May 6 – August 14, 2022: Breaking Water is a group exhibition bringing together works in installation, video, photography, painting, sculpture, and performance that offer a range of approaches to the subject of water, liquidity, and feminism at the Contemporary Arts Center of Cincinnati, Ohio. The exhibition will debut four new commissions by Paul Maheke, Josèfa Ntjam, Claudia Peña Salinas, and a collaborative work by Calista Lyon and Carmen Winant, after which the exhibition is titled, alongside new and existing work by an international group of artists whose work explores themes of fluidity, connectivity, and resistance, and addresses timely concerns including water rights, climate change, and the effects of natural disasters. The exhibition will be accompanied by a parallel film screening program and catalogue that extend the exhibition’s central themes.
Tuesday May 3rd & Wednesday May 4th, 5:00 – 9:00 PM
Sound artists Jacqueline Kiyomi Gork and Laetitia Sonami set up in residency at Human Resources for their fourth collaboration. For Fingers caught in a field of moss they scale down natural growth events to rhythms of sonic saturation and rarefication. The synthetic textures created in real time by the artists evoke an organic unfolding of layered scales of time. The ten-channel audio installation incorporates loudspeakers, subwoofers, directional speakers and anechoic sculptures to manipulate the natural resonance of Human Resources architectural acoustics, turning the gallery into an instrument. Both artists would like to acknowledge the pervading influence of Maryane Amacher’s groundbreaking work in their own unique practice.
Cici Wu is amongst the artists exhibiting at a new exhibition at Loong Mah titled Entre Centre Et Absence. She is exhibiting one of her recent new works on paper, titled Accepts Forgetting, As Well As Remembering 01 (2022).
James T. Hong’s Apologies (2016) is presented on e-flux Video & Film as the April 2022 edition of Staff Picks.
“Originally designed as a video installation, Apologies is a compilation of modern political apologies and a timeline of political progress as unrepentant recidivism and contrite repetition. It is a continuing work-in-progress, and this version ends with 2016. Dozens of apologies are collected every year, and they will be added as time permits.
The passage of time does not heal all wounds; it cannot settle all accounts or resolve all disputes. But the identities of the perceived perpetrators can change, and a national apology’s task is to document, to put on record, a symbolic act as a prelude to possible reconciliation and forgiveness. To achieve these ends, one’s sincerity is paramount, especially when reading from a script.”
Watch Hong’s film at the link below.
The Invitational Exhibition of Visual Arts is an annual event for members of the American Academy of Arts and Letters to honor contemporary artists who they believe are making some of today’s most important and timely work. The exhibition opens on March 12 through May 22, 2022.
The Invitational is an exhibition without a theme or a single author, and yet, certain tendencies emerge in this year’s installment. In many cases, the finished works destabilize, even disregard, old disciplinary questions rooted in hierarchy—is it a painting or a sculpture; art or craft? Instead, they opt for plenitude, for and, and, and. Objects in the exhibition extend the art historical archive to include artifacts of incarceration, migration, and climate emergency. They heighten our attention to color and scale. Artists employ a range of techniques: marbling, weaving, glazing, animation, found-object manipulation, collage, dark-room processing, and more, often in “wrong” or unconventional ways. We witness art’s capacity for surprise, and the enduring pleasure of material experimentation.
Artists included in the exhibition:
Candida Alvarez, Eddie Rodolfo Aparicio, Andrea Belag, Ellen Berkenblit, Kerstin Brätsch, Cynthia Daignault, Carl D’Alvia, Thomas Eggerer, Hadi Fallahpisheh, Keltie Ferris, Judy Fox, Joanne Greenbaum, Rachel Harrison, Anna Sew Hoy, Tishan Hsu, Jacqueline Humphries, Suzanne Jackson, Tomashi Jackson, Elisabeth Kley, Pam Lins, Rodney McMillian, Laura Newman, Janice Nowinski, Eileen Quinlan, Matt Saunders, Arlene Shechet, Arthur Simms, Michael Smith, Shinique Smith, Martine Syms, Kennedy Yanko
Josie Thaddeus-Johns’s new feature “Not All Microbes”, Jes Fan’s Systems II is amongst the works cited in the author’s exploration of cellular microbes in contemporary art.
“Covid, initially linked in the press to its origins in Wuhan, China, also sparked a dangerous wave of racism, evident in growing numbers of anti-Asian incidents since March 2020. But even before the pandemic, artists were considering how systems of classification such as race are socially constructed through fear about contamination and difference. Jes Fan makes this literal in his work Systems II (2018), a wood and resin sculpture inspired by the networks of fibers that fungi and plant roots create.”
“For eight years of her life, between 1958 and 1966, Jay DeFeo made her most well-known work, The Rose. With nearly two thousand pounds of paint layered onto the canvas, DeFeo thought of The Rose as a “marriage between painting and sculpture” and it is emblematic of her innovative approach to artmaking throughout her career.
