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
Past Resident2021: Toby Devan Lewis
Pamela Council
Pamela Council is a New York-based interdisciplinary artist creating fountains for Black joy. Guided by material, cultural, and metaphysical quests, Council’s practice embodies a darkly humorous and inventive Afro-Americana camp aesthetic she refers to as BLAXIDERMY. Through this lens, Council uses sculpture, architecture, writing, and performance to shed light on under-examined and under-valued narratives.
Pamela Council has exhibited work at Studio Museum in Harlem; New Museum of Contemporary Art, New York; and African American Museum in Philadelphia, among others.
Pamela Council, Red Drink: A BLAXIDERMY Juneteenth Offering, 2018, concrete, fiberglass, and Big Red Soda, 120 × 144 × 120 in. (304.8 × 365.76 × 304.8 cm)
Pamela Council, BLAXIDERMY Pink, 2019, Lusters Pink Lotion, spinning oral sex toy, chocolate fondue fountain, rhinestones, paint, runner rug, carpet, and framed silicone on panel
Pamela Council, wtf is juice/gw smile, 2016, sugar, water, purple, Listerine, George Washington's raggedy ass slaves' teeth dentures, gold party foil, Grapeade cans, lights, fountain, and silk velvet with surface devoured by the artist, 100 × 65 × 48 in. (254 × 165.1 × 121.92 cm)
Pamela Council, Swag Surf (Suite), ongoing
Pamela Council, Fountain of Your Youth, 2017, plastic pony beads, motor, plastic, fabric, optic yellow tennis ball felt, pool noodles, nylon, and sneaker rubber
Residents from United States
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)
