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Hospitality and Reverse Hospitality between Hosts and Guests / Jau-lan Guo

2023-07-26

1. You had a curatorial presentation during the residency. What kind of exhibition was it? Would you suggest to curators in residence that they present during their residency?


Before visiting New York, I submitted a proposal named Taiwanese Contemporary Art Project (TCA Project) to the Ministry of Culture. Therefore, I travelled with an exhibition plan. As a Taiwan-based curator to New York, I thought about asymmetry between Taiwan and New York in the art world, artistic values and reality. I planned to invite non-Taiwanese artists in New York to collaborate and exhibit their works in TCA Project (Figure 1). They appeared in real exhibition booklets, printed materials, and main visuals with fictional Taiwanese names. The opening was divided into two sections. The curator began on the first floor to introduce artworks by artists with fictional Taiwanese names. At the forum on the second floor later, artists and their real identities were unveiled. I used this performative method to touch upon fabrication and asymmetry in contemporary art from local to global (Figure 2).


Figure 1: TCA Project exhibition, ISCP, New York, 2011Figure 1: TCA Project exhibition, ISCP, New York, 2011


Figure 2: The curator unveiled artists and their real identities in TCA Project and used this performative method to touch upon fabrication and asymmetry in contemporary art from local to global. Open space on the second floor, ISCP, New York, 2011Figure 2: The curator unveiled artists and their real identities in TCA Project and used this performative method to touch upon fabrication and asymmetry in contemporary art from local to global. Open space on the second floor, ISCP, New York, 2011


The ISCP residency program always highlights open studio to attract attention from local artists and curators in New York. On the open studio day, I curated a video exhibition “Paradise: Under Re-construction” with artworks from Wu Tien-Chang, Goang-Ming Yuan, Wu Chi-Tsung, Yao Jui-Chung, Charwei Tsai, Spanish artist Gonzalo Puch, and Japanese artist Masaru Iwai (Figure 3).


Figure 3: “Paradise: Under Re-construction” exhibited single-channel video “Still Life 002 – Orchid” by Wu Chi-Tsung.Figure 3: “Paradise: Under Re-construction” exhibited single-channel video “Still Life 002 – Orchid” by Wu Chi-Tsung.


These experiences were valuable, and it was also great to work with administration and production teams at the residency institution. I don’t think it is necessary for residency curators to deliver something public, as each residency institution is different. It was more precise to present my stance on curatorial practice and cultural production through an exhibition. However, it may be more inspiring and creative sometimes to wander without any predetermined conditions. Young curators should take residency programs as opportunities to learn about art ecosystems in other regions. It is also a chance to engage institutions, artists, and curators in other areas and expand connections.


 


2. How does the residency influence your career as a curator?


Due to personal curiosity and curatorial studies, I visited many artist studios in New York with varying qualities and characters during that time. From renowned art collective Claire Fontaine to my studio neighbors, I covered expensive studios in Manhattan to abandoned factory workshops in Williamsburg. I probably visited over 50 of them. When Amy Cheng and I held the open call for 2012 Taiwan International Video Art Exhibition by Hong Gah Museum, almost all of them submitted their works. It might be the most substantial effect, but it was also the most trivial one. During this period, I met a very large number of artists, and my conversations continued with quite a few of them. For example, I met Samson Young who created classical music composition. He wrote a piece for chamber music between scores and instructions, so violinists could function repetitively like machines. After the concert, we had a conversation on regional, subjective, and political aspects in sound. Before I went to New York, I had curated a sound-related exhibition titled “Polyphonic Mosaic” at the National Taiwan Museum of Fine Arts with Nian, Li-Wen and Wu, Tsan-Cheng. I had different ideas about presenting sound works at visual-oriented museums. A few years later, some ideas were implemented in “aVanTGaRde oN sPeEd” exhibition at the Tina Keng Gallery. These were all my experiences in curatorial studies. I don’t know if I answer your question, but I think it’s helpful for artists and curators to leave their places of residence and think from other perspectives.


