Past Residents
Past Resident2012: The New York Community Trust’s Edward and Sally Van Lier Fund
Abigail DeVille
Through bricolage, painting, and sculpture, Abigail DeVille cobbles together a visual mass that speaks to the material culture of the present moment. She experiments using found and inherited domestic objects in order to make a connection to the universe. W.E.B. Du Bois’ concept of double-consciousness is the conceptual frame DeVille uses to deconstruct two spatial relationships: the claustrophobic space of the urban environment violently clashing with the infinite expanse of the universe. Black holes are an integral metaphor. DeVille warps the time of physical objects. Her objects speak to the physical infinite expanse of universal time and societal ills of the present moment. DeVille’s work is interested in making the visible representation of the invisible.
Abigail DeVille (born 1981, New York City) received her BFA from the Fashion Institute of Technology in 2007. She received the Camille Hanks Cosby fellowship to participate in the Skowhegan Residency Program in 2007. DeVille was a participant in the art world’s first reality television show, Artstar, which aired on Gallery HD from June 2006 – January 2009 and culminated with an exhibition at Deitch Projects (NY). She has exhibited at El Museo Del Barrio, Vogt Gallery, project spaces Recess Activities Inc., The Bronx River Art Center and Marginal Utility in Philadelphia, PA. DeVille is a 2011 MFA graduate in painting at The Yale School of Art.
Abigail DeVille, Mirror, Mirror..., 2011, Empty Alexi vodka bottles and broken mirror, Dimensions variable.
Abigail DeVille, Untitled (Boots), 2011, Three Timberland boots, tar, trash bags, and chicken wire, Dimensions variable.
Abigail DeVille, New York at Dawn, 2010, Tyvek, enamel and latex paint, dirt, American flags, graphite, lamp shade, synthetic hair, polyurethane varnish, chicken wire, plastic sheeting, plaster, garbage bags, pâpier-maché, fake eyelashes, duct tape, wood chips, wire, canvas, cigarette butt, acrylic yarn, metal, salt dough, and hardware, 102 × 114 × 96 in. (259.08 × 289.56 × 243.84 cm).
Abigail DeVille, Dark Star, 2010, Trash bags, wood, paper, paint, paper pulp, fabric, colored lights, and plastic drop cloths, 342 × 15413/16 in. (868.68 × 393.19 cm).
Abigail DeVille, Black Hole Pit, 2010, Trash bags, chicken wire, and accumulated signifiers, 72 × 36 × 72 in. (182.88 × 91.44 × 182.88 cm).
Residents from United States
Past Resident2012: Mondriaan Fund
Jennifer Tee
Jennifer Tee creates symbolic, synthetic, sculptural installations that the visitor can not only contemplate, but also sometimes enter or engage with ritually. Her work often balances seemingly contradictory factors: great sculptural sophistication with a transparency in production and an interest in evoking spiritual realms with active material experimentation. In recent years, Tee’s often-voluminous installations reveal a special interest in being in an in-between state, or what she calls “the soul in Limbo”, in her performances. She researches intermediate forms of cultures and languages, and various forms of religion. She tries to answer questions about the mythology of contemporary human beings, about cultural identity and soul-searching. In her area of research Tee constructs poetic dispositions between fact and fiction, between present and past. Her latest works hover between sculpture and stage, performance and choreography.
Jennifer Tee (born 1973) is based in Amsterdam. She has exhibited internationally, including at the 26th São Paulo Biennial; Gwangju Biennial, 2006; and The World Expo 2010, Shanghai. She was awarded third place in the Prix de Rome in 1999 and the Uriot-prijs by the Rijksacademie van Beeldende Kunsten, Amsterdam, in 2000 and 2001. Recent group shows include: The Knight’s Tour, De Hallen Haarlem, Haarlem, The Netherlands; Feminine and Formal, Triangle France, Marseille, France; Double Dutch, HVCCA, Peekskill, NY: De Nederlandse identiteit?, Museum de Paviljoens, Almere, The Netherlands; and Secret Societies, Schirn Kunsthalle, Frankfurt, Germany. In 2010, Tee had a solo show at Eastside Projects, Birmingham, UK, and performed Gridding Sentences at theStedelijk Museum in 2011. Tee is represented by Galerie Fons Welters.
Events & Exhibitions
Jennifer Tee: Ether Plane∼Material Plane
March 6–June 8, 2018
Stichting Fonds voor Beeldende Kunsten Vormgeving en Bouwkunst, Entwined Bolero, Performance, 18 min. Courtesy of the artist.
Jennifer Tee, Duration Gridding Sentences, Performance, 33 min. Courtesy of the artist.
Jennifer Tee, Torrid Zone, 2004-2011, Metal structure, bamboo beads, fabric decoration, 3 foam mills, 6 foam wings, 6 neons, cacao fruits, porcelain letter tiles, power shells, and palm tree, 185 × 94 × 86 in. (469.9 × 238.76 × 218.44 cm). Courtesy of the artist.
Jennifer Tee, Star-Crossed, 2010, Collection of vessels and coiled stoneware, Dimensions variable. Courtesy of the artist.
Jennifer Tee, Complex Interiors, Trance-lucent Concrete, 2009 , 20 porcelain feathers, wooden octagram-construction and natural rope , 55 × 110 × 47 in. (139.7 × 279.4 × 119.38 cm). Courtesy of the artist.
Residents from The Netherlands
Francisco Montoya Cázarez
Francisco Montoya Cázarez explores the specific identities of his residential contexts in Mexico and Germany in his work, and how they both relate and confront each other. In his most recent drawings, sculptures, performances and films, he attempts to address the social situation in his home country of Mexico. At first glance, Montoya’s works come across as folkloristic clichés that seem to reflect the typical European perception of Mexico, however upon closer inspection one can read an intense examination of the country’s realities.
Francisco Montoya Cázarez (born 1985, Cuernavaca, Mexico) currently lives and works in Berlin and Braunschweig, Germany. He studied at “La Esmeralda” in Mexico City, graduated from the HBK Braunschweig, Germany, in 2010 and became “Meisterschüler” of Prof. Candice Breitz there in 2011. Recently his work has been exhibited in the Kunstverein Wolfsburg, Germany, and he had a solo show, 100 Jahre Karneval, in the Remise of the Kunstverein Braunschweig, Germany, which was accompanied by a catalogue.
Francisco Montoya Cázarez, Monument to the Revolution, 2011 , Wood, straw, wire, eggs and chickens , 114 × 861/2 × 861/2 in. (289.56 × 219.71 × 219.71 cm). Courtesy of the artist .
Francisco Montoya Cázarez, Pum Pum - Bang Bang, 2011, Recollected fireworks from the street, 138 × 961/2 in. (350.52 × 245.11 cm). Courtesy of the artist.
Francisco Montoya Cázarez, The Jariperiqueo, 2011, Watercolor on paper, 381/2 × 26 in. (97.79 × 66.04 cm). Courtesy of the artist.
Francisco Montoya Cázarez, Banquet, 2011 , Newspaper, colored paper, adhesive tape, tamarindos candies, cardboard and metal , 71 × 138 × 102 in. (180.34 × 350.52 × 259.08 cm). Courtesy of the artist .
Francisco Montoya Cázarez, Das Bundesständchen, 2010, Video, 5:56 min. Courtesy of the artist .
