About The Watermill Center’s Artist Residency Program
Watermill’s Artist Residency Program began in 2006, when The Center officially opened as a year-round facility. Each year collectives and individual artists take up residence at The Center to live and develop works that critically investigate, challenge and extend the existing norms of artistic practice. Artists-in-Residence share their creative process with the community through open rehearsals, workshops and artist talks.
Artists-In-Residence receive access to an extensive collection of resources central to the Watermill experience: 20,000 square feet of rehearsal/design spaces and outdoor stages; a theater production archive; The Watermill Center Study Library; The Watermill Center Collection; and The Center’s eight-and-a-half acre landscaped grounds and sculpture gardens.
Applications are reviewed by a distinguished international selection committee composed of artists, academics, and cultural leaders across all disciplines. To date, we have hosted over 170 residencies featuring artists from more than 65 nations.
In residence: January 4 – 30, 2017
The Hutto Project: Next Steps
Filmmaker Brune Charvin, writer Khesrau Behroz, and composer Kate Eberstadt will come together for postproduction on The Hutto Project, a music and performance education program that took place in an emergency refugee camp in Berlin during 2016.
First, they will review all of the footage that Brune shot within the music classroom. From this, they will create a library of footage, images, and documents from The Hutto Project, organized by theme.
From this library, they will begin two creative collaborations.
(1) A film project, directed by Brune, soundtracked by Kate
(2) A writing / media project, directed by Khesrau:
“Out of the thousands of pictures and hours of video material we choose the one that we personally connect with because they remind us of our own past, our own moments. We then write short pieces of (abstract) texts to accompany those images and videos. At the end, we will have interwoven synapses of the lives of the kids we have worked with our very own memories.”
Khesrau Behroz is a writer and conceptual artist. He was born in Kabul (Afghanistan), socialized around the world, and is currently living in Berlin (Germany). He studied at Free University in Berlin as well as New York University. As an artist, he created the project “When Kennedy Died” that deals with the impact of U.S. drone strikes on his own personal life, and “Wish You Were Here” that deals with the impact of drones strikes on other people’s lives. His artistic endeavors were featured in Zeit, Vogue, Deutschlandradio, Tagesspiegel, and other publications. He was awarded a literature work stipend by the Berlin Senate and he was artist-in-residence at the Watermill Center. Behroz is currently writing his first novel that is based on the true story of his parents and grounded in the fantastical beauty of fiction. For more information, please visit www.khesraubehroz.com
Brune Charvin has traveled and worked as a photographer and videographer throughout four continents, building her own sense of what ‘culture’ and ‘international’ means today. From two short documentaries in Senegal, to working with Robert Wilson in New York as part of his documentation team, Brune explores music and movement as an international language. Brune’s filmography includes:
<> 6th British Shorts Film Festival in Berlin
<> Edinburgh DANCE FILM: 11,
<> Clermont-Ferrand 2011
<> BFI Future Film documentary
<> Eurochannel European short film Tour // US channel Eurochannel.
Brune lived in Indonesia from 2013 to 2015, where she worked on Athirah, the new feature directed by Riri Riza, and conducted research on her new short documentary Rasa, an intimate journey through dance and self-discovery. Recently, she was a documentarian for the Hutto Project. For more information, please visit: http://www.charvinbrune.com
Kate Eberstadt is a multidisciplinary artist and founder & music director of The Hutto Project. Eberstadt graduated from Columbia University with a degree in English Literature. She has worked as a performer, composer, writer, and director, with artistic residencies at The American Academy in Berlin and The Watermill Center. In various costumes and personas, she has performed with artists such as Robert Wilson, Lady Gaga, Christopher Knowles, Kembra Pfahler, and Ilse Pfeifer, on stages including the VMAs, Art Basel Miami, on VH1, and various works in New York, Washington DC, and Berlin. She has written for The Berlin Journal and Slant News, and her work has appeared on NPR, Mic.com, Der Tagesspiegel, and other publications. Kate is currently writing an album with her sister, composer/musician Izzi Eberstadt, as well as a solo music project, both of which will be released in 2017. For more information, please visit: http://www.kateeberstadt.com
The Hutto Project aims to create space for children of displaced populations to share their voices. In collaboration with The Red Cross and The American Academy in Berlin, The Hutto Project team established a music and education performance program within an a refugee camp for a group of children between the ages of 3-14, coming from Syria, Afghanistan, Iraq, Iran, Moldova, and Palestine. Our classroom was in operation from February to July 2016. During this time, we rehearsed 3 times a week, hosted 12 guest artist workshops, recorded our work at Funkhaus studios, and held public events at the Konrad-Adenauer Stiftung and ZK/U. The Hutto Project was developed in residence at The Watermill Center in January 2016 and brought to fruition in residence at The American Academy in Berlin. Our work was made possible by the generous donations of people around the world through a crowdfunding campaign, as well as sponsorship from Daimler and initial support from The Watermill Center. For more information, visit our website: http://www.thehuttoproject.com
Khesrau, Brune, and Kate are all alums of the Watermill Summer Program 2015.
