Report of Screening for the International Open Call 2021

News 2021年8月11日

Japanese follows English text / 英語文章のあとに日本文が続きます。

Sapporo Tenjinyama Art Studio is pleased to announce two artists who will participate in this year’s international open call program.

◇ Selected artists & projects, and comments by board of selection

Joshua Sofaer, UK

Profile and Outline of project


I would like to show my highest regard, first and foremost, for the fact that the art residency program is still to be conducted under the global immobility from the pandemic, and that the budget, also, is promised for the dedication. Another acclaim goes to this provincial city of Sapporo, for their effort not only to keep the lights of arts and culture alive, but also to nurture it further.

In the screening for the program, my focus was on constructivity; whether the proposal was taking the “remote” execution of the program as a positive condition, despite its seemingly disadvantageous nature, and if the idea based on such constructivity is well developed. As the oxymoron in the notion of “remote residency program” is obvious, I suggest life and art practice in a correlated form could untangle the conviction. Given this perspective, the proposal by Joshua Sofaer was remarkable. With a hint of feeling of pathos, it was humorous and humanistic, and overall, exceptionally intriguing. Juxtaposition of everyday moments and decades of absolute time, represented respectively as meal preparation and the artist’s biographical history, made it possible to relativize this peculiar time of the Covid and was highly evaluated along the screening.

—- Mizuki Endo


Tra Nguyen, Vietnam/USA

Profile and Outline of project


I’m pleased to find Tra Nguyen as our collaborator and residency artist. This AIR is highly conscious of immobility and non-physical encounter. Nguyen’s proposal was interesting in terms of creating a new sense of contact where we are only allowed to meet through screens rather than conventional artistic research, object-making, and physical exhibitions. I hope this project can revive the idea of being in the same time and place when we are not.

—- Min-hyung Kang


◇ Director’s Report of the Screening for the International Open Call

Online residency is our method this year again, in tradition from the 2020 international open call. During the residency, the artists are going to spend their time remotely from their respective locations, together with the staff team in Sapporo, Hokkaido. No physical travel by the artists to Sapporo or Hokkaido will be involved along the way. I remember this point Mizuki Endo, a member of the selection board, made clear at the pre screening meeting; “As this is the second online residency (for Tenjinyama Art Studio), it has to be more advanced than the last one”. This remark eventually became our motto for the entire screening process. Revisiting our first online residency, It’s Rather Difficult to Reach Places (2020), I would humbly declare that we successfully employed the online environment as a communication tool between the artists and the residency staff. We were very much encouraged to try new things, but after all, it was half under the excuse of the first-year “trial and error”. We tried hard to prove the possibility that the communication that’s physical-continuity-based-alike could be reestablished online too, and it was not easy at all. It was tough. This year, with our second online program, we are trying to grasp the online space as our new site for the residency. It might end up being another trial and error. But let’s admit that even we, the organizer of the open call and the residency program, do not know the right methods of online residency. Still stuck in a fog, we’re stepping forward with the light of another experiment in our hands.

For the 2021 summer program, we received one hundred and ninety five applications in total. Each of the selected projects will be pursued by two respective teams consisting of three parties; one of two curators on the proposer/artist, plus Sapporo Tenjinyama Art Studio with both duos. In the screening process, the juries’ evaluation was made according to four criterias; two prominent and two additional ones. The primary criterias are; 1. The proposal must engage with the Sapporo or Hokkaido region, 2. The proposal must acknowledge the remote execution and follow the structure of the online residency. The additional ones are; 3. The proposal must demonstrate the understanding of the online space as a new field of practice, 4. The artist and their proposal must suggest the strong possibility of fruitful cooperation with a curator and the local area, which is Sapporo/Hokkaido.

The selection was made by documentation reviews, which withholds the direct communication between the applicants and the board of juries along the way. Despite such condition, as a jury, I took every proposal not just as a letter but also as a question for those of us working far in Hokkaido. As I went through the artists’ proposals and the motivations, one by one, what I found was countless of marvelous ideas with determined attention on the multidimensional local resources of Sapporo or Hokkaido. Even at the level of screening, the fact that not a few artists found in this region their interests and aspirations for their new work left a profound impression on me.

