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ACENTRICSPACE®无央空间

@acentricspace

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Artist-run space & residency 📍Zhujiajiao, Shanghai International artists. Independent practice. Residency applications ↓

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www.acentricspace.com

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#artistinresidence#acentricspace#residentartist#contemporaryart#opencall#釜山文化财团#釜山艺术家#prohelvetia_shanghai#swissartscouncil#prohelvetia_residency

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ACENTRICSPACE® ARTIST RESIDENCY 2027 SPRING / SUMMER OPEN CALL Applications are now open for the March–July 2027 residency period at ACENTRICSPACE, an artist-run residency and exhibition space located in Zhujiajiao, Shanghai. We welcome contemporary artists from around the world to live and work in a shared artistic environment, surrounded by the historic water town and its vibrant local artist community. The residency offers private accommodation, individual studios, and time and space for artists to continue their existing practice, develop new research, or explore ideas in a different cultural and geographical context. There is no prescribed theme or required artistic outcome. Artists are encouraged to follow their own interests, working processes, and creative directions. Residencies are available for 1, 2, or 3 months, with opportunities to connect with local artists, exchange ideas, and present work through our residency exhibition. 📍 Zhujiajiao, Shanghai, China 📅 March – July 2027 🔗 Application details & residency information: www.acentricspace.com/residency/ #artistinresidence #opencall #artistresidency #shanghai #zhujiajiao 02 Nov 2026 Residency open call. Availability: 2026 September, October, November and December. 2027 January. Apply via website: www.acentricspace.com/residency #ACENTRICSPACE #artistinresidence #residentartist #contemporaryart #opencall 27 Aug 2026 New resident artist @azusapan1 Azusa Pan is a Chinese interdisciplinary visual artist with a BFA from SVA and an MFA from Parsons. Working primarily across installation, photography, and moving image, her practice explores the gaze, power structures, and feminism, examining the relationships between visual culture, identity, and social norms. Her work has been exhibited internationally in the US, China, and the UK. #ACENTRICSPACE #artistinresidence #residentartist #contemporaryart #visualart 09 Nov 2026 New resident artist @dustyfoot_trinh Trinh is a queer, non-binary, Chinese- Vietnamese- Canadian, multidisciplinary theatre artist; with a background in playwriting, directing, performing & producing. Graduate of UVic [BFA]. Their practice aims to examine the multiplicity of intersectional lived experiences, specifically investigating intercultural socio-political influence on queer identity, gender identity & diaspora identity. Their practice is committed to cross-pollinating social justice with storytelling through an anti-oppressive decolonial lens; as a freelance artist & through their collective Dusty Foot Productions. They approach theatre as a direct vessel in which we can share with one another our humanity. Trinh has been in search of different access points to creating multidisciplinary theatre & the framework of the theatrical process. 2023| Spent 4 months in Ometepe [Nicaragua] collaborating with Infinity Fire to develop 2 new multilingual projects: “Origen de la Diosa Volcánica” & “Duality”. Exploring the integration of fire spinning, spoken word, dance & live percussion against the backdrop of a theatrical narrative. 2024| Selected for LaMaMa’s International Directors’ Symposium [Spoleto, Italy]. Supported by CCA & BCAC. Throughout 4 weeks, Trinh gained insight into 8 culturally diverse creation methodologies in workshops led by renowned artists: Anne Bogart, Stacy Klein, Sergio Blanco, Jakub Skrzywanek, Dijana Milosevic, Derek Goldman, Ivica Buljan & MOTUS. 2025| Invited for a 17 week Artistic Collaboration as a Deviser-Performer with Double Edge Theatre [Massachusetts, USA]. The ensemble based company prioritizes outdoor, site-specific, multidisciplinary, physical theatre performances that travel across 100 acres of farmland. 