Past Residents
Past Resident2024: Artis
Abed Elmajid Shalabi
Abed Elmajid Shalabi investigates how technological objects construct emotional and cultural shifts and alter our connection to our body, gender, and self. His installations link homophobia, shame and sexual dissatisfaction to the political power structure that reinforces such dynamics and produces them.
Abed Elmajid Shalabi has exhibited work at Center for Contemprary Arts, Tel Aviv; and Hamiltonian Artists, Washington DC, among others.
Abed Elmajid Shalabi, Hold at Armpit Level (white-and-blue version), 2024, custom-made sign, glazed ceramic, and steel, 60 × 121/2 × 48 in. (152.4 × 31.75 × 121.92 cm).
Abed Elmajid Shalabi, When, Love, 2024, custom-made sign,steel, 18 × 9 × 21/4 in. (45.72 × 22.86 × 5.71 cm).
Abed Elmajid Shalabi, Truck Bed, 2024, fiberglass-reinforced cement, pigment, Home Depot 5-gallon buckets, glazed ceramic, unfired clay, and one-pint paint cans, 731/2 × 26 × 811/4 in. (186.69 × 66.04 × 206.37 cm).
Abed Elmajid Shalabi, Two Seats, Two Buckets, 2024, glazed ceramic, used 5-gallon bucket, and paint can, 433/4 × 26 × 181/2 in. (111.12 × 66.04 × 46.99 cm).
Abed Elmajid Shalabi, Two Hundred Ninety-Seven Holes, 2024, custom-made signs, steel posts, glazed ceramics, unfired clay, and screw, 36 × 6 × 601/4 in. (91.44 × 15.24 × 153.03 cm).
Residents from United States
Ailyn Lee
Studio #210
Angel Lartigue
Studio #217
Past Resident2024: Danish Arts Foundation, Knud Højgaards Fond
Stine Deja
Stine Deja works across a variety of media, including total installation, sculpture, soundscapes, and 3D animation, to explore the effects of technological development on our psychology, living conditions, and behavior patterns. Combining extensive conceptual research with an otherworldly aesthetic and satirical wit, Deja’s work provides an absurd and critical perspective on the future of human culture.
Stine Deja has exhibited work at Tranen, Denmark; Beijing Times Art Museum, China; and MUDAM, Luxembourg, among others.
Stine Deja, Divine Desires, 2022, curtains, electro galvanised steel, aluminium, vinyl print, tv, video, polystyren, motor, and polyeruthan rubber, dimensions variable.
Stine Deja, Cold Sleep, 2020-21, stainless steel construction, Ipads, terracotta sand, animation, sleepingbag suit, sound, and motors, dimensions variable.
Stine Deja, Dawn Chorus, 2021, elefant grates, water, strollers, tv’s, animation, sound, and light filter, dimensions variable.
Stine Deja, ASSEMBLY, 2021, steel, speakers, AMP, cables, jackets, and sound, dimensions variable. Photo courtesy by Stine Deja.
Stine Deja, Last Resort, 2019-20, sand, aluminium structures, Sleeping bags, Ipads, animation, and rachet straps, dimensions variable.
Residents from Denmark
Past Resident2024: Vision Fund
Kearra Amaya Gopee
Kearra Amaya Gopee (they/them) is an anti-disciplinary visual artist from Carapichaima, Kairi (the larger of the twin-island nation known as Trinidad and Tobago), living on Lenape land (New York). Using video, sculpture, sound, writing and other media, they identify both violence and time as primary conditions that undergird the anti-Black world in which they work: a world that they are intent on working against through myriad collective interventions. They live and work between Trinidad and Tobago and New York City.
Kearra Amaya Gopee has exhibited work at The Kitchen, New York; Third Horizon Film Festival, Miami; and REDCAT, Los Angeles, among others.
Kearra Amaya Gopee, ca(r)milla, still, 2023, single channel video, 12:02 min.
Kearra Amaya Gopee, pappyshow in the dark time, my love, installation view, 2022, three channel video, 25:54 min.
Kearra Amaya Gopee, excision spell, installation view, 2020, single channel video, 4:56 min.
Kearra Amaya Gopee, ca(r)milla, installation view, 2023, single channel video, dirt, concrete, plaster, mirror, and crocus bags, dimensions variable.
Kearra Amaya Gopee, ca(r)milla, 2018, single channel video, 11:02 min.