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|Call for Artists! : Q International Art Village: [Updated]|
We are still accepting applicants for Art Hotel O.X. project.
The deadline for this project is January 8th, 2008.
Please visit our website to find out more information and submission procedure.
The Art Hotel O.X. (provisional title) is seeking creative individuals from various fields to transform a hotel room into their own personalized masterpieces. Mediating between art and the public, Art Hotel O.X. will be the place where people stay and breathe the work of art and where they can truly be a part of an artistic atmosphere. Our goal is to incorporate art not only for decoration's sake, but so the audience can participate in the art.
The Art Hotel O.X. is a part of Q International Art Village in Hong Cheon, Kangwondo which is surrounded by gorgeous natural resources near Seoul, South Korea. We are currently renovating the original 5-story building into a new artistic landmark and cultural destination. Q International Art Village (QIAV) is planning to open in the summer of 2008. QIAV will include the following programs; international artists-in-residency, exhibitions at the main gallery located in the same building, auctions of the art from the residency artists, artist presentation, lectures by art professionals, seminars and education program for public and children, etc. Beyond the limit of the conventional art space, QIAV will create a space for communicating between the public and the international art scene providing an easy access space for the public. It will be a creative art Mecca that presents an innovative contemporary art scene. Supporting the emerging international artists, QIAV will turn into a global art hub bridging Eastern and Western styles, ultimately blurring the line between the two.
This project is open to all visual art / design professionals including artists, architects, designers with possible experience working on art projects creating site-specific works but not necessary. Artists working in all visual media are welcome to apply.
ROLE OF THE ARTIST
Each artist will be responsible for 2-4 rooms to "create" rather than to "decorate". The projects may include paintings, drawings, installations, sculptures, video art, new media art, sound art, or any of their combinations. One can paint on the wall directly or can print images on the wallpaper and apply it on the wall. The method of applying images on the wall varies upon artists?designs. The works should be appropriate to the hotel room space and welcoming for a diverse audience, and should intermingle with the architecture and the environment. The work should be of the highest quality and reflect the aesthetic and cultural values of the community.
EVALUATION AND SELECTION PROCESS
Submittals from artists will be reviewed by Q International Art Village staff and Selection Panel for compliance with Art Hotel O.X. project requirements. We look for excellence in innovation, creativity and originality as well as demonstrated ability to undertake and successfully execute the work in accordance to the construction schedule.
Selected artists to join the Art Hotel O.X. project will be provided with:
-Airfare to/from Korea
-Room and Board
-Materials to complete work
-Commission upon completion of work
-Tour of Seoul including major art galleries and museums
Please submit the following materials as described below:
1. Application : Briefly describe your conceptual ideas/approach that demonstrates your interest to this project, and how it relates to your previous works.
2. Resume : Submit a current resume that outlines your professional accomplishments.
(Do not exceed 2 pages)
3. Short Portfolio : Please submit 10-20 work samples that demonstrates your qualifications. Any visual materials including, Installation, Sculpture, Painting, Press Print, Photography, Graphic Design, Digital Media Art, Architectural Design and product design applies.
4. Design Proposal : In less than 300 words, please describe your proposal as specific as possible, supplemented with sketches/digital graphics/renderings etc as they apply to your ideas. Each applicant is required to submit at least 2, but no more than 5 proposals.
5. Materials/Special Needs : Please include a detailed list of materials and labor (other than yourself) as well as any other special needs that may require preparation in advance.
Submission without either narrative description or visual presentation will not be considered.
Total 10-15 artists will be selected for the project based on:
- Artistic excellence, originality and creativity as evidenced by representations of proposal.
-Appropriateness of proposed medium, style, and proposed project concepts as they relate to hotel room.
-Feasibility of proposal.
Please find the Application, Design proposal and Material/Needs forms at our website,www.qiav.org.
Typical Room View
You may use these images in anyway that suite your need in preparing your proposal.
Actual dimensions may vary from room to room.
北方面 小梅谷 下花里 乙米江
예쁜 매화가 피는 곳 이름하야
소매곡 小梅溪谷 ...
