VIS A VIS artlab

Vis-a-Vis artlab attended the 2nd workshop of the Intra Asia Network (IAN), New Ways of Engaging Asia - Artists' Mobility and Artist-in-Residencies held in Gwangju and Seoul, Korea. and visited the young artist's studio.

Like this, Vis-à-vis Art Lab becomes not just a place of mere transition or a ‘necessary’ stop on your artistic path. It is more a place of layers: residue, exchange and interference.

Peter Lemmens, artist, Belgium
Comment on his residency at Vis-à-vis Art Lab


DIVERSION AS A WORKING METHOD

1/ To what extent can you connect to the other place in a personal way for the development of
your art practice? What are the obstacles and opportunities?

2/ How can you communicate this experience to your own culture (artists, others)?

These two questions were to be addressed in an article on the experiences of a European artist in an Asian art residency. I submitted a proposal that dealt with the notion of margins: “As my own artistic practice is predominantly about exchange and the remix, I mostly depend on others to create my work. This requires efforts to connect to and with all the people involved and their cultures (in the broadest sense of the word). All need to let others intervene in each other’s work methods.

My residency at Vis-à-Vis Art Lab (Xiamen,China) besides having offered me the obvious opportunities of experiencing and being inspired by a foreign culture, had also some other effects. Vis-à-Vis Art Lab positions itself in along two margins: the evident geographical margin of my Western culture and the mental margin of an art scene. This position actually creates space, something that is almost out of stock in the art scene: some legroom for unconditional research. Exactly because of this marginality, it can offer the experience of another culture to its residents. This has the advantage and difficulty of forging other networks, methodologies and modes of connection. Also part of the residency was about reflecting on what Vis-à-vis Art Lab itself is and can be. This is one’s contribution to the programme and it creates a diversion from one’s own work. However this becomes a part of it: through this discussion, you evaluate indirectly your own position, works and methods.

Transferring this experience to one’s own culture means avoiding the trap of the exotic. Instead of geographical impressions, one needs to apply and translate this notion of margins as a constructive drive for development to one’s own culture and point out similar peripheries there.”

When my proposal for the article got accepted and I reread it, I had to reconfigure what I was trying to communicate with it. For the duration of the residency, the thing that stuck me the most was a feeling of operating in perimeters. So instead of trying to capture the complete experience, I focussed on this one aspect of connection. This feeling was tangible because of three marginalities.

First, there was the geographical margin: Vis-à-vis Art Lab is located near the beach in peripheral Xiamen, China. Coming from Antwerp - that’s inland Belgium -, the consequences, opportunities and difficulties of the actual, physical distance were obvious. A change of environment, especially to one that is entirely foreign, increases the number of impulses one has to deal with. Sometimes this is easy and fascinating, other times it’s more difficult and frustrating.

Second, there is the margin of the art scene. Although a rather big city, Xiamen is still significantly smaller than Beijing or Shanghai. It has no real art scene, in contrast with for example New York where there are five galleries in one building. This positions Vis-à-vis Art Lab on the fringes, almost in an artistic no man’s land. It leaves one without standard structures that are so predominant in the Western art scene such as galleries, museums, Biennales, etc. With this, one can consider the intricacies of decentralization. There is a need for complementary spaces, outside of the acknowledged, established geographies; Places with a different site and intent, anchored to an art scene so that other artistic practices can develop. This margin can also be seen as a margin for error, some leeway.
These two margins can be considered as a given.

Third and most interestingly is the margin this residency produces within one’s own work. Something that is more of a question than a given.
An important part of the Vis-à-vis Art Lab residency was the invitation to think about the programme itself, a call for participation in the actual operation. This was a diversion. It distracts you from your own curriculum. These considerations often came about in a spontaneous way, after supper, while working with the man from the print office, while waiting for the bus, during a visit of a temple…

It’s a surprise attack. What was at first only a digression from what you thought you had come for, become soon a considerable part of your praxis. This may seem unwanted, as it seems to create delay. I felt like postponing my schedule. However, it was precisely in this state of suspension that the advantage lay. All the questions and discussions about the residency, returned to you and your own work. You got to think of the deeper structure of your work; not despite the distractions, but exactly because of them. This rescheduling was the most intense interaction with the other culture, because it is not a margin you chose yourself, but one that reached out to you. This was the interface, it was what generated the connection. You side stepped your own given configurations and produce elusions, margins, latitude, scope. Vis-à-vis Art Lab generated distance in your own praxis.

