Past Residents
Past Resident2016: Institut Français2016: Performa
Tarik Kiswanson
Tarik Kiswanson’s genre-defying work is informed by identity, dualism and loss. His work reflects on the influences of one culture upon another as well as the active role the viewers play in the creation of the work’s meaning. Through quasi-abstract sculptures, or “reductions” as he calls them, Kiswanson examines notions of nonconformity and subverts the ways in which form is perceived and registered. Almost solely made in polished brass and steel, the viewer’s body appears obliterated, disjointed, or doubled. Razor sharp and infra-thin, his paradoxical objects are also highly responsive to their spatial environment and to their observer’s proximity as they vibrate with the displacement of air generated by the spectators circulation within the space.
Tarik Kiswanson (born 1986, Halmstad, Sweden) graduated from Central Saint Martins College of Art and Design, University of the Arts London in 2010. In 2011, he moved to Paris where he attended l’École nationale supérieure des Beaux-Arts and received a MA in 2013. He has exhibited his work internationally in group shows and solo exhibitions at Carlier Gebauer, Berlin; Musée Régional d’Art Contemporain Languedoc Roussillon Midi Pyrénées, Sérignan, France; Musée national de Céramique-Sèvres, Paris; Le Pavillon Vendôme Centre d’art Contemporain, Paris; Les Bains-Douches, Alençon, France; Institut d’Art Contemporain, Villeurbanne, France; Riga Art Space, Latvia; and Metropolitan Art Society, Beirut.
Events & Exhibitions
Fall Open Studios 2016
November 4–November 5, 2016
Tarik Kiswanson, 1951 (The weave machines), 2016, Handwoven stainless steel, 100 × 53 × 7 in. (254 × 134.62 × 17.78 cm)
Tarik Kiswanson, Contact Sheet, 2016, Handwoven stainless steel
Tarik Kiswanson, 1917 (The weave machines), 2016, Handwoven stainless steel, 53 × 7 in. (134.62 × 17.78 cm)
Tarik Kiswanson, Anti (Inverted flagpole bracket), 2015, Steel, 7 × 9 × 4 in. (17.78 × 22.86 × 10.16 cm)
Tarik Kiswanson, Shifter, 2015, Brass welded with recycled silver, 118 × 9 × 9 in. (299.72 × 22.86 × 22.86 cm)
Residents from France
Past Resident2016: Inlaks Shivdasani Foundation
Anushka Rajendran
Anushka Rajendran’s curatorial practice realizes ideas that emerge from her research about exhibitions, with a focus on arts from South Asia. As an art writer and editor, she facilitates discursive engagement within the arts in India. Her ongoing interests include socially engaged art practices in India and the ways in which aesthetic practices are seeking out publics that fall outside of traditional contemporary art audiences. This is an extension of her previous research and curatorial interest in trauma narratives in contemporary art.
Anushka Rajendran is a New Delhi based curator, writer and researcher. Her ongoing PhD Where lies the Public? Aesthetics of Social Engagement studies how the arts are surpassing traditional publics in India. She has an Ph.M from the Jawaharlal Nehru University during which she wrote Installation Art in India: Preoccupations with Trauma, and an MA in Arts and Aesthetics. Her recent exhibition, The Lay of the Land, charted an alternative cartography for the South Asian region based on experiences of artists rather than political borders. In her upcoming exhibition Corporeal, Rajendran will look at the absent body as a universal/intimate subject position. Rajendran is the Editorial Coordinator of the Indian art magazine TAKE on art, and recipient of the Art Scribes Award 2015.
Events & Exhibitions
Spring Open Studios 2016
April 29–April 30, 2016
Danushka Marasinghe, Night Watchman, 2014, Set of 12 found images digitized and manipulated, 36. Photo by Danushka Marasinghe
Residents from India
![a ‘sadabahar’ [the name translates to ‘always prosperous’] plant grow in the limited resources of a brick wall crack](https://iscp-nyc.org/wp-content/uploads/2024/04/sada1-500x350.jpeg)
Past Resident2016: The Ian Potter Foundation, Gordon Darling Foundation, American Australian Association
Elise Routledge
Elise Routledge is a curator who approaches her work with sensitivity to artists’ ideas and processes, and respect for the intelligence and curiosity of audiences. She is interested in how cultural contexts and environments inform the production and interpretation of contemporary art. Routledge’s curatorial projects are characterized by their engagement with social themes, risk, and institutional critique.
Elise Routledge has worked with the Museum of Contemporary Art, Sydney; Shepparton Art Museum (SAM), Victoria; Experimenta Media Arts, Melbourne; British Council, Sydney; and Artangel, London. Routledge has curated exhibitions at Gertrude Contemporary, Melbourne, and Firstdraft Gallery, Sydney, and has contributed to numerous publications. She was awarded a scholarship from the College of Fine Arts, University of New South Wales, and received an Australia Council Skills and Arts Development grant in 2014. Recent curatorial projects include Kate Murphy: Probable Portraits, Shepparton Art Museum; Bindi Cole: I Am, Shepparton Art Museum; Delinquent Angel: John Perceval’s ceramic angels, Shepparton Art Museum; Experimenta Recharge: 6th International Biennial of Media Art, RMIT Gallery, Melbourne; and A Galaxy of Suns by Michaela Gleave premiering at Dark Mofo, 2016, Hobart, Tasmania, Australia.
Rebecca Baumann, Untitled Field View, 2013, Plinths, 9 monochromes in dulux (dandelion yellow, lickety lick, charcoal, cousteau, funk, scampi, hot lips, paris nights, and tang) with green vase, orange and blue vase, boat-shaped dish and art deco vase from the Shepparton Art Museum ceramics collection, Dimensions variable. Image courtesy of Shepparton Art Museum and Rebecca Baumann. Photo by Andrew Curtis
Katie Lee, Collected Objects, Varied Materials (detail), 2013, Lead, glazed earthenware, rubber, timber, brass, and various objects from the Shepparton Art Museum ceramics collection including Kirsten Coelho’s Iron and the Air (2007), Dimensions variable. Image courtesy of Shepparton Art Museum and Katie Lee. Photo by Andrew Curtis
Michael Camakaris, The Drawing Wall # 11: Five Bulls, No Bull, 2013, Acrylic paint on wall. Image courtesy of Shepparton Art Museum and Michael Camakaris