Knowing what will be seen and heard during traveling time is unpredictable. Residency programs encourage mobility that comes with art globalization since the 1990s, but I still benefit from inspirations in trips and connections made in residency periods until now.


Figure 4: During my residency, Spuniko! (Ozaki Marissa Hiromi) and Aephie Huimi came to New York, as Spuniko!’s works “Menstruation Machine” and “Crowbot Jenny” were included in “Talk to Me” exhibition at MOMA. We had a meeting at my ISCP studio. I was making the exhibition booklet for TCA Project. Aephie Huimi helped me draw the exhibition layout. ISCP, 2011.Figure 4: During my residency, Spuniko! (Ozaki Marissa Hiromi) and Aephie Huimi came to New York, as Spuniko!’s works “Menstruation Machine” and “Crowbot Jenny” were included in “Talk to Me” exhibition at MOMA. We had a meeting at my ISCP studio. I was making the exhibition booklet for TCA Project. Aephie Huimi helped me draw the exhibition layout. ISCP, 2011.


 


3. How does the residency help you substantially?


ISCP receives artists and curators worldwide annually and connects to local art communities via open studio. During the residency, ISCP curator Kari Conte introduced me to Washington Projects for the Arts. I gave a talk at the institution and visited member artists. Our networks grew beyond what residency organizers offered. Some networks occurred due to unexpected people, events, and occasions. It’s hard to foresee encounters or situations, or how they will develop in the future.


Recently, I invited ISCP Curator Award winner Maja Ćirić from Belgrade to give a talk at my “Art and Its Global History” class at Taipei National University of the Arts. Her speech was titled “Globalized Art World: Possibilities and Traps.” Maja was the curator for Serbia Pavilion at 2007 Venice Biennale. After receiving ISCP Curator Award, she presented “The Power to Host” exhibition to explore potential in the global contemporary art world (Figure 5). Maja is still an active curator in Belgrade.


Figure 5: ISCP curator Kari Conte is on the left, and Maja Ćirić on the right. After receiving ISCP Curator Award in 2011, Ćirić presented an exhibition, The Power to Host, at ISCP to explore potential in the contemporary art world globally.Figure 5: ISCP curator Kari Conte is on the left, and Maja Ćirić on the right. After receiving ISCP Curator Award in 2011, Ćirić presented an exhibition, The Power to Host, at ISCP to explore potential in the contemporary art world globally.


 


4. What do you care the most about residency programs now?


I care about whether residency organizers can provide professional and efficient art networks, and whether I can find like-minded people for conversations and collaborations


 


