Posts Tagged ‘Korea’
Posted by artradar on October 14, 2010
TAIWANESE ARTIST VIDEO ART UK EXHIBITIONS
Following his successful exhibition in the United States, Chen Chieh-jen (b. Taoyuan, Taiwan, 1960), an internationally acclaimed video artist, presents the UK premiere of “Empire’s Borders II – Western Enterprises Inc.” at the Chinese Arts Center in Manchester, UK.
The first iteration of Empire’s Borders, Chen’s critical response to the convoluted systems implemented as a result of Cold War policies, was featured in the Taiwanese Pavilion at the 53rd Venice Biennale in 2009. In this commissioned work, Chen Chieh-jen examines the history of Taiwan within a globalisation context.
Chen Chieh-jen, Empire's Borders II, 2010, video still. Image courtesy of the artist.
The show, which runs from 2 October to 20 November this year, showcases a three-channel film installation including an autobiography of the artist’s father, a member of the Anti-Communist National Salvation Army (NSA), a list of NSA soldiers killed during the China offensive, an empty photo album and an old army uniform. Dr. Marko Daniel with Yu-ling Chou as assistant curated the show.
As profiled in the Taiwanese exhibition information on e-flux, “Chen Chieh-jen was born in 1960 in Taoyuan, Taiwan, and graduated from a vocational high school for the arts. He currently lives and works in Taipei, Taiwan. Chen created a series of photographic and video projects that re-imagine, re-write and re-connect his experience of living in a marginalised region and the intrinsic spirit of Taiwanese society, as well as propose possible ways of subverting dominant neoliberal logic.”
Chen Chieh-jen, Empire's Borders II, 2010, video still. Image courtesy of the artist.
On Taiwanese-UK art blog +8 the artist’s career highlights are described: “He represented Taipei in the Venice Biennale in 2009, has been selected for Artes Mundi 2010, was included in the curated shows at the 1999 and 2005 Venice Biennales, the Liverpool Biennial 2006 and is showing in the 6th Asia Pacific Triennial in 2009-10. He has had solo exhibitions at the Asia Society, New York, and the Museo Nacional Centro de Arte Reina Sofía 2008. In 2000, he was awarded the Special Prize at the Gwangju Biennale in Korea and in 2009 he was awarded Taiwan’s prestigious National Award for Arts for outstanding cultural achievement.”
The exhibition is produced as part of the Abandon Normal Devices (AND) Festival of New Media and Digital Culture in collaboration with the Chinese Arts Centre. It is also supported by the Council for Cultural Affairs, Taiwan.
Related Topics: Taiwanese artists, video art, art events
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Posted in Documentary, Family, Taiwanese, Video | Tagged: +8, 53rd Venice Biennale, 6th Asia Pacific Triennial, AND Festival of New Media and Digital Culture, Anti-Communist National Salvation Army, art blog, art exhibitions, Artes Mundi, Asia Society New York, autobiographical, autobiography, Chen Chieh-Jen, China, Chinese Arts Center, Cold War, curator, documentary, Dr. Marko Daniel, e-flux, Empire’s Borders II – Western Enterprises Inc., Family, festival, Globalisation, Korea, Liverpool Biennial, Manchester, Martha Soemantri, Museo Nacional Centro de Arte Reina Sofía, National Award for Arts Taiwan, Nationalism, New Media, NSA, political, Special Prize Gwangju Biennale, taiwan, Taiwanese artists, Taiwanese history, Taoyuan, UK, UK artist premiere, Video, Video art, video artist, video artists, Yu-ling Chou | Leave a Comment »
Posted by artradar on September 20, 2010
SOUTH KOREA CONTEMPORARY ART INTERVIEW CURATOR
Art Radar Asia recently spoke with German-born curator Tobias Berger, who currently holds the position of Chief Curator at the Nam June Paik Art Center, about the Center’s exhibition “The Penguin that goes to the Mountain“. During this interview, Berger also revealed a few of his observations on living and working in the Korean art environment.
Korean art has always been in the shadow of Japanese and Chinese artistic success, often “dismissed as a mere conduit between the two mega cultures.” This may be because few of the local magazines, exhibition catalogues and other art texts produced on Korean contemporary art are available in English. As Berger states, “There are none. They’re all in Korean. There’s nothing really good in English.” And while the local art scene is perhaps not on par with what can be experienced in these neighbouring countries, Berger notes that the art that is being produced in Korea is of a very high quality, due to good art schools, a diversity of art spaces, talented pioneers and governmental support.
