AIR

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Artists In Residence

02.2021-06.2021

LIDA ARZAGHI

WILL BRITTEN

LIUCHU CHEN

SHOU-AN CHIANG

ZACHARY CHICK

FENGFENG

JAMIE GENOVESE

LISA-MARIE HARRIS

JUJUJULIAN

LIINA LEO

JIAQI LI

YILI LIU

ZELDA MONTJEAN-ZEN

NAIRA MUSHTAQ

PAT NALDI

NICO PAZZAGLIA

ANA LUIZA RODRIGUES

ANASTASSIA RADTSENKO

CARLOTA DOS SANTOS

DANI SURNAME

KEN TURNER

MITA VAGHELA

LEANNE WIGGERS

CHU WU

BEIER XIE

YING XIN

XIAOYU YU

AMANDA CACHIA 

JEREMY NARBY

LUCY ORTA

SANDRA POULSON

FATOŞ ÜSTEK

LECTURES + WORKSHOPS

This project expands the methodology of exchanging knowledge. Students from MA Contemporary Photography; Practices and Philosophies at Central Saint Martins, alumni, and academics, engaged in a Knowledge Exchange residency project in collaboration with Arthousehaus.

 

Interrogating the notion of ‘being’ in residence, and looking to inspire innovative and solution-led approaches to reframing practice and theory, and long-term evolutionary and neurological shifts resulting from critical change, the students were challenged to work alongside other artists, academics, and alumni to co-explore the notion of ‘being’ in residence. As a group, they strove to develop new pathways for working, attended workshops, and facilitated open discussions with international curators, experimental anthropologist, artists, fashion designer, and an art historian.

 

The artist adapts; working in response to, and with what is present conceptually, spatially, and materially. In this project, participants worked with alternate spaces, new materials, and unfamiliar audiences in response to the situations they found themselves in; interrogating, developing, and piloting new spaces in which to reside from Depop online market places, to library-catalogues, canal-boats, giphy, balconies, white vans, twitch-tv, accompanied by new sounds, imagined beings, the cover of darkness and even a thousand shoes. Their approaches tested the boundaries of practice, exploring new dimensions with multiple ways of re-thinking, making, and connecting, that bore new relevance to the immediacy of the moment.

Ana Luiza Rodrigues
TRAUMA

THE RESIDENCY PROCESS IS INTERRELATED TO MY ANXIETY, NATIONALISM AS A BRAZILIAN AND LACK OF FREEDOM WITHIN  THE GLOBAL SITUATION. THIS NEVER-ENDING LOCKDOWN THAT EVOKED THIS FEELING.

READING THE NEWS AND LEARNING OF THE HORRORS OF THE FAR-RIGHT PRESIDENT OF BRAZIL, JAIR BOLSONARO, TRIGGERED ME TO DEVELOP SOMETHING TO EXPRESS MY DESIRE FOR CHANGE, AS MY FRUSTRATION AND DISGUST GREW TOWARDS HIM.

OVER THE COURSE OF THE RESIDENCY, I TRANSFORMED FOUND OBJECTS INTO A VIVID AND DIRECT SCULPTURES. IT IS MY POLITICAL STATEMENT.

 

www.analuizarodrigues.org

Carlotta Dos Santos
A THOUSAND SHOES

THE THOUSAND SHOES RESIDENCY EMERGED FROM THE DESIRE TO EXTEND THE LIFE OF ONE THOUSAND UNWORN SHOES THAT HAVE BEEN AGEING IN CONFINEMENT FOR THE PAST 20 YEARS. 


IT EVOKES THE DISCARDED PILES OF SHOES FASHION BRANDS CAST ASIDE EVERY SEASON. THE PRACTICE RESEARCH PROJECT ENCOURAGES THE EXPLORATION OF THESE SHOES AS BODIES OF RHYTHMS THAT EXIST BEYOND THEIR FUNCTION, AND OUTSIDE OF CONFINED SHOE BOXES. BY CHALLENGING THEIR RELATIONSHIP WITH THE HUMAN BODY AND THE PHYSICAL SPACE, EACH SHOE COMES INTO BEING AS A MOMENT OF ART, INSTEAD OF AN OBJECT OF ART, MERGING THE LANGUAGES OF FINE ART, PERFORMING ARTS AND FASHION.
 
THE PROCESS WAS TO ENGAGE IN AN ENVIRONMENTAL AND POLITICAL RESIDENCY, A SOCIAL PRACTICE WAS APPROACHED. FROM ACQUIRING THE FIVE-HUNDRED PAIRS OF SHOES, TO FINDING A PHYSICAL SPACE WHERE THE PROJECT WAS INITIALLY BASED.  THE ONE THOUSAND SHOES RESIDENCY ESTABLISHED LINKS BETWEEN DIFFERENT FIELDS BY COLLABORATING WITH DIVERSE ARTISTS, ORGANISATIONS AND BRANDS AND CONNECTING TO A COMMUNITY WHERE THE REMAINING SHOES COULD BE GIVEN ANOTHER LIFE.
 