This also means that besides producing your own work, you also had to shape the residency, both physically, by leaving work behind, as well as logistically.

You helped to give temporary direction and drive to the residency. Through this involvement you were responsible and you participated. Following residents would see the work you left behind, but they would also have to discuss the notions you inserted. This was their raw material to work with. A continuous shifting and re-organisation is expected to take place, so that each new resident can come there and be asked the same questions. This is the starting point, the default: margins via the “remainder” instead of the “reset”, through deliberate lingering instead of erasing. You steer clear of a status quo and allow new lines to demarcate what this residency is and by detour, what your own work is. The failure to unconditionally support the realisation of a predetermined work is not a deficiency. It is an asset. Like this, Vis-à-vis Art Lab becomes not just a place of mere transition or a ‘necessary’ stop on your artistic path. It is more a place of layers: residue, exchange and interference.

This brings us to the second question of how to communicate this to your own culture.

Based on the above experiences, it seems meaningful to dodge the cultural debate. It is not a ‘cultural’ issue per se, as if I speak for my culture or I convey their culture. It seems relevant to aim outside the immediate cultural sphere, outside of the exotic. To seek in stead, possibilities for exchange between individuals; hence the name Vis-à-vis.

The content you give to these margins will be determined by culture, your own background as well as the environment in which you are evolving. However it is the intent to create these margins that is paramount and that needs to be communicated. Via a distracting question, you can work with the givens of cultures: diversion as working method.

Art Archives from 2003-9.2006

September 2006
artist Virginie Bailly (Belgium) working in Xiamen with Vis-a-Vis

July - August 2006
artist Kuba Bakowski (Poland) and Christian Kolverud (Norway) working in Xiamen with Vis-a-Vis

March 2006
OCAT Contemporary art museum crew (Shenzhen) visiting Vis-a-Vis artlab
artist Delia Keller & Reiner (Berlin) guested at Vis-a-Vis artlab
artist Yamada Kenji (Japan) guested at Vis-a-Vis artlab

January - February 2006
artist Anne Penders (Belgium) with her research project at Vis-a-Vis artlab

December 2005
Exhibition project - A start of Beginning
When: 24 - 25 December 2005 5 - 9:30pm
Where: Xiamen ferry square
artists: Kwon Kibeom & An Jung Ju (Korea)

November 2005
Vis-a-Vis artlab participating in Second Guangzhou Triennial 2006: Beyond-an extraordinary space of experimentation for modernisation Curated by Hou Hanru, Hans Ulrich Obrist, Guao Xiaoyan
When: 18 November 2005 - 15 January 2006
Where: Guangzhou Xinyi / International Club

November 2005
Vis-a-Vis artlab participating in Contemporary art space conference of China in Guangzhou
When: 16 November 2005
Where: Da Ban Chang, Guangzhou harbor

October 2005
Vis-a-Vis artlab participating in Res Artis meeting Berlin

October 2005
Chat and Chat 2005 - the workshop and exhibition project between Asia and Europe
When: 22 October - 19 November 2005
Where: No.88 Huan Dao Nan Lu, Xiamen
artists: Anne-Mie Van Kerckhoven, Andy Wauman, Erki De Vries, Dennis Tyfus, Kwon Kibeom, Wu Ming Hui, Shen Ye, Dong Xing, Fu Xin Min, Zeng Huan Guang, Jiang Xue Man, Li Chun, Larsen Bervoets, Johan Kleinjan, Bavo Olbrechts, Sofie Pepermans.

