Past Residents

Country
Year
Residency Program
Resident Type
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United States

Past Resident
2024: Vision Fund

Artist

Verónica Gaona

Verónica Gaona is a Mexican American multidisciplinary artist whose work is deeply influenced by the current socio-political climate. She explores themes of architecture and migration, utilizing remnants of death and truck parts to represent the hybrid nature of remittance-built environments that span international borders. Gaona incorporates the perspectives of displaced and exploited communities, highlighting aspects of the diaspora such as opacity, transnationality, and impermanence. Her practice challenges traditional approaches to memorialization and seeks to subvert established power structures.

Verónica Gaona has exhibited work at Charlie James Gallery, Los Angeles; Lawndale Art Center, Texas; and Blaffer Art Museum, Texas, among others.

Events & Exhibitions

Artists at Work: Verónica Gaona in conversation with Alex Santana
August 6, 2024, 7–8pm
Verónica Gaona, to know and to dream at the same time, migrant metropolis, 2023-present, Ford F-150 body parts, aluminum sheets, archived prints on aluminum sheets, and vinyl, dimensions variable
Verónica Gaona, Spanning Worlds, 2022-present, steel rod, eight migrant caps, and Ford F-150 truck shattered polarized window glass
Verónica Gaona, Familia Gomez, 2024, caps and Ford F-150 truck tinted and translucent glass shards, dimensions variable
Verónica Gaona, To know and to dream at the same time, 2022-present, Ford F-150 body parts, aluminum sheets, archived prints on aluminum sheets, and vinyl, dimensions variable
Verónica Gaona, Northless, 2022, shattered Ford F-150 truck tinted window glass, and migrant caps and embroidered text, dimensions variable

Residents from United States

Frank WANG Yefeng

United States, China
ISCP ​Alumni Fund
Studio #303

Efrat Hakimi

A table top arrangement of paper, cutout images, ephemera, and tools used in bookbinding.
United States
Artis
Studio #301

Bryan Fernandez

United States
The New York Community Trust’s Edward and Sally Van Lier Fund
Studio #216
Italy

Past Resident
2024: Italian Council - Directorate-General for Contemporary Art and Architecture and Urban Peripheries (DGAAP) at the Italian Ministry for Cultural Heritage and Activities

Curator

Chiara Ianeselli

Dr. Ianeselli earned her Ph.D. in Cultural Heritage Analysis and Management from the IMT School for Advanced Studies in Lucca, Italy. Renowned for her curatorial projects and exhibition coordination, she has contributed to dOCUMENTA (13), the 14th Istanbul Biennial, and documenta fifteen. Specializing in research-based creative initiatives, multidisciplinary collaborations, and trans-historical perspectives, she is particularly interested in experimental approaches. By combining art-historical research with contemporary debates on collection accessibility, she promotes methodological inquiries in exhibition making. Currently, she is developing MAXXI Med in Sicily.

Dr. Ianeselli has curated exhibitions at Museum of Modern and Contemporary Art of Trento and Rovereto, Italy; and de Waag, Netherlands, among others.

