Past Residents
Past Resident2017: Gallery 301
Yumiko Ono
Yumiko Ono is interested in form and formats. Repetition and reproduction are often seen in her work, which ranges from drawings to sculptures to videos to sound installations. Her aim is to interpret the subjects that she finds, and give them a new order through her point of view, which usually results in laconic expressions. She is currently experimenting with minimalistic geometric forms, particularly those related to the field of architecture.
Yumiko Ono is a contemporary artist who works with various media. Ono completed her BA in Oil Painting in Kyoto, Japan. She then went on to study in various countries including Hungary, Czech Republic and Israel as a government scholarship student before receiving an MA in Intermedia in the Czech Republic. She is currently completing her second MA degree in ceramics in Saint Petersburg, Russia.
Events & Exhibitions
Salon: Kristyna and Marek Milde and Yumiko Ono
September 19, 2017, 6:30–8pm
Yumiko Ono, Home, 2010-13, carton, dimensions variable.
Yumiko Ono, Secret Garden, 2015, string curtain, dimensions variable.
Yumiko Ono, Paper Empire, 2016, paper and wood, dimensions variable.
Yumiko Ono, Day, 2017, bone china, dimensions variable.
Yumiko Ono, Lenin1&2, 2017, bone china, 15/8 × 15/8 in. (4.06 × 4.06 cm).
Past Resident2017: Danish Arts Foundation
Larissa Sansour
Central to Larissa Sansour’s practice is the tug and pull between fiction and reality in a Middle Eastern context. Recently, she has been interested in the dialectics between myth and history, and explored the sci-fi genre and the role of archaeology in nation building and national identity. In the absence of a viable peace process in Israel/Palestine, archaeology has long since become a battleground for settling territorial disputes. In her works, Sansour explores and reverses the archaeological methodology in an attempt to influence colonialist narratives and manipulate history.
Larissa Sansour (born 1973, East Jerusalem) studied fine arts in London, New York and Copenhagen. She has had solo exhibitions at Bluecoat, Liverpool; New Art Exchange, Nottingham; and Nikolaj Kunsthal, Copenhagen. She was part of group shows at Tate Modern, London; Centre Georges Pompidou, Paris; Palestinian Art Court – al Hoash, Jerusalem; Reina Sofia Museum, Madrid; Louisiana Museum of Modern Art, Denmark; House of World Cultures, Berlin, and Hiroshima City Museum of Contemporary Art. Sansour’s work has been featured in several biennials of cities including Istanbul, Busan, Yinchuan and Liverpool.
Larissa Sansour, And They Covered the Sky Until It Was Black, 2017, installation, 156 × 240 × 120 in. (396.24 × 609.6 × 304.8 cm).
Larissa Sansour, In the Future They Ate from the Finest Porcelain, 2016, video, 29 min.
Larissa Sansour, Archaeology in Absentia, 2016, bronze, 8 × 4 × 4 in. (20.32 × 10.16 × 10.16 cm).
Larissa Sansour, Revisionist Production Line, 2016, steel, rubber, and porcelain, 132 × 24 × 36 in. (335.28 × 60.96 × 91.44 cm).
Larissa Sansour, Nation Estate, 2016, video, 9 min.
Residents from Denmark
Past Resident2017: Dennis Elliott Founder's Fund, Tauck Ritzau Innovative Philanthropy
Kiluanji Kia Henda
Kiluanji Kia Henda employs a surprising sense of humour in his work, which often hones in on themes of identity, politics, and perceptions of postcolonialism and modernism in Africa. Practicing in the fields of photography, video, and performance, Henda has tied his multidisciplinary approach to a sharp sense of criticality. A profound springboard into this realm comes from growing up in a household of photography enthusiasts. Furthermore, his conceptual edge has been sharpened by immersing himself in music, avantgarde theatre, and collaborating with a collective of emerging artists in Luanda’s art scene.
Kiluanji Kia Henda (born 1979, Luanda, Angola) is a self-taught Luanda-based artist, working with photography, video and performance. He has had exhibitions at institutions including Tate Liverpool, 2017; SCAD Museum, Savannah, 2016; Centre George Pompidou, Paris, 2016; National Museum of African Art – Smithsonian Institution, Washington, D.C., 2015; Tamayo Museum, Mexico, 2012; and Arnolfini, Bristol, 2012. He participated in the 2015 Triennial: Surround Audience, New Museum, New York; Dakar Biennale, 2014; Bienal de Sao Paulo, 2007; Venice Biennale, 2007, and the Luanda Triennale, 2007. He is winner of 2017 Frieze Artist Award and the 2012 National Prize of Art and Culture, awarded by the Ministry of Culture, Luanda, Angola.
Kiluanji Kia Henda, The Last Journey of the Dictator Mussunda Nzombo Before the Great Extinction (Act II), 2017, inkjet print on cotton paper, 59 × 88 in. (149.86 × 223.52 cm).
Kiluanji Kia Henda, Baby Lonia, 2008, inkjet print on photographic paper, 47 × 47 in. (119.38 × 119.38 cm).
Kiluanji Kia Henda, Redefining the Power II (with Shunnuz Fiel), 2011, inkjet print on photographic paper, 59 × 39 in. (149.86 × 99.06 cm).
Kiluanji Kia Henda, The Merchant of Venice, 2010, inkjet print on photographic paper, 59 × 39 in. (149.86 × 99.06 cm).
Kiluanji Kia Henda, This Is My Blood, 2016, installation with 2000 iron bars painted in red-blood, dimensions varibale.