October 2005
Specific project by Chinese artist Shen Ye
When: 17:00-19:00, 19 October 2006
Where: Vis-a-Vis artlab

October 2005 - January 2006
Chinese artist Deng Yi Fu (Guangzhou) working in Seoul
In cooperation with: the National art studio in Korea

September - December 2005
artist Kwon Kibeom (Korea) working in Xiamen
In cooperation with: the National art studio in Korea

June- August 2005
artist Peter Lemmens (Belgium) working in Xiamen with Vis-a-Vis

June 2005
Listen to different sound - Building Transmissions art group in Xiamen
When: 17 June 2005
Where: No,621, He Xiang Xi Lu, Xiamen
artist group: Nico Dockx, Kris Delacourt, Peter Verwimp

May 2005
Exhibition project by Chinese artist Shen Ye & Dong Xing
When: 5 May, 2005
Where:No.41, Nan Hua street, Xiamen

May 2005
"Fujian contemporary art salon" series I - interview with Shen Ye & Dong Xing
When: 1st May, 2005
Where:No.41, Nan Hua street, Xiamen

December 2004 - February 2005
preparing for the workshop and exhibition project between Asia and Europe, and working in France, Belgium and the Netherlands

November 2004
"Angle" - 1st International Short Film & Video Festival in Xiamen
When: 8pm, 17 November 2004 - 20 November 2004
Where: No.41, Nan Hua street, Xiamen
No.18, Hua Qiao new village, ZhangZhou
artists: Hubert Czerepok,Gauthier HUBERT, Anne-Mie Van Kerckhoven, Nico Dockx, Carlos Aires, Stefaan Dheedene, Susanne Kriemann,... etc.

November 2004
Seminar on the International Short Film & Video Festival in Xiamen
When: 7pm, 12 November 2004
Where: No.41, Nan Hua street, Xiamen

November 2004
artist Michaela Metzger (Berlin) visiting Vis-a-Vis artlab and participating in 1st International Short Film & Video Festival in Xiamen

October 2004
"Trans-distance"/an art project for the Feel Estate Festival in Gent 2004
When: 16 October 2004 - 18 October 2004
Where: No.1806, Ying Cai Builing, Xia He Lu, Xiamen
artists: Shen Ye, Wu Ming Hui, Hong Shun Zhang, Zeng Huan Guang, Zhu Lu Ming

September 2004
Vis-a-Vis artlab participating in the "International Meeting Autonomous Cultural Centers Stemming from Citizen and Artistic Initiatives"

August 2004
Artist meeting - how to develop Contemporary art in other places as away from the "center"
Where: Xiao Feng book store / Zhang Zhou
Participators: Zhu Lu Ming, Shen Ye, Wu Ming Hui,Zeng Huan Guang

November 2003 - January 2004
CHAT AND CHAT - An art workshop between Belgian and Chinese artists
When: 21November 2003 - 18 January 2004
Where: Xiamen Shan Shui Ming tea house
           Xiamen Chinese European art center
           Artists's studio in Xiamen and Zhangzhou
           IN/Out gallery at Lange Leemstraat 338, Antwerpen
Participators: ShenYe, Dong Xing, Shen Jing Dong, Ma Yong Feng, Wu Ming Hui, Hong Shun Zhang, Yi Xian, Chen Jian Bin, Cheng Tie Chan, Shen Zhi Min, Chen Wen Ling, Reng Hong Wei, Zheng Jian Song, Lian Yu Jun, Chen Xiu Qing, Tong Yan, Fu Song Hua, Zhu Lu Ming, Nico Dockx, Helena Sidiropoulos, Fanny Zaman, Jethro Volders, Stefaan Smagghe, ... etc.

