Visitors 2006

In his photography, video and text projects, Sean Snyder dissects the role of representation and ideology through examples of architecture, urban and media space. Using both self-produced and reprocessed material, densely grouped systems of reference are configured as tactical counterpoints to the interpretation of dominant knowledge. Sean Snyder has recently participated in the 9^th Istanbul Biennale, 6^th Gwangju Biennale and 5^th Busan Biennale. Recent solo exhibitions include Portikus, Frankfurt; Secession, Vienna and forthcoming at the Stedelijk Musuem CS, Amsterdam, Sala Rekalde, Bilbao and the Lisson Gallery, London.

Laura Horelli's photo, text and video installations focus on communicative forms of relations in public, media and psychological spaces. The artist often links documentary material with her own pictures and information. Laura Horelli studied in Helsinki as well as at the Staedelschule in Frankfurt. Recent exhibitions include 6^th Gwangju Biennale (2006), South Korea, Periferic 7, Iasi, Romania (2006), In 2052 Malmö Will No Longer Be Swedish, Rooseum, Malmö, Sweden (2005), Laura Horelli, Galerie im Taxispalais, Innsbruck, Austria (2004) and Manifesta 5, San Sebastian, Spain (2004).

Bouchet's performative, sculptural artistic projects often physically traverse the globe. These deadpan works - serious art, which hinges on not-so-serious issues or impossible situations - demonstrate his illogical and even absurd approach to the world itself. As he says, they constitute "an attempt at something".

Pooja Sood is a founding member and Director of Khoj International Artists’ Association which is an autonomous, not for profit society committed to experimentation and exchange in the visual arts in India. Under her stewardship, Khoj has grown from an annual event in 1997 to a small but vibrant institution which plays a central role in the development of experimental, interdisciplinary and critical contemporary art practice in India. As Director of Khoj, she has worked actively to build a robust network of experimental spaces across south Asia resulting in the South Asian Network for the Arts (SANA). Pooja Sood’s contribution has been in the field of curating alternative contemporary art practices in India as well as exploring different models of collaboration and institution building in India and South Asia.

Amongst other projects, she was Artistic Director and curator of ’48C. Public Art. Ecology’, the first public art project which commissioned 25 art projects by renowned Indian and international artist across ten public sites in New Delhi. Since 2009 she has been the Director of of ArThinkSouthAsia (ATSA) which is an arts management programme for young cultural leaders in south Asia. She has served on several international juries, most recently being the IAPA award of the Institute of Public Art, Shanghai (2014), the APB Signature prize hosted by the Singapore Art Museum (2014–15) and the Korean Art prize, Seoul (2013).

Pooja Sood has spoken and participated in various forums on Indian contemporary art, art management and South Asian art in India and abroad and is the editor of the SANA (South Asian Network for the Arts) publication, 2014, The Khoj Book 1997-2007 contemporary art practice in India, published by Harper Collins, 2010, Video Art in India, 2003 and is currently working on a book on the project ’48C. Public Art. Ecology’. She is a Chevening scholar on the Clore Leadership Programme, UK (2009-2011).

Claire Bishop is an art historian and critic. She is currently Leverhulme Research Fellow in the Curating Contemporary Art department at the Royal College of Art. In October she will take up a new job in the History of Art Department at Warwick University. She has also taught at Essex University (where she completed her PhD) and Tate Modern. She is the author of Installation Art: A Critical History (Tate, 2005), Antagonism and Relational Aesthetics (October no.110, 2004) and contributes regularly to Artforum, Flash Art, Untitled, and Tate Etc.

Her latest publication is Participation, an edited anthology of key texts on participation in art from the late 1950s to the present day, and will be published in September by Whitechapel Art Gallery & MIT Press. She recently presented the paperLive Installations and Constructed Situations: The Use of "Real People" in Art, at OCA's Verksted seminar on the Art of Welfare, which is published, along with the other participants' contributions, as a book September 2006.

Her current research interests concern post-medium-specific art, the history of exhibition display, and the politics of spectatorship in socially-engaged and relational art.

Lars Bang Larsen is a free-lance critic and curator. He writes regularly for Frieze and Artforum, and has co-curated the Momentum biennial in 1998 and the group shows Pyramids of Mars (2000), Fundamentalisms of the New Order (2002), The Invisible Insurrection of a Million Minds (2005) and Populism (2005). He has written about the art and culture of the 1960s, for example in 'Sture Johannesson' (2002), about Johannesson's psychedelic posters and digital graphics. At the moment Lars teaches at Konsthögskolan in Stockholm and at the academies in Copenhagen and Århus, and is doing research for a book about the history of psychedelic art in a global context.

