Past Residents

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Past Resident
2022: Ministry of Culture, Taiwan

Artist

Ying Chiun Lee

Ying Chiun Lee is a glass and film artist whose process-driven work investigates human sexuality. Her practice focuses on the subtle details and movements of glass during its making. By utilizing these observations, she creates glass sculptures, installations, performances, and videos that speak on the fantasy of intimacy.

Ying Chiun Lee has exhibited work at GMTF Film Festival, Lybster; City Art Space and Joy Gallery, both Rochester, among others.

Events & Exhibitions

Artists at Work: Ying Chiun Lee with Junghyun Kim

July 28, 2022, 6–7pm

2022 Spring Open Studios

April 22–April 23, 2022

This piece of work portrays my experience of living through the pandemic as a foreigner in the US. The video consists of two scenes; The first scene is a view through the bottom of the glass tank. Catching the moment of molten glass dropped into the water and broke within several macro-explosions. The second part of the scene is an uranium glass object with gold leaf scattered on the top. Then two amorphous blobs of hot glass come into the frame. They dance around the object seductively. The audio is composed of a mixture of electronic sounds, news broadcasts regarding Covid, and cicada sounds from rural Taiwan.

Ying Chiun Lee, Home?, 2021, single-channel video, 1:32 min.

Ecstasy is a slow-motion video of molten glass. In the scene, the background is dark while the glass is illuminating the surrounding with heat. The molten glass on the end of a rod is turning slowly. The speed of the turning is not fast enough to keep the glass from falling. A wooden paddle comes into the frame from the left, slapping and pushing the glass from dropping. When the glass and wood meet, the heat burns the wood thus creating sparks. Sometimes the wooden pat stays longer on the glass, gently lifting the weight of the glass. As the two materials touch, the heat begins to light up the wooden paddle, creating a bigger flame than the sparks. The video is accompanied by the background sound of white waves crashing on shores.

Ying Chiun Lee, Ecstasy, 2020, single-channel video, 1:11 min.

Seduction is a short film. The video switches between two scenes. One scene focuses on the surface of the leaf while another focuses on the stem of the leaf. In both parts, a borosilicate glass lingers around the leaf, turning constantly from falling. When the glass gets closer to the subject, the heat dries out its moisture. During the interaction, the vapor process makes the leaf move up and down. This video comes with the background sounds of human breathing and bed sheet rustling.

Ying Chiun Lee, Seduction, 2021, single-channel video, 1 min.

The Teahouse is an installation with found objects, glass, and video projections. The piece is approximately the size of a three feet cube. It was set up in the City Art Space in downtown Rochester. On the site, the installation was surrounded by four layers of white sheers hanging down from the ceiling. On the white sheer fabric, a short film was projected. With the translucency of this material, the film projects through one fabric to the other side, casting a blurred image of the video. In between each fabric, there was a gap that allowed people to walk into the installation. Inside the white cube, there were nine white low pedestals. Eight of them had objects or words on them, and only the one in the middle remained empty. These were the objects that were shown in the video.

Ying Chiun Lee, The Tea House, 2021, mixed media, 42 × 42 × 42 in. (106.68 × 106.68 × 106.68 cm)

In this picture, a person is sitting on the toilet, hands holding a cell phone. A heavy glass object is rested on the gap between the two legs. This object has a rough texture on the outside that looks like rocks. On the inside, it seems smooth and glossy. The side that is facing up has an opening that shows the object is neither solid nor filled. The intimate connection between the object and skin is actually cold, heavy and rough.

Ying Chiun Lee, Living with a Hole , 2021, photographic print, 45 × 53 in. (114.3 × 134.62 cm)

Residents from Taiwan

Huang I-Hsiang

A Practice of Silence begins with a vague visual impression, the administrative figure of the Absolute Space, a silent presence always sitting in the corner of the exhibition venue. Her work is a series of interpretations, empathy, and understanding. She is always there, yet hard to notice. She is the caretaker of the venue, and I want to depict such a character. My curiosity lies in her physical and psychological relationship with the venue; my curiosity wonders why she is here and whether she has ever thought about leaving. In short, everything related to this job, including emotions and circumstances. During the exhibition, I invited theater practitioner Tseng Jing-Wen, who is dedicated to promoting People's Theatre, along with former administrative staff from Absolute Space who worked here at different times, to conduct a body workshop. My basic idea is, the arrival of newcomers marks the departure of the old, and the interchange between new and old forms the life of a character. These participants, through shared memories, will engage in a self- dialogue belonging to this character during the workshop. Finally, on the last day of the exhibition, we held a screening event showcasing the workshop's video documentation at the venue.