Image credits: Meaghan Elyse; © Brune Charvin
Fiddle + Electronics
Fiddler and composer Cleek Schrey experiments for a new work using electronics and his own unique instrument: the Hardanger d’amore, a custom-built violin with 10 strings, 5 of which ring sympathetically beneath the fingerboard. Schrey will futher engage the performance space by introducing radio frequencies and light.
Cleek Schrey is fiddler, improviser, and composer from Virginia, now based in NYC. Recent engagements include the Beckett in London Festival with Gare St. Lazare, a solo appearance at the Kilkenny Arts Festival, and Roulette Intermedium with David Behrman in a concert curated by Meredith Monk. He has studied composition with Behrman, Paul Caputo, Bunita Marcus, and Ronald Kuivila. The journal Sound Post has noted that Cleek “possesses a rare combination of traits: deep respect for traditional music and the people who make it, and an unbounded curiosity about new directions for sound.” He is currently pursuing a Masters in Music Composition at Wesleyan University.
Image credits: Portrait 1; Project image; by Alex Fabry
In residence: February 1 – 17, 2017
Gillian Walsh is an artist and performer from Brooklyn, NY. Working with and against an NYC experimental dance lineage, she produces formalist postdance choreographies. Her recent works include xgzdiiiiiicdiirrwjfffffffff (New York Live Arts), Dance studio life✌️These girls were amazing today! (Artists Space Books & Talks), 👏 life seems like a ьeAten path ?!? (Dominique Levy), and Scenario: Script to Perform (The Kitchen).
While in residence at The Watermill Center, Gillian Walsh collaborates with writer Emily Hoffman to develop a new work modeled after 9 Evenings – the 1966 collaboration between artists, dancers, and Bell Labs – by applying choreographic thinking to an entirely different technological landscape.
Image credits: Gillian Walsh in Scenario (2015); Scenario II at New York Live Arts Feb (2016), pictured: Emily Hoffman, Gillian Walsh, Maggie Cloud;
Photo © Paula Court.
In residence: February 22 – March 10, 2017
Bruno Guida and P.L.U.T.O. – an ensemble of stage directors, actors and writers formed in 2015 at Lincoln Center Director’s Lab – will produce a live performance piece titled Black Box that creates and communicates a dialogue between their various backgrounds and cultures. In advance of their residency, each member has been assigned to bring one black box with the precise measures: 30cm x 30cm x 30cm. The contents of the box will contain elements related to their personal history and their country’s identity including; a piece of news from a paper or magazine, a book, a song in MP3 format and two surprise elements, among other objects.
P.L.U.T.O. is made up of theater directors from all over the world who come together to create collectively and to expand both their geographical and creative frontiers. They constantly challenge themselves with questions such as; How do we produce theater today? What make us complementary? Is it possible to create an art piece that dialogs with all our different cultural backgrounds at the same time?
Group / Collaborators: P.L.U.T.O.
Anton Krause – Director, Performer, Germany
Bruno Guida – Director, Performer, Actor – Brazil
Celeste Veleda – Director, Writer, Actress – Argentina
Luciana Lagisquet – Director, Writer, Actress – Uruguay
Shady Nafar – Director, Actress, Writer – France
Neel Chaudhury – Director, Performer – India
Image credits: courtesy of Bruno Guida; PLUTOALL, courtesy of the artists
In residence: March 15 – March 31, 2017
ALARM (Working Title)
performance, visual art, sound, theater
Yiannis Christofides and PHYSICAL PLASTIC – a recently formed LA-based theater project between Kestrel Leah (UK) and Yiannis Christofides (Cyprus) – will create a stage performance based on security alarms titled ALARM (Working Title). They plan to utilize the resources at The Watermill Center to further reveal the structure of the performance, create a full choreography score, and finalize design elements.
