September 28, 2021, 1-2pm

Artists at Work: Stefania Strouza and Daphne Dragona

For this Artists at Work, current artist in residence Stefania Strouza and independent curator Daphne Dragona will discuss Strouza’s sculptural interpretation of the myth of Medea, an artistic research project building associations between the mythological, the geological and the astronomical. Referring to Strouza’s recent work and an upcoming solo exhibition, they will talk about moments of collision and catastrophe, existential angst, as well as planetary regeneration.

A Q&A with the audience will follow.

​​Tune into the Instagram Live here on Tuesday, September 28th at 1pm EDT.

Stefania Strouza is a visual artist currently living and working in Athens. Her sculptural practice explores how historical narratives of diverse origins connect to produce cross-cultural syncretisms and identities. Strouza materializes her ideas by drawing associations between the symbolic world of objects and notions of temporality, geography, and the body. Her work has been featured at the 3rd Industrial Art Biennial, Croatia; Pinta Miami; Benaki Museum, Athens; 6th Thessaloniki Biennale of Contemporary Art, Greece; A.Antonopoulou Art, Greece; Wiener Art Foundation, Wien; Neue Galerie Innsbruck; Athens & Epidaurus Festival; BOZAR, Bruxelles; and the National Museum of Contemporary Art, Athens, among others. Strouza is a PhD candidate at the department of Architecture at the University of Thessaly.

Daphne Dragona is a curator and writer based in Berlin. Through her work, she engages with artistic practices and methodologies that challenge contemporary forms of power. Among her topics of interest have been: the controversies of connectivity, the promises of the commons, the challenges of artistic subversion, the instrumentalization of play, the problematics of care and empathy, and most recently the potential of kin-making technologies in the time of climate crisis. Articles of hers have been published in various books, journals, magazines, and exhibition catalogs by the likes of Springer, Sternberg Press, and Leonardo Electronic Almanac. Her exhibitions have been hosted at the real or virtual premises of Onassis Stegi, Laboral, Aksioma, NeMe, EMST (National Museum of Contemporary Art Athens), Akademie Schloss Solitude, Alta Tecnologia Andina, and Le Lieu Unique. Dragona was part of the core curatorial team of the transmediale festival from 2015 until 2019. She holds a PhD from the Faculty of Communication & Media Studies of the University of Athens.

This program is supported, in part, by The J.F. Costopoulos Foundation, Hartfield Foundation; New York City Department of Cultural Affairs, in partnership with the City Council; New York City Council District 34; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; NYC COVID-19 Response and Impact Fund in The New York Community Trust; Stavros Niarchos Foundation (SNF); The Milton and Sally Avery Arts Foundation; Teiger Foundation; Willem de Kooning Foundation; and William Talbott Hillman Foundation. 


Participating Residents

September 17, 2021–February 25, 2022

On Delegitimization and Solidarity: Sisiku AyukTabe, the Martin Luther King Jr. of Ambazonia, the Nera 10, and the Myth of Violent Africa

Curator-led exhibition tours by Amy Rosenblum-Martín will take place on the following dates:  

  • Friday, February 18, 11am–12pm
  • Friday, February 25, 11am–12pm

RSVP here. Spaces are limited and proof of COVID-19 vaccination is required for entry.

In his first United States solo show, Adjani Okpu-Egbe presents mixed media compositions, aiming to raise awareness about Ambazonia, also known as Southern Cameroons or English Speaking Cameroons, where the artist was born and lived until 2004. Okpu-Egbe’s antiracist and decolonial visuals, along with written, spoken, and musical contextualization, shed light on the ongoing war waged in Ambazonia by the French neocolonial regime in Cameroon. The artist observes, “United States taxpayers also unwittingly fund terrifying colonial violence―even the killing of children—in my homeland and have a right to know and have a say about this devastating War that started in 2016.” 

His compositions are replete with symbolism inspired by the natural world, including pregnant fish, vines bearing lemons, and semi-abstract beasts, which refer to specific people and histories of oppression as well as celebrations of freedom. Often painting on nontraditional supports, like doors, and incorporating everyday objects including books, mouse traps, and bubble wrap, the artist layers materials to convey irreducible complexity. Prior to becoming an artist, Okpu-Egbe studied archaeology and the history of political thought, which informed his practice.

ISCP’s opening reception and public discussion on September 17 will be co-hosted by the Ambazonia Prisoners of Conscience Support Network and the International Peace Research Association, and will feature a panel discussion with the artist, academics, and activists who will unpack the international political situation in Ambazonia in the context of the work on view. Other speakers will include political prisoners (connecting virtually) and leaders of the Black liberation movement in the United States. The panel will be moderated by Matt Meyer, co-author of Guns and Gandhi in Africa: Pan-African Insights on Nonviolence, Armed Struggle and Liberation, and Senior Research Scholar at University of Massachusetts/Amherst Resistance Studies Initiative. 

Okpu-Egbe (born 1979, Kumba, Cameroon) lives and works in London and has exhibited work at Kunstverein Braunschweig, Germany, and SAVVY Contemporary, Berlin, among other institutions. He has presented his work in Surpassing the Eternally Mysterious Afro-Surreal, 2019, Sulger-Buel Gallery, London (solo show); Regarding Africa: Contemporary Art and Afro-Futurism, 2016, Tel Aviv Museum of Art; and his installation The Journey of the Underdog, 2014, was highlighted in the 1-54 Contemporary African Art Fair, Somerset House, London. In 2020, he was the recipient of the inaugural Ritzau Art Prize and participated in a three-month residency at ISCP, followed by a four-month residency in 2021.

