2019最后一场驻留展览，必须得一口气看9个
2019年，我们迎来了麓湖公共艺术计划的正式启动，并对公众开放了A4国际艺术家驻留基地。随着项目工作的开展，我们相继推出了谷口顕一郎&谷口彩子（Ken’ ichiro & Ayako Taniguchi）、内海昭子、奥中章人（Akihito Okunaka）、Israel Hadany、Karolina Halatek、斉藤幹男（Saito Mikio）、麻生祥子（Shoko Aso）、Karen Paulina Biswell、Krišs Salmanis、吉野もも、Pascal Brateau以及Vladimir Abikh的作品，与团队一起，共同完成展览并展开了丰富的工作坊与讲座活动。
In 2019, the LUXELAKES Public Art Project has been launched officially and opened the A4 Artist in Residence International Exchange base to the public. Through the development of the program, we have successively presented works from Ken’ ichiro & Ayako Taniguchi, Akiko Utsumi, Akihito Okunaka, Israel Hadany, Karolina Halatek, Saito Mikio, Shoko Aso, Karen Paulina Biswell, Krišs Salmanis, Momo Yoshino, Pascal Brateau and Vladimir Abikh. Working with the team, we completed several exhibitions and carried out numerous workshops and lectures.
滑动观看⏩已展览艺术家作品
年末将至，我们很高兴地宣布，A4国际艺术家驻留基地即将于2019年12月28日，集中呈现艺术家曹澍、Elpida Hadzi-Vasileva、冯立、Heidundgriess (Alexandra Grieß & Jorel Heid)、Jarek Lustych、Scott Townsend、Xiyu Tomorrow、张晋等8位（组）艺术家/学者的驻留工作，同时特别邀请艺术家马锟呈现他在本地对话中的一件作品，展现他们与当地人及机构的各种沟通、交流与尝试，从更多角度展示多文化背景工作的可能。
At the end of the year, we are pleased to announce that on December 28th, 2019, the A4 ARIE Base will present artists Cao Shu, Elpida Hadzi-Vasileva, Feng Li, Heidundgriess (Alexandra Grieß & Jorel Heid), Jarek Lustych, Scott Townsend, Xiyu Tomorrow and Zhang Jin, these 8 (group) artists/ scholars’ works during the residency, and specially invited artist Ma Kun to present one of his works which is from the conversation between international artist and local artist. The works show their various communication and attempt with local people and organizations and demonstrate the possibility of working with the multicultural background from more perspectives.
艺术总监：孙莉
策展人：蔡丽媛
Artistic Director: Sunny Sun
Curator: Cai Liyuan
曹澍：“窗外的鬼怪”
Elpida Hadzi-Vasileva：“风味”
冯立：White Night in Paris
Heidundgriess (Alexandra Grieß & Jorel Heid)：“前景4.8”
Jarek Lustych：“记忆收藏，让它们再度闪耀”
马锟：“一段通往大地的密码”
Scott Townsend：“遗忘、铭记、未来”
Xiyu Tomorrow：“身体即容器”
张晋：“一个又一个瞬间”
Cao Shu: Monster Outside the Windows
Elpida Hadzi-Vasileva: Flavorings
Feng Li: White Night in Paris
Heidundgriess (Alexandra Grieß & Jorel Heid): Prospects 4.8
Jarek Lustych: Collective Memories - Let Them Shine
Ma Kun: I See You
Scott Townsend: Forgetting, Remembering, the Future
Xiyu Tomorrow: The Body as Archive
Zhang Jin: One Moment After Another
主办：麓湖·A4美术馆
Organizer: LUXELAKES·A4 Art Museum
支持机构：法国文化中心、法国驻华使馆文化教育合作处、巴黎国际艺术城、黄金町社区共生艺术计划、瑞士文化基金会上海办公室
Supported by: Institut français, Cité Internationale des Arts, Koganecho Area Management Center, Pro Helvetia Shanghai, Swiss Arts Council
展览开幕：2019年12月28日（周六）15:00
Opening Time: December 28, 2019 (Sat.) 15:00
展览时间：2019年12月28日-2020年2月23日
Time: From December 28, 2019 to February 23, 2020
地点：麓湖生态城麓坊中心A4国际艺术家驻留基地
Venue: A4 International Artist-in-Residence Base, Luxezone
特别感谢：
Special thanks:
合作学者：张怡、余玥、张钟萄及其助理（崔海航、赖妍君、王朔艺、潘鹏程、杨庆哲、张忠跃）
项目助理：方一鸣、李鹏芝、李玥琪、任梦佳、王文喆、周宇婕
