Past Residents

List Grid

Past Resident
2023: Artis, Office of Cultural Affairs, Consulate General of Israel in New York, ZAZ10TS, Tzili Charney

Artist

Noa Yekutieli

Noa Yekutieli’s work explores tensions between shared human experiences complicated by cross-cultural perspectives through a variety of craft mediums such as paper-cutting, handwoven textiles, and site-specific installation. Through images of landscapes and disasters, the artist examines universal patterns of destruction, loss, trauma, and memory, drawing on personal experiences as an Israeli-Japanese-American and considering conflicts related to assimilation and immigration. By incorporating patterns from various cultural contexts, Yekutieli attempts to investigate human systems in the emotional and political realms.

Noa Yekutieli has exhibited work at Contemporary Art Museum of Rosario, Argentina; Kunstmuseum Ahlen, Germany; and Nakanojo Biennale, Japan, among others.

Events & Exhibitions

Exploring Liminality: A Gallery Talk with Noa Yekutieli and Jenée-Daria Strand

March 5, 2024, 6:30–7:30pm

Noa Yekutieli: No Longer — Not Yet

Through June 21

2022 Fall Open Studios

November 18–November 19, 2022

The Chaos in Order, 2020, manual paper-cutting, xerox prints, 138 x 138 x 95 inches

Noa Yekutieli, The Chaos in Order, 2020, manual paper-cutting and xerox copies, 138 × 138 × 95 in. (350.52 × 350.52 × 241.3 cm)

Shoji Screen, 2021, manual paper-cutting, 59 7/8 x 97 1/4 inches

Noa Yekutieli, Shoji Screen, 2021, manual paper-cutting, 59⁷/₈ × 97¹/₄ in. (152.07 × 247.01 cm)

Not a place to rest, 2022, manual paper-cutting, hand woven textile, 47 1/4 x 37 1/8 inches

Noa Yekutieli, Not a place to rest, 2022, manual paper-cutting and hand woven textile, 47¹/₄ × 37¹/₈ in. (120.01 × 94.3 cm)

From Dichotomy to Color, 2022, manual paper-cutting, hand woven textile, 20 1/8 x 32 1/4 inches

Noa Yekutieli, From Dichotomy to Color, 2022, manual paper-cutting and hand woven textile, 20¹/₈ × 32¹/₄ in. (51.12 × 81.91 cm)

Being There Absent, 2022, manual paper-cutting, hand woven textile, 82 5/8 x 55 1/8 inches

Noa Yekutieli, Being There Absent, 2022, manual paper-cutting and hand woven textile, 82⁵/₈ × 55¹/₈ in. (209.87 × 140.02 cm)

Residents from Israel

Merav Kamel & Halil Balabin

A black wolf sewn out of fabric stands on a cylindrical black base. It has human teeth in its mouth and a small woman wearing a red t-shirt in its belly.

Israel

Artis

2023

Ruth Patir

Israel, United States

Artis

2023

Yael Frank

$\Permanent installation of a fake coconut tree bending down from the roof along the facade of Artport Residency Building$

Israel, United States

Artis

2022

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, 90 × 57 in. (228.6 × 144.78 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, 78 × 81 in. (198.12 × 205.74 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, 76 × 85 in. (193.04 × 215.9 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, 78 × 86 in. (198.12 × 218.44 cm)

Residents from France

Bianca Argimón

This triptych depicts my vision of wars essentially throughout the XX & XXI st century with analogies to popular culture.

Spain, France

La Fondation pour l'Art Contemporain Claudine et Jean-Marc Salomon

Studio #206

Kokou Ferdinand Makouvia

France, Togo

La Fondation pour l'Art Contemporain Claudine et Jean-Marc Salomon

2023

Ittah Yoda

France

Institut Français, Villa Albertine

2022

United States

Past Resident
2023: Celebrate the Studio

Artist

Andrew Ross

Andrew Ross is a sculptor and new media artist. His works ranges from process-based abstractions to figurative tableaus, combining idiosyncrasy, reverse engineering, and digital imaging to create narrative fragments. He uses everyday objects, popular culture, mythology, and online communities to create speculative fiction inspired by diasporic thought and explore the relationship between the arbitrary and the designed.

Andrew Ross has exhibited work at Clima, Milan; False Flag, New York; and American Medium, New York, among others.

