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    ‘OPEN’ ZHI ART MUSEUM 2018 
    2018.4.26 – 2018. 8.12

    ZHI ART MUSEUM
    NO.1, Jun Shan Road, Xinjin County, Chengdu, Sichuan

    Artists
    Michael Joaquin Grey, Chico MacMurtrie, Lawrence Malstaf, Mariko Mori, Carsten Nicolai, Marnix De Nijs, WANG Gongxin, WANG Yuyang, ZHANG Peili

    Curator
    ZHANG Ga

    Co-presented by
    ZHI ART MUSEUM
    Chronus Art Center (CAC)

    Opening reception: 25 April 2018
    On view: 26 April - 12 August, 2018
    Hours: 10:00 - 17:00, Wednesday – Sunday

    Chronus Art Center (CAC) is pleased to announce the exhibition Open, celebrating the long-awaited official inauguration of the ZHI ART MUSEUM which marks a new cultural signpost in southwest China. Curated by ZHANG Ga and co-presented by ZHI ART MUSEUM and CAC, the exhibition will open on April 25, 2018 and remain on view through August 12, 2018.

    Located about 40 km from the capital city of Sichuan province in the Xing Jin region, ZHI museum is designed by the renowned Japanese architect Kango Kuma. The museum employs brick tiles, a traditional local material, as the building motif to seamlessly blend modernist austerity with the undulating mountains and rivers of the surrounding area which are reminiscent of Chinese classic landscape paintings in the literati tradition. Resonating with the museum’s architecture and illuminating ZHI’s mission statement, the exhibition Open brings to the public a highly idiosyncratic body of work by nine international artists that accentuate open as a form of initiation, a movement in which a new start gathers force and an unfolding which unleashes the force of potentiality. It evokes opening as an event that gets off the ground the pioneering undertaking ZHI museum aspires to accomplish.

    The monumental installation Pneuma Fountain in front of the museum is Chico MacMurtrie/Amorphic Robot Works’ most recent inflatable robotic sculpture, which manifestly captures and anticipates the unfolding theme of open as a contemplative experience of movement, air, light and architecture.

    Pneuma Fountain, Chico MacMurtrie/Amorphic Robot Works，inflatable robotic sculpture, variable size, 2017

    Entering the museum’s main gallery on the lower level, one is first encountered by ZHANG Peili’s enigmatic work titled A Standard, Uplifting, and Distinctive Circle along with Its Sound System. Participation in ZHANG’s Duchampian installation is delegated to an automata operated though software manipulation. An ambiguity is thus insinuated to invite open-ended construction of meaning and signification. Marnix De Nijs’ Rectilinear Displacement plunges us into a visceral journey of reflection in movement: immersion by its physicality and light in its optical materiality. Winding down to the unnoticeably infinitesimal, Michael Joaquin Grey’ s Between Simonetta updates Botticelli’s famous profile of the woman gradually. Motion and chance assume the ultimate impetus of openness.

    A Standard, Uplifting, and Distinctive Circle Along with its Sound System, ZHANG Peili, radios, motor, motor controller, microphone, power amplifier, horn speakers, variable size, 2015.
    Chronus Art Center / ZHI ART MUSEUM would like to thank Ms. Li Lin for her support in realizing ZHANG Peili's work in this exhibition. （新时线媒体艺术中心/知美术馆感谢李琳女士对本次展览张培力项目的支持）
    Rectilinear Displacement, Marnix de Nijs, mechanical linear-motion installation, immersive projection, spherical screen, width 120cm, length 30m, 2014.
    Between Simonetta, Michael Joaquin Grey, generative portrait, 68 x 89 cm, 2011.

    To open is also to make ready for adventure, to lose orientation in order to obtain cognition of a different dimension. COMPASS 02005 by Lawrence Malstaf is precisely such an uncanny apparatus that exercises its own machine logic on the participant. Perhaps here a power play is at work to tease out the conundrum of the human-machine interaction that questions the popular assumption and begs for an ethical reappraisal.

    Compass 02005, Lawrence Malstaf, wearable tactile installation, magnetic field, variable size, 2005.

    Ascending to the upper level of the museum is a brightened gallery space that is home to four works that resonate with each other and blend into the outdoor scenery visible through the openness of the large glass walls. In WANG Gongxing’s Unseatable, stillness gives substance of mobility, radiance and liquid enact a form of opening, a way of extension. Carsten Nicolai with his reflektor distortion seems to alert us that in the beauty of algorithmic logic is an open terrain in which uncertainty and chance speak the essence of the technological real.  In sharp contrast with Nicolai’s installation, Mariko Mori’s meditative bed of rocks in various sizes and shapes evokes an imaginary river bank which, in its crude innocence, speaks back to the contemporary pandemonium and anxiety to open up a new prospect of the world to comprehend. WANG Yuyang’s Plato’s Cubes further pronounces the open as an unfolding, an perpetual iteration, a never ending transformation and a spirit that embraces the unknown, the unpredictable, and the potential as the essence of ZHI, that is, to know.

    Unseatable, Wang Gongxin, chairs(4 chairs, 48 x 49 x 83 cm/each chair), metal container, light bulb, motor, milk with water and ink with water,1995. Edition of 3 © WANG Gongxin. Photo © Maxim HU. Courtesy of Private collection and Frank F. Yang Art and Education Foundation.
    reflektor distortion, Carsten Nicolai, neon lights, water, steel, sound, diameter 200 cm, height 26 cm, 2016.
    Flat Stone, Mariko Mori, ceramic stones and acrylic vase,Stones: 487.5 x 214.6 x 8.8 cm, Vase: 38.1 x 27.9 x 43.2 cm. Courtesy: Artist, SCAI THE BATHOUSE, Tokyo and Sean Kelly, New York， 2006.
    Untitled–Plato’s Cube, WANG Yuyang, aluminium alloy, PC material, electronics, nylon, LED, 400x400x400cm, 2017.

     

    About ZHI ART MUSEUM

    Located at the foot of Chengdu’s Taoism Laojun Mountain in Southwest China, ZHI ART MUSEUM’s serene architecture brings to life the beauty and tranquility of Zen. An iconic work by renowned Japanese master architect, Kengo Kuma, the museum embodies the Eastern philosophy of “Learning from Nature.” With the use of water as key feature, and the exploration of natural materials throughout, the architecture organically integrates its surrounding elements harmoniously. The tranquil flow and soft movements surrounding the entirety of the museum allow for contemplation and evoke notions of eternity through its unity with nature.

