Past Residents
Past Resident2012: Foundation for a Civil Society2011: Foundation for a Civil Society
Marko Markovic
Marko Markovic’s work is interested in the transformation process between the individual and the masses; when an individual becomes a mass or when the mass becomes an individual. In doing so, he animates and includes audiences and/or other participants, working with varying age groups and socio-economic classes. Markovic’s work is socially engaged and directly involved with people and their needs, consciousness and social structure. He sees this as the best method to directly impact his public audience. Markovic’s work reflects current events and questions the structure of politics, economics, status and positions of inferiority and superiority. He uses a variety of media, including video, installation, performance and happenings.
Marko Markovic (born 1983, Osijek, Croatia) lives and works in Zagreb and graduated from the Art Academy in Split, Croatia in 2007. He has participated in exhibitions, workshops and festivals in Croatia, USA, Russia, Mexico, Finland, Algeria, Bosnia and Herzegovina, Kosovo, Italy, Greece, Serbia and Austria. In 2011, he was awarded the Radoslav Putar Award for best young visual artist in Croatia by the Institute for Contemporary Art and the Young Visual Artists Awards. Markovic also works as the organizer of Days of Open Performance in Split and is the front man in a performative art punk band, Elijah and the Grain.
Marko Markovic, It is not gold everything that shines, 2010, Golden pillar, A state mandate of Croatian government prior to entering the EU, Action in public space, 10 min.
Marko Markovic, The labor saves, 2011, Happening featuring previously employed workers of a bankrupt textile industry "Ideal", featuring Ljiljana Shuchur, Senka Rogich, Vjera Gotovac and Dijana Uvodich, 3 min.
Marko Markovic, Other side of the flag, 2010, Music happening featuring the band, Elijah and the Grain, 15 min.
Marko Markovic, Selfeater - the thirst, 2009, Performance, medical needle, tube system, vane belt in national state colors, blood, 5 min.
Past Resident2012: The New York Community Trust’s Edward and Sally Van Lier Fund
Steffani Jemison
Steffani Jemison is an interdisciplinary artist whose work considers issues that arise when conceptual practices are inflected by black history and vernacular culture. Jemison uses rigorous formal methods to explore her interests in the politics of serial form, the limits of narrative description, and the tension between improvisation, repetition, and fugitivity. One body of mixed media works employs acetate as print medium, glazing, or support; another uses transcription of found and staged conversations as a generative process. Steffani also organizes social and archival projects; the most recent of these is her collaboration with Jamal Cyrus, Alpha’s Bet Is Not Over Yet, an exhibition, reading room, and discussion space inspired by the politics of early 20th century African American periodicals.
Steffani Jemison (born 1981, USA) received a BA from Columbia University and an MFA from The School of the Art Institute of Chicago. In 2011, her collaborative project, Alpha’s Bet Is Not Over Yet, was presented at the New Museum of Contemporary Art; she also participated in exhibitions, screenings, and readings at ThreeWalls, Southern Exposure, Carol Jazzar Gallery, the Houston Museum of African American Culture, and other venues. Her work will be included in forthcoming exhibitions at Real Art Ways, LAXART, and the Studio Museum in Harlem. She has participated in artist residencies at Project Row Houses, the Core Program at the Museum of Fine Arts Houston, and the Skowhegan School of Painting and Sculpture. Jemison is the editor of Future Plan and Program, a publishing project featuring literary works by visual artists.
Steffani Jemison, Truth and Greatness, 2010, Archival pigment prints on Angelica Photo Rag, Lightjet prints on Fuji Crystal Archive, 11 x 14 and 8 x10 in. Courtesy of the artist.
Steffani Jemison, Alpha’s Bet Is Not Over Yet (collaboration with Jamal Cyrus), 2011, Hand-bound photocopied periodicals, and display structure, Dimensions variable. Courtesy of the artist.
Steffani Jemison, Truth and Greatness, 2010, Archival pigment prints on Angelica Photo Rag, Lightjet prints on Fuji Crystal Archive, 11 x 14 and 8 x 10 in. Courtesy of the artist.
Steffani Jemison, Untitled (Transparency, for Derrion Albert), 2010, Inkjet print on acetate, newspaper clipping, hanging hardware, and glazing, 81/2 × 11 in. (21.59 × 27.94 cm). Courtesy of the artist.
Steffani Jemison, The Meaning of Various Photographs to Tyrand Needham, 2009, Video projection, Dimensions variable. Courtesy of the artist and Spaces Gallery.
Residents from United States
Past Resident2012: Mondriaan Fund
Jennifer Tee
Jennifer Tee creates symbolic, synthetic, sculptural installations that the visitor can not only contemplate, but also sometimes enter or engage with ritually. Her work often balances seemingly contradictory factors: great sculptural sophistication with a transparency in production and an interest in evoking spiritual realms with active material experimentation. In recent years, Tee’s often-voluminous installations reveal a special interest in being in an in-between state, or what she calls “the soul in Limbo”, in her performances. She researches intermediate forms of cultures and languages, and various forms of religion. She tries to answer questions about the mythology of contemporary human beings, about cultural identity and soul-searching. In her area of research Tee constructs poetic dispositions between fact and fiction, between present and past. Her latest works hover between sculpture and stage, performance and choreography.
Jennifer Tee (born 1973) is based in Amsterdam. She has exhibited internationally, including at the 26th São Paulo Biennial; Gwangju Biennial, 2006; and The World Expo 2010, Shanghai. She was awarded third place in the Prix de Rome in 1999 and the Uriot-prijs by the Rijksacademie van Beeldende Kunsten, Amsterdam, in 2000 and 2001. Recent group shows include: The Knight’s Tour, De Hallen Haarlem, Haarlem, The Netherlands; Feminine and Formal, Triangle France, Marseille, France; Double Dutch, HVCCA, Peekskill, NY: De Nederlandse identiteit?, Museum de Paviljoens, Almere, The Netherlands; and Secret Societies, Schirn Kunsthalle, Frankfurt, Germany. In 2010, Tee had a solo show at Eastside Projects, Birmingham, UK, and performed Gridding Sentences at theStedelijk Museum in 2011. Tee is represented by Galerie Fons Welters.
Events & Exhibitions
Jennifer Tee: Ether Plane∼Material Plane
March 6–June 8, 2018
Stichting Fonds voor Beeldende Kunsten Vormgeving en Bouwkunst, Entwined Bolero, Performance, 18 min. Courtesy of the artist.
Jennifer Tee, Duration Gridding Sentences, Performance, 33 min. Courtesy of the artist.
Jennifer Tee, Torrid Zone, 2004-2011, Metal structure, bamboo beads, fabric decoration, 3 foam mills, 6 foam wings, 6 neons, cacao fruits, porcelain letter tiles, power shells, and palm tree, 185 × 94 × 86 in. (469.9 × 238.76 × 218.44 cm). Courtesy of the artist.
Jennifer Tee, Star-Crossed, 2010, Collection of vessels and coiled stoneware, Dimensions variable. Courtesy of the artist.
Jennifer Tee, Complex Interiors, Trance-lucent Concrete, 2009 , 20 porcelain feathers, wooden octagram-construction and natural rope , 55 × 110 × 47 in. (139.7 × 279.4 × 119.38 cm). Courtesy of the artist.