artist Virginie Bailly (Belgium) with her research in Xiamen

Group exhibitions

2006 : Wat is/ wat zou kunnen, W139, Amsterdam, curated by Ann De Meester and Kristof Van Gestel. (NL)
2005 : Stad in vrouwenhanden, Transit Gallery, Mechelen (B).
2005: Naked Cities, Virginie Bailly(B) - Jochen Mühlenbrink(G), One Twenty gallery,Ghent (B).
2005 : Speelhoven,Espace/escape Aarschot.. Ward Denys, Michel Aubry, David Neirinckx, Angelo
Vermeulen, Latifa Echakhch, Fransje Killaars, Jean-Philippe Antoine, Gunter Selichar,
Virginie Bailly and Nicolas Guiot. Curated by Isabelle Devisscher-lemaitre (F) and Etienne Van Den Bergh (B)
2005: Virginie Bailly(B) - Jochem Mühlenbrink,(D) John Timberlake (GB), The Agency Gallery, London.
2005: Artuatuca 2005, Virginie Bailly, Renato Nicolodi, Dirk Zoete, Pieter vermeersch, Helmut
Stallaerts,..Tongeren, Belgium. Curated by Paul Lambrechts (NL).
2005: Overschilderen, Virginie Bailly, Vincent Geyskens, Pieter Vermeersch, Angelo
Vermeulen,…STUK, Leuven. Curated by Etienne Van Den Bergh, students St- Lukas,
Brussels and KUL, Leuven., Rietveld academie, Amsterdam.(NL)
2005: Forward painting, Fik Van Gestel, Bart Vandevijvere, Janus Boudewijns, Gery Desmet,
Pieter Vermeersch,…Curated by Johan Van Geluwe (B)
2005: Onder organisaties en kunstenaars, part 2: Paul Casaer - Virginie Bailly. Z33,Freespace, Hasselt, (B)
2005: Onder organisaties en kunstenaars, part one 1, Z33, Freespace, Hasselt, (B)
2004 :The sublime was yesterday,Virginie Bailly – Ward Denys, Tijdelijke Kunst – Zone,Ghent. (B) Curated by Guy Bovyn (B)
2003 : Point de vue – organised landscape, Virginie Bailly – Fanny Zaman, FLACc Genk (B)
2003 : Pink perfection, Virginie Bailly, Janus Boudewijns, Katrien Vermeir, Ria Verhaeghe,
C.C. Belgica, Dendermonde. Curated by Edith Doove (NL)
2003 : OUT, laureates from the HISK, Elzenveld, Antwerp. Curated by Theo Tegelaers (NL)
2002: Point info Bruxelles, Virginie Bailly, Kristof Floré, Liesbeth Marit, Mira Sanders, gallery VKS, Toulouse, (F)
2002 : IN/OUT, what is, for you the difference between interior and exterior architecture?
Bailly Virginie - Fanny Zaman ; IN/OUT HISK Antwerp (B)
2002 : Deborah Bailly, Virginie Bailly, Wesley Meuris, STUK, Leuven (B)
2002 : Art dans la Cité (l’art à l’hopital), Paris (F)
2001: Isotherme, Isostasie, Isomorphe, Isologue, Isolé, Virginie Bailly, Susanna Ouwerkerk,
Renate Spee, Aurélie Tardif, Fanny Zaman, Poort 10 HISK, Antwerp, (B)
2001: Zwarte gaten bestaan, Virginie Bailly, Paul Casaer, Pieter Bautens,Wim Wauman,...
G.A.R.A.G.E.,Deinze. Curated by Guy Bovyn (B)
2000: Gallery C. De Vos, Virginie Bailly – Betsy Vaneeckhouten, Aalst (B)
2000: Patrick Allo, Virginie Bailly, Ilse Vanderbeken, Wesley Meuris;gallery l’Usine; Brussels (B)
2000: Rizoom, in collaboration with Côté KaNal, Brussels (B)
2000: vwa püblik, Ithaka 2000; Leuven(B)
2000: Gaverprijs 2000, Cultureel Centrum, Waregem(B)
1999: Regard 7 Zicht, gallery l’Usine, Brussels(B)
1999: Laureatententoonstelling, St- Lukas gallery, Brussels (B)
1999: Whivimukow - Misjesbak, St- Lukas, EHSAL,Brussels (B)
1997: Salon des Jeunes Artistes Crédit Communal, Passage 44, Brussels(B)

Solo exhibitions 
2002 : gallery C. De Vos, Aalst (B)
2004 : St- Lukas gallery, Brussels (B)

artist Kuba Bakowski (Poland) working in Xiamen with Vis-a-Vis

Project I

When: 31st July - 4th August, 2006
Where: in the mountains in the region of Wuyian River, Wuyishan, Fujian province, China

Project arrangement: Vis-a-Vis

Kuba Bakowski in Xiamen designed and printed street stickers with a writing: "I was here"
Into the writing Bakowski incorporated the miniature photo figures of himself.

