ENG// The Unifiedfield is an independent art space and artist-run organization focusing on the experimental aspects of sound, video and performance art. It previously occupied a traditional complex amongst rice fields in Yogyakarta (Indonesia), subsequently moving into a cave in Granada (Spain) before settling in an antique building nestled in Granada’s historic Moorish quarters, the Albayzín, where it has been running its artist residency for the last three years. In 2013 The Unifiedfield initiated its Nomadic Artist-in-Residence Program in The Philippines; currently based in Davao, it is planning to establish a permanent residency in Siargao island next year.
ES// The Unifiedfield / el campo unificado es un colectivo de artistas autogestionado y espacio artístico independiente centrado en los aspectos experimentales del sonido, el vídeo y el arte de performance. The Unifiedfield instaló su primera sede en un complejo tradicional rodeado de arrozales en Yogyakarta (Indonesia); posteriormente se trasladó a una cueva en Granada (España), para finalmente establecerse en un antiguo edificio ubicado en el barrio histórico del Albayzín, donde los últimos tres años se ha llevado a cabo una residencia artística. En 2013 The Unifiedfield inició un programa nómada de artistas en residencia en Filipinas; actualmente con base en Davao, The Unifiedfield establecerá una residencia permanente en la isla de Siargao el próximo año.
24 & 25 January 2015 at The Substation (Singapore):
Singaporean Experimental Artists at The Unifiedfield AIR Programme, organised by The Unifiedfield with the support of The Substation and the National Arts Council.
The Unifiedfield is proud to present the outcome of the projects produced by the experimental Singaporean artists who participated since 2012 at The Unifiedfield´s Artist-in-Residence (AIR) Programme in Granada, Spain. A showcase with live performances, experimental music, screenings, artist talks and workshops. Artists: Zulkifle Mahmod, Kai Lam, Zihan Loo*, Harry Chew, Angie Seah, Bani Haykal and Shahila Baharom, Shaun Sankaran and Natasha Noor, Tania De Rozario, Tara Transitory aka One Man Nation, Marta Moreno Muñoz.
Special thanks to co-organizer Shahila Baharom .
*This event has been rated M18.
Link full program: www.theunifiedfield.org/archives/4294
CLICK on the pictures to see them FULL SIZE
[NEXT ARTISTS at The Unifiedfield Nomadic Artist-in-Residence Program in The Philippines: TERUE YAMAUCHI (JP), STINE GRO (DK), SOIKA (PH)]:
- Feb- March 2015: For her art research, Terue Yamauchi will explore the life culture of small fishing communities in Mindanao, including Bajau communities in Davao. With the support of The Agency for Cultural Affairs.
-March-April 2015: Stine Gro will work on a remote island in Surigao del Sur in her new project “Mechanic.Trans-natural/Nature.Trans- mechanic”. Stine will also conduct several workshops in Davao city and in Batug, Leyte. With the support of The Danish Arts Foundation
-The Unifiedfield Nomadic Artist-In-Residence Program is glad to annouce the first local artist granted to participate in our residency: Soika. The artist will produce a site-specific performance in collaboration with Marta Moreno Muñoz, and filmed by Cebuano filmmaker Ivan Zaldarriaga [dates in 2015 tbc, Olango island]. +info comingo soon!
[FEBRUARY - MARCH 2015: TERUE YAMAUCHI]
Terue Yamauchi  is an interdisciplinary artist based in Fukuoka, Japan. For her art research, Terue Yamauchi will explore the life culture of small fishing communities in Mindanao, including a remote paradisiacal island in Surigao del Sur and the Bajau communities in Davao. Residency project assisted by Ivan Zaldarriaga and Angely Chi.
“How can I inherit a world view by living it that emerges from confronting myself with many other ways of living, not limited to that of humans’ but of many other living beings? Every act of my living as an artist has this question flowing beneath like ground water. Without life, there is no art, and not vice versa”.
* Please refer to the following projects on Terue Yamauchi’s website to see related works: “You Are Here” (2014), “First Cry” (2013), “Murute” (2011/2012), “Before Daybreak” (2011).
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Project Proposal and Background
‘Over the past four years, I have been exploring the life culture of female free diving fishery practiced in Japan, the North Pacific Island of Jeju and some parts of Korean Peninsula, known as Sea Women in English, Ama in Japan and Jamu-su or Haenyeo in Korean. It is an ancient and fast vanishing tradition that now consists predominantly of fifty to eighty-year-old women who dive to depths of up to 20 meters with no oxygen supply to catch seafood and collect seaweed.
I have produced and internationally exhibited a series of works that stemmed from personally and deeply engaging with individual divers I encountered with through the course of my exploration taken place at about seven historically connected locations across the sea, while at the same time continuously questioning on future of such ancient life culture and how art/my practice can relate to it.