    ZHI ART MUSEUM focuses to explore global contemporary art and its qualities as a force of universality, in the context of the future, present and past of Eastern aesthetics. The meaning of ZHI is to be an open concept, always striving to move from the world of the known to the unknown, and from the finite to the infinite. Within these parameters ZHI ART MUSEUM’s aim is to explore the integration of human inspiration and technology within the multiple facets of art, while also building a groundbreaking in-depth contemporary art collection and an unparalleled exhibition program, that together will foster a vital contribution to the integrity and creativity of art and art history of the 21st century.

    The museum’s core concept is based on the three principles of: Universality, Insight, and Innovation.

     

    www.zhiartmuseum.com

     

    About CAC

    Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency-oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.

     

     

    Press Enquiries
    Rulan Sun sunrl@cnfantasia.com

     

    Special Thanks

    Author Published on

    Chronus Art Center (CAC)

    2018 Research and Creation Fellowship

    Call for Proposals

     

    Title: i-Learn: The algorithmic delusion

    Call Type: Fellowship (US$10,000)

    Application Deadline: All applications must be submitted electronically by 23:59 (Beijing Time), Tuesday, May 15th , 2018 via http://fellowship.chronusartcenter.org

    Notification of Selection: Applicants will be informed about their application status by mid June 2018.

    Fellowship Starts: Summer 2018 (start dates negotiable with reason).

     

    < OVERVIEW >

    This year Chronus Art Center (CAC) opens its Lab for the second 3-month research and creation fellowship. This program is designed to host one international artist and researcher of extraordinary talents in the area of new media art in order to conduct research and creation at Chronus Art Center (CAC), Shanghai. The 2018 Research and Creation Fellowship aims to foster global exchange while advancing the discourse and practice of new media art, and contribute to CAC's research and educational mission as well as the institution's future collection.

     

    < i-Learn: The algorithmic delusion >

    On the age of artificial intelligence (AI), the more complex mental layers rendered over the raw perception of the world are no longer exclusive human abilities. As AI emerges with its learning procedures it evermore displays human-like characteristics of a sort of cognition such as: the interpretation of reality, natural language processing, understanding of the visual landscape, among others.

    Our common understanding of technological developments is that it mirrors natural evolution and therefore AI is the pinnacle of human creativity. Nonetheless, on their current capacity these AIs present all sort of errors and limitations. On one hand, we can easily argue that these are the result of an early state of development or limited hardware, but another possibility could be that these constraints are just a simple reflection of our own limited understanding of reality. In other words, we create and train these autonomous and intelligent systems to see and understand the world as we humans do and reject all of their glitches as mere technical malfunctioning, while another possibility could be that the errors themselves are part of the human-like acquired features of these machines, hence rendering existence in more dubious ways. This presents a fundamental problem if we consider the role these systems currently play in our lives, financial system, health industry, war, online-dating, social networking and autonomous vehicles among many other functions and applications.

    i-Learn: The algorithmic delusion is a research and creation opportunity for artists working in and thinking of various fields of artificial intelligence such as: machine vision, natural language processing, cognitive computing, swarm intelligence, robotics, and any other forms of intelligent technological systems.

     

    < ELIGIBILITY >

    • This fellowship is open to international artists and researchers of all nationalities.
    • Applicants should be able to use English as working language.
    • Applicants must not be currently enrolled in degree-granting academic programs, with the exception of PHD candidates who are aiming to develop technical work within the scope of the fellowship.
    • Applicants are expected to show demonstrable success in previous development of related projects at this scale.
    • Individuals and collectives are eligible to apply. In either case, please detail in your application how technical and creative responsibilities will be met.

    The selected Fellow will be expected to work at CAC's laboratory with the research and creation team on a range of activities including active contribution to the larger CAC community, collaborative partnership with other fellows, leading research initiatives, educational programs and public engagement, and developing current or future research areas for the organization. Projects, including prototypes, documentation, and work-in-progress, will be presented to the public at Chronus Art Center.

     

    ABOUT <CAC_LAB>

    <CAC_LAB> is a space dedicated to the inquiry of present-day matters regarding art, design, science, technology and their impact on global contemporary culture and society. Through artistic practice, technological tools and research methodology, we enable creative processes that result in works of art of high production and academic value. <CAC_LAB> is a space of flux which encourages artistic practice as a generator of new knowledge, a territory where art and science converge into a contemporary and experimental field of academic research; free from mainstream cultural thought, technological stress and economical diversions.

    More info at: http://lab.chronusartcenter.org

    CAC: http://www.chronusartcenter.org/en/

    Previous fellows: http://lab.chronusartcenter.org/fellowship/?lang=en

     

    < FELLOWSHIP SUPPORT >

    This Fellowship is a chance for international artists and researchers to engage and learn from the art, technological and entrepreneurial communities of Shanghai. The selected Fellow will be offered a total amount of USD$10,000 for a 3 month deep-immersion period; including artist fees, living expenses, and materials. In addition, our lab facilities and tools are available for the fellow's needs. These include but are not limited to: OPTITRACK motion capture system, Laser-cutter, 3D printer, band-saw, sander-belt, press drills, all sorts of hand tools, a variety of electronic components, Arduino, raspberryPis, an oculus rift DK2 headset, Surface Mount Infrared soldering station, soldering irons and other prototyping tools.

    For international Fellows, CAC is happy to provide necessary paperwork and advice to help expedite the process of securing his/her visa, travel and accommodation in Shanghai. All the expenses will be covered within the amount of the fellowship.

    During the 3-month program, CAC will work closely with the selected Fellow to see his/her project realized and offer program support in developing work for performances, events, seminars, exhibitions, or other public and educational programming during the term of the Fellowship. CAC will also facilitate joint presentations alongside community partners, host conversations with the artists and display works in progress; revealing the creative process as it happens.

     

    < APPLICATION GUIDELINE >

    Please fill out the online application form and submit it with the necessary attachments via http://fellowship.chronusartcenter.org. No email submissions will be taken into account.

     

    < EVALUATION CRITERIA >

    Applications will be reviewed and the final decision, including interviews, will be made by CAC's International Advisory Board comprised of leading scholars, artists and museum professionals. Acceptance is based on quality and visionary potential, and most importantly, the potential of the project proposal to contribute to CAC_LAB's broader research scope.

    Applicants are also expected to show demonstrable success in previous development of related work at this scale. Successful applicants will outline clear goals, milestones and time-lines.

