Open Call for the 6th Crystal Ruth Bell Residency - Light and Sight
第六届Crystal Ruth Bell艺术驻留项目 - 亮光与眼光
For the sixth edition of the Crystal Ruth Bell Residency, we are inviting people to apply for a fully-funded residency at Three Shadows & Red Gate in Beijing and Xiamen for the months of October, November, and December 2019, coinciding with Design Week Beijing and the Jimei Arles Photography Festival in Xiamen. We are calling for people of all types of creative practices, of all passports, ages, gender-identities, abilities, and interests to send us proposals for projects to pursue in China this winter around the ideas of "light and sight" - in any way those word makes sense to you.
作为第六届Crystal Ruth Bell 驻留项目，我们将发起由北京、厦门三影堂和红门画廊合作举办的2019年10月至12月为期三个月的全额资助驻留项目。我们鼓励所有类型的创作实践，无国籍、年龄、性别、能力和兴趣的限制。我们将以“亮光与眼光”为主题寻求这个冬天在中国实现的项目企划案——你可以根据自己对主题的理解提出方案，并将其发送给我们。
All creative people who make {work with, about, or from} images are welcome: photographers, filmmakers, cinematographers, animators, documentarians, photojournalists, researchers, critics, observers, lighting designers, astronomers, zine makers, opticians, and selfie enthusiasts are all invited to submit proposals around the themes of Light and Sight.
我们欢迎所有的视觉创作者及视觉领域相关从业者：摄影师、电影制作人、摄像师、动画师、纪录片导演、摄影记者、研究学者、评论家、观察者、灯光设计师、天文学者、杂志出版人、光学仪器制造者和自拍爱好者等来自各行业的创作者都可以参与本次以“亮光与眼光”为主题的驻留方案招募。
The Crystal Ruth Bell Residency covers:
- ✨Housing in apartments in Beijing & Xiamen
- ✨Studio space at Three Shadows (Beijing & Xiamen)
- ✨Photography & video equipment (see facilities list)
- ✨Round train or trip flight to Beijing + roundtrip train travel between Beijing & Xiamen
- ✨USD $1,080 stipend {as of 2018, our stipend is pegged to inflation)
- ✨USD $510 for materials & ingredients
- ✨Visa & travel health insurance
- ✨Airport pickup, welcome dinner
- ✨Optional artist talk, workshop & open studio
- ✨Project support from the Three Shadows, Red Gate, and China Residencies teams
- Crystal Ruth Bell驻留项目将为获人提供：
- ✨北京和厦门两地设施齐全的公寓
- ✨在北京三影堂的独立工作空间
- ✨摄影及摄像设备（详见设施清单）
- ✨北京到厦门的往返火车或往返北京的飞机或者票
- ✨1080美金的驻留补贴
- ✨510美金的材料费
- ✨签证及旅游保险费用
- ✨机场接机及欢迎晚餐
- ✨可选的艺术家谈话、工作坊、和工作室开放日
- ✨三影堂、红门、和中国艺术交流团队提供的项目支持
- The Jury consists of:
- 🏙From the Three Shadows team:
- - Qi Yan (exhibition manager)
- - Xinyi Chen (residency coordinator)
- 🏙From the China Residencies team:
- - Kira Simon-Kennedy (co-founder & director)
- - Josue Chavez (head of research & development)
- - Xiaoyao Xu (Residency Knowledge Fellow)
- Guest Jurors: Zara Arshad, Cao Mengwen, Bérénice Angremy & Victoria Jonathan
评委：
🏙三影堂展览主管齐燕、三影堂国际艺术家居住项目负责人陈昕怡
🏙中国艺术交流联合创始人及总监Kira Simon-Kennedy，研发主管人 Chavez和Residency Knowledge Fellow徐肖瑶
和陪审员 Zara Arshad, 曹梦雯, Bérénice Angremy & Victoria Jonathan
🐬🐬🐬
Deadline: August 8th, 2019
Finalists announced: August 20th {delay update, finalists will be announced on August 26th)
Residency dates: October (Three Shadows, Beijing ) - November (Three Shadows, Xiamen ) - December (Red Gate, Beijing)
申请截止日期：2019年8月8日
入围者名单公布：2019年8月20日 {8月26日}
驻留时间及地点：2019年10月（北京三影堂）——11月（厦门三影堂）——12月（北京红门画廊）Deadline: July 31 2019
- 🐬🐬🐬
- Individuals and duos from all nationalities are encouraged to apply, including China, Hong Kong, Taiwan and Macao. This is a wide open call, with no restrictions based on age, medium, educational background, or any other criteria. Project proposals will be evaluated based on their feasibility and creativity by a jury as listed above.
