Past Residents
Past Resident2013: Foundation for a Civil Society
Miran Blažek
Miran Blažek builds his work as recorded time of the constant quest for the meaning of the ordinary things we interact with in everyday life in order to build personal, emotional and mental caches of images. In his work there is a series of symbols which constitutes an open story where the words do not meet the needs of visual representation. His works function through traces which indicate that they derived from painting.
Born in 1983 in Osijek, Croatia, Miran Blažek graduated with a BA from the Academy of Fine Arts, Zagreb in 2006 and completed his postgraduate studies in 2012 at Fine Arts Academy, Ljubljana. Since 2011 he has served as an external assistant in drawing classes at the Art Academy in Osijek. His selected soho exhibitions include Monochrome, Waldinger Gallery, Osijek, Whirlpool, CEKAO Gallery, Zagreb and Whirlpool the lost paintings at Kazamat Gallery, Osijek. Selected group exhibitions include T-THTaward@MSU, the Museum of Contemporary Art, Zagheb; Tu smo 3 (We are here 3) at the Museum of Contemporary Art, Pula; Radoslav Putar Award, Finals at Galzenica Gallery, Velika Gorica; Osijek-Pecuch/Eszek-Pecs, Nador Gallery, Pecs; Meeting point, Arab; The Essl Art Award, Glyptotheque, Zagreb and FONA, Kortil Gallery Rijeka.
Events & Exhibitions
Salon: Miran Blažek and Mark Ther
March 26, 2013
Miran Blažek, Still Life, 2012, Raw canvas on wall, 72 × 62 in. (182.88 × 157.48 cm). Courtesy of the artist.
Miran Blažek, Whirlpool (Yugoslavia), 2006, Acrylic on wood, 39 in diameter. Courtesy of the artist.
Miran Blažek, Whirlpool (DDR), 2006, Acrylic on wood, 39 in diameter. Courtesy of artist .
Miran Blažek, Monument, 2012, Oil on canvas, 98 × 59 in. (248.92 × 149.86 cm). Courtesy of the artist.
Miran Blažek, At The Right Place at the Right Moment, 2012, Burned carpet, 51 in diameter. Courtesy of the artist.
Tobias Dostal
Tobias Dostal works to rid the film medium of the classic canvas by restaging the movie in a space with sculptural elements – rebuilt 16 mm projectors and projection screens made of wood or paper constructions, for example. Addressing the roots of the film and similar artistic approaches in the past is crucial to his work. After extensive experiments in a variety of media, formats and techniques and dealing with artistic approaches such as the “Expanded Cinema” and structural film and the history of film, he found his visual language through the use of celluloid film.
Tobias Dostal (born 1982 in Bad Hersfeld, Germany) studied drawing, film and skuplture at the Braunschweig Universitity of Arts. His Film installations have been shown in group exhibitions at the gallery of La Esmeralda, New Mexico; Kunstschaufenster am Hallenbad, Wolfsburg; End in Nation, Kapitelsaal, Bad Hersfeld; Films about being God, Kreuzberg Pavillion, Berlin; Metamorphosen, Allgemeiner Konsumverein, Braunschweig and the Up and Coming Film Festival, Hannover.
Events & Exhibitions
Salon: Tobias Dostal and Sofie Thorsen
January 7, 2014
Tobias Dostal, The Two Sphinx, 2012, 16mm loop installation. Courtesy of the artist.
Tobias Dostal, The Two Sphinx, 2012, 16mm loop installation. Courtesy of the artist.
Tobias Dostal, Gedankenkuppel, 2011, 16mm projection, paper, wood, text, and mirror. Courtesy of the artist.
Tobias Dostal, Paradise, 2011, 16mm projection, wood, and textile. Courtesy of the artist.
Tobias Dostal, Kinora, 2012. Courtesy of the artist.
Past Resident2012: Creative Australia
Kellie O’Dempsey
Through performance drawing, Kellie O’Dempsey explores liminal space and movement as narrative. With drawing as her dialogue, O’Dempsey spontaneously translates the immediacy of experience into line, form and gesture with charcoal and ink and more recently an electronic drawing device. Often working in collaboration with musicians, performers and artists, her process investigates the interconnected experience of human engagement. Via improvisation, elements of performance are translated into drawn works as an immediate means of response. Her work is currently focused on the synthesis of analogue and digital drawing.
Kellie O’Dempsey has developed installations in a vast array of spaces including: in the rehearsal studios of a ballet company (Queensland Ballet 2003), rock festivals, in The Barbican Theatre-London (2005) to commuters in subway during rush hour in Melbourne (2007). Performances and residencies include: Soundlabs, Italy, 2005-2006; Festival Internationale de Benicassim, Spain, 2005-2006; M on The Bund, Shanghai, 2009-2010; Judith Wright Centre of Contemporary Art, 2011; Elephant Rock cliff face – BLEACH 2012; Live collaborative performance with Michael Dick, Brian Richie and the Tasmanian Improvisers Orchestra at MONA FOMA, Hobart, 2012, The 18th Biennale of Sydney and upcoming at Draw International, France, 2013.
Kellie O’Dempsey, Mona Foma, 2012, Live performance paper, ink, paint, digital project, and orchestra. Courtesy of the artist.
Kellie O’Dempsey, Mona Foma, 2012, Live performance paper, ink, paint, digital project, and orchestra. Courtesy of the artist.
Kellie O’Dempsey, Moving Lines, 2011, Live performance paper, ink, tagtool, and digital projector. Courtesy of the artist.
