Past Residents

Country
Year
Residency Program
Resident Type
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Denmark

Past Resident
2022: Danish Arts Foundation
2021: Danish Arts Foundation
2020: Danish Arts Foundation

Artist

Vibe Overgaard

Vibe Overgaard is a visual artist working broadly with installation, sculpture, performance, video, archive material and critical writing. Her practice is research-based and focused on a historical perspective on the economy. Often engaged in research on industry and production-relations of a specific location, her work links local circumstances to greater global-political questions and critique.

Vibe Overgaard has exhibited work at Hotel Maria Kapel, Hoorn, The Netherlands; Odenplan metro station, Stockholm; Floating Projects, Hong Kong, among others.

Events & Exhibitions

2022 Spring Open Studios
April 22–April 23, 2022
Still from video
Vibe Overgaard, Autonomy in Constructed Space, 2021, single-channel video, 35 min
still from video
Vibe Overgaard, Autonomy in Constructed Space, 2021, single-channel video, 35 min
Installation view: Video and wooden stools (based on pre-industrial furniture taken directly from the shape of the tree).
Vibe Overgaard, Ex Nature, 2020, Video installation, 10 min
Vibe Overgaard, Manuscript on Accumulation, 2019, Performance and ceramic sculpture
Vibe Overgaard, Manuscript on Accumulation, 2018, Wood, ceramics, analogue photo-print

Residents from Denmark

Julian Juhlin

Julian Juhlin,
Denmark
Danish Arts Foundation
Studio #207

Tina Maria Nielsen

Bronze photo: Lior Zilberstein
Denmark
Danish Arts Foundation
2022

Dina El Kaisy Friemuth

installation view
Germany, Denmark
Danish Arts Foundation
2022
United States

Past Resident
2022: The Pollock-Krasner Foundation, Inc.

Artist

Ignacio Gonzalez-Lang

Ignacio Gonzalez-Lang creates multi-media sculptures and installations that explore the absurdity and violence inherent in both human nature and identity construction. The artist’s own Puerto Rican background, along with the historical and material culture of the Caribbean region, serve a prism through which he synthesizes ideas around race, nationality, tradition, and socioeconomics through visual representation.  

Ignacio Gonzalez-Lang has exhibited work at The Bronx Museum of the Arts, MoMA PS1, and El Museo del Barrio, all New York, among others.

Events & Exhibitions

2022 Spring Open Studios
April 22–April 23, 2022
Zemi is a teddy bear made out of recycled US army uniforms. The surface of the bear is entirely covered with silver-grey zinc and gold beads, pearls and lapis lazuli stones. It was inspired by the Beaded Zemi in Rome's Pigorini Museum, one of the finest surviving examples of Taino art produced before the disappearance of this culture in 16th century. Tainos were the principal inhabitants of Puerto Rico, Cuba, Jamaica, Hispaniola and Florida before the settlement of the region by Spanish colonists. Similar to a fetish object, the Beaded Zemi represents a supernatural character with coexisting Taino, African and European features.
Ignacio Gonzalez-Lang, Zemi, 2017, recycled United States military uniforms, lapis lazuli beads, turquoise beads, pearl beads, zinc beads, metal beads, gold plated beads, thread, and zipper, 22 × 24 × 131/2 in. (55.88 × 60.96 × 34.29 cm)
Truth consists of an airtight receptacle filled with an ongoing archive of Weird but True columns from New York tabloids. It’s a physical ‘hard drive’ that comments on the fragility of preserving history on digital servers, databases and clouds that depend on unsustainable sources of energy.
Ignacio Gonzalez-Lang, Truth, 2020, desiccator, newspaper clippings, and plexiglass column, 26 × 56 × 9 in. (66.04 × 142.24 × 22.86 cm)
I have made a series of artworks using recycled military uniforms as a canvas or support for responding to our recent American wars. These artworks were inspired by a subculture among American combat veterans where ex-service members deconstruct and transform their uniforms into artworks as therapy for PTSD. I was interested in expanding this practice as a way to honor the collective memory which transcends borders of the nation-state and honors the mutual bonds of war among all sides.
Ignacio Gonzalez-Lang, Blood Ocean, 2019, recycled United States military uniforms, coral, lapis lazuli beads, turquoise beads, mother of pearl beads, jade beads, imitation pearls, military buttons and pins, enamel pins, safety pins, cotton thread, and wood, 52 × 76 × 2 in. (132.08 × 193.04 × 5.08 cm)
Bug consists of a weatherproof hard-case for electronic equipment commonly used in the military. A traditional pattern stitched by an Afghani artisan on the back of a military shirt is stretched across the case. A digital microscope is focused on a microchip embedded inside.
Ignacio Gonzalez-Lang, Bug, 2018, recycled United States military uniform, digital microscope, motherboard, cotton thread, and weatherproof protective hard case, 20 × 22 × 17 in. (50.8 × 55.88 × 43.18 cm)
Blotter is another airtight desiccator box filled with an archive of the NYPD daily blotter clipping which ended its daily run in the printed paper in 2017.
Ignacio Gonzalez-Lang, Blotter, 2017, desiccator, New York Police Department daily blotter clippings, and plexiglass shelf, 81/2 × 14 × 7 in. (21.59 × 35.56 × 17.78 cm)

