Past Residents
Past Resident2014: Meg-Multiforms, The Gallery Apart
Alice Schivardi
Alice Schivardi is interested in collecting stories and establishing human relationships, leading her toward a pursuit of the other as well as of the self. She focuses both on the natural and human condition, using technological and manual language. Schivardi’s work explores social phenomena and their logic, with a methodology that treasures the intimate exchange of micro-experiences. The threads of her “embroidery drawings” become a link between the artist and the stories, the artistic process and the finished artwork. Alice Schivardi lives and works in Rome.
Events & Exhibitions
Alice Schivardi: Wormholes
April 22–May 10, 2014
Alice Schivardi, Coccinelle, 2012, 32 pieces: embroidery drawings, curved glass, and resin frames. Courtesy of the artist.
Alice Schivardi, A Imagine e Somiglianza (detail), 2012, Embroidered drawing, scotch and collage on acetate paper. Courtesy of the artist.
Alice Schivardi, Equazione Uno, 2012, Installation of six speakers, embroidered drawing, scotch and collage on acetate paper. Courtesy of the artist.
Alice Schivardi, Portable Bug Cemetery, 2013, Lawn, earth, and insects, 138 × 16 × 138 in. (350.52 × 40.64 × 350.52 cm). Courtesy of the artist.
Alice Schivardi, Portable Bug Cemetery (detail), 2013, Lawn, earth, and insects, 138 × 16 × 138 in. (350.52 × 40.64 × 350.52 cm). Courtesy of the artist.
Residents from Italy
Raffaela Naldi Rossano
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
Past Resident2013: Institut Français
Hugues Reip
According to Clément Rosset, “philosophical illusionism is to announce meaning without demonstrating it, in the same way the magician brings his audience to see vanished objects by the mere power of suggestion.” The illusion, of course, occurs on the sly, in successive shifts. Just as sweat nestles in the pores of the skin, these stealthy yet controlled slips lie in the shadows, echoes and reflections of the world. Illusion, in its way, is an ode to gradualness. A fine line divides illusion from enticement, and Hugues Reip often crosses that line.
Hugues Reip’s (born 1964 in Cannes) recent solo exhibitions include Black Soul, Crystal Palace, Bordeaux; Archéocinéma, Kiné-Vision et autres Fantasmagories animées Le Nouveau Festival #2, MNAM Centre Georges Pompidou, Paris; Parallel Worlds, M.O.T Museum, Tokyo and Eden, Safn Museum, Reykjavik. He also participated in the Dallas Biennale, Dallas Contemporary, Dallas; Futur Antérieur, Galerie du Jour-agnès b, Paris; À la Croisée des Images – vidéos de la collection Neuflize Vie, Maison Européenne de la Photographie, Paris; Echoes, Centre Culturel Suisse, Paris; Bob & Breakfast, Galerie Nelson-Freeman, Paris; New Wave Atlanta, Ernest G. Welch School of Art & Design Gallery, Georgia State University, Atlanta; 8e Nuit Blanche, Jardin du Luxembourg, Paris; V3 (Valosag a Kobon), 2B galéria, Budapest; Georges Méliès / Hugues Reip, Cinémathèque Française, Paris; Cosmos: en busca de los orígenes. De Kupka a Kubrick, TEA Tenerife Espacio de Las Artes, Santa Cruz de Tenerife and Presque Rien, Nylo (Living Art Museum), Reykjavik. He is the leader with Jacques Julien of the music band SPLITt. They have produced 3 records and performed at places including: Centre Culturel Suisse, Paris; In My Box, MNAM Centre Georges Pompidou, Paris; Le Cargö, Caen. (Greil Marcus , The Beauty & The Beast); Steve McQueen Opening, Galerie Marian Goodman, Paris; Dogbowl / SPLITt, Le Deuxième Bureau, Genève and Summer WARM UP festival, PS1, New-York. Reip recently created an installation in the new Montrouge subway station in Paris and teaches art in the architecture school of L’école nationale supérieure d’architecture de Paris La Villette, Paris.
Hugues Reip, The Stage, 2009, Sycamore wood and digital print on aluminum spot. Courtesy of the artist.
Hugues Reip, Black Soul, 2009, 3 wooden circles, coplast shapes, motors, and 3 projection screens. Courtesy of the artist and Collection Mac/Val, Ivry-sur-Seine.
Hugues Reip, Fantaisie, 2008, Black & white animation. Courtesy of the artist and Collection of Cinémathèque Française, Paris.
Hugues Reip, Stick Cutter, 1997-98, 44 elements, cardboard & color paper, and theater spots. Courtesy of the artist and Collection of FNAC, Paris.
Hugues Reip, Noirs Desseins (set #3), 2012. Courtesy of the artist and Collection of Olivier Malingue, Paris.
Past Resident2012: ACC - Asian Cultural Council
Ambie Abaño
Ambie Abaño’s shift from painting to printmaking brought her to an exploration of the medium as she investigates portraiture in relation to both material and process. From two-dimensional prints, her experimental works led to the creation of portraits and figures in sculpture, mixed media works, and installations, always with an element of traditional printmaking processes.
Ambie Abaño (born Manila 1967) abandoned the practice of architecture in favor of being a visual artist. She exhibits widely in the Philippines and across Asia. Abaño is a faculty member at the University of the Philippines College of Fine Arts. For the past six years, she served as president of the Philippine Association of Printmakers and remains active in their training program. Her solo exhibitions include: SurFACE (2011); Sanctuaire des memoires (2012) at the Alliance Francaise de Manille, and TransFIGURATION at the Cultural Center of the Philippines (2006). She participated in A/P: Analog Playground, Ateneo Art Gallery, Manila; The Speaking House, Kerala, India (2012); Asian International Art Exhibition (2007-2011), and Open Studios at Cité Internationale des Arts, Paris (2011).
Ambie Abaño, Trapped, 2009, Stuffed prints on textile, 24 × 24 × 24 in. (60.96 × 60.96 × 60.96 cm).
Ambie Abaño, Prayer, 2009, Installation with woodcut on textile and plastic.
Ambie Abaño, Self Awareness, 2011, Oil painting and woodcut on phillippine mahogany, 72 × 60 in. (182.88 × 152.4 cm).
Ambie Abaño, Diaries, 2010, Woodcut on recycled wood carved into books.