- 我们鼓励来自世界各地的独立艺术家或艺术家组合向我们发送申请，申请地区不仅局限于海外，同时包括中国大陆、香港、台湾和澳门。这是一个广泛的公开招募，没有基于年龄、创作媒介、教育背景或任何其他标准的限制。上述评委将基于项目的可行性和创造性对申请方案进行评估。
- Apply online before August 8th 2019 in your timezone. Finalists will be notified by August 20th.
Sparking Ideas:
Images guide our world and how we interact with it, transmitting thoughts and visions beyond languages and borders. One in three people on the planet has a smartphone, meaning that a third of the world is constantly carrying cameras, uploading images to the internet and the digital social networks that unite and divide us. From photojournalism to science-fiction, the image’s importance to grasp and contest reality is unparalleled. What do we see and accept as reality? What makes a video slip from truth into fiction, and through all the uncanny stages in-between?
图像指导我们观看世界，并引导我们与其互动，使想法和视野超越语言等其他边界。地球上每三人中就有一个人持有智能手机，这意味着世界上三分之一的人都随身携带拍照设备。将照片上传网络和社交媒体平台将我们紧密联结，同时又不可避免地制造了隔阂。从新闻纪实到科幻虚构，照片在抓取和检测现实方面有着无法超越的重要性。何种“真实”能够被认可并被接受为真实？什么促使一段影像作品从真实向虚构转向？这其间又经历了怎样不可思议的过程？
As we’ve developed technologies to augment human sight, from the simple lenses of magnifying glasses, to the digital telescopes peering through lightyears of space, we’ve also created software to run screen readers and voice-commands that open up access for people with disabilities. These augmenting technologies introduce other ways of seeing the world, allowing us to surpass the limits of our individual physiologies and collectively see what otherwise wouldn’t be possible with the “naked eye.”
随着人类视觉增强技术的不断发展，从最初的放大镜头到用于空间观察的数字望远镜的发明，为残疾人创造便利的屏幕阅读器和语音命令设备也被创造了出来。这些技术的引入增加和拓宽了我们观看世界的方法和维度，使我们能够超越个体的生理极限，共同观察到那些过去“肉眼”所不能及的方面。
For the past couple centuries, photography and video have become the main channels that shape our mental images of places we haven’t had the chance to experience with our own eyes. But can mediated content, striped from its original locale and re-contextualized for different audiences ever do justice to reality? These imaging tools were crucial weapons used by imperialist colonizers and settlers to create arbitrary classifications and hierarchies among people. Stereotypes used to justify the subjugation of entire groups of people are still in circulation today, through gifs and memes that spread like wildfire, influencing of public opinion and politics. While the right remix of icons and text can make a meme go viral across the globe, there are now more than a hundred hours of video uploaded each minute to platforms like YouTube and WeChat. Seeking for cheaper options to “censor” the deluge of content, tech companies often rely on marginalized and exploited labor, often outsourced to the poorest provinces or far beyond borders, to rid social networks of “undesirable content.”
