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Be STUPIN! Be Smart! / KUO I-chen

2021-07-07

STUPIN represents an attitude to explore the unknown without constraints. With an open mind, we invite you to join this journey. Be STUPIN! Be Smart!


Make the Question Become the Solution


STUPIN is an artist studio residency platform where different fields of artists can share and link their studios and connections. Through two main functions – STUDIO1 and PIN2, we expect to build a global studio residency network. The STUPIN pronunciation resembles "stupid"; likewise, the artist tends to devote to their creation bravely and nearly foolishly. But often, this persistence comes out with an unexpected result. Art creation is not just a way to ask the question but a path to solve the problem and enhance art residencies' environment.


STUPIN represented the act that a person explores the boundaries of unknown territory. Unlimited by the framework of logic, the creator would be able to step into the unknown with courage and an open mind.


STUPIN.ORG in the scene of exhibitionsSTUPIN.ORG in the scene of exhibitions


 


Every City is Your Studio


STUPIN initiated the first studio swapping project in February 2017. Two artists from two totally different parts of the world, one sub-tropical island on the Pacific Ocean- Taipei, Taiwan, and one valley city overlooking the Atlantic Ocean on the European continent – Porto, Portugal, experienced each other lives for the first time. Filipe Cortez was introduced by a friend in 2016. He has been to Residency Unlimited in New York for half a year. However, this was his 1st time visiting Asia. During the two months stay, he visited Tokyo, Hong Kong, and Macaw. Everything was new. Everything was intriguing to him. When I asked him what's the most special thing for him, he laughed and said that he didn't get the chance to speak Portuguese for a long time. Filipe tried to find traces of history in Taipei, but it was not very easy. Finally, he found the material in the affiliated village next to Beimen near the Taipei train station. With latex, silicon, and plaster, he rubbed the shape and texture of the old Taipei, preserving the history and memory of the space.


 


The 1st time residency exchange of STUPIN by artists KUO I-chen and Filipe CortezThe 1st time residency exchange of STUPIN by artists KUO I-chen and Filipe Cortez


 


Filipe Cortez in the creative process during the residency in TaipeiFilipe Cortez in the creative process during the residency in Taipei


 


This was also my first time in Portugal, and this ancient city Portal famous for its wine and beautiful scenery. The marks and traces of history were everywhere to be seen, whether on the street or in cultural heritages. The grand buildings commemorated the greatness of the country in the 16th century. On my way to the studio every day, tile walls and walls intertwined into the most magnificent street view of Portal. With all these new visual perceptions, I started to buy a newspaper from local vendors every day while practicing a little Portuguese. I went back to my studio to collage the images and text on the STUPIN tent, which symbolized the nomad. While at the same time, I tried to find a place to store my residency memories. Completely different from my previous residency experiences, we didn't have an institute to take care of us. We only have each other as a friend. We didn't only swap physical spaces but also spirit spaces. Both of us experienced cultural shock and getting used to different lifestyles at the same time. Also, we tried to see our familiar cities from each other's brand new perspective. The experience of us was like an overlapping film, recording one story of two memories. If the life of the film is to record a passing memory, the overlapping then was to prolong the memory. Maybe the memory would not only be just a memory but overlay a story waiting to be told.


Porto, PortugalPorto, Portugal


I tried to present the experience by an exhibition by transforming the gallery into an artist studio. Where the artworks made were happening at the same time with exhibiting and even selling. I wanted to discuss the relationships among artists, artworks, and spaces. Filipe Cortez could have access to a gallery, curators, collectors, audiences of all kinds, and also friends. On the other side, Filipe introduced me to many artists and local galleries too. In this way, we shared the connection and created a more profound friendship. Before I left Porto, I went to the restaurant his brother run by the sea and met his parents by chance. We talked about Filipe and this unique experience. Then his mother gave me a big hug as a wish which made me feel the warmth and support of his family. Likewise, when I came back to Taiwan, I brought Filipe back to my hometown Kaohsiung and met my family too. Overall, this residency was not just sharing our spaces, but we walked into each other's lives and enriched each other. We saw the corners in the city we never paid attention to- Taipei / Porto - were not the same cities, but the cities we would see through each other's eyes where we found a different self in the end.


