Past Residents

Country
Year
Residency Program
Resident Type
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Residents Map
United States

Past Resident
2022: Pollock-Krasner Foundation

Artist

Ignacio Gonzalez-Lang

Ignacio Gonzalez-Lang creates multi-media sculptures and installations that explore the absurdity and violence inherent in both human nature and identity construction. The artist’s own Puerto Rican background, along with the historical and material culture of the Caribbean region, serve a prism through which he synthesizes ideas around race, nationality, tradition, and socioeconomics through visual representation.  

Ignacio Gonzalez-Lang has exhibited work at The Bronx Museum of the Arts, MoMA PS1, and El Museo del Barrio, all New York, among others.

Events & Exhibitions

2022 Spring Open Studios
April 22–April 23, 2022
Zemi is a teddy bear made out of recycled US army uniforms. The surface of the bear is entirely covered with silver-grey zinc and gold beads, pearls and lapis lazuli stones. It was inspired by the Beaded Zemi in Rome's Pigorini Museum, one of the finest surviving examples of Taino art produced before the disappearance of this culture in 16th century. Tainos were the principal inhabitants of Puerto Rico, Cuba, Jamaica, Hispaniola and Florida before the settlement of the region by Spanish colonists. Similar to a fetish object, the Beaded Zemi represents a supernatural character with coexisting Taino, African and European features.
Ignacio Gonzalez-Lang, Zemi, 2017, recycled United States military uniforms, lapis lazuli beads, turquoise beads, pearl beads, zinc beads, metal beads, gold plated beads, thread, and zipper, 24 × 22 × 131/2 in. (60.96 × 55.88 × 34.29 cm).
Truth consists of an airtight receptacle filled with an ongoing archive of Weird but True columns from New York tabloids. It’s a physical ‘hard drive’ that comments on the fragility of preserving history on digital servers, databases and clouds that depend on unsustainable sources of energy.
Ignacio Gonzalez-Lang, Truth, 2020, desiccator, newspaper clippings, and plexiglass column, 56 × 26 × 9 in. (142.24 × 66.04 × 22.86 cm).
I have made a series of artworks using recycled military uniforms as a canvas or support for responding to our recent American wars. These artworks were inspired by a subculture among American combat veterans where ex-service members deconstruct and transform their uniforms into artworks as therapy for PTSD. I was interested in expanding this practice as a way to honor the collective memory which transcends borders of the nation-state and honors the mutual bonds of war among all sides.
Ignacio Gonzalez-Lang, Blood Ocean, 2019, recycled United States military uniforms, coral, lapis lazuli beads, turquoise beads, mother of pearl beads, jade beads, imitation pearls, military buttons and pins, enamel pins, safety pins, cotton thread, and wood, 76 × 52 × 2 in. (193.04 × 132.08 × 5.08 cm).
Bug consists of a weatherproof hard-case for electronic equipment commonly used in the military. A traditional pattern stitched by an Afghani artisan on the back of a military shirt is stretched across the case. A digital microscope is focused on a microchip embedded inside.
Ignacio Gonzalez-Lang, Bug, 2018, recycled United States military uniform, digital microscope, motherboard, cotton thread, and weatherproof protective hard case, 22 × 20 × 17 in. (55.88 × 50.8 × 43.18 cm).
Blotter is another airtight desiccator box filled with an archive of the NYPD daily blotter clipping which ended its daily run in the printed paper in 2017.
Ignacio Gonzalez-Lang, Blotter, 2017, desiccator, New York Police Department daily blotter clippings, and plexiglass shelf, 14 × 81/2 × 7 in. (35.56 × 21.59 × 17.78 cm).

Residents from United States

Laura Lappi

Finland, United States
Alfred Kordelin Foundation
Studio #201

Ailyn Lee

United States, South Korea
Anonymous
Studio #210

Angel Lartigue

United States
Vision Fund
Studio #217
Taiwan

Past Resident
2022: Ministry of Culture, Taiwan

Artist

Yi Kuo

Yi Kuo is an interdisciplinary developer and media artist. His works are often a combination of different media, including virtual reality, multiplayer gaming, audio-visual performances, installations, and theater space. He builds system structures to connect layers of spaces and forms of bodies, and seeks dialectic perspective between mythological and technological narratives. Kuo is the co-Founder/Director of the new media art group NAXS Corp.