过去的几个世纪里，对于那些我们无法抵达的远方，摄影和录像已经成为塑造和呈现这些空间和场景的主要方式。但是，这种被人为介入并从原本的位置上剥离，同时被观众在不同语境下重新定义的媒介，是否真的能够被用来定义“真实”？这些成像工具曾是帝国主义殖民者用来给原住民划分等级制度的依据和武器。这种对某个群体的征服和殖民化的思想如今在某些地方和领域还在传播——通过无所不在的gif动图和“模因（meme）”等基本的文化单位，同时对公众舆论和政治施加影响。恰当的图文组合可以使一个“模因（meme）”在全球范围内迅速传播，比如现在每分钟有超过100小时的视频上传到YouTube和微信等平台。科技公司则通过边缘化和剥削的方法，以寻求快速“审查”大量的网络信息的廉价解决办法，这些工作通常外包给经济落后的国家或地区，以达到迅速“净化”网络环境的目的。
And while the internet has democratized access to audiences, less than 5% of published photographers and filmmakers working commercially worldwide identify as female, and globally, newsrooms are still led by an overwhelming majority of white men, perpetuating a specific gaze that does not reflect the world population.
尽管互联网已经实现了民主化访问，但在全球范围内公开从事商业活动的摄影师和电影制片人中，只有不到5%是女性。在全球新闻领域，绝大多数新闻编辑部门仍然处于白人男性的领导下，这一现象无法客观地反映性别人口比例。
What’s kept out of sight? What do you want to shed light on?
有哪些真相被隐藏？ 我们还想了解关于真实的哪些方面？
We are looking for projects that seek to bring light to communities in ways that push against, work through, and build upon our complex system of image making and circulating through a commitment to creative inquiry:
我们正在寻找那些旨在为社会带来一丝“光亮”的项目，致力于通过推动、解决和建立影像制作流通的复杂系统，实现其创造性探究的目的：
Crystal随身携带相机，并试用了过期的胶片，破损的宝丽来相机，扭曲的镜头，漏光，自制的针孔相机和镜像自拍。 她通过简短的纪录片和视频，来自Skype对话的截图，精心制作的时装拍摄和即兴的摄影会议记录了她的生活和她所朋友。 作为微博，Instagram和体积3D扫描肖像的早期采用者，她接受了所有新的共享视觉故事的方式。
Artist and filmmaker Haruna Honcoop, the 2019 Locality/Reality resident, filmed a documentary project about how Beijing reckons both with the 10-year-old structures built for the 2008 Summer Olympics as well as prepares to host the 2022 Winter Olympics.
艺术家和电影制片人Haruna Honcoop，2019年的《本土性 ／ 现实性》艺术驻地人，拍摄了一个纪录片项目，讲述北京如何同时考虑为2008年夏季奥运会建造的已有10年历史的建筑，以及准备举办2022年冬季奥运会。
Musician and documentary filmmaker Kayla Briët, and 2018 Found Sound China Fellow, explored themes of her Chinese, Dutch-Indonesian & native Prairie Band Potawatomi identity and heritage through film, music and virtual reality.
音乐家和纪录片制片人和2018年《中国声态驻地》项目员Kayla Briët通过电影，音乐和虚拟现实探讨了她的中国，荷兰 - 印度尼西亚和本土Prairie Band Potawatomi身份和传统的主题。
The third resident in Crystal’s honor, performance artist Elyla Sinverguenza created “Cartas Mojadas,” an audiovisual installation staging cries for help from rural Nicaraguans getting displaced by the construction of the Chinese-funded Interoceanic Canal.
为了Crystal的艺术项目的第三位艺术家是表演艺术家Elyla Sinverguenza。 它创作了“Cartas Mojadas”，这是一个视听装置，呼吁帮助尼加拉瓜农村人民因建造中资海洋运河而流离失所。
Annie Ling is a photojournalist committed to intimate narrative projects and expanding a visual discourse. On her #slowtrainresidency, she experimented with portraiture and self-portraiture along the Silk Road.
Annie Ling是一位致力于亲密叙事项目和扩展视觉话语的摄影记者。 在她的#slowtrainresidency，她在丝绸之路上尝试了肖像画和自画像。
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