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Posts tagged ‘驻地艺术项目 residency’

Images: top, Maurice Carlin “Screenscans; Havana; 14’30″”; bottom, Islington Mill.

Maurice Carlin的介绍在Institute for Provocation四月六号,周六 下午六点。
Maurice Carlin’s artist talk at Institute for Provocation at 6pm on Saturday April 6th, 2013.


家作坊开放研讨会 / Open Discussion at HomeShop

四月七号,周日 下午六点
Sunday, April 7 at 6pm

创建和运作一个独立艺术空间/共同体的挑战是什么?
那种结构能使得一个艺术空间独立于它的核心团队?换个角度来说,有没有条模糊的线使艺术实践和机构性组织隔开,适合于不同层次的批评能力建设是什么?



周日,挑衅研究所(Institute for Provocation)将与家作坊, 伊斯灵顿磨坊(Islington Mill)的Maurice Carlin以及其他的朋友们就独立艺术空间这一话题展开讨论。既然我们都代表着各种不同艺术空间和集体,我想以开放的方式分享我们的经验,邀请大家来一起自我反思将是一种合适的方式。



What are the challenges of establishing and running an independent art space/community? 
What possible structures can enable an independent art space to become independent of its core team? From another perspective, is there a line that separates, blurrily, an art practice from institutional organization, and what are the critical capacities proper to the different gradations? 



On Sunday, Institute for Provocation will be joining HomeShop, Maurice Carlin from Islington Mill and others to launch a discussion around the topic of independent art spaces. Since we all represent various types of art spaces and communities, we thought it fit to share our experiences in a public format, inviting everyone in to join this moment of self-reflection.

Welcome! 欢迎!



家作坊“种子交换库”说明

About the HomeShop Seed Exchange Bank

建立种子库的宗旨是在社区居民的帮助下打造一个种子交换的平台以便大家在在不久的未来交换种子使用。从即日起到13日周五,目前在家作坊访问的驻地艺术家皮拉·埃斯库德(”七朵云”)公开征集种子库的标示和存贮设备设计,还有四天。本月14日周六我们举办Waobao!活动,同时所征集到的种子库样式设计将在现场展出。

The objective is to develop a platform for gathering and exchanging different seeds with the support of the community. Current HomeShop artist-in-residence Pilar ESCUDER is hosting an open call for participating in the design of  a storage facility and logo for a seed exchange project. On Saturday, 14 July during the WaoBao! swap meet, Pilar will be showing the various submissions for review and critique.

种子库设备的条件 __ If you are interested to participate with a design or have ideas and information to share, please consider some of the conditions for HomeShop’s seed exchange:

  • 材料:木头或 其它对环境影响小的材料,请同时考一下如何获取这些材料
  • suitable materials: wood or other materials with low environmental impact (please also consider where these materials can be obtained)
  • 请注意本设备需要经久耐用
  • long-lasting
  • 必需可以保存和安排各类种子及土壤
  • should be able to contain and organise multiple varieties of seeds and soil
  • 干燥避光为种子存储提供一个良好环境
  • should maintain dryness and darkness

 

期待着您在本月13日之前将您的精美设计来发送给我们,也期待着您为我们的种子库标识设计提出宝贵建议。请8月15日(周三)之前把您的建议发送到 __ Please send your ideas and design submissions by Wednesday, 15 August by e-mail to: pi.escuder@gmail.com

参见其它种子库信息 __ Other relevant seed banks around the world:

Walking around the church grounds, one step after another is fluffily soft; feeling microorganisms living underneath. Someone mentioned that perhaps a graveyard is the most nutritious and healthy environment to grow plants, on which no one has spread chemical pesticides. Sometime in the 16th century, the cemetery of St. Andrews church in Coniston, England was established to accommodate the practice of burying dead bodies. No records of death were kept, and it was long before the current church was constructed in 1819. According to the vicar Mark East, the first appearance of gravestones was around this time; in order for the family of the deceased to express wealth and living history, a visualization of death was constructed and carried on as a conventional wisdom.

“There is no wealth but life,” were the words of John Ruskin, the great thinker and early pioneer of ecology, who from 1900, the year of his death, also sleeps at grave #172 at St. Andrews church. He had spent his later years in Brantwood, his house overlooking Coniston Water. During this period, he published a monthly series called “Fors Clavigera: Letters to the Workmen and Labourers of Great Britain”, which took a form equivalent to the Blog in today’s terms, predicting the effects of industrialization on the natural world, and devoting his writing to his social reform crusade.

Although the issue of social inequality was addressed to the factory workers around the time of the Industrial Revolution in Britain, it hits a sore spot in current society. Coniston presently engages with tourism on industrial scales: the town is surrounded by nature, and 40% of the local population is composed of holiday homes; sheep farmers are subsidized by the government to maintain heritage varieties; people are generally “well-off”, so consequently isolation in one’s own individual interests cuts off engagement in village culture, and it interferes in local food production and distribution. In this context, small local farmers went into bankruptcy because of the price control of multi-national corporations, better able to service the high turn-over rate of tourism. Urban agriculture and the allotment system are very popular community models elsewhere in England, but in a place like Coniston they are not the custom.

