Past Residents
Past Resident2014: Senate Department for Culture and Europe, Berlin
Dominique Hurth
Dominique Hurth is interested in the framing and reading of objects and events, folding and unfolding in non-linear manner historical narratives. The starting point for new works is often a narrative present in localities or images, that finds itself anew in documents, archives and exhibition displays, questioning the entity of the object in space, as accompanied by the subjective voice of personal narratives. Recording technology, popular culture and science fiction oscillate with art history, modernism or litterature, thus merging fact and fiction, image and caption, form and word.
Dominique Hurth graduated from Central Saint Martins School of Arts and Design, London and the Beaux-Arts, Paris. In 2010 – 11 she was awarded a bursary at the Jan Van Eyck Academie, Maastricht and in 2013 a Fellowship at Künstlerhaus Büchsenhausen, Innsbruck. She was resident at Triangle France and Can Xalant in 2010 and 2011. Recent projects include group shows at Palais de Tokyo, Paris; Fundació Antoni Tàpies, Barcelona; Villa Oppenheim – Museum Charlottenburg, Berlin; Tiroler Künstlerschaft Kunstpavillon, Innsbruck; LOOK/13 – Liverpool International Photography Festival; MAMO – Cité Radieuse, Marseille; Hordaland Art Centre, Bergen; solo shows at Souterrain and clockwork gallery Berlin; Künstlerhaus Büchsenhausen, Innsbruck; a commissioned work on the Kurfürstendamm, Berlin, and a series of readings in Marseille, Rotterdam, Innsbruck, Paris and Berlin. Her first book language in the darkness of the world through inverse images was published in 2012.
Events & Exhibitions
Salon: Polibio Díaz and Dominique Hurth
October 21, 2014
Dominique Hurth, Failed suprematist futures, 2010, Paper. Courtesy of the artist.
Dominique Hurth, Throw the cobwebs from your eyes, 2011, Mdf, wood, record, watercolor, plexiglass and aluminum. Courtesy of the artist.
Dominique Hurth, Sketch for experiment, 2008-2009, Wood, pvc and watercolor. Courtesy of the artist.
Dominique Hurth, The problem of serial order in behavior, 2014, Video installation. Courtesy of the artist.
Dominique Hurth, language in the darkness of the world through inverse images, 2012, Book. Courtesy of the artist.
Residents from Germany
Past Resident2014: Nicodim Gallery
Santiago Taccetti
Santiago Taccetti centers his work on the concepts of simulation and deceit. Our relationship with technology and how it continuously defines our social identity is revised using everyday materials and found objects in ways that stimulate new perspectives from which to perceive contemporary culture. Taccetti’s process thrives on the tension between planned and random elements encountered during the investigative process. The misuse of basic construction materials by means of an abusive interaction with external arbitrary factors like time and natural conditions, produce a series of errors and accidents that alter any predetermined output. All that emerges from these collaborations is embraced as part of the working process; they become fundamental tools redefining the conventional notions of identity and authorship.
Santiago Taccetti (born 1974, Buenos Aires) lives and works in Berlin. He has exhibited his work in art centers and galleries such as Centre d’art, Santa Monica; Centre de Cultura Contemporanea, Barcelona; Istituto ItaloLatinomericano, Rome; La Panaderia, Mexico City; Centro Cultural, San Martin; Centro Cultural Recoleta, Buenos Aire as well the Baryshnicov Art Center and the OMI Sculpture Park, New York. He participated in Proyectos Ultravioleta Residency, Guatemala, 2010; the 2011 Watermill Center Residency, New York, and most recently Art Omi Residency, New York.
Santiago Taccetti, Bear tries to beat heat, 2013, Mixed media. Courtesy of the artist.
Santiago Taccetti, Non-smokers, 2013, Mixed media. Courtesy of the artist.
Santiago Taccetti, Sugar, glucos, syrup, starch, gelatin and citric acid, 2013, Sculpture, 78 x 20 x 40 in. Courtesy of the artist.
Santiago Taccetti, Nothing to see here, 2012, Installation, 95 x 95 x 95 in. Courtesy of the artist.
Santiago Taccetti, Nothing to see here, 2012, Installation, 95 x 95 x 95 in. Courtesy of the artist.
Residents from Germany
Past Resident2014: Manitoba Arts Council
Divya Mehra
Divya Mehra’s research-fueled practice often explores marginalization, otherness and the empty promise of diversity. Through appropriating, editing and reassembling a variety of literary, comedic and musical sources, she creates an acerbic dialogue on the commandeering, consumption and construction of race and identity politics. Often foregrounding the ongoing struggle with her personal diasporic identity and cultural expectations, she calls into question our unexamined beliefs.
Divya Mehra received her MFA from Columbia University. Mehra’s work has been included in a number of exhibitions and screenings across North America and overseas, most notably with Creative Time; MoMA PS1; MTV; The Queens Museum of Art; Massachusetts Museum of Contemporary Art; Art Asia, Miami; Plug In ICA, Winnipeg; Artspeak, Vancouver; Images Festival, Toronto; The Beijing 798 Biennale; Bielefelder Kunstverein and Latitude 28, Delhi. Recent publications featuring her work include: Art in America, Vogue India, whitewall Magazine, Border Crossings Magazine, Hyperallergic, Blouin ARTINFO, ARTnews, BlackFlash, C Magazine, and Canadian Art. Mehra currently divides her time between Winnipeg, Delhi, and New York.
Divya Mehra, The bitch blues (where does the divide begin?), 2014, Sizzurp and acrylic ink, 22 x 30 in. Courtesy of the artist.
Divya Mehra, contemporary south asian art (conflicts of perceptions l oh hey she's just too mainstream), 2014, Offset black and white printing on paper, 3 x 300 ft. Courtesy of the artist.
Divya Mehra, On tragedy (Did you hear the one about the indian?), 2012, HD video, 23 sec. Courtesy of the artist.
Divya Mehra, I will split up my father's empire (after N.W.A.), 2011, Neon sculpture, 45 x 4 x 57 in. Courtesy of the artist.
Divya Mehra, I am the american dream (still just a paki), 2010, 1987 Gold Jaguar Vanden Plas, 75 x 40 x 192 in. Courtesy of the artist.