이곳에서 노장은 다시 살아 난다..하이데거,데리다의 혼령을 묻어라. 후서, 후코,장자의 상서로움을 버려라.
태극의 형상아래 헤엄치는 을미(乙 米,太極)강 물 고기들.모두 모여. 뜨아악.. 허걱..
왜가리, 회색 두루미, 물총새,
윙크를 하며 지나가지 않니?.
산과 강은 저렇게
포옹만 하고 있을 것인가?.
벗어라 그냥 우리 사랑을 하자 뜨겁게 딩굴자!
여기 강변 모래사장 허드슨강 숨결 홍천강 태극 (뉴욕)의 열정 우리는 삼족오의 날개를 갖는 다.
돌아! 돌아! 날아! 날아!날아 떠나! 둥지를 떠나렴! 삼족오 재 두루미야
날자.! 날아! 그냥 날자
바람이 세차게 부누나
바람아 이젠 불어도 좋다.
봄 바람 아!
어디서 작업을 하고 있다가 이제야 오셨는가?
차가운 겨울바람 물러가니
영산화 뒤늦게수줍어 하누나.
벗꽃들의 분냄새 가시면
그대 을미 홍천강은
예술의 집으로 변신할 것이냐?
이제 저아래 허드슨강
상류로 역류하게 하려무나.
수리 수리 마 수리..
뉴욕으로 통하는 미로(迷路)
오리엔탈 익스프레스 Oriental eXpress
이곳은 노젓는 베니스..
O X 로 헤쳐모여라 헤쳐 모여!.
산을 평풍삼고 하늘을 벼개삼고 강가에서 놀자.
축제의 꿈을 꾸어라
을미강 S선따라 요염한 포즈를
아무렇게나 취해도 좋다..
내 이곳에 또다른 철새들,뮤즈들(연인)들
하화(下花)의 꽃여신을 뜨겁게 달구어주련다..
하화년 을미년아 우리 함께 옷을 벗자
이젠 대년과 소년과 사랑을 해도 질투는 하지 않겠지?.
S강 요염한 능선
딴따라/환쟁이/춤쟁이/풍각쟁이 함께 그대의 육신 S 선을 따라
S 선 따라
허드슨강 저 음욕의 언저리 까지
쏘가리, 꺽지, 통가리, 돌매기,
피래미들도 좋다.. 생명의 제국으로 가자!
넓은 바다로 나가자 오라!
날자 하늘 빛과 그림자 예술의 집으로!
이제 변신과 화장이 끝나면 우리 모두
예술가들의 집이 되리니... .
OX-application.pdf (5782 K)
오늘날 한국에 왜 이런 예술에 관한 '대안공간'(ALTERNATIVE SPACE) 및 ARTIST STUDIO/PUBLIC SPACE 가 필요 합니까? 제데로 된 공간이어야 겠지요. 여기 이곳은 청정하고 비어있는 골자기이기에 가능하다고 생각됩니다.적절히 필요한이유에 대하여 좋은 글이 있기에 아래에 소개 합니다.이글 속엔 적게는 한국 크게는 동양을 보는 서양인들의 관점을 읽을 수 있읍니다.
Asian alternative space - World alternative city
The essay aims at mapping out the field for artist run spaces and their relevance to the construction of Asia and Asian identities.
Asia's New Order
Alternative or independent art spaces are generally considered as the third tier within the institutional hierarchy, yet tend to question the conventional order and assume a more provocative position. 'Festival of Vision: Berlin - Hong Kong (2000)', is one event that exemplifies how an alternative organisation such as Zuni Icosahedrons (Hong Kong) could engage in a dialogue of cross-cultural politics. During 2001, 'alternative art spaces' became a key topic for the international symposia organized by Bamboo Curtain Studio (Taipei), 1aspace, Para/Site Art Space (Hong Kong), and the touring performances in Asia curated by Museum of Site (Hong Kong).
Official patronage systems or local governments subsidies of all the above activities (with the so-called arms-length policy) has further complicated the current power relationship between artists, governments, and non-governmental organizations. 1
At the Gwangju Biennale 2002, the parasitical relationships between the alternative spaces and the museum system are satirical. Such simulacra of cultural politics reflect the complexity and irony in post-modernism, in particular the concerns with the reality, fabrication, and creativity in the process of historical archiving.
