Yaddo, maess anand

Yaddo, Frankenthaler studio, 2018

 

Yaddo is a retreat for artists located on a 400-acre estate in Saratoga Springs, New York. Its mission is to nurture the creative process by providing an opportunity for artists to work without interruption in a supportive environment.
Collectively, artists who have worked at Yaddo have won 66 Pulitzer Prizes, 27 MacArthur Fellowships, 61 National Book Awards, 24 National Book Critics Circle Awards, 108 Rome Prizes, 49 Whiting Writers’ Awards, a Nobel Prize (Saul Bellow, who won the Pulitzer Prize in Fiction and Nobel Prize in Literature in 1976), at least one Man Booker Prize (Alan Hollinghurst, 2004) and countless other honors.

http://www.thefirstnews.com/article/shes-done-it-warsaw-artist-becomes-first-polish-woman-in-history-to-win-prestigious-yaddo-residency-3133

 

Biennale de la Biche

curatorial work

 

Jeremie Paul , Biennale de la Biche

Jeremie Paul, Biennale de la Biche

 

Biennale de La Biche is the smallest contemporary art biennale in the world. With my colleague Alex Urso we have selected fourteen artists from all over the world. Although differing from one another, each participant was asked to conceive an artwork able to coexist with the environment of the location: the enchanting Caribbean island of Ilet de La Biche near Guadeloupe.

The title chosen for the 2017 edition is In a land of. This sentence, suspended and imprecise, wants to be a suggestion, an incentive to grasp the essence of the island as a geographically isolated place, but above all, a spot distant from all the limits and conventions of the contemporary art system. Moreover, the location is a transitory place, because it is slowly disappearing: due to the rising sea levels, the island is in fact gradually submerging, and in a few decades, it is destined to disappear.

More information about this event can be found in Guardian (EN) Artribune (IT),  Hyperallergic (EN) Beaux Arts Magazine (FR), Szum (PL) , Ming Pao (CN) and our website biennaledelabiche.org

artists: Karolina Bielawska (PL), Norbert Delman (PL), Michal Frydrych (PL), Styrmir Örn Guomundsson (ICE), Maess (PL), Ryts Monet (ITA), Jéremie Paul (FR), Lukasz Ratz (PL), Lapo Simeoni (ITA), Saku Soukka (FIN), Aleksandra Urban (PL), Yaelle Wisznicki Levi (USA/PL), Alex Urso (ITA), Zuza Ziółkowska-Hercberg (PL).

 

The Drawing Center, New York

The Intuitionists, Drawing Center, New York

11.07.2014-24.08.2014 

dessin contemporain, dibujo contemporaneo, contemporary drawing

Maess, The perfect elevator waits, 152 x 120 cm, marker and pen on paper, 2014

curated by Heather Hart, Steffani Jemison, and Jina Valentine.

The Intuitionists  is a collaborative artist project inspired by Colson Whitehead’s 1999 novel of the same name—a work of speculative fiction that explores the relationships between progress, technology, and difference. The exhibition considers how the collection, the database, and the aggregate serve as complementary models for the organization of information and objects in flux.

artists: Shaun Acton, Valerio Berruti, A.J. Bocchino, Dana Boussard, Hannah Burr, Maria Bussman, Enrique Chagoya, Joyce Chan, Catalina Chervin, Hannah Cole, Kenny Cole, Vincent Colvin, Hollis Cooper, Cui Fei, Gabriel Delgado, Wendy DesChene, Asya Dodina and Slava Polishchuk, Debra Drexler, Derek Dunlop, Elisabeth Eberle, Lisa Endriss, Rodney Ewing, Tory Fair, Douglas Florian, Nicholas Fraser, Carl Fudge, Brett Goodroad, Barry Gray, Stephen Grossman, Nathan Haenlein, Patrick Earl Hammie, Skowmon Hastanan, HENSE, Elizabeth Hoak-Doering, Cynthia Ona Innis, Tatiana Istomina, Hedwige Jacobs, Chiaki Kamikawa, Manfred Kirschner, Kimia Kline, Nicholas Knight, Kang Joo Lee, Kate Tessa Lee, Cynthia Lin, Hung Liu, Maess, Mario Marzan, Linn Meyers, Nyeema Morgan, Paul Morrison, Seamus Liam O’Brien, Alison Owen, Jenny Perlin, Mel Prest, Jo Ann Rothschild, Anna Schachte, Fausto Sevila, Jill Shoffiet, Thomas Slaughter, Chris Spinelli, Karen Tam, Caroline Tavelli-Abar, Scott Teplin, Jen Urso, Kris Van Dessel, Kara Walker, and Margaret Withers

 

Supported by Adam Mickiewicz Institute