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2008 ARTSLINK FELLOWS
ALEXEI BIRYUKOFF, RUSSIA
Biryukoff’s figurative paintings, photographs, and collaborative multi-media installations examine human psychology and social isolation. His work has been exhibited in the US, Russia, and the UK. He wishes to expand upon these themes during his residency and also hopes to advance his knowledge of painting and photographic techniques through collaborations with American artists.
NATASA BODROZIC, CROATIA
Through her work as an independent cultural manager working within the framework of the Zagreb Student Center and as a festival production associate, Bodrozic aims to effect social change and introduce a broad, non-professional public to contemporary art practices and educational models that articulate the social, economic, and political relationships present in transitional societies like Croatia. She hopes to examine the roots of cultural activism and enter into an exchange of ideas and cultural practices surrounding independent art collectives and festivals in the US.
SYLWIA GORAK, POLAND
As a painter, Gorak seeks to reevaluate the inherent beauty and awe of landscapes by introducing man-made objects, both inconsequential and architectural, that create a tension between a sense of permanence and materialism. Inspired by her hometown of Lezajsk, Poland, her paintings also draw from prior residency experiences in London, Osaka, and Sierre, Switzerland. A vocalist and performance artist as well, Gorak is also interested in acoustics and the material properties of sound. She intends to explore both her visual and vocal pursuits in an American setting.
RICHARD GREGOR, SLOVAK REPUBLIC
Head of the Cultural Department of the Old Town Bratislava district, Gregor is charged with redesigning the organizational structure and cultural programs for the Center of Contemporary Art in Bratislava. He also teaches art history and theory at the Academy of Arts in Banska Bystric and is the founder and editor-in-chief of DART – Revue of Contemporary Art. Gregor wishes to study the structure and financial management systems of American contemporary art centers that incorporate a wide variety of programming.
DEJAN KALUDJEROVIC, SERBIA
Kaludjerovic’s paintings and installations address issues of freedom and democracy, multi-national identity, moral responsibility, political correctness, and the various manifestations of fear, aggression, and obsession present within modern societies. He is also interested in the ways that American and Western culture has influenced Serbia since the dissolution of Yugoslavia. He plans to continue investigating these issues by attending lectures, exchanging artistic and methodological practices, and developing collaborative projects with American artists.
SERGIU LUPSE, ROMANIA
Through film and photography, Lupse describes particularities of time and place as they relate to culture. His inspirations include obscure elements of detritus as well as traditional Romanian villages. He also explores the emotional effects of immersive sound and color use and the development of culturally analytical conceptual narratives. Lupse hopes to work with film and photography centers to learn new techniques, develop future film narratives and engage in collaborative projects.
MARTIN PAPCUN , CZECH REPUBLIC
Educated as a goldsmith and sculptor of precious metals, Papcún creates miniature, architecturally-inspired sculptural works and large-scale installation pieces from gold, lead, stainless steel, glass, and image projections. His work deals with the shifting nature of illusion and reality in urban environments and the disorientation created by the combination of real and projected images and spaces. He plans to continue this vein of investigation during his residency and is also interested in developing new methods of engaging young artists and students in the arts of metalworking and jewelry.
EUGEN RADESCU, ROMANIA
As co-director of the Bucharest Biennale, Radescu has brought together an accomplished set of international artists as participants. He is also co-founder and co-editor of Pavilion magazine and has written and lectured on contemporary art and new media for Russian and European audiences. During his residency, he would like to be involved in organizing art events, working with editorial teams, documenting exhibitions, and researching the social and political realities of the US by attending lectures given by cultural managers and theoreticians.
ANILA RUBIKU, ALBANIA
Rubiku, often assisted by members from local communities, constructs large-scale sewn structures that explore urban architectural spaces and the depiction of the human body. Her work has been exhibited in throughout Europe and Asia and in the US. Rubiku is interested in bringing knowledge of American art and architectural centers and community organization practices back to Albania to inform an urban revitalization project she will undertake with architectural students from Tirana and the Lindart Cultural Center.
KOLJA SAKSIDA, SLOVENIA
A sculptor and producer of stop-motion animation films, Saksida seeks to develop the common ground that exists between old and new time-based media. His work has included children’s programming, science-fiction animation, and experimental film and has been shown at film festivals throughout Eastern and Western Europe. During his residency, he hopes to compare his own animation practices with those of independent and studio-based animators in the US as well as visit animation archives to research classic stop-motion animation footage.
EMILIA SALIEVA, KYRGYZSTAN
As manager of the Arts and Culture Program of the Swiss Cooperation Office in Bishkek, Salieva organizes round table discussions, forums, seminars, and festivals to promote an open dialogue about traditional and contemporary culture among the governmental agencies, business organizations, and cultural communities of Central Asia. She is interested in sharing experiences and making contacts with counterparts in US cultural organizations as she prepares for the Fusion Festival in Kyrgyzstan in 2010.
OKSANA SHATALOVA, KAZAKHSTAN
Through photography and video, Shatalova reflects the memories, hopes, and fears of developing nations, placing particular emphasis on communication between East and West. Her works explore the lingering cultural influences of the Soviet era as well as the current economic reality in Kazakhstan. She seeks to examine these issues in the context of the US and plans to write about her experiences for Central Asian magazines upon her return to Kazakhstan.
MAIA SIMONISHVILI, GEORGIA
Simonishvili is responsible for developing exhibitions, cultural programs, and communications for the National Parliamentary Library of Georgia as it prepares to transition from a Soviet-era management style to a more Western model. She hopes to gain practical knowledge from US cultural institutions concerning fundraising policies, library interfaces, and educational programming in order to define and implement the National Parliamentary Library’s new role as a leader in intercultural collaboration throughout the Caucasus.
MARKO STAMENKOVIC, SERBIA
Stamenkovic is an art historian and critic and the curator of contemporary art for O3ONE Art Space in Belgrade. In 2005, he served as the UNESCO Chair for Cultural Policy and Management in the Balkans. He is interested in the cultural implications of EU enlargement, methodologies for organizing exhibitions in the context of globalization, and projects analyzing the current political, social, and economic features of the contemporary art world. During his residency, he hopes to observe sustainable non-profit art organizations and learn new innovative methods for curatorial design.
OLGA TATOSIYAN, RUSSIA
Serving as senior researcher and curator of video arts at the National Center for Contemporary Arts’ Nizhny Novgorod branch, Tatosiyan is involved in the reinvention of the Center’s video exhibition program in anticipation of its new Arsenal space, a 5,000-square-meter government building repurposed for contemporary art. While in the US she would like to gain exposure to video artists and festivals as well as novel screening and installation techniques. She also hopes to acquire practical experience in fundraising, educational program design, and public relations.
VLADIMIR US, MOLDOVA
As founder, director, and curator of the Moldova Young Artists Association, Oberliht, Us implements projects and exhibitions meant to address the fragile yet pliant state of the cultural community in Moldova. He is interested in American cultural and political practices and how they may inform Moldova’s transition from Soviet outpost to independent state. He seeks to expand his practical knowledge base by observing how market factors, scientific advances and modernized infrastructures foster opportunities for public art, sustainable residency programs, and participatory new media.
BORJANA VENTZISLAVOVA, BULGARIA
Ventzislavova, working in the fields of film/video, photography, installation art, and new media, deals with issues of identity, migration and tourism, the marginalization of individuals and social groups, and the adjustment of national borders. She has studied in Vienna, Rome, and London and has shown her work in festivals and exhibitions throughout Europe and Russia. She hopes to further her examination of cultural diversity and migration by meeting with American artists and curators and participating in discussions and workshops during her residency.
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