Past Residents

Country
Year
Residency Program
Resident Type
List Grid
Residents Map
Italy

Past Resident
2019: Anonymous

Artist

Paolo Bini

Paolo Bini’s artistic research is an investigatory attempt to transform and re-appropriate the authentic notions of ‘the memory of an image’ as it adheres to the contemporary rhythms in the world around us. These images are formed as a pixilation of units. Usually marked out by a scanner or a plotter, the result is a succession of colored stripes that become a succinct and redefined translation of what came before.

Paolo Bini has exhibited work at Galleria Alberto Peola, Turin; Museo MADRE, Naples; and Reggia di Caserta, all Italy, among others.
Paolo Bini, diNUOVOpaesaggio, 2014, acrylic on paper tape on Fabriano paper on wall, 865/8 × 13313/16 in. (219.96 × 339.85 cm)
Paolo Bini, Volume Introspettivo, 2015, acrylic on paper tape on canvas, 59 × 59 in. (149.86 × 149.86 cm)
Paolo Bini, Luoghi del Sè, 2016, acrylic on paper tape on canvas, 78 × 59 in. (198.12 × 149.86 cm)
Paolo Bini, Paradise Box, 2016, acrylic on paper tape on canvas framed on wood, 22611/16 × 791/2 in. (575.82 × 201.93 cm)
Paolo Bini, Mediterraneo Rosso Oro, 2018, acrylic on paper, dimensions variable. Installation view at Cappella dell'Incoronata, Palermo

Residents from Italy

Chiara Ianeselli

Quel jour sommes-nous, 15-30 June 2022, co-curated with Bakul Patki, at Tokonoma, Kassel. Credit: Rene Graf. quel jour sommes-nous? (what day is it?) is a research project in the form of an exhibition that questions what makes an artwork - investigating the performativity and process of an exhibit, the acts that brought it into existence, and the context of its presentation. Featuring seventeen established and emerging artists, quel jour sommes-nous? explores the differing forms, lifespans, and pathways of artworks – with historicised and timeless, appropriated and reapproriated, unauthored and unauthorised, dismantled and intangible works, all of which sit beside a graduate piece that will be graded in situ, just ahead of the exhibition’s opening. An “unfinished” work will also be included. The concept of a finished work of art – one that is deemed ready to be shared – has been debated throughout art history, particularly in relation to potential different readings once it has been pulled from a definite temporal context. Continuing the contentious conversation around when a piece of art is complete, one work in progress will be taken from an artist’s studio, at a time of the curators’ choosing, and inserted into the exhibition. quel jour sommes-nous? reflects upon the evolution of the creative process – the choices, challenges and breakthroughs that come with making art – asking when, within this process, does something become a work of art, and who gets to decide? On which day is something ready to be sold or exhibited? Is today the day the artist has to surrender a work they might never see again? Extending this reflection on when a work comes into existence, the exhibition also asks whether it is possible for artworks to exist without an audience. How much is the public required for the creative process to be complete, and how preeminent is the artist’s vision in influencing the viewer’s experience of the work? quel jour sommes-nous? does not profess to answer these questions, but hopes to encourage examination and inspire further exploration. It is at once exhibition as research and research as exhibition
Italy
Italian Council - Directorate-General for Contemporary Art and Architecture and Urban Peripheries (DGAAP) at the Italian Ministry for Cultural Heritage and Activities
2024

Valentina Furian

Ciacco, 2021, installation view at
Italy
The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York
2024

Raffaela Naldi Rossano

Raffaela Naldi Rossano, Warp, video installation, mixed media, variable duration, 2022. Co-commissioned and co-produced by LIAF and TBA21 Academy. Developed in the context of a residency on the research vessel Helmer Hanssen. View at Fantasmagoriana, LIAF 2022, curated by Francesco Urbano Ragazzi.
Photo Kjell-Ove Storvik. C.sy the Artist

Italy, Greece
The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York, Directorate-General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and International Cooperation, Directorate-General for Contemporary Creativity of the Italian Ministry of Culture
2024
Denmark

Past Resident
2019: Danish Arts Foundation
2018: Danish Arts Foundation

Artist

Rusudan Melikishvili

With painting as her main medium Rusudan Melikishvili examines and explores themes and relations between subjects such as gender, body and femininity. Her works are based on some of humankind’s longlasting existential and psychological questions about birth, life, sexuality and mortality.