2026| Latest multidisciplinary work was selected for an Artistic Residency at Acentricspace [Zhujiajiao, China]. Awarded the Canada Council International Residency Grant, funding 2 months of research & development. Culminating in a full length draft & a workshop presentation of a 10 minute excerpt. Supported by @canada.council #ACENTRICSPACE #artistinresidence #residentartist #contemporaryart #theatre 08 Nov 2026 Returning resident artist @janneberg.studio Janne Berg (b. Berlin) is a mixed-media artist based in NYC. Working across painting, sculpture, and installation, her practice explores instinct, perception, and the relationship between biological impulses and the social and artificial environments humans construct. Through observations of human and animal behaviour, her work focuses on colour, movement and gesture while experimenting with the inherent qualities of the medium in use. Berg studied Fine Arts at Parsons School of Design in NYC, the Berlin University of the Arts under Professor Monica Bonvicini, and at Willem de Kooning Academy. She has a background in Psychology from Erasmus University Rotterdam. Her work has been exhibited internationally, including in Berlin, Rotterdam, Dubai, Shanghai, and NYC. #ACENTRICSPACE #artistinresidence #residentartist #contemporaryart #mixedmedia 08 Nov 2026 @malgorzata.l.kubicka Residency work. The project “In Pursuit of Lost Time” part II during Małgorzata Kubicka’s residency is a continuation of work on the second part of her novel of the same title, which was published this year on the Polish publishing market. The novel’s action takes place in Poland, but the very concept of “time” is an experience that touches every one of us. The protagonist reflects on the transience and passage of time, both in relation to time spent with loved ones and family, observing how time leaves its mark on them, but also grapples with the concept of time in a more general, universal sense. Time in relation to our entire lives and the world around us. She observes traces of the past and what remains of the world that existed before us, which is gone because it has passed, but has left its mark on what remains, what is here and now. As an art historian, I am fascinated by the past, by what it left behind. I examine its traces, observing what remains. Architecture in the context of buildings where people like us once lived, the sculptures and paintings they surrounded themselves with. Furniture and ceramics, and other artistic crafts that they considered beautiful and worth preserving. Preservation through time. China, with its history and culture spanning over several thousand years, is an excellent field for observing a world that, despite changes, remains perfect in its immutability, retaining its content and essence. The very concept of time in this context is completely different from anything I have known before. Time is understood as the transience of generations. Time frozen in a glass bubble of the past amid the narrow streets of Zhujiajio; time shot forward among the skyscrapers soaring toward the sky in Pudong. Here, the sense of time takes on new meanings and significance. It has a different color and flavor. #ACENTRICSPACE #artistinresidence #residentartist #contemporaryart #writing 02 Nov 2026 @_noahspivak_ Residency work. Spivak is a Canadian-Ukrainian visual artist, currently based in so-called Australia. Much of his practice surrounds material experimentation to create process-driven artworks that emphasise transformation, and decay. The artist often acts as a facilitator to the natural processes that surround us but remain out of sight or are too slow to witness. He utilises repetition in his work, in both form and display, as a visual tool to help present the complexity, and nuance, of these very systems. In this way, the artist collaborates with matter to examine the porous boundary between the self and the environment.  During Spivak’s time at ACENTRIC, he has focused on continuing his exploration of domestic Ukrainian craft practices, such as embroidery and quilting, while thinking more broadly on the idea of “place” and how our bodies (and by extension our identities), shift with the change in surroundings. Do we choose to adapt or are we forced into it by circumstance? Stuck somewhere in-between, Spivak found himself pondering how we might record these almost imperceivable shifts. Drawn to the many surfaces and textures that make the Ancient City and local area so distinct, he continued his ongoing obsession of discovering meaning in the physical record of time. Acts of repeated stitching, collecting and forming textured reliefs, and the use of both natural and chemical patinas, come together as ways to reflect on and imbue the changes felt by the artist amidst his residency period. The literal and emotional depiction of labor is used by Spivak across this body of work as he investigates his self finding its self (again). #ACENTRICSPACE #artistinresidence #residentartist #contemporaryart #installation 02 Nov 2026 @diedayee residency work This work draws on a Chinese legend about Wang Zhi (王質) and a game of Go.  