Past Residents

Residents Map

Past Resident
2013: Canada Council for the Arts

Karen Elaine Spencer

Karen Elaine Spencer’s work questions use values and investigates how we, as transient beings, occupy the world in which we live. The notion of progress is challenged through the repetition of an action that leads nowhere. Metro-riding, rambling, dreaming, and loitering are among the activities Spencer folds into her practice. A project is sustained over time, often a year, and materials of our day-to-day existence are favored. Through a détournement of materials or intentions, Spencer intervenes into specific places, where she marks and is marked by spatial and social geographies. A current project, “hey! mike” the blog, is part of a multifaceted conversation with Mike Bloomberg, the 108th mayor of New York City. Here she questions a system whereby one person can be held up as a philanthropist without a basic acknowledgement of a deep lack of justice between all humans because “no one gets rich alone.”

Karen Elaine Spencer lives and works in Montreal, Québec, Canada. Since 2008, she has been active in a postcard and web-based project entitled Transient Traces, where she steals the words of others to then send these words to politicians and public figures. Her practice oscillates between work in the street, exhibitions in galleries, and disseminations via the web. In 2011, she curated the program Gosser le Furtif at Galerie Skol, Montreal. Her text for the performance group TRAFIC was published in the catalog “Lost and found/Les Bureau des Objets Trouvés,” and she was an artist in residence at The John Snow House in Calgary, Alberta. Her work has been exhibited across Canada and Europe. She is the recipient of the 2012 Powerhouse Prize.

Past Resident
2012: Sugremin

Linarejos Moreno

The large-format prints on burlap and the memory-laden objects in Linarejos Moreno’s installations become sculptural objects that speak of absence. Her constructions document spaces that are fated to disappear. However, this documentation is not objective; rather, Moreno aims to reach a state of estrangement linked to personal memory and the intimacy of “the inhospitable.” To accomplish this, she sets up a series of actions and rituals which she then photographs. The photographs speak about the subjective memory of these spaces and the globalizing trend in economics that has triggered their disappearance. Always on the boundary between theatrical figuration and complex ritual, she explores the fragility of human beings when faced with economic machinery and time.

Linarejos Moreno graduated in Conservation and Restoration from the National Heritage and Cultural Assets School (E.S.C.R.B.C) and the Fine Arts School of the Complutense University of Madrid. She was awarded a 2012 Fulbright grant to conduct research at Rice University, Houston. Her solo exhibitions include In the Country of Last Things, Llucia Homs Gallery, Barcelona and Plañideras, Vacío 9 Gallery, Madrid. Her group exhibitions include Artifactual Realities, Fotofest 2012, Station Museum, Houston; Entropías. Otros imaginarios, otros vacios de lugar, PhotoEspaña 2009; Idilio sueño y Falacia, Centro de Arte Contemporaneo Da2, Salamanca; Arte Emergente Español, Alcalá 31 (CAM), Madrid; and Entre dos mares, Valencia Bienal. Moreno has been awarded the Purificación Garcia Prize for Contemporary Photography and the ABC prize of Painting and Photography, among others.

Past Resident
2012: Danish Arts Foundation

Nanna Debois Buhl

Nanna Debois Buhl works conceptually with film, photography, drawing, text and sound. Combining text and images in various ways, her work is a continuous investigation of the relationship between aesthetics and ideologies. In previous projects, this relationship has been examined through a particular site, from a 19th century Danish amusement park to an abandoned Caribbean sugar mill, in order to investigate how histories and ideologies are inscribed in architecture and urban space. In recent projects, Buhl examines how signs are created and how meaning can change over time and between contexts. In Street Haunting, found photographs are presented alongside diverse readings from five psychics, while Dearest. I Will Be There on Sunday features 63 vintage postcards all depicting the same motif.

Nanna Debois Buhl (born 1975, Denmark) received her MFA from The Royal Danish Academy of Fine Arts in 2006 and participated in The Whitney Independent Study Program, New York in 2008-09. She has exhibited internationally, with recent shows including: Art in General, NY; The Studio Museum in Harlem, NY; Bureau, NY; Lunds Konsthall, Lund, Sweden; Ar/Ge Kunst, Bolzano, Italy; Kunsthallen Brandts, Odense, Denmark; and Herning Museum of Contemporary Art, Herning, Denmark. Her work is in the collections of the Museum for Contemporary Art and The National Museum of Photography in Denmark. In 2010, Revolver Publishing published her artist’s book A Journey in Two Directions and the collaborative book City Grammar (with Liz Linden). Her work has recently been reviewed in Art in America, Art Forum, and The New York Times.