'Shamoralta Shamoratha' (2007) by Inbai Kim was shown at "Korean Eye: Moon Generation" in 2009. Korean Eye was founded in 2009 as a way to support emerging Korean artists by providing international exhibition opportunities.
As a European who formerly lived and worked in the Hong Kong art scene, how do you find the South Korean art scene compares?
“The Seoul art scene is probably the most sophisticated art scene in Asia. It has really good independent spaces, good commercial galleries, interesting art schools and good museums. It has this whole pyramid of different art spaces, exhibition possibilities, and it has a lot of really good and wonderful artists. That level of depth and the level of different kinds of art spaces is incomparable. Certainly in Beijing [you] have galleries, but you don’t have any independent spaces, and in Tokyo it’s also very different.”
How do you keep up to date with the Korean art scene?
That is a problem because it’s all in Korean and it’s very difficult to keep up [with]. I mean, you just go to the 10-15 [art] spaces once a month … and you talk to your friends and your colleagues that go to the big exhibitions…. You just have to look at how it is. There was a [recent] survey show called “Bright Future” but it only had twelve artists.
Tell us about the art school system in Korea? How does it differ from other places?
It’s the most sophisticated [system] because it had some good pioneers [and] a lot of governmental help. [South Korea] has some good art schools and it has a lot of good artists that have studied overseas and come back. This allowed a lot of critical discourse and [there were] a lot of magazines. That allowed the art scene to grow well and in the right way.
Korean art is becoming popular with international collectors. “Korean Eye“, for example, was shown at The Saatchi Gallery in London earlier this year. Can you tell us why you think this is happening now?
“Here in South Korea you don’t feel that there’s much happening. The Korean scene is nothing compared to what’s happening in China…. On the one side, these shows, where this is popular or that is popular, don’t really mean a thing. There is a lot of good art in South Korea and the quality of the art is really on a high level, because art education has been good for 15-20 years. A lot of people are educated in Europe and America and have very good support and certainly output good quality art…. I mean, you don’t want to buy or you don’t want to show an artist because he’s Korean, you want to show an artist because he’s a good artist.”
Related topics: Korean artists, interviews, Tobias Berger, curators
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Posted in Art spaces, Artist-run, Asia expands, Curators, From Art Radar, Generation art, Globalization of art, Interviews, Korean, Museums, Tobias Berger | Tagged: America, art dealers, art exhibitions, art history, art magazines, art market, art museums, art school, art schools, art space, art spaces, art trends, artist-run spaces, artistic expression, Beijing, Bright Future, Chinese contemporary art, Collectors, commercial galleries, critical discourse, cultures, curators, dealers as curators, Emerging artists, emerging Korean artists, Europe, European, gallery art, Globalisation, Hong Kong art scene, independent art spaces, international art, international collectors, international visual language, Julie Anne Sjaastad, Korea, Korean art, Korean art scene, Korean artist, Korean artists, Korean contemporary art, Korean Eye, Lee Ufan, Nam June Paik, Nam June Paik Art Center, publications, Saatchi Gallery, Seoul, South Korea, South Korean art scene, Suh Se-ok, The Saatchi Gallery, Tobias Berger, Tokyo, traditional painting, Transition, urbanism | Leave a Comment »
Posted by artradar on August 31, 2010
KOREA ART BIENNALES IMAGE ART PHOTOGRAPHY DOCUMENTARY
Starting from the third of September this year and spanning sixty-six days, “Maninbo – 10000 Lives“, part of the eighth edition of the Gwangju Biennale, will focus on the 21st century’s obsession with images, journalistic or artistic. The Biennale presents itself as a “sprawling investigation of the relationships that bind people to images and images to people.” With works by more than a hundred artists created between 1901 and 2010, as well as several new commissions, the exhibition will be configured as a temporary museum that brings together artworks and cultural artifacts.
Hans-Peter Feldmann, '9/12 Frontpage (detail)', 2001, installation of 151 newspapers. © Hans-Peter Feldmann. Image courtesy of 303 Gallery.