Rusudan Melikishvili has exhibited work at The Lviv National Art Gallery and the Hungarian National Museum, among others.

Events & Exhibitions

Artists at Work: Hesselholdt & Mejlvang and Rusudan Melikishvili
April 23, 2019, 6:30–8pm
Spring Open Studios 2019
March 29–March 30, 2019
2018 Summer Open House
July 31, 2018, 6–9pm
Rusudan Melikishvili, Untitled, 2017, oil on canvas, 7413/16 × 59 in. (189.99 × 149.86 cm)
Rusudan Melikishvili, Untitled, 2017, oil on canvas, 285/16 × 223/8 in. (71.88 × 56.9 cm)
Rusudan Melikishvili, Untitled, 2018, oil on canvas, 99 × 63 in. (251.46 × 160.02 cm)
Rusudan Melikishvili, Untitled, 2018, oil on canvas, 70 × 124 in. (177.8 × 314.96 cm)
Rusudan Melikishvili, Untitled, 2018, oil on canvas, 627/8 × 76 in. (159.77 × 192.99 cm)

Residents from Denmark

Jens Settergren

Denmark
Danish Arts Foundation
Studio #304

Lotte Nielsen

Denmark
Danish Arts Foundation
Studio #306

Marie Munk

Denmark
Danish Arts Foundation
2024
Poland, Switzerland, United States

Past Resident
2019: Galeria Le Guern
2019: Galeria Le Guern

Artist

Alicja Gaskon

Alicja Gaskon uses lines and maps to tell stories about conflict, borders, migration and identity. She uses mapping as a narrative process to investigate social and political spaces and networks. Her practice is research-based and ranges from painting and installation to video and performance. The works incorporate military maps, satellite images, and statistical data that are later translated into a reduced language based on the collected information.

Alicja Gaskon has exhibited work at Galeria Labirynt, Lublin; Lengyel Intézet, Budapest; and Korean Cultural Center New York, among others. 

Events & Exhibitions

Artists at Work: Alicja Gaskon and VOID
April 9, 2019, 6:30–8pm
Spring Open Studios 2019
March 29–March 30, 2019
Alicja Gaskon, The Dividing Line, 2015, installation view at balzer projects, Basel, Switzerland
Alicja Gaskon, Demarcation Line, 2018, screenprint on paper, 18 × 11 in. (45.72 × 27.94 cm)
Alicja Gaskon, Universal Divides, 2017, video still, 6:21 min
Alicja Gaskon, The Combat Helmet, 2017, mixed media
Alicja Gaskon, The Berlin Wall, 2017, enamel on canvas, 60 × 72 × 2 in. (152.4 × 182.88 × 5.08 cm)

Residents from Poland

Magdalena Ciemierkiewicz

Magdalena Ciemierkiewicz, Flag of the Borderlands (Stare Oleszyce), 2023, textile, and video
Poland
International Visegrad Fund
2024

Nadia Markiewicz

The image presents an interior with white walls and a gray terrazzo floor. On the wall on the right there are two white, closed doors. on the left hand side is a window. Towards the middle of the image, and room, are four objects. Starting from the left, on the wall next to the set of doors, in the distance, is a small box covered in a dark red, metallic festive garland. Right about above it, and crossing the room in half, facing the camera, is a white rippled curtain. A arch-like shape has been cut out in the curtain, making it possible to pass through. The arch is not in the middle of the square-shaped curtain, but a bit to the left of it, asymmetrically. In front of the curtain, diagonally cutting through the space and resting with its red, boxy arrowhead on the floor is a giant, wooden cupid's arrow. It has a light colored wood shaft and the feathers are a white wooden cut-out. Above the arrow, a bit to the right and overlapping the window, is a stained glass in the shape and colors of a dart board - beige, black, red and green.
Poland
International Visegrad Fund
2023

Maess Anand

Poland, Germany
Polish Cultural Institute New York, The Adam Mickiewicz Institute, Krupa Gallery
2023