About The Watermill Center Fall/Spring Artist-in-Residence Program
The Watermill Center Artist Residency Program began in 2006, when The Center officially opened as a year-round facility. Each year, up to twenty collectives and individual artists take up residence at The Center for two to six weeks. Artists-in-Residence are chosen by an international selection committee composed of distinguished artists, academics, and cultural leaders across all disciplines.
The Artist Residency Program provides artists with the opportunity to utilize The Watermill Center as a home and a workshop to create and develop works that critically investigate, challenge and extend their practice. In addition to creating and developing their own work, artists share their creative process with the community through open rehearsals, workshops, and artist talks.
In residence: February 29 – March 30
Eva Schmidt, a Culinary Artist in Residence at The Watermill Center, comes from a visual and performing arts background. She has been working as a multidisciplinary artist and performer in New York City for ten years, and for the last four, has transitioned into the culinary arts. She finds that these creative facets equally nourish, inform and sustain one another.
Schmidt’s cooking is influenced by her love for color, movement, image, and balancing flavors and aspires to have these interests reflected as questions in her food. How might color compose a meal, flavors move and find balance in the mouth, or images be recalled and created in taste?
To Eva, preparing food is a creative and performative action. She believes that food, like art, has the ability to heal and be far reaching. Currently, Schmidt is studying Ayurveda – an ancient Indian science of healing based on food – and is training to be an Ayurvedic chef with Bhagavat Life in NYC.
In residence: January 4 – 17, 2016
By pushing physical extremes with sensitivity and rigor in dance and musical performance, Matty Davis will create a new work that interrogates the relationship between memory and ‘active forgetting.’
BOOMERANG is a daringly physical, poetically nuanced dance and performance project created in 2012 by co-directors Matty Davis and Kora Radella with founding member Adrian Galvin. Recognizing the body as an evolving repository for both physical and psychological life, BOOMERANG sifts through and siphons from the rich, eclectic histories that constitute the personhoods of the people with whom they work. BOOMERANG’s work has been presented in NYC at venues including Judson Church, Center for Performance Research, Dixon Place, Roulette, Triskelion Arts, the Irondale Center, and at the United Nations, as well as in Cleveland, Chicago, Pittsburgh, and Grand Rapids. They’re also keen on presenting their work in a wide variety of alternative spaces, from parks to vineyards, streets to the mountains, and within academic and school contexts. This past June and July, they made their European debut with performances in Berlin and Barcelona. Most recently, they were shortlisted as 1 of 20 juried finalists for the Grand Jury Prize at ArtPrize7, having been selected as among the top 5 time based artists by Sundance’s Shari Frilot. In March 2016, BOOMERANG will premiere a commissioned evening length, in collaboration with drummer Greg Saunier of the band Deerhoof, at Dixon Place. For more information, please visit www.boomerang.com
Matty Davis is a co-artistic director and the principal performer within BOOMERANG. He is also a visual artist, jewelry maker, and athlete. Far from the stage and studio, he has mounted guerrilla style performances in Death Valley, rural Oklahoma, and on deserted trailers in the Great Smokey Mountains. His work pits the body against often radical undertakings and journeys that explore the limits and empathic possibilities of embodiment, as well as the origin of materials and mark making. In 2015, he was selected as one of 80 international artists from nearly 30 countries to participate in Robert Wilson’s International Summer Program at the Watermill Center. He has studied at Kenyon College, the American Dance Festival, P.A.R.T.S. in Brussels, Belgium, and is currently pursuing his MFA at the School of the Art Institute of Chicago. More information about his work can found at www.mattywdavis.com
Adrian Galvin is a cofounder and dancer with BOOMERANG. He is a yoga teacher at Katonah Yoga in New York City and musician with the band Poor Remy and his own work. More information about Poor Remy can be found at www.poorremy.com. His work with Yellerkin created an EP that was received with critical acclaim and that music can be found via www.soundcloud.com/yellerkin. Galvin graduated from Kenyon College (2012), where he designed his own major in liberation theology and German Social Theory.
Kora Radella is the choreographer and a co-artistic director of BOOMERANG. In addition to her work with BOOMERANG, she is the artistic director of Double-Edge Dance, whose work has been performed in cities including Aberdeen, Amsterdam, Barcelona, Brussels, Basel, Cleveland, London, and New York City. Noted for her use of “awkward grace,” she researches being on the edge of control, pushing both physical and psychological balances. Radella received a 2014 Ohio Arts Council Individual Excellence Award. Her honors also include the Ineke Sluiter Prize for choreography in Amsterdam, a fellowship from the Belgian American Educational Foundation for choreographic research in Brussels, and numerous grants. Radella’s primary teaching interests include contemporary dance technique with dynamic release principles, improvisation, choreography, and movement for actors. Radella is an Assistant Professor of Dance at Kenyon College and a certified yoga teacher (500RYT).
Greg Saunier is best known as the drummer of acclaimed rock band Deerhoof. Since he cofounded the group in 1994, he has produced or coproduced their 13 albums, and been their most consistent songwriter. As a drummer he has performed drums onstage or on recordings with Laurie Anderson, Anthony Braxton, David Byrne, Yoko Ono, Konono No. 1, and The Flaming Lips. He is active in the free music scene in New York and has released improvisation records with Sean Lennon, Zach Hill, Joanna Newsom, and Brian Chippendale. He is a sought after producer and remixer for other artists including Maroon 5, Xiu Xiu, Marc Ribot, and Mantra Percussion Ensemble He has composed notated works for yMusic, Brooklyn Rider String Quartet, Ensemble Dal Niente, Ecstatic Percussion, Daan Vandewalle, Spektral Quartet, and Empire DriveIn Casio Orchestra. This year will see the release of his “Deerhoof Chamber Variations” by Stargaze Ensemble, the performance of a new work for Kronos Quartet, “String Quartet” with choreography by Pam Tanowitz at the Vail International Dance Festival and Lincoln Center, and the premiere of a new evening length work with BOOMERANG at Dixon Place in March 2016. More information about Deerhoof can be found at deerhoof.net.
Image Credits: Mark Davis; Jonno Rattman
In residence: January 4 – 17, 2016
Australian interdisciplinary performer Sophia Brous will join with British multi-instrumentalists David Coulter and Leo Abrahams to develop Lullaby Movement, a contemporary performance work exploring lullaby ritual from around the world.
Originally commissioned by Urbantheatre Projects for the Sydney Festival 2015, the project explores ancient and contemporary lullaby repertoire in a part-song-cycle, part-inter-disciplinary theatre work, and explores their unique qualities as artefacts of creative and social expression.
