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
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
ACC grantee Anton del Castillo opens “The Given Order” with Jason Dy, S.J. The exhibit, curated by Ricky Francisco, offers a visual exploration of the different tangents of faith and tradition in our past and present lives. Religion as agent of social order and transformation is looked into by Fr. Dy, who uses art in conjunction with the spiritual life of communities he is connected with. While del Castillo’s works engage with the anxieties and violence in the perception and experience of the individual and collective faith.
Anton del Castillo received his ACC Philippine Fellowship in 2006 to observe contemporary art activities and undertake research on Byzantine icon paintings in American collections.
Grantee: Julius Anton del Castillo
The libidinal flux of the teenager has left a permanent mark on culture, normalizing radical consumption in service of an endless will to change. With the end of earth’s resources in sight, this paradigm needs revision. Coming of Age presents the work of seven artists from different parts of the world that subvert our material and cultural landscape with meditative gestures. Whether looking at Takahiro Iwasaki transforming a toothbrush into the site of an electric pylon, Aki Inomata’s alternative housing for hermit crabs that recall a sense of itineracy, Essi Kausalainen’s table top performance, or Ebony G. Patterson’s coffin procession, these works acknowledge a predominant state of violence while calling for a greater optimism. Rebecca Beachy inserts a taxidermied bird into the gallery walls as a time capsule-cum-relic. Tsherin Sherpa uses traditional Thangka painting techniques to swirl subjects in a reflection of instability, and Rhonda Holberton presents a virtual desert, recalling the ambiguous possibilities of digital space and its impact on daily life. Coming of Age torques scale, technology, and location in search of sustainable agency and repair.
Visual artist Aki Inomata, from Japan, received an ACC Fellowship to observe contemporary art activities and participate in an artist residency program in the United States.
Grantee: Inomata Aki
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!
Grantees: Apichatpong Weerasethakul, Araya Rasdjarmrearnsook, Aye Ko, Ly Daravuth, Le Dinh Q., Gridthiya Gaweewong, Tran Luong, Lyra Teresa Abueg Garcellano, Mella Jaarsma, Montien Boonma, Navin Rawanchaikul, Ismail Roslisham, Sutthirat Supaparinya, Tiffany Chung, Uthit Atimana, Vasan Sitthiket, Htein Lin, Lee Wen, Roberto R. Chabet
Tiffany Chung is an internationally-acclaimed contemporary artist whose work examines conflict, migration, urban development, and transformation in relation to history and cultural memory. Her practice, which utilizes extensive research and interviews, explores geographic shifts in countries that were traumatized by war, human destruction, or natural disaster. Tiffany is known for her installations and map-based drawings which layer different periods in the histories of devastated topographies, reflecting the impossibility of creating accurate cartographic representations of most places.
While on her ACC Fellowship in 2015, Tiffany journeyed to former Vietnamese refugee camps in Hong Kong and Southeast Asia to research the history of the mass exodus of refugees from Vietnam. Using her research, she developed “the unwanted population,” a project combining her ongoing studies tracking the current Syrian humanitarian crisis with her in-depth study of the Vietnam mass exodus.
Grantee: Tiffany Chung
Asia Corridor Contemporary Art Exhibition will take place at Kyoto Art Center and Nijo Castle and includes work by 25 internationally renowned artists from Japan, China and South Korea. 7 of the aratist are ACC grantees.
This exhibition will allow visitors to experience the quality and intensity of contemporary art in the cultural city of Kyoto with work by artists that pioneer new frontiers and transcend national identities through the universal approaches of art.
The exhibition includes Li Shurui's latest project Deep White, a new series of Wave painting-installations, as well as a new development of the Mindfile Storage Unit series of painting-installations. In recent years, Li has further developed her methodology; her configuring of color systems and layering of multiple trajectories of color now have the distinctive effect of creating chord sequences. On the other hand, Wave and Mindfile Storage Unit are the result of the artist’s continued interest in the formal aspect of religious architecture. With waves and spheric forms, Li depicts the amorphousness of consciousness to bring about resonance in and immerse the viewer.
Li Shurui received an ACC fellowship in 2015 for a residency program in New York.
Grantee: Li Shurui
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.
Vocalisations - a performance of vocal actions, reactions, and interactions between man, nature and space, in a constantly changing environment - uses sound art to promote awareness of the auditory element of the environment, an aspect that is often overlooked in a world where what can be seen is given more privileges than what can be heard.
Teresa received her Philippine fellowship grant in 2014 to observe and research current practices, processes, innovations, and philosophies in music and sound art in the United States.
Grantee: Teresa Barrozo