Current Residents

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Norway, Thailand, Belgium

Current Resident: Sep 1, 2024–Aug 31, 2025

OCA - Office for Contemporary Art Norway

Studio #220

Artist

Apichaya Wanthiang

Apichaya Wanthiang creates environments that activate embodied knowledge and somatic memories, exploring how different spaces shape our perceptions, behaviors, and interactions. She primarily works with painting and installations that incorporate light, sound, and text. While each exhibition centers on a specific theme, these serve as a prelude to examining complex and often invisible structures, such as the cumulative effects of racism or the impact of memories on our present actions.

Apichaya Wanthiang has exhibited work at Munch Museum, Oslo; Storage Art Space, Bangkok; and UKS Young Artists’ Society, Oslo, among others.

apichayawanthiang.com
28'54'' video installation projected on three layers of netting, coconut and palmyra leafes, headlamps, four paintings
Apichaya Wanthiang, the night laid a hundred eyes on my skin, installation, 2024
16 paintings, diverse wood frames
Apichaya Wanthiang, Gleaned from, 2024, painting installation
16 Agar(red algae) sheets stretched on 16 steel frames, a 38 min soundtrack and light sequence played in a loop.
Apichaya Wanthiang, Some Body Else, 2022, installation
spread across four rooms, recycled and new wood, cotton, colored pigments, clay, concrete, hay, chicken wire, foam, cheesecloth, plastic, TVscreen, raspberry pi, light filters, silicone
Apichaya Wanthiang, I've been here before, 2020, installation
corridor, heated clay sculptures, alternating ‘breathing’ led cycles, and two videos of insects at night and rituals of feeding spirits.
Apichaya Wanthiang, Evil spirits only travel in straight lines, 2018, installation

Residents from Belgium

Shir Handelsman

A short video work, which presents an opera singer, standing on a lifted platform and singing a Martyr's wish for redemption.
Belgium, United States
Artis
2024

Eva L’Hoest

Drawing inspiration from archaeological research and the scholars at UCL - Aegean Interdisciplinary Studies, Eva L'Hoest has employed CGI to craft a mesmerizing visuals projected on a grand scale at Bozar during the performance of four symphonies: Philip Glass, Jean Sibelius, Anders Hillborg, and Stravinsky, interpreted by the Belgian National Orchestra. These images deftly establish parallels between the fervent worship of the Egyptian sun and our insatiable addiction to energy, between the eternal essence of the mythical firebird and the enduring half-life of radioactive waste, and between Sibelius' swan and the regenerative powers of nature.
Belgium
Edward Steichen Award Luxembourg
2023

Felix Kindermann

In staging the choir Ghent Singers as a moving sculpture, Felix Kindermann‘s
Germany, Belgium
Ministry of Culture of the Flemish Community Visual Arts Department, Tony & Sissi Moens
2023
Canada

Current Resident: Oct 1, 2024–Dec 31, 2024

Conseil des arts et des lettres du Québec

Studio #222

Artist

Stanley Wany

Stanley Wany’s practice spans large-format works on paper, illustration, and installations, focusing on his multi-ethnic identity and the reappropriation of Black representation in the West. His work engages with the concept of “creolization,” a term popularized by Martinican author Édouard Glissant, through its materiality and form. Central to Wany’s practice is extensive research, encompassing African-Canadian, African-American, and Caribbean history and culture, as well as African myths and traditions.

Stanley Wany has exhibited work at Galerie de l’UQAM; Plug In Contemporary Art Institute; and Ottawa Art Gallery, all in Canada, among others.

