Past Residents

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Canada

Past Resident
2022: Alberta Foundation for the Arts, Canada Council for the Arts

Artist

Tyler Los-Jones

Tyler Los-Jones produces objects and images from his home in the Rocky Mountains of Alberta. Interested in the role photography plays in the production and the fulfillment of our expectations for environments, the work he had produced over the past decade aims to complicate inherited assumptions of environments by bringing the unnatural aspects of the western conception of nature to the forefront.

Tyler Los-Jones has exhibited work at Banff Centre for Arts and Creativity, Banff; Confederation Centre Art Gallery, Charlottetown; and Norberg Hall, Calgary, among others.

Events & Exhibitions

2022 Spring Open Studios
April 22–April 23, 2022
Folded Photographic net of alpine wildflower field featuring Arnica, Aster, and Castilleja flowers. The photograph has been printed, folded, and knit into the form of a net. The pattern of the net reflects the petal pattern of the flowers in the original image.
Tyler Los-Jones, The knots of the net; Arnica / Aster / Castilleja , 2021, folded archival inkjet print, adhesive, 311/2 × 801/4 in. (80.01 × 203.83 cm)
Detail of a folded Photographic net of alpine wildflower field featuring Arnica, Aster, and Castilleja flowers. The photograph has been printed, folded, and knit into the form of a net. The pattern of the net reflects the petal pattern of the flowers in the original image.
Tyler Los-Jones, The knots of the net; Arnica / Aster / Castilleja , 2021, folded archival inkjet print, adhesive, 311/2 × 801/4 in. (80.01 × 203.83 cm)
A folded Photographic net featuring bright pink Moss Campion flowers. The photograph has been printed, folded, and knit into the form of a net. The pattern of the net reflects the petal pattern of the flowers in the original image.
Tyler Los-Jones, The knots of the net; Moss Campion, 2021, folded archival inkjet print, adhesive, 173/4 × 173/4 in. (45.08 × 45.08 cm)
A folded Photographic net of wild Shooting Star flowers. The photograph has been printed, folded, and knit into the form of a net. The pattern of the net reflects the petal pattern of the flowers in the original image.
Tyler Los-Jones, The knots of the net; Shooting Star, 2021, folded archival inkjet print, adhesive, 251/4 × 241/2 in. (64.13 × 62.23 cm)
Detail of a folded Photographic net of alpine wildflower field featuring Glacier Lilly, Western Anemone, and White Geranium flowers. The photograph has been printed, folded, and knit into the form of a net. The pattern of the net reflects the petal pattern of the flowers in the original image.
Tyler Los-Jones, The knots of the net; Glacier Lilly / Western Anemone / White Geranium, 2021, folded archival inkjet print, adhesive, 371/4 × 361/4 in. (94.61 × 92.07 cm)

Residents from Canada

Antonietta Grassi

Canada
Conseil des arts et des lettres du Québec
Studio #208

Stanley Wany

Ase (pronounced “ah-sheh”; also spelled ashe) Yoruba words often have multiple meanings: Ase is generally defined as “the power to make things happen” and also refers to the spiritual life force that flows through things, much like the Chinese concept of chi. Deepening the exploration of my relationship with my ancestors, Ase, a drawing that measures almost two meters high by three meters long. For this piece, charcoal, a medium with archaic roots, is used to evoke powerful waves crowned by troubled sky. Towards the bottom of the drawings, the waves melt into abstraction, dripping onto the white surface of the paper. The title Ase, referring to Yoruba culture, embodies my ongoing relationship with my ancestors, those who perished in the sea as well as those with whom known ties have been cut by the transatlantic slavetrade. When creating this work, I also reflected on what it meant to be Black in the Americas and how my identity had been defined by the dominant society. I turned to the writings of Stuart Hall, Franz Fanon as well as of Edouard Glissant, whose concept of “creolisation” serves as a focal point in my practice going forward.
Canada
Conseil des arts et des lettres du Québec
Studio #222

Kara Springer

A hanging wall work consisting of deep purple prints of high resolutions scans of clay hanging over a poplar wood rod mounted on the wall.
Canada, Barbados
Canada Council for the Arts
Studio #305
Italy

Past Resident
2022: Italian Cultural Institute of New York
2020: The Italian Academy for Advanced Studies, Columbia University

Artist

Agostino Iacurci

Agostino Iacurci works with a wide range of media, including painting, wall-painting, sculpture, drawing, and installation. He creates immersive spaces to transform the perception of given environments. Starting from specific topics like the use of colors in the ancient and classical world, he questions issues of traditions and identity, investigating the process of idealization underlying historical myths and their impact on the collective imagination.

