More than one third of the
attendees to the 2007, 2009 and 2011 Conferences noted tangible outcomes
(such as invitations to residencies and exhibitions and/or successful
grant applications) as a direct result of their attending the
conference. Below are some of their stories.
From the 2011 Conference
Haslla International Residency Program,
September 19th - October 17th, 2011
The first time I came to Boston - for one of the Here, There and Everywhere projects - I had just
missed the 2009 Conference [on International Opportunities in the Arts] by days; yet people were still
talking about it with a kind of amazed appreciation. I remember wondering how could a – I supposed –
boring gathering of “experts” be of help to any artist in search for “opportunities for art”?.
However, I was so deeply absorbed in my task that I didn’t think more about it: I also was
experiencing a parallel reality at the Nexus Machine Shop and Gallery - a famous machine shop in
South Boston - held together by a pool of engineers engaged in many projects. The atmosphere was
creatively stimulating; and the people were both simply genial and- like Einstein- some kind of
geniuses: You could end up at breakfast with people from the M.I.T talking about some future app;
while, at the same time, studying the best way to cook pancakes without a frying pan, amidst puzzled
looking cats, books and obsolete computer parts – all in a not so American Housewife-like tidy kitchen.
Then, this year, I arrived in time to follow that very complex event that was TransCultural
Exchange’s 2011 Conference on International Opportunities in the Arts.
Then I understood what it was all about: Imagine a three days rush when you could just try to follow the maximum
number of events you can grab – knowing that you will then have to synthesize them for, say, months ahead. A well-
organized, yet apparently chaotic sequence of panels, discussions and presentations of everything that rounds around
that one obsessive theme: Art. I could also follow that interesting –and very Anglo-Saxon styled – gathering of
bright brains that is the Portfolio Reviews, where artists present their work directly to the people that are
mostly supposed to be interested in it, for instance, a Director of a Museum in Austria or the organizer of a
Symposium in Germany, the President of a Grant Foundation in Australia or the Director of a Biennale in Saudi Arabia.
I can only say that it works: I’m writing this note from Korea, from the International Residency Program at the
Haslla Art World Museum, an “ international opportunities in the arts“ come true, thanks to TransCultural Exchange’s
-Rudi Punzo, 2011 Conference on International Opportunities in the Arts attendee
Artists' residency program, Arthouse Garana.
I had volunteered to run the AV systems at the past two TransCultural Exchange Conferences on International Opportunities in the Arts.
At the 2011 Conference I had the good fortune of meeting Elisabeth Ochsenfeld, organizer of the Arthouse Garna residency program, which I
participated in this July.
Arthouse Garana is in a tiny, one and a half street village in the mountains of western Romania. The program was only ten days long, but
they are ten days that will remain with me for the rest of my life. It was so great to interact with artists from around the world, to see
how they saw the world and what their art meant to them. For me, as a somewhat younger artist at the beginning of my career, it was also
very informative and inspiring to be around artists at all stages of their careers. The group was very warm and inclusive, and despite
some difficulties with languages we all managed to form some form of bond with each other.
Perhaps the best part of the whole thing was just the fact that every day during the residency all I had to do was get out of bed, go and
eat some breakfast and talk to my new friends, and then go paint. In my regular life I have all these other distractions and responsibilities;
it can be hard to maintain that daily regiment of artistic creation that is so important to making progress. At Arthouse Garana we were
provided with three delicious meals a day, plus wine at dinner (and sometimes lunch!). We had comfortable sleeping arrangements and a key
to a nicely equipped studio. I was a little disappointed when I realized the only canvases available were smaller than I had become
accustom to working on, but even that turned out to be a blessing in that it forced me to try new things. Since I've gotten back I
have continued to work with multiple panels and to primarily paint on horizontal
surfaces instead of on an easel. These are both things I probably wouldn't have ever tried if it hadn't been for the residency.
-Blake Brasher, 2011 Conference on International Opportunities in the Arts attendee
From the 2009 Conference
Haslla, Gangneung, South Korea
Photo by Jeanne Landry-Belleau
In my case, TransCultural Exchange is a path towards creations, contexts and new exchanges.
When I participated the 2009 Conference, I was doing my masters in fine art. By coming to the Conference, I had these intentions: Talking
about numerous residencies in Quebec City and looking for art residencies opportunities in Asia. Finally, it came beyond my imagination.
