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
Subscribe to Art Radar Asia for more on Taiwanese artists working outside Asia
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 December 27, 2008
Metal Truck Caravan Gulnara Kasmalieva and Muratbek
CENTRAL ASIAN ART
The strong presence of Central Asian artists at recent art fairs and exhibits in New York is helping to underscore the fact that the region has joined the mainstream of the international art market reports Eurasianet.
A special exhibition titled Given Difference at the Asian contemporary art fair in New York in November featured six artists from Kazakhstan, Georgia and Turkey.
Kazakhstan was represented by two rising stars of the Central Asian art world — Erbossyn Meldibekov and Almagul Menlibayeva.
Menlibayeva videos punkshamanism
Almagul Menlibayeva’s works attempt to distill traditional practices, ideas and imagery into a contemporary art form. Often described as punk-shamanism, Menlibayeva’s videos are theatrical and laden with complex references — from tribal symbolism to images of the communist industrial past.
A New Silk Road installation view
One of Menlibayeva’s videos shown at the New York art fair — Headcharge — is a story that casually begins in a restaurant in the city of Almaty and gradually slips into a disturbing ritual performed by the female protagonists. The video shows several urban young women eating a sheep’s head and feeding each other, thereby underscoring the juxtaposition of traditional nomadic beliefs with today’s urban lifestyle. Step by step, the film gives way to a parallel reality, referring to shamanistic travels between worlds.
Born and raised in Kazakhstan, Menlibayeva currently lives and works in Berlin and Amsterdam. Art curators say she often depicts the cultural and spiritual traditions of her native country as erotic and strongly feminine dream sequences.
Menlibayeva’s second film, Kissing Totems, is a surrealistic journey inspired by her childhood memory of walking past Soviet factories, seeking the help of a shaman to cure her mother’s severe illness. With what seems to be the clear influence of Russian filmmaker Andrei Tarkovsky’s enigmatic style (particularly the bleak interiors of Stalker), the split-screen video follows a girl, accompanied by her mother, entering an abandoned industrial complex filled with birds. The video then takes a surreal turn when she encounters female-like creatures, called peris.
Meldibekov: photographs of leaders and Peak Communism
The other Kazakh artist presented at the Asian art fair, Meldibekov, explores the question of belonging, but through a different prism. His series Family Album (made together with his brother Nurbossyn Oris) are historic photographs of groups of ordinary people — families or friends — posing in front of a public sculpture of their country’s leaders. Each old picture shot during the Soviet period is matched by a newer one of the same people at the same spot but with a different sculpture behind them — a change in the figure with whom they are associated, determined by the state and history.
Meldibekov looks at the figure of the leader as fetishized by ordinary citizens. He also shows people as if both empowered by virtue of proximity to the great leader and the due diligence of paying homage to him.
Meldibekov has recently begun a series entitled Peak Communism which was also featured at the New York Asian Art Fair. The artist inverts cheap metal pots and bowls and moulds their tops to show their shapes as different shapes — such as Communism Peak, Lenin Peak and Peak of the Pioneer.
Kyrgyz art: video and photography at Winkleman New York
Elsewhere, an exhibition of Kyrgyz artists Gulnara Kasmalieva and Muratbek Djumaliev, entitled A New Silk Road, is on display these days at the Winkleman Gallery in New York City. The show runs through January 10. A series of photo images and a 5-channel video, shot along the highways and small villages connecting China through Kyrgyzstan to Europe, capture the determination and resourcefulness that define this mountainous and economically impoverished region and provide snapshots of how local and global economics are intertwined.
- Eurasianet for more
- Winkleman Gallery for A New Silk Road images and artist bios
- To represent Central Asia and the Caucasus in 2008 Shanghai art fair Best of Discovery, curator Sara Raza has alighted on the work of the outlandish Kazak performance artist Erbossyn Meldibekov and also on the emerging Georgian artist Sophia Tabatadze (see post click here)
Subscribe to Art Radar Asia for the latest art trends
Posted in Central Asian, Emerging artists, Kazakhstani, Kyrgyz, Market watch, New York, Photography, Political, Trends, USA, Vehicles, Video | Tagged: A New Silk Road, Almagul Menlibayeva, Asian Contemporary Art Fair, Central Asian art, Erbossyn Meldibekov, Family Album, Georgian artists, Given Difference, Gulnara Kasmalieva, Kazakhstani artists, Kissing Totems, Kyrgyz artists, Muratbek Djumaliev, Peak Communism, punk-shamanism, Turkish artists, Video art, video artists | Leave a Comment »
Posted by artradar on December 22, 2008
Shirin Neshat Women Without Men
MIDDLE EASTERN ART BEIJING
Shirin Neshat Women Without Men Faurschou Gallery Beijing to January 18 2009
As unlikely as it seems given the current political climate, many people in the art world are now asking: is contemporary Middle Eastern art the next big thing, reports Time Out Beijing.
