Taiwan - Tainan

Artists-in-Residence Program for 2023 Siao-Long Cultural Park

In 1624, the Dutch built Fort Zeelandia in AnPing, Tainan, resulting in Tainan being regarded as the first city to have been established in Taiwan. Thus, 2024 will be the 400th anniversary of Tainan becoming a city, and hence the theme for the coming year’s (2023) residency will be centered on buildings, living space, urban regeneration, industries and the development of the economy, among other subjects. Through visual art practice, the residency aims to examine, represent and re-consider the changes seen in Tainan during the past 400 years. In addition, it will explore people’s moving and migration around the globe owing to political or economic reasons, either through personal choice or because they were forced out, resulting in changes to the culture, the aesthetics, the ideologies and the living environments. The residency will visualize the changes seen in Tainan - and even across Taiwan as a whole - in the past, and will also anticipate the city’s - and the island’s - potential presence in the future. [Eligibility] A. We welcome applicants who are interested in: 1. Interdisciplinary, 2. Visual arts and 3. Performance. B. All applicants must be able to communicate in either English or Chinese. C. Applicants have to plan the proposal based on the theme of 2023, and we encourage you to utilize the resources of Tainan Cultural, include tangible or intangible, the outdoor work which could blend with the environment of Siao-Long is most welcome. For more details, please check: https://air-culture.tainan.gov.tw/#tab-2

Deadline 2022.09.07
Japan - Sapporo

SAPPORO TENJINYAMA ART STUDIO International Open Call AIR Program 2022-2023

Program theme: The roads stretch on the snow. Sapporo is a snowy city. When it snows, boundary lines that had been previously visible, disappear. After the snow, the sidewalk I walk on is covered in white, and mysterious lines appear that may be a shortcut made by someone or a detour taken while searching for something. The paths on the snow seem randomly drawn but they actually hold an anonymous logic like that of a rambling curiosity – as if artists left the signs of their research in a certain place. During the Covid-19 pandemic, we realized the power of natural, social, and historical boundaries as well as national and regional borders drawn by governments. In particular, social boundaries arose that led people to have less dealings with strangers. 2022 is the third year since the outbreak of the pandemic and I would like to blur the divisions and divides that inevitably happened to all of us, using artists’ overwhelming power of curiosity – like snow that falls and obliterates all boundaries. Artistic research, local communities and the creative activities of artists moving to a certain place for a certain period of time shall leave these footprints. Even if we fail again this year, the snow will still return when winter comes again. More details: https://tenjinyamastudio.jp/2022-2023air.html

