Past Residents

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Year
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India

Past Resident
2024: Inlaks Shivdasani Foundation

Artist

zeropowercut/Piyush Kashyap

zeropowercut/Piyush Kashyap makes art to locate how caste is coded in the real. Their practice-based-research is driven to articulate how the caste-ideological-grading of workers, as various levels of Sudra (‘insignificant, menial and unknowledgeable’) counters reality as unintelligible, by notionally dissociating the bridge of Knowledge and Work. Kashyap runs a research-and-development lab called zeropowercut to create collective productions of Dalit-Bahujan discourse from their small studio in the old city of Patna-Saheb, Bihar.

zeropowercut/Piyush Kashyap has exhibited work at The Foundation for Indian Contemporary Art; The New Medium III; and Serendipity Arts Residency 2023, all in India, among others.

Events & Exhibitions

Artists at Work: zeropowercut/Piyush Kashyap
June 18, 2024, 6:30–7:30pm
2024 Spring Open Studios
April 12–April 13, 2024
a ‘sadabahar’ [the name translates to ‘always prosperous’] plant grow in the limited resources of a brick wall crack
zeropowercut/Piyush Kashyap, always everywhere, yet absent, 2022, bricks, sand, cement, soil, and live Sadabahar plant, 18 × 18 in. (45.72 × 45.72 cm)
a ‘sadabahar’ [the name translates to ‘always prosperous’] plant grow in the limited resources of a brick wall crack
zeropowercut/Piyush Kashyap, always everywhere, yet absent, 2022, bricks, sand, cement, soil, and live Sadabahar plant, 18 × 18 in. (45.72 × 45.72 cm)
A hand presses numbers on a mobile phone to navigate an unknown (to the listener) structure of speech made of unrelated or related meanings.
zeropowercut/Piyush Kashyap, anumanlok [English Name: guess-wor(l)d] w/ —out-of-line—, 2023, interactive voice response system, data phone and Bhojpuri/Hindi
public-folk singer-performer, Raju Ranjan performs anti-caste songs/text co-written with Kashyap, at zeropowercut base, Sadikpur, Patna-(old)City. The subtitles read: How will we save this culture?!
zeropowercut/Piyush Kashyap, jangayek.txt w/ —out-of-line— and Raju Ranjan, 2023, online song performance and discussion, leather and plastic dafli (Drum) and text
A child riding on top of a sound-system-cart (like how one rides an elephant or a camel), covers their ears to protect themselves from the impact of loud-speakers around themselves.
zeropowercut/Piyush Kashyap, imitation, 2022, video-projection and broken-bucket speaker

Residents from India

Mario D’Souza

India
Jane Farver Memorial Fund
2024

Akshay Sethi

India
Inlaks Shivdasani Foundation
2023

Shaunak Mahbubani

India
Inlaks Shivdasani Foundation
2021
Turkey

Past Resident
2024: SAHA Association

Artist

Alper Aydin

In his practice, Alper Aydın strives for his works to be understood within their geographical context, aiming for an interpretation that incorporates the spatial presence of living beings, notably humans, within ecological processes. Aydın’s diverse practice, which includes sculpture, installation, performance, architecture, and video, allows the energy of each venue to guide his creative process. Through this approach, he intends to explore and reflect upon humanity’s existence in nature from a multitude of perspectives.

Alper Aydın has exhibited work at Istanbul Biennial, Turkey; Kochi-Muziris Biennale, India; and Changwon Sculpture Biennale, South Korea, among others.

