Jia-Chi Wu：Design Portfolio by JIA-CHI WU

MUSE AT R E 2 0 1 9

MUSEATRE / Jia-Chi Wu t h e

p o r t f o l i o

Museum & Exhibition

Graphic Design

About Jia-Chi Wu

Digital Costume Design of Sunlight after Snowfall Atayal Weavers of Taiwan Lâ€™OUVRE 9 Stray Dogs at the Museum The 13th Taishin Arts Award Exhibition The 12th Taishin Arts Award Exhibition

Refugium: a Social Engagement about Refugee Issues Migrant: a Journey of Flying Campus of the Future 2037, Imperial College Interface Design for CJD/TBK Media Tables Posters Graphic Design Works

Curriculum Vitae, Jia-Chi Wu

Jia-Chi Wu

Contact Information jcw.louty@gmail.com +86 156-2490-1011

Employment

Recognition

Exhibition/Graphic Design

ACADEMIC AWARDS

Aug 2017 - Sep 2017, Placement DUNCAN MCCAULEY, Berlin, Germany

MA with Distinction 2016-2018, CSM-UAL

Exhibition/Installation Manager

Academic Excellence Award 2009, 2010, NTNU

Oct 2013 - Aug 2016 MoNTUE, Museum of National Taipei University of Education, Taipei, Taiwan

Academic Excellence Award 2003, 2004, 2005, NTU

Project Manager Aug 2012 - Aug 2013 Ministry of Education: Arts and Life Education Resource Centre, Taipei, Taiwan Alternative Military Service - Graphic Designer Sep 2011 - Aug 2012 Academia Historica (a.k.a. the Presidential and Vice-Presidential Artifacts Museum), Taipei, Taiwan

Education Central Saint Martins - University of the Arts London Sep 2016 - July 2018 M.A. in Narrative Environments Degree project: Refugium – A creative social engagement about refugees and asylum seekers in need of accommodation in the U.K. National Taiwan Normal University (NTNU) Sep 2008 - Jun 2011 M.F.A. Dept. of Fine Arts, Art Directing Master's thesis: Theatre on Poster: A Study on Theatrical Poster Design for Shakespeare’s Plays

POSTER DESIGN AWARDS 2011 Best 100 Project Sunshine for Japan: International Poster Exhibition/Competition, Düsseldorf, Germany 2010 Selected The 9th Golden Bee-Moscow International Biennale of Graphic Design 2010 Selected The 11th International Poster Biennial Mexico 2009 Bronze Prize Gaze through the Centuries: Student Poster Design of Taiwan Indigenous People, Taipei, Taiwan

Curriculum Vitae, Jia-Chi Wu

Born in Taiwan, and trained as a theatre costume and graphic designer initially, Jia-Chi Wu has worked as a project/installation manager in the museum. He is fascinated by “Museatre”– a hybrid of museum and theatre – which enables him to communicate with people through interdisciplinary approaches. Recently, received his second MA in Narrative Environments from Central Saint Martins - University of the Arts London, he aims to embrace immense opportunities, and looks forward to all possibilities to explore and extend his practices, ahead.

Museum Experiences

Theatre Experiences

2018 Curator Content/concept development, spatial design and installation

2013 Costume Design Assistant Playscript research and analysis

Digital Costume Design of Sunlight after Snowfall 2014 Exhibition Designer Concept and spatial design and installation ArtistsAtayal Weavers of Taiwan 2014, 2015, 2016 Project Manager Exhibition coordination and overseeing design and installation The 12th, 13th, 14th Taishin Arts Award Exhibition Curator, Mun-Lee Lin 2016 Installation Manager Overseeing exhibition design and installation No No Sleep: Tsai Ming-Liang’s Solo Exhibition Curator, Ming-Liang Tsai 2015 Installation Manager Overseeing exhibition design and installation L’OUVRE 9: the Louvre and Comics (Le Louvre et la bande dessinée) Curator, Fabrice Douar 2014 Installation Manager Overseeing exhibition design and installation Stray Dogs at the Museum: Tsai Ming-Liang’s Solo Exhibition Curator, Ming-Liang Tsai and Mun-Lee Lin

