Past Residents
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: Arts Council Korea
Yongseok Oh
Yongseok Oh is a Korean-born artist who emphasizes the crossing of the past and the present, and of the real and the imagined, by creating a visual collage of stills, moving images and cinemas. He explores the structure of the cinema and daily life and collapses a certain cinematic narrative through collage techniques.
He has been recognized widely and his works have been shown at various international biennales including Seoul Media City Biennale, 2006; Shanghai Biennale, 2006; Seville Biennale, 2008; Biennale of Cuvee, Lintz, 2008 and Moscow Biennale, 2011. Selected group exhibitions include: Thermocline of Art, ZKM, Karlsruhe, 2007; Metamorphosis, Espace Louis Vuitton, Paris, 2008; CINEMA SIM, Itau Culture, San Paulo, 2008; Trance POP, Yerba Buena Center for the Arts, San Francisco, 2008; The Imaginary Line, Gallery Hyundai, Seoul, 2009; Textual Landscapes, Bryce Wolkowitz Gallery, New York, 2009; Sporadic positioning, Arario gallery, Cheonan, 2012 and Plateau, Samsung Museum of Art, Seoul, 2012. Recently, he collaborated on a project with L`OCCITANE, Paris.
Yongseok Oh, Drama No. 6, 2011, Two channel video. Courtesy of the artist
Yongseok Oh, Classic No. 1978, 2009, Single channel video. Courtesy of the artist
Yongseok Oh, In Absentia, 2013, Mixed media, real-time closed-circuit video, dimensions variable. Courtesy of the artist
Yongseok Oh, Memory of the Future, 2009, Single channel video. Courtesy of the artist
Yongseok Oh, Siamese montage-lover letter, 2008, Two channel video, Siamese scope, player, 1:54 min. Courtesy of the artist
Residents from South Korea
Past Resident2013: KdFS Kulturstiftung des Freistaates Sachsen
Anja Kempe
In her site-specific installations, videos and video installations, Anja Kempe deals with the unknown of physical space and the potential of movement. She develops architectural extensions that augment space. Her dynamic images of space act as expansive choreographies for the viewer. Her latest works deal with the body itself. She brings together the individual memory of the body and the collective memory of individual movements.
Anja Kempe (born 1973) was educated at the Karlsruhe University of Art and Design and at the Academy of Media Arts, Cologne. She has exhibited internationally in group shows and solo exhibitions including at z33, Hasselt; Ars Electronica Campus, Linz; Schloss Solitude, Stuttgart; Museum Schloss Moyland; Kunstverein Leipzig; NGBK Berlin; Interfood Vitrine, Aachen; Kunstraum Kreuzberg, Berlin; Art Cologne and Young Artist Project, Daegu. Kempe lives and works in Leipzig where she teaches at the Academy of Visual Arts.
Anja Kempe, Stairway, 2006, Paper, cardboard, wood, acrylic paint. Courtesy of the artist
Anja Kempe, Dissociation, 2002, Four weighing cells, four wide-angle projectors, balance software. Courtesy of the artist
Anja Kempe, Inscription, 2007, Aluminum bar, coaly gum, infrared lamps, nightshot camera, monitor, overlay software. Courtesy of the artist
Anja Kempe
Anja Kempe, Diagonal, 2008, Tape. Courtesy of the artist
