Past Residents

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Past Resident
2023: Danish Arts Foundation

Artist

Julian Juhlin

Julian Juhlin creates theatrical visual art using staging techniques he learned while working as a stage designer, establishing a distinct iconography in the artist’s practice. In his works, Juhlin stages figures and objects derived from his own experience, placing them in visual scenes frozen in time in an attempt to maintain and preserve specific stages of life.

Julian Juhlin has exhibited work at Copenhagen Contemporary, Denmark; Prague Quadrennial, Czech Republic; and Royal Danish Theatre, Denmark, among others.

Events & Exhibitions

2022 Fall Open Studios

November 18–November 19, 2022

Julian Juhlin, "The Boy Who Will Never Leave Home", 2012-, Performance, installation, video in the artists home and childhood home in Copenhagen.

Julian Juhlin, The Boy Who Will Never Leave Home, 2012-ongoing, installation, performance and video.

Julian Juhlin, "Halfdans Hokus Pokus", 2019, Set design and costume design, Royal Danish Theatre.

Julian Juhlin, Halfdans Hokus Pokus, 2019, set design, 748 × 315 × 236 in. (1899.92 × 800.1 × 599.44 cm).

Julian Juhlin, "Virgin Tour - Czech Republic", 2019, Performance, installation. 10 days, 100 hours. Prague Quadrennial.

Julian Juhlin, Virgin Tour - Czech Republic, 2019, performance and installation, 196 × 196 × 149 in. (497.84 × 497.84 × 378.46 cm).

Julian Juhlin, "Virgin Tour - Tokyo", 2022, Performance, installation. Shop widow. Chiyoda, Tokyo.

Julian Juhlin, Virgin Tour - Tokyo, 2022, performance and installation, 149 × 78 × 66 in. (378.46 × 198.12 × 167.64 cm).

Julian Juhlin, "Virgin Tour - New York". Coming up, 2022. Film. 8 min.

Julian Juhlin, Virgin Tour - New York, 2022, film, 8 min..

Residents from Denmark

Lina Hashim

Denmark, Iraq

Danish Arts Foundation

Studio #207

Tora Schultz

Denmark

Danish Arts Foundation

2024

Asta Lynge and Jakob Ohrt

Denmark

Danish Arts Foundation

2025

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France, French Guiana, Guadeloupe, Martinique

Past Resident
2023: Tauck Ritzau Innovative Philanthropy

Artist

Johanna Mirabel

Johanna Mirabel explores pictorial representation, shifting between abstraction, expressionism, and realism. She stages contradictions and juxtapositions using lush vegetation, partially present and disparate objects to evoke the inherent complexity of life between different cultures. Inspired by Glissant’s Creolisation, Mirabel creates pictorial forms that appear to be in constant motion, in which the characters are embedded, nested, and ready to merge in their moving environment. The artist invites us to inhabit her work, mentally exploring them as parallel realities, as she moves between painting and sculpture.

Johanna Mirabel has exhibited work at Espace des Femmes Antoinette Fouque, Paris; Luce Gallery, Torino; and Manifesta, Lyon, among others.

Events & Exhibitions

Artists at Work: Johanna Mirabel with Stephanie Johnson-Cunningham

January 26, 2023, 6–7pm

2022 Fall Open Studios

November 18–November 19, 2022

The classical genre painting is tinged with bright colors, a reference to Tembé, an abstract art typically Guyanese recognizable by the use of red, yellow and blue. Some works are dominated by ochre and red whose different shades evoke the chromatic richness of the land of Guyana.

Johanna Mirabel, Living Room n.18, 2022, oil on canvas, 57 × 90 in. (144.78 × 228.6 cm).

The home that Johanna Mirabel depicts is the scene of a tension between universal and intimate. In the home, as in her work, only a limited circle of acquaintances is invited to enter. Thus, the figures that inhabit her paintings are inspired by friends or family members with whom the artist has strong ties.

Johanna Mirabel, Living Room n.10, 2021, oil on canvas, 81 × 78 in. (205.74 × 198.12 cm).

A place of intimacy par excellence, the layout of the space translates a way of life specific to each person, reflects a sensitivity and is embellished over time with memories sometimes materialized in objects. The organization of the home also varies according to culture, yet its evocation refers to a shared imagination. Far from being isolated, the home is for Johanna Mirabel a privileged place to connect with the world. «Act in your place, think with the world» suggested Édouard Glissant, a poet whose writings and concepts inspire the artist. The home becomes the island from which we enter into relationship with the world. This is why in his works, the border between inside and outside is porous. The spaces are delimited but never closed. Beyond the openings, doors or windows, the composition itself invites to leave the canvas. To accompany the imagination and reinforce the idea of interpenetration between the work and the place in which it is exhibited, stretched sections of canvas are sometimes freed from the painting to unfold on the wall.

