Current Residents

List Grid

Current Resident: Sep 1, 2023–Nov 30, 2023

Studio #216

Alicia Grullón

Alicia Grullón is a Bronx-based artist and organizer. Grullon’s social practice work extends to exploring how people relate to land in order to rally a transformation of our living by using performance and self-portraiture as a critique on the politics of presence, an argument for the inclusion of underinvested communities in political and social spheres. She is a Moore College of Art and Design Walentas Fellow for 2020-2022, and teaches at Queens College.

Alicia Grullón has exhibited work at Wallach Art Gallery, Columbia University; Bronx Museum of the Arts; and BRIC Arts Media House, all in New York, among others.

aliciagrulon.com

Grullón’s self-portrait series, “From March to June: At Home with Essential Workers” is a continuation of her process using visual and embodied performative practices to create alternatives in archiving history. These self-portraits were created in her home in New York City during the Covid-19 quarantine. In this body of work, she simultaneously documents her time at home and current affairs affecting the nation.The titles refer to dates the images were taken and news articles from that time regarding the treatment of essential workers and incarcerated people during the pandemic.

Alicia Grullón, March 31, 2020: Rikers Island Prisoners Are Being Offered PPE and $6 an Hour to Dig Mass Graves, 2020, archival color dye sublimation print, 60 × 30 in. (152.4 × 76.2 cm)

April 13, 2020: NYC death toll jumps by 3,700 after uncounted fatalities are added, 2020, archival color dye sublimation print, 60 × 36 in. (152.4 × 91.44 cm)

Alicia Grullón, May 4th, 2020: We call workers ‘essential’ – but is that just referring to the work, not the people?, 2020, archival color dye sublimation print, 60 × 36 in. (152.4 × 91.44 cm)

Alicia Grullón, May 8th, 2020: US Postal Service warns coronavirus pandemic threatens its survival, 2020, archival color dye sublimation print, 60 × 36 in. (152.4 × 91.44 cm)

Breaking News is a short video looking at the migrant crisis at the US-Mexico border. Through the point of view of Jaquin Caal Maquin, the first child reported to have died while in ICE custody, I re-imagined her as the United Nations High Commissioner of Refugees proposing new resolutions calling for no ICE presence, open borders and control of the UN by indigenous people of the global south and Western Hemisphere.

Alicia Grullón, Breaking News, 2019, single channel video, 4 min

Residents from United States

Nikita Shokhov

United States

ipureland

Studio #202

Miatta Kawinzi

Four black-and-white photographic prints on fabric are hung from the ceiling; they show a Black figure in various poses of reaching.

United States

Vision Fund

Studio #201

Elias Wessel

Installation view of exhibition, including sonic compositions by Natalia Kiës; in situ at the exhibition “Pulsar;” Internationale Photoszene Festival Cologne, 2023

Germany, United States

SpallArt Collection, Brigitte Vosse

Studio #208

Luxembourg

Current Resident: Sep 1, 2023–Dec 31, 2023

Edward Steichen Award Luxembourg

Studio #217

Artist

Nika Schmitt

Nika Schmitt’s kinetic sculptures and installations are distinguished by a unique combination of sound, electronics, and mechanics. Her work examines complex physical processes in a simple and straightforward manner. The compositions, which are mostly site-specific, investigate the principles of energy, material, and time, reflecting on the interrelationships and impacts that each of these elements elicit in cycles of repetition (rhythm), deterioration, and transformation.

Nika Schmitt has exhibited work at Singuhr, Berlin; Ikob, Belgium; and Philharmonie Luxembourg, among others.

schmittnika.com

rotating satelite dishes changing the self-generated feedback frequencies within the interior space. Four speakers and four different microphones picking up and playing live the changing sounds from different angles of the space.

Nika Schmitt, Radau Radar, 2020, electronics, microphones, speakers and steel, dimensions variable

a self-destructive kinetic sound installation composed by four electromechanical saws which are slowly cutting off their own power supplies.

Nika Schmitt, self/harmonium, 2023, motors, steel and aluminium, dimensions variable

solar panels installed around speaker poles, light bulb and microphones pendulum swinging endlessly around pole. Live generated feedback sound transforms into light frequency which in return powers the motors to the pendulum through the solar panels installed bellow the speakers.

Nika Schmitt, zweet zenith, 2022, solar panels, motors, electronics and steel

Nika Schmitt, LOOP, 2021, steel, solar panels, electronics, motors and plexi, dimensions variable

Steel tubes hanging from rotating belts, rolling on custom wooden frames in a factory. Moving in a repetitive manner producing nothing but changing frequencies and wear and tear.

