Past Residents
Past Resident2014: Nicodim Gallery
Santiago Taccetti
Santiago Taccetti centers his work on the concepts of simulation and deceit. Our relationship with technology and how it continuously defines our social identity is revised using everyday materials and found objects in ways that stimulate new perspectives from which to perceive contemporary culture. Taccetti’s process thrives on the tension between planned and random elements encountered during the investigative process. The misuse of basic construction materials by means of an abusive interaction with external arbitrary factors like time and natural conditions, produce a series of errors and accidents that alter any predetermined output. All that emerges from these collaborations is embraced as part of the working process; they become fundamental tools redefining the conventional notions of identity and authorship.
Santiago Taccetti (born 1974, Buenos Aires) lives and works in Berlin. He has exhibited his work in art centers and galleries such as Centre d’art, Santa Monica; Centre de Cultura Contemporanea, Barcelona; Istituto ItaloLatinomericano, Rome; La Panaderia, Mexico City; Centro Cultural, San Martin; Centro Cultural Recoleta, Buenos Aire as well the Baryshnicov Art Center and the OMI Sculpture Park, New York. He participated in Proyectos Ultravioleta Residency, Guatemala, 2010; the 2011 Watermill Center Residency, New York, and most recently Art Omi Residency, New York.
Santiago Taccetti, Bear tries to beat heat, 2013, Mixed media. Courtesy of the artist.
Santiago Taccetti, Non-smokers, 2013, Mixed media. Courtesy of the artist.
Santiago Taccetti, Sugar, glucos, syrup, starch, gelatin and citric acid, 2013, Sculpture, 78 x 20 x 40 in. Courtesy of the artist.
Santiago Taccetti, Nothing to see here, 2012, Installation, 95 x 95 x 95 in. Courtesy of the artist.
Santiago Taccetti, Nothing to see here, 2012, Installation, 95 x 95 x 95 in. Courtesy of the artist.
Residents from Germany
Past Resident2014: Manitoba Arts Council
Divya Mehra
Divya Mehra’s research-fueled practice often explores marginalization, otherness and the empty promise of diversity. Through appropriating, editing and reassembling a variety of literary, comedic and musical sources, she creates an acerbic dialogue on the commandeering, consumption and construction of race and identity politics. Often foregrounding the ongoing struggle with her personal diasporic identity and cultural expectations, she calls into question our unexamined beliefs.
Divya Mehra received her MFA from Columbia University. Mehra’s work has been included in a number of exhibitions and screenings across North America and overseas, most notably with Creative Time; MoMA PS1; MTV; The Queens Museum of Art; Massachusetts Museum of Contemporary Art; Art Asia, Miami; Plug In ICA, Winnipeg; Artspeak, Vancouver; Images Festival, Toronto; The Beijing 798 Biennale; Bielefelder Kunstverein and Latitude 28, Delhi. Recent publications featuring her work include: Art in America, Vogue India, whitewall Magazine, Border Crossings Magazine, Hyperallergic, Blouin ARTINFO, ARTnews, BlackFlash, C Magazine, and Canadian Art. Mehra currently divides her time between Winnipeg, Delhi, and New York.
Divya Mehra, The bitch blues (where does the divide begin?), 2014, Sizzurp and acrylic ink, 22 x 30 in. Courtesy of the artist.
Divya Mehra, contemporary south asian art (conflicts of perceptions l oh hey she's just too mainstream), 2014, Offset black and white printing on paper, 3 x 300 ft. Courtesy of the artist.
Divya Mehra, On tragedy (Did you hear the one about the indian?), 2012, HD video, 23 sec. Courtesy of the artist.
Divya Mehra, I will split up my father's empire (after N.W.A.), 2011, Neon sculpture, 45 x 4 x 57 in. Courtesy of the artist.
Divya Mehra, I am the american dream (still just a paki), 2010, 1987 Gold Jaguar Vanden Plas, 75 x 40 x 192 in. Courtesy of the artist.
Residents from Canada
Past Resident2014: Danish Arts Foundation
Nina Beier
Nina Beier’s practice is best characterised by rigorous investigation of inherent meaning in things and actions. Aspects of production and ideas of display, value and ownership, and the manner in which these are perceived and received, are amplified and subverted in many of her diverse works. The performance and meaning of objects – how they change through time or alter according to context and presentation – and their potential to appear contradictory are crucial and recurring themes in Beier’s work. – Adam Carr, 2013
Nina Beier (born 1975, Aarhus) graduated from the Royal College of Art, London in 2004. Her work has recently been the subject of solo exhibitions at Objectif Exhibitions, Antwerp; Kunsthaus Glarus; Mostyn, Wales; Nottingham Contemporary; Proyectos Monclova, Mexico City; and Kunsthal Charlottenborg, Copenhagen as well as in group exhibitions at Centre Pompidou, Paris; Centre for Contemporary Art, Glasgow; Fondazione Sandretto Re Rebaudengo, Turin; Musée d’Art moderne de la Ville de Paris; Metro Pictures, New York; Museum of Contemporary Art, Detroit; Museion Bozen, Bolzano; The Artist’s Institute, New York; KW Institute for Contemporary Art, Berlin; Index, Stockholm; Tate Modern, London; Museum of Contemporary Art, Miami and The Swiss Institute, New York. Beier lives and works in Berlin.
Nina Beier, Sweat no sweat, 2013, Installation. Courtesy of the artist and Mostyn, Llandudno.
Nina Beier, Heavy Hand, 2013, Installation. Courtesy of the artist and Standard, Oslo.
Nina Beier, Heavy Hand, 2013, Installation. Courtesy of the artist and Standard, Oslo.
Nina Beier, Liquid Assets, 2013, Installation. Courtesy of the artist and Glasgow Sculpture Studios.
Nina Beier, The New Public, 2012, Installation. Courtesy of the artist and Moseion Bozen, Bolzano.
