Past Residents

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Past Resident
2023: Canada Council for the Arts
2022: Canada Council for the Arts

Artist

Sukaina Kubba

Sukaina Kubba is a multidisciplinary and material-based artist whose work is strongly rooted in material and cultural research, story-telling, and drawing connections. Kubba works with industrial and packaging materials as signifiers and concrete indices, and explores traveling objects, textiles and vehicles as carriers of cross-cultural histories. She depicts rugs as peripatetic architectural components rolled and unfurled by nomads and migrants and put over sand, rocks, floors, and walls to denote a re-location.

Sukaina Kubba has exhibited work at The Next Contemporary, Toronto; Aga Khan Museum, Toronto; and Centre for Contemporary Arts, Glasgow, among others.

Events & Exhibitions

Artists at Work: Ruth Owens and Sukaina Kubba

June 20, 2023, 6–7:30pm

This is a line drawing of an intricate carpet design done in black plastic filament, with a white background.

Sukaina Kubba, La Brioche, CMC, 2023, hand-drawn with PLA filament, 68 × 46 in. (172.72 × 116.84 cm)

red ink drawing on suspended flesh-coloured latex

Sukaina Kubba, Corners of Your Sky, Ankaa, 2022, alcohol ink on flesh-coloured latex, 80 × 60 in. (203.2 × 152.4 cm)

Colourful reproduction of a rug fragment, embroidered on re-used plastic packaging

Sukaina Kubba, T80.0040, 2021, embroidery and sewing thread on PE-HD bag from an Amazon package, 22 × 26 in. (55.88 × 66.04 cm)

large black 3d drawing of a rug, in 3 parts

Sukaina Kubba, Corners of Your Sky, Al-Qantoor, 2022, hand-drawn PLA filament, 67 × 46 in. (170.18 × 116.84 cm)

3d drawing of a rug fragment in two shades of green

Sukaina Kubba, Corners of Your Sky, Attawoos, 2023, hand-drawn PLA filament, 36 × 24 in. (91.44 × 60.96 cm)

Italy, Germany

Past Resident
2023: Artis

Curator

Vanina Saracino

Vanina Saracino (she/they) is an independent curator, film programmer, writer, and lecturer. Her work focuses on theories and art practices that question anthropocentric and binary worldviews from an intersectional perspective, with an emphasis on lens-based and time-based art. Since 2021, Saracino has taught at the Institute of Time-based Art – IZM, Universität der Künste, and the MFA Bezalel Academy of Arts and Design.

Vanina Saracino has curated exhibitions at Screen City Biennial, in Berlin and Oslo; and the Contemporary Art Museum of Estonia, among others.

Patricia Domínguez, Matrix Vegetal (2022). Installation at the Archenhold Observatory, Berlin. Exhibition: Other Minds (Screen City Biennial). Photo: Marjorie Brunet Plaza. Courtesy the artist.

Patricia Domínguez, Matrix Vegetal, 2022, installation, dimensions variable. Courtesy of the artist. Photo by Marjorie Brunet Plaza

Anna Ehrenstein and 4DHD (Cibelle Cavalli Bastos and Coco Magnusson), Coffee Ground Imaginaries (2022). Installation at the Archenhold Observatory, Berlin. Exhibition: Other Minds (Screen City Biennial). Photo: Marjorie Brunet Plaza. Courtesy of the artists.

Anna Ehrenstein and 4DHD (Cibelle Cavalli Bastos and Coco Magnusson), Coffee Ground Imaginaries, 2022, AR experience. Courtesy of the artists. Photo by Marjorie Brunet Plaza

Jaakko Pallasvuo, Hole & Hole 2, 2019 & 2020. HD video, sound, 7’10’’ & 10’50’’. Installation view at EKKM. Photo: Paul Kuimet Courtesy of the artist.

Jaakko Pallasvuo, Hole & Hole 2, 2019-2020, video installation and posters, dimensions variable. Courtesy of the artist

Kristina Õllek, Nautilus New Era, 2018, video installation, dimensions variable. Courtesy of the artist and Art Museum of Estonia. Photo by Kristina Õllek

Emilija Škarnulytė, Deep Point Cloud, 2019, video installation, dimensions variable. Courtesy of the artist. Photo by Oddbjørn Erland Aarstad