Other People’s Money Written by Jerry Sterner Directed by Daniel S. P. Yang Costume design by Yi-Meei Wang Godot Theatre Company Sun Yat-Sen Memorial Hall, Taipei, Taiwan 2010 Costume Design Assistant Playscript research and analysis Tuesday with Morrie Written by Jeffrey Hatcher and Mitch Albom Directed by Daniel S. P. Yang Costume design by Yi-Meei Wang Godot Theatre Company Metropolitan Hall, Taipei, Taiwan 2009 Costume Design I Am My Own Wife Written by Doug Wright Directed by Cheng-Han Wu Ren-Shin Theatre Group Crown Theater, Taipei, Taiwan 2007 Costume Design Thieves’ Carnival Written by Jean Anouilh Directed by Kai-Hsiang Tu Senior production of NTU Dept. Drama and Theatre class 2007 NTU Theatre, Taipei, Taiwan

Museum & Exhibition

MUS EATRE EA

Digital Costume Design of Sunlight after Snowfall 2018 Future Tech EXPO—Digital Humanities Section 13/12/2018-15/12/2018, Taipei World Trade Centre

Curator Jia-Chi Wu Artists Yi-Meei Wang

State-Of-The-Art The digital humanity section of the 2018 Future Tech EXPO in Taiwan is going to showcase the digital costume design of Sunlight after Snowfall by GuoGuang Opera Company, which best describes how tradition and contemporary are integrated creatively with the aid of technology. In this exhibition, costume designer Prof. Yi-Meei Wang and curator JiaChi Wu work together, creating the experience that enables visitors to appreciate the beauty of traditional arts as well as to reflect what role tradition and technology play in our time. The performance Sunlight after Snowfall is inspired by calligrapher Wang Xi-Zhi’s masterpiece Timely Clearing after Snowfall, which is displayed in the National Palace Museum in Taipei. The costume designer is deeply moved by the calligraphic arts and thus involves several cutting-edge technologies to enhance and enrich the design, for instance, using body scanner to collect accurate measurements and digital-printing the ink painting of the Chinese landscape onto the chiffon fabric. She also turns the 2D characters into 3D sculpture for the design of headwear through 3D printing technology as experimentation. In the gallery, these innovative ideas are not only tailored in costumes but also woven into the spatial narrative. Visitors will be immersed in stories of these exhibits on two curve walls as the metaphor for Yin and Yang, which represents the endless energy of innovation. At the end of the visit, visitors will be encouraged to imitate the calligraphy through touch screens instead of typing or writing with a Chinese brush. Meanwhile, they are able to interact with an AI robot that writes calligraphy, which induces an inevitable question, “How human civilization is going to live in harmony with technology?”

From concept, spatial design to realisation

MUS EATRE EA

Atayal Weavers of Taiwan 2018 London Craft Week

11/05/2018-12/05/2018, British Library

The Atayal people are known for their ancient textile weaving traditions. Shu-li Lin studied the Atayal tradition of dyeing and weaving from the elders of her community. Combining Atayal weaving techniques with the colours, textures, and practices of modern design, Lin’s work balances tradition with environmental protection and sustainability. Hsiu-yu Chen started weaving 12 years ago to reconnect with her heritage and understand the Atayal experience of making clothes and quilts using this method. The processing of collecting ramie – from harvesting to cutting and peeling – was deeply ingrained in her childhood memories. The exhibition design creates the silhouette of mountains where Atayal people live in by displaying these traditional textiles that sets as the ‘stage’ for this ‘performing’ exhibition. The two weavers/artists performed the ancient techniques as well as held the workshop for visitors to experience traditional weaving techniques of Taiwan’s Atayal aboriginal people.

MUS EATRE EA

L’OUVRE 9

the Louvre and Comics (Le Louvre et la bande dessinée) 28/11/2015-28/02/2016, MoNTUE

Curator Fabrice Douar

The Louvre and the Ninth Art

Artists Etienne Davodeau, David Prudhomme,Jiro Taniguchi, Hirohiko Araki, Enki Bilal, Bernar Yslaire and Jean-Claude Carrière, Christian Durieux, Philippe Dupuy and Loo Hui Phang, Nicolas de Crécy, Éric Liberge, Marc-Antoine Mathieu, AH TUI (PUSH COMIC), Jason Chien, Chang Sheng, TK,Richard Metson, Sean Chuang, 61Chi.