Sophia Brous is an interdisciplinary performer, chanteuse, composer, curator, and festival director. She undertook scholarship study in jazz and improvisation at the New England Conservatory, Boston and Victorian College of the Arts, Melbourne. A performer with diverse interests, she works and collaborates with a vast range of companies and festivals internationally, including The Barbican, Southbank Centre, MONA, and Sydney and Melbourne Festivals. She also works with artists such as Julia Holter, David Coulter, Mick Harvey, Kimbra, Kirin J Callinan, Belle and Sebastian, HTRK, Mira Calix, Richard Lowenstein and Paul Grabowsky.
Recent and ongoing projects include the Barbican’s world premiere and UK/European/Australian tour of In Dreams: David Lynch Revisited, Marina Abramovic’s Private Aerchaeology for the Museum of Old and New Art, Hobart; the Southbank Centre’s production of Frank Zappa’s 200 Motels, with the BBC Concert Orchestra, Mick Harvey’s ‘Intoxicated Man’ Serge Gainsbourg project, the Sydney Festival/Urbantheatre commissioned work Lullaby Movement, and her celebrated solo filmic pop moniker Brous with a forthcoming album released in early 2016.
Brous is also a recognized curator and artistic director. She emerged as one of Australia’s youngest arts leaders when she was made the Program Director of the Melbourne International Jazz Festival at the age of 22 and went on to be the curator of music of the Adelaide Festival of the Arts. She is currently the Artistic Associate of the Arts Centre Melbourne where she is the creator of Supersense: Festival of the Ecstatic a major contemporary arts event exploring intersecting states of ecstatic performance.
David Coulter has worked throughout the world as a musician, artist, teacher/ lecturer and curator, and as Musical and Artistic director of large-scale musical and theatrical events. He has composed for dance, theatre, cinema, television and radio. A specialist in unusual instruments, including Jew’s harp, didgeridoo and Stroh violin he is also widely regarded as one of the world’s foremost musical saw players. He served as associate music director and multi-instrumentalist in the opera The Black Rider, with Tom Waits and Robert Wilson, and also alongside Damon Albarn (Gorillaz) for two years on the opera Monkey: Journey to the West. He toured for several years in the mid-to-late-80s as a member of Test Dept and The Band Of Holy Joy; spent early-to-mid-90s playing violin, mandolin and guitar with The Pogues and since 2003 has been recording and touring internationally with artists as diverse as Jarvis Cocker; Damon Albarn; Yoko Ono; Marianne Faithfull; The Handsome Family; Richard Hawley; Marc Ribot; Steve Nieve; Tim Robbins; The Good, The Bad and The Queen, Patrick Wolf and Radiohead’s drummer, Philip Selway. He played the didgeridoo at the invitation of Her Majesty Queen Elizabeth II on a number of official occasions and also in concert with the Kronos Quartet.
Leo Abrahams is an English musician, composer, and producer. He has collaborated with a multitude of professional musicians, including Brian Eno, Imogen Heap, Jarvis Cocker, Carl Barât, and Paul Simon. After attending the Royal Academy of Music in England, he started his musical career by touring as lead guitarist with Imogen Heap. Starting in 2005 he has released five solo albums, largely in an ambient style involving complex arrangements and a use of guitar-generated textures. He has also co-written or arranged a variety of film soundtracks, including Peter Jackson’s 2009 release The Lovely Bones and Steve McQueen’s Hunger.
Image Credits: Sophia Brous by Jonathon Griggs; courtesy of the artist
In residence: January 13 – 17, 2016
“When spoken language fails, music emerges as a possibility to bridge seemingly insurmountable gaps. At this moment, I think that potential is worth every conceivable effort to pursue.”
In a joint residency at The Watermill Center and The American Academy in Berlin, Kate Eberstadt will form a children’s choir in an emergency refugee camp. Alongside Watermill alum and current camp volunteer Sophie Beck, Eberstadt will assemble the group and create an original choral composition, which will premiere in downtown Berlin this April. In addition to the final performance, their work will be professionally recorded and documented in collaboration with sound engineer Thorsten Hoppe and filmmaker Brune Charvin.
Kate Eberstadt is a multidisciplinary artist based in New York City. She received her bachelor’s degree in English Literature at Columbia University.
Image Credits: Sarien Visser; Lovis Ostenrik
In residence: January 20 – 31, 2016
Watermill resident Artist Kenneth Collins leads Temporary Distortion in an interactive discussion followed by a performance. During the performance, the audience will be welcome to come and go freely, staying for as long as they wish—situating the project somewhere between the structures of theatrical performance and gallery installation.
Temporary Distortion explores the potential tensions and overlaps found between practices in visual art, theater, cinema, and music. They work across and between disciplines to create performances, installations, films, albums, and works for the stage. Formed in 2002, the group began by staging intimate performances in claustrophobic, life-size shadow boxes in New York City. Their recent work has focused on long-duration, installation-based performance featuring live music where spectators are encouraged to freely come and go throughout all-night events. Temporary Distortion is based in New York City, where its work has been shown at Anthology Film Archives, Baryshnikov Arts Center, The Chocolate Factory, Harvestworks, Ideal Glass Gallery, Museum of the Moving Image, The New School, the Ontological-Hysteric Theater, Performance Space 122, and the Queens Museum. The Company’s work has also been presented internationally in over 20 cities in Australia, Austria, Canada, the Czech Republic, France, Hungary, Japan, Russia, South Korea, and the United States.
Photo Credits: My Voice Has An Echo In It, Kenneth Collins image by Stacey Collins; My Voice Has An Echo In It at The Watermill Center (2014) image by Tom Kochie
In residence: February 3 – 21, 2016
Visual artist, composer and vocalist Sahra Motalebi will continue her work on Rendering What Remains, a 40 minute opera that includes multiple staged performances, video, sculpture installations and a novella. While at Watermill, Motalebi will further develop a section of the piece’s musical dialog called Flesh, Format. As part of the larger project, the piece explores the inner lives of two sisters living in dissimilar circumstances 100 years from now — orbiting themes of spiritual ritual, loss, interiority, as well as the indeterminate contours of relationally and intimacy in the digital age. Semi-autobiographical, the libretto is based on a year-long period of online communication between Motalebi and her sister living in Iran, to whom she bares a striking resemblance but has never met in person. Motalebi plays both herself and her sibling, utilizing experimental musical structure, narrative chorus, and visual dramaturgy to move between these two characters imaging each other.
Motalebi will present this work in an open rehearsal at The Watermill Center on Feb 20th at 8pm and at National Sawdust in Brooklyn, NY on February 25th at 10pm.