Yiannis Christofides (b.1985) is a composer, sound artist and sound designer. Much of his work investigates our experience of place through the use of field recordings as principal material. His particular interest in field recording is in relation to the contextual aspects of sound and the intersensory experience that it affords. His work has been presented at leading venues and institutions throughout Europe and the U.S. including the Athens & Epidaurus Festival (GR), New York City Electroacoustic Music Festival (US), La Triennale di Milano (IT), Ecos Urbanos Festival, Fonoteca Nacional de México (MX), Internationales Klangkunstfest Berlin (DE), Point Centre for Contemporary Art (CY), Metamatic: The Art Foundation (GR), Queen Elizabeth Hall, Southbank Centre (UK) and Los Angeles Contemporary Exhibitions (US), among others.
Image credits: Yiannis Christofides (portrait); Kestrel Leah, ALARM (Working Title)
In residence: March 15 – 31, 2017
During his residency, Stewart plans to develop monoprints that extend on ideas in his watercolor paintings started in Venice. Although he has painted with watercolor previously, these works mark a shift away from the figurative and towards abstraction. The New Mexico–based artist looks forward to witnessing how the landscape of Long Island’s East End will inform these new works.
William Stewart spent his younger years in New York City, during the wild 60’s and 70’s. It was during this period that he re-met Watermill Founder & Artistic Director Robert Wilson. They had known each other as children as their families were close friends back in Waco, Texas. Their history provided Stewart with an easy entrée into the early Byrd Hoffman Foundation when it was located on Spring Street. Currently, the artist lives in Taos, New Mexico and teaches drawing and painting at the University of New Mexico, Taos.
Stewart has been painting since childhood and has been involved with teaching all ages from a school in Palma de Mallorca, Spain to universities including City College, NYC., Farleigh Dickinson, Madison, NJ as well as with museum education departments including the San Francisco Museum of Modern Art,San Francisco, CA., and the Newark Museum, Newark, NJ.
In the late sixties he exhibited at O.K. Harris Gallery, NYC, followed by shows in Koln, Germany with Rudolph Zwirner Gallery and at the Paris Biennale where he was invited by Daniel Abadie. His most recent show was in 2010 at the Prince Street Gallery in NYC.
Last year, Stewart had a residency in Venice through the Emily Harvey Foundation. It was here that he started a series of abstract watercolors that he will be continuing and exhibiting at The Watermill Center.
Image credits: Courtesy of the artist
Inga Maren Otto Fellow
In residence: April 5 – May 1, 2017
Grace Notes: Reflections for Now
Renowned visual artist and 2017 Inga Maren Otto Fellow, Carrie Mae Weems will be refining her song cycle/performance titled Grace Notes: Reflections for Now, which examines the the role of grace in the pursuit of democracy. The first iteration of Grace Notes premiered at the Spoleto Festival in June 2016, and brings together some of the country’s most celebrated artists, poets, musicians and composers to examine the wider social implications of tensions at work in communities across America. These tensions are marked and defined by recent escalations in violence, the killings of young black men, and the tragic events of the Emanuel Nine. These events and nationwide responses have been contextualized as a song cycle. As its title suggests, the piece incorporates music, song and spoken word interwoven with text, dance, photography and video projection to explore the dimensions of its theme.
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.
Image credits: Carrie Mae Weems (2012), photo by Jerry Klineberg; Kitchen Table Series Book (2016)
In residence: April 5 – May 1, 2017
Lotte Nielsen will continue her video project YAOI, using film footage captured of LGBT Youth in Copenhagen as well as interfacing with the local LGBT community in Water Mill. She will collage together pieces of atmospheric footage with sound recordings to give a sense of the youth’s emotional life in the context of The Watermill Center’s character. Nielsen also plans to use her findings at The Center to create a new concept for a film.
Based in Denmark, Lotte Nielsen is a visual artist whose work takes inspiration from her geographical placement, whether it’s London, Copenhagen or New York. Topics as well as materials are generated from her experience of the area, culture, landscape or specific social setting. For the past 12 months she has been working on a site-related project about the abandoned cinema, Stenløse Bio, on the outskirts of Copenhagen. Her practice-based research has been responding to the town of Stenløse; the town used to have a lively cinema culture and where she regularly attended the movies as a child.
