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Pou-Ching Tsai
Pou-Ching Tsai

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Sebastián Vidal Mackinson
Sebastián Vidal Mackinson
Taiwan

Current Resident: Mar 1, 2025–Jul 31, 2025

Ministry of Culture, Taiwan

Studio #210

Artist

Pou-Ching Tsai

Rooted in his lifelong fascination with animals, Tsai’s recent work explores human-animal relationships through the lens of amateur biology. Using video, installation, and archival materials, he examines and reimagines connections in response to contemporary survival modes and our increasingly complex relationships with animals.

Pou-Ching Tsai has exhibited work at the Taipei Fine Arts Museum; YIRI ARTS; and the Museum of Contemporary Art Taipei, all in Taiwan, among others.

rtrt520.wixsite.com/tsaipouching

Events & Exhibitions

Spring Open Studios 2025
April 25–April 26, 2025
Amidst complex historical changes, these voiceless specimens were swept along by war, their fates intertwined with two world wars. I have selected three events to illustrate the specimens’ circumstances, using digital imagery to convey their subjectivity in an alternative space corresponding with their lost physical forms.Through voice, they listen and recount their past experiences.
Pou-Ching Tsai, Three Notes on War, 2024, multi-channel video and Installation, dimensions variable.
According to legend, Nezha returned his flesh and blood to his mother and his bones to his father, then the Taoist immortal T’ai I Chen-Jen resurrected him using lotus roots for bones and lotus leaves for clothing. In the modernist process of man over nature, the perishable parts of deceased animals are removed, leaving only the outer skin to create specimens. This project includes three threads: the history of the National Taiwan Museum’s specimen collection, the communication process to reinstate their spirits, and the use of 3D scanning and modeling to reconstruct their flesh and bones, reviving them in a “not yet numinous” digital space. Through this gradual process, the specimens gain voice, culminating in a collaborative performance where they share their own stories.
Pou-Ching Tsai, Whispers of Specimens, 2024, dual channel video and Installation, dimensions variable.
This artwork originates from the extensive research I had to undertake as an artist working on this series, focusing on specimens and museums. However, during the research process, I discovered that the documentation left behind regarding these specimens is extremely scarce. In fact, even the basic specimen labels were often missing. While delving into this topic, I came across an article written by anthropologist Miyamoto Nobuto in 1934, published in the journal Science of Taiwan (Kagaku no Taiwan) by the then Taiwan Governor-General's Museum (Taihoku Imperial Museum). The article, titled "A Few Notes on Specimen Photography", primarily describes Miyamoto's approach to photographing specimens, presenting his experiences in the form of a technical manual. Given the lack of "past" documentation for these specimens, I decided to follow the methods described in "A Few Notes on Specimen Photography" to re-photograph them in a manner inspired by his techniques. We built a digital photo studio based on Miyamoto Nobuto’s instructions, using a physical folding camera with the same dry glass plates to photograph the specimens in a digital interface. At the same time, we invited them to collaborate by using the 3D models we created for them. With the help of a medium and an animator, they were able to decide their own poses for the photographs. In this way we attempted to rephotograph these specimens and fill the gaps of their lost records, while also reversing the power dynamics between the photographer and the subject, and exploring the possibilities of using images to revisit and imagine history.
Pou-Ching Tsai, Specimen Photography, 2024, video and glass plate photography.
Pou-Ching Tsai, We live above the ocean, 2022, video and Installation, dimeensions .
After the typhoon Morakot, the russet sparrows disappeared from their habitats. Humans. then took a series of conservation actions. At present, the mountain sparrows mainly inhabit the Zengwen reservoir, Alishan, and Guanziling. In the myth of the indigenous peoples of Taiwan, Cou, there is a bird called Uhngu that helped humans obtain fire during the Great Flood. There exist, many theories about the nature of this bird, one of which indicates that it was a sparrow. For the artist Tsai Pou-Ching, there is an ephemeral connection between these two things. He then involved the children of the Cou in a project to use the mud of the Zengwen reservoir to produce artificial nests. Half of these artificial nests became works of art, and the other half were made for the russet sparrows. Through the continuation of mythological narrative and imagination, Tsai Pou-Ching constructs a method of engaged conversation between human beings and nature.
Pou-Ching Tsai, Song of the Russet Sparrow, 2022, video and installation, dimensions variable.

