ARTIST IN RESIDENCE PROGRAM 2011
CALL FOR APPLICATIONS
The ComPeung Artist-in-Residence Program is designed for local and international artists to live and work together with our team and the local community. Interested artists are encouraged to apply by providing ComPeung with a preliminary proposal of her/his/their art work or project. As a work-in-progress we understand that the proposed project might change in the process.
INTRODUCING FIXED DEADLINES
Please note that we will have fixed deadlines for applications to our regular residency program in 2011.
Our new deadline for residency applications January - June 2011will be: November 1, 2010.
Our new deadline for residency applications July - December 2011will be: May 1, 2011.
ComPeung 2010 GRANTEES
The ComPeung Team is delighted to present Alix Waline and Andrew Salgado as our ComPeung 2010 grantees.
Alix Waline (France)
The French artist Alix Waline is based in Paris.
Her work explores the idea of skin sensibilities and physical sensations through drawings, wall drawings and sculptures, resulting in the creation of fully organic scenes that reflect an inner landscape.
Since graduating from Les Beaux-Arts de Paris, Alix has been working in fashion, collaborating with set designers, and realizing wall drawings.
For the Compeung residency, Alix will focus on a site specific wall drawing inside the round house (2nd artist house), investing an entire space to experiment the possibility of modifying its perception by graphic touches.
Andrew Salgado (Canada)
The Canadian artist Andrew Salgado currenty lives and works in Berlin, Germany.
His emotive, large-scale and gestural oil paintings and visceral, sexually charged videos are an intense exploration of the body, identity, and sexuality through an approach that predominates ‘paint’ as material and metaphor.
He completed a Master Degree from the renowned Chelsea College of Art in London, England. And has worked closely with the art gallery and consulting agency Beers Lambert Contemporary Art, in curatorial and exhibiting capacities.
For the ComPeung residency Andrew will focus on large scale pencil drawings. He plans to merge the ideas in his paintings with an approach similar to his earlier pencil work on a more abstract and technical level.
ARTISTS
Allison Cummings (Canada)
SORE FOR PUNCHING YOU
Allison Cummings is a performer/choreographer/director based in Toronto, Canada and operates under the company name ‘Sore for Punching You’. Her performance and choreographic works tend to explore themes related to interpersonal communication, relationship and the sharing of experience. She actively seeks out intersecting cultural and multi-disciplinary projects in order to directly cross boundaries and disintegrate division between people.
Allison has collaborated with contemporary dancers, theatre practitioners, film makers, traditional West African dancers and musicians, visual artists and has independently created dance works, performance / visual installations and directed theatre works internationally.
At Compeung, Allison is continuing her exploration in shared experience by focusing on building intimacy with limited similar experience, hospitality as artistic practice and the integration of food into performance.
www.quiveringempresses.blogspot.com/
www.danceumbrella.net/clients_allison_cummings.htm
supported by
Ania Witwitzka (Sweden)
Untitled
My process of creating a painting starts with a love affair with a particular colour. That colour takes me on a journey with an unknown destination and at its best, I am guided by a feeling of positive life affirming energy, a process that is often energetic and quite physical. From this rather chaotic explosion of colours an image emerges.
The semi-abstract imagery allows a dream like world to remain present. It is an invitation to the viewer to use their creative imagination as they engage with the colours and shapes and possibly see multiple pictures within the painting. In that way we are both the creators.
At the heart of my approach to creativity is a curiosity to experience that what lies beyond thought and intellectual construction, a longing to connect to a more intuitive sense of a personal truth. This way of painting is embodied within a method known as Vedic Art. With a focus on the individual’s internal imagery, Vedic Art provides a step by step program to connect with the creative ability that is inherent within us all and connects concepts of life and art into an intimately interlinked relationship. In this method art is not about reproducing the environment around us, but rather about making life visible. My encounter with Vedic art led me to first put this at the centre of my practice, before then training as a teacher in the form. I now give courses in this method.
My hope is that the paintings on these walls will communicate an experience of a positive creative power and that it will inspire the viewer to find this in themselves.
Janine Goldsworthy (UK) : rednile projects
FIRST FACTORY NIGHT SESSION THAILAND
Factory Nights is a series of inspiring working sessions for ANY visual artists, photographers, writers, poets, musicians, filmmakers and any other creatives!
Factory Nights is not a discussion event, seminar or workshop.
Factory Nights are FREE sessions that simply provide an opportunity for creative people to come together in an interesting venue and supportive environment to make work or initiate ideas. Artists can come to the sessions with something they have been working on or could start something brand new, inspired by the space.
Factory Nights have been successfully running in the UK since 2008 and a number of New Commissions and New Collaborations are underway. 
