Past Residents
Past Resident2016: Institut Français2016: Performa
Tarik Kiswanson
Tarik Kiswanson’s genre-defying work is informed by identity, dualism and loss. His work reflects on the influences of one culture upon another as well as the active role the viewers play in the creation of the work’s meaning. Through quasi-abstract sculptures, or “reductions” as he calls them, Kiswanson examines notions of nonconformity and subverts the ways in which form is perceived and registered. Almost solely made in polished brass and steel, the viewer’s body appears obliterated, disjointed, or doubled. Razor sharp and infra-thin, his paradoxical objects are also highly responsive to their spatial environment and to their observer’s proximity as they vibrate with the displacement of air generated by the spectators circulation within the space.
Tarik Kiswanson (born 1986, Halmstad, Sweden) graduated from Central Saint Martins College of Art and Design, University of the Arts London in 2010. In 2011, he moved to Paris where he attended l’École nationale supérieure des Beaux-Arts and received a MA in 2013. He has exhibited his work internationally in group shows and solo exhibitions at Carlier Gebauer, Berlin; Musée Régional d’Art Contemporain Languedoc Roussillon Midi Pyrénées, Sérignan, France; Musée national de Céramique-Sèvres, Paris; Le Pavillon Vendôme Centre d’art Contemporain, Paris; Les Bains-Douches, Alençon, France; Institut d’Art Contemporain, Villeurbanne, France; Riga Art Space, Latvia; and Metropolitan Art Society, Beirut.
Events & Exhibitions
Fall Open Studios 2016
November 4–November 5, 2016
Tarik Kiswanson, 1951 (The weave machines), 2016, Handwoven stainless steel, 100 × 53 × 7 in. (254 × 134.62 × 17.78 cm)
Tarik Kiswanson, Contact Sheet, 2016, Handwoven stainless steel
Tarik Kiswanson, 1917 (The weave machines), 2016, Handwoven stainless steel, 53 × 7 in. (134.62 × 17.78 cm)
Tarik Kiswanson, Anti (Inverted flagpole bracket), 2015, Steel, 7 × 9 × 4 in. (17.78 × 22.86 × 10.16 cm)
Tarik Kiswanson, Shifter, 2015, Brass welded with recycled silver, 118 × 9 × 9 in. (299.72 × 22.86 × 22.86 cm)
Past Resident2016: KdFS Kulturstiftung des Freistaates Sachsen
Franz Jyrch
In Franz Jyrch’s installations and sculptural settings, canvases and stretcher frames play a significant role. The basic approach to her work, which is characterized by coincidence and calculation alike, consists of arranging and deconstructing very diverse materials taken from artistic contexts and everyday life as well. Thereby, she creates complex sculptures and installations which can fill entire rooms. It leaves us with the impression that painting has emancipated itself from its central coordinates, with its ‘assistants’ conquering new spaces beyond the narrow square of the frame. Instead, the exhibit space now provides the actual framework for a much more complex pictorial narrative, one that integrates many things that are outside of the art context. (Text by Ralf F. Hartmann)
Franz Jyrch graduated from the Academy of Visual Arts Leipzig in 2012. She received the Marion Ermer Award and completed her postgraduate studies in 2014. Solo shows include BONHEUR, Vincenz Sala, Paris; PARAVENT, Galerie EIGEN+ART Leipzig; KNICKE AND ORDER, Gallery of the Academy of Visual Arts Leipzig; and La Pittura, Vincenz Sala, Berlin. Recent group shows include Plain Walls, White Teeth, Galerie Genscher, Hamburg; Yearzero, Kollektiv Unkonventionelle Kunst, Zurich; Mulhouse 015, Biennale d‘Art Contemporain, Mulhouse; WERKSCHAU, Spinnerei Galleries, Leipzig; A Room of One’s Own, Kunstverein Tiergarten, Berlin; and Sammlungsalphabet, Museum of Contemporary Art Leipzig.
Franz Jyrch, o.t., 2014, Acrylic on stretchers, 16 1/2 x 24 x 7 in. Courtesy of the artist
Past Resident2016: Inlaks Shivdasani Foundation
Anushka Rajendran
Anushka Rajendran’s curatorial practice realizes ideas that emerge from her research about exhibitions, with a focus on arts from South Asia. As an art writer and editor, she facilitates discursive engagement within the arts in India. Her ongoing interests include socially engaged art practices in India and the ways in which aesthetic practices are seeking out publics that fall outside of traditional contemporary art audiences. This is an extension of her previous research and curatorial interest in trauma narratives in contemporary art.
Anushka Rajendran is a New Delhi based curator, writer and researcher. Her ongoing PhD Where lies the Public? Aesthetics of Social Engagement studies how the arts are surpassing traditional publics in India. She has an Ph.M from the Jawaharlal Nehru University during which she wrote Installation Art in India: Preoccupations with Trauma, and an MA in Arts and Aesthetics. Her recent exhibition, The Lay of the Land, charted an alternative cartography for the South Asian region based on experiences of artists rather than political borders. In her upcoming exhibition Corporeal, Rajendran will look at the absent body as a universal/intimate subject position. Rajendran is the Editorial Coordinator of the Indian art magazine TAKE on art, and recipient of the Art Scribes Award 2015.
Events & Exhibitions
Spring Open Studios 2016
April 29–April 30, 2016
Danushka Marasinghe, Night Watchman, 2014, Set of 12 found images digitized and manipulated, 36. Photo by Danushka Marasinghe
