Past Residents

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Past Resident
2023: Jane Farver Memorial Fund

Curator

Anamaría Garzón Mantilla

Anamaría Garzón Mantilla is an art historian and curator. In addition to being a professor at Universidad San Francisco de Quito, she is a PhD student at the University of Essex and the director of post(s), an academic journal about art, media and culture. Her research focuses on artistic and curatorial practices that challenge hegemonic narratives and omissions in art history.

Anamaría Garzón Mantilla has curated exhibitions at Centro de Arte Contemporáneo de Quito; Arte Actual – FLACSO; and Khora, all in Ecuador.

Events & Exhibitions

Curators at Work: Anamaría Garzón Mantilla

February 21, 2023, 6–7pm

Estado Fósil is a book that explores 50 years of oil exploitation in Ecuador

Anamaría Garzón Mantilla, Estado Fósil, 2023, publication.

A+A is a platform that reunites artists and activists.

Anamaría Garzón Mantilla, Arte + Activismos, 2018-ongoing, platform that connects artists and activists.

Anamaría Garzón Mantilla, post(s), 2015-ongoing, academic journal dedicated to the study of art, media and culture..

Exhibition of David Orbea, curated by Anamaría Garzón Mantilla

Exhibition poster 'Flat News (El largo siglo XXI)' by David Orbea, curated by Anamaría Garzón Mantilla, 2022.

Exhibition of NHormiga, curated by Anamaría Garzón Mantilla

Exhibition poster of 'Doblar la esquina' by NHormiga, curated by Anamaría Garzón Mantilla, 2022.

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United States, Guatemala

Past Resident
2023: Pollock-Krasner Foundation

Artist

Hellen Ascoli

Hellen Ascoli creates multidisciplinary works that weave through memory and sensation. Working primarily with a backstrap loom, Ascoli situates herself within concepts of proprioception, affordances, and translation.

Hellen Ascoli has exhibited works at Art Pace, Texas; Contemporary Art Center, Ohio; and La Nueva Fàbrica, Guatemala, among others.

Events & Exhibitions

Hellen Ascoli: The World Upside Down

Through August 1

2023 ISCP Benefit Auction

October 3–October 17, 2023

North Brooklyn Cultural Syndicate Open House Day

May 19, 2023, 1–7pm

2023 Spring Open Studios

April 21–April 22, 2023

This interactive sound table is an exploration of the relationship between text and textile, particularly through the oral tradition.

Hellen Ascoli, The Corners Speak, 2022, collaboration with Karl Williamson, textile, sound and wood, 63 × 63 × 20 in. (160.02 × 160.02 × 50.8 cm).

E como leer sets up a E or comb warp to explore forms of writing and reading. This textile is activated by the viewer by running the crank and focusing in on the detail of the warp.

Hellen Ascoli, E como Leer, 2022, collaboration with Karl Williamson, textile and wood, 10 × 63 × 12 in. (25.4 × 160.02 × 30.48 cm).

As the pandemic hit in 2020, and I was stuggling to keep in contact with my family members and community from Guatemala, my friend and collaborator Negma Coy asked me via text message ¿Achike’ rub’anon ak’u’x?, meaning ¿How is your heart? in Kaqchikel.

Hellen Ascoli, ¿How is your heart?, 2021, textile and wood, 236 × 196 in. (599.44 × 497.84 cm).

As I began my research for CIEN TIERRAS, I read “Parable of the Sower” by Octavia E. Butler, for the first time. As I was reading, listening to the news, living through lock-down, and constantly thinking of a past-present-future I was drawn to her ideas of God and Chang

Hellen Ascoli, We Shaped Soft Gods Here, 2021, collaboration with Karl Williamson, textile, wooden molds and kinetic components, 80 × 275 × 2 in. (203.2 × 698.5 × 5.08 cm).

Cien Tierras features different configurations of the Spanish root word ‘tierra’ rendered in brown and navy thread with red, blue, and yellow horizontal stripes. The brocaded text features poetic uses of literary wordplay devices including malapropism, orthography and idioms to demonstrate the pliability of language and the complexity of translation. The upper panel reads ‘en cielo’ or ‘in the sky’, which is abutted with the phrases ‘en tierro’ and ‘des tierro’ which translates to ‘in the land’ and ‘of the land’ respectively. However, when spoken sounds like ‘entierro’ resembles the Spanish word for burial or grave. ‘Destierro’ means to be pushed away or exiled. The lower panel depicts the phrase ‘sin tierra’ which literally means without land or landless. The title, ‘cien tierras’, connotes the xpression ‘one hundred lands,’ though tierra could also signify earth, ground or world.

Hellen Ascoli, Cien Tierras, 2021, textile and wood, 100 × 80 in. (254 × 203.2 cm).

Residents from United States

Maya Jeffereis

United States

Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation

Ground Floor

Aryel René Jackson

United States

Vision Fund

2025

Hanae Utamura

Japan, United States

Every Page Foundation

Studio #201

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Ireland

Past Resident
2023: Temple Bar Gallery + Studios, Dublin

Artist

Aideen Barry

Aideen Barry is a multidisciplinary artist whose modes of expression include performance, moving image, and sculptural manifestations. Using visual tricks to intensify the suspension of reality, Barry explores subjects such as domestic labor, examinations of class, otherness, environmental change, and human vulnerability.

Aideen Barry has exhibited work at the Irish Museum of Modern Art, Dublin; Kazten Center at American University Museum, Washington D.C.; and Centro de Arte Contemporáneo de Málaga, Málaga, among others.

Events & Exhibitions

Artists at Work: Aideen Barry and Kokou Ferdinand Makouvia

March 14, 2023, 6–7pm

Aideen Barry, Béal (All Silent but for the Buzzing ) & The Monachopsis Drawing Editions, 2021, sound and architectural installation, dimensions variable.