Cooperative Scholar: Zhang Yi, Yu Yue, Zhang Zhongtao and their assistants (Cui Haihang, Lai Yanjun, Wang Shuoyi, Pan Pengcheng, Yang Qingzhe, Zhang Zhongyue)
Project Assistant: Allison Fang, Li Pengzhi, Li Yueqi, Ren Mengjia, Wang Wenzhe, Zhou Yujie
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曹澍
窗外的鬼怪
Monster Outside the Windows
滑动看作品介绍
作者将自己深夜在横滨街头的思绪碎片拼凑成若干段3D渲染的视觉印象，如同一个梦游症患者。我们不能判断命令的输入与输出之间，那段短暂的属于计算机的记忆究竟是如何运作的。在这个意义上，计算机bug属于超自然现象，当计算机的记忆出错的时候，或许就是视窗中那个产生bug的角色梦醒的时候。作者和这个数码存在物在各自的眼中互为不可理解的鬼怪，通过视窗凝视彼此。
The author pieced together pieces of his thoughts in the streets of Yokohama at night to create a number of 3D rendered visual impression, just like a sleepwalker. We can't judge the computer’s thinking between input and output. In this sense, computer bugs belong to the supernatural phenomenon. When the memory of the computer is wrong, it may be the time when the “bug character” in the windows wakes up. The author and the digital being are incomprehensible monsters in each of their eyes, staring at each other through “windows”.
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Elpida Hadzi-Vasileva
风味
Flavorings
滑动看作品介绍
在参与A4国际艺术家驻留项目的这一段时间里，我对当地环境展开考察，尽可能地接触成都及周边地区的艺术、学术、商业与公众人士。我对不同寻常的材料与设计很感兴趣，不论来自当代或是历史，它们都是我图案制作的来源。我也观察了许多的食物，包括它们的颜色与味道，并以此制作了这次展览中的所有测试物及作品。
我探索了农贸市场，选择了一些不同寻常的材料进行创作，同时也在为之后的生态馆装置作品进行化学测试并制作样本。材料包括当地的各种蘑菇、羊胃、猪油、兔骨、灰泥画还有墙壁上的描金。
随着时间的推移，我希望在特定的动植物皮肤与骨骼保护与处理下，其周围环境将如何影响并改变这些作品。例如，那些待分解的蘑菇，蛆在受控的空间中繁殖并移动，而它们进食、蠕动、死亡或生存，所有这些都会在纸上创造出微妙的痕迹。
我对树木与植物充满了好奇，这也包括那些已死或者患病的银杏树。令我惊讶的是，麓湖周边也存在许多濒死的树木。我在其中寻找到5棵菊属植物，并将其中的一棵制作完成，以此作为未来更大的银杏树作品的原型模版。这件作品高65厘米，已被精心清洁过，我使用了23.5克拉的金箔以完成冷镀金处理。而它的灵感则来源于树木自身所依靠的所在地区的内部供给系统。
我对景观与树木感兴趣，尤其针对病态植物与濒危物种保护，让我对后续的研究和创作充满期待。我有兴趣开始一段从英国到中国的旅程，以挑战我的雕塑实践，通过探索并考察那些来自成都本土的新技术与不同材料，来参与到这个新的巨大景观当中。
My time for the Artist in Residence International Exchange Program (3 months) included investigating the local environment and meeting as many people as possible both in the arts, academics, business and the public in and around Chengdu. My interest in unusual materials and designs, both contemporary and historic as sources for pattern making, included looking at the amazing different foods, they colours and flavours. I used this as source materials to produce all the tests and artworks shown in this exhibition.
I explored the food markets and selected some of the unusual materials used to create these pieces and spend my time testing and experimenting with the chemicals in order to produce samples that later would be used to create an installation for the Eco space. The materials range from various local mushrooms, lamb stomachs, pigs’ caul fat, rabbit bones to stucco drawing and gilding on walls.
I want it to explore using particular skins/bones (derived from animal or vegetable products) that are preserved and treated but also allowing the environment to make an effect and change the artwork in the space over time. For example: The mushrooms left to decompose; the maggots breed and move in the controlled space; through this decomposition they eat, move, die living and creating delicate traces on the paper.