This exhibition is curated by Amy Rosenblum-Martín. Rosenblum-Martín is a curator who most recently served as guest assistant curator for Dr. Nicole R. Fleetwood’s MoMA PS1 exhibition Marking Time: Art in the Age of Mass Incarceration. Formerly a staff curator at Pérez Art Museum Miami and The Bronx Museum of the Arts, New York, she has also worked for the Museum of Modern Art, Solomon R. Guggenheim Museum, The Metropolitan Museum of Art, all New York; Museum of Contemporary Art Chicago; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; National Portrait Gallery, London; and Museo Nacional Centro de Arte Reina Sofía, Madrid, among others. Her exhibition Ana Mendieta: Thinking About Children’s Thinking, 2017, at Sugar Hill Children’s Museum of Art & Storytelling, Harlem, was an Artforum Critic’s Pick. 

This exhibition is supported by Colleen Ritzau Leth; Evelyn Toll Family Foundation; Hartfield Foundation; Johnson Picture Framing & Galleries; Milton and Sally Avery Arts Foundation; New York City Department of Cultural Affairs, in partnership with the City Council; New York City Council District 34; New York City Council District 33; New York State Council on the Arts and the New York State Legislature; Tauck Ritzau Innovative Philanthropy; Teiger Foundation; and William Talbott Hillman Foundation.

By visiting ISCP, you agree to abide by the following health and safety policies. Please make sure to plan ahead for your visit.

  • Four visitors are allowed in the galleries at a time, and appointments are required. Please write to to schedule an appointment.
  • All visitors are required to maintain social distancing, keeping six feet from anyone not in their party.
  • Masks or face coverings are mandatory.
  • Hand sanitizer will be available for visitors.
  • If you have fever, chills, cough, muscle pains, headache, loss of taste or smell, or think you may have been exposed to COVID-19 prior to your visit, please contact us to reschedule.
  • An inherent risk of exposure to COVID-19 and other infectious conditions exists in any public space where people are present. Those visiting the International Studio & Curatorial Program voluntarily assume all risks related to exposure to COVID-19, other infectious conditions, and other hazards that may be present in a public space.
Opening Reception: Sep 17, 2021, 6-8pm
Open Hours: Gallery Hours: By appointment on Tuesday–Thursday, 12–5pm
Download Press Release (PDF)

Participating Residents

August 31, 2021, 4-5pm

Artists at Work: Nora Joung with Monika Fabijanska

For this Artists at Work, current resident Nora Joung and independent curator Monika Fabijanska will discuss language as a technology and strategy within visual art. A Q&A with the audience will follow.

Nora Joung works with moving images, installation, performance and text. Her current film project focuses on European scholars travelling to the Americas. Joung co-runs the artist-run platform Destiny’s in Oslo, Norway, together with Melanie Kitti, Emilie de Rohan Birkeland, and Ray Hegelbach. She’s a member of the artist’s group Rose Hammer, and the editorial board of the small press H//O//F.

Tune into the Instagram Live here on Tuesday, August 31 at 4pm EDT.

Nora Joung is currently receiving a Government Grant for Artists, Norway. She received the Blix Prize, Denmark in 2016. Her recent and upcoming exhibitions include I Call it Art, National Museum of Norway; collaborative efforts with the Guttorm Guttormsgaard archive in Blaker; Nora Joung: Ding Dong at Kunstnernes Hus and UKS, Norway; and a third episode in Rose Hammer’s National Episodes-series which is preluded by the stage play Grini and the futures of Norway (2019) and the radio play The Radical Flu, aired on RadiOrakel, the world’s oldest feminist radio station (2020).

Monika Fabijanska is an art historian, contemporary art curator and art appraiser based in New York City. She specializes in women’s and feminist art, and is a member of College Art Association’s Committee on Women in the Arts.

Her exhibition ecofeminism(s) (Thomas Erben Gallery, 2020), featuring the works by Agnes Denes, Lynn Hershman Leeson, Mary Mattingly, Ana Mendieta, Cecilia Vicuña, et al, garnered reviews in Art in America, The New York Times, The Brooklyn Rail, Hyperallergic, Flash Art, and STIRworld in India, among others. Groundbreaking The Un-Heroic Act: Representations of Rape in  Contemporary Women’s Art in the U.S. (Shiva Gallery, John Jay College, 2018) was ranked the fifth best NYC art show in 2018 by Hyperallergic, and critically acclaimed by The New York Times, The New Yorker, Artforum, Art in America, The Brooklyn Rail and Art Papers, among others. Accompanied by a catalog and symposium, it featured works by Lynn Hershman Leeson, Jenny Holzer, Suzanne Lacy, Ana Mendieta, Senga Nengudi, Yoko Ono, Kara Walker, et al.

This program is supported, in part, by Hartfield Foundation; New York City Department of Cultural Affairs, in partnership with the City Council; New York City Council District 34; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; Nordic Culture Fund; NYC COVID-19 Response and Impact Fund in The New York Community Trust; Office for Contemporary Art Norway (OCA); Stavros Niarchos Foundation (SNF); The Milton and Sally Avery Arts Foundation; Teiger Foundation; Willem de Kooning Foundation; and William Talbott Hillman Foundation. 


Participating Residents