Past Residents

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Year
Residency Program
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Mexico

Past Resident
2023: ISCP ​Alumni Fund
2008: FONCA - Fondo Nacional para la Cultura y las Artes

Artist

Joaquin Segura

Joaquin Segura’s artistic practice is centered on meditations on the phenomenology of history, power, and truth, engaging with notions such as sociopolitical microclimates, asymmetrical narratives, and ideology. His recent works address the ontological meaning of political extremism, language, and radical thought, with a special emphasis on its materialities. Active since the early 2000s, Segura is widely recognized as one of the leading Mexican artists of his generation.

Joaquin Segura has exhibited work at 14th Havana Biennial, Cuba; National Gallery of Victoria, Australia; and The Modern Art Museum of Fort Worth, Texas, among others.

Events & Exhibitions

Artists at Work: Joaquin Segura in Conversation with Sylvie Fortin
September 5, 2023, 6–8pm
Four rows of blue plastic barrels are surrounded by a chain link fence with barbed wire. They are in a large warehouse-like space with concrete floors.
Joaquin Segura, What kind of spring is this, where there are no flowers and and the air is filled with a miserable smell?, 2022, installation view, chain-link fencing, barbed wire, razor wire, plastic barrels and water, 216 × 87 × 473 in. (548.64 × 220.98 × 1201.42 cm).
From the series "Éminence Grise", 2020 - ongoing. Color field abstraction based on the cover of a 1967 maoist pamphlet, published by the state-run Foreign Languages Press in Beijing.
Joaquin Segura, Imperialism and All Reactionaries Are Paper Tigers, 2022, oil on canvas, 551/2 × 765/16 × 25/16 in. (140.97 × 193.8 × 5.84 cm).
Foreign Languages Press is an editorial imprint with an international reach, established in Beijing in 1952 and controlled by China International Publishing Group, a print organization overseen in turn by the Communist Party of China. It is estimated that more than 30,000 titles have been published in 43 languages since its creation, among which regime propaganda is particularly ubiquitous. This series is conformed by identical copies of a 1968 Maoist pamphlet, intervened with photorealist renderings of makeshift projectiles recovered in urban demonstrations from 2012 to date.
Joaquin Segura, Empirism & Dogma #2, 2020, acrylic and watercolor on recovered pamphlet, 4 × 6 in. (10.16 × 15.24 cm).
Installation composed by the accumulation of the exact amount of specific materials needed to reduce a human body to ashes in an open field setting. The quantities of wood, rubber and combustible used in this work -25 tires, 1675 lb of wood and 71 liters of gasoline or similar flammable liquids- were determined by independent reports of forensic research teams currently working to solve recurring episodes of mass disappearances in various regions of Latin America.
Joaquin Segura, Pyre, 2016, wood, recovered tires, jerrycans and combustible fluid, dimensions variable.
Textile renditions of intervened propaganda material edited by the Soviet Ministry of Propaganda during the Communist era, sourced through different channels: antique dealers, second-hand bookstores and flea markets.
Joaquin Segura, Ideological Clearance (Marx, Lenin, Mao), 2015, handwoven Haute-lisse tapestries, 118 × 98 in. (299.72 × 248.92 cm).

Residents from Mexico

Charlie Perez-Tlatenchi

United States, Mexico
The New York Community Trust’s Edward and Sally Van Lier Fund
Studio #303

Paloma Contreras

Mexico
Guadalupe Phillips
2024

Josué Mejía

Mexico
Fundación JUMEX Arte Contemporáneo
2021
United States

Past Resident
2024: Toby Devan Lewis

Artist

Laura Bernstein

Laura Bernstein creates layered worlds that explore human and animal behavior, as well as mythologies of metamorphose. Her work reflects on the climate through video, performance, installation, and painting, drawing inspiration from medieval illuminated manuscripts and theatrical spectacle traditions.

Laura Bernstein has exhibited at Essex Flowers Gallery; BRIC; and Children’s Museum of the Arts, all in New York, among others.

