Jordan Sullivan is a writer and artist who divides his time between Los Angeles and New York. His photographs, curatorial projects, and prose have appeared in publications such as The Paris Review, The New York Times T Magazine, The New Yorker, Italian Vogue, Featureshoot, Dazed Digital, Dossier Journal, Twin Magazine, VICE, Domino, It’s Nice That, Juxtapoz, Third Coast, GUP, Art + Design (China), Secret Behavior, and ELLE. His most recent book Remaining Light, was published by Silas Finch (2016). A number of his artist books were displayed in the 2013 Triennial at the International Center for Photography in NYC. He is the co-founder of the publishing project 205-A.
Forrest Hudes is a second generation American woodworker. After receiving a BA in Theater and Dance from Amherst College his creative practice morphed to focus on furniture and domestic design. Forrest has made objects for homes, offices, retail and restaurant interiors, scenic environments, and residential architectural projects in New York and Los Angeles. Forrest has recently moved his practice from Los Angeles to Detroit!
Motivated by the writings of Sara Ahmed on queer phenomenology and objecthood, my current work explores distortions of recognizable furniture objects in ways that invite new emotional engagements with our inanimate environment. While maintaining functionality as primary, I am trying to create objects that are alienating in their mis-contextualized use of materials and completely honest in their construction. Rather than having a root in any one visual or design context, materiality and a common exploration of furniture object as body metaphor unite the pieces of this collection of work. Plywood is a central material, but rather than hide the plied nature of the material (as is done in traditional furniture design) it is highlighted and used as an identity metaphor. By exploring identity structure and emotionality in domestic objects I am seeking a design lexicon that holds the moral values of honesty, queerness, and a de-centering of linear rationality.
Jeldau Kwikkel (Momm and Popps Residency, NL) is a curator for Paradiso (Amsterdam). Paradiso is an internationally renowned pop venue – and also a podium for classical music, fine art, lectures, contemporary dance and other cultural projects. Jeldau initiates and develops art programmes and exhibitions, including The Small Museum (a 1 x 2ft. museum situated in a cabinet on Paradiso’s façade), Liefde in de Stad (‘love encouraging’ works of art, in public space), and The Infiltration Series (a series of on-site works that challenge our understanding of place.)
Jeldau studied History, and Art History and Aesthetics, at the University of Amsterdam; and Fine Arts, at the Gerrit Rietveld Academy. Before joining Paradiso, she worked for Mediamatic, Amsterdam Museum Night, and Streetlab, a project about street art. She has organised exhibitions in Amsterdam, Istanbul and New York. Jeldau is currently working on ‘Putting the Fun back in Fundamentalism’: a conference and exhibition about humour in artistic activism.
Laurent DeWolf is an architect and artist, based in Amsterdam, The Netherlands. Next to his architectural practice, he has realised several works of art in public space. In 2016/17 he was one of the selected artists for the international Amsterdam Light Festival.
Laurent is currently working on his new project ‘Hamtramck Super Small’, a temporary public art installation, to be built on the empty lot across the street from Popps Packing. In its most simple form the installation is a scaled down and adapted version of the Hamtramck city plan. The three dimensional wireframe, to be made of yellow rope, defines the outlines of a public space. The city is reduced to a humanly tangible scale, roughly the size of a house. The distinct shape of the Hamtramck municipal borders, like neighborhoods within the city, on the small scale defines areas with different character. These specific corners are rendered, borrowing elements from the concept of the pocket park – a small, public accessible urban park. The waterfall, the pergola and the tiled footpath are abstracted into patterns. In a way they also refer to the Detroit tradition of the graphic mural.
Sereina Steinemann is a painter based in Berne, Switzerland. At Popps Packing she is working on a Buchstabenladen, which translates to Letter Shop.
Arne Scheuermann is a design researcher at the University of the Arts Bern HKB. At Popps Packing he is researching the visual imagery of diversity.
Allison Baker earned her MFA in Sculpture from the Rhode Island School of Design, a BFA in Sculpture and BA in Gender Studies from Indiana University.
Her work investigates hegemonic femininity as a site of transgression and resistance. Allison is contrary, contradictory, and almost always wrong. Currently, she is an Assistant Professor of Sculpture and Studio Art at Hamline University where she tries to impart some knowledge of finesse, persuasion, and manual labor.
Jayne Amara Ross is a Franco-Australian poet and film-maker based in Paris France. Since 2009 her films have been shown in international festivals and galleries (CCA-Glasgow, MAMCS-Strausbourg, la Cinematheque Francaise-Paris, Six Dogs-Athens, Brisbane Fringe Festival, Trinosophes-Detroit) and she has toured France and the U.K. with the live cinema collective FareWell Poetry. She has released two spoken word albums in the U.K. (Gizeh Records) and her work has been funded by Le Centre Natioal de Arts Plastiques (France).
