Past Residents

Country
Year
Residency Program
Resident Type
List Grid
Residents Map
India

Past Resident
2024: Jane Farver Memorial Fund

Curator

Mario D'Souza

Mario D’Souza is a curator and writer based between Goa, Kochi, and New Delhi, India. He is on the curatorial team for the Kochi-Muziris Biennale and is Director of Programmes and Exhibitions at the Kochi Biennale Foundation. He is also co-Artistic Director and Resident Curator at HH Art Spaces, India. His research interests include  Indian Ocean and Silk Road imaginaries, non-alignment and the nation-building project, performance cultures and aesthetics of dissent; legal and extra-legal systems, evidence, and truth modalities.

Mario D’Souza has curated exhibitions at Kochi-Muziris Biennale, India; Hyundai Tate Research Centre: Transnational, United Kingdon; and Fondazione Elpis, Italy, among others.

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
Group exhibition, HAZE: Contemporary Art From South Asia, exhibition view, 2023, curated by Mario D’Souza and HH Art Spaces . Fondazione Elpis, Milan. Photo by Melania Dalle Grave.
'Codex Casanatense', page detail, 16th century, depiction of Portuguese relations with the Indian and Pacific Oceans.
Godwin Constantine, Identity, 'No Order Group' group exhibition, 1999, performance. Theertha Artist Collective, Sri Lanka.
Min Oh, Where do we stand now, 2022, performance. Dutch Warehouse, Kochi-Muziris Biennale, India.
Sahil Naik, Karkadann of Land and the Dark Seas, 2023, still, video essay.

Residents from India

zeropowercut/Piyush Kashyap

India
Inlaks Shivdasani Foundation
2024

Mario D’Souza

India
Jane Farver Memorial Fund
2024

Akshay Sethi

India
Inlaks Shivdasani Foundation
2023
Taiwan

Past Resident
2024: Ministry of Culture, Taiwan

Curator

Feng-Yi Chu

Feng-Yi Chu explores the integration of mysticism in art across cultures and eras through curatorial endeavors spanning exhibitions, research, and podcasts. His studies explore a variety of topics, including the historical embodiment of mysticism in art, the impact of technology on mystical applications in art, the role of artistic methods in elucidating mysticism, and the contributions of mysticism to contemporary art movements such as futurism and ecofeminism.

Feng-Yi Chu has curated exhibitions at Hong-gah Museum; 本事艺术 Solid Art; and 水谷藝術 WALEY ART, all in Taipei, among others.

Events & Exhibitions

Artists at Work: Insoon Ha in conversation with Feng-Yi Chu
May 28, 2024, 6:30–7:30pm
2024 Spring Open Studios
April 12–April 13, 2024
Yin-Ju CHEN, Tzu-Tong LEE, NING Sen, Jia-Jhen SYU, Chuan-Lun WU, and Jui-Lan YAO, Relocating Divinity: Being an Atheistic Theist, 2019, curated by Feng-Yi Chu. Waley Art, Taiwan.
Amuse, Pei-Ying LIN, Shih-Chin WU, Teng-Yuan CHANG, Yun-Fei TOU, and Marina FOMENKO, Zoo of Inverted Forms: The Ultimate Other for Imagining Humanity , 2020, curated by Feng-Yi Chu. Waley Art, Taiwan.
Tzu-Tong LEE, Xia LIN, Jia-Jhen SYU, Chuan-Lun WU, Sheryl CHANG, I-Chun CHEN, Yin-Ju CHEN, Chun-Yu CHEN, Ting-Yu LIANG, Sen Ning, Jui-Lan YAO, and He-Ling LO, Cross-Dimension Transmission: The Synchronic Encounters between Art, Technology and Mysticism, 2020, curated by Feng-Yi Chu. The Kaohsiung Main Public Library, Taiwan.
Kevin Abosch, Nai-Ren Chang, Lans King, Tzu-Tung Lee + Winnie Soon, I-Chun Lin, lololol (Xia Lin + Sheryl Chang), Martin Lukas Ostachowski, Rexy Tseng, Aluan Wang, and Jui-Lan Yao, Dear Block Chen, 2021, curated by Feng-Yi Chu. Solid Art, Taiwan.
LIAO Xuan-Zhen + HUANG I-Chieh + LEE Chia-Hung + WANG Yu-Ping, WANG Ding-Yeh, Birdy CHU Shun, WU Tzu-An, David Clarke, LIN Yi-Chi, WONG Chi Fai + YAU Ching + Ellen PAU, Anson MAK Hoi San, CHAN Tai Lee, KUO Shu-Feng, CHEN Ting-Jung, CHOI Sai Ho, Bauki Angaw, and ZHENG Bo, Nostalgia Is a Waving Flag Taiwan &Hong Kong Video Art Exhibition, 2022, curated by Feng-Yi Chu. Hong-Gah Museum, Taiwan.