Yi Kuo has exhibited work at Ars Electronica Center, Linz; transmediale, Berlin; and Unsound Festival, Warsaw, among others.

Yi Kuo, AFTERLIFE網路來生：EV20F1, 2020, online performance presented at Unsound Festival, Kraków, dimensions variable.
Our body is inevitably dissolving into a new reality, mediated by screens, networks and algorithms. Memories, consciousness, and the "Truth" transforming in light-speed, as our ancient beliefs collapsed and drifting into the digital-vacuum. While the calling of Posthuman approached, Taipei-based newmedia art group NAXS turned to Kora - a pilgrimage in the Tibetan Buddhist - for guidance, seeking for an alternative narrative of digital-theatre-interfaces, and the possibilities of contemporary ritual, in between the informatic universe, the technical society, and the naked flesh of ours. 《Render Ghost》is a continuous evolving ritual-service-framework initiated since 2015, as well as an immersive-VR-theatre with no predetermined performers. Wearing dust-proof clothing and VR headsets, viewers immerse themselves into the virtual spectacles, gigantic soundscape and spatial installation with dense fog and laser. In the theatre, viewers wander around the edge between reality and virtuality experiencing the sensation of great falling, deformation, and transcendence. When the boundary becomes more and more blurred, a journey toward virtuality begins.
Yi Kuo, Render Ghost, 2015-2018, VR installation, dimensions variable.
Yi Kuo, Ghost Island, 2018-2020, VR Installation and live visual with Meuko! Meuko!.
A cyber geohistory study. Submerged into the abyss of the Internet, stratums of data-sendiments, analyze the layers of internet space in Geohistory methods, attempting to find the evidence of an emerging consciousness, deep under the ocean of collective desire.
Yi Kuo, XATA躰, 2019, VR and live audio-visual installation.
is a cross-media project initiated in 2018. With neural-network generated images of eyes as its symbolic core, claims itself to be a mythological computing device, navigating through the endless matrix of imaginations, emotions and history, in searching for a point-of-view of non-existence, in our life experiences between information and body, geopolitics and religions, technology and nature. Inheriting from the concepts and tech-stacks developed in the virtual-immersive-theater work , and online/offline audiovisual performance , The aims to continue this pursue, develop it's theoretical basis, by implanting a set of fictional/non-fictional researching methods, and expand its format a site-specific ritual experience/theater between physical and virtual space. Roots in personal experiences of the complex religions/politics scenario in East Asia, suggests a floating perspective, to reinvestigate the mythological nature of our technoscience society, optionally the evolutionary affinity between traditional religions and our posthuman future.
Yi Kuo, NONEYE, 2019-ongoing, online experience.

Residents from Taiwan

Feng-Yi Chu

Taiwan
Ministry of Culture, Taiwan
2024

Huang I-Hsiang

Taiwan
Ministry of Culture, Taiwan
2024

Hung-Yen Chang

Taiwan
Ministry of Culture, Taiwan
2023
Austria

Past Resident
2022: Federal Ministry for Arts, Culture, Civil Service and Sport of Austria

Artist

Lisa Rastl-Dorner

Lisa Rastl-Dorner’s artistic practice and photography work address questions of author­ship and copyright, the role of photography as a medium of reproduction, and the relationship between original and copy.

Lisa Rastl-Dorner has exhibited work at Taikoo Place, Hong Kong; WIELS Center for Contemporary Art, Forest; and MAC/VAL, Vitry-sur-Seine, among others.

Lisa Rastl-Dorner, Hommage to a (yellow) square, after Josef Albers, 2021, fine art print on Baryta, 12 × 16 in. (30.48 × 40.64 cm) each.
Lisa Rastl-Dorner, Hommage to a (yellow) square, after Josef Albers, 2021, C-print, 19 × 27 in. (48.26 × 68.58 cm) each.
Lisa Rastl-Dorner, Failing the Original, 2018, fine art print on Bartya, 19 × 27 in. (48.26 × 68.58 cm).
Lisa Rastl-Dorner, Failing the Original, 2014, objects, photographs, dimensions variable.
Lisa Rastl-Dorner, Failing the Original, 2019, 7 × 9 in. (17.78 × 22.86 cm).

Residents from Austria

Marianne Vlaschits

Austria
Federal Ministry for Arts, Culture, Civil Service and Sport of Austria
Studio #218

Ulrike Königshofer

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

Irina Lotarevich

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