Past Residents

List Grid

Past Resident
2021: Ministry of Culture, Taiwan

Curator

Yu-Ling Chou

Chou Yu-Ling’s research focuses on visual culture, moving images’ curation and curatorial methodology. She was a curator of the National Taiwan Museum of Fine Arts where she organized the 2018 Taiwan Biennial titled Wild Rhizome that looked at the cultural legacy of a theatre group who self-published Theatre Quarterly, an avant-garde magazine that circulated during 1960s in Taiwan.

Chou Yu-Ling has curated shows at Peltz Gallery, London; Soulangh Cultural Park, Tainan; and National Taiwan Museum of Fine Arts, Taichung, among others.

Events & Exhibitions

2021 Summer Open House

July 28, 2021, 3–9pm

2021 Spring Open Studios

April 27–April 28, 2021

Kao Chung-li, The Man with the Moving Projector, 2015, mixed media, installation view at Peltz Gallery, London

The Other Cinema Collective, Every Film is an Enigma: Moving Images in the Black Box and White Cube, 2017, mixed media, installation view at Soulangh Cultural Park, Tainan

Kao Chung-li, Kao Chung-li and Experimental Film in Taiwan, 2015, mixed media, installation view at LUX Salon, London

Wild Rhizome, The Glamorous Boys of Tang, 2018, mixed media, installation view at Taiwan Beinnale, 2018

The Other Cinema Collective, Every Film is an Enigma: Moving Images in the Black Box and White Cube, 2017, mixed media, installation view at Soulangh Cultural Park, Tainan

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

2024

Feng-Yi Chu

Taiwan

Ministry of Culture, Taiwan

2024

Hung-Yen Chang

Taiwan

Ministry of Culture, Taiwan

2023

Italy

Past Resident
2021: Italian Cultural Institute of New York
2014: NCTM e l'arte

Artist

Maria D. Rapicavoli

Maria D. Rapicavoli works across film, photography, and site- specific installation. Her work explores conditions of power, alienation, invisibility, and displacement through a critique of global economic and political systems. Drawing on her native Sicily as a place of departure and arrival, Rapicavoli explores the sea and the sky as sites of transit where individual narratives intersect with international politics. She seeks to make tangible the ways structures of power, taking place out of sight, impact our everyday lives

Maria D. Rapicavoli has exhibited work at Yerba Buena Center for the Arts, San Francisco; Palazzo Reale, Milan; and Whitechapel Gallery, London, among others.

Events & Exhibitions

2021 Spring Open Studios

April 27–April 28, 2021

2016 ISCP Benefit Auction

September 21–October 5, 2016

Maria Rapicavoli: A Cielo Aperto

February 27–April 8, 2014

Maria D. Rapicavoli, The Other: A Familiar Story, 2020, two channel video installation, 19:40 min

Maria D. Rapicavoli, If I am In Pieces Is It Easier To See?, 2020, handmade glazed white ceramic

Maria D. Rapicavoli, I Due Mari (The Two Seas), 35 handmade glazed ceramic vases, sea water, dimensions variable

Maria D. Rapicavoli, A Starry Messenger, 2019, hand-carved white alabaster, glass lenses, transparency film, plexiglass, steel, 2 × 8 × 4¹/₂ in. (5.08 × 20.32 × 11.43 cm)

Maria D. Rapicavoli, Crooked Incline, 2018, 100 porcelain pieces, plastic strings, dimensions variable

Residents from Italy

Chiara Ianeselli

Quel jour sommes-nous, 15-30 June 2022, co-curated with Bakul Patki, at Tokonoma, Kassel. Credit: Rene Graf. quel jour sommes-nous? (what day is it?) is a research project in the form of an exhibition that questions what makes an artwork - investigating the performativity and process of an exhibit, the acts that brought it into existence, and the context of its presentation. Featuring seventeen established and emerging artists, quel jour sommes-nous? explores the differing forms, lifespans, and pathways of artworks – with historicised and timeless, appropriated and reapproriated, unauthored and unauthorised, dismantled and intangible works, all of which sit beside a graduate piece that will be graded in situ, just ahead of the exhibition’s opening. An “unfinished” work will also be included. The concept of a finished work of art – one that is deemed ready to be shared – has been debated throughout art history, particularly in relation to potential different readings once it has been pulled from a definite temporal context. Continuing the contentious conversation around when a piece of art is complete, one work in progress will be taken from an artist’s studio, at a time of the curators’ choosing, and inserted into the exhibition. quel jour sommes-nous? reflects upon the evolution of the creative process – the choices, challenges and breakthroughs that come with making art – asking when, within this process, does something become a work of art, and who gets to decide? On which day is something ready to be sold or exhibited? Is today the day the artist has to surrender a work they might never see again? Extending this reflection on when a work comes into existence, the exhibition also asks whether it is possible for artworks to exist without an audience. How much is the public required for the creative process to be complete, and how preeminent is the artist’s vision in influencing the viewer’s experience of the work? quel jour sommes-nous? does not profess to answer these questions, but hopes to encourage examination and inspire further exploration. It is at once exhibition as research and research as exhibition

Italy

Italian Council - Directorate-General for Contemporary Art and Architecture and Urban Peripheries (DGAAP) at the Italian Ministry for Cultural Heritage and Activities

2024

Valentina Furian

Italy

The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York

2024

Raffaela Naldi Rossano

Italy, Greece

The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York, Directorate-General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and International Cooperation, Directorate-General for Contemporary Creativity of the Italian Ministry of Culture

2024

Russia

Past Resident
2021: AES+F

Artist

Aslan Goisum

Aslan Goisum tends to mine memory–collective and personal, political and cultural–for clues about colonial realities, how they have been endured and how they might be undone. Identities come into play in his work, as embodied effects of violence perpetrated or unfreedom suffered but also as possible openings, new beginnings. So far, his prime artistic tools have been the moving image, sculptural installation and various paper-based techniques.

Aslan Goisum has exhibited work at Museum of Contemporary Art, Antwerp; Stedeljik Museum, Amsterdam; and Kohta, Helsinki, among others.