I discovered resources and found open doors to creation contexts that I never imagine before. During the 2009 conference, I
attended several panels. The Haslla art World presentation touched me in a specific way. This organization seemed closely related to my art
vision. During the conference, I started thinking about going there. Then, I introduced myself and my work to Ms. Park and Ms. Yun.
A few months later, I went to South Korea to present and share my work during the Haslla International Arts Symposium.
I participated in the Haslla Symposium and stayed with Haslla's team for an almost two weeks residency. That was perfect to work on my master
thesis project: "Web Iconologia : a humanism iconologia for the Web" (www.iconologia.net).
In many ways, it was so nurturing. My art work (Web Iconologia) became stronger and more engaged
Also, I set my mind to contribute in opening new collaborations between Asian art organizations (Korea and Japan). During my stay in Korea,
I visited a lot of Seoul's art centres and looked for residency programmes.
Then, I came to Japan and explored the possibility of creating exchange programme between artists run centre (inQuébec and Japan). Things came along well.
I visited and met members of AIT (Art Initiative in Tokyo), a dynamic run artists centre, based in Tokyo.
Later, I stayed one month in Osaka. There, I have been invited to ift to organized an event in collaboration with the sound artist Mamoru Okuno.
Ift room projet is an artist run centre in Osaka. Originally, it was an old and almost broken house (100 years).
In 2008, ift's members undertook renovations to generate an independent creation space based one these tree values : Lift, Shift and Gift.
Back to Quebec city, I shared my experience with others artists and I contributed to create residencies programmes between TWS (Tokyo Wonder Site)
and la CHAMBRE BLANCHE, an artists run centre in Quebec.
This is just to resume how TransCultural Exchange has been the " tipping point " in all that story.
- Jeanne Landry-Belleau, 2009 Conference on International Opportunities in the Arts attendee
Photo by Laurie Krasny Brown
Attending the 2009 Transcultural Exchange Conference was
an eye opening, mind expanding experience for me. As one consequence, I
pursued application with the founder of Apothiki Art Center on the
Cycladic Greek island Paros and was invited to spend six weeks there
this past summer into fall. Also, I submitted application for a travel
grant from the Lighton International Artist Exchange Program, part of
the Kansas City Artist Coalition, another presenter at the Conference.
That grant certainly helped offset the expense of getting there and
What stands out the most for me about this experience is
[my]personal growth as an artist. To take on such a residency is like a
test of yourself. I was totally on my own to absorb this new place and
see how it turned up in my creative work. Being in unfamiliar terrain
has a way of heightening your sensitivity to the sights and sounds
around you - part of the pleasure and learning that comes with travel.
I did prepare a body of work during my stay that was
relevant and that resonated with my surroundings. This was partly
planned ahead and partly spontaneous. The theme if you will was to
honor Apothiki's history as a storage place for precious things, e.g.
olive oil, wine. I prepared in advance a series of lithograph
monoprints showing forms of ancient Greek amphorae (after research at
the Metropolitan Museum of Art, etc.), intending to enhance them with
collage elements once on Paros. I also carved several linoleum blocks
for printing both ancient and modern drinking cups.
Once on the island, I delighted in discovering items
devoted to the storage of not so precious things. Beauty and whimsy is
there to be noticed in unlikely everyday objects. This is another of
the pleasures of living somewhere different. And so added to my agenda
came the scrounging around for certain common place materials to work
with, arousing curiosity, even suspicion among passersby and
The solo exhibition of this work at Apothiki opened 28
September with an evening reception. I held gallery hours through 2
October in the mornings and again in the evenings. It was a thrill! The
passion and focus with which I pursued this project sometimes surprised
and amused me. There was a reach beyond the more predictable aesthetic
menu I recognized in my work. Seeing that I could in fact produce some
satisfying new work, bring humor to the table, solve problems as they
arose, mount the show on time AND still savor my free time... has made
me feel more confident.
