Current Residents

List Grid

Current Resident: Feb 1, 2024–Jan 31, 2025

Studio #219

Antonis Pittas

Antonis Pittas’ work revolves around current social and political issues, marked by a profound connection to history. He creates spatial installations that respond to specific contexts, drawing inspiration from architecture, design, art history, the performative aspects of installation art, and its social dynamics. At the core of Pittas’ practice is the question about the relationship between the past and present. His practice delves into significant historical moments of destruction, decay, and resistance, playing a pivotal role in shaping his artistic narrative.

Antonis Pittas has exhibited work at Museum for Contemporary Art – Eindhoven – Van Abbemuseum, The Netherlands; Centraal Museum, The Netherlands; and National Museum of Contemporary Art Αthens (ΕΜΣΤ), Greece, among others.

antonispittas.com

Events & Exhibitions

2024 Spring Open Studios

April 12–April 13, 2024

Antonis Pittas, Paraesthesia, 2023, installation, stones, graphite, memory foam and protective foam, dimensions variable

Antonis Pittas, ACT (with flash), 2022, installation, reflective foil, aluminium, various works by Theo van Doesburg, dimensions variable

Antonis Pittas, ACT, 2022, installation, reflective foil, aluminium, various works by Theo van Doesburg, dimensions variable

Antonis Pittas, ICITIAE, 2020, installation, 18th century sandstone and graphite, dimensions variable

Antonis Pittas, throw hands, 2017, installation, artificial leather and furniture stuffing, dimensions variable

Residents from The Netherlands

Ginta Tinte Vasermane

Latvia, The Netherlands

Amsterdams Fonds voor de Kunst, Stichting Stokroos

2022

Nika Schmitt

rotating satelite dishes changing the self-generated feedback frequencies within the interior space. Four speakers and four different microphones picking up and playing live the changing sounds from different angles of the space.

Luxembourg, The Netherlands

Edward Steichen Award Luxembourg

2023

Coralie Vogelaar

This interactive installation examines our urge to exert control over our body, the uncontrollable nature of the conditions that influence how we feel, and the data systems that analyze our state of wellbeing. Visitors are invited to take a seat and place a sensor on their earlobe. Their heart rate variability (HRV), the period between heartbeats, will immediately become audible as the sound of ticking metal friction on ceramics, and squeaking polysterene. Changes in HRV directly impact on the sound composition by Sjoerd Leijten and vice versa. The sensors register all the irregularities of the heartbeat, which fluctuates in response to physical and emotional factors. Because of the complexities involved in identifying the cause of individual fluctuations, science often dismisses small variations as irrelevant, and only average readings are used for examinations. Coralie Vogelaar explores the “noise” that is ususally filtered out in this hybrid cross of technological research and fine art - the installation exudes the atmosphere of a test environment, with its aluminium tubing, visible cables, and the inbuilt and pre-programmed conditional rules. Vogelaar demonstrates that our mood states are more complex than would be suggested by an averaged out measurement. She embraces this complexity by combining data-sampling systems with the physical experience of sound, rather than imposing any scientific framework or delimitation

The Netherlands

Mondriaan Fund

2024

Norway, Thailand, Belgium

Current Resident: Sep 1, 2024–Aug 31, 2025

OCA - Office for Contemporary Art Norway

Studio #220

Artist

Apichaya Wanthiang

Apichaya Wanthiang creates environments that activate embodied knowledge and somatic memories, exploring how different spaces shape our perceptions, behaviors, and interactions. She primarily works with painting and installations that incorporate light, sound, and text. While each exhibition centers on a specific theme, these serve as a prelude to examining complex and often invisible structures, such as the cumulative effects of racism or the impact of memories on our present actions.