THE RESIDENCY WILL CONTINUE TO LIVE THROUGH AN ONLINE ARCHIVE, AVAILABLE AT WWW.ATHOUSANDSHOES.COM (IN DEVELOPMENT). AS THE PLATFORM ARCHIVES THE VISUAL DOCUMENTATION OF THE PROJECT ITSELF, IT WILL ALSO INCLUDE THE ARTWORKS CREATED BY THE COLLABORATIVE ARTISTS, AS THEY EXTENDED THE LIFE OF SOME OF THE SHOES THROUGH THEIR CREATIVE PRACTICES. PLANS TO PHYSICALLY PROLONG THE LIFE OF THE RESIDENCY ARE BEING STUDIED.

www.carlotados.com

THE RESIDENCY CONSISTS OF  DEVELOPING AN ONLINE STORE USING THE PLATFORM DEPOP, WITH  WHICH I CAN SELL ALTERNATIVE FASHION ITEMS TO EVERYDAY CONSUMERS. THE OBJECTS INCLUDED IN THE COLLECTION ARE WEARABLE SCULPTURES REALISED WITH UNCONVENTIONAL MATERIALS, MAINLY  COMPRISED OF RECYCLED MATERIAL, SUCH AS PLASTICS AND FOOD WASTE, USED AS ASSISTIVE DEVICES FOR WOMEN TO FIT BEAUTY STANDARDS OR CONTEMPORARY VALUES OF HAPPINESS, MONEY AND SUCCESS.  

THROUGHOUT THE RESIDENCY I HAVE BEEN WORKING ON SEVERAL PROJECTS THAT INVOLVE ADVERTISING, COLLABORATION WITH OTHER ARTISTS AND RESEARCHING FOR NEW SUSTAINABLE MATERIALS. I HAVE CREATED FLYERS TO DISTRIBUTE BETWEEN BOLOGNA AND LONDON AND DEVELOPED A COLLABORATION WITH ANOTHER ARTIST TO MAKE A NEW BREATHING CORSET USING INFLATABLE BALLOONS. I ALSO BEGUN EXPLORING NEW MATERIALS, SUCH AS BIOPLASTIC USING BANANA PEELS AND I AM CURRENTLY WORKING AT FINDING STRONGER COLLABORATIONS WITH FASHION DESIGNERS AS WELL AS IN CREATING NEW ITEMS. 

       @Niko_Pzaz

DURING THIS RESIDENCY I WANTED TO FIGURE OUT HOW CAN I INSTIGATE A RHIZOMATIC COLLABORATION WITH A CREATIVE WHO DOES NOT NECESSARILY OPERATE WITHIN STRICTLY VISUAL ARTS, BUT RATHER SOMEONE WHO IS INTERESTED IN EXCHANGING THEIR PRACTICE WITH ME BY WORKING OUTSIDE OF THEIR NORMAL WAYS OF CREATIVE PRODUCTION. IN THE SPAN OF THE MONTH (APRIL) WE EXCHANGED RESEARCH AND SKETCHES OF OUR WORK ON A WEEKLY BASIS. WE DID NOT SET ANY STRICT FORMAT FOR THOSE. MY MAIN REQUEST WAS TO BE RESPONSIVE TO ASSOCIATIONS AND FEEL FREE TO GO WHICHEVER DIRECTION OUR RESEARCH WOULD TAKE US. AN UMBRELLA IDEA FOR THIS COLLABORATION I PITCHED AS MYTHOPOESIS – THE IMAGINATIVE TRANSFORMATION OF THE WORLD THROUGH FICTION. THE TERM IS PREDOMINANTLY USED IN A NARRATIVE GENRE OF MODERN LITERATURE, WHERE FICTIONAL OR ARTIFICIAL MYTHOLOGY IS CREATED. AS ARTISTS, WE CREATE OUR OWN FICTIONAL STORIES, WE BUILD NEW MYTHOLOGIES THROUGH OUR PRACTICES THAT EXIST IN THE REAL BUT OPEN UP PARALLEL AND REVERSE DIMENSIONS. WE GIVE THESE MYTHOLOGIES MEANINGS; THEY LIVE OUTSIDE OF US AND GENERATE CHAIN REACTIONS. IN A WAY, AS THE GOAL OF THIS RESIDENCY PROJECT WAS TO REDEFINE ITS ORIGINAL STRUCTURE OR MEANING, THE PROCESS ITSELF HAS THE SAME SENTIMENT – IT IS ABOUT CREATING A NEW GROUND FOR EXPLORATION AND AN OPPORTUNITY TO OPEN A NEW REALITY.                                      @_tsenko

 

COLLABORATOR: LUCIEN SARGANT           @iceboy_violet

REPETITION ITSELF CAN BE A PROBLEM IN MANY SITUATIONS, ESPECIALLY WHEN IT COMES TO NIGHTMARES. BUT ONE CAN LOOK AT RECURRING NIGHTMARES DIFFERENTLY. CARL GUSTAV JUNG BELIEVED THAT THE DREAM IS A SPECIFIC EXPRESSION OF THE UNCONSCIOUS.

 

(MAN & HIS SYMBOLS). BASED ON THIS THEORY DREAM CAN BE INTERPRETED AS A WINDOW TO UNCONSCIOUS AND A MYSTERIOUS ROAD TO THE MIND’S HIDDEN LAYERS OF THE DREAMER. SO IN OTHER WORDS, RECURRING NIGHTMARES ARE SOMEHOW A SIGNAL FROM YOUR UNCONSCIOUS MIND TRY TO HIGHLIGHT THE ROOTS OF THE FEELINGS, PROBLEMS, AND THOUGHTS WE FACE IN OUR DAILY LIFE. SOMETHING THAT IN MANY CASES IS DIFFICULT TO NOTICE DURING THE WAKING HOURS.

