Artist Fellowships

Ville Andersson (b.1986) is a versatile artist, both in his use of different media and in his variety of styles and themes. His series comprise, among others, photographs, drawings, 3D computer design, paintings, installations, and texts. Andersson lives and works in Helsinki. He has exhibited actively, including at: Espoo Museum of Modern Art; Weserburg Museum für Moderne Kunst, Bremen; Fotomuseum Provincie Antwerpen, Tokyo Metropolitan Museum of Art & The Tretyakov Gallery, Moscow. Besides exhibitions, he is actively involved in many communal and interdisciplinary projects. Previous projects incl. stamps for the Finnish postal service, stage- and costume designs for a theatre play, collaboration with the Academic Bookstore, artworks for a home for senior citizens, and graphic patterns for the tram stop shelters in the city of Tampere. Currently, he is one of the artists chosen for Platform GÁTT, where 5 high-profile arts festivals in the Nordic region band together with the mission to highlight young artists working in the Nordic countries. He has received several awards for his work. In 2015 he was named the Young Artist of the Year in Finland. His works are in several public collections.

Kader Attia is an artist who explores the wide-ranging effects of western cultural hegemony and colonialism. Central to his inquiry are the concepts of injury and repair, which he uses to connect diverse bodies of knowledge, including architecture, music, psychoanalysis, medical science, and traditional healing and spiritual beliefs. Throughout his multimedia practice—ranging from sculpture to film installation—reparation does not mark a return to an intact state, but instead makes visible the immaterial scars of psychic injury. This approach is informed by Attia’s experience of growing up between Algeria and the Paris banlieues. Attia’s work has been shown in biennials such as the Shanghai Biennial; Gwangju Biennial; Manifesta, Palermo; Venice Biennial, Venice; and Documenta, Kassel. Notable solo exhibitions include Kader Attia. Remembering the Future, Kunsthaus Zürich, 2020, The Museum of Emotion, The Hayward Gallery, London, 2019; Scars Remind Us that Our Past is Real, Fundacio Joan Miro, Barcelona, 2018; Roots also grow in concrete, MAC VAL, Vitry-sur-Seine, 2018; Repairing the Invisible, SMAK, Ghent, 2017; The Injuries are Here, Musée Cantonal des Beaux Arts, Lausanne, 2015; contre nature, Beirut Art Center, Beirut, 2014; and Continuum of Repair: The Light of Jacob’s Ladder, Whitechapel Gallery, London, 2013. Attia has shown in group exhibitions at venues such as MoMA, New York; Tate Modern, London; and Centre Pompidou, Paris. Attia has been awarded the Marcel Duchamp Prize (2016), the Joan Miró Prize (2016), and the Yanghyun Art Prize (2017). In 2016, Kader Attia founded La Colonie in Paris’s Gare du Nord area as a radically open space for decolonial thinking, debate, and cultural activism. Attia is the appointed curator for the 12th Berlin Biennale in 2022. Attia lives and works in Berlin and Paris.

For Freedoms is an artist-led organization that models and increases creative civic engagement, discourse, and direct action. They work with artists and organizations to center the voices of artists in public discourse, expand what participation in a democracy looks like, and reshape conversations about politics. Formed in 2016 by a coalition of BIPOC, queer, and allied artists, For Freedoms has organized hundreds of artist-designed billboards championing the voices of artists and their communities.

Robert Nava (b. 1985, East Chicago, IN) received a BFA in Fine Art from Indiana University as well as an MFA in Painting from Yale University. His practice centers on large-scale paintings and works on paper that portray whimsical creatures, rendered through gestural markings. Finding inspiration in the art of the distant past, from Medieval Christian imagery to Mayan and Sumerian art, as well as popular contemporary sources such as animation, Nava creates compositions that are carefully considered yet marked by a sense of naivete and spontaneity. His art has been exhibited in various solo exhibitions both domestically and abroad, including Bloodsport (2022) at Night Gallery, Robert Nava (2021) at Pace East Hampton, Robert Nava (2021) at Pace Palm Beach, Robert Nava: Angels (2021) at Vito Schnabel Gallery, and Robert Nava (2020) at Sorry We’re Closed in Brussels. He has a forthcoming solo show at Pace London opening in May 2022. Robert’s work is in the public collections of the Art Institute of Chicago, Illinois; Institute of Contemporary Art, Miami, Florida; Museum of Contemporary Art San Diego, California; The Museum of Fine Arts, Houston, Texas; and Zuzeum Art Center, Riga, Latvia.Ho has exhibited internationally, including Phantasmapolis: Asian Art Biennial, Taichung, Taiwan (2021); We Do Not Dream Alone: the Asia Society Triennial, Asia Society Museum, New York, NY, U.S.(2021); Yokohama Triennale: Afterglow, Yokohama Museum of Art, Yokohama, Japan (2020); Meditations in an Emergency, UCCA Center for Contemporary Art, Beijing, China (2020); Sunset on a Dead End: The Notorious and Their Inexplicable Modes of Existence, Power Station of Art, Shanghai, China (2019); NO ON: Joyce Ho Solo Exhibition, TKG+, Taipei, Taiwan (2019); 9th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, and Gallery of Modern Art, Brisbane, Australia (2018).

