In my ongoing project “Resident Aliens," I find participants who hold different visa statuses in the United States. Upon invitation, I photograph their homes and personal belongings, and then print these images out in addition to my subjects’ personal photo archives. These prints are installed back into their space as temporary installations and additionally documented as photographs.
My actions with participants are not only an integral social practice in representing their complex identities and histories, but it’s also a negotiation of power and assumed stereotypes. As a “foreigner,” entering their "territory," I transform their temporary states of being into installations and preserve the constructions as photographs. The project presents immigrants’ intimately nuanced experiences within their homes and in the US at large. These convergences of spaces and times invite the viewer to enter into spaces of fluidity rather than fixed perspectives. They mobilize the viewer’s gaze, imagination, and care, defying strict definitions.
It is from my own experience and the accumulation of similar stories from my friends that drove me to start “Resident Aliens”. The creation and the use of fear psychologically control us. A resident alien, who is required to pay the same tax as a citizen, may not only need to struggle for assimilation in the public space but also cannot see the home as a safe haven. We are not citizens, and our homes are temporary. Under the systematic oppression, to a certain degree, staying at home could be a house arrest: we either leave to struggle for assimilation or stay in worrying about the shift of immigration policy and foreign relations. For many immigrants, the home could never be private and secure. This perpetually contradictory and temporary state is why I want to photograph people in their homes. Under Trump’s shifting immigration policies, many people were in a constant state of uncertainty. These constructions of state power perpetually classify immigrants as potential subjects of criminality. The pandemic even adds more difficulties to many people I photographed.
Since the beginning of 2020, I have started working on this project in Chicago. But it was slowed down because of the pandemic while having a full-time job. To create various representations of immigrants’ legal status, I want to expand the geography of my project to share more perspectives. With the funding support, I want to conduct the project in New York City, Houston, and Los Angeles. These cities have large immigrant communities and are geopolitically different from one another. My goal is to produce at least forty images. The project makes various immigration statuses visible and stitches together disparate stories across the four cities through extensive collaboration.
Through collaboration and conversation, "Resident Aliens" presents the complicated conditions immigrants experience in the U.S. I want to ask: In this interconnected world, how do we redefine citizenship and the legality of a person?
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JZ-08132017-10032020, 2020, Archival pigment print, 56x70 in
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YN-09152008-11072020, 2020, Archival pigment print, 56x70 in
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LL-09292014-01042020, 2020, Archival pigment print, 56x70 in
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YY-08082013-07062020&WF-08162016-07062020, 2020, Archival pigment print, 56x70 in
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YL-08302013-11192021, 2021, Archival pigment print, 56x70 in
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HL-07252014-11272021, 2021, Archival pigment print, 56x70 in
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RR-08212010-05012021, 2021, Archival pigment print, 56x70 in
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JY-01202013-07252021, 2021, Archival pigment print, 56x70 in
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RK-08282018-01142022, 2022, Archival pigment print, 56x70 in
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ME-07182006-07072021, 2021, Archival pigment print, 56x70 in
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LP-08292016-04112021, 2021, Archival pigment print, 56x70 in
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DJ-08182018-01172022, 2022, Archival pigment print, 56x70 in
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AK-08102008-05032021, 2021, Archival pigment print, 56x70 in
