Castel Caramel offers artists in residence accommodation, studio space and logistical support. One or two residents are carefully selected and will be working towards a gallery or institutional exhibition. Resident artists are encouraged to invite collaborators for short term stays and are invited to use all facilities on the property.
Minami Kobayashi (b.1989, Nagoya, Japan) is currently based in London.
She holds an MFA in Painting and Drawing from The School of The Art Institute of Chicago (2018) and a BFA in Painting from Tokyo University of the Arts (2016).
Minami Kobayashi makes figurative egg tempera and oil paintings which combine intimacy and mystery through their depictions of ordinary people, animals, and places that seem vaguely surreal and ever so slightly off-kilter.
2023: ‘A New Sensation’, Galerie Marguo, Paris; Frestonian Gallery, London; ‘Somewhere Not Here’, Goldfinch Gallery, Chicago
2020: ‘Anecdote’, Stems Gallery, Brussels; ‘Birds shun such trees’, Et al.; San Francisco
2019: ‘A Park at Lunar Surface’, Goldfinch Gallery, Chicago; ‘Place out of Time’, Setouchi International Triennial, Kagawa; Tokyo Metropolitan Museum
Stefanie Heinze (b. 1987 Berlin) lives and works in Berlin, Germany.
She studied at the National Academy of Fine Arts, Oslo (2012) and the Academy of Fine Arts, Leipzig (2014. Stefanie participated in the residency programme at Skowhegan School of Painting & Sculpture, Maine (2016).
In Stefanie Heinze’s playful figurations, abstracted and ambiguous forms become recognizable as unexpected subjects. From disembodied body parts, to everyday objects, to animal-like figures, her subjects melt into colorful, fantastical backgrounds to create vivid visual worlds which reveal an interplay between high and low culture.
Heinze’s brightly colored, imaginative compositions are cleverly subversive in their details and symbolism, complemented with equally witty, lyrical titles. Although considered adjacent to abstract expressionism and the Leipzig school of painting, Heinze is categorically unique, as she explores new forms and possibilities of representation. The origins of her inventive paintings can be found in her intimate, delicate drawings, which capture just as much liveliness on their small scale as on the gigantic canvases.
2022: ‘Dimensions of the Fool’, Capitain Petzel, Berlin
2021: ‘Stories of the Imaginary (self-portrait of two lemons)’, Pippy Houldsworth Gallery, London
2020: ‘Frail Juice’, Petzel Gallery, New York
2019: ‘Odd Glove’, Capitain Petzel, Berlin; ‘Ruler’, LC Queisser, Tbilisi; Sammlung Philara, Düsseldorf
2018: ‘Food for the Young (Oozing Out)’, Mary Boone Gallery, New York
2017: ‘Genuflect Softly #1’, Pippy Houldsworth Gallery, London
She has participated in numerous group shows including at the Deichtorhallen, Hamburg (2020); Saatchi Gallery, London (2018); Tanya Leighton, Berlin (2017); Good Press, Glasgow (2016); basis, Frankfurt (2015).
Institute of Contemporary Art, Miami
Hammer Museum, Los Angeles
Hepworth Wakefield, UK
MAMCO Geneva
Staatliche Kunstsammlungen, Dresden
Sedrick Chisom (b. 1989 in Philadelphia, Pennsylvania) lives and works in Brooklyn, NY.
He received a full scholarship to study at Cooper Union where he received the Jacques and Natasha Gelman Foundation Award for Exceptional Ability. After completing his BFA, he received his MFA from the Mason Gross School of the Arts at Rutgers University.
Sedrick Chisom’s practice involves an interdisciplinary engagement between painting and writing. Interested in the beginnings of colonialism and with such the origins or racism, he confronts racial origin myths by creating apocalyptic fantasies in writing and painting. In his extensive research the artist looks at imagery from journeys into hell as seen in medieval Christian iconography, as well Romantic paintings and Greek mythology. He is also inspired by The Hudson River and Rocky Mountain Schools of painting, as well as by more contemporary sources such as movies like ‘Apocalypse Now’ and lyrics by Nina Simone.
Sedrick uses paint for its suggestive dreamlike material properties. The colours of his paintings are intoxicatingly beautiful; neon pink, sickly violets and bright greens evoke the strange toxins of his narratives. His segregation narratives re-imagine the division of humans by race and revisit the tropes of the American Civil War and other historic conflicts.
