Alumni Events Around the World
Contemporary artist Jean Shin (American, born South Korea 1971) transforms everyday objects—worn-out shoes, fashion remnants, military uniforms—to create dynamic works about connection and belonging. Her installations, often made from donated and discarded materials, raise provocative questions about what, and how, we consume.
On view in this exhibition are six large-scale installations and a video that tell powerful stories about the military, the fashion industry, and Shin’s own Asian American community.
Grantee: Jean Shin
Apichatpong Weerasethakul: The Serenity of Madness, is a solo exhibition by visual artist and ACC grantee Apichatpong Weerasethakul and is curated by ACC grantee Gridthiya Gaweewong. A leading figure in contemporary film and art, Apichatpong Weerasethakul has developed a singular realist-surrealist style in which he portrays the everyday alongside supernatural elements, suggesting a distortion between fact and folklore, the subconscious and the exposed, and various disparities of power. The artist’s passionate positions regarding class, labor, sexuality, science, and spirituality have informed his practice from early in his career to the present, and his work reveals stories often excluded in history in and out of Thailand: voices of the poor and the ill, marginalized beings, and those silenced and censored for personal and political reasons.
Curated by Gridthiya Gaweewong, Apichatpong Weerasethakul: The Serenity of Madness, uniquely presents a selected survey of rarely seen experimental short films and video installations by Weerasethakul, alongside his photography, drawings, sketches, and archival material that explore threads of sociopolitical commentary. In tandem with the exhibition, the Oklahoma City Museum of Art will present a retrospective of the director’s theatrical releases in its Samuel Roberts Noble Theater. The exhibition will also feature a special opening event for the Museum’s recently launched Film Society.
Leading 20th century photographer William Klein had a decisive influence on modern visual culture with his expression that went beyond genres such as photography, movies, design and fashion, and his works capturing the cities of the world, including New York, Rome, Moscow, Tokyo, Paris, etc. In this exhibition, 21_21 DESIGN SIGHT introduces the city vision of Klein and Japanese and Asian photographers trying to examine the cities and people of the 21st century with a fresh perspective and greatly transcend the frames of conventional photos.
“Songs for Sabotage,” the fourth New Museum Triennial, questions how individuals and collectives around the world might effectively address the connection of images and culture to the forces that structure our society.
The New Museum Triennial is the only recurring international exhibition in New York City devoted to emerging artists from around the world, providing an important platform for a new generation of artists who are shaping the current discourse of contemporary art and the future of culture. The first edition was initiated in 2009 with “Younger Than Jesus,” organized by Massimiliano Gioni, Laura Hoptman, and Lauren Cornell. The second Triennial, “The Ungovernables,” was organized by Eungie Joo in 2012. The third Triennial, “Surround Audience,” was organized by Lauren Cornell and Ryan Trecartin with Sara O’Keeffe and Helga Christoffersen in 2015.
Grantee: Ta Song
Chinese Folk Pottery: The Art of the Everyday exhibition explores contemporary folk pottery produced within the diversity of ethnic minorities and Han people across China. It examines pottery from three perspectives: production values, functions, and aesthetics.
Grantee: Marie Woo
ACC grantee Dinh Q. Lê revisits this historical event to create stunning photo-montages where he weaves photographic strips into a tapestry of images, a continuation of his artistic practice in the medium of print and paper. From elaborate cyanotypes to exquisite foiling works, Lê examines and captures the splendour and darkness of Cambodian history through its enduring legacy of architectural monuments and photographic memorials. His works encapsulate the common human experience of loss and redemption, merging Eastern and Western cultures, as well as personal and fictional realities.
Grantee: Dinh Q. Le
The Wesleyan University Orchestra under the direction of Adjunct Assistant Professor of Music Nadya Potemkina performs the world premiere of Guggenheim Fellow composer and Visiting Assistant Professor of Music Jin Hi Kim's One Sky II (2018). The concert will be opened by Wesleyan's Korean Drumming and Creative Music Ensemble and cross-cultural performances by faculty and students from Korea, China, Japan, Iran, and the United States; and followed by a Q&A with the audience about their musical experiences.
Grantee: Jin Hi Kim
“A Colossal World” investigates the reciprocal channels of influence established between multiple generations of Japanese artists and the city of New York. While these artists absorbed elements of New York’s culture into new artworks, they also impacted and enriched New York’s culture itself. This exhibition, though not claiming to be a historical or academic in-depth study, aims to help trace the evolution of this vibrant exchange from Japan’s post-World-War-II economic boom to the present, from mid-century avant-gardes to emerging contemporary artists pushing new boundaries.
Grantee: Tom Haar
In The goddess and the god separate under the peach tree, Miwa Yanagi's solo exhibition, Ms. Yanagi associates Japanese mythology with Fukushima, Japan´s last major tragedy. The peach-trees photographed by Yanagi are located in the district of Fukushima and their fruits had been hit by harmful rumors. Now they are checked for radioactive contamination and that Fukushima's commercially available products are safe. They are the witnesses, as well as victims of this event.
Grantee: Miwa Yanagi
Shuta Hasunuma’s Compositions features a selection of new works created both in Japan and during Hasunuma’s Pioneer Works residency in winter 2017. The exhibition is the artist’s first solo exhibition in the United States. It gathers together sculpture and videos centered on sounds from everyday life, which probe the circumstances and frameworks surrounding human existence.