Residents from Italy

Chiara Ianeselli

Quel jour sommes-nous, 15-30 June 2022, co-curated with Bakul Patki, at Tokonoma, Kassel. Credit: Rene Graf. quel jour sommes-nous? (what day is it?) is a research project in the form of an exhibition that questions what makes an artwork - investigating the performativity and process of an exhibit, the acts that brought it into existence, and the context of its presentation. Featuring seventeen established and emerging artists, quel jour sommes-nous? explores the differing forms, lifespans, and pathways of artworks – with historicised and timeless, appropriated and reapproriated, unauthored and unauthorised, dismantled and intangible works, all of which sit beside a graduate piece that will be graded in situ, just ahead of the exhibition’s opening. An “unfinished” work will also be included. The concept of a finished work of art – one that is deemed ready to be shared – has been debated throughout art history, particularly in relation to potential different readings once it has been pulled from a definite temporal context. Continuing the contentious conversation around when a piece of art is complete, one work in progress will be taken from an artist’s studio, at a time of the curators’ choosing, and inserted into the exhibition. quel jour sommes-nous? reflects upon the evolution of the creative process – the choices, challenges and breakthroughs that come with making art – asking when, within this process, does something become a work of art, and who gets to decide? On which day is something ready to be sold or exhibited? Is today the day the artist has to surrender a work they might never see again? Extending this reflection on when a work comes into existence, the exhibition also asks whether it is possible for artworks to exist without an audience. How much is the public required for the creative process to be complete, and how preeminent is the artist’s vision in influencing the viewer’s experience of the work? quel jour sommes-nous? does not profess to answer these questions, but hopes to encourage examination and inspire further exploration. It is at once exhibition as research and research as exhibition

Italy

Italian Council - Directorate-General for Contemporary Art and Architecture and Urban Peripheries (DGAAP) at the Italian Ministry for Cultural Heritage and Activities

2024

Valentina Furian

Italy

The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York

2024

Raffaela Naldi Rossano

Italy, Greece

The Italian Academy for Advanced Studies, Columbia University, Italian Cultural Institute of New York, Directorate-General for Public and Cultural Diplomacy of the Italian Ministry of Foreign Affairs and International Cooperation, Directorate-General for Contemporary Creativity of the Italian Ministry of Culture

2024

Taiwan

Past Resident
2023: Ministry of Culture, Taiwan

Curator

Hung-Yen Chang

In her practice, Hung-Yen Chang explores and reexamines the relationship between artistic development and social context during and post the Cold War era through the writing, archive-collection, and curating, with the goal of rediscovering the momentum and reflections between of historical moments. As an art administrator, Chang is also interested in the generative system and trends of cultural institutions in contemporary urban spaces.

Hung-Yen Chang has curated exhibitions at Tainan Art Museum and Taoyuan Museum of Fine Arts, in Taipei, among others.

Events & Exhibitions

2023 Spring Open Studios

April 21–April 22, 2023

Hung-Yen Chang, LIAO: Frontline/ Frontier, 2021, installation view. Curated by Hung-Yeng Chang

Hung-Yen Chang, Uneven Horizons: 1957-1983 The Internationalist Taiwanese Printmaking, 2020, installation view. Curated by Hung-Yeng Chang

Hung-Yen Chang, Power! Concrete! Let's Build the Island's Modern Dream!, 2023, installation view. Curated by Hung-Yeng Chang

Hung-Yen Chang, Everyday Life and Landscapes of the Island: Betel Nuts, Bananas, Sugar Cane, and Palms, 2020, installation view. Curated by Hung-Yeng Chang

Residents from Taiwan

Huang I-Hsiang

A Practice of Silence begins with a vague visual impression, the administrative figure of the Absolute Space, a silent presence always sitting in the corner of the exhibition venue. Her work is a series of interpretations, empathy, and understanding. She is always there, yet hard to notice. She is the caretaker of the venue, and I want to depict such a character. My curiosity lies in her physical and psychological relationship with the venue; my curiosity wonders why she is here and whether she has ever thought about leaving. In short, everything related to this job, including emotions and circumstances. During the exhibition, I invited theater practitioner Tseng Jing-Wen, who is dedicated to promoting People's Theatre, along with former administrative staff from Absolute Space who worked here at different times, to conduct a body workshop. My basic idea is, the arrival of newcomers marks the departure of the old, and the interchange between new and old forms the life of a character. These participants, through shared memories, will engage in a self- dialogue belonging to this character during the workshop. Finally, on the last day of the exhibition, we held a screening event showcasing the workshop's video documentation at the venue.

Taiwan

Ministry of Culture, Taiwan

2024

Feng-Yi Chu

Taiwan

Ministry of Culture, Taiwan

2024

Yen-Yi Lee

Taiwan

Ministry of Culture, Taiwan

2023