Sahra Motalebi is a visual artist, composer and vocalist. Her projects lay at the intersection of contemporary art, architecture and performance through which she explores the construction of narrative and its artifacts. Her work has been shown internationally at the New Museum of Contemporary Art, Museum Ludwig, Abrons Art Center, Vancouver Art Gallery and Gavin Brown’s Enterprise. In 2008, Motalebi’s multi-channel video installation and vocal performance Such is the Game of Authenticity was performed at MoMA PS1. Intangible Heritages, Belief’s Demise was presented at SculptureCenter in 2014 and she performed Sounds from Untitled Skies at The Kitchen in New York in 2015. Motalebi has also contributed to many collaborative projects including I Will Be Last with artist Kai Althoff in 2008 at Vancouver Art Gallery. The artist also performed with Antony Hegarty (Antony and the Johnsons) in 2008 at the premier of Hegarty’s release of Another World. Her collaboration with Mariah Robertson Life is God’s Musical: 4 Movements was performed at the Kogod Courtyard at the National Portrait Gallery in 2012 for the Art in Embassies, US State Department’s 50 Year Anniversary. Motalebi produced Yves Klein’s Monotone Silence Symphony presented by Dominique Lévy and the Yves Klein archive in 2013. She scored Settlement House, a four-hour dance piece by Will Rawls, at the Abrons Art Center in 2015. The artist studied classical vocal performance, visual art, and art and architectural history at Sarah Lawrence College. She attended the Master of Architecture Program at Columbia University’s Graduate School of Architecture focusing on the relationship between architecture, performance and visual art. Motalebi lives in New York.
Photo Credits: Protrait image by Tina Tyrell; above Matthew Spiegelman and Sahra Motalebi
In residence: February 29 – March 27, 2016
Alan Lucien Øyen will begin the second phase of pre-production for a new work with international touring company company winter guests. Performing works by Øyen, winter guests tells stories of the contemporary world with words, video, music, and movement.
Alan Lucien Øyen is one of the most exciting up-and-coming artists in Norway today, whose work as writer, director and choreographer has been highly acclaimed in his home country and abroad.
He graduated as a dancer from the State school of Art in Oslo in 2001, but quickly turned to choreographing and staging his own works. By 2006 he had already established his own company winter guests, an ensemble of highly skilled performers, writing, staging and touring theatrical works in English for the international stage.
winter guests tells stories of the contemporary world with words, video, music and movement. The works are often based on real life experiences, including original text, transcribed recordings and improvisations. The company often inserts its own reality into the subject matter of the piece resulting in rich, eccentric, and entertaining performances in a constantly shifting format.
The artist has won several awards, both for his choreographic works as well as his theater productions. Most recently, Coelacanth – a six hour long play, co-written by British playwright and director Andrew Wale – won him the prestigious HEDDA Award (Norwegian Theater Awards) for Best Original Play, as well as three other nominations including Best Director and Best Play.
As an artist-in-residence with the Norwegian National Opera and Ballet, he is given the space and freedom for himself and his company winter guests, to make groundbreaking theater and dance performances in the new Norwegian Opera House. This residency was made possible with support from the General Consulate of Norway.
Image Credits: Headshot Alan Lucien Øyen, photo by Massimo Leardini; Timelapse (2015), The Norwegian Opera & Ballett, photo by Erik Berg
In residence: February 3 – 21, 2016
Sibyl Kempson’s performance company, 7 Daughters of Eve Thtr. & Perf. Co., in collaboration with Thomas Riccio, will continue to develop 12 Shouts to the Ten Forgotten Heavens, a performance immersion project that will present twelve, one-day performances over a period of three years at the Whitney Museum beginning in March 2016.
Named for Brian Sykes’ theory of mitochondrial DNA, which posits that we are all descended along matrilineal lines from seven original mothers, 7 Daughters of Eve Thtr & Perf. Co. unearths and contemplates – in contexts of live performance, ritual and installation – places in human history where science, religion, and feminism intersect. Its primary guiding principles are to intuitively uncover new narrative structures, to interrogate perceptions of the civilized in relation to ideas and preconceptions of the barbaric, the sacred, the profane, the true, the ordinary, and the in/animate – multiplying the possibilities of meaning, fostering imaginative practice in all participants of the performance, inviting all to exercise alternate ways of knowing, and locating the signals and patterns of a deeper order. www.7daughtersofeve.com
Spring and Fall 2017 will see the premiere of twin projects THE SECURELY CONFERRED, VOUCHSAFED KEEPSAKES OF MAERY S. and SASQUATCH RITUALS, at New York Live Arts and Abrons Arts Center/site-specific locations outside of NYC, respectively.
Sibyl Kempson’s plays have been presented throughout the United States and in Germany and Norway. She launched the 7 Daughters of Eve Thtr. & Perf. Co. in April 2015 at the Segal Center at the City University of New York. The company’s inaugural production, LET US NOW PRAISE SUSAN SONTAG, premiered at Abrons Arts Center in NYC. Her work has received support from the Jerome Foundation, the Greenwall Foundation, National Endowment for the Arts, Dixon Place (four Mondo Cane! Commissions from 2002-11), the Walker Art Center and MAP Fund for her recent collaboration with Elevator Repair Service FONDLY, COLLETTE RICHLAND (at New York Theatre Workshop), a USA Artists Rockefeller Fellowship, a Virginia B. Toulmin Foundation Commission, a McKnight National Residency and Commission, a New Dramatists/Full Stage USA commission, and a National Presenters Network Creation Fund Award. Her collaboration with David Neumann/Advanced Beginner Group, I UNDERSTAND EVERYTHING BETTER, received a Bessie Award for Outstanding Production in 2015. She is a MacDowell Colony Fellow, a member of New Dramatists, an Artist-in-Residence at the Abrons Arts Center, and a New York Theatre Workshop Usual Suspect. Her plays are published by 53rd State Press, PLAY: Journal of Plays, and Performance & Art Journal (PAJ). MFA Brooklyn College. She teaches and has taught experimental playwriting at Sarah Lawrence College, Brooklyn College, and the Eugene Lang College at the New School in NYC.
Thomas Riccio, performance and media artist, writer and director, is Professor of Performance and Aesthetics at the University of Texas at Dallas. Previous positions include: Professor of Theater, University of Alaska; Artistic Director, Chicago’s Organic Theater company; Resident Director, Cleveland Play House; Assistant Literary Director, American Repertory Theater; Visiting Professor, University of Der es Salaam, University of Pondicherry (India), University of Nairobi, and the Korean National University for the Arts; and Artistic Director, Tuma Theater, an Alaska Native performance group. He has directed at American regional theaters, including, LaMama ETC, The New York Theatre Workshop, and the National Theater of Italy.