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
2023 Fall Open Studios
November 10–November 11, 2023
Opening wide, a threshold exposing a procession of hybrid creatures, Hell Mouth explores mythologies of metamorphoses and origin stories of beasts in relation to Pliny the Elder’s Natural History, The Book of Miracles and contemporary stories of species displacement.
Laura Bernstein, Hell Mouth, 2022, installation with three-channel stop-motion video, 3:00 min loop (color, sound), hand-stitched appliqué textiles, 18 puppets made from aluminum armature wire and repurposed fabrics, hoops, plaster, dowels, wood, papier-mâché and imitation gold leaf, 36 × 42 × 36 in. (91.44 × 106.68 × 91.44 cm).
Documentation from public processional where community members helped activate the tapestry. Stitched in isolation, the 100 foot long story-scroll records the cascade of extreme weather and news events that occurred each month of 2020. In collaboration with other Rebecca Pristoop and The Moving Company and Friends, the project is an evolving invitation for public procession and collective meaning exploring the malleability of memory and symbols, seeking to stimulate curiosity and wonder toward the natural world through movement, color and form.
Laura Bernstein, Miracle Tapestries Processional, January I--December XII, 2020, 2021, assortment of recycled organic and synthetic fabrics, hand stitched, thread and 10 PVC pipes, 100 × 12 in. (254 × 30.48 cm).
Vignettes of scientists at work studying worldly species– murder hornets invading the Pacific Northwest, the spotted lantern flies swarming the Northeast —and mythological beasts, act as a blueprint for stop-motion animations.
Laura Bernstein, Murder Hornets Sun Spike, 2022, watercolor and ink on watercolor paper, 60 × 42 in. (152.4 × 106.68 cm).
Illuminator centers itself around a sexless wing finned figure, embedded with candles and barnacles--a humanoid candelabra--dripping, melting and congealing fleshy, gilded wax, presiding over a floor painting depicting the Fall of Babylon as an upside down city from Bamberg Apocalypse 1000 A.D. Working within the liminal space of pictures and words, Illuminator draws on imagery produced by anonymous authors of medieval manuscripts.
Laura Bernstein, Illuminator, 2019, plaster, burlap, steel plumbing pipes, wax, candles, glass, sand, imitation gold leaf, matchbox, brass, candle snuff, and acrylic on canvas and watercolor and ink on paper, dimensions variable.
Directed and produced by Laura Bernstein, the performance event showcased the work of six multidisciplinary artists: Nikki Calonge as P.T. Trainer: Choreography and movement Simone Kearny as MC16c: Poetry Hanna Novak as Hybrid S.P: Love letter to Pliny presented as video text (featured within the image) Emily Reilly ER87: Dramaturge, a pseudoscientific lecture Paola Di Tolla as Pliny: Author of Encyclopedic Sound Score: Audible Tracings from Pliny The Elder's Natural History, 78 AD (2019), 5:00, mp3 Emily Taibleson as ET87: Field researcher and illustrator
Laura Bernstein, A Speculative Performance Presented by The Institute of Super-Species Research and Experimentation, (ISSRE), 2019, performance, 60 min..

Residents from United States

Jude Griebel

Canada, United States
Canada Council for the Arts
Studio #301

Dana Agal

United States, Qatar
Fire Station - Qatar Museums
Studio #209

Charlie Perez-Tlatenchi

United States, Mexico
The New York Community Trust’s Edward and Sally Van Lier Fund
Studio #303
Poland

Past Resident
2023: International Visegrad Fund

Artist

Nadia Markiewicz

Nadia Markiewicz uses language borrowed from the entertainment industry to produce installations, performances, and video art that deal with issues of identity, chance, and disability. She draws inspiration from both her own life experiences and representations of disability. Markiewicz is currently a PhD fellow at the Jan Matejko Academy of Fine Arts in Cracow, Poland.