- Laurie Krasny Brown, 2009 Conference on International
Opportunities in the Arts attendee
Photo by Dimitris Ameladiotis
During my stay in Boston I was surprised to learn of a
house underground, famously known as the Nexus Machine Shop and
Gallery. For me, this underground house was a chaotic museum of
technology, full of wondrous machines for making things, including the
standard table saw, lathe and drill press. The wealth of materials and
mess of the space inspired me to make a series of work from the objects
around me. Created organically from both the space and my fingers, I
produced and composed these works by way of intuition and
arbitrariness. During this very interesting experience, I had the
occasion to think a lot about how many various objects might be put
together to create endless abstract histories. Later, I wondered how
much the physicality of an artwork relies on its ready-made objects and
materials. How many syntheses of the materials may have previously
existed? How a person could manage to be happy via the touching
(feeling) of the objects? How much does the gestures (the hands'
movements, manipulation) and the visual perception of one person
determine the aesthetics of the objects?
– Dimitris Ameladiotis (Greece), 2009 Conference on International
Opportunities in the Arts attendee
Haslla Museum Sculpture Symposium
Photo by Karl Saliter
I signed up for TransCultural Exchange's 2009 Conference
on International Opportunities in the Arts in 2008, hoping to make some
contacts to travel to Asia, where I believed my work in uncut stones
was a good aesthetic fit. Being invited to attend the Haslla Museum
Sculpture Symposium at my mentoring session in Boston was a welcome
surprise. Now, having enjoyed the symposium and a brief residency in
this amazing museum overlooking the ocean, with a series of five star
meals and Haslla buying all my materials, I am far beyond grateful that
I decided to attend TCE['s Conference]. I will certainly go again.
– Karl Saliter, 2009 Conference on International Opportunities in
the Arts attendee
"Urban Themes, Western/Eastern Cities,"
a collaborative work by Walter (Rusty) Crump (US) and Gulay Alpay
I was quite honored to be chosen to be one of the
participating artists of the TransCultural Exchange exhibition Here,
There and Everywhere. I worked with a Turkish painter Gulay Aplay.
I had met Gulay briefly on a recent trip to Istanbul (at the suggestion
of TransCultural Exchange's director Mary Sherman). We hit it off
immediately; and I was very impressed with her work. Her painting is
loose and free, uninhibited - where my photography is more structured
and controlled. We both felt that because of the "polar differences" in
our work and our different cultural backgrounds that a collaboration
could produce interesting results; and, in the process, we'd have to
deal with work that is so different from our own aesthetic. We looked
forward to being challenged in interesting and unexpected ways. We were
both pleased with the results that came out of our partnership - so
much so that we hope to exhibit our work In Istanbul in 2010. Had Gulay
and I not participated as partners in Here,
There and Everywhere we would have remained friends, but probably
not [have] worked together. Now that we have, we are now investigating
future venues to show our collaborative work. I have always found that
taking new and unexpected challenges results in expanding your
- Walter Crump, 2009 Conference on International Opportunities in the
Hovinkartano Art Centre Symposium, Finland
I was an original participant in the TransCultural
Exchange's Tile Project, Destination: The World, an
international tile project, promoting "collaborations between a diverse
group of international artists, their communities, non-profit art
institutions and the educational sector at a grass roots level." Though
this project and, later, through the International Opportunities in the
Arts Conferences (2007 and 2009), I connected with international
artists. These contacts have led to several career expanding
Hovinkartano Art Centre Symposium – I was invited to participate
in an international art symposium (group artists' residency) at
Hovinkartano Art Centre in Hovinkartano, Hauho, Finland in July 2008.
The invitation came from Pirjo Heino, a printmaker and curator at
Hovinkartano Art Centre. Pirjo and I met originally met through our
mutual involvement in The Tile Project, and then reconnected
at the 2007 Conference on International Opportunities in the Arts in
Boston, where she was a presenter. My art work was shown in an
international group exhibition at the Hovinkartano Art Center at the
end of the symposium and later in another show at the Ripustus Gallery
in Hamenlinna, Finland.
Waterfall — An international
collaborative exhibition, installation, and performance with Israeli
artist, Karmela Berg (film maker) and Finnish artist, Pirjo Heino
(printmaker), at the Nave Gallery in Somerville, MA. Waterfall grew out
of an initiative of the TransCultural Exchange's world-wide project
entitled Here, There and Everywhere: Anticipating the Art of the
Future. I contacted the international artists, whom I had
previously met through TCE to collaborate on this project. As a result
of the exhibition, the Nave Gallery (where the show was presented) sold
several photos, raising money for WaterAid America. The show, which was
coordinated to open with the 2009 Conference on International
Opportunities in the Arts in Boston, gained international exposure for
the Nave Gallery in Somerville, MA.
