Past Residents

Country
Year
Residency Program
Resident Type
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Ethiopia

Past Resident
2022: Dennis Elliott Founder's Fund

Artist

Michael Tsegaye

Michael Tsegaye is interested in strengthening the arts in Ethiopia and creating a larger public sphere that promotes critical thinking and dialogue through the arts. He expresses concern about Addis Abeba’s urban revolution, which has claimed millions of lives. Tsegaye’s work calls into question the strategy of privilege and exclusion employed by Ethiopian urbanism, as well as its long-term implications.

Michael Tsegaye has exhibited work at Musée du quai Branly, Paris; International Center of Photography (ICP), New York City; and Huis Marseille, Museum for Photography, Amsterdam, among others. 

Events & Exhibitions

2022 Fall Open Studios
November 18–November 19, 2022
These images are of gravestones in Ethiopia. When a person dies, his or her relatives place a photograph onto the tombstone and also inscribe a short history of the deceased. Thinking about the family’s photographs, and the idea of memorials and loss, I am struck by the personal sense of damage that these images—and the air that falls about them—evoke. As a result of time, those buried continue to experience a second death: the gradual deterioration of their entombed identity.
Michael Tsegaye, Chasms of the Soul, 2010-11, photography, 40 × 60 in. (101.6 × 152.4 cm).
Michael Tsegaye, Chasms of the Soul, 2010-11, photography, 40 × 60 in. (101.6 × 152.4 cm).
Michael Tsegaye, Chasms of the Soul, 2010-11, photography, 40 × 60 in. (101.6 × 152.4 cm).
These images are of gravestones in Ethiopia. When a person dies, his or her relatives place a photograph onto the tombstone and also inscribe a short history of the deceased. Thinking about the family’s photographs, and the idea of memorials and loss, I am struck by the personal sense of damage that these images—and the air that falls about them—evoke. As a result of time, those buried continue to experience a second death: the gradual deterioration of their entombed identity.
Michael Tsegaye, Chasms of the Soul, 2010-11, photography, 40 × 60 in. (101.6 × 152.4 cm).
These images are of gravestones in Ethiopia. When a person dies, his or her relatives place a photograph onto the tombstone and also inscribe a short history of the deceased. Thinking about the family’s photographs, and the idea of memorials and loss, I am struck by the personal sense of damage that these images—and the air that falls about them—evoke. As a result of time, those buried continue to experience a second death: the gradual deterioration of their entombed identity.
Michael Tsegaye, Chasms of the Soul, 2010-11, photography, 40 × 60 in. (101.6 × 152.4 cm).
Qatar

Past Resident
2022: Fire Station - Qatar Museums

Artist

Zainab AlShibani

Zainab AlShibani explores mysticism and folklore through Arabic letter forms and illustrations. She is passionate about creating dream-like visions of life, gender, self, and creative work.

Zainab AlShibani has exhibited work at Cairopolitan, Egypt; VCUQ, Qatar; and MIA, Qatar, among others.

Events & Exhibitions

2022 Fall Open Studios
November 18–November 19, 2022
Inspired by zoomorphic and anthropomorphic arabic scripts, the 1001 nights poster is a lettering piece that reflects the complexity of the Arabian nights via ornate and lively letter forms.
Zainab AlShibani, 1001 Nights, 2021, screenprint, 20 × 30 in. (50.8 × 76.2 cm).
In the words of Mirza Ghalib, “every letter has a paper shirt.” The Talking Letters explores the potential outcomes of Arabic lettering through inquiries into the latent meanings, future forms, and local practices in order to create representations of the versatility and expressive nature of the script. From the Turkish prophetic tradition “trust in the waws (و)” to the mystical studies of the letters, this project aims to explore the multifaceted dimensions of the Arabic script.
Zainab AlShibani, The Talking Letters, 2021, screenprint, 22 × 30 in. (55.88 × 76.2 cm).
To exemplify the value of experimental lettering within a commercial design project, Pierce is playful take on a client driven brief for a piercing and tattoo walk-in parlor.
Zainab AlShibani, Pierce, 2021, screenprint, 11 × 81/2 in. (27.94 × 21.59 cm).
inspired by early islamic motifs and patterns
Zainab AlShibani, Motif, 2021, lino block print, 18 × 93/8 in. (45.72 × 23.88 cm).
One of the outcomes of The Talking Letters project is the Lettering kit.The kit is designed to help equip artist and designers with all the tools and refrences they would need to put together their own lettering pieces.
Zainab AlShibani, Arabic Lettering Card Deck, 2021, screenprint, dimensions variable.

Residents from Qatar

Dana Agal

United States, Qatar
Fire Station - Qatar Museums
Studio #209

Fouz Saif

Qatar
Fire Station - Qatar Museums
2024

Muneera Al-Buainain

Qatar
Fire Station - Qatar Museums
2024
United States, Israel

Past Resident
2022: Artis

Artist

Adam Liam Rose

Through his multidisciplinary practice, Adam Liam Rose investigates the visual language and architecture of “safety.” His work delves into the intersection of theater and life, where aesthetics and cheap tricks are used to numb, soothe, or distract audiences from a real or perceived disaster.

Adam Liam Rose has exhibited work at The Bronx Museum of the Arts; Ortega y Gasset Projects; and The Jewish Museum, all New York, among others.

 

"Silver Bullet Test Site" overall shot. image description: A sculpture stands in front of a large row of windows (shades closed). The sculpture is a point perspective room constructed of wood and is painted to resemble a basement on the interior. a monitor hangs on the outside of the structure.
Adam Liam Rose, Silver Bullet Test Site, 2017, installation, wood, bolts, house-paint, ceramic, miniature light, PVC, insulation foam, dirt/trash and HD video, 96 × 120 × 96 in. (243.84 × 304.8 × 243.84 cm).
A frontal view of "Silver Bullet Test Site" with a viewer gazing into a fictional basement space that moves from human scale to miniature.
Adam Liam Rose, Silver Bullet Test Site, 2017, installation, wood, bolts, house paint, ceramic, miniature light, PVC, insulation foam, dirt/trash and HD video, 96 × 120 × 96 in. (243.84 × 304.8 × 243.84 cm).
Installation shot of “Stages of Fallout” showing a constellation of graphite drawings hanging against a white wall at various heights. Each drawing is framed in a grey steel frame.
Adam Liam Rose, Stages of Fallout, 2019-2022, works on paper (graphite, gouache, colored pencil) , dimensions variable . Installation at 'BRONX CALLING: The Fifth AIM Biennial,' The Bronx Museum of the Arts, 2021-22..
Textured drawing of a section cut rectangular structure, revealed through cut rubble underground. A spotlight appears from the center of the page and hits the center of the room.
Adam Liam Rose, Stages of Fallout (invasion) , 2020, graphite on paper, 11 × 71/2 in. (27.94 × 19.05 cm).
A textured drawing depicting two crater / sinkhole structures with a spotlight connecting the two. Each crater has a swirling gradient whirlpool pattern which blends into the background
Adam Liam Rose, Stages of Fallout (never lonely), 2021, graphite on paper, 12 × 9 in. (30.48 × 22.86 cm).

Residents from Israel

Ruthi Helbitz Cohen

Israel
2024

Merav Kamel & Halil Balabin

Israel
Artis
2023

Merav Kamel & Halil Balabin

Israel
Artis
2023