Nika Schmitt, Locus Motus, 2019, wood, metal and electronics

Residents from Luxembourg

Claudine Arendt

Ahead of Time, The Times Ahead, 2021, sculpture fountain, polyester and computer-controlled water pump

Luxembourg, The Netherlands

Edward Steichen Award Luxembourg

2022

Mary-Audrey Ramirez

Luxembourg, Germany

Edward Steichen Award Luxembourg

2022

Daniel Wagener

Luxembourg, Belgium

Edward Steichen Award Luxembourg

2018

The Netherlands

Current Resident: Feb 1, 2023–Jan 31, 2024

Mondriaan Fund

Studio #219

Artist

Coralie Vogelaar

Coralie Vogelaar is a multidisciplinary artist who combines social science with her artistic practice. By viewing the human body from a machine-cognitive perspective, Vogelaar explores the relationship between humans and technology. She creates performances and multimedia installations in collaboration with experts from various disciplines such as data analysis, choreography, and sound design.

Coralie Vogelaar has exhibited work at Stedelijk Museum, The Netherlands; HeK (House of electronic Arts), Switzerland; and Photographers’ Gallery London, England, among others.

coralievogelaar.com

Events & Exhibitions

2023 Spring Open Studios

April 21–April 22, 2023

This interactive installation examines our urge to exert control over our body, the uncontrollable nature of the conditions that influence how we feel, and the data systems that analyze our state of wellbeing. Visitors are invited to take a seat and place a sensor on their earlobe. Their heart rate variability (HRV), the period between heartbeats, will immediately become audible as the sound of ticking metal friction on ceramics, and squeaking polysterene. Changes in HRV directly impact on the sound composition by Sjoerd Leijten and vice versa. The sensors register all the irregularities of the heartbeat, which fluctuates in response to physical and emotional factors. Because of the complexities involved in identifying the cause of individual fluctuations, science often dismisses small variations as irrelevant, and only average readings are used for examinations. Coralie Vogelaar explores the “noise” that is ususally filtered out in this hybrid cross of technological research and fine art - the installation exudes the atmosphere of a test environment, with its aluminium tubing, visible cables, and the inbuilt and pre-programmed conditional rules. Vogelaar demonstrates that our mood states are more complex than would be suggested by an averaged out measurement. She embraces this complexity by combining data-sampling systems with the physical experience of sound, rather than imposing any scientific framework or delimitation

Coralie Vogelaar, Interpersonal Biofeedback Apparatus Encoding Cardiac Fluctuations, 2021, interactive 10-channel audio installation, 200 × 240 × 80 in. (508 × 609.6 × 203.2 cm)

This work explores deconstructed facial expressions according to the Facial Action Coding System. This system forms the basis of contemporary emotion recognition software. With the help of the tracking mechanism of a mobile phone the performance demonstrates a computational approach to our emotions.

Coralie Vogelaar, Emotions from an Algorithmic Point of View, 2018, live performance, 20 min.

Half human, half machine, the figure of the video installation Infinite Posture Dataset is stuck within the confinements of the screen and either following or giving certain instructions to the rhythm of the machine. She is wearing a tight suit reminiscent of the ones used for motion capture techniques, involving the digital registration of body movement. In the work the performer is talking about the feelings stirred in her body memory while performing the movements and which results in spoken out loud, incoherent emotions. Her limbs also seem to have been detached. All in all, the spectator is left with random pieces of the puzzle. In similar cases we would usually focus on the face, but that too is hidden. While observing the deconstructed and reformulated poses of the performer, could the machine perhaps understand what she is trying to communicate? Vogelaar reveals how the bigger picture continues to be intangible to both human and machine. Neither human, nor machine has all the answers

Coralie Vogelaar, Infinite Posture Dataset, 2020, 65 in flatscreen, Relax Zone Pro Inversion Table, weight plate and motor, 15 min.

Coralie Vogelaar, Infinite Posture Dataset (Making off), 2020, still image.

Two photographs of the same event, taken at the same moment and from the same vantage point: one of the photographs has appeared thousands of times on the Internet, the other barely or not at all. Why is one image more successful than the other? In Recognized / Not Recognized, Coralie Vogelaar (NL, °1981) creates a comparative study of popular and unpopular news images. The result is an intriguing video installation.

Coralie Vogelaar, Recognized/Not Recognized, a comparative movement analysis of popular and unpopular news images, 2017, two channel video installation, 9 min.