Well then, how can we (artists) revitalize the idea of village food production, and maybe thereby revitalize the village? Together with Grizedale Arts, we proposed to the Church Council of Coniston the idea of growing vegetables on John Ruskin’s grave at St. Andrews Church.

“…six feet square, if no more can be had, — nay, the size of a grave, if you will, but buy it freehold, and make a garden of it, by hand-labour ; a garden visible to all men, and cultivated for all men of that place. If absolutely nothing will grow in it, then have herbs carried there in pots…” (John Ruskin 1874).

Taking his words seriously, this project is more symbolic rather than provocative, by growing food by hand to enrich the village with a group of locals.

to be continued…

///////////////////////////////////////////////

Grizedale Arts is a residency organization based on a farm in the centre of the Lake District in England. It tries to develop the way art thinking and art practice impact on society, through projects, exhibitions and events developed through an extended community of artists and creative people associated with it. Emi Uemura is a resident artist for Grizedale Arts 2011.


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关于尤莉•约翰逊 / About Ulrike Johannsen

德国出生,在维也纳生活和工作的艺术家尤莉•约翰逊的作品主要关注的是文化之间的切磋和交流,以及对于社会的集体构建。通过她一系列的装置、现成 品和纸上作品,约翰逊始终置疑着被消费向导的生活方式给人们带来的关于“幸福”的许诺。通过巧妙地利用大众传媒和挑逗文化产业中的技术性手段,她为人们揭 示出人类欲望与后资本社会之间的缝隙。


约翰逊从2008年起在中国的工作成果,呈现在她近期的作品《斯德哥尔摩综合症》以及2010年春天在Baden艺术协会策划的群展“东西 Things”中。(点击这里-见家作坊关于此次展览的作品)


Ulrike Johannsen’s work is focused upon the negotiation and communication of culture and the collective contruction of society. Employing a range from installation, objects to paper, Johanssen questions the promises of happiness offered by the consumer-oriented lifestyle. By manipulating popular media and flirting with the mechanics of the culture industry, she reveals the gaps between human desire and post-capitalist society.


Johanssen’s engagement with China since 2008 has resulted in her latest work, entitled “Stockholm Syndrome”, and the curation of the group exhibition “东西 Things” opening at the Kunstverein Baden in 2010. (See HomeShop’s contribution to the exhibition here)



www.johannsen.net/ulrike

艺术家吴丽克·哟韩森刚在家作坊落了脚!欢迎我们夏季的进驻艺术家!
Visual artist Ulrike Johannsen has just put her feet up! We welcome her for summer residency at HomeShop.

有种”的练习第三:农夫植村絵美和她邦助理新鲜制作的“种子炸弹”现在可以免费要来自己试试城市游击园艺!如果你感兴趣,请跟絵美或者家作坊联系。
BALLSY exercise number three: Freshly made seed bombs created by farmer Emi UEMURA and her assistants are now available for hitting the city. Please contact Emi or HomeShop if you are interested to get some for free.

《穿》杂志将在这周某的东京艺术书市销售!有时间过去玩~
WEAR journal will be featured at the Tokyo Art Book Fair this weekend. Thank you to Futoshi MIYAGI, whom we recently rediscovered after our days in New York, now back in Japan and working with the fair.

布告:两个大箱子《穿》杂志从北京到柏林和北京到洛杉矶的路上消失了!如果您见到它们或者有相关的信息请跟我们联系
There are two large shipments of WEAR journal that have been reported missing between the Beijing- Berlin and Beijing-Los Angeles routes! If you happen to see them or have any pertinent information about their whereabouts, please let us know.

不过,我们还是很开心通知你一些其它成功的路线。《穿》最近在这些书店可以买
In the meantime, we are happy to report the most recent stockists of WEAR worldwide:

from daucle@Atelier ClaudeveretT:

TAOzui_2weeks

“Discard Space” refers to the total space occupied in the twelve hour timespan from eight in the morning when I leave HomeShop until eight in the evening when I return. At the same time it refers to the two week period in which Elaine W. Ho leaves Beijing, whereby if I had not entered HomeShop, it could be deemed as such “discard space”. During this period of time, the effective capacity of this space is zero. But it is a temporary space. Just as my residency within the space creates a use value for it, as it resolves the possibility of my residency elsewhere, this space is full of possibilities.

If we take such possibilities (without a violation of basic rights) and divide them temporally, then there exists a segmented but equally non-violable use of space, and these are what we call temp_spaces. To face the use value of temp_space signifies allowing its users to make such use of space and access the latent potential for communication and exchange made possible by the null space of office hours.

TAOzui_2weeksplan
As such, within this two-week period we make a discussion of the time_plot_ratio of residency time (temp_space). My residency fulfills one part of this, but during office hours from Monday to Friday, there remains a “discard space”. We would like for the time_plot_ratio of HomeShop’s temp_space to achieve its greatest possible potential.