 

THE IMPORTANT AND DIFFERENT THING ABOUT THIS RESIDENCY THAT HELPED ME A LOT WAS DESPITE NOT CHANGING THE DIMENSION OF THE PLACE, IT PUT ME AS AN ARTIST IN A NEW AND VIRTUAL ARTISTIC SPACE. WORKSHOPS WITH PROFESSIONAL ARTISTS AND MEETINGS WITH FELLOW ARTISTS BROKE THE ISOLATION OF PANDEMIC, REVIVED DEPLETED ENERGY, AND MADE QUARANTINE THE PRODUCTIVE PERIOD. I TRIED TO TAKE ADVANTAGE OF THE OPPORTUNITY THIS RESIDENCY CREATED DURING THE PANDEMIC, AGAINST THE TENSIONS AND DAILY MENTAL CONFLICTS THAT INTENSIFIED DURING THIS PERIOD.

 

RECORDING DREAMS IN FULL DETAIL, UNDERSTANDING THE CONCEPT BEHIND THE IMAGES, AND FINALLY, AS AN ARTIST, VISUALIZING THEM IN A THREE-DIMENSIONAL WORLD TO DEAL WITH THE CAUSE OF NIGHTMARES AND THE CONSEQUENT DAILY MENTAL CONFLICTS IS MY PERSONAL APPROACH.

 

“THERE IS NO ROOM FOR ME” IS ONE OF MY JOURNEYS OF SELF-DISCOVERY TO UNDERSTAND BETTER THE WHISPERING OF THE UNCONSCIOUS MIND REVEALED THROUGH MY DREAMS.

www.lidaarzaghi.com

AM, PM, SONIC BIRDS AND HERE, (H)EAR, SONIC BIRDS IS A PAIR OF RESIDENCY PROJECTS IN WHICH I PRODUCED MIXED-REALITY NARRATIVES BY DETACHING AND RECONSTRUCTING THE AUDIO-VISUAL ELEMENTS IN VIDEOS. DURING MY RESIDENCY, I RECORDED THE BIRDSONGS HEARD FROM HOME AS A SIGNATURE TRACE OF ENVIRONMENTAL HAPPENINGS AND ITS MEMORIES. THE SOUND TRACKS ARE THEN BEING PROCESSED IN THE VIRTUAL REALM TO CONSTRUCT NEW NARRATIVES OF THE ENVIRONMENTAL MEMORIES WITH MY ABSENT BODY.

IN THE PIECE AM, PM, SONIC BIRDS, I BLENDED THE BIRDSONG RECORDED IN ONE MORNING TOGETHER WITH A SOUND TRACK RECORDED IN ONE AFTERNOON. IN THE PIECE HERE, (H)EAR, SONIC BIRDS, I PLAYED A RECORDED BIRDSONG SOUND TRACK BACK TO MY ENVIRONMENT. I THEN CONDUCTED THE SECOND RECORDING PROCESS. THE GROUP OF BIRDS INTERACTED WITH THE GROUP OF BIRDS IN AN EARLIER TIME THROUGH THE PLAYING OF ITS DIGITAL RECORDED BIRDSONG, AND THUS PRODUCED A TIME-MIXED-REALITY SOUND TRACK, WHICH JOINT TOGETHER THE ENVIRONMENTAL MEMORIES OF TWO DIFFERENT TIMES. THE SOUND TRACK IS THEN COMPOSED WITH AN AUDIO DETACHED VIDEO PIECE.                                                                          yingxin.cargo.site

Text in Image: On the road,Liuchu Chen  A bicycle is leaning against a white radiator on the wall. The helmet hangs on the handle bar. On the radiator there are three pairs of rubber gloves, two bright yellow, the other see through white. On the wall, to the right of the bicycle hangs a red fire-safety blanket. Underneath the bicycle lies the blue and white lid of a rubbish bin. The rest of the bin stands to the left of the bicycle. By the front wheel there is a grey metal wastepaper basket with yellow plastic liner and rubbish. Parts of the kitchen cupboards can be seen to the left of the image
Liuchu Chen
ON THE ROAD

THE IGNORED TIME IS OBSERVED AT THE REVIEW MOMENT, WHICH IS THE BIKE NEXT TO BINS IN THE KITCHEN. A FORGOTTEN BICYCLE IS VALUED TO SOMEONE WHO HAS FADED AWAY FROM THE VIEW AMONG THE OTHERS, AND IT IS LIKE LIVE IN THE UNCOMMON PLACE BOTH OF THEM STAY. HOWEVER, THEY LIVE WELL, AND ANYTHING NEVER STOPS BLOCK THEIR VIEW, BECAUSE THEY ARE ON THE ROAD.

