According to Roberta Smith of the New York Times, Mark Leckey is best known for manipulating pop images and music into dreamy, druggy, disjointed variants on music videos. Sometimes his work has a rough-edged energy, as in his 1999 club-life classic, Fiorucci Made Me Hardcore. Londonatella (2002) and Parade (2003) are nocturnal fantasies of beautiful people and consumer culture related to the 1980's photo based work of Richard Prince. He is also known for working with his band Jack2Jack in music video combinations as in The March of the Big White Barbarians - a sarcastic tour of public sculpture in London using only still images, and Shade of Destruction, a dark and baroque narrative based on a Graham Greene story about the destruction of a house in post-blitz London.
Mark Leckey (1964) is currently Professor of Film Studies at the Staelschule in Frankfurt am Main in Germany. He is together with Ed Liq, Bonnie Camplin, and Enrico David, the founder of the band donAtelier. In 2008 he had a solo exhibition,Industrial Light and Magic, at Le Consortium in Dijon, with previous projects at Portikus in Frankfurt, Migros Museum in Zürich, Tate Britain, London and within group exhibitions at P.S.1/MoMA, Dundee Contemporary Arts, BALTIC, Manifesta 5, Salzburger Kunstverein, Wattis Institute for Contemporary Art among others. He is represented by Cabinet in London, Buchholz Galerie in Cologne, and Gavin Brown in NYC.
Rosalind Nashashibi (b.1973) uses her 16mm
camera as a catalyst, an accelerator of the real. Her films
investigate the divide between reality and its extra-dimension -
which could be fiction, the world of archetypes or spiritual
realms, combining an interest in epic narrative with close
observation of details. Throughout her work, she has observed small
communities (Hreash House, 2004 and Midwest,
2002); investigated the unconsciously symbolic function of objects
(Park Ambassador, 2004, Proximity Machines, 2007)
and of a human standing in for an idea (Ambassador, 2004,
in collaboration with Lucy Skaer); she has found mythological
figures in the urban fabric of New York (Eyeballing, 2006)
and attempted to reanimate encased objects in a museum (Flash
in the Metropolitan, 2006, in collaboration with Lucy Skaer).
Her recent production focuses on the notion of bachelor machines.
Bachelor Machines Part 1 combines the observation of a
closed community - a cargo ship crew - with the attribution of an
anthropomorphic character to the ship as a machine in itself.
Conversely, Bachelor Machines Part 2 revolves around
Thomas Bayrle's meditation on the invention of the machine, in
particular the diesel engine, as man's materialisation of the
desires once conveyed abstractly through the repetition of the
rosary. Nashashibi conceives her practice more as a tool offered to
the viewer to interrogate the world with her, than a report on our
current state of affairs. Winner of Beck's Futures in 2003,
Nashashibi has had solo shows at Kunsthalle Basel and CCA Glasgow
(2004). In 2006 she participated in Momentum, Nordic Biennial of
Contemporary Art in Moss, Norway and in an OCA residency in
February 2007 with a later solo show at the Chisenhale. In 2007 she
also represented Scotland at the 52nd Venice Biennale, and
exhibited in Contour, third Biennial for Video Art in Mechelen,
Belgium and at Matrix, Berkeley Art Museum Berkeley
Corey McCorkle (b.1969) is interested in the Utopian ideas of nature and transcendence, which he pursues in many of his installations. McCorkle's work has been included in the surveys Make It Now at Sculpture Center (2005) and Greater New York 2005at PS1, and was featured in a solo exhibition in 2006 at Kunsthalle Bern in Switzerland. McCorkle's work has also been included in The Plain of Heaven by Creative Time in NYC (2005) and in Monopolis at Witte de With in Rotterdam (2005). Most recently, his work was included in Just Kick It Till It Breaks at The Kitchen in NYC (2007). McCorkle will have upcoming exhibitions at Pompidou Center, Paris and SMAK in Gent. He is featured in the November 2007 issue of Frieze.
This residency is made possibly with 03 Funding: specifically designated funds made available by the Ministry of Foreign Affairs for exchange with countries of the South in the field of contemporary art, discourse and production.