Past Residents
Past Resident2013: Foundation for a Civil Society
Miran Blažek
Miran Blažek builds his work as recorded time of the constant quest for the meaning of the ordinary things we interact with in everyday life in order to build personal, emotional and mental caches of images. In his work there is a series of symbols which constitutes an open story where the words do not meet the needs of visual representation. His works function through traces which indicate that they derived from painting.
Born in 1983 in Osijek, Croatia, Miran Blažek graduated with a BA from the Academy of Fine Arts, Zagreb in 2006 and completed his postgraduate studies in 2012 at Fine Arts Academy, Ljubljana. Since 2011 he has served as an external assistant in drawing classes at the Art Academy in Osijek. His selected soho exhibitions include Monochrome, Waldinger Gallery, Osijek, Whirlpool, CEKAO Gallery, Zagreb and Whirlpool the lost paintings at Kazamat Gallery, Osijek. Selected group exhibitions include T-THTaward@MSU, the Museum of Contemporary Art, Zagheb; Tu smo 3 (We are here 3) at the Museum of Contemporary Art, Pula; Radoslav Putar Award, Finals at Galzenica Gallery, Velika Gorica; Osijek-Pecuch/Eszek-Pecs, Nador Gallery, Pecs; Meeting point, Arab; The Essl Art Award, Glyptotheque, Zagreb and FONA, Kortil Gallery Rijeka.
Events & Exhibitions
Salon: Miran Blažek and Mark Ther
March 26, 2013
Miran Blažek, Still Life, 2012, Raw canvas on wall, 72 × 62 in. (182.88 × 157.48 cm). Courtesy of the artist.
Miran Blažek, Whirlpool (Yugoslavia), 2006, Acrylic on wood, 39 in diameter. Courtesy of the artist.
Miran Blažek, Whirlpool (DDR), 2006, Acrylic on wood, 39 in diameter. Courtesy of artist .
Miran Blažek, Monument, 2012, Oil on canvas, 98 × 59 in. (248.92 × 149.86 cm). Courtesy of the artist.
Miran Blažek, At The Right Place at the Right Moment, 2012, Burned carpet, 51 in diameter. Courtesy of the artist.
Past Resident2013: Danish Arts Foundation
Jakob Boeskov
Jakob Boeskov is a Danish-Icelandic artist and filmmaker. His work touches upon many disciplines involving video, drawing and conceptual art. Common subjects are technology, politics and his native Scandinavian region. Boeskov’s best known project is calle ID Sniper, where he infiltrated a Chinese weapons fair with a fake hi-tech weapon.
Jakob Boeskov (born 1973, Elsinore, Denmark) moved to Copenhagen in the early 1990s where he put out his satirical comic Flax Letter (Nicolai Wallner Entertainments) and the experimental 8mm film Exhaust Tiger. In 1998 he published a comic about Lars Von Trier, after which he abandoned comics entirely, focusing on drawings and more conceptual art projects. His first solo show My Doomsday Weapon, The Thing, New York, 2004 documented the creation of a fictional hi-tech weapon. He later described these events in the film Empire North (2010), a film that won the Danish Dox Award at the Copenhagen DOX Film Festival. Group exhibitions include Populism, Frankfurter Kunstverein, 2005 and Screening War, ZKM Center for Art and Media, Karlsruhe, 2005. In 2010, Boeskov’s work was the subject of the retrospective exhibition Siggimund at the National Gallery of Denmark. His solo exhibitions include Coup de Théâtre, V1, Copenhagen, 2005, Thule, V1, Copenhagen, 2010 and Weekend Futurology, Mulherin Pollard, New York, 2012. Boeskov lives and works in New York City.
Jakob Boeskov, ID Sniper Model, 2002-2004, SLA, aluminum, and steel, 16 × 62 × 70 in. (40.64 × 157.48 × 177.8 cm). Courtesy of the artist.
Jakob Boeskov, Monster Mirror Drawings, 2004, Pastel on paper, 140 × 70 in. (355.6 × 177.8 cm). Courtesy of the artist.
Jakob Boeskov, The Island, 2009, Pastel on paper, 16 × 24 in. (40.64 × 60.96 cm). Courtesy of the artist.
Jakob Boeskov, War Wizard, 2006, Video, 6 min. Courtesy of the artist.
Jakob Boeskov, Untitled (We do Turing Testing), 2010, Pastel on paper, 16 × 24 in. (40.64 × 60.96 cm). Courtesy of the artist.
Residents from Denmark
Past Resident2012: Creative Australia
Kellie O’Dempsey
Through performance drawing, Kellie O’Dempsey explores liminal space and movement as narrative. With drawing as her dialogue, O’Dempsey spontaneously translates the immediacy of experience into line, form and gesture with charcoal and ink and more recently an electronic drawing device. Often working in collaboration with musicians, performers and artists, her process investigates the interconnected experience of human engagement. Via improvisation, elements of performance are translated into drawn works as an immediate means of response. Her work is currently focused on the synthesis of analogue and digital drawing.
Kellie O’Dempsey has developed installations in a vast array of spaces including: in the rehearsal studios of a ballet company (Queensland Ballet 2003), rock festivals, in The Barbican Theatre-London (2005) to commuters in subway during rush hour in Melbourne (2007). Performances and residencies include: Soundlabs, Italy, 2005-2006; Festival Internationale de Benicassim, Spain, 2005-2006; M on The Bund, Shanghai, 2009-2010; Judith Wright Centre of Contemporary Art, 2011; Elephant Rock cliff face – BLEACH 2012; Live collaborative performance with Michael Dick, Brian Richie and the Tasmanian Improvisers Orchestra at MONA FOMA, Hobart, 2012, The 18th Biennale of Sydney and upcoming at Draw International, France, 2013.
Kellie O’Dempsey, Mona Foma, 2012, Live performance paper, ink, paint, digital project, and orchestra. Courtesy of the artist.
Kellie O’Dempsey, Mona Foma, 2012, Live performance paper, ink, paint, digital project, and orchestra. Courtesy of the artist.
Kellie O’Dempsey, Moving Lines, 2011, Live performance paper, ink, tagtool, and digital projector. Courtesy of the artist.