Agostino Iacurci has exhibited work at Civic Museum of Palazzo Mosca, Pesaro; Macro, Rome; Celaya Brothers Gallery, Mexico City, among others.

Events & Exhibitions

2022 Spring Open Studios
April 22–April 23, 2022
Diary of the Ornament: A Conversation between Agostino Iacurci and Simone Ciglia on Instagram Live 
July 28, 2020, 4–5pm
photo: Ela Bialkowska OKNO studio
Agostino Iacurci, Hortus, 2022, glazed terracotta, water, hydraulic pump, iron, copper, steel, 137.8 x 67 x 67
Agostino Iacurci, Diary of Ornament, 2020, canvas, wood, PVC pipes, plants, wall painting
Photo: Carlo Romano
Agostino Iacurci, Landscape 2, 2021, Print on canvas
Agostino Iacurci, Trompe l'oeil, 2017, paint, canvas, wood, cement, and found objects
Agostino Iacurci, Gypsoteca, 2018, paint, plaster, gouaches, paper, and wood

Residents from Italy

Chiara Ianeselli

Quel jour sommes-nous, 15-30 June 2022, co-curated with Bakul Patki, at Tokonoma, Kassel. Credit: Rene Graf. quel jour sommes-nous? (what day is it?) is a research project in the form of an exhibition that questions what makes an artwork - investigating the performativity and process of an exhibit, the acts that brought it into existence, and the context of its presentation. Featuring seventeen established and emerging artists, quel jour sommes-nous? explores the differing forms, lifespans, and pathways of artworks – with historicised and timeless, appropriated and reapproriated, unauthored and unauthorised, dismantled and intangible works, all of which sit beside a graduate piece that will be graded in situ, just ahead of the exhibition’s opening. An “unfinished” work will also be included. The concept of a finished work of art – one that is deemed ready to be shared – has been debated throughout art history, particularly in relation to potential different readings once it has been pulled from a definite temporal context. Continuing the contentious conversation around when a piece of art is complete, one work in progress will be taken from an artist’s studio, at a time of the curators’ choosing, and inserted into the exhibition. quel jour sommes-nous? reflects upon the evolution of the creative process – the choices, challenges and breakthroughs that come with making art – asking when, within this process, does something become a work of art, and who gets to decide? On which day is something ready to be sold or exhibited? Is today the day the artist has to surrender a work they might never see again? Extending this reflection on when a work comes into existence, the exhibition also asks whether it is possible for artworks to exist without an audience. How much is the public required for the creative process to be complete, and how preeminent is the artist’s vision in influencing the viewer’s experience of the work? quel jour sommes-nous? does not profess to answer these questions, but hopes to encourage examination and inspire further exploration. It is at once exhibition as research and research as exhibition
Italy
Italian Council - Directorate-General for Contemporary Art and Architecture and Urban Peripheries (DGAAP) at the Italian Ministry for Cultural Heritage and Activities
2024

Valentina Furian

Ciacco, 2021, installation view at
Italy
The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York
2024

Raffaela Naldi Rossano

Raffaela Naldi Rossano, Warp, video installation, mixed media, variable duration, 2022. Co-commissioned and co-produced by LIAF and TBA21 Academy. Developed in the context of a residency on the research vessel Helmer Hanssen. View at Fantasmagoriana, LIAF 2022, curated by Francesco Urbano Ragazzi.
Photo Kjell-Ove Storvik. C.sy the Artist

Italy, Greece
The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York, Directorate-General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and International Cooperation, Directorate-General for Contemporary Creativity of the Italian Ministry of Culture
2024
United States

Past Resident
2022: Pollock-Krasner Foundation

Artist

Ignacio Gonzalez-Lang

Ignacio Gonzalez-Lang creates multi-media sculptures and installations that explore the absurdity and violence inherent in both human nature and identity construction. The artist’s own Puerto Rican background, along with the historical and material culture of the Caribbean region, serve a prism through which he synthesizes ideas around race, nationality, tradition, and socioeconomics through visual representation.  