Extending my interest in trees and flora I was very interested to finding dead or diseased Ginkgo trees. To my surprise there were many dying trees on and around LUXELAKES area. I also found and collected 5 Chysanthemum trees out of which I completed one as an example (prototype) for a larger Ginkgo tree. This 65cm tall object has been carefully cleaned and gilded with 23.5ct cold. The pattern is inspired by the feeding support systems provided and used around the area.
My interest in landscape and trees, particularly on disease, and the challenge of preserving those dying species; I was interested in following a journey, coming from England to China, and challenging my sculptural practice to engage with this new overpowering landscape while exploring new techniques and considering different materials informed by Chengdu.
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冯立
White Night in Paris
滑动看作品介绍
他们白昼遇见黑暗 午间摸索如在夜间
十年前一个冬天的傍晚，我站在成都郊外一处田野，四周浓雾弥漫。有小路在眼前延伸，但很快就被涌动的雾气湮没。天色愈加黯淡，雾越来越粘稠。身在其中，不知何处，无力进退。
也许是过了一会儿或者是更长的时间，路的尽头有闪烁的光芒从高处透过弥散的雾气，像灯塔般忽幽忽明。一颗树，一颗巨大的圣诞树从天而降，点亮了一个奇幻的世界。莫名的怪兽在身旁张牙舞爪、诡异的男女跳着机械的舞步嘎吱作响、高大无比的荷花像发光的巨型水母、呲牙咧嘴的熊猫在一步步的逼近。放眼四周，刚刚还是夜色中的田野刹那间恍若白夜，而我似乎是这荒诞景象唯一的观众，一幕幕的精彩离奇只为我一人上演。
很多年以来我一直沉迷于那一晚的奇遇，圣诞树的光芒让我可以洞见另外一个世界，以至于后来目睹了越来越多的不可思议的事情，挣扎着以死相搏的人、拎着人头的男人、长着蝴蝶翅膀的人、迎面走来紧握利刃的人、闪电照亮的婚纱等等，无一不是那一场白夜的延续和重演。真实还是虚幻？早已分不清楚，就像当时分不清白天还是黑夜一样。
这就是白夜的世界，也是我的世界。
When the day meets the night, the noon is just like the evening
On a winter evening about ten years ago, I was standing in a field of suburban Chengdu, surrounded by thick fog. In front of me was a road, which was lost in the surging fog. The day became darker and the fog became thicker. Stuck in it, I didn’t know where I was and how to move.
After a little while or a much longer period, at the end of the road was sparkling light penetrating the thick fog, just like the twinkled beacon. A tree, a giant Christmas tree falling from the sky, lighted a wonderful world. Strange monsters were making threatening gestures by my side; men and women were dancing mechanically with a creaking sound; huge lotuses were like glittering jellyfishes; pandas bearing their teeth were approaching me. The field in the night instantly looked like the daytime. It seemed that I was the only audience of the absurd scenery. The odd but wonderful scenes were played just for me.
For many years, I was obsessed with the adventure that night. The light of Christmas tree enabled me to see another world. Later, I saw more mysterious things: men fighting furiously, a man holding a human head, a person having the wing of butterfly and a wedding gown lit by the lightening. All of them were the continuance and recurrence of that night. Is it real of virtual? I’ve no idea. I couldn’t figure out if it was in the day or in the night at that moment.
This is the world of day and night, and this is my world.
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Heidundgriess (Alexandra Grieß & Jorel Heid)
前景 4.8
Prospects 4.8
滑动看作品介绍
来自德国的艺术家组合以城市增长和扩张为主题在驻留期间制作了两件装置作品，他们希望以此引发观众对于以下问题的探讨：赝品，权力主张以及传统文化在数字化工业时代中的作用。装置的灵感是基于文化意识在工业化生产中的地位，以及艺术家对传统和个性化服务在当代与未来发展作用的质疑。
标题中的数字“4.8”暗指数字化的过程。它类似于正在研发的应用程序，或是不断更新的信息。此外，这组数字还暗示出中国对数字的迷信：4是一个不吉利的数字，被尽可能避免使用，因为它与“死亡”一词的发音相似。另一方面， 8则是一个超级幸运的数字。它的形式无穷，并且还有光荣、幸福和未来繁荣的寓意。当两者并列呈现，艺术家想了解的是哪一个将产生更大的影响，还是会互相补给？
The artist group from Germany produced two installations during their two-months residency program based on the theme of urban growth and expansion. The artist hopes to arouse discussions on the following issues through their works: forgery, power proposition, the role of traditional culture in the era of digital industry. The inspiration of these two installations is based on the position of cultural awareness in industrial production, and artists' doubts about the role of traditional and personalized services in contemporary and future development.
