ISCP - Key Persons
Job Titles:
- Artist
- Béal ( All Silent but for the Buzzing ) & the Monachopsis Drawing Editions, 2021, Sound and Architectural Installation, Dimensions Variable
- Klostės, 2022, Film, 67 Min
Aideen Barry is a multidisciplinary artist whose modes of expression include performance, moving image, and sculptural manifestations. Using visual tricks to intensify the suspension of reality, Barry explores subjects such as domestic labor, examinations of class, otherness, environmental change, and human vulnerability.
Aideen Barry has exhibited work at the Irish Museum of Modern Art, Dublin; Kazten Center at American University Museum, Washington D.C.; and Centro de Arte Contemporáneo de Málaga, Málaga, among others.
Aideen Barry, oblivion / seachmalltacht / ᖃᐅᔨᒪᔭᐅᔪᓐᓃᖅᑐᑦ, 2021, video Installation with sound, 15:38 min
Aideen Barry, Listen Liquid, 2021, multichannel video projection, sound, wall and floor drawing , dimensions variable
Aideen Barry, Klostės, 2021, multichannel video installation and sound, 15:38 min
Aileen Murphy creates paintings that convey corporeal and psychological tenacity. Murphy employs painting as an artistic process in which color and motion are living wires.
Aileen Murphy has exhibited work at Temple Bar Gallery + Studios, Dublin; Deborah Schamoni, Munich; and Amanda Wilkinson, London, among others.
Aileen Murphy, In the gale, with Gale, 2020, oil and oil bar on canvas, 76.8
Aileen Murphy, food that I would feed my lover, 2022, exhibition view.
Job Titles:
- Artist
- Complex Bodies, 2015, Various Media, Dimensions Variable
Alicia Frankovich is interested in the potential for new modes of imagining bodies and their behaviors for both humans and non-humans. She works with performance, sculpture, video, photography, and temporary exhibition experiences. Frankovich is interested in creating new languages that merge movements, experiences, sensibilities, materials from various fields, often by collaborating with non-professional participants. Her mode of production combines various past histories with the present to form relationships with possible futures. She builds equivalences through the combination of form or temporal experience, that create links between things and beings to allow for a more plural understanding of time.
Alicia Frankovich (born 1980, Tauranga, New Zealand) holds a BVA in sculpture from Auckland University of Technology, and lives and works in Berlin. Her solo and two-person exhibitions include The Female has Undergone Several Manifestations, Starkwhite, Auckland, 2016; Complex Bodies, Kurator, Alte Fabrik, Gebert Stiftung für Kultur, Rapperswil, Switzerland, 2015; Today this technique is the other way around, Kunstverein Hildesheim, 2013; and Gestures, Splits and Annulations, Künstlerhaus Bethanien, Berlin, 2011. Group exhibitions and performances include: Les Limbes, La Galerie, Noisy-le-sec, France 2016; If I Can't Dance I Don't Want To Be A Part Of Your Revolution, Gerrit Rietveld Academie, Amsterdam, 2016; Le Mouvement: Performing the City, Biel/Bienne, Switzerland, 2014; Nouvelles Vagues, Palais de Tokyo, Paris, 2013; and Material Traces, The Leonard & Bina Ellen Art Gallery, Montréal, 2013.
Alicia Frankovich, Soft Water (detail), 2015, Olympic pool stairs and polished shells, 47 3/ 16 × 35 3/ 8 × 51 7/ 8 in. (119.89 × 89.92 × 131.83 cm)
Anamaría Garzón Mantilla is an art historian and curator. In addition to being a professor at Universidad San Francisco de Quito, she is a PhD student at the University of Essex and the director of post(s), an academic journal about art, media and culture. Her research focuses on artistic and curatorial practices that challenge hegemonic narratives and omissions in art history.
Anushka Rajendran's curatorial practice realizes ideas that emerge from her research about exhibitions, with a focus on arts from South Asia. As an art writer and editor, she facilitates discursive engagement within the arts in India. Her ongoing interests include socially engaged art practices in India and the ways in which aesthetic practices are seeking out publics that fall outside of traditional contemporary art audiences. This is an extension of her previous research and curatorial interest in trauma narratives in contemporary art.
Anushka Rajendran is a New Delhi based curator, writer and researcher. Her ongoing PhD Where lies the Public? Aesthetics of Social Engagement studies how the arts are surpassing traditional publics in India. She has an Ph.M from the Jawaharlal Nehru University during which she wrote Installation Art in India: Preoccupations with Trauma, and an MA in Arts and Aesthetics. Her recent exhibition, The Lay of the Land, charted an alternative cartography for the South Asian region based on experiences of artists rather than political borders. In her upcoming exhibition Corporeal, Rajendran will look at the absent body as a universal/intimate subject position. Rajendran is the Editorial Coordinator of the Indian art magazine TAKE on art, and recipient of the Art Scribes Award 2015.