    Please send further inquires to fellowship@chronusartcenter.org

    Author Published on
    Jim Campbell & ZHANG Peili: The Flickering Uncertain is Chronus Art Center's 2018 inaugural exhibition, presenting works by two pioneers of media art. The two artists employ “low resolution” both as a visual device and as a perceptual agent, rendering an embodied looking / seeing, seeking to grasp the technological and psychological intricacies of reality.

     

    ▼

    Opening Reception

    2018.03.17

    Sat.

     

     

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    Artist and Curator Talk

    < ZHANG Ga & ZHANG Peili>

     

     

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    Exhibiting Works

     

    Jim Campbell
    Home Movies 1040-3, 2011
    Video installation: custom electronics, 1,040 LEDs
    144 x 96 x 3-1/4 inches

     

    Jim Campbell
    Scattered 12x (Women’s March on Washington), 2017
    Custom electronics, 432 LEDs, treated plexiglas
    47 x 64 x 3 inches
    Edition of three

     

    Jim Campbell
    Exploded Flat II, 2017
    Custom electronics, 73 LEDs, aluminum
    48 x 72 inches
    Edition of five

     

    Jim Campbell
    Light Topography (Jane’s Pool), 2014
    Custom electronics, 1,380 LEDs
    32 x 48 x 8-1/2 inches
    Edition of three

     

    Jim Campbell
    Exploded View (Commuters), 2011
    Custom electronics, 1,152 LEDs, wire, steel
    72 x 46 x 38 inches

     

    Zhang Peili
    Collision of Harmonies, 2014
    Sound installation: Track, speakers, computer, fluorescent light tubes

     

     

     

    Author Published on

    Chronus Art Center (CAC) and CTM Festival are pleased to announce ALIA: ZǓ TÀI, a performance project for human dancers and AI prostheses ideated by Marco Donnarumma (Berlin) in collaboration with Nunu Kong (Shanghai). Thanks to the support of 2017-2018 Goethe-Institut's International Coproduction Fund, the project will be co-produced across China and Germany by CAC (Shanghai) and CTM Festival (Berlin). The piece will premiere in winter 2018 and then tour worldwide.

    Taking its title from the Latin “alia” – the other – and the Chinese “zǔ tài” – configuration, ALIA: ZǓ TÀI is a dance and interactive music performance that aims to explore new hybrid identities emerging from the increasing use of artificial intelligence and robotics.

    More and more, artificially intelligent (AI) algorithms and robots regulate human behavior, human bodies and their relations, both at a social and personal level. Far from being passive commodities, “intelligent” software, body sensors, and robots drastically affect the physiological, experiential, psychological, and cultural basis of human life. How can these technologies influence the way we understand, categorize, and discriminate human consciousness and human bodies?

     

    Marco Donnarumma: AI Esthetics & Prothetics Workshops. Courtesy of the artist.

     

    Three dancers wear three intelligent robots on their bodies. The robots are like prostheses, but behave according to their own agencies. The dancers and the machines thus engage in a re-discovery of the self and the other, transporting the audience into a thought-provoking, stirring, and poetic choreography of movement, sound, and light.

     

    Marco Donnarumma: Amygdala, 2017-present. Photo by Margherita Pevere. Courtesy of the artist.

     

    The realisation of ALIA: ZǓ TÀI will be supported by an interdisciplinary team including: AI scientists Prof. Manfred Hild (DE) and Dr. Baptiste Caramiaux (FR), interactive music composer Prof. Alberto de Campo (DE), and designer Ana Rajcevic (UK/DE).

    ALIA: ZǓ TÀI is additionally supported by Graduiertenschule, UdK Berlin (DE), Neurorobotics Research Laboratory (DE), Baltan Laboratories (NL), Center for Contemporary Art “Laznia” (PL), and Resonans Festival (DK).

     

    About the Co-production Partners

     

     

    Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research, creation, and scholarship of media art. Through exhibitions, residency-oriented fellowships, lecture, and workshop programs, and through its archiving and publishing initiatives, CAC creates a multifaceted and vibrant platform for discourse, production, and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.

     

     

    CTM Festival (Berlin, DE) is one of the world’s leading international festivals dedicated to contemporary electronic and experimental music. Founded in 1999 and running in close synergy with transmediale – festival for digital art & culture, CTM covers a wide range of sonic and music practices, and interdisciplinary projects that combine music, performance, and visual arts with digital culture, critical theory, and new technologies.

    http://www.ctm-festival.de

     

     

    Marco Donnarumma (Berlin, DE) is a unique presence across contemporary performance and media art, distinguished by his use of emerging technology to deliver performances that are at once intimate and powerful, oneiric and uncompromising, sensual and confrontational. Working with biotechnology, body sensing, as well as artificial intelligence and neurorobotics, Donnarumma expresses the chimeric nature of the body with a new and unsettling intensity. He is renown for his focus on sound, whose physicality and depth he exploits to create experiences of instability, awe, shock, and entrainment.

    http://marcodonnarumma.com

     

     

    Nunu Kong (Shanghai, CN) 

    Working as an choreographer, performing artist and an independent producer, Nunu Kong develops through her work an characteristic expression playing with time and space in poetic and illusionary dimensions in both visual and dramaturgic levels with a particular sense of humor instinctively blended into her choreography. Her recent projects including Trumpet Upside Down Dancing in Air - a series of endurance performance actions where she tests her body limitations and reassess the physics of sound by attempting to play a trumpet while suspending herself upside-down from significant height.

    http://nunu.we23.org

     

    About the Goethe-Institut’s International Coproduction Fund

     

     

    International co-productions epitomize a form of artistic collaboration involving partnership and dialogue. Aiming to encourage new collaborative working processes and innovative productions involving international cultural exchange, the Goethe-Institut set up a new co-production fund in the summer of 2016 to promote new working networks and approaches within a global context, and to explore new forms of intercultural collaboration.

    https://www.goethe.de/en/uun/auf/mus/ikf.html

    Link to ALIA: ZǓ TÀI on the Goethe-Institut’s website:

    https://www.goethe.de/en/uun/auf/mus/ikf/ali.html

    Author Published on

    We are very excited to announce the fifth anniversary celebration of Chronus Art Center in 2018. Following the duo solo exhibition Jim Campbell & ZHANG Peili: The Flickering Uncertain that kicks off the celebration, we will launch a series of new programs and thematic exhibitions to fete our 5th birthday and share our thoughts, creativity, and exploration in media art with the public.

