Summer and Winter residencies are the heart of Transart Institute for Creative Research and critical hubs for events and exchange together with a myriad of exhibitions, screenings, performances, publications, conference, talks and other events that take place in-between by Transart members both collaboratively and individually—see them here. Recent residencies have taken place in Berlin and New York City and January 2018 will see us in Mexico City. Transart is committed to being fluid, responsive and nomadic; to being inclusive and with a wide perspective in order to be a relevant, vital, vibrant and global community.
To back up a bit though, residencies are both milestones and resources activated by 1-3 week plenaries: each including presentations in various forms, critique, presentations, screenings and performances. Topical and elective workshops take place as well as guest lectures, artist and curator talks, individual meetings with faculty, students, advisors, guest critics, curators and other creative practitioners. Refinement of project plans, alternate routes, revisions, the collecting of resources are all in process throughout each residency so you can leave clear-headed and well supported.
WORKSHOPS + SEMINARS
Participants explore concepts and test new ideas and working methods through a series of creative exercises and assignments (realized in media of choice and completed individually or in collaboration). Workshops aim to equip participants with expanded conceptual and aesthetic toolsets; feeling invigorated and inventive about applying the workshop ideas and processes to their respective practices and locales. Workshops are not intended to further technical virtuosity but rather to enhance creativity by exposing you to new approaches and working in various genres. In these sessions it often makes sense for you to work with what you are technically familiar with (in this case you should bring your own tools, materials). Data projectors, sound systems and printers are generally available. You will also participate in elected cultural studies seminars, devised to help contextualise work and find ways to inform projects through research while also articulating new ideas, exploring new ways of thinking and making connections through discussions and critiques. Seminars are chosen from current cultural topics viewed through the lens of media studies, literature, sociology, philosophy, art history, etc. Workshops and seminars are differentiated in terms of output: workshops include creative assignments, projects or exercises and seminars involve critical responses and discussion. In addition, some research training seminars are prescribed by our accrediting institutions.
PRESENTATIONS + CRITIQUE
You will participate in project presentations and critiques with residency faculty, guests and alumni. Formats vary considerably based on input, culture of hosting location, guests, curiosity (as in let's try this) and culture. Length, audience size and formats will vary to promote versatility and the ability to present in different formats, audiences etc. To warm up these always begin with very brief introductory presentations to the full group. The goal is for you to benefit from different perspectives on your work. Issues of audience, delivery, content, aesthetics, technique, media, genre, identity, culture and process are discussed, resources are shared. Importantly you will learn to present work effectively in response to specific goals in different cultures and situations.
EXHIBIT, PERFORM, SCREEN, PUBLISH
Experiment with exhibition and performance possibilities as appropriate to the nature of your thesis project. You have the option to self-organize events or present documentation of projects—it is essential that work is disseminated in ways that are relevant and that best express and communicate what your project and praxis are about to the intended audience. This process is integral to the project from the earliest stages of project planning and through constant dialogue with your advisors throughout. During Transart Triennale years you will be invited to participate and apply in response to curatorial calls from participating ELSE Foundation consortium members and their projects. The last Triennale included over 150 artists and many were members of Transart with events in four countries and research and projects continuing for a further two years.
These projects and attendant research are also represented by ELSE Journal ( a publication of the ELSE Foundation). Most recently, Triennale 2016-18 and ELSE Journal Issue 3 2017, available here. These events and those initiated by advisors, students, and guests form a vital, exciting component of the Transart experience. Students, alumni and advisors continue to perform, exhibit, publish, screen and hold critique and discussions groups together long after the residencies. As a new component of the residencies beginning in January 2018 Transart will include fora to foster connections between groups who might not otherwise meet, and to support projects they seed. Led by Transart members these fora will be affiliated to residency sessions by interim events such as symposia or pop-up events, and will be invited by submission based on the topics of research or other creative goals.
