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SEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. THE RITUAL INTIMACY OF CHRISTIAN THOMPSON’S ART PRACTICE “Christian Thompson: Ritual Intimacy” was the first survey exhibition of Bidjara artist Christian Thompson and was curated by Hetti Perkins and Charlotte Day, Director of Monash University Museum of Art. Working with photography, video, sculpture, performance and sound, the multidisciplinary artist explores themes of identity, race and Australia’s colonial history, as well as his lived “ONE SECOND • ONE YEAR”: CHINESE ARTIST ZHAO ZHAO’S Curated by Barbara Pollack, the author of Brand New Art from China: A Generation on the Rise (published 2018), the show examines Zhao’s “One Second” series of works. Encompassing drawings, paintings and sculpture, the show centred on Zhao’s reflection on the passage of time. Zhao Zhao, “One Second · One Year”, 8 August – 22 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India. “2 OR 3 TIGERS”: ASIAN NEW MEDIA ARTISTS AT BERLIN’S HAUS The tiger as the medium not the message. The main piece, from which the exhibition derives its title, is by Singaporean artist, film and theatremaker Ho Tzu Nyen.Ho’s installation One or Several Tigers (2017) explores the reoccurring use of the tiger in distinct moments in the development of national discourses in Malaysia and Singapore. For Ho, the tiger is a medium that channels otherwise A ‘BIG TAIL ELEPHANT’: CHINA’S CHEN SHAOXIONG (1962–2016 Chen Shaoxiong was born in Guangdong province, China, in 1962 and graduated from the Academy of Fine Arts there in 1984. Chen was a founding member of two seminal collectives emerging in Guangzhou just after the collective “boom” of the 1980s Chinese avant-garde, which saw over 80 artist groups emerging on the contemporary art scene particularly concentrated in northern China and Beijing. DANIE MELLOR’S GLITTERING INTERROGATION OF AUSTRALIAN Danie Mellor, ‘Red, white and blue’, 2008, mixed media with mosaic and taxidermy variable, tallest 105 cm. Image courtesy the Australian Museum. Though dealing with weighty issues, Mellor’s work remains humorous, layered with witticisms: in The native’s chest (2010) an emu stands on a sign that reads “CULTURED”, and Advance 5 SOUTHEAST ASIAN CERAMIC ARTISTS TO KNOW Installation view of “Ceramicship” at One East Asia Artspace, Singapore. Image courtesy One East Asia Pte Ltd. “Ceramicship” is an exhibition of works by five Southeast Asian ceramic artists, running from 1 to 31 July 2014 at One East Asia Artspace in Singapore. CHINESE CONTEMPORARY ART AWARD (CCAA) ANNOUNCES 2016 CCAA highlights the necessity of such an award, especially in the current climate of growth in Chinese art,. at a time when Chinese art appears to be validated almost exclusively by market forces, an unexcited and deliberate reflection of the present art production such as CCAA provides through its exhibitions, publications and other activities, is very much in need. WHAT IS STREET ART? VANDALISM, GRAFFITI OR PUBLIC ART Forms of Street Art. 1. Traditional. Painting on the surfaces of public or private property that is visible to the public, commonly with a can of spray paint or roll-on paint. It may be comprised of just simple words (commonly the writer’s name) or be more artful and elaborate, covering aSEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. THE RITUAL INTIMACY OF CHRISTIAN THOMPSON’S ART PRACTICE “Christian Thompson: Ritual Intimacy” was the first survey exhibition of Bidjara artist Christian Thompson and was curated by Hetti Perkins and Charlotte Day, Director of Monash University Museum of Art. Working with photography, video, sculpture, performance and sound, the multidisciplinary artist explores themes of identity, race and Australia’s colonial history, as well as his lived “ONE SECOND • ONE YEAR”: CHINESE ARTIST ZHAO ZHAO’S Curated by Barbara Pollack, the author of Brand New Art from China: A Generation on the Rise (published 2018), the show examines Zhao’s “One Second” series of works. Encompassing drawings, paintings and sculpture, the show centred on Zhao’s reflection on the passage of time. Zhao Zhao, “One Second · One Year”, 8 August – 22 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India. “2 OR 3 TIGERS”: ASIAN NEW MEDIA ARTISTS AT BERLIN’S HAUS The tiger as the medium not the message. The main piece, from which the exhibition derives its title, is by Singaporean artist, film and theatremaker Ho Tzu Nyen.Ho’s installation One or Several Tigers (2017) explores the reoccurring use of the tiger in distinct moments in the development of national discourses in Malaysia and Singapore. For Ho, the tiger is a medium that channels otherwise A ‘BIG TAIL ELEPHANT’: CHINA’S CHEN SHAOXIONG (1962–2016 Chen Shaoxiong was born in Guangdong province, China, in 1962 and graduated from the Academy of Fine Arts there in 1984. Chen was a founding member of two seminal collectives emerging in Guangzhou just after the collective “boom” of the 1980s Chinese avant-garde, which saw over 80 artist groups emerging on the contemporary art scene particularly concentrated in northern China and Beijing. DANIE MELLOR’S GLITTERING INTERROGATION OF AUSTRALIAN Danie Mellor, ‘Red, white and blue’, 2008, mixed media with mosaic and taxidermy variable, tallest 105 cm. Image courtesy the Australian Museum. Though dealing with weighty issues, Mellor’s work remains humorous, layered with witticisms: in The native’s chest (2010) an emu stands on a sign that reads “CULTURED”, and Advance 5 SOUTHEAST ASIAN CERAMIC ARTISTS TO KNOW Installation view of “Ceramicship” at One East Asia Artspace, Singapore. Image courtesy One East Asia Pte Ltd. “Ceramicship” is an exhibition of works by five Southeast Asian ceramic artists, running from 1 to 31 July 2014 at One East Asia Artspace in Singapore. CHINESE CONTEMPORARY ART AWARD (CCAA) ANNOUNCES 2016 CCAA highlights the necessity of such an award, especially in the current climate of growth in Chinese art,. at a time when Chinese art appears to be validated almost exclusively by market forces, an unexcited and deliberate reflection of the present art production such as CCAA provides through its exhibitions, publications and other activities, is very much in need. JUNE 2021 – ARTRADARJOURNAL.COM A Look at the Canadian Cities up for the Best City Award; Why Glendale is Pushing to Become the new Marathon Capital of the US; Unpacking the A LOOK AT THE CANADIAN CITIES UP FOR THE BEST CITY AWARD The beautiful thing about Canada is its variety. Being such a large country, cities are going to look and feel different depending on whereabouts you are. 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India. “SPIRITUALITY AND ALLEGORY”: INDONESIA’S CHRISTINE AY TJOE This is the investigative premise of Ay Tjoe’s ongoing solo exhibition, “Spirituality and Allegory”, hosted by the 21st Century Museum of Contemporary Art, Kanagawa. In celebration of the artist’s first exhibition in Japan, Art Radar looks at Ay Tjoe’s transformative career and her views on contemplative and dynamicspirituality.
“BREAKING GROUND”: INDIA’S FIRST CERAMICS TRIENNALE OPENS Ceramic art breaks new ground in Jaipur “Breaking Ground” is the first ever international ceramics event to be held in the country, present ing 35 Indian and 12 international artist projects, 10 collaborations, 12 speakers, a symposium, film screenings and workshops for adults and children at the Jawahar Kala Kendra in Jaipur in collaboration with the Contemporary Clay Foundation. A PIONEER OF CHINA’S ’85 NEW WAVE: GENG JIANYI (1962-2017 Geng Jianyi: an ’85 New Wave pioneer. The artist was best known for his larger-than-life oil portraits of laughing faces, which he completed in the 1980s. Geng Jianyi was a seminal figure in China’s ’85 New Wave, a nationwide movement that emerged from post-Cultural Revolution China, which championed avant-garde techniques, churned out MEET THE SHORTLISTED ARTISTS FOR THE TURNER PRIZE 2018 Currently on view at Tate Britain in London is an exhibition of work by the four artists shortlisted for the 2018 Turner Prize, which includes Forensic Architecture, Naeem Mohaiemen, Charlotte Prodger and Luke Willis Thompson.The exhibition of the work of the nominated artists for the Turner Prize 2018 is curated by two curators of contemporary British art at Tate: Linsey Young and Elsa DANIE MELLOR’S GLITTERING INTERROGATION OF AUSTRALIAN Danie Mellor, ‘Red, white and blue’, 2008, mixed media with mosaic and taxidermy variable, tallest 105 cm. Image courtesy the Australian Museum. Though dealing with weighty issues, Mellor’s work remains humorous, layered with witticisms: in The native’s chest (2010) an emu stands on a sign that reads “CULTURED”, and Advance A “UNIVERSE OF POSSIBILITIES”: TAIWANESE ARTIST CHARWEI On the occasion of her latest solo exhibition at TKG+ in Taipei, entitled “Universe of Possibilities”, Taiwanese artist Charwei Tsai talks about her recent work, Buddhist mantras, and exploring and living new places. Charwei Tsai, ‘Bardo’, 2016, video still. Image courtesy the artist. Another recent work is Bardo, made incollaboration
THREE EXHIBITIONS OF SUDANESE ART AT THE SHARJAH ART Three exhibitions at the Sharjah Art Foundation running from 12 November 2016 to 12 January 2017 offer a prismatic view of Sudanese art history as it relates to the project of modernism. Curated by Hoor Al Qasimi, President and Director of the Sharjah Art Foundation, and Salah M. Hassan, renowned art historian and Goldwin Smith Professor and Director of the Institute for Comparative WHAT IS STREET ART? VANDALISM, GRAFFITI OR PUBLIC ART Forms of Street Art. 1. Traditional. Painting on the surfaces of public or private property that is visible to the public, commonly with a can of spray paint or roll-on paint. It may be comprised of just simple words (commonly the writer’s name) or be more artful and elaborate, covering aSEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. THE RITUAL INTIMACY OF CHRISTIAN THOMPSON’S ART PRACTICE “Christian Thompson: Ritual Intimacy” was the first survey exhibition of Bidjara artist Christian Thompson and was curated by Hetti Perkins and Charlotte Day, Director of Monash University Museum of Art. Working with photography, video, sculpture, performance and sound, the multidisciplinary artist explores themes of identity, race and Australia’s colonial history, as well as his lived “ONE SECOND • ONE YEAR”: CHINESE ARTIST ZHAO ZHAO’S Curated by Barbara Pollack, the author of Brand New Art from China: A Generation on the Rise (published 2018), the show examines Zhao’s “One Second” series of works. Encompassing drawings, paintings and sculpture, the show centred on Zhao’s reflection on the passage of time. Zhao Zhao, “One Second · One Year”, 8 August – 22 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India. STITCHING THE SUBLIME: CHIHARU SHIOTA’S THREADS OF TIME Chiharu Shiota (b. Osaka, 1972) is a Japan-born, Berlin-based performance, installation and multi-media artist best known for her large-scale thread installations that fill entire rooms. Taught by Marina Abramović and heavily influenced by the Cuban American performance artist Ana Mendieta, Shiota’s oeuvre is marked by apowerful nostalgia
“2 OR 3 TIGERS”: ASIAN NEW MEDIA ARTISTS AT BERLIN’S HAUS The tiger as the medium not the message. The main piece, from which the exhibition derives its title, is by Singaporean artist, film and theatremaker Ho Tzu Nyen.Ho’s installation One or Several Tigers (2017) explores the reoccurring use of the tiger in distinct moments in the development of national discourses in Malaysia and Singapore. For Ho, the tiger is a medium that channels otherwise “BREAKING GROUND”: INDIA’S FIRST CERAMICS TRIENNALE OPENS Ceramic art breaks new ground in Jaipur “Breaking Ground” is the first ever international ceramics event to be held in the country, present ing 35 Indian and 12 international artist projects, 10 collaborations, 12 speakers, a symposium, film screenings and workshops for adults and children at the Jawahar Kala Kendra in Jaipur in collaboration with the Contemporary Clay Foundation. A ‘BIG TAIL ELEPHANT’: CHINA’S CHEN SHAOXIONG (1962–2016 Chen Shaoxiong was born in Guangdong province, China, in 1962 and graduated from the Academy of Fine Arts there in 1984. Chen was a founding member of two seminal collectives emerging in Guangzhou just after the collective “boom” of the 1980s Chinese avant-garde, which saw over 80 artist groups emerging on the contemporary art scene particularly concentrated in northern China and Beijing. CHINESE CONTEMPORARY ART AWARD (CCAA) ANNOUNCES 2016 CCAA highlights the necessity of such an award, especially in the current climate of growth in Chinese art,. at a time when Chinese art appears to be validated almost exclusively by market forces, an unexcited and deliberate reflection of the present art production such as CCAA provides through its exhibitions, publications and other activities, is very much in need. WHAT IS STREET ART? VANDALISM, GRAFFITI OR PUBLIC ART Forms of Street Art. 1. Traditional. Painting on the surfaces of public or private property that is visible to the public, commonly with a can of spray paint or roll-on paint. It may be comprised of just simple words (commonly the writer’s name) or be more artful and elaborate, covering aSEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. THE RITUAL INTIMACY OF CHRISTIAN THOMPSON’S ART PRACTICE “Christian Thompson: Ritual Intimacy” was the first survey exhibition of Bidjara artist Christian Thompson and was curated by Hetti Perkins and Charlotte Day, Director of Monash University Museum of Art. Working with photography, video, sculpture, performance and sound, the multidisciplinary artist explores themes of identity, race and Australia’s colonial history, as well as his lived “ONE SECOND • ONE YEAR”: CHINESE ARTIST ZHAO ZHAO’S Curated by Barbara Pollack, the author of Brand New Art from China: A Generation on the Rise (published 2018), the show examines Zhao’s “One Second” series of works. Encompassing drawings, paintings and sculpture, the show centred on Zhao’s reflection on the passage of time. Zhao Zhao, “One Second · One Year”, 8 August – 22 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India. STITCHING THE SUBLIME: CHIHARU SHIOTA’S THREADS OF TIME Chiharu Shiota (b. Osaka, 1972) is a Japan-born, Berlin-based performance, installation and multi-media artist best known for her large-scale thread installations that fill entire rooms. Taught by Marina Abramović and heavily influenced by the Cuban American performance artist Ana Mendieta, Shiota’s oeuvre is marked by apowerful nostalgia
“2 OR 3 TIGERS”: ASIAN NEW MEDIA ARTISTS AT BERLIN’S HAUS The tiger as the medium not the message. The main piece, from which the exhibition derives its title, is by Singaporean artist, film and theatremaker Ho Tzu Nyen.Ho’s installation One or Several Tigers (2017) explores the reoccurring use of the tiger in distinct moments in the development of national discourses in Malaysia and Singapore. For Ho, the tiger is a medium that channels otherwise “BREAKING GROUND”: INDIA’S FIRST CERAMICS TRIENNALE OPENS Ceramic art breaks new ground in Jaipur “Breaking Ground” is the first ever international ceramics event to be held in the country, present ing 35 Indian and 12 international artist projects, 10 collaborations, 12 speakers, a symposium, film screenings and workshops for adults and children at the Jawahar Kala Kendra in Jaipur in collaboration with the Contemporary Clay Foundation. A ‘BIG TAIL ELEPHANT’: CHINA’S CHEN SHAOXIONG (1962–2016 Chen Shaoxiong was born in Guangdong province, China, in 1962 and graduated from the Academy of Fine Arts there in 1984. Chen was a founding member of two seminal collectives emerging in Guangzhou just after the collective “boom” of the 1980s Chinese avant-garde, which saw over 80 artist groups emerging on the contemporary art scene particularly concentrated in northern China and Beijing. CHINESE CONTEMPORARY ART AWARD (CCAA) ANNOUNCES 2016 CCAA highlights the necessity of such an award, especially in the current climate of growth in Chinese art,. at a time when Chinese art appears to be validated almost exclusively by market forces, an unexcited and deliberate reflection of the present art production such as CCAA provides through its exhibitions, publications and other activities, is very much in need. JUNE 2021 – ARTRADARJOURNAL.COM A Look at the Canadian Cities up for the Best City Award; Why Glendale is Pushing to Become the new Marathon Capital of the US; Unpacking the A LOOK AT THE CANADIAN CITIES UP FOR THE BEST CITY AWARD The beautiful thing about Canada is its variety. Being such a large country, cities are going to look and feel different depending on whereabouts you are.SEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India. “HANSEL & GRETEL”: THE ART OF SURVEILLANCE BY HERZOG AND “Hansel & Gretel” is a collaborative installation about surveillance by Pritzker Prize winning Swiss architects Jacques Herzog and Pierre de Meuron, and Chinese dissident artist Ai Weiwei at the Thompson Arts Center at Park Avenue Armory in New York. The architects, who also participated on the Armory’s renovation, were previously Ai Weiwei’s partners for the ill fated, political soup “SPIRITUALITY AND ALLEGORY”: INDONESIA’S CHRISTINE AY TJOE This is the investigative premise of Ay Tjoe’s ongoing solo exhibition, “Spirituality and Allegory”, hosted by the 21st Century Museum of Contemporary Art, Kanagawa. In celebration of the artist’s first exhibition in Japan, Art Radar looks at Ay Tjoe’s transformative career and her views on contemplative and dynamicspirituality.
