Archive for April, 2010

LEAFLET THE PROBLEM OF ASIA CHALK HORSE ART CENTER

April 24, 2010

leaflet chalk horse the problem of asia

THE PROBLEM OF ASIA AT CHALK HORSE SYDNEY

April 23, 2010

Para/Site Art Space in Chalk Horse, Sydney:
The Problem Of Asia

Opening: (Thursday) 29 April 2010, 6-8pm
Exhibition: 30 April – 22 May 2010
Venue: 94 Cooper Street, Surry Hills, NSW 2010
Artists: Ai Weiwei, Luke Ching Chin-wai, Huang Xiaopeng, Michael Lee, Leung Chi Wo, Dinu Li, Tintin Wulia
Curator: Alvaro Rodriguez Fominaya
Organized by: Chalk Horse (Sydney) and Para/Site Art Space (Hong Kong)
Coordinator in Sydney: Katie Grube
Coordinator in Hong Kong: Dominique Chiu

AI WEIWEI, BEIJING: THE SECOND RING, 2005, Video

Chalk Horse, Sydney, and Para/Site Art Space, Hong Kong, are honored to present The Problem of Asia, an exhibition about how Asia is perceived and constructed, both from within and from outside.

This exhibition is about many things and not all of them within the range of political correctness. It is about how Asia is perceived and constructed, both from within and from the outside. It is about the contemporary challenges we are facing, although these challenges are not unique to Asia. It is about the identity of multiple realities and about the reality of multiple and complex identities.

The exhibition is proposed as a catalytic, discursive device, activated through the artists that are part of this first installment of an improvised project. The narratives included in the show address themes of growth; corruption; memory; history; language; colonialism; and freedom.

Drawing on research in China, Hong Kong, Singapore and Indonesia, seven artists are included, across video, performance, installation, text and drawing. Ai Weiwei’s videos document Beijing ring roads, focusing on the ‘process of pure observation and the nature of time…and the urban reality that defines Beijing’. Urban reality versus urban utopia is explained through Michael Lee’s Spiral Supermart, a new project from the series Second-Hand City, where rubbles of collapsed buildings arrive at a futuristic factory in China to be analyzed, resurrected and displayed for resale. Luke Ching Chin-wai and Huang Xiaopeng focus on language, although their research leads them through different concerns from translation software to impromptu Cantonese lessons for Japanese residents. Dinu Li addresses the problem of Asia with a more direct strategy, through a video performance denouncing corruption, put in context with the inclusion of archival images from Chinese propaganda films. Leung Chi Wo enacts a new performance based on his My Name is Victoria series, which encompasses references to the colonial past of Hong Kong. Tintin Wulia’s installation is a research on the notions of nationality/nation/border through the relationship between citizenship, mobility, and political power, and between territory, mapping and cartography.

This project is conceived as a work-in-progress that is open to other additions and network plug-ins. Australia is a unique location to launch this exhibition, as its multilayered relationship with the idea of Asia provides a cultural framework where the title of the exhibition comes alive.

For more information, please contact Katie Grube of Chalk Horse (Sydney) at
katie@chalkhorse.com.au or +612 9211 8999.

AI WEIWEI AND VITO ACCONCI INTERVIEW SOUTH CHINA MORNING POST

April 23, 2010

MOVE ON ASIA 10 HOWARD CHENG CHI-LAI AND MORGAN WONG WING-FAT

April 23, 2010

We are participating in Move On Asia 10 at LOOP Alternative Space in Seoul. We invited two artists from Hong Kong to join us in this project.
Howard Cheng Chi-lai
Stiffen Water
2010
3’
Color
Sound

When Bruce Nauman enacted the performance Self Portrait As A Fountain in 1966, he was taking on DADA and Duchamp’s fountain. When Howard Cheng Chi-lai shoots his own private version of the aforementioned works, his references are not body art or the deconstruction of History of Art, but instead he is fascinated with kinetics, acoustics and visual perception. During the length of the video, a tap unleashes a steady stream of water on a metallic basin that fills slowly. The first impression, as you cannot see the source of the liquid, is that urine is dropping down, so that you immediately think of Warhol and his oxidation experiments, or Andres Serrano and his Piss Christ. But soon after, we see water being poured down in relief. This notion of uncertainty, of duality of natural/unnatural is at the surface of this work, creating a slight anguish in the, as the artist puts it, “mesmerized audience”. Heraclitus is brought into our minds as he wrote “You cannot step twice into the same river”. The richness of the symbolic power of water plays a strong role in the semantics of this video, but it also adds the notion of reflection into the equation. As reflection means also contemplation, in a very photographic or pictorial way the video acts as a window where you pour yourself into the water.