The present boom is founded on the unprecedented exposure that Islamic culture has received since September 11, as well as the influx of cash from Arabian royal families and governments into new art fairs and museums. However, even trendier than contemporary Middle Eastern art are female Middle Eastern artists, and photographer Shirin Neshat is a big contributor to that.
Neshat has been a resident of the United States for over twenty years, but has returned to visit her family since the 1990s when political conditions improved. In these visits she has maintained a relationship with the Eastern world and witnessed her country change from the progressive political and social system imposed on her country to the present theocratic regime.
‘For me one of the principal challenges,’ Neshat says, ‘is to imagine how the artist who is an immigrant to another country and who is immersed in the characteristics of another culture, can create works that contribute to a broader and more tolerant dialogue.’
For her first exhibition in China at the Faurschou gallery, the 51-year-old will explore the themes of human passion and desire through the conditions of women and religious codes in contemporary Muslim society. She will show her monumental film opus Women without Men consists of five video installations based on Shahrnush Parsipur’s banned book by the same name. The novel is set in 1953, the year when the democratically elected Iranian prime minister, Mohammad Mossadegh, attempted to avert a coup mounted by American and British forces who wanted to reinstate the Shah as an absolute ruler in order to avoid the nationalisation of the country’s oil industry.
The first thing that will strike you hopefully is a sigh of relief and then, perhaps, a cause for celebration as your faith in art is renewed. The standard at 798 will have been raised once again both in terms of the level that art can effect you and in terms of gallery presentation.
Time Out Beijing
In article in Time Magazine, she was quoted as saying that she seeks to “untangle the ideology of Islam through her art,” and this exhibition, the artist’s first in China, will present five films that reinterpret the lives of five Iranian women in 1953, the year the democratically elected prime minister was overthrown by an American-supported coup d’etat. More than a discussion of the events of this important year in Iranian history, the videos document the personal trials of women living within strict societal restrictions about religious, sexual and social behavior.
Posted in Beijing, China, Feminist art, Gallery shows, Identity art, Iranian, Islamic art, Middle Eastern, Political, Religious art, Shirin Neshat, Video | Tagged: Faurschou, Feminist art, Middle Eastern art, Shirin Neshat, Video art, video artists, Women artists, Women Without Men | 2 Comments »
Posted by artradar on October 19, 2008
Back in the 1850’s Japan was the first country in Asia to embrace photography and since then the diversity, technical prowess and originality of Japanese have made an impression world-wide. Paris Photo which claims to be the premier fair for static images in the world was established 10 years ago and now attracts 40,000 visitors and 120 exhibitors. This year it will feature a panoramic survey of Japanese photography from the 1850’s with special coverage of the 1930’s avant-garde, the journalistic images of the 1950’s and the contemporary scene in the years 1990 to 2000.
Thirty galleries in the general section will pay homage to modern masters including Shoji Ueda, Ihei Kimura, Masahisa Fukasi, Eikoh Hosoe, Shomei Tomastu and comtemporary photographers including Hiroshi Sugimoto, Nobuyoshi Araki, Daido Moriyama, Naoya Hatakeyama.
The ‘Statement’ and the ‘Project Room’ (the latter devoted to video) will introduce the work of emerging artists in the lively photographic scene which has been developing since the year 2000.
Subscribe to Art Radar Asia
Posted in Emerging artists, Fairs, Japanese, New Media, Photography, Surveys, Video | Tagged: art fairs, Daido Moriyama, Eikoh Hosoe, emerging Japanese artists, Hiroshi Sugimoto, Ihei Kimura, Japanese art, Japanese artists, Japanese photographers, Japanese photography, Japanese video, Masahisa Fukasi, Naoya Hatakeyama, Nobuyoshi Araki, Noriko Yamaguchi, Paris Photo, photo art fair, photography art fair, Shoji Ueda, video artists, Yamaguchi Noriko, Yoneda Tomoka | Leave a Comment »