The number "4.8" in the title refers to the process of the digitalization. It is similar to an application under development, or information that's constantly updating. In addition, this group of numbers insinuates China's superstition on numbers: number 4 is an unpromising number, which should be avoided because it has similar pronunciation to the word "death". On the other hand, the number 8 is a lucky number. Its form is endless and has the meaning of glory, happiness and prosperous future. When the two numbers are being put side by side, the artists wonders one will have a greater impact, or would they support each other?
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Jarek Lustych
记忆收藏，让它们再度闪耀
Collective Memories - Let them shine
滑动看作品介绍
毫无节制的过度生产的时代，给世界增添任何多余的物品都是尴尬的。另外，将我的作品强加于环境之上也显得不那么公平，因为我也是自然的一个部分，这是我选择从现有实体上延伸创作的原因。调研中，我关注日常生活中的一些元素，它们过于平常，毫不起眼而被嘲笑或忽视。一直以来，我觉得最引人入胜的部分正是这种隐藏在普通面貌下的暗示，亟待人们去领略的神秘感。而我的行为则将它们从阴暗的背景中释放出来，使其成为众人瞩目的焦点，以此强调价值。在其他大量的视觉文本中添加我的文字，现实的重写本结构变得丰富起来。同时，为了增强已有的复杂性，我打算让观众摆脱日常思维的束缚，将他们的注意力转移到事件的隐秘意义与词义本身。我渴望与这些元素共享作者的身份，它们不仅是平凡的背景，同时也成为了一件艺术品的活跃组成部分。通过它们的独特属性，我的项目试图展现那些环境中的不可感知的部分。
Amid a hailstorm of unbridled production, I'm embarrassed to add any new objects to this excess. Besides, imposing my autonomous creativity on the environment seems inequitable for me since I'm but a part of said one. That's why with my work I usually explore existing entities. In my investigations I'm concerned with the elements of our everyday life which are scorned or ignored because of their commonplace unnoticeableness. It is this invisibility, with its hints of mystery and discovery, that I have always found the most alluring. My actions move them from murky background to the limelight, emphasizing their value. By adding my texts to a multitude of other visual texts, I enrich palimpsest structure of reality. Enhancing existing chaos, I intend to shake spectators out of the rut of everyday thinking and direct their attention to the hidden sense of events and ambiguity of the word. I'm eager to share authorship with the elements. They are not just a conventional context but they become an active component of piece of art. By using their unique properties, my projects try to manifest imperceptible aspects of the environment.
除此之外，我们还将展出艺术家马锟与艺术家Jarek Lustych合作的作品——《一段通向大地的密码》。
In addition, we will also show the collaborative works of artist Ma Kun and Jarek Lustych-I See You.
滑动看作品介绍
树都拥有属于自己的声音——波兰艺术家Jarek Lustych与我建立了对于树的共同感知。但是，我们的目光始终聚焦于那些参天大树、名贵古树，而那些在山间、田间的荆棘呢？荆棘的数量如此之巨，却是那样的弱小，那它们在这个世界有怎样的遭遇？它们又会有怎样的言说？这是我感兴趣的地方。
此次创作，我首先会寻找荆棘的枝丫，邀请Jarek帮助我在枝丫上镀银。希望通过镀银这一富含西方炼金术寓意的创作技法与山野间荆棘的枝丫结合而成的类文字，可以让我们注视那些被我们忽略的荆棘们。当然，这段由荆棘组成的自然密码，为我们撬开了一道通往大地、去向自然的大门。
Every tree has their inner voice—I resonate with Jarek Lustych. Our attention is always on those great trees, rare trees, however, ignore those in the mountains, the thorns in the field. The number of thorns is enormous, but they are so vulnerable, I have the interest in what happens to them and wonder what they say.
For this project, I would first look for branches of thorns and ask Jarek to help me coat them with silver. I hope that through the combination of silver plating, a creative technique rich in western alchemy, and the branches of brambles in the mountains, we can look at the brambles that we have overlooked. Of course, this piece of natural code composed of thorns, for us to pry open a door to the earth, to the nature.
