在这一年中，我们也得到了诸多艺术机构和平台的协助与合作：China Residencies和我们在年末开展了以“本土性 ／ 现实性”为题的驻地招募，获得了大量的申请与积极的反馈；我们和美国麻省艺术学院的驻留合作为我们带来了两位年轻而有活力的艺术家；在北京本地，两家非营利机构——激发研究所和缓存空间——都成为了我们的合作伙伴，中间驻留的三位艺术家和研究员在那里和观众分享了他们的研究、思考与实践。
In 2018, the Inside-Out Art Residency moves on with its aim and structure from 2017. Over the past year, we have had 10 residents coming via invitation, collaborative projects, and open call. We have invited and recruited art practitioners with different roles – including artists, curators, writers, researchers, etc. – to join us on an irregular basis to become an organic part of the museum, and despite limited conditions, we emphasize the variety of residents and flexible structures so to make the museum into a space related to globally active thinking and creation. With the residency program at the Inside-Out Art Museum, the practice and discussion with each of the artists and researchers become the source of our self-learning and opportunity to expand our horizon; at the same time, in the process we hope to be a listener of different practice and studies, so as to become a place for translation. The beginning of each residency is accompanied by an internal class where the residents share their practice for the staff at the museum; at the end of the residency, we also organize different formats of presentation for the residents, including public lectures, screening, touring and open studio. In terms of collaboration, we are pleasured to have worked with many institutions and platforms over the past year: China Residencies co-initiated an open call titled “Locality/Reality”, which received a great amount of applications and positive feedbacks; our partnership with Massachusetts College of Art and Design in the United States brought us two young and active artists; in Beijing, two non-profit institutions, the Institute for Provocation and the Cache Space, have become our collaborators, and three artists and researchers at the Inside-Out Art Residency have given public talks there sharing with the audience their research, thoughts and practices.
We are sincerely grateful to all residents who joined us in 2018 and for the assistance by friends and colleagues along the way. As we are looking forward to the events in 2019, we will aim to complete each residency program accurately, continue our collaborative attitude with more art institutions, and trigger more relevant discussions and dialogues of great quality.
Jensen is a young Australian artist. She and her family’s experience of immigration constitute source of inspiration throughout her work, especially in terms of the discussion of lived experience, language, cultural legacy and immigration politics. In the open-studio event during her residency, Jensen and event participants discussed how women are redefined by practicing traditional handicrafts such as embroidery and sewing themselves, and talked about multi-layered conflicts faced by mothers in contemporary society.
Elena Stoeva is a Bulgarian American artist. After quitting her established career as an accountant, Stoeva devoted herself to painting. She interprets and expresses daily life with unique selection of color. During her residency here at the Inside-Out Art Museum, she introduced to the audience about her artistic background, creative process, as well as presented the sketches she was able to complete during her stay in Beijing.
Em L Smith
Em L Smith is a young American artist from Philadelphia. Her work takes form in multimedia productions, including oil painting, video and performance art. She explores the meanings of “self-portrait” through perceptual and abstract artistic expression. Through her own lived experiences, Smith recognizes the significance for art works to win understanding and identification from audience across different backgrounds. In the open-studio event, Smith presented audiences with paintings and video art she had completed during her residency here.
Rouzbeh Akhbari is an Iranian Canadian artist working in video installation and film. Through a close examination of the violences and intimacies that occur at the boundaries of lived experiences and constructed histories, Akhbari uncovers the minutiae of power that organizes and regiments the world around us.
Eshrat Erfanian is an Iranian Canadian scholar and multimedia artist working on video, installation, digital photography, painting and printmaking. Her work reminds the phenomenon of speed-related to digital and new technology and its relation to image production.