DANSAEKHWA MASTERS YUN HYONG-KEUN AND CHUNG CHANG-SUP IN Yun Hyong-keun was born in Miwŏn, Korea, in 1928 and graduated from the Department of Painting, Hongik University, Seoul, in 1957.During his career, he had various solo exhibitions in Korea, Japan, Germany, France and the United States, and was part of group shows dedicated to the Dansaekhwa movement such as “Dansaekhwa: Korean Monochrome Painting”, National Museum of AZERBAIJANI ARTIST FAIG AHMED AT YARAT CONTEMPORARY ART In “NƏ VAR, ODUR” running at YARAT until 19 January 2017, the artist adds to his rug repertoire with the new work entitled Virgin (2016) – a hand-woven carpet with a traditional pattern that gradually transforms into a thick red mass. The work draws from the traditional practice in Azerbaijan whereby unmarried girls offer one exquisite rug as part of their marriage payment. “2 OR 3 TIGERS”: ASIAN NEW MEDIA ARTISTS AT BERLIN’S HAUS “2 or 3 Tigers” explores modernity as a colonial pattern inscribed in the history of nation states, militarisation and financialisation as well as an ontological revolution that fundamentally orders the social realm, national narratives and cosmologies, and whose effects have led to a profound crisis of consciousness as well as myriad and multiple local forms of resistance. A ‘BIG TAIL ELEPHANT’: CHINA’S CHEN SHAOXIONG (1962–2016 Chen Shaoxiong was born in Guangdong province, China, in 1962 and graduated from the Academy of Fine Arts there in 1984. Chen was a founding member of two seminal collectives emerging in Guangzhou just after the collective “boom” of the 1980s Chinese avant-garde, which saw over 80 artist groups emerging on the contemporary art scene particularly concentrated in northern China and Beijing. INTERVIEWS – ARTRADARJOURNAL.COM Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporaryart.
WHAT IS STREET ART? VANDALISM, GRAFFITI OR PUBLIC ART Forms of Street Art. 1. Traditional. Painting on the surfaces of public or private property that is visible to the public, commonly with a can of spray paint or roll-on paint. It may be comprised of just simple words (commonly the writer’s name) or be more artful and elaborate, covering aSEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India.DECEMBER 2013
4 Pakistani artists making art out of violence. Dec 13, 2013 Brittney. Follow Over the last ten years, Pakistan has suffered the most violent decade of its history. Now the country’s contemporary. Art Spaces Artist Nationality Collectors Events Research. THE RITUAL INTIMACY OF CHRISTIAN THOMPSON’S ART PRACTICE “Christian Thompson: Ritual Intimacy” was the first survey exhibition of Bidjara artist Christian Thompson and was curated by Hetti Perkins and Charlotte Day, Director of Monash University Museum of Art. Working with photography, video, sculpture, performance and sound, the multidisciplinary artist explores themes of identity, race and Australia’s colonial history, as well as his lived “ONE SECOND • ONE YEAR”: CHINESE ARTIST ZHAO ZHAO’S Curated by Barbara Pollack, the author of Brand New Art from China: A Generation on the Rise (published 2018), the show examines Zhao’s “One Second” series of works. Encompassing drawings, paintings and sculpture, the show centred on Zhao’s reflection on the passage of time. Zhao Zhao, “One Second · One Year”, 8 August – 22 “2 OR 3 TIGERS”: ASIAN NEW MEDIA ARTISTS AT BERLIN’S HAUS The tiger as the medium not the message. The main piece, from which the exhibition derives its title, is by Singaporean artist, film and theatremaker Ho Tzu Nyen.Ho’s installation One or Several Tigers (2017) explores the reoccurring use of the tiger in distinct moments in the development of national discourses in Malaysia and Singapore. For Ho, the tiger is a medium that channels otherwise STITCHING THE SUBLIME: CHIHARU SHIOTA’S THREADS OF TIME Chiharu Shiota (b. Osaka, 1972) is a Japan-born, Berlin-based performance, installation and multi-media artist best known for her large-scale thread installations that fill entire rooms. Taught by Marina Abramović and heavily influenced by the Cuban American performance artist Ana Mendieta, Shiota’s oeuvre is marked by apowerful nostalgia
“BREAKING GROUND”: INDIA’S FIRST CERAMICS TRIENNALE OPENS Ceramic art breaks new ground in Jaipur “Breaking Ground” is the first ever international ceramics event to be held in the country, present ing 35 Indian and 12 international artist projects, 10 collaborations, 12 speakers, a symposium, film screenings and workshops for adults and children at the Jawahar Kala Kendra in Jaipur in collaboration with the Contemporary Clay Foundation. INTERVIEWS – ARTRADARJOURNAL.COM Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporaryart.
WHAT IS STREET ART? VANDALISM, GRAFFITI OR PUBLIC ART Forms of Street Art. 1. Traditional. Painting on the surfaces of public or private property that is visible to the public, commonly with a can of spray paint or roll-on paint. It may be comprised of just simple words (commonly the writer’s name) or be more artful and elaborate, covering aSEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India.DECEMBER 2013
4 Pakistani artists making art out of violence. Dec 13, 2013 Brittney. Follow Over the last ten years, Pakistan has suffered the most violent decade of its history. Now the country’s contemporary. Art Spaces Artist Nationality Collectors Events Research. THE RITUAL INTIMACY OF CHRISTIAN THOMPSON’S ART PRACTICE “Christian Thompson: Ritual Intimacy” was the first survey exhibition of Bidjara artist Christian Thompson and was curated by Hetti Perkins and Charlotte Day, Director of Monash University Museum of Art. Working with photography, video, sculpture, performance and sound, the multidisciplinary artist explores themes of identity, race and Australia’s colonial history, as well as his lived “ONE SECOND • ONE YEAR”: CHINESE ARTIST ZHAO ZHAO’S Curated by Barbara Pollack, the author of Brand New Art from China: A Generation on the Rise (published 2018), the show examines Zhao’s “One Second” series of works. Encompassing drawings, paintings and sculpture, the show centred on Zhao’s reflection on the passage of time. Zhao Zhao, “One Second · One Year”, 8 August – 22 “2 OR 3 TIGERS”: ASIAN NEW MEDIA ARTISTS AT BERLIN’S HAUS The tiger as the medium not the message. The main piece, from which the exhibition derives its title, is by Singaporean artist, film and theatremaker Ho Tzu Nyen.Ho’s installation One or Several Tigers (2017) explores the reoccurring use of the tiger in distinct moments in the development of national discourses in Malaysia and Singapore. For Ho, the tiger is a medium that channels otherwise STITCHING THE SUBLIME: CHIHARU SHIOTA’S THREADS OF TIME Chiharu Shiota (b. Osaka, 1972) is a Japan-born, Berlin-based performance, installation and multi-media artist best known for her large-scale thread installations that fill entire rooms. Taught by Marina Abramović and heavily influenced by the Cuban American performance artist Ana Mendieta, Shiota’s oeuvre is marked by apowerful nostalgia
“BREAKING GROUND”: INDIA’S FIRST CERAMICS TRIENNALE OPENS Ceramic art breaks new ground in Jaipur “Breaking Ground” is the first ever international ceramics event to be held in the country, present ing 35 Indian and 12 international artist projects, 10 collaborations, 12 speakers, a symposium, film screenings and workshops for adults and children at the Jawahar Kala Kendra in Jaipur in collaboration with the Contemporary Clay Foundation.THEMES AND SUBJECTS
The shining “Congo Stars” of Kunsthaus Graz, Universalmuseum Joanneum. Nov 27, 2018 Brittney. Follow Austria’s Kunsthaus Graz presents “Congo Stars”, a comprehensive group show featuring 70 Congolese artists. Curated by Sammy Baloji, Bambi. Art Spaces Artist Nationality Events Medium Posts By Type Prizes Styles Themes AndSubjects
BUSINESS OF ART
Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporaryart.
SEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. MAI ARDIA – ARTRADARJOURNAL.COM Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporaryart.
“BREAKING GROUND”: INDIA’S FIRST CERAMICS TRIENNALE OPENS Ceramic art breaks new ground in Jaipur “Breaking Ground” is the first ever international ceramics event to be held in the country, present ing 35 Indian and 12 international artist projects, 10 collaborations, 12 speakers, a symposium, film screenings and workshops for adults and children at the Jawahar Kala Kendra in Jaipur in collaboration with the Contemporary Clay Foundation. “READYMADE”: 9 BANGLADESHI ARTISTS TO KNOW The Bangladeshi contemporary art scene began to grow in the 1990s, twenty years after the country gained independence from Pakistan in 1971. Today, Dhaka burgeons with young talent, with new art venues sprouting up alongside established art spaces. “2 OR 3 TIGERS”: ASIAN NEW MEDIA ARTISTS AT BERLIN’S HAUS “2 or 3 Tigers” explores modernity as a colonial pattern inscribed in the history of nation states, militarisation and financialisation as well as an ontological revolution that fundamentally orders the social realm, national narratives and cosmologies, and whose effects have led to a profound crisis of consciousness as well as myriad and multiple local forms of resistance. IRANIAN ARTIST SHADI GHADIRIAN’S PHOTOGRAPHY SERIES AT Using artistic strategies to connect the public and personal life that mirror feminist artists such as United States artist Martha Rosler or Mexican feminist collective Polvo de Gallina Negra, Iranian artist Shadi Ghadirian uses her photography to visibilise the incoherencies and contradictions of the codes of representation of gender as they traverse the global media and domestic space. DANIE MELLOR’S GLITTERING INTERROGATION OF AUSTRALIAN Danie Mellor, ‘Red, white and blue’, 2008, mixed media with mosaic and taxidermy variable, tallest 105 cm. Image courtesy the Australian Museum. Though dealing with weighty issues, Mellor’s work remains humorous, layered with witticisms: in The native’s chest (2010) an emu stands on a sign that reads “CULTURED”, and Advance DINING WITH ABRAMOVIĆ AND HER NUDES: EXPLOITATION OR ART For 2011’s highly anticipated fundraiser and in celebration of its 32nd year as a leading art institution, LA MOCA hired esteemed Serbian-born performance artist Marina Abramović as creative director, with American musician Debbie Harry as honoree. Known for her intense endurance performances, Abramović turned the space into a laboratory where performers and audiences were atTHEMES AND SUBJECTS
The shining “Congo Stars” of Kunsthaus Graz, Universalmuseum Joanneum. Nov 27, 2018 Brittney. Follow Austria’s Kunsthaus Graz presents “Congo Stars”, a comprehensive group show featuring 70 Congolese artists. Curated by Sammy Baloji, Bambi. Art Spaces Artist Nationality Events Medium Posts By Type Prizes Styles Themes AndSubjects
INTERVIEWS – ARTRADARJOURNAL.COM Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporaryart.
WHAT IS STREET ART? VANDALISM, GRAFFITI OR PUBLIC ARTLEGAL GRAFFITIWALLS
Forms of Street Art. 1. Traditional. Painting on the surfaces of public or private property that is visible to the public, commonly with a can of spray paint or roll-on paint. It may be comprised of just simple words (commonly the writer’s name) or be more artful and elaborate, covering aSEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India.DECEMBER 2013
4 Pakistani artists making art out of violence. Dec 13, 2013 Brittney. Follow Over the last ten years, Pakistan has suffered the most violent decade of its history. Now the country’s contemporary. Art Spaces Artist Nationality Collectors Events Research. THE RITUAL INTIMACY OF CHRISTIAN THOMPSON’S ART PRACTICE “Christian Thompson: Ritual Intimacy” was the first survey exhibition of Bidjara artist Christian Thompson and was curated by Hetti Perkins and Charlotte Day, Director of Monash University Museum of Art. Working with photography, video, sculpture, performance and sound, the multidisciplinary artist explores themes of identity, race and Australia’s colonial history, as well as his lived “READYMADE”: 9 BANGLADESHI ARTISTS TO KNOW The Bangladeshi contemporary art scene began to grow in the 1990s, twenty years after the country gained independence from Pakistan in 1971. Today, Dhaka burgeons with young talent, with new art venues sprouting up alongside established art spaces. STITCHING THE SUBLIME: CHIHARU SHIOTA’S THREADS OF TIME Chiharu Shiota (b. Osaka, 1972) is a Japan-born, Berlin-based performance, installation and multi-media artist best known for her large-scale thread installations that fill entire rooms. Taught by Marina Abramović and heavily influenced by the Cuban American performance artist Ana Mendieta, Shiota’s oeuvre is marked by apowerful nostalgia
“BREAKING GROUND”: INDIA’S FIRST CERAMICS TRIENNALE OPENS Ceramic art breaks new ground in Jaipur “Breaking Ground” is the first ever international ceramics event to be held in the country, present ing 35 Indian and 12 international artist projects, 10 collaborations, 12 speakers, a symposium, film screenings and workshops for adults and children at the Jawahar Kala Kendra in Jaipur in collaboration with the Contemporary Clay Foundation.THEMES AND SUBJECTS
The shining “Congo Stars” of Kunsthaus Graz, Universalmuseum Joanneum. Nov 27, 2018 Brittney. Follow Austria’s Kunsthaus Graz presents “Congo Stars”, a comprehensive group show featuring 70 Congolese artists. Curated by Sammy Baloji, Bambi. Art Spaces Artist Nationality Events Medium Posts By Type Prizes Styles Themes AndSubjects
INTERVIEWS – ARTRADARJOURNAL.COM Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporaryart.
