Open Call for the 6th Crystal Ruth Bell Residency - Light and Sight

第六届Crystal Ruth Bell艺术驻留项目 - 亮光与眼光


For the sixth edition of the Crystal Ruth Bell Residency, we are inviting people to apply for a fully-funded residency at Three Shadows & Red Gate in Beijing and Xiamen for the months of October, November, and December 2019, coinciding with Design Week Beijing and the Jimei Arles Photography Festival in Xiamen. We are calling for people of all types of creative practices, of all passports, ages, gender-identities, abilities, and interests to send us proposals for projects to pursue in China this winter around the ideas of "light and sight" - in any way those word makes sense to you.

作为第六届Crystal Ruth Bell 驻留项目,我们将发起由北京、厦门三影堂红门画廊合作举办的2019年10月至12月为期三个月的全额资助驻留项目。我们鼓励所有类型的创作实践,无国籍、年龄、性别、能力和兴趣的限制。我们将以“亮光与眼光”为主题寻求这个冬天在中国实现的项目企划案——你可以根据自己对主题的理解提出方案,并将其发送给我们。

All creative people who make {work with, about, or from} images are welcome: photographers, filmmakers, cinematographers, animators, documentarians, photojournalists, researchers, critics, observers, lighting designers, astronomers, zine makers, opticians, and selfie enthusiasts are all invited to submit proposals around the themes of Light and Sight.


This three month, fully funded residency will take place at Red Gate Residency & Three Shadows Photography Art Centre in Beijing & Xiamen in the months of October, November and December 2019, coinciding with the Design Week Beijing and the Jimei Arles Photography Festival in Xiamen.

本次为期三个月的全额资助驻留项目将于2019年10月、11月和12月在红门画廊(北京)和三影堂摄影艺术中心(北京+厦门)举行,恰逢北京设计周(2019.9.5-10.7) 和第五届集美·阿尔勒国际摄影季(三影堂厦门摄影艺术中心主办:2019.11.22-2020.1.5)。

The Crystal Ruth Bell Residency covers:

  • ✨Housing in apartments in Beijing & Xiamen
  • ✨Studio space at Three Shadows (Beijing & Xiamen)
  • ✨Photography & video equipment (see facilities list)
  • ✨Round train or trip flight to Beijing + roundtrip train travel between Beijing & Xiamen
  • ✨USD $1,080 stipend {as of 2018, our stipend is pegged to inflation)
  • ✨USD $510 for materials & ingredients
  • ✨Visa & travel health insurance
  • ✨Airport pickup, welcome dinner
  • ✨Optional artist talk, workshop & open studio
  • ✨Project support from the Three Shadows, Red Gate, and China Residencies teams

  • Crystal Ruth Bell驻留项目将为获人提供:

  • 北京和厦门两地设施齐全的公寓
  • ✨在北京三影堂的独立工作空间
  • ✨摄影及摄像设备(详见设施清单)
  • ✨北京到厦门的往返火车或往返北京的飞机或者票
  • ✨1080美金的驻留补贴
  • ✨510美金的材料费
  • ✨签证及旅游保险费用
  • ✨机场接机及欢迎晚餐
  • ✨可选的艺术家谈话、工作坊、和工作室开放日
  • ✨三影堂、红门、和中国艺术交流团队提供的项目支持

  • The Jury consists of:
  • 🏙From the Three Shadows team:
  • - Qi Yan (exhibition manager)
  • - Xinyi Chen (residency coordinator)

  • 🏙From the China Residencies team:
  • - Kira Simon-Kennedy (co-founder & director)
  • - Josue Chavez (head of research & development)
  • - Xiaoyao Xu (Residency Knowledge Fellow)

  • Guest Jurors: Zara Arshad, Cao Mengwen, Bérénice Angremy & Victoria Jonathan

🏙中国艺术交流联合创始人及总监Kira Simon-Kennedy,研发主管人 Chavez和Residency Knowledge Fellow徐肖瑶
陪审员 Zara Arshad, 曹梦雯, Bérénice Angremy & Victoria Jonathan

Deadline: August 8th, 2019

Finalists announced: August 20th {delay update, finalists will be announced on August 26th)

Residency dates: October (Three Shadows, Beijing ) - November (Three Shadows, Xiamen ) - December (Red Gate, Beijing)


入围者名单公布:2019年8月20日 {8月26日}

驻留时间及地点:2019年10月(北京三影堂)——11月(厦门三影堂)——12月(北京红门画廊)Deadline: July 31 2019

  • 🐬🐬🐬

  • Individuals and duos from all nationalities are encouraged to apply, including China, Hong Kong, Taiwan and Macao. This is a wide open call, with no restrictions based on age, medium, educational background, or any other criteria. Project proposals will be evaluated based on their feasibility and creativity by a jury as listed above. 

  • 我们鼓励来自世界各地的独立艺术家或艺术家组合向我们发送申请,申请地区不仅局限于海外,同时包括中国大陆、香港、台湾和澳门。这是一个广泛的公开招募,没有基于年龄、创作媒介、教育背景或任何其他标准的限制。上述评委将基于项目的可行性和创造性对申请方案进行评估。

  • Apply online before August 8th 2019 in your timezone. Finalists will be notified by August 20th.