In theory and practice, an art system is constituted by a conglomerate of alternative spaces, studios, libraries, art villages, art colleges, museums and galleries, etc.. Pathological diagnosis of civic and urban issues, as driven by alternative spaces in the case of Old Ladies House (Macau), Fringe Club, Zuni, MOST, 1aspace (Hong Kong), Whashang Art District (Taipei), helps sharpen our vision and justifies necessary courses of action. We can picture this as 'stitching a button on a cloth, but not making a new skirt'. It is impossible for one part either to completely displace or replace the others in the art system.
They are here for now
With a visionary perspective, alternative spaces bring information, enjoyment and delights to the city. They justify the production of visual art projects from around the world. There is now an urgency for alternative spaces to reflect on their existences and political agencies relative of their local community. For example, 'Be Part of Our Vision', says Plastique Kinetic Worms (Singapore). When such positive attitude becomes alive, alternative spaces are here for now. Being part of a community fabric, Alternative spaces gear to particular problems. Alternative spaces like Bamboo Curtain Studio (Taipei), MOST (Hong Kong) deliberately work with different communities. Whashang Art District (Taipei) and Cattle Depot Art Village (Hong Kong) are the fruitful outcomes of long-term political negotiations. Loop, Insa Art Space (Seoul), Zuni Cattle College, 1aspace, Para/Site Artspace (Hong Kong), Sly Art or Shin Leh Yuan, Front, ITPark (Taipei), Dog Pig Art Cafe (Kaoshung), DDM Warehouse (Shanghai), LOFT (Beijing) and Surrounded by Water (Manila) are spaces devoted to young and emerging artists. Both Cemeti Art House (Yogyakarta) and Old Ladies House (Macau) dedicate themselves to woman artists. Amongst these spaces, their responses are contingent to cultural conditions of the city that take precedence over art traditions and community history. They are here for now! 2
The New Asia
Cultural commentators and critics are now taking the 'Asian ensembles' into a new conceptual ground. The philosophy behind the new 'Asian' aesthetics is neither a Venetian nor a Rococo Revival. Instead of dressing itself up as a nostalgic kitsch, it is deeply seated in the city's dynamicism. The Sai Yeung Choi Street South (Hong Kong), Art-Gu, Dongdaemun-Gu (Seoul), Dong Mun (Shenzhen), Lan Kwei Fong (Macau), Sin Tian Di (Shanghai), San Li Tun (Beijing), Si Mun Ding (the area near West Gate, Taipei), Boat Quay, Robertson Quay, Clarke Quay (Singapore), the open area around Petronas Twin Towers (Kuala Lumpur) are new settlements for: shopping arcades, D-I-Y shops, cyber cafes, karaoke-bar cum discos, ethnic restaurants, teahouses and other places which have liberated the cities' physical barriers, unfolding options for all generations. The aesthetics of futuristic cities hinge on openness, fluidity, density, diversity, dialogue, noise, Do-it-yourself, etc. The 'creative industry', as an integral yet subordinate part of tourism, will be crucial for a sustainable development of the urban environment. This topic will be pertinent for discussions in the foreseeable future.
The concept of a novel city's Alternative spaces are the impetus for transforming cultural productions. The mobility and diversity of alternative spaces would likely displace the current establishments. As a consequence of de-colonization, Asian cities are met with unprecedented challenges under globalization. Operating as vanguards for alternative discourses, Asia's alternative spaces are still a local and community–based entity. It would be interesting to differentiate the conceptual visions and practices of alternative spaces and to compare them to various civic museums and galleries. The boomerang effect of Asia's alternative spaces would expose the speculation for an alternative model in Asia. Based on the novel city and developmental concept, it is the cultural differences that presuppose Asia's alternative nature.
Cultural difference and the Asian globe
In the face of homogenous 'one world culture', two issues confront Asia's cities. On one hand, these cities are neither analogous nor identical. The unresolved tensions between local heritage and communities further intensify cultural and social differences. On the other hand, Asian cities share common problems. Economically, the Asian financial crisis dating back to 1997 was widely felt in the region. The recent 9/11 tragedies further exacerbate the situation. The modernization and renovations of the city bring about cultural development, and subsequently a new space that accelerates acculturations and synchronizations. As colonialism draws to a close, Asian cities are now confronting an unprecedented identity crisis.
