Past Residents

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Turkey

Past Resident
2024: SAHA Association

Artist

Alper Aydin

In his practice, Alper Aydın strives for his works to be understood within their geographical context, aiming for an interpretation that incorporates the spatial presence of living beings, notably humans, within ecological processes. Aydın’s diverse practice, which includes sculpture, installation, performance, architecture, and video, allows the energy of each venue to guide his creative process. Through this approach, he intends to explore and reflect upon humanity’s existence in nature from a multitude of perspectives.

Alper Aydın has exhibited work at Istanbul Biennial, Turkey; Kochi-Muziris Biennale, India; and Changwon Sculpture Biennale, South Korea, among others.

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
Throughout history, domes—the components of buildings pointing to the sky—have been identified as the source of spirituality and able to deliver the images, narratives, and messages of the skies. In this work, two large-sized satellite dishes whirling around their axes stand level with the audience and, with their controlled rotation, get in a loop akin to the movement of the planet, the sun, and the moon, formation of months and years. One of the dishes of these two technical systems holds the ornaments and the Arabic calligraphy of the dome of Hagia Sophia. The other one carries the dome of parecclesion of Chora Monastery depicting the Virgin and Child and the angels. The forms and the ornaments of these small representations of the vault of heaven have been adapted to the antenna systems used to communicate, observe, and receive signals. The micro vaults of heaven are placed next to people instead of above. They unite with the sky in the open air. This work directs people’s gaze to outer space, the unknown, and the infinitude of imagination and reflects hope about the future.
Alper Aydin, Face to Face, 2023, aluminum, iron, oil acrylic, gold-leaf and concrete, 130 × 151 × 169 in. (330.2 × 383.54 × 429.26 cm).
Acclaimed Dutch painter Hieronymus Bosch depicted heaven on the left panel of the triptych, The Garden of Earthly Delights, painted circa 1490–1500. In this composition, every figure is around the small lake in the center of the painting, and in the center of this lake stands so naturally, an imaginary pink fountain made of plants and shells of crabs, oysters, and sea urchins. Alper Aydın was touched to see that almost everything occurs around this fountain. He builds a similar one in the center of an antique quarry filled with seawater on Cape Sülü to create a space for conversing and discussing the world's state of mind. By concretizing Bosch’s fountain design by upcycling the plastics drifted to the shore with storms, a faithful adaptation from two dimensions to three, the artist opens the way for nature, animals, and human beings to perceive the fountain.
Alper Aydin, The Source of Life, 2023, upcycled plastic, polyester resin, iron and obsidian, 102 × 275 × 39 in. (259.08 × 698.5 × 99.06 cm).
The city of Ordu has been subject to excessive and sudden rains and floods in recent years due to the emergence of the potent effects of global warming, wrong environmental policies, and unplanned urbanization. Humans, animals, and plants lost their lives, and habitats disappeared. “Post-Apocalyptic Narrative” derives from an archive of the traces of loss that Alper Aydın has composed in Cape Jason, where he also lives, by collecting the objects and remains washed ashore after disasters. Referring to the deteriorating dynamics of nature, the installation is composed of two sculptures: in the first one, a snake that doesn’t know where to go enwinds the trunk of a tree without roots and branches. On another collapsed trunk hanging from the ceiling are a man and a wolf in such a setting that whoever moves, the balance will be disturbed inevitably. We are left alone with the last remaining traces of a forest in a post-apocalyptic time.
Alper Aydin, Post-Apocalyptic Narrative, 2023, polyester, 80x46x204 (wolf and man), 165x27x27 (snake).
In the first movie of the Matrix trilogy, the protagonist Neo must choose between red and blue pills. The blue pill will return him to the fictional order in which he has always existed, and the red pill will allow him to see what is happening outside that fictional order. Taking its name from this movie scene, Alper Aydın’s Red Pill (2023), produced for the WE BELONG exhibition, is a sailboat turned upside down. He is ready to set out for all the discoveries his imagination can take, floating in the air on a plane limited neither by land nor by the boundaries of the ocean. It is an invitation to look at the world we live in, our lives, from different perspectives and to make us think about what is real.
Alper Aydin, Red Pill, 2023, metal and fibre, 161 × 307 × 35 in. (408.94 × 779.78 × 88.9 cm).
In this piece of art, rocks from nature touched with a statistical thinking.Place that is choosed consciously has an esthtatical view and convenient for statistical research inside it. The each interferes on the place was made with discount and was written with white water-based paint and with a big amount of care for not damaging the rocks.The numbers that was created by humans choosed in the daily life to calculate the human’s value.While the this numbers that was created by human transfered to the amorf things in nature, dialog between nature and human was expected to seen. This situation creates a paradoxical view to the people who go over that beach during their whole life and audience. Again, meaningless things were weighned and named exactly same with the values, it represent the image of people’s inside thinking which is human creates themselves limits to judge the situations and classified them. This is a reaction to public’s meta perception with measuring the natural objects.
Alper Aydin, Real Weight of Stones, 2011, water based paint on stones, dimensions varied.