{"id":42525,"grant_id":18,"user_id":20024,"grant_submission_status_id":4,"grant_result_type_id":null,"cover_block_id":466783,"story_id":41105,"place_id":null,"title":"Resident Aliens","excerpt":"","excerpt_raw":"","body":"<p>In my ongoing project \u201cResident Aliens,\" I find participants who hold different visa statuses in the United States. Upon invitation, I photograph their homes and personal belongings, and then print these images out in addition to my subjects\u2019 personal photo archives. These prints are installed back into their space as temporary installations and additionally documented as photographs.\r<\/p><p>My actions with participants are not only an integral social practice in representing their complex identities and histories, but it\u2019s also a negotiation of power and assumed stereotypes. As a \u201cforeigner,\u201d entering their \"territory,\" I transform their temporary states of being into installations and preserve the constructions as photographs. 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My goal is to produce at least forty images. The project makes various immigration statuses visible and stitches together disparate stories across the four cities through extensive collaboration.\r<\/p><p>Through collaboration and conversation, \"Resident Aliens\" presents the complicated conditions immigrants experience in the U.S. I want to ask: In this interconnected world, how do we redefine citizenship and the legality of a person?<\/p>","body_raw":"In my ongoing project \u201cResident Aliens,\" I find participants who hold different visa statuses in the United States. Upon invitation, I photograph their homes and personal belongings, and then print these images out in addition to my subjects\u2019 personal photo archives. These prints are installed back into their space as temporary installations and additionally documented as photographs.\r\n\r\nMy actions with participants are not only an integral social practice in representing their complex identities and histories, but it\u2019s also a negotiation of power and assumed stereotypes. As a \u201cforeigner,\u201d entering their \"territory,\" I transform their temporary states of being into installations and preserve the constructions as photographs. The project presents immigrants\u2019 intimately nuanced experiences within their homes and in the US at large. These convergences of spaces and times invite the viewer to enter into spaces of fluidity rather than fixed perspectives. They mobilize the viewer\u2019s gaze, imagination, and care, defying strict definitions.\r\n\r\nIt is from my own experience and the accumulation of similar stories from my friends that drove me to start \u201cResident Aliens\u201d. The creation and the use of fear psychologically control us. A resident alien, who is required to pay the same tax as a citizen, may not only need to struggle for assimilation in the public space but also cannot see the home as a safe haven. We are not citizens, and our homes are temporary. Under the systematic oppression, to a certain degree, staying at home could be a house arrest: we either leave to struggle for assimilation or stay in worrying about the shift of immigration policy and foreign relations. For many immigrants, the home could never be private and secure. This perpetually contradictory and temporary state is why I want to photograph people in their homes. Under Trump\u2019s shifting immigration policies, many people were in a constant state of uncertainty. These constructions of state power perpetually classify immigrants as potential subjects of criminality. The pandemic even adds more difficulties to many people I photographed.\u00a0\r\n\r\nSince the beginning of 2020, I have started working on this project in Chicago. But it was slowed down because of the pandemic while having a full-time job. To create various representations of immigrants\u2019 legal status, I want to expand the geography of my project to share more perspectives. With the funding support, I want to conduct the project in New York City, Houston, and Los Angeles. These cities have large immigrant communities and are geopolitically different from one another. My goal is to produce at least forty images. The project makes various immigration statuses visible and stitches together disparate stories across the four cities through extensive collaboration.