In September 2009, I will be going to Croatia for another artist
symposium — International Artist Symposium, Croatia — an
invitation which grew directly from friendships made during the
Hovinkartano Art Centre Symposium in Finland last summer. The symposium
will also result in an international exhibition in Croatia.
- Ellen Schön, 2007 and 2009 Conference on International
Opportunities in the Arts attendee
"Prayer Flags around the World,"
a collaborative project by Thomas Matsuda
TransCultural Exchange sponsored my trip to Romania to
the D. Fleiss East-West Artists Symposium. This led to the creation of Prayer
Flags Around the World. I was also invited for the first
International Art Book Symposium held in Cairo Atelier in December
2008. I have met artists from around the world with whom I still keep
in touch with and collaborate.
- Thomas Matsuda, 2007 and 2009 Conference on International
Opportunities in the Arts attendee
a collaborative work by Roberley Bell
Photo by Roberley Bell
Paradise re-made is both a sculpture and a
participatory artwork that becomes a field, spreading out across the
city of Kaliningrad like a landscape. It moves away from the object
crafted by the artist and becomes whole only through the desire of the
participants. The windows of the abandoned tower are adorned with
blooming flower pots. In the yard of the tower the audience is invited
to take home a plant from a table of flowering plants and is asked to
document its growth/bloom over the summer months, sharing this via the
web. Paradise re-made merges the historic site, artwork and
audience participation into a shared public performance.
- Roberley Bell (Russia), 2009 Conference on International
Opportunities in the Arts attendee
Dorothea Fleiss and Shane Stratton with "Tamra",
fir wood with stain, 15' x 4' x 4' East West Artist Symposium in
Mallnitz, Austria (and the upcoming Artist Residency at the University
of KwaZulu-Natal in South Africa and the Fulbright Scholar Grant for
research in Istanbul, Turkey)
Photo by Julia Stratton
I came to the 2009 Conference on International
Opportunities in the Arts hoping to find a means to make sculpture
overseas. In one of the many informative presentations I attended,
Dorothea Fleiss spoke warmly about her self-made Romanian residency in
the countryside. I was very attracted to the diverse and generous type
of working environment she described. We had the chance to speak
one-on-one during the mentoring session, at which time Dorothea invited
me to another conference she was organizing specifically for sculptors
to create large, carved, wooden sculptures for the Hohe Tauren National
Park in Mallnitz, Austria. In October 2009, I made a fifteen-foot
piece, my first sculpture in wood. In addition to getting to know the
incredibly energetic and positive artist and organizer, Dorothea, I met
a wonderful group of people during the ten-day symposium that included
sculptors from Slovakia, Spain, Romania, Austria and Italy. These
relationships led to more artist opportunities for 2011, including an
invitation to create a monumental sculpture for a new national
sculpture park in Slovakia and to be an artist-in-residence at Circulo
de Arte in Toledo, Spain.
The 2009 Conference also directly led to two other upcoming
opportunities: a two-month artist residency at the University of
KwaZulu-Natal in Pietermaritzburg, South Africa, beginning in July
2010, and a Fulbright Scholar Grant for nine months of research in
Istanbul, Turkey, beginning in September 2010. After hearing Juliet
Armstrong speak about the residency program at KwaZulu Natal, I
scheduled a mentoring session with her where I was able to present my
work and speak with her further about the residency in South Africa. I
later applied to the program and was accepted. I have never been to
Africa before and, as the date of the residency approaches, I am very
excited about this opportunity to make sculpture on the other side of
the world. While I have long dreamed of a Fulbright Scholar Grant, it
was at the the Conference that my application proposal began to come
together. I attended Dr. Ilgim Veryeri-Alaca's presentation on
Residency/Exhibition/Teaching Possibilities Associated with
Universities in Turkey, and I had a mentoring session with her where I
explained my desire to research the Islamic abstraction of nature and
make sculpture in response to this research in Istanbul. She was later
extremely helpful in connecting me to universities in Istanbul that
provided letters of invitation for my Fulbright application. I also had
the opportunity to hear David Adams speak about the Fulbright Program
in his Conference presentation and speak to him personally about the
countries I was considering. That conversation confirmed my interest in
applying to Turkey and provided me with the outline of my application.