In residence: April 5 – May 1, 2017
performance, design, visual art, costume
Costume designer Lexy Ho-Tai will continue to develop her multi-disciplinary and interactive thesis collection KOOKERVILLE for which she was recently named finalist for “Designer of the Year” upon graduating from Parsons School of Design. Exploring ‘clothing as experience,’ she plans to create three new “Kookers” and to focus on the performative aspects of the Kookers based on feedback from fellow artist residents.
Lexy Ho-Tai (b. 1993) is an explorer, dreamer, and maker of things. She grew up in a small town in Canada, and spent her teen years creating fantastical worlds in the hopes of moving to New York City. In 2012, she moved to New York to attend Parsons School of Design’s prestigious and rigorous Fashion Design BFA.
During her time in New York, she’s worked for several costume designers, whilst also taking an interest in art programming and art teaching. In 2014, she conceptualized and co-created Accessible Art, an adaptive art program that enables disabled youth to paint with specialized tools. The project was awarded the New Challenge grant in 2015 for social engagement. Ho-Tai works in a plethora of mediums, and is interested in the intersection between art and social change. She enjoys exploring social themes through humorous, playful, and interactive pieces. Often, her work has childlike undertones, as she is highly inspired by play and the minds of children. Through KOOKERVILLE, she has taken an interest in public and participatory artwork, as a form of community engagement and collaboration.
Image credits: Lexy Ho-Tai; Kookerville (studio shot), photo & video by Olivia Peters
In residence: May 3 – 31, 2017
installation, performance, visual art
Sebastián Escalona (visual artist and art director) and Josefina Dagorret (director and performer) will continue the development of Extinct Rite – a research project that combines different languages of artistic expressions involving landscape, the body, the site-specific and the memory. The project is inspired by the Chilean, pre-Columbian tribe “Selknam” who was exterminated in 1923 by European colonizers in “Tierra del Fuego” located on the Chilean side of Patagonia. The Selknam’s most important ceremony, “Hain”, was dedicated to connecting the human being with the universe as represented in the stars and other natural earthly forces. The goal of Sebastián and Josefina’s residency is to awaken the Hain rite and bringing it back to the modern world, returning the instinctive memory to the body in order to produce links with contemporary performative practices.
Sebastián Escalona is an artist and scholar whose practice seeks to blend traditional disciplines into experimental hybrid languages. Consistent throughout his practice is the development of his pictorial language to communiate concepts of collective fear, violence and spectacle. Escalona is a leading theatrical set designer who has been involved with many recognized plays in Chile and abroad. In 2010, he directed the theater production American Jesus which was held in the suburbs of Santiago in an abandoned warehouse and was funded by the Chilean Government. At the Universidad de Chile, as a professor, he created the artwork MEDIUM, which incorporated a spirit channeler to invoke the dead souls of the artists Joseph Beuys and Andy Warhol into a university classroom. The work generated a great deal of attention and controversy. In 2013, Escalona founded the Imaginary School; a traveling school dedicated to teach imagination workshops throughout Chile (Universidad Austral).
Most recently, Escalona has been awarded a prestigious scholarship by the Goethe Cultural Institute in Berlin to work alongside notable German artists as he further develops his research and artistic experimentations
Josefina Dagorret is a performer, creator and theater director. She has been nationally and internationally recognized by numerous awards for best direction for productions “El Otro Baño” and “La Pieza.” Since 2015, her performance and assistant director role in the play “Access” from the film director Pablo Larrain ( “No”, “The Club”, “Jackie”), has toured several countries in Europe including Spain, Netherlands, Poland, France, Switzerland, Belgium, and in Latin America in Chile, Peru and Brazil. Most recently, she has been working as co-creator and director of a residency produced by the Goethe-Institut, Chile, involving Chilean and German artists. Dagorret’s work is focused on exploring different artistic disciplines in search of a particular and genuine mixture, one which contains the primitive human being in tension with contemporary aesthetics.
Extinct Rite is sponsored by FITAM “Santiago a Mil” International Theater Festival, the University of Chile (room 19), the Teaching Center of Universidad Austral de Valdivia (XIV Region Rios, Chile) and the Museum of Contemporary Art (MAC) Santiago, Chile.