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Scott Townsend
遗忘，铭记，未来
Forgetting, Remembering, the Future
滑动看作品介绍
“设计和社会创新”是设计领域中的最新实践，其中充当“催化剂”的设计师与当地居民共同合作，一同建设社区，帮助他们解决问题。社区成员是共同参与者，设计师尊重当地的历史文化，并结合实践去创作，而不是提供现成的解决方案。
这是在成都进行的一项实验型项目研究。成都正经历着快速地城市发展，受全球化进程和当代思想的影响，这种快速的城市发展也反映在了城市规划、建筑、经济和商业实践等方面。
本土文化中包括一种独特的身份认同感，它是通过人们的日常生活与实践反映出来的。
在成都，关于本土生活的习惯和价值观是什么？是喝茶，打麻将，还是吃“折耳根”？人们如何创建这些实践，哪些日常活动反映出了这种 “老成都的习惯”？以及人们又将怎样融合本地实践与更新的实践和思想？
调研中的采访和讨论将在本次展览中得到展示。中间的显示器上呈现的是成都的电子地图，它有中英文两个版本，并且具有交互性。
两件动画作品传达了本次研究的主题，桌子上的资料是我已完成或正在进行中的其他项目的文献资料，由我和学生以及相关研究者共同收集完成。
‘Design and social innovation’ is a recent practice in design where designers acting as ‘catalysts’ work with what people already know and do in their communities to help solve problems. Community members are co-participants. Designers respect and work with local knowledge and practices rather than providing a ready-made solution.
This is an exploratory project in Chengdu, which is undergoing rapid urban development. Much of this development reflects contemporary ideas and influences from abroad in urban planning, architecture, economic and business practices etc.
Local culture however includes a sense of unique identity that is experienced through daily practices in the local context of the city and the region.
What are common local practices and values about “placeness” in Chengdu? How do individuals create these practices and what are specific activities that they engage in? How do people reconcile local practices with newer practices and ideas in their daily lives?
The gallery space is being used as a place to introduce the project. Interviews and discussions will be displayed and updated in the space. A digital map of Chengdu is projected. It is in English and Chinese and interactive.
The animations convey the themes of the research, the table has documentation from other projects that I and my students and collaborators have done or are working on currently.
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Xiyu Tomorrow
身体即容器
The Body as Archive
滑动看作品介绍
生命是不是很奇妙。我们无法选择我们的父母。我们所存在的地域和时间也是偶然。我们在这一世浮沉，得到或者失去，欢笑或者哭泣，面对随机的挑战，或一地鸡毛。如果我们足够幸运，得以歌唱、起舞、享受美食，欢畅淋漓地生活。我们的身体会记住，他们吸收并储存这些回忆。你知道在每张面孔之下藏着什么秘密吗？你愿意去一探究竟吗？
Isn’t life bizarre. We grow up to parents we did not choose. Place and time are happenstance. As we rise and demise through this time of life, we win and we lose, we cry and we laugh, we face the occasional test and sometimes even a pile of shit. If we are lucky, we get to dance and sing and eat and be merry. Our bodies remember. They take in and store. Do you know what’s behind a face, are you willing to see.
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张晋
一个又一个瞬间
One Moment After Another
滑动看作品介绍
不可否认的是，我们的日常生活正趋于平庸，正因如此人们才需要旅行或者娱乐活动，来打发闲暇时间，同时也进入到消费社会的日常生活结构之中。游客来到Verzasca Vally游泳，徒步，露营，寻找精神性或者肉体的愉悦。我无法批评这些司空见惯的现象，而更愿意从一个游客的视角来看待山谷里的游客，我们也注定相互成为对方的风景，成为相互出现在对方Instagram上的人形背景。生活中的某个瞬间是迷人的，每一天我希望能够找到一个瞬间，这些照片就是过去那些瞬间的集合。
It is undeniable that our daily life is tending to be more mediocre, which is why people have to travel or entertainment to spend the leisure time and also it's the daily life structure of consumer society. Visitors or tourists come to Verzasca Vally to swim, hike, camp and expect to find spiritual or physical pleasure. I can't criticize these common phenomena, actually I am one of tourists also. I prefer to start this project from the perspective of a tourist, and we are becoming each other's landscape and becoming someone who occasionally appear on each other's Instagram. Some moment in life is fascinating. Every day I tried to look for an interesting and pleasing moment in the Vally, and these photos are the collection of moments.