- Shane Stratton, 2009 Conference on International Opportunities in the
From the 2007 Conference
"At the Boston conference in the spring of 2007, I learned of an artist
residency opportunity in Egypt. In October, I flew to Cairo for a
month-long residency with an excellent artist who does fine
papermaking, painting, and printing. It was spectacular. My studio was
located in Old Islamic Cairo. Every day I walked past many historical
religious sites, sometimes stopping to explore them. Across from my
studio was a sculpture studio. It was great to see the work there and
to talk with other artists. An Egyptian artist I met invited me to
visit her studio too. We are discussing a possible joint show in Egypt,
and then perhaps in the United States. My residency included a five-day
workshop in Alexandria, where I studied with a professor who was a
design consultant for the new Alexandria Library. In Alexandria, I met
artists from around the globe who were attending an international
workshop. A Web designer from Nigeria and I now e-mail regularly,
sharing images of our work. I'm returning to Egypt in April 2008 for
another residency and the opportunity to connect with other cultures
Photos by Susan Paszkiewicz-Toler
- Susan Paszkiewicz-Toler, 2007 Conference on International
Opportunities in the Arts attendee
Berlin and Reykjavik
Photos and Print by Lara Loutel
"I was assigned to (the Bridge Guard Residence
Art/Science Center founders) Hanneke and Karol Frühauf for the
portfolio review at the 2007 Conference. They were interested in
reproducing one of my pieces in a limited edition screenprint.
Between the Frühaufs and the TransCultural Exchange it was
financially possible for me to meet the Frühaufs in Zurich to sign
and number the edition, and also spend time in Berlin and
Reykjavik. I also met two artists in Berlin who have worked with
TransCultural Exchange and the Frühaufs suggested I meet with one
of the artists who had worked at their residency. I remain in
contact with all of these people as well as other artists who I
met. The 2007 Conference directly led to a greater exposure of my
work through the Frühaufs' edition, a chance to travel, and many
foreign artist contacts which will make future foreign activities much
more likely to occur."
- Lara Loutel, 2007 Conference on International Opportunities in the
Photo by Naveed Nour
"Not knowing something is one problem; but not knowing
what we don’t know is a bigger problem. Once I figure out what I
don’t know, my life becomes much easier, because then I can
learn. Based on my research, that was exactly why I decided to
participate in the 2007 TransCultural Exchange Conference, with the
hope of meeting peers from around the world who would open my eyes to
new paths and ideas. My reasoning paid off in ways I would never have
imagined possible. The conference was an opportunity for me to
capitalize on, and so I did. The format was extremely friendly and
accessible, with great international participants who were there to
share their knowledge. I met artists, curators and educators from all
over the world; and as a result I was rewarded with an invitation by Gozo
Contemporary in Malta to participate in a week long artist
residency program. Subsequently I also received a stipend from
TransCultural Exchange towards this program, which is helping me to
complete my project. The result of my travel to Malta is an art
collaboration with Norbert Attard, a great international artist from
Malta and founder of Gozo Contemporary. I have created and now
maintain relationships with other TransCultural participants, which
will turn into future collaborations. Last but not least, my networking
with guests at the last dinner of the event has led to my collaboration
with the Massachusetts College of Arts for whom I have designed and
will teach a new course. For sure this won’t be the end of my
experience and I can’t hardly wait for the next chapter of
TransCultural Exchange in 2009.
To learn about the Malta Project, please visit http://www.naveednour.com/mltproject.html.
For more information about me please visit:
| www.photoemerge.com | www.historyrecalls.org"
- Naveed Nour, 2007 Conference on International Opportunities in the
Photo courtesy Jitendra Baoni
"Attaining Kala Residency was a dream fulfilled. I met
international contemporary artist and got an opportunity to enhance and
share knowledge. After reaching Kala Art, Berkeley, I got that what I
dreamt of. The working atmosphere was extremely friendly with all the
possibilities of equipment and facilities.
The best part was twenty four hour studio access. I chose to do
lithography in Kala. I am fascinated with lithography and its technique
as the results are unique.
Kala often had exciting programs in the evening, so I could meet art
educators and artists from different countries who visited there.