WHAT IS STREET ART? VANDALISM, GRAFFITI OR PUBLIC ARTLEGAL GRAFFITIWALLS
Forms of Street Art. 1. Traditional. Painting on the surfaces of public or private property that is visible to the public, commonly with a can of spray paint or roll-on paint. It may be comprised of just simple words (commonly the writer’s name) or be more artful and elaborate, covering aSEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India.DECEMBER 2013
4 Pakistani artists making art out of violence. Dec 13, 2013 Brittney. Follow Over the last ten years, Pakistan has suffered the most violent decade of its history. Now the country’s contemporary. Art Spaces Artist Nationality Collectors Events Research. THE RITUAL INTIMACY OF CHRISTIAN THOMPSON’S ART PRACTICE “Christian Thompson: Ritual Intimacy” was the first survey exhibition of Bidjara artist Christian Thompson and was curated by Hetti Perkins and Charlotte Day, Director of Monash University Museum of Art. Working with photography, video, sculpture, performance and sound, the multidisciplinary artist explores themes of identity, race and Australia’s colonial history, as well as his lived “READYMADE”: 9 BANGLADESHI ARTISTS TO KNOW The Bangladeshi contemporary art scene began to grow in the 1990s, twenty years after the country gained independence from Pakistan in 1971. Today, Dhaka burgeons with young talent, with new art venues sprouting up alongside established art spaces. STITCHING THE SUBLIME: CHIHARU SHIOTA’S THREADS OF TIME Chiharu Shiota (b. Osaka, 1972) is a Japan-born, Berlin-based performance, installation and multi-media artist best known for her large-scale thread installations that fill entire rooms. Taught by Marina Abramović and heavily influenced by the Cuban American performance artist Ana Mendieta, Shiota’s oeuvre is marked by apowerful nostalgia
“BREAKING GROUND”: INDIA’S FIRST CERAMICS TRIENNALE OPENS Ceramic art breaks new ground in Jaipur “Breaking Ground” is the first ever international ceramics event to be held in the country, present ing 35 Indian and 12 international artist projects, 10 collaborations, 12 speakers, a symposium, film screenings and workshops for adults and children at the Jawahar Kala Kendra in Jaipur in collaboration with the Contemporary Clay Foundation.THEMES AND SUBJECTS
The shining “Congo Stars” of Kunsthaus Graz, Universalmuseum Joanneum. Nov 27, 2018 Brittney. Follow Austria’s Kunsthaus Graz presents “Congo Stars”, a comprehensive group show featuring 70 Congolese artists. Curated by Sammy Baloji, Bambi. Art Spaces Artist Nationality Events Medium Posts By Type Prizes Styles Themes AndSubjects
MAI ARDIA – ARTRADARJOURNAL.COM Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporaryart.
“READYMADE”: 9 BANGLADESHI ARTISTS TO KNOW The Bangladeshi contemporary art scene began to grow in the 1990s, twenty years after the country gained independence from Pakistan in 1971. Today, Dhaka burgeons with young talent, with new art venues sprouting up alongside established art spaces. “ONE SECOND • ONE YEAR”: CHINESE ARTIST ZHAO ZHAO’S Curated by Barbara Pollack, the author of Brand New Art from China: A Generation on the Rise (published 2018), the show examines Zhao’s “One Second” series of works. Encompassing drawings, paintings and sculpture, the show centred on Zhao’s reflection on the passage of time. Zhao Zhao, “One Second · One Year”, 8 August – 22 “SPIRITUALITY AND ALLEGORY”: INDONESIA’S CHRISTINE AY TJOE This is the investigative premise of Ay Tjoe’s ongoing solo exhibition, “Spirituality and Allegory”, hosted by the 21st Century Museum of Contemporary Art, Kanagawa. In celebration of the artist’s first exhibition in Japan, Art Radar looks at Ay Tjoe’s transformative career and her views on contemplative and dynamicspirituality.
“2 OR 3 TIGERS”: ASIAN NEW MEDIA ARTISTS AT BERLIN’S HAUS “2 or 3 Tigers” explores modernity as a colonial pattern inscribed in the history of nation states, militarisation and financialisation as well as an ontological revolution that fundamentally orders the social realm, national narratives and cosmologies, and whose effects have led to a profound crisis of consciousness as well as myriad and multiple local forms of resistance. TWO EXHIBITIONS AT THE PINCHUK ART CENTRE CELEBRATE 5th Edition of the PinchukArtCentre Prize’s winners. The winners of the Prize were announced at the recent award ceremony in April 2018. The distinguished international jury consisted of Bjorn Geldhof, the artist Zhanna Karydrova, Alicia Knock, curator of the Centre Pompidou, Viktor Musiano, curator and editor-in-chief of Artistic magazine and Daniel Muzyczuk, curator of the Museum Sztuki. EXAMINING ‘RACE’ IN ASIA’S MIGRANT DOMESTIC WORKERS A new exhibition at Para Site explores race and the lived experience of migrant domestic workers in Hong Kong and beyond. Hong Kong’s leading non-profit contemporary art centre, Para Site, has just launched a new exhibition exploring race as it relates to the lives of migrant domestic workers in Hong Kong and abroad, featuring artists from Hong Kong, Indonesia, Singapore, Turkey, the CHINESE CONTEMPORARY ART AWARD (CCAA) ANNOUNCES 2016 CCAA highlights the necessity of such an award, especially in the current climate of growth in Chinese art,. at a time when Chinese art appears to be validated almost exclusively by market forces, an unexcited and deliberate reflection of the present art production such as CCAA provides through its exhibitions, publications and other activities, is very much in need. DINING WITH ABRAMOVIĆ AND HER NUDES: EXPLOITATION OR ART For 2011’s highly anticipated fundraiser and in celebration of its 32nd year as a leading art institution, LA MOCA hired esteemed Serbian-born performance artist Marina Abramović as creative director, with American musician Debbie Harry as honoree. Known for her intense endurance performances, Abramović turned the space into a laboratory where performers and audiences were atTHEMES AND SUBJECTS
The shining “Congo Stars” of Kunsthaus Graz, Universalmuseum Joanneum. Nov 27, 2018 Brittney. Follow Austria’s Kunsthaus Graz presents “Congo Stars”, a comprehensive group show featuring 70 Congolese artists. Curated by Sammy Baloji, Bambi. Art Spaces Artist Nationality Events Medium Posts By Type Prizes Styles Themes AndSubjects
INTERVIEWS – ARTRADARJOURNAL.COM Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporaryart.
WHAT IS STREET ART? VANDALISM, GRAFFITI OR PUBLIC ARTLEGAL GRAFFITIWALLS
Forms of Street Art. 1. Traditional. Painting on the surfaces of public or private property that is visible to the public, commonly with a can of spray paint or roll-on paint. It may be comprised of just simple words (commonly the writer’s name) or be more artful and elaborate, covering aSEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India.DECEMBER 2013
4 Pakistani artists making art out of violence. Dec 13, 2013 Brittney. Follow Over the last ten years, Pakistan has suffered the most violent decade of its history. Now the country’s contemporary. Art Spaces Artist Nationality Collectors Events Research. THE RITUAL INTIMACY OF CHRISTIAN THOMPSON’S ART PRACTICE “Christian Thompson: Ritual Intimacy” was the first survey exhibition of Bidjara artist Christian Thompson and was curated by Hetti Perkins and Charlotte Day, Director of Monash University Museum of Art. Working with photography, video, sculpture, performance and sound, the multidisciplinary artist explores themes of identity, race and Australia’s colonial history, as well as his lived “READYMADE”: 9 BANGLADESHI ARTISTS TO KNOW The Bangladeshi contemporary art scene began to grow in the 1990s, twenty years after the country gained independence from Pakistan in 1971. Today, Dhaka burgeons with young talent, with new art venues sprouting up alongside established art spaces. STITCHING THE SUBLIME: CHIHARU SHIOTA’S THREADS OF TIME Chiharu Shiota (b. Osaka, 1972) is a Japan-born, Berlin-based performance, installation and multi-media artist best known for her large-scale thread installations that fill entire rooms. Taught by Marina Abramović and heavily influenced by the Cuban American performance artist Ana Mendieta, Shiota’s oeuvre is marked by apowerful nostalgia
“BREAKING GROUND”: INDIA’S FIRST CERAMICS TRIENNALE OPENS Ceramic art breaks new ground in Jaipur “Breaking Ground” is the first ever international ceramics event to be held in the country, present ing 35 Indian and 12 international artist projects, 10 collaborations, 12 speakers, a symposium, film screenings and workshops for adults and children at the Jawahar Kala Kendra in Jaipur in collaboration with the Contemporary Clay Foundation.THEMES AND SUBJECTS
The shining “Congo Stars” of Kunsthaus Graz, Universalmuseum Joanneum. Nov 27, 2018 Brittney. Follow Austria’s Kunsthaus Graz presents “Congo Stars”, a comprehensive group show featuring 70 Congolese artists. Curated by Sammy Baloji, Bambi. Art Spaces Artist Nationality Events Medium Posts By Type Prizes Styles Themes AndSubjects
INTERVIEWS – ARTRADARJOURNAL.COM Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporaryart.
WHAT IS STREET ART? VANDALISM, GRAFFITI OR PUBLIC ARTLEGAL GRAFFITIWALLS
Forms of Street Art. 1. Traditional. Painting on the surfaces of public or private property that is visible to the public, commonly with a can of spray paint or roll-on paint. It may be comprised of just simple words (commonly the writer’s name) or be more artful and elaborate, covering aSEPTEMBER 2018
Ram Kumar (1921-2018): celebrating one of India’s foremost abstract painters and Modernist masters – artist profile + in conversation. Sep 12, 2018 Brittney. Follow Associated with the Progressive Artists Group, Ram Kumar who is considered to be one of the country’s first artists. Posts navigation. 1 2. 11 INDIAN ARTISTS EXPLORE PERSONAL AND COLLECTIVE MEMORY Lending memories their object-hood “Lapses II” at Sakshi Gallery and Sakshi Salon consists of a series of artworks that, according to curator Anushka Rajendran, “lend memories their object-hood”.The exhibition is the outcome of her research into the role of art in dealing with personal, political and cultural trauma specifically in the context of turn-of-the-20th-century India.DECEMBER 2013
4 Pakistani artists making art out of violence. Dec 13, 2013 Brittney. Follow Over the last ten years, Pakistan has suffered the most violent decade of its history. Now the country’s contemporary. Art Spaces Artist Nationality Collectors Events Research. THE RITUAL INTIMACY OF CHRISTIAN THOMPSON’S ART PRACTICE “Christian Thompson: Ritual Intimacy” was the first survey exhibition of Bidjara artist Christian Thompson and was curated by Hetti Perkins and Charlotte Day, Director of Monash University Museum of Art. Working with photography, video, sculpture, performance and sound, the multidisciplinary artist explores themes of identity, race and Australia’s colonial history, as well as his lived “READYMADE”: 9 BANGLADESHI ARTISTS TO KNOW The Bangladeshi contemporary art scene began to grow in the 1990s, twenty years after the country gained independence from Pakistan in 1971. Today, Dhaka burgeons with young talent, with new art venues sprouting up alongside established art spaces. STITCHING THE SUBLIME: CHIHARU SHIOTA’S THREADS OF TIME Chiharu Shiota (b. Osaka, 1972) is a Japan-born, Berlin-based performance, installation and multi-media artist best known for her large-scale thread installations that fill entire rooms. Taught by Marina Abramović and heavily influenced by the Cuban American performance artist Ana Mendieta, Shiota’s oeuvre is marked by apowerful nostalgia
“BREAKING GROUND”: INDIA’S FIRST CERAMICS TRIENNALE OPENS Ceramic art breaks new ground in Jaipur “Breaking Ground” is the first ever international ceramics event to be held in the country, present ing 35 Indian and 12 international artist projects, 10 collaborations, 12 speakers, a symposium, film screenings and workshops for adults and children at the Jawahar Kala Kendra in Jaipur in collaboration with the Contemporary Clay Foundation.THEMES AND SUBJECTS
The shining “Congo Stars” of Kunsthaus Graz, Universalmuseum Joanneum. Nov 27, 2018 Brittney. Follow Austria’s Kunsthaus Graz presents “Congo Stars”, a comprehensive group show featuring 70 Congolese artists. Curated by Sammy Baloji, Bambi. Art Spaces Artist Nationality Events Medium Posts By Type Prizes Styles Themes AndSubjects
BUSINESS OF ART
Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporaryart.
MAI ARDIA – ARTRADARJOURNAL.COM Art Radar is the only editorially independent online news source writing about contemporary art across Asia. Art Radar conducts original research and scans global news sources to bring you the taste-changing, news-making and up-and-coming in Asian contemporaryart.
“READYMADE”: 9 BANGLADESHI ARTISTS TO KNOW The Bangladeshi contemporary art scene began to grow in the 1990s, twenty years after the country gained independence from Pakistan in 1971. Today, Dhaka burgeons with young talent, with new art venues sprouting up alongside established art spaces. “ONE SECOND • ONE YEAR”: CHINESE ARTIST ZHAO ZHAO’S Curated by Barbara Pollack, the author of Brand New Art from China: A Generation on the Rise (published 2018), the show examines Zhao’s “One Second” series of works. Encompassing drawings, paintings and sculpture, the show centred on Zhao’s reflection on the passage of time. Zhao Zhao, “One Second · One Year”, 8 August – 22 “SPIRITUALITY AND ALLEGORY”: INDONESIA’S CHRISTINE AY TJOE This is the investigative premise of Ay Tjoe’s ongoing solo exhibition, “Spirituality and Allegory”, hosted by the 21st Century Museum of Contemporary Art, Kanagawa. In celebration of the artist’s first exhibition in Japan, Art Radar looks at Ay Tjoe’s transformative career and her views on contemplative and dynamicspirituality.
“2 OR 3 TIGERS”: ASIAN NEW MEDIA ARTISTS AT BERLIN’S HAUS “2 or 3 Tigers” explores modernity as a colonial pattern inscribed in the history of nation states, militarisation and financialisation as well as an ontological revolution that fundamentally orders the social realm, national narratives and cosmologies, and whose effects have led to a profound crisis of consciousness as well as myriad and multiple local forms of resistance. EXAMINING ‘RACE’ IN ASIA’S MIGRANT DOMESTIC WORKERS A new exhibition at Para Site explores race and the lived experience of migrant domestic workers in Hong Kong and beyond. Hong Kong’s leading non-profit contemporary art centre, Para Site, has just launched a new exhibition exploring race as it relates to the lives of migrant domestic workers in Hong Kong and abroad, featuring artists from Hong Kong, Indonesia, Singapore, Turkey, the CHINESE CONTEMPORARY ART AWARD (CCAA) ANNOUNCES 2016 CCAA highlights the necessity of such an award, especially in the current climate of growth in Chinese art,. at a time when Chinese art appears to be validated almost exclusively by market forces, an unexcited and deliberate reflection of the present art production such as CCAA provides through its exhibitions, publications and other activities, is very much in need. DINING WITH ABRAMOVIĆ AND HER NUDES: EXPLOITATION OR ART For 2011’s highly anticipated fundraiser and in celebration of its 32nd year as a leading art institution, LA MOCA hired esteemed Serbian-born performance artist Marina Abramović as creative director, with American musician Debbie Harry as honoree. Known for her intense endurance performances, Abramović turned the space into a laboratory where performers and audiences were at↓
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CAN YOU HELP? ART RADAR CLOSES AFTER 10 YEARS Posted on 28/11/2018by Art Radar
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DEAR _ART RADAR_ READERS, THE _ART RADAR_ TEAM REGRETS TO ANNOUNCE THE CLOSURE OF THE JOURNAL BY THE END OF DECEMBER 2018 DUE TO THE ILL HEALTH OF ITS FOUNDER ANDPATRON.
While publication of new content has ceased on 28 November 2018, with the last newsletter going out on 29 November, the archive of several thousand articles will remain available online for up to two years.We
would like to find a new patron, institution or library willing to acquire the archive and make it available to artists, students and scholars for the long term. We would also be happy to talk to interested parties about taking over _Art Radar_ intact as a going concern. This would include its network of dozens freelance writers around Asia and infrastructure of tens of thousands of followers across various social media platforms intact. We are proud to have created an important archive documenting the rise of the contemporary Asian art scene from 2008 to 2018. This ten-year period was pivotal in Asian art history: it was a time when art fairs first emerged in Asia, international galleries arrived in the region, new art schools were set up, contemporary art museums were planned and established, and international interest in Asian contemporary artbegan to flourish.
