Tag Archives: residency program

NOt here

NOt here

Works by: Ruben Aubrecht, Maria Anwander, Alessandro Imbriaco, Veronica Raimo. Curated by Raffaele Bedarida


Download Floor Plan: not here floor plan









Alessandro Imbriaco and Veronica
Raimo, Static Drama, 2010, five
photographs: 19.7 x 27.6 inch each; fifty
postcards: 4 x 6 inch each.

Ruben Aubrecht,The Sublation of Space,
2010, interactive web-based installation,
variable size.


Maria Anwander, The Kiss,
documentation of a performance held at
MoMA, New York, 2010, photograph: 17
x 22 inch; museum label: 12 x 16 inch;




NOt here

Works by: Ruben Aubrecht, Maria Anwander, Alessandro Imbriaco, Veronica Raimo. Curated by Raffaele Bedarida


Opening: December 8th, 6:30 – 9:00 pm

By appointment: December 9 – 23, 2010

HSF by Montrasioarte,

128 W 121st Street, New York, NY 10027

Subway 2,3 to 116th Street



phone: 646 542 9986


Are you there? Can you see me? Really?

(Skype Conversation, November 2010)

The artist might be present, the artwork could be elsewhere, the beholder should be here. NOt here is a reflection on a paradoxical phenomenology of absence in the era of virtual ubiquity. NOt here, features HSF artists in residence Ruben Aubrecht, Maria Anwander, Alessandro Imbriaco, and Veronica Raimo. Curated by Raffaele Bedarida, NOt here presents works realized by the four artists during their stay in New York (September – December 2010).


Ruben Aubrecht activates short circuits between means of communication, their contents, and contexts. At HSF, he exhibits an internet-based piece entitled The Sublation of Space: a webcam live-streams the video of a light bulb and wall located in a room of HSF (128 W 121st Street, Harlem, New York). For the duration of the show, anyone with internet access can see the light bulb in real time and switch it on at this link: www.rubenaubrecht.net/new_york.html. By turning the light on you will read a note on the wall, which describes what you have just done. Then, a timer will switch the light off again. The Sublation of Space parodies the basic feeling of presence and satisfaction given by interactive works – here you are able to illuminate a real house in Manhattan, interfere with the life of its inhabitants, and alter, somehow, the most famous urban night view in the world.

Born in Austria in 1980, Aubrecht received an MFA from the Academy of Fine Arts in Vienna with a degree in Computer and Videoart in 2006. He has exhibited in the US and in several countries throughout Europe including Germany, Italy, Spain, Great Britain and Sweden.  http://www.rubenaubrecht.net

Maria Anwander is a multimedia artist. She uses art institutions as forums where hierarchical, social, and economic models can be tested and reimagined. At NOt here, she presents The Kiss. The piece is part of a series of artworks and performances, which Anwander has developed since 2004, playing with the link between art institutions and market. The Kiss was given to the Museum of Modern Art  (MoMA) in New York without asking for permission. Anwander entered the museum as a regular visitor and gave an intense French kiss to the wall. Next to the invisible mark of her mouth she fixed a fake label, which simulated the style of a regular MoMA caption, including this text. Kissing in some cultures and religions symbolizes the exchange of souls and powers.

Born in Austria in 1980, Anwander received an MFA from the Academy of Fine Arts in Vienna with a degree in Sculpture, Performance and Media art (2008). She has exhibited in several European countries, in Australia, and the United States. www.maria-anwander.net


Static Drama is a shared project by Alessandro Imbriaco (images) and Veronica Raimo (texts). In a series of photographs, Imbriaco portrays six private backyards at dusk. Painstakingly staged and theatrically lit, these images emphasize the out-of-time quality of twilight’s darker phase. The deserted backyards are only populated by the traces of their inhabitants’ lives. Observed as literary topoi, the environments are represented as archetypal stages of possible domestic dramas. The image of a seventh backyard is turned into a postcard – printed in fifty copies. Available for visitors to take (and mail), the postcards’ backs bear Raimo’s handwritten messages. Fragmentary notes from elsewhere, the texts are simultaneously intimate and distant. Things seem to be happening and involving the writer. But, similarly to Imbriaco’s images, it is the very act of representation through language to create a filter and inevitably instill a sense of distance.

Born in Salerno (Italy) in 1980, Imbriaco currently lives in Rome. He won the 2008 Canon Award for Young Photographers and the 2010 World Press Photo prize. He has exhibited in solo and group shows throughout Europe and widely published in major Italian magazines – such as L’Espresso, Internazionale, Abitare, Io Donna, D di Repubblica. His work is currently distributed by the photographic agency Contrasto. http://www.alessandroimbriaco.com/home.html

Born in Rome in 1978, Raimo graduated in Literature at “La Sapienza” University in Rome and in Cinema Criticism at “Humboldt” University in Berlin. Her first novel, “Il dolore secondo Matteo” was released by the publisher Minimum Fax in 2007. Her poems are collected in the anthology “Fuori dal cielo” (Rome: Empiria, 2007). A second novel is forthcoming with Rizzoli. Raimo contributes regularly to the magazine Rolling Stone Italia and works as a translator for several publishers in Italy.


