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Turkey

Current Resident: Mar 1, 2025–May 31, 2025

SAHA Association

Studio #204

Artist

Cem Örgen

Cem Örgen draws on his industrial design background to explore the histories, functions, and processes of materials through a lens of subjective and contextual movements. By uncovering collective memory from hidden, rushed, and isolated settings, he examines the moral dilemmas and unease triggered by everyday stimuli. Through a diverse range of media, Örgen reflects his hyper-situational values, creating works that embody affective states and processes with meticulous material control. His pieces, spanning sculpture, drawing, assemblage, text, and sound, appear simultaneously organic and artificial.

Cem Örgen has exhibited work at The Pill, Turkey; Les Urbaines, Switzerland; and IMALAT-HANE, Turkey, among others.

cemorgen.com
CNC cut, power carved, paint-washed, and varnished plywood, epoxy fillings, blow-molded acrylic water lens, silicon sealant, and fine art print on aluminum.
Cem Örgen, Breakfast with Family, 2024, sculpture, 71 × 87 × 69 in. (180.34 × 220.98 × 175.26 cm).
Backpack straps, webbings, zippers, buckles stitched on polyethylene foam. Tools, products, mock-ups, test parts, and defective parts used in making the Risk of Rain exhibition.
Cem Örgen, Bag 3, 2024, sculpture, 4 × 18 × 10 in. (10.16 × 45.72 × 25.4 cm).
Laser welded, sandblasted aluminum, mirror, metal plate, pipes and spring, XPE foam.
Cem Örgen, Pop, 2023, sculpture and music video.
Fiber-optic, MRI, and X-ray films of the artist, his friends, family, and loved ones, plywood, screw eyes, aluminum.
Cem Örgen, Race Major, 2024, sculpture, 34 × 38 × 50 in. (86.36 × 96.52 × 127 cm).
Cem Örgen, Content, 2022, sculpture and video work, 55 × 67 × 102 in. (139.7 × 170.18 × 259.08 cm).

Residents from Turkey

Alper Aydin

Turkey
SAHA Association
2024

Eda Gecikmez

Turkey
SAHA Association
2023

Civan Özkanoğlu

United States, Turkey
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha
2020
United States

Current Resident: Mar 1, 2025–May 31, 2025

Vision Fund

Studio #305

Artist

Aryel René Jackson

Aryel René Jackson is a Black Afro-Creole film-based artist exploring land as a site of internal representation. Their visual essays blend film, soil, performance, and installation to examine critical race theories and memory. Raised in post-Katrina New Orleans, their work reflects ancestral wisdom and land’s role in knowledge transmission.

Aryel René Jackson has exhibited work at the Museum of Modern Art, New York; Baltimore Museum of Art, Maryland; and Big Medium, Texas, among others.

aryelrenejacksonstudio.cargo.site
A textured diorama of a winding river cutting through rocky terrain, with mossy green patches suggesting vegetation. A circular inset in the lower left corner features a vintage scene of two Black filmmakers operating a camera, evoking themes of archival memory and historical storytelling.
Aryel René Jackson, A Welcoming Place, 2020-22, film, 29:14 min.
A textured mixed-media artwork featuring a silhouette of a musician playing the violin, draped in bold blue and yellow hues. The background is an abstract, fragmented landscape with geometric lines, earthy textures, and patches of moss. A partially broken circular form resembling a moon or planet hovers above, with bright red and pink elements suggesting energy or disruption.
Aryel René Jackson, Temporal Glimpse, 2024, acrylic, Texas topsoil, sand, creole accordionist alphonse "Bois Sec" ardoin, Marjis Allen (Grandma), flock, archival print, cyanotype, screenprint, acrylic-based cement patch, and varnish on panel, 18 × 18 × 11/2 in. (45.72 × 45.72 × 3.81 cm).
A layered composition blending photography and painting, depicting a group of figures engaged in an intense scene. A central figure, darkened and silhouetted, interacts with a mechanical structure resembling an engine or turbine. The surrounding figures, outlined in vibrant colors, appear to be observing or reacting. The piece has a rough, earthy texture with abstract, stormy black-and-white elements framing the background.
Aryel René Jackson, Learning to Soar, 2024, acrylic, pumice, sand, potting soil, Texas topsoil, cadets in ground school studying a radial aircraft engine (Air Force Historical Support Division, 1942), 7 × 5 × 15/8 in. (17.78 × 12.7 × 4.06 cm).
a shed-like barn coated in soil. The house like structure appears to sink into its base, suggesting stability and change.
Aryel René Jackson, Buried Signals, 2024, wooden beams, Texas topsoil (chocolate loam), 84 × 84 × 84 in. (213.36 × 213.36 × 213.36 cm).
A dimly lit, vibrant interior bathed in deep blue and red hues. A person in a white tank top and purple pants energetically removes a faux fur jacket, while another, dressed in suspenders and a bow tie, focuses intently on a DJ setup. The retro-styled room is adorned with vintage portraits, lush plants, and eclectic furniture, suggesting a theatrical performance or cinematic reenactment.
Aryel René Jackson, We are the [Hackers], Baby, [Hackers] are we, 2021, partition walls, botanical print, red paint, laminated wood flooring, pink armchair, white table, wooden side table, gold plated metal disk, planters, keyboard, speakers, television monitors, framed images of Juanita Brunson Jackson's mother and grandmother, as a child, as a student in secondary school, and during nursing school in Brooklyn covering between approximately 1890s until 1940s), circular rug, track lighting, floor lamp, foam, topsoil, tap floor, small suitcase, pillows, microphones, 9 min.