Our work has been referenced or featured in university course material, international press and museum publications, among others. If you would like more information please contact _Art Radar _Founder and Executive Editor Kate Cary Evans on kateevans88@yahoo.com. If you have a contact who might want to learn more about this opportunity please help us out by forwarding this message to them. If you are a student it would be a great help if you could ask your tutors or librarians if they are interested. Thank you to all our readers and followers, writers and artists for their support and involvement over the last ten years. Posted in From Art Radar| Tagged Art
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“CATASTROPHE AND THE POWER OF ART”: ART, DISASTER AND SOCIAL CHANGE AT MORI ART MUSEUM, TOKYO Posted on 28/11/2018by Art Radar
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TOKYO’S MORI ART MUSEUM HOSTS THE MONUMENTAL GROUP SHOW “CATASTROPHE AND THE POWER OF ART”, CURATED BY KONDO KENICHI. Featuring 40 artists and collectives, the exhibition examines ways of articulating disastrous events and harnessing the ‘power’ of the visual arts for social change. Yoko Ono, ‘Add Color Painting (Refugee Boat)’, 1960 / 2016, mixed media installation, dimensions variable. Image courtesy Mori ArtMuseum, Tokyo.
To speak of catastrophe – to excavate, memorialise and discuss it – is to somehow quantify or rationalise it. Any processes of creation or attempts at artistically reconstructing a disaster, whether it be as an act of remembrance or activism, is a humanitarian service, where the output is an act rather than an object or icon ofbeauty.
In the ongoing group exhibition at Mori Art Museum, titled “Catastrophe and the Power of Art”,
artists ponder the ‘catastrophe’s’ (in the broadest sense of the term) multifaceted and convoluted ways of being articulated; they, like the theorist Maurice Blanchot, suggest that the
disaster itself – be it a natural or manmade one – exists beyond human communication and exceeds representation, yet mapping the cartography of a disastrous event through art is a viable way of addressing it and building a future on its foundations. Gillian Wearing, ‘My Grip on Life Is Rather Loose!’, from the series “Signs that Say What You Want Them To Say and Not Signs that Say What Someone Else Wants You To Say”, 1992-93, c-print on aluminium, 44.5 x 29.7 cm. Image courtesy Maureen Paley, London.FACILITATING CHANGE
After Mori Art Museum’s inaugural exhibition “Happiness: A Survival Guide for Art and Life”, which opened its doors in 2003, MAM celebrates its 15th anniversary by tackling catastrophe as a natural thematic progression in 2018. As recent decades have seen a stream of catastrophic events – 9/11, the 2008 financial crisis and the Great East Japan Earthquake in 2011 being common threads – many artists have produced works dealing with tragedy and the difficulty, or utter impossibility, in remembering it, specifically in a useful, productive way. The exhibition is thus an endeavour to inform the wider world of each event and to present each of the artists’ grappling thoughts about them, ensuring that their stories are passed down to future generations. Ai Weiwei, ‘Odyssey’, 2016 / 2018, digital print, dimensions variable. Collection of the artist. Photo: Kioku Keizo. Image courtesy Mori Art Museum, Tokyo. 659. Ban Shigeru, ‘Cardboard Cathedral (Christchurch, New Zealand) Model 1:10’, 2017 / 2018, wood, acrylic, polycarbonate, paper tube, fabric, 228.1 x 253.5 x 403.5 cm. Collection of the artist. Photo: Kioku Keizo. Image courtesy Mori ArtMuseum, Tokyo.
We are reminded time and time again of disastrous happenings through mainstream media coverage, but its focus on objectivity and personal truths presents to viewers another kind of narrative, difficult to discern in the shadow of numerically-overwhelming public opinion. “Catastrophe and the Power of Art” suggests that such works may be designed to expose contradictions and cover-ups in wider society and to express personal loss and grief in a shared, communal way. Here,Judith Butler ’s
writing on frames of violence and grievability comes to mind: > Our capacity to respond with outrage, opposition and critique will > depend in part on how the differential norm of the human is > communicated through visual and discursive frames. There are ways of > framing that will bring the human into view in its frailty and > precariousness, that will allow us to stand for the value and > dignity of human life, to react with outrage when lives are degraded > or eviscerated without regard for their value as lives. (PDF> download)
>
Miyajima Tatsuo, ‘Sea of Time – TOHOKU (2018 Tokyo)’, 2018, LED, electric wire, integrated circuit, photograph, dimensions variable. Collection of the artist. Photo: Kioku Keizo. Image courtesy Mori ArtMuseum, Tokyo.
For artworks to communicate a catastrophe, to work through it, they must have a transitive function, making viewers susceptible to “ethical responsiveness”. What curator Kondo Kenichiand each of the
selected 40 artists and collectives want to assert is art’s power to question existing channels of information and to elicit change “in chaotic times where the future is uncertain”. “Catastrophe and the Power of Art” looks at how art deals with disaster and personal tragedies, and what role creators play in widespread recovery, contemplating – amid today’s mounting crises of war, terrorism, burgeoning refugee numbers and the destruction of the environment – the dynamic “power of art” to turn the “negative intopositive”.
Ban Shigeru, ‘Cardboard Cathedral (Christchurch, New Zealand) Model 1:10’, 2017 / 2018, wood, acrylic, polycarbonate, paper tube, fabric, 228.1 x 253.5 x 403.5 cm. Photo: Kioku Keizo. Image courtesy the artist and Mori Art Museum, Tokyo. While it is uncontested that catastrophe and crisis can drive us to despair, the exhibition points out that the energy released through collective remembrance can simultaneously spark imagination and boost creative output. The large cohort of international artists, in exhibiting both old and new projects, is attempting to offer innovative visions, to depict the ideals and hopes encompassing wishes for reconstruction and rebirth. As such, the exhibition split into two thematic sections: depiction of the disaster and the power of art. Chim↑Pom, ‘REAL TIMES’, 2011, high-definition video installation, 11m:11s. Collection: Mori Art Museum, Tokyo. Image courtesy Mori Art Museum, Tokyo. SECTION 1: DOCUMENT, RECREATE, IMAGINE Simultaneously presenting works about earthquakes, tsunamis, personal tragedies and war, the first section of “Catastrophe and the Power of Art” focuses on how, in recent years, art has gone about portraying catastrophe. Although all the works in this section deal directly with disaster, the visual languages they use to drive their stories vary widely from realist, to fictional, to the tremendously abstract. This section includes works that give visual expression to less visible threats, such as the proliferation of globalised virtual capital in the 21st century – causing the global financial crisis of 2008 – and radiation contamination from the nuclear power plant disaster in Fukushima. Here viewers encounter Isaac Julien ’s film _Playtime_. Part documentary and part fiction, the work follows six main protagonists – the Artist, the Hedge Fund Manager, the Auctioneer, the House Worker, the Art Dealer and the Reporter – the interconnecting figures in a world of art and finance, interwoven with the real stories of individuals deeply affected by the crisis and the global flow of capitalism. The film is set across three cities defined by their role in relation to capital: London, a city transformed by the deregulation of the banks; Reykjavik, where the 2008 global financial crisis began; and Dubai, one of the Middle East’s burgeoning financial markets. The 70-minute film questions the validity of the interview, the documentary, the archive and one’smemory of it all.
Isaac Julien, ‘PLAYTIME’, 2014, 3-channel high-definition installation, 5.1 surround sound, 64m:12s. Image courtesy VictoriaMiro, London.
Japanese artist Takeda Shimpei ’s work is also featured prominently in this first segment. The artist spent a great portion of his youth in Fukushima, hanging out in the shadow of the reactor that would later meltdown and cause one of the worst nuclear disasters in recent memory. Takeda’s _Trace_ series deals with the unfortunate aftermath of the Fukushima Daiichi catastrophe and his personal attachment to the contaminated landscape. The piece constructs abstracted images by collecting soil from the affected landscape surrounding the power plant and exposing it onto large sheets of film for extended periods of time. The result is a physical record of the disaster and its lingering effects on the ground and Japan’s collective psyche. Takeda Shimpei, ‘Trace # 7, Nihonmatsu Castle’, 2012, gelatin silver print, 50.8 x 60 cm. Image courtesy the amana collection,Tokyo.
When the disaster comes upon us, it does not come. The disaster is its imminence, but since the future, as we conceive of it in the order of lived time, belongs to the disaster, the disaster has always already withdrawn or dissuaded it; there is not future for the disaster, just as there is no time or space for its accomplishment. While touching on the capacity of art to blend beauty and humour into the expression of catastrophe, Section 1 examines how artists attempt to document and recreate the horrors of disaster as well as fear, and preserve their stories for the future by sharing them with others. Thomas Hirschhorn, ‘Collapse’, 2018, mixed media sculpture, dimensions variable. Collection of the artist. Photo: Kioku Keizo. Production support: The Institute of Art, Okutama. Image courtesy Galerie Chantal Crousel, Paris and Mori Art Museum, Tokyo. SECTION 2: THE ‘POWER OF ART’ The second section in this momentous exhibition closes in on the ‘power of art’ to (re)generate creation from destruction. Catastrophe and tragedy can plunge us into despondency, yet disaster can also undoubtedly serve as a catalyst for artists to produce work. The products of their copious imaginations, showing revival, recovery and a better society, in turn, help us to imagine an ideal future. The artist Ikeda Manabu, in his overwhelming canvas entitled _Rebirth_, sheds light on the 2011 Tōhoku earthquake and tsunami in Japan as one of the most devastating and perpetuating environmental catastrophes of our time. At its core, _Rebirth_ depicts a tree rising from the debris of the tsunami as enormous waves crash nearby; but a closer inspection reveals thousands of tiny details, the individual stories of anonymous people, plants and animals as they fight for survival and try to reconstruct and reinvigorate their land. Ikeda notes that his work seeks to replicate the “beautiful chaos of life that rarely fits a simple linear narrative”, but instead interacts in unknown and unexpected ways, producing an evermore unknown and unexpected future. 565. Ikeda Manabu, ‘Rebirth’, 2013-2016, pen, acrylic ink, transparent watercolor on paper, mounted on board, 300 x 400 cm. Collection: Saga Prefectural Art Museum. Digital archive: TOPPAN PRINTING CO., LTD. Image courtesy Mizuma Art Gallery, Tokyo / Singapore. * On view after November 28, 2018. In another attempt to articulate the Fukushima disaster, Kato Tsubasa ’s _The Lighthouses_ project highlights art’s power to bring communities together. Each year on 3 November, Japan’s National Culture holiday, nearly 500 people gather in the devastated Fukushima to construct a structure that resembles a local lighthouse destroyed by the tsunami. Built out of the rubble of devastated homes, the continued efforts of the artist and the local inhabitants have developed the project into a localfestival of sorts.
Kato Tsubasa, ‘The Lighthouses – 11.3 PROJECT’, 2011 / 2018, video, photograph, wood, dimensions variable. Collection of the artist. Production support for the installation: Fujino-yu (Ogikubo, Tokyo), Otsuka Komuten, Taniguchi Heavy Industries. Photo: Kioku Keizo. Image courtesy MUJIN-TO Production and Mori Art Museum, Tokyo. The work presented in both sections of “Catastrophe and the Power of Art” – as well as in Mori Art Museum’s related programming and public art displays – does not simply re-present disastrous events, but affirms their eternal place in the hearts and minds of those who witnessed them and those generations responsible for building beyondthem.
Yoko Ono, ‘War Is Over’, 1969 / 2018. Photo: Kioku Keizo. Image courtesy Mori Art Museum, Tokyo. As Blanchot would say, the exhibition is “not the duplicate of a thing”, but rather a complex set of relations between the visible (artwork) and the invisible (memory). They never stand alone. The breadth of work at Mori Art Museumopens a greater
system of visibility that displaces anxiety, redistributes documentary information and addresses catastrophe through a theoretical investigation of activist and personally-therapeutic practices.MEGAN MILLER
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_“CATASTROPHE AND THE POWER OF ART” IS ON VIEW FROM 6 OCTOBER 2018 TO 20 JANUARY 2019 AT MORI ART MUSEUM, 53F, ROPPONGI HILLS MORI TOWER, 6-10-1 ROPPONGI, MINATO-KU, TOKYO._ Related topics: Japanese artists,
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* An exercise in mindfulness: Apichatpong Weerasethakul and Hisakado Tsuyoshi in “Synchronicity” at the Mori Art Museum, Tokyo – September 2018 – MAM features a joint project by the Thai artist and filmmaker with the Kyoto-based artist * Integrating music and performance art: Japanese artist YuzuruMaeda – interview
– August 2018 – Yuzuru Maeda creates cross-disciplinary works, merging video, music, dance and sculpture * “Dismantling the Scaffold”: a multi-faceted exploration of power structures at Hong Kong’s new cultural hub Tai Kwun – August 2018 – _Art Radar_ takes a look at Tai Dwun Contemporary’s inaugural exhibition * “Excavating the Future City”: Japanese photographer Naoya Hatakeyama – artist profile – July 2018 – MIA presents Japanese photographer Naoya Hatakeyama’s first solo museum exhibition in the United States * Feminist art and research on alternative art education in post-1968 Japan: Shimada Yoshiko – artist profile – June 2018 – _Art Radar_ attended two presentations at Hong Kong’s Asia Art Archive by the artist and researching Shimada Yoshiko to sketch her profilePosted in Activist
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THE SINGAPORE PAVILION AT THE 58TH VENICE BIENNALE: ARTIST SONG-MING ANG AND AND CURATOR MICHELLE HO – INTERVIEW Posted on 28/11/2018by Art Radar
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_ART RADAR_ CAUGHT UP WITH THE CURATOR AND ARTIST REPRESENTING SINGAPORE AT THE 2019 VENICE BIENNALE. Curator Michelle Ho and artist Song-Ming Ang discuss their project for the next Venice Biennale. Artist Song-Ming Ang and curator Michelle Ho. Image courtesy the National Arts Council, Singapore. 2019 will mark Singapore’s ninth participation in the Venice Biennale since 2001. For the occasion, the Singapore Pavilion will present an exhibition titled “Music for Everyone: Variations on a Theme”,
by multidisciplinary artist Song-Ming Ang and curated by Michelle Ho. Born in 1980, Song-Ming Angis known for his
interest in how individuals or societies interact with music. The work at the Biennale will extend the artist’s practice of using music as “a platform to explore ideas of public involvement and the various ways people relate to music, both individually and as a society”. Ang’s presentation will embrace a variety of media, drawing from experimental music practices as well as amateurism to focus on the vision of “Music for Everyone”. The title derives from a series of concerts organised by Singapore’s Ministry of Culture in the 1970sand 1980s.
A major component of his presentation will be _Recorder Rewrite_, a new work based on the recorder, a music instrument that has been part of Singapore’s music education in schools since the 1970s. Other works on show will include developments of earlier ones such as _You and I_, in which Ang compiled and mailed out personalised CD-R mix-tapes as a response to anyone who wrote him a letter. In August 2018,_ Art Radar_ reached out to curator Michelle Ho and the artist to find out more about the upcoming Singapore Pavilion exhibition in Venice. Song-Ming Ang, ‘Backwards Bach’, 2014, video still. Image courtesythe artist.
CONGRATULATIONS ON REPRESENTING SINGAPORE AT THE 58TH VENICE BIENNALE NEXT YEAR IN 2019. WHAT HAS CHANGED FOR YOU SINCE THE ANNOUNCEMENT? SONG-MING ANG (SMA): The Venice Biennale is an important platform for artists, so there’s definitely some self-imposed pressure and stress that comes along with it. I’m just trying to stay focused and also hopefully enjoy the process of putting the show together. THE 58TH VENICE BIENNALE IS THE NINTH EDITION OF THE BIENNALE THAT SINGAPORE WILL BE PARTICIPATING IN, BUT YOU ARE THE FIRST ARTIST-CURATOR DUO TO PRESENT AN ENTIRE EXHIBITION THAT IS ALMOST EXCLUSIVELY SOUND-BASED. COULD YOU TELL US MORE ABOUT YOUR RELATIONSHIP WITH THE SONIC, AND THE ROLE THAT IT PLAYS IN YOURPRACTICE?
