Past Residents
Past Resident2016: fond na podporu umenia
Lýdia Pribišová
Lýdia Pribišová is interested in testing the boundaries of art. In her curatorial projects, she focuses on subversive art practices that go against typical social and cultural patterns. In her work, Pribišová observes how cultural stereotypes are constructed as well as the shifting positions of individual subjects in society. She works with themes of collective memory, sharing, and local Central European history, in part by questioning social rules, conformism, and the changing role of public space in post-communist societies.
Lýdia Pribišová (born 1980, Slovakia) is a curator and art historian. Pribišová has been the Slovak editor at Flash Art Czech & Slovak Edition since 2006, before becoming the managing editor in 2015. For two years (2013-2015), she worked as a project coordinator for the organization and digital platform tranzit. In 2012, Pribišová founded the nonprofit PILOT, and in 2007, she co-founded gallery of immaterial art, Evolution de l’Art. Projects include the 2007 and 2011 Slovak exhibition at the Prague Biennale. In 2013, Pribišová obtained her PhD from the University Sapienza, Rome; her doctoral thesis is titled Quadriennale of Rome. From Public Body to Foundation. Reflection on transformation.
Events & Exhibitions
Salon: Lýdia Pribišová and Jeff Weber
September 20, 2016, 6:30–8pm
Katerina Seda, Bojart Market, 2015, Participatory work. Photo by Martin Hlavica
Ilona Németh, Mud Wrestling, 2011. Project for the Prague Biennale
Lýdia Pribišová, Common Identity?, 2011-2012
Past Resident2016: Canada Council for the Arts
Richard Ibghy and Marilou Lemmens
Richard Ibghy & Marilou Lemmens have developed a collaborative practice that combines a concise approach to the form and construction of the art object with a desire to make ideas visible. Spanning across multiple media, including video, performance and installation, their work explores the material, affective and sensory dimensions of experience that cannot be fully translated into signs or systems. For several years, they have examined the rationale upon which economic actions are described and represented, and how the logic of economy has come to infiltrate the most intimate aspects of life.
Richard Ibghy & Marilou Lemmens’ work has been shown at the 14th Istanbul Biennial SALTWATER: A Theory of Thought Forms, 2015; La Biennale de Montréal, L’avenir (looking forward), 2014; 27th Images Festival, Toronto, 2014; Manif d’art 7: Quebec City Biennial, 2014; La Filature, Scène Nationale, Mulhouse, France, 2013-14; Henie Onstad Kunstsenter, Norway, 2013; Centre for Contemporary Arts, Glasgow, 2012; and the 10th Sharjah Biennial, 2011. Their recent solo exhibitions were held at Leonard & Bina Ellen Gallery, Montreal, 2016; VOX, Montreal, 2014; Trinity Square Video, Toronto, 2014; La Bande Video, Quebec City, 2014; Forrest City Gallery, London, Ontario, 2013; Monte Vista Projects, Los Angeles, 2012; and G Gallery, Toronto, 2012.
Richard Ibghy and Marilou Lemmens, The Prophets, 2013-ongoing, Mixed media, 32 × 670 in. (81.28 × 1701.8 cm)
Richard Ibghy and Marilou Lemmens, Supply and Demand for Immortality, 2011, Vinyl, 3740
Richard Ibghy and Marilou Lemmens, The Golden USB, 2014, Video installation, Dimensions variable
Richard Ibghy and Marilou Lemmens, Circulation Route, Projected Teams and Total Workplace at Google Berlin, 2016, Mixed media, 18 × 15 × 12 in. (45.72 × 38.1 × 30.48 cm)
Richard Ibghy and Marilou Lemmens, Is There Anything Left to be Done at All?, 2014, Video installation, Dimensions variable
Residents from Canada
Past Resident2016: Creative New Zealand
Alicia Frankovich
Alicia Frankovich is interested in the potential for new modes of imagining bodies and their behaviors for both humans and non-humans. She works with performance, sculpture, video, photography, and temporary exhibition experiences. Frankovich is interested in creating new languages that merge movements, experiences, sensibilities, materials from various fields, often by collaborating with non-professional participants. Her mode of production combines various past histories with the present to form relationships with possible futures. She builds equivalences through the combination of form or temporal experience, that create links between things and beings to allow for a more plural understanding of time.
Alicia Frankovich (born 1980, Tauranga, New Zealand) holds a BVA in sculpture from Auckland University of Technology, and lives and works in Berlin. Her solo and two-person exhibitions include The Female has Undergone Several Manifestations, Starkwhite, Auckland, 2016; Complex Bodies, Kurator, Alte Fabrik, Gebert Stiftung für Kultur, Rapperswil, Switzerland, 2015; Today this technique is the other way around, Kunstverein Hildesheim, 2013; and Gestures, Splits and Annulations, Künstlerhaus Bethanien, Berlin, 2011. Group exhibitions and performances include: Les Limbes, La Galerie, Noisy-le-sec, France 2016; If I Can’t Dance I Don’t Want To Be A Part Of Your Revolution, Gerrit Rietveld Academie, Amsterdam, 2016; Le Mouvement: Performing the City, Biel/Bienne, Switzerland, 2014; Nouvelles Vagues, Palais de Tokyo, Paris, 2013; and Material Traces, The Leonard & Bina Ellen Art Gallery, Montréal, 2013.
Events & Exhibitions
Brooklyn Commons: Tehching Hsieh and Alicia Frankovich
July 26, 2016, 6:30-8pm
Alicia Frankovich, Defending Plural Experiences: MOCAP Creation, 2014, HD video, colour, and sound, 36:28 min
Alicia Frankovich, Complex Bodies, 2015, Various media, Dimensions variable
Alicia Frankovich, Soft Water (detail), 2015, Olympic pool stairs and polished shells, 473/16 × 353/8 × 517/8 in. (119.89 × 89.92 × 131.83 cm)