Much of his paintings take as a point of departure a dystopian three act Science Fiction play that is, in the artists own words, “a polemic anti-eulogy of white ‘heroic’ frontiersman. These explorers are cast in my work as agents of the rebirth of the Confederacy but mutated by mysterious disease and left twisted and emaciated. A character in its own right, Monument Valley functions in my narrative as an unpromising and refusing site, at odds with the covenant of manifest destiny. Instead of a colonial encounter with sublime wilderness, Monument Valley becomes resituated for my characters to journey into hell. There are deliberately very few black bodies involved in this narrative. Instead I use elaborate descriptive titles that channel a certain black voice. As a black man, I want for the abiding severance between representations of blackness and representations of racism and for the direct subject of racism to point to white people. Therefore in my narratives, the consequences of racism inevitably enact upon white bodies.”
2022: “In the Black Fantastic”, Hayward Gallery, London, UK
2021: “Twenty Thousand Years of Fire and Snow”, Pilar Corrias, London, UK
2020: “Westward Shrinking Hours”, Condo, in collaboration with Pilar Corrias, London, UK; “Cult of the Crimson Queen”, Ceysson & Bénétière, New York; “Possédé·e·s”, MO.CO. Montpellier Contemporain, Montpellier, France
2019: “When the Night Air Stirs”, Matthew Brown Los Angeles, CA; “The Final Excursion Into the Savage South”, Rutgers University, NJ; “The Ghost of White Presidents Yet To Come”, ADA Gallery, Richmond, VA; “Great Force”, curated by Amber Esseiva, Institute of Contemporary Art, Richmond, VA; “Notebook” curated by Joanne Greenbaum, 56 Henry, New York, NY
2018: “You Just Gotta Look For It”, Cooper Union, New York; “Beside Myself”, JTT, New York;
2019: Skowhegan School of Painting & Sculpture
VCU Fountainhead Fellowship in Painting and Drawing
Macedonia Institute
Full Tuition Scholarship (Cooper Union)
Full Tuition Scholarship (Mason Gross School of Art at Rutgers University)
American Academy of Arts and Letters Nominee
Jacques and Natasha Gelman Award for Exceptional Ability In Painting
Dedalus Foundation Nominee
Rema Hort Mann Foundation Nominee
Mason Gross School of Art Teaching Fellowship
William Randolph Hearst Scholarship
Laura Miller Margolius '42 Memorial Scholarship
Brennan Gerard (b. 1978, Ohio) Ryan Kelly (b. 1979, Pennsylvania) live and work in Paris, FR
Gerard & Kelly were awarded the Whitney Museum Independent Study Program in New York and completed their MFAs at the University of California, Department of Art in Los Angeles, CA.
Brennan Gerard and Ryan Kelly have collaborated as Gerard & Kelly since 2003. Their installations and performances use choreography, writing, and video, drawing and sculpture to address questions of sexuality, memory, and the formation of queer consciousness.
Performance artist duo Gerard & Kelly will develop two film projects during their residency at Castel Caramel. They will complete post-production on PANORAMA, a film they shot during the pandemic in the empty Bourse de Commerce in Paris, the future home of the Pinault Collection recently reimagined by architect Tadao Ando.
BRIGHT HOURS is the latest chapter in their ongoing project Modern Living. In this series of performances and videos sited in iconic architectures around the world, the artists mine “ruins” of modernism for their hidden choreographies and radical social experiments. Following their performances in 2019 at Le Corbusier’s Villa Savoye (pictured) Gerard & Kelly are at work on a new film that distills the encounter between Le Corbusier and Josephine Baker into a contemporary parable for modern intimacies. A collaboration with musician Moses Sumney, BRIGHT HOURS will be shot entirely at the Cité Radieuse in Marseille this summer. Their work will be the subject of a prominent solo exhibition at the Carré d’Art - Nîmes Museum of Contemporary Art, Nîmes, France, planned for fall 2021 and curated by Jean Marc Prévost.