Taiwan

Ministry of Culture, Taiwan

Studio #210

Feng-Yi Chu

Taiwan

Ministry of Culture, Taiwan

Studio #302

Hung-Yen Chang

Taiwan

Ministry of Culture, Taiwan

2023

Ukraine

Past Resident
2022: AES+F

Artist

Pavlo Grazhdanskij

Pavlo Grazhdanskij works from the perspective of Ukrainian culture in the field of research of strategies of representation; problematics of documentary and found material; artistic approaches and manual labor in data processing and collection; dead-ends and turns of logics of sustainable states; biopolitics; reproduction techniques of existence–cycle, tradition, rituality, fatum, authoritarianism, insuperability, and other images of survival strategies; and abstraction, collaborationism, and intentionality.

Pavlo Grazhdanskij has exhibited at Detenpyla gallery, Lviv; Sörnäinen public bomb shelter, Helsinki; and Rosa’s House of Culture, Saint Petersburg among others.

Events & Exhibitions

Artists at Work: Pavlo Grazhdanskij with Volk Lika and Anton Varga

June 28, 2022, 6–7pm

2022 Spring Open Studios

April 22–April 23, 2022

In Deep Water: from Cheryomushki district to the present day.

Pavlo Grazhdanskij, from Cheryomushki district to the present day, 2018, installation

Video brings you through the walk around the biggest housing complex in USSR, in present — the sleeping district of Kharkiv, which in 70s has massively been overgrown with covers and pipes of cellars, and considers the cellar phenomenon in its socio- economic, everyday, defensive and psychic groundings.

Pavlo Grazhdanskij, Shelters, 2018, single-channel video , 16:22 min

Pavlo Grazhdanskij, Ponivecheno, 2020, single-channel video , 103 min

Residents from Ukraine

Anton Kats

Germany, Ukraine

Senate Department for Culture and Europe, Berlin

2020

Oleksiy Radynski

Ukraine

Ukrainian Institute

2019

Natalia Filonenko

Ukraine

TMU - Trust For Mutual Understanding

2002

Portugal, Spain

Past Resident
2022: Luso-American Development Foundation (FLAD)

Artist

AnaMary Bilbao

AnaMary Bilbao articulates documentation from photography, drawing, sound, and moving images. Through the combination of these elements and references, she seeks to start fictional narratives that put into question the idea of a single truth. As the artist states, “there is no truth beforehand, only connections, interruptions, and incompleteness – a piece can never end in itself.”

AnaMary Bilbao has exhibited at ARCOmadrid, Madrid; Museum of Art, Architecture and Technology and Leal Rios Foundation, both Lisbon, among others.

Events & Exhibitions

2022 Spring Open Studios

April 22–April 23, 2022

AnaMary Bilbao, Blast effects, 2021, 35 inkjet prints on cotton paper

AnaMary Bilbao, J’avale la vague qui me noie le soleil de midi Date: , 2021, inkjet prints, slide projections, and video

AnaMary Bilbao, Como interromper a eternidade? (Intervalos para a dúvida) [How to cease eternity? (Gaps for doubt)], 2019, 6 inkjet prints on cotton paper 320gr 16mm film, and sound, 2:53 min, loop

AnaMary Bilbao, Todas as formas sublimes são transitórias [All sublime forms are transitory], 2018, inkjet print on Japanese paper, 433/8 × 59 in. (110.24 × 149.86 cm) each

AnaMary Bilbao, Renascimento por transformação II (Rebirth through transformation), 2018, Inkjet print on Japanese paper, 65 × 43³/₈ in. (165.1 × 110.24 cm)

Residents from Portugal

Henrique Pavão

BRONZE, IRON, STEEL, WOOD, 16MM FILM PROJECTOR, LOOPER, 16MM FILM (B/W, SILENT, 2’25”, LOOP) VARIABLE DIMENSIONS INSTALLATION VIEW, ‘SEA OF TRANQUILITY’, FRAME SECTION AT FRIEZE NY AT THE SHED, NEW YORK

Portugal

Luso-American Development Foundation (FLAD)

2022

Ana Manso

Portugal

Fundação Calouste Gulbenkian

2022

Claudia Ulisses

Portugal

Anonymous

2010