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

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).

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).

Joaquin Segura, Empirism & Dogma #2, 2020, acrylic and watercolor on recovered pamphlet, 4 × 6 in. (10.16 × 15.24 cm).

Joaquin Segura, Pyre, 2016, wood, recovered tires, jerrycans and combustible fluid, dimensions variable.

Joaquin Segura, Ideological Clearance (Marx, Lenin, Mao), 2015, handwoven Haute-lisse tapestries, 118 × 98 in. (299.72 × 248.92 cm).
Past Resident
2024: Toby Devan Lewis
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.

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).

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).

Laura Bernstein, Murder Hornets Sun Spike, 2022, watercolor and ink on watercolor paper, 60 × 42 in. (152.4 × 106.68 cm).

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.

Laura Bernstein, A Speculative Performance Presented by The Institute of Super-Species Research and Experimentation, (ISSRE), 2019, performance, 60 min..
Residents from United States
Past Resident
2023: International Visegrad Fund
Nadia Markiewicz
Nadia Markiewicz uses language borrowed from the entertainment industry to produce installations, performances, and video art that deal with issues of identity, chance, and disability. She draws inspiration from both her own life experiences and representations of disability. Markiewicz is currently a PhD fellow at the Jan Matejko Academy of Fine Arts in Cracow, Poland.
Nadia Markiewicz has exhibited work at Galeria Miejska Arsenał, Poland; Kunsthalle Bratislava, Slovakia; and Zachęta National Gallery of Art, Poland, among others.

Nadia Markiewicz, DRIVE-THRU, 2022, installation, dimensions variable.

Nadia Markiewicz, DRIVE-THRU (The Runaway), 2022, video, dimensions variable.

Nadia Markiewicz, Mysterioso, 2021, video, dimensions variable.

Nadia Markiewicz, Jackpot, 2020, performative installation.

Nadia Markiewicz, one armed bandit, 2019, installation, dimensions variable.