But why this focus on images? Biennale director Massimiliano Gioni, number 50 on Art Review‘s 2009 Power 100, explains:
Each day billions of images are produced and consumed. More than five hundred thousand images per second are uploaded to a single website. Americans alone take an average of five hundred and fifty snapshots per second. A record of fourteen million USD has been paid for the right to reproduce one single image. We seek comfort in images and carry out wars in their name, we congregate around images, we adore them, we crave for them, we consume them and destroy them.
The intriguing title of the exhibition comes from a thirty volume epic poem by Korean author Ko Un, called Maninbo or 10,000 Lives. The poem comprises over 3,800 portraits in words, describing every person Ko Un had ever met, including figures from history and literature. Like words for Ko Un, images for people today have come to be metonyms for cultures, people and events. While for most this seems to be a concept applicable more directly to photographs and documentary video, artists at the Gwangju Biennale have reportedly worked with a diverse range of media.
A significant part of the power of images today derives from the way the artist merges aesthetics or art with politics. The hundred life-size sculptures of the Rent Collection Courtyard that relate the suffering of the Chinese peasants at the hands of a tyrannical landlord, have become one of the foundational images of the Chinese Cultural Revolution and is being presented at the Gwangju Biennale in its entirety.
Zhao Shutong, Wang Guanyi and the Rent Collection Courtyard collective, 'Rent Collection Courtyard', 1974-78, 100 copper plated fiberglass sculptures (exhibition view, Schirn Kunsthalle Frankfurt 2009). © Norbert Miguletz. Image courtesy Gwangju Biennale Foundation.
The Rent Collection Courtyard was created between 1965 and 1978 by the students, artists and faculty of the Sichuan Fine Arts Institute and celebrates the power of images to educate and stir revolutions.
Hans-Peter Feldmann presents us a picture stamped on the minds of world populations. Presented as a collage of images that are distributed within the media, Feldmann produces an assertive archive of visual memory, its persistence hammered into the minds of those who view them.
The Gwangju Biennale was founded in 1995 in memory of the spirit of civil uprising resulting from the 1980 repression of the Gwangju Democratization Movement. In its eighth year, Gioni sums up his vision:
The exhibition 10,000 Lives attempts to present a series of case studies that explore our love for images and our need to create substitutes, effigies, and stands-ins for ourselves and our loved ones. The exhibition unravels as a gallery of portraits or as a dysfunctional family album. It tells the story of people through the images they create and the images they leave behind, but it also follows the lives of images themselves, tracing their endless metamorphoses, from funerary statue to commercial propaganda, from religious icon to scientific tool, from a mirror of ourselves to a projection of our desires.
The Gwangju Biennale will run from 3 September to 7 November this year.
Related Topics: biennales, Korean venues, documentary art, photography, video art
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Posted in Artist Nationality, Biennales, Business of art, International, Korea, New Media, Photography, Promoting art, Video | Tagged: 10000 Lives, Ananya Mukherjee, Apocalypse, art photography, Chinese Cultural Revolution, commercial propaganda, documentary, documentary video, Gwangju, Gwangju Biennale, Gwangju Democratization Movement, Hans-Peter Feldmann, Image, image art, journalism, Ko Un, Korea, Maninbo, Maninbo or 10000 Lives, Massimiliano Gioni, photojournalism, political art, Rent Collection Courtyard, revolutions, Sichuan Fine Arts Institute, Video, Video art | Leave a Comment »
Posted by artradar on August 25, 2010
JAPANESE KOREAN ARTIST MUSEUM OPENINGS MODERNISM
An article by The Japan Times covers the opening of a brand new art museum in Japan dedicated to the Korean-born artist Lee Ufan. The article features an extensive interview in which the artist reminisces on his youth in a Japanese-occupied Korea and his early years as an artist in Japan.
Located on the island of Naoshima in the Seto Inland Sea, the Lee Ufan Museum is part of the Benesse Art Site, which has been listed as one of Japan’s must-see tourist destinations. In the article, Lee explains why the museum is unconventionally half underground:
Lee Ufan's painting 'From Line (1974) is on display at the newly-created Lee Ufan Museum in Japan.
For some people, it won’t look like a museum. Some people might think it’s a mosque, or a grave. That’s fine. I wanted it to feel far removed from everyday life.
The article also discusses Lee’s unique role in the Japanese art scene. Being both a resident of Japan and an outsider, due to his status as a Korean-born Japanese artist, he has interesting insights into the history of Japan and Korea and the art scene in Japan.
