Past Residents
Past Resident2016: Institut Français2016: Performa
Tarik Kiswanson
Tarik Kiswanson’s genre-defying work is informed by identity, dualism and loss. His work reflects on the influences of one culture upon another as well as the active role the viewers play in the creation of the work’s meaning. Through quasi-abstract sculptures, or “reductions” as he calls them, Kiswanson examines notions of nonconformity and subverts the ways in which form is perceived and registered. Almost solely made in polished brass and steel, the viewer’s body appears obliterated, disjointed, or doubled. Razor sharp and infra-thin, his paradoxical objects are also highly responsive to their spatial environment and to their observer’s proximity as they vibrate with the displacement of air generated by the spectators circulation within the space.
Tarik Kiswanson (born 1986, Halmstad, Sweden) graduated from Central Saint Martins College of Art and Design, University of the Arts London in 2010. In 2011, he moved to Paris where he attended l’École nationale supérieure des Beaux-Arts and received a MA in 2013. He has exhibited his work internationally in group shows and solo exhibitions at Carlier Gebauer, Berlin; Musée Régional d’Art Contemporain Languedoc Roussillon Midi Pyrénées, Sérignan, France; Musée national de Céramique-Sèvres, Paris; Le Pavillon Vendôme Centre d’art Contemporain, Paris; Les Bains-Douches, Alençon, France; Institut d’Art Contemporain, Villeurbanne, France; Riga Art Space, Latvia; and Metropolitan Art Society, Beirut.
Events & Exhibitions
Fall Open Studios 2016
November 4–November 5, 2016
Tarik Kiswanson, 1951 (The weave machines), 2016, Handwoven stainless steel, 53 × 100 × 7 in. (134.62 × 254 × 17.78 cm).
Tarik Kiswanson, Contact Sheet, 2016, Handwoven stainless steel.
Tarik Kiswanson, 1917 (The weave machines), 2016, Handwoven stainless steel, 7 × 53 in. (17.78 × 134.62 cm).
Tarik Kiswanson, Anti (Inverted flagpole bracket), 2015, Steel, 9 × 7 × 4 in. (22.86 × 17.78 × 10.16 cm).
Tarik Kiswanson, Shifter, 2015, Brass welded with recycled silver, 9 × 118 × 9 in. (22.86 × 299.72 × 22.86 cm).
Past Resident2016: La Fondation pour l'Art Contemporain Claudine et Jean-Marc Salomon
Thomas Tronel-Gauthier
Thomas Tronel-Gauthier’s multifaceted sculptural practice involves both objects and installations. He questions materials, and merges painting, photography, and video. His work focuses on the origins, mutations and variations of form. Tronel-Gauthier captures natural and spontaneous phenomena in his work, while taking a nuanced approach to ephemerality and durability.
Thomas Tronel-Gauthier (born 1982, Paris) lives and works in Paris. His recent solo exhibitions include Le temps d’un sillage (The time it takes a wake to disappear), Bullukian Foundation, Lyon, France, 2016; OFFICIELLE, FIAC–International Contemporary Art Fair, Cité de la mode et du design, Paris, France, 2015; Ce que j’ai vu n’existe plus (What I have seen no longer exist), Gallery 22,48 m², Paris, France, 2015; and AN ECHO, A STONE, Gallery My monkey, Nancy, France, 2016.
Events & Exhibitions
Fall Open Studios 2016
November 4–November 5, 2016
Thomas Tronel-Gauthier, The Oracles, 2012, Engraving on mother of pearl from the Tuamotu archipelago.
Thomas Tronel-Gauthier, The Last Piece of Wasteland #6, 2015, Colored resin, shells, and aluminium chassis, 52 × 44 in. (132.08 × 111.76 cm).
Thomas Tronel-Gauthier, Ke Tuki, 2012, Polyester plaster, pigment, and charcoal gray valchromat.
Thomas Tronel-Gauthier, Ce que j'ai vu n'éxiste plus (What I have Seen no Longer Exists), 2015. Courtesy of the artist and Gallery 22,48 m².
Thomas Tronel-Gauthier, Le temps d'un sillage (The time it Takes a Wave to Disappear), 2016. Courtesy of the artist and the Bullukian Foundation.
Past Resident2016: Creative Australia
John Aslanidis
Since the 1990s, John Aslanidis has been the exploring the relationship between sound and vision through painting. Influenced by the field of electronic music, Aslanidis was a member of Clan Analogue, a collective of sound and visual artists during the 1990s. He has further explored this sound-vision fusion through collaborations with sound artists and sound/painting installations, which have been exhibited in Melbourne, Sydney, New York and Berlin.
John Aslanidis lives and works in Melbourne. His recent exhibitions include Eye Score: The Audible Image, Hawthorn Arts Centre, Melbourne, 2015; Color Music, Drill Hall Gallery, Australian National University, Canberra, 2014; The Sharper Image, Ethan Cohen Fine Arts, New York, 2013; Emergence and Structure, Lafayette College, Museum of Art + Design Freedom Tower at Miami Dade College, University Gallery, University of Florida, Gainesville, 2012. In 2012, Aslanidis was commissioned for a large-scale painting by the Arts Centre Melbourne for the Hammer Hall titled Sonic Network no. 11.
Events & Exhibitions
Fall Open Studios 2016
November 4–November 5, 2016
John Aslanidis, Sonic Network no.15, 2014, Oil and acrylic on canvas, 180 × 120 in. (457.2 × 304.8 cm).
John Aslanidis, Sonic Network no.14, 2014, Oil and acrylic on canvas, 120 × 96 in. (304.8 × 243.84 cm).
John Aslanidis, Sonic Network no.12, 2012, Oil and acrylic on canvas, 120 × 96 in. (304.8 × 243.84 cm).