Image credits: portrait of Sebastián Escalona y Josefina Dagorret; Extinct Rite, photo manipulated by paint, © Sebastián Escalona and Josefina Dagorret
In residence: May 3 – 23, 2017
Dreams, Light & Liberation
installation, performance, film, visual art
Multi-disciplinary artist Stacey Goodman will focus on connecting the performative and ephemeral aspects of his work Dreams, Light & Liberation, to the video and sculptural components. He will create sculptural objects, video and performances that together aim to liberate how we perceive marginalized people and spaces via historical photography and imagination – specifically the marginalized people of the 1930s and 40s.
Stacey Goodman (b. 1967) is a transdisciplinary artist and educator based in Oakland, California. While his interest in activism and social justice has always been clear, his art tends to lean towards the poetic and surreal. Experimental narrative filmmaking has allowed the artist to explore visual poetics while being pointed in exploring political ideas. The visual poetics uses light, movement and framing in a way that it can both expand upon an idea, and unburden us from harsh political realities. In addition to his teaching and visual art practice, he’s also a writer who has been blogging on Edutopia about art and activism through an educational lens.
Image credits: portrait of Stacey Goodman; Untitled-Dreamry, courtesy of the artist
In residence: May 3 – 31, 2017
Alchemy of Punk (working title)
installation, performance, film
During her residency at The Watermill Center Anete Panek is staging Alchemy of Punk (working title), a punk opera she has been developing over three years within the framework of her artistic PhD at the University of Arts, Berlin and Le Fresnoy in Tourcoing, France. Alchemy of Punk is a ground-breaking extravaganza, bringing together the greatest voices of classical opera, punk and industrial rock in an explosive spectacle, melting together theatrical and musical experience, video installation and live performance. Featuring the star soprano Simone Kermes, along with underground diva Mona Mur and the legend of industrial music En Esch (exKMFDM), Japanese butoh dancer Yoriko Maeno, improvisation dancer Meritxell Campos Olivé and many other great luminaries. Through the creation of this visual and musical installation and live performance, she will test the relevancy of her theories and ideas as images on stage. Aneta Panek is interested in challenging the existing norms of performing knowledge.
Upcoming presentations of Alchemy of Punk include:
March 2 – 6, 2017 – at the Festival for Film on Theatre and Performance at the Martin E. Segal Centre City University of New York.
May 20, 2017 – at In Process @ The Watermill Center
May 25, 2017 – at the Nuyorican Poetry Cafe, New York, Lower East Side
Aneta Panek was born in Warsaw. She studied art history at the University Paris 4 Sorbonne, where she particularly worked on the questions of transmediality in the arts, the uncanny in media and artistic exchanges between the three countries: France, Germany and Poland. Her documentary My Heaven is Full of Music was enclosed 2011 in the collection of the Museum Yad Vashem in Jerusalem. At present, Aneta Panek lives and works in Berlin, as experimental film-maker. Her work, based on “other knowledge” and artistic research, is about the necessity of visualization and associative speculation in formulating and deconstructing theories and questioning reality. Her particular interests are alchemy, transmutation, subversion, and rebellion as means of self-liberation and self-discovery.
“…I had been a poet up until then, and the reason that I had not been a very good poet was because actually my mind worked in images which I had been trying to translate or describe in words; therefore, when I undertook cinema, I was relieved of the false step of translating images into words, and could work directly so that it was not like discovering a new medium so much as finally coming home into a world whose vocabulary, syntax grammar, was my mother-tongue; which I understood, and thought in, but, like a mute, had never spoken…”
Image credits: Portrait of Aneta Panek, Fot. Pawel Sokolowski ;Image credits: Collage of Filmstills by Aneta Panek, courtesy of the artist; Film credits: A Ballade by Aneta Panek
In residence: June 5 – 16, 2017
installation, performance, visual art
Serafita Grigoriadou and her male collaborators Stathis Anthanasiou (film & theatre director) and Stavros Gasparatos (Composer) collectively titled BAKIS, will use the highly creative environment at Watermill to develop a performance inspired by J.Berger’s phrase “Men act and women appear. Men look at women. Women watch themselves being looked at”. The performance will center around an electronically prepared piano (a.k.a wired piano), and multiple projections of live and prerecorded video. The project is currently in the early development stage.