Riccio works extensively in the areas of indigenous performance, ritual, and shamanism, developing performances and/or fieldwork in South Africa, Zambia, Kenya, Burkina Faso, Tanzania, Russia, Alaska, Korea, India, Nepal, China, Vietnam, and the Republic of Sakha (Siberia), which declared him a “Cultural Hero.” He devised/directed a performance in Addis Ababa, Ethiopia (2009) and worked with the Miao, an ethnic minority group in China (2015). Riccio has conducted workshops and given lectures throughout the world and has received numerous grants for his projects. Academic writings have appeared in TDR, TheatreForum, Theatre Topics, Theatre Research International, and PAJ. In 2007, Peter Lang published his book Performing Africa: Remixing Tradition, Theatre and Culture. He is the recipient of the International Distinction Prize in Playwriting from the Alexander Onassis Foundation and was a Narrative Engineer for Hanson Robotics. His photographs, videos, and installations have been exhibited in a variety of galleries. He is the Artistic Director of Dead White Zombies, a Dallas-based, post-disciplinary performance group, most recently creating/writing/directing performance immersions, kaRaoKe MoTeL (2014) and DP92 (2015.) www.thomasriccio.com & www.deadwhitezombies.com
Image Credits: Headshot S. Kempson; LUNPSS by Baranova
In residence: February 29 – March 27, 2016
Emerging Chilean visual artist Basco Vazko premieres a new exhibition mirroring his practice of collage-graffiti. The exhibition creates an assemblage by layering new and old artworks in his infamous pop-punk aesthetic.
Basco Vazko was born in Santiago, Chile in 1983. Strongly influenced by major South American street artists such as São Paulo-based Os Gêmeos and Vitché, Vazko has been painting in the streets of Santiago since age 14. His early works, often of huge-headed figures, were controversial and considered subversive, at times provoking negative responses from fine art collectors and gallerists. Vazko has become a part of the vibrant and highly influential São Paulo street art scene, where he occupies a unique space as the only non-Brazilian artist in the group. From 2005 to 2008, Vazko lived in the U.S. and exhibited work in various spaces throughout California, including a group exhibition with Vitché and others in 2005 at Scion Space in Culver City and a solo exhibition in 2006 at Fifty24SF in San Francisco. In 2009, Vazko participated in Born in the Streets—Graffiti at the Fondation Cartier pour l’Art Contemporain in Paris. His exhibited works have included responses to Mark Rothko’s large works, Robert Motherwell’s technique, and the postpunk scene of the late 1970s and early 1980s. An artist who is comfortable both in the studio and in the street, Vazko paints in public spaces every week and plans to continue doing so, because as Vazko says, art in the street is ‘pure’ and ‘uncensored.’
Basco Vazko is a 2016 Inga Maren Otto Fellowship recipient.
In residence: February 29 – March 27, 2016
Francesca Fini will develop La Masca, a site-specific mixed media installation in which she exhibits original masks based on her previous performance experience at Watermill in 2014.
Francesca Fini is an Italian interdisciplinary artist mainly focused on new media and performance art. She lives and works in Rome. The focus of her work is always the body and its own narrative power. inserted into this is an exuberant ‘multimedia pot’ wherein live video art pieces are mixed with generative audio, lo-fi technologies, and homemade interaction design devices, handicraft masks, bizarre costumes and steam-punk props.
Fini has participated in the 2011 WRO Biennale in Poland, the River-to-River Festival in New York, the ADD Digital Art Festival in Rome, the finals of Laguna International Art Prize in Venice, the Venice International Performance Art Week, the FILE Festival in Brazil, the Berlin Directors Lounge, the Ikono Tv Festival, and the Rapid Pulse Performance Art Festival in Chicago, among others. In 2014, she was selected for the Margaret Guthman Musical Instrument Competition organized by Georgia Institute of Technology. She was also invited to Kolkata where she lectured and performed at the Satyajit Ray Film & Television Institute.
In 2014, she participated in The Watermill Center’s International Summer Program. In 2015, she directed the first edition of HI> DANCE Festival in Rome, dedicated to contemporary dance and technology. In that same year she won the Prix Université Blaise Pascal des étudiants and the Prize Conseil Général du Puy-de-Dome during Videoformes Festival in Clermont-Ferrand. She is currently working on a new experimental feature film in collaboration with Cinecittà Istituto Luce.
Photo Credits: Performance at The Watermill Center International Summer Program (2014), image by Sam Khoshbin; performance Nuovo Cinema Palazzo, Rome, image by Ehrico Cocuccioni
In residence: February 29 – March 27, 2016
New York City-based visual artist Lisa Ross, in collaboration with China’s renowned Uyghur musician Perhat Khaliq (Paerhati Halike – Pinyin name), traditional Uyghur dancer Mukaddas Mijit, and contemporary Indonesian-American choreographer Indah Walsh will come together for a residency at the Watermill Center in March 2016. They will develop a live performance in dialogue with the video, RISE that Ross made after traveling to the Xinjiang region of China over the course of 10 years. The video shows people waking up on rooftops and coming into consciousness at dawn, which literally and metaphorically is at the heart of this work. These artists join to explore the interaction between traditional and contemporary forms of movement and sound as well as internal and external control over one’s body.
Lisa Ross was born in New York. Her work revolves around the liminal spaces in which faith, culture and abstraction meet. Her large format, immersive landscapes explore the skin of the land revealing the texture of culture, spirit, myth, and in time, political realities inextricably bound to place emerge.
Ross has traveled extensively for her work and in 2013 had a book published titled Living Shrines of Uyghur China by The Monacelli Press, distributed internationally by Random House. The artist’s work has been shown in the US and abroad including The Rubin Museum of Art, NY; Fotografiska Museum, Stockholm; Brunei gallery, SOAS, University of London; University of California at Berkeley; Harvard University; and Rencontres d’Arles Festival, France. Ross was commissioned by the CICRP in Marseilles to make a body of work in Azerbaijan.
Ross’s work received numerous reviews in The New York Times, The New Yorker, New York Magazine, Artforum, The Wall Street Journal and many other print and online journals. Her book has received enthusiastic responses in The New York Review of Books, The Los Angeles Review of Books and London Review of Books. Ross received an MFA from Columbia University and a BA from Sarah Lawrence College.
Image Credits: all images courtesy of the artist
In residence: March 30 – April 27, 2016
During their residency at The Watermill Center, The company Acción Residente will develop Réplica, “Aftershock,” an experiential performance featuring encounters between four random people who transform their relationship through a violent, corporeal language.
Acción Residente is a theater and performance company created in 2015 by members of the dance and theater company UMOVI. The group investigates how contemporary social and political problems affect the physical relationship between the body and movement. UMOVI, a dance and theater company, was formed in 2009 at the University of Chile, where the group met and studied. Led by Chilean choreographer Sebástian Belmar, UMOVI began work on a variety of experimental and theatrical projects. Works from this period include Provocaciones, El Golpe and an event entitled A cuarenta años del golpe commemorating the 40th anniversary of the Chilean military coup. In 2015, UMOVI members Alejandro Contreras Vergara, Gonzalo Dalgalarrando Haritçalde, Carolina Díaz Martínez and Ébana Garín Coronel formed Acción Residente. Réplica is the company’s first work together.