HomeShop is divided into two primary spaces, one which is used as a bedroom, the other as a studio. Because the bedroom serves as a private space in which personal articles are stored and the routines of personal hygiene are not usually shared, the general public does not usually have the possibility to enter the space. But with the studio space as temp_space, therefore, its use can be made open and shared under agreement of deed. This space with its open front facing the hutong alleyway and moveable screen can be made multifunctional (commercial, display, etc.). Users have the possibility to open space or close it by the moveable screen. Given the size parameters of the space and that which opens it onto the public street, the screen serves as a crucial determinant of the space.

temp_space x time_plot_ratio will take place from 8-11 December and 14-15 December at HomeShop from 8:00 until 20:00
.

In order to participate, please fill in the temp_space deed [download WORD doc or PDF] and send it by e-mail to claudeverett [at] gmail [dot] com or directly contact by phone at 13811418056.

There are no fees involved, the only requirement is that at the end of each day the space must be returned to the original condition when entered.

douban event page: http://www.douban.com/event/11328214/

In the end we may discover, resolving space is not necessarily a return to something natural, but in fact a manner by which the rich man resolves the seat in his car. Resolving space may mean the new architecture that suddenly springs from the earth, or that’s the architect’s scheme, anyway. Space is a rich man, time is a poor man.

“home” is whoever stays in.

TAOzui_2weeks

废弃空间指的是我从早上8点离开家作坊到晚上8点回来这中间的12小时内家作坊内部的所有空间。同时指在何颖雅离开北京的两个礼拜内,如果我没有住进去的话,家作坊内部的所有空间。在这段时间内,此空间的时间效应为0。但它是一种临时空间。正如我的入住使得两个礼拜的废弃空间得到了利用,并节约下了另外某处我可能入住的其他空间一样,它充满可能性。

如果把住宅的不可侵犯性进行时间划分,那么在某段时间内必然存在相对不那么不可侵犯的空间,这部分空间也被称为临时空间。对住宅内临时空间的使用意味着用单位空间的废弃时间段满足与他人潜在的交流与交换,同时节约出使用者在这段时间内原本使用的所有空间。

TAOzui_2weeksplan

所以在这两个礼拜内,讨论住宅的时间容积率。将住宅建筑面积按时间计算,则
时间面积=建筑面积×24h;
时间使用面积=使用面积×使用时间;
从而有
时间容积率=时间使用面积/时间面积。
我的入住满足了一部分,而周一至周五白天的上班时间则使其再度变为废弃空间。我们来使家作坊的时间容积率达到最大。

家作坊的空间主要分为两个部分,一部分为卧室兼起居室,另一部分为工作室。将卧室空间作为完全私密空间,用于私人物品的储藏及出于个人卫生的不可共享,非主人允许的情况下不可进入。将工作室空间作为临时空间,主人不在时以契约的形式任意使用。对于面向胡同开放的功能(商业、展示等)通过可移动的帘子进行空间分割(阻挡视线与灰尘),形成门面;对于个人使用的功能可直接在室内进行或用帘子进行分割;如果空间大小允许,也存在部分空间向胡同开放,部分空间供室内使用的情况,用帘子进行分割。无人使用时则作为面向胡同邻居的公共空间。

只要您在白天的时候需要一个这样的空间,欢迎一切形式的介入。你可以利用它和这儿的胡同邻居交流,也可以将其变成完全封闭的个人场所。建筑的所有权在这段时间内完全自由交换,没有歧视,不分你我。

家作坊邀请您来玩!

临时空间的开放时间: 2009年12月8日-2009年12月11日,每天的早上8点至晚上8点
预订方式: 契约将在报名后收到,将契约填好 [下载 WORD 文件 或者 PDF] 并发至claudeverett [圈a] gmail [点] com等待回复或直接联系13811418056。对此空间的使用无需支付任何费用。

豆瓣:http://www.douban.com/event/11328214/

最后我们将发现,节约出来的空间并没有归还给自然,而是为富人节约出来了一个车位,或者是新的建筑拔地而起,这是建筑师的阴谋。空间属于富人,时间属于穷人。

daucle@Atelier ClaudeveretT

daucle

这下半月,家作坊将转给我们的神秘建筑师朋友daucle。他最近得了2009年度MAD旅行基金,现在穿试家作坊的第一次访问艺术家计划。“文化交流”是我们这年的无目题目。daucle将用“文化交流”来做一个有关的小项目,月底展示。小经厂胡同的邻居们欢迎他~ 高哥说,“他需要什么让他随便找我!”我们期待daucle来一起玩!

For the next half-month, HomeShop is given over to our mysterious architect friend daucle, recent recipient of a traveling fellowship from MAD architects of Beijing and now our very own first attempt at an in-residence programme. “Cultural exchange” is the meaningless banter to fill our heads these weeks, and Daucle will present a mini-project on the subject at the end of his residency. Our neighbours at Xiaojingchang Hutong welcome him, and brother Gao next door says, “Whatever he needs, tell him to come to me for help!”

Here is the link for the artist village @threegorges: http://www.809cn.com/en/default.asp

I didn’t really check it through, but location seems interesting..