Past Residents

Country
Year
Residency Program
Resident Type
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Taiwan

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
2024

Feng-Yi Chu

Taiwan
Ministry of Culture, Taiwan
2024

Hung-Yen Chang

Taiwan
Ministry of Culture, Taiwan
2023
Italy

Past Resident
2022: Italian Cultural Institute of New York
2020: The Italian Academy for Advanced Studies, Columbia University

Artist

Ruth Beraha

Ruth Beraha’s research investigates elements that can commonly be labeled as evil, stranger, or unknown, focusing on the disruption of the certainties we base our experience of the world on. With immersive audios, sculptures, installations, drawings and photographs, her work makes the viewer consider the adversary no longer as a distant and incomprehensible entity, but as a constitutive part of our identity.

Ruth Beraha has exhibited at Pirelli Hangar, Milan; Arte in Memoria Biennial of Contemporary Art, Ostia Antica, Rome; and MAMbo, Bologna, among others.
Ruth Beraha, Charlie, 2019, Carrara marble, 8.85 in. (diameter)
Ruth Beraha, Goliath, 2019, site-specific installation, 118 × 315 in. (299.72 × 800.1 cm)
Ruth Beraha, Run Home (self-portrait), 2018, blown Murano glass
Ruth Beraha, Us (self-portrait), 2018, Fish tank, 31 piranhas, and terracotta sculpture, 39 × 39 × 19 in. (99.06 × 99.06 × 48.26 cm)
Ruth Beraha, You Will Never Be Alone, 2019, performance

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
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