MICHELLE HO (MH): Sound-based artist Zulkifle Mahmodhad also
participated in the Singapore Pavilion, Venice Biennale 2007, in a group presentation alongside TangDa
Wu
, Vincent
Leow
and Jason Lim
. Many artists working with new media have long recognised sound as a critical element, and its role in opening up new dimensions of understanding and empathy. Unlike visual art, sound is invisible. Curating the practices of artists working with this medium involves translating it into a tangible experience, with the context of the artwork in question. Song-Ming’s practice engages with video, objects and other material that relate to his interest in music. SM: I have always enjoyed music, and working as an artist allows me to expand on the many ways society relates to music. In a way, I see myself as a translator between art and music. I think a lot about how music is produced, disseminated and experienced, kind of an equivalent to what we know as visual culture, but performed in relation of the aural. And from there on, my process of art-making is actually quiteintuitive.
Song-Ming Ang, ‘Parts and Labour’, 2012, video still. Image courtesy the artist. YOU WILL PRESENT “MUSIC FOR EVERYONE: VARIATIONS ON A THEME” IN VENICE NEXT YEAR. THE TITLE OF THE SHOW IS A NAMESAKE OF A SERIES OF CONCERTS ALSO TITLED “MUSIC FOR EVERYONE” THAT TOOK PLACE IN SINGAPORE IN THE 1970S AND 1980S, ORGANISED BY SINGAPORE’S THEN MINISTRY OF CULTURE, TO PROMOTE PUBLIC APPRECIATION OF THE ARTS. WHAT DREW YOU TO THE ORIGINAL “MUSIC FOR EVERYONE”, AND THAT PARTICULAR MOMENT IN SINGAPORE’S CULTURAL AND ARTISTIC HISTORY? MH: Consider the music scene today, where there are a lot more options of music, and different kinds of music concerts to enjoy. The Esplanade (a performing arts venue in Singapore) also organises various programmes catered to different genres – from classical to electronic to indie. Free concerts continue to be part of their mandate to keep music accessible and free for all. The music scene has certainly evolved, and the preoccupation to bring people together continues to be a priority for the state. It opens up questions of what the galvanising of “publics” mean, and the role of arts andmusic.
SM: I discovered the “Music for Everyone” concerts through their posters via the National Archives of Singapore as I was researching on music-related matter. There’s about a hundred music concert posters of events organised by the then-Ministry of Culture and the now-defunct National Theatre Trust. Many of the posters have this beautiful, modernist ’70s aesthetic, but what really struck me was the dedication on the part of the government to introduce music to the people. Yet, once you get deeper into the concert programmes, you’ll realise that they mainly centre on classical music appreciation, nation-building, and forging diplomatic relations. So there are definitely state agendas at work, and I think this makes for a good starting point for me to examine as an artist, in terms of what ‘music for everyone’ could mean. Curator Michelle Ho. Image courtesy the National Arts Council,Singapore.
HOW DOES IT RESONATE WITH YOUR ARTISTIC AND CURATORIAL PRACTICES NOW, AND THE LARGER CONTEXT OF CONTEMPORARY ART AND EXHIBITION-MAKING IN SINGAPORE – PARTICULARLY WITH THE CURRENT 21ST-CENTURY WAVE OF ‘IDENTITARIAN’ ART-MAKING IN VIEW? MH: A lot of artists have been looking into facets of social, cultural and political histories as fertile subject matter in contemporary art-making. In recent years, we have also begun to see historical documents and archive material being used by artists to deliberate on positions, or question policies of the past. Artists and curators engaging with such material have to ask themselves how they are using them in ethical and productive ways. It is also primarily a responsibility. Subject matters in art can be expanded into different trajectories and narratives, so it is important to discern what is of priority in the context of a given platform, or project. In this instance, one of the curator’s role is to rethink, and work with the artist to present his work to an audience who may not be familiar with his practice, and yet convey the meaning of what may be culturally-specific nuances of the work in question, and maintain a spirit of authenticity. SM: In all honesty, I’m not particularly concerned about making work as a ‘Singaporean artist’, or for that matter, as a ‘sound artist’ or ‘conceptual artist’, etc. One of the things I’m trying to do, whether successfully or not, is to evade such labels and conventions in my work. I find it troubling that art has generally been reduced to being read in terms of where it comes from, what subject-matter it deals with, and what movement it belongs too. It makes it too easy for artists to ride certain trends and simply ‘check the boxes’ for their works to circulate. My main preoccupation is how to make good art while transcending these conventions that can limit my art practice. PART OF WHAT YOU ARE TRYING TO DO WITH YOUR PRESENTATION OF “MUSIC FOR EVERYONE” IN VENICE IS TO TURN THE IDEA OF ‘PUBLIC’ ON ITS HEAD, ALLUDING TO PARTICIPATION IN THE ARTS FROM THE GROUND-UP. ONE ASPECT OF THIS INVOLVES INVITING THE PUBLIC TO WRITE LETTERS TO THE ARTIST – AND IN RETURN, SONG-MING MAKES INDIVIDUAL MIXTAPES FOR EVERYONE WHO WRITES TO HIM. THERE SEEMS TO BE A PARTICIPATORY VEIN IN BOTH OF YOUR PRACTICES: MICHELLE, IN YOUR CAREER AS A CURATOR WHO HAS HELD MANY DIFFERENT APPOINTMENTS, COLLABORATION WITH DIFFERENT AGENTS ACROSS THE ART WORLD IS KEY, AND SONG-MING, THE IDEA OF INVITING PEOPLE TO WRITE TO YOU SPAWNED FROM AN OLDER BODY OF WORK, _YOU AND I_, WHICH YOU PRODUCED FROM 2009-2012. COULD YOU TELL US MORE ABOUT YOUR VIEWS ON THE ROLE OF COLLABORATION IN ARTISTIC PRODUCTION? SM: I’ve received three letters so far this time despite not openly publicising the project. They’ve been sitting in my studio in-tray for the last two months and I feel terribly sorry that I haven’t been able to respond to them. But I will try to get to them after finishing this interview. Actually some of my works are very insular and introverted, but yes, some of them are collaborative and participatory. For me, working with the public or the audience enables unexpected outcomes to be generated in my work. It probably stems from my interest in avant garde music, in which chance operations and improvisation can feature heavily. Also, I think that working together with the audience can be challenging and rewarding for both parties. I like the fact that participants can customise their experiences for themselves in some of my works. MH: Every project or space has its own set of characteristics, governing frameworks and agendas, as well as quirks. I’m glad to have had the opportunity to work with so many different artists and situations. I think it is important to approach each project with a fresh perspective – draw from the lessons of past experiences, but also continue to have a sense of adventure and try new approaches, and be able to surprise ourselves, as well as our audiences in meaningfulways.
Song-Ming Ang, ‘Parts and Labour’, 2012, video still. Image courtesy the artist. WHAT IS IN THE WORKS FOR YOU AS WE BUILD UP TOWARDS THE OPENING OF THE VENICE BIENNALE NEXT MAY? SM: I recently had a two-person show with Lai Yu Tong, a younger Singaporean artist who makes really good works, at I_s_l_a_n_d_s, a pop-up gallery
initiated by independent curator Tan Pey Chuan. This took place across seven display windows at Peninsula Shopping Centre in Singapore. I will also be participating in another biennale but I’ve just signed the non-disclosure agreement, so I can’t tell you more about it!SOH KAY MIN
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_“MUSIC FOR EVERYONE: VARIATIONS ON A THEME” BY SONG-MING ANG WILL BE ON VIEW FROM 11 MAY TO 24 NOVEMBER 2019 AT THE SINGAPORE PAVILION AT THE 58TH VENICE BIENNALE, ARSENALE – SALE D’ARMI, CAMPO DELLA TANA 2169/F, VENICE, ITALY._ Related Topics: Singaporean artists,
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September 2018 – M+ presents the museum’s first geographically focused exhibition with a multidisciplinary touch in Hong Kong * “fidelity”: Singaporean artist Jeremy Sharma and Southeast Asia’s endangered communities at Aloft by Hermès–
August 2018 – Aloft by Hermès in Singapore presents “fidelity”, a new sound-based exhibition by Jeremy Sharma curatedby Emi Eu
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July 2018 – the Taipei Fine Arts Museum recently announced Shu Lea Cheang will represent Taiwan at the 58th Venice Biennale * The spaces that shape us: Korean artist Do Ho Suh in Venice–
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June 2018 – Singaporean artist Berny Tan takes on Italo Calvino’s Invisible Cities in her latest solo exhibitionPosted in Biennales
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PHANTOM CITY: CHINESE ARTIST YANG YONGLIANG AT UTAH MUSEUM OF FINEARTS
Posted on 28/11/2018by Art Radar
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YANG YONGLIANG’S LAYERING OF DIGITAL PHOTOGRAPHY WITH TRADITIONAL PAINTING TECHNIQUES SHINES A LIGHT ON RAMPANT DEVELOPMENT. Images captured from Asia’s densely populated environs subtly tease out the reality of environmental destruction for the sake of urbanisation at the Chinese artist’s latest solo exhibition in theUnited States.
Yang Yongliang, ‘The Path’, 2016, film on lightbox, 20 x 20 cm. Image courtesy the artist. “salt 14: Yang Yongliang” is a solo exhibition of Chinese artist Yang Yongliang’s work at the Utah Museum of Fine Arts in Salt Lake City. Part of the _salt_ series is initiated by the museum and supported by the Andy Warhol Foundation for the Visual Arts. This show is also made possible with support from the University of Utah Confucius Institute and the Rosaline Pao Chinese Forum. Yang Yongliang joins a select group of emerging and mid-career artists for the museum’s programme demonstrating that powerful work can be shown in a demure space. As relayed by the museum’s Senior Curator WhitneyTassie:
> The _salt_ program began in 2010 and has featured 14 artists so far, > including Katie Paterson, Brian Bress, Duane Linklater, Conrad > Bakker, Jillian Mayer, Yuki Kihara, Lynette Yiadom-Boakye, Emre > Huner, Daniel Everett, Xaviera Simmons, Cyprien Gaillard, Sophie > Whettnall, and Adriana Lara. As you can see, this ongoing program of > exhibitions showcases work by emerging and mid-career artists from > around the world. It aims to reflect the impact of contemporary > art, forging connections to the global and bringing new and diverse > artwork to the city that shares the program’s name.>
> The term “salt” was selected to represent our city and also > because salt is something that adds flavor or bite, but the > exhibitions don’t typically have to do with actual salt. The > _salt_ shows are small shows that take place in an approximately 500 > square foot gallery and sometimes in other museum spaces too. The > UMFA provides each _salt_ artist an unrestricted $5000 Creative > Grant to support the creation of work. While it’s not a > requirement of the series, I find that I’m continually drawn to > artists whose practices are informed by disciplines beyond art and > art history. Working on a university campus, it’s fun to engage a > range of departments and to tap into various research happening> here.
Yang Yongliang, ‘The Streams’, 2016, film on lightbox, 25 x 20 cm. Image courtesy the artist.Yang Yongliang was
born in Shanghai in 1980, a city that has seen massive growth during his lifetime. Yang graduated from the China Academy of Art with a degree in Visual Communication in 2003, after studying traditional Chinese painting under calligraphy master Yang Yang for ten years. His work has been shown throughout the world and is held in notable museum collections, including London’s British Museum, the Metropolitan
Museum of Art
in New
York, the Museum of Fine Arts, Boston and the Asian Art Museum, SanFrancisco.
Yang Yongliang, ‘The Cliff’, 2016, film on lightbox, 20 x 20 cm. Image courtesy the artist. The intimate association that Yang has as someone who grew up in Shanghai is palpable in his monochromatic pastoral images, which harken back to classical Chinese landscape paintings but with a stark difference. Here, dense blocks of skyscrapers populate the towering hills, along with electric power poles and the emblematic harbinger of development – the ubiquitous tower crane. His work masterfully ties together digital photography with one of China’s most iconic landscape painting traditions known as _shan shui_. Yang Yongliang, ‘The Flock’, 2016, film on lightbox, 20 x 25 cm. Image courtesy the artist. This mastery of bringing together disparate techniques is what makes his work unique and especially exciting, according to University of Utah’s Associate Professor in the Department of Art and Art History, Edward Bateman: > At a time when most photographers seemingly avoid an overt digital > presence in favor of a guise of straight photography, Yang > Yongliang’s work is a tour de force of digitally constructed > images. They are technically immaculate, but more interesting are > the many dualities in his works. From a distance, they appear to be > classical Chinese paintings in the poetic Shan Shui style. But as > you move closer, you are also seemingly moving through time into a > present that also hints at a future. What was once nature becomes a > megalopolis in the process of emerging. The skyscrapers and cranes > constructing the city materialize from the natural landscape > creating endlessly explorable vistas.>
> The endlessly malleable possibilities of digital photography are > revealed in Yang’s images. The merging of cameras and computers > allows us to go beyond simple depictions of what is, to explore that > which cannot be readily seen. Like a Shan Shui landscape, Yang’s > work is not a physical mirroring of a tangible place but a > construction of the mind informed by centuries of cultural > understanding of our world. Yang Yongliang, ‘Lone House’, 2016, film on lightbox, 25 x 20 cm. Image courtesy the artist. The ties between past and present are explored in the artist’s creations, where dragons and damsels exist alongside contemporary cityscapes. In an interview with _Art Radar_, Yang described his inspiration as the “masters of the Song and Yuan dynasties” and as noted above, reworking the centuries-old style known as_ shanshui_.
Coming to prominence in the fifth century, _shan shui_, which literally translates as “mountain and water”, traditionally used ink and brush. As an early form of landscape painting, one typically sees water features such as waterfalls and rivers, along with the ever present mountain – considered as the home of the immortals and heldas a sacred space.
Yang Yongliang, ‘Prevailing Winds’ (still), 2017, 4K video, 7m:00s. Image courtesy the artist. _Shan shui_ embodies three compositional structures providing a series of rich layers: Paths, Threshold and the Heart, while embracing the Chinese _Wu Xing _(Elemental Theory), centred around the five elements – wood, fire, earth, metal and water – and their various correspondences in the physical and phenomenological world. Interestingly, it is thought by some that Daoist and Neo-Confucian philosophies had a hand in the interest between man and his link to the cosmos, which ultimately lead to an interest in depicting what is “thought” and not merely what is “seen” byan artist.
It is this layering of traditional themes and imagery, along with Yang’s thousands of digital photos harvested while visiting Asia’s megacities and pristine environs in Iceland and Norway, that bring into full view the collision between the China of the past and her no-holds-barred contemporary cities, where globalisation and environmental degradation have sadly come into focus. In addition to images, Yang told _Art Radar_ that the aspect of sound is critical tohis compositions:
> I use sound in my video works and they’re as crucial as the > images. For me personally, I am very sound-sensitive and the sounds > often get into me before the images. Yang Yongliang, ‘Fall into Oblivion’ (still), 2015, digital film, 58m:13s. Image courtesy the artist. Yang Yongliang, ‘Fall into Oblivion’ (still), 2015, digital film, 58m:13s. Image courtesy the artist. It is this mash-up of images that provides a crucial relevancy not just for those in China, but other burgeoning economies as well. As Luke Kelly, Associate Curator of Collections and Antiquities at the Utah Museum of Fine Arts told _Art Radar_, Yang’s offerings present a very significant look at what is happening not only in China but throughout the globe, perhaps providing a cautionary tale for those who follow in the future: > His work has relevancy on several levels. As a Chinese artist, his > work represents the tension and push/pull of traditional forms of > art and contemporary forms. He shows in his work the middle path > where he is utilizing the latest technology. But Yang blends it > seamlessly with the theory and aesthetics of traditional landscape > painting. As a person who had lived in and around Shanghai most of > his life, Yang was witness to the rapid urbanization Shanghai and > China has experienced in the past 40 years. When he was born, > Shanghai had a population of 5 million people. In 2018, the city now > has 26 million. Other cities like Shenzhen went from 40,000 in 1980 > to 13 million today. These cities are key to the economic > productivity of China but the loss of nature is the cost of this > rapid growth. One can see that issue in any growing area around the> world.