WINTER RESIDENCY MEXICO CITY 2018
IN COLLABORATION WITH EMILIO CHAPELA and IN PARTNERSHIP WITH:
Calle 13 #25, Col. San Pedro de los Pinos, 03800 Ciudad de México
Altamirano 20, Colonia San Rafael, Mexico D.F. 06470
Calle Isabel la Catolica 144, Centro, 06000 Ejido del Centro, CDMX, Mexiko
Av. 1, 37, San Pedro de los Pinos, 03800. Ciudad de México
Friday, JANUARY 5:
Open meeting + group dinner
Saturday, JANUARY 6:
Studio visits and artist presentations
10AM - 6PM
Lorenzo Alvarez Arquitectos
Laboratorio Arte Alameda
Sunday, JANUARY 7: Obrera Centro
Free-style workshops up to 120 min. mini-workshops 10-6
(6 freestyle + 2 cooking)
PM: Group dinner with chef TBA
Event hosted by artists/co-founders Mauro Giaconi and Marcos Castro
CALL FOR WORKSHOPS
Monday, JANUARY 8: SOMA
"Pecha kucha" style presentations, students and reviewers (bring memory stick)
Presentations: 10-15 min. per researcher / 20-30 min per guest reviewer (total 8.25 hours)
10-2, 4-8PM in Session
2-4 PM Lunch reception
In his work, Eduardo Abaroa examines aspects of impermanence, history, and the socio-political fabric of North American society. Frequently he reimagines iconic works and powerful cultural symbols, through which he seeks to dismantle the notions of monumentality and modernity. Found in the intersection of sculpture, installation, and performance, his practice has an immediacy that playfully evades the preciousness often associated with art objects. Even in his more monumental sculptural works, he avoids traditional “fine art” connotations, creating pieces using port-a-potties, tarps, and the rubble of demolished buildings. Inexpensive everyday materials such as cotton swabs, straws and plastic bottles, are frequently found in his pieces. Abaroa’s site-specific projects seek to undermine the authority of cultural institutions, such as the National Anthropology Museum in Mexico City, along with its impulse to install an official narrative and its ultra-nationalistic ideology. By juxtaposing various ideological, aesthetic, and cultural traditions, the artist offers an incisive point of view, deeply critical of the economic and social structures that govern our society.
Abaroa earned his Bachelor of Fine Art from the Escuela Nacional de Artes Plásticas (UNAM) in 1992 and his Masters of Fine Art from The California Institute of the Arts in 2001. He has participated in residencies at La Flora in Bogota (2014), and the Corcoran Gallery in Washington D.C. (2012). In 2011 he directed the IX International Symposium on Contemporary Art Theory, held in Mexico City (SITAC). He has contributed texts for catalogs for many artists vital to the Mexican context, as well as columns and reviews for several journals and publications. He has been the recipient of many grants and awards, including: the Sculpture prize, Sociedad de Valores de Arte Mexicano (SIVAM) in 2006 and 2005, the National Fund for Culture and Arts (FONCA in Spanish) in 2004, and the Fulbright Scholarship, also in 2004.
His most important solo exhibitions include: Stonhenge Sanitario, Sala de Arte Público Siqueiros, Mexico City, Mexico (2006); Eduardo Abaroa, Engendros del ocio y la hipocresía, Instituto Cultural Cabañas, Guadalajara, Mexico (2003); Eduardo Abaroa, Engendros del ocio y la hipocresía (1991-1999), Museo de Arte Carrillo Gil, Mexico City, Mexico (1999); Bitácora Artística, Curare Espacio Crítico para las Artes, Mexico City, Mexico (1997).
He has participated in group exhibitions at many institutions, including: Museo de Arte Zapopan, Zapopan, Mexico (2014); Museo Tamayo, Mexico City, Mexico (2013); The Modern Art Museum of Fort Worth, Fort Worth, United States (2013); Museo Universitario de Arte Contempoáneo MUAC, Mexico City, Mexico (2011); Museum of Latin American Art and the Museum of Contemporary Art, San Diego, United States (2011); Museum of Contemporary Art MOCA, Los Angeles, United States (2007); Museo Nacional Reina Sofía, Madrid, Spain (2005), The Institute of Contemporary Art, Boston, United States (2004). He has also participated in the 6th Bussan Biennial, Korea (2008) and the 25th Biennial de Sao Paulo, Brazil (2002).
