Past Residents
Gabriella Mangano and Silvana Mangano
Gabriella Mangano and Silvana Mangano work in a collaborative video practice. Their performance works consist of unchoreographed movements that are activated and influenced by handmade sculptural objects while also considering the architecture / space that the body sits within. The relationship between movement and object are usually minimal with the emphasis placed on form, structure and sound components. The performance videos are edited into abstract, rhythmic compositions which relay their interests in movement and how movement can be pushed and revealed through different processes.
Their work was recently shown at More Light, The Fifth Moscow Biennale of Contemporary Art, 2013, and Shifting Lines, Christchurch Art Gallery, 2013. Other selected shows include: All Our Relations,18th Biennale of Sydney, 2012; Basil Sellers Art Prize, Ian Potter Museum of Art, Melbourne, 2012; Contemporary Art: Women, Gallery of Modern Art , Brisbane, 2012; Identity V111, Nichido Contemporary Art, Tokyo, 2012; 21st Century: Art in the First Decade, Gallery of Modern Art, Brisbane, 2011; Before and After Science: The 2010 Adelaide Biennial of Australian Art, Art Gallery of South Australia, 2010; The Trickster, The Gyeonggi Museum of Modern Art, 2010 and Love, Loss and Intimacy, National Gallery of Victoria, 2010. Selected solo exhibitions include: Shapes for Open Spaces, Anna Schwartz Gallery, Melbourne, 2012; Neon, Studio 12, Gertrude Contemporary, Melbourne, 2010 and Gabriella Mangano, Silvana Mangano, Monash University Museum of Art, Melbourne, 2009.
Gabriella Mangano and Silvana Mangano, Neon, 2010, Video still. Courtesy of the artists.
Gabriella Mangano and Silvana Mangano, Echo, 2013, Video still. Courtesy of the artists.
Gabriella Mangano and Silvana Mangano, Light, 2013, Video still. Courtesy of the artists.
Gabriella Mangano and Silvana Mangano, Sculpture Sequence, 2012, Video still. Courtesy of the artists.
Gabriella Mangano and Silvana Mangano, Rewind, 2012, Video still. Courtesy of the artists.
Past Resident2014: Senate Department for Culture and Europe, Berlin
Andrea Pichl
Andrea Pichl focuses on isolated details of architectural peculiarities and turns them into sculpture. She is inspired by the inconsistencies, contradictions and the way in which interstices are bridged. The inherent paradoxes with this methodology, which reduce the standardized and repetitive architectural components to absurdity, are often present in the titles of her work.
Andrea Pichl (born 1964, Berlin) was educated at Academy of Fine Arts, Berlin and Chelsea College of Art and Design, London. She has exhibited internationally in solo and group exhibitions including Museum Hamburger Bahnhof, Berlin; Espace Beaumont, Luxembourg; Krome Gallery, Berlin; the Irish Museum of Modern Art, Dublin; Mies van der Rohe Haus, Berlin; National Gallery, Tashkent; Volksbühne, Berlin; the Contemporary Art Center, Vilnius; Kunstverein Wolfsburg and the Kumu Kunstimuuseum, Tallinn.
Andrea Pichl, Zwischen, 2012, Plywood, Dimensions variable, Installation view. Courtesy of Krome Gallery, Berlin.
Andrea Pichl, Für immer und immer, 2010, Plywood, 142 × 71 × 51 in. (360.68 × 180.34 × 129.54 cm). Courtesy of Mies van der Rohe Haus, Berlin.
Andrea Pichl, Inherent Shortcomings, 2011, Cardboard, photographs, fabric, 59 × 59 × 83 in. (149.86 × 149.86 × 210.82 cm). Courtesy of Irish Museum of Modern Art, Dublin.
Andrea Pichl, Doublebind, 2011-2012, Wood, acrylic, glass, aluminum, paper, video projections, Installation view. Courtesy of Hamburger Bahnhof, Berlin Architektonika/Architektonika 2.
Andrea Pichl, A tut was b will, wenn B tut was A will, 2013, Plaster, mirrors, 71 × 16 × 20 in. (180.34 × 40.64 × 50.8 cm).
Residents from Germany
Past Resident2013: Foundation for a Civil Society
Henrjeta Mece
Henrjeta Mece’s practice explores issues related to the body, time, place and sense of belonging. Challenged by the world’s state in flux, her artwork references the contemporary experience of travel, mobility, borders, and diasporas. Mece’s artistic process employs reterritorialization as a method to: create images that allude to maps, remap a location outside of geographical systems of organization, and produce a temporary place of belonging. Without using direct biographical material, her multimedia installations focus on materializing trajectories rather than destinations. The artwork itself exists in the process as much as in the object and remains a course in the struggle to be positioned.
Henrjeta Mece is a multidisciplinary artist, curator, writer and educator. She completed her BFA and MFA at Ontario College of Art & Design, Toronto . Mece is the recipient of numerous awards including, Vtape Fellowship, Canada Millennium Excellence Award, and various Ontario Arts Council grants. Mece’s artwork and curatorial projects have been exhibited in venues including, Museum of Canadian Contemporary Art, 2011; Banff Centre of the Arts 2009-2010; Tirana Institute for Contemporary Art, 2012 and Zweigstelle Gallery, Berlin, 2012.
Events & Exhibitions
Salon: Henrjeta Mece and Saša Tkačenko
October 1, 2013
Henrjeta Mece, Looking Into the Future, 2013, Coffee stains on tissue paper. Courtesy of the artist.
Henrjeta Mece, Piled up City Nr. 8, 2010, C-print, 36 × 48 in. (91.44 × 121.92 cm). Courtesy of the artist.
Henrjeta Mece, Reterritorializing Belonging, 2009, Video installation, 30 min. Courtesy of the artist.
Henrjeta Mece, The Traveler's Blanket, 2012, Acrylic on canvas, 36 × 48 in. (91.44 × 121.92 cm). Courtesy of the artist.
Henrjeta Mece, Untitled, 2012, Mixed media, 20 × 20 in. (50.8 × 50.8 cm). Courtesy of the artist.