However, the development of Asian cities and satellite towns are multi-faceted. The Internet surfers are able to visit virtually the cultural facilities from around the world, undermining the real visit of museums and libraries, turning them as sites for 'amusement'. A new art system in Asia is emerging. Like a conglomerate into greater power and networking, dynamic art villages, districts and open cultural spaces, art and design shops, alternative galleries, city green houses, temporal warehouses, renovated industrial plants, multi-purpose workshops, teahouses, art cafes, 24 hours bookshops, leisure inns, TV art channels, on-line cyber war spaces, renting-out museums, electronic publications, artists' colonies on homepages, are now on the move. These phenomenons demonstrate the power to re-define the generic city. The distinctions between center and marginal, software and hardware, permanence and ephemerality, work and leisure are all beginning to break down. The synchronization of Asian cities thus opens up new spaces and dimensions for everything. 3
History does not seem to repeat itself under globalization, yet it narrates an incessant story in a local context. The model of appropriation always operates in line with modernization. The next beta version of 'World Alternative Cities' in Asia are 24 hour action-cities in 'non-stop' real time.
The overall characteristic of a new Asia is its pluralism and eclecticism. The creative power of alternative spaces is made adaptive to the marketing strategy of enterprises. In turn, the official art establishment is obliged to form new alliances with artists and alternative spaces. The top-down approach will be scrutinized, thereby transforming the overall planning, programming, and budgeting of cultural policy. By delegating power to the community, creative spaces and strategies will become a conduit for abandoned values and new orders to bridge. A new plateau of humanity is in the making.
The "local" affects the "global"
'Think Globally, Act Locally' is a worldwide strategy that can be applied everywhere on all levels. There is sample evidence that Asians, by acting locally, might affect the Eurocentric 'global'.
Hollywood as an icon for world culture has co-opted the 'alternative look' of Hong Kong cinema in its eclecticism.4 The acclaimed Tokyo and Hong Kong International Film Festivals are international attractions. After the reception of popular Japanese culture over the past twenty years, recent Korean TV drama brings new hype to Taipei, Hong Kong, and possibly the world. When it comes to enhancing informational capabilities, Korea is claimed to be at the forefront, having aggressively pursued development and rapid technological advancement. According to a recent article from The New York Times, the penetration of Korea's Internet services now stands at the highest level in the world and has become an essential part of contemporary culture. In 2001, China was recognized as the number one nation that has achieved the greatest economic leap forward. In a recent policy address by the Chief Executive of Hong Kong Special Administrative Region, the goal of Hong Kong is to attain the identity of 'Asia's World City'. While on the other shore of South China Sea, executive Yuan from the Taipei Cultural Council pursues his city as the 'Asian Media Center' at the time when there are very few alternative spaces devoted specifically to new media arts as in the case of LOFT (Beijing) or Videotage, Video Power (Hong Kong). With little exception, Singapore's Ministry of Information and the Arts proclaims itself as 'A Hub City of The World', sidelining the issues of censorship towards artist-run spaces like Substation, PKW, or Singapore Art Museum. No matter whether these empty labels for Asian cities are valid or not, if Asian alternative spaces form a united front, the art world order might be turned over in one night!
Stemming from the 80's to the 90's, artists in alternative spaces have been seeking their own identities through rediscovering their heritage and community. They realize the importance of belonging by regaining interests in an abandoned place.
As the system and infrastructure takes shape together with adequate institutional and private support in place, alternative spaces in Hong Kong, Taipei, Seoul, and Singapore would consolidate their influences.
Modernism: a failure to commitment and post-modern Asian aesthetics
In contrast to small alternative art spaces, the developed Asian system is a mere 'Big White Elephant' that perpetuates Modernism into the corners of Asia. A Modernism, committed to resolve social and technological problems, fails to meet the mass expectation and places efficiency over social and other values. Can alternative spaces still play a productive role in a post-modern age?
