Past Residents
Past Resident2019: Fire Station - Qatar Museums
Sara Al Obaidly
Sara Al Obaidly is a portrait and documentary photographer from Doha, Qatar. Al Obaidly confronts contemporary political, philosophical and social issues by presenting intimate moments of human emotion through portraiture, while revealing intricacies of larger issues through her landscape compositions.
Sara Al Obaidly has exhibited work at the National Portrait Gallery, London; Moscow Manege; and Kraftwerk Berlin, among others.
Sara Al Obaidly, Together We Stand, 2014, C Type print.
Sara Al Obaidly, Cement Factory I, 2014, C Type print.
Sara Al Obaidly, Reflections, Lake Tuz, 2015, C Type print.
Sara Al Obaidly, Waters Edge, Lake Tuz, 2015, C Type print.
Sara Al Obaidly, Ghanim with Medals, Ghanim The Winner, 2016, C Type print.
Residents from Qatar
Past Resident2019: Alberta Foundation for the Arts
Christina Cuthbertson
Christina Cuthbertson’s curatorial work centers on notions of affect and embodiment in terms of the relationships between institution, experience, and transference of knowledge. Working beyond the boundaries of the art institution, her projects have taken many forms including exhibitions, interdisciplinary collaborations, performances, and sensory experiences.
Christina Cuthbertson is an independent curator and writer based in Lethbridge, Alberta, in Treaty 7 Territory. She was a curator at the Southern Alberta Art Gallery, and curator-in-residence at the Banff Centre for Arts and Creativity in 2018.
Brendan Fernandes, Still Move, 2015, exhibition view.
Petra Mala Miller, Portraits in Light, 2015, exhibition view.
Mary Kavanagh, Rosa The Beautiful, 2019, uranium glass, detail from the exhibition, 'Daughters of Uranium'.
Matt Walker, Device for the Emancipation of the Landscape, 2014, performance with sound canon from the exhibition 'Into the Streets'.
Residents from Canada
Past Resident2019: Anonymous
Paolo Bini
Paolo Bini’s artistic research is an investigatory attempt to transform and re-appropriate the authentic notions of ‘the memory of an image’ as it adheres to the contemporary rhythms in the world around us. These images are formed as a pixilation of units. Usually marked out by a scanner or a plotter, the result is a succession of colored stripes that become a succinct and redefined translation of what came before.
Paolo Bini has exhibited work at Galleria Alberto Peola, Turin; Museo MADRE, Naples; and Reggia di Caserta, all Italy, among others.
Paolo Bini, diNUOVOpaesaggio, 2014, acrylic on paper tape on Fabriano paper on wall, 13313/16 × 865/8 in. (339.85 × 219.96 cm).
Paolo Bini, Volume Introspettivo, 2015, acrylic on paper tape on canvas, 59 × 59 in. (149.86 × 149.86 cm).
Paolo Bini, Luoghi del Sè, 2016, acrylic on paper tape on canvas, 59 × 78 in. (149.86 × 198.12 cm).
Paolo Bini, Paradise Box, 2016, acrylic on paper tape on canvas framed on wood, 791/2 × 22611/16 in. (201.93 × 575.82 cm).
Paolo Bini, Mediterraneo Rosso Oro, 2018, acrylic on paper, dimensions variable. Installation view at Cappella dell'Incoronata, Palermo.
Residents from Italy
Raffaela Naldi Rossano
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