His aesthetic style consists mostly of simple constructions and has often been compared to Asian philosophy by Western critics. He says that he is indebted to the Western Modernist tradition for his simple style more than the traditional Asian aesthetic. Despite being influenced by Modernist art, he asks viewers to find a deeper meaning in the process of looking at art:
These days, when we think of art, we immediately think of it being something that you look at. But it is actually only in the Modern period that this act of looking has been given such emphasis. Before then, there was more to it: myths, religion, social issues. People would know these stories and they would read them into the art. In other words, the act of appreciating art was completed in the mind.
One way in which he is thoroughly Asian, he says, is his belief in the strong connection between individuals and the universe, a concept which he explores in his paintings:
After all, Asia has a monsoon climate, so there is a lot of rain. There’s always things rotting and new life sprouting and, in the past, this gave rise to strong tendencies toward animistic beliefs. Asians are more likely to see themselves as living with nature, with the rest of the universe.
The museum will hold many of Lee Ufan’s canvases and sculptures, created since he began his artistic career in the 1970s.
Read the full article here.
Related Topics: museums, Korean artists, Japanese artists, Japanese venues
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Posted in Art spaces, Collectors, Japan, Japanese, Korean, Museum collectors, Museums | Tagged: animistic, art and culture, art and nature, art museums, artist, artist interview, Asian aesthetic, asian identity, Asian philosophy, Benesse Art Site, climate, installation art, Japan, Japan and Korea, Japanese, Japanese art museums, Japanese art scene, Japanese artist, Japanese museums, Korea, Korean, Korean artist, Korean born Japanese, Lee Ufan, Lee Ufan Museum, Maya McOmie, modernism, Modernist painters, museum collection, museum collections, Naoshima, Painting, Seto Inland Sea, The Japan Times, War, Western art, World War II | Leave a Comment »
Posted by artradar on July 28, 2010
KOREAN ASEAN CONTEMPORARY PHOTOGRAPHY EXHIBITION
Created to showcase the range of dynamic contemporary photography coming from Korean and Southeast Asian artists, “Emerging Wave“, currently on view at the GoEun Museum of Photography in Busan (South Korea), features works from 27 artists ranging from emerging creators to established veterans.
Established in March 2009, the ASEAN-Korea Centre promotes both cultural and economic cooperation between Korea and the ten ASEAN (Association of South East Asian Nations) member countries. The organisation recently partnered with Seoul Art Centre’s Hangaram Art Museum to open their 2010 photo exhibition which features 27 artists from 11 countries.
The exhibition, which is the second since ASEAN-Korea Centre’s launch, exposes the international community to new work by some of Southeast Asia’s brightest contemporary photographers. While many of the participants are veterans, the exhibition gives younger artists exposure to the contemporary art scene of a major city such as Seoul.
“Emerging Wave” attracts artists from all over ASEAN region
For example, for emerging Bruneian photographers Hirfian Hussain and Akmal Benangsutera, the exhibition is an opportunity to showcase the budding photography scene in their home country, as well as a chance to connect with dedicated artists from outside of Brunei.
Artists well-established in other media also make up this year’s selected names such as Burmese performance and installation artist Po Po. While not considered a prolific artist – he has had only two solo exhibitions since 1987 – his work is thoughtful and full of depth. As an artist who works with different media there is much crossover within his work. With his photography he employs elements of cubism, a movement he considers to be painting’s “highest state of intellectual approach.”
Po Po, 'Searching for Identity: Bottle # 1', 2002-2007, C-print, 167 x 305 cm.
“How can I make cubist photos which present every aspect of a thing? These works are not objects of material. They are objects of mind”.
Although in an article on the Myanmar Times website Po Po states his distinterest in “flashy technology or visual hype”, his selected photos demonstrate his willingness to experiment with newer media to create complex, visually stimulating images without losing the sincerity of his message.
Like Po Po, Singaporean artist Mintio incorporates multiple overlapping angles in photos from her “Concrete Euphoria” series (2008-2009).
Mintio, 'Kuala Lumpur City Centre', 2008, D-print, 152 x 122 cm.
In spite of being relatively young Mintio, who got her start at a major commercial studio at age 16, has already created a stir with her documentation of Asia’s largest cities using long-exposure techniques. For Mintio, the process is about both rediscovery and finding the unknown in familiar things.
