Past Residents
Michelle-Marie Letelier
Michelle-Marie Letelier is interested in exploitation of minerals, working across topographic changes of a landscape, juxtaposed with the speculation of resources within the current economic framework. She spent her early life in Chuquicamata, the biggest open-pit copper mine in the world, in the Atacama Desert. This served as a starting point in her practice, documenting the town’s burial process through video and photography. Since settling in Berlin, Letelier has focused on copper and coal: minerals which have also become objects themselves in her drawings, paintings, objects and installations. Letelier’s work carries heavy socio-political overtones, especially in times of unveiled globalization, the increasing scarcity of raw materials and the crisis of the neoliberal model.
Michelle-Marie Letelier (born 1977, Rancagua, Chile) obtained her BFA at the Universidad Católica de Chile. Her recent solo exhibitions include Die Feinfühlige Zone, Die Ecke Gallery, Santiago and Doomed Scape,Perlini Arte Gallery, Padua. Her group exhibitions include Magic Block, Stiftelsen 3.14, Bergen and To Seize Matter and Leave a Landscape, X Video and Media Arts Biennial, Museum of Contemporary Art, Santiago. Her videos have been exhibited in several screenings and festivals across the world. In 2005, Letelier participated in the Mercosur Biennial and in 2012 she was awarded the first edition of ORA International Art Prize. Letelier lives and works in Berlin.
Events & Exhibitions
Salon: Michelle-Marie Letelier and Akansha Rastogi
July 8, 2014
Michelle-Marie Letelier, The Prediction of Tarapacá, 2014, Mixed media, 17 x 157 x 157 in. Courtesy of the artist.
Michelle-Marie Letelier, Energeia Series, 2012, Mixed media, 4 x 6 in. Courtesy of the artist.
Michelle-Marie Letelier, Wo Fass Ich Dich, Unendliche Natur?, 2011, HD video, 5 min. Courtesy of the artist.
Michelle-Marie Letelier, Doomed scape, 2012, Drawing, 83 x 124 in. Courtesy of the artist.
Michelle-Marie Letelier, Doomed scape, 2012, Installation view. Courtesy of the artist.
Past Resident2014: Ministry of Culture, Taiwan
Chun-Chi Wang
Chun-Chi Wang’s work develops ideas that lead into a collaborative process-based working relationship with artists to examine issues she considers crucial, such as: critically assessing contemporary culture, investigating the way meaning is constructed and endowing the world with complexity at a time when the surface is rarely scratched and time is short. Her curatorial voice endeavors to make people re-think, slow down, delve beneath the surface and to excavate rather than simply consume. It does not summarize or offer answers, rather it asks questions that lead to contemplation, discussion, and new thoughts about the world around us.
Chun-Chi Wang is a Taiwanese artist and curator based in Berlin. Recently, she was the Assistant Curator, Taipei Biennial, 2012 and the Organizer, WEEKEND Project, Berlin, 2010-2011. Other recent exhibitions curated include No One River Flows, Kuandu Museum of Fine Arts, Taipei, 2014; Urban Synesthesia, Taipei, 2013; Immaterial Project, Paris, 2012; Liquidshell, Berlin,2011; Edition N.1-Wonderland, Berlin,2011; Tangible Intangible, Berlin, 2010 and Future Guide to the Web, New York, 2001. She is the Founder and Director of IDOLONSTUDIO, Berlin.
Chun-Chi Wang, Ocean refuses no river, 2013, Photography, Dimensions variable. Courtesy of the artist.
Chun-Chi Wang, The Rhyme of Forms, 2014, Mixed media, Dimensions variable. Courtesy of the artist.
Chun-Chi Wang, Let's do something, 2013, Mixed media, Dimensions variable. Courtesy of the artist.
Chun-Chi Wang, Ah-Q, 2002, Photochemical, mechanical live image projection device technique, Dimensions variable. Courtesy of the artist.
Chun-Chi Wang, Townhouse - Camp charlie block #1, 2009, Photograph, Dimensions variable. Courtesy of the artist.
Residents from Taiwan
Past Resident2014: Ministry of Culture of the Flemish Community Visual Arts Department
Manor Grunewald
Manor Grunewald is first and foremost as a painter, although he is also active in the fields of sculpture, installation and prints. His work is characterised by the constant analysis of the development of the pictorial in our daily environment. He finds and collects the sources of his images everywhere in daily life: in newspapers, advertising, books, comics, digital media and even illustrations of biological microcosms and macrocosms. His image archive serves as a source of inspiration, and his found pictorial material is often altered, partially on purpose and in some cases arbitrarily, by copying, enlarging or collaging. The artist thus creates new pictorial information, which is largely free of cognitively controlled processes and which reveal the unfamiliar, allowing this to become the content of his painting.
Manor Grunewald’s works have been exhibited across Europe and in the United States. In 2011, he was nominated for the Young Belgian Painters Prize at BOZAR. Recently, he has completed solo projects at Arco Madrid, Volta New York and Volta 9, Basel. Grunewald has presented recent solo exhibitions at Galerie Fortlaan 17, Ghent and Chaplini Gallery, Cologne. He will take part in a group exhibition with Evan Gruzis and Christian Vetter at Super Dakota Gallery, Brussels in April 2014.
Manor Grunewald, Unhelpful Hunt - Ze hat is not mine, I'm only trying it on for size, 2013, Installation view. Courtesy of the artist and Chaplini Gallery, Cologne.
Manor Grunewald, Unhelpful Hunt - Ze hat is not mine, I'm only trying it on for size, 2013, Installation view. Courtesy of the artist and Chaplini Gallery, Cologne.
Manor Grunewald, Life's a beach - grey, 2013, Oil, acrylics, spray paint, lacquer, paper, uv print on wood, 47 × 71 in. (119.38 × 180.34 cm). Courtesy of the artist.
Manor Grunewald, Untitled (Organic Mess #2), 2013, Oil, acrylics, spray paint, silkscreen, foil on canvas, 35 1/2 x 27 1/5 in. Courtesy of the artist.
Manor Grunewald, Sloping Attempt (Atom Ant), 2013, Wood, epoxy, plaster, oil, spray paint, metal, foam, 55 1/2 x 50 3/4 x 10 in. Courtesy of the artist.
