Past Residents
Past Resident2016: Creative Australia
Pat Foster & Jen Berean
Pat Foster & Jen Berean have been working collaboratively since 2001. Employing a diverse and lateral array of media and processes, their work unpacks the hidden systems that make up the sites and infrastructure that surrounds us. Within such thinking, contemporary architecture is deconstructed to such a degree that it is not solely concerned with the making of functional and utilizable space, but crucially, the determination of how, and by whom such space is used by, and for what purpose. It is within the juncture of physical environment and psychological effect that their practice is primarily concerned and manifests within an art context.
Pat Foster (born 1981, Launceston, Australia) and Jen Berean (born 1981, Calgary, Canada) predominantly work in sculpture and installation. Foster received a BFA from the Victorian College of the Arts at The University of Melbourne in 2005 and Berean received a BFA and an MA in Architecture from The Royal Melbourne Institute of Technology University. Recent solo exhibitions of their work have been held at The Monash University Museum of Art, Melbourne; Murray White Room, Melbourne; and Pallas Projects, Dublin. They have been exhibited their work in the following exhibitions The Adelaide Biennial of Australian Art; The Art Gallery of South Australia, Adelaide; Sequester, Embassy of Australia, Washington DC; and NEW 09, Australian Centre for Contemporary Art, Melbourne.
Events & Exhibitions
Spring Open Studios 2016
April 29–April 30, 2016
Pat Foster and Jen Berean, Can't Stand Up for Falling Down, 2010, Glass and polythene. Courtesy of the artists.
Past Resident2016: The New York Community Trust’s Edward and Sally Van Lier Fund
Joseph Buckley
Joseph Buckley’s work is informed by grief and postcolonialism, manifesting in a range of forms including sculpture, video, and writing. Using a myriad of techniques, these themes are alternately reified or obfuscated–mobilized to rhyme or repel each other. Central to his work is the use of “non-materials” (ideas, processes, people), manipulated in manners that mimic the archetypal languages and processes of sculpture. This lends itself to an ongoing critique and consideration of the mechanics of objectification, and the obverse of objectification: dehumanization. Buckley imports tropes and frameworks from science fiction and fantasy and appropriates aspects of these genres and canons in order to produce work that speaks, in a speculative vernacular, to real world conditions.
Joseph Buckley (born 1990 in Ellesmere Port, England) studied at Leeds College of Art and Goldsmiths, University of London, graduating in 2010 and 2013 respectively. In 2013 he moved to the United States where he graduated from Yale School of Art in 2015. Recent solo presentations of work include Pervert’s Lament as part of Time Item: Sculpture Thesis 2015, Green Gallery, Yale School of Art; and One Sixth Of A Series Of Elegies: V, ??, & XVII: Retcon! Retcon! Retcon!, &Model Gallery, Leeds, England. Recent group exhibitions include Wet Eyes, Meyohas, New York; Most Loathed, 3401 Lee Street, Los Angeles; and A Small Group Show of American and British Artists, Space Space Gallery, Tokyo.
Joseph Buckley, Chrome Ruins, 2015, Mirrored self-adhesive vinyl and MDF, 66 × 120 × 40 in. (167.64 × 304.8 × 101.6 cm). Courtesy of the artist.
Residents from United States
Ailyn Lee
Studio #210
Angel Lartigue
Studio #217
Calori & Maillard
Calori & Maillard is an artist duo working in sculpture and performance. Their collaboration combines backgrounds in design and film into a practice where the real and the surreal merges, often with the infiltration of the absurd into a real situation. Their practice tends to reduce, define, erase and mix the thin line between art and life, staging situations that induce a rethinking of already-given structures. Power systems and conventional behaviors are triggered and stretched through improvisation and unexpected elements which find the escaping point in the irony of the counteraction. The sense of instability and the loss of horizon is often researched, questioning the expected and suggesting alternatives to usual modes of conduct.
Calori & Maillard (Letizia Calori and Violette Maillard) have been working as together since 2009. Their collaboration combines backgrounds in architecture (Calori) and film studies (Maillard). In 2011, they obtained a MA in visual arts at the Università Iuav di Venezia. In 2012, they moved to Frankfurt where they deepened their research at the Städelschule, Staatliche Hochschule für Bildende Künste and obtained a Meisterschüle in sculpture with Tobias Rehberger. They participated in several international shows, both in experimental spaces and institutions, such as MMK, Museum für Moderne Kunst, Frankfurt; Fundación Botín, Santander; Mousonturm and Deutsche Filmmuseum, Frankfurt; Spreez, Munich; Österreichische Skulpturenpark, Graz; Museum of Contemporary Art, Lissone; MAXXI National Museum of the 21st Century Arts, Rome; Moderna Museet, Stockholm; and Fondazione Bevilacqua La Masa, Venice.
Calori & Maillard, L’Oiseau de feu. Botin Fondation, Santander, Spain. Courtesy of the artists..
Calori & Maillard, Bronze, 2014, Sculpture. Courtesy of the artists.
Residents from Italy
Raffaela Naldi Rossano
The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York, Directorate-General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and International Cooperation, Directorate-General for Contemporary Creativity of the Italian Ministry of Culture
2024