Image Credits: Portrait Alejandro Contreras; Blunes Bridge
In residence: May 2 – 29, 2016
Armando Mariño will continue development of Sweet Dreams, an installation consisting of 20 to 25 hand-painted mattresses. Mariño renders a realistic portrait of notable politicians of the 20th century on each mattress including, Stalin, Milosevic, Malcom X, “Che” Guevara, Castro, Pinochet and Qaddafi, among others.
Armando Mariño was born in 1968 in Santiago de Cuba. There, he completed elementary and high school at a school for the arts, and continued his studies in Havana at the High Pedagogical Institute, concentrating on Visual Arts Teaching and Art History.
Mariño has been a recipient of several important grants and residencies such as, Art Omi Residency (1998), Rijsakademie Fellowship in Amsterdam (2004), ISCP Brooklyn (2011), the Pollock Krasner Grant (2011) and the Bronx Museum Artist-in-Residence (2012), among others. His work has been included in a number of collective shows around the world such as, Der Global Komplez OK; Centrum fur Gegenwartskunst, Linz, Austria (2003); Catastrofe Minime; Museo de Nuoro, Cerdena, Italy (2003); VIII Bienal de la Habana (2003); Cuban AvantGarde: Contemporary Cuban Art from the Farber Collection at the Jordan Schnitzer Museum of Art, Florida; Visiones Publicas; Pasiones Privadas; Contemporary Museum of Vigo, Spain (2008); Something and Something Else; Museum Van Bommel van Dam.Venlo Holland 2009 ,Without Mask. Contemporary Afro-Cuban Art. Johannesburg Art Gallery. South Africa 2010,Keloids.Matress factory Museum Pittsburgh (2010), El Museo del Barrio’s Biennal (S) Files 2011. Fifteen.Recent Adquisitions from the Deutsche Bank Collection.USA (2013), Skyline Adrift at Art Omi (2012). His work is also included in many private and public collections including the National Museum of Havana, Deutsche Bank Collection USA, Coca Cola Foundation in Spain, Shelley and Donald Rubin Collection, Howard Farber Collection, the Berado Collection in Portugal, the Museum of Contemporary Art in Spain, among others.
Photo Credits: The House of the Colors. Oil/canvas 84 x 84 in 2013. Private Collection Germany;The Raft Installation. Old american car 35 legs fiberglass /acrylic paint 2011. 21 C Museum Hotel Collection. Kentucky. USA; all images courtesy of the artist
In residence: May 2 – 29, 2016
By creating a catalog of directions and rules, Hans-Jörn Brandenburg directs a theatrical performance without using words to communicate sonic directionality. The research center on the creation of musical restrictions that create, control, start, and/or stop a catalog of movements and spatial arrangements.
Hans-Jörn Brandenburg is a German musician and composer. Brandenburg studied music/composition in Hannover and Hamburg. As musical director of the Deutsches Schauspielhaus in Hamburg, he worked with the British band The Tiger Lillies. In 2001 he arranged their album “Gorey End” with Kronos Quartet, which was nominated for a Grammy in 2003. As a composer, he created incidental music for productions by directors such as Frank Castorf, George Tabori, Phelim Mcdermott, Julian Crouch and Robert Wilson.
Brandenburg has been a consistent collaborator of Robert Wilson. He was the musical director and musician, alongside Tom Waits, in Wilson’s 1990 production of The Black Rider at the Thalia Theater. He was also the musical director and arranger for a number of Wilson’s productions at the Berliner Ensemble including Leonce and Lena (2003), The Winter’s Tale (2005), The Threepenny Opera (2007), Shakespeare’s Sonnets (2009), Peter Pan (2013), and Faust I and II (2015).
In residence: May 2 – 29, 2016
Joss Lake will continue work on a novel in which the narrator has to learn how to tell his own story, in spite of the seductive tales surrounding him. Drawing from an ongoing journaling process, the novel 2666, gender transition, and the open skies one sees while walking, the novel seeks to rehabilitate its protagonist, who has spent many years in exile from himself.
Joss Lake is a novelist interested in expanding the form by de/re-stabilizing gender, time, and the boundaries between the self and other. The artist has completed a novel, Leon: A Romance, in which the narrator falls in love in revolutionary Cairo and contends with a family legacy of dropping into other peoples’ memories. The artist completed an MFA in fiction at Columbia University and serves as Senior Editor of Conjunctions, a journal of innovative writing published by Bard College. Lake has been in residence at Art Farm in Marquette, Nebraska, and currently lives in Queens, NY.
Image Credit: Joss Lake by Jaffa Aharonov
In residence: May 2 – 29, 2016
Netta Yerushalmy will develop a series of dance experiments generated through a systematic deconstruction of landmark modern dance choreographies – performed alongside the contributions of writers, philosophers and historians who situate these iconic works within the larger project of modernity.
Netta Yerushalmy is a dance artist based in NYC since 2000. She was awarded a Guggenheim Fellowship, a Jerome Robbins Bogliasco Fellowship, a NYFA Fellowship, and a Six Points Fellowship. The artist’s work was presented by the American Dance Festival, The Joyce Theater, Danspace Project, La Mama, Harkness Dance Festival, Dance New Amsterdam, Movement Research; In Israel by Curtain-Up, Jerusalem International Dance Week, Intimadance, International-Exposure. Her collaborations with philosopher David Kishik include The Work of Dance in the Age of Sacred Lives, at HAU Hebbel am Ufer (Berlin, Germany), and Critique of Pure Movement, an evening of theory and performance at the ICI Berlin. Residencies include Djerassi, DiP at Gibney Dance, Process Space & Swing Space at Lower Manhattan Cultural Council, Institute for Cultural Inquiry (Berlin), Baryshnikov Arts Center, Tribeca Performing Arts Center. Commissions for repertoire ensembles/universities: Ririe Woodbery (Salt Lake City), Zenon Dance Company (Minneapolis), Same Planet Different World (Chicago), Philadelphia International Festival of the Arts, NYU’s Tisch School of the Arts, University of Utah, the University of the Arts, Long Island University, Ha-Maslool (Tel Aviv), and at Salt Dance Festival (Utah). Netta danced for Joanna Kotze, Doug Varone and Dancers, Nancy Bannon, Karinne Keithley, Mark Jarecki, and the Metropolitan Opera Ballet. This residency was made possible with support from Israel’s Office of Cultural Affairs.
