Past Residents
Past Resident2017: Hasselblad Foundation
Espen Gleditsch
Espen Gleditsch is an artist whose work juxtaposes photographs, texts and objects. His projects often put in dialogue text and image to enable a variety of perspectives on a common theme. Through this association, viewers’ interpretations of the works vacillate between a rational, cognitive understanding and a visual system of symbols. Gleditsch’s intellectual and artistic process often starts with a narrative that navigates between fact and fiction. His work raises fundamental philosophical questions regarding our ability to survive in a secular society without dreams and fantasies–which allow us to transcend our rational understanding of reality.
Espen Gleditsch (born 1983) lives and works in Oslo, Norway. Gleditsch received his MFA from the Academy of Fine Art of the Oslo National Academy of the Arts in 2015. Gleditsch’s work has been presented in solo shows at Kunstnerforbundet, Oslo, 2016; Noplace, Oslo, 2016; Fotogalleriet [Format], Malmö, 2015; Haugesund kunstforening, Norway 2013; and MELK, Oslo, 2012. Group shows include Kunstnernes Hus; Hamburger Bahnhof – Museum für Gegenwart, Berlin, 2015; Haugar Vestfold Kunstmuseum, 2014, 2010; Austin Centre for Photography, 2014; and Fotogalleriet, Oslo, 2013.
Events & Exhibitions
Fall Open Studios 2016
November 4–November 5, 2016
Espen Gleditsch, A Place by the Sea, 2016, Archival inkjet print on cotton paper, 19 × 24 in. (48.26 × 60.96 cm).
Espen Gleditsch, A Place by the Sea, 2016, Photography and text.
Espen Gleditsch, White Lies, 2015, Photography and hand made wood sculptures.
Espen Gleditsch, Sphere, 2015, Solid birch and spray paint, 10 in. diameter.
Past Resident2017: Senate Department for Culture and Europe, Berlin
Megan Francis Sullivan
Megan Francis Sullivan’s practice gleans cultural artifacts and identities by enacting or interpreting works and objects from specific sources. Her expanding body of work questions the historical baseboard of artistic work as site and time-specific. Projects such as the repainting of Rosa Bonheur’s The Horse Fair, the building of tables inspired from those of the Cooper Union library during its tuition crisis, and a painting series that that inverts Paul Cezanne’s The Bathers, are examples of how the artist interrogates artworks outside of their cultural context.
Megan Francis Sullivan (born 1975, Stamford, Connecticut) currently lives and works in Berlin. Sullivan studied at Cooper Union, New York and Städelschule, Frankfurt. Recent solo exhibitions include Kunsthalle Bern, 2016; Objectif Exhibitions, Antwerp, 2015; Midway Contemporary Art, Minneapolis, 2014; and Mathew Gallery, Berlin, 2014. Group exhibitions include Carlos/Ishikawa, London, 2016; Mathew Gallery, New York, 2015; VI, VII, Oslo, 2014; Freymond-Guth, Zurich, 2013; castillo/corrales, Paris, 2013; and Halle für Kunst, Lüneburg, Germany, 2013.
Megan Francis Sullivan, White / Red, White / Blue, 2016, Swiss-made awning material, iron rod, and hardware, 71 × 82 in. (180.34 × 208.28 cm).
Megan Francis Sullivan, Table (for Lutz Bacher), 2015, Found object and glass, 28 × 12 in. (71.12 × 30.48 cm).
Megan Francis Sullivan, The Bathers Series, 2016, Oil on canvas, Dimensions variable. Installation view at Kunsthalle Bern.
Past Resident2016: fond na podporu umenia
Lýdia Pribišová
Lýdia Pribišová is interested in testing the boundaries of art. In her curatorial projects, she focuses on subversive art practices that go against typical social and cultural patterns. In her work, Pribišová observes how cultural stereotypes are constructed as well as the shifting positions of individual subjects in society. She works with themes of collective memory, sharing, and local Central European history, in part by questioning social rules, conformism, and the changing role of public space in post-communist societies.
Lýdia Pribišová (born 1980, Slovakia) is a curator and art historian. Pribišová has been the Slovak editor at Flash Art Czech & Slovak Edition since 2006, before becoming the managing editor in 2015. For two years (2013-2015), she worked as a project coordinator for the organization and digital platform tranzit. In 2012, Pribišová founded the nonprofit PILOT, and in 2007, she co-founded gallery of immaterial art, Evolution de l’Art. Projects include the 2007 and 2011 Slovak exhibition at the Prague Biennale. In 2013, Pribišová obtained her PhD from the University Sapienza, Rome; her doctoral thesis is titled Quadriennale of Rome. From Public Body to Foundation. Reflection on transformation.
Events & Exhibitions
Salon: Lýdia Pribišová and Jeff Weber
September 20, 2016, 6:30–8pm
Katerina Seda, Bojart Market, 2015, Participatory work. Photo by Martin Hlavica.
Ilona Németh, Mud Wrestling, 2011. Project for the Prague Biennale.
Lýdia Pribišová, Common Identity?, 2011-2012.
