United States of America

Lindsey Clark Ryan
#6: Future

02.06.21 30.06.21

Lindsey Clark-Ryan works primarily in installation and printmaking to investigate the precarious line between the graphic and the object, static and mobile, art and tool, control and chance. Her work in these areas often involves a deadpan approach to the sensibilities of scientific expeditions and archival research.  Most recently, she has been an artist-in-residence at the Ayatana Artistic Research Program in Canada and the Elsewhere living museum in Greensboro, North Carolina, USA. Clark-Ryan teaches printmaking, drawing and interdisciplinary studio art courses at Art at Smith College, and she is currently working on prints and artists’ books built from the narrative and kinetic capacities of parachutes.


Much of her recent artwork can be considered a collection of ongoing and accumulative projects. These are, in various ways, deadpan, interactive, additive, portable, or reconfigurable. Long-term, her approach might be likened to cultivating a library of different mechanisms or frameworks for considering how to exist in and observe the world. She is often thinking about how to steward and transform an art object that is continually and newly deployed and redeployed.


This program was an opportunity for me to reflect on how shifting concepts of the future restructure our experience and understanding of the present, and vice versa. Mundane tasks and objects seemed especially resonant when we considered relationships between action and language in group collaborations and individual projects. It was energizing to draw out moments of beauty, tension, and uncertainty from all of our collected gestures.

Lindsey Clark-Ryan
1982 | Westhampton, MA, USA
Lives and works in Northampton, Massachusetts, USA.

2010 | Master in Fine Arts, University of Wisconsin, Madison, USA
2004 | Bachelor in Fine Arts, Washington University in St. Louis, USA

2019 | Make a Good Impression, Abel Contemporary Gallery, Wisconsin, USA.
2017 | Guide for Returning, DE-CONSTRUKT [projekts], New York, USA.
2017 | The Boston Printmakers, Northampton, Massachusetts, USA.
2017 | North American Print Biennial, Lunder Arts Center, Massachusetts, USA
2017 | Idols and Impossible Structures, International Print Center New York, USA.

2017 | DE-CONSTRUKT [projekts], USA.
2015 – 2016 | Ayatana Artistic Research Program, Quebec, Canada.
2014 | Solo(s) Project House, USA.
2013 | Elsewhere Museum, Greensboro, USA.

Related Activities

Encounters, Exhibitions

#6 | FUTURE: results
Artists in dialogue


“We must begin to educate ourselves, no longer in the critical exercise, but in the propositional abundance of ideas and worlds. That is the now of tomorrow ” CHUS MARTÍNEZ

#FUTURE (English cohort) was a new session of Together Apart through which we embarked into different considerations and proposals about and for the future. Taking as a framework artistic and conceptual references in relation to utopian and situated futures, the international cohort of artists worked individually and in collaboration, addressing the main theme through artistic practice, collective discussions and conceptual frameworks. This was a specially interesting cohort in regards to the articulation of disciplines and technologies. The working proposals were approached by creations that included printmaking to new media arts, textile arts and sustainable practices, including architecture and design. To mention only a few of the statements that the artists proposed, future was addressed as the negative space that implies how a form might move into it, future is the feeling of anticipation, future is the will to get back cancelled desires, future is transformation, future is restoration, future is expanding the present, future is a wheel spinning in its axis…

Transformation as a process to evoke the future was central in the work of many artists: transformation of materials (reuse, recycle, repetition, erasure), transformation of subjectivities (due to personal will or to external experiences) including gender transformation and approaches to transformations in our brain and body structures.

What other temporalities does the nature offer? Artists approached nature as the main master to explore life cycles, continuities of transformation and an endless source of wonder.

Nature and culture, considered in an imbricate dialogue and not as separate, allowed us to think in different timelines. Artists chose to work in collaboration with nature, from creating working materials from natural resources, as producing paper with plants, using poisonous leaves for an artistic gesture or exposing the artwork to outside atmospheric conditions for long periods of time.

The future of our artistic practices were also considered from proposals which would only unravel in the future or by creating a testament for the future distribution of artwork, even through taking care of the waste that art produces.

On July 14th we will make a public online presentation of all the collaborations which were initiated through this online programme and we will continue exploring through the practice such challenging and fundamental questions related to the future.

DANIELA RUIZ MORENO | Curator-in-Residence

July 14th, 2021
4PM GMT-3 | Argentina

Alicia Candiani
General Coordinator
Andrés Knob
Daniela Ruiz Moreno, connecting from Madrid, Spain
Guest Speaker
Joseph Scheer, connecting from Alfred, NY, USA
Alen Iglesias

Diaa Ahmedien | Cairo, Egypt
Christopher Bradd | Toronto, Canada
Jess Carlock | Portland, OR, USA
Lindsey Clark Ryan | USA
Lucio Gorzalczany | Buenos Aires, Argentina
Beth Grabowski | Chapel Hill, NC, USA
Trisha Gupta | Burtonsville, USA
Lorena Pradal | Zárate, Argentina
Claudia Roselli | Florence, Italy
Carrie Scanga |Portland, Maine, USA
Char Schwall | Kansas City, MO, USA
Rachel Singel | Louisville, Kentucky, USA
Kelsey Stephenson | Edmonton, Alberta, Canada
Clare Thomas  |Victoria, BC, Canada
Gerry Trilling |Kansas City, MO, USA


Artist-in-Residence International Program

View map

International Airport

Ministro Pistarini- Ezeiza (EZE)
Buenos Aires
45' to 60' trip

Domestic Airport

Aeroparque Jorge Newbery
Buenos Aires


38, 39, 41, 42, 59, 63, 65, 67, 68, 151, 152, 161, 184, 194 and 168 (stop in the front door)


D Line (Green)
Olleros Station (4 blocks, 4')


Mitre Line (either to Leon Suarez or Mitre)
Colegiales Station (1 block, 1')

The Latin America's Paris

Buenos Aires is Argentine Republic's capital city. With 15,000,000 inhabitants, it is one of the largest cities in Latin America and one of the 10 most populous urban centers in the world. Its cosmopolitan and urban character vibrates to the rhythm of a great cultural offer that includes monuments, churches, museums, art galleries, opera, music and theaters; squares, parks and gardens with old groves; characteristic neighborhoods; large shopping centers and fairs. Here we also find a very good lodging facilities, with accommodation ranging from hostels to five-star hotels of the main international chains. Buenos Aires also show off about its variety of restaurants with all the cuisines of the world, as well as to have cafes and flower kiosks on every corner.

A neighborhood founded on the Jesuit farms in the 17th century

We are located in Colegiales neighborhood where the tree-lined streets, some of which still have their original cobblestones, invite you to walk. Although the apartment buildings advance, low houses still predominate. It is a district of the city where about 20 TV production companies, design studios, artist workshops and the Rock&Pop radio have been located. The neighborhood also has six squares, one of which pays homage to Mafalda, the Flea Market, shops, restaurants and cafes like its neighboring Barrios de Palermo and Belgrano, with which it limits.

Artist-in-Residence International Program

2024 Open Call #3
Residencies 2024

July 31st, 2024

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