The exhibition presents the fruits of this collaboration, which has now been under way for 10 years. Eleven artists have seized hold of the greatest museum in the world, and—each in their own way—have questioned the slice of cultural reality that this institution represents, or played with the fantasies that the museum’s collections arouse in each of us. Within this interplay of darkness and light, which is an essential component of the art of drawing, we have chosen to present works according to two principles. Comics are a narrative art form intended for publication, but we should not forget that they

are also works of art that can be appreciated individually. To maintain the link with publishing, running throughout the length of the exhibition are displays that present the works horizontally, in the form of a long scroll, and in narrative sequences like the chapters of a book. Thus the visitor can follow and understand the narrative logic of each author and the visual and drawing structures that he uses in his story. As a counterweight to this horizontal presentation, and for aesthetic effect, we have placed on the walls either photos showing parts of the Louvre that feature in the selected works, or individual page art or preparatory drawings

from the works that tell the story of their creation, but which can also be viewed like any other work of art. To more clearly highlight this universal bond of drawing, we also invited Taiwanese artists to take part in the project. Seven artists responded to their European and Japanese counterparts, taking up the theme of dreams and

invitation to a journey that the Louvre evokes. Once again, their individual perspectives, their cultural origins and their unique ways of expressing themselves immerse visitors in a special atmosphere and bring forth new images of the Louvre, new prisms through which visitors may see the greatest museum in the world, see art, and—why not?—see themselves….

Exhibition scenes: 1F, MoNTUE

Exhibition scenes: 2F, MoNTUE

Exhibition scenes: 3F, MoNTUE

Exhibition scenes: B1, MoNTUE

The Making of Lâ€™OUVRE 9

the Louvre and Comics

Behind the Exhibition: Exhibition manager Mr. Huang was checking the sequence of each art works with curator Mr. Fabrice Douar from the Lourve, France.

Behind the Exhibition: Drawings of each floor. (Left) The carpenters was assembling the leporellos.(Right)

Behind the Exhibition: Installing the twisted leporellos

Behind the Exhibition: Mockup of leporellos in different materials

Behind the Exhibition: Explaining to students/visitors how to blend colors and texture walls

Behind the Exhibition: senior hight school students are taking a look at the exhibits

MUS EATRE EA

Stray Dogs at the Museum: Tsai Ming-Liang’s Solo Exhibition 29/08/2014-09/11/2014, MoNTUE

From the perspective of the Museum of National Taipei University of Education, what is the meaning of playing the film at the museum? Lin Mun-lee: Now is a very suitable and mature time to play the film at the museum. In real life, we have already stayed in the era of the movie industry, in which commercial mechanism dominates the entire development of the film. Therefore, the fact of “the film as a great art” has the existence of crisis in today’s situation. In the arts world, the concept of crossborder has become increasingly unrestricted. The so-called crossborder returns creations to an original status and lets creators have more freedom to choose media to create. Of course it gradually blurs the boundaries between traditional arts and films, creating a new interface between films and museums. In addition, there are two levels regarding the problem of arts education. The first level is the museum as a role of social aesthetic education. We establish a museum in a university for the purpose of planting the

roots of beauty, aesthetic and art education. It is so important that we must do. The second level is the museum as a field open to the public. Field and space is different because space does not have spirituality but field does. Field includes many tangible and intangible things. It carries artistic works as well as their cultural connotations behind. The film enters the museum, just because the latter has both levels. Different

from the cinema’s commercial mechanism, the museum provides artists with a stage and a field for dialogue, so both sides collaborate to generate more resonance and internalize more ideas. Through the process of beauty and aesthetic training, there are more and better artists and creators. Most importantly, there are more art lovers and appreciators. This is the value why museums exist.

What is the entry point of playing the film at the museum? What will be taken into consideration? Tsai Ming-liang: When Typhoon Matmo stroke, the whole mountain seemed to be blown away. I was worried about my house's floor-to-ceiling windows all night. Driving on the mountain road on the second day, I saw many trees fractured with branches all over on the ground. Suddenly inspired, I picked up those branches and brought them home. They all have good-looking gestures. I decide to use them as materials in the exhibition of the film. In the meantime, my drama The Monk from Tang Dynasty has been played from Europe to Taipei. A lot of large papers used in the drama are left. I am reluctant to throw them away. Maybe they can be used in this exhibition. Before the day of exhibition, I have no idea how Stray Dogs will look like at the museum. Why don't you come to see by yourself!

Lin Mun-lee: The biggest challenge to play the film at the museum is to link “time” and “space.” The space mentioned here has features of the field as the museum. If the film is played in the cinema, it is a finished creation itself. It is over after played. But at the museum, it becomes a kind of re-creation: a new work is created within the original work. Stray Dogs is like a crystal. Inside this crystal, some originally unseen or hidden things are taken out again. This process develops a new artistic style presented in the way of exhibition eventually. Director Tsai Ming-liang’s work is able to respond to the aforementioned process. In his movie, whether visual, aesthetic or deeper meanings are very suitable to be re-created in the field of museum. It can completely release his work’ unique artistic power.

