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.””
Empty Gallery 懷著興奮的心情宣布，我們將參與於今年5月19-23日假香港灣仔會議展覽中心舉行的香港巴塞爾藝術展，為大家帶來徐梯善、增鹽太朗、Xper. Xr.和Jacqueline Kiyomi Gork以及洪子健的多組作品。結合我們兩位當代藝術家和歷史前衛一員的徐梯善，這次展示的作品，兼具政治視野和實驗實踐，模糊媒介之間的界線。
徐梯善多幅塑膠彩絲印亞麻布本作品包括《Thumb-Eye-Extended 1.0 》，藝術家回到他1980年代未期的創作實驗，嘗試以絲網印刷作為一種複製的方式，模擬早期螢幕科技的點矩陣美學。這些標誌性的作品預告了徐梯善近年來的關注，在創作中逐漸包裹及扭曲人類和科技的界線。再者，這次展示亦包括了徐梯善早期的紙本作品，詳細展現了他及後用於藝術創作中美學策略 的發展概念過程 。
同場展出的亦有洪子健的作品《我的敵人的敵人是我的朋友》，乃是一齣科幻電影的一系列想像分鏡圖， 電影圍繞中國和美國，及其他參與台海軍事競賽的國家。洪子健的創作由研究出發， 落墨於認識論與社政問題的交疊層面，質問權力操縱知識的行為。洪子健對種裔民族權力能動性（在美國及海外）的尖銳調查，在這中西關係愈趨緊張並預告一個未知未來的時刻， 可說別具前瞻性。
而增鹽太朗展示的攝影作品選自他近期於畫廊的展覽《聽聞說》。探源日本美學及剛陽之氣的概念，這些抽象特寫照像裡的是散發著神秘味道的味噌湯，挑起觀者想像日常生活隱藏的陌生感。增鹽透過反轉日本人熟悉的事物，暗示民族身份的延展性。
Empty Gallery 是一個四千五百平方呎的黑盒畫廊空間，位於香港仔海畔的田灣。畫廊由鄭成然創辦，展出包括成名及新晉藝術家的作品，並同步進行一系從先鋒多媒體委約計劃、表演及音樂項目。Empty Gallery 著重具時間性、短生及非以物為本的藝術實踐，致力推動各文化、地理和特定媒介間的跨界對話，並同時作為一個區域樞紐以躍活東亞藝術圈。