The artist’s most recent collaborative project titled Alpha, is the first art project to be successfully and solely crowd-funded in Greece. Inspired by the myth of Antigone, the work consists of a feature film, a cinematic performance and numerous side actions by 30 young photographers, filmmakers and graphic designers. The feature film has been extensively presented in international film festivals while the live cinematic performance has been presented in diverse venues ranging from the Greek National Theatre and the neoclassical Apollo Theatre, to semi-abandoned industrial spaces in obscure corners of downtown Athens.
Image credits: Obsessed Dada, From Nothing to Nowhere; Alpha – A Transmedia Cinematic Performance
In residence: June 5 – 16, 2017
On This Site
visual art, research
Jeremy Dennis (b. 1990) is a visual artist and member of The Shinnecock Indian Nation who will use the web as one of three platforms to preserve and establish an authentic indigenous identity of his tribe which is based over ten thousand years of tradition. Through On This Site, he aims to represent The Shinnecock Tribe as a cultural producer and to create awareness of the rich history of Native American settlements, burial sites, and other sensitive locations throughout Long Island, New York. The website includes an interactive map that visitors can use to identify the locations of these sites, along with viewing the landscape images associated with them. Dennis will also create a book and exhibition that reflects the same information.
This project is funded by the Running Strong for Indian Youth Organization, co-founded by Billy Mills.
Image credits: Portrait of Jeremy Dennis; New Suffolk Site (2015), courtesy of the artist
Inga Maren Otto Fellow
In residence: September 6 – October 11, 2017
During his five-week residency, 2017 Inga Maren Otto Fellow, Royce Weatherly will work on the final layers of several paintings at once, as each work nears completion in slow, almost invisible increments. The artist looks forward to discussing his work and his process during his time at Watermill.
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.
Slowly made, his works are both luminous and precise in detail, but refuse any greater meaning beyond what appears to be laid out before us. A potato, or some cooking lard, or a cellophane cigarette wrapper minus the package of cigarettes; the unnoticed are held up to scrutiny in an attempt to draw the extraordinary out of the ordinary under an intense gaze that is as much that of a philosopher, or a forensic scientist as that of a painter.
Image credits: Royce Weatherly, Diminished Basic (2013), Oil on Linen, 15″ x 17″, Courtesy of ArtHelix Gallery
In residence: September 6 – 18, 2017
A Bibliography of Romance
installation, performance, film, visual art
Yao Zhang and collaborator Liang Guo work together under the collective name NoodleRice. While in residence at The Watermill Center, the writing, directing, and designer duo will continue to develop a their image-based performance piece titled A Bibliography of Romance.
NoodleRice works at the intersection of film/video and live performance. First conceived as a film studio by Yao Zhang and Liang Guo in 2008 as students at the Beijing Film Academy, they went on to expand their work into performance art and theater during their MFA years at California Institute of the Arts. NoodleRice’s performance piece My Favorite Food has been shown across the U.S., including at The Watermill Center (under the artistic direction of Robert Wilson), RubbitHole in New York, SPACE in Pittsburgh, and Automata, Tongva Park in Los Angeles. Their immersive public performance event We Can’t’ Wait Much Longer has been selected into the second tier of the Sundance Institute New Frontier Story Lab, and the final list of Rapid Pulse International Performance Art Festival.
Image credits: Preview Works Samples, courtesy of the artists; Akhnaten Set Design, courtesy of the artist
In residence: September 6 – October 11, 2017
installation, visual art
For Lua Rivera’s Natura Nurtura the artist continues to investigate the nesting processes of birds through the construction of different habitable “Nests.” Her installations will be made with photographs of the hummingbird anatomy and naked human dancers mixed with the essential materials hummingbirds use for nesting.
Mexican artist Lua Rivera (b. 1989) “experiments to know and produces to survive”. For her, art can erase the boundaries between disciplines, promoting a free interaction between them and allowing the exhibition to transcend the walls of the gallery. As a visual artist she is distinguished by her continuous search and use of multidisciplinary resources such as intervention, collage, photography and textiles.