Hank Willis Thomas (b. 1976, Plainfield, NJ) is an American conceptual artist working primarily with themes of perspective, identity, commodity, media, and popular culture. His body of work encompasses video, public art and collaborative installations, sculpture, and photography that inspires reflection on how art informs racial equity and civil rights. The first major retrospective of Thomas’ work, titled Hank Willis Thomas: All Things Being Equal…, debuted in 2019 at Portland Art Museum, Portland, OR, and followed in 2020 at Crystal Bridges Museum of Art, Bentonville, AK, and Cincinnati Art Museum, Cincinnati, OH. Thomas incorporates widely identifiable iconography in his images to create commentaries on racial inequality, violence, bias, and portrayal of Black bodies perpetuated through advertising. In Absolut Power (2003), Thomas depicted the silhouette of the namesake beverage and filled its volume with the cramped arrangement of enslaved bodies aboard ships during the Atlantic slave trade. In the photographic series Branded (2003-2006), he superimposed the Nike swoosh logo onto Black male bodies to reference jarring images of slave branding and the modern exploitation of the Black male body—particularly in athletics.

Pawel Althamer (b. 1967, Warsaw, Poland) works predominantly in sculpture, collaborative action, installation and performance art. Interested in social and artistic transformation, Althamer makes work that reimagines reality in an attempt to subtly shift conventional perceptions—social, political, psychological. Althamer’s solo exhibitions include at the Helsinki Art Museum, Helsinki (2019) New Museum of Contemporary Art, New York (2014); Secession, Vienna (2009); Fondazione Nicola Trussardi, Milan (2007); Musée National d’Art Moderne, Centre Georges Pompidou, Paris (2006), and Westfälischer Kunstverein, Munster, Germany (2002). Group exhibitions include the Venice Biennale: Il Palazzo Enciclopedico/The Encyclopedic Palace (2013); Gwangju Biennial, South Korea: Mainbo–10,000 Lives (2010); Skulptur Projekte Münster (2007); Berlin Biennial: Von Mäusen und Menschen/Of Mice and Men (2006), and the Istanbul Biennial (2005). In 2004 he won the Vincent Award, hosted by the Bonnefantenmuseum, Maastricht, Netherlands. He lives and works in Warsaw.

Naufus Ramírez-Fiueroa, works in drawing, performance, sculpture, and video. Ramírez-Figueroa reframes recent and historical events, to find new ways at looking at social, political and ecological conditions. Ramírez-Figueroa has participated in various solo and group exhibitions including The Sixth State, Sala de Arte Público Siqueiros, Mexico City (2018); The House of Kawinal, New Museum, New York (2018); Shit Baby and the Crumpled Giraffe, Kunsthalle Lissabon, Lisbon (2017); VIVA ARTE VIVA, 57th Biennale di Venezia, Venice (2017); Incerteza Viva, 32 Bienal de Sao Paulo, Sao Paulo (2016); Burning Down the House, and 10th Gwangju Biennale, Gwangju (2014). He is a recipient of the Guggenheim Fellowship, the Mies Van Der Rohe prize, the Franklin Furnace award, the Akademie Schloss Solitude fellowship (selected by Dan Graham), and the DAAD Berlin Artists-in-Residence fellowship.

Tomashi Jackson is a multi-disciplinary artist who uses the formal properties of color perception as an aesthetic strategy to investigate the value of human life in public space. Her investigation into color perception as an aesthetic strategy began with a close reading of Josef Alber’s instructional text Interaction of Color, 1963. In this text, Jackson observed that the language used to describe the formal interaction of colors mirrored the language of racial segregation found in sources such as United States public policy documents, court proceedings, and other documents that shape the use of public space. Jackson’s investigation of the shared language around color, whether in reference to race or formalism, offers a narrative framework from which she constructs her own language of abstraction. Jackson’s 2021 Fellowship is presented in partnership with The Parrish Art Museum as part of their annual Platform exhibition.