The exteriority of Asia's alternative spaces is too often reflective of the changes of the city: exotic pluralism and hybridity, in order to accommodate its alternativeness in an establishment. The theme of 'Pause' would undoubtedly play an active role in continuing the role of the Gwangju Biennale to 'legitimate the underground' into a larger system. The situation resembles P.S.1.'s affiliation with MoMA in New York City.
Asian cities are evolving to become a diverse and complex cultural field at the expense of local heritage and cultural identity. Ackbar Abbas's discourse on 'disappearance' is undoubtedly a common experience celebrated among alternative spaces in Asia. The Workshop (Hong Kong), Quart Society (Hong Kong), SOCA (Taipei), Long Tail Elephant (Guangzhou), Surrounded by Water (SBW; Manila), Art Village (Singapore), Studio Shokudo, Sagacho Exhibit Space, P3 art + environment (Tokyo), came to a closure with the erasure of many forgotten histories. However, Asia is rich in its potential for the re-appearances of 'past' and 'new' histories. 5
How independent are independent art spaces?
This is a key question. Can they still be a critical supplement for the establishment of a city? How can they be instrumental in the development of art and culture? How can they question our amnesia towards modernity outside of the museum and gallery system? An assessment of the mission statement of Asia's alternative spaces may give us an answer in the reconfiguration of a new cultural landscape and the conceptual mapping of a new utopia.
One rarely finds a social space outside of the commercial gallery and museum, as in the case of BASH (Beijing), where artists can find the guiding tenets for actions and sharing. Alternative spaces provides hope to the asceticism of the establishment, an opposition to the mal-administration, adverse conditions of exhibition venues and insufficient resources and facilies that they usually face.
The new tactics for subverting the art system might be reflected on the art making. To one of these non-profit alternative spaces such as Sly Art or Shin Leh Yuan (Taipei), the sophistication in the production of artworks is not a primary concern. Their anti-object attitude as originated from oriental philosophy is apparent in the strategies of display and the daily operations of the venue.
The limitations imposed on Asia's alternative spaces not only reveal the negative sides of modernism and globalization, but the oppressed existence of alternative spaces also validates a pluralism that the open city should demonstrate. Life under the economic boom is supposed to be stable, cheerful, harmonious and substantial. However, alternative spaces portray a city as a negative spectacle that is subversive and futile. The complete contemporary urban city is now defined by its alternative otherness and rival competitiveness. For examples, the exhibition projects at Whashang Art District, curated by Huang Hai Ming, hosted at the same time as The Taipei International Biennale 2000, and the partnership at East Link, DDM Warehouse, BizArt (Shanghai) with The 2000 Shanghai Biennale demonstrated the dynamic and parallel functions of alternative spaces.
As seen in the larger context of both regional and global perspectives, the structure of an art system changes relative to the changing ideology of its surroundings. When the time comes, the idea of alternative spaces would be consolidated and realized. No longer a minority or an underground force, the alternative spaces in Asia will boom with social recognition. A good example is the well-received video project Port co-organized by BizArt in a park of Shanghai during 2001. Alternative spaces in Asia are working with new sets of codes, ethics, and working models that will expose the problems and issues of the system. They will set examples to show how public institutions should become more receptive to the community. They can also identify issues pertaining to locality and open up spaces for contemplations. In marked contrast to Rem Koolhaas' description of Asia's 'Generic City', 'Alternative spaces' in Asia have thus far shifted the basis for identifying cultural differences. The campaign for governmental recognition and support by grass-roots organisations in Whashang Art Village, Singapore Art Village and Oil Street Art Village have demonstrated a visionary leadership for a different approach towards to cultural institutions.6
Geurilla war amongst alternative spaces
Some alternative spaces in Asia are merely extensions for government to fund activities for international recognition. While some alternative spaces are ornamental - just decorating the pub with some installations or video works - one would not expect any provocative work from these galleries.
Some alternative spaces are well designed and furnished with good ceilings, white walls and wooden paving. Even for an expert, it is hard to differentiate them from commercial galleries without paying attention to the differences in their programming. If alternative spaces were commercially viable, what differences would it make when comparing to commercial spaces?