While watching immortals play Go for what seems a brief moment, many years pass in the human world. Upon returning, Wang Zhi finds that the world he once knew has disappeared. A similar motif of reversed time appears in Korean oral literature. Da Yee reimagines this motif within the setting of Zhujiajiao (朱家角), a traditional water town. Da Yee approaches the story from the perspective of an outsider visiting Zhujiajiao from Busan. The difficulties of communication encountered there drew attention to meanings that cannot be conveyed through language alone. Experiences of interpreting meaning through facial expressions, gestures, and surrounding circumstances led to an imagining of sounds that cannot travel clearly underwater.  While daily life continues above the surface, another world and its stories may exist beneath the water, beyond our knowledge. The rapidly changing urban landscape of  Shanghai and the seemingly suspended past of Zhujiajiao evoke a sense of overlapping times. Water becomes both a route connecting places and a surface that conceals memory. These overlapping times and shifting memories take material form through woodblock printing and dyeing. Through carving, peeling, and redrawing, the movements of the hand leave traces, while earlier forms disappear or overlap with new images. Dyeing similarly builds up layers of color and traces through repeated applications of color to fabric. Both techniques record bodily actions on material and reveal how memory accumulates and transforms over time. Supported by @bscf2009 #ACENTRICSPACE #artistinresidence #residentartist #釜山文化财团 #釜山艺术家 02 Nov 2026 @nataschamoschini residency work During her three-month residency in China with Pro Helvetia Shanghai, Natascha Moschini explored how we relate to bodies of water through stories and tales. Her starting point was Undine, an elemental water spirit from European folklore and literature, a figure of grief, longing and warning. In the tale, Undine gains a soul by marrying a mortal man, who then betrays her. From there, Moschini turned to Mazu, another female figure bound to water, but one of protection rather than loss. Mazu was a fisherman’s daughter and an excellent swimmer, who came to be venerated after saving her father and brothers from the sea. Her research then led her to the old water town of Zhujiajiao, which lives largely from water-based attractions and tourism. The town’s Fangsheng Bridge, built in 1571, takes its name from fangsheng, “releasing fish”, an act understood in Buddhist tradition as a gesture of mercy that earns merit. These stories describe our relationship with nature: water gives and takes life, we depend on it, and yet we exploit it. Out of this research emerges a contemporary Undine, through which Moschini seeks to unsettle our ideas of responsibility and guilt within a dependency we cannot escape. The end-of-residency exhibition opens up her research through performative sketches and drawings on paper. Supported by @prohelvetia #prohelvetia_shanghai #SwissArtsCouncil #prohelvetia_residency #ACENTRICSPACE #artistinresidence 02 Nov 2026 Upcoming exhibition, What Cannot Be Held, with @nataschamoschini @diedayee @_noahspivak_ @malgorzata.l.kubicka Opening 2026 October 25th. 4PM We are always trying to hold on to certain things: the forms of nature, fading memories, the traces left by time, and the experiences that continue to shape us. Yet the world is constantly changing. We can document, recount, and preserve, but we cannot make everything remain as it is. What Cannot Be Held brings together the works and research developed by four artists during their residencies. Drawing on different cultural backgrounds and personal experiences, they explore how time, memory, nature, and identity leave their traces through ongoing processes of change. Water, materials, words, and memories take on different forms in these four artistic practices, yet they converge on a question that resists easy answers: when something no longer exists in its original form, has it truly disappeared? Perhaps to hold on to something does not mean keeping it unchanged forever. What cannot be held may continue to exist as traces, memories, or transformed forms, quietly reshaping the ways we understand the world. Supported by @prohelvetia @bscf2009 #prohelvetia_shanghai #SwissArtsCouncil #prohelvetia_residency #釜山艺术家 #釜山文化财团 22 Oct 2026 Artist in residence video with @maggie_xwen #ACENTRICSPACE #artistinresidence #residentartist #contemporaryart #interview 13 Oct 2026 Artist in residence video with @camille_holtz #ACENTRICSPACE #artistinresidence #residentartist #contemporaryart #photography 13 Oct 2026

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@_noahspivak_ 4,875 followers Also mentions @nataschamoschini @nataschamoschini 1,586 followers Also mentions @_noahspivak_ @diedayee 856 followers Also mentions @nataschamoschini @azusapan1 114 followers Also uses #acentricspace @janneberg.studio 7,528 followers Also uses #acentricspace @camille_holtz 1,066 followers Also mentions @maggie_xwen @dustyfoot_trinh 888 followers Also uses #acentricspace @carolinericcalee 9,083 followers Also mentions @prohelvetia