Events Around the World
The theme of this Guangzhou Image Triennial--Interweaving Eidos·Overlapping Images--is based on such a position,or in other words,the transition from "photo"to "image," indicating the transition from the original "photography of humanities"to a more inclusive and disciplinary "photography of visual researc.h" Driven by modern technology, the concept of "image"we are talking today has entered into a larger dimension. The overlapping of static and dynamic,physical and non-physical as well as two dimensional and multidimensional elements begins to leap beyond the visual expression defined by "photography."
Torn between a powerful cultural heritage and a national discourse on modernization, alternating between phases of openness and withdrawal, the cultural evolution of Japan in the early 1970s was marked by major social, political and natural events. Exhibition curator Yuko Hasegawa looks back on these turbulent decades during which Japan oscillated between globalisation and affirmation of its identity.
Grantee: Hasegawa Yuko
Cai Guo-Qiang is the first contemporary artist to create on-site at the Prado. This is his first solo exhibition solely focused on painting in over 30 years.
This exhibition, which arises from Cai Guo-Qiang’s ongoing dialogue with El Greco and in which he establishes a relationship with the great masters represented in the Prado, comprises nearly 30 paintings made with gunpowder; eight of them ignited on-site at the Salón de Reinos. Also on view are an oil and an acrylic created at the start of his activities as a painter; and various sketches and drawings on matchboxes by his father, Cai Ruiqin, who steered him towards painting.
Grantee: Cai Guo-Qiang
India’s Rockefeller Artists: An Indo-U.S. Cultural Saga exhibits at the DAG Modern 41 East 57th Street at the Fuller Building in Midtown, Manhattan. The exhibition, from Nov. 6, 2017 to March 2018, showcases iconic works of some of the Indian painters and sculptors who received fellowships from either the Asian Cultural Council or its predecessor, the JDR 3rd Fund (1963-1979).
Grantees: Arun Bose, Avinash Chandra, Bhupen Khakhar, Haku Shah, Jyoti Bhatt, K. G. Subramanyan, Natvar Bhavsar, Paritosh Sen, Ram Kumar, Rekha Rodwittiya, Satish Gujral, Shrikrishna Kulkarni, Vasudeo Gaitonde
"Patty Chang: The Wandering Lake, 2009-2017" presents a groundbreaking project by Chang, a uniquely important artist who emerged from New York’s alternative art scene of the mid-1990s. From her tough-to-take, boundary-busting performance-video work that explored the complex psychic narrative behind often visceral solo performances, to more recent experimental films and lecture-performances, Chang has challenged the parameters of performance and its power as a storytelling vehicle. The Queens Museum will present her most ambitious work to date, "The Wandering Lake (2009-2017)", a project that redefines the role of artist, image, object and performance in the construction of narratives through an exhibition that integrates video projection, photography, sculpture, publication, and performance as one expansive body of work. This exhibition is part of Asia Contemporary Art Week, October 5-26 in New York City.
Patty Chang received an ACC Fellowship in 2010 to carry out research and creative work in Laos.
Grantee: Patty Chang
Clouds⇄Forests is a proposition at a time of crisis to instigate the establishment of new relationships in our world. This proposition will be proposed by the artists and creators called "Creative Tribes", who gather in different sites all over the world, do not feel restricted to the notion of nation state and also surmount the dichotomy between globalism and localism.
Clouds⇄Forests focuses on artists as a creative tribe transitioning, expanding and dissipating, from forest to cloud, rebuilding the subjectivity of spectators and showing that creativity is vital to the creation of new environmental spheres. Taking into account perceptions on the generation of new subjective environmental spheres, the curatorial criteria for this exhibition includes giving life to new technologies as well as exploring ways to obtain animistic artistic languages and connect cultural roots, and leveraging the rhizome-based organic system to traverse history, genres, and media.
ACC grantee Yuko Hasegawa is curating the Moscow Biennale of Contemporary, and ACC grantees Nadim Abbas from Hong Kong and Nindityo Adipurnomo from Indonesia are participating artists.
The play A Doll's House, part 2, picks up after Henrik Ibsen's A Doll's House concludes and explores, in uproarious fashion, the emotional chaos that results when Nora Helmer returns to the home from which she exited fifteen years earlier.
The New York Times, Los Angeles Times, W Magazine and Time Out New York all call A Doll's House, Part 2 "the best play of the Broadway season."
A Doll's House, Part 2 is written by Tony Award nominee Lucas Hnath, directed by Tony Award winner Sam Gold with lighting design by Jennifer Tipton. Jesse Green of The New York Times raves, “The best play of the year. I love A Doll's House, Part 2. This is a great comedy." Peter Marks of The Washington Post cheers, "I want do nothing but talk about A Doll’s House, Part 2 for the rest of my life.”
Grantee: Jennifer Tipton
The largest showcase of contemporary Chinese art from 1989 – 2008 in North America, surveying the development of Chinese experimental art from the end of Cold War to the age of globalization and China’s rise on the world stage. Works in the exhibition illustrate the role of artists as both agents and skeptics of China’s global presence against the political, social, and cultural transitions in the past two decades.
This exhibition is part of Asia Contemporary Art Week, October 5-26 in New York City. The work of six ACC grantees are included in this exhibition.
"Modernism on the Ganges: Raghubir Singh Photographs" will situate Singh's photographic work at the intersection of Western modernism and traditional South Asian modes of picturing the world. It will feature 85 photographs by Singh in counterpoint with works by his contemporaries—friends, collaborators, fellow travelers—as well as examples of the Indian court painting styles that inspired him.
The exhibition will trace the full trajectory of Singh's career from his early work as a photojournalist in the late 1960s through his last unpublished projects of the late 1990s. Using a handheld camera and color slide film, he recorded India's dense milieu in complex frieze-like compositions teeming with incident, fractured by reflections, and pulsating with opulent color. This exhibition is part of Asia Contemporary Art Week, October 5-26 in New York City.
Raghubir Singh received an ACC Fellowship in 1990 to meet with photographers, curators, and critics, and to pursue creative work in photography in the United States.
This exhibition is part of Asia Contemporary Art Week, October 5-26 in New York City.
Grantee: Raghubir Singh
Enrico Isamu Ōyama represents a contemporary generation with a distinctly global perspective. Child of an Italian father and a Japanese mother, Ōyama was born and raised in Tokyo, Japan, but also lived for extended periods in North Italy. In Tokyo, he immersed himself in an underground art scene infused with the street culture of the city and its global influences.
“Ubiquitous” surveys how Ōyama channeled his interests in the street cultures of Tokyo and American cities, Western abstract art, and Japanese calligraphy to create Quick Turn Structure (QTS), his signature expression. Through the QTS, Ōyama gives visual form to the mixed-race, multicultural, transnational experiences of people in today’s world of fluid borders and interconnectivity.
Enrico Isamu Ōyama received an ACC Fellowship in 2011 to research contemporary art, meet artists and curators, and create new work while participating in an artist residency program in the United States.
Grantee: Enrico Isamu Oyama
The Scrolls: Distortion is a new body of work and a cumulative exploration of Lê’s oeuvre to date, putting his series such as Persistence of Memory, From Vietnam to Hollywood, A Quagmire This Time, and Remnants, Ruins, Civilization, and Empire in conversation with one another. Key to this body of work is Lê’s attention to memory. Whereas previously Lê’s work dealt with fragmented memory and processes of piecing together or reconciling painful and traumatic histories, here he is presenting memory as landscape.
Grantee: Le Dinh Q.