Past Residents
Nicolás Grum
Nicolás Grum focuses his investigation on power relationships and its most diverse manifestations in different contexts. In the last years, he has been working specifically on museums from the western world, and collections acquired through colonial networks, providing a critique over museums representation and museological practice. He understands his work as a process that articulates through manipulation or re-interpretation of historical facts, in order to create an alternative narrative of what is imposed as “the official truth”.
Nicolás Grum has exhibited work at Beijing 798 Biennale; transmediale, Berlin; and Instituto Itaú Cultura, Sau Paulo, among others.
Events & Exhibitions
Salon: Nicolas Grum (Chile) and Jiandyin (Thailand)
September 7, 2010
Nicolás Grum, Leading with the exotic, 2019, collage, 8 × 6 in. (20.32 × 15.24 cm)
Nicolás Grum, Puerta del Sol (from the serie La Ruina de la Ruina), 2015, mix media sculpture, 105/8 × 1711/16 × 1113/16 in. (26.92 × 44.96 × 29.97 cm)
Nicolás Grum, Ollantaitambo (from the serie La Ruina de la Ruina), 2015, mix media sculpture, 85/8 × 2811/16 × 135/16 in. (21.84 × 72.9 × 33.78 cm)
Nicolás Grum, Investigation Room (From the serie A personal voyage through the British Museum), 2020, ink on paper, 9 × 12 in. (22.86 × 30.48 cm)
Nicolás Grum, Label (From the serie A personal voyage through the British Museum), 2020, ink on paper, 9 × 12 in. (22.86 × 30.48 cm)
Past Resident2021: Celebrate the Studio
Tommy Kha
Tommy Kha’s work is a mapping of Asian Diaspora and possible spaces for queerness. He is interested in photographic imaging of Otherness. In his practice, he often rephotographs cutouts to create pictures that straddle between self-portrait, still life, and landscape. Kha’s work is a continuation of his mother’s photographs from 1984—a year after she fled Vietnam. His mother’s images depict gatherings, celebration, and liberation, whereas Kha’s picture making is performative and collaborative.
Tommy Kha has exhibited work at Blue Sky Gallery, Portland; International Festival of Fashion, Photography and Fashion, Hyères, France; Baxter Street at Camera Club of New York, among others.
Tommy Kha, Reunification (I), Brooklyn/Memphis, 2020, archival pigment print, 50 × 40 in. (127 × 101.6 cm)
Tommy Kha, Assemblies I (Crying in Three Takes), 2020, archival pigment print on jigsaw puzzle
Tommy Kha, Stops (I), Marsha P. Johnson Park, 2020, archival pigment print, 40 × 50 in. (101.6 × 127 cm)
Tommy Kha, Constellations (XVIII), Whitehaven, Memphis, 2019, archival pigment print, 50 × 40 in. (127 × 101.6 cm)
Tommy Kha, Constellations (XXI), Ridgewood/Fort Tilden Beach, 2020, archival pigment print, 50 × 40 in. (127 × 101.6 cm)
Residents from United States
Past Resident2021: Vision Fund
Devin N. Morris
Devin N. Morris collapses memory and space to envision delicate new realms of existence. Informed by his upbringing in Baltimore and his personal experiences as a queer man of color, his work often portrays semi-fictive characters who exchange acts of kindness and care within surreal domestic settings. Extending his practice of collage into physical assemblage and sculpture, Morris creates site-specific environments that refract the domestic interior and subvert traditional values and social boundaries.
Devin N. Morris has exhibited work at Baltimore Museum of Art; Bass Museum, Miami; and P.P.O.W. Gallery, New York, among others.
Devin N. Morris, Water not under the moonlight, water at moon’s eve. Saw it from behind and now the cold front is unveiled, guiltily picked and exposed, 2020, acrylic, painters tape, wall paper, plaster, wood veneer, wood moldings, house paint, oil pastel, pastel, collage, ink, door, vinyl, wool, daily vitamin, acidophilus, velvet, wood shutter, and footboard on panel, 70 × 98 in. (177.8 × 248.92 cm)
Devin N. Morris, Moving away from up there. Broken easily as brown skin does walking through brown stone. From Somewhere and Me at the base of stairs treading rows perfectly soiled for blossoming lunacy, 2020, entryway doors, chair, lampshade, and light, 95 × 129 × 27 in. (241.3 × 327.66 × 68.58 cm)
Devin N. Morris, Homeostatic, 2018, archival inkjet print, 24 × 36 in. (60.96 × 91.44 cm)
Devin N. Morris, Spot Clean with Daily Lavender Pill, 2018, acrylic, tempera, oil pastel, candle wax, inkjet print on silk, and charcoal on wood panel, 24 × 36 in. (60.96 × 91.44 cm)
Devin N. Morris, Birds Through A Window Chirp Frying Flying Chicken Grease Glittered Air, 2020, wood veneer, oil pastel, leather, cotton, acrylic, silk, charcoal, and suede on paper, 17 × 14 in. (43.18 × 35.56 cm)