Deadline 2022.08.08
Taiwan - Taipei

Call for Artists - 2022 Guandu International Nature Art Festival

Theme: Healing, A Methodology -Post Pandemic Era Ecological Creative Works Keywords: healing, post-pandemic era, anthropocene, ecological art, ecological psychology 【Post-pandemic Era and Anthropocene 】 In late 2019, the world was hit by the COVID-19 pandemic, coupled with the extreme weather events due to global warming, we have seen frequent occurrences of changes in international political and economic situations, natural disasters, disease outbreaks, ecological imbalances and other conditions. Therefore, rethinking and redefining the various aspects of the human-nature relationship and the imbalance between the mind and the body have become the most important topics in the post-pandemic era. Reportedly, the new coronavirus was transmitted to humans through an intermediate animal host – bats. The viruses that originally existed in the natural environment were spread globally through human activities. “Anthropocene” is a geological concept proposed in 2000 by Paul J. Crutzen, a Dutch atmospheric chemist who won the Nobel Prize in 1995. He believes that human activity’s impact on the planet is significant enough to form a new geologic epoch. It is a perfect term that sums up the numerous environmental predicaments we face today: global warming, extreme weather, air pollution, decline of ecological and biological diversity and so on. And the global pandemic brought by the new coronavirus (COVID-19) is only a small example of the result of those changes. It further makes prominent the fact that “nature” is the only foundation of all human activities and the importance of various interactive relationships. 【Environmental Art and Healing】 Finding ways to face the changing situation and use art to present the issue and reconnect and balance our relationship with nature is the focus of many environmental art practices. In the post-pandemic era, people in all fields are encouraged to ‘go to nature’ as a ‘healing’ measure. On the one hand, one can reconnect with nature and be relieved from the impact of interpersonal isolation due to the pandemic. This kind of contact with natural ecology and its effect on human psychology has led to many studies and attempts in ecological psychology. On the other, in addition to responding to the critical perspective of contemporary social and environmental changes, environmental art can also act as a medium for interacting with nature. Because art is not only the production of various forms and sensibilities of aesthetic feelings, from the perspective of the viewer, it is also an experimental and interactive experience. Hence, what we need is a concept that is closely integrated with ecology from the viewpoints of ‘going to nature’ and ‘healing.’ It is also to think about how human beings connect with sensibility through the environment, and to reflect on the possibility of ‘healing’ through artistic expressions and establishing a connection with nature. For this reason, utilizing art’s sensitive means to connect human with natural ecology and in this way reexperience the healing nature of natural environments through art is the main direction of this exhibition. 【Open Call: Healing, A Methodology】 Guandu Nature Park was officially founded in 2001. The motivation and reason behind its establishment can be seen as a healing mechanism for man and ecology. The organization of “Guandu International Nature Art Festival” starting 2006 also serves as an appeal for ecological equilibrium. Given the multiple challenges and changes due to the pandemic since 2019, we have set “healing” as this year’s main theme for the Guandu International Nature Art Festival. Entering into its 17th year, the subject of “healing” is in itself a functional appeal. The art creation is like an invitation from nature. Through the open call and invitations for artists, the Festival will think about in Anthropocene and post-pandemic era, how we lead the audience to go to nature through the combination of art and natural ecology, and experience the possibility of healing between art and nature. Let us undertake a walk to the “wilderness” and find the “healing.” 【Creative Goal 】 The creative form is not limited. It can be cross-disciplinary contemporary art, visual art, installation art and so on. The use of natural materials is given priority to the media. The creative process must comply with the principle of being environmentally friendly. The creative works should be able to convey the values of habitat construction and bio diversity, ecology around Guandu, interactive connection between birds and humans, thereby raising awareness of ecological conservation. 【Venue: Guandu Nature Park】 Guandu Nature Park started to hold the Guandu International Outdoor Sculpture Festival in 2006. Every year, several artworks are installed in the main facility area of the park. The diverse environment provides artists with creativity and imagination. The artworks are created in different types of landscapes, including forest, wetland, grassland, pond and mudflat and so on. For more details, please check: http://www.guandu-natureart.tw/news/477

Deadline 2022.07.30
Taiwan - Kaosiung City

PAIR 2023 Open Call

Theme for 2023: “Floating” With individuals as points, communications as lines, and communities as planes, global networks used to be closely interconnected in their structures and trends. However, with 2020 as a watershed year, humanity's pace of life has been changed drastically by the COVID-19 pandemic, leading to the rise of protectionism on a global scale and the phenomena of decentralization, regionalization, and localization in politics, the economy, and culture. In the face of mounting unrest around the world, the Pier-2 Art Center, which sits by a harbor in southern Taiwan, also shares a common destiny with all in this post-globalization era. The year 2022 marks the seventh year since the Pier-2 Artist-in-Residence Program (PAIR) was inaugurated in 2015. Over the years, the PAIR team has been joining efforts to advance international exchange, connect the community and campus, and promote public art education. How will the participation and interaction of artists-in-residence in PAIR be presented and interpreted in this maritime city of Kaohsiung? We hope that artistic practice in PAIR can spark more possibilities amid restrictions and adversities endured during the pandemic. In the past, while time progressed almost linearly as quarantine was not required, no space was inaccessible as there was no limitation in transportation resources. But now, time and space are felt and interpreted differently due to the pandemic. PAIR hereby invites artists staying or living in Taiwan to look into, reinterpret, or shape today's spectrum of art through their own life experiences and philosophies as well as creative lexicons generated under different cultural backgrounds. The theme for this open call is "Floating." The floating out of the island of Taiwan from the sea was how it made its first appearance in the world's history. Taiwan's preemptive measures after the first outbreak of COVID-19 have made its global profile float up significantly. Political and environmental instability across the globe has brought about numerous uncertainties; everything is subject to change and seems to be floating rather than fixed. This global ecosystem is dominating all, be it a country or an individual. Yet, people therefore have more time and opportunities to reflect on themselves, people and things that used to be taken for granted as well as all values have been redefined, and new values have floated up quietly in the dark night. "Floating" suggests changes, instability, lightness, and suspense, creating an atmosphere that carries both uneasiness and relaxation. Just as the mind stands in contrast to the spirit and light shines brightest in the deepest dark, disasters and blessings are often in disguise. Restrictions can be inspiring, staying in confined places can nurture creation, and unpredictable events can link the field of art within and without and bring groups and individuals together. All of this allows artists to re-examine their artistic experiences through observation and understanding outside of art. With creative practice and exchange in PAIR, artists-in-residence are expected to set out their unique conception of history in this post-pandemic period and to lead the audience to look at new world views.

Deadline 2022.07.15