Duke Riley’s work addresses the tension between individual and collective behavior, independent spaces within all-encompassing societies, and the conflict with institutional power. He examines transgression zones and their inhabitants through drawing, printmaking, mosaic, sculpture, performative interventions, infiltrations, and video structured as complex multimedia installations. Riley combines populist myths and historical obscurities with contemporary social and environmental dilemmas, connecting past and present, drawing attention to unsolved issues. Throughout his projects, he profiles the space where water meets the land, traditionally marking the periphery of urban society, what lies beyond rigid moral constructs, a sense of danger and possibility. Riley has had solo exhibitions at Magnan Metz Gallery, New York City; the Museum of Contemporary Art Cleveland; the Queens Museum of Art, Queens, NY; and the Havana Biennial, among many others. He has received numerous awards and commissions, including a Percent for Art commission, a Joan Mitchell Foundation Painters & Sculptors Grant, and the MTA Arts For Transit commission for the Beach 98th Street Station renovation. Born in Boston, he received his BFA from the Rhode Island School of Design, in Providence, before moving to New York, settling in Brooklyn, and earning his M.F.A. from Pratt Institute. In the spring of 2016, Riley partnered with Creative Time and the Brooklyn Navy Yard to produce the public art sensation, ‘Fly By Night’, which was completely reimagined in 2018 as a tribute to the role of pigeons in WWI, produced by 1418Now and the London International Festival of Theater in the historic community of Thamesmead.

Shaun Gladwell (b. 1972) is an Australian-born, London-based artist. He completed Associate Research at Goldsmiths College, London in 2001 and has since undertaken numerous international residencies and commissions. He has exhibited prodigiously in Europe, North and South America, and in the Asia Pacific Region. Gladwell has exhibited Internationally in venues such as the Royal Academy of Arts (London), the Orange County Museum of Art (CA), KUAD Gallery (Istanbul), Palais de Tokyo (Paris), and the Museum of Lyon (France). Gladwell’s work is included in the public collections of the Art Gallery of New South Wales (Sydney), Museum of Contemporary Art (Sydney), Museum of Contemporary Art (Tokyo), Museum of Fine Arts Houston (TX), Orange County Museum of Art (CA), Progressive Art Collection (PA), SCHUNCK (Heerlen), VideoBrasil (Brazil), Wadsworth Atheneum (CT), among many others. The artist lives and works in the UK.

Dawn Kasper is an interdisciplinary artist working across genres of performance, installation, sculpture, drawing, photography, video and sound. Her work often improvisational emerges out of a fascination with existentialism, subjects of vulnerability, desire, and the construction of meaning. In 2017, Kasper participated in the 57th Venice Biennale, Viva Arte Viva, curated by Christine Macel, with a 6-month durational performative installation in the Central Pavilion entitled “The Sun, The Moon, and The Stars” (2017). Select recent solo exhibitions include: Portland Institute for Contemporary Art, Portland, OR; Tang Museum, Skidmore College, NY; ADN Collection, Bolzano, Italy; CCS Bard College, NY; Issue Project Room, New York; and David Lewis. Select group exhibitions include: American Academy in Rome, Italy; The 2012 Whitney Biennial, curated by Elisabeth Sussman and Jay Sanders, Whitney Museum of American Art, NY; Tramway, Glasgow, Scotland; The Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art, Los Angeles, CA; Pacific Standard Time Public and Performance Art, Los Angeles, CA; Public Art Fund, Art Basel Miami Beach, FL; The Migros Museum fur Gegenwartskunst, Zurich, among others. Kasper is represented by David Lewis in New York, and has work included in the collections of the Whitney Museum of American Art, New York, NY; ADN Collection, Bolzano, Italy; and Aïshti Foundation, Beirut, Lebanon.

Lars Daniel Rehn (b. 1974, Sweden) is a visual artist, noted for his humorous and detailed paintings depicting a world from a rather dystopic perspective.