2020: “Clockwork”, MAMCO, Geneva, CH; “State of”, The Museum of Contemporary Art (MOCA), Los Angeles, CA;
2019: “Reusable Parts/Endless Love”, Camping Asia et Taipei Performing Arts Center, Bopiliao Historic Block Performance Hall, Taipei, Taïwan; “Bridge-s” in collaboration with Solange Knowles, The Getty Museum and The Museum of Contemporary Art (MOCA), Los Angeles, CA; Festival d’Automne: “Modern Living”, Villa Savoye, Poissy, FR; “Clockwork”, Appartement de Le Corbusier, Paris, FR;
2017: “Timelining”, Centre Pompidou, Paris, FR; “State of”, Festival Parades for FIAC, Palais de la Découverte, Paris, FR; “Modern Living”, Chicago Architecture Biennial, The Farnsworth House, Plano, IL;
2016: “Modern Living”, The Glass House, New Canaan, CT; MAK Center for Art and Architecture at Schindler House, Lo Angeles, CA; “Reusable Parts/Endless Love”, Palais de Tokyo, Paris, FR;
2020: Ministère de la Culture / Direction générale de la création artistique
2019: Fondation d’entreprise Hermès New Settings
2018: Graham Foundation for Advanced Studies in the Fine Arts Grant
2017: FUSED: French-US Exchange in Dance Grant
2015: National Dance Project Grant, New England Foundation for the Arts CHIME (Choreographers in Mentorship Exchange) in Southern California Award 2
2014: Civic Arts and Humanities Visiting Fellow, The New School, New York
Juried Award, New York Dance and Performance Awards/The Bessies
Art Matters Grant Graham Foundation for Advanced Studies in the Fine Arts Grant
2013: University of California Institute for Research in the Arts (UCIRA) Grant UCLA Arts Initiative Grant
2010: Van Lier Fellowship, Whitney Museum Independent Study Program
LACMA - Los Angeles County Museum of Art
Hammer Museum
Guggenheim Museum
Jill Mulleady (b. 1980 Montevideo, Uruguay) lives and works in Los Angeles, CA.
She earned her MFA from the Chelsea College of Arts, London, UK.
Mulleady’s practice shifts between close observation of everyday reality and imaginary worlds. Her work references historical painting and creates a dialogue with images from both popular culture and her personal life, creating a strange feeling of merged, multiplied temporalities.
At Castel Caramel she developed her solo exhibition ‘Decline & Glory’ for Gladstone Gallery in Brussels which opened in October 2020.
2021: “Made in L.A. 2020: a version,” Hammer Museum, Los Angeles and The Huntington, San Marino, CA
2020: “L‘Almanach,” Le Consortium, Dijon, FR; “Decline & Glory” Gladstone Gallery, Brussels, BE;
“We Wither Time into a Coil of Fright”, Public Art Installation, Whitney Museum of American Art, New York
2019: “Fight-or-Flight,”Swiss Institute, New York; “May You Live In Interesting Times (curated by Ralph Rugoff),” The 58th International Art Exhibition of La Biennale di Venezia, Venice, IT
2018: “Mouth-to-Mouth”, Galerie Neu, Berlin, GE; ‘Void of Course’, Schloss, Oslo, NO; “Mother Sucker”, Positions, Art Basel Miami Beach, Miami, FL
2017: “Angst vor Angst”, Kunsthalle Bern, CH
Institute of Contemporary Arts, Miami
Hammer Museum, Los Angeles
The Hirshhorn Museum | Smithsonian, Washington D.C.
Los Angeles County Museum of Art (LACMA), Los Angeles
Fondazione Sandretto Re Rebaudengo, Turin
Aishti Foundation, Beirut
Rubell Family Collection, Miami
Korakrit Arunanondchai (b. 1986 Bangkok, Thailand) lives and works in New York and Bangkok. He earned his BFA from the Rhode Island School of Design and his MFA from Columbia University.
Arunanondchai’s work engages a great variety of subjects such as history, authenticity, self-representation and tourism through the lens of a cultural transplant. He seeks to find a common ground in artistic experiences through a pastiche of styles and mediums. In 2019 the artist took part in five Biennials.
At Castel Caramel, he conceived his exhibition for the Vienna Secession and developed a complex performance for the Performance Biennial ‘Performa’ in NYC for which he invited his collaborators Alex Gvojic and Soraya Lutangu alias Bonaventure. Patrons had the opportunity to see parts of the Secession installation propped up at Castel Caramel and a special full moon screening of the artist’s ‘Painting with History in a Room Filled with People with Funny Names’ series.
