Past Residents
Past Resident2013: Foundation for a Civil Society
Miran Blažek
Miran Blažek builds his work as recorded time of the constant quest for the meaning of the ordinary things we interact with in everyday life in order to build personal, emotional and mental caches of images. In his work there is a series of symbols which constitutes an open story where the words do not meet the needs of visual representation. His works function through traces which indicate that they derived from painting.
Born in 1983 in Osijek, Croatia, Miran Blažek graduated with a BA from the Academy of Fine Arts, Zagreb in 2006 and completed his postgraduate studies in 2012 at Fine Arts Academy, Ljubljana. Since 2011 he has served as an external assistant in drawing classes at the Art Academy in Osijek. His selected soho exhibitions include Monochrome, Waldinger Gallery, Osijek, Whirlpool, CEKAO Gallery, Zagreb and Whirlpool the lost paintings at Kazamat Gallery, Osijek. Selected group exhibitions include T-THTaward@MSU, the Museum of Contemporary Art, Zagheb; Tu smo 3 (We are here 3) at the Museum of Contemporary Art, Pula; Radoslav Putar Award, Finals at Galzenica Gallery, Velika Gorica; Osijek-Pecuch/Eszek-Pecs, Nador Gallery, Pecs; Meeting point, Arab; The Essl Art Award, Glyptotheque, Zagreb and FONA, Kortil Gallery Rijeka.
Events & Exhibitions
Salon: Miran Blažek and Mark Ther
March 26, 2013
Miran Blažek, Still Life, 2012, Raw canvas on wall, 72 × 62 in. (182.88 × 157.48 cm). Courtesy of the artist.
Miran Blažek, Whirlpool (Yugoslavia), 2006, Acrylic on wood, 39 in diameter. Courtesy of the artist.
Miran Blažek, Whirlpool (DDR), 2006, Acrylic on wood, 39 in diameter. Courtesy of artist .
Miran Blažek, Monument, 2012, Oil on canvas, 98 × 59 in. (248.92 × 149.86 cm). Courtesy of the artist.
Miran Blažek, At The Right Place at the Right Moment, 2012, Burned carpet, 51 in diameter. Courtesy of the artist.
Past Resident2022: 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, Joseph Robert Foundation, Danna and Ed Ruscha, Horace W. Goldsmith Foundation2013: The Arthur Foundation, Pollock-Krasner Foundation, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature
Bundith Phunsombatlert
Bundith Phunsombatlert’s recent projects trace the unseen paths of immigrants and their immigration stories through real and imagined landscapes. By merging contemporary technologies with traditional forms of media, the artworks offer a unique definition of new media art defined not simply by the use of technology, but by revealing a fresh new meaning of something old. His work seeks to explore ways that individuals connect with their personal backgrounds and cultural identities to reinvent traditional interpretations of history.
Bundith Phunsombatlert has exhibited work at Auckland Triennial Institution; New Zealand; Guangzhou Triennial, China; and Asia Pacific Triennial of Contemporary Art, Australia, among others. Currently, his projects are on exhibition at the Katonah Museum of Art, Bronx Museum of the Arts, and Stone Avenue Branch of the Brooklyn Public Library, all in New York.
Bundith Phunsombatlert, Crossing the Border: Beneath the Blue Sky, ongoing, Cyanotype on fabric mounted on museum board, hung on cable lines, 7 × 4 1/4 in. each.
Bundith Phunsombatlert, Memory, Market and Migratory Transition, 2015/2017/ongoing, electronic media (total of forty-nine video clips from seven locations in NYC played based on the mechanic system of View-Master stereoscopes and reels), variable dimensions.
Bundith Phunsombatlert, Memory, Market and Migratory Transition, 2015/2017/ongoing, electronic media (total of forty-nine video clips from seven locations in NYC played based on the mechanic system of View-Master stereoscopes and reels), variable dimensions.
Bundith Phunsombatlert, Sunny Garden in Blue: Stories from the Caribbean to Brooklyn, ongoing, digital and cyanotype versions, 14 1/4 × 20 in. each.
Bundith Phunsombatlert, Returning Dialogue: Fragments of Blue and White Porcelain (Transatlantic Slave Trade Series), 2019, digital printing transfers on porcelain, 16 × 27 × 2 in. (40.64 × 68.58 × 5.08 cm).
Ground Floor Residents
Hong Seon Jang
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, 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, New York City Council District 34, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Sujin Lim
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, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Simon Liu
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, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Past Resident2012: Creative Australia
Kellie O’Dempsey
Through performance drawing, Kellie O’Dempsey explores liminal space and movement as narrative. With drawing as her dialogue, O’Dempsey spontaneously translates the immediacy of experience into line, form and gesture with charcoal and ink and more recently an electronic drawing device. Often working in collaboration with musicians, performers and artists, her process investigates the interconnected experience of human engagement. Via improvisation, elements of performance are translated into drawn works as an immediate means of response. Her work is currently focused on the synthesis of analogue and digital drawing.
Kellie O’Dempsey has developed installations in a vast array of spaces including: in the rehearsal studios of a ballet company (Queensland Ballet 2003), rock festivals, in The Barbican Theatre-London (2005) to commuters in subway during rush hour in Melbourne (2007). Performances and residencies include: Soundlabs, Italy, 2005-2006; Festival Internationale de Benicassim, Spain, 2005-2006; M on The Bund, Shanghai, 2009-2010; Judith Wright Centre of Contemporary Art, 2011; Elephant Rock cliff face – BLEACH 2012; Live collaborative performance with Michael Dick, Brian Richie and the Tasmanian Improvisers Orchestra at MONA FOMA, Hobart, 2012, The 18th Biennale of Sydney and upcoming at Draw International, France, 2013.
Kellie O’Dempsey, Mona Foma, 2012, Live performance paper, ink, paint, digital project, and orchestra. Courtesy of the artist.
Kellie O’Dempsey, Mona Foma, 2012, Live performance paper, ink, paint, digital project, and orchestra. Courtesy of the artist.
Kellie O’Dempsey, Moving Lines, 2011, Live performance paper, ink, tagtool, and digital projector. Courtesy of the artist.