Marina Rosenfeld was born in New York and has been based there since 1999. A composer and artist working across disciplines, her work has explored experimental practices in sound and performance since the 1990s, when she mounted her first all-female electric-guitar ensembles under the name Sheer Frost Orchestra. She has had solo presentations by institutions including the Park Avenue Armory and the Museum of Modern Art in New York; the Whitney (2002 and 2008), Montreal (2016), Liverpool (2011) and PERFORMA (2009 and 2011) biennials; and the Holland, Borealis, Wien Modern and Ultima festivals, among many others. Recent projects include commissioned works for documenta14 radio, the Haus der Kultur der Welt in Berlin and the Donaueschinger Musiktage festival, and solo exhibitions at Portikus Frankfurt, the Bard Center for Curatorial Studies, and upcoming in 2019, the Artist’s Institute in New York. Rosenfeld’s collaborators have included Christian Marclay, George Lewis, Okkyung Lee, Annette Henry aka Warrior Queen, and Ben Vida, with whom her latest release, Feel Anything on iDEAL Recordings, was released in late 2018. She has also frequently created music for dance, including improvised music for Merce Cunningham Dance Company between 2004 and 2008, and composed scores for the choreographers Ralph Lemon, Maria Hassabi, and Douglass Dunn. Rosenfeld has been the co-chair of the MFA in Music/Sound at Bard College since 2007, as well as a visiting professor at Cooper Union, Harvard, Yale School of Art, and Brooklyn College.

Lucien Smith (born in Los Angeles, CA in 1989) graduated from Cooper Union in 2011 with a Bachelor in Fine Art. Recent solo exhibitions include Cosmas and Damian at Moran Moran, LA (2017); Tigris at Skarstedt, NY (2014); and Nature is My Church, Salon 94 (2013). Smith’s work has been included in various group shows: MIDTOWN at Lever House, ANAMERICANA at the American Academy in Rome, Rome (IT); Sunsets and Pussy at Marianne Boesky, NY. Forbes featured Smith twice in its 2013 and 2014 list of 30 under 30 in the category “Art & Style.” The New York Times named him “the art world Wunderkind”. He currently lives and works in Montauk, NY. Smiths’s 2019 Fellowship is presented in partnership with The Parrish Art Museum as part of their Artists Choose Artists exhibition.

For over twenty-five years Tania Bruguera has created socially-engaged performances and installations that examine the nature of political power structures and their effect on the lives of society’s most vulnerable individuals and groups. Her research focuses on ways in which art can be applied to the everyday political life; on the transformation of social affect into political effectiveness. Her long-term projects are intensive interventions on the institutional structure of collective memory, education and politics. Her works often expose the social effects of political forces and present global issues of power, migration, censorship and repression through participatory works that turn “viewers” into “citizens.” By creating proposals and aesthetic models for others to use and adapt, she defines herself as an initiator rather than an author, and often collaborates with multiple institutions as well as many individuals so that the full realization of her artwork occurs when others adopt and perpetuate it.

Anne Carson is a poet, essayist, professor of Classics, and translator. Carson has gained both critical accolades and a wide readership over the course of her “unclassifiable” publishing career. In addition to her many highly-regarded translations of classical writers such as Sappho and Euripides, and her triptych rendering of An Oresteia (2009), she has published poems, essays, libretti, prose criticism, and verse novels that often cross genres. Known for her supreme erudition, her poetry can also be heart-breaking and she regularly writes on love, desire, sexual longing and despair.

Masako Miki has exhibited her immersive installations and detailed works on paper at sites throughout the Bay Area and Japan. Inspired by Shinto and Buddhist traditions, she attempts through her work to dissolve the boundaries between realms. Miki has been a resident artist at Kamiyama Artists in Residency (Tokushima, Japan), Facebook (Menlo Park, California), and the de Young Museum (San Francisco, California). In 2016, she was a recipient of an Artist Fellowship Award from Kala Art Institute in Berkeley, California, and has been selected for the MATRIX Program at Berkeley Art Museum and Pacific Film Archive for 2019. She is a native of Japan and currently based in Berkeley, California.

Barthélémy Toguo explores the regulated flow of people, merchandise, and resources between the developing world and the West. “Men or women are always potential exiles, driven by the urge to travel, which makes them ‘displaced beings’,” he has said. His monochromatic watercolor paintings act as a travel diary, with human-like forms transforming into animal shapes or abstract creatures—formally exploring the notion of border through the mixing of identities. There is a provocative and satirical aspect of Toguo’s practice, in which art and critique are inextricably linked. In Transit (1996), he gave a series of performances in airports and train stations, in which he disrupted transit security by carrying bags carved out of wood or wearing a cartridge belt filled with candles. For the 2015 Venice Biennale, Toguo presented Urban Requiem, an installation featuring “stamps” on the bottom of wooden human busts, examining our shared human existence from various world perspectives. This project marks the inaugural collaboration between The Watermill Center and the Parrish Art Museum as part of the Inga Maren Otto Fellowship

