Past Residents
Past Resident2013: Danish Arts Foundation
Jakob Boeskov
Jakob Boeskov is a Danish-Icelandic artist and filmmaker. His work touches upon many disciplines involving video, drawing and conceptual art. Common subjects are technology, politics and his native Scandinavian region. Boeskov’s best known project is calle ID Sniper, where he infiltrated a Chinese weapons fair with a fake hi-tech weapon.
Jakob Boeskov (born 1973, Elsinore, Denmark) moved to Copenhagen in the early 1990s where he put out his satirical comic Flax Letter (Nicolai Wallner Entertainments) and the experimental 8mm film Exhaust Tiger. In 1998 he published a comic about Lars Von Trier, after which he abandoned comics entirely, focusing on drawings and more conceptual art projects. His first solo show My Doomsday Weapon, The Thing, New York, 2004 documented the creation of a fictional hi-tech weapon. He later described these events in the film Empire North (2010), a film that won the Danish Dox Award at the Copenhagen DOX Film Festival. Group exhibitions include Populism, Frankfurter Kunstverein, 2005 and Screening War, ZKM Center for Art and Media, Karlsruhe, 2005. In 2010, Boeskov’s work was the subject of the retrospective exhibition Siggimund at the National Gallery of Denmark. His solo exhibitions include Coup de Théâtre, V1, Copenhagen, 2005, Thule, V1, Copenhagen, 2010 and Weekend Futurology, Mulherin Pollard, New York, 2012. Boeskov lives and works in New York City.
Jakob Boeskov, ID Sniper Model, 2002-2004, SLA, aluminum, and steel, 16 × 62 × 70 in. (40.64 × 157.48 × 177.8 cm). Courtesy of the artist.
Jakob Boeskov, Monster Mirror Drawings, 2004, Pastel on paper, 140 × 70 in. (355.6 × 177.8 cm). Courtesy of the artist.
Jakob Boeskov, The Island, 2009, Pastel on paper, 16 × 24 in. (40.64 × 60.96 cm). Courtesy of the artist.
Jakob Boeskov, War Wizard, 2006, Video, 6 min. Courtesy of the artist.
Jakob Boeskov, Untitled (We do Turing Testing), 2010, Pastel on paper, 16 × 24 in. (40.64 × 60.96 cm). Courtesy of the artist.
Residents from Denmark
Past Resident2013: Walter Otero Contemporary Art
Gamaliel Rodriguez
Gamaliel Rodriguez’s work explores the aesthetic and the visual quality created by drawing with ballpoint pen and more recently, felt-tip pen (Sharpie) to present a style that references old illustrations and printmaking including etching and dry point, evoking architectural plans. He is interested in the notion of security and insecurity produced by non-referential images. Smoke is used in Rodriguez’s work as an illustrative code. In the history of humanity, smoke and fire can produce a series of sensations to us depending on the situation. The primitive part of the brain could recognize smoke or fire as a familiar and natural manifestation. In the 21st century, an image of a structure, a unity, a system, a space, a location or an object covered by smoke and flames could be read as a raid, malfunction, miss-firing, oppression, liberty, the end or the beginning, terrorism, anarchy, civil rights, manifestation, sublimation, sabotage and any number of related political terms. Rodriguez is interested in how such a simple reaction of combustion can be reinterpreted as a complex analysis of insecurities. He is currently working on a series of drawings based on the concepts of appropriation, re-interpretation and deconstruction of messages based on Roland Barthes and his analysis of semiotics.
Gamaliel Rodriguez (b. 1977 Bayamon, Puerto Rico) obtained an MA in Visual Arts at the Kent Institute of Art and Design in Kent and the Skowhegan School of Painting and Sculpture in 2011. His recent exhitions include, Solo Projects, ARCO, Madrid; Focus Latinoamerica. DA2 Domus Artium 2002, Salamanca and The End of History… and The Return of History Painting, Museum voor Moderne Kunst Arnhem.
Gamaliel Rodriguez, Figure 1710, 2012, Felt-pen and acrylic on canvas, 50 × 82 in. (127 × 208.28 cm). Courtesy of the artist.
Gamaliel Rodriguez, Figure 1709, 2012, Felt-pen and acrylic on canvas, 50 × 82 in. (127 × 208.28 cm). Courtesy of the artist.
Gamaliel Rodriguez, Figure 1708, 2012, Felt-pen and acrylic on canvas, 52 × 40 in. (132.08 × 101.6 cm). Courtesy of the artist.
Gamaliel Rodriguez, Snapshot No. 10001, 2012, Felt-pen and acrylic on canvas, Installation view, 68 × 84 in. (172.72 × 213.36 cm). Courtesy of the artist.
Gamaliel Rodriguez, FUTURA AIR Program, 2012. Courtesy of the artist.
Residents from Puerto Rico
Carlos Franco
Alice and Lawrence Weiner, New York City Department of Cultural Affairs, in partnership with the City Council, New York City Council District 34, New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature, Hartfield Foundation, Danna and Ed Ruscha, Horace W. Goldsmith Foundation
2022
Past Resident2013: The New York Community Trust’s Edward and Sally Van Lier Fund
Kevin Beasley
Kevin Beasley’s sculpture and performance begins with the insistence on the most basic yet complicated aspects of being – what we know to be present is relative to our own ability to conceive it and because we are unable to experience it or to perceive it with our senses does not mean it is not there and that its being there is in fact so vital and foundational to everything that follows. While a significant amount of his materials are personal, their inclusion is not to posit an autobiographical narrative nor are they there to signify or testify to his particular lived experience. Rather they indicate the importance of origin and identity for Beasley as something which is always suspect and that he is constantly negotiating.
(Text by Adrienne Edwards).
Kevin Beasley (b. 1985, Lynchburg, VA) received his BFA from the College for Creative Studies, Detroit and his MFA in Sculpture from Yale University in 2012. He has exhibited nationally with The Butcher’s Daughter, Detroit and in group shows in Los Angeles, throughout Michigan, and New York. Beasley’s performances were featured during Some Sweet Day at the Museum of Modern Art, New York and Danspace Projects, New York. Currently, Beasley’s work is featured in Fore at the Studio Museum in Harlem.
Kevin Beasley, Untitled (Helmet), 2011, T-shirt, polyurethane foam, plastic, spray paint, and paper pulp. Courtesy of the artist.
Kevin Beasley, Lord Have Mercy, 2011, Ethernet cable, coaxial cable, polyurethane foam, plastic, sweatband, underwear, and medical IV, 18 × 9 × 8 in. (45.72 × 22.86 × 20.32 cm). Courtesy of the artist.
Kevin Beasley, Untitled, 2012, Hair clips, twine, shower curtains, and digital inkjet print, Dimensions variable. Courtesy of the artist.
Kevin Beasley, Untitled, 2012, Cotton gin motor, 36 × 48 in. (91.44 × 121.92 cm). Courtesy of the artist.
Kevin Beasley, Untitled, 2011. Courtesy of the artist.
