Past Residents

List Grid

Past Resident
2019: Ministry of Culture, Taiwan

Artist

Yi-Hsuan Lin

Yi-Hsuan Lin creates monumental installations of paintings as well as drawings on papers and canvas through meticulously constructed compositions that explore ideas of space and mobility.

Yi-Hsuan Lin is an artist from Taiwan based in São Paulo since 2009. He has exhibited work at Taipei Fine Arts Museum; Instituto Figueiredo Ferraz, Sao Paulo; and Morán Morán, Los Angeles, among others.

Yi-Hsuan Lin, Sky, 2018, oil, oil-based paint, spray paint, and crayon on paper, 30⁵/₁₆ × 25⁵/₈ in. (76.96 × 65.02 cm)

Yi-Hsuan Lin, Sailor License, 2018, oil on canvas, 33 × 35³/₈ in. (83.82 × 89.92 cm)

Yi-Hsuan Lin, Gangster, 2018, oil, oil-based paint, spray paint, and crayon on paper, 21⁵/₈ × 15⁵/₁₆ in. (54.86 × 38.86 cm)

Yi-Hsuan Lin, Tattoo, 2018, oil, oil-based paint, spray paint, and crayon on paper, 30 × 22 in. (76.2 × 55.88 cm)

Yi-Hsuan Lin, Truth, 2017, oil, oil-based paint, spray paint, and crayon on paper, 29¹/₂ × 28 in. (74.93 × 71.12 cm)

Residents from Taiwan

Huang I-Hsiang

A Practice of Silence begins with a vague visual impression, the administrative figure of the Absolute Space, a silent presence always sitting in the corner of the exhibition venue. Her work is a series of interpretations, empathy, and understanding. She is always there, yet hard to notice. She is the caretaker of the venue, and I want to depict such a character. My curiosity lies in her physical and psychological relationship with the venue; my curiosity wonders why she is here and whether she has ever thought about leaving. In short, everything related to this job, including emotions and circumstances. During the exhibition, I invited theater practitioner Tseng Jing-Wen, who is dedicated to promoting People's Theatre, along with former administrative staff from Absolute Space who worked here at different times, to conduct a body workshop. My basic idea is, the arrival of newcomers marks the departure of the old, and the interchange between new and old forms the life of a character. These participants, through shared memories, will engage in a self- dialogue belonging to this character during the workshop. Finally, on the last day of the exhibition, we held a screening event showcasing the workshop's video documentation at the venue.

Taiwan

Ministry of Culture, Taiwan

2024

Feng-Yi Chu

Taiwan

Ministry of Culture, Taiwan

2024

Hung-Yen Chang

Taiwan

Ministry of Culture, Taiwan

2023

Italy

Past Resident
2019: The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York
2017: Leila Elling

Artist

Antonio Fiorentino

Antonio Fiorentino’s research developed over the years under the umbrella of minimal intervention. The artist seeks to bring art back to nature by finding value in things that already exist, isolating them, and framing them within new contexts. Fiorentino is interested in situations of transformation as well as natural processes that create new forms through change.

Antonio Fiorentino was born in Barletta, Italy in 1987. He was selected to participate in the CSAV Artists Research Laboratory at Fondazione Antonio Ratti, and was the winner of eighth edition of the Talent Prize in Rome. Fiorentino participated in several exhibitions in Italy and abroad including: The Lasting, National Gallery of Modern and Contemporary Art, Rome; Vis Attractiva, THE OPEN BOX, Milan; Ride the Falling Flux, HIAP – Helsinki International Artist Programme; From & To, Centre of Contemporary Art Villa Arson/ Kunst Merano, Nice/Meran; Concrete Ghost, American Academy in Rome; CSAV – Fondazione Antonio Ratti, Como; Underneath the Street, the Beach, Fondazione Sandretto Re Rebaudengo, Turin.

Events & Exhibitions

Spring Open Studios 2019

March 29–March 30, 2019

Spring Open Studios 2017

April 21–April 22, 2017

Antonio Fiorentino, Dominium Melancholiae, 2014, Lead, zinc and water, Dimensions variable

Antonio Fiorentino, Dominium Melancholiae, 2014, Lead, zinc and water, 394 × 398 × 140 in. (1000.76 × 1010.92 × 355.6 cm)

Antonio Fiorentino, Untitled (Lucis et Umbrae), 2016, Marble, 15.7 x 11.8 x 1.1 each

Antonio Fiorentino, Untitled (Sirenae), 2016, Wax and clay, 172 × 210 × 355 in. (436.88 × 533.4 × 901.7 cm)

Antonio Fiorentino, Misellathum Pharallelus, 2015, Bronze and shark's jaw, 18¹/₂ × 22³/₈ × 12¹/₂ in. (46.99 × 56.9 × 31.75 cm)

Residents from Italy

Chiara Ianeselli

Quel jour sommes-nous, 15-30 June 2022, co-curated with Bakul Patki, at Tokonoma, Kassel. Credit: Rene Graf. quel jour sommes-nous? (what day is it?) is a research project in the form of an exhibition that questions what makes an artwork - investigating the performativity and process of an exhibit, the acts that brought it into existence, and the context of its presentation. Featuring seventeen established and emerging artists, quel jour sommes-nous? explores the differing forms, lifespans, and pathways of artworks – with historicised and timeless, appropriated and reapproriated, unauthored and unauthorised, dismantled and intangible works, all of which sit beside a graduate piece that will be graded in situ, just ahead of the exhibition’s opening. An “unfinished” work will also be included. The concept of a finished work of art – one that is deemed ready to be shared – has been debated throughout art history, particularly in relation to potential different readings once it has been pulled from a definite temporal context. Continuing the contentious conversation around when a piece of art is complete, one work in progress will be taken from an artist’s studio, at a time of the curators’ choosing, and inserted into the exhibition. quel jour sommes-nous? reflects upon the evolution of the creative process – the choices, challenges and breakthroughs that come with making art – asking when, within this process, does something become a work of art, and who gets to decide? On which day is something ready to be sold or exhibited? Is today the day the artist has to surrender a work they might never see again? Extending this reflection on when a work comes into existence, the exhibition also asks whether it is possible for artworks to exist without an audience. How much is the public required for the creative process to be complete, and how preeminent is the artist’s vision in influencing the viewer’s experience of the work? quel jour sommes-nous? does not profess to answer these questions, but hopes to encourage examination and inspire further exploration. It is at once exhibition as research and research as exhibition

Italy

Italian Council - Directorate-General for Contemporary Art and Architecture and Urban Peripheries (DGAAP) at the Italian Ministry for Cultural Heritage and Activities

2024

Valentina Furian

Italy

The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York

2024

Raffaela Naldi Rossano

Italy, Greece

The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York, Directorate-General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and International Cooperation, Directorate-General for Contemporary Creativity of the Italian Ministry of Culture

2024

Canada

Past Resident
2019: Alberta Foundation for the Arts

Curator

Christina Cuthbertson

Christina Cuthbertson’s curatorial work centers on notions of affect and embodiment in terms of the relationships between institution, experience, and transference of knowledge. Working beyond the boundaries of the art institution, her projects have taken many forms including exhibitions, interdisciplinary collaborations, performances, and sensory experiences.

Christina Cuthbertson is an independent curator and writer based in Lethbridge, Alberta, in Treaty 7 Territory. She was a curator at the Southern Alberta Art Gallery, and curator-in-residence at the Banff Centre for Arts and Creativity in 2018.