Astra Howard's evolving series of interactive Machine-Vehicles (M-Vs) disrupt conventional means of communication to heighten engagement with the public. The M-Vs reduce certain sensory capacities and enhance others. This altered means of communication encourages direct, honest, sometimes unexpected, and often quite intimate responses. The M-Vs are means by which individuals tell their stories of the city; they optimize the fiction to realism ratio to achieve maximum communication in popular, nondescript, and even hostile locations.
Astra Howard is an Action Researcher/Performer working predominantly within public spaces in cities. Since 1998, she has designed and produced site-specific works in cities across Australia and internationally, including Beijing, Paris, New York, Delhi and London. After completing a PhD in 2005 titled Orchestrating the Public: To Reveal and Activate through Design the Experience of the City, Howard has continued to test urban and social theories in the city spaces they critique. Commissioned by cultural institutions and local and state governments, these iterative projects generate dialogue and debate about issues affecting the city. Howard has worked professionally as a designer in commercial agencies, a lecturer in higher education and a community development worker, predominantly in crisis homeless services.
Job Titles:
- Artist
- Pay Salutation, 2022, Performance by the Chrysalis Kali Collective
- the Breath of Death, 2022, Performance Installation, Dimensions Variable
Caroline Garcia is an interdisciplinary artist working across live performance and video through a hybridized aesthetic of cross-cultural dance, ritual practice, and new media. Her work performances and video installations traverse a highly personalized aggregation of distinct systems that encompass live-green screening, botany, robotics, poetry, and virtual reality. Her most recent body of work serves to function as a reparative measure to contend with personal loss and the diasporic and post-colonial grief that accompanies it.
Caroline Garcia has exhibited work at The Shed, New York; Museum of Contemporary Art Australia, Sydney; and The Sydney Opera House, Sydney, among others.
Caroline Garcia, Dancing on Axes & Spears, 2023, mixed media, dimensions variable
Caroline Garcia, On Being Mortal, 2022, five-channel video installation, dimensions variable
Caroline Garcia, Tropical Dissent (Weapons No. 4, 1, and 2), 2022-ongoing, 3D printed polylactic acid filament
Celina Muldoon is a multidisciplinary artist that uses live performance, film, and installation to investigate identity and the relationships between sociopolitical structures and the body. Muldoon explores live performance methodologies in response to site and content through collaborative processes and uses satire and humor to create uncertainty in her live performances, which often rely on audience engagement and interaction.
Celina Muldoon has exhibited work at The Dock; R.H.A. Gallery; and Live Collision, Project Arts Center, all in Ireland, among others.
Celina Muldoon, Untitled, 2018, live performance, LIVE COLLISION, Project Arts Center
Celina Muldoon, Untitled, 2018, live performance, LIVE COLLISION, Project Arts Center
Celina Muldoon, SIRENS III, 2019, live performance
Celina Muldoon, Kurnugia NOW!, 2022, live performance
Celina Muldoon, Kurnugia NOW!, 2022, live performance
Job Titles:
- Night Watchman, 2014, Set of 12 Found Images Digitized and Manipulated, 36. Photo by Danushka Marasinghe
Danushka Marasinghe, Night Watchman, 2014, Set of 12 found images digitized and manipulated, 36. Photo by Danushka Marasinghe
Elise Routledge is a curator who approaches her work with sensitivity to artists' ideas and processes, and respect for the intelligence and curiosity of audiences. She is interested in how cultural contexts and environments inform the production and interpretation of contemporary art. Routledge's curatorial projects are characterized by their engagement with social themes, risk, and institutional critique.
Elise Routledge has worked with the Museum of Contemporary Art, Sydney; Shepparton Art Museum (SAM), Victoria; Experimenta Media Arts, Melbourne; British Council, Sydney; and Artangel, London. Routledge has curated exhibitions at Gertrude Contemporary, Melbourne, and Firstdraft Gallery, Sydney, and has contributed to numerous publications. She was awarded a scholarship from the College of Fine Arts, University of New South Wales, and received an Australia Council Skills and Arts Development grant in 2014. Recent curatorial projects include Kate Murphy: Probable Portraits, Shepparton Art Museum; Bindi Cole: I Am, Shepparton Art Museum; Delinquent Angel: John Perceval's ceramic angels, Shepparton Art Museum; Experimenta Recharge: 6th International Biennial of Media Art, RMIT Gallery, Melbourne; and A Galaxy of Suns by Michaela Gleave premiering at Dark Mofo, 2016, Hobart, Tasmania, Australia.
Līga Spunde creates multimedia installations that intertwine personal stories with deliberate fiction. The work's content determines it's physical form, prompting the artist to a variety of media and materials in her installations. Her own experiences are expanded through the interpretation and utilization of recognizable characters. Spunde's art can be found in public and private collections around Europe. Līga Spunde has exhibited work at Tuesday to Friday Gallery, Spain; Latvian Centre for Contemporary Art, Latvia; and Kim? Contemporary Art Centre, Latvia, among others.