NEW commissions/ NEW collaborations for Factory Nights 2009-2010:
Artists that attend Factory Nights will have the opportunity to submit a brief proposal to rednile for help with the development of a new idea or initiation of a new collaboration which has been inspired by a session. More information on how to apply and selection criteria will be provided at each Factory Night. There will also be an opportunity to showcase any new work which has been created during the Factory Nights programme at the Factory Night celebration exhibition event in 2010 and could also be selected to feature in the Factory Nights publication.
Aims of Factory Nights:
rednile and ComPeung hope to bring together creative people to open up art and artists' practices, forge creative relationships with businesses, communities and arts organizations whilst utilizing interesting and often overlooked venues and buildings.
The programme will also build upon rednile's relationships with business that have developed over the last 6 years, bringing new people together and providing a channel for creative people to become more visible. This process may increase the opportunity for more cultural events and arts commissions whilst informing local authority and businesses of local talent.
More Information about rednile:
Rednile is creatively directed by three UK artists Janine Goldsworthy, Suzanne Hutton and Michael Branthwaite, Janine is currently the ComPeung Artist in Residence. Rednile have been initiating and developing projects in public spaces since 2004. Rednile work in collaboration with many other artists and creative people and promote professionalism by paying artists for their time work and talent. Rednile projects engage with the wider community to enable others to explore and enjoy art.
t. 0876948483 / 0843758070
e. info@rednile.org
www.rednile.org
Find us on FACEBOOK
Janine Goldsworthy
My current practice involves making site specific temporary (public art) interventions using colour to highlight features and materials which often use metaphors to suggest a narrative. These works are made in collaboration with other rednile projects artists and invited artists. The artworks are developed over a period of time researching a site/space and include engagement with the local community that use this space. This process includes sharing of ideas, stories and local knowledge to help identify sites of interest and generate the ideas behind the artworks.
supported by
Belle Shafir (Israel)
Untitled
The work of Belle Shafir consists of readymade price tags on which there are tiny drawings of organic forms/mutations, which were handmade, and represent "the beginnings of life in the cloning era", and business cards of a cloning company named "Clone R US", where the name is supported by the name of the toy company "Toys R Us". Shafir treats the cloning industry as a kind of a dangerous game, and as a protest, she "planted" her website address at the back of the business card, as a representation of the artist.
Shafir is asking how the genders will be defined in the future, in the "Cloning Era". She is stating that it is science that will be involved in the creation of the cultural beings. Its involvement will determine the nature and the attributes of what will be defined as "feminine" or "masculine".
Shafir is watching with concern at the changes that the society expects, and the fate of the "Natural Continuum", in the Cloning Era. Its critique is expressed in the form of parody, emphasizing the economical, trading and marketing aspects of the Cloning industry.
Mona Oren,
Ellis Hutch
and Helen Michaelsen
v.o.i.d project #01
Dreamt up as voluntary, ongoing, internal, displacement or v.o.i.d, the dictionary definition of the word void refers to emptiness, space, the cancellation of something and of emptying out. But what does it mean to approach the void, to enter it, to embrace it, to make it?
(v.o.i.d photo by: Mona Oren)
Void and as such the v.o.i.d project #01 becomes a space of possibilities. Stepping into the void, into the unknown, decisions are made to push personal boundaries and to step outside familiar comfort zones. Exposed to a vast external space, layers of internal spaces unfold with directions, both new and previously explored.
The chosen site, Mae Kuang Dam (เขื่อนแม่กวง), is a manmade environment evoking to be pristine. The 3 performance locations at the dam - an irrigation canal, a hillside wall reinforced with concrete, and a maintenance road on top of the dam - initially intrigue and challenge us. Then they intuitively guide us in mapping out our performances in response and as continuous interaction to those spaces and their dominant site-specific elements of water, height (air), and ground (earth). As a result they are temporarily transformed into v.o.i.d spaces each with a quiet, steady pulse following their own rhythm.
Fluid, vertical, horizontal, rough, rugged, uneven surfaces that initially resist demand endurance and reward us with powerful force once embraced in the process. Through our mental and physical interaction with the site, we, the performers, become the interface accessing "our" spaces. As a way of becoming at home we are engaging mentally, emotionally, and physically with our individual bodies in continuous movement. Not only do we situate ourselves in the space but form a contingent connection to the space, embodying the v.o.i.d.
What might seem to be ordinary actions, lifting and letting go, moving through pre-determined forms, and writing, traversing a surface back and forwards, are in fact highly charged, personalized actions visible in moments of tension, instability, imperfection and translated into temporary yet continuous movements. A flower garland grows until it disappears into the distance, Tai Chi forms flow over the rough uneven surface of a little used road in a vast landscape, the transcription of a dictionary definition becomes a physically grueling process.