Mark Penzak is an Australian playwright and performer, creating theatre for children for over 30 years. His productions feature innovative sets and puppets combined with storytelling and physical characterization. That mix is designed to take the audience on a theatrical voyage. “For me, creating a feeling of human-to-human contact and being linked as an audience is the essence of theatre, so I want kids to feel like they can talk to me during the performance and that we’re all sharing the adventure together.”
Mark has a BA (Theatre/Media) from Charles Sturt University, followed by further studies with John Bolton, John Wright, Philippe Gaulier and at the Desmond Jones School of Mime in London, and a Master of Design (Film/TV) from Edinburgh College of Art.
Norma Jean Haynes (Garden Residency), is a musician and performer based in Cummington, MA. She is committed to exploring traditional and place-based music in its cultural contexts, and using this research to create new music, performances, and community gatherings. This research has taken her through New England and the southeastern United States, to Bosnia and Herzegovina, to South Africa and throughout the United Kingdom. Norma has worked on numerous garden projects and small farms in her travels and will arrive at Popps Packing on April 15 to help us get our gardens ready for the growing season. Norma will also host intimate garden performances and other public happenings during her stay.
Eric Magassa, (b.1972) is an artist based in Gothenburg. Magassa spent most of his youth moving back and forth between Gothenburg and Paris with his Swedish mother and French father from Senegalese and Malian descent. As a student, Magassa subsequently lived in London and New York to study at Central Saint Martins and The Art Students League of New York. His works stem from experiments with different media ranging from paintings to drawings, sculptures, collages, videos and textiles. Identity, fetish rituals, abstraction and patterns are often subjects in Magassa’s wor
This residency is made possible through an ongoing partnership with the Konstepidemin in Gothenburg and funded by the Region Västra Götaland, Sweden.
Laura Sennhauser (Zurich, Switzerland) studied Fine Art and Art Education at the University of Lucerne and the Zurich University of the Arts. Laura Sennhauser works with various media such as painting, sketching, video, sculpture and text. In her work, she is interested in everyday absurdity, in questions around finding and losing of the balance of forms, color and content, her approach is an attempt to grasp the world.
During her 2 month residency at Popps Packing, Laura will explore her abstract paintings and drawings and attempt to study the cities of Detroit and Hamtramck, a novel foreign environment, through daily explorations during her walks and bicycle rides, allowing the setting to influence and guide her creativity.
Jeremy Xido, Cabula6, USA
Laura Sennhauser Switzerland
Peter Rand is an artist working with video, installation, interactive media, sculpture, socially engaged art, and performance. His work focuses on a variety of topics including identity, urban spaces, technocentrism, synesthesia, and the absurd. Peter’s work has been exhibited internationally and he has collaborated on public art projects for the cities of Santa Monica, Dallas, and Rome. He has received a BFA in New Media Art from the University of North Texas, and an MFA from the School of the Arts & Architecture at UCLA.
During his one month residency at Popps, Peter will continue to develop his ongoing project, “A to B”, wherein, “toolsets”, often taking the form of awkward and precarious steps, are constructed for the purposes of moving forward. Shifting and reassembling the crude sculptures beneath him, the process becomes his supporting system to get him from here to there. “A to B“, examines the hard questions of privilege, unpredictability and the unique tools each of us have been given to move forward.
Patrick Schlotterback has recently returned from Brooklyn, NY to Baltimore, MD where he was born and attended the Maryland Institute College of Art. Patrick’s work uses installation, green screens and videos to communicate via a prism, dividing the source into separate continuous paths. The work interrogates emotional identity and the body’s complicity in it’s existence, fetishizing ambient acts such as flowing (smoke, water, sand) as metaphors.
Patrick’s focus at Popp’s will be making objects for installations and videos, shooting video, and writing voice overs for video works.
Gabi Blum (*1979 in Michelstadt, Germany) lives and works in Munich. After some years of training at the Design School in Munich and working as a graphic designer, she studied from 2008 to 2014 sculpture at the Academy of Fine Arts Munich in Prof. Stephan Huber’s class, she was part of the project of visiting professor Schorsch Kamerun and for her diploma she developed a re-enactment of a painting by Edward Hopper. 2015 Gabi Blum received the Bavarian Art Award and the Debutantenförderung by the Bavarian State Government and in 2016 and 2017 project fundings by Bernhard-Borst-Stiftung and Steiner Stiftung. This year she is traveling with the USA scholarship of the Bavarian State Government.