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
Throughout history, domes—the components of buildings pointing to the sky—have been identified as the source of spirituality and able to deliver the images, narratives, and messages of the skies. In this work, two large-sized satellite dishes whirling around their axes stand level with the audience and, with their controlled rotation, get in a loop akin to the movement of the planet, the sun, and the moon, formation of months and years. One of the dishes of these two technical systems holds the ornaments and the Arabic calligraphy of the dome of Hagia Sophia. The other one carries the dome of parecclesion of Chora Monastery depicting the Virgin and Child and the angels. The forms and the ornaments of these small representations of the vault of heaven have been adapted to the antenna systems used to communicate, observe, and receive signals. The micro vaults of heaven are placed next to people instead of above. They unite with the sky in the open air. This work directs people’s gaze to outer space, the unknown, and the infinitude of imagination and reflects hope about the future.
Alper Aydin, Face to Face, 2023, aluminum, iron, oil acrylic, gold-leaf and concrete, 151 × 130 × 169 in. (383.54 × 330.2 × 429.26 cm)
Acclaimed Dutch painter Hieronymus Bosch depicted heaven on the left panel of the triptych, The Garden of Earthly Delights, painted circa 1490–1500. In this composition, every figure is around the small lake in the center of the painting, and in the center of this lake stands so naturally, an imaginary pink fountain made of plants and shells of crabs, oysters, and sea urchins. Alper Aydın was touched to see that almost everything occurs around this fountain. He builds a similar one in the center of an antique quarry filled with seawater on Cape Sülü to create a space for conversing and discussing the world's state of mind. By concretizing Bosch’s fountain design by upcycling the plastics drifted to the shore with storms, a faithful adaptation from two dimensions to three, the artist opens the way for nature, animals, and human beings to perceive the fountain.
Alper Aydin, The Source of Life, 2023, upcycled plastic, polyester resin, iron and obsidian, 275 × 102 × 39 in. (698.5 × 259.08 × 99.06 cm)
The city of Ordu has been subject to excessive and sudden rains and floods in recent years due to the emergence of the potent effects of global warming, wrong environmental policies, and unplanned urbanization. Humans, animals, and plants lost their lives, and habitats disappeared. “Post-Apocalyptic Narrative” derives from an archive of the traces of loss that Alper Aydın has composed in Cape Jason, where he also lives, by collecting the objects and remains washed ashore after disasters. Referring to the deteriorating dynamics of nature, the installation is composed of two sculptures: in the first one, a snake that doesn’t know where to go enwinds the trunk of a tree without roots and branches. On another collapsed trunk hanging from the ceiling are a man and a wolf in such a setting that whoever moves, the balance will be disturbed inevitably. We are left alone with the last remaining traces of a forest in a post-apocalyptic time.
Alper Aydin, Post-Apocalyptic Narrative, 2023, polyester, 80x46x204 (wolf and man), 165x27x27 (snake)
In the first movie of the Matrix trilogy, the protagonist Neo must choose between red and blue pills. The blue pill will return him to the fictional order in which he has always existed, and the red pill will allow him to see what is happening outside that fictional order. Taking its name from this movie scene, Alper Aydın’s Red Pill (2023), produced for the WE BELONG exhibition, is a sailboat turned upside down. He is ready to set out for all the discoveries his imagination can take, floating in the air on a plane limited neither by land nor by the boundaries of the ocean. It is an invitation to look at the world we live in, our lives, from different perspectives and to make us think about what is real.
Alper Aydin, Red Pill, 2023, metal and fibre, 307 × 161 × 35 in. (779.78 × 408.94 × 88.9 cm)
In this piece of art, rocks from nature touched with a statistical thinking.Place that is choosed consciously has an esthtatical view and convenient for statistical research inside it. The each interferes on the place was made with discount and was written with white water-based paint and with a big amount of care for not damaging the rocks.The numbers that was created by humans choosed in the daily life to calculate the human’s value.While the this numbers that was created by human transfered to the amorf things in nature, dialog between nature and human was expected to seen. This situation creates a paradoxical view to the people who go over that beach during their whole life and audience. Again, meaningless things were weighned and named exactly same with the values, it represent the image of people’s inside thinking which is human creates themselves limits to judge the situations and classified them. This is a reaction to public’s meta perception with measuring the natural objects.
Alper Aydin, Real Weight of Stones, 2011, water based paint on stones, dimensions varied

Residents from Turkey

Eda Gecikmez

Turkey
SAHA Association
2023

Sümer Sayin

Stone found on a beach, its photograph and stone made of ceramic. The handmade stone is sculpted by hand with clay looking at the photo as a reference, then fired to a stoneware temperature.
Turkey, Germany
SAHA Association
2022

