Events Around the World
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
This exhibition is a major symbolic event representative of the emergent Chinese avant-garde artists who influence the art scene in China today. This generation of artists no longer relies on the political history background and they have become the players of a larger scene, global in every sense. It shows an understanding of Chinese art as a vital and outstanding way of dealing with political, social and aesthetic issues. Curated by Ami Barak. Out of the 18 artists exhibiting, 4 are ACC grantees.
After a month-long residency, 9 local and 2 international artists work with communities in Shitiping and Fuxing to create installations along Taiwan's East Coast in Fengbin Township.
In 2010, the Forestry Bureau started a wetland ecology preservation project in Fengbin to revive the contour rice paddies. The community in Fengbin collaborated with the Hualien Forest Bureau to rebuild the irrigation system. Water flowed into the rice paddies once again, and rice grew along the shore of the Pacific Ocean.
While the landscape and crops had been restored in Shitiping, the first sets of questions challenging the local people were how could they reclaim their social and cultural structure and value? To address this, the Mipaliw Wetland Art Festivals began in 2011.
Grantee: Dungi Sumi
This exhibition commemorates the 50th anniversary of ASEAN (Association of Southeast Asian Nations) by showcasing the contemporary art of the region and aims to be one of the largest Southeast Asian contemporary art exhibitions in history. The exhibition consists of 80 artworks by 86 artist groups from 10 ASEAN member countries and will be held simultaneously at 2 museums: National Art Center and Mori Art Museum. 19 ACC grantees are participating in this exhibition!
This exhibition explores the transformation of Asian popular culture during the 1960s and 1970s, a time when rapid economic development had the continent under its spell. As male actors were writing this history, the lives and voices of real women were being obscured by sociopolitical smokescreens, postcolonial experiences of the Cold War, and dictatorship. Many women shared similar experiences, regardless of location, during this period of rapid urbanization and economic growth. Here, the exhibition presents a comprehensive look at their forgotten discourse through a prism of Asian diva songs and popular cultural signals documented along trajectories inked in postcolonial modernity.
“Memories Interwoven and Overlapped: Post-Martial Law Era Ink Painting in Taiwan” features works of diverse categories and media, including ink and wash painting, meticulous heavy color painting, gouache painting, installation, video, and animation; in terms of style and expression, all the works manifest artists’ realizations and sentiments of life, social and cultural concerns, dialectics on history and reality, and the depth and breadth of ink art exploration, exhibiting vibrant creative energy and dynamics. Through interpretation of and dialogues with exciting works of 24 artists from different generations, this exhibition aims to investigate the intertwined relation between Taiwanese ink painting and politics, and present artists’ diverse creative visions inspired by overlapped and interwoven historical memories, as well as the splendid and exciting new look of ink art constructed on such visions, concretely, and in details, presenting and explaining the course of development of Taiwanese ink painting from the lifting of martial law up to the present time.
Moving Mountains is inspired by the ancient tale of a man, whom some called foolish, for seeking to move a mountain. Yang Fudong makes this story a poetic reflection upon human nature and the shifting values to which it can be subject, presented in a 46-minute black-and-white film, Moving Mountains, complete in November 2016 at the invitation of the Rolls-Royce Art Programme.
Grantee: Yang Fudong
Kohei Nawa will exhibit works at two venues at the art, music and food festival, Reborn-Art Festival 2017, held in Ishinomaki City, Miyagi Prefecture― Oginohama, Oshika Peninsula and the Kyu Kankeimaru Shoten in Ishinomaki city.
Grantee: Nawa Kohei
Throughout the summer at OCAT Personal Space is dedicated to the work of the young Beijing-based animation artist Lei Lei, and to the premiere of his latest moving image project Coming Soon. A feature-length animation, Coming Soon is the result of five years of hard work beginning in 2012. This stunning hand-crafted work of moving image takes its narrative from the life-story of Lei Lei’s grandfather Lei Ting. Combining drawing, collage, archival film and photos as well as footage of Lei Lei’s grandfather, Coming Soon is a remarkable feat of research and imagination, as the artist explores a complex historic era through the eyes of his generation and his own singular perspective. Both Lei Ting and Lei Lei’s father, Lei Jiaqi, were involved in this animation’s production, which lends the piece a subtle intimacy and great emotional force.
