Past Residents

List Grid

Past Resident
2022: Ministry of Culture, Taiwan

Artist

Yi Kuo

Yi Kuo is an interdisciplinary developer and media artist. His works are often a combination of different media, including virtual reality, multiplayer gaming, audio-visual performances, installations, and theater space. He builds system structures to connect layers of spaces and forms of bodies, and seeks dialectic perspective between mythological and technological narratives. Kuo is the co-Founder/Director of the new media art group NAXS Corp.

Yi Kuo has exhibited work at Ars Electronica Center, Linz; transmediale, Berlin; and Unsound Festival, Warsaw, among others.

Yi Kuo, AFTERLIFE網路來生：EV20F1, 2020, online performance presented at Unsound Festival, Kraków, dimensions variable

Our body is inevitably dissolving into a new reality, mediated by screens, networks and algorithms. Memories, consciousness, and the

Yi Kuo, Render Ghost, 2015-2018, VR installation, dimensions variable

Yi Kuo, Ghost Island, 2018-2020, VR Installation and live visual with Meuko! Meuko!

A cyber geohistory study. Submerged into the abyss of the Internet, stratums of data-sendiments, analyze the layers of internet space in Geohistory methods, attempting to find the evidence of an emerging consciousness, deep under the ocean of collective desire.

Yi Kuo, XATA躰, 2019, VR and live audio-visual installation

is a cross-media project initiated in 2018. With neural-network generated images of eyes as its symbolic core, claims itself to be a mythological computing device, navigating through the endless matrix of imaginations, emotions and history, in searching for a point-of-view of non-existence, in our life experiences between information and body, geopolitics and religions, technology and nature. Inheriting from the concepts and tech-stacks developed in the virtual-immersive-theater work , and online/offline audiovisual performance , The aims to continue this pursue, develop it's theoretical basis, by implanting a set of fictional/non-fictional researching methods, and expand its format a site-specific ritual experience/theater between physical and virtual space. Roots in personal experiences of the complex religions/politics scenario in East Asia, suggests a floating perspective, to reinvestigate the mythological nature of our technoscience society, optionally the evolutionary affinity between traditional religions and our posthuman future.

Yi Kuo, NONEYE, 2019-ongoing, online experience

Residents from Taiwan

Huang I-Hsiang

A Practice of Silence begins with a vague visual impression, the administrative figure of the Absolute Space, a silent presence always sitting in the corner of the exhibition venue. Her work is a series of interpretations, empathy, and understanding. She is always there, yet hard to notice. She is the caretaker of the venue, and I want to depict such a character. My curiosity lies in her physical and psychological relationship with the venue; my curiosity wonders why she is here and whether she has ever thought about leaving. In short, everything related to this job, including emotions and circumstances. During the exhibition, I invited theater practitioner Tseng Jing-Wen, who is dedicated to promoting People's Theatre, along with former administrative staff from Absolute Space who worked here at different times, to conduct a body workshop. My basic idea is, the arrival of newcomers marks the departure of the old, and the interchange between new and old forms the life of a character. These participants, through shared memories, will engage in a self- dialogue belonging to this character during the workshop. Finally, on the last day of the exhibition, we held a screening event showcasing the workshop's video documentation at the venue.

Taiwan

Ministry of Culture, Taiwan

Studio #210

Feng-Yi Chu

Taiwan

Ministry of Culture, Taiwan

Studio #302

Hung-Yen Chang

Taiwan

Ministry of Culture, Taiwan

2023

Austria

Past Resident
2022: Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

Artist

Lisa Rastl-Dorner

Lisa Rastl-Dorner’s artistic practice and photography work address questions of authorship and copyright, the role of photography as a medium of reproduction, and the relationship between original and copy.

Lisa Rastl-Dorner has exhibited work at Taikoo Place, Hong Kong; WIELS Center for Contemporary Art, Forest; and MAC/VAL, Vitry-sur-Seine, among others.

Lisa Rastl-Dorner, Hommage to a (yellow) square, after Josef Albers, 2021, fine art print on Baryta, 12 × 16 in. (30.48 × 40.64 cm) each

Lisa Rastl-Dorner, Hommage to a (yellow) square, after Josef Albers, 2021, C-print, 19 × 27 in. (48.26 × 68.58 cm) each

Lisa Rastl-Dorner, Failing the Original, 2018, fine art print on Bartya, 27 × 19 in. (68.58 × 48.26 cm)

Lisa Rastl-Dorner, Failing the Original, 2014, objects, photographs, dimensions variable

Lisa Rastl-Dorner, Failing the Original, 2019, 9 × 7 in. (22.86 × 17.78 cm)

Residents from Austria

Björn Kämmerer

Austria

Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

Studio #212

Malte Zander

Germany, Austria

Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

Studio #218

Jojo Gronostay

Germany, Ghana, Austria

Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

2023

Switzerland

Past Resident
2022: Canton de Vaud, Service des Affaires Culturelles

Artist

Philémon Otth

Philémon Otth’s artistic practice revolves around challenging questions of time and temporalities, history and histories, material and immaterial, transparency and opacity. He is interested in exploring sites and situations by questioning the implications of images and objects within their spatial and socio-historical contexts. Otth approaches these ideas through configurations of form and language, displacement and shifting strategies.

Philémon Otth has exhibited work at CAN – Centre d’Art de Neuchâtel; Plymouth Rock, Zürich; and Kunsthaus Baselland, Muttenz, all Switzerland, among others.

Philémon Otth, Engawa (side by side, end to end), 2020, wooden platform and canvas pieces, dimensions variable

Philémon Otth, Break Out, 2021, iron bars and paint, dimensions variable

Philémon Otth, time for a better world, 2020, beach towel, 10¹³/₁₆ × 27¹/₂ in. (27.43 × 69.85 cm)

Philémon Otth, He made friend with the bees and they let him know the secrets of the Sun, 2018, cocktail, wooden structure, and bottle, 15¹¹/₁₆ × 15¹¹/₁₆ × 59 in. (39.88 × 39.88 × 149.86 cm)