Carlos Bunga creates architecturally-scaled installations, made from mass-produced materials such as cardboard, packing tape and household paint. These maquettes resemble temporary shelters or surreal colourful urban interiors which are in dialogue with the surrounding architecture of the gallery, reconfiguring it somewhere between a decaying space and a construction site. Bunga participated in “Manifesta 5” in San Sebastián (2004), “inSite_05” at the San Diego Museum of Art (2005), “14th Carrara International Sculpture Biennial” (2010), “29th Bienal de São Paulo” (2010), “Artes Mundi 6” in Cardiff (2013), and Chicago Architecture Biennial (2015). Solo exhibitions took place at Museo de Arte Contemporánea de Vigo (2009), Pérez Art Museum Miami (2009), Pinacoteca do Estado de São Paulo (2010), Hammer Museum, Los Angeles (2011), Museu Serralves, Porto (2012), Museo Universitario de Arte Contemporáneo (MUAC), Mexico City (2013), Museo Amparo, Puebla (2014), Museum Haus Konstruktiv, Zürich (2015), Museo de la Universidad Nacional de Colombia, Bogotá (2015), and Museu d’Art Contemporani de Barcelona (MACBA) (2015).

Royce Weatherly (b. 1957) is an American painter from Winston-Salem, North Carolina. A 2015 Guggenheim Grant recipient, Weatherly received his BA from Wake Forest University (1980), and MFA from the University of Wisconsin/Madison (1984). Over the past three decades, he has developed a profoundly simple and yet deeply enigmatic painting style that combines his peculiar Vermeer-like still lives with an eerie quietude devoid of narrative symbolism.

Carrie Mae Weems (b. 1953) has spent the past thirty years working toward developing a complex body of art that has employed photographs, text, fabric, audio, digital images, installation, and video. Her work has led her to investigate family relationships, gender roles, the histories of racism, sexism, class, and various political systems. In a review of her retrospective in The New York Times, Holland Cotter wrote, “Ms. Weems is what she has always been, a superb image maker and a moral force, focused and irrepressible.” In 2013 Weems received the MacArthur “Genius” grant as well as the Congressional Black Caucus Foundation’s Lifetime Achievement Award. Most recently, she is a recipient of the ICP Spotlights Award from the International Center of Photography and the W.E.B. Du Bois Medal from Harvard University. Weems is represented in public and private collections around the world including the Metropolitan Museum of Art; The Museum of Fine Arts, Houston; and the Museum of Contemporary Art, Los Angeles. She has participated in numerous solo and group exhibitions at major national and international museums including the Whitney Museum, the Museum of Modern Art, and the Solomon Guggenheim Museum.

Zeinab Shahidi Marnani (b. 1983 in Isfahan, Iran) lives and works in Tehran and New York. She holds a MFA in sculpture from Yale School of Art. In 2015, she was an artist-in-residence at The International Studio and Curatorial Program (ISCP) in New York. She is also a recipient of the The Alice Kimball English Traveling Fellowship and former resident at Akrai Residency (Palazzola, 2013). Her work has been shown at the Thomas Erben Gallery in New York; ALLGOLD at the MoMA PS1 Print Shop in New York; design transfer gallery (UDK) in Berlin; the Tehran Museum of Contemporary Arts in Iran; and Devi Art.

Giandomenico Tonatiuh (G.T.) Pellizzi was born in 1978 in Tlayacapan, Mexico. He studied philosophy at St. Johns College and graduated from The Channin School of Architecture at the Cooper Union. From 2001-2011, Pellizzi co-founded and has been involved in various art collectives, including The Bruce High Quality Foundation, with whom he has exhibited at the Whitney Museum of Art, MoMA PS1, Centre Pompidou, PAC Murcia, the Fondazione Sandretto Re Rebaudengo and Bruno Bischofberger Gallery in Zurich. Recently, he has had solo exhibitions at Mary Boone Gallery in New York, Harmony Murphy Gallery in Los Angeles, and Revolver Galeria in Lima, as well as the Sala Siqueiros in Mexico City. He has participated in exhibitions at the Jeu de Paume in Paris, the Museo del Barrio Biennial in New York, the Biennial of the Americas in Denver, and the Kunsthalle in Vienna. Pellizzi lives between New York and Mexico.