     

    5 Years in a Glimpse

    CAC was founded in 2013 by the entrepreneur Dillion ZHANG, independent curator LI Zhenhua, and artist HU Jieming, and presented pioneering projects such as Extra Time with Raqs Media Collective and Jeffrey Shaw & HU Jieming Duo Solo Exhibitions, among others. Since 2015, under the artistic direction of ZHANG Ga, curator and professor of media art, and with the support of a newly established international advisory board of leading scholars, artists and museum professionals, CAC has restructured its programming by launching a series of interdisciplinary projects and solo exhibitions, which include: Psychoprosa by the Austrian artist Thomas Feuerstein; Haptic Field by the American artist Chris Salter; Closed Circuit – Open Duration by the Finnish artist Terike Haapoja. CAC also presented and co-presented several thematic group exhibitions such as: Folklore of the Cyber World, a parallel online project of the Chinese Pavilion @ la Biennale di Venezia 2015; Three Rooms, a touring exhibition by young media artists from China, South Korea and Germany; unREAL:The Algorithmic Present, co-presented by House of Electronic Art Basel (HeK); and Datumsoria: The Return of the Real, co-presented by ZKM | Center for Art and Media in Karlsruhe. 

    Among these, the exhibition series Datumsoria presents the achievements of Chronus Art Center’s special program "Art&Technology@” (A&T@). Inspired by the rich tradition of interdisciplinary, experimental synergy between art, science and technology, the program pairs leading Chinese artists working in traditional media with technicians and industry professionals, giving the artist access to advanced programming and production equipment. Together, they develop works that are unique and differ from the artist’s long-established vocabulary and formal strategies, thus opening up new horizons and furthering the artists’ experimental potential. The works are also important outcomes of the <CAC_Lab> and exhibited alongside other international artists. This exhibition format creates an exchange and dialogue between different cultural and historical approaches to technology and reflects on the nature of technology and its impact on contemporary consciousness.

    LIU Xiaodong：Weight of Insomnia (2015-2016). Installation view. Courtesy Chronus Art Center.

     

    Chronus Art Center co-organized a public program entitled LEONARDO ART, SCIENCE AND TECHNOLOGY LECTURE SERIES with Leonardo/The International Society of the Arts, Sciences and Technology (Leonardo/ISAST) and Central Academy of Fine Art (CAFA). CAC also launched a wide range of public education programs including workshops, readings, and lectures, in conjunction with CAC’s annual exhibition plan.

     

    CAC 5th Anniversary Celebration

    In 2018, Chronus Art Center will establish the following programs:

     

    • CAC Editorial 

     

    CAC Editorial will serve as a new platform for scholarly writing and publishing. Based on the previous collaboration with Leonardo/The International Society of the Arts, Sciences and Technology (Leonardo/ISAST), and together with Central Academy of Fine Art - Center of Art & Technology (CAFAcat), the program probes into the intersection of philosophy, philosophy of technology, science studies, sociology, anthropology, ecology, literature, media studies, art history and art criticism from the perspective of media art and establishes a professional platform for the discussion of media theory in the global context. The program will select outstanding essays and texts from a rotating open call. The selected essays will be published both online and offline.

    CAC Editorial will be announced in Summer 2018. Please follow the official Chronus Art Center WeChat account to stay updated on the latest information.

     

    • CAC Atelier

     

    CAC Atelier will be a monthly series of workshops to introduce the basics of media creation technology to participants of all ages with no prior experience. It will cover programming, web design, music production, video-game development, and even gadget exploration. CAC Atelier will not only offer cutting edge technological knowledge to curious participants, but it will also offer a hands-on and innovative experience.

     

    • CAC Tools

     

    CAC Tools is an opensource community to share knowledge, research and tools in the disciplines of art, science and technology. Through Chronus Art Center’s official website and WeChat account, CAC Tools will publish relevant resourses and outcomes from CAC Research/Creation. This will include the tools developed by the Research/Creation fellowship winners during their residency at CAC, the outcomes of <CAC_Lab> and work related to the special program “A&T@“ at Chronus Art Center.

     

    2018 Exhibition Highlights

    Jim Campbell & ZHANG Peili: The Flickering Uncertain

    2018.3.17 – 2018.6.17

    Chronus Art Center

    Chronus Art Center (CAC) will present Jim Campbell & ZHANG Peili: The Flickering Uncertain, a duo solo exhibition by two pioneers of media art, as the very first exhibition in 2018. It will be the first solo exhibition for the San Francisco based artist Jim Campbell in China. Although strikingly heterogeneous, the affinity between the two artists lies implicitly in their shared interest in invoking an aesthetic experience by employing “low resolution” both as a visual device and as a perceptual agent, rendering an embodied looking / seeing, seeking to grasp the technological and psychological intricacies of reality.

     

    Karoline Sobecka：Cloud Machine (2012) Project process. Courtesy of the artist

    Machines Are Not Alone

    Device Art Triennial 2018

    2018.7.7– 2018.10.21

    In this summer, CAC will present the group exhibition Machines Are Not Alone. Exposing machines as systems, networks, milieus, natures of many orders and cultures of different kinds, this exhibition will investigate and discuss the symbiosis and reciprocity between natural and cultural machines.

    The exhibition will begin as a prologue to the Device Art Triennale 2018. It will launch at Chronus Art Center in Shanghai in the summer of 2018, and then continue to the Zagreb Contemporary Art Museum in the winter, finally concluding at the Queens Art Museum in New York the following year. Each traveling iteration will situate itself in the local milieu and create interconnections with its immediate surroundings.

     

    Karoline Sobecka：Cloud Machine (2012) Project process. Courtesy of the artist.

    “Art&Technology@”(A&T@) Research Program, 2nd Edition of International Touring Exhibition @CAC

    2018.11.10 – 2019.1.20 

    Chronus Art Center Gallery 1

    In the fall of 2018, Chronus Art Center will present a duo solo exhibition by the Chinese artist YAN Lei and the French artist Laurent Grasso. The program extends the concept of Datumsoria: The Return of the Real presented at ZKM | Center for Art and Media in Karlsruhe. It also reflects the outcomes of the 2nd edition of the “Art&Tech@” series.

     

    YANG Jian: Forest of Sensors (2008-2017). Installation view of 2017 Three Rooms. Courtesy Chronus Art Center.

