Past Residents
Past Resident2024: Beca Arte, CCU - Corporación Cultural La Araucana
Carolina Muñoz
Carolina Muñoz’s work is known for her distinct style and her creative, intellectual approach to painting. In her extensive body of work, she blends imagery from 1990s animation, high culture, and pop culture. Carolina combines characters with realistic features intervened by the glitch phenomenon which are inserted in surreal universes that delve into the realm of “art about art.” She often sets her scenes in exhibition spaces like museums or galleries, where she explores themes of contemplation, absurdity, and grotesqueness.
Carolina Muñoz has exhibited work at MAVI Museum of Visual Arts, Chile; Fundació Guasch Coranty, Spain; and Art Central, Hong Kong, among others.
Events & Exhibitions
2024 Spring Open Studios
April 12–April 13, 2024
Carolina Muñoz, Where is mom going?, 2023, oil on canvas, 44 × 28 in. (111.76 × 71.12 cm).
Carolina Muñoz, Dreamer, 2024, oil on canvas, 51 × 353/8 in. (129.54 × 89.92 cm).
Carolina Muñoz, We change meanings, 2023, oil on canvas, 415/16 × 50 in. (104.9 × 127 cm).
Carolina Muñoz, Expressions Center, 2023, oil on canvas, 415/16 × 50 in. (104.9 × 127 cm).
Carolina Muñoz, Expressions Center, 2023, oil on paper, 83/16 × 11 in. (20.83 × 27.94 cm).
Past Resident2024: Inlaks Shivdasani Foundation
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.
![a ‘sadabahar’ [the name translates to ‘always prosperous’] plant grow in the limited resources of a brick wall crack](https://iscp-nyc.org/wp-content/uploads/2024/04/sada1-scaled.jpeg)
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](https://iscp-nyc.org/wp-content/uploads/2024/04/sada_baby-scaled.jpeg)
zeropowercut/Piyush Kashyap, always everywhere, yet absent, 2022, bricks, sand, cement, soil, and live Sadabahar plant, 18 × 18 in. (45.72 × 45.72 cm).
zeropowercut/Piyush Kashyap, anumanlok [English Name: guess-wor(l)d] w/ —out-of-line—, 2023, interactive voice response system, data phone and Bhojpuri/Hindi.
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.
zeropowercut/Piyush Kashyap, imitation, 2022, video-projection and broken-bucket speaker.
Past Resident2024: DOOSAN Art Center
Winter Gyeoul Kim
Winter Gyeoul Kim uses painting to explore what’s visible in our world and to imagine connections with what’s invisible. She questions how our world, beyond just its surface appearance, relates to the world beyond. Recently, she’s been intrigued by the uniqueness that individuals acquire through the language of translation and handwriting.
Winter Gyeoul Kim has exhibited work at project space SARUBIA; HITE Collection; and SPACE SO, all in Seoul, among others.
Events & Exhibitions
2024 Spring Open Studios
April 12–April 13, 2024
Winter Gyeoul Kim, I love your curly hair, 2023, oil, spray paint, and pencil on linen, 291/8 × 393/8 in. (73.99 × 100 cm).
Not Enveloped, 2023, oil on linen, 513/16 × 7413/16 in. (130 × 189.99 cm).
Winter Gyeoul Kim, The Sweet Spot, 2022, oil on linen, 1113/16 × 133/4 in. (30 × 35 cm).
Winter Gyeoul Kim, Summertime, 2021, installation view at Space Cadalogs, Seoul.
Winter Gyeoul Kim, To Whom It May Concern, 2020, oil on linen, 513/16 × 7413/16 in. (130 × 189.99 cm).
Residents from South Korea
Hong Seon Jang
Horace W. Goldsmith Foundation, Alice and Lawrence Weiner, 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, New York City Council District 34, Brooklyn Borough President Antonio Reynoso, Hartfield Foundation, Danna and Ed Ruscha, The Milton and Sally Avery Arts Foundation