Basco Vazko was born in Santiago, Chile in 1983. Strongly influenced by South American street artists such as Sao Paulo based Vitche and Os Gemeos, the South American post-punk scene, graffiti and Chilean political muralism. Vazko has been painting in the streets of Santiago since age 14, his early works, often of huge headed figures in military uniforms, were controversial and considered subversive but prove highly influential in the young art scene in Santiago of the early 2000s. From 2004 to 2006 Vazko lived in the U.S. and exhibited work in various spaces throughout California. In 2009 Vazko participated in Born in the Streets-Graffiti at the Fondation Cartier pour l’art contemporain in Paris, that same year Basco Vazko had his first solo exhibition in Santiago at Galeria Animal. Currently based in Santiago where he has exhibited extensible his work of collages, publications and paintings Basco Vazko has also remained present in the streets through the realization of large commissioned murals.

Omar Tate (he/him) is a chef, poet, visual artist, and cofounder of Honeysuckle Projects, a multifaceted food company that focuses on the nuanced cultures and cuisines of the Black diaspora. His work serves to engage us in deeper understanding of the contextual relationships between food, storying, emotion, and place. His integrated practices examine and imagine timetables that are simultaneously past, present, and future in the sharing of our collective human experience. He focuses on time and the context within those scapes to offer new perspectives on equitable outcomes for Black peoples in real time.

Omar has emerged as a visionary and a leading thinker on the restaurant industry’s cultural development. He specifically focuses on the interrogation of race and ethnicity to tear down structural barriers through his practices. In 2020, Omar was named chef of the year and Honeysuckle named pop up of the year by Esquire Magazine . In 2021 Time Magazine named Omar as one of the 100 innovators to watch as part of their Time100Next list.

Némo Flouret, born in 1995, from Orléans (FR), based in Brussels, choreographer, performer and multidisciplinary artist. He develops site specific projects, performances crossing different mediums, usually in hybrid spaces outside theaters. Such as “900 Something Days Spent in the XXth Century” (2021), a performance conceived for post-industrial/urban spaces, and “What we found in the solitude” (2019), a duet taking place in a tunnel. Since 2019 he has been collaborating with the choreographer Anne Teresa De Keersmaeker, co-creating in close collaboration with Tessa Hall a solo as part of the “Dark Red Project” (2021) at the Fondation Beyeler (Basel), and the site specific project “FORÊT” (2022) that they co-signed for the Louvre Museum in Paris as part of the Festival d’Automne. He now starts a new project called Derniers Feux, fusing choreography, music, and pyrotechny, made both for the theater or for any other location. This project will premiere in la Comédie de Genève in June 2025.

Kayla Farrish is a Black American Director merging dance-theater, filmmaking, narrative, and sound score. She captures ranging identity, the mythical dualities of history and present survival, and powerful dreaming lending to liberation. Her commissions include Limon Dance Company, Gibney, Louis Armstrong House Museum, Danspace, Pepatian, Little Island, Harlem Stage, Blacklight Summit and beyond. Some works formed: Black Bodies Sonata, The New Frontier: My dear America, Sunny Side/Inside the Laughing Barrel, December 8th, Martyr’s Fiction, and others. She creates live works, films, site-specific/immersive, and collaborations. She recently shared Choir (Carrie Mae Weems Exhibition), To Dream A Lifetime (BlackLight), Roster with Melanie Charles, MIXTAPES with Alex MacKinnon and site-specific Broken Record (Little Island) with Brandon Coleman, and Rinsing and Harbor films. Presenting spaces include Lincoln Center, Park Avenue Armory, Symphony Space, and National Sawdust, among receiving support from Watermill Center for the Arts, Armstrong Now, Brooklyn Filmmakers Collective, Baryshnikov Arts Center, La Mama Experimental Theater, and others. She received the Sundance Uprise Grant for Emerging BIPOC Directors, Bessie Awards for NYLA’s Motherboard Suite and December 8th-Gibney, NY Times Top 2021 Dance Performances- Roster and Breakout Star. She is a recipient of the Harkness Promise Award for 2022. During 2022, she was a Rehearsal Director for Punchdrunk Sleep No More, and adjunct faculty for NYU Tisch Dance. During 2023, she created new works for Arizona State University, LINES dance Training Program, University of Arizona. She has been commissioned to create a reimagined archival work for Limon Dance Company, and to collaborate with musician Trixie Whitley, for her new music tour. In her next company project, Put Away the Fire, dear, she is touring a group narrative work of radical imagination and liberation, supported by NEFA NDP Touring Dance Production Grant.

Sarah Brahim (b.1992, Riyadh, Saudi Arabia) is a visual and performance artist working across many mediums to present work rooted in experiences of the body. She trained as a performer, teacher, and choreographer at San Francisco Conservatory of Dance, and received a BFA (Hons) from London Contemporary Dance School. Her research-based practice began while studying medicine at university, as she continued practicing and performing. The pursuit to understand the body through every possible lense– biological, physiological, experiential, and more– led her to receive her BS from Oregon Health and Science University, with a focus on medical anthropology and public health.In her work, Brahim examines how gestures of the body create a language that can be used to voice grief, metamorphosis, the unseen form, and our relationship to the natural world.

