The mission of the Kansas City International Residency at the Artists Coalition is to bring artists from around the world together in order to build friendships and improve intercultural understanding.


The Residency on Res Artis


Past Residency Artists Around the World...

Michel Delacroix (France), KCAC Artist-in-Residence 2013, announces an exciting new project in France.

chez robert

"Robert Home Without Walls"
CANAL SATELLITE exposure to AC, the port channel Street Migennes
From July 9 to September 3, 2016

'Home robert art space' was created in 2007 by artist mdlx / Michel Delacroix. From 2007 to 2014 thirty-six exhibitions were organized. In 2014 the FRAC Franche-Comté devoted exhibition and edited a publication on this project. That was the end of a cycle but not the epilogue of this adventure. During these years full meetings, in exchanges and collaborations links were created, a network is woven.

The idea is to continue to write more episodes, experimenting in alternative other formats while maintaining the freshness and inventiveness of the original spirit.

This first exhibition "Robert Home Without Walls" in Migennes begins a new cycle, in the same movement, loop a circle. It is indeed in this same place, nine years earlier, that was mounted the inaugural exhibition of "home robert" Patrice Ferrase as artist guest. This place carries this story but also many others, it is a living place, an artist's studio, a production workshop.

Its location is not trivial, a former building of General Counter Navigation set between railway tracks and the Burgundy Canal. Interlacing networks, telescoping temporality, rumbling trains and quiet canal, all these components make it a fertile ground for imagining an area of exploration, a crossroads of questioning and creation.

An exciting but complex biotope where artists are required to test their
adaptability and rebounds. This was one of the premise that guided the selection of six artists selected that share their attention to context and capacity to regenerate their production according to proposed postulates.

Most of the pieces that will be produced for this exhibition are works "in situ", works that have a history, that resonate with the situation in all its forms, anecdotal or generic, symbolic or derisory.

Beatrice Duport, Laurent Lacotte, Matthew Martin, Nicolas Muller-H, Nicaise Simon and Marion Robin will be the protagonists of this first edition.

The proposals will result from a telescoping of these strong personalities and context of the event. These different perspectives are open to new readings and workshop the environment.

The geography of the place, the railway tracks, the flow channel are creating material for Beatrice Duport who likes to question the notions of territory and borders, identity and of culture.

Similarly, the channel port is a perfect place to host "blues" of Matthew Martin, a very special boat that will travel from Germany, coherent gesture this artist who works on the concepts of drift and shift.

A semiotic reading, not without humor and poetry is concerned with proposals Laurent Lacotte.

The stories and rewrites are also at work in Marion Robin productions, one of the parts will allow to rediscover a facet of the covered market Migennes.

With Nicolas Muller-H the context of the workshop becomes the content it offers loops, tautologies which often surprising reconsider the works of the collection system.

The past stories and coming also inspired Nicaise Simon who uses space wooden drum with a plug of hundreds of meters. This metaphor of the eternal flame particularly resonates in this context with the energy involved in this project, with the part irreducible creation, with this history in the making.




Alejandro Thornton (Argentina), KCAC Artist-in-Residence 2014, announces two new projects one in New York City and one in Buenos Aires with Nina Staehli (Switzerland), fellow KCAC Artist-in-Residence 2014.

Ale Thorton
Untitled from Traverse

Artemisa Gallery, NYC
May 16 June 17, 2016

“Establishing a dialogue between two bodies of work by different artists is not an easy task. When both share common aesthetic values, plastic and conceptual interests may still go separate ways. Even then, such provisions do not guarantee two bodies of work will be antagonistic. Herein lies the challenge: to identify stylistic shades, creative principles, and formal choices to better analyze the work as a space which serves to reflect the artists themselves. When these common spaces exist and they are able to found, the bodies of work can maintain their individualities and also become a set, which in turn, creates a dialectical synthesis that enriches and empowers them both.

Luciana Levinton uses architecture as the foundation for her works. The Grand Palais in Paris and the historic Whitney Museum (now Met Breuer, New York), inspired a series in which she sketches facades, delineates floor plans, blurs interiors, and decontextualizes architectural elements to recreate precise figurations of architecture and bring viewers into a journey of the unknown. Strident combinations of short and long brushstrokes create phantom-like images of what can be identified as buildings, though not yet fully defined. The same journey applies to Levinton’s works on paper, which consist of brightly colored geometric shapes superimposed on top of architecture magazines from the 70’s. In these smaller works, colorful abstractions invade lines of text and floor plans on old pages and use them as a guide for compositional support. Viewers recognize two elements, one from the past and one from the present, as they coexist to create an aesthetic that is inherent and unique to Levinton’s work.

Alejandro Thornton’s works in acrylic on canvas and ink on paper address space from yet another perspective. The identifying characteristic throughout his entire body of work is a quasi obsessive repetition of the letter A. Thornton’s goal is to raise the letter to near iconic status; however, the overall aesthetic makes his attempt paradoxical as his use of repetition produces abstract webs comprised of infinite combinations of ‘A’. At once the letter becomes a module, which can be repeated ad infinitum to create a network of images that is necessary for Thornton to capture the viewer's attention.

Both artists begin working with easily recognizable figures only to create abstractions without spatiotemporal references. Levinton eliminates redundant information, while Thornton uses repetition as his mantra. In the case of each artist, dependence on a monochromatic color scheme synthesizes their distinct bodies of work to become a tertiary element in an otherwise binary exhibition.

Levinton and Thornton know how to delineate a path within the visual arts. Constructive language, conceptualization and composition become the foundational elements from which each builds their practice. To establish connections between the two is a fine observation task that makes sense of the exhibition proposal at hand. In Traverse, two intelligent points of view which question themselves come together and reflect Levinton and Thornton from a common area.”