Sofía Táboas investigates both natural and man-made space; how it is built and transformed, thought about and perceived. This interest is evident in the materials she uses in her sculptures and installations: artificial and live plants, mosaics, pool equipment, construction materials, plastic, light bulbs, and fire, among others. Her work creates a threshold, a boundary between elements that may be incongruent or seemingly irreconcilable, that serves to reinvent the borders of the public and the private, the inside and the outside. Táboas deftly manipulates space to create interactive structures and contexts where materials can be interpreted on new terms. Despite its seeming formal sobriety, her work is capable of creating habitats, such as floating gardens or underwater scenes, exploring new protozoan life, and give rise to new movement and perception exercises. Influenced by the Arte Povera and Neo-concrete movements, Táboas’ practice can be thought of as an archeology of the future, in which the use of common materials serves to breach the gap separating us from what is outside, of a distant tomorrow, surrounding the spectator with the familiar, in the here and now.
Sofía Táboas received her Bachelor of Fine Arts from UNAM, Mexico City (1986-1990). During the 90s, she was a founding member of the alternative space Temístocles 44in Mexico City.
Her most important exhibitions include: Piedra principio, Fundación RAC, Pontevedra, Spain (2014); Revisiones Superficies Límites, Museo de Arte Carrillo Gil, Mexico City, Mexico (2011); Cinco jardines flotantes para cinco piedras, Casa de Lago Juan José Arreola, Mexico City, Mexico (2009); Azul Pacífico, Casa Barragán, Mexico City, Mexico (2008); Silvestre, Sala de Arte Público Siqueiros, Mexico City, Mexico (2002). Additionally, she has participated in group exhibitions at the following institutions: FRAC Bourgogne in Dijon, France (2014); Palacio de Bellas Artes, Mexico City (2013); Museum of Latin American Art (MOLAA) Long Beach, California, United States (2012); MUCA-UNAM (Museo Universitario de Ciencias y Arte), Mexico City, (2008); The Moore Building, Miami, United States (2002).
Joaquin Segura’s highly diverse oeuvre meditates on violence, political change and the role of ideologies in our current sociopolitical climate. His recent production is visibly concerned about the nature of power and political apparatuses, constructing a practice deeply fascinated by the fissures and contradictions in social superstructures and the crucial role these have played in the globalization of political crisis, mainly explored through constant references to specific historical events. Through his unpredictable works, Segura aims to reach an art of destabilization, elaborating a poetic of sabotage, which relates to impotence, denial & deception.
His action, installation, intervention and photographic work has been extensively shown in solo & group exhibitions in Mexico, USA, Europe & Asia, in venues such as Sala de Arte Público Siqueiros, Museo de Arte Carrillo Gil, La Panaderia and Museo Tamayo Arte Contemporáneo in Mexico City, along with El Museo del Barrio, Anthology Film Archives, White Box and apexart (New York, NY), LAXART, MoLAA (Los Angeles, CA), Museo Nacional Centro de Arte Reina Sofia (Madrid, Spain), National Center for Contemporary Art (Moscow, Russia) and the Modern Art Museum of Fort Worth, TX.
His work has been widely reviewed and featured on major art publications & newspapers such as Flash Art, Adbusters, Art Papers, Codigo, Art Nexus, Artillery, Discipline, Celeste, Reforma & The Washington Post. In 2008/09, Segura was an artist-in-residence at the International Studio & Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. In 2012/13, he undertook artist residencies and research stays at Hangar - Centre de producció i recerca d'arts visuals (Barcelona, Spain), MeetFactory - International Center of Contemporary Art (Prague, Czech Republic) and Impakt Foundation (Utrecht, The Netherlands).
Segura is also a founding member & board advisor of SOMA, Mexico City.
Virginia Colwell’s work examines the space between official and unofficial histories and the poetic ambiguities of truth and fiction in historical narratives. Often she begins her artworks with stories found in her deceased father’s FBI archive, which contains materials that he collected during his career as an agent. Her drawings, sculptures, and videos reinvestigate various cases in the archive through site visits, interviews, archival research, and declassified documents.