“At the end of the day, no matter how familiar we think we are with a person or a place, there always will be jewels left undiscovered. Perhaps the answer of what a place or city means might just be a continuous journey of finding those jewels.”
Also on display is work by fellow Singaporean Zhao Renhui, a resident artist and member of the Institute of Critical Zoologists. Zhao channels his fascination with man’s perception of animals into photos sometimes depicting live or taxidermy creatures, and other times depicting man’s often futile attempts to be at one with nature. In an interview with Asian Photography Blog, Zhao expresses the idea that photography is a medium through which people “relate to animals and the world”. At the same time it is a medium which “blurs the distinction between fact and fiction”. In one particular image he presents a zoologist who appears nearly invisible with the aid of a camoflague cloak and photo manipulation.
Zhao Renhui, 'Tottori Sand Dunes', 2009, archieval piezographic print, 84 x 121 cm.
In doing so, Zhao presents a surreal image as reality and challenges the validity of photography as a medium for depiciting truth. For the artist, reality in photography is illusory and constantly in flux. Viewers must try to make sense of the natural, scientic world through a manipulated, and possibly false, image.
A fascination with perceptions of truth also permeates the photographs of Thai artist Dow Wasiksiri and Vietnamese artist Richard Streitmatter-Tran. While Streitmatter-Tran makes no attempt to hide the artifice of his composite images, Wasiksiri’s saturated photos capture a side of Thai culture that he feels foreigners are not exposed to when viewing the “styled and staged” images of Thailand. According to the artist’s statement on his website:
“Visitors are presented with contrived, idealized images of Thainess by Thais ourselves … countless published views of Thailand are staged and styled. The contrivance and the reality rarely match, leading to startling juxtapositions”.
In presenting what he calls the “unexpected moments”, Dow aims to show unabashed ‘Thainess’ with humor and unself-consciousness.
Indonesian photographer Angki Purbandono makes use of what he calls a “freestyle” approach which allows him to employ methods ranging from collage to the scannography technique used in “Avocado Horse” (2010). Even so, Purbandono doesn’t separate himself from other photographers too much.
“Just like other people working with photography, I play with objects, considering light as important and employing a dark room to print my work.”
Angki Purbandono, 'Avocado Horse', 2010, scannography, 100 x 100 cm.
Korean artists well represented in “Emerging Wave”
Although most of the eleven countries are represented by two artists, organisers made sure to give Korean artists plenty of additional exposure. Bright candied flora populate the work of Koo Seong Youn while Hyun Mi Yoo seems to suspend falling objects in time with skillful compositions. The warped perspectives of Zu Do Yang, Wawi Navarroza’s impersonation of Mexican artist Frida Kahlo, and “real vs. unreal” themes explored by artist Lee Yeleen add to the diversity of subject matter and style. Given that they were chosen for their talent and thoughtful innovation, it comes as no surprise that “Emerging Wave” participants turn the idea of photography on its head. With their photos they call on viewers to question the factual nature not just of the images they view but also the experiences which they have come to accept as normal and routine.
Koo Seong Youn, 'Ht01 (+ Ht02), C-Prints, 2009, 120 x 150 cm.
Other artists included in the show are Koreans Choi Jung Won, Lee Won Chul, and Nanda; Laotians Manichanh Pansivongsay and Phonephet Sitthivong; Indonesian artist Arya Pandjalu; Filipina artist Bea Camacho; Malaysian artists Liew Kung Yu and Tan Nan See; Burmese artist Thit Lwin Soe; Tanapol Kaewpring; Vietnamese artist Le Kinh Tai; and Cambodians Sok Sophal and Tralong Borin.
The exhibition has moved from the Hangaram Art Museum to the GoEun Museum of Photography in Busan and will close on 8 August.