Escher once asked, “Are you really sure that a floor can’t also be a ceiling?” The Dutch artist might have ignored the fundamentals of gravity, but Andrew Ross takes them head on, laying out a narrative where gravity is a character as real as the mole or ant. Ross’s exhibition—with its creatures, exotic garden, and reclining man admiring an apple —distorts what could otherwise be seen as a kind of pastoral. Using the language of display (plinths, pedestals, trusses), Ross teases out the purgatory between what we experience and what we know: the heavens, the earth, and the scafolding that connects them. The many faces of astrophysicist Neil deGrasse Tyson found in Ross’s flowers One suspects Tyson would admire the way that Ross’s universe, situated in the double helix of fact and ction, gives body to the forces we usually take for granted. His Untitled (Figure), a nod to the Newtonian myth, locates us in a moment of wonder when daydreams collide with reality. The ceiling and floor collapse and leave us with a divine sense of self- awareness. In the words of Tyson: “We are part of this Universe, we are in this Universe, but perhaps more important than both of those facts is that the Universe is in us.” — Kat Herriman, Artforum Critic's Pick

Andrew Ross, Untitled (Landowner), 2017, wood, plastic, plaster, pigment, plastic, acrylic, fabric, tubing, bamboo, string and planter, 85 × 95 × 61 in. (215.9 × 241.3 × 154.94 cm)

Chassis, is the word for the base structure of a car, onto which all the other parts attach. It also sounds a bit like a person’s name. The desires latent in the anthropomorphism of this sound associated with what’s “under the hood” are exposed by the fanaticism accompanying car parts, extending into toy and model versions. DIY vacuum forming is in a sense a political act, to take a technique used by mass production and to do it in your home and to uniquely customize your plastic shells. It’s a hobby associated with toy cars and cosplay, and other avenues where plastic bodies are interchangeable to their chassis. The show is comprised of plastic parts that interconnect to create hollow objects bordering on figurative, abstract and functional.

Andrew Ross, Chassis, 2017, vacuum formed thermoplastic, light bulbs, electrical wire, aluminum and wood, dimensions variable.

A sculpture using real riot gear and a steel wool figure that does not anatomically align with the riot gear.

Andrew Ross, Hollow Man With Rubber Boots, 2017, riot gear, resin, fiberglass, steel, vinyl, wire mesh and steel wool, dimensions variable.

The work was originally sculpted out of air dry clay over a plaster and wire armature and base. The top half was then re-cast as a hollow shell in fiberglass and resin. The bottom half was left as the original material. The final material list is resin, fiberglass, clay, plastic, plaster, lacquer, paint, steel and aluminum armature. My intention was to make figurative sculptures which also served as architectural spaces for miniature figures. So the work focused on armor and shell like shapes. All Cartoons was intended to feel like a pile of costume materials that became animated into a figure of its own. The bottom half is sculpted to resemble the tread on the boots that I was wearing as I made it, and the top half was sculpted with a breast plate and helmet in mind.

Andrew Ross, All Cartoons Are Masculine, 2017, unfired water-based clay, resin, fiberglass, primer, plastic and plaster, 56 × 45 × 54 in. (142.24 × 114.3 × 137.16 cm)

Andrew Ross takes a cinema-inspired approach to sculpture. He’s interested in the dissonance created by the simultaneous events of depiction and reception. Ross sculpts in the round a zany cartoon character, which resembles Bugs Bunny. The sculpture casts the character as a archetypal underdog akin to classical depictions of David. Rather than holding a stone or slingshot, the cartoon rabbit figure rolls up its skin like a sleeve, apparently in preparation for a fight or to tackle a dirty task. The task at hand being absent, sets its gaze or the direction of the arms toward the viewers’ space. The sculpture gazes through the viewer allowing for symbolic confrontation, or perhaps anticipation to be placed in front of an appropriate adversary by its curators. Ross embraces the potential for both direction and misdirection given by this frozen moment of tension, and the emotive embodiment allowed by the animated figure- emphasized by the arm’s physical contortion.

Andrew Ross, Fight Loop, 2021, 3D printed thermoplastic, epoxy coating, polyeurothane, aluminum, stainless steel, plywood and automotive paint, 62 × 36 × 36 in. (157.48 × 91.44 × 91.44 cm)

Residents from United States

Joshua Thaddeus Rainer

Painting of a dream the artist had years ago wherein he was trapped in a seemingly broken elevator that would not stop ascending.

United States

The Kettering Family Foundation

Studio #211

Yoshie Sakai

United States

Vision Fund

Studio #202

Vincent Chong

A public performance in Manhattan Chinatown's Columbus Park for both my Queer and Trans Asian Pacific Islander community and the elders who spend time in that park. Black dress by Shawna Wu. Wig by Paul Keo. Green cape sewn and stoned by the Artist.

United States

Celebrate the Studio

2024