Current Resident: Aug 1, 2020–Oct 31, 2020
AES+F
Studio #
Artist
Polina Kanis
Polina Kanis’s works interrogate the suspended moment and expose the dialectical relationship between action and non-action, dissolving the boundary between human and non-human. The artist aims to create shifts in accepted temporalities to decentralize the ‘normal’ human temporal perspective. She considers re-describing and re-sensing our surroundings as crucial for developing an alternative outlook on the planetary.
Polina Kanis has exhibited work at VISIO, Florence; Russian Federations’ pavilion of the 2020 Venice Architecture Biennale; and The Rijksakademie van beeldende kunsten, Amsterdam, among others.
Polina Kanis, Adaptive Degradation, 2018, video, sound, and metal.
Polina Kanis, Toothless Resistance 2, 2020, video and sound installation, 31 min.
Polina Kanis, Don't Turn Around, 2019, video installation, 31 min and 33 sec.
Polina Kanis, The Procedure, 2017, three-channel installation, 24:39 min.
Polina Kanis, Toothless Resistance 2, 2020, video, 16 min.
Residents from Russia
Current Resident: Sep 1, 2020–Dec 31, 2020
Vision Fund
Studio #201
Artist
Charisse Weston
Charisse Weston’s creative work emerges from deep material investigations of poetics and the autobiographical. She utilizes glass to conceptually embody both the everyday risk of anti-black violence and the precocity and malleability of blackness in the face of this violence. She deploys language and the autobiographical to examine the delicate intimacies and reticent poetics underlying black life. She reuses and re-articulates materials from past installations to formulate the next to represent meaning’s capacity to shatter.
Charisse Weston has exhibited work at the Contemporary Art Museum, Houston; Elizabeth Foundation for the Arts, New York; and Praz-Delavallade Gallery, Los Angeles, among others.
Charisse Weston, black point perspective or blueprints for worry (notes one of nine or for while, for when, for where?), 2017, replacement frame glass, cinder blocks, photo and text, dimensions variable.
Charisse Weston, black notes for the thing left there (or when darkness risks being the forever nocturnal source of light itself, notes two of nine), 2018, replacement frame glass from collapse, tempered glass panels, transparencies, dark and lovely let's jam! conditioning and shine hair gel, dimensions variable.
Charisse Weston, An Appeal, but, in Particular, Very Expressly, To (i sink), 2019, four-channel sound installation of slumped glass sound sculptures, shattered tempered glass from the thing left there, lathe-cut vinyl records, record players, dimensions variable.
Charisse Weston, felt in the heart as well as uttered in the mouth, 2019, layered, slumped, and manually folded glass, photographic decals, high-fire enamel, and text etched on glass, 30 × 20 × 4 in. (76.2 × 50.8 × 10.16 cm).
Charisse Weston, breach (a notion of freedom), 2019, layered, slumped, and manually folded glass, photographic decals, high-fire enamel, and etched text derived from work by Frederick Douglas and David Walker, 30 × 20 × 4 in. (76.2 × 50.8 × 10.16 cm).
Residents from United States
Current Resident: Sep 1, 2020–Dec 31, 2020
Vision Fund
Studio #202
Artist
Kameelah Janaan Rasheed
Kameelah Janaan Rasheed is a learner grappling with the poetics, politics, and pleasures of the unfinished: ecologies of Black living, Black textual production, Black utterances, and Black spiritualities. She creates ecosystems of iterative and provisional projects. These projects include sprawling, “architecturally-scaled” xerox-based collages; large-scale public installations; publications; prints; digital archives; lecture-performances; library interventions; poems/poetic gestures; and other forms yet to be determined.
Kameelah Janaan Rasheed has exhibited work at Brooklyn Museum; New Museum of Art, New York; and Institute of Contemporary Art – University of Pennsylvania, among others.
Kameelah Janaan Rasheed, A Casual Mathematics, 2019, archival inkjet prints, xeroxes, acetate, vinyl, paint, and drywall, dimensions variable.
Kameelah Janaan Rasheed, A Casual Mathematics, 2019, archival inkjet prints, xeroxes, acetate, vinyl, paint, and drywall, dimensions variable.
Kameelah Janaan Rasheed, No New Theories, 2019, artist book published by Printed Matter, 61/8 × 39/16 in. (15.5 × 9 cm).
Kameelah Janaan Rasheed, Every Sentence is a Sponge, 2020, archival inkjet prints, xeroxes, acetate, paint, nail, and ink.