Past Residents
Past Resident2011: Ministry of Culture, Taiwan
Tang-Wei Hsu
Tang-Wei Hsu (born 1980 in Changhua, Taiwan) currently lives and works in Taipei. He obtained an MFA in Architecture at the Tainan National University of the Arts. Hsu’s paintings begin from an imagined fantasy space extending into installation, sculpture and public art.
Hsu’s solo exhibitions include Sphere of Planetesimals, National Central University Art Center, Taoyuan, Taiwan, 2011; Evolutionism, Gallery J. Chen, Taipei, Taiwan, 2008; Dredging up the drift, ITPARK Gallery, Taipei, Taiwan, 2006; Fantasy, the Art Center of Hsinchu University of Education, Hsinchu, Taiwan, 2005 and Follower, SLY Art Space, Taipei, Taiwan, 2004. Group
exhibitions include Art Fair Tokyo @ TOKIA, Tokyo, Japan, 2009; CIGE 2009, China World Trade Center Exhibition Hall, Beijing, China, 2009. Hsu was awarded the Asian Cultural Council Artist Abroad Subsidy, 2009 and the National Culture and Arts Foundation Creative Subsidy, 2009.
Tang-Wei Hsu, The Device Through The Space No.1, 2008, Acrylic on canvas, 44 × 63 in. (111.76 × 160.02 cm). Courtesy of the artist
Tang-Wei Hsu, Unknown World Of Distance, 2009, Acrylic on canvas, 63 × 44 × 13/8 in. (160.02 × 111.76 × 3.56 cm). Courtesy of the artist
Tang-Wei Hsu, The Device Through The Space, 2008, Installation, 551 × 157 in. (1399.54 × 398.78 cm). Courtesy of the artist
Tang-Wei Hsu, Monster Of My Imagine, 2010, Mixed media, 295 × 118 × 98 in. (749.3 × 299.72 × 248.92 cm). Courtesy of the artist
Tang-Wei Hsu, Strange Stars No.11, 2010, Ink on paper, 94 × 47 in. (238.76 × 119.38 cm). Courtesy of the artist
Residents from Taiwan
Past Resident2011: ACC - Asian Cultural Council
Firoz Mahmud
Firoz Mahmud works with several media including installation, Layapa Art (a Bangladeshi stencil technique), Urgency of Proximate Drawing (NinKI: UoPD), text, video and photographs which are based on Bangladeshi socio-political culture, myth, tradition and pop culture. Mahmud’s large-scale project ‘sucker’wfp21, a 26 foot fighter aircraft considers the interplay of militarism and war produced through public tax and revenue.
Firoz Mahmud (born Khulna, Bangladesh) graduated from received a BFA from Dhaka University, an MFA from Tama Art University and a PhD from Tokyo University of the Arts. He attended Rijksakademie Van Beeldende Kunsten, Amsterdam. He has shown his work in group exhibitions including the Aichi Triennal, Aichi, Japan; Sharjah Biennale, Dubai, UAE; Cairo Biennale, Cairo, Egypt; Echigo-Tsumari Art Triennal, Echigo-Tsumar, Japan; Asian Art Biennale Bangladesh, Dhaka; Kunsthaus Tacheles, Berlin, Germany; Rochester Contemporary, New York; Sovereign Art Foundation, Hong Kong; S.M.A.K., Ghent, Belgium; Witte de With, Rotterdam, The Netherlands; Rijksakademie VBK, Amsterdam and Metropolitan-Gallery Mostings Hus, Frederiksberg, Denmark. Upcoming exhibitions include Ota Fine Arts, Tokyo; Yokohama Triennale 2011, Japan and Bengal Art Gallery, Dhaka, Bangladesh.
Events & Exhibitions
Salon at Olive Street Garden: Elmar Hermann and Firoz Mahmud
June 7, 2011
Firoz Mahmud, Sucker'wfp21, 2009-2010, Fiber Reinforced Plastic (FRP), metal, bond, and beans, 240 × 106 × 315 in. (609.6 × 269.24 × 800.1 cm). Courtesy of the artist and Aichi Prefectural Museum of Art, Nagoya
Firoz Mahmud, Sucker'wfp21, 2009-2010, Fiber Reinforced Plastic (FRP), metal, bond, and beans, 240 × 106 × 315 in. (609.6 × 269.24 × 800.1 cm). Courtesy of the artist
Firoz Mahmud, Halcyon Tarp, 2008-2009, Wood, FRP, oil 'Layapa' painting, video, drawing, glass and paper, 137 × 208 × 102 in. (347.98 × 528.32 × 259.08 cm). Courtesy of the artist and Sharjah Art Museum, Sharjah
Firoz Mahmud, The Start Of The End Of The Reign [Two Lies In Battle At Plassey], 2011, Oil Layapa Painting on shaped canvas, 79 × 63 × 1 in. (200.66 × 160.02 × 2.54 cm). Courtesy of the artist
Firoz Mahmud, Traitor Of Faith [Plot 2 #Shiraj & Mir], 2010, Oil Layapa Painting on shaped canvas, 118 × 90 × 1 in. (299.72 × 228.6 × 2.54 cm). Courtesy of the artist
Past Resident2011: Anonymous
Armando Mariño Calzado
Armando Mariño Calzado’s recent work is a statement about the representation and the visual consumption of violence inflicted by nature or by humankind. In his work, new media has not only granted the technical possibility for the explicit depiction of violence but also for shortening the time and enlarging the space between the fact and its visual impact. Taking explicitness, immediacy and omnipresence as essential aesthetic values in contemporary society, his work reflects on the role of painting with respect to current aesthetics of violence.
Armando Mariño Calzado (born 1968 in Santiago de Cuba, Cuba) has studied at the School of Art in Santiago, Cuba, the High Pedagogical Intitute of Arts in Havana, Cuba and the Rijksakademie van Beeldende Kunsten in Amsterdam, Holland. Recent projects include Keloids, Mattress Factory, Pittsburg, PA; Without Mask, Contemporary Afro Cuban Art, South Africa and Cuban Avant Garde, The Howard Farber Collection, Katonah Art Museum, NY.
Armando Mariño Calzado, Beautiful World, 2007, Installation image, Dimensions variable
Armando Mariño Calzado, Platform1, 2009, Oil on canvas, 63 × 122 in. (160.02 × 309.88 cm). Courtesy of the artist
Armando Mariño Calzado, The Hole, 2005, Oil on linen, 78 × 92 in. (198.12 × 233.68 cm). Courtesy of the artist
Armando Mariño Calzado, The Panda Who Cannot Speak, 2010, Charcoal on paper, 47 × 59 in. (119.38 × 149.86 cm). Courtesy of the artist
Armando Mariño Calzado, Untitled, 2010, Charcoal on paper, 39 × 59 in. (99.06 × 149.86 cm). Courtesy of the artist