Image credits: Portrait of the artist; Bower (2016), by Maricela Figueroa
In residence: September 4 – October 4, 2017
To Embrace the World
performance, film, photography
During Lilian Colosso’s residency, the visual artist will continue to explore her performance piece To Embrace the World (2016), wherein she embraces trees, rocks, and bushes for extended periods of time (5 to 8 hours) shaping an uncommon relationship with the landscape at various different sites. Currently in the early development stage at Joshua Tree, the performance will create images of the human relationship with nature through sensory and emotional experiences of the landscape.
Lilian Colosso (b. 1988) based in Los Angeles and São Paulo, graduated in 2011 at the Centro Universitário Belas Artes de São Paulo with a Bachelor Degree in Visual Arts. Exploring the boundaries between the body and nature, specifically using the body as a material element, has been the focus of her research through performance and video. Recent exhibitions include: Performance festival MOVIMENTA#1, Mezanino Gallery, São Paulo, Brazil, 2015; First collective show at Condomínio Cultural, São Paulo, Brazil, 2014; Laço no Paço, Subsolo do Paço das Artes, São Paulo, Brazil, 2013; Con Pasión: Art and Passion / Brazil and Argentina, Marta Traba Gallery – Fundação Memorial da América Latina, São Paulo, Brazil, 2012; First Collective, Oficina Cultural Oswald de Andrade, São Paulo, Brazil, 2012; FASE3 Art and Technology Meeting, Buenos Aires, Argentina, 2011; Facilitator of the Abramovic Method during the exhibition Terra Comunal, Marina Abramovic + MAI, São Paulo, Brazil, 2015.
Image credits: courtesy of the artist, “To embrace the world III”; “To embrace the world I”
Inga Maren Otto Fellow
In residence: October 18 – November 20, 2017
Originally trained as a painter, Portuguese artist and 2017 Inga Maren Otto Fellow, Carlos Bunga has been experimenting with the crossover between painting and sculpture for more than a decade. Creating large, site-specific installations Bunga’s work touches on issues relating to demographics, immigration, socio-economic disparity, and the fragility of contemporary city life.
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.
Working across installation, sculpture, painting, performance, video and drawing Bunga’s practice involves a highly developed degree of aesthetic care and delicacy, and a conceptual complexity derived from the interrelationship between doing and undoing, transience and permanence, unmaking and remaking.
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).
Image credits: Portrait of the artist; Reflejo (2015), site specific installation: Museo de Arte de la Universidad Nacional de Colombia, Bogotá
In residence: October 18 – November 20, 2017
While in residence at The Watermill Center choreographer/performer Marianna Kavallieratos and composer/sound-artist Dom Bouffard will develop the intermedia performance work titled DEATH. Incorporating movement, sound, color and real-time digital media, the piece seeks to be a celebration of life, which without death would be meaningless. It is a study of how Western cultures’ increasing distancing from, and denial of their relationships with death impacts our lives, and the ways in which the power of ritual — a phenomenon usually associated with “primitive” and/or “religious” cultures — may be worth re-interpreting and re-developing in a modern rational/scientific world.
DEATH will ask if the gradual and inevitable rejection of religious narratives has inadvertently “thrown the baby out with the bathwater”, leaving us with thin, grey, humanist replacements for the rich, dramatic performances which, for thousands of years, have guided people through their most important experiences; and whether, compared to cultures which actually embraced the prospect of “a good death” (such as warrior cultures from Ancient Greece to the Samurai that placed strength and honor above personal survival), our lives have actually been impoverished by our refusal to embrace, treasure, or even take pride in our own mortality. By trying to shut out the darkness, has life become colorless?
Marianna Kavallieratos is a choreographer and dancer from Athens, Greece. She studied contemporary dance at the London Contemporary Dance School and SUNY Purchase, New York as well as studying the Martha Graham Technique, at Graham Studios, NYC.
While living in New York in the 90’s she met Robert Wilson, becoming one of a group of young artists who collaborated in founding and shaping The Watermill Center on Long Island. She has maintained a strong physical and creative presence at the center ever since, as a mentor and teacher of dance and movement, and has collaborated and performed in many Robert Wilson productions including: T.S. Eliot, Une Femme Douce, Persephone, The Days Before DDD III, Wings on Rock, Prometheus, Alcestis (the opera), Relative Light and Odyssye.