AFTER RECORDING AND WATCHING THE DOCUMENTATION OF GOPRO FROM BIKE VIEW, THERE IS SOMETHING I IGNORED. BICYCLE AS A MOTIVATION CARRY ME TO WHERE I WANT TO GO, AND WHAT I SEE IS DIFFERENT FROM THE BIKE’S VIEW, EVEN THOUGH WE ARE MOVING TOGETHER AT THE SAME TIME AND SPACE. THEREFORE I TRIED TO DIG OUT THE DIFFERENCE BETWEEN US. I FOUND LOTS OF THINGS ARE OUT OF MY SIGHT UNTIL THE VIDEO CAPTURES THEM, AND MY VIEW IS NARROW. THE IMPRESSION OF THE BIKE IS FADED AWAY FROM MY MIND AS THOSE IGNORED THINGS. MY ATTENTION IS ON THE ROAD BUT I ALWAYS FORGET WHAT CARRIES ME TO KEEP GOING. THE BIKE NEXT TO TRASH BINS IN THE KITCHEN ALSO SHOULD BE ON THE ROAD.
 

 

liuchuchen.me

Shou-An Chiang AQUA FRONTIER

I THOUGHT IT WAS GOING TO BE A HALF-HOLIDAY, HALF-CREATIVE JOURNEY, BUT I DIDN'T EXPECT IT TO BE SURVIVAL ON A DESERT ISLAND. FOR A LONG TIME, PEOPLE HAVE TO WORK AND STUDY FROM HOME AS A RESULT OF THE EPIDEMIC. THE LINE BETWEEN THE PUBLIC AND PRIVATE SPHERES HAS THUS BEEN BLURRED. TIME SPENT WITH FAMILY OR FLATMATES IS MORE INTENSIVE. UNDER THESE INFLUENCES, TIME AND SPACE FOR PERSONAL SOLITUDE BECOME IMPORTANT. FOR ME, LIVING IN STUDENT ACCOMMODATION, BECAME ALMOST IMPOSSIBLE. EVEN WHEN I CLOSED THE DOOR AND HID IN MY BEDROOM, THE SOUNDS OF MY FLATMATES' ALL-NIGHT PARTYING WOULD STILL LEAK THROUGH THE DOOR. RUNNING AWAY BECAME MY ONLY OPTION. I MUST ESCAPE TO SPACE WHERE I CAN HAVE A CLEAR TERRITORY AND ENJOY IT ALL TO MYSELF. GROWING UP ON AN ISLAND, THE FIRST THING I THOUGHT OF WAS THE COASTLINE. IT IS SURROUNDED BY THE SEA, AND IT IS CLEAR WHERE YOU CAN STEP ON IT. SO I FLED TO A BOAT MOORED IN THE CANAL IN FRONT OF MY SCHOOL. ‘ANYWHERE I COULD GET A FOOTHOLD ON THE BOAT WAS MY TERRITORY', AND WITH THIS IN MIND, I BEGAN MY TWO-WEEK RESIDENCY PROJECT. 

https://www.shouanchiang.com/

EVERY EVENING WHEN THE SUN SETS THE CITY TAKES A DIFFERENT FORM. IT SHIFTS FROM A HUSTLING CHAOS OF PRODUCTION INTO A SURREAL FREEZING OF TIME, WHICH ISN’T ASLEEP AT ALL BUT BUSTLING IN STILLNESS.

NOCTURNAL ANIMALS IS A SELF-DETERMINED RESIDENCY EXPERIENCE IN WHICH THE PROPERTIES THAT ONE RESIDES IN IS CHARACTERISED BY SOLITUDE AND UNINHIBITED EXPLORATION, FEAR AND AIMLESSNESS, CURIOSITY AND CLUMSINESS. THE FIRST SERIES OF THIS PROJECT ORIGINALLY TOOK PLACE OVERNIGHT FOR A PERIOD OF ONE WEEK. EACH EVENING AROUND 22:00 I WOULD STEP OUT THE FRONT DOOR OF MY HOUSE AND WALK. I EXPLORED THE DESOLATE STREETS, GOING A DIFFERENT WAY EACH EVENING, UNTIL I WOULD RETURN BEFORE DAWN. WHAT HAPPENS IN THIS TIME FRAME DEPENDS ON THE NIGHT ITSELF. THERE ARE NO INTENTIONS, WHAT COMES OF EACH EVENING IS UNEXAMINED AND COMPLETELY PRESENT. IT’S THE OTHER SIDE OF THE COIN. I BRING ALONG WITH ME ONLY MATERIALS FOR DOCUMENTATION – EVERYTHING ELSE WILL BE MATERIALS FOUND OR THE ENGAGEMENTS OR INTERACTIONS WITH THE OTHER NOCTURNAL CREATURES.

THE NAÏVE CONSTRUCTIONS IN THIS PROJECT THUS FAR ARE BUILT OR FORMULATED WITHIN SPACES NOT ALLOWED DURING THE NORMAL WORKING HOURS OF DAY. THE WORKS THAT FOLLOW ARE EXAMPLES OF THE EXPERIENCES AND EXPERIMENTATIONS TAKEN OVER THE FIRST WEEK AND ITERATION OF THIS ONGOING PROJECT. WHILE PRODUCING THE ORIGINAL WORKS I WAS ABLE TO REALLY ORGANISE HOW TO CONTINUE WORKING AND BUILDING UPON THESE NIGHT WORKS AND ALL THE INTERESTING HAPPENINGS THAT TAKE PLACE ON THE FLIP SIDE OF REALITY. THE RESIDENCY IS A STATE OF MIND. A WONDERING, A ROAMING, A DISENGAGEMENT WITH SELF.
 

 

www.zacharychick.com

Text On image: Nocturnal Animals.  image features a naked female Caucasian body pressed against glass. The image is dark brown with parts of the body lit.