Chus Martínez has a background in philosophy and art history. Currently she is the Head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland. Previously she was the Chief Curator at El Museo del Barrio, New York, and dOCUMENTA (13) Head of Department and Member of Core Agent Group. Previously she was Chief Curator at MACBA, Barcelona (2008–11), Director of the Frankfurter Kunstverein (2005–08), and Artistic Director of Sala Rekalde, Bilbao (2002–05). For the 51st Biennale di Venezia (2005), Martínez curated the National Pavilion of Cyprus, in 2008 she served as a Curatorial Advisor for the Carnegie International and in 2010 for the 29th Bienal de São Paulo. During her tenure as Director of the Frankfurter Kunstverein she curated solo exhibitions of Wilhelm Sasnal, among others, and a series of group exhibitions including ‘Pensée Sauvage' and ‘The Great Game To Come’. She was also the founder of the Deutsche Börse Residency Program for international artists, art writers and curators. While at MACBA, Martínez curated the Thomas Bayrle retrospective, an Otolith Group monographic show, and an exhibition devoted to television, ‘Are you ready for TV?’. In 2008, Martínez was the curator of the Deimantas Narkevicius retrospective exhibition, ‘The Unanimous Life’, at the Museo de Arte Reina Sofia, Madrid, which travelled to major European museums. Martínez lectures and writes regularly, including numerous catalogue texts and critical essays, and is a regular contributor to Artforum among other international art journals.

Seth Siegelaub has been active as an art dealer, publisher and independent exhibition organizer, including 35 art-related projects and the "Artist's Rights Agreement" from 1964 - 1971; a researcher and publisher of left books on communication and culture; a bibliographer of the history of textiles; and currently a researcher studying the theory of time and causality.

Marja Bloom is an independent curator, frequently writing on contemporary art. From 1971 to 2005 she worked at the Stedelijk Museum Amsterdam as Curator for Exhibitions where she was responsible for organizing innumerable important group and solo exhibitions including by Agnes Martin, Kazimir Malevich, Lawrence Weiner, JCJ Vanderheyden, Berend Strik, Rini Hurkmans, Richard Tuttle, Marina Abramovic, Gerhard Richter, Imi Knoebel, Georg Herold, Lucio Fontana and Colin McCahon. During that period she was also head of the music program at the museum where she organized weekly concerts by avant-garde musicians, music workshops and exhibitions of musical installations. During the past few years she has organized the first international retrospective exhibition of the major Australasian painter Colin McCahon in New Zealand and Australia. Bloem holds a PhD in art history from Rijksuniversiteit Leiden. She is a board member of several Dutch music foundations, and has also served on a number of art foundations, committees and juries.

Michael Sailstorfer takes interest in everyday objects; materials that surround us and the associations they trigger. In inflicting transformations, contextual adjustments and spatial appropriation, Sailstorfer deforms the meaning and function of the original object - leading to a renewed configuration. His work explores the unstable relationship between form and content, emphasizing that the function of an object and its material manifestations are subject to change based on historical dynamic.

Solo exhibitions include Attitudes Geneva, 2004; Welttour Galerie Markus Richter, Berlin, 2003; D-IBRB, Galerie Transit, Mechelen, Belgia, 2003; Und sie bewegt sich doch!Stadt. Galerie im Lenbachhaus, Munich, 2003; and heimatlied Galerie Markus Richter, Berlin, 2002. Group exhibitions include Bewegte Teile Kunsthaus Graz, Austria and Museum Tinguely, Basel, 2004; the Liverpool Biennial, 2004; Degree Show 2004, MA Fine Art, Goldsmiths College, London; Sydney Biennial 2004; Manifesta 5, San Sebastian, 2004; Wings of Art Ludwig Forum für internationale Kunst, Aachen, 2003; Fuori Uso Ferrotel, Pescara, 2003; At least begin to make an end W 139, Amsterdam, 2003; Bewegt Kunstverein Ingolstadt, Germany, 2002; Acht mal andersCentro de arte joven, Madrid, 2001; and Kunsthalle Recklinghausen, Germany, 2001.

Olav Westphalen breaks with the standards of art by setting up an insidious competition between high-minded autonomy and lowly pleasure, where highbrow art is undermined by vicious jokes and burlesque actions. But although there is a parodying element to his art, it never produces parody. Rather, his objects and performances shake up art's logic by over-fulfilling all the standards employed by critics and the public to gauge and exploit the work of art.

Westphalen had his first solo show in Künstlerhaus Bethanien, Berlin in 1995. Since then, he has been exhibiting internationally in exhibitions and venues such asMonuments for America Wattis Gallery, Oakland, USA (2005); Global Players Bankart, Yakohama, Japan (2005); Milliken Art Gallery, Stockholm, Sweden, (2005); and the Whitney Biennial, Whitney Museum of American Art (2004). In 2006 he will have a solo exhibition in Michael Neff Gallery in Frankfurt (May); Galerie Georges-Philip and Natalie Vallois in Paris, France; and at Kunstverein Brandenburg, Potsdam, Germany.

