Current Residents

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Slovakia, Poland

Current Resident: Jul 1, 2022–Aug 31, 2022

International Visegrad Fund

Studio #222

Artist

Marta Krześlak

Marta Krześlak uses video, collage, miniature motors, and found materials to create kinetic spatial installations. She is fascinated by the idea that recalled and imagined landscapes can evoke memories, and believes in the absurdity of their causality. Krześlak experiments with scale and kitsch aesthetics while working with pre-existing ideas such as popular subjects or abandoned artifacts. Her work questions one’s perspective and raises issues about the shifting frame of reference in the universe.

Marta Krześlak has exhibited work at Zachęta National Gallery Project Room, Warsaw; Gdansk City Gallery; and Muzeum of Art, Łódź, among others.

martakrzeslak.com
The tornado over the chamomile box house is a mobile with spinning objects from my garage. You could say that a storm is a permanent state, but often invisible. I am interested in movements that cannot be seen. The movement of particles when you move or the passage of time – but also things and phenomena that we notice from a certain perspective because their reference point has changed.
Marta Krześlak, Tornado, 2021, kinetic object, 150 × 40 × 40 in. (381 × 101.6 × 101.6 cm)
The looped poetic narrative in the accompanying projection gradually changes perspective from the scale of the universe, through the desert, to the artist’s home. Then her multiplied silhouette becomes a stellar constellation, to finally turn out to be the morning dew. The projection is accompanied by a soundtrack topped, perversely, by the song ‘My Heart Will Go On’. The film can be interpreted in many ways: symbolically, pop-culturally, nostalgically or purely aesthetically.
Marta Krześlak, Moving Things, 2021, video, 6min 58s
The gallery space is a two-room apartment from the early 20th century. In one of the rooms I project a video of a semi-absurd dream. The projection takes up the entire wall, looking through the windows from outside it seems to be a passage to another dimension. The video is accompanied by a mix of songs from the 90s processed in post-production. The cli- max of the video is a progressively louder fragment of the song All by myself combined with a randomly edited image of a girl galloping on a horse. The girl’s dress flashes changing co- lors, the lights in the room blink reacting to the high notes in the song throwing sparkles to illuminate the room and towards the end the lamps begin to move with the spinning dress. After 9 minutes, the song quiets down, the video and lamps turn off, the room lights up.
Marta Krześlak, Home on a windy night, 2021, video, moving lamps, arduino, 8min 55s
Installation Stars Cry is a bitter-sweet tale about ourselves. I try to develop this piercingly sad story tapping into affective, atmospheric, nostalgic emotions coded in our memory and dig deeper into the moments of rapture – immensely grotesque in their visual appeal. Welcome to the predicted distant future. A dream takes you into a parallel world where the only witness is the light of a night lamp standing by the bed.
Marta Krześlak, Stars Cry, 2019, multimedia installation, dimension varies
The ruins of my dreams are an unnecessary object turned into a sentimental landscape. I try to to detach it from its remembered utility and give it a poetic function. I am interested in the aesthetics of plastic, inflatable castles and the absurdity of their indestructibility. I inflate a huge found castle like a fantastic dream and I invite you to walk on its surface. The waving giant is accompanied by pop, love songs from the 90s, sung sung by me and processed in postproduction.
Marta Krześlak, Ruins of my dreams, 2018, Installation, audio, 400 × 300 × 100 in. (1016 × 762 × 254 cm)

Residents from Poland

Rafał Żarski

Poland
International Visegrad Fund
2021

Katarzyna Przezwańska

Poland
International Visegrad Fund
2021

Alicja Gaskon

Poland, Switzerland, United States
Galeria Le Guern
2019
Switzerland

Current Resident: Jun 1, 2022–Aug 31, 2022

Albert Koechlin Stiftung

Studio #301

Artist

Flurin Bisig

Flurin Bisig explores various ways of working in drawing, collage, and sculpture using materials such as paper, wood, aluminum, and marble. His process of finding forms includes contemporary song lyrics, literature, contemplation of works from art history, observation of everyday movements, and architectonic constructions. Using photography, he expands his scope of impressions and creates an additional, concrete reference to the exterior world.