EACH EVENING WHEN THE SUN FULLY SETS THE CITY TAKES A DIFFERENT FORM AND SPEED. IT SHIFTS FROM A HUSTLING CHAOS OF PRODUCTION INTO A SURREAL FREEZING OF TIME, WHICH ISN’T ASLEEP AT ALL BUT BUSTLING IN STILLNESS.

 

NOCTURNAL ANIMALS IS A SELF-DETERMINED RESIDENCY EXPERIENCE IN WHICH THE PROPERTIES THAT ONE RESIDES IN IS CHARACTERIsED BY SOLITUDE AND UNINHIBITED EXPLORATION, FEAR AND AIMLESSNESS, CURIOSITY AND CLUMSINESS. THE FIRST SERIES OF THIS PROJECT ORIGINALLY TOOK PLACE OVERNIGHT FOR A PERIOD OF ONE WEEK. EACH EVENING AROUND 22:00 I WOULD STEP OUT THE FRONT DOOR OF MY HOUSE AND WALK. I EXPLORED THE DESOLATE STREETS, GOING A DIFFERENT WAY EACH EVENING, UNTIL I WOULD RETURN BEFORE DAWN. WHAT HAPPENS IN THIS TIME FRAME DEPENDS ON THE NIGHT ITSELF. THERE ARE NO INTENTIONS, WHAT COMES OF EACH EVENING IS UNEXAMINED AND COMPLETELY PRESENT. IT’S THE OTHER SIDE OF THE COIN. I BRING ALONG WITH ME ONLY MATERIALS FOR DOCUMENTATION – EVERYTHING ELSE WILL BE MATERIALS FOUND OR THE ENGAGEMENTS OR INTERACTIONS WITH THE OTHER NOCTURNAL CREATURES.

 

THE NAÏVE CONSTRUCTIONS IN THIS PROJECT THUS FAR ARE BUILT OR FORMULATED WITHIN SPACES NOT ALLOWED DURING THE NORMAL WORKING HOURS OF DAY. THE WORKS THAT FOLLOW ARE EXAMPLES OF THE EXPERIENCES AND EXPERIMENTATIONS TAKEN OVER THE FIRST WEEK AND ITERATION OF THIS ONGOING PROJECT. WHILE PRODUCING THE ORIGINAL WORKS I WAS ABLE TO REALLY ORGANISE HOW TO CONTINUE WORKING AND BUILDING UPON THESE

NIGHT WORKS AND ALL THE INTERESTING HAPPENINGS THAT TAKE PLACE ON THE FLIP SIDE OF REALITY. THE RESIDENCY IS A STATE OF MIND. A WONDERING, A ROAMING, A DISENGAGEMENT WITH SELF.

www.zacharychick.com

Text on image: the white van,Will Britten & Liina Leo. In the image a close-up of a yellow plastic teddy bear wedged in the black door-handle of a white van

FOR OUR RESIDENCY PROJECT WITH KNOWLEDGE EXCHANGE, WE CONTINUED OUR COLLABORATIVE PRACTICE TO CREATE A WORKSHOP & EXHIBITION USING OUR PLATFORM OF  DOKK ARTS CENTRE. THIS BEGAN BY VENTURING TO A LARGE CAR-BOOT SALE IN A HIRED VAN. WE THEN SET ASIDE TIME TO FIND ITEMS, TO THEN INSTALL AT THE CARBOOT SALE AND IN THE BACK OF THE VAN. WE INVITED WITH US SOME PARTICIPANTS TO RUN THIS AS A FUNDED WORKSHOP, WHERE WE CONSIDER THE VALUE OF FOUND ART AND INSERTING OURSELVES INTO A NEW ENVIRONMENT WHERE AN AUDIENCE IS ALREADY PRESENT. BY SHOWING THE PIECES IN THE EMPTY WHITE VAN WITH THE DOORS OPEN, WE HAD AN INTERESTING CRITIQUE OF THE WHITE CUBE GALLERY: THE WHITE VAN. THIS CONTINUES TO POKE FUN AT PLAY/WORK DICHOTOMIES AND THE NOTION OF THE ‘WHITE VAN MAN’. WE ARE ALSO INTERESTED IN PLACING THE ERRONEOUS NOTION OF HIGH ART HIERARCHY INTO A SPACE IN WHICH IT WAS NOT INVITED AND IS PERHAPS OUT OF PLACE. 

 

dokkartscentre.com

MY RESIDENCY PROJECT IS BASED IN THE KITCHEN AND FOCUSED ON MY DAILY COOKING EXPERIENCE. 

 

WORKING IN THE KITCHEN IS BOTH AN EMOTIONAL AND A PHYSICAL LABOUR TO ME. HOWEVER, MOST OF TIME, COOKING AS A KIND OF LABOUR WHICH HAPPENS IN PRIVATE SPACE – HOME – IS BEING IGNORED AND EVEN BEING TAKEN FOR GRANTED. WHAT I DO IS TO EXPERIENCE MY KITCHEN, NOT ONLY BY COOKING BUT ALSO THROUGH THE KITCHEN ITSELF.

