Current Residents

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The Netherlands, South Africa

Current Resident: Jan 1, 2020–Dec 31, 2021

Mondriaan Fund

Studio #216

Artist

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.

jamesbeckett.net

Events & Exhibitions

Homecoming Outdoor Screening
August 20, 2021, 8–9:30pm
2021 Summer Open House
July 28, 2021, 3–9pm
2021 Spring Open Studios
April 27–April 28, 2021
2020 Fall Open Studios
November 17–November 18, 2020
2020 Summer Open Studios
August 25–August 26, 2020
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.

Residents from South Africa

Foundland

South Africa, Syria
Edge of Arabia and Art Jameel
2014

Frances Goodman

South Africa
Aeroplastics Contemporary
2012

Berni Searle

South Africa
Anonymous
2007
Japan

Current Resident: Sep 1, 2021–Aug 31, 2022

Bunkacho - Agency for Cultural Affairs, Government of Japan

Studio #217

Artist

Kenji Yamada

Kenji Yamada is an artist who carries out social practice and activities to share conflicts and paradoxes within international society. These conflicts and paradoxes emerge from application and misuse of ethnographical wisdoms, remains and modern heritages, including war ruins in a particular cultural area. He complexly questions undifferentiated historical views and public interest by cooperating with citizens to publicize and reveal historical artifacts that have been buried by the construction of public spaces to society.

Kenji Yamada has exhibited at 3331 Arts Chiyoda, Tokyo; Yang Art Museum, Beijing; and Morgue Gallery, Chelsea College of Arts, London, among others.

yamadakenji.org
Kenji Yamada, MITA Intercept, 2020, video installation, 5:28 min.
Kenji Yamada, Intercepted self-portrait, 2017, 3 channel video installation, 5:00 min.
Kenji Yamada, Cao Gang River meeting practice, 2016, 10 channel video installation, 67:00 min.
Kenji Yamada, Smurfed remain, 2016, 2 channel video installation, 90:00 min.
Kenji Yamada, BSIM (, 2011, Interactive video installation.

Residents from Japan

Saya Irie

Japan
Pola Art Foundation
2021

Yuki Higashino

Japan
Federal Ministry for Arts, Culture, the Civil Service and Sport of Austria
2020

Zai Nomura

Japan
Bunkacho - Agency for Cultural Affairs, Government of Japan
2020
Austria, Germany

Current Resident: Jul 1, 2021–Dec 31, 2021

Federal Ministry for Arts, Culture, the Civil Service and Sport of Austria

Studio #218

Artist

Anna Witt

Anna Witt’s artistic practice is performative, participatory, and political. She creates situations that reflect interpersonal relationships and power structures as well as conventions of speaking and acting. Passers-by in public spaces, or specifically selected people and groups, are drawn into her experimental arrangements, usually in a directly physical way. The tasks range from repeated imitation of specifically coded gestures to the development of complex choreographies, and give the participants opportunities for individual articulation and authorship.

Anna Witt has exhibited work at Belvedere 21, Vienna; Seoul Museum of Art, Seoul; and KW Institue for Contemporary Art, Berlin, among others.