Events & Exhibitions

Curators at Work: Labeless Labels in Museums, Chiara Ianeselli on Cultural Accessibility
July 24, 2024, 5:00–6:00pm
Quel jour sommes-nous, 15-30 June 2022, co-curated with Bakul Patki, at Tokonoma, Kassel. Credit: Rene Graf. quel jour sommes-nous? (what day is it?) is a research project in the form of an exhibition that questions what makes an artwork - investigating the performativity and process of an exhibit, the acts that brought it into existence, and the context of its presentation. Featuring seventeen established and emerging artists, quel jour sommes-nous? explores the differing forms, lifespans, and pathways of artworks – with historicised and timeless, appropriated and reapproriated, unauthored and unauthorised, dismantled and intangible works, all of which sit beside a graduate piece that will be graded in situ, just ahead of the exhibition’s opening. An “unfinished” work will also be included. The concept of a finished work of art – one that is deemed ready to be shared – has been debated throughout art history, particularly in relation to potential different readings once it has been pulled from a definite temporal context. Continuing the contentious conversation around when a piece of art is complete, one work in progress will be taken from an artist’s studio, at a time of the curators’ choosing, and inserted into the exhibition. quel jour sommes-nous? reflects upon the evolution of the creative process – the choices, challenges and breakthroughs that come with making art – asking when, within this process, does something become a work of art, and who gets to decide? On which day is something ready to be sold or exhibited? Is today the day the artist has to surrender a work they might never see again? Extending this reflection on when a work comes into existence, the exhibition also asks whether it is possible for artworks to exist without an audience. How much is the public required for the creative process to be complete, and how preeminent is the artist’s vision in influencing the viewer’s experience of the work? quel jour sommes-nous? does not profess to answer these questions, but hopes to encourage examination and inspire further exploration. It is at once exhibition as research and research as exhibition
Curated by Chiara Ianeselli and Bakul Patki, Quel jour sommes-nous, 2022. TOKONOMA, Kassel, Germany. Photo by Rene Graf
documenta fifteen, installation view, 2022, Kassel, Germany. Photo by Nicolas Wefers
L’originale Solo show Curator Carlo Benvenuto with G. Maraniello, D. Ferrari, M. Gioni Mart, Rovereto, IT 2020, June 26 - October 16 Carlo Benvenuto presents a large exhibition at the Mart, designed for the spaces of the museum and assigning a cameo role to its collections. During his 20+-year career, the photography medium has privileged Benvenuto’s ability to examine the world closely, and phenomenologically, elevating his vision to a perceptive and sentimental verification of life. He does so by contemplating what appears familiar, domestic and intimate, exploring the mute insistence of the objects he portrays and bringing the long preparatory phases of his work to conclusion in the immediacy of the camera shot. In this universe of objects, furniture and mirrors, the narrator, and the private mythology, are silent: the works are untitled, their function is not to describe. The apparently pictorial quality of the captured images and their surprising compositional equilibriums immortalise an extraordinary metaphysic perception of everyday life. The virtuous classic mood of Benvenuto’s work begs comparisons with the grand art of the 20th century, going beyond the contingency of the historical period and evoking, as emphasised by Massimiliano Gioni in his text in the catalogue, the suspended atmosphere of Magical Realism, the rigour and the sobriety of Luigi Ghirri or the obsession for details of Domenico Gnoli, mini metaphysic theatres of de Chirico, Savinio and de Pisis and the careful orchestration of the image found in the still life paintings of Giorgio Morandi. “Carlo Benvenuto. The Original” presents a selection of approximately sixty works created since the 1990s: here, photos, sculptures and paintings all create a single large metaphysical composition. The exhibition – states the artist - “is in an ideal orbit around a centre containing four types of self-portrait”. The exhibition is accompanied by a rich catalogue that includes a long essay on the work of Carlo Benvenuto proposed by Gianfranco Maraniello, a critical piece by Massimiliano Gioni, a comment by Daniela Ferrari on the self-portraits of Morandi, de Chirico and Guttuso included in the exhibition and a conversation between Chiara Ianeselli and Carlo Benvenuto on the themes of the exposition at the Mart, and more general matters relating to the artist’s poetics.
Carlo Benvenuto, L'originale, 2020, curated by G. Maraniello, D. Ferrari, and M. Gioni at the Museum of Modern and Contemporary Art of Trento and Rovereto, Italy. Photo by Jacopo Salvi
Gare de l’Est Group show Curator Nicola Samorì Alberto Burri Gustave Joseph Witkowski Anatomy Theatre University of Padova, Palazzo del Bo 2016, December 13 - 2017, March 14. Credit: Rolando Paolo Guerzoni Les Gares is an exhibition that is part of a research project that began in 2014 and focuses on Europe’s anatomy theatre and the concept of vision. Scientists, plant neurobiologists, anatomy historians, architects, meteorite collectors, and lunar explorers all contribute to contemporary art’s exploration of these historical sites. The Anatomy Theatre at the University of Padua is the oldest extant building of this kind, having been completed in 1595 under the instruction of the famous professor of Anatomy Girolamo Fabrici d’Acquapendente. For the first time, works by Alberto Burri (Città di Castello, 1915 - Nice, 1995), Nicola Samor (Forl, 1977), and Gustave Joseph Witkowski (Nevers, 1844 - Paris, 1922) were brought together in a capillary discussion centered on vision and the instrument of sight, the exhibition’s main theme. Continuous differences in the lenses, instruments utilized, and observation positions allowed a marble root to be brought closer to a lunar piece, which was enlivened by the epidermal surface of a Cretto by Alberto Burri. An exhibition that, on the one hand, highlights the historical-artistic heritage of anatomy theatres by reconstructuing historical and scientific events, and on the other hand, suggests new interpretations through artworks inspired by interdisciplinary dialogues. The initiative, organized by Chiara Ianeselli has been supported by Giovanna Valenzano and Maurizio Rippa Bonati, and by the University of Padua.
Nicola Samorì, Alberto Burri, and Gustave Joseph Witkowski , Gare de l’Est, 2017, Palazzo Bo and Anatomical Theatre, Padova, Italy. Photo by Rolando Paolo Guerzoni
Lithuanian - Cypriot Pavilion 55. Venice Biennale Production-Curatorial Assistant Liudvikas Buklys, Gintaras Didžiapetris, Jason Dodge, Lia Haraki, Maria Hassabi, Phanos Kyriacou, Myriam Lefkowitz, Gabriel Lester, Elena Narbutaitė, Morten Norbye Halvorsen,Algirdas Šeškus, Dexter Sinister, Constantinos Taliotis, Kazys Varnelis, Natalie Yiaxi, Vytautė Žilinskaitė Oo a slightly asymmetric structure conveying uneven, yet mutually open elements; slinging in a movement of a constant twist between the two (at least), suspicious of one, entailed by organizational surfing. Drawing on interest in forms of organisation rather than organisation of forms, it floats like life and plankton. An exhibition curated from its middle starts as a dream or with 5 artists walking into the Internet (one of them meets living sculptures on the streets of Venice), runs the test of childhood or writes a new obituary for a long-time dead illusionist, steps into TV gymnastics or moves along the lines of furniture and cinema, flashes with dog’s eyes or lights up neon in Maya, brings a motorcycle closer to modernist architecture or freezes, stays frozen or triggers electric currents, shoots for the last time or wonders like a star on a screen-saver, turns into a cross-sequence of walls or flips even and odd pages at once, walks the passage between two people in different cities or tunes the building to a heartbeat, plays an algorithm for the future or sinks into an orchestra pit, (sings back or asks the reader), sounds like a palace in someone’s mouth or joins the book of future children, tastes of the beginning and end simultaneously. Exhibition as a grand detail belonging to a whole that opens up as a detail within a detail. oO becomes Oo and o0. It takes place in a building that has its own rhythm, character and schedule: the favourite venue of physical exercise in Venice. It will be witnessing a simultaneous co-habitation of art and sports for the entire summer. It can only be matched cosmopolitanism by the two respective countries. Artists: Liudvikas Buklys, Gintaras Didžiapetris, Jason Dodge, Lia Haraki, Maria Hassabi, Phanos Kyriacou, Myriam Lefkowitz, Gabriel Lester, Elena Narbutaitė, Morten Norbye Halvorsen,Algirdas Šeškus, Dexter Sinister, Constantinos Taliotis, Kazys Varnelis, Natalie Yiaxi, Vytautė Žilinskaitė Curator: Raimundas Malašauskas in the image: Gabriel Lester, Cousins, walls and panels on loan from various European museums and institutes, 2013, courtesy G. Lester.
Lithuanian - Cypriot Pavilion 55. Venice Biennale, oO, 2015

