Past Residents

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Past Resident
2024: Conseil des arts et des lettres du Québec

Artist

Antonietta Grassi

Antonietta Grassi’s paintings recontextualize the history of abstract art, emphasizing the vital role of female labor in technological advancements. By referencing textiles, technology, and women’s contributions to early computer systems, her work draws a parallel between the loom and the origins of computer programming. Though rooted in modernist painting traditions, Grassi’s art reflects the contemporary condition of living in an overly digitized, dematerialized world, while seeking to reconnect with a more embodied and spiritual experience.

Antonietta Grassi has exhibited work at Canadian Pavilion, Expo Dubai, United Arab Emirates; Musée national des beaux-arts du Québec, Canada; and Katonah Museum, New York, among others.

Antonietta Grassi, Compiler 3.0, 2022, oil and ink on linen, 60 × 61 in. (152.4 × 154.94 cm)

Antonietta Grassi, Pink Power Push, 2023, oil and ink on linen, 55 × 55 in. (139.7 × 139.7 cm)

Antonietta Grassi, Zip no.2, 2022, acrylic oil and ink on linen, 55

Antonietta Grassi, Chromatopia, 2023, oil and ink on linen, 84 × 82 in. (213.36 × 208.28 cm)

Antonietta Grassi, Zip Stack Flow, exhibition view , 2022, mixed media

Residents from Canada

Alice Wang

United States, Canada

Canada Council for the Arts, Capsule Shanghai

Studio #213

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

United Kingdom, Germany

Past Resident
2024: Senate Department for Culture and Europe, Berlin

Artist

Bob Kil

Bob Kil’s work reflects contemporary reality, serving as a mirror that blends the present with a detailed and often critical exploration of societal norms and the deeply rooted aspects of human experience and identity. Through repetition and meticulous notation, Kil contrasts subtlety with conventional notions of mastery, challenging the belief that complexity equates to skill. Instead, his work emphasizes the power and impact of refined, minimalistic imagery.

Bob Kil has exhibited work at Mudam Museum of Modern Art, Luxembourg; Museo Tamayo Arte Contemporáneo, Mexico City; and Hammer Museum, Los Angeles, among others.