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.””
[email protected]在盛夏迎來倫敦三人組合III人，成員包括Seymour Wright (色士風), Paul Abbott (鼓)和Daichi Yoshikawa (電樂)。8月15日III人於The Empty Gallery的亞洲登場，將為觀眾帶來激烈且亢奮人心的自由即興。III人冒起於倫敦Cafe Oto周邊的實驗音樂圈，他們是後類型實驗音樂最年輕，最激烈的提倡者。後類型實驗音樂結合美國黑人即興爵士樂，歐洲主打音色探索的自由即興和著重聲音密度的噪音音樂。
III人之所以叫III人，因為他們是一個三人組合。三人組合在爵士樂及自由即興音樂世界中久已有之, 但III人與這個世界的連結也僅限於此。鼓手Paul Abbott 具推進力量的節奏多次以不同形式出現：規律化的步操旋律，民族音樂中的嘩啦碰音和傳統爵士樂的搖擺鼓樂。法國號手Seymour Wright (與自由即興大師Evan Parker 和 Keith Rowe 有多次的合作經驗)，以其中音色士風奏出具弧度的圓滑音色，低沈的咽嗚，顫抖的餘音，尖銳的叫聲，以聲音描繪出大自然的有機聲景。Daichi Yoshikawa，主理迴音部份，靈敏地在另外兩位隊員之間以聲音飛翔迴盪，有時發放出如色士風般的高階雜音，有時以具衝擊力的砰擊重音和爆啪聲與Paul Abbott的鼓樂互相較量。這就是III人創造出獨一無異的聲音。如果要再往前推進些，我們或許可以說，III人的聲音就像Borbetomagus 嘗試要進行一場雅樂(Gagaku)曲目（日本宮廷音樂）演奏。結合不同的音樂註腳，由世界音樂，自然音錄，日本嘈音音樂和自由即興，III人是名副其實的後類型樂隊。難怪III人如此形容自己的音樂 :「熟悉的是成份，而非聆聽經驗！」
如此難得的機會，欣賞實驗音樂圈中最叫人期待及興奮的年青組合，8月15日 The Empty Gallery 不容錯過。