Flurin Bisig has exhibited work at TICK TACK, Antwerp; Grisons Museum of Fine Arts, Chur, Switzerland; and Kunstmuseum Luzern, Switzerland, among others.

flurinbisig.com
Flurin Bisig, Master and Everyone, 2019, Carrara marble, tape, and spruce wood, 6615/16 × 153/4 × 1911/16 in. (170 × 40 × 50.01 cm)
Flurin Bisig, Grindelwald 2 (CH), 2004, barite print, 39/16 × 55/16 in. (8.99 × 13.49 cm)
Flurin Bisig, 08 (Songs: Ohia) – Berlin, 2008, felt pen on paper, 81/4 × 513/16 in. (21.01 × 14.81 cm)
Flurin Bisig, This Boy's Life, Andreas Werner, The Brown Bunny, 2019, 2015, 2018-19, lime wood, corten steel, and partially colored, dimensions variable
Flurin Bisig, Kröger 3, 2019, corrugated aluminum and wood, 13513/16 × 435/16 × 393/8 in. (345.01 × 110.01 × 100 cm)

Residents from Switzerland

Philémon Otth

Switzerland
Canton de Vaud, Service des Affaires Culturelles
2022

Alicja Gaskon

Poland, Switzerland, United States
Galeria Le Guern
2019

Quynh Dong

Switzerland
The Ernst & Olga Gubler-Hablützel Foundation, City of Bern
2013
Taiwan

Current Resident: Mar 1, 2022–Jul 31, 2022

Ministry of Culture, Taiwan

Studio #302

Artist

Ying Chiun Lee

Ying Chiun Lee is a glass and film artist whose process-driven work investigates human sexuality. Her practice focuses on the subtle details and movements of glass during its making. By utilizing these observations, she creates glass sculptures, installations, performances, and videos that speak on the fantasy of intimacy.

Ying Chiun Lee has exhibited work at GMTF Film Festival, Lybster; City Art Space and Joy Gallery, both Rochester, among others. 

yingchiunleeglass.com

Events & Exhibitions

2022 Spring Open Studios
April 22–April 23, 2022
This piece of work portrays my experience of living through the pandemic as a foreigner in the US. The video consists of two scenes; The first scene is a view through the bottom of the glass tank. Catching the moment of molten glass dropped into the water and broke within several macro-explosions. The second part of the scene is an uranium glass object with gold leaf scattered on the top. Then two amorphous blobs of hot glass come into the frame. They dance around the object seductively. The audio is composed of a mixture of electronic sounds, news broadcasts regarding Covid, and cicada sounds from rural Taiwan.
Ying Chiun Lee, Home?, 2021, single-channel video, 1:32 min
Ecstasy is a slow-motion video of molten glass. In the scene, the background is dark while the glass is illuminating the surrounding with heat. The molten glass on the end of a rod is turning slowly. The speed of the turning is not fast enough to keep the glass from falling. A wooden paddle comes into the frame from the left, slapping and pushing the glass from dropping. When the glass and wood meet, the heat burns the wood thus creating sparks. Sometimes the wooden pat stays longer on the glass, gently lifting the weight of the glass. As the two materials touch, the heat begins to light up the wooden paddle, creating a bigger flame than the sparks. The video is accompanied by the background sound of white waves crashing on shores.
Ying Chiun Lee, Ecstasy, 2020, single-channel video, 1:11 min
Seduction is a short film. The video switches between two scenes. One scene focuses on the surface of the leaf while another focuses on the stem of the leaf. In both parts, a borosilicate glass lingers around the leaf, turning constantly from falling. When the glass gets closer to the subject, the heat dries out its moisture. During the interaction, the vapor process makes the leaf move up and down. This video comes with the background sounds of human breathing and bed sheet rustling.
Ying Chiun Lee, Seduction, 2021, single-channel video, 1 min
The Teahouse is an installation with found objects, glass, and video projections. The piece is approximately the size of a three feet cube. It was set up in the City Art Space in downtown Rochester. On the site, the installation was surrounded by four layers of white sheers hanging down from the ceiling. On the white sheer fabric, a short film was projected. With the translucency of this material, the film projects through one fabric to the other side, casting a blurred image of the video. In between each fabric, there was a gap that allowed people to walk into the installation. Inside the white cube, there were nine white low pedestals. Eight of them had objects or words on them, and only the one in the middle remained empty. These were the objects that were shown in the video.
Ying Chiun Lee, The Tea House, 2021, mixed media, 42 × 42 × 42 in. (106.68 × 106.68 × 106.68 cm)
In this picture, a person is sitting on the toilet, hands holding a cell phone. A heavy glass object is rested on the gap between the two legs. This object has a rough texture on the outside that looks like rocks. On the inside, it seems smooth and glossy. The side that is facing up has an opening that shows the object is neither solid nor filled. The intimate connection between the object and skin is actually cold, heavy and rough.
Ying Chiun Lee, Living with a Hole , 2021, photographic print, 45 × 53 in. (114.3 × 134.62 cm)

Residents from Taiwan

Alice Nien-Pu Ko

Taiwan
Ministry of Culture, Taiwan
Studio #210

Yi Kuo

Taiwan
Ministry of Culture, Taiwan
2022

Erica Yu-Wen Huang

Taiwan
Ministry of Culture, Taiwan
2020

Past Residents

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