Image Credits: Netta Yerushalmy headshot; Helga And The Three Sailors, photo by Ayala Gazit
In residence: May 30 – June 8, 2016
How can we begin to put the war machine behind us when we aren’t allowed to grieve over it, and because of it? Objects can connect us through their histories and the stories they carry with them. When we are able to change their form, it can be powerful. For her residency at Watermill, Mary Mattingly will continue working on Burying a Military Trailer, 2016, transforming a military vehicle into a useful social space, rendering its original form unrecognizable.
Mary Mattingly is an artist based in New York. Her work has been exhibited at the International Center of Photography, the Seoul Art Center, the Brooklyn Museum, the New York Public Library, deCordova Museum and Sculpture Park, and the Palais de Tokyo. She participated in smARTpower: an initiative between the U.S. Department of State and the Bronx Museum of the Arts as artist-ambassador to the Philippines. She has been awarded grants and fellowships from the James L. Knight Foundation, Eyebeam Center for Art and Technology, Yale University School of Art, the Harpo Foundation, NYFA, the Jerome Foundation, and the Art Matters Foundation. Her work has been featured in Aperture Magazine, Art in America, Artforum, Art+Auction, Art News, Sculpture Magazine, China Business News, The New York Times, New York Magazine, Financial Times, Le Monde Magazine, Metropolis Magazine, New Yorker, The Wall Street Journal, the Brooklyn Rail, the Village Voice, and on BBC News, MSNBC, Fox News, News 12, NPR, WNBC, New York 1, and on ART21‘s “New York Close Up” series.
Mattingly recently launched a three-part project, beginning with the Flock House Project: three spherical living-systems incorporating rainwater collection that cycled water through edible gardens, solar panels, and enclosed living spaces. These spheres were choreographed through New York City’s five boroughs and are currently in Omaha, NE. Triple Island (part two)was exhibited at Pier 42 in Lower Manhattan. WetLand (part three) launched from the Delaware River in Philadelphia in the fall of 2014 and is currently being programmed by the University of Pennsylvania’s Art, Science and Humanities forum about the Anthropocene. Students will inhabit WetLand for a week at a time, caring for its ecosystem and acting as docents. Mattingly also founded the Waterpod Project, a barge-based public space containing an autonomous habitat. Working with multiple collaborators, from artists to businesses and city agencies, the Waterpod docked at piers in each of the five boroughs. Over 200,000 people visited the Waterpod in 2009.
In partnership with the Parrish Museum, she will work from Watermill while exhibiting WetLand, a floating ecosystem and art space that resembles a sinking house in the water near the Parrish Museum.
Photo Credits: Mattingly headshot image by Rebekah Schott; Flock House North Omaha (2014) image by bemis
In residence: June 1 – 15, 2016
Joe Diebes will continue his work on oyster, the second “broken-word opera” by BOTCH Ensemble. oyster is an installation performance with indeterminate duration.
BOTCH Ensemble was formed in 2010 by Joe Diebes to rigorously explore spoken language as a basis for a new kind of opera. Over the course of a three-year artist residency at HERE Arts Center, Joe Diebes and the ensemble (Christina Campanella, John Rose, and Saori Tsukada) developed a unique method and vocabulary for parsing and processing speech sounds in surprising and virtuosic ways. In May 2015, the group began an eight-year lease at their new rehearsal and performance space at 226 Green Street in Greenpoint, Brooklyn.
Joe Diebes creates performance work that fuses sound, visual media, and the human voice into a unique form of contemporary opera. From 1996-2003, he was a core member as well as the musical force behind the hybrid arts group GAle GAtes et al. described by The New York Times as “an adventurous troupe with one foot in the world of postmodern art and the other in downtown performance.” His opera environment, Strange Birds, received its U.K. premiere at Tramway (Glasgow 2005) and his sound-theater collaboration with Phil Soltanoff, I/O, was presented at Fusebox (Austin 2007) and Theatre Garonne (Toulouse 2008). Other recent projects include a new opera WOW (BRIC Media Arts 2014) with director David Levine and poet Christian Hawkey. His 2013 “broken-word opera” BOTCH (developed during a HARP residency at HERE Art Center, NYC) was the seed for the new performance group BOTCH Ensemble. In addition to his own works, he is currently collaborating with the dance/performance group LEIMAY and will premiere a new score for BORDERS in February 2016 at The Brooklyn Academy of Music. He has received support from NYSCA, NYFA, LMCC, Franklin Furnace, The Jerome Foundation, and the Netherland-America Foundation. Residencies/fellowships include, The Watermill Center, Yaddo, Djerassi, HERE, LMCC, BRIC Media Arts, STEIM (Amsterdam), and the Independent Study Program at the Whitney Museum of American Art. He has also exhibited internationally his sound installations, video, and works on paper for art galleries, museums, and public spaces including Paul Rodgers/9W (New York), The ’06 Olympics (Torino, Italy), Yuanfen Gallery (Beijing), Prix Ars Electronica (Honorary Mention 2009, Linz Austria) and the Liverpool Biennial.
Image Credits: Joe Diebes headshot, photo credit Cybèle; transport, photographed John Rose, Christina Campanella
In residence: June 1 – 19, 2016
CONSTELLATION IN RED YELLOW AND BLUE is a monumental installation of light sculptures created for The Watermill Center by G.T. Pellizzi. The sculptures are derived from invented cosmologies inspired by the mythological, calendrical, and astronomical symbols found on many textiles in The Watermill Collection.
About Giandomenico Tonatiuh Pellizzi
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.
G.T. Pellizzi is a 2016 Inga Maren Otto Fellowship recipient.
Photo Credits: Sarina Basta; G.T. Pellizzi image by Adam Reich
In residence: June 1 – 19, 2016
Dance artists Silas Riener and Rashaun Mitchell and film and media artist Charles Atlas will work together on their collaborative project Tesseract including a 3D film, live proscenium performance, and installation for gallery spaces. Dancers David Rafael Botana, Kate Jewett, Cori Kresge, and Melissa Toogood will be working along side Riener and Mitchell during their Watermill residency.
Since 2010 Rashaun Mitchell and Silas Riener have created dance in response to complex and active spatial environments, often merging elements of fantasy, absurdity, and quiet contemplation. Their collaborative work revels in the possibilities of the highly articulated dancing body where current and historical influences and aesthetic forms are collapsed into a hybrid physical and visually charged language. Their work takes many forms, from site-specific installations, improvisational dances, traditional proscenium pieces, to highly crafted immersive experiences. Together they have been part of Lower Manhattan Cultural Council’s Extended Life program, City Center Choreography Fellows, and have been artists-in-residence at EMPAC, Mount Tremper, Wellesley College, Jacob’s Pillow, and Pieter LA. Their work has been presented at MoMa PS1 as part of Greater NY, The Chocolate Factory, New York Live Arts, Danspace Project, the Vail International Dance Festival, REDCAT, ICA Boston, and the O Miami Poetry Festival.