(RB, New York, 2010)


Avital Cnaani – Fumitaka Kudo

Please join us at HSF by Montrasioarte for the opening of the twin shows featuring artists in residence,

Avital Cnaani (sculpture, Israel) and Fumitaka Kudo (drawing, Japan).

Curated by Raffaele Bedarida and Teresa Meucci, the show presents works achieved

by the two artists during their stay in New York (March – June 2010).

Opening reception:

June 3rd, 6.00-9.00 pm

By appointment:

June 4 – 24, 2010

HSF by Montrasioarte

128W 121st street

Subway 2, 3 to 116th street


646 542 9986

Avital Cnaani


Avital Cnaani explores a territory between body and geography

through works that merge the boundaries of drawing and sculpture.

Geographic and anatomic sites are evoked such as caves, mountains,

hair or ears, through metonymic and ambiguous allusions.

At HSF, she presents a series of drawings and three site-specific sculptures.

Her drawings are deeply plastic, tectonic. The fragile sculptures feel like spatial drawings

which link the architectural container of the exhibition-space’s walls and ceilings to the

contained space where you are standing and the air that you are breathing. Their link is

the bodily space of sensation stimulated through the use of a diversity of materials and textures.

Fumitaka Kudo


When fish fossils found on mountains were believed to be

evidence for the Biblical Flood, Leonardo da Vinci proposed that

they were actually remains of organisms that had lived before

mountains were raised. A theory very close to that of modern paleontology.

During the last three months at HSF, Fumitaka Kudo drew a series of small and large scale

works on paper with the painstakingly technique of Leonardo’s drawings.

But his studies are visualizing with scientific precision large, impossible creatures, which could have

only swum in the depths of Flood’s waters. The intricate web of signs that compose the fish’s epidermis

is the product of a repetitive gesture and constitute a diagram of manual fatigue. The little, inexpressive eye is

the only opening through this crust.


Please join us at HSF for the opening of a double solo exhibition of artists-in-residence, Lovisa Ringborg and Elena Ascari. Co-curated by HSF Chief Curator, Raffaele Bedarida with newly appointed Junior Curator, Teresa Meucci, the show presents works achieved by the two artists during their stay in New York (May-July-2009).

if your secret was an animal
what animal would it be


Curated by: Raffaele Bedarida and Teresa Meucci

Opening reception:
July 16th 6.30-9.00 pm

By appointment:
July 17th-31st, 2009

HSF by Montrasioarte
128W 121st street
Subway 2, 3 to 116th street


if your secret was an animal
what animal would it be

Swedish artist Lovisa Ringborg exhibits at HSF two interrelated works. A photograph, Insomnia is the visual and conceptual counterpart of an environmental piece, If Your Secret Was an Animal What Animal Would It Be, which consists of four photographs and a mirror text. More than doing photographs, Ringborg literally works with photography: her initial photographic shots, used as “raw material” (the artist’s words), are digitally altered and combined into carefully composed and theatrically staged images. As with Caravaggio (a rough mattress hardly visible under classical draperies), the fictionality of the represented scene is revealed in her work, and the masquerade in the artist’s studio emerges interfering with the subject matter. Subtle visual inconsistencies insinuate unreliability in the faux staged-photographs and add surreal echoes to their content. But there is no attempt on shocking effects: no juxtaposition of evidently incongruous images and meanings. If the sleep of Goya’s reason produced monsters, the inoffensive stuffed animals that Ringborg photographed at the Museum of Natural History, are turned into the elementary vocabulary of a potentially monstrous language. A language from which narrative is removed and humans, beasts, and objects are kept frozen on the threshold between familiar anxieties and uncanny premonitions. RB

cellule web


The series of paintings presented by Italian artist Elena Ascari starts a new phase in her visual research. Ascari’s previous canvases portrayed the reflecting world of the malls’ escalators through a photorealist technique. The shiny world of glasses and mirrors was turned into a no-less-kitschy surface of gummy paint. The effect was one of complex visual fragmentation: repetitions, reflections, and distortions of the same figures resulted in an optical multiplication that could be read as an open sequence, a deconstructed story. With Cells, Ascari does a step further. Focused on the refracting skin of design objects, these new reflections destroy any perceptive continuity. An ordinary experience given by the popularization and domestication of Deconstructivist architecture is translated into a trope: close-up views become miniaturized oneiric visions. In the resulting kaleidoscope, humans as well as any other recognizable thing are fugacious and isolated apparitions. The story no longer exists, connections are lost. The aesthetic of very small reflective surfaces become, with Cells, a metaphor for the connective isolation of the i-phone era. RB