Past Resident
2025: Helen Frankenthaler Foundation Residency

Artist

S Emsaki

S Emsaki works to deconstruct and disorient East-West subject-object positionings through video, drawing, and multimedia installations incorporating found and provisional elements. Born and raised in Isfahan, Iran, Emsaki’s practice unsettles the legacies of petro-imperialism by engaging with marginalized archives and intimate histories of human and non-human subjects. Currently based in NYC, Emsaki is an alum of the Whitney Museum’s Independent Study Program and holds an MFA from Yale University and a BA from UC Berkeley.

S Emsaki has exhibited work at Westbeth Gallery, New York; San Francisco Arts Commission, San Francisco; and Provincetown Art Association and Museum (PAAM), Massachusetts, among others.

Events & Exhibitions

Artists at Work: S Emsaki in conversation with Anamaría Garzón Mantilla

February 11, 2025, 6:30–7:30pm

Digitized VHS tape from the artist’s family archives, documenting first graders' inaugural school day in 1996 in an American-built suburb on the northern outskirts of Isfahan, Iran. Pathé Newsreel from National Archives Catalog, capturing British Petroleum’s first prosperous oil strike in the Middle East in Masjed Soleyman at the foothills of Zagros Mountains in 1908.

S Emsaki, crude education, 1908-ongoing, video (digitized film & VHS), 11 min.

‘matter of time’ is produced with photographs of petroleum-based marine debris collected from the beaches of Cape Cod during my Fellowship at the Fine Arts Work Center that are UV-printed on Pleistocene clay, also foraged from the same region. I worked with the local geologist, Katie, Castagno, at the Center for Coastal Studies in Provincetown who helped date the clay to 18000 BC, a sedimentary deposition during the last glacial melt.

S Emsaki, matter of time, 2024, UV-cured inkjet print on foraged Pleistocene clay, repurposed cardboard, and plastic pallet, 37 × 37 × 12 in. (93.98 × 93.98 × 30.48 cm).

Impermanent drawings (part one of a two-part exhibition) at Hudson D. Walker Gallery in Provincetown, MA. The shadowy drawings of various found plastic objects are rendered directly on the gallery’s walls and floor, using squid ink I caught from the local harbor and processed in my studio. The marine plastic debris that gave form to the drawings were also collected from the local beaches during my daily walks, which became a studio ritual during my 7-month-long fellowship at the Fine Arts Work Center.

S Emsaki, some things last a long time, 2022, wild-caught squid ink on existing architecture, dimensions variable.

Observational drawings of a collection of plastic debris found during daily walks on Cape Cod beaches and rendered with squid ink that I sourced from the local harbor.

S Emsaki, Oct 22 - Race Point, 2022, graphite and wild-caught squid ink on paper, 30 × 22 in. (76.2 × 55.88 cm).

This etching illustrates the Caspian Sea’s agreed-upon maritime boundaries based on a treaty that was signed in 2018 between the leaders of the five countries that surround the sea. In the treaty, the sea and its resources (notably oil and natural gas) are divided into five pieces, shared amongst Azerbaijan, Russia, Kazakhstan, Turkmenistan, and Iran. In this etching, the national borders are removed and the theoretical boundaries on the body of water are rendered in stitches.

S Emsaki, divided sea, 2020, (etching) ink on Kitakata paper, 17¹/₂ × 21¹/₂ in. (44.45 × 54.61 cm).

Residents from United States

Aryel René Jackson

United States

Vision Fund

Studio #305

Hanae Utamura

Japan, United States

Every Page Foundation

Studio #201

Akeema-Zane

United States, Trinidad and Tobago

Vision Fund

Studio #203

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Austria

Past Resident
2024: Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

Artist

Ulrike Königshofer

Ulrike Königshofer is a visual artist based in Vienna whose work explores the visibility of the world around us. Through technical arrangements, she finds new ways to capture the most ephemeral qualities, like the ripples on a lake. Her pieces draw our attention to aspects of reality that often go unnoticed, exploring the boundaries of what can be depicted and reflecting on the nature of images themselves.

Ulrike Königshofer has exhibited work at Camera Austria, Austria; Austrian Cultural Forum, New York; and Halle für Kunst, Austria, among others.

Events & Exhibitions

Artists at Work: Ulrike Königshofer and Amy Ching-Yan Lam

October 15, 2024, 6:30–7:30pm

Images of the sun, coming through a large lens and burning itself into drawing paper over the course of one day.

Ulrike Königshofer, Sunlight Traces, 2014, burn traces on paper, 4 × 19 in. (10.16 × 48.26 cm).

A piece of light sensitive paper inside an apparatus is beeing exposed to the sun over the course of one full day, leaving a unique trace of the suns movement.

Ulrike Königshofer, Graphs, 2022-2023, silver gelatin prints, 19 × 15 in. (48.26 × 38.1 cm).

The moving surface of a lake is beeing recorded and reproduced in a water tank in the exhibition space, generating a kind of fluid sculpture.

Ulrike Königshofer, Cast of Water, 2021, installation, 47 × 39 × 39 in. (119.38 × 99.06 × 99.06 cm).

Photograms of panes of glass at a steep angle, that reveals its material irregularities; framed right behind the original frames, the glass was taken from.

Ulrike Königshofer, Shades of Glass, 2020, framed Photogram, 9 × 19 in. (22.86 × 48.26 cm).

The surface of the wall in exhibition spaces is traced onto large paper, making the white background of the architecture subject of what is being seen.

Ulrike Königshofer, Empty Walls, 2023, pencil on paper, 39 × 55 in. (99.06 × 139.7 cm).

Residents from Austria

Hermes Payrhuber

Austria, United States

Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

Studio #212

Marianne Vlaschits

Austria

Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

2025

Irina Lotarevich

Austria

Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

2024

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Austria

Past Resident
2024: Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

Artist

Irina Lotarevich

Irina Lotarevich’s sculptural practice emerges at the intersection of her personal experience and broader systems. She primarily works with metal fabrication and casting techniques, creating sculptures with minimal yet intricate forms that reference architecture, bureaucracy, labor, language, and parts of her own body, as well as the conditions of the material’s production and circulation.

Irina Lotarevich has exhibited work at Sophie Tappeiner Gallery, Vienna; FUTURA Centre for Contemporary Art, Prague; and Belvedere 21, Vienna, among others.

A wall-hanging sculpture made up of two long rows of brass boxes. Cast brass clamps grip the sculpture on the top and bottom. Cast brass hooks hang from the bottom.

Irina Lotarevich, Compressed Structure, 2024, brass, 37 × 14 in. (93.98 × 35.56 cm).

A sculpture of a steel frame in the shape of a vessel, filled with folded sheet metal containers

Irina Lotarevich, Modular Body (container ship cross-section), 2023, steel, aluminum and metal shavings, 68 1/2 × 62 × 15 1/2 in in. (68 1/2 × 157.48 × 15 1/2 in cm).

An aluminum frame embedded with a grid of locks

Irina Lotarevich, Housing Anxiety 6, 2022, aluminum, stainless steel screws and locks and keys, 59 × 39 × 2 3/4 in in. (149.86 × 99.06 × 2 3/4 in cm).

Two rusty steel arcs hold multiple steel frames containing metal shavings

Irina Lotarevich, Overtime and Pedagogy, 2023, steel, metal residue from bandsaw, plexiglass and rust, 30 3/4 × 9 1/2 × 9 in. (30 3/4 × 9 1/2 × 22.86 cm).