Photo Credits: Portrait of Silas Riener & Rashaun Mitchell, image by Michael Williams; Silas Riener, Cori Kresge, Hiroki Ichinose, and Melissa Toogood, image by Paula Lobo, Light Years at New York Lives Arts, 2015.
In residence: September 6 – 26, 2016
Noel McKenna will create a series of works relating to the local landscape. He will also study works in the renowned Watermill Collection—a highly personal and eclectic collection of objects ranging widely across many cultures and all continents.
Noel McKenna works in a variety of mediums including oil, enamel and watercolor, lithography, etching, ceramic and metal. He produces offbeat depictions of everyday scenes, often incorporating displaced objects, people and animals. His sparse canvases hint at narratives beyond the picture plane, often depicting the relationship between humans and animals.
McKenna won the 2015 Tattersall’s Club Landscape Art Prize and was a finalist in the 2015 and 2014 Sir John Sulman Prizes, as well as being a finalist in the 2014 Wynne Prize. The artist won the Sir John Sulman Prize in 1994 and has been awarded the Trustees Watercolor Prize at the Art Gallery of New South Wales five times since 1997. He has also won the Melbourne Savage Club Prize for Painting and the Mosman Prize. McKenna will be exhibiting at Art Basel, Miami with Motherstankstation in 2015.
Born in Brisbane, Queensland in 1956, McKenna studied architecture at Queensland University in 1974 and 1975. He continued his education at Brisbane College of Art from 1976 to 1978 and then at Alexander Mackie College, Sydney in 1981. Since then, he has exhibited extensively in Australia and overseas, holding solo exhibitions in Melbourne, Brisbane, Sydney, Adelaide and Hobart, as well as Korea, Hong Kong, Japan, Ireland and New Zealand. His work is held in all major state and regional galleries, and important public and corporate collections throughout Australia and overseas. McKenna currently lives and works in Sydney.
In residence: September 6 – 26, 2016
Tori Wrånes is a vocalist and artist, combining voice and sculpture in the field of performance. Her use of sounds, musical instruments, costumes, props, architecture and sculptures deforms her appearance and creates new dreamlike constellations. It is in this landscape Wrånes likes to be, where everyday objects are reinterpreted as small adventures, oscillating between movement and sound. Choreography with sound might be a good way to describe her work, be it solo or with multiple performers, like singers on bikes, musicians in a chairlift, or saw players seated in trees. Lately, Wrånes has been occupied with developing her own Troll-technique™; an improvised, non-verbal, language based on rhythm and temperament.
Her recent works include DRASTIC PANTS, at Carl Freedman Gallery in London, STONE and SINGER commissioned for the 19Th Biennale of Sydney 2014, where Wrånes appears as a troll, singing into her tail, while her voice comes out of a big rock pendulum above her head. YES NIX, a commissioned work for PERFORMA 13, New York; Colombo Art Biennale, Sri Lanka; CCA Lagos, Nigeria and Sculpture Center, New York, among others.
During her residency at Watermill Tori Wrånes will work on a new performance production that will premier in 2017. Here, she will develop a choreography for floating singers.
Image Credits: Portrett Tori Wrånes (While working on her commission for Performa 13),
Photo: Linus Sundahl Djerf; YOUR NEXT VACATION IS CALLING, commission by Lilith Performance Studio, Malmø. 2014, Photo: Tomas Giljam
In residence: September 6 – 26, 2016
histories is an experimental video documentary project by Zeinab Shahidi Marnani, in which she conducts a series of interviews with her relatives. She collects contrary narratives of those who claim to know the story about the origin of her last name “Martyr of Marnan”, which refers to an incident that happened in the late 19th century in Isfahan around the constitutional revolution of Iran.
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.
Zeinab Shahidi Marnani is a 2016 Inga Maren Otto Fellowship recipient.
In residence: September 6 – 26, 2016
Álvaro Restrepo will develop a performance/ritual during his residency. The project will involve members of the Shinnecock Nation, and will be based on a massive ceremony he created in 2010 in his native country of Colombia to honor the victims of internal displacement: INXILE The Trail of Tears.
Álvaro Restrepo and Marie France Delieuvin (co founder of El Colegio del Cuerpo- eCdC- The School of the Body) and the 8 dancers of La Compañia Cuerpo de Indias will interact with participants of the Shinnecock community, as well as other members of the Hamptons’ population, through workshops, master classes, open rehearsals, etc. Restrepo often refers to the 18 year-old eCdC, based on Cartagena de Indias in Colombia, as a four-legged animal: artistic, educational, social and political, having Nature as/in the heart of their creature/institution.
Image Credits: Portrait Álvaro Restrepo by Juan Diego Castillo; INXILE by Allaeddin Twebti
In residence: October 9 – November 7, 2016
Matthew Prest and Clare Britton’s practices move between live art, experimental theatre, performance art, installation and visual art. During their Watermill residency, the duo will test a process where ideas and concepts evolve from performed physical actions and tasks. Their work will involve using experiential and embodied methods of performance as a tool to develop video, installation and performance pieces while also exploring physical ritual, movement through landscape, and the relationship between the transcendent and the absurd.
Matthew Prest is a contemporary performance maker. With a background studying performance and installation art, his interdisciplinary work takes place in theaters, as well as traditional and non-traditional art spaces such as; a makeshift tent on the edge of Darwin Harbour; inside a ‘living’ house consisting of four moving rooms on wheels; at the edge of a dog fighting ring designed for two men and their rituals; and at the top of Melbourne’s tallest skyscraper. His practice includes solo work, however he primarily collaborates with artists across disciplines to devise original works where elements such as intimacy, danger, laughter, anarchy, endurance, dancing, music and space play an integral role in shaping what he describes as “immediate and visceral experiences” for audiences. Prest is an alumni of the 2013 International Summer Program.
Clare Britton is an accomplished artist whose practice spans performance-making and visual art. In addition to her freelance work, she serves as Co-Artistic Director of Australian performance collective My Darling Patricia. Britton has received great critical acclaim as well as numerous design and theater awards. In 2014, she was the recipient of the Sidney Myer Creative Fellowship and in 2015, she completed her Masters in Studio Art at Sydney College of the Arts, University of Sydney.
Image Credits: Headshot of Matthew Prest; Matthew Prest Performance ‘Bounce’ at The Watermill Center
In residence: October 10 – November 7, 2016
Andrew Ondrejcak (and collaborator Shara Nova of My Brightest Diamond) will explore themes of gender and identity in a new opera inspired by Virginia Woolf’s Orlando. While Ondrejcak writes, directs and designs, Nova composes the music and performs the title role.