Exhibition scenes: 2F, MoNTUE

Exhibition scenes: Elevator, Staircase, 3F, 2F, MoNTUE

Exhibition scenes: B1, MoNTUE

Exhibition scenes: Museum overnight and concert, MoNTUE

Exhibition scenes: Midnight's gallery talk, MoNTUE

The Making of Stray Dogs at the Museum: Tsai Ming-Liangâ€™s Solo Exhibition

Behind the Exhibition: Installing trees into ruins of woods

Behind the Exhibition: Installing the paper screen

MUS EATRE EA

The 13 th Taishin Arts Award Exhibition 30/05/2015-26/07/2015, MoNTUE

Interpretation and sharing a crossover dialogue of visuals and other senses Curator, LIN Mun-Lee Curatorial Committee, WU Jing-Jyi, SHIH Jui-Jen, LEE Yulin

Since its inception in 2002, Taishin Arts Awards has been annually recognizing and showcasing the most innovative, breakthrough professional achievements and art exhibitions that epitomize the authentic spirit of Taiwan. In 2013, in response to the trend of crossovers in contemporary art, the categorization of visual arts and performing arts was eliminated, breaking down the classification barriers in the selection and

Altering Nativismâ€”Sound Cultures in Post-War Taiwan by The CubeProject Space

Long River by WCdance

The Monk from Tang Dynasty by TSAI Ming-Liang

Home: Records of the Hongmaogang Village Relocation by CHEN Po-I

An Uncanny Tomorrow by YUAN Goang-Ming

awarding. ARTalks, an open online platform, was created by inviting experts and scholars, who have long been dedicated to the development of contemporary art, to be nominators and to visit the exhibitions in person to provide independent observations. “Spirit of the times”, “cultural awareness” and “future-proof ” underscore the selection criteria, where the broader perspective unlocks the limitations of art categorization. A total of ten to fifteen finalists are shortlisted, essentially opening crossover dialogues and infinite possibilities. Next, a Review Committee, consisting of representatives of directors from the Taishin Bank Foundation for Arts and Culture, eminent experts and critics and chair of the nominators, further deliberates and votes on the Top Five Exhibitions. The final

selection is decided by a panel consisting of two international and three domestic jurors, who would cherry-pick the annual award winner. It is hoped that engaging public participation can inspire discourse, as the annual nomination and art criticism get people involved in arts. Coupled with a professional and rigorous selection mechanism, the Awards serve as a platform in the affirmation and recognition of Taiwan’s outstanding artistic achievements. This year’s Top Five Exhibitions are Altering Nativism—Sound Cultures in Post-War Taiwan by TheCube Project Space, Long River by WCdance, An Ucanny Tomorrow by Yuan GoangMing, Home: Records of the Hongmaogang Village Relocation by Chen Po-I, The Monk From Tang Dynasty by Tsai Ming-Liang.

They are prime examples of the continuous crossover exploration of an artist’s creative consciousness in the pursuit of fusing tradition with innovation. Standing at the intersection of social practice and action of care, the narrative of the diverse artistic vocabulary breaks free the shackles of art forms, revealing the reflexive dialectic of contemporary art in confronting life experiences and social culture, while summoning memories and the strength of traditional togetherness.

practices. In the curatorial process of contemporary arts, we want more than visual rhetoric, hence begins the focus on how viewers can be a part of the mutual dialogue from their perception with the art space, motivating the formation of artistic context and its interpretation.

“Interpretation” and “sharing” are the highlights of this year’s Taishin Arts Awards Exhibition. Synchronous display in a meticulously configured open space layout showcases and reconstructs the artworks, guiding viewers to interpret and share their own artistic perspective with the artists. Built on “listening”,

This curated exhibition attempts to re-imagine time and visual space. The original artistic exhibitions are detached and recreated to a certain extent, where the museum space becomes a newborn medium embodying the artists’ bodily experience and the re-emergence of aesthetics, unfurling a myriad of different perspectives and “reflection”, “expression” and “sharing”, the exhibition encourages viewers to journey back to the basics and explore the essence of the senses. An open rapport and dialogue is alive between the viewers and artists, as is the harmonious artistic intimacy crossing over time and space. We wish viewers to not just visually “see” the artworks, but use other senses to “hear” and “feel” the artistic practice and creation process relayed by the artists. This return to the purest self makes one reflect on their life experiences and social culture—a dialogue unique to each viewer.