annawitt.net

Events & Exhibitions

Homecoming Outdoor Screening
August 20, 2021, 8–9:30pm
“Trecce in Fiamme/ Braids on Fire (2 channels HD video 2021) is a video installation in which one part is focused on a conversation and, the other imagines the women of Forcella as almost divine creatures capable through sisterhood and solidarity of becoming present in a society which often puts them apart and closes them away, diminishing us all: in fact, the artist has realized one of the videos letting them to perform as heroic women like in classical frescos where the public spaces of their daily lives became the shared spaces in which to affirm their bold struggled lives. From this process Anna Witt came to imagine a set of performances in which the care for the souls in purgatory in a practice of faith evolves into an inspiring conversation between the women of today with the histories of women of the past, despite the great period of time that might at first appear to separate them. Here is an open conversation between mothers and daughters, between the past and the present, that asks what needs to be done, what may we learn from the past, and what the values are of lives which for too long have been lived in the silence of the “narrative of established history”, lives that actually form and make the strength of society and of future generations.
Anna Witt, Braids on Fire, 2021, 2-channel HD Video, 15 min.
How does automatization and artificial intelligence affect the working situation in an industrial town like Toyota city? What are its effects on the human condition and what does labor mean to each one personal? Factory workers and employees of the car industry in Toyota city came together to discuss their personal experiences and expectations towards the future of labor, automatization and artificial intelligence. In addition to the discussion, imaginative utopian and dystopian aspects are expressed through elements of body movement, sound and performance. The workers extracted movements of their daily working routines and transformed them into a collective choreography. In an act of creativity, they experimented with acoustic instruments and created a reverse process of production by dismantling working clothes. By carefully cutting of piece after piece of cloth from each other’s bodies, they created a playful yet intense moment of liberation. The work was developed in an experimental collaborative process of the artist and the participants together.
Anna Witt, Unboxing the Future, 2019, 3-channel 4K video, 29:09 min.
Kagran and Kaisermühlen are areas in Vienna’s 22nd district that concentrate a piece of the city’s history. Formerly a working-class neighbourhood and stronghold of council housing, it was one of the last bastions of the Socialist Party in its fight against Austrofascism. What interests Anna Witt most about this history is the vibrant utopia, the belief in the collective and in solidarity. The work of the visual artist, who was awarded the Otto Mauer Prize in 2018, is performative and participatory – this allows her to delve into questions that are important to her: How much community still exists in our society? In what way are the residents of a “Gemeindebau” connected nowadays? For Beat House Donaustadt Witt uses an ultrasound scanner to record their heartbeats. At the start of the Wiener Festwochen, the residents open their windows, letting their individual rhythms drift out and join to form a collective sound. The sound of the city.
Anna Witt, Beathouse Donaustadt, 2019, collective performance, 20 min.
Anna Witt is following a group of young people in Leipzig while developing a manifest for a potential youth movement. The young adults spent several months realizing the project in close cooperation with the artist. During their conversations, they are discussing their personal ideas of social utopias and are expressing their own feelings within the prevailing systems. By questioning and deconstructing consisting norms and values of our society, they are following their ideas of these concepts and their meanings to articulate the youth movement’s inherent purpose. According to their own imagination and sensations, they translated their manifest into physical forms of expression and performative interventions in the public space. The project has been developed in significant contribution by the group, not just as participants but as coauthors from the beginning throughout the whole process. Utopian approaches are openly express without comment and provoke the viewers to position themselves. Fathoming authorship and hierarchies within participatory concepts play a particular role in Anna Witt’s artistic practice. In doing so, the artist creates fictional spaces to enable a certain distance when questioning society and own positions in a playful way. In collaboration with Maria Bujanov, Phillip Borchert, Anja Engelhardt, Belve Langniss, Blandia Langniss, Chiara Rauhut, Lena Schubel
Anna Witt, The Radical Empathiarchy, 2018, 2-channel HD video, 20:10 min.
The video project Care is about two geriatric nurses in Japan. A group of amateur dancers developed a piece of choreography based on the work routines and experiences of two young Indonesian nurses working in dementia care. The dancers, influenced by Butoh and improvisational dance, were in some cases already around eighty themselves. They performed their personal interpretation of the care work as an intervention in the public space of the Maebashi city center, which is feeling the effects of an aging and shrinking population. On a textual level, the nurses explain what motivated them to leave Indonesia and look for work abroad. We learn of a massively aging society in which the care of the elderly—a task traditionally performed by daughters and daughters-in-law—is not a topic of public discussion. The problem and those involved in it do not receive any attention or recognition. The dancers in the video Care interpret the personal experiences and movements of the Indonesian nurses, whose existence in society remains largely invisible. Closeness, physical contact, self-surrender, allowing oneself to be carried, empowerment, and disempowerment are important themes of interpersonal relations, which always concern the dignity of the individual and are thus politically charged.
Anna Witt, Care, 2017, HD video, 18:12 min.

Residents from Germany

Daniel Neumann

United States, Germany
KdFS Kulturstiftung des Freistaates Sachsen
Studio #214

Alona Rodeh

Germany
Senate Department for Culture and Europe, Berlin
Studio #205

Nezaket Ekici

Germany
Senate Department for Culture and Europe, Berlin
2020

Past Residents

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