At the end of my Kala AIR residency the Kala community decided to keep
my talk about the work which I did during my residency. That was very
exciting thing for me as I could discuss about my work with the artist
community. After my talk an art lover bought one of my litho works for
Experiencing artistic life globally was like a lifetime experience."
- Jitendra Baoni, 2007 Conference on International
Opportunities in the Arts attendee
"My residency and exhibition at CAMAC, in
Marnay-sur-Seine, France came about directly from my participation in
the 2007 TransCultural Exchange Conference. I signed on early and was
paired with the director of CAMAC for a portfolio review, which
resulted in an invitation to reside at the center and produce an
exhibition. Marnay is a beautiful little village about 1.25 hours
southeast of Paris by train. My month-long stay was a tremendously
productive and edifying experience. I made some very good friends among
the international group of artists who were my fellow residents and
enjoyed feeling like a part of village life, while also visiting Paris
and Amsterdam briefly. I produced a strong, new body of work for an
exhibition at the end of my stay, the opening of which was one of the
best times IÃve ever had."
Photos by Edythe Wright, Julieve Jubin and
- Edythe F. Wright, 2007 Conference on International Opportunities in
the Arts attendee
Pietermaritzburg, South Africa
"At the TransCultural Exchange Conference in Boston 2007 I was invited
to be part of the Residency project at the University KwaZulu-Natal in
Pietermaritzburg, South Africa. This was for me an extraordinary
experience. Beyond the challenges and benefits of placing oneself in a
distant and unique environment it was filled with that most special of
all elements; the time and space dedicated to making oneÃs
work. The project I was involved with the UKZ-N program offered me an
environment with opportunities and experiences that have infiltrated
both my art work and my thinking and understanding of and connection
with the cultures and peoples of Central and Southeastern coastal South
Africa. I worked in my studio alongside the Faculty and Grad/Post Grad
students in the Center for Visual Arts, allowing their mindsets and
creative intentions to inform me. At the same time I was able to
Ã¬teach by experienceÃ® and was asked to give a
workshop in Ã«The Altered PhotoÃ. I met
indigenous artists exhibiting internationally and am involved in a four
way collaboration with three of the UKZ-N Faculty in the upcoming
TransCultural Exchange Project Here,There and Everywhere. My visit
culminated in a one person show in the CVAÃs Jack Heath
Gallery and as a result my work is now in a collection in South Africa
and with an American collector who was there as well. The connections I
made were gratifying and unforgettable. I gratefully look forward to
the upcoming venue for the International Collaboration as an extension
of the opportunities initiated by the 2007 Conference."
Photos by Elizabeth Geissler
- Elizabeth Geissler, 2007 Conference on International Opportunities in
the Arts attendee
Image by Jesseca Ferguson
My time in Debrecen [at the Third International
Artist Colony of Debrecen] last summer was absolutely MARVELOUS!
Very productive in terms of making work, in terms of networking with
artists from several countries (as well as Hungary), in terms of seeing
and experiencing a country I had long dreamed of visiting, but had
never been able to. I started out in Budapest, staying for 5
nights with Hungarian colleagues of my in-laws, visiting flea markets
and old book shops in search of materials. In Debrecen, I was
able to find another flea market (thanks to one of the artists there)
and also was loaned a wonderful book to photograph and/or Xerox.
As it turned out, my pinhole camera did not function (unforeseen
problems with the Polaroid back), so I ended up working in collage and
printmaking (gum Arabic transfer method using a mirror-imaged
Xerox). This technique proved intriguing to other artists, so I
taught it to a number of people, some of whom began to use it right
away! (I have also incorporated it into my teaching here in
Boston. I even gave one demo in German, my common language with a
Hungarian pinhole photographer I met thanks to the kindness of one of
the other artist participants.
I met wonderful people – whom I hope to stay in
touch with and hope to see again – whether here or back in
Hungary (or Slovakia, or Poland or Spain
There will be a catalogue of the work/artists at the
2008 Debrecen colony by the end of the year – I really look
forward to seeing it. I am sure it will provide a wonderful way
to re-live this highly productive and inspiring experience of spending
18 days in Debrecen, in the company of other artists.
- Jesseca Ferguson, 2007 Conference on International
Opportunities in the Arts attendee