Hasunuma’s sound works center on environmental and electronic sounds and extensive collaborations with diverse musicians including Akio Suzuki, Keiji Haino, and Fluxus member Mieko Shiomi. By molding, arranging, and visualizing sounds in time and space, Hasunuma’s practice seeks to answer the question: How can something intangible like sound or music be transferred between human beings in physical, material form? Hasunuma creates situations and environments that bring together people of different ages, genders, and ethnicities. Through their interaction they seek to illuminate afresh exactly what it is we call “sound” or “music.”
Grantee: Shuta Hasunuma
Tainaner Ensemble is regarded as the role model in Taiwan modern theatre. Established in 1987, it is a professional troupe with the biggest size and longest history in southern part of Taiwan.
Led by the current art director, Lu Bo-shen, it continually develops different series, such as "Western Classics Translation Series" and "Unplug Shakespeare Series", and introduces the works of modern-day dramatists in Taiwan.
As a vigorous troupe in contemporary society, it is dedicated to create high-quality productions and always amazes the audience with innovative and experimental approaches.
In addition, it is dedicated to theatre education. For example, sometimes it holds theatre workshops for community. It opens actor school every summer. It began a youth theatre education program in 1999, and published Taiwan first professional periodical for theatrical comments named Theatre Matters.
Grantee: Pao-Chang Tsai
‘Luminous Shadows’ is ACC grantee and Thai filmmaker and artist Apichatpong Weerasethakul’s first solo exhibition in the Baltic States. This exhibition is part of a larger project ‘Luminous Shadows: Selected Installations & Film Retrospective of Apichatpong Weerasethakul’.
In the artist’s own words, the project ‘reveals different memories of light. Some of the works are an investigation of my home-region of Isan in northeastern Thailand. Some are dreams. Some are simply looking. But all of them are personal.’ His films and video installations form a multi-layered universe where characters and themes travel from one work to another. The exhibition in the CAC’s Great Hall presents video works and installations the artist has created over the last fifteen years.
Grantee: Apichatpong Weerasethakul
Through the embrace of capitalism, human degeneration is explored in “Ziggurat,” the latest exhibition of ACC grantee and visual artist Mideo Cruz at Kaida Contemporary in Quezon City. The show is further described in his exhibition notes, “…though opulence and grandeur are often displayed through excessive consumption, the continual debasement of the quality of human life lies underneath the glitter. Block by block, the idea of development devours humanity. As humans consume the illusion, they are the ones who are inevitably consumed.”
Grantee: Mideo Cruz
Shen Wei, the acclaimed choreographer, painter, and founder of Shen Wei Dance Arts, reveals his artistic inspirations and working processes as a multi-media artist in a far-reaching dialogue on Buddhism, childhood memories, explorations of dreamscapes, and his journeys to Tibet with YiLing Mao, Executive Director of Art Collectives LLC. For this illuminating evening, Shen Wei's dance Company will perform some of his most iconic pieces including Folding, Re-Part II, and Neither. Selections of his paintings will be discussed in depth alongside a World Premiere screening of his recent short film, Innerspace, a poetic exploration of how we navigate space, untethered from nature in our vast modern constructs–set in and around one of China’s striking new works of architecture. The evening celebrates Shen Wei and his artistic vision upon the third decade of his active engagement in the arts on the world stage.
Dear Life is an adaptation of a short story by Nobel laureate Alice Munro, whose stories usually explore human complexities in an uncomplicated prose style, revealing melodramatic plots and relations or strong desires with the description of subtle movements and ambiguous dialogues in our daily life. The lightness in her language seems to stem from the inability to bear or squarely look into or desire for the heaviness in our lives.
Taiwanese novelist Egoyan Zheng has once described that “Munro’s writing style fathoms the shape of fate.”
This production extracts plots, structures and styles from various stories of Munro’s and then adapt and rewrite them in accordance with different performers and theatric styles so as to put the stories into the comprehensible context of life in Taiwan. Five episodes are separate from yet echo with each other. With the same seemingly plain tone and language with Munro, the production lays out the foundation of life that is beyond description, ambiguous, entangled and heavy. Audiences will see all the characters devoted to the rehearsals between void and performance – alienated, realistic, yet unreal – just like the performance of real life.
Shen Wei Dance Arts and WHITE WAVE Young Soon Kim Dance Company join a diverse and dynamic roster of internationally celebrated artists and local favourites, as the Vancouver International Dance Festival presents three weeks of endlessly enriching performances, workshops, and a host of dance activities from March 1 to 24, 2018, at various venues throughout Vancouver.
In the 16th century, gazing out from the decks of ships off the coast of Southern China, Portuguese sailors saw it: a great green mass, thick with mountains and trees, rising from the sea. “Formosa!” they exclaimed—“beautiful!”—anointing the verdant place that would come to be known as Taiwan.
Lin Hwai-min and his Cloud Gate Dance Theater of Taiwan take that appraisal as inspiration for their own work of abstract beauty born from land and lore.
Using gesture, script, song and other elements from the island as raw material, Lin and dancers create a lustrous, transfigured sphere in which only the universal remains— a playground of love and life, mediated by tragedy, hope, and rebirth.