 

SO FAR, THERE ARE THREE STAGES IN MY KITCHEN PRACTICE. IN THE STAGE ONE, I DO A SERIES OF PERFORMANCE IN TERMS OF HANDLING ONIONS. BY CUTTING A SLICE OF MY DAILY COOKING AND THEN BRINGING IT INTO A NON-PRIVATE SPACE, THE ONIONS (2021) AIMS TO UNDERLINE THE LABOUR BEHIND COOKING SCENE IN REPETITION. WHEN IT COMES TO STAGE TWO, KITCHEN IN THE CORNER(2021), THE KITCHEN IS BEING EXAMINED AS A SPACE THROUGH TRADITIONAL PHOTOGRAPHY AND 3D- SCAN IMAGES. IN THE LATEST STAGE, KITCHEN OBJECTS (2021), I TRY TO QUESTION THE VALUE OF THE LABOUR BEHIND KITCHEN BY CASTING CLEANING PRODUCTS INTO LONG-LIVED HOWEVER, NON-FUNCTION PLASTER SCULPTURES.

 

THERE IS A FAMILIAR, CLOSE YET STRUGGLING RELATIONSHIP BETWEEN ME AND MY KITCHEN. BOTH THE CONTAINER – THE KITCHEN SPACE AND THE CONTENTS INSIDE – THE OBJECTS, THE ORDER AND THE COMPOSITION OF KITCHEN ARE ATTRACTED TO ME. WITH MY PRACTICES, I TEND TO DEAL WITH THE INTIMACY AND MY PERSONAL DAILY EMOTIONS, AND TO PERCEIVE THE RELATIONSHIP BETWEEN MY BEING AND THE KITCHEN.

@beier_xie

THE BEAUTY = THE BEAUTY. THE UGLINESS = THE UGLINESS. NOTHING EVER CHANGES ITS BEING IN THE WORLD, EVEN WHEN THEY ARE CONNECTING OR MIXING TOGETHER, THE BEING OF THE ENTITY IS STILL ITS VERY ORIGINAL BEING. AS HUMANS, WE ARE LIKE THE BANKS FOR THE EQUAL SIGNS, WE COLLECT THEM, GATHER THEM, STORE THEM AND DELIVER THEM.

THE CONCEPT OF THE EQUAL SIGN SHOWS HOW OUR PERCEPTION AND CONSCIOUSNESS ARE CONFINED TO OUR PHYSICAL BOUNDARY: THE TUNNEL THAT WE ARE UNABLE TO ESCAPE, AS LONG AS WE ARE HUMANS.

IT'S ALL BASED ON MY MENTAL HEALTH ISSUES. I WRITE SHORT POEMS EVERY DAY TO MAKE MYSELF THINK AND TO MAKE MYSELF FEEL ALIVE. I'M STUCK IN MY CONSCIOUS TUNNEL, AND I USE THE EQUAL MARK ( = ) AS BOTH THE OBSTACLE AND THE CONNECTOR TO SHOW MY INNER BATTLE. 

 

FURTHERMORE, I VISITED THE COAST EVERY DAY FOR ABOUT A MONTH, I CONSIDER IT TO BE PART OF THE PROJECT TOO.

 

@thisisahappymachine

 In the image Two steel screw cup hooks inserted into a white wall with sunlight casting shadow of a heart.

RATHER THAN A RESIDENCY PROJECT, THE HEART IS MORE LIKE A DISCOVERY. IN THE PROCESS OF MAKING OTHER WORKS, I OCCASIONALLY DISCOVERED THAT IF I DRILL TWO CUP HOOKS FACE TO FACE, THERE WILL BE A HEART! IF THE TWO CUP HOOKS ARE CROSSED, THAT WILL MAKE THE HEART BETTER! I DON’T KNOW HOW OTHER PEOPLE CONSIDER THIS DISCOVERY. FOR ME, IT IS AS IMPORTANT AS E=2

 

MC DISCOVERED BY ALBERT EINSTEIN.

SINCE THE DISCOVERY OF THE HEART, I DECIDE THAT I WILL DRILL ALL MY CUP HOOKS IN THIS WAY IN MY LIFE.

 

fengfengfengfeng.com

In a white loft space with wooden floor boards and grey painted wooden structure, there is a dormer window from which is displayed a long scroll of white paper with the image of a ladder – the scroll becomes a tromp l’oeil ladder

THE IDEA OF THIS WORK CAME FROM THE PERIOD I STAYED AT HOME ALL DAY ALONE DURING THE LOCKDOWN. THAT DESIRE THAT WANTED TO MAKE CONNECTION WITH PEOPLE, BUT CONFLICT DISCONNECT WITH PEOPLE AT THE SAME TIME. I TRIED TO MAKE OTHER IDENTITIES FOR THE LADDER. NOBODY CAN CLIMB IT AND ALSO, I CAN’T GO DOWNSTAIRS BY IT. LADDER LOST ITS FUNCTION WITH ONLY FAKE IMAGE LEFT. THE FAKENESS OF OBJECTS LIKE THE BODY WITHOUT ORGANS, NO INCOMING AND NO OUTCOMING.

I TRAVELLED FEW PLACES IN LONDON WITH THE LADDER I PRINTED WHICH IS TEN METERS LONG. DROPPED IT DOWN FROM DIFFERENT WINDOWS OR BALCONY. SINCE THE RESTRICTION OF THE CITY RELEASE A BIT, I STARTED TO WONDER WHAT THIS WORK IS MEAN TO DIFFERENT PLACES OR EVEN DIFFERENT PEOPLE. THE PROCESS OF DROPPING IT I STILL CONSIDER IT IS A PERFORMANCE AS IT’S NOT MY HOME BUT OTHERS’. AND THE PURPOSE CHANGED WITH AS LONG AS I KEEP DOING IT, NOT THE CONNECT BETWEEN ME WITH PEOPLE BUT ONE PLACE WITH ANOTHER PLACE.

