Past Residents
Past Resident2016: Ministry of Culture, Taiwan
Yi-Kuan Lin
Yi-Kuan Lin’s artistic practice explores how individuals physically deal with the world. Her work features exquisitely detailed pen drawings on paper that depict muscles, organs, skin wrinkles, tree bark, leaf veins, and petal textures in a suffocating mass of forms. Her recent body of work documents the changing dynamic between the body and nature.
Yi-Kuan Lin (born Tainan, Taiwan, 1981) graduated from the Department of Art Education at National Hualien Teacher College, Taiwan, 2004. Her recent solo exhibitions include: The Thinking Tree in Meditation, Der-Horng Art Gallery, Tainan, 2015; Handscape, BF Gallery, Taipei, 2011; and Hand, Wu-Chi Art Studio/Blacksnail, Tainan, 2011.
Yi-Kuan Lin, Destined to Encounter in Ten Thousand Years Ago, 2014, Drawing pen and watercolor on paper, 431/8 × 311/8 in. (109.47 × 78.99 cm)
Yi-Kuan Lin, A Fish Swimming Comfortably Alongside the Algae, 2015, Drawing pen on paper, 95/16 × 61/2 in. (23.62 × 16.51 cm)
Past Resident2016: Kunststiftung NRW
Lars Breuer
Lars Breuer creates large wall works that underscore the global political landscape of crisis. His compositions address the language of authority and the shifting instability of meaning and significance in contemporary life. Breuer works with language and comprehension, while striving for order in his wall works, balancing not just the architecture of the wall but the space that separates the public from the private and the past from the present.
Lars Breuer (born 1974, Aachen, Germany) lives and works in Cologne, Germany. Solo exhibitions include Ludwig Forum for International Art, Aachen, Germany; Galleri Kant, Denmark; Kunstverein Paderborn, Germany; SchauOrt Gallery, Switzerland; and Temporary Gallery, Cologne. His works have been included in group exhibitions at Museum Konkrete Kunst, Ingolstadt; Pori Art Museum, Finland; Gdańska Galeria Miejska, Poland; Museum Morsbroich, Germany, KIT/ Kunsthalle Düsseldorf; ZKM/Museum für Neue Kunst, Germany; Sydney College of the Arts, Australia; and the 10th Kaunas Biennale, Lithuania.
Lars Breuer, Einsamkeit / Wahrheit, 2015, Acrylic on wall, 1551/2 × 13613/8 in. (394.97 × 3457.95 cm)
Lars Breuer, Koexistenz, 2014, Oil and mixed media on canvas, wooden frames, 80 5/8 x 41 1/8 in. each
Lars Breuer, To the Happy Few, 2015, High gloss chrome and gold on brass, wooden frames, 291/2 × 231/2 in. (74.93 × 59.69 cm)
Residents from Germany
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, 120 × 66 × 40 in. (304.8 × 167.64 × 101.6 cm). Courtesy of the artist
