Past Residents
Past Resident2017: Federal Ministry for Arts, Culture, Civil Service and Sport of Austria
Sylvia Eckermann and Gerald Nestler
Sylvia Eckermann and Gerald Nestler’s collaborative work is defined by a discursive engagement with form and media. Their work culminates in artistic reflections on our entanglement as individuals in contemporary socioeconomic circumstances. They combine theory and post-disciplinary conversation with digital and physical environments, installations, videos, performances, objects, texts and sound, to explore the derivative condition of contemporary social relations and its financial/economic models, narratives, and processes.
Sylvia Eckermann and Gerald Nestler have been collaborating since the mid-2000s. The have had exhibitions and projects at MAK – Austrian Museum of Applied Arts / Contemporary Art, 2016; International Symposium on Electronic Art, Hong Kong, 2016; University Museum and Art Gallery, Hong Kong, 2015; Kunstraum Niederoesterreich, Vienna, 2015; Kunstraum Innsbruck, Austria, 2013; Kunstraum BERNSTEINER, Vienna, 2012; Austrian Pavilion, EXPO 2010, Shanghai;
4zero Space, Hangzhou, 2010; MKL/Kunsthaus Graz, 2009; Babu Gallery, Shenzhen, 2009; Anni Gallery, Beijing, 2009; Museum Stein, Krems, 2008; Museum Arbeitswelt Steyr, Austria, 2007; Center for Architecture, Innsbruck, 2006; Medi@terra Festival, Athens, 2006; The University of Applied Arts Vienna, 2005; Beijing Cubic Art Center, 2005. They are currently working on the project The Future of Demonstration. Art in the Post-Digital Era, planned for 2017-2018 in Vienna with Maximilian Thoman.
Events & Exhibitions
Fall Open Studios 2016
November 4–November 5, 2016
Sylvia Eckermann and Gerald Nestler, Crystal Math, 2012, 1 channel video installation, 200,000 inches of nylon thread, computer, projector, and 5.1 sound system, 120 × 80 in. (304.8 × 203.2 cm). Sound by Peter Szely and voice by Simon Streather
Sylvia Eckermann and Gerald Nestler, Plastic Trade-off, 2006-2015, 1500 LEDs mounted inside acrylic glass discs, construction and data/power lines, and steel wire, 145 × 155 × 150 in. (368.3 × 393.7 × 381 cm)
Sylvia Eckermann and Gerald Nestler, Breathe My Air - A Paradoxical Conversation Piece, 2008-2011, 3 channel video, 118:14 min
Sylvia Eckermann and Gerald Nestler, The Trend is Your Friend!, 2009, 270° Projection, projectors, cameras, RoboHeads, HeadTrackers, computer, Deskotheque Display System, and Auditory Virtual Environment (AVE), 400 × 400 × 120 in. (1016 × 1016 × 304.8 cm). Sound architecture by Peter Szely
Residents from Austria
Nicole Franchy
Nicole Franchy’s artistic practice is based on – and embedded in – the increasing mobility of people, objects and ideas. Using images related to history, memory and travel, she meticulously composes collages, installations and video installations that investigate how societies are shaped by physical and virtual movements on both a global and a local scale. Moving between archival and fictive representations, her work confronts parallel realities and explores the liminal space of boundaries and frontiers. As such, it projects associative landscapes and impossible panoramas that propose a new geography; one that is critical and that challenges us to re-map our own coordinates.
Nicole Franchy (born 1977, Lima, Peru) moved to Belgium in 2010 where she graduated from Higher Institute for Fine Arts, Belgium. Franchy was selected for the EFG-ArtNexus Latina America Art Award (2014). Her solo exhibitions include Boundary – Lugar Desconocido, Galería El Ojo Ajeno, Lima (2013); and Satellite Cities, Galeria Vertice, Lima (2008). Selected group exhibitions include: Europa, ArteBa, Buenos Aires (2015); Theorem, Mana Contemporary, New Jersey (2015); Nothing to Hide, Kinz + Tillou Fine Art, New York (2015); Reconstrucciones, Project Rooms Art Lima, Lima (2014); Tierra de Nadie, Galería Gonzalez y Gonzalez, Lima (2014); Suspension, Artistdock, Berlin (2013); as well as the traveling exhibition Where Do We Migrate To?: Värmland’s Museum, Karlstad, Sweden (2015); The Sheila C. Johnson Design Center, New York (2012); and Center For Art Design and Visual Culture, Baltimore (2011).
Nicole Franchy, Black Wasser, 2015, Canvas collage, 177 × 161 in. (449.58 × 408.94 cm). Courtesy of the artist
Ground Floor Residents
Sarah Zapata
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Hartfield Foundation
Sasha Wortzel
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Brooklyn Borough President Antonio Reynoso
Simon Liu
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Berenice Güttler
Berenice Güttler‘s artworks are studies of identity developed through her activity with textile material. Her drawings function as documentation for this identity. As Seth Siegelaub said, “There is an intimate relationship between textile and society.” This marks it as a medium of particular fascination and endurance. Her work deals with the breadth of influence that textiles have had on art and daily life. Her artworks tell us, unagitatedly, about the emblematic topics of weaving, patterns, and structures in our contemporary world. She treats the agile state of contingency between craft and art easily elegant; dealing with the political history, gender politics and social factors, that are inherent in the material fabric that is both self-referential and universal.
Berenice Güttler (born 1984, Germany) lives and works in Berlin and Hannover. She completed a residency in Galata, Istanbul sponsored by the The Braunschweig University of Art in 2010, contributed to several exhibitions in Europe and is now honored with an artist-in-residency in New York, by the Niedersächsische Sparkassenstiftung, Saxony.
Berenice Güttler, Untitled, 2014, Batiste cotton, 773/4 × 823/4 in. (197.48 × 210.18 cm). Courtesy of the artist
