Past Residents
Past Resident2013: Instituto de la Cultura y las Artes de Sevilla, Fundación Valentín de Madariaga y Oya
Simón Arrebola
Simón Arrebola uses painting and drawing to express events through an unusual way of conceiving space and time. These elements are essential in every act of telling stories. To build the arguments, Arrebola starts from those memories or experiences that live in our mind or arrive to us as a product of a foreign stimulus. Memory and its mental images are the origins of these stages and coexist with traditions and mythical legends. His conception of landscape is a kind of nature with an evocative character where the spaces talk about people and other times and the characters hybridize with the space that exists around them.
Simón Arrebola was born in Spain in 1979. He studied Painting, Engraving and Design at the University of Fine Arts in Seville. He received his MFA from Seville University in 2011. Arrebola has exhibited his work at Isabel Ignacio Gallery, Seville and Ángeles Baños, Badajoz. He also took part in the 3rd Mediterranean Biennal in Tunis. Arrebola won the Focus Abengoa Painting Award in 2008 and received an Iniciarte grant by Junta de Andalucía in 2009. He is one of the 2013 recipients of the “Sevilla es Talento” Grant, sponsored by Valentín Madariaga Foundation and ICAS. His work is in the collections of the Valentín Madariaga Foundation, Seville University and Focus-Abengoa Foundation.
Simón Arrebola, An Ending Doesn't Finish Anything, 2011, Oil on canvas, 315/8 × 233/8 in. (80.26 × 59.44 cm). Courtesy of the artist
Simón Arrebola, Greed, 2010, Oil on canvas, 191/2 × 191/2 in. (49.53 × 49.53 cm). Courtesy of the artist
Simón Arrebola, The Swimmer - Scene VIII, 2012, Graphite on paper. Courtesy of the artist
Simón Arrebola, The Swimmer - Scene X, 2012, Gouache on paper. Courtesy of the artist
Past Resident2013: The New York Community Trust’s Edward and Sally Van Lier Fund
Kevin Beasley
Kevin Beasley’s sculpture and performance begins with the insistence on the most basic yet complicated aspects of being – what we know to be present is relative to our own ability to conceive it and because we are unable to experience it or to perceive it with our senses does not mean it is not there and that its being there is in fact so vital and foundational to everything that follows. While a significant amount of his materials are personal, their inclusion is not to posit an autobiographical narrative nor are they there to signify or testify to his particular lived experience. Rather they indicate the importance of origin and identity for Beasley as something which is always suspect and that he is constantly negotiating.
(Text by Adrienne Edwards).
Kevin Beasley (b. 1985, Lynchburg, VA) received his BFA from the College for Creative Studies, Detroit and his MFA in Sculpture from Yale University in 2012. He has exhibited nationally with The Butcher’s Daughter, Detroit and in group shows in Los Angeles, throughout Michigan, and New York. Beasley’s performances were featured during Some Sweet Day at the Museum of Modern Art, New York and Danspace Projects, New York. Currently, Beasley’s work is featured in Fore at the Studio Museum in Harlem.
Kevin Beasley, Untitled (Helmet), 2011, T-shirt, polyurethane foam, plastic, spray paint, and paper pulp. Courtesy of the artist
Kevin Beasley, Lord Have Mercy, 2011, Ethernet cable, coaxial cable, polyurethane foam, plastic, sweatband, underwear, and medical IV, 9 × 18 × 8 in. (22.86 × 45.72 × 20.32 cm). Courtesy of the artist
Kevin Beasley, Untitled, 2012, Hair clips, twine, shower curtains, and digital inkjet print, Dimensions variable. Courtesy of the artist
Kevin Beasley, Untitled, 2012, Cotton gin motor, 48 × 36 in. (121.92 × 91.44 cm). Courtesy of the artist
Kevin Beasley, Untitled, 2011. Courtesy of the artist
Residents from United States
Past Resident2013: The New York Community Trust’s Edward and Sally Van Lier Fund
Felisia Tandiono
Felisia Tandiono is interested in observing sensory experiences. By inserting small interventions, she questions various processes in cultural production and constructs. Encouraging public interactions, her work strives to reveal a new outline of the possible: an emancipative act reacting from the dominant art system that affects social order in urban settings. Through conversations in the context of language, history, socio-cultural anthropology, science and technology, her work explores the relationship between perception and natural phenomena. By engaging human’s senses, she seeks further understandings of human’s data processing and mapping systems.
Felisia Tandiono is based in New York. She studied at New York University in the interactive design graduate program and graduated from the International Center of Photography in 2009. She holds a BA from Emerson College. Her individual work has been exhibited at Columbia University, Center for Performance Research, Museum of Art and Design, Camera Club New York, Jamaica Center for Arts and Learning, X-Initiative and the International Center of Photography. She has exhibited as a collective at the Bronx River Art Center, Dumbo Arts Festival and Lower Manhattan Cultural Council. She was a fellow at Jamaica Center for Arts and a resident artist at Lower Manhattan Cultural Council.
Felisia Tandiono, Haze State, 2012, Mixed media. Photo courtesy of Sean Justice
Felisia Tandiono, Haze State, 2011, Mixed media. Courtesy of the artist. Photo courtesy of Jeff Howard and Marko Manriquez
Felisia Tandiono, Touch Around You, 2012, Mixed media. Courtesy of the artist
Felisia Tandiono, Haze State, 2012, Mixed media. Courtesy of the artist. Photo courtesy of Sean Justice
Felisia Tandiono, WPC Foreclosure, 2010, Performance and mixed media installation. Courtesy of the artist