Residents from Taiwan

Huang I-Hsiang

Taiwan
Ministry of Culture, Taiwan
2024

Hung-Yen Chang

Taiwan
Ministry of Culture, Taiwan
2023

Yen-Yi Lee

Taiwan
Ministry of Culture, Taiwan
2023
Taiwan

Past Resident
2024: Ministry of Culture, Taiwan

Artist

Huang I-Hsiang

Huang I-Hsiang works with video, documentary, and spatial installations, using “site-specificity” as a core notion. For I-Hsiang, this mode of thinking is deeply rooted in the concept of the “body,” wherein site-specificity embodies a distinct form of “specific corporeality,” manifesting in space and serving as the foundation of his artistic work. As a result, his creations feature a mutually reflected chain of relationships between the body, space, and institution.

Huang I-Hsiang has exhibited work at Absolute Space for the Arts, Tainan City; Museum of Contemporary Art (MOCA), Taipei; El Instante Fundación, Madrid, among others.

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
A Practice of Silence begins with a vague visual impression, the administrative figure of the Absolute Space, a silent presence always sitting in the corner of the exhibition venue. Her work is a series of interpretations, empathy, and understanding. She is always there, yet hard to notice. She is the caretaker of the venue, and I want to depict such a character. My curiosity lies in her physical and psychological relationship with the venue; my curiosity wonders why she is here and whether she has ever thought about leaving. In short, everything related to this job, including emotions and circumstances. During the exhibition, I invited theater practitioner Tseng Jing-Wen, who is dedicated to promoting People's Theatre, along with former administrative staff from Absolute Space who worked here at different times, to conduct a body workshop. My basic idea is, the arrival of newcomers marks the departure of the old, and the interchange between new and old forms the life of a character. These participants, through shared memories, will engage in a self- dialogue belonging to this character during the workshop. Finally, on the last day of the exhibition, we held a screening event showcasing the workshop's video documentation at the venue.
Huang I-Hsiang, A Practice of Silence, 2023, single channel video.
A Practice of Silence begins with a vague visual impression, the administrative figure of the Absolute Space, a silent presence always sitting in the corner of the exhibition venue. Her work is a series of interpretations, empathy, and understanding. She is always there, yet hard to notice. She is the caretaker of the venue, and I want to depict such a character. My curiosity lies in her physical and psychological relationship with the venue; my curiosity wonders why she is here and whether she has ever thought about leaving. In short, everything related to this job, including emotions and circumstances. During the exhibition, I invited theater practitioner Tseng Jing-Wen, who is dedicated to promoting People's Theatre, along with former administrative staff from Absolute Space who worked here at different times, to conduct a body workshop. My basic idea is, the arrival of newcomers marks the departure of the old, and the interchange between new and old forms the life of a character. These participants, through shared memories, will engage in a self- dialogue belonging to this character during the workshop. Finally, on the last day of the exhibition, we held a screening event showcasing the workshop's video documentation at the venue.
Huang I-Hsiang, A Practice of Silence, 2023, book, dimensions variable.
The Outsiders is a narrative short film shot with a focus on site-specificity. The story revolves around three main characters: a part-time worker, a street artist, and an artist from abroad. Despite each of them being involved in somewhat art-related jobs within and around the museum, their work is loosely related, and they have no communication with each other. In this piece, I attempt to depict an urban lifestyle, using the Taipei Contemporary Art Museum as a backdrop, showcasing the lack of interaction among people in the city.
Huang I-Hsiang, The Outsiders, 2020, single channel video, 10 min.
Untitled is a single-channel video installation based on site-specificity, located in a passage near the entrance of the exhibition venue. During the daytime, sunlight filters in through the door crack, naturally casting shadows on the exterior walls of the venue. I captured a segment of these shadows during the exhibition setup and projected the footage back to its original location in proportion. Most of these shadows come from the "real world" outside the exhibition door. At this boundary between the interior and exterior of the venue, viewers will encounter a visual recording where reality and illusion intersect.
Huang I-Hsiang, Untitled, 2019, single channel video, 6 min.
The Maiden’s Prayer is a video installation based on the concept of site-specificity. The artwork consists of four sets of synchronized audio-visual playback. I selected four different locations within the exhibition space and captured the events from various angles. Subsequently, I projected these recorded images back to their original positions in a proportional manner. Visitors at the exhibition will witness different spatial dimensions of past moments, while the figures in the artwork resemble ghosts, continuously traversing and returning within different interfaces of imagery.
Huang I-Hsiang, The Maiden's Prayer, 2018, 4 channel video, 2 min.

Residents from Taiwan

Feng-Yi Chu

Taiwan
Ministry of Culture, Taiwan
2024

Hung-Yen Chang

Taiwan
Ministry of Culture, Taiwan
2023

Yen-Yi Lee

Taiwan
Ministry of Culture, Taiwan
2023