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 Greece

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

Sofia Stevi

When we start to understand the world trilogy (The Letter, The Journey, When we start to understand the world)

Greece

ARTWORKS

2023

Iria Vrettou

‘Daemonic Ecran Vivant’ is a moving portrait based on the concept of Tableau Vivant. The piece operates on specific hand drawn animated loops. The emphasis is placed on the movement of bodies, human, non-human, and more-than-human. It investigates how such movements can be perceived as dance for various concepts & species and the atmospheres that these create. If we consider life cycles as an expression of symbiosis then we can easily discern a ritual of perpetual transformation: the choreography of life. Image #2

Greece

ARTWORKS

2022

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 Norway

Katrine Elise Agpalza Pedersen

Philippines, Norway

OCA - Office for Contemporary Art Norway

2024

Sandra Mujinga

Norway

OCA - Office for Contemporary Art Norway

2024

Håkon Lillegraven

Norway

OCA - Office for Contemporary Art Norway

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