Database / S-AIR



Japan / Sapporo
Established 1999

  • S-AIR's Lecture
  • S-AIR's Artist
  • S-AIR's Art Work
  • S-AIR's Exhibiting
S-AIR was established in 1999 with partial funding by the Agency for Cultural Affairs, to run an artist-in-residence programme in Hokkaido. Since it was approved to be a non-profit organis ation organization in 2004, S-AIR started a 10-year collaborative residency project with ICC, in which we have been building networks with Japanese and international artists as well as art institutions in Japan and overseas. In 2011, S-AIR initiated a new programme, FRONTIER, which is supported by the Agency for Cultural Affairs. S-AIR moved out of ICC into a new premise on the east side of Sapporo station with other creative offices in 2013.

S-AIR offers different types of programs:

Programmes for International Artists [FRONTIER Programme, JENESYS Programme]:

Since the establishment of S-AIR Committee Board, S-AIR has hosted 77 artists in total from 32 countries over the period of 13 years (as of March 2013).

From 2008 for 5 years, S-AIR hosted 10 artists in total from countries in Asia and Oceania for JENESYS (Japan-East Asia Network of Exchange for Students and Youths) Programmeme organizsed by Japan Foundation.

-S-AIR hosts 2 artists/curators each term, 4 artists/curators in total per year are invited to participate in the FRONTIER Pprogrammeme.

Programmes for Local/National Artists [S-AIR AWARD] :


-Alongside of hosting international artists in Sapporo, the S-AIR AWARD was set up in 2006 to offer residency opportunities for local artists to live and produce art work abroad using the network that S-AIR had been building up. In 2011, the award was also open for a non-local artist. Until By the end of March 2013, the award have has been given to 10 artists.

Other Projects:

S-AIR have organizsed different projects such as 'Art Akebono 04-05' and 'Artist-in-School' (now run by AIS Planning) with a new approach, in which the idea of residency has been taken into an educational environment including community centerres and elementary schools.

Who’s Been There

TING Chaong-Wen

History of Hybrid Culture Movements
  • TING Chaong-Wen's Art Work
  • TING Chaong-Wen Exhibiting
  • TING Chaong-Wen's Exhibition Site
  • TING Chaong-Wen's Art Work Detail
  • TING Chaong-Wen's Exhibition Status
TING Chaong-Wen, born in 1979, Kaohsiung. He got his MFA in Graduate Institute of Plastic Arts, Tainan National University of the Arts in 2006. He was an artist-in-residence at Seoul Art Space Geumcheon in 2015, of the Sapporo 2 Project in Japan in 2013, at the Taipei Artist Village in 2012, and at the Cite International des Arts in Paris in 2010.

Artist Statement:

My expertise is in mixed media such as spatial installations that mixes images and found objects. In recent years, I have tried to concern myself with the multiplicity as well as the mediation of perceptions in contemporary experimental installations. I tried to observe the synesthetic relationship between history and emotive elements in these site-specific works. Then, microscopic and time-tested experiences created from personal use of languages could thus be developed.

Daily life exists in a rheological state that is difficult to distinguish within the flow of space and time, but the subtle changes can still be observed over a significant period of time. These differences gradually accumulate into what we interpret as ourselves and our surrounding environment as imagined. I try to cast a psychological space into the environment, depicting an imaginary field between the physical and poetic space. Therefore, this material can subtly display the personal, internal, and environmental experience of everyday lives.

Similar to a mirror, history has always been a reflection of our own self. Snow in Sapporo also bears the layer of history in the city. Snow tells us the limitations of human beings and their responsibilities. During my artist residency, I focused my research and work for the Sapporo2 Project on snow as a rheological retelling of history. Images of snow were the main works in this exhibition.

If making art is a process of measuring history and interpreting history, our actions in defining history and giving history forms (static or moving), meanings (essential value or simple appearances), and records exist in a pre-condition that ‘we forget history easily.’ With that being said, the arts industry demands that contemporary art renews itself constantly. If the development of ‘new’ things takes a long time, we are to reuse and reinterpret the things in the past and thus create something ‘new’ out of the old ‘files.’ This model has become the fountainhead for contemporary art.

History of Hybrid Culture Movements attempts to deal with the concept of geographical locations, climate conditions, native clans, and other ‘files’ related to Hokkaido in the modern Japanese history. Much like Cabinet of Curiosities, a collection of these issues was presented as an exhibition through ready-made objects, photographs, and a video interview with local residents. I tried to present a combination of the Ainu culture and the movement reacting to the Treaty of Mutual Cooperation and Security movements with a perspective of “the Other” in understanding these parts of history. We are accustomed to the classification of modern museums, which obscure our multiple imaginations on different historical events and hide them under mainstream history. A person's cognition is affected in social mechanisms and systems, where my work attempts to offer new opportunities for all to reexamine the existing cultural pedigree and taxonomy.