Past Residents
Past Resident2014: Creative Australia
Claudia Chaseling
Claudia Chaseling’s work comprises wall-size paintings and installations. Chaseling creates upside down landscapes with reversed or distorted perspectives. The imagery of her spatial paintings consists of estranged landscapes, mutated creatures and plants whose deformation is caused by radiation. Her expansive wall/floor paintings interrupt the geometric order and balance of the exhibition space through the use of scale. The experience of the works alternates between the two and three-dimensional. Chaseling addresses the antagonistic relationship between structure and chaos, creating new compositions from a state of disorder. The result is an amorphous system of complex fragments reminiscent of light reflections and objects in form of capsule-like creatures. She creates an atmosphere of alienation searching for the undiscovered Zeitgeist.
Claudia Chaseling was born in Munich, Germany and lives in Berlin and Canberra, Australia. She received Masters degrees in Visual Art from both the Berlin University of the Arts and the Australian National University in Canberra. Recent exhibitions include solo presentations at the Staatliche Kunsthalle Baden-Baden, Germany; Galerie Kornfeld, Berlin; Collection Krohne, Duisburg and Volta 10, Basel, Switzerland. Major grants and scholarships received include the DAAD; the Samstag Scholarship; the Studio Award of the Karl Hofer Society and the Australia Council for the Arts. She has participated in residencies at Burlington City Arts, the Texas A&M University and Yaddo.
Events & Exhibitions
Salon: Claudia Chaseling and Yuri Yim
December 9, 2014
Omen, 2014, Egg tempera and aluminum on wall, floor and ceiling, 2755/8 × 1571/2 × 1181/8 in. (700.02 × 400.05 × 299.97 cm).
Past Resident2014: Creative Australia
nova Milne
Nova Milne create moments of connection or disruption, often taking the form of encounters across the breach of time. These sometimes reveal invisible or poetic connections between minor-historical events, and shared fictional or popular references. Through their increasingly expanded video installations, they unleash the occult potential of recombining anachronistic elements, forging a magical sympathy between documentary or amature sources and fabricated material. Their process invents a de-centered point of view and the question of inter-subjectivity forms an ongoing curiosity, alongside considerations of time, mysticism, longing, and empathy.
Nova Milne is a relationship that began when the two artists met as teenagers in 1998, and started exhibiting in 2003. They are recent alumni of the Residency Program at the Bemis Center, Omaha and have undertaken several residencies, including at the Cité Internationale des Arts, Paris, and Artspace, Sydney. Their solo exhibitions include the Art Gallery of New South Wales, Australia; The Physics Room, New Zealand; and Artspace, Australia. Other exhibitions include venues such as the Museum of Contemporary Art Australia; The Kadist Art Foundation, Paris; The Museum of Old and New Art, Tasmania; The Ian Potter Museum of Art, Melbourne; 104 and The Musee Rodin, Paris.
nova Milne, Jeté, 1963, 1965, 2014, 2-channel video, media players, steel and paint, 5 min. Courtesy of the artists.
nova Milne, Videodromes for the alone: frame drag, 1988, 2009, 2024, 2-channel video installation, media players, wood, paint and foil, 3:57 min. Courtesy of the artists.
nova Milne, Videodromes For The Alone: Frame Drag, 1988, 2009, 2024, 2-channel video installation, media players, wood, paint and foil. Courtesy of the artists.
nova Milne, Xerox Missive, 1977, 2011, 4-channel video installation from archived video recordings (1977) transferred to HD video, original 3K video (2011), animation, sound and synced videos, 4 min. Courtesy of the artist.
nova Milne, Videodromes For The Alone: Amputee of the Neurotic Future, 1988, 2012, Still from 3 channel synced video installation with sculptural elements including digitised archive VHS footage from a home movie by John Alden Milne from the collection of John Milne, Pywacket from the Bell and Candle [1958], animation, assorted rotoscoped found footage and sound, Audio: 2 min, video: 1 min. Courtesy of the artists.
Past Resident2014: Ministry of Culture, Taiwan
Chun-Chi Wang
Chun-Chi Wang’s work develops ideas that lead into a collaborative process-based working relationship with artists to examine issues she considers crucial, such as: critically assessing contemporary culture, investigating the way meaning is constructed and endowing the world with complexity at a time when the surface is rarely scratched and time is short. Her curatorial voice endeavors to make people re-think, slow down, delve beneath the surface and to excavate rather than simply consume. It does not summarize or offer answers, rather it asks questions that lead to contemplation, discussion, and new thoughts about the world around us.
Chun-Chi Wang is a Taiwanese artist and curator based in Berlin. Recently, she was the Assistant Curator, Taipei Biennial, 2012 and the Organizer, WEEKEND Project, Berlin, 2010-2011. Other recent exhibitions curated include No One River Flows, Kuandu Museum of Fine Arts, Taipei, 2014; Urban Synesthesia, Taipei, 2013; Immaterial Project, Paris, 2012; Liquidshell, Berlin,2011; Edition N.1-Wonderland, Berlin,2011; Tangible Intangible, Berlin, 2010 and Future Guide to the Web, New York, 2001. She is the Founder and Director of IDOLONSTUDIO, Berlin.
Chun-Chi Wang, Ocean refuses no river, 2013, Photography, Dimensions variable. Courtesy of the artist.
Chun-Chi Wang, The Rhyme of Forms, 2014, Mixed media, Dimensions variable. Courtesy of the artist.
Chun-Chi Wang, Let's do something, 2013, Mixed media, Dimensions variable. Courtesy of the artist.
Chun-Chi Wang, Ah-Q, 2002, Photochemical, mechanical live image projection device technique, Dimensions variable. Courtesy of the artist.
Chun-Chi Wang, Townhouse - Camp charlie block #1, 2009, Photograph, Dimensions variable. Courtesy of the artist.