LISA POLLMAN
2399
_“SALT 14: YANG YONGLIANG” IS ON VIEW FROM 26 OCTOBER 2018 TO 2 JUNE 2019, WITH AN ARTIST TALK SLATED FOR 3 APRIL 2019, AT UTAH MUSEUM OF FINE ARTS,_ MARCIA AND JOHN PRICE MUSEUM BUILDING, 410 CAMPUS CENTER DRIVE, SALT LAKE CITY, UT 84112-0350. Related Topics: Chinese artists,
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– October 2018 – group show takes aim at climate change and environmental degradation through examination of water scarcity * 4 highlights from the 2nd Yinchuan Biennale – September 2018 – second addition of biennale looks at modern-day issues through the lens of history * “Peppermint”: Chinese artist Chen Qiulin at A4 Art Museum,Chengdu
– July 2018 – controversial government projects colour artist’s examination of past and present * Tearing down the past to build the future: Yang Yongliang, Chineseartist interview
– April 2013 – themes from the Song and Yuan dynasties collide with rapid environmental changes in ChinaPosted in Ancestors
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MEET THE SHORTLISTED ARTISTS FOR THE TURNER PRIZE 2018 Posted on 27/11/2018by Jessica Clifford
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THE TURNER PRIZE RETURNS TO TATE BRITAIN IN LONDON FOR ITS 34THEDITION.
The prize is awarded to a British artist for an outstanding exhibition or other presentation of their work in the preceding year as determined by a jury. _Art Radar_ looks at the four nominated artists. Turner Prize 2018 exhibition installation view, Tate Britain. Photo: Tate Photography, Matt Greenwood. Currently on view at Tate Britainin London is an
exhibition of work by the four artists shortlisted for the 2018Turner Prize
, which
includes Forensic Architecture, Naeem Mohaiemen, Charlotte Prodger and Luke Willis Thompson. The exhibition of the work of the nominated artists for the Turner Prize 2018 is curated by two curators of contemporary British art at Tate: Linsey Young and Elsa Coustou. One of the world’s best-known prizes for visual art, the Turner Prize aims to promote public debate around new developments in contemporary British art. The winner will be announced on Tuesday 4 December 2018 at an awards ceremony live on the BBC, the broadcast partner for the Turner Prize. Established in 1984, the Turner Prize is awarded to a British artist for an outstanding exhibition or other presentation of their work in the twelve months preceding 16 April 2018. The Turner Prize award is GBP40,000 with GBP25,000 going to the winner and GBP5,000 each for the other shortlisted artists. Turner Prize 2018 exhibition installation view, Tate Britain. Photo: Tate Photography, Matt Greenwood. Forensic Architecture, ‘The Long Duration of the Split Second’ consisting of two projects: ‘The Killing in Umm al-Hiran, 18 janaury 2017, Negev/Naqab, Israel/Palestine’. Investigation: 2017-ongoing, video, model, texts and ‘Traces of Bedouin Inhabitation, 1945-present, Negev/Naqab, Israel/Palestine’, Investigation: 2015-ongoing, video, aerial images, text. Turner Prize 2018 exhibition, installation view, Tate Britain. Photo: Tate Photography,Matt Greenwood.
The members of the Turner Prize 2018 jury are Oliver Basciano, art critic and International Editor at _ArtReview_; Elena Filipovic, Director of Kunsthalle Basel; Lisa Le Feuvre, Executive Director of Holt-Smithson Foundation; and Tom McCarthy, novelist and Visiting Professor, Royal College of Art. The jury is chaired by Alex Farquharson, Director of Tate Britain, who commented on this year’sshortlist thus:
> The artists shortlisted for this year’s Turner Prize are tackling > some of today’s most important issues, from queer identity, > human-rights abuses and police brutality to post-colonial migration > and the legacy of liberation movements. For the first time, all the > shortlisted artists work with the moving image and its thrilling to > see how wide a range of techniques and styles they use. Below, _Art Radar_ profiles the nominated artists. Forensic Architecture, ‘The Long Duration of the Split Second’ consisting of two projects: ‘The Killing in Umm al-Hiran, 18 January 2017, Negev/Naqab, Israel/Palestine’. Investigation: 2017-ongoing, video, model, texts and ‘Traces of Bedouin Inhabitation, 1945-present, Negev/Naqab, Israel/Palestine’, Investigation: 2015-ongoing, video, aerial images, text. Turner Prize 2018 exhibition, installation view, Tate Britain. Photo: Tate Photography,Matt Greenwood.
Forensic Architecturepresents its
investigations surrounding the Bedouin communities of the Naqab/Negev region of southern Israel. Together with members of the photographic collective Activestills, Forensic Architecture investigated the events of 18 January 2017, a day on which an attempt by police to clear an unrecognised Bedouin village resulted in the deaths of two people. Forensic Architecture is an international, interdisciplinary team based at Goldsmiths, University of London, and includes architects, filmmakers, lawyers and scientists. Their work uses the built environment as a starting point for explorations into human rights violations, and usea video, photographs, scale models, text and reproductions to investigate allegations of state and corporateviolence.
Forensic Architecture, ‘The Long Duration of the Split Second’ consisting of two projects: ‘The Killing in Umm al-Hiran, 18 January 2017, Negev/Naqab, Israel/Palestine’. Investigation: 2017-ongoing, video, model, texts and ‘Traces of Bedouin Inhabitation, 1945-present, Negev/Naqab, Israel/Palestine’, Investigation: 2015-ongoing, video, aerial images, text. Turner Prize 2018 exhibition, installation view, Tate Britain. Photo: Tate Photography,Matt Greenwood.
Forensic Architecture’s methods respond to our changing media landscape – exemplified in the widespread availability of digital recording equipment, satellite imaging and platforms for data sharing. The collective proposes new modes of open-source, citizen-led evidence gathering and analysis that has already contributed to developments in the fields of human rights, journalism and visual cultures. Forensic Architecture has worked closely with communities affected by acts of social and political violence, alongside NGOs, environmental justice and human rights groups, activists and media organisations. Their investigations have provided decisive evidence in a number of legal cases, including in national and international courts in Germany, The Hague, Greece, Israel, Guatemala, as well as in citizen tribunals and human rights processes, leading to military, parliamentary and UN inquiries. Alongside their presentation in such political and judicial fora, Forensic Architecture’s investigations have also been shown in cultural and artistic venues as examples of the use of creative practice in an image- and data-laden environment. Forensic Architecture, ‘Killing in Umm al-Hiran, 18 January 2017’ (still), 2018. Annotations by Forensic Architecture on Israeli policefootage.
Collage by Forensic Architecture, 2018. Forensic Architecture’s presentation at documenta 14included work that
exposed the involvement of the German Internal Security Service in a racially-motivated murder in Kassel, leading to fierce debates in the Parliamentary Inquiry of the German state of Hessen. Their exhibition in Mexico City’s University Museum of Contemporary Arts (MUAC) launched the result of a year-long investigation into the enforced disappearance of the 43 students of Ayotzinapaand affected
the human rights and legal debate in relation to this case. Other solo exhibitions, such as that held at the Museum for Contemporary Arts inBarcelona
(2017) and, most recently, “Counter Investigations” (2018) at the Institute for Contemporary Arts in London have included both support and a platform for the team’s ongoing investigations. These exhibitions, alongside a number of publications, also provide a space for critical reflection of our image, data and media laden culture. Forensic Architecture was founded in 2010 by architect EyalWeizman.
Naeem Mohaiemen, ‘Tripoli Cancelled’ (still), 2017, single channel film. Commissioned by documenta 14. Co-commissioned by Sharjah Art Foundation and Art Jameel. Additional support by Locus Athens, Hellinikon AE, and Experimenter. Naeem Mohaiemen ‘s films and installations weave together archives, photographs and interviews. He explores ideas of hope and loneliness, focusing on countries freed from colonial rule. _Two Meetings and a Funeral_ is a documentary film shown on three screens, centering on the power struggle between the Non-Aligned Movement and the Organisation of Islamic Cooperation in the 1970s. _Volume Eleven (flaw in the algorithm of cosmopolitanism)_ is a concertina book telling a story of the life of Mohaiemen’s great uncle. _Tripoli Cancelled_ is Mohaiemen’s first fiction film, following the daily routine of a man who spends a decade living alone in an abandoned airport. Naeem Mohaiemen, ‘Tripoli Cancelled’ (still), 2017, single channel film. Commissioned by documenta 14. Co-commissioned by Sharjah Art Foundation and Art Jameel. Additional support by Locus Athens, Hellinikon AE, and Experimenter. Naeem Mohaiemen, ‘Two Meetings and a Funeral’, 2017, three-channel installation, Hessisches. Landesmuseum, Kassel, documenta 14. Commissioned by documenta 14. Co-commissioned by Sharjah Art Foundation and Ford Foundation/Just Films. Supported by Arts Council, Bengal Foundation, Tensta Konsthall. Additional support by Experimenter, and Tate Films. Photo: Michael Nast. Mohaiemen’s research-led practice encompasses films, installations and essays about transnational left politics in the period after World War II. He investigates the legacies of decolonisation and the erasing and rewriting of memories of political utopias. Mohaiemen combines autobiography and family history to explore how national borders and passports shape the lives of people in turbulent societies. His work focuses on film archives and the way their contents can be lost, fabricated and reanimated. The hope for an as-yet unborn international left, instead of alliances of race and religion, forms his work. Mohaiemen was born in 1969 in London, UK, and grew up in Dhaka, Bangladesh. He is currently undertaking a PhD in Anthropology at Columbia University, USA, and works in New York and Dhaka. Naeem Mohaiemen, ‘Two Meetings and a Funeral’, 2017, three-channel video, Turner Prize 2018 exhibition, installation view, Tate Britain. Photo: Matt Greenwood. Image courtesy Tate Photography. Presented in separate chapters at documenta 14 were four works that covered a range of histories and took a variety of forms. _Volume Eleven (flaw in the algorithm of cosmopolitanism)_ (2017) is a series of diptychs that appeared in _South as a State of Mind_ (the documenta 14 journal) and MoMA PS1 , looking at Mohaiemen’s great uncle’s misplaced hope that Germany would liberate British India. Presented at _Parliament of Bodies_ (documenta 14 public programmes) and Delfina Foundation was the live performance essay _Muhammad Ali’s Bangladesh Passport_. Naeem Mohaiemen, ‘Tripoli Cancelled’ (still), 2017, single channel film, Turner Prize 2018 exhibition, installation view, Tate Britain. Photo: Matt Greenwood. Image courtesy Tate Photography. _Tripoli Cancelled_ (2017), premiering in documenta 14 / Athens and BFI London Film Festival, is Mohaiemen’s first fiction film, about a man who lived alone in an abandoned airport for a decade, with _Watership Down_ and Boney M songs as his companions. The film reflects on the isolation of modernity and the indefinite wait for stability. _Two Meetings and a Funeral_ (2017), presented at documenta 14 / Kassel and forthcoming at Liverpool Biennial, is a
three-channel documentary examining Cold War-era power struggles between the Non-Aligned Movement (NAM) and the Organization of Islamic Cooperation (OIC). A journey through transnational architecture in New York, Algiers and Dhaka, it chronicles the pivot of the Third World project from Socialism to its ideological counterpoint, Islamism. Charlotte Prodger, ‘BRIDGIT’ (still), 2016, single channel video with sound, 32m:00s. Image courtesy the artist, Koppe Astner, Glasgow and Hollybush Gardens, London.Charlotte Prodger
presents _BRIDGIT_, her most autobiographical work to date, filmed on an iPhone over the course of a year. It is made up of recordings of the Scottish countryside as well as shots from inside Prodger’s home. Sounds from her environment are overlaid with a narration read by the artist and her friends, including extracts from her diaries and books written by figures from queer history. It forms a framework of historical knowledge, experience and solidarity that has shaped herown queer identity.
Charlotte Prodger, ‘Portrait’, 2017. Photo: © Emile Holba 2018. Charlotte Prodger is a British artist working with moving and printed image, sculpture and writing. Her work explores issues surrounding queer identity, landscape, language, technology and time. She has been nominated for the 2018 Turner Prize for her solo exhibition “BRIDGIT/Stoneymollan Trail” at Bergen Kunsthall (2017) comprising two single-channel videos. Moving image has been at the core of Prodger’s work for two decades, and its ever-evolving formats are inextricably bound to the autobiographical content of her work. She has mined the material properties of numerous moving image formats, not just because they inherently get replaced over time, but because she is fascinated by their formal parameters and socio-political histories, in the sticky relationship between form and content. Prodger’s recent videos set up complex tensions between the body, landscape, identity and time. _BRIDGIT _is titled after the eponymous Neolithic deity whose name has had multiple iterations across different geographical locations and points in history. _BRIDGIT_ was shot entirely on Prodger’s iPhone, which she approaches as a prosthesis or extension of the nervous system, intimately connected to time, social interaction and work. Body and device become extensions of each other, and the work becomes a unified meditation on shifting subjectivity. Charlotte Prodger, ‘BRIDGIT’ (still), 2016, single channel video with sound, 32m:00s. Image courtesy the artist, Koppe Astner, Glasgow and Hollybush Gardens, London. Charlotte Prodger, ‘BRIDGIT’, 2016, single-channel HD video. Turner Prize 2-18 exhibition, installation view, Tate Britain. Photo: Matt Greenwood. Image courtesy Tate Photography. _Stoneymollan Trail_ is named after an ancient ‘coffin road’ on the west coast of Scotland. A non-linear miscellany of visual material from her personal archive (shot between 1999 and 2015), it traces a history of recent video formats as well as the artist’s personal history. Much of Prodger’s work looks at what happens to speech – and the self for which it is a conduit – as it metamorphoses via time, space and technological systems. For voiceovers, she frequently asks friends to read out her own diaristic content, while she inhabits other subjectivities by re-speaking the words of people living and dead: friends, anonymous YouTube users and historical figures of influence. The material perpetually shifts around but is locally grounded in its means of production – based in queerness, communality, technology, language and loss. Luke Willis Thompson, ‘_Human’, 2018, depicting the artwork of Donald Rodney ‘My Mother, My Father, My Sister, My Brother’, 1997. Commissioned and produced by Kunsthalle Basel. Image courtesy the artist, Hopkinson Mossman, Auckland/Wellington, and Galerie Nagel Draxler, Cologne/Berlin. Luke Willis Thompson, ‘Cemetary of Uniforms and Liveries’, 2016, 35mm. Turner Prize 2018 exhibition, installation view, Tate Britain. Photo: Matt Greenwood. Image courtesy Tate Photography. Luke Willis Thompsonworks across
film, performance and installation. His films examine the relationship between a person and their representation. For the Turner Prize, Thompson presents a trilogy of works on 35mm film: _Cemetery of Uniforms and Liveries_, _autoportrait_ and __Human_. In these three films, Thompson reframes histories of violence enacted against certain bodies, and offers counter-images to the media spectacle of ourdigital age.
Luke Willis Thompson, ‘_Human’, 2018, 35 mm film. Turner Prize 2018 exhibition installation view. Photo: Matt Greenwood. Image courtesy Tate Photography. Luke Willis Thompson, ‘_Human’, 2018, 35 mm film. Turner Prize 2018 exhibition installation view. Photo: Matt Greenwood. Image courtesy Tate Photography. Thompson was born in 1988 in New Zealand, and attended Elam School of Fine Arts University in Auckland and the Städelschule in Frankfurt am Main. His works have been included in exhibitions such as the SãoPaulo Biennale ,
the Montréal Biennale, the Asia-Pacific Triennial,
Queensland, and the New Museum Triennial, New York.
