Past Residents

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Year
Residency Program
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India

Past Resident
2024: Inlaks Shivdasani Foundation

Artist

zeropowercut/Piyush Kashyap

zeropowercut/Piyush Kashyap makes art to locate how caste is coded in the real. Their practice-based-research is driven to articulate how the caste-ideological-grading of workers, as various levels of Sudra (‘insignificant, menial and unknowledgeable’) counters reality as unintelligible, by notionally dissociating the bridge of Knowledge and Work. Kashyap runs a research-and-development lab called zeropowercut to create collective productions of Dalit-Bahujan discourse from their small studio in the old city of Patna-Saheb, Bihar.

zeropowercut/Piyush Kashyap has exhibited work at The Foundation for Indian Contemporary Art; The New Medium III; and Serendipity Arts Residency 2023, all in India, among others.

Events & Exhibitions

Artists at Work: zeropowercut/Piyush Kashyap
June 18, 2024, 6:30–7:30pm
2024 Spring Open Studios
April 12–April 13, 2024
a ‘sadabahar’ [the name translates to ‘always prosperous’] plant grow in the limited resources of a brick wall crack
zeropowercut/Piyush Kashyap, always everywhere, yet absent, 2022, bricks, sand, cement, soil, and live Sadabahar plant, 18 × 18 in. (45.72 × 45.72 cm)
a ‘sadabahar’ [the name translates to ‘always prosperous’] plant grow in the limited resources of a brick wall crack
zeropowercut/Piyush Kashyap, always everywhere, yet absent, 2022, bricks, sand, cement, soil, and live Sadabahar plant, 18 × 18 in. (45.72 × 45.72 cm)
A hand presses numbers on a mobile phone to navigate an unknown (to the listener) structure of speech made of unrelated or related meanings.
zeropowercut/Piyush Kashyap, anumanlok [English Name: guess-wor(l)d] w/ —out-of-line—, 2023, interactive voice response system, data phone and Bhojpuri/Hindi
public-folk singer-performer, Raju Ranjan performs anti-caste songs/text co-written with Kashyap, at zeropowercut base, Sadikpur, Patna-(old)City. The subtitles read: How will we save this culture?!
zeropowercut/Piyush Kashyap, jangayek.txt w/ —out-of-line— and Raju Ranjan, 2023, online song performance and discussion, leather and plastic dafli (Drum) and text
A child riding on top of a sound-system-cart (like how one rides an elephant or a camel), covers their ears to protect themselves from the impact of loud-speakers around themselves.
zeropowercut/Piyush Kashyap, imitation, 2022, video-projection and broken-bucket speaker

Residents from India

Mario D’Souza

India
Jane Farver Memorial Fund
2024

Akshay Sethi

India
Inlaks Shivdasani Foundation
2023

Shaunak Mahbubani

India
Inlaks Shivdasani Foundation
2021
United States

Past Resident
2024: Vision Fund

Artist

Yoshie Sakai

Yoshie Sakai is a multimedia artist working with video, installation, sculpture and performance. Her videos and over-the-top immersive installations are centered on accessibility and nurturing human connection while critiquing capitalist productions of space and ways of being. As a subtly transgressive undercover cultural agent, she exposes the absurdities of manipulative social structures while humorously struggling and reveling in them as a participant. She draws on popular forms of entertainment and media to engage diverse audiences, especially those historically devalued, ignored, and seen as burdens.

Yoshie Sakai has exhibited work at Vincent Price Art Museum, California; John Michael Kohler Arts Center, Wisconsin; and Antenna, Louisiana, among others.

Events & Exhibitions

Artists at Work: Yoshie Sakai in conversation with Lauren Wolchik
May 21, 2024, 6:30–7:30pm
2024 Spring Open Studios
April 12–April 13, 2024
The
Yoshie Sakai, KOKO's Love: A Soap Opera Tale of One Family, 2016, seven-channel mixed media video installation, dimensions variable
As part of “The Autotopographers” group exhibition at the John Michael Kohler Arts Center in Sheboygan, Wisconsin, we see split between a pet store and the family living room,
Yoshie Sakai, KOKO's Love: About Yuki Daydream Reality, 2019, six-channel mixed media video installation, dimensions variable
Grandma Entertainment Franchise (GEF)” brings together three immersive installations produced over the last three years: Grandma Day Spa, Grandma Nightclub, and Grandma Amusement Park. These three distinct but interconnected installations, composed of my video and sculptural work, satirically reproduce public sites of leisure, re-imagined with grandmothers as their target demographic. “Grandma Entertainment Franchise” stems from my reflections on my own grandmother, or obaa-chan (“grandmother” in Japanese), who came to live with my family when the I was nine years old. My memories of my obaa-chan open a searing, tragicomic inquiry into society’s obsession with youth and innovation, as evident in the outsourcing of elderly care, urban redevelopment and disinvestment, marketing demographics, and our notions of desirability, success, and the good life. This was at the Vincent Price Art Museum (VPAM) in Monterey Park, California.
Yoshie Sakai, Grandma Entertainment Franchise (GEF), 2023, 10-channel mixed media video installation
The “Bathroom Stall Tears” video series, meant to be viewed in the in the bathroom stalls of the “Grandma Entertainment Franchise (GEF)” installation, opens the door to a more intimate space for expression & reflections by capturing my personal childhood memories my grandmother’s selfless acts/small sacrifices & critique the power of gender stereotypes in shaping intergenerational expectations.
Yoshie Sakai, Bathroom Stall Tears: Part II, video still, 2022, single-channel digital video, 4:01 min
The “Grandma Nightclub” and “Grandma Nightclub Music Video” (projected on the wall) celebrates and honors the senior populations & the activities not typically associated with them. I assume the role of five dancing grandmas with the up-tempo and sexual nature of the songs to bring attention to the vitality of the elderly, speaking of ageism embedded in systems of capitalism and entertainment.
Yoshie Sakai, Bathroom Stall Tears: Part II, 2023, three-channel mixed media video installation (Nightclub only), dimensions variable

Residents from United States

Frank WANG Yefeng

United States, China
ISCP ​Alumni Fund
Studio #303

Efrat Hakimi

A table top arrangement of paper, cutout images, ephemera, and tools used in bookbinding.
United States
Artis
Studio #301

Bryan Fernandez

United States
The New York Community Trust’s Edward and Sally Van Lier Fund
Studio #216
United States, China

Past Resident
2024: Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
2023: Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha

Artist

Alchemyverse

Alchemyverse was founded in 2020 in New York City by artists Bicheng Liang (b. 1994, China) and Yixuan Shao (b. 1996, China/United States). As a duo, they construct visual and aural assemblages, working across disciplines of installation, print, sound, sculpture, and photography. Focusing on research and experimentation, their hybrid practice resonates with macro-environmental concerns and human dislocation of space, leading them to places such as Oahu and Moa Kea in Hawaii, the American Southwest, the Hudson Highlands, and the Chilean deserts.

Alchemyverse has exhibited work at Bishop Museum, Honolulu; The Catherine Fosnot Art Gallery and Center, New London; and Lenfest Center for the Arts, Columbia University, New York City, among others.

Events & Exhibitions

2024 Spring Open Studios
April 12–April 13, 2024
2023 Fall Open Studios
November 10–November 11, 2023
Messa in Luce Exhibition Talk with Alchemyverse and Jess Wilcox
November 1, 2023, 6–7pm
Alchemyverse: Messa in Luce
June 29–November 17, 2023
2023 Spring Open Studios
April 21–April 22, 2023
The work features collages of cyanotype photographs taken in the American Southwest, multichannel field recordings, and objects collected within the land on three suspended wooden panels.
Alchemyverse, Stir, Full of, Abounding In, 2021, cyanotypes collage, dead plant, pit-fired wild clay fragment, rocks, 8-channel specialized sound, transducers, and other mixed media, 84 × 120 × 3 in. (213.36 × 304.8 × 7.62 cm)
Left Without the Means to Move uses the ephemerality of sound and porousness of space to adapt to the viewers’ presence and creates an interactive soundscape as a constant search for balance. The materiality of the landscape slowly unfolds within and around the dome-shaped assemblage of sound recordings of making the ceramics in the wilderness, extracted soil, and pit-fired sandstone-molded sculptures.
Alchemyverse, Left Without The Means To Move, 2021, lava rocks, anodized aluminum, bone conductors, pit-fired wild clay and sound recorded within, desert soil, amplified microphones, speakers, subwoofers, and other mixed media, 204 × 204 × 180 in. (518.16 × 518.16 × 457.2 cm)
With the whole work's structure supported by salvaged rocks and plywood scraps, we explore how a construction of the fragmented brings the multitude of functionalities, identities, and meanings together, and us into proximity with such process.
Alchemyverse, Untitled, 2021-22, rocks, ceramics, bronze, dead plants, living moss, sand, films, cyanotypes, scores, 3D carved photo, turntable, trace light box, digital projectors, lamps, and other mixed media
In 2021, a record number of snowstorms blanketed the northeast regions of the US, due to rising temperature in the atmosphere which fuels the storms. At the time, we were traveling along the Hudson Valley, hiking in knee-high snow and crouching over frozen riverbank to chase aluminum sheets into the shapes of the rocks. What we thought as a simple gesture of conforming to the land was met with great resistance from the environment.
Alchemyverse, 隙/ At Intervals, 2020-21, earth and fire on aluminum sheets, 96 × 72 × 36 in. (243.84 × 182.88 × 91.44 cm)
Consisting of thirty-one cyanotype photographs and twelve-channel spatialized recordings made using salvaged materials, Bleikr explores a poetic avenue toward a non-anthropocentric scale of time --- one that expresses itself no longer in terms of hours and minutes, but in the forms in the textures, shadows, and sounds of the environment.
Alchemyverse, Bleikr, 2020, mounted cyanotypes, sounds, and transducers, 120 × 108 in. (304.8 × 274.32 cm)

Ground Floor Residents

Sarah Zapata

Large-scale installation compromised of textiles.
United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Council District 34, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Hartfield Foundation
Ground Floor

Sasha Wortzel

water meanders through a sawgrass marsh beneath a blue sky and clouds
United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation, Brooklyn Borough President Antonio Reynoso
Ground Floor

Simon Liu

Hong Kong, United States
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, New York City Council District 34, New York City Department of Cultural Affairs, in partnership with the City Council, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation
Ground Floor