Ignacio Gonzalez-Lang has exhibited work at The Bronx Museum of the Arts, MoMA PS1, and El Museo del Barrio, all New York, among others.

Events & Exhibitions

2022 Spring Open Studios
April 22–April 23, 2022
Zemi is a teddy bear made out of recycled US army uniforms. The surface of the bear is entirely covered with silver-grey zinc and gold beads, pearls and lapis lazuli stones. It was inspired by the Beaded Zemi in Rome's Pigorini Museum, one of the finest surviving examples of Taino art produced before the disappearance of this culture in 16th century. Tainos were the principal inhabitants of Puerto Rico, Cuba, Jamaica, Hispaniola and Florida before the settlement of the region by Spanish colonists. Similar to a fetish object, the Beaded Zemi represents a supernatural character with coexisting Taino, African and European features.
Ignacio Gonzalez-Lang, Zemi, 2017, recycled United States military uniforms, lapis lazuli beads, turquoise beads, pearl beads, zinc beads, metal beads, gold plated beads, thread, and zipper, 22 × 24 × 131/2 in. (55.88 × 60.96 × 34.29 cm)
Truth consists of an airtight receptacle filled with an ongoing archive of Weird but True columns from New York tabloids. It’s a physical ‘hard drive’ that comments on the fragility of preserving history on digital servers, databases and clouds that depend on unsustainable sources of energy.
Ignacio Gonzalez-Lang, Truth, 2020, desiccator, newspaper clippings, and plexiglass column, 26 × 56 × 9 in. (66.04 × 142.24 × 22.86 cm)
I have made a series of artworks using recycled military uniforms as a canvas or support for responding to our recent American wars. These artworks were inspired by a subculture among American combat veterans where ex-service members deconstruct and transform their uniforms into artworks as therapy for PTSD. I was interested in expanding this practice as a way to honor the collective memory which transcends borders of the nation-state and honors the mutual bonds of war among all sides.
Ignacio Gonzalez-Lang, Blood Ocean, 2019, recycled United States military uniforms, coral, lapis lazuli beads, turquoise beads, mother of pearl beads, jade beads, imitation pearls, military buttons and pins, enamel pins, safety pins, cotton thread, and wood, 52 × 76 × 2 in. (132.08 × 193.04 × 5.08 cm)
Bug consists of a weatherproof hard-case for electronic equipment commonly used in the military. A traditional pattern stitched by an Afghani artisan on the back of a military shirt is stretched across the case. A digital microscope is focused on a microchip embedded inside.
Ignacio Gonzalez-Lang, Bug, 2018, recycled United States military uniform, digital microscope, motherboard, cotton thread, and weatherproof protective hard case, 20 × 22 × 17 in. (50.8 × 55.88 × 43.18 cm)
Blotter is another airtight desiccator box filled with an archive of the NYPD daily blotter clipping which ended its daily run in the printed paper in 2017.
Ignacio Gonzalez-Lang, Blotter, 2017, desiccator, New York Police Department daily blotter clippings, and plexiglass shelf, 81/2 × 14 × 7 in. (21.59 × 35.56 × 17.78 cm)

Residents from United States

Frank WANG Yefeng

United States, China
ISCP ​Alumni Fund
Studio #303

Efrat Hakimi

A table top arrangement of paper, cutout images, ephemera, and tools used in bookbinding.
United States
Artis
Studio #301

Bryan Fernandez

United States
The New York Community Trust’s Edward and Sally Van Lier Fund
Studio #216