Past Residents
Past Resident2014: Creative New Zealand
Brett Graham
Brett Graham abstracts complex historical and cultural ideas into sculptural forms and installations. His work engages ideas of both Indigenous and Western art, drawing on Maori culture but informed by contemporary art practice. His work embraces indigenous histories, often critiquing and exploring issues relating to cultural inequities of the past and present.
Brett Graham completed his BFA at Auckland University and his MFA at the University of Hawaii. Graham returned to lecture in the Art History Department at the University of Auckland before teaching full time at Elam School of Fine Arts, Auckland University. There he completed his Doctorate of Fine Arts. He has been an artist full time since 2005, exhibiting twice at the Sydney Biennale in 2006 and 2010 and at the 52nd Venice Biennale in 2007. Last year his work was part of Sakahan, an exhibition of Indigenous Art the National Museum of Canada. He has work in the collections of the Museum of New Zealand and the National Gallery of Australia. Graham lives and works in Auckland.
Events & Exhibitions
Brooklyn Commons: Ursula von Rydingsvard and Brett Graham
May 20, 2014
Brett Graham, Te Hokioi, 2008, Medium-density fibreboard, 31 x 114 x 173 in. Courtesy of the artist.
Brett Graham in collaboration with Rachael Rakena, Aniwaniwa, 2007, Fibre glass, acrylic, video installation, Dimensions variable. Courtesy of the artist.
Brett Graham, Kainga Tahi Kainga Rua, 2003, Steel, phosphate, polystyrene, fiberglass, video installation, Dimensions variable. Courtesy of the artist.
Brett Graham, Absolution, 2008, Medium-density fibreboard, oil, video, 78 x 78 x 11 in. Courtesy of the artist.
Brett Graham, Ring Fence, 2011, Horse feces, resin, medium-density fibreboard, 78 x 78 x 31 in. Courtesy of the artist.
Past Resident2014: The Ministry of Education and Culture, The Republic of Cyprus
Constantinos Taliotis
Constantinos Taliotis’ research based practice emerges from close inspection of recurring traits in architectural manifestations of mystery in cinema. Through installations, videos, tableaux vivant photography and text, he investigates the spatial and temporal patterns that fabricate evil in narrative cinema and more specifically the signification of modernist architecture in fiction as a
dominant constituent of villainy. Elements of speed and stasis, darkness and light, mise-en-scéne and out-of-scene and geographies of proximity and distance comprise the glossary of Taliotis’ practice.
Constantinos Taliotis (born 1983, Nicosia, Cyprus) is a visual artist and writer. In 2013 he co-represented the Republic of Cyprus in the 55th Venice Biennale and in 2012 he participated in the Künstlerhaus Bethanien artist-in-residence program. His work has been exhibited in solo and group exhibitions at Künstlerhaus Bethanien, Berlin; Metro Gallery, Berlin; Akbank Art Centre, Istanbul; Pilot Gallery, Istanbul; Young Greek Photographers Award, Athens; Kappatos Gallery, Athens; Fold Gallery, London and the Nicosia Municipal Art Center. Taliotis is the author of Under the Fridge’s Light, VDM Publishing House, Germany, 2011 and he edited the book Casting Modernist Architecture, Künstlerhaus Bethanien, Berlin, 2012.
Constantinos Taliotis, I know you robbed the bank. you know you robbed the bank. that makes it unanimous, 2011, C-print photograph, 49 1/5 x 61 1/2 in.
Constantinos Taliotis, 50 years of james bond against architecture, 2012, Video, 10:29 min. Courtesy of the artist.
Constantinos Taliotis, Casting modernist architecture, 2012, 1000 sq. ft. Courtesy of the artist.
Constantinos Taliotis, Casting modernist architecture, 2012, 1000 sq. ft. Courtesy of the artist.
Constantinos Taliotis, The day the chaly stood still, 2013, 45 x 30 x 10 in.
Past Resident2014: The Adam Mickiewicz Institute
Olaf Brzeski
Olaf Brzeski’s practice is rooted in surrealist visions, which he puts into life via film, three-dimensional sculptures and installations. His comments about his own works do not so much mirror his personal interpretation, but narrate fictional stories, illustrated in the artworks or, in fact, made believable through the existence of the latter. This is the way in which Brzeski generates new worlds and their inhabitants.
Olaf Brzeski, Dream - spontaneous combustion, 2008, Bone soot, polyurethane resin and ash, 70 4/5 x 59 x 37 2/5 in. Courtesy of the artist.
Olaf Brzeski, Untitled (from the little orphans series), 2009, Cast iron, chair, 35 1/2 x 23 1/2 x 23 1/2 in. Courtesy of the artist.
Olaf Brzeski, Out of love for a woman, 2012, Steel, bronze, oil, paint and wood, 118 1/8 x 118 1/8 x 177 1/8 in. Courtesy of the artist.
Olaf Brzeski, The fall of the man i don't like, 2012, Painted steel, 106 1/3 x 137 3/4 x 82 2/3 in. Courtesy of the artist.
Olaf Brzeski, Untitled (from the little orphans series), 2009, Cast iron, wood, glass and light, 82 2/3 x 35 1/2 x 51 1/5 in. Courtesy of the artist.