Residents from United States

Andrew Ross

Escher once asked, “Are you really sure that a floor can’t also be a ceiling?” The Dutch artist might have ignored the fundamentals of gravity, but Andrew Ross takes them head on, laying out a narrative where gravity is a character as real as the mole or ant. Ross’s exhibition—with its creatures, exotic garden, and reclining man admiring an apple —distorts what could otherwise be seen as a kind of pastoral. Using the language of display (plinths, pedestals, trusses), Ross teases out the purgatory between what we experience and what we know: the heavens, the earth, and the scafolding that connects them. The many faces of astrophysicist Neil deGrasse Tyson found in Ross’s flowers One suspects Tyson would admire the way that Ross’s universe, situated in the double helix of fact and ction, gives body to the forces we usually take for granted. His Untitled (Figure), a nod to the Newtonian myth, locates us in a moment of wonder when daydreams collide with reality. The ceiling and floor collapse and leave us with a divine sense of self- awareness. In the words of Tyson: “We are part of this Universe, we are in this Universe, but perhaps more important than both of those facts is that the Universe is in us.” — Kat Herriman, Artforum Critic's Pick
United States
Celebrate the Studio
Studio #213

Meghana Karnik

Exhibition view of TITLE TBD, a group exhibition featuring work by ⚙️️Admin, Adult Kindergarten, Thomas Barger, Lukaza Branfman-Verissimo, GenderFail, Jeff Kasper, Ariane Loze, Natalia Nakazawa, Emily Mae Smith and presented at The Cleveland Institute of Art's Reinberger Gallery.
United States
Artis
Studio #301

Li-Ming Hu

A messy desk with a laptop, hard drives, and duct tape made of faux fur
New Zealand, United States
Wallace Arts Trust
2022
Italy

Past Resident
2022: Italian Cultural Institute of New York
2020: The Italian Academy for Advanced Studies, Columbia University

Artist

Agostino Iacurci

Agostino Iacurci works with a wide range of media, including painting, wall-painting, sculpture, drawing, and installation. He creates immersive spaces to transform the perception of given environments. Starting from specific topics like the use of colors in the ancient and classical world, he questions issues of traditions and identity, investigating the process of idealization underlying historical myths and their impact on the collective imagination.

Agostino Iacurci has exhibited work at Civic Museum of Palazzo Mosca, Pesaro; Macro, Rome; Celaya Brothers Gallery, Mexico City, among others.

Events & Exhibitions

2022 Spring Open Studios
April 22–April 23, 2022
Diary of the Ornament: A Conversation between Agostino Iacurci and Simone Ciglia on Instagram Live 
July 28, 2020, 4–5pm
photo: Ela Bialkowska OKNO studio
Agostino Iacurci, Hortus, 2022, glazed terracotta, water, hydraulic pump, iron, copper, steel, 137.8 x 67 x 67
Agostino Iacurci, Diary of Ornament, 2020, canvas, wood, PVC pipes, plants, wall painting
Photo: Carlo Romano
Agostino Iacurci, Landscape 2, 2021, Print on canvas
Agostino Iacurci, Trompe l'oeil, 2017, paint, canvas, wood, cement, and found objects
Agostino Iacurci, Gypsoteca, 2018, paint, plaster, gouaches, paper, and wood

Residents from Italy

Ruth Beraha

Italy
Italian Cultural Institute of New York
2020

Maria D. Rapicavoli

Italy
Italian Cultural Institute of New York
2014

Francesco Simeti

Italy, United States
Italian Cultural Institute of New York
2021