Past Residents
Past Resident2014: Anonymous
Anne Wodtcke
Through her experimental arrangements of sculpture, Anne Wodtcke creates “active” forms of sculpture – documented by photos or videos. During her residency in New York City, sound became more and more a sculptural element in her practice, so the acoustic level became increasingly important for the composition of her narrative video sculptures and video installations. Apart from field-recordings and atmospheres, she uses sounds, tones and song-lines produced by analog synthesizer modules or with her own voice. She is currently working with the mediums sound and video in the form of sculptural compositions.
Anne Wodtcke (born 1954) lives and works in Munich and Berlin. She studied at the Academy of Fine Arts Munich and Ludwig-Maximilian-University, Munich. She has travelled extensively to Asia, Central America and Africa, and worked for one year in West Africa as a journalist before dedicating herself fully to her art practice in 2000. Her work has been exhibited internationally in in Vienna, Tokyo, New York, Pittsburgh, Athens, Istanbul, Munich and Berlin.
Anne Wodtcke, 2014, video still
Residents from Germany
Past Resident2014: Canada Council for the Arts
Tricia Middleton
Tricia Middleton’s sculptures and architectural installations propose hypothetical reverberations of a culture built around the unfettered production and consumption of inexpensive, disposable items of so-called use. Fascinated by the inevitable decline of all material towards collapse, Middleton zealously hoards and then repurposes the cast-offs from her studio production, amassing and grafting them onto one another to create synthetic objects and environments that mimic natural processes of accretion and decomposition. Her work traces the migration of form and meaning over time and, in so doing, strives to elucidate and overcome our heedless, if not apathetic attitude toward material culture.
Tricia Middleton was the recipient of the Victor Martyn Lynch-Staunton Award for Visual Arts in 2010. Her recent solo exhibitions have been mounted at Musee d’art contemporain de Montreal, 2009; Southern Alberta Art Gallery, 2009; Artspeak Gallery, Vancouver, 2011; Mercer Union, Toronto, 2011; and Oakville Galleries, Oakville, Ontario, 2012. Her recent group exhibitions include Misled by Nature: Contemporary Art and the Baroque, Art Gallery of Alberta, Edmonton, 2012; Nothing to Declare: Recent Sculpture from Canada, The Power Plant, Toronto, 2010; the Inaugural Quebec Triennial, Musee d’art contemporain de Montreal, 2008; and De-con-structions, National Gallery of Canada, Ottawam, 2007. Her work has been collected by the Musee d’art contemporain de Montreal.
Tricia Middleton, Form is the Destroyer of Force, Without Severity There Can be No Mercy, 2012, Dimensions variable. Courtesy of the artist
Tricia Middleton, Form is the Destroyer of Force, Without Severity There Can be No Mercy, 2012, Dimensions variable
Tricia Middleton, Embracing Ruin and Oblivion is the Only Way to Live Now, 2012, Dimensions variable. Courtesy of the artist
Tricia Middleton, Form is the Destroyer of Force, Without Severity There Can be No Mercy, 2012, Dimensions variable. Courtesy of the artist
Tricia Middleton, Embracing Ruin and Oblivion is the Only Way to Live Now, 2012, Dimensions variable. Courtesy of the artist
Residents from Canada
Past Resident2014: Senate Department for Culture and Europe, Berlin
Andrea Pichl
Andrea Pichl focuses on isolated details of architectural peculiarities and turns them into sculpture. She is inspired by the inconsistencies, contradictions and the way in which interstices are bridged. The inherent paradoxes with this methodology, which reduce the standardized and repetitive architectural components to absurdity, are often present in the titles of her work.
Andrea Pichl (born 1964, Berlin) was educated at Academy of Fine Arts, Berlin and Chelsea College of Art and Design, London. She has exhibited internationally in solo and group exhibitions including Museum Hamburger Bahnhof, Berlin; Espace Beaumont, Luxembourg; Krome Gallery, Berlin; the Irish Museum of Modern Art, Dublin; Mies van der Rohe Haus, Berlin; National Gallery, Tashkent; Volksbühne, Berlin; the Contemporary Art Center, Vilnius; Kunstverein Wolfsburg and the Kumu Kunstimuuseum, Tallinn.
Andrea Pichl, Zwischen, 2012, Plywood, Dimensions variable, Installation view. Courtesy of Krome Gallery, Berlin
Andrea Pichl, Für immer und immer, 2010, Plywood, 71 × 142 × 51 in. (180.34 × 360.68 × 129.54 cm). Courtesy of Mies van der Rohe Haus, Berlin
Andrea Pichl, Inherent Shortcomings, 2011, Cardboard, photographs, fabric, 59 × 59 × 83 in. (149.86 × 149.86 × 210.82 cm). Courtesy of Irish Museum of Modern Art, Dublin
Andrea Pichl, Doublebind, 2011-2012, Wood, acrylic, glass, aluminum, paper, video projections, Installation view. Courtesy of Hamburger Bahnhof, Berlin Architektonika/Architektonika 2
Andrea Pichl, A tut was b will, wenn B tut was A will, 2013, Plaster, mirrors, 16 × 71 × 20 in. (40.64 × 180.34 × 50.8 cm)