Past Residents

Country
Year
Residency Program
Resident Type
List Grid
Residents Map
Switzerland

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
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
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.

Yi Kuo, AFTERLIFE網路來生：EV20F1, 2020, online performance presented at Unsound Festival, Kraków, dimensions variable.
Our body is inevitably dissolving into a new reality, mediated by screens, networks and algorithms. Memories, consciousness, and the "Truth" transforming in light-speed, as our ancient beliefs collapsed and drifting into the digital-vacuum. While the calling of Posthuman approached, Taipei-based newmedia art group NAXS turned to Kora - a pilgrimage in the Tibetan Buddhist - for guidance, seeking for an alternative narrative of digital-theatre-interfaces, and the possibilities of contemporary ritual, in between the informatic universe, the technical society, and the naked flesh of ours. 《Render Ghost》is a continuous evolving ritual-service-framework initiated since 2015, as well as an immersive-VR-theatre with no predetermined performers. Wearing dust-proof clothing and VR headsets, viewers immerse themselves into the virtual spectacles, gigantic soundscape and spatial installation with dense fog and laser. In the theatre, viewers wander around the edge between reality and virtuality experiencing the sensation of great falling, deformation, and transcendence. When the boundary becomes more and more blurred, a journey toward virtuality begins.
Yi Kuo, Render Ghost, 2015-2018, VR installation, dimensions variable.
Yi Kuo, Ghost Island, 2018-2020, VR Installation and live visual with Meuko! Meuko!.
A cyber geohistory study. Submerged into the abyss of the Internet, stratums of data-sendiments, analyze the layers of internet space in Geohistory methods, attempting to find the evidence of an emerging consciousness, deep under the ocean of collective desire.
Yi Kuo, XATA躰, 2019, VR and live audio-visual installation.
is a cross-media project initiated in 2018. With neural-network generated images of eyes as its symbolic core, claims itself to be a mythological computing device, navigating through the endless matrix of imaginations, emotions and history, in searching for a point-of-view of non-existence, in our life experiences between information and body, geopolitics and religions, technology and nature. Inheriting from the concepts and tech-stacks developed in the virtual-immersive-theater work , and online/offline audiovisual performance , The aims to continue this pursue, develop it's theoretical basis, by implanting a set of fictional/non-fictional researching methods, and expand its format a site-specific ritual experience/theater between physical and virtual space. Roots in personal experiences of the complex religions/politics scenario in East Asia, suggests a floating perspective, to reinvestigate the mythological nature of our technoscience society, optionally the evolutionary affinity between traditional religions and our posthuman future.
Yi Kuo, NONEYE, 2019-ongoing, online experience.

Residents from Taiwan

Szu-Ying Hsu (Ida)

Taiwan, Germany
Ministry of Culture, Taiwan
Studio #302

Pou-Ching Tsai

Taiwan
Ministry of Culture, Taiwan
Studio #210

Feng-Yi Chu

Taiwan
Ministry of Culture, Taiwan
2024