Author: Jau-lan Guo
Edited: Brix

Jau-lan Guo
2011
A pure domestic experience in Taiwan seems to be increasingly limiting to someone who is determined to be a professional art curator, where even local contemporary art shall view the whole world as its artistic dialogues. That was why I applied to the artist-in-residency program abroad. I learned, however, that ‘the world’ was not necessarily ‘in the contrary to’ Taiwan as it was not necessarily ‘outside of’ Taiwan either. The highlights of the ISCP program were the two Open Studio events in each year. I was the curator for a small video exhibition, Paradise: Under RE-construction, at one of the Open Studio events. The exhibition had the highest attendance on the opening day and became a topic of discussion the next day. Such as, ‘I heard Jau-Lan’s space was completely jammed last night!!’ During my residency, I frequently visited artists’ studios and was engaged in the arts activities of New York City. I also visited the art organization, Washing Project for the Arts, in Washington DC by recommendations of ISCP for interviews.
International Studio & Curatorial Program (ISCP)
About ISCP The International Studio & Curatorial Program (ISCP) supports the creative development of artists and curators, and promotes exchange through residencies and public programs. Housed in a former factory in Brooklyn, with 35 work studios and two galleries, ISCP is New York’s most comprehensive international visual arts residency program, founded in 1994. ISCP organizes exhibitions, events and offsite projects, which are free and open to all, sustaining a vibrant community of contemporary art practitioners and diverse audiences. Over 1,800 artists and curators from more than 90 countries, including the United States have undertaken residencies at ISCP. About the Residency Program At the International Studio & Curatorial Program (ISCP) each artist and curator is provided with a private and furnished studio space and 24-hour access to all communal facilities. While ISCP does not provide accommodation, most International Program sponsorships include stipends for living expenses, travel, materials and housing. All residents at ISCP are encouraged to take advantage of the in-house community of artists and curators, offering invaluable international and local networks, professional conversations and critique. An International Program residency at ISCP is typically three to six months, although artists and curators can apply for up to one year. While in the International Program, all residents are invited to participate in a number of activities in and outside of ISCP including the four core program activities: Visiting Critics, Field Trips, Artists at Work, and Open Studios. 1.Visiting Critics: The Visiting Critic series is the hallmark of ISCP’s residency program. It introduces residents to professionals from museums, galleries, alternative spaces and publications.2. Field Trips:ISCP organizes visits to museums, galleries, alternative spaces, archives, and other places of interest to art professionals.3. Artists at Work:Residents are invited to present their recent work in monthly public “Artists at Work” presentations to the New York art community.4.Open Studios: Twice a year, in April and November, ISCP hosts two-day Open Studios, presenting work by the 35 ISCP artists and curators in residence. About the Application Artists and curators from anywhere in the world, including the United States, can apply for International Program residencies at ISCP. There are three ways of applying to the International Program: 1) a partner application 2) by ISCP open call or 3) a direct application. These residencies are generally between three and twelve months and are sponsored by governments, corporations, foundations, institutions, organizations, galleries and private patrons. ●Partner application and ISCP open calls ISCP collaborates with over forty partner governments, institutions and organizations to fund residency opportunities. Partner sponsors publicly call for applications for residencies at ISCP. Over the course of the year, ISCP holds various open calls. Open calls are often sponsored by partner sponsors and are fully funded. Applicants will apply to ISCP directly meeting the specific parameters of the open call application and its process. Please check our open calls page regularly for more information and opportunities. ISCP hosted Taiwanese artists YAO Jui-Chung (2006), GUO Jau-Lan (2011) and KUO I-Chen (2013), recommended by the Ministry of Culture of Taiwan. Please refer to the ARNT website for Taiwanese artists who wish to apply for residency funding under the Ministry of Culture of Taiwan. ●Direct application ISCP does not locate sponsors for direct applicants, once accepted, artists and curators are responsible for securing funding. There is no deadline and the application review takes place once a quarter, however, the residencies are scheduled approximately one year in advance. For more information of the application and sponsors worldwide, please refer to https://iscp-nyc.org/apply. Any questions about applying for the residency program at ISCP, please email Darlyn Villalona, Programs Coordinator, dvillalona@iscp-nyc.org.   Sourced from: International Studio & Curatorial Program (ISCP)Edited by: Brix The International Studio & Curatorial Program (ISCP) is a leading nonprofit, residency-based, contemporary art institution in New York City for emerging to mid-career artists and curators from around the world. Founded in 1994, ISCP has hosted over 1,400 artists and curators from more than 85 countries, including the United States. In 2008, ISCP moved from Manhattan to East Williamsburg, Brooklyn renovating, an 18,000 square-foot former factory constructed in 1901. This move expanded ISCP's facilities to 35 studios and 2 exhibition galleries. ISCP strives to establish a global network of exemplary artists and curators and to provide them with support for producing new work. Tailored for professional growth, the program serves as an active mediator, creating visibility and immersion for its resident artists in New York City. ISCP’s programming hybrid is conceived to facilitate dialogue and collaboration. Three integrated activity areas: the Residency Program, Exhibition Program and Participatory Projects, make ISCP an unparalleled platform for producing, presenting and contextualizing contemporary art through a diverse range of international perspectives.-->
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