Exhibition scenes: 2F, the Monk from Tang Dynasty by TSAI Ming-Liang, MoNTUE

Exhibition scenes: 2F, Long River by WCdance, MoNTUE

Exhibition scenes: 3F, Altering Nativismâ€”Sound Cultures in Post-War Taiwan by The CubeProject Space, MoNTUE

Exhibition scenes: 3F, Home: Records of the Hongmaogang Village Relocation by CHEN Po-I, MoNTUE

Exhibition scenes: B1, An Uncanny Tomorrow by YUAN Goang-Ming, MoNTUE

Exhibition scenes: Artists are present, MoNTUE

Exhibition scenes: Gallery talks - grass cinema, TSAI Ming-Liang, MoNTUE

Exhibition scenes: Regular museum tours, MoNTUE

The Making of The 13 th Taishin Arts Award Exhibition

Behind the Exhibition: It took 1,500 pieces of paper and 40 hours to finish this crumpled paper installation which was designed to diminish sunlight for better quality of projecting image.

Behind the Exhibition: Meeting with the curator, artists, and the exhbitions designer

Behind the Exhibition: This gigantic paper-made projectiong screen was 9 x 16 meters.

Behind the Exhibition: Installation of outdoor advertisement

Behind the Exhibition: Building of the slope for TSAI Ming-Liang's the Monk from Tang Dynasty.

MUS EATRE EA

The 12 th Taishin Arts Award Exhibition 16/05/2014-13/07/2014, MoNTUE

The 12th Taishin Arts Award Exhibition— Interdisciplinary Interpretation on the works and Timespace / Discourse between Arts and Society Curator, LIN Mun-Lee Curatorial Committee, WU Jing-Jyi, SHIH Jui-Jen, LEE Yulin Dear John by M.O.V.E. Theatre Since 2002, Taishin Arts Award has annually presented awards to the year’s most outstanding creative expressions, exhibitions or productions that may showcase professional achievement. This year, however, in response to the cross-disciplinary trend in contemporary art, as well as the reflections on and driving forces of current social phenomena, Taishin Arts Award no longer categorized

the nominated works; instead, it conducted interdisciplinary assessment based on three broader principles—“spirit of the time,” “humanities concern,” and “futurity”. This is by far the most significant reform in the tenyear history of the Taishin Arts Award, breaking the boundaries of artistic categories in order to accommodate greater possibilities for artistic creations.

Dear All by LI Ming-Chen

My Dear by HO Hsiao-Mei, MEIMAGE Dance

Hua-Shan-Qiang by SU Yu-Hsien

The Ruin Image Crystal Project: 10 Scenes by KAO Jun-Honn

With this in mind, and also to incorporate the public participation and attention to the selection mechanism, the Taishin Arts Award had launched a brand new online platform “ARTalks” and appointed seven scholars and experts, who have long observed the development of contemporary art, as independent nominators. The nominators submitted independent observation reports, from which fifteen nominated works were chosen as finalists upon discussion and assessment. A review committee consisted of nine members—including three representatives of Taishin Foundation Board members, five distinguished arts professionals and scholars, and two chairmen elected from the initial nomination committee—then went through four rounds of discussion and

voting to determine the five short lists. With participations of international experts, the jury will eventually select one annual Grand Prize winner. The annual Grand Prize winner will receive a monetary award of 1.5 million NT dollars, and the other four short lists will each be awarded 500 thousand dollars. We hope that dialectics triggered by public participation and discussion can be combined with a professional and just assessment mechanism that features year-round observations and nominations, as well as arts reviews and critiques, to recognize and honor Taiwan’s outstanding creative achievements in the arts.