Residents from Turkey

Eda Gecikmez

Turkey
SAHA Association
2023

Civan Özkanoğlu

United States, Turkey
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha
2020

Sümer Sayin

Turkey, Germany
SAHA Association
2022
Iran, Germany

Past Resident
2024: Goethe-Institut New York

Artist

Farkhondeh Shahroudi

Berlin-based multidisciplinary artist Farkhondeh Shahroudi works with a variety of mediums that are in constant dialogue with one another. Shahroudi’s works in textiles, poetry, sculpture, and painting strive to convey a sense of wonder about a parallel universe.

Farkhondeh Shahroudi has exhibited work at Kupferstichkabinett, Staatliche Museen zu Berlin, Germany; Museum of Islamic Art, Germany; and Goodman Gallery, South Africa, among others.

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
Farkhondeh Shahroudi, nightingale and flying carpets, 2017, carpet, carpet, stitched cloth, beton and bicycle tube, dimensions variable.
Farkhondeh Shahroudi, Performative Poetics of Matter, 2021, hand embroidery on velvet carpet, dimensions variable.
Farkhondeh Shahroudi, aaaaber, 2022, painted stitched cloths, stone, 36 × 56 × 12 in. (91.44 × 142.24 × 30.48 cm).
Farkhondeh Shahroudi, net, 2021-23, hair, stitched cloths, dimensions variable.
Farkhondeh Shahroudi, net, 2022, carpet, dimensions variable.

Residents from Germany

Matthias Garff

Germany
KdFS Kulturstiftung des Freistaates Sachsen, iscp
Studio #214

Ina Gerken

Germany, United States
RYAN LEE Gallery
2025

Bob Kil

United Kingdom, Germany
Senate Department for Culture and Europe, Berlin
2024
United States

Past Resident
2024: Vision Fund

Artist

Yoshie Sakai

Yoshie Sakai is a multimedia artist working with video, installation, sculpture and performance. Her videos and over-the-top immersive installations are centered on accessibility and nurturing human connection while critiquing capitalist productions of space and ways of being. As a subtly transgressive undercover cultural agent, she exposes the absurdities of manipulative social structures while humorously struggling and reveling in them as a participant. She draws on popular forms of entertainment and media to engage diverse audiences, especially those historically devalued, ignored, and seen as burdens.

Yoshie Sakai has exhibited work at Vincent Price Art Museum, California; John Michael Kohler Arts Center, Wisconsin; and Antenna, Louisiana, among others.

