Current Residents

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Argentina

Current Resident: May 1, 2025–Jun 30, 2025

Fundación Ama Amoedo

Studio #217

Artist

Ulises Mazzuca

Ulises Mazzuca works across drawing, painting, installation, and sculpture, constructing emotional cartographies shaped by personal experiences that span from affection to pain. Using a system of ideograms, he translates these memories into visual traces that evoke both presence and absence. His works oscillate between horror vacui and fragmented narrative, generating a tension between fullness and incompletion. Rooted in a language of childhood and intimacy, his practice dissolves the conventions of traditional representation.
Ulises Mazzuca has exhibited work at Collegium, Spain; Museo de Arte Moderno, Buenos Aires; and Universidad Torcuato Di Tella, Buenos Aires, among others.

Each rectangle encloses a scene between characters who contort themselves to fit into the space, creating their own “dance.” Through their skins and colors, the bodies reveal personal memories and recollections, while some lines evoke animals that suggest the spirit of movement. The artwork, conceived as an immersive mural, explores the bodily behavior and intimacy of each figure, establishing a dialogue between the body and the space.
Ulises Mazzuca, Our night's dance, 2021, pastel chalk drawing created on five large-format papers, 1873/8 × 987/16 in. (476 × 249.99 cm).
Each piece is suspended from a tubular structure that rotates in an elliptical shape within the room, creating a spatial dynamic in constant motion. The work establishes a dialogue between the materials and the space, inviting the viewer to experience the interaction of the rotating forms.
Ulises Mazzuca, Fireworks, 2022, installation composed of twenty wooden pieces intervened with pastel chalk, 2759/16 × 7873/8 in. (700 × 1999.99 cm).
In these pieces, the bodies contort and adapt to the shapes of the supports, exploring the relationship between the figure and the confined space, generating a visual tension that emphasizes the flexibility and interaction between both elements.
Ulises Mazzuca, Beginner's shower, 2023, pastel chalk drawing on paper, 435/16 × 551/8 in. (109.98 × 139.98 cm).
The work seeks to reframe the human body, transforming it into an “emotional body,” a device that integrates and expresses collective emotions. Through delicate strokes, the piece explores how the body can become a vehicle for conveying shared emotional states, beyond its traditional physical form
Ulises Mazzuca, Chained emotions from a stay in Reta, 2024, pastel chalk drawing on paper, 551/8 × 783/4 in. (139.98 × 200 cm).
This piece is part of the research I conducted during my last residency at Collegium (Arévalo, Spain) and originates from a found object: a bookshelf with slippery shelves that, due to strange angles, deny its original functionality. On its surface, sgraffito lines narrate the dreams and desires of a young Saint Ignatius, fictionalized to explore the similarity between childhood desires and historical legacies. The work reflects on the tension between the everyday and the monumental in history, challenging the rigidity of traditional form and narrative.
Ulises Mazzuca, A library for monsters - or for people who hate Western history, 2024, carved, intervened and sgraffito wooden bookshelf, 393/8 × 7413/16 × 221/16 in. (100 × 189.99 × 55.98 cm).

Residents from Argentina

Sebastián Vidal Mackinson

Argentina
Jane Farver Memorial Fund
Studio #306

Manuel Aja Espil

Argentina
Elizabeth Greenshields Foundation
2022

Lolo y Lauti

Argentina
BARRO Arte Contemporáneo
2022
Singapore

Current Resident: May 1, 2025–Jun 30, 2025

National Arts Council, Singapore

Studio #211

Artist

Guo-Liang Tang

Guo-Liang Tan is a visual artist whose practice centers on painting, from which works in other media and modes of presentation occasionally emerge. Surfaces, whether painterly or not, serve as sites for staging gestures of affect and a haunting dialogue with the ghosts of abstraction. His process is marked by gaps and overlaps, fragmentation, and the gathering of traces. Tan is particularly interested in how these elements expand and reorient our perception of the body, time, and attention.
Guo-Liang Tan has exhibited work at Pola Museum of Art, Japan; Singapore Art Museum, Singapore; and Sifang Satellite Space, Shanghai, among others.
guo-liangtan.com
Guo-Liang Tang, It Moves It, 2023, acrylic on aeronautical fabric and wood, 67 × 86 ⅝ × 19 ⁷/₈ in. (170.18 × 86 ⅝ × 19 ⁷/₈ cm).
Guo-Liang Tan, Slow Release II, 2024, acrylic on aeronautical fabric, wood, 47 ¹/₄ x 38 in. (120 x 96.4 cm)
Guo-Liang Tang, Slow Release II, 2024, acrylic on aeronautical fabric and wood, 38 × 471/4 in. (96.52 × 120.01 cm).
Guo-Liang Tan, Another Folding Scene, 2024, installation with painted fabric and sound.
Guo-Liang Tang, Another Folding Scene, 2024, installation, dimensions variable.
Guo-Liang Tang, Another Folding Scene, 2024, installation, dimensions variable.
Guo-Liang Tang, Opening Sequence IV, 2025, acrylic on aeronautical fabric and wood, 591/8 × 511/4 in. (150.18 × 130.17 cm).

