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Germany, Portugal

Current Resident: May 1, 2025–Aug 31, 2025

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

Studio #218

Artist

Lukas Marxt

Lukas Marxt is an artist and filmmaker whose work examines the relationships between human activity and natural environments. Since 2017, he has researched the pre-nuclear history and ecological structures of the Salton Sea in California. His interest in the dialogue between human and geological existence, and the impact of human activity upon nature, originated during his studies in Geography and Environmental Science. His observational approach explores landscapes as sites of political and environmental significance.

Lukas Marxt has exhibited work at Sonic Acts Biennial, Amsterdam; Hamburger Bahnhof – Contemporary Art National Gallery, Berlin; and Torrance Art Museum, Los Angeles, among others.

lukasmarxt.com

Lukas Marxt, Among the Palms the Bomb or:Looking for reflections in the toxic fields of plenty, 2024, film, 85:26 min.

Lukas Marxt, Valley Pride, 2023-25, video installation, 157 in × 157 in × 106 in in. (157 in × 157 in × 106 in cm).

Lukas Marxt, Little Boy 1:1, 2022, sculpture, 135 in × 30 in × 64 in in. (135 in × 30 in × 64 in cm).

Lukas Marxt, Test Pit Log (I’m gonna realize, I’m gonna explode), 2022, drawing, 8.5 in × 11 in in. (8.5 in × 11 in cm).

Lukas Marxt, Imperial Valley (cultivated run-off), 2018, video installation, 98 in × 14:38 min × 65 in in. (98 in × 14:38 min × 65 in cm).

Residents from Portugal

Henrique Pavão

Portugal

Luso-American Development Foundation (FLAD)

2022

AnaMary Bilbao

Portugal, Spain

Luso-American Development Foundation (FLAD)

2022

Ana Manso

Portugal

Fundação Calouste Gulbenkian

2022

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Argentina

Current Resident: May 1, 2025–Jun 30, 2025

Fundación Ama Amoedo

Studio #217

Artist

Ulises Mazzuca

Ulises Mazzuca works across drawing, painting, installation, and sculpture, constructing emotional cartographies shaped by personal experiences that span from affection to pain. Using a system of ideograms, he translates these memories into visual traces that evoke both presence and absence. His works oscillate between horror vacui and fragmented narrative, generating a tension between fullness and incompletion. Rooted in a language of childhood and intimacy, his practice dissolves the conventions of traditional representation.

Ulises Mazzuca has exhibited work at Collegium, Spain; Museo de Arte Moderno, Buenos Aires; and Universidad Torcuato Di Tella, Buenos Aires, among others.

Each rectangle encloses a scene between characters who contort themselves to fit into the space, creating their own “dance.” Through their skins and colors, the bodies reveal personal memories and recollections, while some lines evoke animals that suggest the spirit of movement. The artwork, conceived as an immersive mural, explores the bodily behavior and intimacy of each figure, establishing a dialogue between the body and the space.

Ulises Mazzuca, Our night's dance, 2021, pastel chalk drawing created on five large-format papers, 187³/₈ × 98⁷/₁₆ in. (476 × 249.99 cm).

Each piece is suspended from a tubular structure that rotates in an elliptical shape within the room, creating a spatial dynamic in constant motion. The work establishes a dialogue between the materials and the space, inviting the viewer to experience the interaction of the rotating forms.

Ulises Mazzuca, Fireworks, 2022, installation composed of twenty wooden pieces intervened with pastel chalk, 275⁹/₁₆ × 787³/₈ in. (700 × 1999.99 cm).

In these pieces, the bodies contort and adapt to the shapes of the supports, exploring the relationship between the figure and the confined space, generating a visual tension that emphasizes the flexibility and interaction between both elements.

Ulises Mazzuca, Beginner's shower, 2023, pastel chalk drawing on paper, 43⁵/₁₆ × 55¹/₈ in. (109.98 × 139.98 cm).

The work seeks to reframe the human body, transforming it into an “emotional body,” a device that integrates and expresses collective emotions. Through delicate strokes, the piece explores how the body can become a vehicle for conveying shared emotional states, beyond its traditional physical form

Ulises Mazzuca, Chained emotions from a stay in Reta, 2024, pastel chalk drawing on paper, 55¹/₈ × 78³/₄ in. (139.98 × 200 cm).

This piece is part of the research I conducted during my last residency at Collegium (Arévalo, Spain) and originates from a found object: a bookshelf with slippery shelves that, due to strange angles, deny its original functionality. On its surface, sgraffito lines narrate the dreams and desires of a young Saint Ignatius, fictionalized to explore the similarity between childhood desires and historical legacies. The work reflects on the tension between the everyday and the monumental in history, challenging the rigidity of traditional form and narrative.

Ulises Mazzuca, A library for monsters - or for people who hate Western history, 2024, carved, intervened and sgraffito wooden bookshelf, 39³/₈ × 74¹³/₁₆ × 22¹/₁₆ in. (100 × 189.99 × 55.98 cm).