Events & Exhibitions

Artists at Work: Yoshie Sakai in conversation with Lauren Wolchik
May 21, 2024, 6:30–7:30pm
2024 Spring Open Studios
April 12–April 13, 2024
The "KOKO's Love" series is a hybrid East Asian/Asian American parodic soap opera self-written, performed, and directed to be presented within a real or created home environment. It is about a Japanese American family, whose patriarch, Hiroshi, is a liquor store owner in South Los Angeles that annoyingly insists on the importance of having a male inherit the family business and not a female, his only child, a daughter named Yuki. With humor and exaggerated characters, I attempt to expose the absurdity of the male authority figure in the contemporary Asian American family. Here we see the three imagined characters or "spiritual guides" (Alligator The Great, Mx. Friendly Beignet, Tombstone Tammy) from Episode 2 in the video installation at Antenna in New Orleans. “KOKO's Love” has various manifestations as a video installation and changes form dependent on the related videos and the space. This first room especially is inspired by the surreal & odd nature of wax museums, so Antenna gallery, which is the top floor of a two-story house really does become a psychological playhouse for the everyday doubts, anxieties, hopes, & daydreams that come from living as the Sakimoto family.
Yoshie Sakai, KOKO's Love: A Soap Opera Tale of One Family, 2016, seven-channel mixed media video installation, dimensions variable.
As part of “The Autotopographers” group exhibition at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, we see split between a pet store and the family living room, "Daydream Reality" employing humor to tell the story of Yuki (daughter of the patriarch in the “KOKO’s Love” saga) and her quest for familial approval. The plot revolves around a dog that Yuki wants her father to buy for her. The pet store is Yuki’s dreamscape where her hoped-for dog lives. In contrast, handwritten notes, photographic murals, and mannequins hanging from the ceiling situate Yuki’s narrative in her reality: the family home. Together, the pet store and the family home in "Daydream Reality" reflect my life as a “1.5 generation Japanese Asian/Asian American” growing up in Los Angeles.
Yoshie Sakai, KOKO's Love: About Yuki Daydream Reality, 2019, six-channel mixed media video installation, dimensions variable.
Grandma Entertainment Franchise (GEF)” brings together three immersive installations produced over the last three years: Grandma Day Spa, Grandma Nightclub, and Grandma Amusement Park. These three distinct but interconnected installations, composed of my video and sculptural work, satirically reproduce public sites of leisure, re-imagined with grandmothers as their target demographic. “Grandma Entertainment Franchise” stems from my reflections on my own grandmother, or obaa-chan (“grandmother” in Japanese), who came to live with my family when the I was nine years old. My memories of my obaa-chan open a searing, tragicomic inquiry into society’s obsession with youth and innovation, as evident in the outsourcing of elderly care, urban redevelopment and disinvestment, marketing demographics, and our notions of desirability, success, and the good life. This was at the Vincent Price Art Museum (VPAM) in Monterey Park, California.
Yoshie Sakai, Grandma Entertainment Franchise (GEF), 2023, 10-channel mixed media video installation.
The “Bathroom Stall Tears” video series, meant to be viewed in the in the bathroom stalls of the “Grandma Entertainment Franchise (GEF)” installation, opens the door to a more intimate space for expression & reflections by capturing my personal childhood memories my grandmother’s selfless acts/small sacrifices & critique the power of gender stereotypes in shaping intergenerational expectations.
Yoshie Sakai, Bathroom Stall Tears: Part II, video still, 2022, single-channel digital video, 4:01 min.
The “Grandma Nightclub” and “Grandma Nightclub Music Video” (projected on the wall) celebrates and honors the senior populations & the activities not typically associated with them. I assume the role of five dancing grandmas with the up-tempo and sexual nature of the songs to bring attention to the vitality of the elderly, speaking of ageism embedded in systems of capitalism and entertainment.
Yoshie Sakai, Bathroom Stall Tears: Part II, 2023, three-channel mixed media video installation (Nightclub only), dimensions variable.

Residents from United States

Jude Griebel

Canada, United States
Canada Council for the Arts
Studio #301

Dana Agal

United States, Qatar
Fire Station - Qatar Museums
Studio #209

Charlie Perez-Tlatenchi

United States, Mexico
The New York Community Trust’s Edward and Sally Van Lier Fund
Studio #303