Gabi Blum’s works combine walk-in installations, performance and painting with video art. Her Performances have a ritualistic quality in which she finds ways of celebrating the end of the world and other chaos scenarios. Additionally, Blum works with ironic images of the stereotypical perception of women, including the secretary, model, cowgirl, snake woman or showgirl.
At Popps, Gabi Blum will be working on her new artist book as well as delving into all things Hamtramck. Her research of the people places and architecture here may culminate in a video project, (maybe romantic) paintings and sculptural tryouts.
Anna McCarthy will be working on the new version of her ongoing project HOW TO START A REVOLUTION (HTSAR) – a multi-layered work that deals with clichés of rebelliousness and humorously lays open the tools of smoke and mirrors audience manipulation. It deals with rebellion in a limbo situation, in which change seems ominent, mirroring the current political atmosphere, specifically centring around the shift from left to right in the Western world. Geographically anchored in Munich and Bavaria, it reaches beyond the local peculiarities and relocates them into the context of historical global events, in this case Hamtramck/Detroit. A microcosm of reoccurring people and places stand in as exemplary figures for global events in a humorous, absurd, and critical manner.
Additonally, Anna hopes to work on new non-contextual drawing and painting work in the house, garden and surrounding area, and to collaborate with local musicians in one way or another.
Gabi and Anna are long time friends who have a history of working together, including spending 8 years as bandmates in DAMENKAPELLE. Although they are working on different projects during their time at Popps, they will continue to support each others work.
Links to their collaborative works:
Kaitlynn Redell (Momm and Popp Residency) is a visual artist based in Los Angeles, CA. She received her BFA from Otis College of Art and Design in 2009 and her MFA from Parsons the New School for Design in 2013. Her practice is invested in the exploration of race and gender in relation to the body and how the body becomes codified within these socially constructed categorizations. More specifically she is interested in in-betweeness and how “unidentifiable” bodies—that do not identify with standard categories—negotiate identity. She has participated in numerous exhibitions nationally and internationally including at El Museo del Barrio (NYC), Rush Arts Gallery (NYC), A.I.R. Gallery (NYC), Western Project (LA), Los Angeles Municipal Art Gallery (LA), Charlie James Gallery (LA) and Museo Laboratorio – Ex Manifattura Tabacchi (Italy). She currently has work included in the 32nd Biennial of Graphic Arts: Birth As Criterion, in Ljubljana, Slovenia.
Additionally, Redell has a bi-coastal, collaborative practice with Sara Jimenez. Redell & Jimenez have been engaged in intense collaboration since attending Site + Sight, a visual research project in Beijing, China and The Gobi Desert. Since forming Redell & Jimenez, they have presented their work at Hunter College’s Focus and Motivation, and have been published in NYU’s interdisciplinary journal Anamesa and in The Brooklyn Rail.
Redell is a frequent teaching artist throughout the Los Angeles area and has lectured and given workshops at institutions including The J. Paul Getty Museum, The Craft and Folk Art Museum, The Brentwood Art Center, The Gamble House (in conjunction with Machine Project) and Pomona College.
not her(e) Project Description:
not her(e) is a performance-based series where Redell becomes camouflaged and a part of the furniture while performing everyday acts of care for her child. It explores how life as a caregiver is about being used as well as being invisible. Redell is the primary caregiver in her family and is interested in how structures of power are set up to produce this particular dynamic of childcare. She is interested in both the privileged and the problematic aspects of her situation More specifically, the two very contentious facts that come into play: student loans and gender/occupation salary inequality. She interested in the duality of feeling grateful, yet uneasy, as she and her partner begin to tumble into such normative roles.
During Redell’s residency at Popps, she plans to further research other parents’ feelings on caregiving, be it full-time parents or working parents. She is interested in their thoughts around the physicality of childcare, gender roles, financial dynamic, outside support (familial or otherwise), etc. and will be holding a caregiver and child workshop that will nurture these discussions through collaborative art making.
The Momm and Popp Residency is made possible with support from the Sustainable Arts Foundation.
John Dante Bianchi (b.Nashua. New Hampshire) received his BFA from Cooper Union and his MFA from Yale University. He lives and works in Brooklyn, New York. He has exhibited at Galerie Derouillon in Paris, Tyler Wood Gallery in San Francisco, Night Gallery in Los Angeles, Thierry Goldberg Gallery in New York, Signal Gallery in Brooklyn, Kai Matsumiya in New York and David Zwirner Gallery in New York. He has received press coverage in Art Forum, The New York Times, Architectural Digest, Bomb Magazine, Observer, Vice’s The Creators Project, ARTNEWS, Interview Magazine, Blouin ArtInfo and Teeth Magazine.