Nadia Markiewicz has exhibited work at Galeria Miejska Arsenał, Poland; Kunsthalle Bratislava, Slovakia; and Zachęta National Gallery of Art, Poland, among others. 

The image presents an interior with white walls and a gray terrazzo floor. On the wall on the right there are two white, closed doors. on the left hand side is a window. Towards the middle of the image, and room, are four objects. Starting from the left, on the wall next to the set of doors, in the distance, is a small box covered in a dark red, metallic festive garland. Right about above it, and crossing the room in half, facing the camera, is a white rippled curtain. A arch-like shape has been cut out in the curtain, making it possible to pass through. The arch is not in the middle of the square-shaped curtain, but a bit to the left of it, asymmetrically. In front of the curtain, diagonally cutting through the space and resting with its red, boxy arrowhead on the floor is a giant, wooden cupid's arrow. It has a light colored wood shaft and the feathers are a white wooden cut-out. Above the arrow, a bit to the right and overlapping the window, is a stained glass in the shape and colors of a dart board - beige, black, red and green.
Nadia Markiewicz, DRIVE-THRU, 2022, installation, dimensions variable.
This image is a video still. It presents the front half of a toy pink convertible Cadillac, shot a bit from above, diagonally cutting through the frame, from the bottom right corner, heading towards the top left one, but not reaching it. The car is placed on a background made from fake green grass. In the car, at the steering wheel is a white woman with brown long hair flowing in the wind, wearing a black tank top. She is presented from the back, and is resting her left elbow on the door of the convertible. Her left arm ends right under her elbow.
Nadia Markiewicz, DRIVE-THRU (The Runaway), 2022, video, dimensions variable.
This image is a video still. The background of the image is filled with a gold festive curtain, made from individual strands of metallic ribbon. The middle of the frame is lit with round spotlight lighting. In the spotlight is a white woman laying down horizontally across the frame. She has white tights, red sequin shoes and red lips, her brown hair is in a bun. Her body is hidden in two separate black boxes that seem to have come from one longer box previously cut in half. As a result, her body appears to have been cut in half, most probably with the gray plastic-toy like saw hovering above her.
Nadia Markiewicz, Mysterioso, 2021, video, dimensions variable.
In the image in an interior. It was white walls and no windows. The floor is filled with green carpeting and the light is dimmed, coming only from a video projected onto the wall in the back of the room. The video presents the top half of a wheel of fortune, with pie-chart-like pieces of orange, green, sky blue, navy and magenta colors. In front of the video, obstructing its view is a figure of a woman, with her face in the shade. She is wearing black tights and appears to be mid-walk, her hair is in a bun. She is wearing a hard, plastic costume of the black pool ball with the number 8 on a white circle on her front. The pool ball costume covers her body from the place the neck hits the shoulders to the top of her thighs.
Nadia Markiewicz, Jackpot, 2020, performative installation.
In the image there is an interior in a basement with no windows. Scattered through the middle of the space are three sets of oversized red cherries, much like the ones in slot machines. Behind them, towards the back of the room is a dark green curtain. At the top left corner of the curtain is a TV, presenting a video containing a sunset. Yet the TV is far away from the camera and small. On the right side of the curtain, against a white wall is a slot machine. On the wall next to the machine, the one that in perspective is coming closer to the camera, somewhere mid-way across the space is a photo of a white woman dressed in a black hat, holding a revolver, with a red bandana on the end of her arm - around the elbow. She is portrayed on a dark green background. Across the room, on the wall on the other side of the cherries, there is a small black and white image of a couple. The room has additional visible elements typical for basement spaces such as pipes crossing the room near the ceiling.
Nadia Markiewicz, one armed bandit, 2019, installation, dimensions variable.

Residents from Poland

Magdalena Ciemierkiewicz

Poland
International Visegrad Fund
2024

Maess Anand

Poland, Germany
Polish Cultural Institute New York, The Adam Mickiewicz Institute, Krupa Gallery
2023

Marta Krześlak

Poland
International Visegrad Fund
2022