    Three Rooms, International Touring Exhibition @CAC

    2018.11.10– 2019.1.20 

    Chronus Art Center Gallery 2

    In the spring of 2017, Chronus Art Center launched the program A Nomination Exhibition of Three Rooms: International Touring Exhibition of Young Media Artists. After last year’s exhibition and several months of selection, the three institutions -- Chronus Art Center (China), ZKM | Center for Art and Media (Karlsruhe, Germany) and Nam June Paik Art Center (Korea) – nominated three artists: YANG Jian (China), Verena Fridrich (Germany), and Kim Heecheon (Korea). The group exhibition featuring the three artists will be devised as a touring show with multiple themes circulating between the three organizations between 2018 and 2019. Three Rooms at CAC will continue to support the generation of emerging artists through the organization of exhibitions and public programs. We welcome young artists starting out in the field of media art practice to join us in considering issues surrounding the potential of contemporary media technology and artistic production.

     

    In addition, Chronus Art Center will organize a thematic symposium to complement CAC’s research agenda and accompany the Fall 2018 events as a two-way communication platform for both professionals and the public.
    Please follow Chronus Art Center on WeChat to get updated with more information about our latest exhibitions and the public programs for our 5th anniversary celebration!

     

     

     

     

     

    Author Published on

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    Chronus Art Center (CAC) is pleased to announce that the fourth Research/Creation Fellowship (USD$10,000) has been awarded to Mattia Casalegno for his project proposal The Futurist Aerobanquets RMX. The selection was made from a competitive pool of international applications.

     

    Jury Statement 

    Chronus Art Center's fellowship program is conceived to support and advance research based artistic practice, in particular, assisting artists who employ scientific methodologies and technological developments in experiments leading to the conception and production of artworks. The selection was based on the strength of the proposed project and evidence of the candidate’s past accomplishments that demonstrate the potential to advance technical and artistic investigation in relation to CAC's research/creation lines of inquiry.

    Mattia Casalegno’s project investigates new forms of augmented virtuality media. Inspired by the multi-sensorial dinners described in the 1932’s The Futurist Cookbook by Italian artist Filippo Marinetti, the project explores novel ways in which food consumption can be approached through the technological transformations of modernity.

    In addition to the strong conceptual quality and artistic potential that Casalegno’s proposal demonstrates, the project also catalyzes the development of opensource research tools for participatory AR, VR, and interactive audiovisual content generation, as well as the integration of this with realtime motion capture systems.

     

    About the Work

    The Futurist Aerobanquets RMX by Mattia Casalegno

    The Futurist Aerobanquets RMX is a series of public events consisting of immersive, multi-sensorial dinners inspired by the fictional ‘banquets’ described in the 1932’s Futurist Cookbook by Italian artist Filippo Marinetti.

    Food is vital and it has been a part of daily rituals since the beginning of time. Throughout the history, participatory nature of eating allowed communities and cultures to thrive. Around dinner tables and banquets, stories are shared, special moments are celebrated and personal relations are forged. Every society and era has a distinctive way of preparing and consuming food, and the Futurist were among the first visionaries to envision novel ways to approach food based on the technological transformations of modernity. The Futurist Aerobanquets RMX aims to investigate how contemporary technologies might revolutionize food consumption in the near future.

    At the current stage of its development, virtual/mixed reality is mainly used for introspective and solitary experiences, while we aim to develop deeper narratives focused around the act of sharing a meal that are participatory, communal and relational, and to explore how embodiment and memory can influence how one experiences food.

     

    Previous works of the artist:

    End User, Installation, 3 ch. 4K UHD video, stereo, 2016

    TWINS, Installation, OLED 65″ flat screens, manila rope, HD video, 2015

    The Open, wearable architecture, custom made electronics, software, microphone, fresh sod, 2014

     

    Artist's Bio

    Mattia Casalegno is an interdisciplinary artist, live-media performer and installation artist working in a broad range of media. His multidisciplinary work is influenced by both post-conceptualism and digital art, and has been defined relational, immersive, and participatory. His practice explores the effects new media have on our societies, investigating the relationships between technology, the objects we create, our subjectivities, and the modes in which these relations unfold into each other. He is exhibited internationally in various festivals and museums, such as Mutek Festival in Canada, Kuandu Museum of Fine Arts in Taiwan, MADRE and MACRO in Italy, Rome Fashion Week 2010, Cimatics festival and Nuit Blanche in Belgium, Optronica in UK, Le Cube - Contemporay Art Museum in France, OFFF in Spain, AVIT in Germany, Wright Gallery, AxS Festival, YAA Museum and LACMA in US. His work has been featured internationally in publications and catalogues such as A Touch of Code, Gestalten Books; New Media Design, Sometti, and Deleuze and Audiovisual Art, Manchester Metropolitan University, and on media outlets as the Wall Street Journal, Art Tribune, the Creators Projects, Creative Applications, Hyperallergic, Digicult, Art F City, We Make Money not Art, e-artnow. He holds an MA in Communication Studies from La Sapienza University in Rome and MFA in Design and Media Arts from UCLA. Nominated to the New Technological Art Awards in 2014 and artist in residence at Eyebeam in 2015. He received various grants and fellowships from, among others the CCI - Center for Cultural Innovation, GAI - Young Italian Artists Network, NY Foundation for the Arts, The Elizabeth Foundation for the Arts, AV Node, Elettrowave, DAC - Digital Arts Center Taipei. In 2015, he co-founded the artist space Roomservice in Brooklyn, NY, and is currently visiting professor at the department of Digital Arts, Pratt Institute and Rhode Island School of Design in US.

     

    About <CAC_LAB> 

    <CAC_LAB> is a space dedicated to the inquiries about art, design, science and technology and their impact on global contemporary culture and society. Through artistic practice, technological development and research methodology, <CAC_LAB> seeks to enable creative processes that result in works of art of high production and aesthetic value. <CAC_LAB> is a space of flux which encourages artistic practice as a generator of new knowledge, a territory where art and science and technology converge into an experimental field of interdisciplinary research; free from dominant cultural establishments, technological overload and economical biases.

    More info at: http://lab.chronusartcenter.org

     

    Fellowship Support 

    This Fellowship is a chance for international artists and researchers to engage and learn from the art, technological and entrepreneurial communities of Shanghai. The selected Fellow will be offered a total amount of USD$10,000 for a 3 month deep-immersion period; including artist fees, living expenses and materials. In addition our lab facilities and tools are available for the fellow's needs; these include but are not limited to: Laser-cutter, bandsaw, sander-belt, press drills, all sorts of hand tools, a variety of electronic components, arduinos, raspberryPis, an oculus rift DK2 headset, Surface Mount Infrared soldering, soldering irons and other prototyping tools.