Related Topics: Southeast Asian, photography, museum shows
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Posted in Asian, Connecting Asia to itself, Emerging artists, Indonesian, Korea, Korean, Laoation, Malaysian, Museum shows, Museums, Myanmar/Burmese, Photography, Singaporean, Southeast Asian, Thai, Vietnamese | Tagged: Akmal Benangsutera, Angki Purbandono, Arya Pandjalu, ASEAN, Bea Camacho, Brunei, Brunei artists, Brunei contemporary art, cambodia, Cambodian art, Cambodian artists, Choi Jung Won, contemporary art, contemporary artists, contemporary Cambodian art, digital photography, Dow Wasiksiri, Erica Holloway, Hangaram Museum of Art, Hirfian Husain, Indonesia, Koo Seong Youn, Korea, Korean artists, Laos, Laotian art, Laotian contemporary art, Le Kinh Tai, Lee Won-chul, Lee Yeleen, Liew Kung Yu, Malaysia, Malaysian art, Manichanh Pansivongsay, Mintio, Myanmar art, Myanmar artists, Nanda, Philippine art, Philippines, Phonephet Sitthivong, photography, Po Po, Richard Streitmatter-Tran, singapore, Singapore artists, Sok Sophal, Tan Nan See, Tanapol Kaewpring, Thai artists, Thai contemporary art, Thailand, Thit Lwin Soe, Tralong Borin, Vietnam, Vietnamese art, Wawi Navarrozza, Yoo Hyun Mi, Zhao Renhui, Zu Do Yang | Leave a Comment »
Posted by artradar on July 8, 2010
TATE MODERN ARTS FESTIVALS ASIAN ART INSTITUTIONS LISTS
In celebration of the Tate Modern‘s tenth birthday, thirteen Asian art institutions were invited to join global arts festival No Soul For Sale: A Festival of Independents in early May this year. The event brought over seventy independent art spaces, non-profit organisations and artists’ collectives from across the world to the Turbine Hall, indicating which institutions the Tate considers leading in the global art scene.
Read on for more about the thirteen Asian art organisations in attendance at No Soul For Sale. (Listed in alphabetical order.)
98 Weeks – Beirut
Initiated in 2007 as an artist organisation devoted to research on one topic in depth for 98 weeks, 98 Weeks has also become a non-profit project space since 2009 and has been organising workshops, seminars, reading groups and other art activities in Beirut. The project space is committed to providing a gallery for artists to research and develop ideas, exhibitions and artworks; a platform where artists, cultural practitioners and neighbors are welcome to propose ideas and a space to enhance self organised initiatives and the sharing of artistic resources.
Arthub Asia – China
'Crazy English', a performance by the Shanghai-based Chinese artist Zhou Xiaohu, was staged in No Soul For Sale 2010
Being a multi-disciplinary organisation dedicated to creating arts in China and the rest of Asia, Arthub Asia is devoted to initiating and delivering ambitious projects through a sustained dialogue with visual, performance and new media artists as well as collaborations with museums and public/private spaces and institutions. It is a collaborative production lab, a creative think tank and a curatorial research platform. Initially conceived to support the non-profit BizArt Art Centre through structural funding in 2007, Arthub Asia has facilitated more than 110 activities in China and the rest of Asia and has become the major provider of structural support not only for artists working in China and across Asia, but also for a global community of leading curators, art professionals and producers.
Alternative Space LOOP – Korea
Devoted to defining alternative Asian art and culture by confronting Western-oriented globalisation, Alternative Space LOOP is committed to the search for young defiant emerging artists, promotion of connections between visual arts and other genres, establishment of international networks of alternative spaces, support for creative activities and better environments for exhibition. The art space, which was established in 1999, has been planning to expand its size since 2005.
Arrow Factory – Beijing
Located in a small hutong alley in Beijing’s city center, Arrow Factory is self-funded, independently run art space that can be visited 24-hours a day, 7 days a week. It is committed to presenting works that are highly contingent upon the immediate environment and responsive to the diverse economic, political and social conditions of the locality. Founded in 2008, Arrow Factory was initiated as a response to commercially defined contemporary art in Beijing, which is also increasingly confined to purpose-built art districts in the remote outskirts of the city.
Artis – Israel
With the firm belief that artists are cultural emissaries and agents of social change, Artis aims at expanding the innovative practices of Israeli artists around the world and aiding them to reach global audiences by holding cultural exhibitions and events. Since its establishment in 2004, it has been running numerous art-related programs including curatorial research trips to Israel, a grant program for international exhibitions and events, international commissions, performances, events, talks and an active website with artist profiles, articles, videos, news, and events.