Grantee: Lei Lei
Double Square Gallery is pleased to present Not the Chelsea Hotel - ISA HO solo exhibition, on view from July 29 to September 3. The exhibition will showcase Isa Ho’s ongoing series of the “Westbeth” project and the newly developed serial work “My Peony Pavilion.” While the subject matter of the two series seem to sit on the opposite end of a spectrum: the young and the elderly, the East and the West; the difference between the series embodies Ho’s continual focus on socio-cultural issues. The “Westbeth” series was inspired by and shot at the Westbeth Artists Housing in New York, where Ho spent over four years documenting the senior artists living there, their daily lives and environment. “My Peony Pavilion” utilizes and blends the traditional Chinese Kunqu Opera and Korean popular music K-pop to picture female self-identity in two juxtaposed temporal and spatial frameworks, by leveraging similar pop culture element. The exhibition title Not the Chelsea Hotel (Chinese Title: The Black Swan Effect) points to a key concept: the everyday mundaneness taken for granted might be overturned by a new piece of information – just as when a black swan was “discovered” by an explorer in Australia in 1697, only then people started to realize not all swans were white and their understanding was partial. The concept of the Black Swan Effect becomes the connecting thread: through presenting the two series together in this show, the artist wants to inform the audience’s preconceived notions of facts having the possibility to formulate utterly opposing meanings, once approached with a new angle with a new piece of information presented.
Grantee: Ho Meng-Chuan "Isa"
The exhibition re-iterates a well-known phrase used for safety warnings in automobile sectors in America. The rear-view mirrors carrying the phrase often makes the artistic minds wonder. The exhibition adopts the thought at its departure and captures the chord between sensibility and nearness. The works showcased in the exhibition explores the idea of nearness and it’s relation to the proximity. The phenomenological possibilities, the emotions and the imaginations explored in the exhibition quote on the probabilities of nearness as well as question our idea and approaches towards perception.
ACC grantee Tatsuo Miyajima is part of this group exhibition. He received an ACC fellowship in 1989 to travel to New York to observe contemporary art activities for six months.
Grantee: Miyajima Tatsuo
The exhibition “Crisscrossing East and West: The Remaking of Ink Art in Contemporary East Asia ” is curated by Mr. Cha Chi Jason WANG and consists of works by 27 artists from China and other countries. The artists achieve conceptual transformation creatively through the use of heterogeneous materials, concepts, and formal techniques. “Crisscrossing East and West” as the theme of the exhibition also calls for broader visions and insights to widen the realm of ink art.
Wu Chi-Tsung received a six-month ACC Fellowship in 2013 for creative research in New York City.
Grantee: Wu Chi-Tsung
Almost 250 years ago, the Royal Academy’s founding members agreed to hold an “Annual Exhibition of Paintings, Sculptures and Designs … open to all Artists.”
Everything you’ll see at the Summer Exhibition represents the art being made today. Expect to find a panorama of art in all media, from painting, printmaking, film and photography to sculpture, architectural works and performance art.
Grantee: Isozaki Arata
The show is themed on “The Self in Self-Sufficiency”, and aims to provide artists with tools which further allow freedom to move between both practice and sustainability. The idea is to provide a platform for creative sustainable development where the art, the artist and the community can co-exist, and foster connections across a wide spectrum of people and networks.
A total of six artists were selected from hundreds of applicants from all over the country. This year’s artists include Deepak Agasthya (Karnataka), Kumaresan Selvaraj (Chennai), Priyanka Das (Hyderabad), Biplab Sarkar (Delhi), Suryakanta Swain (Delhi) and Utsa Hazarika (Delhi).
At the exhibition [Utsa Hazarika] will be showcasing her video work in progress, Two Yards of Delhi. The final version will be screened at Serendipity Arts Festival in Goa in December.
Grantee: Utsa Hazarika