Past Resident
2022: Canton de Vaud, Service des Affaires Culturelles

Artist

Philémon Otth

Philémon Otth’s artistic practice revolves around challenging questions of time and temporalities, history and histories, material and immaterial, transparency and opacity. He is interested in exploring sites and situations by questioning the implications of images and objects within their spatial and socio-historical contexts. Otth approaches these ideas through configurations of form and language, displacement and shifting strategies.

Philémon Otth has exhibited work at CAN – Centre d’Art de Neuchâtel; Plymouth Rock, Zürich; and Kunsthaus Baselland, Muttenz, all Switzerland, among others.

Philémon Otth, Engawa (side by side, end to end), 2020, wooden platform and canvas pieces, dimensions variable.

Philémon Otth, Break Out, 2021, iron bars and paint, dimensions variable.

Philémon Otth, time for a better world, 2020, beach towel, 27¹/₂ × 10¹³/₁₆ in. (69.85 × 27.43 cm).

Philémon Otth, He made friend with the bees and they let him know the secrets of the Sun, 2018, cocktail, wooden structure, and bottle, 15¹¹/₁₆ × 15¹¹/₁₆ × 59 in. (39.88 × 39.88 × 149.86 cm).

Philémon Otth, very veto very vero, 2016, glass, canvas, wood, floor dirt, and local honey, dimensions variable.

Residents from Switzerland

Sara Sjölin

Sweden, Switzerland

Danish Arts Foundation

2024

Okka-Esther Hungerbühler

Germany, Switzerland

Senate Department for Culture and Europe, Berlin

2024

Pascale Birchler

Switzerland

Pro Helvetia, Atelier Flex - Kanton Zug

2024

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United States

Past Resident
2022: Pollock-Krasner Foundation

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, 24 × 22 × 13¹/₂ in. (60.96 × 55.88 × 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, 56 × 26 × 9 in. (142.24 × 66.04 × 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, 76 × 52 × 2 in. (193.04 × 132.08 × 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, 22 × 20 × 17 in. (55.88 × 50.8 × 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, 14 × 8¹/₂ × 7 in. (35.56 × 21.59 × 17.78 cm).

Residents from United States

Ruth Owens

United States

Sherrill Collection of American Art Foundation

Studio #213

Umber Majeed

United States

Pollock-Krasner Foundation

Studio #204

Grace Rosario Perkins

United States

Leon Polk Smith Foundation

Studio #303

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Taiwan

Past Resident
2022: Ministry of Culture, Taiwan

Artist

Yi Kuo

Yi Kuo is an interdisciplinary developer and media artist. His works are often a combination of different media, including virtual reality, multiplayer gaming, audio-visual performances, installations, and theater space. He builds system structures to connect layers of spaces and forms of bodies, and seeks dialectic perspective between mythological and technological narratives. Kuo is the co-Founder/Director of the new media art group NAXS Corp.

Yi Kuo has exhibited work at Ars Electronica Center, Linz; transmediale, Berlin; and Unsound Festival, Warsaw, among others.