Past Residents
Michelle-Marie Letelier
Michelle-Marie Letelier is interested in exploitation of minerals, working across topographic changes of a landscape, juxtaposed with the speculation of resources within the current economic framework. She spent her early life in Chuquicamata, the biggest open-pit copper mine in the world, in the Atacama Desert. This served as a starting point in her practice, documenting the town’s burial process through video and photography. Since settling in Berlin, Letelier has focused on copper and coal: minerals which have also become objects themselves in her drawings, paintings, objects and installations. Letelier’s work carries heavy socio-political overtones, especially in times of unveiled globalization, the increasing scarcity of raw materials and the crisis of the neoliberal model.
Michelle-Marie Letelier (born 1977, Rancagua, Chile) obtained her BFA at the Universidad Católica de Chile. Her recent solo exhibitions include Die Feinfühlige Zone, Die Ecke Gallery, Santiago and Doomed Scape,Perlini Arte Gallery, Padua. Her group exhibitions include Magic Block, Stiftelsen 3.14, Bergen and To Seize Matter and Leave a Landscape, X Video and Media Arts Biennial, Museum of Contemporary Art, Santiago. Her videos have been exhibited in several screenings and festivals across the world. In 2005, Letelier participated in the Mercosur Biennial and in 2012 she was awarded the first edition of ORA International Art Prize. Letelier lives and works in Berlin.
Events & Exhibitions
Salon: Michelle-Marie Letelier and Akansha Rastogi
July 8, 2014
Michelle-Marie Letelier, The Prediction of Tarapacá, 2014, Mixed media, 17 x 157 x 157 in. Courtesy of the artist.
Michelle-Marie Letelier, Energeia Series, 2012, Mixed media, 4 x 6 in. Courtesy of the artist.
Michelle-Marie Letelier, Wo Fass Ich Dich, Unendliche Natur?, 2011, HD video, 5 min. Courtesy of the artist.
Michelle-Marie Letelier, Doomed scape, 2012, Drawing, 83 x 124 in. Courtesy of the artist.
Michelle-Marie Letelier, Doomed scape, 2012, Installation view. Courtesy of the artist.
Past Resident2014: Creative Australia, ArtsNSW, American Australian Association
Michaela Gleave
Michaela Gleave investigates the physicality of perception, interrogating the systems and structures through which we construct our image of reality. Executed as a series of experiments, her often-temporal works question our relationship to time, matter and space, involving natural phenomena and tricks of perception within the context of the systems and structures that shape contemporary existence. Operating between the spaces of personal experience and global understanding, Gleave’s illusory works hover at the junction between art and science, returning repeatedly to the atmosphere and the space of the sky as the site for her work. Gleave’s installations, performances and interventions question the relationship we have with our surroundings, allowing us to experience the processes by which we comprehend reality and rethink our presence within it.
Michaela Gleave (born 1980, Alice Springs, Australia) holds a BFA from the University of Tasmania, and an MFA from the College of Fine Arts, University of New South Wales. Gleave’s work has been exhibited extensively across Australia, as well as in Germany, Austria, Hong Kong, Korea, Japan and Mexico. Her recent exhibitions include A Day is Longer than a Year, Fremantle Arts Center, 2013; We Are Made of Stardust as part of Art Futures, Hong Kong Art Fair (solo), 2012; A Perfect Day to Chase Tornadoes (White), the Kunstquartier Bethanien, Berlin, 2010, and Primavera 09, The Museum of Contemporary Art, Sydney, 2009.
Events & Exhibitions
Salon: Jenny Brockmann and Michaela Gleave
May 27, 2014
Michaela Gleave, Our Frozen moment, 2012, Water, irrigation system, strobe lighting, pine structure, recycled rubber, wire balustrade, gum boots and rain ponchos, Dimensions variable, installation view. Courtesy of the artist and Anna Pappas Gallery, Melbourne.
Michaela Gleave, A day is longer than a year, 2013, Theatre spotlights, dichroic glass, custom motors, Dimensions variable, installation view. Courtesy of the artist and Anna Pappas Gallery, Melbourne.
Michaela Gleave, It was never meant to last (BIG TIME LOVE), 2011, One-minute event: pyrotechnics, timber frame, nstallation view. Courtesy of the artist and Anna Pappas Gallery, Melbourne. Photo courtesy of Benjamin Wright.
Michaela Gleave, Persisten Optimism, 2011, Glitter, air compressors, hose, fittings and funnels, Dimensions variable, installation view. Courtesy of the artist and Anna Pappas Gallery, Melbourne.
Michaela Gleave, I would bring you the stars (101 nights), 2011, Documentation of performance: 101 text messages, 101 DIY explosions on 35mm transparencies. Courtesy of the artist and Anna Pappas Gallery, Melbourne.
Past Resident2014: Ministry of Culture of the Flemish Community Visual Arts Department
Manor Grunewald
Manor Grunewald is first and foremost as a painter, although he is also active in the fields of sculpture, installation and prints. His work is characterised by the constant analysis of the development of the pictorial in our daily environment. He finds and collects the sources of his images everywhere in daily life: in newspapers, advertising, books, comics, digital media and even illustrations of biological microcosms and macrocosms. His image archive serves as a source of inspiration, and his found pictorial material is often altered, partially on purpose and in some cases arbitrarily, by copying, enlarging or collaging. The artist thus creates new pictorial information, which is largely free of cognitively controlled processes and which reveal the unfamiliar, allowing this to become the content of his painting.
Manor Grunewald’s works have been exhibited across Europe and in the United States. In 2011, he was nominated for the Young Belgian Painters Prize at BOZAR. Recently, he has completed solo projects at Arco Madrid, Volta New York and Volta 9, Basel. Grunewald has presented recent solo exhibitions at Galerie Fortlaan 17, Ghent and Chaplini Gallery, Cologne. He will take part in a group exhibition with Evan Gruzis and Christian Vetter at Super Dakota Gallery, Brussels in April 2014.
Manor Grunewald, Unhelpful Hunt - Ze hat is not mine, I'm only trying it on for size, 2013, Installation view. Courtesy of the artist and Chaplini Gallery, Cologne.
Manor Grunewald, Unhelpful Hunt - Ze hat is not mine, I'm only trying it on for size, 2013, Installation view. Courtesy of the artist and Chaplini Gallery, Cologne.
Manor Grunewald, Life's a beach - grey, 2013, Oil, acrylics, spray paint, lacquer, paper, uv print on wood, 47 × 71 in. (119.38 × 180.34 cm). Courtesy of the artist.
Manor Grunewald, Untitled (Organic Mess #2), 2013, Oil, acrylics, spray paint, silkscreen, foil on canvas, 35 1/2 x 27 1/5 in. Courtesy of the artist.
Manor Grunewald, Sloping Attempt (Atom Ant), 2013, Wood, epoxy, plaster, oil, spray paint, metal, foam, 55 1/2 x 50 3/4 x 10 in. Courtesy of the artist.
