Past Residents
Past Resident2021: Ministry of Culture, Taiwan2020: Ministry of Culture, Taiwan
Erica Yu-Wen Huang
Erica Yu-Wen Huang is an independent curator. She is interested in exploring the dynamics between people and the environment, as well as environmental sustainability. Huang’s practice engages in cross disciplinary and community collaboration to reveal hidden stories and narratives.
Erica Yu-Wen Huang has curated work at Museum of Contemporary Art Taipei; Zit-Dim Art Space, Tainan; and Centre for Heritage, Arts and Textile (CHAT), Hong Kong, among others.
Events & Exhibitions
2021 Fall Open Studios
November 13, 2021
Yin-Chieh LIN, with no name..., 2021, stainless steel drinking fountain, submersible water pump, Farcent in-cistern block (blue), cement fiber board podium, wood sculpture, stainless semicircle fountain, paper made poppy flowers, ultra-light clay sculpture, transparent spray (arrow), artist publications, partial installation view of the exhibition 'The World is yet to Come'. Photo courtesy of Museum of Contemporary Art Taipei.
Yao-Chung LIU, Safe Zone, 2021, paint on wall, ceramics, embroidery on fabric, oil painting, video installation, artist book, partial installation view of the exhibition 'The World is yet to Come'. Photo courtesy of Museum of Contemporary Art Taipei.
Kai-Chung LEE, The Narrow Road to the Deep Sea, 2019, single-channel video, two-channel video, ceramic sculptures, stainless trolley, partial installation view of the exhibition 'The World is yet to Come'. Photo courtesy of Museum of Contemporary Art Taipei.
Working Hard, Mouth of the River, 2021, cement fiberboard structure, window film, natural lighting, sound installation, partial installation view of the exhibition 'The World is yet to Come'. Photo courtesy of Museum of Contemporary Art Taipei.
South HO Siu Nam, Work naming has not yet succeeded, 2020, inkjet printing, partial installation view of the exhibition 'The World is yet to Come'. Photo courtesy of Museum of Contemporary Art Taipei.
Past Resident2024: New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha2023: Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation2021: Mondriaan Fund
James Beckett
James Beckett’s practice explores overlooked histories concerned with industrial development and the built environment. With a focus on the physicality of historically-laden objects, his works deal with cultural signs that shape our experience in the modern era. The approach considers proximity in the experience of subjects through tertiary bodies, and the implications of their given traces. Beckett activates objects in order to unpack their abstract and metaphysical potential, often employing the absurd and uncanny to form new perspectives on formative events.
James Beckett has exhibited at the 56th Venice Biennale, Venice; Stedelijk Museum, Amsterdam; and MAAT – Museum of Art, Architecture and Technology, Lisbon, amongst others. His work is in collections of Centre Pompidou, Paris, and Stedelijk Museum Amsterdam. He is the winner of Prix de Rome Art & Public Space.
James Beckett, A Seedless Grape, 2020-21, installation at the International Studio & Curatorial Program of backlit plexiglass, condenser coils, various objects, wood, and UV print on glass , 144 × 144 × 300 in. (365.76 × 365.76 × 762 cm).
James Beckett, The Skeptical Structures of Max, 2019, installation, dimensions variable.
James Beckett, Negative Space: A Scenario Generator for Clandestine Building in Africa, 2015, robotics istallation, dimensions variable.
James Beckett, Palace Ruin, 2018, installation for public space, dimensions variable.
James Beckett, Pairings, 2018, installation, dimensions variable.
Ground Floor Residents
Hong Seon Jang
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Council District 34, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Sujin Lim
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Simon Liu
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Viktoria Schmid
Viktoria Schmid works at the crossroad of cinema and installation art. Her chosen mediums of film, video, sculpture, and photography act as co-authors and enter into a dialogue with the content. Medium-specific qualities shape her works, where she reflects on the spatial and social conditions of cinema, exhibition, and public spaces. Schmid is interested in perception and influencing viewers’ everyday ways of seeing. Her practice focuses on historical image-making-processes, the potential for representing landscape, and the historical development of cinema.
Viktoria Schmid has exhibited work at the International Film Festival Rotterdam; Künstlerhaus Graz, Austria; and MONO NO AWARE, New York City, among others.
Viktoria Schmid, A Proposal to Project in Scope, 2020, 35mm film, 8 min.
Viktoria Schmid, A bench for A Proposal to project in Scope, 2022, wood, cyanotype on fabric, 50 × 20 × 18 in. (127 × 50.8 × 45.72 cm).
Viktoria Schmid, W O W (Kodak), 2018, video, 2 min.
Viktoria Schmid, The clouds are not like either one — they do not keep one form forever, 2014, 3 16mm projectors, 3 projection screens, black and white with colored filters.
Viktoria Schmid, #viktoriasshadows / timeflies. 18.3.2020, 11:00–12:30, 270 West 17th Street, NYC, 2020, cyanotype, 11 × 14 in. (27.94 × 35.56 cm).