THE PROBLEM THAT I’M FACING NOW MAYBE CHANGING THE PLAN THAT KEEPING TRAVELING DIFFERENT PLACES BUT MORE FOCUS ON OBJECT ITSELF. OR MAYBE DO THE COOPERATION WORK WITH OTHER ARTISTS BY USING THIS OBJECT.
 

@farrah_a_li

"AN ABSOLUTE MESS. THE WORK STARTED WITH A VISION FOR MAKING A COMPREHENSIVE SERIES OF ONLINE WORKS IN COLLABORATION WITH ARTISTS AND PRACTITIONERS OUTSIDE OF THE COURSE; SCHEDULING THEIR WORKS ON TWITCH.TV AS A LIVE VENUE THAT MIMICS AND GOES BEYOND THE GALLERY SPACE. IT WAS NOT FEASIBLE, NOT FOR THE TIMELINE AND ENERGY AVAILABLE, ALTHOUGH THE TECHNOLOGY IS THERE AND READY. 

 

MY RESPONSE: A DRAWING INTO SOLITUDE TO COLLECT AND WORK WITH IMAGES OF MY OWN AND DEVELOPING MY PRACTICE AS MY OWN THAT MOVED AS I DID. NOT TIED TO A SINGLE SPACE, BUT TO THE ROAD. THE ROAD OF TARMAC AND THE ROAD OF WHAT THE AUGHTS DECREED THE "INFORMATION HIGHWAY", THE INTERNET. 

 

MY WORK THEREFORE IS MOSTLY FOCUSED ON MOVING IMAGES OF SCENES IN MALTA AND USING THOSE IMAGES AS A STARTING POINT WHICH I THEN RESPOND TO, AND DELVE DEEPER INTO, AS IF A MEDITATION. THIS WAS TRUE OF A COLD SWIM (2021), FREE THE TEXT (2021) AND IT'S OFFSHOOT (RHIZOMATIC, IF I WERE TO SIGNAL SOMETHING WITH JARGON) DEVELOPMENT FREE THE TEXT: FINAL NOT OVER (2021) WHICH WAS INSTALLED IN A GALLERY AS A NECESSARY STEP IN THIS PRACTICE THAT COULD EXPLORE THE BOUNDARY OF ONLINE AND OFFLINE VENUES IN WHAT MIGHT BE, ONE DAY, A HAPPY AND NATURAL MARRIAGE. 

 

I CANNOT SAY THE WORK IS DONE, BUT THERE IS A CONSTELLATION BEING PLOTTED OUT, AND I HOPE IT'S WORTH STAYING AWAKE TO SEE."

www.jigenovese.com

Text on image: my constellation of mild errors, Jamie Iain Genovese. Vide on the left: The video features a car journey through empty roads at night in Malta from the car window’s point of view. Underneath scrolling white text on a black background, recounts an encounter.

KNOWLEDGE EXCHANGE RESIDENCY IS AN ON-GOING RESEARCH INVESTIGATION INTO LABYRINTH BY MARK WALLINGER. WITH THE MULTIPLE INTENSIONS OF INVESTIGATING AND UNDERSTANDING THE RELATIONSHIPS BETWEEN LABYRINTH, ITS INTENDED AUDIENCE, THE NETWORK OF TUNNELS, ALLEYS AND PATHS THAT MAKE UP THE EXPERIENCE OF THIS VERY URBAN ENVIRONMENT. WITH THE ULTIMATE AIM OF MAKING WORK AS A RESPONSE TO MY EXPERIENCE DURING THE RESIDENCY AND TIME SPENT RESEARCHING AND CONSIDERING THIS WORK. LABYRINTH CONSIST OF 270 INDIVIDUAL WORKS EACH INSTALLED AT ONE OF THE 270 LONDON UNDERGROUND STATIONS IN 2013 AS PART OF TFLS CELEBRATION OF ITS 150TH ANNIVERSARY. WHAT STRUCK ME QUITE EARLY ON DURING THE RESEARCH IS THAT THE INDIVIDUAL WORKS ARE ANONYMOUS, NOT MARKED, NAMED OR LABELLED AND DO NOT STAND OUT AS WORKS OF ART BUT MERGES INTO THE NUMEROUS AND COMPLEX ARRAY OF SIGNS ON THE UNDERGROUND.