Katerina Andreou, born in Athens and based in France, graduated both from the Law School-University of Athens and the State School of Dance in Athens. She attended the program ESSAIS in CNDC d’ Angers and holds a master’s degree of Paris 8 in research and choreography. As a dancer, she collaborated with DD Dorvillier, Lenio Kaklea, Bryan Campbell, Dinis Machado, Emmanuelle Huynh, and Ana Rita Teodoro. In her work, she is interested in developing states of presence sorting out from a constant negotiation between contrasted tasks, fictions, and universes, often questioning the relation to ideas such as authority and autonomy, communication, and censorship. She often makes the music design of her own pieces. She was awarded the choreography prize Prix Jardin d’Europe, at ImpulsTanz Festival in 2016 for the solo dance piece “A kind of fierce.” She then created the solo “BSTRD” (2018) and the duo “Zeppelin Bend” (2021) with Natali Mandila, “Rave to Lament” (2021), a site-specific performance with a tuned car, and recently the solo “Mourn Baby Mourn” (2022). She is associated artist at centre chorégraphique national de Caen en Normandie and the Master Program EXERCE in CCN de Montpellier.

Regina José Galindo is a visual artist and poet whose primary medium is performance. Galindo lives and works in Guatemala, using its own context as a starting point to explore and accuse the ethical implication of social violence and injustices related to gender and racial discrimination, as well as human rights abuses arising form the endemic inequalities in power relations of contemporary societies. Galindo received the Golden Lion for Best Young Artist in the 51st Biennial of Venice (2005); in 2011, she was awarded the Prince Claus Award from the Netherlands; in 2019, she received the Soros Art Fellowship; and in 2021, she won the Robert Rauschenberg Prize. She has also participated in the 49th, 53rd, and 54th Venice Biennials; Documenta 14 in Athens and Kassel; the 9th International Biennial of Cuenca, the 29th Biennial of Graphic Arts of Ljubljana, the Shanghai Biennial (2016), etc.

Nile Harris is a performer and a director of live works of art. His work has been presented at the Palais de Tokyo, Under the Radar Festival (Public Theater), The Watermill Center, Volksbühne Berlin, Prelude Festival, Bronx Academy of Arts and Dance, Otion Front Studio, and Movement Research at Judson Church. His work has been supported by Pepatián, Foundation for Contemporary Art, Abrons Arts Center, YoungArts, and Brooklyn Arts Exchange. He has worked extensively as a performer originating roles in works by various artists including Jaamil Olawale Kosoko, 600 HIGHWAYMEN, Bill Shannon, Robert Wilson, Nia Witherspoon, Lilleth Glimcher, Malcolm Betts X, and Miles Greenberg in venues including New York Live Arts, Museum of Modern Art, Tanz im August, The Walker Art Center, EMPAC, Danspace Project, Superblue, Stanford Live, Dublin Theatre Festival, and MESS Festival.

Joyce Ho works across diverse mediums from painting, video, to installation. By integrating the deconstruction of movements and fragmentation of daily rituals with rich and illusory light and shadow, the artist demonstrates the intimate and isolating tensions between people and reality. The artist’s works simultaneously captivate her viewers while keeping them in a state of confrontation, rendering the quotidian action depicted in her work as a momentary ritual. Ho has exhibited internationally, including Phantasmapolis: Asian Art Biennial, Taichung, Taiwan (2021); We Do Not Dream Alone: the Asia Society Triennial, Asia Society Museum, New York, NY, U.S.(2021); Yokohama Triennale: Afterglow, Yokohama Museum of Art, Yokohama, Japan (2020); Meditations in an Emergency, UCCA Center for Contemporary Art, Beijing, China (2020); Sunset on a Dead End: The Notorious and Their Inexplicable Modes of Existence, Power Station of Art, Shanghai, China (2019); NO ON: Joyce Ho Solo Exhibition, TKG+, Taipei, Taiwan (2019); 9th Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, and Gallery of Modern Art, Brisbane, Australia (2018).

