Past Residents
Nicolás Grum
Nicolás Grum focuses his investigation on power relationships and its most diverse manifestations in different contexts. In the last years, he has been working specifically on museums from the western world, and collections acquired through colonial networks, providing a critique over museums representation and museological practice. He understands his work as a process that articulates through manipulation or re-interpretation of historical facts, in order to create an alternative narrative of what is imposed as “the official truth”.
Nicolás Grum has exhibited work at Beijing 798 Biennale; transmediale, Berlin; and Instituto Itaú Cultura, Sau Paulo, among others.
Events & Exhibitions
Salon: Nicolas Grum (Chile) and Jiandyin (Thailand)
September 7, 2010
Nicolás Grum, Leading with the exotic, 2019, collage, 8 × 6 in. (20.32 × 15.24 cm)
Nicolás Grum, Puerta del Sol (from the serie La Ruina de la Ruina), 2015, mix media sculpture, 105/8 × 1711/16 × 1113/16 in. (26.92 × 44.96 × 29.97 cm)
Nicolás Grum, Ollantaitambo (from the serie La Ruina de la Ruina), 2015, mix media sculpture, 85/8 × 2811/16 × 135/16 in. (21.84 × 72.9 × 33.78 cm)
Nicolás Grum, Investigation Room (From the serie A personal voyage through the British Museum), 2020, ink on paper, 9 × 12 in. (22.86 × 30.48 cm)
Nicolás Grum, Label (From the serie A personal voyage through the British Museum), 2020, ink on paper, 9 × 12 in. (22.86 × 30.48 cm)
Past Resident2021: Vision Fund
Devin N. Morris
Devin N. Morris collapses memory and space to envision delicate new realms of existence. Informed by his upbringing in Baltimore and his personal experiences as a queer man of color, his work often portrays semi-fictive characters who exchange acts of kindness and care within surreal domestic settings. Extending his practice of collage into physical assemblage and sculpture, Morris creates site-specific environments that refract the domestic interior and subvert traditional values and social boundaries.
Devin N. Morris has exhibited work at Baltimore Museum of Art; Bass Museum, Miami; and P.P.O.W. Gallery, New York, among others.
Devin N. Morris, Water not under the moonlight, water at moon’s eve. Saw it from behind and now the cold front is unveiled, guiltily picked and exposed, 2020, acrylic, painters tape, wall paper, plaster, wood veneer, wood moldings, house paint, oil pastel, pastel, collage, ink, door, vinyl, wool, daily vitamin, acidophilus, velvet, wood shutter, and footboard on panel, 70 × 98 in. (177.8 × 248.92 cm)
Devin N. Morris, Moving away from up there. Broken easily as brown skin does walking through brown stone. From Somewhere and Me at the base of stairs treading rows perfectly soiled for blossoming lunacy, 2020, entryway doors, chair, lampshade, and light, 95 × 129 × 27 in. (241.3 × 327.66 × 68.58 cm)
Devin N. Morris, Homeostatic, 2018, archival inkjet print, 24 × 36 in. (60.96 × 91.44 cm)
Devin N. Morris, Spot Clean with Daily Lavender Pill, 2018, acrylic, tempera, oil pastel, candle wax, inkjet print on silk, and charcoal on wood panel, 24 × 36 in. (60.96 × 91.44 cm)
Devin N. Morris, Birds Through A Window Chirp Frying Flying Chicken Grease Glittered Air, 2020, wood veneer, oil pastel, leather, cotton, acrylic, silk, charcoal, and suede on paper, 17 × 14 in. (43.18 × 35.56 cm)
Residents from United States
Past Resident2021: Vision Fund
Lauren Kelley
Lauren Kelley is a storyteller employing a wry wit when surveying notions of emotional excess. Her approach to animation combines clay-mation with a collection of tan, plastic toys to stylistically evoke the children’s television programs of the artist’s youth. Her jittery, low-tech ideas take place amongst Technicolor dioramas; a plush backdrop in contrast to the flaccid storylines of a discontented cast of innocent characters.
Lauren Kelley has exhibited work at Centre Pompidou, Paris; Women and Their Work, Austin; and The Kitchen, New York, among others
Lauren Kelley, Pickin', 1999, C-print, 24 × 24 in. (60.96 × 60.96 cm)
Lauren Kelley, Froufrou Conclusions, 2011, single-channel video, 1:22 min
Lauren Kelley, Video Still-Pink Heads, 2011, multi-channel video, 22 sec
Lauren Kelley, Storyboard Image - Prototypical Oppression/ Obsession, 2009, digital C-Print, 81/2 × 11 in. (21.59 × 27.94 cm)
Lauren Kelley, Video Still-Telephone, 2014, multi-channel video, 17 sec