This exhibition is a curatorial response to Taishin Arts Award’s brand new direction and interpretation after the major reform. In the history of contemporary museum development, art museums have two growingly evident traits— its spatial environment is now incorporated to form the context through which works can be interpreted; this also has given art museums a more powerful function that can extract the inner quality of the works. In other words, for a work of art, regardless of whether it belongs to the traditional categories of “visual art” or “performing art,” art museums can timely enhance the dynamics for it to venture

into other disciplines or break free from the limits of artistic forms, allowing the interdisciplinary work and its presentation to escape from their dualities in juxtaposition (or polarized dualities) to manifest an integral possibility. This allows the reform of Taishin Arts Award and the curatorial concept of Museum of National Taipei University of Education (MoNTUE) to be put into practice at this exhibition. The five short lists of this year’s Taishin Arts Award are naturally “artworks” that have taken place in certain time and space, as well as in certain conditions, in the past. They could be regarded as having been categorized already according to all the existing

criteria for art categorization, such as stage, theater, and exhibition space; thus, within the boundaries of realistic forms of contemporary art, the visitors that were present at these shows may not necessarily fully understand the artists’ creative consciousness and their bravery in facing highly risky interdisciplinary integrations of forms. Through this exhibition, we specifically enhance the possible spatial and temporal flexibilities of MoNTUE in an attempt to enable, as much as possible, all five outstanding works to be “present” on this foundation of synchronicity, so that the audience (whether they have seen the works or not) can better sense the glittering and everlasting charms of these works.

Exhibition scenes: 2F, My Dear by HO Hsiao-Mei, MEIMAGE Dance, MoNTUE

Exhibition scenes: Educational Programs, MoNTUE

Exhibition scenes: 2F, the Ruin Image Crystal Project: 10 Scenes by KAO Jun-Honn, MoNTUE

Exhibition scenes: 3F, Hua-Shan-Qiang by SU Yu-Hsien, MoNTUE

Exhibition scenes: 3F, Dear John by M.O.V.E. Theatre, MoNTUE

Exhibition scenes: B1, Dear All by LI Ming-Chen, MoNTUE

The Making of The 12 th Taishin Arts Award Exhibition

Behind the Exhibition: From mark to final

Behind the Exhibition: Making of the

e folding stage

Behind the Exhibition: Testing the size of projection and the angle of the projector

Graphic Design

It’s only when you live with somebody and you share space, stories, evenings and meals with them that it becomes real what is happening and why people are having to flee — Kitty, a refugee host

Refugium:

A Social Engagement about Refugee Issues Refugium is a pop-up event set up as a ‘property viewing’ that aims to raise public awareness of refugees in need of accommodation, security, and belonging as they integrate themselves into a new society and rebuild their lives in the U.K. It is not intended to be an actual matching service, but to explore the willingness of visitors to consider hosting refugees and to have a better understanding of these issues. The ‘viewing’ engages visitors who are interested in the plight of refugees by having them read stories about hosting. These stories are embedded in different forms of media placed around the communal space of a flat. During the ‘viewing,’ visitors think through their concerns, imagine what it might be like to host refugees in their home, provide commentary in their paper tent ‘host profile,’ and leave as potential hosts.

title Refugium what Degree Project, Graphic Design for Refugee at Home | in 2018

6 D 5 C 8

4 B

7 E

3 A

9 2

The visitor journey takes place as a property viewing experience with stories about hosting placed around the living room and other communal spaces

The Visitor’s Journey As seen in the matrices, the visitor journey demonstrates how all the elements work together through space and time. The ‘viewing’ itself consists of visitors arranging/booking a viewing, being guided by an agent, reading the stories, thinking through the questions posed, collecting colour triangles, writing down their responses, assembling and pasting them, building a ‘roof ’ by placing the paper tent on top of the installation house, asking further questions if interested, and finally leaving as potential hosts.

Booking

Refugium: Book Your Viewing Refugium is a pop-up event set up as a â€˜property viewingâ€™ that engages visitors in their interests and concerns about hosting refugees. Through the 'viewing' experience, visitors will learn more about hosting, and hopefully will leave more willing to take meaningful action as a result. If you are interested in the plight of refugees, please consider booking a 'viewing'. It would be fantastic if you could bring others with you. Light refreshments will be provided. Thank you very much!

1. What's your name?

2. Will you be bringing any guests to the viewing and how many?

3. When would you like to schedule your viewing?

4. How can we contact you?

Being guided

Arranging a viewing through an online booking system and arriving at the venue at the designated time; Being guided by an agent to explore stories in various reading material, which is placed in the communal space of a flat.

What impressions do you make on others?

Encounter:

Life is full of encounters. Can anyone be really prepared for the unexpected? What does your mind say to you at the moment? In the stories, the two hosts and their eventual refugee guests, share their own mixed feelingsâ€”worries, insecurities, anticipations, and uncertaintiesâ€”surrounding their first meetings and impressions.

impressions