For years, there has been a split of views in Taipei over the issue of Whashang Art District. The organising of two similar international symposia in the same month is evident of an acute competition between 1aspace (Cattle Depot Artist Village) and Para/Site Art Space. The future of Asia depends on the way different cities and their infrastructure compete.
New City Typology
Villages surrounding the city
Government facilitated art villages, e.g. Taipei Art Village (Taipei), International Art Village (Nantou) or Sanmien Artist Village (Guangzhou) are the most generic places that one can imagine. On the contrary, artist-run villages such as Artist Village (Taidong), Tam-awan (Baguio), Whashang Art District, Tongzhou Artists Community (Beijing), Singapore Art Village (Singapore), Kobe Art Village Centre (Kobe) as well as the former Oil Street Art Village (now Cattle Depot Artist Village), have generated a lot of energies in their respective communities, generating controversial discussions among the artists. The incentive for their gathering is not only to attain a stable studio space for long-term development, but also to compete for more exhibition opportunities and support. In comparison with the official art villages, they could gradually become institutionalised and be a part of the city's cultural hub. 7
Café bar cum showroom
Integration with commercial incentive is a survival strategy for all generations of alternative spaces in Asia. Current galleries such as Song Ha Gallery in Art Town (Pusan), Club 64, HOK7 (Hong Kong), big sky mind (Manila), Café Pulilan (Bulacan), Cup of Art Café Gallery (Bacolod), Blind Tiger Bar (Quezon) are primal examples for survival nowadays. The presence of bar and restaurant is a sign for entertainment culture. LOFT, Top Floor Gallery, Courtyard Gallery in China also take up commercial strategies to support their continued display of political art. The next generation of alternative space could be those cyber café-bar cum galleries, i.e. Risiris Internet Pub (Quezon), which also helps to generate more of the city's new opportunities.
Abandoned warehouse for city regeneration
Modernisation and industrialisation has turned architecture into a commodity for consumption. This process inevitably displaces the original function of a building. Many abandoned warehouses, failing to comply with the city's aspirations and standards, have become a site for artists to conduct experimental projects. In Taiwan, renewed urban spaces, i.e. Whashang Art District and the Rail Storehouse Reused Scheme. The spaces taken by artists to re-model as new sites, such as Chiayi Rail Warehouse (Chaiyi) and Taichung 20 Warehouse (Taichung), are used for exhibitions and workshops. Also in Mainland China, places like BASH, CAAW (Beijing), DDM Warehouse and Eastlink (Shanghai) are old warehouses being scrutinized in terms of its politics and artistic activities. Regardless of their conservative operations and strategies, they, nevertheless, re-present the forgotten history and narration behind modernisation.
Extensionss of artist studios
Whenever an artist emerges, there will be an alternative space. Artists usually use their studio spaces for experimentation. They open their studios and hold public exhibitions to elicit inputs and insights. The past or current Third Space Arts Laboratory, Lupon Art+Design+Lifestyle (Quezon), Kwok Studio, Happening Group Studio in Shanghai Street Artspace, Desmond Kum Studio, James Wong Studio, Para/Site Artspace, Workshop (Hong Kong), SOCA, and the Bamboo Curtain Studio (Taipei) are well known examples for exhibition and workshops. Besides, there are artists like Carlos Celdrans and Er Dong-keung that employ their homes for public projects.
Embassy-affliated cultural centers and disguised spaces
There are some embassy-affiliated cultural centers such as The Goethe Institute, which play a great role in promoting contemporary art and international exchanges. After The 2000 Shanghai Biennale, many alternative spaces closed. BizArt, with a sound administrative back up, remains as the most active and popular in Southern China. It seems that the strategy to collaborate with embassy-affiliated institutions can protect the space from censorship and financial deficit. The Chang Mai Art Museum (Chang Mai) is itself a disguised alternative space, though it adopts the name of 'Museum'. It showcases students' experimental work from time to time. Strictly speaking, Galeri Petronas inside The Petronas Twin Towers (Kuala Lumpur) and Dimension Endowment Of Art (Taipei) are not alternative spaces. However, their devotion to education, research, publication and display of experimental art make them an alternative among other conventional alternative venues.8
With the rise of alternative spaces in Asia, a new cultural geography is in formation. Asian cities are now being redefined by alternative spaces with new propositions. The new inter-regional networking is a worldwide strategy and is not exceptional to these alternative art spaces. The Asian counterparts are no longer working alone on the periphery of the cultural arena. In recent years, there is a trend to build up a network for mutual support and recognition in the hope of reshaping the global order. On one hand, the institutionalisation and commercialisation of Asia's alternative spaces could finally defeat some of their original missions as a counterforce to the establishment. Thus, some of the alternative spaces would become a newcomer of establishment or the Third Force? Alternative art spaces, in my view, can retain integrity by maintaining a smaller scale of operation and closer ties to a local community. They should be visionary, with a clear idea of what to do and what not to do.
