Past Residents
Past Resident2013: Foundation for a Civil Society
Miran Blažek
Miran Blažek builds his work as recorded time of the constant quest for the meaning of the ordinary things we interact with in everyday life in order to build personal, emotional and mental caches of images. In his work there is a series of symbols which constitutes an open story where the words do not meet the needs of visual representation. His works function through traces which indicate that they derived from painting.
Born in 1983 in Osijek, Croatia, Miran Blažek graduated with a BA from the Academy of Fine Arts, Zagreb in 2006 and completed his postgraduate studies in 2012 at Fine Arts Academy, Ljubljana. Since 2011 he has served as an external assistant in drawing classes at the Art Academy in Osijek. His selected soho exhibitions include Monochrome, Waldinger Gallery, Osijek, Whirlpool, CEKAO Gallery, Zagreb and Whirlpool the lost paintings at Kazamat Gallery, Osijek. Selected group exhibitions include T-THTaward@MSU, the Museum of Contemporary Art, Zagheb; Tu smo 3 (We are here 3) at the Museum of Contemporary Art, Pula; Radoslav Putar Award, Finals at Galzenica Gallery, Velika Gorica; Osijek-Pecuch/Eszek-Pecs, Nador Gallery, Pecs; Meeting point, Arab; The Essl Art Award, Glyptotheque, Zagreb and FONA, Kortil Gallery Rijeka.
Events & Exhibitions
Salon: Miran Blažek and Mark Ther
March 26, 2013
Miran Blažek, Still Life, 2012, Raw canvas on wall, 72 × 62 in. (182.88 × 157.48 cm). Courtesy of the artist.
Miran Blažek, Whirlpool (Yugoslavia), 2006, Acrylic on wood, 39 in diameter. Courtesy of the artist.
Miran Blažek, Whirlpool (DDR), 2006, Acrylic on wood, 39 in diameter. Courtesy of artist .
Miran Blažek, Monument, 2012, Oil on canvas, 98 × 59 in. (248.92 × 149.86 cm). Courtesy of the artist.
Miran Blažek, At The Right Place at the Right Moment, 2012, Burned carpet, 51 in diameter. Courtesy of the artist.
Past Resident2013: Foundation for a Civil Society
Majlinda Hoxha
Through a language of displacement and fragmentation, a set of objects, images and memories articulate the process of the familiar becoming unfamiliar. In her photographs, Majlinda Hoxha creates a personal environment that is sensitive to the recent political and economical situations in her home country of Kosovo. The monuments hown in the photographs demonstrate a situation that is yet to be revealed.
Majlinda Hoxha (born 1984) holds a BFA in photography from Whitecliffe College of Arts and Design and a MFA from the Elam School of Fine Art at Auckland University. In 2012, her work was featured in the annual Mulsim Mulliqi exhibition, hosted by the National Art Gallery of Kosovo, as well as a curatorial project Aftermath – Changing Cultural Landscape initiated by the Photon – Center for Contemporary Photography, Ljubljana. Hoxha is the deputy photo editor and photographer at Kosovo 2.0 magazine where her work is regularly published. Her Family Portrait #1 is currently on display at The Museum of New Zealand Te Papa Tongarewa, Wellington. She took part in the anniversary exhibition for Human Right Commission Article 27 at The Physics Room, Christchurch and has presented solo exhibitions at The Laundromat Art Project Space, Tauranga, Tetris Gallery, Pristina and The Ministry Gallery, Pristina. Hoxha lives and works in Pristina.
Majlinda Hoxha, In Tandem #2, 2012, 33 × 33 in. (83.82 × 83.82 cm). Courtesy of the artist.
Majlinda Hoxha, In Tandem #3, 2012, 33 × 33 in. (83.82 × 83.82 cm). Courtesy of the artist.
Majlinda Hoxha, In Tandem #5, 2012, 33 × 33 in. (83.82 × 83.82 cm). Courtesy of the artist.
Majlinda Hoxha, In Tandem #7, 2012, 33 × 33 in. (83.82 × 83.82 cm). Courtesy of the artist.
Majlinda Hoxha, In Tandem #1, 2012, 33 × 33 in. (83.82 × 83.82 cm). Courtesy of the artist.
Past Resident2012: Creative Australia
Kellie O’Dempsey
Through performance drawing, Kellie O’Dempsey explores liminal space and movement as narrative. With drawing as her dialogue, O’Dempsey spontaneously translates the immediacy of experience into line, form and gesture with charcoal and ink and more recently an electronic drawing device. Often working in collaboration with musicians, performers and artists, her process investigates the interconnected experience of human engagement. Via improvisation, elements of performance are translated into drawn works as an immediate means of response. Her work is currently focused on the synthesis of analogue and digital drawing.
Kellie O’Dempsey has developed installations in a vast array of spaces including: in the rehearsal studios of a ballet company (Queensland Ballet 2003), rock festivals, in The Barbican Theatre-London (2005) to commuters in subway during rush hour in Melbourne (2007). Performances and residencies include: Soundlabs, Italy, 2005-2006; Festival Internationale de Benicassim, Spain, 2005-2006; M on The Bund, Shanghai, 2009-2010; Judith Wright Centre of Contemporary Art, 2011; Elephant Rock cliff face – BLEACH 2012; Live collaborative performance with Michael Dick, Brian Richie and the Tasmanian Improvisers Orchestra at MONA FOMA, Hobart, 2012, The 18th Biennale of Sydney and upcoming at Draw International, France, 2013.
Kellie O’Dempsey, Mona Foma, 2012, Live performance paper, ink, paint, digital project, and orchestra. Courtesy of the artist.
Kellie O’Dempsey, Mona Foma, 2012, Live performance paper, ink, paint, digital project, and orchestra. Courtesy of the artist.
Kellie O’Dempsey, Moving Lines, 2011, Live performance paper, ink, tagtool, and digital projector. Courtesy of the artist.
