Past Residents
Past Resident2019: Anonymous
Paolo Bini
Paolo Bini’s artistic research is an investigatory attempt to transform and re-appropriate the authentic notions of ‘the memory of an image’ as it adheres to the contemporary rhythms in the world around us. These images are formed as a pixilation of units. Usually marked out by a scanner or a plotter, the result is a succession of colored stripes that become a succinct and redefined translation of what came before.
Paolo Bini has exhibited work at Galleria Alberto Peola, Turin; Museo MADRE, Naples; and Reggia di Caserta, all Italy, among others.
Paolo Bini, diNUOVOpaesaggio, 2014, acrylic on paper tape on Fabriano paper on wall, 13313/16 × 865/8 in. (339.85 × 219.96 cm).
Paolo Bini, Volume Introspettivo, 2015, acrylic on paper tape on canvas, 59 × 59 in. (149.86 × 149.86 cm).
Paolo Bini, Luoghi del Sè, 2016, acrylic on paper tape on canvas, 59 × 78 in. (149.86 × 198.12 cm).
Paolo Bini, Paradise Box, 2016, acrylic on paper tape on canvas framed on wood, 791/2 × 22611/16 in. (201.93 × 575.82 cm).
Paolo Bini, Mediterraneo Rosso Oro, 2018, acrylic on paper, dimensions variable. Installation view at Cappella dell'Incoronata, Palermo.
Residents from Italy
Past Resident2019: Galeria Le Guern
Alicja Gaskon
Alicja Gaskon uses lines and maps to tell stories about conflict, borders, migration and identity. She uses mapping as a narrative process to investigate social and political spaces and networks. Her practice is research-based and ranges from painting and installation to video and performance. The works incorporate military maps, satellite images, and statistical data that are later translated into a reduced language based on the collected information.
Alicja Gaskon has exhibited work at Galeria Labirynt, Lublin; Lengyel Intézet, Budapest; and Korean Cultural Center New York, among others.
Alicja Gaskon, The Dividing Line, 2015, installation view at balzer projects, Basel, Switzerland.
Alicja Gaskon, Demarcation Line, 2018, screenprint on paper, 11 × 18 in. (27.94 × 45.72 cm).
Alicja Gaskon, Universal Divides, 2017, video still, 6:21 min.
Alicja Gaskon, The Combat Helmet, 2017, mixed media.
Alicja Gaskon, The Berlin Wall, 2017, enamel on canvas, 72 × 60 × 2 in. (182.88 × 152.4 × 5.08 cm).
Past Resident2019: The Pollock-Krasner Foundation, Inc.
Chadwick Rantanen
Chadwick Rantanen appropriates the forms of familiar consumer goods and modifies and re-contextualizes them into sculptural tools. In doing so, he creates opposing acts of compromise and dissent, acquiescence and insubordination, tension and harmony and the passive aggressive. Adapting and conforming to architecture and infrastructure, Rantanen’s sculptures mimic installations or site-specific works, often taking the form of an adaptor, wedging between objects and their sources of power, articulating a web of accommodation, compromise, maintenance and parasitism by slightly detouring energy, but never causing harm.
Chadwick Rantanen has exhibited work at Secession Vienna; STANDARD (OSLO); and Essex Street, New York, among others.
Events & Exhibitions
Spring Open Studios 2019
March 29–March 30, 2019
Chadwick Rantanen, Telescopic Pole [Walkerball/Stars&Stripes], 2011, anodized sandblasted aluminum and walkerballs, telescopic dimensions: 114 to 311, Ø 1.5.
Chadwick Rantanen, Fluorescent Fitting, 2013, copper, wire, urethane plastic, and acrylic tube.
Chadwick Rantanen, Loop (Flower Friends), 2013, fabric, plastic, powder coated carbon fiber rod, steel ferrules, tags, dimensions variable.
Chadwick Rantanen, Peel (Unknown Sunburst), 2018, vinyl, antimicrobial film, powder coated steel, and tarp clips, 261/2 × 541/2 × 6 in. (67.31 × 138.43 × 15.24 cm).