Job Titles:
- New Zealand / Wallace Arts Trust
Job Titles:
- Member of the Board
- Critic
- Library
Katie Lee, Collected Objects, Varied Materials (detail), 2013, Lead, glazed earthenware, rubber, timber, brass, and various objects from the Shepparton Art Museum ceramics collection including Kirsten Coelho's Iron and the Air (2007), Dimensions variable. Image courtesy of Shepparton Art Museum and Katie Lee. Photo by Andrew Curtis
Job Titles:
- Slovak Editor at Flash Art Czech & Slovak Edition
Lýdia Pribišová is interested in testing the boundaries of art. In her curatorial projects, she focuses on subversive art practices that go against typical social and cultural patterns. In her work, Pribišová observes how cultural stereotypes are constructed as well as the shifting positions of individual subjects in society. She works with themes of collective memory, sharing, and local Central European history, in part by questioning social rules, conformism, and the changing role of public space in post-communist societies.
Lýdia Pribišová (born 1980, Slovakia) is a curator and art historian. Pribišová has been the Slovak editor at Flash Art Czech & Slovak Edition since 2006, before becoming the managing editor in 2015. For two years (2013-2015), she worked as a project coordinator for the organization and digital platform tranzit. In 2012, Pribišová founded the nonprofit PILOT, and in 2007, she co-founded gallery of immaterial art, Evolution de l'Art. Projects include the 2007 and 2011 Slovak exhibition at the Prague Biennale. In 2013, Pribišová obtained her PhD from the University Sapienza, Rome; her doctoral thesis is titled Quadriennale of Rome. From Public Body to Foundation. Reflection on transformation.
Job Titles:
- New Museum Founder and Director
New Museum founder and director, Marcia Tucker (right), with ISCP resident, 1999
Job Titles:
- Director of Programs and Exhibitions
Pascale Birchler creates theatrical installations that form a multi-layered system of visual connotations. Her work explores the embodiment of loneliness and stalemate, as well as the contemporary status quo.
Pascale Birchler has exhibited work at Istituto Svizzero, Rome; UCCA Edge, Shanghai; and Gallery Peter Kilchmann, Zurich, among others.
Job Titles:
- Artist
- Contact Sheet, 2016, Handwoven Stainless Steel
Tarik Kiswanson's genre-defying work is informed by identity, dualism and loss. His work reflects on the influences of one culture upon another as well as the active role the viewers play in the creation of the work's meaning. Through quasi-abstract sculptures, or "reductions" as he calls them, Kiswanson examines notions of nonconformity and subverts the ways in which form is perceived and registered. Almost solely made in polished brass and steel, the viewer's body appears obliterated, disjointed, or doubled. Razor sharp and infra-thin, his paradoxical objects are also highly responsive to their spatial environment and to their observer's proximity as they vibrate with the displacement of air generated by the spectators circulation within the space.
Tarik Kiswanson (born 1986, Halmstad, Sweden) graduated from Central Saint Martins College of Art and Design, University of the Arts London in 2010. In 2011, he moved to Paris where he attended l'École nationale supérieure des Beaux-Arts and received a MA in 2013. He has exhibited his work internationally in group shows and solo exhibitions at Carlier Gebauer, Berlin; Musée Régional d'Art Contemporain Languedoc Roussillon Midi Pyrénées, Sérignan, France; Musée national de Céramique-Sèvres, Paris; Le Pavillon Vendôme Centre d'art Contemporain, Paris; Les Bains-Douches, Alençon, France; Institut d'Art Contemporain, Villeurbanne, France; Riga Art Space, Latvia; and Metropolitan Art Society, Beirut.
Tarik Kiswanson, 1917 (The weave machines), 2016, Handwoven stainless steel, 53 × 7 in. (134.62 × 17.78 cm)
Tarik Kiswanson, Anti (Inverted flagpole bracket), 2015, Steel, 7 × 9 × 4 in. (17.78 × 22.86 × 10.16 cm)
Tarik Kiswanson, Shifter, 2015, Brass welded with recycled silver, 118 × 9 × 9 in. (299.72 × 22.86 × 22.86 cm)
Job Titles:
- Member of the Board
- Trustee
Job Titles:
- New Zealand / Wallace Arts Trust
- Trust
Merav Kamel and Halil Balabin are a Tel Aviv-based collaborative duo working together since 2012. Their artistic practice is the outcome of their collective intuition; they follow their instincts to create works that combine absurdity and humor with history, sexuality, and fantasy. Their work is frequently rooted on an inner joke or ironic anecdotes from their daily lives that mix into widespread critical claim. They use with such as fabric, wood, metal, and ceramic to create sculptural dolls and large-scale drawing installations. Merav Kamel & Halil Balabin have exhibited work at Israel Museum, Jerusalem; Summlung Philara, Düsseldorf; and ZONAMACO Art fair, Mexico City, among others.