphose. Her work reflects on the climate through video, performance, installation, and painting, drawing inspiration from medieval illuminated manuscripts and theatrical spectacle traditions.

Laura Bernstein has exhibited at Essex Flowers Gallery; BRIC; and Children’s Museum of the Arts, all in New York, among others.

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
2023 Fall Open Studios
November 10–November 11, 2023
Opening wide, a threshold exposing a procession of hybrid creatures, Hell Mouth explores mythologies of metamorphoses and origin stories of beasts in relation to Pliny the Elder’s Natural History, The Book of Miracles and contemporary stories of species displacement.
Laura Bernstein, Hell Mouth, 2022, installation with three-channel stop-motion video, 3:00 min loop (color, sound), hand-stitched appliqué textiles, 18 puppets made from aluminum armature wire and repurposed fabrics, hoops, plaster, dowels, wood, papier-mâché and imitation gold leaf, 36 × 42 × 36 in. (91.44 × 106.68 × 91.44 cm).
Documentation from public processional where community members helped activate the tapestry. Stitched in isolation, the 100 foot long story-scroll records the cascade of extreme weather and news events that occurred each month of 2020. In collaboration with other Rebecca Pristoop and The Moving Company and Friends, the project is an evolving invitation for public procession and collective meaning exploring the malleability of memory and symbols, seeking to stimulate curiosity and wonder toward the natural world through movement, color and form.
Laura Bernstein, Miracle Tapestries Processional, January I--December XII, 2020, 2021, assortment of recycled organic and synthetic fabrics, hand stitched, thread and 10 PVC pipes, 100 × 12 in. (254 × 30.48 cm).
Vignettes of scientists at work studying worldly species– murder hornets invading the Pacific Northwest, the spotted lantern flies swarming the Northeast —and mythological beasts, act as a blueprint for stop-motion animations.
Laura Bernstein, Murder Hornets Sun Spike, 2022, watercolor and ink on watercolor paper, 60 × 42 in. (152.4 × 106.68 cm).
Illuminator centers itself around a sexless wing finned figure, embedded with candles and barnacles--a humanoid candelabra--dripping, melting and congealing fleshy, gilded wax, presiding over a floor painting depicting the Fall of Babylon as an upside down city from Bamberg Apocalypse 1000 A.D. Working within the liminal space of pictures and words, Illuminator draws on imagery produced by anonymous authors of medieval manuscripts.
Laura Bernstein, Illuminator, 2019, plaster, burlap, steel plumbing pipes, wax, candles, glass, sand, imitation gold leaf, matchbox, brass, candle snuff, and acrylic on canvas and watercolor and ink on paper, dimensions variable.
Directed and produced by Laura Bernstein, the performance event showcased the work of six multidisciplinary artists: Nikki Calonge as P.T. Trainer: Choreography and movement Simone Kearny as MC16c: Poetry Hanna Novak as Hybrid S.P: Love letter to Pliny presented as video text (featured within the image) Emily Reilly ER87: Dramaturge, a pseudoscientific lecture Paola Di Tolla as Pliny: Author of Encyclopedic Sound Score: Audible Tracings from Pliny The Elder's Natural History, 78 AD (2019), 5:00, mp3 Emily Taibleson as ET87: Field researcher and illustrator
Laura Bernstein, A Speculative Performance Presented by The Institute of Super-Species Research and Experimentation, (ISSRE), 2019, performance, 60 min..

Residents from United States

Laura Lappi

Finland, United States
Alfred Kordelin Foundation
Studio #201

Ailyn Lee

United States, South Korea
Anonymous
Studio #210

Angel Lartigue

United States
Vision Fund
Studio #217