Residents from United States

Hanae Utamura

Japan, United States
Every Page Foundation
Studio #201

Akeema-Zane

United States, Trinidad and Tobago
Vision Fund
Studio #203

Laura Lappi

Finland, United States
Alfred Kordelin Foundation
Studio #205
Taiwan

Current Resident: Mar 1, 2025–Jul 31, 2025

Ministry of Culture, Taiwan

Studio #210

Artist

Pou-Ching Tsai

Rooted in his lifelong fascination with animals, Tsai’s recent work explores human-animal relationships through the lens of amateur biology. Using video, installation, and archival materials, he examines and reimagines connections in response to contemporary survival modes and our increasingly complex relationships with animals.

Pou-Ching Tsai has exhibited work at the Taipei Fine Arts Museum; YIRI ARTS; and the Museum of Contemporary Art Taipei, all in Taiwan, among others.

rtrt520.wixsite.com/tsaipouching
Amidst complex historical changes, these voiceless specimens were swept along by war, their fates intertwined with two world wars. I have selected three events to illustrate the specimens’ circumstances, using digital imagery to convey their subjectivity in an alternative space corresponding with their lost physical forms.Through voice, they listen and recount their past experiences.
Pou-Ching Tsai, Three Notes on War, 2024, multi-channel video and Installation, dimensions variable.
According to legend, Nezha returned his flesh and blood to his mother and his bones to his father, then the Taoist immortal T’ai I Chen-Jen resurrected him using lotus roots for bones and lotus leaves for clothing. In the modernist process of man over nature, the perishable parts of deceased animals are removed, leaving only the outer skin to create specimens. This project includes three threads: the history of the National Taiwan Museum’s specimen collection, the communication process to reinstate their spirits, and the use of 3D scanning and modeling to reconstruct their flesh and bones, reviving them in a “not yet numinous” digital space. Through this gradual process, the specimens gain voice, culminating in a collaborative performance where they share their own stories.
Pou-Ching Tsai, Whispers of Specimens, 2024, dual channel video and Installation, dimensions variable.
This artwork originates from the extensive research I had to undertake as an artist working on this series, focusing on specimens and museums. However, during the research process, I discovered that the documentation left behind regarding these specimens is extremely scarce. In fact, even the basic specimen labels were often missing. While delving into this topic, I came across an article written by anthropologist Miyamoto Nobuto in 1934, published in the journal Science of Taiwan (Kagaku no Taiwan) by the then Taiwan Governor-General's Museum (Taihoku Imperial Museum). The article, titled "A Few Notes on Specimen Photography", primarily describes Miyamoto's approach to photographing specimens, presenting his experiences in the form of a technical manual. Given the lack of "past" documentation for these specimens, I decided to follow the methods described in "A Few Notes on Specimen Photography" to re-photograph them in a manner inspired by his techniques. We built a digital photo studio based on Miyamoto Nobuto’s instructions, using a physical folding camera with the same dry glass plates to photograph the specimens in a digital interface. At the same time, we invited them to collaborate by using the 3D models we created for them. With the help of a medium and an animator, they were able to decide their own poses for the photographs. In this way we attempted to rephotograph these specimens and fill the gaps of their lost records, while also reversing the power dynamics between the photographer and the subject, and exploring the possibilities of using images to revisit and imagine history.
Pou-Ching Tsai, Specimen Photography, 2024, video and glass plate photography.
Pou-Ching Tsai, We live above the ocean, 2022, video and Installation, dimeensions .
After the typhoon Morakot, the russet sparrows disappeared from their habitats. Humans. then took a series of conservation actions. At present, the mountain sparrows mainly inhabit the Zengwen reservoir, Alishan, and Guanziling. In the myth of the indigenous peoples of Taiwan, Cou, there is a bird called Uhngu that helped humans obtain fire during the Great Flood. There exist, many theories about the nature of this bird, one of which indicates that it was a sparrow. For the artist Tsai Pou-Ching, there is an ephemeral connection between these two things. He then involved the children of the Cou in a project to use the mud of the Zengwen reservoir to produce artificial nests. Half of these artificial nests became works of art, and the other half were made for the russet sparrows. Through the continuation of mythological narrative and imagination, Tsai Pou-Ching constructs a method of engaged conversation between human beings and nature.
Pou-Ching Tsai, Song of the Russet Sparrow, 2022, video and installation, dimensions variable.

Residents from Taiwan

Szu-Ying Hsu

Taiwan
Ministry of Culture, Taiwan
Studio #302

Feng-Yi Chu

Taiwan
Ministry of Culture, Taiwan
2024

Huang I-Hsiang

Taiwan
Ministry of Culture, Taiwan
2024

Past Residents

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