Johanna Mirabel, Living Room n.8, 2021, oil on canvas, 96.

The creation of space no longer relies on perspective but on the combination of color fields, on the cohabitation of pictorial writings that redefine the inside-outside complex and give free rein to the floating of the characters. Thwarting the conventional stakes that order the world around converging vanishing lines in order to define a frame deemed stable for the human figure. By superimposing, revealing and obscuring details through constant changes between ground and space, dissolving figuration into abstraction, it is a question of offering a certain distance between the model and the spectator.

Johanna Mirabel, Cascade, 2020, oil on canvas, 85 × 76 in. (215.9 × 193.04 cm).

Breaking down artistic approaches, she mixes precise figurative representation and abstraction. Detailed faces and sketched silhouettes take place in these worlds where time seems to be suspended. The multiplicity of vanishing points reinforces the strange and dissonant character of the represented scenes. In Johanna Mirabel’s world, nature has a special place. By removing vegetation from its ornamental status, the artist questions our relationship to the environment. These interiors inhabited by domestic plants and invested by vegetation become real microcosms. New balances reconciling nature and culture are then experimented.

Johanna Mirabel, Living Room n.14, 2022, oil on canvas, 86 × 78 in. (218.44 × 198.12 cm).

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United States

Past Resident
2022: Artis

Curator

Meghana Karnik

Meghana Karnik is a curator, arts worker and writer. In her practice, Karnik explores paradoxes between art and social change, spirituality and technology, and lived experience and institutional process. Her current research focuses on artists and cultural workers who practice disinformation, cultural dislocation, and/or mysticism.

Meghana Karnik has curated exhibitions at Richard and Dolly Maass Gallery, New York; Reinberger Gallery, Cleveland Institute of Art, Cleveland; and Foundation and Center for Contemporary Art, Prague, among others.

Events & Exhibitions

2022 Fall Open Studios

November 18–November 19, 2022

Exhibition view of TITLE TBD, a group exhibition featuring work by ⚙️️Admin, Adult Kindergarten, Thomas Barger, Lukaza Branfman-Verissimo, GenderFail, Jeff Kasper, Ariane Loze, Natalia Nakazawa, Emily Mae Smith and presented at The Cleveland Institute of Art's Reinberger Gallery.

Installation view of group exhibition featuring work by Admin, Adult Kindergarten, Thomas Barger, Lukaza Branfman-Verissimo, GenderFail, Jeff Kasper, Ariane Loze, Natalia Nakazawa and Emily Mae Smith, TITLE TBD, 2020, at The Cleveland Institute of Art's Reinberger Gallery, Cleveland, curated by Meghana Karnik. Photo by Yann Chashanovski.

Installation view of group exhibition featuring work by Admin, Adult Kindergarten, Thomas Barger, Lukaza Branfman-Verissimo, GenderFail, Jeff Kasper, Ariane Loze, Natalia Nakazawa and Emily Mae Smith, TITLE TBD, 2020, at Reinberger Gallery, The Cleveland Institute of Art, Cleveland, curated by Meghana Karnik. Photo by Yann Chashanovski.

Installation image of artwork by Tamar Ettun, titled Demon Traps, in the solo exhibition, How To Trap A Demon. Series of glazed and unglazed stoneware; shibori dyeing wands with cotton, hand-made natural dyes, and tree branches; silk thread, long reach matches, frankincense, beans, washers, bolts, and other found materials; air-dried goldenrods. How To Trap A Demon is presented at SUNY Purchase's Richard and Dolly Maass Gallery through November 16, 2022.

Installation view of Tamar Ettun's work, Demon Traps, in the exhibition 'How To Trap A Demon', 2022, at Richard and Dolly Maass Gallery, New York, curated by Meghana Karnik. Photo by Yann Chashanovski.

Installation view of Tamar Ettun's work 'Demon traps' in exhibition, Demon Traps, in the exhibition 'How To Trap A Demon', 2022, at Richard and Dolly Maass Gallery, New York, curated by Meghana Karnik. Photo by Yann Chashanovski.

Documentation of artist book project and curator's editorial project, Texts From Lilit: 31 Cards to Connect You to Your Demon. Published October 2022 in conjunction with How To Trap A Demon at SUNY Purchase's Richard and Dolly Maass Gallery.

Documentation of artist book project and curator's editorial project, Texts From Lilit: 31 Cards to Connect You to Your Demon, 2022, in conjunction with 'How To Trap A Demon' at Richard and Dolly Maass Gallery, New York.

Residents from United States

Maya Jeffereis

United States

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

Ground Floor

Aryel René Jackson

United States

Vision Fund

2025

Hanae Utamura

Japan, United States

Every Page Foundation

Studio #201