Past Residents
Past Resident2020: Galerie Templon
Omar Ba
Omar Ba’s paintings represent political and social motifs that are open to multiple interpretations. His artistic vocabulary raises historical and timeless questions while formulating a wholly contemporary artistic message. Ba’s iconography features personal metaphors, ancestral references and hybrid figures. In his work, he seeks to express his subconscious and symbolic interpretation of the real.
Omar Ba has exhibited work at The Power Plant Contemporary Art Gallery, Toronto; Fondation Louis Vuitton, Paris; and Louvre Abu Dhabi, among others.
Omar Ba, Afrique ou La Grande Traversée vers un Etat Nation, 2019, oil on canvas, 1201/8 × 833/4 in. (305.12 × 212.72 cm)
Omar Ba, Eclosion de nos croyances, 2019, oil on canvas, 783/4 × 59 in. (200.02 × 149.86 cm)
Omar Ba, Same Dream, 2018, acrylic, gouache, oil, and pencil on canvas, 543/4 × 783/4 in. (139.06 × 200.02 cm)
Omar Ba, Ceremonial Costume, 2019, acrylic, gouache, oil, and pencil on canvas, 52 × 797/8 in. (132.08 × 202.88 cm)
Omar Ba, War Junkie 1, 2018, oil, pencil, acrylic, and gouache on craft-polyester paper, 631/4 × 995/8 in. (160.65 × 253.05 cm)
Past Resident2020: Danish Arts Foundation
Solvej Helweg Ovesen
Solvej Helweg Ovesen is a curator, author, and educator. She is the artistic director of the non-commercial exhibition space Galerie Wedding – Exhibition Space for Contemporary Art in Berlin since 2015. Ovesen refers to her practice as “deep curating.” She curates festivals and biennials and produces works in all media with artists, focused on knowledge production, and the sensorium.
Solvej Helweg Ovesen has presented projects at The Nordic Embassies, Berlin; Riga Biennial; and the Danish Pavilion Venice Biennial, 2019, among other spaces.
Viron Erol Vert, Ambereum, 2018, installation at Riga Biennial
Anne Duk Hee Jordan, Ziggy and the Starfish, 2018, video installation at Riga Biennial
Kirstine Roepstorff, influenza. Theatre of Glowing Darkness, 2017, installation at the Danish Pavilion, Venice Biennial
Henrike Naumann, Aufbau Ost, 2016, installation at Galerie Wedding
Peter Voss-Knude, THE LANGUAGE OF TERROR IS TERROR ITSELF / THE TERROR OF LANGUAGE IS TERROR ITSELF / THE TERROR OF TERROR IS LANGUAGE ITSELF, 2019, sculpture (Rosequarz) at Galerie Wedding
Residents from Denmark
Past Resident2020: Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Jacques and Natasha Gelman Foundation, William Talbott Hillman Foundation, Hartfield Foundation
Shahpour Pouyan
In his practice Shahpour Pouyan explores power, domination, and possession through culture. He transforms political issues into a monument of poetic and visual form. The repetition of mistakes and errors is one of his main concerns, and he reflects this by bringing historical aesthetics and mediums to his art practice. He grapples with materials provided from the political world and historic documents; the poetic qualities of power and the human condition inspire him.
Shahpour Pouyan has exhibited work at Yinchuan Museum of Contemporary Art, China; Grey Art Gallery, New York University; and The Rubin Museum of Art, New York, among others.
Shahpour Pouyan, Incarnation of the Body Politic, 2018, wood, steel, plaster and black paint, 120 × 192 × 83 in. (304.8 × 487.68 × 210.82 cm)
Shahpour Pouyan, We Owe This Considerable Land to the Horizon Line, 2018, high fired ceramic, wooden plinth and acrylic paint, dimensions variable
Shahpour Pouyan, When The Pigs Fly, 2017, ceramic studio tools and facilities, convey belt, and 100 hand made ceramic pigs, dimensions variable
Shahpour Pouyan, Untitled, 2017, dimensions variable, Persian armor, chainmail, steel, brass, rust, dirt and soot
Shahpour Pouyan, Jacob's Ladder, 2014, performance still
Ground Floor Residents
Sarah Zapata
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Hartfield Foundation
Sasha Wortzel
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Brooklyn Borough President Antonio Reynoso
Simon Liu
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation