Past Residents
Past Resident2017: Pollock-Krasner Foundation
Entang Wiharso
Entang Wiharso (born 1967, Java, Indonesia) has been dividing his time between Indonesia and the United States for many years. Wiharso has a multidisciplinary practice and is known for his dramatic visual language and unique images of contemporary life. From universal issues of power, loss and love to broader categories of ideology, philosophy and identity, Wiharso’s work is layered with social, political and sexual critique, revealing a complex picture of the human condition. Wiharso’s recent work focuses on the duality of cultures and experiences in his two homelands, throwing into sharp focus issues of national identity, migration, race, political states and power conflicts.
Entang Wiharso graduated from the Indonesian Institute of Arts, Yogyakarta in 1994. He has had solo exhibitions at Marc Straus, New York; Singapore Tyler Print Institute; Bernier/Eliades Gallery, Athens; ARNDT Gallery, Berlin and Singapore; and National Gallery of Indonesia, Jakarta. Wiharso has also been part of group shows including the 55th Venice Biennale; Odyssey: Navigating Nameless Seas, Singapore Art Museum; Love: The First of the 7 Virtues, Hudson Valley Center for Contemporary Art, Peekskill, New York; Open Sea, Musée d’art contemporain, Lyon, France; Prospect.3: Notes for Now, New Orleans; All You Need Is Love, Mori Art Museum, Tokyo; and Prague Biennale 6, among others.
Events & Exhibitions
Fall Open Studios 2017
November 10–November 11, 2017
Entang Wiharso, Perfect Mirror, 2013-14, aluminum, oil paint on mirror, resin, color pigment, threador pigment, and resin, 98.4 in. diameter.
Entang Wiharso, Temple of Hope, 2011, stainless steel frame, aluminum, resin, light bulbs, cable, and lava stone, 13713/16 × 118 × 1571/2 in. (350.01 × 299.72 × 400.05 cm).
Entang Wiharso, Crush Me, 2012-13, graphite, resin, color pigment, thread, lightbulbs, electrical cable, and steel, 134 × 256 × 35 in. (340.36 × 650.24 × 88.9 cm).
Entang Wiharso, Undeclared Landscape, 2013, oil on linen, 108 × 154 in. (274.32 × 391.16 cm).
Entang Wiharso, Untold Story: Floating Island, 2012, oil and acrylic on linen, 118 × 236 in. (299.72 × 599.44 cm).
Residents from United States
Past Resident2017: Gallery 301
Yumiko Ono
Yumiko Ono is interested in form and formats. Repetition and reproduction are often seen in her work, which ranges from drawings to sculptures to videos to sound installations. Her aim is to interpret the subjects that she finds, and give them a new order through her point of view, which usually results in laconic expressions. She is currently experimenting with minimalistic geometric forms, particularly those related to the field of architecture.
Yumiko Ono is a contemporary artist who works with various media. Ono completed her BA in Oil Painting in Kyoto, Japan. She then went on to study in various countries including Hungary, Czech Republic and Israel as a government scholarship student before receiving an MA in Intermedia in the Czech Republic. She is currently completing her second MA degree in ceramics in Saint Petersburg, Russia.
Events & Exhibitions
Salon: Kristyna and Marek Milde and Yumiko Ono
September 19, 2017, 6:30–8pm
Yumiko Ono, Home, 2010-13, carton, dimensions variable.
Yumiko Ono, Secret Garden, 2015, string curtain, dimensions variable.
Yumiko Ono, Paper Empire, 2016, paper and wood, dimensions variable.
Yumiko Ono, Day, 2017, bone china, dimensions variable.
Yumiko Ono, Lenin1&2, 2017, bone china, 15/8 × 15/8 in. (4.06 × 4.06 cm).
Past Resident2017: Danish Arts Foundation
Larissa Sansour
Central to Larissa Sansour’s practice is the tug and pull between fiction and reality in a Middle Eastern context. Recently, she has been interested in the dialectics between myth and history, and explored the sci-fi genre and the role of archaeology in nation building and national identity. In the absence of a viable peace process in Israel/Palestine, archaeology has long since become a battleground for settling territorial disputes. In her works, Sansour explores and reverses the archaeological methodology in an attempt to influence colonialist narratives and manipulate history.
Larissa Sansour (born 1973, East Jerusalem) studied fine arts in London, New York and Copenhagen. She has had solo exhibitions at Bluecoat, Liverpool; New Art Exchange, Nottingham; and Nikolaj Kunsthal, Copenhagen. She was part of group shows at Tate Modern, London; Centre Georges Pompidou, Paris; Palestinian Art Court – al Hoash, Jerusalem; Reina Sofia Museum, Madrid; Louisiana Museum of Modern Art, Denmark; House of World Cultures, Berlin, and Hiroshima City Museum of Contemporary Art. Sansour’s work has been featured in several biennials of cities including Istanbul, Busan, Yinchuan and Liverpool.
Larissa Sansour, And They Covered the Sky Until It Was Black, 2017, installation, 156 × 240 × 120 in. (396.24 × 609.6 × 304.8 cm).
Larissa Sansour, In the Future They Ate from the Finest Porcelain, 2016, video, 29 min.
Larissa Sansour, Archaeology in Absentia, 2016, bronze, 8 × 4 × 4 in. (20.32 × 10.16 × 10.16 cm).
Larissa Sansour, Revisionist Production Line, 2016, steel, rubber, and porcelain, 132 × 24 × 36 in. (335.28 × 60.96 × 91.44 cm).
Larissa Sansour, Nation Estate, 2016, video, 9 min.