    For international Fellows, CAC is happy to provide necessary paperwork and advice to help expedite the process of securing his/her visa, travel and accommodation in Shanghai whereas all the expenses will be covered within the amount of the fellowship.

    During the 3-month program, CAC will work closely with the selected Fellow to see his/her project realized and offer program support in developing work for performances, events, seminars, exhibitions, or other public and educational programming during the term of the Fellowship. CAC will also facilitate joint presentations alongside community partners, host conversations with the artists and display works in progress; revealing the creative process as it happens.

    Author Published on

    unReal. the Algorithmic Present，an exhibition curated by ZHANG Ga and Sabine Himmelsbach, co-presented by Chronus Art Center (CAC) and House of Electronic Arts Basel (HeK), supported by Pro Helvetia Shanghai, Swiss Arts Council and Department for Culture and Education of the German Consulate General Shanghai, opened on November 11 2017 and will be on view till January 21, 2018.

    unReal. the Algorithmic Present is an exhibition that attempts to confront the digital present through the very means of technological intervention both as critical examination as well as alternative prospects. The twenty-three works in the exhibition by international artists underscore the often-hidden materiality of bits and bytes, bringing to the fore the algorithmic processes that constitute our digital present.

    More about the exhibition

     

    Opening Reception

    2017.11.11 17:00-19:00

     

    Panel with artists and curator

    2017.11.11 16:00-17:00

    Panelists: ZHANG Ga, Ralf Baecker, Pe Lang, Daniel Canogar, Kerstin Ergenzinger, Fito Segrera, WANG Yuyang, aaajiao, Kelani Nichole

     

    Exhibited Works


    Heather Dewey-Hagborg
    Stranger Visions, 2012-2013
    Found genetic materials, custom software, 3d prints, documentation

     


    Pe Lang
    modular | nº 1, 2017
    Actuators, O-Rings, silicone, various mechanical elements
    240 x 240 x 240 cm

     


    Daniel Canogar
    Small Data Series, 2014-2016

     


    Fito Segrera
    1 & N chairs, 2017
    Wooden chair, screens, camera, custom software and cognitive computation engine
    211×165×50 cm

     


    Ralf Baecker
    Interface I, 2016
    Aluminum tubes, DV motors, strings, eleastic bands, custom electronics, geiger müller tubes
    480 x 650 x 170 cm
    Production supported by NOME Gallery

     


    Cod.Act
    πTon/2, 2017
    Polyurethane hose, 4 DC motors, 4 speakers
    Production supported by Faulhaber Minimotor

     


    Zahra Poonawala
    The Fool’s Ballad, 2016
    Interactive sound installation
    135 x 50 x 50 cm

     


    WANG Yuyang
    Aura, 2015
    Video installation
    Television, Surveillance Equipment, Computer, Stainless Steel Track
    400 × 400 × 60 cm、250 × 250 × 50 cm

     


    aaajiao
    Limited Landscape, Unlimited Floating, 2015
    3D printing, Magnetic levitation device
    Sculpture: 9 x 9 x 8 cm
    Base: 75 x 21 x 4 cm
    In cooperative with XU Cong, LIU Xiaoguang and SHEN Lei

     


    aaajiao
    Obj.4, 2016
    LCD screen, wood
    24,5 x 16,5 x 4 cm
    In cooperative with ZHANG Tao

     


    TRANSFER Download
    Video installation
    62:08 min
    Courtesy TRANSFER Gallery, New York
    Artists: AES+F, LaTurbo Avedon, Claudia Hart, Rollin Leonard, Rosa Menkman, Lorna Mills, Harvey Moon, Eva Papamargariti, Sabrina Ratté, Rick Silva and Nicolas Sassoon, Phillip David Stearns, Daniel Temkin

    Author Published on

    Datumsoria: The Return of the Real opened on September 8 at ZKM | Center for Art and Media in Karlsruhe, and will be on view till March 18 2018. The exhibition is co-presented by Chronus Art Center, ZKM | Center for Art and Media, Nam June Paik Art Center and CAFA Art Museum.

    As the second edition of a series of exhibitions under the auspices of the “Art&Tech@” research program conceived and curated by ZHANG Ga, Datumsoria: The Return of the Real is a significantly expanded version of the eponymous exhibition previously mounted at Chronus Art Center, which has commissioned two works by Chinese artists LIU Xiaodong and YAN Lei with support from Lisson Gallery and Beijing ZONHOM Cultural Development Co., Ltd.

    The exhibition publication features an extensive essay by ZHANG Ga, elucidating the concept of the real in the information age and the works in the exhibition.

    The exhibition will travel to Nam June Paik Art Center and CAFA  Art Museum subsequently.

     

     

    Datumsoria: The Return of the Real
    2017.9.9 – 2018.3.18
    ZKM | Center for Art and Media (Germany)

    Curated by ZHANG Ga

    Artists
    Ralf Baecker, Laurent Grasso, George Legrady, Rafael Lozano-Hemmer, Carsten Nicolai, Nam June Paik, LIU Xiaodong, YAN Lei, ZHANG Peili, WANG Yuyang

    Co-presented by
    Chronus Art Center (Shanghai)
    ZKM | Center for Art and Media (Karlsruhe)
    Nam June Paik Art Center (Seoul)
    CAFA Art Museum (Beijing)

    ▲ ZKM | Center for Art and Media

    ▲ Press conference and preview on September 7

    ▲ Opening speech on September 8: ZHANG Ga (Curator), CHEN Ping (Counsellor for Cultural Affairs, Chinese Embassy in Germany), Frank Mentrup (Mayor of the City of Karlsruhe), Peter Weibel (CEO | ZKM)

    ▲ Group photo of some guests

    ▲ Exhibition view on September 8

    ▲ Curator ZHANG Ga being interviewed


    ▲  LIU Xiaodong presenting his work

    ▲  Laurent Grasso: Monolith

    ▲ YAN Lei: RÊVERIE Reset, commissioned by "Art&Tech@"

    ▲ LIU Xiaodong: Weight of Insomnia, commissioned by "Art&Tech@"

    ▲ Carsten Nicolai: unitape

    ▲ George Legrady: Voice of Sisyphus

    ▲ Ralf Baecker: Mirage

    ▲ ZHANG Peili: Landscape with Spherical Architecture

    ▲  Rafael Lozano-Hemmer: Please Empty Your Pockets

    ▲ WANG Yuyang: Quarterly

    ▲ Nam June Paik: Internet Dream

    ▲ Artist talk on September 9

     

    Foreword
    ZHANG Ga

     

    An upright slab of monolith shines, radiating prismatic shades of hues from the outer space; an unidentifiable thing of many elements suspends in the air, a live tree grows out of the torso of this mammoth being. Below which is erected a colossal metal tower studded with 80 screens, large and small, rotating and churning out images and words, cognizant of audiences who pass by, then destroying the traces. Three large canvases flank behind those creatures, spiderlike robots busily stroking on the linens, over time the blankness will be saturated by the traces of BMW assembly lines and the trajectories of traffics at the Brandenburg Tor in Berlin and an anonymous rotary in Karlsruhe.

