2021/02/27 - 03/12 [current]
Curated by Xuefei Cao
Artists are asked to present the flow of air in space. How do we understand air in its origin and the representations of it? Is air a chemical compound, including oxygen, particles and ions? Or is it a thermodynamic phenomenon, such as the atmosphere of Earth and the directions of wind? Humans have been trying to capture air through a myriad of activities and manufacturing processes, while air always manages to flee (into yin-yang, into shadows). We’re able to get closer to air, use it, set limits to it, create it, but it would immediately diffuse, morphing into other states (from gas to liquid or solid). The relationship between us human and air parallels that between untouched nature and manufactured art: no total control, but there are always openings for constant changes and re-creations. During the residency, artists should aim to make air itself, or its/wind’s direction of flow, sensible. That is, to visualize it, to make it audible, to embody it in scents, or to orchestrate it in a synergy that appeals to all human sensory organs.
Think about feelings and cultural connotations behind and brought forward by wind, and the mediums that carry wind. Artist can approach through the following keywords:
Spring breeze, moist wind, gale …
Vapor, mist, smoke …
Screens (literal translation: “wind wall”), wind chimes, bamboo fans…
Wind band, string music, percussion, larynx…
Breath, body movements, wind created by bodies shuttling in space…
Being blocked, being open…
Scents of sandalwood, of fruits, of industrial materials…
Particles, chemicals, dusts...
1. Choose at least two keywords from the above list. Works can be created individually or through collaboration.
2. One “primal material” is required in the work: artists are asked to go outside and bring back natural materials to the residency site, and lightly fabricate them using methods of one’s choice. “Light fabrication” refers to a process where artists rely and use their own skills and tools for artistic manufacture, such as sanding, destressing, photographing, etc. Artists should attend to and maintain the qualities inherent in the materials when working with them, stressing on a natural aesthetics. Examples may include: primitive music instruments, sound synthesis, or use air/wind to create installations or projections.
3. Artists need to incorporate the residency/exhibition space in their works, e.g. through performance or spatial design.