Born and raised in Mississippi, Andrew Ondrejcak studied architecture and painting at Savannah College of Art and Design and, later, playwriting at Brooklyn College. His work with experimental theater led him to a career in art direction and production design in the fashion industry. Known for large-scale environmental installations, Ondrejcak soon became one of New York’s most sought-after production designers working with Vogue, Bazaar, Italian Vogue, Wallpaper*, W and V, among others.
Ondrejcak’s works have been presented at The Kitchen (2016), BAM Harvey Theater in Next Wave Festival (2015), The Public Theater in Under the Radar Festival (2014), deSingel International Arts Campus, Antwerp (2013); Holland Festival, Amsterdam (2014); Kampnagel, Hamburg (2013) and the Guggenheim Museum’s Works in Process (2011) curated by Robert Wilson. He re-performed the work of Marina Abramovic in The Artist is Present at MoMA (2010). In 2013, Ondrejcak was Artist in Residence at the Baryshnikov Arts Center and the Lower Manhattan Cultural Council on Governor’s Island. In 2015-2016, Ondrejcak was Artist in Residence at the Park Avenue Armory in New York City.
As an arts educator, Ondrejcak teaches workshops on his creative process – a hybrid of performance and design – at Domaine de Boisbuchet in Lessac, France (2013-2016) and, since 2002, has been a lecturer at the Museum of Modern Art, New York.
Image Credits: Ondrejcak Portrait, Photo by Georgia Nerheim; You Us We All at BAM Next Wave Festival, Photo by Hans Stockmans
In residence: October 10 – November 7, 2016
During his residency at Watermill Ebe Oke will create new electronic works. The works will incorporate language experiments, including bird and insect sounds used as instruments, structural maps and rhythmic guides.
Ebe Oke is an experimental artist, electroacoustic composer and performance poet who crafts avant-garde pop music exploring the idea of ‘otherness.’ From an early age, Oke’s artistic practice has been multi-disciplinary. His otherworldly compositions often incorporate the sounds of birds and insects, echoing his childhood spent on an exotic bird farm in South Georgia. He has studied composition with Karlheinz Stockhausen, collaborated and performed with Brian Eno, and headlined at The Kitchen for Synth Nights, curated by Laurie Anderson. He has been an artist-in-residence with Clocktower and Pioneer Works (New York), Museums Quartier 21 (Vienna, Austria). He has performed at the Donau festival (Krems, Austria) and the Punkt Festival curated by Brian Eno (Kristiansand, Norway). Ebe also regularly collaborates as a composer and dancer with choreographer and performance artist Nissa Nishikawa and has scored award-winning films. Ebe currently lives and works in London.
Image Credits: Ebe Oke headshot; Jose Montemayo
In residence: November 16 – December 14, 2016
The Factory is the second research project by Ébana Garín’s company Undisciplined Body. With this project, the core group continues to develop their practices within the creative process. The company works with Foucault’s biopolitical theory, focusing primarily on corporal discipline.
Undisciplined Body’s creation and scenic research was born in 2012 out of a focus on the conditioning that the theatrical discipline imposes on the scene and on the performers’ bodies. Using this as a jumping off point, co-founders Camila Karl and Ébana Garín began a series of scenic experiments in search of a genuine gesture which resulted in The Clinic. This project was supported by the fund Bicentennial Juan Gómez Millas from the University of Chile. The company was in residence at Château de Monthelon, France (2014) and participated in festivals in France, “Le rencontres de Monthelon,” in Switzerland, and “Zürcher Theater Spektakle” and “Noorderzone Performing Arts Festival” in Holland. During 2015, the core group, including art theory professors, worked on a book that revives the experience of The Clinic from the perspective of artists. The project was made possible with sponsorship and support from the University of Chile.
Image Credits: Photos courtesy of Pedro Perez Guillón, ongoing research process of The Factory
In residence: November 16 – December 14, 2016
During his residency, Zach Eugene Salinger-Simonson will critically review a jewelry collection he has developed. He will accomplish this by reviewing prototypes and a book documenting the collection, its progress and its future developments.
Zach Eugene Salinger-Simonson was born in Manhattan and raised in Southampton, NY. Salinger has developed a neo-traditionalist body of work. As a product designer, his primary focus is lighting, but his practice extends to jewelry and furniture. His emotive and elegantly simple body of work investigates the process of animating the inanimate through associative connections.
After receiving his B.F.A. from the Rhode Island School of Design (RISD), Salinger worked with Mannequin Designer Ralph Pucci for his retrospective at MAD. In addition to the formidable Ralph Pucci, Salinger has collaborated with a number of regarded performers, writers, artists, and designers including Ken Smart, Robert Wilson, Christian Wassman, Adrian Madlener, Jakob Oredsson, Michael Evert and Billy Cotton.
He has also brought a number of products to market, some of which are currently under patent. Currently, Salinger is in the midst of developing a jewelry collection while also working with private clients on limited production pieces.
Salinger’s pieces have been included in The Watermill Center Summer Benefit & Auction and exhibited in the Sol Koffler Graduate Student Gallery. His work for Ralph Pucci and Robert Wilson have been documented in prominent publications such as Architectural Digest, Dezeen, The Wall Street Journal, and The New York Times, among others.
A social architecture exists and is able to tie itself to a physical structure like a wall, a door, and a building. A wall can begin to crack in the same way trust can develop. And a building built on those walls and accessible through those openings can fall like any social structure. The kintsugi process and the inherent meaning found in rings, collars, necklaces, and bracelets have enabled Salinger-Simonson to create a unique formal dialogue. By fracturing, shattering, and repairing these pieces of jewelry he will aim to give new life to these traditional forms and empower the wearer.
The traditional Japanese process of kintsugi is used to repair broken and brittle ceramic pieces with gold and silver. This process doesn’t simply emphasize the importance of tradition and its evolution. It is much, much more… By using such valued materials to celebrate the breaking and repairing this process shows there is strength in ones ability to find strength in weakness, by forging a bond in something inherently brittle.
A ring is a symbol of shared faith and a powerful bond. Although a collar, necklace and bracelet can be seen almost as shackles and symbols of ownership in a western patriarchy the shattering and repairing of their forms along with the ring provide a completely different meaning. These new meanings are intended to empower the wearer by acting as a source of strength which will be clarified further with the narratives Salinger-Simonson will write during his residency.
This residency will enable Salinger-Simonson to refine his design intent by critically interpreting these new objects: the ring, collar, necklace and bracelet. In order to accomplish this he will write a narrative from the perspective of the object and then analyze this narrative to understand every moment shared between itself and its wearer. These narratives will inform what other forms of jewelry will be included in the collection.
Photo Credits: courtesy of the artist