    The above encounter unveils the exhibition Datumsoria: The Return of the Real. A neologism concocted from datum and sensoria, Datumsoria denotes a new perceptual space immanent to the information age.

    In Monolith, Laurent Grasso recreates cosmic luminosity in a 3.5-meter tall sculpture modeled after his awe-striking light installation SolarWind at Calcia silos in Paris’ 13th arrondissement. Monolith employs an algorithm that responds in real time to a variety of solar data and translates them into luminous and chromatic variations of colors and lights. Here a cosmic mythology mingles data with fiction, tangibility and ephemerality.

    RÊVERIE Reset is a system which takes YAN Lei's deconstruction of imagery to a new dimension. 80 computer-driven display screens of diverse sizes, mounted onto a colossal cylindrical structure, wipe out images uploaded by visitors and render visual information as textual interpretation first by averaging the image’s color and making it monochromatic and then, based on the machine's whimsical reasoning of it, narrating what the content of the image was prior to its destruction. Truth or falsity is both relevant and unfounded just as a machine’s daydream can be as contemplative as aleatory.

    Behind these two works unfolds LIU Xiaodong’s monumental Weight of Insomnia. Pushing past the boundaries of his documentary style of live painting, the artist reinvents himself by penetrating the digital now. In this ZKM installation, three locations were carefully identified and equipped with video cameras. Three large-scale canvases are mounted on crude construction scaffolds. A robotically controlled paintbrush jitteringly translates the three discrete, incoming datum captured by video cameras into contours of buildings, silhouettes of trees, outlines of vehicles, and shadows of human figures. It is as if the robot, reincarnated in a human consciousness, wrestles through an endless, restless insomnia to piece together an ever-evolving jigsaw of amorphous desires and anxieties, fleeting nightmares and ruptures.

    If Weight of Insomnia becomes an obscurely affective object of desire through the revitalization of generic data input, Carsten Nicolai’s unitape is an examination of perception and visual structures that allude to punch cards of the early computing era. unitape’s immaculate images and sounds are pure mathematical precision that illuminate an algorithmic sublime.

    Voice of Sisyphus, a study by George Legrady of a single photograph realized as a continuous performing audiovisual composition, projects an austere sharpness in the Cagean tradition. It is the computational rigor that creates picture sound and sound picture all at once.

    Ralf Baecker’s Mirage generates a projection of synthesized landscape that predicates on the apparatus’ own perception through an earth sensing device. Revealing constant shifting of the "hallucination" of the earth the projection resembles a subliminal wandering through a machine sub-consciousness.

    In Zhang Peili’s Landscape with Spherical Architecture perception undergoes a certain uncertainty through the digital intermediary. An array of thirty-six screens of still landscape images can be activated by the viewer horizontally or vertically. The work conjures a space where time does not elapse but instead expands which blurs the object and the subject, rendering them interchangeable in a specific point in movement.

    Rafael Lozano-Hemmer’s Please Empty Your Pockets elicits a disquieting reality in which memorabilia is preserved as precious human memory at the same time as information aggregated for consumption and profit. A memex machine no longer innocent.

    The mammoth thing hovering in the air is the work Quarterly, an instance of many of works under the auspices of WANG Yuyang# which is a software suite conceived as the artist’s equal. Through numerous and distinct iterations WYY# has constructed a paradigm by which intelligence and creativity are no longer a human privilege only, breaching the anthropocentric taxonomy of orders. In reversing the creative operation from the human artist to the otherwise subservient tool-being of the machine, WYY# has not only offered us a wealth of stunningly novel forms in sculpture, painting and performance, but also forced us to think a new a world in which the perception of the real can no longer be reduced to that of human consciousness alone, a reality wherein the production of knowledge becomes a reciprocal conviviality between subject and object.

    Nam June Paik had dreamed the dream of internet in 1994 in his great video wall installation. If only his electronic superhighway were a romantic signpost and symbolic gesture of what was yet to come for real. Datumsoria attests, unmistakably, the formidable presence of a planetary membrane of the network that has forever changed the rules of the game, in work and play, in politics and economics.

    Datumsoria brings ten highly idiosyncratic works together, shedding new light upon relations that bespeak the logic of the Real of the information age, a reality predicated on binary instructions of the generic, of the uniformity of the Ones and the Zeros, from whose generality comes forth of a hardening of shapes and forms, precipitating sentient residues and invoking emotive potentials. Datumsoria signals that the politics of the real no longer only lies in the sphere of the “actual bodies and social sites recognized in the form of the traumatic and abject subject” (Hal Foster) as the predominant subject of contemporary experience and object of artistic inquiry but also alludes to how grasping this new reality of bits and bytes is as ethically imperative as it is epistemologically fundamental.

     

    About “Art&Tech@”

    Datumsoria: The Return of the Real is an outcome of “Art&Tech@,” a program initiated at Chronus Art Center and conceived by ZHANG Ga, which aims, through resuscitating the valuable legacy of experiments in art and technology from the mid-20th century, to come to terms with the challenges of a technologically constructed timespace. “Art&Tech@” has successfully completed two commissions by Chinese artists LIU Xiaodong and YAN Lei respectively. The outcome of which is being exhibited in conjunction with other international artists at CAC, ZKM | Center for Art and Media, Nam June Paik Art Center and CAFA Art Museum.

     

    About ZKM | Center for Art and Media

    As a cultural institution, the Center for Art and Media (ZKM) in Karlsruhe holds a unique position in the world. It responds to the rapid developments in information technology and today's changing social structures. Its work combines production and research, exhibitions and events, coordination and documentation. For the development of interdisciplinary projects and promotion of international collaborations, the Center for Art and Media has manifold resources at its disposal: the Museum of Contemporary Art, the Media Museum, the Institute for Visual Media, the Institute for Music and Acoustics and the Institute for Media, Education, and Economics.

    http://zkm.de/

     

    Supported by

     

    Author Published on

     

    Chronus Art Center (CAC)

    2017 (Fall) Research and Creation fellowship

    Call for Proposals

     

    Title: AUGMENTED VIRTUALITY

    Call Type: Fellowship (US$10,000)

    Start Dates: October 2017 (start dates negotiable with reason).