This program, organized in collaboration with the Jay DeFeo Foundation, brings together a group of contemporary artists to reflect on Jay DeFeo’s work through the lens of her most extraordinary work. Speakers include Tishan Hsu, Justine Kurland, Park McArthur, and Erin Jane Nelson. Jane Panetta, Nancy and Fred Poses Curator and Director of the Collection, moderates the conversation.
Following the program, in-person attendees are invited to view The Whitney’s Collection: Selections from 1900 to 1965 where The Rose is on view.”
Xper.Xr is one of the participating artists in “Sounds as Silence: The Academic Value of Life”, Project #4 in the first Trans-Southeast Asia Triennial research exhibition series. The exhibition will be on view until March 20, 2022 and was curated by Liu Ding and Carol Yinghua Lu.
Fostering a new Film Culture through Virtual Presentations: Watch and Chill, a Case Study
Thursday, March 17 | 7:00PM HKT
“With the persisting pandemic and advancing digitisation of cultural activities, artists and curators will discuss how they present and adapt existing works for virtual audiences and produce future projects. How do virtual presentations offer new possibilities for collaboration, inclusivity, and internationalism to foster a new film culture that is true to our time?
In this online conversation, as part of M+ International, moving image artists Shireen Seno, Cici Wu, and Kim Heecheon, and curators Jihoi Lee and Silke Schmickl will share experiences about Watch and Chill, a travelling exhibition co-presented by MMCA in Seoul, MCAD in Manila, MAIIAM in Chiang Mai, and M+ in Hong Kong. Conceived in a hybrid format consisting of an online streaming platform and physical presentations across the four cities, this project emerged from a collective desire to create a platform for the exchange of moving image works.”
Jes Fan and Tishan Hsu have been invited to the 59th International Art Exhibition of La Biennale di Venezia curated by Cecilia Alemani. The exhibition dates are April 23 – November 27, 2022.
“The Biennale title, “The Milk of Dreams”, refers to a series of drawings that were later turned into a children’s book by Surrealist artist Leonora Carrington. Alemani has said the show will focus on three distinct areas of inquiry: “the representation of bodies and their metamorphoses; the relationship between individuals and technologies; the connection between bodies and the Earth.””
從John Coltrane / Rashied Ali《Interstellar Space》到John Tilbury / Marcus Schmickler《Variety》，二重形式的微密本質不時釀製出最扣人心弦的即興音樂。The Empty Gallery隆重呈獻《Dialogues》，兩對合作已久的音樂夥伴Ko Ishikawa / Joel Ryan與Jean-Luc Guionnet / Daichi Yoshikawa將帶來一場與別不同的即興演奏音樂會。率先演奏的是電腦與笙二重奏，緊接著為擴音色士風與音響回授的搭配。兩項演奏探索的異常樂器組合，在聆賞上彷彿互相糅合，併發出既前衛亦古老的音樂奏章。
Ko Ishikawa (石川高) 是一位受學於日本皇室導師古典訓練的笙樂演奏家，亦是當代雅樂團伶樂舍及Evan Parker電聲樂隊成員。縱然受傳統雅樂訓練的音樂家多涉足現代古典音樂，Ko是當中少數從事拓展實驗音樂與自由即興組織的音樂家。
Joel Ryan堪稱一代美國發明家 / 作曲家的典範。他最初受科學教育，其後逐漸移遷至音樂領域。就讀三藩市密爾斯學院時期，他曾與Robert Ashley及David Behrman同門，又加入了協助奠定矽谷地位的新興組織artist-hacker-radicals。他從其科學底子中借鑑，開創了應用在原聲樂器中的數碼信號處理系統。自1984年，Joel加入阿姆斯特丹STEIM並廣泛地與藝術家和音樂家合作，包括Evan Parker、William Forsyth、George Lewis、Steina Vasulka及Jerry Hunt。
Jean-Luc Guionnet是一位紮根巴黎的多棲樂器演奏家、作曲家及藝術家。他以能夠產生「有聲思考和行動」場景劃分作多個渠道的音樂實踐。他主要從事電聲範疇的工作，同時兼及自由即興音樂，演奏中音色士風、高音色士風、教堂管風琴和鋼琴，亦不時與Daichi Yoshikawa、Eric La Casa、Sejiro Murayama、Eric Cordier、Thomas Bonvalet Taku Unami等人物合作。
Daichi Yoshikawa (吉川大地) 是一位紮根於柏林及倫敦的音樂家及單車手。作為倫敦Cafe Oto一帶豐沃之地的新世代音樂家之一，他以自由即興的聲場為出發點，以回授與物件的運作為形式，把個人研究轉化為表演之聲。Daichi熱衷於能夠透過即場演出的緊湊感共同建構的空間。他的作品是音調、音量與姿態動作等極端裡的波動與起伏。