 

FOR THE MOST PART THE PIECES THEMSELVES SEEM COMPLETELY OVER LOOKED AND MISUNDERSTOOD BY THE PUBLIC, TLF STAFF AND OTHERS THAT WORK ON THE NETWORK. THIS RAISES A NUMBER OF QUESTIONS, WHO IS THE INTENDED AUDIENCE, IS IT ART IF NOT LABELLED AS SUCH, IS IT ELITIST ONLY ACCESSIBLE AS ART BY THOSE WITH KNOWLEDGE OF ITS ORIGINS. IN DEED WHEN ONE CONSIDERS THE CURRENT MARKET VALUE OF MARK WALLINGER’S WORK IT’S SURPRISING THAT THEY’RE SO CASUALLY DOTTED AROUND THE NETWORK, PERHAPS THIS IS INTENTIONAL. THERE SEEMS TO HAVE BEEN NO PLAN OR LOGIC TO THE INSTALLATION, SOME ARE ON PLATFORMS, TICKET HALLS, TUNNELS, LIFT LOBBIES, AT THE TOP OR BOTTOM OF ESCALATORS, BUT PERHAPS THIS IS PART OF THE COMPLEXITY OF THE WORK THAT IS AFTER ALL A LABYRINTH WITHIN A LABYRINTH.

http://www.tensionfineart.co.uk/

Ana Luiza Rodriguez
TRAUMA

Ken Turner

Labyrinth: A Study of Mark Wallinger

Text on image: Residency in Research and development, Dani Surname. In the image Two hands with broken brown bottle glass taped onto their fingernails with green tape, is scratching onto their own naked torso. The skin features the raised scratches from the broken glass.

THE BASIS OF MY RESIDENCY WAS A WEEK OF SCHEDULED EXERCISES TO GENERATE NEW MATERIAL AND DEVELOP ARTWORKS ALREADY IN PROGRESS. OUTSIDE OF THE DEMANDS OF ONLINE LEARNING, THIS TIME WAS INVALUABLE, AND SPARKED MULTIPLE NEW ARTWORKS. THE EXERCISES, SUCH AS FREE WRITING, PAINTING, AND COMMUTER DISSOCIATION, WERE TASKS I HAD PREVIOUSLY USED IN MY PRACTICE, OR THAT WERE SUGGESTED BY LIVE ART COLLEAGUES.

ONE OF THE ARTWORKS THAT CAME OUT OF THE WEEK WAS A SERIES OF NINE POSTCARDS, COMBINING FREE WRITING WITH PHOTOGRAPHS OF A PAST PERFORMANCE. THESE WERE SENT INDIVIDUALLY TO FRIENDS AND COLLEAGUES, IN RECOGNITION OF THE BOND CREATED BETWEEN PERFORMER AND AUDIENCE THROUGH PRACTICES OF ENDURANCE OR PAIN. THE WEEK AWAY FROM DIGITAL RESPONSIBILITIES ALLOWED FOR A DEEPER REFLECTION ON MY PAST PRACTICE, AND ENABLED NEW CONNECTIONS BETWEEN IDEAS I HAD BEEN STRUGGLING TO DEVELOP WHILE IN LOCKDOWN. 

 

www.danisurname.com

Text on Image: why can't you love me if dust has empathy, Chu Wu. In the image

I HAVE ALREADY MADE A VACUUM CLEANER’S MOTOR AND FAN BY HAND. THE NEXT PROCESS WILL BE INSTALLING THE MOTOR INTO A PVC TUBE THAT TO FINISH IT AS A SIMPLE VACUUM ORGAN INSIDE THE ROBOT’S BODY. I PLAN TO BRING THIS VACUUM ROBOT TO COLLECT THE DUST FROM MY LIVING SPACE AND THE PARK WHICH I USUALLY WALK THROUGH ONCE I FINISHED THIS VACUUM ROBOT. 

 

@woooookong

IN THIS PROJECT, I REGARDED MY NETWORK SPACE AS MY MAIN RESIDENCY SITE. FROM THE 15TH OF MARCH TO THE 15TH OF APRIL, I REVIEWED ALL THE "PROJECTS" ON MY LAPTOP, INCLUDING MY BROWSING TAB, FAVOURITES, SHOPPING RECORD, EMAIL INBOX, SEARCHING HISTORY AND OTHER LIST ACTIONS ON VARIOUS PLATFORMS. THEY WERE CLASSIFIED AND ARCHIVED IN THE WAY OF COLLECTION. FOR THE OUTCOME, I ARRANGED AND LAID OUT THESE DATA IN THE FORM OF PHYSICAL PUBLICATIONS AND MADE THEM INTO A BOOK CALLED "BIBLIOGRAPHY", WHICH WAS DISPLAYED AND INTERACTED WITH THE PUBLIC IN THE CATALOGUE OF THE CSM LIBRARY, AND BECAME AN "EVENT ARTWORK" WHICH PERMANENT HAPPENING. MEANWHILE, THOSE PEOPLE WHO READ THE BOOK WILL ALSO BE RECORDED IN THIS ARCHIVE AS PART OF AN INFINITE LIST. HERE, THE BOOK ITSELF IS A PHYSICAL EXHIBITION WITH A PARTICULAR ORDER OF INTERNAL FORMAT INSTALLED IN THE LIBRARY SPACE. 

 

IT IS AN EVENT OF INTERTEXTUALITY BETWEEN ONLINE AND OFFLINE. THE EXISTENCE OF THIS BOOK BECOMES THE TRIGGER POINT OF THE TWO SPACE-TIME. PLEASE TRIGGER IT BY COLLECTING THE PRINT BOOK OR DOWNLOADING THE E-BOOK TO READ.

 

www.rainieyu.com

Text on Image: BIBLIOGRAPHY, Xiaoyu Yu. In the image: Book cover of a beige book on a white background. The book cover has the word Bibliography embossed.  In the video on the right: video takes you on a journey from the point of view of the video-maker from the entrance of Central Saint Martin’s building in King’s Cross to the library click and collect service to retrieve the book title Bibliography.