Past Residents
Past Resident2012: The New York Community Trust’s Edward and Sally Van Lier Fund
Abigail DeVille
Through bricolage, painting, and sculpture, Abigail DeVille cobbles together a visual mass that speaks to the material culture of the present moment. She experiments using found and inherited domestic objects in order to make a connection to the universe. W.E.B. Du Bois’ concept of double-consciousness is the conceptual frame DeVille uses to deconstruct two spatial relationships: the claustrophobic space of the urban environment violently clashing with the infinite expanse of the universe. Black holes are an integral metaphor. DeVille warps the time of physical objects. Her objects speak to the physical infinite expanse of universal time and societal ills of the present moment. DeVille’s work is interested in making the visible representation of the invisible.
Abigail DeVille (born 1981, New York City) received her BFA from the Fashion Institute of Technology in 2007. She received the Camille Hanks Cosby fellowship to participate in the Skowhegan Residency Program in 2007. DeVille was a participant in the art world’s first reality television show, Artstar, which aired on Gallery HD from June 2006 – January 2009 and culminated with an exhibition at Deitch Projects (NY). She has exhibited at El Museo Del Barrio, Vogt Gallery, project spaces Recess Activities Inc., The Bronx River Art Center and Marginal Utility in Philadelphia, PA. DeVille is a 2011 MFA graduate in painting at The Yale School of Art.
Abigail DeVille, Mirror, Mirror..., 2011, Empty Alexi vodka bottles and broken mirror, Dimensions variable.
Abigail DeVille, Untitled (Boots), 2011, Three Timberland boots, tar, trash bags, and chicken wire, Dimensions variable.
Abigail DeVille, New York at Dawn, 2010, Tyvek, enamel and latex paint, dirt, American flags, graphite, lamp shade, synthetic hair, polyurethane varnish, chicken wire, plastic sheeting, plaster, garbage bags, pâpier-maché, fake eyelashes, duct tape, wood chips, wire, canvas, cigarette butt, acrylic yarn, metal, salt dough, and hardware, 102 × 114 × 96 in. (259.08 × 289.56 × 243.84 cm).
Abigail DeVille, Dark Star, 2010, Trash bags, wood, paper, paint, paper pulp, fabric, colored lights, and plastic drop cloths, 342 × 15413/16 in. (868.68 × 393.19 cm).
Abigail DeVille, Black Hole Pit, 2010, Trash bags, chicken wire, and accumulated signifiers, 72 × 36 × 72 in. (182.88 × 91.44 × 182.88 cm).
Residents from United States
Ailyn Lee
Studio #210
Angel Lartigue
Studio #217
Francisco Montoya Cázarez
Francisco Montoya Cázarez explores the specific identities of his residential contexts in Mexico and Germany in his work, and how they both relate and confront each other. In his most recent drawings, sculptures, performances and films, he attempts to address the social situation in his home country of Mexico. At first glance, Montoya’s works come across as folkloristic clichés that seem to reflect the typical European perception of Mexico, however upon closer inspection one can read an intense examination of the country’s realities.
Francisco Montoya Cázarez (born 1985, Cuernavaca, Mexico) currently lives and works in Berlin and Braunschweig, Germany. He studied at “La Esmeralda” in Mexico City, graduated from the HBK Braunschweig, Germany, in 2010 and became “Meisterschüler” of Prof. Candice Breitz there in 2011. Recently his work has been exhibited in the Kunstverein Wolfsburg, Germany, and he had a solo show, 100 Jahre Karneval, in the Remise of the Kunstverein Braunschweig, Germany, which was accompanied by a catalogue.
Francisco Montoya Cázarez, Monument to the Revolution, 2011 , Wood, straw, wire, eggs and chickens , 114 × 861/2 × 861/2 in. (289.56 × 219.71 × 219.71 cm). Courtesy of the artist .
Francisco Montoya Cázarez, Pum Pum - Bang Bang, 2011, Recollected fireworks from the street, 138 × 961/2 in. (350.52 × 245.11 cm). Courtesy of the artist.
Francisco Montoya Cázarez, The Jariperiqueo, 2011, Watercolor on paper, 381/2 × 26 in. (97.79 × 66.04 cm). Courtesy of the artist.
Francisco Montoya Cázarez, Banquet, 2011 , Newspaper, colored paper, adhesive tape, tamarindos candies, cardboard and metal , 71 × 138 × 102 in. (180.34 × 350.52 × 259.08 cm). Courtesy of the artist .
Francisco Montoya Cázarez, Das Bundesständchen, 2010, Video, 5:56 min. Courtesy of the artist .
Past Resident2012: Conseil des arts et des lettres du Québec
Jean-Michel Ross
Jean-Michel Ross’s curatorial practice questions the spatial relationship and interaction between objects and subjects. He creates different contexts through fiction and narration to build dialogue with artists and interact with their works. His projects often reflect upon hierarchy, freedom, universality, neutrality, equivalence and value. He believes that both conceptual esthetics and formal esthetics are equally fundamental to curatorial research. For him curating is and will always be a collaborative effort. Recently he has started to question the issues and empirical impossibilities raised by the democratic ideal, linking this political theory to the art field and to his curatorial and editorial practice.
Jean-Michel Ross is a Montreal based curator, critic, writer and collector. He completed an art history degree at Université du Québec à Montreal in 2004. He was assistant editor of Espace Sculpture Magazine for six years where he directed several thematic issues. His writings on contemporary art have been published regularly in Espace and C Magazine. In 2010 he curated the exhibition and residency project La Colonie, Deschambault-Grondine, Canada. In recent years he has also acted as co-curator for projects such as The Waterpod Project in 2009, New York; Québec Gold in 2008, Reims, France; and Jumelages in 2007, Montreal, Canada. He is the founder of Free Pass and has been on the board of Optica Gallery in Montreal since 2004.
Events & Exhibitions
Salon: Kakyoung Lee and Jean-Michel Ross
January 24, 2012
Jean-Michel Ross, Press Pass Maquette, 2011.