Residents from Italy

Valentina Furian

Ciacco, 2021, installation view at
Italy
The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York
2024

Raffaela Naldi Rossano

Raffaela Naldi Rossano, Warp, video installation, mixed media, variable duration, 2022. Co-commissioned and co-produced by LIAF and TBA21 Academy. Developed in the context of a residency on the research vessel Helmer Hanssen. View at Fantasmagoriana, LIAF 2022, curated by Francesco Urbano Ragazzi.
Photo Kjell-Ove Storvik. C.sy the Artist

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

Vanina Saracino

Patricia Domínguez, Matrix Vegetal (2022). Installation at the Archenhold Observatory, Berlin. Exhibition: Other Minds (Screen City Biennial). Photo: Marjorie Brunet Plaza. Courtesy the artist.
Italy, Germany
Artis
2023
United States

Past Resident
2024: Artis

Artist

Abed Elmajid Shalabi

Abed Elmajid Shalabi investigates how technological objects construct emotional and cultural shifts and alter our connection to our body, gender, and self. His installations link homophobia, shame and sexual dissatisfaction to the political power structure that reinforces such dynamics and produces them.

Abed Elmajid Shalabi has exhibited work at Center for Contemprary Arts, Tel Aviv; and Hamiltonian Artists, Washington DC, among others.

Events & Exhibitions

Artists at Work: Abed Elmajid Shalabi in Conversation with Leah Triplett
July 23, 2024, 6:30–7:30pm
Abed Elmajid Shalabi, Hold at Armpit Level (white-and-blue version), 2024, custom-made sign, glazed ceramic, and steel, 121/2 × 60 × 48 in. (31.75 × 152.4 × 121.92 cm)
Abed Elmajid Shalabi, When, Love, 2024, custom-made sign,steel, 9 × 18 × 21/4 in. (22.86 × 45.72 × 5.71 cm)
Abed Elmajid Shalabi, Truck Bed, 2024, fiberglass-reinforced cement, pigment, Home Depot 5-gallon buckets, glazed ceramic, unfired clay, and one-pint paint cans, 26 × 731/2 × 811/4 in. (66.04 × 186.69 × 206.37 cm)
Abed Elmajid Shalabi, Two Seats, Two Buckets, 2024, glazed ceramic, used 5-gallon bucket, and paint can, 26 × 433/4 × 181/2 in. (66.04 × 111.12 × 46.99 cm)
Abed Elmajid Shalabi, Two Hundred Ninety-Seven Holes, 2024, custom-made signs, steel posts, glazed ceramics, unfired clay, and screw, 6 × 36 × 601/4 in. (15.24 × 91.44 × 153.03 cm)

Residents from United States

Frank WANG Yefeng

United States, China
ISCP ​Alumni Fund
Studio #303

Efrat Hakimi

A table top arrangement of paper, cutout images, ephemera, and tools used in bookbinding.
United States
Artis
Studio #301

Bryan Fernandez

United States
The New York Community Trust’s Edward and Sally Van Lier Fund
Studio #216