Past Residents 

Sriwhana Spong
July – September 2016

“What is the place where the sea meets the island, where sea roses meet salt? What is the place where the body offers itself to the world, and the world offers itself back at the same moment?”

NK’s 2016 Bach Residency recipient, Sriwhana Spong, brings her unique voice to Pittsburgh from July through September creating a new body of work inspired by the writings of H.D and the song of the Bali Mynah bird. Spong’s residency exhibition, Mother's Tongue, opens September 29 at 6PM. .

 

With a Master of Fine Art from the Piet Zwart Institute, Rotterdam, Holland and a Bachelor of Fine Arts from Elam School of Fine Arts, University of Auckland, New Zealand, Spong has exhibited widely for over ten years with work shown in Auckland, New York, London, Paris, Sydney, Singapore and Hong Kong. She is represented by Michael Lett. 

 

Kelly McDowell
January – March 2016 

McDowell’s Bach residency comprised a performance-based series titled Compliance/Resistance, a collaborative work with Pittsburgh performance artist Celeste Neuhaus. The work occurred over a three-month period and consisted of various experimental performances. The female body was the instrument and subject, morphing in and out of states of exaggerated decoration as tensions surface between conventions of appearance, identity and gender.  Compliance/Resistance concluded with an installation and performance event in NK’s main gallery on March 16, 2016.  The project was mentored by Pittsburgh curator, Adam Welch. 

McDowell holds a Bachelor of Visual Arts from AUT University in Auckland, New Zealand majoring in Sculpture. She has performed in New Zealand institutions and galleries such as ArtSpace and the Auckland Art Museum.  

Fiona Amundsen
September – December 2015 

Fiona Amundsen was the first recipient of the Bach Residency.  Her project, Like a Body Without Skin brought together archival imagery with present-day photography/filming of Carrie Furnace, a former blast furnace in Rankin, Pittsburgh. The residues of this site were positioned with a voice recording that described the effects of the 1945 WWII incendiary-bombing of Tokyo. These remnants – of both the site of Carrie Furnace and the recorded narrative – worked together to stutter sanctioned historical, ideological and political discourses associated with how the Asia Pacific Theatre of WWII is memorialized, remembered, narrated and imaged.  

Amundsen is a senior Professor of Theory and Photography at AUT University School of Visual Arts in Auckland, New Zealand.