2022: Kunstverein Hamburg (forthcoming)
2021: Migros Museum für Gegenwartskunst, Zürich, CH (forthcoming)
“Songs for Dying”, Kunsthall Trondheim, Trondheim, NO
2020: “Days after the reverie (a prelude)”, CLEARING, New York; “No history in a room filled with people with funny names 5”, Museu Serralves, Porto, PT
2019: “Korakrit Arunanondchai”, Secession, Vienna, AT; Whitney Biennial 2019, Whitney Museum of American Art, New York; “May You Live in Interesting Times”, 58th International Art Exhibition of La Biennale di Venezia, Venice, IT; “Future Generation Art Prize”, Pinchuk Art Centre, Kiev, Ukraine; “Painting with History in a Room Filled with People with Funny Names 3”, K11 Art Foundation, Hong Kong, CN; “No history in a room filled with people with funny names 5”, in collaboration with Alex Gvojic and Boychild, Bangkok CityCity Gallery, Bangkok, TH; “with history in a room filled with people with funny names 4”, Kaleidoscope Spazio Maiocchi, Milan, IT
2018: “No history in a room filled with people with funny names 5”, Carlos/Ishikawa, London, UK; “With history in a room filled with people with funny names 4”, J1, Marseille, FR
“A workshop for peace: nowhere to go: let the song hold us: in a room filled with people with funny names 4”, CLEARING, Brussels, BE
2017: “With history in a room filled with people with funny names 4”, Kiasma Museum, Helsinki, FI
Ben Wolf Noam (b. 1987 Born in Cambridge, MA) lives and works in Los Angeles, CA.
He earned his BFA in Painting from the Rhode Island School of Design, Providence, RI.
Ben’s practice includes painting, drawing, as well as curatorial and performative work. At Castel Caramel he experimented with three different painting styles and prepared for an exhibition with Tiffany Zabludowicz in New York. Inspired by the French Riviera’s modernist history, he focused on portraiture; his subjects being the friends, collaborators and muses who came to visit Castel Caramel. The series is a glimpse into his community and a narrative of this period of art making.
2018: SADE Gallery, Los Angeles, CA;
2017: PLAZA PLAZA, London, UK; “Build Your Own House curated by Jannis Varelas, Diohora Foundation, Mykonos, GR
2015: “Field of Ares”, The Breeder Gallery, Athens, GR; “Tower”, Ibid. Gallery, London, UK
2014: Artist-In Residence Exhibition, curated by Artemis Baltoyanni, Hooper Projects, Los Angeles, CA; Museo di Capodimonte, Naples, IT; “Human Interface”, curated by Cecelia Stucker, Hus Gallery, London, UK; Inaugural Show, Martos Gallery, Los Angeles, CA; “Forever”, Metropolitan Art Society, Beirut, LB
2013: Performance: Ben Wolf Noam, Boychild, Korakrit Arunanondchai, MoMA P.S.1 Art Basel Miami Beach, Miami FL; “This is the Story of America”, Brand New Gallery, Milan, IT; “Digital Expressionism”, Suzanne Geiss Company, New York, NY
Chloe Wise (b. 1990 in Montreal, Canada) lives and works in New York.
She received her BFA from Concordia University, Montreal, Quebec.
Chloe’s practice spans diverse media. Interested in the history of portraiture, she examines the multiple channels that lead to the construction of a Self, whilst paying particular attention to the interweaving of consumption and image making.
Wise invited various of her muses and collaborators to share her residency at Castel Caramel. They in turn became subjects of her paintings. The artist prepared her first London solo exhibition at Almine Rech Gallery at Castel Caramel and some of the realised paintings were shown at Frieze London.
2021: “Thank You For The Nice Fire”, Almine Rech, New York; “Fantasy America”, The Andy Warhol Museum, Pittsburgh, PA
2020: “Panorama: Serendipitous Encounters of Worlds”, The G Museum, Nanjing, CH; “Xenia: Crossroads in Portrait Painting, Marianne Boesky Gallery, New York; “Second Nature”, Almine Rech Online
2019: “ Domestic Horror”, Gagosian, New York; “Tennis Elbow”, The Journal Gallery, New York; “And Everything Was True”, HEART Herning Museum of Contemporary Art, Herning, DK; “Not That We Don't”, Almine Rech, London, UK; “World Receivers”, Zabludowicz Collection, London, UK
2018: “Coast Unclear Seeks Rained Parade”, Galerie Sébastien Bertrand, Geneva, CH
2017: “Of False Beaches and Butter Money”, Almine Rech, Paris, FR