The essence of the v.o.i.d project#01 yet remains what does it mean to act, to act out or to perform a series of actions with actions being deliberate and of individual significance, relevance, and urgency?
Ellis Hutch
Helen Michaelsen
Mona Oren March 2010
Marietta Patricia Leis (USA)
Untitled
My work extends into several media—paintings, drawings, sculpture, painted photographs, cyanotypes, prints, books and all kinds of combinations of these media. My work in all mediums always has an element of the sensory—a texture, a color, a deep space—something to engage the senses of the viewer.
My work begins with the stimulus of something observed, dreamt or remembered, a sensation or emotion or a ‘what if.’ The embryonic idea never leaves my consciousness very long as I mentally excavate, unearth, examine, incubate and assimilate my impressions. Finally concept and materials come together and the visual work evolves. The final discoveries are found within the making of the piece.
I am dedicated to honing in on what is only essential and editing out all the rest so sometimes only the color remains. The installation is integral to the intention of the work. The configurations are not meant to be static but rather reinvented at each venue. The tension among the pieces of each grouping and between the different groupings themselves is a vital transformative element.
Marietta Patricia Leis (web)
David E. Vogel (USA)
Untitled
The images I select are influenced by my deep regard for our planet, the imperative of sustainability, and the simple interest or beauty of a composition. The lessons of photographic masters such as Henri Cartier-Bresson and Ansel Adams are deeply ingrained in my work. I choose both abstract as well as literal images based on their message and mood.
My intention is straightforward: to contribute a moment of beauty and to perhaps expedite an increased conscious awareness. It’s about experiencing and sharing, ie. embracing an image initially and inviting others to “inhale” that image. Feel free to breathe deeply.
Tadasu
Takamine (Japan)
Twist & Twist*
*in collaboration with ComPeung, as part of an art exhibition "Twist & Shout" @ Bangkok Art & Culture Centre (BACC), BANGKOK November 20, 2009 - January 10, 2010
The Project began in May 2009, when Takamine visited ComPeung in Chiang Mai. One of the sustainable frameworks at ComPeung is the self-build earthen architecture, which has inspired the final project at the BACC.
The Project focuses on the process than the finished product. Conceived by Takamine the project’s im/possibilities were being between Takamine and the ComPeung team through emails and online conferences for over 2 months. This initial exchange and in conjunction with interviews conducted in Japan and a short working residency @ ComPeung shaped the ideas into reality – thus culminating in the museum presentation at the BACC.
The final installation at the BACC is part of the process of shaping The Project. Indeed, rather than sharing with the audience some examples of sustainability, we wish to raise some questions that haven’t been clearly answered.
Participants:
Aiko Oizumi, Atsuko Kimura, Dearborn K. Mendhaka, Emiko Yoshioka, Helen Michaelsen, Kotaro Konishi, Pakorn Lobsang, Pisithpong Siraphisut, Preeyachanok Ketsuwan, Nattiporn Athakhan, Ratchanok Ketboonruang, Tadasu Takamine, Tommy, Um Young Gyoung, Yukako Ogura, Yumiko Nii
Rebecca Zorach (USA)
Free School*
*in collaboration with M.2 students from School For Life, Doisaket, Chiang Mai
Rebecca Zorach did some workshops on alternative education projects that she involved in and/or that she has researched, including the “free school” movement in the U.S. from the 1060s to the present, as well as the magazine she work on, AREA Chicago (areachicago.org). She encouraged the participants and audiences to think about what an ideal free school would look like from a Thai point(s) of view. Students from the M.2 class did a project where we asked them to re-design their school in a material way with drawing, sculpture, using naturally available materials.
Tatsuo Inagaki (Japan)
with students from HOSEI University, Tokyo
Untitled
Tatsuo Inagaki and his students from Faculty of Intercultural Communication, HOSEI University, Tokyo, Japan, had done residency programs @ ComPeung since 2007. They had came every summer break from study for 3 years, and had conceived some projects and workshops including 'Childhood Museum' (2007), 'Doisaket Market Museum' (2008) and 'Donmai House' (2008 – 2009).
This year (2009), 2 different groups of students came in different periods. They did some workshops and interviews with monks from Doisaket temple, which the raw materials, will be analyzed and inspire the next year (2010) projects. Inagaki and students also organized some workshops with pre-school kids from Wat Pathumtaram Nursery, where they had worked with for 3 years. The artist wishes to come every year to maintain his 10-year activities in Doisaket.