Serhiy Bratkov is a photographer active in The Fast Reaction Group, an urban interventionist collective prominent in Ukraine during the mid-1990s (together with Boris Mikhailov, Serhiy Solonsky and Victoria Mikhailova). His work arrives out of a consciousness of his own time gauged against the political, social and economic contingencies of the "just past". Bratkov's subjects are seemingly listless within a liminal space inscribed by the temporal gap between Ukraine's Soviet period and its subsequent reincarnation as an evolving market economy and political anomaly. In recent work, Bratkov remixes images that approach the child as a subject beyond common juvenile clichés approaching a generation of children that hold a residual consciousness of what transgressed while prematurely entering adolescence located in an antithetical elsewhere. These kids, forever, parentless and invulnerable, are consumed by an alienating experience of youth that is often reduced to exchange value by the international demand for adoption and abundant sex trafficking.

Greenfort discovers the details of city life, which are largely unknown or go unseen due to their normalcy. In his work, Greenfort deals with these kinds of situations in space and in everyday life and reveals the structures behind urbanity through small changes or mechanisms. With the help of artistic intervention, occurrences become visible and their existence questioned.

Since the mid-1960s, Dan Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his investigations, which are translated into essays, performances, installations, videotapes and architectural/sculptural designs.

Graham began using film and video in the 1970s, creating installation and performance works that actively engage the viewer in an inquiry into public and private, audience and performer, objectivity and subjectivity. In installations focusing on the social implications of television, as articulated in private and public viewing spaces, Graham refers to video's semiotic function in architecture in relation to both window and mirror. Graham has also published numerous critical and theoretical essays that investigate the cultural ideology of such contemporary social phenomena as punk music, suburbia and public architecture. Graham has published numerous critical essays, and is the author of Video-Architecture-Television (1980). His work is in the collections of major institutions in USA and Europe, including Moderna Museet, Stockholm; Centre Georges Pompidou, Paris; and The Tate Gallery, London. He has had retrospective exhibitions at Van Abbemuseum, Eindhoven, Holland; Museum of Modern Art, Oxford, England; The Renaissance Society, University of Chicago; Kunsthalle, Berne, Switzerland; and the Art Gallery of Western Australia, Perth; and has been represented internationally in group exhibitions/institutions such as Documenta 7, Kassel, Germany; Art Institute of Chicago; Stedelijk Museum, Amsterdam; P.S.1, New York; American Film Institute National Video Festival, Los Angeles; and The Museum of Modern Art, New York, among other festivals and institutions.

Carol Bove's work reflects on social, political, and artistic movements of America in the 1960s and 1970s. Bove has had solo exhibitions at Kunsthalle Zurich, Switzerland (2004); Hamburg Kunstverein, Germany (2003); Team Gallery, New York (2003); Art Basel|33, Basel, Switzerland (2002); and Bronwyn Keenan Gallery, New York (2000).

Bove has also been featured in numerous group exhibitions including The Joy of Sex: Carol Bove and Charles Raymond at Cubitt, London (2004);Influence, Anxiety, and Gratitude at the List Visual Arts Center, M.I.T., Cambridge, MA (2003);Reproduction II at Georg Kargl, Vienna, Austria (2003); and Transformer at La Panaderia, Mexico City (2001).

Corey McCorkle is interested in the Utopian ideas of nature and transcendence, which he pursues in many of his installations. McCorkle's work has been included in the surveys Make It Now at Sculpture Center (2005) and Greater New York 2005at PS1, and was featured in a solo exhibition in 2006 at Kunsthalle Bern in Switzerland. McCorkle's work has also been included in The Plain of Heaven by Creative Time in NYC (2005) and in Monopolis at Witte de With in Rotterdam (2005). Most recently, his work was included in Just Kick It Till It Breaks at The Kitchen in NYC (2007). McCorkle will have upcoming exhibitions at Pompidou Center, Paris and SMAK in Gent. He is featured in the November 2007 issue of Frieze.

This residency is made possibly with 03 Funding: specifically designated funds made available by the Ministry of Foreign Affairs for exchange with countries of the South in the field of contemporary art, discourse and production.

The late fifties and early sixties Weiner spent travelling throughout North America (USA, Mexico, and Canada). The first presentation of his work was Mill Valley California in 1960. He participates in public and private projects and exhibitions, in both the new and old world, maintaining that Art is the empirical fact of the relationships of objects to objects in relations to human beings, and not dependant upon historical precedent for either use or legitimacy.

Kristina Leko is an artist working in the medium of video, photography, text, and social interaction. Her work includes a collection of found objects, actions in public space, and communication and documentary projects in collaboration with different social groups.

Projects: Sarajevo International, a video-communication project in collaboration with twelve Sarajevo immigrants, 2001; On Milk and People, an exhibition in collaboration with Croatian and Hungarian farmers, 2002/03; Cheese and Cream, various actions and artifacts dedicated to protection of the milkmaids of Zagreb, since 2002; Verfassungs-korrekturbuerro, an action in progress improving the American Constitution, 2004.