\r\n\r\nThrough collaboration and conversation, \"Resident Aliens\" presents the complicated conditions immigrants experience in the U.S. I want to ask: In this interconnected world, how do we redefine citizenship and the legality of a 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14:19:47","last_logged_in_at":"2022-10-26T17:03:40.000000Z","last_logged_in_country":"US","registered_country":null,"is_not_spam":0,"when_legacy_potd":null,"delete_at":null,"created_at":"2015-12-01T20:51:14.000000Z","updated_at":"2022-10-26T17:03:40.000000Z","deleted_at":null,"profile":{"id":20008,"user_id":20024,"born_in_id":19261,"based_in_id":134352,"currently_in_id":null,"nationality_id":40,"avatar":"\/users\/20024\/avatars\/r70jj948645d0840.jpg","cover_image":null,"born_at":"1993-01-10T00:00:00.000000Z","profession":null,"bio":null,"long_bio":"<p>\u5f90\u51a0\u5b87 Guanyu Xu (b.1993 Beijing) is an artist currently based in Chicago and a lecturer at the University of Illinois at Urbana-Champaign. Influenced by the production of ideology in American visual culture and a conservative familial upbringing in China, Xu\u2019s practice extends from examining the production of power in photography to the question of personal freedom and its relationship to political regimes. He negotiates this from the perspective as a Chinese gay man. In his work, Xu migrates between mediums like photography, new media, and installation. These movements operate similarly to his displaced and fractured identity.\r<\/p><p>He is the recipient of the Chicago DCASE Artist Grant (2022), CENTER Development Grant (2021), Hy\u00e9res International Festival Prize (2020), PHOTOFAIRS Shanghai Exposure Award (2020), Philadelphia Photo Arts Center Annual Competition (2019), Lensculture Emerging Talent Award (2019), and Kodak Film Photo Award (2019). He has received artist residencies including ACRE (Chicago, IL), Light Work (Syracuse, NY), and Latitude (Chicago, IL). His works have been exhibited and screened internationally including the Aperture Foundation, New York; International Center of Photography, New York; Museum of Contemporary Art, Chicago; New Orlean Museum of Art, New Orleans; Museum of Fine Arts, Houston; Wesleyan University, Middletown; Fotomuseum Winterthur, Switzerland; Mint Museum, Charlotte; 36th Kasseler Dokfest, Germany, and others. His work can be found in public collections including San Francisco Museum of Modern Art, the Museum of Fine Arts, Houston, Madison Museum of Contemporary Art, Harvard Art Museums, Museum of Contemporary Photography Chicago, and New Orleans Museum of Art. His works have been featured in numerous publications including The New York Times, ArtAsiaPacific, The New Yorker, W Magazine, Harper's Magazine, Dazed, and China Photographic Publishing House.<\/p>","long_bio_raw":"\u5f90\u51a0\u5b87 Guanyu Xu (b.1993 Beijing) is an artist currently based in Chicago and a lecturer at the University of Illinois at Urbana-Champaign. Influenced by the production of ideology in American visual culture and a conservative familial upbringing in China, Xu\u2019s practice extends from examining the production of power in photography to the question of personal freedom and its relationship to political regimes. He negotiates this from the perspective as a Chinese gay man. In his work, Xu migrates between mediums like photography, new media, and installation. These movements operate similarly to his displaced and fractured identity.\r\n\r\nHe is the recipient of the Chicago DCASE Artist Grant (2022), CENTER Development Grant (2021), Hy\u00e9res International Festival Prize (2020), PHOTOFAIRS Shanghai Exposure Award (2020), Philadelphia Photo Arts Center Annual Competition (2019), Lensculture Emerging Talent Award (2019), and Kodak Film Photo Award (2019). He has received artist residencies including ACRE (Chicago, IL), Light Work (Syracuse, NY), and Latitude (Chicago, IL). His works have been exhibited and screened internationally including the Aperture Foundation, New York; International Center of Photography, New York; Museum of Contemporary Art, Chicago; New Orlean Museum of Art, New Orleans; Museum of Fine Arts, Houston; Wesleyan University, Middletown; Fotomuseum Winterthur, Switzerland; Mint Museum, Charlotte; 36th Kasseler Dokfest, Germany, and others. His work can be found in public collections including San Francisco Museum of Modern Art, the Museum of Fine Arts, Houston, Madison Museum of Contemporary Art, Harvard Art Museums, Museum of Contemporary Photography Chicago, and New Orleans Museum of Art. His works have been featured in numerous publications including The New York Times, ArtAsiaPacific, The New Yorker, W Magazine, Harper's Magazine, Dazed, and China Photographic Publishing House.","display_name":null,"website_url":"https:\/\/www.xuguanyu.com\/contact","profile_type_id":2,"show_age":0,"twitter_handle":null,"facebook_handle":null,"linkedin_handle":null,"skype_handle":null,"google_plus_handle":null,"pinterest_handle":null,"instagram_handle":"xuguanyu","vimeo_handle":null,"youtube_handle":null,"telephone":null,"company_name":null,"address_1":null,"address_2":null,"city":null,"region":null,"country":null,"postcode":null,"vat_id":null,"codice_fiscale":null,"codice_destinatario":null,"pec_destinatario":null,"show_explicit_content":"0","created_at":"2015-12-01T20:51:14.000000Z","updated_at":"2022-10-26T17:07:22.000000Z"}}}
