Past Residents
Past Resident2016: Creative New Zealand
Alicia Frankovich
Alicia Frankovich is interested in the potential for new modes of imagining bodies and their behaviors for both humans and non-humans. She works with performance, sculpture, video, photography, and temporary exhibition experiences. Frankovich is interested in creating new languages that merge movements, experiences, sensibilities, materials from various fields, often by collaborating with non-professional participants. Her mode of production combines various past histories with the present to form relationships with possible futures. She builds equivalences through the combination of form or temporal experience, that create links between things and beings to allow for a more plural understanding of time.
Alicia Frankovich (born 1980, Tauranga, New Zealand) holds a BVA in sculpture from Auckland University of Technology, and lives and works in Berlin. Her solo and two-person exhibitions include The Female has Undergone Several Manifestations, Starkwhite, Auckland, 2016; Complex Bodies, Kurator, Alte Fabrik, Gebert Stiftung für Kultur, Rapperswil, Switzerland, 2015; Today this technique is the other way around, Kunstverein Hildesheim, 2013; and Gestures, Splits and Annulations, Künstlerhaus Bethanien, Berlin, 2011. Group exhibitions and performances include: Les Limbes, La Galerie, Noisy-le-sec, France 2016; If I Can’t Dance I Don’t Want To Be A Part Of Your Revolution, Gerrit Rietveld Academie, Amsterdam, 2016; Le Mouvement: Performing the City, Biel/Bienne, Switzerland, 2014; Nouvelles Vagues, Palais de Tokyo, Paris, 2013; and Material Traces, The Leonard & Bina Ellen Art Gallery, Montréal, 2013.
Events & Exhibitions
Brooklyn Commons: Tehching Hsieh and Alicia Frankovich
July 26, 2016, 6:30-8pm
Alicia Frankovich, Defending Plural Experiences: MOCAP Creation, 2014, HD video, colour, and sound, 36:28 min.
Alicia Frankovich, Complex Bodies, 2015, Various media, Dimensions variable.
Alicia Frankovich, Soft Water (detail), 2015, Olympic pool stairs and polished shells, 353/8 × 473/16 × 517/8 in. (89.92 × 119.89 × 131.83 cm).
Residents from New Zealand
Past Resident2016: The Ian Potter Foundation, Gordon Darling Foundation, American Australian Association
Elise Routledge
Elise Routledge is a curator who approaches her work with sensitivity to artists’ ideas and processes, and respect for the intelligence and curiosity of audiences. She is interested in how cultural contexts and environments inform the production and interpretation of contemporary art. Routledge’s curatorial projects are characterized by their engagement with social themes, risk, and institutional critique.
Elise Routledge has worked with the Museum of Contemporary Art, Sydney; Shepparton Art Museum (SAM), Victoria; Experimenta Media Arts, Melbourne; British Council, Sydney; and Artangel, London. Routledge has curated exhibitions at Gertrude Contemporary, Melbourne, and Firstdraft Gallery, Sydney, and has contributed to numerous publications. She was awarded a scholarship from the College of Fine Arts, University of New South Wales, and received an Australia Council Skills and Arts Development grant in 2014. Recent curatorial projects include Kate Murphy: Probable Portraits, Shepparton Art Museum; Bindi Cole: I Am, Shepparton Art Museum; Delinquent Angel: John Perceval’s ceramic angels, Shepparton Art Museum; Experimenta Recharge: 6th International Biennial of Media Art, RMIT Gallery, Melbourne; and A Galaxy of Suns by Michaela Gleave premiering at Dark Mofo, 2016, Hobart, Tasmania, Australia.
Rebecca Baumann, Untitled Field View, 2013, Plinths, 9 monochromes in dulux (dandelion yellow, lickety lick, charcoal, cousteau, funk, scampi, hot lips, paris nights, and tang) with green vase, orange and blue vase, boat-shaped dish and art deco vase from the Shepparton Art Museum ceramics collection, Dimensions variable. Image courtesy of Shepparton Art Museum and Rebecca Baumann. Photo by Andrew Curtis.
Katie Lee, Collected Objects, Varied Materials (detail), 2013, Lead, glazed earthenware, rubber, timber, brass, and various objects from the Shepparton Art Museum ceramics collection including Kirsten Coelho’s Iron and the Air (2007), Dimensions variable. Image courtesy of Shepparton Art Museum and Katie Lee. Photo by Andrew Curtis.
Michael Camakaris, The Drawing Wall # 11: Five Bulls, No Bull, 2013, Acrylic paint on wall. Image courtesy of Shepparton Art Museum and Michael Camakaris.
Past Resident2016: Kunststiftung NRW
Lars Breuer
Lars Breuer creates large wall works that underscore the global political landscape of crisis. His compositions address the language of authority and the shifting instability of meaning and significance in contemporary life. Breuer works with language and comprehension, while striving for order in his wall works, balancing not just the architecture of the wall but the space that separates the public from the private and the past from the present.
Lars Breuer (born 1974, Aachen, Germany) lives and works in Cologne, Germany. Solo exhibitions include Ludwig Forum for International Art, Aachen, Germany; Galleri Kant, Denmark; Kunstverein Paderborn, Germany; SchauOrt Gallery, Switzerland; and Temporary Gallery, Cologne. His works have been included in group exhibitions at Museum Konkrete Kunst, Ingolstadt; Pori Art Museum, Finland; Gdańska Galeria Miejska, Poland; Museum Morsbroich, Germany, KIT/ Kunsthalle Düsseldorf; ZKM/Museum für Neue Kunst, Germany; Sydney College of the Arts, Australia; and the 10th Kaunas Biennale, Lithuania.
Lars Breuer, Einsamkeit / Wahrheit, 2015, Acrylic on wall, 13613/8 × 1551/2 in. (3457.95 × 394.97 cm).
Lars Breuer, Koexistenz, 2014, Oil and mixed media on canvas, wooden frames, 80 5/8 x 41 1/8 in. each.
Lars Breuer, To the Happy Few, 2015, High gloss chrome and gold on brass, wooden frames, 231/2 × 291/2 in. (59.69 × 74.93 cm).