The ruins in Porto, PortugalThe ruins in Porto, Portugal


On my journey with Porto, I unexpectedly discovered an abandoned factory. It was covered by vegetation of all kinds and turned into a ruined garden. Every plant found the perfect spot and angle to grow. In the sunshine, flowers bloomed. On the damp floor, moss was lush. Bees built their hive in discarded components. The function of the space was not it was anymore. It had found a suitable status after giving away the former one. All these experiences inspired me to found STUPIN. It was not just raising a question to the current system, but also by trying to deconstruct and rebuild to share open resources. I expected it could bring more possibilities for residency. Each artist was a studio, and each person working in the creative field could be a local guide. By sharing, each city would be your studio.


STUPIN-the art residency exchange platformSTUPIN-the art residency exchange platform


Note 1: STUDIO can only be registered and exchanged when both applicants have their own studio. If the applicants do not have studio, he or she can apply a studio from owner by paying the rent or resources exchanging.


Note 2: PIN can provide a guide for private attractions that only locals know by Stupin members to enhance the experience of art residencies and exchange for the international network.

KUO I-Chen
2013
KUO I-Chen , born in Kaohsiung, Taiwan in 1979. Graduated from Graduate Institute of Art and Technology, National Taipei University of the Arts, in 2007, majoring in Video and Audio Art. Currently lives in Taipei. In 2004, I participated in “Taipei Biennial: Do You Believe in Reality” with work “Invade TFAM”. In 2005, I represented Taiwan at “The Spectre of Freedom” Taiwan Pavilion in the 2005 Venice Biennale, becoming the youngest artist ever to participate in the Biennale. Also in 2005, I participated in “PILOT:2 International Art Forum” in London, UK, thanks to the recommendation of international curator Fumio Nanjo. In 2006, I participated in the First Singapore Biennale—Belief. In 2007, I participated in “Thermocline of Art—New Asian Waves” at ZKM Center for Art and Media, Karlsruhe, Germany. In the same year, my first solo exhibition “Mutation” was one of five finalists at the Sixth Taishin Arts Awards. In 2008, I received invitation to partake in “The Fifth Seoul International Media Art Biennale” and collaborated with Australian curator Sophie McIntyre in “Penumbra: Contemporary Art From Taiwan” at Anne & Gordon Samstag Museum in Adelaide, Australia. In 2009, I received invitation to participate in “The Epic in the Everyday: Contemporary Video Art from Taiwan” at PAN Palazzo delle Arti Napoli, Napoli, Italy. Works continue to be invited to exhibitions in Greece, Germany, Switzerland, New York, India, Japan, and France. Creative Concept: [Home-Less is More]
STUPIN Artist Studio Residency Platform
Artist KUO I-Chen founded STUPIN in 2017. It is an artist studio residency platform. The idea KUO established STUPIN was when he went abroad, and he had to continue paying the rent of his studios even he was out of town. It became a financial pressure to him. Besides, he could hardly make effective connections within a limited time when he resided in another country. Therefore, he founded STUPIN. Through two main functions—studio swapping and PIN (local cultural tour guide), he expects to build a global studio residency network. Artists can register in STUPIN to become a member and match where to reside. They only need to afford a plane ticket, and they can swap studios and easily experience different types of life adventures. Another essential feature of STUPIN is "PIN- a local guide for cultural attractions/ organizations." Artists are always in a passive position when staying in an art residency. They are arranged to host open studios or wait for the organization to invite the curators to come. Moreover, in the institution, artists often meet artists who are also from abroad. They have little chance to mingle with locals. On STUPIN, artists can find local members in certain professions as cultural guides. With their support of knowledge and expertise, artists will be quickly merged in the local art networks. There is no limit to the type of art on STUPIN, from visual arts, performing arts, literature, illustration design, theater, or movie. All creative people are welcomed to swap studios or accommodations. They are even encouraged to meet each other by only exchanging ideas and thoughts. So far, on STUPIN, 46 studios are spreading in over 20 cities in the world including Taipei (Taiwan), Barcelona (Spain), Seoul (South Korea,) Warsaw (Poland,) London (UK), and Bucharest (Romania), etc. There are 273 PINs, 30 times studio swap, and over 150 cultural connections to assist over 100 artists. In the future, STUPIN aspires to expand international connections. It is the most critical asset for a residency artist to have cultural exchanges with different backgrounds of people. Traditionally, the residency institution is the only window to other local people and organizations, and the artist is a single point that can hardly connect to a broad social network. However, STUPIN has broken the limitation by enabling spaces" and "links" to more mobile resources. STUPIN makes vacant spaces to be used and reduces unnecessary costs for artists. It has become a dense international social, artistic network.
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