Barbur - Jerusalem
Barbur – Jerusalem
Founded in 2005 at the heart of Jerusalem, Barbur is an independent nonprofit space for art and artists with the aim of being a platform for critical debate that deals with social issues while developing projects with local communities through monthly exhibitions and weekly screenings, lectures, workshops, music performances and other events.
Collective Parasol – Japan
Founded in January 2010, Collective Parasol is a private organisation for art and social-cultural activity. It is run by its artists, curators, a filmmaker, an art law specialist and an art student. It provides an open-ended platform for a wide range of projects and aims to establish a new form of “collective” that questions the solidarity, essentiality and possibility of artist collectives/communities and alternative spaces. Each member organises his or her own projects, puts together an idea with other members and collaborates with guests from a wide range of fields who are working within creative projects. The platform can take the form of a café, gallery, theater, studio, residency, meeting place for local people… the list is essentially endless. Collective Parasol is open to non-members who can use the space, equipment, and technical support.
Green Papaya Art Projects – the Phillipines
Founded in 2000, Green Papaya Art Projects is the longest running independently run creative multidisciplinary platform in the Philippines which specialises in exploring tactical approaches to the production, dissemination, research and presentation of contemporary practices in various artistic and scholarly fields. It tries to be a platform for critical intellectual exchanges and creative-practical collaboration among the artistic community.
PiST///Interdisciplinary Project Space - Istanbul
Para/Site Art Space – Hong Kong
Founded in 1996 in Hong Kong, Para/Site Art Space is devoted to bringing leading international practitioners to Asia, increasing the visibility of Hong Kong artists and facilitating East-West dialogues through an ambitious program of exhibitions, screenings, talks and events. It is a platform for artists and other art practitioners to realise their vision in relation to their immediate and extended communities with the aim of nurturing a thoughtful and creative society.
PiST///Interdisciplinary Project Space – Istanbul
PiST///Interdisciplinary Project Space is a non-profit art space in Istanbul that produces new and experimental works which explore urban environments, everyday life and public/private space conflicts through collaborative experimental work with local and international art professionals. The art space acts as a runway for local and international art professionals to land on and take off from.
Post-Museum – Singapore
Founded in Singapore in 2007, Post-Museum is an independent cultural and social space dedicated to encouraging and supporting a thinking and pro-active community through providing an open platform for examining contemporary life, promoting the arts and connecting people.
Sala-Manca + Mamuta – Jerusalem
Sala-Manca is a group of independent Jerusalem-based artists who stage performances and create videos, installations and new media works which deal with the poetics of translation (cultural, mediatic and social), with textual, urban and net contexts and with the tensions between low tech and high tech aesthetics, as well as social and political issues. Having produced and curated Heara (comment) events, it has also published the art journal (H)Earat Shulaym without any external official, political or economic support. It founded and directs Mamuta, a platform that promotes artistic experimentation as well as social and political engagement through providing studios, a residency program and production labs that facilitate exchange and dialogue between artists.
Sàn Art – Vietnam
Sàn Art is an independent, artist-run exhibition space and reading room in Ho Chi Minh City that supports the country’s thriving artist community by providing an exhibition space, residency programs for young artists, lecture series and an exchange program that invites international artists and curators to organise or collaborate on exhibitions.
Related Topics: Asian artists, non-profit arts, art events
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Posted in Art spaces, Artist Nationality, Asian, Business of art, Chinese, Events, Festival, Filipino, Israeli, Japanese, Korean, Lists, London, Nonprofit, Promoting art, UK, Venues, Vietnamese | Tagged: 98 Weeks, Alternative Space LOOP, Arrow Factory, Arthub Asia, Artis Israel, artists collectives, Asian art galleries, Barbur, Beirut, Carmen Bat Ka Man, celebration, China, Collective Parasol, global art festival, Green Papaya Art Projects, Ho Chi Minh art, independent art space, Interdisciplinary Project Space, Israel, Istanbul, Japan, Jerusalem, Korea, LOOP Alternative Space, No Soul For Sale, non-profit art, Para/Site Art Space, Phillipines, PiST, Post Museum, San Art, singapore, Tate Modern, Turbine Hall, Vietnam | Leave a Comment »
Posted by artradar on April 13, 2010
- “Out of Frame” video still
Courtesy the Artsonje Centre
KOREAN CONTEMPORARY ART
Netherlands-based Korean artist Yang Ah Ham turns her focus on the art world itself.