For me, they are one of the most inspiring living example of ways of human being, the living embodiment of the life culture nurtured by the sea, carried by tides and currents that inspire me a worldview seen from the sea, departing from conventional continental view points fixated with national borders, a conceptual compass to explore human experience.
In 2013, as a way to pursuit my exploration, I attended a traditional diving school in Jeju Island while living with a local grandmother diver. There, I came across an essay by Professor Cynthia Neri Zayas, a maritime anthropologist at University of the Philippines, entitled “Ama (women divers) culture as a relic linking maritime Philippine culture.” Her inspiring and imaginative essay linking contemporary Philippines’ Bajau and Visayan fisheries with Ama traditional culture has greatly encouraged me to expand my focal point of the fishery tradition into something being part of much wider current of maritime human practice beyond the strait between Korean and Japan, and has inspired me to envision a grand seascape, an imaginative trail of journey that ancestors of these divers may had traveled all the way from/to the Southern sea. As I recently wrote to Professor Zayas, she greatly encouraged me to explore islands and regions in the Philippines.
I am greatly interested in visiting some of those regions and to work toward new phase of my project exploring worldviews and contemporary human experience pursuit from sea. As I am not a researcher, I do not intend to carry out a research in an academic manner, but to physically be present in a space and time where everyday of people living by small-scale fishery takes place, observe carefully with my own eyes, record/document with various medium (video, sound, photography, drawing, writing etc) and when possible, gradually to have personal contact with them, meanwhile experiment ways of expressing and conveying visions, thoughts or ideas I may be inspired of. And I believe that The Unifiedfield residency program would be a great opportunity for me to do so in the middle of inspiring natural and cultural environment’.
With the support of The Agency for Cultural Affairs, Government of Japan.
Terue Yamauchi interviewed by Film Diaries
This is the story of Terue Yamauchi who Film Diaries encountered at Hansupul Haenyeo School in Jejudo. Defining ‘Haenyeo’ (women divers) as the ‘living heritage,’ she immerses herself in the life of Haenyeo to understand and experience their culture.
[MARCH - APRIL 2015: STINE GRO]
Stine Gro will work on a remote island in Surigao del Sur on her new project “Mechanic.Trans-natural/Nature.Trans- mechanic”. She will also present her art project in Davao city and conduct a workshop (venues to be announced soon). Residency project assisted by Ivan Zaldarriaga and Angely Chi.
* With the support of The Danish Arts Foundation.
Born 1987 in Copenhagen, Stine Gro lives in Berlin, Germany and Odense, Denmark, and in trains, boats and airplanes.
‘My work often takes its starting point in a juxtaposition between paranormal presence, the decay and revival of the memory, and the bodily and mental presence of oneself in relation to others. My work is thus oriented towards the private, spiritual space, the need to create a “room” of ones own. Working mostly with a low-fi phenomenological meeting between analog, organic, and digital objects, almost towards a misuse of technology, I try to open up the narrowness of objects created for very specific purposes, by approaching them as unknown objects with no already existing discourse connected to them. My medias of choice are performative sculptures often in a field crossing over towards installations, using light projections as a medium to make the room between the viewer and the object more visible’.
* Picture by Camie Laznyé.
“The project I am planning to do at The Unifiedfield AIR Program in The Philippines has the working title ‘Mechanic.Trans-natural/Nature.Trans- mechanic’. It takes its starting point in the juxtaposition between technology and the very diffuse concept of nature and natural forces. I plan to build a machine inspired by a dias-projector driven by different natural forces such as wind-energy, sun and moon light, ect. It will consist of a homemade windmill that creates electricity to the different parts inside the machine. Those would be a light bulb, lighting up image material from behind, and travelling through a lense and creating an image on a surface outside of the machine. A small engine will also be connected to the windmill, slowly turning around and through that process shifting the “image”, just as in a dias projector. The projector will potentially become a big stucture, more than one meter long . The projector is dependent on the weather. Sometimes it will run slow and with hardly no light when hardly no wind is present, and other times it will run fast and have a very strong image.
As a background for the project I am researching in the term “the Circardian rythm”, that is the name of the rythm within humans as well as plants, that gives us a feeling and sense of circular rythm, repeating day after day. The theory is explaining this concept as a constant, which is not necessarily dependent on the surroundings. I want the machine that I will build in the recidency to explore this idea of a circular rythm, as being more fluid and inconsequent as stated. The machine will therefore demonstrate a poetic little story about the rythm time and how it is fluid and depending on its surroundings. The machine will show a row of images or objects that will circulate with the little engine, and shift places in front of the lense, these objects/images will be choosen out in the area of the residency, but shall all have a connection to the concept of time and repetition”.