stanleywany.com
Ase (pronounced “ah-sheh”; also spelled ashe) Yoruba words often have multiple meanings: Ase is generally defined as “the power to make things happen” and also refers to the spiritual life force that flows through things, much like the Chinese concept of chi. Deepening the exploration of my relationship with my ancestors, Ase, a drawing that measures almost two meters high by three meters long. For this piece, charcoal, a medium with archaic roots, is used to evoke powerful waves crowned by troubled sky. Towards the bottom of the drawings, the waves melt into abstraction, dripping onto the white surface of the paper. The title Ase, referring to Yoruba culture, embodies my ongoing relationship with my ancestors, those who perished in the sea as well as those with whom known ties have been cut by the transatlantic slavetrade. When creating this work, I also reflected on what it meant to be Black in the Americas and how my identity had been defined by the dominant society. I turned to the writings of Stuart Hall, Franz Fanon as well as of Edouard Glissant, whose concept of “creolisation” serves as a focal point in my practice going forward.
Stanley Wany, Ase, 2021, charcoal on paper, 60 × 84 in. (152.4 × 213.36 cm)
This work acts as a generator of ideas within which we can seek a form of knowledge by establishing relationships between identity, territory and culture.
Stanley Wany, Rhizome, 2024, ink, polymer medium and acrylic on wood panel, 60 × 60 in. (152.4 × 152.4 cm)
Coffee, in Voyage à Fonds-des-Nègres, is amalgamated with polymer medium, a product derived from petroleum. This also carries meaning as coffee and energy extraction intertwine in the West Indies (particularly in Trinidad and Tobago), from the start of the 20th century. The resulting mixture of coffee and polymer is draped over a beam of Wenge wood, an endangered tree from West Africa (including Congo) due to overexploitation by international markets. The stories of these materials are also that of extraction, which begins with the arrival of settlers in the Antilles and which continues with the slave trade.
Stanley Wany, Voyage à Fonds-des-Nègres, 2023, coffee and polymer medium; Wenge, 100 × 120 in. (254 × 304.8 cm)
In Chaosmos, 8 calabash gourds are treated in different ways. On the surface of one gourd, I engraved an excerpt from the novel Dézafi (meaning “cockfight” in Haitian Creole) by the Haitian poet, artist and activist Frankétienne, in a deliberate gesture of unification. This gourd reminds us that the construction of Caribbean identity is based on the interrelation of different cultures and various events, unlike atavistic cultures, thus named by Glissant, where identities are rooted in a specific territory and culture and anchored by founding myths. On the contrary, Caribbean identity is rhizomatic as it draws from various sources during its evolution.
Stanley Wany, Chaosmos, 2023, acrylic paint and found objects on gourds, 15 × 100 in. (38.1 × 254 cm)
Stanley Wany, L’Odysseyium and Transmissionology, 2023, graphite on rice paper, jute, canvas, rope, thread, lambi conch shell and hair of Afrodescendants, Eurodescendants and Creoles / Sugar cane paper, coffee, indigo, molasses transfer on rice paper and ink on wood panels

Residents from Canada

Alice Wang

United States, Canada
Canada Council for the Arts, Capsule Shanghai
Studio #213

Antonietta Grassi

Canada
Conseil des arts et des lettres du Québec
2024

Kara Springer

A hanging wall work consisting of deep purple prints of high resolutions scans of clay hanging over a poplar wood rod mounted on the wall.
Canada, Barbados
Canada Council for the Arts
Studio #305
United States

Current Resident: Nov 1, 2024–Dec 31, 2024

Artis

Studio #301

Artist

Efrat Hakimi

Efrat Hakimi is a multidisciplinary artist who blends digital and traditional techniques to study and interpret images, objects, narratives, and sites. Her work spans photography, printmaking, video installation, and sculpture, focusing on the relationship between bodies and cultural artifacts, particularly those connected to the female body. By viewing tools and objects as entry points into rituals, ideologies, and vernacular design, she explores themes such as medical procedures, pilgrimage, atonement, and spiritual practices in her art.

Efrat Hakimi has exhibited work at Tel Aviv Museum of Art, Tel Aviv; The Israel Museum, Jerusalem; and Hyde Park Art Center, Chicago, among others.

efrathakimi.com
A table top arrangement of paper, cutout images, ephemera, and tools used in bookbinding.
Efrat Hakimi, Yad, 2024, mixed media installation, 55 × 31 in. (139.7 × 78.74 cm)
A photographic collage of cutout images - of objects from Morocco, held together to the wall with blue tape
Efrat Hakimi, Protective amulet against miscarriage (I), 2021, archival pigment print, 31 × 37 in. (78.74 × 93.98 cm)
Installation view of museum gallery space with a large wood sculpture- a ramp elevated by two small boats - in the center and works (photographs) in the background - of the Frena, a bread baking oven, and a photographic collage of an amulet.
Efrat Hakimi, Looking for a Village, 2022, installation view
Photograph of a bread baking oven, made of mortar
Efrat Hakimi, Frena, 2021, archival pigment print, 157 × 118 in. (398.78 × 299.72 cm)
Still image from video, showing two screens with close up images of two people singing
Efrat Hakimi, Jerusalem, 2022, two channel video, 4:09 min

Residents from United States

Ina Gerken

Germany, United States
RYAN LEE Gallery
Studio #302

Alice Wang

United States, Canada
Canada Council for the Arts, Capsule Shanghai
Studio #213

Frank WANG Yefeng

United States, China
ISCP ​Alumni Fund
Studio #303

Past Residents

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