Past Residents
Past Resident2021: Ministry of Culture, Taiwan
Yu-Ling Chou
Chou Yu-Ling’s research focuses on visual culture, moving images’ curation and curatorial methodology. She was a curator of the National Taiwan Museum of Fine Arts where she organized the 2018 Taiwan Biennial titled Wild Rhizome that looked at the cultural legacy of a theatre group who self-published Theatre Quarterly, an avant-garde magazine that circulated during 1960s in Taiwan.
Chou Yu-Ling has curated shows at Peltz Gallery, London; Soulangh Cultural Park, Tainan; and National Taiwan Museum of Fine Arts, Taichung, among others.
Kao Chung-li, The Man with the Moving Projector, 2015, mixed media, installation view at Peltz Gallery, London
The Other Cinema Collective, Every Film is an Enigma: Moving Images in the Black Box and White Cube, 2017, mixed media, installation view at Soulangh Cultural Park, Tainan
Kao Chung-li, Kao Chung-li and Experimental Film in Taiwan, 2015, mixed media, installation view at LUX Salon, London
Wild Rhizome, The Glamorous Boys of Tang, 2018, mixed media, installation view at Taiwan Beinnale, 2018
The Other Cinema Collective, Every Film is an Enigma: Moving Images in the Black Box and White Cube, 2017, mixed media, installation view at Soulangh Cultural Park, Tainan
Past Resident2021: Inlaks Shivdasani Foundation
Shaunak Mahbubani
Shaunak Mahbubani is a nomadic curator, writer, and arts organizer. They primarily pursue projects under the exhibition series ‘Allies for the Uncertain Futures’, focused on exploring the possibilities of socio-political, ecological and techno-evolutionary futures through the lens of non-duality. As a curator, they are interested in complicating boundaries between artwork and the viewer through participatory gatherings, diffusions, and the use of non-white cube spaces. They have also been collaborating with Vidisha-Fadescha as ‘After Party Collective’, since 2019.
Shaunak Mahbubani has curated at Prameya Art Foundation, New Delhi; Mumbai Art Room, Mumbai; and Goethe-Institut, New Delhi, among others.
Shaunak Mahbubani, Saavdhaan: The Regimes of Truth, 2018, exhibition view at the Kalakar Theatre. photo by Polina Schapova
Murari Jha, Fondle / चिकट, installation view at the Mumbai Art Room
After Party Collective, some dance to remember, some dance to forget, 2020, 8:53 min. single channel video
After Party Collective, Strictures of Violence, 2019, multimedia performance at the Goethe-Institut, New Delhi, 15 min
![a ‘sadabahar’ [the name translates to ‘always prosperous’] plant grow in the limited resources of a brick wall crack](https://iscp-nyc.org/wp-content/uploads/2024/04/sada1-500x350.jpeg)
Past Resident2021: AES+F
Aslan Goisum
Aslan Goisum tends to mine memory–collective and personal, political and cultural–for clues about colonial realities, how they have been endured and how they might be undone. Identities come into play in his work, as embodied effects of violence perpetrated or unfreedom suffered but also as possible openings, new beginnings. So far, his prime artistic tools have been the moving image, sculptural installation and various paper-based techniques.
Aslan Goisum has exhibited work at Museum of Contemporary Art, Antwerp; Stedeljik Museum, Amsterdam; and Kohta, Helsinki, among others.
Aslan Goisum, Volga, 2015, single-channel, HD video projection, 4:11 min
Aslan Goisum, People of No Consequence, 2016, single-channel, HD video projection, 8:34 min
Aslan Goisum, Numbers, 2015, 50 metal plaques, 77/8 × 11 in. (20.07 × 27.94 cm) each
Aslan Goisum, Untitled, 2015, one metal jug, six glass copies
Aslan Goisum, No Need for Theories, 2011, book, soil, 411/16 × 3 × 10 in. (11.94 × 7.62 × 25.4 cm)
