Past Residents
Past Resident2025: OCA - Office for Contemporary Art Norway
Apichaya Wanthiang
Apichaya Wanthiang creates environments that activate embodied knowledge and somatic memories, exploring how different spaces shape our perceptions, behaviors, and interactions. She primarily works with painting and installations that incorporate light, sound, and text. While each exhibition centers on a specific theme, these serve as a prelude to examining complex and often invisible structures, such as the cumulative effects of racism or the impact of memories on our present actions.
Apichaya Wanthiang has exhibited work at Munch Museum, Oslo; Storage Art Space, Bangkok; and UKS Young Artists’ Society, Oslo, among others.
Apichaya Wanthiang, the night laid a hundred eyes on my skin, installation, 2024.
Apichaya Wanthiang, Gleaned from, 2024, painting installation.
Apichaya Wanthiang, Some Body Else, 2022, installation.
Apichaya Wanthiang, I've been here before, 2020, installation.
Apichaya Wanthiang, Evil spirits only travel in straight lines, 2018, installation.
Residents from Thailand
Bundith Phunsombatlert
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, Joseph Robert Foundation, Danna and Ed Ruscha, Horace W. Goldsmith Foundation
2013
Past Resident2024: OCA - Office for Contemporary Art Norway
Katrine Elise Agpalza Pedersen
Katrine Elise Agpalza Pedersen is an art historian and curator based in Trondheim, Norway. She served as the Interim Director of Kunsthall Trondheim from May to December 2023 and currently holds the position of Curator. Pedersen’s curatorial practice focuses on perspectives that combine alternative realities, spiritualities, knowledge systems, and technology. Recently, she has explored themes of diasporic ancestry, neuroplasticity, and memory, inspired by her own experiences as a second-generation Filipinx immigrant. Pedersen is also the Chair of The Norwegian Association of Curators.
Katrine Elise Agpalza Pedersen has curated exhibitions at Kunsthall Trondheim, Norway, among others.
Korakrit Arunanondchai , Songs for dying, installation view, 2021, Kunsthall Trondheim, Norway, curated by Katrine Elise Agpalza Pedersen. Photo by Daniel Vincent Hygstedt Hansen/Kunsthall Trondheim.
Stephanie Comilang and Simon Speiser, A Body of Memory (from neurons to the sea), installation view, 2023, Kunsthall Trondheim, Norway. Photo by Daniel Vincent Hygstedt Hansen/Kunsthall Trondheim.
Panteha Abareshi, INVALID PLEASURES, installation view, 2023, Kunsthall Trondheim, Norway, curated by Katrine Elise Agpalza Pedersen. Photo by Daniel Vincent Hygstedt Hansen/Kunsthall Trondheim.
Danielle Brathwaite-Shirley and Ann Lislegaard, Unweaving the binary code, 2022, Hannah Ryggen Triennale 2022, exhibition curated with Stefanie Hessler. Photo by Daniel Vincent Hygstedt Hansen/Kunsthall Trondheim.
Artist talk with Yngvild Sæter in front of her work 'Mother (altar XXVIII)', 2023, Kunsthall Trondheim, Norway. Photo by Daniel Vincent Hygstedt Hansen/Kunsthall Trondheim.
Residents from Philippines
Past Resident2025: Helen Frankenthaler Foundation Residency
S Emsaki
S Emsaki works to deconstruct and disorient East-West subject-object positionings through video, drawing, and multimedia installations incorporating found and provisional elements. Born and raised in Isfahan, Iran, Emsaki’s practice unsettles the legacies of petro-imperialism by engaging with marginalized archives and intimate histories of human and non-human subjects. Currently based in NYC, Emsaki is an alum of the Whitney Museum’s Independent Study Program and holds an MFA from Yale University and a BA from UC Berkeley.
S Emsaki has exhibited work at Westbeth Gallery, New York; San Francisco Arts Commission, San Francisco; and Provincetown Art Association and Museum (PAAM), Massachusetts, among others.
S Emsaki, crude education, 1908-ongoing, video (digitized film & VHS), 11 min.
S Emsaki, matter of time, 2024, UV-cured inkjet print on foraged Pleistocene clay, repurposed cardboard, and plastic pallet, 37 × 37 × 12 in. (93.98 × 93.98 × 30.48 cm).
S Emsaki, some things last a long time, 2022, wild-caught squid ink on existing architecture, dimensions variable.
S Emsaki, Oct 22 - Race Point, 2022, graphite and wild-caught squid ink on paper, 30 × 22 in. (76.2 × 55.88 cm).
S Emsaki, divided sea, 2020, (etching) ink on Kitakata paper, 171/2 × 211/2 in. (44.45 × 54.61 cm).