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 APPLY 申请 
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Sparking Ideas: 


Images guide our world and how we interact with it, transmitting thoughts and visions beyond languages and borders. One in three people on the planet has a smartphone, meaning that a third of the world is constantly carrying cameras, uploading images to the internet and the digital social networks that unite and divide us. From photojournalism to science-fiction, the image’s importance to grasp and contest reality is unparalleled. What do we see and accept as reality? What makes a video slip from truth into fiction, and through all the uncanny stages in-between? 


As we’ve developed technologies to augment human sight, from the simple lenses of magnifying glasses, to the digital telescopes peering through lightyears of space, we’ve also created software to run screen readers and voice-commands that open up access for people with disabilities. These augmenting technologies introduce other ways of seeing the world, allowing us to surpass the limits of our individual physiologies and collectively see what otherwise wouldn’t be possible with the “naked eye.” 


For the past couple centuries, photography and video have become the main channels that shape our mental images of places we haven’t had the chance to experience with our own eyes. But can mediated content, striped from its original locale and re-contextualized for different audiences ever do justice to reality? These imaging tools were crucial weapons used by imperialist colonizers and settlers to create arbitrary classifications and hierarchies among people. Stereotypes used to justify the subjugation of entire groups of people are still in circulation today, through gifs and memes that spread like wildfire, influencing of public opinion and politics. While the right remix of icons and text can make a meme go viral across the globe, there are now more than a hundred hours of video uploaded each minute to platforms like YouTube and WeChat. Seeking for cheaper options to “censor” the deluge of content, tech companies often rely on marginalized and exploited labor, often outsourced to the poorest provinces or far beyond borders, to rid social networks of “undesirable content.” 


And while the internet has democratized access to audiences, less than 5% of published photographers and filmmakers working commercially worldwide identify as female, and globally, newsrooms are still led by an overwhelming majority of white men, perpetuating a specific gaze that does not reflect the world population. 


What’s kept out of sight? What do you want to shed light on? 

有哪些真相被隐藏? 我们还想了解关于真实的哪些方面?

We are looking for projects that seek to bring light to communities in ways that push against, work through, and build upon our complex system of image making and circulating through a commitment to creative inquiry: 


Crystal carried cameras with her everywhere and experimented with expired film stock, broken polaroid cameras, distorting lenses, light leaks, homemade pinhole cameras, and mirrored selfies. She documented her life and her loved ones through short documentaries & videos, screenshots from Skype conversations, elaborate fashion shoots and impromptu photobooth sessions. And as an early adopter of Weibo, Instagram, and volumetric 3D-scanned portraits, she embraced all new ways of sharing visual stories as they arose.

Crystal随身携带相机,并试用了过期的胶片,破损的宝丽来相机,扭曲的镜头,漏光,自制的针孔相机和镜像自拍。 她通过简短的纪录片和视频,来自Skype对话的截图,精心制作的时装拍摄和即兴的摄影会议记录了她的生活和她所朋友。 作为微博,Instagram和体积3D扫描肖像的早期采用者,她接受了所有新的共享视觉故事的方式。

Artist and filmmaker Haruna Honcoop, the 2019 Locality/Reality resident, filmed a documentary project about how Beijing reckons both with the 10-year-old structures built for the 2008 Summer Olympics as well as prepares to host the 2022 Winter Olympics.

艺术家和电影制片人Haruna Honcoop,2019年的《本土性 / 现实性》艺术驻地人,拍摄了一个纪录片项目,讲述北京如何同时考虑为2008年夏季奥运会建造的已有10年历史的建筑,以及准备举办2022年冬季奥运会。

Musician and documentary filmmaker Kayla Briët, and 2018 Found Sound China Fellow, explored themes of her Chinese, Dutch-Indonesian & native Prairie Band Potawatomi identity and heritage through film, music and virtual reality. 

音乐家和纪录片制片人和2018年《中国声态驻地》项目员Kayla Briët通过电影,音乐和虚拟现实探讨了她的中国,荷兰 - 印度尼西亚和本土Prairie Band Potawatomi身份和传统的主题。

The third resident in Crystal’s honor, performance artist Elyla Sinverguenza created “Cartas Mojadas,” an audiovisual installation staging cries for help from rural Nicaraguans getting displaced by the construction of the Chinese-funded Interoceanic Canal. 

为了Crystal的艺术项目的第三位艺术家是表演艺术家Elyla Sinverguenza。 它创作了“Cartas Mojadas”,这是一个视听装置,呼吁帮助尼加拉瓜农村人民因建造中资海洋运河而流离失所。

Annie Ling is a photojournalist committed to intimate narrative projects and expanding a visual discourse. On her #slowtrainresidency, she experimented with portraiture and self-portraiture along the Silk Road.

Annie Ling是一位致力于亲密叙事项目和扩展视觉话语的摄影记者。 在她的#slowtrainresidency,她在丝绸之路上尝试了肖像画和自画像。


~ apply here or directly via the form below 这边申请,或者直接用之下的申请表 ~