Past Residents
Past Resident2012: Ministry of Culture, Taiwan
Chang-Jung Wu
Chang-Jung Wu’s works, created using records of her life, daily imagination, and memories, often reveal her own story. Wu’s work explores a diverse group of issues including the global economy, energy supply, voice making, ecology, and visual sensory imagination giving an imagination with emotional dynamics; she combines spatial projections with other experimental images to express deeply personal ideas.
Chang-Jung Wu (born 1984 Taiwan), received her degree from the Graduate Institute of Plastic Arts, Tainan National University of The Arts, Taiwan in 2012. Her work has been shown recently at the The Taipei Digital Art Center, Manchester Chinese Centre for Contemporary Art, UK; The 58th International Short Film Festival, Oberhausen, the 2011 Venice Biennale, The 7th Busan International Video Festival, Korea, and in the exhibition Ambiguous Being: who is afraid of identity?, Berlin. Chang-Jung was the winner of the 2012 58th International Short Film Festival in Oberhausen and the recommended new artist of Art Taipei 2010.
Chang-Jung Wu, Documentary VIII - Night Night Flower, 2011, Video installation, 3 min. 10 sec.
Chang-Jung Wu, Documentary I - Pig Five Flower, 2010, Video installation, 3 min 10 sec.
Chang-Jung Wu, Documentary XIII - The Kaleidoscopig Farm Cuckoo Clock, 2012, 12 projector synchronization, 3 min 30 sec.
Chang-Jung Wu, Documentary III - Slot Machine, 2010, Single channel video, 2 min 58 sec.
Residents from Taiwan
Past Resident2012: Bunka-cho - Agency for Cultural Affairs, Government of Japan
Kaeko Mizukoshi
Kaeko Mizukoshi investigates the function of image, representation, and the structure of historiography. Her works unchain images from conventional or existing roles, emphasizing the indefiniteness and perpetual metamorphosis of the meaning of image. In her recent works, the idea of “documentary” is interrogated and transformed to push its boundary in new directions. Currently Mizukoshi practices on the idea of what she calls “images in the process of being documented,” resulting in the collapse of pre-existing historical imagery and imprinted forms into an altered perceptive space.
Kaeko Mizukoshi (born 1976, Tokyo) studied at The State Academy of Fine Arts – Städelschule, Frankfurt am Main and graduated from Tama Art University, Tokyo. Recent shows include The Museum of Contemporary Art (MOCA) Shanghai, 2012; The Metropolitan Museum of Photography, Tokyo; The Korea Foundation Art Gallery, Seoul, 2011; Doosan Gallery and Gallery LOOP, Seoul, 2009. She received a fellowship from Asian Cultural Council and participated in the Location One Residency Program in New York in 2009. She also been awarded grants from the Agency for Cultural Affairs (Bunkacho) and Yoshino Gypsum Art Foundation, Tokyo.
Kaeko Mizukoshi, Untitled, 2012, C-Print. Courtesy of the artist.
Kaeko Mizukoshi, Untitled (The Present), 2010, The cover of the encyclopedia “World History Series 23: The Present”, published in 1973. Courtesy of the artist.
Kaeko Mizukoshi, Yet Photographed, 2012, Photograph. Courtesy of the artist.
Kaeko Mizukoshi, Goethe-Haus, 2011. Courtesy of the artist.
Past Resident2012: Canada Council for the Arts
Samina Mansuri
In her recent work, Samina Mansuri uses as a starting point media depictions of war-torn places such as Pakistan, Afghanistan and Iraq as well as the twin towers or places like New Orleans that have been ravaged by natural disasters. Frequently the architecture of these locations, captured from an aerial view, is reduced to ash or rubble. These views tend to provide a detached sense of actual place. Through a transformed language of aerial cartography Mansuri creates subjective mappings of an ambiguous location of trauma. Through this she aims to bring attention to viewers about mediated representations of misery and its impact on individual and public memory.
Samina Mansuri (born Karachi) is a multidisciplinary artist based in Toronto, Canada. She received her BFA from Pratt Institute, New York and MFA from Carnegie Mellon University, Pittsburgh. Mansuri has exhibited her work internationally for over two decades. Recent exhibitions include Qualia or the pulse of Steel, Hamilton, Canada 2012; Out of Rubble, Space Gallery, Pittsburgh, 2011; Leaning Towards Collapse, A Space Gallery, Toronto, Canada, 2011; Empire of Dreams Phenomenology of the Built Environment, Museum of Contemporary Canadian Art, Toronto, Canada; Double Consciousness, Mattress Factory Museum, USA, 2007 and Post-Object, Doris McCarthy Gallery, Scarborough, Canada, 2007. Her works are represented in public and private collections and have been extensively featured and reviewed in catalogs, books, newspapers and journals.
Samina Mansuri, Ash 9 Tararatiie, 2008, Giclee print, 44 × 5213/16 in. (111.76 × 134.11 cm). Courtesy of the artist.
Samina Mansuri, After Images: Cedibidaee Reconstruction Site 9, 2010, Multimedia installation with video projection, 228 × 180 × 24 in. (579.12 × 457.2 × 60.96 cm). Courtesy of the artist.
Samina Mansuri, Ash 5 Olaraaee, 2008, Giclee print, 34 × 34 in. (86.36 × 86.36 cm). Courtesy of the artist.
Samina Mansuri, Mukiirati, 2008, Giclee print, 34 × 34 in. (86.36 × 86.36 cm). Courtesy of the artist.
Samina Mansuri, After Images: Cedibidaee Reconstruction Site 10, 2009 - 2011, Multimedia installation with video projection, 240 × 228 × 24 in. (609.6 × 579.12 × 60.96 cm). Courtesy of the artist.
