Current Residents

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United States, China

Current Resident: Mar 31, 2023–Mar 31, 2024

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

Ground Floor

Artist

Alchemyverse

Alchemyverse was founded in 2020 in New York City by artists Bicheng Liang (b. 1994, China) and Yixuan Shao (b. 1996, China/United States). As a duo, they construct visual and aural assemblages, working across disciplines of installation, print, sound, sculpture, and photography. Focusing on research and experimentation, their hybrid practice resonates with macro-environmental concerns and human dislocation of space, leading them to places such as Oahu and Moa Kea in Hawaii, the American Southwest, the Hudson Highlands, and the Chilean deserts.

Alchemyverse has exhibited work at Bishop Museum, Honolulu; The Catherine Fosnot Art Gallery and Center, New London; and Lenfest Center for the Arts, Columbia University, New York City, among others.

thealchemyverse.com

Past Residencies

2022–2023
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

Events & Exhibitions

2023 Spring Open Studios
April 21–April 22, 2023
2022 Fall Open Studios
November 18–November 19, 2022
2022 Spring Open Studios
April 22–April 23, 2022
The work features collages of cyanotype photographs taken in the American Southwest, multichannel field recordings, and objects collected within the land on three suspended wooden panels.
Alchemyverse, Stir, Full of, Abounding In, 2021, cyanotypes collage, dead plant, pit-fired wild clay fragment, rocks, 8-channel specialized sound, transducers, and other mixed media, 84 × 120 × 3 in. (213.36 × 304.8 × 7.62 cm)
Left Without the Means to Move uses the ephemerality of sound and porousness of space to adapt to the viewers’ presence and creates an interactive soundscape as a constant search for balance. The materiality of the landscape slowly unfolds within and around the dome-shaped assemblage of sound recordings of making the ceramics in the wilderness, extracted soil, and pit-fired sandstone-molded sculptures.
Alchemyverse, Left Without The Means To Move, 2021, lava rocks, anodized aluminum, bone conductors, pit-fired wild clay and sound recorded within, desert soil, amplified microphones, speakers, subwoofers, and other mixed media, 204 × 204 × 180 in. (518.16 × 518.16 × 457.2 cm)
With the whole work's structure supported by salvaged rocks and plywood scraps, we explore how a construction of the fragmented brings the multitude of functionalities, identities, and meanings together, and us into proximity with such process.
Alchemyverse, Untitled, 2021-22, rocks, ceramics, bronze, dead plants, living moss, sand, films, cyanotypes, scores, 3D carved photo, turntable, trace light box, digital projectors, lamps, and other mixed media
In 2021, a record number of snowstorms blanketed the northeast regions of the US, due to rising temperature in the atmosphere which fuels the storms. At the time, we were traveling along the Hudson Valley, hiking in knee-high snow and crouching over frozen riverbank to chase aluminum sheets into the shapes of the rocks. What we thought as a simple gesture of conforming to the land was met with great resistance from the environment.
Alchemyverse, 隙/ At Intervals, 2020-21, earth and fire on aluminum sheets, 96 × 72 × 36 in. (243.84 × 182.88 × 91.44 cm)
Consisting of thirty-one cyanotype photographs and twelve-channel spatialized recordings made using salvaged materials, Bleikr explores a poetic avenue toward a non-anthropocentric scale of time --- one that expresses itself no longer in terms of hours and minutes, but in the forms in the textures, shadows, and sounds of the environment.
Alchemyverse, Bleikr, 2020, mounted cyanotypes, sounds, and transducers, 120 × 108 in. (304.8 × 274.32 cm)

Ground Floor Residents

Azita Moradkhani

The title refers to protestors who have lost their sights by the government in Iran over the past several months during the current revolution
Iran, United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, 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
Ground Floor

James Beckett

South Africa, The Netherlands, United States
New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, 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
Ground Floor

Joiri Minaya

United States, Dominican Republic
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
Ground Floor
Iran, United States

Current Resident: Apr 1, 2023–Apr 30, 2024

Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, 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

Ground Floor

Artist

Azita Moradkhani

Azita Moradkhani’s practice is heavily influenced by Persian art, culture, and politics as a result of her upbringing in Tehran. Her work centers on the female body and its exposure to various social norms, examining the experience of personal insecurity and the sensitivity of the dynamics of vulnerability and violence.

Azita Moradkhani has exhibited work at Jane Lombard Gallery, New York; Museum of Contemporary Art, China; and Royal Academy of Arts, England, among others.

azitamora.com

Events & Exhibitions

2023 Spring Open Studios
April 21–April 22, 2023
The title refers to protestors who have lost their sights by the government in Iran over the past several months during the current revolution
Azita Moradkhani, Beautiful Eye, 2023, colored pencil, 40 × 26 in. (101.6 × 66.04 cm)
Inspired by nature and referring to the concept of nurturing through both mother earth and a woman breastfeeding, I have combined branch of a tree in this body cast. The body cycles here between the illusionary and the real, the artificial and natural, carrying its disruptive iconography along with it. The image drawn on the breast is based on a photograph of women’s march for their freedom after the 1979 Islamic revolution in Iran.
Azita Moradkhani, Cycle, 2018, paper clay, colored pencil, and tree branch, 14 × 10 × 4 in. (35.56 × 25.4 × 10.16 cm)
The image in this drawing is based on a photograph of people during the 1979 Islamic revolution in Iran.
Azita Moradkhani, The End, 2022, colored pencil, 24 × 19 in. (60.96 × 48.26 cm)
Azita Moradkhani, Her, 2022, colored pencil, 24 × 19 in. (60.96 × 48.26 cm)
The contrast between stereotypically feminine and masculine qualities in my work confronts the dualities of power and vulnerability, Orientalism and feminism, political rhetoric and actual lived experience. The drawing depicts a group of young boys playing and gambling on a bodysuit and it comes with this quote from me “These boys are too noisy and, secretly, betting on my lacy fabric. So I strangled them with pink ribbons and promised them a lollipop in exchange for their money.”
Azita Moradkhani, Pink Boys, 2021, colored pencil, 40 × 26 in. (101.6 × 66.04 cm)

Ground Floor Residents

James Beckett

South Africa, The Netherlands, United States
New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, 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
Ground Floor

Joiri Minaya

United States, Dominican Republic
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
Ground Floor

Oriane Stender

United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, 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
Ground Floor

Past Residents

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