Text author: Alvaro Rodriguez Fominaya

Morgan Wong Wing-fat
Plus-Minus-Zero
2010
Video
3’00”
Color
Sound

Morgan Wong’s exploration is a time performance reminiscent of Back To The Future scientific logics. As video is frequently categorized as time based media, this work connects time, distance, technology and travel. Whilst this work is related to a fax work that was commissioned for the exhibition FAX, and shown at Para/Site Art Space, it is also a perfectly autonomous work through the discourse it holds. When we see the artist walking backwards and anticlockwise, in order to reverse time, and turn the “clock” back 56 minutes and 6 seconds, we can only reflect on the pointless attempt of traveling through time, and in the process bring closer Hong Kong and Sapporo, by vanishing the time difference between the two places. The selection of an outdoor location is not random, it places us in a landscape, and this allows us to position the artist in the white countryside of Sapporo, in Japan, where this video has been produced. As a complex physics theory, where you only grasp the skin of it, this video is constructed with multiple mechanics. Is the artist really walking backwards? We can see the other skiers passing by following the “right” direction. Why is snow going backwards as well? The simple poetics of a rambler in a white landscape is turned around, through the process of reframing time by symbolically pressing the fast-forward or the return button. It is through all these contradictions and collisions between technology, brain logics, time, optical illusions, distance and travel that the artist builds this reflection.

Text author: Alvaro Rodriguez Fominaya

Brochure Move On Asia10

Curatorial Training Programme Exhibition

April 23, 2010

Para/Site Art Space-Hong Kong Jockey Club Curatorial Training Programme
Year-End Exhibition
FUGUE in the key of UNDERSTANDING

Opening: Friday 26 March 2010, 6:00 p.m. – 8:00 p.m.
Exhibition: 27 March to 18 April 2010
Venue: Osage Kwun Tong, 5/F, Kian Dai Industrial Building, 73-75 Hung To Road, Kwun Tong
Participating Artists: Tamara ALBAITIS, David CLARK, Norman FORD, Jun NGUYEN-HATSUSHIBA, Jun T. LAI, NICO y KATIUSHKA (NyK), Lucy May SCHOFIELD, Mari VELONAKI, Lucy PRINGLE, Chilai Howard CHENG, Matt DABROWSKI and the Many Hands of Glamour.
Curators: Alvis CHOI, Michelle LEE & WONG Wing Fung

Para/Site Art Space is honoured to present the exhibition FUGUE in the key of UNDERSTANDING. This exhibition is curated by the students of the 09/10 Para/Site Art Space – Hong Kong Jockey Club Curatorial Training Programme. The exhibition’s main theme is “Understanding” while the form is a “Fugue”. Fugue, in music, is based on a single theme to develop multiple voices or layers. The melodies are very different in each voice but ultimately they create a harmonic resonance. In this exhibition, three curators act like three voices in fugue, elaborating on the theme “Understanding” through their individual curatorial interpretations and choices.

The exhibition consists of artworks from Australia, the USA, Chile, Vietnam, Taiwan and Hong Kong. Alvis Choi presents “fiction and fact”; Michelle Lee delivers the message of “understanding and enlightenment through self-realization” while Wong Wing-fung emphasizes on “understanding in communication through words”.

Parasite Art Space – Hong Kong Jockey Club Curator Training Programme aims to train up several curators specialized in contemporary art every year. Three curators in the 2010 program have diverse background: which ranges from working in the field of media art, creating visual art to art consulting.

Para/Site Art Space – Hong Kong Jockey Club Curatorial Training Programme is funded by The Hong Kong Jockey Club Charities Trust. The exhibition is supported by Osage Gallery and Hong Kong Arts Development Council.

Public Programme: Curator and Artist Talk on Saturday 27 March, 1:30 pm at Osage Kwun Tong. With the participation of exhibition curators Alvis CHOI, Michelle LEE, WONG Wing Fung and Programme Leader Alvaro Rodriguez Fominaya.

ABOUT Para/Site Art Space – Hong Kong Jockey Club Curatorial Training Programme:

Para/Site Art Space – Hong Kong Jockey Club Curatorial Training Programme is a 3-year project, which is an eight month full-time programme per annum for training Hong Kong’s future curators through a series of workshops with leading international professionals and lectures with tutors, plus field trips and internship. Previous years participants visited Venice Biennale, Yokohama Triennale, Lyon Biennial, and Taipei Biennial, APT6 Internship among others.
The course discusses how art is being curated under various particular spatial, exhibition frameworks and the different roles an institutional and a freelance curator play in the contemporary art world, bridging general concepts, themes and theoretical issues to explore the way we look at art in the context of contemporary society and culture. The participants will develop the necessary professional skills to develop their curatorial and arts management careers.

IMAGES OF AI WEIWEI AND VITO ACCONCI TALK IN HONG KONG

April 13, 2010

Here are some images of yersterday’s talk. It has been great to have both studios in Hong Kong preparing their forthcoming project. There was great expectation for the event. We presented a public talk together Asia Art Archive at Hong Kong Art Centre.

Memories of Nacho Criado

April 10, 2010

On Friday I was reading randomly the Spanish news. One headline struck me like a bullet. Nacho Criado had just died. He was one of Spain’s leading conceptual artists, and a great human being. I was lucky enough to work with him on an exhibition by Italian composer and artist Walter Marchetti. As this project took over two years, I encountered Nacho Criado on several occassions, as the exhibition traveled to different museums. I would always make sure that I would spare some time talking to him. He was a great conversationalist, and it was a pleasure to listen to him. Last time we had lunch in Tenerife. I first encountered his work, then the person. There are a couple of his pieces in the public collection where I used to work. I always was interested in his early video performances, almost lost material that he had recovered and transferred to dvd. I always quizzed him about showing them in the museum, but we never materialised it. I remember last time we talked he was explaining in detail a commission for a large public work. We lost contact as I got professionally involved in other engagements and then moved to Hong Kong.