Colwell has lived and worked in Mexico City since 2011. Her artistic research focuses on the American South, the Caribbean, and Mexico. She has been an artist in residence with Beta-Local’s La Prática program in Puerto Rico, Untitled art fair’s Fountainhead Residency program in Miami, and the multimedia art center Hangar in Barcelona, Spain. Her works have been exhibited at the Center for Contemporary Art in Lithuania, the Hirschorn Museum in the United States, El Centro de Arte Santa Monica in Barcelona and most recently, at the Centro Cultural Félix Varela during the 12th Havana Biennial. Colwell has received numerous awards including the Virginia Museum of Fine Arts Award, a Pollock Krasner Foundation Fellowship, and a Jumex Foundation Grant. She is currently a faculty member of the SOMA graduate program in Mexico City.
Tuesday, JANUARY 9: SOMA
60 min. Open format critique sessions:
(consult with advisors prior, show, perform, experiment, discuss)
11-7PM (2-4 break)
Group 1: Sullivan, Durrani, Epp Buller, Hoffecker, Laberge, Owens
Group 2: Daza-Paris, Barcelona, Greenfield, Marais, NN, NN
MFA meeting (Cella + Cooks) 3:30
PHD meeting (researchers only) 3:30
8PM: PhD Thesis Presentation: Dr. Chris Danowski
Wednesday, JANUARY 10: SOMA
60 min. Open format critique sessions:
(consult with advisors prior, show, perform, experiment, discuss)
10-8PM (2-4 break)
Group 1: Cohen, Hilliard, Piper, Senza, Sammarone, Wasseem
Group 2: Thomas, Fazzio-Welf, Geremia, Chapela, Angelovski, NN
PHD meeting (Cella + Cooks) 3:30
MFA meeting (researchers only) 3:30
8PM: Miércoles de SOMA lecture series: TBA
Tlatelolco and Plaza de Tres Culturas
The megalopolis of Mexico City is ripe with layers of history and cultural expression which has shaped the formation of the city itself. The foundation of the city lies in its complicated pre-Columbian past that occupies the same space as its post-conquest colonial history with roots so deeply embedded we still see the effects of the past even into the present day. We will walk with independent curator, Leslie Moody Castro and invited expert, George Flaherty through one of the most emblematic spaces in the City. In his book, Hotel Mexico, Flaherty
“...explores how urban spaces—material but also literary, photographic, and cinematic—became an archive of 1968, providing a framework for de facto modes of justice for years to come in his book.
In 1968, Mexico prepared to host the Olympic games amid growing civil unrest. The spectacular sports facilities and urban redevelopment projects built by the government in Mexico City mirrored the country’s rapid but uneven modernization. In the same year, a street-savvy democratization movement led by students emerged in the city. Throughout the summer, the ‘68 Movement staged protests underscoring a widespread sense of political disenfranchisement. Just ten days before the Olympics began, nearly three hundred student protesters were massacred by the military in a plaza at the core of a new public housing complex.
In spite of institutional denial and censorship, the 1968 massacre remains a touchstone in contemporary Mexican culture thanks to the public memory work of survivors and Mexico’s leftist intelligentsia.”
Moody Castro and Flaherty walk and talk with us as we visit this impactful space that represents both a distant and recent past to understand its impact on today's generation of contemporary artists. We will visit with the archeological site with ancient ruins of the Mexica civilization, the colonial church representing the Spanish conquest and the plaza site of the ‘68 massacre, all surrounded by the modern and affected buildings of the 1985 earthquake. We next visit the Memorial 68 Museum at the Centro Cultural de Tlatelolco a symbolic space for reflection, designed to build the country’s collective memory around a recent history that was previously denied.
On limits, borders, edges, and boundaries
Friday, Jan 12: Casa Maauad
6-10PM Opening remarks, symposium screenings, vernissage
Saturday, Jan 13: Casa Maauad
12-6 Presentations (20 min.)
6-7 Panel discussion
Sunday, JANUARY 14: Casa Maauud
Brunch and closing Transart meeting
EF CONSORTIUM (BY INVITE OR PROPOSAL)
Monday, JANUARY 15: NEST TBC
photo credit: Emilio Chapela Pérez: Es una catástrofe no encontrar terreno en común.
