Current Residents

List Grid

Current Resident: Jan 1, 2022–Mar 31, 2022

Studio #204

Lizania Cruz

Lizania Cruz uses audience participation to investigate notions of being and belonging within the public sphere. Using objects such as books, zines, installations, happenings, video, and photography, she invites a diverse range of communities to co-create collaborative artworks. Through research, oral history, and active participants, the projects she develops aim to highlight pluralistic narratives about migration and race.

Lizania Cruz has exhibited work at Bemis Center For Contemporary Arts, Omaha; El Museo del Barrio and CUE Art Foundation, both New York City, among others.

lizania.com

Installation view of exhibition. You can see a series of 20 books 5 feet tall and in the back a series of 8 posters on rice sack with blue, red, and yellow stamp letters.

Lizania Cruz, Gathering Evidence: Santo Domingo & New York City, 2021, books, posters on rice sacks with stamp letters, installation view at CUE Art Foundation, 2021. Photo by Adam Reich.

A photograph of a light-skinned Black woman with short, curly brown hair standing facing the camera. She is on a city sidewalk in between a brightly colored bodega and a check-cashing store. The woman is wearing a mid-length skirt, a button-down shirt, and a trench coat, all in varying shades of blue; red shoes; a red and blue face mask; and small, oval-shaped sunglasses. She carries a brown briefcase in her left hand.

Lizania Cruz, ¡Se Buscan Testigos! [Looking for Witnesses!] Portrait of a Detective in NYC, 2021, photographic documentation of happening, 30 × 20 in. (76.2 × 50.8 cm). Photo by Neha Gautam.

Public happening of We the News newsstand. Newsstand by of wood with colorful zines on the corner of the street. Three people gather outside

Lizania Cruz, Happening We the News, 2018, public intervention, dimensions variable.

Installation view of photography of Maria — Flower for Immigration. Photograph of flower arrangement on black background

Lizania Cruz, Maria — Flower for Immigration, 2017, archival digital-C print, 144 × 96 in. (365.76 × 243.84 cm).

Installation of black wall with titled of the piece Obituaries of the American Dream along with newspaper print to take away

Lizania Cruz, Obituaries of the American Dream, 2020-2021, installation view at El Museo del Barrio's “ESTAMOS BIEN – LA TRIENAL 20/21” , dimensions variable.

Residents from Dominican Republic

Hulda Guzmán

Dominican Republic

Davidoff Art Initiative

2015

Polibio Díaz

Dominican Republic

Davidoff Art Initiative

2014

Mónica Ferreras De la Maza

Dominican Republic

Davidoff Art Initiative

2013

United States

Current Resident: Dec 1, 2021–May 31, 2022

The Pollock-Krasner Foundation, Inc.

Studio #205

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.

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

Petrina Dacres

Jamaica, United States

Jane Farver Memorial Fund

2021

Steven Anthony Johnson II

this drawing depicts the Artist Grandmother, Annie Mae around the age 76. She is wearing a church hat and gown with a single gloved hand on her hip.

United States

The New York Community Trust’s Edward and Sally Van Lier Fund

Studio #201

Darian Longmire

United States

Vision Fund

Denmark, Japan

Current Resident: Nov 1, 2021–Feb 28, 2022

Danish Arts Foundation

Studio #207

Artist

Silas Inoue

Silas Inoue’s practice is characterized by an idiosyncratic approach to nature and natural sciences, and a style he describes as Quasi-Asian in reference to he’s mixed Danish and Japanese heritage. He makes use of classic as well as less conventional materials, including sugar, cooking oil, mold and other living organisms. Combining intuitive methods with more analytic observations of the world, he creates works that are humorous, sensorial, and thought evoking. Interested in how different life forms are distributed, Inoue explores ideas around consumption/formation, ecological/economic growth, and connectedness between the species and the planetary.

Silas Inoue has exhibited work at ARKEN Museum of Modern Art, Ishøj, Denmark; Augustiana Kunsthal, Augustenborg, Denmark; and Nicodim Gallery, Los Angeles, among others.

silasinoue.com

Events & Exhibitions

2021 Fall Open Studios

November 13, 2021

Silas Inoue, Infrastructure, 2020, clear acrylic, wood, silicon, radiant acrylic, plastic, mold, bronze respiratory system, 17¹¹/₁₆ × 51¹/₂ × 11¹³/₁₆ in. (44.96 × 130.81 × 29.97 cm).