Past Residents
Past Resident2021: Ministry of Culture, Taiwan
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.
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
Past Resident2021: Italian Cultural Institute of New York2014: NCTM e l'arte
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.
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
Raffaela Naldi Rossano
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
Studio #217
Past Resident2021: AES+F
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.
Aslan Goisum, Volga, 2015, single-channel, HD video projection, 4:11 min
Aslan Goisum, People of No Consequence, 2016, single-channel, HD video projection, 8:34 min
Aslan Goisum, Numbers, 2015, 50 metal plaques, 77/8 × 11 in. (20.07 × 27.94 cm) each
Aslan Goisum, Untitled, 2015, one metal jug, six glass copies
Aslan Goisum, No Need for Theories, 2011, book, soil, 411/16 × 3 × 10 in. (11.94 × 7.62 × 25.4 cm)
