Past Residents

Country
Year
Residency Program
Resident Type
List Grid
Residents Map
Taiwan, Brazil

Past Resident
2019: Ministry of Culture, Taiwan

Artist

Yi-Hsuan Lin

Yi-Hsuan Lin creates monumental installations of paintings as well as drawings on papers and canvas through meticulously constructed compositions that explore ideas of space and mobility.

Yi-Hsuan Lin is an artist from Taiwan based in São Paulo since 2009. He has exhibited work at Taipei Fine Arts Museum; Instituto Figueiredo Ferraz, Sao Paulo; and Morán Morán, Los Angeles, among others.

Yi-Hsuan Lin, Sky, 2018, oil, oil-based paint, spray paint, and crayon on paper, 305/16 × 255/8 in. (76.96 × 65.02 cm)
Yi-Hsuan Lin, Sailor License, 2018, oil on canvas, 33 × 353/8 in. (83.82 × 89.92 cm)
Yi-Hsuan Lin, Gangster, 2018, oil, oil-based paint, spray paint, and crayon on paper, 215/8 × 155/16 in. (54.86 × 38.86 cm)
Yi-Hsuan Lin, Tattoo, 2018, oil, oil-based paint, spray paint, and crayon on paper, 30 × 22 in. (76.2 × 55.88 cm)
Yi-Hsuan Lin, Truth, 2017, oil, oil-based paint, spray paint, and crayon on paper, 291/2 × 28 in. (74.93 × 71.12 cm)

Residents from Brazil

Felipe de Ávila Franco

The work operates through an automated electro-mechanic system that alludes to the astronomic event that inspired the title of the work, through the contrast of light and recycled lubricant oil. The work integrates the collection of the Contemporary Art Museum Kiasma.
Brazil, Finland
Uniarts Helsinki's Academy of Fine Arts and Saastamoinen Foundation
2023

Luiza Gottschalk

Brazil
2020

Teresa Viana

Brazil
Pollock-Krasner Foundation
2019
United States

Past Resident
2019: Bradley University, Big Picture Peoria
2018: Bradley University

Artist

Heather Brammeier

Heather Brammeier is a sculptor, painter, and installation artist whose work continues the function of childhood play into adulthood. Through innovative use of materials and deceptively simple design, Brammeier creates visual puzzles that invite movement in and around the artwork. The artwork tests physical and perceptual boundaries, mirroring emotional and psychological limits. Vertiginous stacking, attention to surfaces, and the use of light and shadow elicit contemplation of safety and threat, love and loss, and the complexity of emotional experience.

Heather Brammeier has exhibited work at Pen + Brush, New York; South Bend Museum of Art, Indiana; and Swansea College of Art, Wales, among others. 

Events & Exhibitions

Artists at Work: Heather Brammeier and Suzanne Dittenber
June 25, 2019, 6:30–8pm
2018 Summer Open House
July 31, 2018, 6–9pm
Heather Brammeier, I Changed, and then I Changed Again, 2019, reclaimed wood flooring, willow tree, and chain, dimensions variable
Heather Brammeier, Nothing to Fix, 2018, reclaimed wood flooring, willow branches, sycamore branches, found objects from beach and garden, studio remnants, and chain, dimensions variable
Heather Brammeier, Next Steps (Life Carries On), 2017, painted wood, painted insulation foam, garden hose, reclaimed metal hoop, and rope, dimensions variable
Heather Brammeier, Lose the Feeling, 2017, reclaimed wood flooring, and carpet, dimensions variable
Heather Brammeier, Brighten the Corners, 2017, painted wood, garden hose, PEX tubing, and reclaimed ladders on abandoned house

Residents from United States

Frank WANG Yefeng

United States, China
ISCP ​Alumni Fund
Studio #303

Efrat Hakimi

A table top arrangement of paper, cutout images, ephemera, and tools used in bookbinding.
United States
Artis
Studio #301

Bryan Fernandez

United States
The New York Community Trust’s Edward and Sally Van Lier Fund
Studio #216
Italy

Past Resident
2019: The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York
2017: Leila Elling

Artist

Antonio Fiorentino

Antonio Fiorentino’s research developed over the years under the umbrella of minimal intervention. The artist seeks to bring art back to nature by finding value in things that already exist, isolating them, and framing them within new contexts. Fiorentino is interested in situations of transformation as well as natural processes that create new forms through change.