Thompson was awarded the Walters’ Prize (New Zealand’s premier contemporary art prize) in 2014, and won the Deutsche Börse Photography Foundation Prize in 2018. Luke Willis Thompson, ‘autoportrait’, 2017, 35 mm. Turner Prize 2018 exhibition installation view. Photo: Matt Greenwood. Image courtesy Tate Photography. Luke Willis Thompson, ‘autoportrait’, 2017, 35 mm. Turner Prize 2018 exhibition installation view. Photo: Matt Greenwood. Image courtesy Tate Photography. The work for which he was nominated, originally commissioned byChisenhale Gallery
, is the 35mm film
_autoportrait_, a filmic portrait of Diamond Reynolds. In July 2016, Reynolds used Facebook Live to broadcast the moments immediately after the fatal shooting of her partner Philando Castile by a police officer during a traffic-stop in Minnesota, United States. Reynolds’ video circulated widely online and amassed over six million views. In November 2016, Thompson contacted Reynolds to invite her to collaborate on a project, which would act as a ‘sister-image’ to her video broadcast, and break with her more publicly consumed image.JESSICA CLIFFORD
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_THE TURNER PRIZE 2018 IS ON VIEW FROM 26 SEPTEMBER 2018 UNTIL 6 JANUARY 2019 AT TATE BRITAIN, MILLBANK, WESTMINSTER, LONDON SW1P 4RG,UNITED KINGDOM._
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November 2018 – _Art Radar_ has a look at the Jameel Prize 5 exhibition at the V&A in London * A filmic narrative: revision and reconstruction of history in the work of Kemang Wa Lehulere – artist profile–
October 2018 – Wa Lehulere reflects upon education under Apartheid, the instrumentalisation of religion, communication and the erasure ofcollective memory
* “There Is No Last Man”: British-Bangladeshi artist Naeem Mohaiemen at MoMA PS1–
March 2018 – _Art Radar_ has a look at the artist’s latest solo exhibition in New York, “There Is No Last Man” * “I Wish to Let You Fall Out of My Hands (Chapter I)”: Bangladeshi filmmaker Naeem Mohaiemen and Pakistani artist Bani Abidi– in conversation
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February 2018 – the show examines longing, memory, identity, dislocation and loss through architecture, form and spacePosted in Activist
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Britain , Turner Prize THE SHINING “CONGO STARS” OF KUNSTHAUS GRAZ, UNIVERSALMUSEUMJOANNEUM
Posted on 27/11/2018by Art Radar
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AUSTRIA’S KUNSTHAUS GRAZ PRESENTS “CONGO STARS”, A COMPREHENSIVE GROUP SHOW FEATURING 70 CONGOLESE ARTISTS. Curated by Sammy Baloji, Bambi Ceuppens, Fiston Mwanza Mujila, Günther Holler-Schuster and Barbara Steiner, “Congo Stars” draws inspiration from literature, spirituality and the DRC’s bustlingcity life.
SAPINart, ‘L’image d’un Congo Prospere et d’Espoir’, 2006, acrylic colors on canvas, 120 x 200 cm. Collection Horvath Politischer Kunst. Photo: W. Horvath. Image courtesy Universalmuseum Joanneum. In the book _Tram 83_, Lumbumbashi-born and Graz-based author Fiston Mwanza Mujila writes: > Literature deserves pride of place in the shaping of history. It is > by way of literature that I can reestablish the truth. I intend to > piece together the memory of a country that exists only on paper. To > fantasise about the City-State and the Back-Country with a view to > exploring collective memory. _Tram 83_, Mujila’s debut novel, is a riotous look at the underbelly of life rarely featured in sub-Saharan African literature. Set in a bar in an unnamed Congolese mining town, the book follows poet Lucien and his escapades with a group of writers, drunkards, drug dealers and daydreamers. As they gallivant throughout the city and frequent the notorious club Tram 83, readers get a glimpse at the myriad forms of exploitation and neocolonialism that occur throughout Africa, not only in the author’s native Congo. JP Mika, ‘La Sape ’est le Défi Quotidien’, 2017, acrylic on fabric, 150 x 120 cm. Image courtesy galerie MAGNIN-A, Paris. ©Florian Kleinefenn.
Mujila’s work serves as the conceptual starting point for “CongoStars”
,
the ongoing exhibition at Kunsthaus Graz Universalmuseum Joanneumin Austria.
While based on the (harsh) social reality of Congolese cities, the book describes an imaginary place that could in fact be almost anywhere. Inspired by the book’s location, the exhibition is divided into six segments: “street”, “bar”, “home”, “stars”, “spirituality” and “exploitation”. In each, real and imaginary places and spaces that function as generators of community and identity are entangled and fictionalised. Featuring 70 artists living between Paris, Brussels, Kinshasa and Lubumbashi, the exhibition’s individual chapters are not separate from one another, but rather form a continuous narrative, being interconnected and consolidated through recurring motifs and themes. Alongside each work of art, a timeline provides information on the history of key events and contextualises the works on display. The accumulation of diverse mediums, namely painting, video, sculpture and installation, are used to create an almost overwhelming density, reminiscent of that in a populous Congolese city. Eddy Kamuanga Ilunga, ‘Ko Bungisa Mbala Mibale (Second Loss), 2017, acrylic and oil on canvas, 170 cm x 150 cm. Kreisler – Perez Olivares Collection, Madrid, Spain, Photo: Artist, Courtesy October Gallery, London. Image courtesy Universalmuseum Joanneum. Running until 27 January 2019, “Congo Stars” features popular artwork produced between the 1960s and today in cooperation with the Royal Museum for Central Africa, Kunsthalle Tübingen, Iwalewahaus and Picha in Lubumbashi. The collaborative effort to host the exhibitionat Kunsthaus Graz
stems from the sometimes-surprising historical and current relations between Austria and the Democratic Republic of Congo (DRC). The press release states that the “connections and interdependencies are multifaceted” and extend from educational programmes in the 1960s to the decades of teaching by two Austrian professors at the Académie des Beaux-Arts in Kinshasa. “Congo Stars” thus features important modern and contemporary Congolese artists who exhibited in Graz in the 1990s, amongst the work from three important Austrian collections: The Ethno-Medicine collection, Weltmuseum Vienna, the Horvath Collection for Political Art and the Linz and the Peter Weihs collection,Kukmirn.
Hilaire Balu Kuyangiko, ‘Nkisi Numérique’, 2017, mixed collage of remote control keys on wooden sculpture. Image courtesy Universalmuseum Joanneum. © Ephraim Baku. Image courtesy of NunoCrisostomo.
The curatorial team emphasises the notion that “Congo Stars” is not a “national exhibition” or even a showcase for the DRC. Like Mujila’s ambiguous novel setting, the group show is a “projection screen” reflecting the imagination and resilience of a dysfunctional state and contested territory in equal measure. It alludes to a series of changing political systems and regimes, not only in regard to the country’s changing names and identities in recent history. Alfi Alfa, ‘La Bataille Sanglante de Kinshasa, 2007, acrylic on canvas, 90 x 109 cm. Collection Horvath Politischer Kunst. Photo: W. Horvath. Image courtesy Universalmuseum Joanneum. The exhibition’s title, however, is a bit more conclusive, conjuring images of the star in DRC’s flag, despite its fluctuations in design and state doctrine. The title also refers to popular culture, to local and international stars and heroes, and beyond that, to the act of “literally reaching for the stars”. Zaire, the state’s name between 1971 and 1997, was able to afford an ambitious space research programme, sparking many utopian, futuristic-looking representations by artists longing for a “social space that is positively occupied, both territorially and temporally, in an ‘outside’ space”. Monsengo Shula, ‘Roi Satellite’, 2012, acrylic on canvas, 140 x 140 cm. Farida and Henri Seydoux Collection. Image courtesy Universalmuseum Joanneum. © westudio.fr. Following the chronological narrative in “Congo Stars”, visitors encounter the work of Kinshasa-born photographer Gosette Lubondo, her series _An Imaginary Trip_ (2016) being a particularly breathtaking component in the ambitious exhibition. The piece displays three staged ‘commuters’ (all of which are the artist) inside a dilapidated train car. Staring out of the windows and reading the newspaper, they wait to arrive at a destination that will never be found. Lubondo notes that she finds inspiration in her daily surroundings, in the spatial and individual remnants that make up the place she calls home. She works at the intersection between past and present, old and new, interrogating the memory of “aging sites”. In this series,
she offers representations that question mobility from a structural and emotional perspective where rust, old inscriptions, ruins, waiting and silence play central and equal roles. _An Imaginary Trip_ is a testimony to a city’s degradation, its unfurling histories and the “continuous evolution” of human life in transit. Gosette Lubondo, ‘An Imaginary Trip, #11’, 2016, 15 repro-photographs, dark frame without glass, 40 x 60 cm (each). Image courtesy the artist. Chéri Samba’s paintings reveal his perception of the social, political, economic and cultural realities of Zaire, exposing all facets of everyday life in Kinshasa. His canvases offer a running commentary on popular customs, sexuality, AIDS and other illnesses, social inequalities and corruption. From the late 1980s on, he, like Lubondo, has became the main subject of his work. For Samba, this is not an act of narcissism, but, rather, like a news anchor, he places himself in his work to report on what it means to be a successful African artist on the world stage. On view in “Congo Stars” is Samba’s _La Marche de soutien pour la campagne contre le SIDA _ (2006). As solidarity protesters march with signs stating “AIDS is always here” and “AIDS will only be curable in 10 or 20 years”, Samba calls on his viewers to take preventive measures. The colourful figurative painting, like many in his previous series, combines elements of humour, advertising imagery and famed moral fables in a work that is simultaneously pedagogical and emotional. Chéri Samba, ‘La Marche de Soutien Pour la Campagne Contre le SIDA’, 2006, acrylic on canvas, 200 x 288.5 cm. Collection Lucien Bilinelli, Bruxelles/Milan. Image courtesy Universalmuseum Joanneum. Aptly described as a ‘painter reporter’ of city life, Moke was among the leading artists of the school of painting that sprung up in Kinshasa in the first decade of Congo’s independence. He joins the Kunsthaus Graz exhibition with _Nganda Moke_ (1992), another energetic painting detailing the bustling night life of Kinshasa. Packed together in an open-air bar, his figures are at ease, dancing and smiling beneath the colourful hanging lights. More than a painting, the scene emits the boisterous sounds of music, clinking bottles and laughter to the gallery. Street scenes, bars, the local dandies or ‘Sapeurs’ as well as the powerful female Miziki are common motifs in his canvases, bringing to life the vibrantly diverse postcolonial reality described in Mujila’s _Tram 83_: > Inadvertent musicians and elderly prostitutes and prestidigitators > and Pentecostal preachers and students resembling mechanics and > doctors conducting diagnoses in nightclubs and young journalists > already retired and transvestites and second-foot shoe peddlers and > porn film fans and highwaymen and pimps and disbarred lawyers and > casual laborers and former transsexuals and polka dancers and > pirates of the high seas and seekers of political asylum and > organised fraudsters and archeologists… Moke, ‘Nganda Moke’, 1992, oil on canvas, 123.5 x 158 cm. Collection Lucien Bilinelli, Bruxelles/Milan. Image courtesy Universalmuseum Joanneum. Like an improvisational jazz solo, the list of characters goes on for another page, describing a place that resembles “the Lascaux Caves” in its darkness, and that was overrun by “all sorts of tribes”. Most important, and weaving throughout “Congo Stars” is the depiction of individuals who are hungry for change and courageous enough to etch out a new future for themselves.MEGAN MILLER
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_“CONGO STARS” IS ON VIEW FROM 22 SEPTEMBER 2018 TO 27 JANUARY 2019 AT KUNSTHAUS GRAZ UNIVERSALMUSEUM JOANNEUM, LENDKAI 1, 8020 GRAZ,AUSTRIA._
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* Art of the “VIPs”: Korean artist Haegue Yang at Kunsthaus Graz, Universalmuseum Joanneum – January 2018 – Phase I of the exhibition invites local “VIPs” to participate through lending furniture of their choice tothe display
* “Art/Afrique, Le nouvel atelier”: African art from 1989 onwards at Foundation Louis Vuitton, Paris – August 2017 – the exhibition marks the first time the Jean PIgozzi collectin of African Art will be displayed in Paris * “Provisional Studies”: Japanese artist Koki Tanaka at Kunsthaus Graz, Universalmuseum Joanneum – July 2017 – Japanese artist Koki Tanaka’s first solo exhibition in Austria uses experimental setups to stress the importance of collective experience * Cercle d’Art des Travailleurs de Plantation Congolaise at SculptureCenter, New York – March 2017 – SculptureCenter holds latest exhibition of work by Cercle d’Art des Traveilleurs de Plantation Congolaise * Culture clash: Congolese artist Eddy Kamuanga Ilunga at theOctober Gallery
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Universalmuseum Joanneum “BLOOMING MATRIX”: MMCA HYUNDAI MOTOR SERIES 2018 PRESENTS CHOIJEONG HWA
Posted on 27/11/2018by Art Radar
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“MMCA HYUNDAI MOTOR SERIES 2018: CHOIJEONGHWA – BLOOMING MATRIX” AT THE NATIONAL MUSEUM OF MODERN AND CONTEMPORARY ART FEATURES THE ‘FLOWERY’ WORKS BY THE KOREAN ARTIST. _Art Radar_ takes look at Choi Jeong Hwa’s installation works infused with common and inexpensive consumables used in daily life. Choi Jeong Hwa, ‘Present of Century’, 2016, FRP, steel structure, chrome coating, dimensions variable. Image courtesy the MMCA and theartist.
The MMCA Hyundai Motor Series is an annual project that supports one of the influential artists who have represented Korea for more than 10 years since 2014. This series is designed to present the new vibrancy and prospect of Korean contemporary art, and to solidify prominent Korean contemporary artists. It also gives an opportunity to established artists to develop a new momentum for expansion in theirpractice.
Choi Jeong Hwa, ‘Dandelion’, 2018, used kitchenware, steel structure, 9m Ø. Image courtesy the MMCA and the artist.Choi Jeong Hwa (b.
1961) creates variegated installations sourcing commonly used inexpensive materials or abandoned consumables such as plastic baskets, piggy banks, brooms and balloons. The formative method of the artist is rebuilding consumer goods that can be seen in everyday life in order to demolish the boundaries between high-end art and popular culture, symbolising the presence of rapid economic growth in Korean society since the 1990s. The director of MMCA Bartomeu Marí is quoted in the press release as saying: > In this exhibition, which blurs the boundaries between the everyday > and art, between art and non-art, the viewer can explore the true > nature of the creative world of artist CHOIJEONGHWA. The familiar > materials that comprise the artworks will allow wide communication > with the public, at the same time providing an opportunity to expand > the boundaries of contemporary Korean art. Choi Jeong Hwa, ‘Dandelion’, 2018, used kitchenware, steel structure, 9m Ø. Image courtesy the MMCA and the artist. The exhibition “Blooming Matrix” presents the works _Dandelion_, _Blooming Matrix_, _Ice Flower_ and _Young Flower_, and each work sublimates humdrum things that have lost their function into the artwork by giving new meaning to them. The represented works were created from wood, steel and cloth as well as plastic, which is considered to be his iconic representative material. _Dandelion_ is a new work created for MMCA Hyundai Motor Series 2018 and is the result of a participatory project. From March last year, Choi has been conducting a public art project called “Gather Together”, which collects household goods donated by citizens from around Seoul, Busan and Daegu in Korea. As a result, more than 7,000 used tableware were collected and rebuilt into a colossal sculpture entitled _Dandelion, _measuringin nine metres in height and 3.8 tons in weight. Through this repetition and accumulation of objects and the participation of observers, Choi intends to communicate with the audience and the contemporary art world. Choi Jeong Hwa, ‘Blooming Matrix’, 2016-2018, mixed media, dimensions variable. Image courtesy the MMCA and the artist. _Blooming Matrix _is a work that blends a variety of things that Choi collected from disparate places all over the globe. In a space with a high contrast between light and darkness, 146 pagodas are piled up vertically, assembling materials found in everyday life. Through the forest of erected totemic towers, Choi manifests a sense of infiinte time and space, connects the sky and land, and transforms the gallery into a place of silence and memory. Choi Jeong Hwa, (foreground) ‘Alchemy’, 2016, mixed media, dimensions variable; (on the wall) ‘Grand Flower’, 2015, mixed media, dimensions variable. Image courtesy the MMCA and the artist. Choi Jeong Hwa, ‘Young Flower’, 2016-2018, plastic crown, steel structure, dimensions variable. Image courtesy the MMCA and theartist.