同时，本周六也将开始我们的年度志愿者活动——“治愿者之夜”，12月28日安排如下：
展览开幕 15:30-16:00
中间地带/国际驻留2019年年末群展
展出美术馆团队以及志愿者的内部群展以及2019国际艺术家驻留项目群展，邀请艺术家来到开幕现场面对面进行交流，举办展览开幕仪式
工作坊 16:00-18:00
专家问诊室
将邀请艺术家、美术馆员工、志愿者等在现场设置工作坊单元，与观众深度互动
市集 15:00-18:00
精神市集
青年朋友最爱的市集，公开招募摊主
颁奖典礼 18:00-18:30
表彰全年优秀志愿者实习生，颁发证书奖品，2020年美术馆人才招募计划
自助晚餐 18:30-19:00
将为大家准备精致的下午茶与接地气的小吃，酒水饮料畅饮
自由派对 18:30-21:00
睡衣派对，电影放映室，热闹与安静任你选择
欢迎大家莅临现场，指导工作！
自2011年项目正式启动，A4国际艺术家驻留项目坚持每年持续推动更多国家与地区间的艺术家、策展人、设计师等的交流与互访，鼓励具有独立创想和艺术研究建树的个人或艺术小组深入社区与城市参与项目，通过国际驻留期间的在地创作、交流和展示，进一步推进自身和所属区域的文化互动与学术交流。根植于本地社区与城市，麓湖·A4美术馆不仅提供高效与专业的学术支持，还将带来驻留同期丰富的活动体验与对话，为参与者带来广阔、多元、深度的创作空间与可能性。
从2019年起，麓湖·A4美术馆迎来国际艺术家驻留基地的落成以及周边更多公共空间与户外区域的使用，拓展基于驻留基地而展开的艺术家展览、公共艺术项目、文化活动、区域互动与共生的现场，建立与周边社区、业态的广泛交流与合作，连接不同人群与机构，形成以公众沟通与交流为目标，城市新兴区域文化形态与结构为背景，以实验性与专业性为工作方法的文化艺术项目。
目前国际艺术家驻留项目主要分为四个不同部分，分别是邀请制驻留，城市间双向交换驻留，国际国内公开招募申请以及公共艺术项目专项驻留。国际艺术家驻留项目时间主要集中于每年5月至次年1月，可同时接待10-11位艺术家开展工作。国际艺术家驻留基地位于麓湖生态城麓坊中心，包括12间独立的艺术家工作室，2个公共活动区域，1个1230平米的驻留展厅，同时在市区还有11间驻留艺术家公寓供驻留艺术家使用。
Since the project was formally initiated in April 2011, the LUXELAKES·A4 Art Museum’s Artist in Residence International Exchange Program (ARIE) has given many artists, curators, and designers from China and abroad the opportunity to interact with one another. It has also encouraged innovative artists and artist groups engaging with fresh ideas and unique artistic research to carry out participatory projects that intervene in the community or city. The residency’s focus on local production, exchange, and exhibition strengthen cultural exchange and academic dialogue between the artists and their surroundings. Based in the local community and the city, the LUXELAKES·A4 Art Museum provides effective and professional scholarly support and coordinates a rich array of events and experiences during the residency, making it possible for participants to expand, diversify, and deepen their artistic practices.
In 2019, the LUXELAKES·A4 Art Museum welcomed the construction of the international artist-in-residence base and the ability to use more of the surrounding public spaces and outdoor areas. The program has expanded from the base into artist exhibitions, public art programs, cultural events, regional interactions, and sites of coexistence, thereby establishing broad interaction and cooperation with surrounding neighborhoods and businesses and connecting different groups and institutions. In this way, the LUXELAKES·A4 Art Museum has created a culture and art program focused on communication and interaction with the public, set against the cultural forms and structures of a new city area, and working in experimental and specialized ways.
At present, the ARIE Program is divided into four distinct sections: invitational residencies, two-way city residency exchanges, open applications for international and domestic artists, and residencies specifically for public art projects. The ARIE residencies are concentrated between May and the following January, and the program can accommodate 10-11 artists at a time. The ARIE Program space is located in the LUXELAKES Eco-City, which is home to twelve independent artist studios, two public event areas, and one 1230-square-meter exhibition space. There are also eleven apartments in the city for resident artists to use.
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