In her work “‘Chocolate Head” , a series of head sculptures of famous curators around the world, the art world becomes an unusual subject in her multimedia solo show “Adjective Life in the Nonsense Factory” at Art Sonje Center in Korea in March – April 2010.
Her works which focus on the individual are defined, she says, by adjectives, rather than verbs or nouns.
As a companion piece to Ham’s melted chocolate sculptures, she has also produced a video called “Out of Frame” which captures performance art based around the chocolate heads. This series of works examines power and the tension it creates.
Another piece “Collected Anonymous 2006-2007,” features a collection of elastic hair bands that Ham found in the streets of Amsterdam. She brought them back to Korea and conducted DNA tests, even though there was little way of finding out whom the hair bands belonged to.
Read more: KoreaTimes.co.kr
Get info: Artsonje.org
See videos: InsaArtSpace.or.kr
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Posted in Events, Food, Fragile art, Human Body, Identity art, Korea, Korean, Performance, Sculpture, Video | Tagged: Adjective Life in the Nonsense Factory, Arabella Devine, art, art about art, art about curators, art exhibition, art news, art show, artist, Artsonje Centre, Asian art, chocolate sculpture, contemporary art, exhibition, Holland, Korea, Korean, Korean art, Korean contemporary art, Korean contemporary sculpture, Korean contemporary video, Netherlands, Nonprofit, Out of Frame, sculpture, Seoul, show, Video, Video art, Yang Ah Ham | Leave a Comment »
Posted by artradar on July 6, 2008
ASIAN ART COURSE SOTHEBYS LONDON JULY 21-25 2008
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This one-week course will explore the work of artists from East Asia, India, and the Middle East. The lectures will also investigate the key players in the market for Asian Art, as well as opportunities for growth in key regions.
Fee: £550 inclusive of visits and champagne reception.
Monday, 21 July
09.30-09.45 Registration and Coffee
10.00-11.00 Influences in Chinese Art
11.30-12.30 The Cultural Revolution: the Birth of A New Iconography
13.30-14.30 Chinese Contemporary Art from 1980 to Present
15.00-16.00 Chinese Painting in the 21st Century
16.00-18.00 Visit to Qiu Jie exhibit at the Red Mansion Foundation
Tuesday, 22 July
The Middle East
10.00-11.00 Islamic Art and its Influences
11.30-12.30 The Diaspora and Questions of Identity in Middle Eastern Contemporary Art
13.30-14.30 Highlighting Iranian Art
15.00-16.00 Building a Heritage in the 21st Century: Challenges and Opportunities
16.00-18.00 Visit to the exhibit ‘Mitra Tabrizian: This is that Place’ at Tate Britain
Wednesday, 23 July
India and Pakistan
10.00-11.15 Indian Contemporary Art – A Brief Introduction
11.30-12.30 Influences and Aesthetics of Indian Artists Working Abroad
13.30-14.30Success stories from India: Souza, Husain and Gupta
15.00-16.00 The Lahore Group Impact on Pakistani Art
16.00-18.00 Visit to a Private Collection / Gallery / or Museum
Thursday, 24 July
Korea and Japan
10.00-11.00 An Introduction to Korean Art, from Pyongyang to Seoul
11.30-12.30 Contemporary Korean Artists in Focus
13.30-14.30 Japanese Art Today: Beyond Murakami
15.00-16.00 Cultivating Craftsmanship: The Role of Living National Treasures
16.00-18.00 Visit to a Private Collection / Gallery / or Museum
Friday, 25 July
The Asian Art Market
10.00-11.00 Transformations in the Chinese Contemporary Art Market
11.30-12.30 Chinese Contemporary Art: A Marketing Model
13.30-14.30 Buying Culture: The impact of the UAE’s activity on the global art market
15.00-16.00 Analysing Growth Prospects for Emerging Markets
16.00-18.00 Champagne Reception
Posted in Chinese, Courses, Indian, Iranian, Japanese, Korean, Market watch, Pakistani | Tagged: art market, Asian art, China, course, East Asia, growth, India, Iranian Art, Islamic art, Japan, Korea, Lahore Group, London, MF Husain, Middle East, Mitra Tabrizian, Murakami, Pakistan, Qiu Je, Red Mansion Foundation, Sothebys, Sothebys Institute, Subodh Gupta, Tate Britain, UAE | Leave a Comment »