两位艺术家组合在驻留期间参与了中间美术馆举办的艺术家公共演讲 “艺术属于伊朗人？就是这样！” 活动，探讨作为两代人的“逃离德黑兰”经历，通过亲身经验审视伊朗当代艺术，批判反思外界对于伊朗艺术创作的凝视与想象，以及对于新的面向“全球南方”的艺术流动活动进行谨慎思考。
The two artists gave a public speech, “Honar Nazd-e Iranian Ast va Bas? (Art Belongs to Iranians? Period!)” at the Inside-Out Art Museum, where they discussed their experiences departing from Iran as two different generation of Iranians, examined Iranian contemporary art through their lived experiences, and critiqued on the world’s “gaze” over Iranian arts. They also carefully discussed and posed questions over the implications of the new art exchange movements that primarily features the “global south” as their sites under current global context of art and knowledge production.
Alvin Luong is a Canadian artist who works on video and installation that convey fabricated personas and stories. He harnesses techniques used in mass media and entertainment to create satirical dialogues dealing with current issues. In the public event co-hosted by the Inside-Out Art Museum and the Institute for Provocation (IFP), Luong gave a speech to the audience at the IFP under the title “Collisions and Conspiracy,” in which he shared his video production process and methodologies, and presented the work he had completed during his residency here at the museum.
Birgit Hopfener is an art historian, sinologist, and associate professor of Carleton University, Canada. Her studies focus on Chinese contemporary art under a global context. By tracing the historical and localized contexts of contemporary art, she explores its development under the influence of multiple historical and intellectual frameworks rather than simply through Western narratives and epistemology. During her stay here at the museum, Birgit gave a speech under the topic of “On Iconoclasm: An Introduction to Transcultural Art Historical Methodology,” and discussed the “iconoclastic” works by Chinese artists through the perspective of art history and epistemology from a cross-cultural vintage.
Peng Weihua completed her BA and MA at the Fourth Studio of Oil Painting Department at the CAFA from 2008 to 2015. Her master's thesis studied Lin Gang’s artistic career. She was selected as the researcher-in-residence for an open call to expand the thinking of the exhibition, Dancing Notes: New Works by Pang Tao. During her time here, Peng not only completed her study through primary source collecting and in-depth interviews with the artists, but also communicated with the curatorial team closely to gain a strong understanding of the exhibition ideas and implications, and gave a comprehensive and lively guided tour for the museum staff as well. She also made a public lecture at the Institute for Provocation under the topic “Artistic Career of Lin Gang and Pang Tao”.
Courtney Stock is an artist based in Boston, Massachusetts, USA. Stock received a MFA from Massachusetts College of Art & Design, a Post-Baccalaureate certificate from San Francisco Art Institute, and a BA in Visual Arts & Art History from Bowdoin College. Her hybrid works combine the physicality of sculpture with the concerns of painting, creating a unique form of expression and texture. In her open studio, she talked to the audience about her creative process, and presented the wall-mounted sculpture that combines the visual languages of painting and fiber she was able to complete during her stay here at the Inside-Out Art Museum.
Isabel Mager is a young researcher and designer from the Netherlands. Mager’s works map and confront asymmetries of power fostered through the circulation of commodities and standardization of trade cultures. Her current long-term study intents to make the complexity of global trade tangible, to trace back how matters became commodities, and how commodities became the links to different identities across the globe under the context of world trade system. During her residency at the Inside-Out Art Museum, she gave a public talk at the Cache Space at 798 Art Districe, sharing her works and studies.
Haruna Honcoop is a Czech-Japanese audiovisual artist/ documentary filmmaker and a researcher interested in post-war and modern architecture and urbanism. She is currently working on a new documentary project about Beijing urbanism in relation to the Olympic stadiums and venues, as well as continuing her work on Built To Last (awarded for the Best Documentary Film at ArchFilm Lund Festival 2017, Sweden), a previous ongoing project documenting the communist-era architecture in Eastern Europe. She is one of the artists for the “Locality/Reality” Winter Residency Program co-innitiated by the Inside-Out Art Museum and China Residencies. At the end of her residency, she gave a talk over the production process of her films, and screened Built to Last, Beijing clips, as well as the trailer to her on-going project Olympic Halftime.