Residents from Taiwan

Szu-Ying Hsu (Ida)

Taiwan, Germany
Ministry of Culture, Taiwan
Studio #302

Feng-Yi Chu

Taiwan
Ministry of Culture, Taiwan
2024

Huang I-Hsiang

Taiwan
Ministry of Culture, Taiwan
2024
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Pou-Ching Tsai
Pou-Ching Tsai
Braxton Garneau
Braxton Garneau
Argentina

Past Resident
2025: Jane Farver Memorial Fund

Curator

Sebastián Vidal Mackinson

Sebastián Vidal Mackinson’s practice explores artistic approaches that challenge hegemonic narratives about Latin American art. He investigates artistic processes within an expanded cultural framework where literature, visual culture, politics, and theory intersect. His work focuses on the practices of migrant artists who critically engage with social realities, shaping a new and expanded geography of Latin America.

Sebastián Vidal Mackinson has curated exhibitions at Amalia Lacroze de Fortabat Art Collection; Centro de Arte UNLP; and Museo Sívori, all in Buenos Aires, among others.

Events & Exhibitions

Spring Open Studios 2025
April 25–April 26, 2025
Emilio Renart, Alien, 2024, installation view. Fortabat Collection, Buenos Aires.
Agustín González Goytía, Retroespectrum, 2024, installation view. Linse, Buenos Aires.
Group exhibition, Relations end tragically, 2023, installation view. Centro de Arte de la Universidad Nacional de La Plata, Buenos Aires.
Group exhibition, Timeless Museum, 2021, installation view. Sivori Museum, Buenos aires.
Group exhibition, Ecologies, 2018, installation view. Sivori Museum, Buenos aires.

Residents from Argentina

Ulises Mazzuca

Argentina
Fundación Ama Amoedo
Studio #217

Manuel Aja Espil

Argentina
Elizabeth Greenshields Foundation
2022

Lolo y Lauti

Argentina
BARRO Arte Contemporáneo
2022
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Sebastián Vidal Mackinson
Sebastián Vidal Mackinson
Canada

Current Resident: Mar 1, 2025–Jun 30, 2025

Elizabeth Greenshields Foundation, Edmonton Arts Council, Canada Council for the Arts

Studio #202

Artist

Braxton Garneau

Working in-between cultures, Braxton Garneau combines influences from classical and contemporary forms to consider cultural, social and historical implications. Focused on harvested and hand-processed materials including asphalt, raffia, cotton, linen, sugarcane pulp, bones and shells, his work investigates transformation through natural cycles and the inherent human tendency for adornment, costuming and masquerade. Connecting materials, customs and clothing, he explores the ability of the natural world, and the people in it, to adapt and transmute to the circumstances they find themselves in.

Braxton Garneau has exhibited work at Remai Modern, Canada; Efraín López, New York; and Art Gallery of Alberta, Canada, among others.

braxtongarneau.com

Events & Exhibitions

Spring Open Studios 2025
April 25–April 26, 2025
Braxton Garneau, Masquerade (Imago), 2024, asphalt and acrylic on canvas with raffia, goat skin and crushed shell, 48 × 74 in. (121.92 × 187.96 cm). Photo by Blaine Campbell.
Braxton Garneau, Masquerade (Matador), 2024, asphalt and acrylic on canvas with raffia and crushed shell, 30 × 72 in. (76.2 × 182.88 cm). Photo by Blaine Campbell.
Braxton Garneau, Masquerade VI, 2024, asphalt and acrylic on canvas with raffia and goat hide, 10 × 15 in. (25.4 × 38.1 cm). Photo by Blaine Campbell.
Braxton Garneau, Masquerade VII, 2025, asphalt and acrylic on canvas with raffia, 10 × 15 in. (25.4 × 38.1 cm). Photo by Blaine Campbell.
Braxton Garneau, Masquerade VIII, 2025, asphalt and acrylic on canvas with raffia and crushed shell, 10 × 15 in. (25.4 × 38.1 cm). Photo by Blaine Campbell.

Residents from Canada

Asal Andarzipour

Canada, Iran
Alberta Foundation for the Arts, Behdad Esfahbod
Studio #213

Jude Griebel

Canada, United States
Canada Council for the Arts
2016

Alice Wang

United States, Canada
Canada Council for the Arts
2025
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International Studio & Curatorial Program

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