Apichaya Wanthiang has exhibited work at Munch Museum, Oslo; Storage Art Space, Bangkok; and UKS Young Artists’ Society, Oslo, among others.

apichayawanthiang.com

28'54'' video installation projected on three layers of netting, coconut and palmyra leafes, headlamps, four paintings

Apichaya Wanthiang, the night laid a hundred eyes on my skin, installation, 2024

Apichaya Wanthiang, Gleaned from, 2024, painting installation

16 Agar(red algae) sheets stretched on 16 steel frames, a 38 min soundtrack and light sequence played in a loop.

Apichaya Wanthiang, Some Body Else, 2022, installation

spread across four rooms, recycled and new wood, cotton, colored pigments, clay, concrete, hay, chicken wire, foam, cheesecloth, plastic, TVscreen, raspberry pi, light filters, silicone

Apichaya Wanthiang, I've been here before, 2020, installation

corridor, heated clay sculptures, alternating ‘breathing’ led cycles, and two videos of insects at night and rituals of feeding spirits.

Apichaya Wanthiang, Evil spirits only travel in straight lines, 2018, installation

Residents from Belgium

Shir Handelsman

A short video work, which presents an opera singer, standing on a lifted platform and singing a Martyr's wish for redemption.

Belgium, United States

Artis

2024

Eva L’Hoest

Belgium

Edward Steichen Award Luxembourg

2023

Felix Kindermann

Germany, Belgium

Ministry of Culture of the Flemish Community Visual Arts Department, Tony & Sissi Moens

2023

Canada

Current Resident: Oct 1, 2024–Dec 31, 2024

Conseil des arts et des lettres du Québec

Studio #222

Artist

Stanley Wany

Stanley Wany’s practice spans large-format works on paper, illustration, and installations, focusing on his multi-ethnic identity and the reappropriation of Black representation in the West. His work engages with the concept of “creolization,” a term popularized by Martinican author Édouard Glissant, through its materiality and form. Central to Wany’s practice is extensive research, encompassing African-Canadian, African-American, and Caribbean history and culture, as well as African myths and traditions.

Stanley Wany has exhibited work at Galerie de l’UQAM; Plug In Contemporary Art Institute; and Ottawa Art Gallery, all in Canada, among others.

stanleywany.com

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.

Stanley Wany, Ase, 2021, charcoal on paper, 60 × 84 in. (152.4 × 213.36 cm)

This work acts as a generator of ideas within which we can seek a form of knowledge by establishing relationships between identity, territory and culture.

Stanley Wany, Rhizome, 2024, ink, polymer medium and acrylic on wood panel, 60 × 60 in. (152.4 × 152.4 cm)

Coffee, in Voyage à Fonds-des-Nègres, is amalgamated with polymer medium, a product derived from petroleum. This also carries meaning as coffee and energy extraction intertwine in the West Indies (particularly in Trinidad and Tobago), from the start of the 20th century. The resulting mixture of coffee and polymer is draped over a beam of Wenge wood, an endangered tree from West Africa (including Congo) due to overexploitation by international markets. The stories of these materials are also that of extraction, which begins with the arrival of settlers in the Antilles and which continues with the slave trade.

Stanley Wany, Voyage à Fonds-des-Nègres, 2023, coffee and polymer medium; Wenge, 100 × 120 in. (254 × 304.8 cm)

In Chaosmos, 8 calabash gourds are treated in different ways. On the surface of one gourd, I engraved an excerpt from the novel Dézafi (meaning “cockfight” in Haitian Creole) by the Haitian poet, artist and activist Frankétienne, in a deliberate gesture of unification. This gourd reminds us that the construction of Caribbean identity is based on the interrelation of different cultures and various events, unlike atavistic cultures, thus named by Glissant, where identities are rooted in a specific territory and culture and anchored by founding myths. On the contrary, Caribbean identity is rhizomatic as it draws from various sources during its evolution.

Stanley Wany, Chaosmos, 2023, acrylic paint and found objects on gourds, 15 × 100 in. (38.1 × 254 cm)

Stanley Wany, L’Odysseyium and Transmissionology, 2023, graphite on rice paper, jute, canvas, rope, thread, lambi conch shell and hair of Afrodescendants, Eurodescendants and Creoles / Sugar cane paper, coffee, indigo, molasses transfer on rice paper and ink on wood panels