Residents from Singapore

Stephanie Jane Burt

Singapore
National Arts Council, Singapore
2019

Sookoon Ang

Singapore
National Arts Council, Singapore
2011

Ana Prvacki

Slovakia, Singapore
National Arts Council, Singapore
2008
Denmark, Iraq

Current Resident: May 1, 2025–Jul 31, 2025

Danish Arts Foundation

Studio #207

Artist

Lina Hashim

Lina Hashim’s artistic practice delves into themes of cultural identity, resistance, and spirituality, blending traditional Arab motifs with contemporary technology to create immersive, thought-provoking experiences. Through performance, installation, and visual art, Hashim explores the intersections of oppression and empowerment, often employing repetition and symbolism to reveal deeper truths. Her work invites audiences to engage both physically and emotionally, sparking dialogue around race, gender, and the body within personal and global contexts.

Lina Hashim has exhibited work at Norton Museum of Art, Florida; Nikolaj Art Gallery, Copenhagen; and East Wing, Dubai, among others.

I exhibit ritual objects, religious artifacts, personal correspondence, and psychiatric records to explore the curse I’ve been told I bear. In a lecture performance, I confront the audience with my research, asking: Am I cursed, or am I losing my mind? I guide the audience’s movement through the exhibition space.
Lina Hashim, The Touch, 2020, installation.
I exhibit ritual objects, religious artifacts, personal correspondence, and psychiatric records to explore the curse I’ve been told I bear. In a lecture performance, I confront the audience with my research, asking: Am I cursed, or am I losing my mind? I guide the audience’s movement through the exhibition space.
Lina Hashim, The Touch, 2020, installation.
Who am I (2023) explores issues of colonialism, misrepresentation, and the Western portrayal of Muslim women as oppressed. In this solo exhibition at Nikolaj Kunsthal, I transform the space using mirror mosaics, calligraphy, and gold decoration, reflecting both my cultural heritage as a Muslim and my identity as a woman. The installation challenges stereotypes and invites a deeper reflection on personal and collective narratives.
Lina Hashim, Who am I, 2023, installation.
The work is based on the history of western art, where especially binarity was represented and depicted, which for this performance can create discomfort, as only binary division principles are used among the audience. In the work ODALISQUE the audience travels into the artist Lina Hashim’s work as a female artist with a Muslim cultural background. At the same time, the audience is also taken into the Western, white art history, where the portrayed brown woman is often portrayed as the odalisque; a mute, seductive, female slave in a harem. Through this work, Hashim wants to redefine the story that has been told through art history and create a space for retelling the cemented ideology of the erotic harem. Hashim is interested in the representation of the odalisque figure in Western painted art, particularly during the period of Orientalism, as a masculine colonial construct, and the contemporary ideas of liberation and rescue of the same woman.
Lina Hashim, odalisque, 2024, performance.
Unlawful Meetings (2014) captures the secret sexual encounters of young Muslims, photographed with a hidden camera in places like cars or bushes. Torn between their desires and strict sexual morality, these moments are shown without revealing faces, preserving anonymity. The grainy, cloudy images evoke voyeurism while maintaining a moral boundary, emphasizing the tension between curiosity and privacy. While the photos are not illegal, their ethical ambiguity stems from their deeply private nature, which is why identification was avoided.
Lina Hashim, Unlawful meetings, 2014, photography.

Residents from Denmark

Tora Schultz

Denmark
Danish Arts Foundation
2024

Asta Lynge and Jakob Ohrt

Denmark
Danish Arts Foundation
2025

Jens Settergren

Denmark
Danish Arts Foundation
2019

Past Residents

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