For the KOR’SIA collective, the arts and specifically the arts of movement, as their competence, are the only representations that manage to transmit the human world, everything created by our societies: tradition, society, culture, etc, in a way that no other cognitive skill achieves. Surviving in time beyond the societies that produced them and managing to transcend what we call ideas, providing individuals with access to their most intimate and spiritual ways. Therefore, the objective of this collective is based on the creation of artistic devices whose epicenter is located in the body and that proposes a reflection on the possible gestation of individual and collective spaces, which can provide new access to ways of being and being. in the world through the living arts. Currently, Antonio de Rosa and Mattia Russo are the directors and choreographers of the project, together with the Performing Arts researcher and co-founder, Giuseppe Dagostino, and the Professor of Performing Arts Agnès López-Río as artistic advisor, are the main architects of the KOR’SIA collective.

Born in Poland and based in France, Ola Maciejewska is a dancer and choreographer. In 2012 she obtained her MA in Contemporary Theatre and Dance Studies at the University of Utrecht. She made her choreographic debut with Loie Fuller: Research (2011) at TENT Rotterdam. In 2015, Maciejewska premiered BOMBYX MORI in Paris at la Ménagerie de verre as part of the Festival Les Inaccoutumés. From 2016-2018 Maciejewska was associate artist of Centre chorégraphique national de Caen en Normandie. Her latest work, DANCE CONCERT had its world premiere at National Taichung Theatre in Taiwan and was presented at Centre Pompidou as part of the 2018 Festival d’Automne in France.  

BOMBYX MORI and DANCE CONCERT are supported by Fondation d’entreprise Hermès as part of New Settings. In 2019, she received a grant from “International Tanzmesse NRW” to make research on the scenography of Rolf Borzik at the Archives of the Pina Bausch Foundation in the fall of 2020.

Gideon Appah (b. 1987, Accra, Ghana) draws on childhood memories and dreams, as well as West African landscapes and popular culture for his dazzling, bold, and jewel-toned paintings. As a child, Appah’s first medium was charcoal, which his grandmother used to cook meals at home. His early works are an ode to his hometown of Accra, the capital of Ghana, and incorporate images associated with daily life such as lottery numbers and other symbols present in the social and economic fabric of the city. Appah’s work investigates his childhood as well as local mythologies, ethereal landscapes, rivers, domestic interiors, and reoccurring figures both imagined and known, such as his grandmother and brother. The artist often paints in tones of royal blue, crimson, dark orange, and white over found and collaged posters, prints, photographs, and film stills, many of these centering on occupations his family members have held within their community such as barber and tailor shops. Mixing photographic images with paint, Appah employs a process of priming the canvas and sketching the composition before transferring prints from paper onto the canvas using a mixture of glue and water. After the canvas dries, he carves out the images, making them visible before applying paint. Most recently, the artist has utilized oil paint, working in a more flattened perspective and using a rich palette to condense impasto brushstrokes. Appah creates dream-like worlds through a fauvist lens, examining personal and homeland histories such as Ghanaian post-colonial cinema, leisure culture, and nightlife, using newspaper clippings from the 1950s through the 80s as source material. He is influenced by portraiture artists such as Kerry James Marshall, Barkley L. Hendricks, Charles White, as well as American painters Bob Thompson and Joseph Yoakum.

Born in Accra, Ghana in 1987, Gideon Appah received his Bachelor of Fine Arts at The Kwame Nkrumah University of Science and Technology in Kumasi, Ghana in 2012. After graduating with a BFA in Painting, Appah held his first exhibition in Ghana, including his first solo exhibition at the Goethe Institute in Accra in 2013. Other important exhibitions of his work include Gideon Appah: Forgotten, Nudes, Landscapes, Institute for Contemporary Art at University of Commonwealth Virginia, Richmond (2022); Blue Boys Blues, Mitchell-Innes & Nash, New York (2020); Orderly Disorderly, Ghana Science Museum, Accra (2017); Clay Objects (Past and Present Aesthetics), Nubuke Foundation, Accra (2013); and End of Year Exhibition, K.N.U.S.T Museum, Kumasi, Ghana (2012). In 2015, he was chosen as one of the top ten finalists for the Kuenyehia Art Prize for Contemporary Ghanaian Arts. That same year he became the first international artist to win the 1st Merit Prize Award at the Barclays L’Atelier Art Competition, which was held in Johannesburg. This awarded him a three-month artist residency at the Bag Factory Studios (2016) and a solo show at the Absa Gallery (2017), both in Johannesburg, South Africa. His work is held in public collections worldwide including Absa Museum, Johannesburg; Musée d’Art Contemporain Africain Al Maaden, Marrakesh, Morocco; and Royal Ontario Museum, Toronto, Canada.

ON VIEW UNTIL OCTOBER 12TH, 2024

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