On her return to Europe, she danced for Kobalt Works in Brussels for several years, before returning to Athens, where as well as working as a freelance choreographer for clients including The Greek National Theatre, she has so far choreographed and presented four full length works of her own (previously under the name Klokworks) which are: Moment (Athens Festival 2010), Auto Run (Athens Festival 2012), Recalculate (Onassis Cultural Centre, Athens 2013) and Stations (Athens Festival 2014).
Dom Bouffard is a musician and composer from London, UK.
From 1997 to 2006 he played guitar with Alt Rock bands Sona Fariq and Queen Adreena, touring internationally with artists including Marilyn Manson, Sonic Youth and Public Enemy, and collaborating with producer Jagz Kooner (Primal Scream) on remixes for artists including Massive Attack and Kasabian.
He has since worked as a performer/arranger on the Robert Wilson/Berliner Ensemble productions “Shakespeare’s Sonnets” (2009) with Rufus Wainwright, and “Lulu” (2011) with Lou Reed; composed two Wilson radio plays (“Monsters of Grace II” and “Tower of Babel” for ARD/BBC), and “Flying” — a video portrait featuring Lady Gaga at the Musée du Louvre.
Dom’s work, which also spans film, TV and fashion, includes his radio piece “WW1” (2015, hr2) which was nominated for the Karl Szucka and Kriegsblinden Prizes, and several dance works with Marianna Kavallieratos: “Recalculate” (2013), “Stations” (2014), dance film “Metal Mark”, and installation “4WALLS” (both 2016). He is also a singer-songwriter with Alt Country/Punk Blues duo Emperors of Rome.
Image credits: EFI GOUSI (2016); Stations (2014), photo by Alessandro Glacalone
In residence: November 29 – December 13, 2017
TALK TO ME
TALK TO ME by returning resident artist Brian O’Mahoney, is a performance that explores anxieties around communication by establishing new languages based on image and gesture. Nonsensically but seriously investigating interpersonal relations, TALK TO ME is a romp through new and absurd physical dialects. Constantly finding more elaborate and obtuse ways to communicate, O’Mahoney seeks to interrogate the source of our collective anxiety around communication.
Brian O’Mahoney (b.1993) is a New Jersey based artist using performance, video, and humor to explore the absurdities of his personal, and our collective, anxieties. He produces work using readily available and everyday materials, mirroring how anxieties infect daily life. He has shown work at The Watermill Center (NY), Roodkapje Rot(t)terdam (Rotterdam, Netherlands) The Hub Of New Music & Arts (Newark, NJ), and at comedy manifestshow (New Brunswick, NJ). Brian has been in residency during The International Summer Program at The Watermill Center from 2013-2016. While there, Brian worked with artists such as Robert Wilson, Dimitris Papaioannou, Marianna Kavallieratos, and Dorian Silec Petek, amongst others. Outside of the Watermill Center, he has worked with directors Mei Ann Teo, Jess K. Smith, Maria Aladren, storyteller Wes K. Andrews, and designer Andrey Bartenev. He holds bachelor degrees in Communications Media and Theatre Arts from the New Jersey Institute of Technology.
Image credits: Portrait of the artist; photo by Lovis Dengler Ostenrik
In residence: November 29 – December 13, 2017
performance, film, music
Fan Letters, an audiovisual duo collaboration between composer Dylan Neely and video artist Alex Nathanson – will utilize their residency at The Watermill Center to develop their opera Autocomplete. In preparation for a festival premiere, Nathanson will delve into the at-scale realization of the scenic design’s video element, which involves projection mapping and audiovisual interaction. Neely will be finalizing the work’s score, written for a chamber ensemble and live electronics.
Based in New York, Fan Letters has played in museums, concert halls and alternative spaces throughout the US, Canada, and Europe. Their work combines sound, video, and handmade electronic instruments into playful and thought-provoking interactive multimedia performances. Shows oscillate between noise and chamber music, from experimental cinema to Saturday morning cartoons, and political negotiations to schoolyard games. Their work has been described as “that secret alchemical intersection between music performance, video games, good art, digital animation, multiple screens, and tech” (Ben Seretan), “remarkable” (Big Red & Shiny), and “difficult to describe” (Portland Press Herald).
Recent performances of their work have occurred at the Museum of the Moving Image, Film Society of Lincoln Center, Silent Barn, and La MaMa; their work has been presented by MATA Interval, Fung Wah Biennial and Queens New Music Festival, and supported by the Foundation for Contemporary Arts and Flux Factory.