Baris Gokturk

Monument III is based on a photograph I saw on the wall of a working-class restaurant in Ankara, Turkey. The photograph shows an equestrian statue of Ataturk, the founder of republic, right before it left the foundry.
Turkey, United States
SAHA Association
2021
United States, China

Past Resident
2024: 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, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
2023: 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, Hartfield Foundation, Danna and Ed Ruscha

Artist

Alchemyverse

Alchemyverse was founded in 2020 in New York City by artists Bicheng Liang (b. 1994, China) and Yixuan Shao (b. 1996, China/United States). As a duo, they construct visual and aural assemblages, working across disciplines of installation, print, sound, sculpture, and photography. Focusing on research and experimentation, their hybrid practice resonates with macro-environmental concerns and human dislocation of space, leading them to places such as Oahu and Moa Kea in Hawaii, the American Southwest, the Hudson Highlands, and the Chilean deserts.

Alchemyverse has exhibited work at Bishop Museum, Honolulu; The Catherine Fosnot Art Gallery and Center, New London; and Lenfest Center for the Arts, Columbia University, New York City, among others.

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
2023 Fall Open Studios
November 10–November 11, 2023
Messa in Luce Exhibition Talk with Alchemyverse and Jess Wilcox
November 1, 2023, 6–7pm
Alchemyverse: Messa in Luce
June 29–November 17, 2023
2023 Spring Open Studios
April 21–April 22, 2023
The work features collages of cyanotype photographs taken in the American Southwest, multichannel field recordings, and objects collected within the land on three suspended wooden panels.
Alchemyverse, Stir, Full of, Abounding In, 2021, cyanotypes collage, dead plant, pit-fired wild clay fragment, rocks, 8-channel specialized sound, transducers, and other mixed media, 84 × 120 × 3 in. (213.36 × 304.8 × 7.62 cm)
Left Without the Means to Move uses the ephemerality of sound and porousness of space to adapt to the viewers’ presence and creates an interactive soundscape as a constant search for balance. The materiality of the landscape slowly unfolds within and around the dome-shaped assemblage of sound recordings of making the ceramics in the wilderness, extracted soil, and pit-fired sandstone-molded sculptures.
Alchemyverse, Left Without The Means To Move, 2021, lava rocks, anodized aluminum, bone conductors, pit-fired wild clay and sound recorded within, desert soil, amplified microphones, speakers, subwoofers, and other mixed media, 204 × 204 × 180 in. (518.16 × 518.16 × 457.2 cm)
With the whole work's structure supported by salvaged rocks and plywood scraps, we explore how a construction of the fragmented brings the multitude of functionalities, identities, and meanings together, and us into proximity with such process.
Alchemyverse, Untitled, 2021-22, rocks, ceramics, bronze, dead plants, living moss, sand, films, cyanotypes, scores, 3D carved photo, turntable, trace light box, digital projectors, lamps, and other mixed media
In 2021, a record number of snowstorms blanketed the northeast regions of the US, due to rising temperature in the atmosphere which fuels the storms. At the time, we were traveling along the Hudson Valley, hiking in knee-high snow and crouching over frozen riverbank to chase aluminum sheets into the shapes of the rocks. What we thought as a simple gesture of conforming to the land was met with great resistance from the environment.
Alchemyverse, 隙/ At Intervals, 2020-21, earth and fire on aluminum sheets, 96 × 72 × 36 in. (243.84 × 182.88 × 91.44 cm)
Consisting of thirty-one cyanotype photographs and twelve-channel spatialized recordings made using salvaged materials, Bleikr explores a poetic avenue toward a non-anthropocentric scale of time --- one that expresses itself no longer in terms of hours and minutes, but in the forms in the textures, shadows, and sounds of the environment.
Alchemyverse, Bleikr, 2020, mounted cyanotypes, sounds, and transducers, 120 × 108 in. (304.8 × 274.32 cm)

Ground Floor Residents

Sarah Zapata

Large-scale installation compromised of textiles.
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

water meanders through a sawgrass marsh beneath a blue sky and clouds
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

Simon Liu

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