Past Residents
Past Resident2012: Danish Arts Foundation
Rose Eken
Rose Eken’s artistic practice extends into a variety of media, focusing on video-installation, drawing, embroidery and sculpture. Eken exploits the myths of rock ‘n’ roll in the creation of new narratives. Mythically charged props are re-staged and re-scaled as tiny cardboard models, which become evocative backdrops for fictional tales. Construct and reality meet in the metaphorical gap between the real world and intimate fantasy – between raw male guitar energy and a more fragile and feminine miniature universe. Eken’s models and sculptures are clearly handmade, a combination of meticulous craftsmanship and amateurish DIY style. Her rough, cartoony ceramics, fine large-scale embroideries of bands’ set lists and miniature reconstructions of legendary guitars or drum kits, are produced with an intensity and zeal that reflect the dedication and endurance that characterize making music.
Rose Eken (born 1976, Copenhagen, Denmark) holds a BA (Hons.) in Sculpture from Edinburgh College of Art and a Master of Arts from Royal College of Art, London. She has participated in residency programs worldwide and has exhibited internationally. Recent solo shows include: Forever is a Slow Moment, Charlotte Fogh Contemporary, Aarhus, Denmark;Tomorrow is a Long Time, Künstlerhaus Bethanien, Berlin; and Sindet har Ingen Tid, Overgaden – Institute of Contemporary Art, Copenhagen. Group exhibitions include: Thank You for the Music, KIASMA Museum of Contemporary Art, Helsinki; Enter II, Brandts Kunsthal, Odense, Denmark; Halleluhwah! Hommage á CAN, Galerie ABTART, Stuttgart, and Künstlerhaus Bethanien, Berlin; and Berlin Klondyke, ODD Gallery, Dawson City, Yukon, Canada and Art Center Los Angeles (ACLA), USA. In March 2012 Eken will be exhibiting at Unspeakable Projects in San Francisco.
Events & Exhibitions
Rose Nolan: Wall Work
October 7–October 7, 2010
Rose Eken, Edition of You (100 Guitars), 2008, Cardboard, emulsion, gold and silver pen, ink, and glitter, 4 × 111/4 × 1/8 in. (10.16 × 28.57 × 0.32 cm).
Rose Eken, Music is the Healing Force of the Universe, 2010, Cardboard, masking tape, acrylic, wire, silver paint marker, and string, 5 × 6 × 4 in. (12.7 × 15.24 × 10.16 cm).
Rose Eken, Early Morning Melody, 2011, Glazed stoneware and paper clay.
Rose Eken, Sitting on the Top of the World.
Residents from Denmark
Rebecca Baumann
Rebecca Baumann works primarily in sculpture and installation. Through a formal and conceptual exploration of materials, Baumann’s recent works have critically interrogated ideas of happiness and celebration in contemporary life. Often kinetic and ephemeral in nature, her sculptures and installations seek to affect the audience through their experiential, momentary and emotive qualities. Baumann’s current area of interest, the relationship between color and emotion, has been influenced by further research into psychology, sociology, color theory and art history.
Rebecca Baumann (born 1983, Perth, Western Australia) received a Bachelor of Fine Arts from Curtin University of Technology, Perth in 2003. Baumann has exhibited nationally in Australia in various group exhibitions, including: Contemporary Australia: Women, Gallery of Modern Art, Brisbane; Primavera, Museum of Contemporary Art Australia, Sydney; and NEW11, Australian Centre for Contemporary Art, Melbourne. Her solo exhibitions include: Untitled State of Mind, Gallery ON, Poznań, Poland; This Glorious Mess, Free Range Gallery, and from the beginning; one more time, Fremantle Arts Centre. Baumann has been the recipient of the Art & Australia/Credit Suisse Private Banking Contemporary Art Award and the Qantas Spirit of Youth Award.
Rebecca Baumann, 2010-2011, 25 smoke canisters, 1375m3 colored smoke, aluminum and electric detonator, 5 min.
Rebecca Baumann, 2011, 100 flip-clocks, laser-cut papers and batteries, 51 × 142 × 31/2 in. (129.54 × 360.68 × 8.89 cm).
Rebecca Baumann, This Glorious Mess, 2009, Drum fans and streamers, Dimensions variable.
Rebecca Baumann, Untitled Cascade, 2010, Tinsel curtains, domestic fan and 1.2k Selecon Zoomspot, Dimensions variable.
Past Resident2012: Danish Arts Foundation
Benandsebastian
Artist duo, benandsebastian use the language of architecture to discuss the relationship between a person’s surroundings and the human mind and body. For the artists, architecture not only represents the buildings we inhabit, but also symbolizes a way of thinking that is explored through mythical stories, utopian models, economic systems and power relations. Their work has taken inspiration from such eclectic sources as medieval rituals, romantic ruins, office politics and a Manhattan urban legend. A common thread running through the work is the artist group’s interest in physical and conceptual absences that inspire memory projection, familiarity and longing as ways of filling in the gaps.
Ben Clement (born 1981 in Oxford, United Kingdom) and Sebastian de la Cour (born 1980 in Copenhagen, Denmark) work together under the name benandsebastian. They live and work in both Copenhagen and Berlin. Lecturers at the School of Architecture, Royal Academy of Fine Arts in Copenhagen since 2007 and Guest Professors at the School of Architecture in Aarhus, Denmark since 2011, benandsebastian are graduates of the Bartlett School of Architecture, University College London. Recent solo exhibitions include: Phantom Limbs, Trapholt Museum, Kolding, Denmark (2012); Phantom Limbs, Museum of Art and Design, Copenhagen (2011); and Unbuilt Extremities, Friedelstrasse 27, Berlin (2011). Group shows include: Treffpunkt:Berlin, Arken, Copenhagen (2012) and Skulptur I Eventyrhaven, Kunsthallen Brandts, Odense, Denmark (2011).
Events & Exhibitions
Brooklyn Commons: Fred Wilson and benandsebastian
September 4, 2012
Benandsebastian, Phantom Limbs, 2011.
Benandsebastian, Made in Ruins, 2009-2011, Assorted woods, 40 × 80 × 80 in. (101.6 × 203.2 × 203.2 cm).
Benandsebastian, Mountain of Depression, 2008, Beech plywood, MDF, plastic, steel, rubberized paint, 30 × 50 × 70 in. (76.2 × 127 × 177.8 cm).
Benandsebastian, City of the (Re) Orientated, 2007, Assorted woods, plaster and cardboards, 30 × 40 × 40 in. (76.2 × 101.6 × 101.6 cm).
Benandsebastian, Phantom Limbs, 2011.