(哈囉~各位中文讀者,Jane 在這篇文章中提出了許多作為一個策展人,她在這次徵件中的期待,很重要!很重要!大家一定要努力讀下去,因為QQmei這裡上周五也接到了幾個有趣的提案構想,真擔心只有二個台灣名額,怎麼夠用呢??….不論如何,請大家加油!!!我會在今晚把本篇文章摘譯出來…..現在得來趕去年度的結案報告了! 記得晚一點 或明早 再回頭來看這篇文章的中譯喔~ 2010.01.25)
(摘譯完成 2010.01.25 21:43 ….結案報告還在趕說~)
As the curator for this exhibition at Cheng Long Wetlands, I thought it might be helpful if I put some information here to help artists as they develop their proposals. Remember proposals have to be sent to me by email (firstname.lastname@example.org) before the deadline of February 12!
Artists always wonder what I am looking for as the curator for this exhibition. It is difficult to answer that because I do not know what I am looking for until I see it! I expect to be surprised and want artists to think of something I did not think of before. I am open to almost anything as long as it can work in this particular place and supports the theme. I have put together a statement that tells more about what I want to see in the artists I select for this exhibition “Children and Artists Celebrate the Wetlands” at Cheng Long Wetlands in Taiwan. Continue below to read my complete curator’s statement.
Jane Ingram Allen
Because I am an artist myself as well as a curator and critic, I may have more of an understanding of an artist’s needs and desires in doing this kind of exhibition. I write for SCULPTURE magazine and PUBLIC ART REVIEW and have been a college art professor, public school art teacher, museum curator and museum art educator as well as an artist. I came to Taiwan in 2004 with a Fulbright grant that was extended for another year and after that decided to stay in Taiwan. I have continued to promote environmental art in Taiwan organizing and curating shows in various places and doing many environmental art projects in Taiwan and other countries.
For this sort of exhibition I prefer artists that can adapt their ideas to the site and the materials and resources available at this place in Taiwan. This is very difficult considering that most of the artists have never been here and only have a few days in residency before they make the work. You can see on the blog that Cheng Long Wetland is not an area with lots of trees, and it is a small rural village and coastal area where the main occupation is fish farming. You can buy some materials at local stores using part of your artist’s fee, and the staff and I will help you to find recycled or natural materials to use for free. We want to discourage use of plastic, metal, cement, fiberglass and other things that might be harmful to the environment. We also have to think about the animals, insects and plants and make the artwork so it does not interfere with nature at Cheng Long Wetland. There are also human visitors to think about, and the works have to be safe and secure and last through storms as well as children and adults manhandling them and playing on, in and around them. The Wetland area, the school, the temple courtyard or other sites in the community are not supervised all the time and are open to the community. The weather is another concern. Typhoon season is May to October, so there may be typhoons with high winds and lots of rain. Things may also get very dry by mid-summer, and the weather will be very hot.
Artists ask about the medium and techniques too. I am open to all media and techniques and whatever works to get the artwork done to have the maximum impact and meaning. Video and new media are okay if they can survive outdoors with no technical problems and it does not harm the environment. It is a challenge to the artist to find solutions that can work to make sustainable artworks that help sustain the environment.
I also like interactive works and those that visitors can participate in somehow. I think art should be more than just something you see once and then leave. Any way that the work can engage visitors is favored. If it can also be used somehow with the environmental education programs for children of all ages and adults that would also be good.
I also try to get artists who have not been to Taiwan and artists from different countries so that we have different viewpoints. Where the artist is from or whether they have been in Taiwan before is not the most important thing however. The proposal, the artist’s experience and the idea are the most important.
I look for professional experienced artists who have shown evidence that they can do a project in a short time and have the drive and stamina to get it done in time. The artists must be very focused and dedicated.
I also try to pick artists who have shown in their past work a sincere commitment to environmental issues and made works before that may in some way relate to the theme or ideas behind this exhibition. I however am always open to new artists and those without experience have been chosen if they present a strong proposal with good references and great enthusiasm. I like to have a mix of experienced artists and those just starting out in the field of environmental art with a strong commitment.
I favor artists who follow directions and send me exactly what I ask for in the Call for Proposals and in the format that I request. I do not want to review more images or receive catalogs or anything else. If your proposal is clear and easy to follow and concise, but complete, that is best. It is okay to list a website or Internet site where I can find more information or more photos of your work if I want to do that, but do include the jpgs and Word .doc files that are asked for. I may also email you for more information if I am interested in your proposal.
To be selected artists must be able to speak and write English, but don’t worry if your English is not perfect. If we can communicate that is all that matters. You can ask for help with translating things and learn more English while you are here. You must also be able to communicate easily by email and respond quickly to e mail messages during the weeks before you come to Taiwan if you are selected. An artist must be computer literate and already have images and other information in digital format. I only accept e mail entries because of the time involved and the expense of mailing things and using all that paper. The description of your idea in words is important, but don’t worry if it is not beautiful literature or correct English. It should be sincere and get your meaning across.
Probably the most important part of the application is the images of your previous works, and these should be of the highest quality and show good contemporary art. If you have no experience making outdoor sculpture installations or working with children, probably you will not be selected. All the images you send should relate to nature and the environment and should be good quality believable images. If you have no outdoor experience or experience working with children, then get some and apply next year. The images should be small jpgs. less than 1 mg each and not take long to load and not clog up my e mail. I look at images daily and download them so there should be no problem if artists follow directions. Everything should be readable on a Mac or PC; I have a Mac computer myself but may have to present the images on a PC.
I am also looking for artists who sincerely are interested in communicating with ordinary people and children as well as other artists, curators and critics. Some prior experience with public art is good. The artists for this exhibition have to be easygoing and flexible, not egotistical and set in their ways. They have to get along well with people from different cultures and people with no art background and people of all ages. You cannot come with a totally pre-conceived idea and expect it to happen exactly that way. I want the artists selected to be able to adapt to the place and the people and still make their work. Artists selected also have to be able to communicate and do some teaching during their stay because they will train some children and volunteers to help them and lead some art activities related to their work for the public during the opening weekend. So, some education experience would be useful.
The sketch and the idea you propose is the most important thing that I consider. Is it creative, fresh, feasible and contributing to the theme. Of course, I don’t want every artist using the same materials and techniques and always look for a balance of ideas, materials, techniques and concepts in selecting the artists for the show.
Artists selected for this show have to be hands-on artists who are used to constructing their own works. There will be some help from volunteers and the children, but you have to be able to do it by yourself. The artists selected have to be hard workers and spend every day during the installation time at their site working. The installation process is very public, and I want to see dedicated artists hard at work and so do the staff and sponsors. We want artists who really care about their work and sincerely believe it is important. Of course, we also want the artists to have fun and enjoy Taiwan and the people. A sense of humor always helps.
I look forward to seeing your proposal and please e mail me if you have any other questions. The email address is email@example.com
Jane 在這篇文章裡提到：因為很多人問她，關於這次的徵件，作為策展人的她，期待看到什麼呢？Jane 說，這實在很難回答，但是只要她看到了，她就會知道，這就是她要的!! 她希望得到驚喜，看到藝術家想到她從來也沒想過的點子!! 只要是這個提案適用於成龍當地，並與本次徵件的主旨契合，不論是什麼形式的表現，她都可以接受。以下是她完整的說明: