Past Residents

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Year
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Iceland

Past Resident
2024: Icelandic Art Center

Artist

Kristín Helga Ríkharðsdóttir

Interdisciplinary artist Kristín Helga Ríkharðsdóttir works with staged photography, sculptures, tapestry paintings, video, and audio. By blending phenomena and familiar imagery, she explores the hyperreality of her everyday environment. Ríkharðsdóttir is interested in the contrast between the natural, the man-made, and the staged and work is influenced by personal experiences and visual surroundings, as well as by math, sci-fi, cult movies, advertisements, memes, and stock images.

Kristín Helga Ríkharðsdóttir has exhibited work at Hafnarborg Museum, Iceland; The Living Art Museum, Iceland; and 80WSE Gallery, New York, among others.

Kristín Helga Ríkharðsdóttir, Game of Chess with the Lottery Lady, 2023, video installation, 8 min.
Kristín Helga Ríkharðsdóttir, Volcano Painting #5, 2022, stretched digital image on woven tapestry, 20 × 27 in. (50.8 × 68.58 cm).
Kristín Helga Ríkharðsdóttir, Final Countdown, 2021, video installation, 7 min.
Kristín Helga Ríkharðsdóttir, The Golden Ratio, 2021, 12 pencil and color pencil drawing on 220g paper, 9 × 0 × 12 in. (22.86 × 0 × 30.48 cm).
Kristín Helga Ríkharðsdóttir, Please Wait, 2021, video installation, 11 min.

Residents from Iceland

Hulda Rós Gudnadóttir

Germany, Iceland
Icelandic Art Fund, The Icelandic Visual Artists Copyright Association, Gallery Gudmundsdottir, The Association of Icelandic Visual Artists (SÍM)
2023

Habby Osk

Iceland
The Artists’ Salaries, The Icelandic Centre for Research, The Icelandic Visual Artists Copyright Association, MUGGUR
2020

Bjargey Ólafsdóttir

Iceland
Icelandic Art Center, Myndstef, Penninn, City of Reykjavik
2009
Slovakia, Czech Republic

Past Resident
2024: International Visegrad Fund

Artist

Adrián Kriška

Adrián Kriška (he/him) is a Prague-based interdisciplinary artist, mountaineer, chef, and music enthusiast. His primary medium is textile design, through which he explores themes such as neofolklore, nostalgia, queerness, and mythology. His work often intersects with anarchist and queer theory.

Adrián Kriška has exhibited work at Kunsthalle Bratislava, Slovakia; Lunchmeat Festival, Czech Republic; and Diera do Sveta, Slovakia, among others.

Stream of consciousness leather piece inspired by the wall in my favourite club Ankali in Prague.
Adrián Kriška, Untitled, 2024, leather, thread and wood, 45 × 35 in. (114.3 × 88.9 cm).
Embroidery made during my work at the bio farm researching on local traditions of Fuerteventura
Adrián Kriška, Majorero, 2024, textile embroidery, 66 × 40 in. (167.64 × 101.6 cm).
Feral Fauns is a part of my final school project; leather and wool tapestry portraying three masturbating fauns- half humans, half goats. Symbol of faun reffers and portrays a scene from an experimental film Nymphomania (1994) by Tessa Haughes Freeland — a feminist filmmaker and one of the artist behind Cinema of Transgression, underground film movement that emerged in 90s in the Lower East Side, NYC. In this case, the fauns are turned into homoerotic perspective. Another reference is "Feral Revolution", a work by Feral Faun, a pseudonymous author associated with the anarcho-primitivist and green anarchist movements. The book explores themes related to anti-civilization and the critique of modern industrial society as we know it. Feral Faun's writings often advocate for a return to a more primitive and wild existence, rejecting technology, civilization, and the hierarchical structures of contemporary society. All leather is a deadstock material or leftovers.
Adrián Kriška, Feral Fauns, 2023, leather tapestry.
Slovak legend says that under the Satan peak in the Tatry, the chorts are gathering on the Saint John’s Eve.
Adrián Kriška, Chorts jerking off, 2022, leather tapestry.
embroidery made during my artistic residency at Fuerteventura, Canary Islands.
Adrián Kriška, Devil’s, 2023, embroidery.