His recent bodies of work – the Bruised Panels, Torqued Panels and Relief Panels- refer in name to the physical process of their making. Bianchi’s wall-based works are both sculpture and painting, emerging from the wall or built in many layers and exactingly constructed all the way through, from stretcher to support to surface. Much of Bianchi’s work explores the ideation of the pieces as a body (an Object), which is exposed to forces of time and events leaving their mark. The Bruised Panels, for example, are speckled with colors that directly reference skin tones and bruises: pinks and blues and creams. They are built up in layers and sanded down to reveal textures and colors beneath. Bianchi’s work encapsulates a sense of time within it, not only in the sense of process, but in some of the materials he chooses, such as recycled redwood ( the world’s largest and longest-living trees) to make his freestanding sculptures.
James Carey (b. Melbourne Australia) received a Bachelor of Design in 2005 from RMIT and PHD from the RMIT School of Architecture & Design in 2016. Carry’s creative practice research explores process-based interventions within decommissioned buildings and gallery spaces. The methodology he engages with is one of working responsively, allowing particular temporal conditions to surface within these sites and situations. The potential of these conditions are then engaged with in ways that do not seek to prescribe an outcome in advance. Sites are inhabited in time, and specific rendering techniques – such as drawing and mark making – are introduced. These situations are then reassembled through a variety of processes, and the marks made materialize immateriality, allowing the residue of particular processes to be assembled as collections of materialized and spatalized time.
Recent projects and exhibitions include between two homes 2016 commissioned by Hobson’s Bay Council and presented by Blackartprojects, sighting 2016 commissioned by MCES and presented by Blackartprojects, to wonder / to wander 2016 in collaboration with Megan Cope and the Culpra Milli Aboriginal Corporation, Mildura Arts Centre, beginning in incompleteness: works in formation 2015 at RMIT Project Space / Spare Room, wall work[ing] 7 2015 at Kings ARI and rendering the [im]material, a visual essay published in the IDEA Journal 2012. James has been the recipient of an Australia Arts Council New Work grant in 2010 and also received an Honourable Mention at the Shanghai Biennale in 2007.
KAMBUI OLUJIMI, USA
KJELLGREN ALKIRE, Minnesota
MAISHA BADDOO, Canada
MONICA J. BROWN, USA
STEFANIE HAMMANN & MARIA VON MIER, GERMANY
CLARA STARCK, DENMARK
MATTHIAS BOHLER & CHRISTIAN ORENDT, GERMANY
EMILY CHAPPELL, SCOTLAND
YI ZHOU, CHINA
FRANZISKA KLOSE, GERMANY
PAUL NUDD, CHICAGO
JEREMY XIDO & FAMILY, NEW YORK
STUDIO PLUSMINUSNULL, GERMANY
CALDO DE CULTIVO, COLOMBIA
VINCENZO FAGNANI & TANA TORR, GERMANY
PATRIC LARSON, SWEDEN
CARLY MANDEL, NEW YORK
ELISABETH WIESER, GERMANY
ALASDAIR DOYLE, AUSTRALIA
LUCY OWEN, UK
MASIMBA HWATI, ZIMBABWE
FRANZISKA KLOSE, GERMANY
ULLI BOMANS, GERMANY
ARTHUR SUMMEREDER, AUSTRIA
SHANNA MAURIZI, BROOKLYN
SUSANNAH JO FOSTER, AUSTRALIA
MARCO FRANCO DI DOMENICO, LOS ANGELES
LIZA LACROIX , USA
GRACE HERBERT, AUSTRALIA
CHRISTIAN KASNERS, GERMANY
MARTINA HANUSOVA, CZECH.
MARLENE HAUSEGGER, AUSTRIA
SARA LANNERSTROM, SWEDEN
RON SAUNDERS, USA
BARBRO SCHULTZ, GERMANY
DAVID TRAUTRIMUS, CANADA
HOTEL CHARLEROI, BELGIUM
LIAM SLEVIN, GERMANY
ASHLEY MOON, USA
ROBIN GOMMEL, GERMANY
JAMIE NORTH, AUSTRALIA
WHITNEY SAGE, USA
LUCY OWEN, UK
DANIEL SEWELL, THAILAND
KATARINA SMETS, BELGIUM
MICKEY MALECK, USA
ALEXEI BULDAKOV, RUSSIA
ROBBIE ROWLANDS, AUSTRALIA
BENNY HENNINGSEN, DENMARK
MARISA FUTERNICK, UK
ANNA JANDER, GERMANY
MIKE DIAS, USA
MICHAEL BIZON, USA
CHRISTIAN TEDESCHI, USA
MAX SCHULZE, GERMANY
IVA CEPANEC & ALEXANDER MASTERS, CROATIA