For this time of the occasion, my belief was that the Tenjinyama’s residency must be something that can leave the actuality in us, the residency staff, of participation to the artists’ projects. I wanted to build a program specific to the land of Hokkaido and I wanted it to be worth the cooperation of everyone. What should not be our residency here, on the other hand, was a one-way imposition of time/place/opportunity or the blunt dedication of labor under the name of support for the artists’ proposition. At the pre screening meeting, I found myself questioning what it actually is to invite the artists and run the residency in times like these, in other words, the joy of running the residency program (which, to me, reads the joy of living and of everyday life). This question led me to the proposals that are more open to the conversations with the team, more adaptable for the participation that could guide us to the unexpected possibilities, and the ones that are more likely to derive deeper communications. In addition, while the artists are going to explore their projects individually in this international program, the framework of the program also is designed in many ways to offer them the opportunity for bonding with the fellow artists invited/self-funded simultaneously for the other programs. Given that, we have also decided to examine if the proposal has the potential to achieve the in-house exchange.

At the very end, I would like to show my deepest gratitude to each and every applicant. Thank you from the bottom of my heart for your high expectations on our programme, for your motivations and sincerity, and for your enthusiasm on the projects. Not just me but the entire staff at the Tenjinyama Art Studio cannot express enough of how grateful we are to have you, the artists with keen perspectives on the times we live in. You have been our hope and the source of encouragement in the midst of restless days of peculiarity.

As a part of the selection board,

Mami Odai, AIR director at Sapporo Tenjinyama Art Studio

◇Selection committee

Click here! Board of selection profile
Min-hyung Kang, Director of Barim, curator and translator

Mizuki Endo, Curator, art critic and art consultant

Mami Odai,  AIR Director of Sapporo Tenjinyama Art Studio






Joshua Sofaer, UK  ジョシュア・ソファー、イギリス

Profile and Outline of project プロフィールとプロジェクト概要


 今回の審査では、「リモートである」という本来であればネガティヴな条件をポジティヴに引き受け、それを展開させているかという点を要点としました。リモートでAIRに参加する、とはそもそも語義矛盾ですが、その矛盾を解消するのは「生活と芸術実践の共有」であると考えられます。この点において、ジョシュア・ソファーのプランは非常に優れていると感じられました。彼のプランはユーモラスでヒューマニスティックでもありますが、一抹のペーソスも感じさせ、大変興味深いものでした。料理という日常の時間と半生という数十年の時間、二つの時間軸を導入することで、この特殊なCovid yearsを相対化している点も評価しました。」

—- 遠藤 水城


Tra Nguyen, Vietnam/USA  チャ・グエン、ベトナム/アメリカ

Profile and Outline of project プロフィールとプロジェクト概要


—- ミンヒョン・カン



2020年度に続き今年も、オンライン・レジデンシーを行うことになりました。アーティストが自身の活動拠点から札幌・北海道までの物理的な移動をせずに、札幌・北海道にいる私たちと遠隔で(リモートで)レジデンス期間を共に生きるという構造になります。事前の意見交換で選考委員の遠藤水城から「今年は、2回目のオンライン・レジデンシーだから、1回目よりも発展的じゃないといけないよね」と指摘があり、この点を強く意識することになりました。1回目(2020年度”なかなかたどりつかないけど)では、トライ&エラーを言い訳に?励みに、アーティストと我々のコミュニケーションのツールとして「オンライン」を活用することができた。 パンデミック以前と同じように、あたかもアーティストと我々が同じ場所に物理的にいるのと変わらないようなコミュニケーションを「オンライン」で成立させるべくがんばってみました。それは簡単なことではなくタフな日々でした。2回目となる今年は、オンラインを新しいレジデンス・サイトとして捉えてみようとしています。またトライ&エラーなのかもしれないけれど。公募とレジデンスプログラムを主催する我々は、オンライン・レジデンシーの運営手法の正解を持っているわけではありません。まだ霧の中ではありますが、新しい試みを手元の明かりにして前へ進んでみようとしているのです。





—- 小田井真美、さっぽろ天神山アートスタジオ



Click here! プロフィール

遠藤 水城、キュレーター


小田井 真美、さっぽろ天神山アートスタジオAIRディレクター


■ 事業クレジット

事業名:人間万事塞翁が馬/Every cloud has a silver lining


支援:文化庁(令和3年度 アーティスト・イン・レジデンス活動支援を通じた国際文化交流促進事業)