Residents from Slovakia

Gregor Petrikovic

United Kingdom, Slovakia
International Visegrad Fund
2023

Martinka Bobrikova & Oscar de Carmen

Norway, Slovakia, Spain
Oslo Kommune Internasjonalt
2022

Martinka Bobrikova & Oscar de Carmen

Norway, Slovakia, Spain
Oslo Kommune Internasjonalt
2022
South Korea, United States

Current Resident: Jun 1, 2024–May 31, 2025

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

Ground Floor

Artist

Hong Seon Jang

Originally from South Korea and now based in the United States, Hong Seon Jang’s art reflects his dual cultural identity, delving into social, cultural, and political themes. His work examines how personal history shapes cultural subjectivity, exploring the dynamics of authority, subordination, and nationhood within democratic contexts. Jang reimagines ordinary objects to evoke diverse interpretations and challenge conventional meanings, offering new perspectives on significance and functionality.

Hong Seon Jang has exhibited work at CR Collective, Seoul; Socrates Sculpture Park, New York; and Wellin Museum of Art, New York, among others.

hongseonjang.net
My America: Tucked behind the metal stud gate is a collection of hundreds of souvenir fridge magnets filling the wall. While many have encountered fridge doors adorned with magnets, the magnitude of this collection borders on the absurd, reflecting the American fixation on souvenirs. These items serve as symbols of both commemoration and commercialization, often tied to sites that have historical significance for indigenous peoples.The question of authenticity has always afflicted souvenirs, especially now that most of the tacky memorabilia from all over the world is mass-produced in China. I attempt to raise questions about my relationship to the authenticity of my experience, or lack thereof, with the locations represented in
Hong Seon Jang, My America, 2023, metal studs, Souvenir magnets, and found advertising stickers, 120 × 156 × 6 in. (304.8 × 396.24 × 15.24 cm).
The installation of anti-climb security spikes around households in Korea serves as protection for households. It remarkably resembles medieval instruments of torture. This work delves into the recurring history of human violence, meticulously examining the intricate complexities and patterns inherent in the narrative of human conflict.
Hong Seon Jang, Tooth for tooth, 2023, stainless steel pipe, and anti-climb security spikes, 132 × 156 × 3 in. (335.28 × 396.24 × 7.62 cm).
An old police baton found on E-bay has been transformed into a functional musical instrument, a flute. The title ‘Pied Piper’ is borrowed from a well-known German folk tale. As the definition of Pied Piper from the dictionary indicates, “a leader who makes irresponsible promises” or “one that offers strong but delusive enticement,” this work questions the notions of democracy and violence. I re-enacted my memory of the 1980’s in my home country, South Korea, in which mass protests formed against the South Korean military government and the dictatorship. Nearly one quarter of a million people participated to protest against the suppression of freedom and were beaten violently and arrested by government forces with such instruments as police batons, water guns, and pepper gas.
Hong Seon Jang, Pied Piper, 2016, British police baton, 3 × 22 in. (7.62 × 55.88 cm).
I created a prayer rug made out of military ribbons. The prayer rug has a symbolic meaning in some cultures and is cared for in a holy manner. By pairing two icons of power in human history, military and religion, my work explores the concept of power struggle and undermines the traditional paradigms of objects that exist within society.
Hong Seon Jang, Prayer rug, 2014, military ribbons mounted on fabric, 48 × 63 in. (121.92 × 160.02 cm).
Donated household furniture by a local community from Prague in Czech Republic is constructed tightly and wrapped in a carpet that was used between the 1960’s and the 80’s in an office of the Communist Party. The resulting structure is the monument of the history of the Czech Republic. The work highlights the notion of the word “Community.” The result is a monument to illuminate the history of Czech citizens and their "community". This work has examined the relationship between the state and the citizen by using the two terms "Community".
Hong Seon Jang, Community, 2014, household furniture and carpet, dimensions variable.

Ground Floor Residents

Sujin Lim

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

Sarah Zapata

United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, 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 Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Hartfield Foundation
Ground Floor

Sasha Wortzel

United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, 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 the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Brooklyn Borough President Antonio Reynoso
Ground Floor