The street stickers were used to carry out an extraordinary artistic action in the Wuyishan Mountains.

Project II

When: 28th - 29th October, 2006
Where: 1,000 public busses in Xiamen



Project arrangement: Vis-a-Vis

The TV Zero Zones project consisted in nightly broadcasting of four video-animations (one a night) on the TV test-card of polish National TVP2.

The "TV Zero Zones Xiamen Project" consists in the artistic interference into advertisement sets displayed on LCD screens in Xiamen public busses.

The 4 video clips under 1 minute will be shown to Xiamen passengers in the public busses during few days at different time as an interval between music clips and commercial advertisements.

artist Christian Kolverud (Norway) working in Xiamen with Vis-a-Vis

Exhibitions
2005 Open Box , Group Exhibition
2004 Galleri A Group Exhibition
2003 Oslo 01 Solo project, Late L.o.d Maps
OUT Post - Graduate Exhi, Galleri Elzenveld,Antwerpen.
2002 Norwegian Native Art, Group Exhibition
IN/OUT - Project Space
Open Studio - H.I.S.K
Open Studio - H.I.S.K
1999 Final Exhibition, Culturehouse, Kokkola , Finland
1998 Final Exhibition , Kampen - Culturehouse, Norway

OCAT Contemporary art museum crew (Shenzhen) visiting Vis-a-Vis

artist Delia Keller & Reiner (Berlin) guested at Vis-a-Vis

artist Yamada Kenji (Japan) guested at Vis-a-Vis

artist Anne Penders (Belgium) with her research project at Vis-a-Vis

Anne Penders (1968) is an interdisciplinary artist living between Brussels and elsewhere. Her literary and audiovisual work is predominantly influenced by her continuous travels. She has published some essays and novels and she has exhibited in Belgium, Portugal, Poland, Hungary and Canada.

Exhibition project - A start of Beginning



When: 24 - 25 December 2005 5 - 9:30pm
Where: Xiamen ferry square
artists: Kwon Kibeom & An Jung Ju (Korea)

Vis-a-Vis with artists participating in Second Guangzhou Triennial 2006:
Beyond-an extraordinary space of experimentation for modernisation Curated by Hou Hanru, Hans Ulrich Obrist, Guao Xiaoyan


When: 18 November 2005 - 15 January 2006
Where: Guangzhou Xinyi / International Club
artists: Shen Ye, Xu Yi Xing, Zhu Lu Ming

Vis-a-Vis participating in Contemporary art space conference of China in Guangzhou

When: 16 November 2005
Where: Da Ban Chang, Guangzhou harbor

Vis-a-Vis participating in Res Artis meeting Berlin

Chat and Chat 2005 - the workshop and exhibition between Asia and Europe

artists: Anne-Mie Van Kerckhoven, Andy Wauman, Erki De Vries, Dennis Tyfus, Kwon Kibeom, WuMing Hui, Shen Ye, Dong Xing, Fu Xin Min, Zeng Huan Guang, Jiang Xue Man, Lin Chun, Larsen Bervoets, Johan Kleinjan, Bavo Olbrechts, Sofie Pepermans.

Programme :

16:00 October 15, 2005
all artist visiting project space
Venue:No.88 Huan Dao Nan Lu, Xiamen


14:30 October 16, 2005
project meeting at Vis-a-Vis artlab
Venue: Vis-a-Vis artlab


10:00-16:00 October 17-18, 2005
an art workshop between Asian and European artist
Venue: Xiamen Asia gulf hotel



10:00-17:00 October 19 -21, 2005
artist preparing for exhibition at the project space
Venue: No.88 Huan Dao Nan Lu, Xiamen



15:00 October 22, 2005
exhibition opening
Venue: Xiamen Asia gulf hotel


October 22 - November 19, 2005
exhibition
Venue: No.88 Huan Dao Nan Lu, Xiamen