Summer Residency 2017
Berlin SUMMER 2017
Badstr. 41a (Gate 1), Wedding, Berlin
Monday, July 24 - Sunday, July 30
"From Artist to Transartist" panel discussion moderated by Jean Marie Casbarian
MFA Dialogue, and exhibition, performance or screening – Zee Ahmed + Danny Hyatt + Sean Rees + Reception
MFA Dialogue, and exhibition, performance or screening – Deborah Carruthers + Oliver Benoit
MFA Dialogue, and exhibition, performance or screening – Andrea Haenggi + Birgit Larson
"Performing the archive" workshop with Angeliki Avgitidou
"Holding Patterns" workshop with Jean Marie Casbarian
"Self-care" workshop with Laura González
"PU Research Training" workshop with Anya Lewin, Roberta Mock, Deborah Robinson, Amanda Russell
"Presenting Artistic Research" workshop with Sarah Bennett
"Yoga Nidra" with Laura González
Monday, July 31 - Sunday, August 6
4 August, 17:00 - 18:00: Artist talk by Aleks Slota, reception (PUBLIC)
Berlin Excursion with An Paenhuysen
MFA Dialogue, and exhibition, performance or screening – Sabri Idrus + Kayoko Nakajima
MFA Dialogue, and exhibition, performance or screening – Omayra Alvardo + Anne Labovitz
"Dis/placement and art" workshop with Elena Marchevska
"Voice" workshop with Wolfgang Sützl
"Fictocriticism and the Futures of Writing" workshop with Anna Gibbs
"Articulating Trans-territorality. Geographical and Disciplinary Displacements." workshop with Herman Bashiron Mendolicchio
Grant Writing Professional Development Workshop with Ece Pazarbasi
"Yoga" with Tehneyat Waseem
"Yoga" with Birgit Larson
Monday, August 7 - Saturday, August 12
10 August, 10:00 - 11:00: "Local Time" a project talk with Danny Butt (PUBLIC)
10 August, 18:30 - 19:30: Artist talk with John Newling, reception (PUBLIC)
10 August, 11:00 - 16:00: "Berlin: City of Corrupted Nostalgia" a walktalk with Dan Borden
MFA Dialogue, and exhibition, performance or screening – Raphael Raphael + Michelle Vara (RSVP)
MFA Dialogue, and exhibition, performance or screening – Johannes Huntington + James Jordan (RSVP)
"Broken Grammar" workshop with Michael Bowdidge
"Artistic Research in the Era of Globalization" workshop with Danny Butt
"Pleasure as Subversive Action" workshop with Andrew Cooks
"Open access Vs. Documentation in practice-led research" workshop with Merete Röstad
"Yoga" with Tehneyat Waseem
"Yoga" with Livia Paris Daza
Summer Residency 2016
Berlin SUMMER 2016
Badstr. 41a (Gate 1), Wedding, Berlin
3 Day WORKSHOPS
Tues July 26, Wed July 27 & Thurs July 28
“Praxis Enrichment” with Andrew Cooks
“The Artist as Writer as Artist” with Laura González
“The Role of Chance” with Michael Bowdidge
"Documentation-Forms of Reflection" with Merete Rostad
"Live Writing" with Geoff Cox
"Introduction to the PhD Viva Voce Examination at Transart Institute" with Simon Pope
Incoming MPH Workshop:
PU intro workshop with Sarah Bennett and Anya Lewin
3 Day WORKSHOPS
Mon Aug 1, Tues Aug 2 & Wed Aug 3
“Wanderings, Musings and the Art of Getting Lost” with Jean Marie Casbarian
“Art after the Anthropocene” with Simon Pope
“Subjectivity and the Mirror” with Ruth Novaczek
3 Day Morning Workshop
Tues Aug 2, Wed Aug 3 & Thurs Aug 4
"Praxis Enrichment Refresher: Thesis Project" With Andrew Cooks 2RS
3 Day WORKSHOPS
Tues Aug 9, Wed Aug 10 & Thurs Aug 11
“Tools of Engaging Conflict” with Dorit Cypis
“Smuggling as Curatorial Practice after the Ethnographic Turn” with Christine Nippe & Teobaldo Lagos Preller
“Resistance: Defying the Self” with Elena Marchevska
“Polyplot” with Lynn Book