Current Residents

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Current Resident: Sep 1, 2024–Nov 30, 2024

OCA - Office for Contemporary Art Norway

Studio #221

Curator

Katrine Elise Agpalza Pedersen

Katrine Elise Agpalza Pedersen is an art historian and curator based in Trondheim, Norway. She served as the Interim Director of Kunsthall Trondheim from May to December 2023 and currently holds the position of Curator. Pedersen’s curatorial practice focuses on perspectives that combine alternative realities, spiritualities, knowledge systems, and technology. Recently, she has explored themes of diasporic ancestry, neuroplasticity, and memory, inspired by her own experiences as a second-generation Filipina immigrant. Pedersen is also the Chair of The Norwegian Association of Curators.

Katrine Elise Agpalza Pedersen has curated exhibitions at Kunsthall Trondheim, Norway, among others.

Events & Exhibitions

Curators at Work: What Is Kept and What Is Lost—Katrine Elise Agpalza Pedersen in conversation with Whit Pow

November 12, 2024, 6:30–7:30pm

Korakrit Arunanondchai , Songs for dying, installation view, 2021, Kunsthall Trondheim, Norway, curated by Katrine Elise Agpalza Pedersen. Photo by Daniel Vincent Hygstedt Hansen/Kunsthall Trondheim

Stephanie Comilang and Simon Speiser, A Body of Memory (from neurons to the sea), installation view, 2023, Kunsthall Trondheim, Norway. Photo by Daniel Vincent Hygstedt Hansen/Kunsthall Trondheim

Danielle Brathwaite-Shirley and Ann Lislegaard, Unweaving the binary code – Hannah Ryggen Triennale 2022, exhibition curated with Stefanie Hessler. Dimensions variable. Photo by Daniel Vincent Hygstedt Hansen/Kunsthall Trondheim

Panteha Abareshi, INVALID PLEASURES, installation view, 2023, Kunsthall Trondheim, Norway, curated by Katrine Elise Agpalza Pedersen. Photo by Daniel Vincent Hygstedt Hansen/Kunsthall Trondheim

Danielle Brathwaite-Shirley and Ann Lislegaard, Unweaving the binary code, 2022, Hannah Ryggen Triennale 2022, exhibition curated with Stefanie Hessler. Photo by Daniel Vincent Hygstedt Hansen/Kunsthall Trondheim

Artist talk with Yngvild Sæter in front of her work 'Mother (altar XXVIII)', 2023, Kunsthall Trondheim, Norway. Photo by Daniel Vincent Hygstedt Hansen/Kunsthall Trondheim

Residents from Norway

Apichaya Wanthiang

28'54'' video installation projected on three layers of netting, coconut and palmyra leafes, headlamps, four paintings

Norway, Thailand, Belgium

OCA - Office for Contemporary Art Norway

Studio #220

Sandra Mujinga

Norway

OCA - Office for Contemporary Art Norway

2024

Håkon Lillegraven

Norway

OCA - Office for Contemporary Art Norway

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

Antonietta Grassi

Canada

Conseil des arts et des lettres du Québec

Studio #208

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

Amy Ching-Yan Lam

Photo of a USB key in the shape of the Rosetta Stone, on a miniature plinth

Canada

Canada Council for the Arts

2024

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