Past Residents
Past Resident2010: FONCA - Fondo Nacional para la Cultura y las Artes
Rodrigo Ímaz
Rodrigo Ímaz imbues his graphic work with strategies that are site-specific in order to investigate the blurry limits between time and space. Through poetical analogies of nature and anthropogenic events his work emphasizes the inadequacies of instrumental reason and criticizes contemporary societies through an exploration of the violent relationship between life and the cycles of nature. In Ímaz’s work, organic forms arise threatening arrogant human pride and the course of progress, while his visual poetry ennobles human creations.
Rodrigo Imaz, Cefalópodo, 2009, Charcoal on wall, 100 × 350 in. (254 × 889 cm). Courtesy of the artist.
Rodrigo Imaz, Cefalea, 2008, Acrylic on canvas, 67 × 47 in. (170.18 × 119.38 cm). Courtesy of the artist.
Rodrigo Imaz, After The Storm (2nd State), 2007, Ink on paper, 39 × 271/2 in. (99.06 × 69.85 cm). Courtesy of the artist.
Rodrigo Imaz, Migraines (2), 2008, Ink on paper, 8 × 10 in. (20.32 × 25.4 cm). Courtesy of the artist.
Past Resident2010: Erwin and Gisela von Steiner Foundation
Felix Burger
‘Felix Burger’s works have their origin in dreams: dreams of remembrances, lost-in- thought daydreams, occasionally nightmares. The subject of his work is a fluent transition from intellect-driven reality to fiction determined by the subconscious. They are not only unwieldy in their visual aesthetic perception but also in the thematic occupation with these transitory states. Subversive shifts in perception permeate Felix Burger’s work. He is instinctively at home, in both the figurative and literal sense, in the art forms of video and sculpture/installation. The fact that Burger does not succumb to biographical navel-gazing but rather succeeds in formulating archetypes of remembrances, a construction of desire, mostly connected to feelings of childhood, namely space oscillating between protection and threat, seems to be decisive to me.’ (Stephan Huber)
Events & Exhibitions
Salon: Felix Burger (Germany) and Max Pam (Australia)
July 13, 2010
Felix Burger, Burgers Haunted House (Burgers Geisterbahn), 2009, Dimensions variable. Courtesy of the artist.
Felix Burger, The Story Of My Life (Die Verfilmung Meines Lebens), 2010, Video, 23:00 min. Courtesy of the artist.
Felix Burger, The Story Of My Life (Die Verfilmung Meines Lebens), 2010, Video, 23:00 min. Courtesy of the artist.
Felix Burger, Welcome home (Willkommen daheim), 2007, Video, 2:32 min. Courtesy of the artist.
Residents from Germany
Past Resident2011: Anonymous
Armando Mariño Calzado
Armando Mariño Calzado’s recent work is a statement about the representation and the visual consumption of violence inflicted by nature or by humankind. In his work, new media has not only granted the technical possibility for the explicit depiction of violence but also for shortening the time and enlarging the space between the fact and its visual impact. Taking explicitness, immediacy and omnipresence as essential aesthetic values in contemporary society, his work reflects on the role of painting with respect to current aesthetics of violence.
Armando Mariño Calzado (born 1968 in Santiago de Cuba, Cuba) has studied at the School of Art in Santiago, Cuba, the High Pedagogical Intitute of Arts in Havana, Cuba and the Rijksakademie van Beeldende Kunsten in Amsterdam, Holland. Recent projects include Keloids, Mattress Factory, Pittsburg, PA; Without Mask, Contemporary Afro Cuban Art, South Africa and Cuban Avant Garde, The Howard Farber Collection, Katonah Art Museum, NY.
Armando Mariño Calzado, Beautiful World, 2007, Installation image, Dimensions variable.
Armando Mariño Calzado, Platform1, 2009, Oil on canvas, 122 × 63 in. (309.88 × 160.02 cm). Courtesy of the artist.
Armando Mariño Calzado, The Hole, 2005, Oil on linen, 92 × 78 in. (233.68 × 198.12 cm). Courtesy of the artist.
Armando Mariño Calzado, The Panda Who Cannot Speak, 2010, Charcoal on paper, 59 × 47 in. (149.86 × 119.38 cm). Courtesy of the artist.
Armando Mariño Calzado, Untitled, 2010, Charcoal on paper, 59 × 39 in. (149.86 × 99.06 cm). Courtesy of the artist.