    Application Deadline: All applications must be submitted electronically by 23:59 (Beijing Time), Thursday, August 24th, 2017 via http://fellowship.chronusartcenter.org

    Notification of Selection: Applicants will be informed about their application status by mid-October

     

    OVERVIEW

    This year Chronus Art Center (CAC) opens its Lab for the second 3-month research and creation fellowship. This program is designed to host one international artist and researcher of extraordinary talents in the area of new media art in order to conduct research and creation at Chronus Art Center (CAC), Shanghai. The 2016 Research and Creation Fellowship aims to foster global exchange while advancing the discourse and practice of new media art, and contribute to CAC's research and educational mission as well as the institution's future collection.

     

    AUGMENTED VIRTUALITY

    As augmented reality (AR) technologies grow in popularity, other fields of the MIXED REALITY space are lesser-known. AUGMENTED VIRTUALITY differs from AR in subtle forms, where AR introduces digital elements to a physical space augmented virtuality absorbs “real” elements into its virtual landscape. For this occasion, the LAB is seeking for project proposals which make use of our OPTITRACK real-time motion capture system (for more info please see: https://www.optitrack.com/). The submitted proposal should address the topic of AUGMENTED VIRTUALITY while utilizing this high end, research level MOCAP technology.

    Artist working in the fields of immersive experiences, physical computing interfaces, sensory immersion, mixed reality systems, robotics, interactive spaces, among other related fields, are welcome to apply.

     

    ➝ The technical specifications of the system we offer as a research / creation tool for this 3 months program (A fully functional Optitrack system / version 2016):

    - x8 Prime 13 high speed POE infrared cameras installed on a 4.5m x 5.0m empty and white space with a side control room.

    - Oculus ready Asus PC.

    - Ethernet hub for realtime camera data stream

    - Motive, professional optical motion capture software.

    - NatNet SDK. Networking tool to interface the system with the main programming languages and 3D development environments (C++, python, UNITY 3D, etc.)

    - Set of infrared markers and gloves.

    - Easy to use calibrating tools.

     

    IMPORTANT NOTE

    * All project proposals should make use of the OPTITRACK system.

    https://www.optitrack.com/

    The selected Fellow will be expected to work at CAC's laboratory with the research and creation team on a range of activities including: active contribution to the larger CAC community, collaborative partnership with other fellows, leading research initiatives, educational programs and public engagement, and developing current or future research areas for the organization. Projects, including prototypes, documentation, and work-in-progress, will be presented to the public at Chronus Art Center.

     

    ELIGIBILITY

    • This fellowship is open to international artists and researchers of all nationalities.
    • Applicants should be able to use English as working language.
    • Applicants must not be currently enrolled in degree-granting academic programs, with the exception of PHD candidates who are aiming to develop technical work within the scope of the fellowship.
    • Applicants are expected to show demonstrable success in previous development of related projects at this scale.
    • Individuals and collectives are eligible to apply. In either case, please detail in your application how technical and creative responsibilities will be met.
    • Only proposals within the conceptual framework offered by AUGMENTED VIRTUALITY and which make strict use of the optical motion tracking system (described on the overview section of this document) will be considered for eligibility.

     

    ABOUT <CAC_LAB>

    <CAC_LAB> is a space dedicated to the inquiry of present-day matters regarding art, design, science, technology and their impact on global contemporary culture and society. Through artistic practice, technological tools and research methodology, we enable creative processes that result in works of art of high production and academic value. <CAC_LAB> is a space of flux which encourages artistic practice as a generator of new knowledge, a territory where art and science converge into a contemporary and experimental field of academic research; free from main stream cultural thought, technological stress and economical diversions.

    More info at: http://lab.chronusartcenter.org

    Previous fellows: http://lab.chronusartcenter.org/fellowship/?lang=en

     

    FELLOWSHIP SUPPORT

    This Fellowship is a chance for international artists and researchers to engage and learn from the art, technological and entrepreneurial communities of Shanghai. The selected Fellow will be offered a total amount of USD$10,000 for a 3 month deep-immersion period; including artist fees, living expenses and materials. In addition our lab facilities and tools are available for the fellow's needs; these include but are not limited to: Laser-cutter, bandsaw, sander-belt, press drills, all sorts of hand tools, a variety of electronic components, arduinos, raspberryPis, an oculus rift DK2 headset, Surface Mount Infrared soldering, soldering irons and other prototyping tools.

    For international Fellows, CAC is happy to provide necessary paperwork and advice to help expedite the process of securing his/her visa, travel and accommodation in Shanghai whereas all the expenses will be covered within the amount of the fellowship.

    During the 3-month program, CAC will work closely with the selected Fellow to see his/her project realized and offer program support in developing work for performances, events, seminars, exhibitions, or other public and educational programming during the term of the Fellowship. CAC will also facilitate joint presentations alongside community partners, host conversations with the artists and display works in progress; revealing the creative process as it happens.

     

    APPLICATION GUIDELINE

    Please fill out the online application form and submit it with the necessary attachments via http://fellowship.chronusartcenter.org. No email submissions will be taken into account.

    Please send further inquires to fellowship@chronusartcenter.org

     

    EVALUATION CRITERIA

    Applications will be reviewed and the final decision, including interviews, will be made by CAC's International Advisory Board comprised of leading scholars, artists and museum professionals.

    Acceptance is based on quality and visionary potential, and most importantly, the potential of the project proposal to contribute to CAC_LAB's broader research scope.Applicants are also expected to show demonstrable success in previous development of re

    Author Published on

     

    Join CAC Membership

    Individual Member : ￥100 / Year 

     

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    Closed Circuit – Open Duration

    Terike Haapoja

    2017.06.03 – 2017.09.03 (11:00-18:00, Closed on Monday and Tuesday)

    Chronus Art Center

    BLDG.18, No.50 Moganshan RD., Shanghai

    Ticket: 20 RMB (Free admission every Wednesday)

    more info

     

    How to join:

    Buy it directly at our front desk, and get instantly the member card & welcome pack;

    Or order it beforehand at our online store by clicking here at the end of this article, then get the member card & welcome pack at our front desk when come to visit.

     

    ✓ Please fill in the information form under the instruction by our staff while getting your member card.

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