Antonio Fiorentino was born in Barletta, Italy in 1987. He was selected to participate in the CSAV Artists Research Laboratory at Fondazione Antonio Ratti, and was the winner of eighth edition of the Talent Prize in Rome. Fiorentino participated in several exhibitions in Italy and abroad including: The Lasting, National Gallery of Modern and Contemporary Art, Rome; Vis Attractiva, THE OPEN BOX, Milan; Ride the Falling Flux, HIAP – Helsinki International Artist Programme; From & To, Centre of Contemporary Art Villa Arson/ Kunst Merano, Nice/Meran; Concrete Ghost, American Academy in Rome; CSAV – Fondazione Antonio Ratti, Como; Underneath the Street, the Beach, Fondazione Sandretto Re Rebaudengo, Turin.

Events & Exhibitions

Spring Open Studios 2019
March 29–March 30, 2019
Spring Open Studios 2017
April 21–April 22, 2017
Antonio Fiorentino, Dominium Melancholiae, 2014, Lead, zinc and water, Dimensions variable
Antonio Fiorentino, Dominium Melancholiae, 2014, Lead, zinc and water, 394 × 398 × 140 in. (1000.76 × 1010.92 × 355.6 cm)
Antonio Fiorentino, Untitled (Lucis et Umbrae), 2016, Marble, 15.7 x 11.8 x 1.1 each
Antonio Fiorentino, Untitled (Sirenae), 2016, Wax and clay, 172 × 210 × 355 in. (436.88 × 533.4 × 901.7 cm)
Antonio Fiorentino, Misellathum Pharallelus, 2015, Bronze and shark's jaw, 181/2 × 223/8 × 121/2 in. (46.99 × 56.9 × 31.75 cm)

Residents from Italy

Chiara Ianeselli

Quel jour sommes-nous, 15-30 June 2022, co-curated with Bakul Patki, at Tokonoma, Kassel. Credit: Rene Graf. quel jour sommes-nous? (what day is it?) is a research project in the form of an exhibition that questions what makes an artwork - investigating the performativity and process of an exhibit, the acts that brought it into existence, and the context of its presentation. Featuring seventeen established and emerging artists, quel jour sommes-nous? explores the differing forms, lifespans, and pathways of artworks – with historicised and timeless, appropriated and reapproriated, unauthored and unauthorised, dismantled and intangible works, all of which sit beside a graduate piece that will be graded in situ, just ahead of the exhibition’s opening. An “unfinished” work will also be included. The concept of a finished work of art – one that is deemed ready to be shared – has been debated throughout art history, particularly in relation to potential different readings once it has been pulled from a definite temporal context. Continuing the contentious conversation around when a piece of art is complete, one work in progress will be taken from an artist’s studio, at a time of the curators’ choosing, and inserted into the exhibition. quel jour sommes-nous? reflects upon the evolution of the creative process – the choices, challenges and breakthroughs that come with making art – asking when, within this process, does something become a work of art, and who gets to decide? On which day is something ready to be sold or exhibited? Is today the day the artist has to surrender a work they might never see again? Extending this reflection on when a work comes into existence, the exhibition also asks whether it is possible for artworks to exist without an audience. How much is the public required for the creative process to be complete, and how preeminent is the artist’s vision in influencing the viewer’s experience of the work? quel jour sommes-nous? does not profess to answer these questions, but hopes to encourage examination and inspire further exploration. It is at once exhibition as research and research as exhibition
Italy
Italian Council - Directorate-General for Contemporary Art and Architecture and Urban Peripheries (DGAAP) at the Italian Ministry for Cultural Heritage and Activities
2024

Valentina Furian

Ciacco, 2021, installation view at
Italy
The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York
2024

Raffaela Naldi Rossano

Raffaela Naldi Rossano, Warp, video installation, mixed media, variable duration, 2022. Co-commissioned and co-produced by LIAF and TBA21 Academy. Developed in the context of a residency on the research vessel Helmer Hanssen. View at Fantasmagoriana, LIAF 2022, curated by Francesco Urbano Ragazzi.
Photo Kjell-Ove Storvik. C.sy the Artist

Italy, Greece
The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York, Directorate-General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and International Cooperation, Directorate-General for Contemporary Creativity of the Italian Ministry of Culture
2024