1. In early 2002, The Japan Foundation Asia Center published a small booklet Alternative: Contemporary Art Spaces In Asia, which sheds some light on selected independent art spaces and museums in Asia.
2. See also Eileen Legaspi-Ramirez, Alternative Spaces: We're Here for Now in Transit Vol. 1, 10-12. pp. 22-25.
3. See Art Papers Mar/Apr 2001 Sp. Issue on Conceptual Art.
4. The 49th Venice Biennale saw the erection of a larger-than-scale replica of the famous California landmark, Maurizio Cattelan's Hollywood in Palermo, Sicily, an official project outside Venice, witnessing the play and displacement of global influence. For photo, please refer to Art Forum, September 2001, p.168.
5. Please refer to Hong Kong and the Culture of Disappearance. An Interview with Ackbar Abbas by Geert Lovink in Kassel, Documenta X, July 19th, 1997 and Ackbar Abbas, Hong Kong, Culture and Politics of Disappearance, University of Minnesote Press, Minnesote, 1997.
6. According to artist Koh Nguang How, the Singapore Art Village is still active without National Art Council's support of a permanent location.
7. Steven Pettifor, Northern Thailand's Artistic Home, Asian Art News, 2001 September-October, pp.62-65.
8. For more information, please refer to Xiaopin Lin's Bejing: Yin Xiuzhen's The Ruined City, in Third Text, 1999 Autumn, pp.45-54.
- Q International Art Village 지원자격 요건 -
1. 소수 정예 2~3명 예정
2. 미대 졸업생(동양화, 서양화 등 순수미술 졸업생 우대)
3. 전시 경험이 없는 현재 작업 활동중인 자
4. 경제적으로 해외유학이 어려운 자
5. 독창적이고 자기만의 뚜렷한 작품세계를 가진 자
6. 뉴욕을 배경으로 세계적인 작품활동을 하고 싶은 의지가 있는 자
7. 토플/토익 영어 성적 증명서 – 토플 IBT 79점 이상/토익 800점 이상
8. 추천서 2장(교수님의 추천 편지)
9. Artist statement -500자 이상
10. Portfolio – 최근 1년 이내 작업 15점
CD에 jpeg 파일로 저장하여 아래 주소로 송부 또는 E-mail 이미지 파일 첨부
Q International Art Village 46-23 Crane Street # 212
Long Island City, NY 11101
Q International Art Village Program 지원자 담당 : 신상미
* 참고: Q International Art Studio의 기획 의도로 인하여, 설치 미술이나 행위예술 등 해프닝을 소재로 작업활동을 하는 자는 예외가 됩니다.
- Q International Art Village 프로그램 활동 내용 -
1. 강원도 홍천 Art Hotel O.X 미술관에서의 인턴과정 3개월
2. College Point(New York) 에서 거주와 개인작업 활동 12개월
3. Q International Art Village (New York) 에서 현지 작가의 Assistant로서
작업보조 활동 및 개인 성향에 맞는 작품세계와 다양한 표현기법 공부 12개월
4. Q International Art Village (New York) 정기 모임: 뉴욕의 작품세계에 대한
토론 및 다양한 Art 교육 프로그램 활동 12개월
5. 뉴욕 현지 작가들과의 교류와 English Program 활동 12개월
* 참고: 국내 프로그램 과정 3개월 + 뉴욕 프로그램 과정 12개월 = 총 15개월
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