_Young Flower_ utilises golden and silver ornamented children’s crowns over a glaring mirrored surface. The installed crowns repeatedly climb up and down the seven-metre exterior of the surface. Choi made _Young Flower_ as a memorial to the young life sacrificed by the Sewol ferry disaster, a South Korean ferry that sank and killed more than 300 students in 2014, through these crowns that cannot reach the top of the reflected façade. With this work, Choi erects a monument to illuminate the memory of sorrow and grief. Choi Jeong Hwa, ‘Feast of Flower’, 2015, used kitchenware, 75.5 x 122 x 290 cm. Image courtesy the MMCA and the artist. In addition, _Feast of Flower_, made of tabletop and used kitchenware, _Alchemy_, made of cast iron pot and jars, _Grand Flower_, made of washboards, _Present of Century_, piled up with a mixture of colorful Corinthian Order cuts, all comprise the artist’s unique way of collecting and accumulating objects and his time-consuming use ofmaterials.
Through his installations, Choi Jeong Hwa not only expands the limits of Korean contemporary art, but deviates from the polarisation of Minjung art and modernism, which was the mainstream discourse during the 1990s, also attracting attention as an artist who puts originality and universality into the international art scene.SOO JEONG KANG
2405
_“MMCA HYUNDAI MOTOR SERIES 2018: CHOI JEONG HWA – BLOOMING MATRIX” IS ON VIEW FROM 5 SEPTEMBER 2018 TO 10 FEBRUARY 2019 AT __THE NATIONAL MUSEUM OF MODERN AND CONTEMPORARY ART, KOREA (MMCA), 30 SAMCHEONG-RO, SAMCHEONG-DONG, JONGNO-GU, SEOUL, SOUTH KOREA._ Related Topics: Korean artists,
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Tagged “MMCA Hyundai Motor Series 2018,
Bartomeu Mari ,
Choi-Jeong Hwa , SooJeong Kang , The
National Museum of Modern and Contemporary Art “HUNGRY FOR HOME”: THE VOICES OF TWO PALESTINIAN WOMEN ARTISTS– IN CONVERSATION
Posted on 26/11/2018by Art Radar
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DUBAI-BASED TABARI ARTSPACE FEATURES A COLLABORATIVE EXHIBITION OF HYPERREALIST ARTIST SAMAH SHIHADI AND NEW YORK BEST-SELLER AUTHOR RANYA TABARI IDILBLY. _Art Radar_ obtains an exclusive interview with the Palestinian artist and writer, on the occasion of their exhibition “Hungry for Home”. Samah Shihadi, ‘Untitled’, 2016. Pencil on paper, 50 x 65 cm. Image courtesy the artist and Tabari Artspace. In a tacit lapse of time, a lady on her knees toils away at what appears to be a generous feast. Detailed patterned garments surround her, a graceful display of generations of female tradition. There is a calm look of resolve in her eyes as her vindication is clear. She knows what she must do. This is the possible depiction of the work of Palestinian artist Samah Shihadi , stemming from a series of powerful realistic charcoal and pencil drawings. This artwork, along with other compelling pieces from an enchanting collection, will be displayed in an exhibition in collaboration with well-known Palestinian author Ranya Tabari Idilbly. The exhibition, boldly titled “Hungry for Home”,
opened at Tabari Artspacein Dubai on 27
November 2018 and showcases both the artist’s and the author’s work simultaneously, exploring how deeply rooted cultural codes can powerfully impact the body and the memory. Samah Shihadi, ‘Lunch in nature’, 2018, charcoal on paper, 150 x 210 cm. Image courtesy the artist and Tabari ArtSpace. Samah Shihadi, now an Israel-based artist, was born in 1987 and graduated with a BA in art from Oranim College, Israel in 2012 and a MFA from Haifa University, Israel in 2015. Shihadi began her career as an artist at an early age and, having spent seven years studying art, she became a keen draughtsman, which has gained her numerous awards and has allowed her to be exhibited consistently around the world. She now uses her hyperrealistic skills to capture touching and thought-provoking collective memories of lost identity anddisplacement.
Ranya Tabari Idilbly, a New York-based author, was born in 1965 in Kuwait to Palestinian parents. She graduated with a BS in International Relations from Georgetown University, USA in 1987; a MS in International Relations from London School of Economics, UK also in 1987 and was a PHD candidate at the London School of Economics later in 1994. She is the co-author of _The Faith Club_
published in 2006, a New York Times best-seller currently in its twelfth edition. She also wrote _Burqas, Baseball, and Apple Pie: Being Muslim in America_
published in 2014.
_Art Radar_ interviewed both women a few weeks prior to the exhibition’s opening. First talking with Samah Shihadi, we find out about the exhibition, the artist’s progress as an artist and the cultural, symbolic ties within her work. Talking with Ranya Tabari Idilbly, we find out more about her collaboration in the exhibition and her intercultural connections as a writer. Samah Shihadi, ‘Untitled 2’, 2016, pencil on paper, 65 x 50 cm. Image courtesy the artist and Tabari ArtSpace. SAMAH, COULD YOU TELL US WHAT VIEWERS CAN EXPECT FROM THE EXHIBITION “HUNGRY FOR HOME” HELD AT TABARI ARTSPACE? There will be a display of about 18 pieces of artwork, varying in different sizes. Some are large and some are small. The main subject will be about food and its connection to our social tradition. Food is an integral part of our social heritage and tradition, where every occasion is accompanied by its own special dishes. IN THE JANUARY 2018 _JERUSALEM POST_, YOU MENTIONED THAT “EVERYONE IS DEALING WITH IDENTITY, BUT AS PALESTINIANS WHO DON’T EXPERIENCE THE OCCUPATION ON A FIRST-HAND LEVEL; WE HAVE AN OPPORTUNITY TO LOOK AT THINGS FROM A DIFFERENT PERSPECTIVE.” THEN WHAT CAN YOU SAY HAS SHAPED YOU INTO BEING THE ARTIST THAT YOUARE TODAY?
Most Palestinian artists living under occupation are expected to deal with the Palestinian-Israeli conflict through their artistic work. Palestinian artists who live within Israel do not suffer directly from the occupation and therefore have the freedom to choose to deal with other issues that are not purely political. Samah Shihadi, ‘Untitled’, 2018, charcoal and pencil on paper, 42.5 x 65 cm. Image courtesy the artist. WOULD YOU SAY THAT YOU HAVE BECOME AN INSPIRATIONAL FIGURE FOR OTHER FEMALE ARTISTS IN ISRAEL OR IN THE ARABIC COMMUNITY TODAY? I do not know, maybe … Recently, I saw artworks similar to my style that I had produced years ago. MANY ARTISTS USE A VARIETY OF COLOURS, TEXTURES, SHAPES AND SYMBOLS TO EXPRESS THEIR IDEAS. HOWEVER, YOU HAVE CONCENTRATED PARTICULARLY ON PENCIL AND CHARCOAL. WHY DID YOU CHOOSE SUCH MEDIUMS TO DEPICT YOURARTISTIC THOUGHTS?
During my studies, I experimented with all the materials in art. The pencil and charcoal materials are among the most important one I have felt. These are the materials that are most expressive to me. The pencil has also accompanied me all my life. I remember I was drawing all the time with it as a hobby since I was a little girl, five (5) years old, up until high school. So, I grew up using it. Samah Shihadi, ‘Untitled 3’, 2016, pencil on paper, 65 x 50 cm. Image courtesy the artist. ALTHOUGH THIS EXHIBITION EXUDES THE THEMES OF IDENTITY AND PALESTINIAN CULTURE, THERE ARE OTHER PIECES OF WORK THAT YOU DID THAT SHOW A DEEP UNDERLYING MESSAGE BETWEEN FOOD AND COMMON ITEMS. COULD YOU EXPLAIN ABIT ABOUT THAT?
Sometimes fruits or vegetables are used as symbols in my artworks. For example, in the work of the apples on the scale, it symbolises that there is no justice between people, that is, man and woman, woman and woman or man and man. The fruit themselves, one that is bitten and the other which is whole, emphasise the contradiction on the heavy or light ‘weight’ of people in society. This speaks well on social, personal and political matters. WHAT CAN YOU EXPECT IN THE FUTURE FOR YOU AS AN ARTIST? WHAT CREATIVE APPROACH DO YOU WISH TO EXPLORE? I want to become a well-known artist all over the world. So to achieve my dream, I work hard; go to the studio every day and work from 9-10 am until 7-8 pm. I do not know what will come after this exhibition. But I am always searching for new ideas. I’m always reading books and articles on the net, as well as visiting other exhibitions. Ranya Tabari Idilbly. Image courtesy Tabari Artspace. RANYA, HAVING BEEN EXPOSED TO PALESTINIAN, KUWAITI AND AMERICAN CULTURE, AND WITH AN ACADEMIC BACKGROUND IN INTERNATIONAL RELATIONS, YOU SEEMED LIKE THE IDEAL CANDIDATE TO SPEAK ON ALL MATTERS OF INTERCULTURALISM. IS THIS WHAT LEAD YOU TO WRITING? I was born in Kuwait to Palestinian parents exiled in 1948 from Tiberius and Ramleh. With the establishment of the state of Israel they would never be allowed to return home. In due time they would learn of the transience of the home in the life of refugees and the permanence of their transience as Palestinians. The most complicated question you could ask me when I was younger was, “ Where are you from?”, because of the reactions I have faced. Some have been challenging, especially in the west where I was often told, “but there is no such thing as Palestine.” Or on a more comical note, “you mean you’re form Pakistan?” The question of identity and home of culture and assimilation and patriotism have always plagued me even as a child. These became issues I could not ignore when I had to face them as a parent to two first generation American Muslim children of Palestinian and Syrian heritage in a post 9/11 world. Ultimately, my need to help my children navigate the challenges, stereotypes and politics of their identities led me to write. I needed to find my voice as their mother in order to help them find theirs. IN “HUNGRY FOR HOME”, YOU WILL BE PARTNERING WITH PALESTINIAN ARTIST SAMAH SHIHADI, DISPLAYING EXCERPTS OF YOUR WRITINGS. HOW WILL THAT EXPERIENCE BE LIKE FOR YOU? I met Samah first through her art when I took notice of her hyper detailed work at Art Dubai . When Maliha called, I was working on my manuscript _Hungry for Home_, which became the inspiration for Samah’s new exhibit. What is so interesting to me about this collaboration is how the three principals: Samah, Maliha and myself are all Palestinians who have had such radically different experiences. We have made homes in Israel, Dubai and New York. We have had to carve out identities as minorities in sometimes less than friendly environments. Our lives are a microcosm of the diversity of the Palestinian experience. Those who live in diaspora and those who are closer to home. However, no matter how radically different our physical homes have been, we are one and indistinguishable when it comes to hour emotional and cultural attachment to Palestine, our yearning hunger for home. YOU ONCE MADE A COMMENT, “MY FAMILY’S MEALS WERE OFTEN SERVED IN THE SHADOW OF LOSS.” COULD YOU EXPLAIN A BIT ABOUT THE ROLE OF FOOD HAVING AN EMPHATIC CONNECTION TO HUMAN EMOTION AND FEELINGS? We all know of Proust’s madeleine, we all have experienced the power of food to evoke. My father has been ill with dementia for some time. A disease that makes a person absent even as they are still present. I was overwhelmed with sadness at the changes in my father and was concerned that I would not remember him as he was. So I would close my eyes and visualise him. To my surprise I found that most of my memories, my most vivid and colorful of him at his prime, were around the table. There he was making hummus, or peeling a fig or sharing a bite. I will never be able to see a fig without thinking of my father. I will always be able to bring him back by making his famous hummus recipe that delivers a strong garlic punch. Samah Shihadi, ‘Untitled’ (from the “anonymous” series), 2012, pencil on paper, 28 x 19 cm. Image courtesy the artist. AS A WRITER WHO HAS TACKLED SENSITIVE TOPICS OF CULTURE, DISPLACEMENT AND FAITH, WHAT STRUGGLES HAVE YOU FACED AND WHAT HAS INSPIRED YOU TOOVERCOME THEM?
After 9/11, there were many friends of our similar background who packed and left. They could not take the pressure and pain of being in America at a time when people were suspicious of their culture and faith. I remember watching television at the time, listening to the so-called experts tell me how I needed to be saved from my religion and my culture. That’s when I hit the books. I started researching and reading and finding out answers for myself. That’s how I was able to find my voice. That’s when I started to write. WHAT WOULD YOUR MESSAGE BE TO SOMEONE WHO WILL HAVE TO EMBRACE TWO OR MORE CULTURES SIMULTANEOUSLY? Many of us these days will have intercultural lives. Our connected and wired world demands a global existence. My advice is that we never forget where we came from but that we remain open to the diversity of the world. Let your new hyphenated identity hold its different components – culture, religion or nationalism – accountable to their higher ideals. Don’t vilify one and excuse the other. The world is a much more intimate place and our identities need to be fluid and open to growth. WHAT NEW PROJECTS CAN WE EXPECT OF YOU IN THE COMING YEAR? I am working on a cooking memoir, _In The Palm of The Devil_, which is a work that is evolving from the original manuscript _Hungry for Home_. It tells the story of how and why I started to cook.KENESHA JULIUS
2408
_“SAMAH SHIHADI: HUNGRY FOR HOME” WITH ACCOMPANYING TEXT BY RANYA TABARI IDLIBY IS ON VIEW FROM 27 NOVEMBER 2018 TO 8 JANUARY 2019 AT TABARI ARTSPACE, THE GATE VILLAGE BLDG. 3 LEVEL 2, DIFC DUBAI, UAE 506759, DUBAI, UNITED ARAB EMIRATES. _ Related topics: Palestinian artists,
collaborative , art
and the community
,
gallery shows
events in
Dubai
Related Posts:
* Towards solidarity: 4 Palestinian arts organisations to visit during Qalandiya International 2018 – October 2018 – the fourth edition of Palestine’s Qalandiya International opens under a banner of collaboration * “Jerusalem Lives”: the inaugural exhibition at the PalestinianMuseum
– January 2018 – “Jerusalem Lives” at the Palestinian Museum looks at the relationship between a globalised works and media and life in the city of Jerusalem * The contemporary museum and colonialism: Palestinian artist Inas Halabi at Ma-Ma’mal, Jerusalem – November 2017 – Palestinian artist Inas Halabi’s exhibition looks at the complicity of narratives concerning colonial history inwestern museums
* Palestinian photographer Ahlam Shibli on photography and home –artist profile
– September 2017 – Palestinian photographer Ahlam Shibli on photography and home in “Staring” – an online commission atRemai Modern
* Palestine’s Young Artist of the Year Award 2016: PatternRecognition
– October 2016 – Young Palestinian artists push beyond their comfort zones with commissioned works for Young Artist of the YearAward (YAYA) 2016
Posted in Art and the community,
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