Past Residents
Past Resident
2022: Canton de Vaud, Service des Affaires Culturelles
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.
Past Resident
2022: Pollock-Krasner Foundation
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

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).

Ignacio Gonzalez-Lang, Truth, 2020, desiccator, newspaper clippings, and plexiglass column, 56 × 26 × 9 in. (142.24 × 66.04 × 22.86 cm).

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).

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).

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
Past Resident
2022: Ministry of Culture, Taiwan
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.

Yi Kuo, Render Ghost, 2015-2018, VR installation, dimensions variable.

Yi Kuo, Ghost Island, 2018-2020, VR Installation and live visual with Meuko! Meuko!.

Yi Kuo, XATA躰, 2019, VR and live audio-visual installation.

Yi Kuo, NONEYE, 2019-ongoing, online experience.