Past Residents
Past Resident2016: fond na podporu umenia
Lýdia Pribišová
Lýdia Pribišová is interested in testing the boundaries of art. In her curatorial projects, she focuses on subversive art practices that go against typical social and cultural patterns. In her work, Pribišová observes how cultural stereotypes are constructed as well as the shifting positions of individual subjects in society. She works with themes of collective memory, sharing, and local Central European history, in part by questioning social rules, conformism, and the changing role of public space in post-communist societies.
Lýdia Pribišová (born 1980, Slovakia) is a curator and art historian. Pribišová has been the Slovak editor at Flash Art Czech & Slovak Edition since 2006, before becoming the managing editor in 2015. For two years (2013-2015), she worked as a project coordinator for the organization and digital platform tranzit. In 2012, Pribišová founded the nonprofit PILOT, and in 2007, she co-founded gallery of immaterial art, Evolution de l’Art. Projects include the 2007 and 2011 Slovak exhibition at the Prague Biennale. In 2013, Pribišová obtained her PhD from the University Sapienza, Rome; her doctoral thesis is titled Quadriennale of Rome. From Public Body to Foundation. Reflection on transformation.
Events & Exhibitions
Salon: Lýdia Pribišová and Jeff Weber
September 20, 2016, 6:30–8pm
Katerina Seda, Bojart Market, 2015, Participatory work. Photo by Martin Hlavica
Ilona Németh, Mud Wrestling, 2011. Project for the Prague Biennale
Lýdia Pribišová, Common Identity?, 2011-2012
Past Resident2016: Creative New Zealand
Alicia Frankovich
Alicia Frankovich is interested in the potential for new modes of imagining bodies and their behaviors for both humans and non-humans. She works with performance, sculpture, video, photography, and temporary exhibition experiences. Frankovich is interested in creating new languages that merge movements, experiences, sensibilities, materials from various fields, often by collaborating with non-professional participants. Her mode of production combines various past histories with the present to form relationships with possible futures. She builds equivalences through the combination of form or temporal experience, that create links between things and beings to allow for a more plural understanding of time.
Alicia Frankovich (born 1980, Tauranga, New Zealand) holds a BVA in sculpture from Auckland University of Technology, and lives and works in Berlin. Her solo and two-person exhibitions include The Female has Undergone Several Manifestations, Starkwhite, Auckland, 2016; Complex Bodies, Kurator, Alte Fabrik, Gebert Stiftung für Kultur, Rapperswil, Switzerland, 2015; Today this technique is the other way around, Kunstverein Hildesheim, 2013; and Gestures, Splits and Annulations, Künstlerhaus Bethanien, Berlin, 2011. Group exhibitions and performances include: Les Limbes, La Galerie, Noisy-le-sec, France 2016; If I Can’t Dance I Don’t Want To Be A Part Of Your Revolution, Gerrit Rietveld Academie, Amsterdam, 2016; Le Mouvement: Performing the City, Biel/Bienne, Switzerland, 2014; Nouvelles Vagues, Palais de Tokyo, Paris, 2013; and Material Traces, The Leonard & Bina Ellen Art Gallery, Montréal, 2013.
Events & Exhibitions
Brooklyn Commons: Tehching Hsieh and Alicia Frankovich
July 26, 2016, 6:30-8pm
Alicia Frankovich, Defending Plural Experiences: MOCAP Creation, 2014, HD video, colour, and sound, 36:28 min
Alicia Frankovich, Complex Bodies, 2015, Various media, Dimensions variable
Alicia Frankovich, Soft Water (detail), 2015, Olympic pool stairs and polished shells, 473/16 × 353/8 × 517/8 in. (119.89 × 89.92 × 131.83 cm)
Past Resident2016: ArtsNSW, Creative Australia2012: Creative Australia, Dame Joan Sutherland Fund
Astra Howard
Astra Howard’s evolving series of interactive Machine-Vehicles (M-Vs) disrupt conventional means of communication to heighten engagement with the public. The M-Vs reduce certain sensory capacities and enhance others. This altered means of communication encourages direct, honest, sometimes unexpected, and often quite intimate responses. The M-Vs are means by which individuals tell their stories of the city; they optimize the fiction to realism ratio to achieve maximum communication in popular, nondescript, and even hostile locations.
Astra Howard is an Action Researcher/Performer working predominantly within public spaces in cities. Since 1998, she has designed and produced site-specific works in cities across Australia and internationally, including Beijing, Paris, New York, Delhi and London. After completing a PhD in 2005 titled Orchestrating the Public: To Reveal and Activate through Design the Experience of the City, Howard has continued to test urban and social theories in the city spaces they critique. Commissioned by cultural institutions and local and state governments, these iterative projects generate dialogue and debate about issues affecting the city. Howard has worked professionally as a designer in commercial agencies, a lecturer in higher education and a community development worker, predominantly in crisis homeless services.
Events & Exhibitions
Salon: Astra Howard and Constanza Levine
November 13, 2012
Astra Howard, Moving Story-Telling Vehicle, 2015, Action Research/Performance, 63 × 61 × 16 in. (160.02 × 154.94 × 40.64 cm)
Astra Howard, Scene Capture Integration Vehicle, 2016, Action Research/Performance, 75 × 76 × 25 in. (190.5 × 193.04 × 63.5 cm)
Astra Howard, Heightened Drawing Platform, 2011, Action Research/Performance, 79 × 20 × 20 in. (200.66 × 50.8 × 50.8 cm)
Astra Howard, Surveillance with Public Intent Vehicle, 2007, Action Research/Performance, 87 × 24 × 24 in. (220.98 × 60.96 × 60.96 cm)
Astra Howard, Feeling Cities - Public Contact Vehicle, 2009, Action Research/Performance, 65 x 24 x 24 in. each
