Alumni Events Around the World
The largest solo exhibition in the United States in more than a decade of the work of internationally-renowned artist Dinh Q. Lê, this exhibition of five major video and photography installations entwines rarely heard narratives of war and migration from people in North Vietnam, the Vietnamese diaspora, and refugees who, like Lê, have returned to live in their home country. Assembling these obscure stories through the collection of found photographs, artists’ war sketches, and oral histories, Lê presents a multifaceted story about Vietnamese life before, during, and after the Vietnam War. In the process, he questions the viability of collective memory and reveals the effects of trauma on the cultural imagination.
ACC has provided support to the San Jose Museum of Art for this exhibition.
Somnath Bhatt | Issam Kourbaj | Firoz Mahmud | Qinza Najm | Sahana Ramakrishnan | Sa’dia Rehman | Mohsin Shafi | Marcelino Stuhmer | Saira Wasim
Curated by Atif Sheikh
“Take it like a ...”; contemporary trends in the aesthetics of violence takes a look at violence as methodology and/or aesthetics in contemporary art, and the exploration of its connection to similar aesthetics in ancient art.
The show, curated by Twelve Gates’ Atif Sheikh, brings together a group of artists whose work responds to and explores the many aspects of violence in contemporary society. By referencing the aesthetics of the past, each in their own way, the tradition of depicting violence in art becomes evident; as applied to contemporary issues, the aesthetics call into question the tradition itself. As we as a global society become increasingly aware of the destructive, divisive outcomes and less convinced by the narrative in favor of the necessity of engaging in conflict, the tradition of depicting violence in art reflects this almost traumatized, fragmented reckoning. The pieces seem to seek to slow down the process of conflict enough to understand it and perhaps choose a different conclusion.
Sheikh says, “Ancient art offers a valuable insight into ancient societies and their aesthetics of violence. This is especially the case in the classical and medieval representation of the ‘Other’ as either monstrous or feminine (e.g. the ancient Greek representation of the masculine hero in juxtaposition to the feminine Barbarian enemy). Whereas war was considered noble in ancient times, it still needed justification through the representation of the enemy in art. Today, as we live in a time of multiple, simultaneous wars, violence is similarly justified by painting the ‘enemy’ as vile in the media, thereby engendering a sense of righteousness.
By exploring the resonances between the ancient and the contemporary world, the aim of my project is to stir up conversations about issues that are otherwise complacently accepted.”
Grantee: Firoz Mahmud
Dress Up, Speak Up is a multimedia exhibition exploring the role of costuming, iconography, and performance in constructing Identity and confronting history. With over 35 participating artists representing 22 nationalities, Dress Up, Speak Up delivers a global investigation of these concepts, while reconfiguring, reimagining, and reconstituting history to explore the legacy of European colonialism.
Grantee: Dinh Q. Le
Women and children – posturing, gazing, playing on bed frames – become “coincidental subjects,” their vivid garments sharply accentuated against the muted earth tones of the vast Taklamakan Desert. This far west region of China (Xinjiang), home to the Uyghur people, is a place Lisa Ross has imaged and imagined for over 15 years. Recently, the Chinese state has amplified its efforts to forcibly assimilate minority populations, imbuing the artist with a sense of urgency to display these pictures.
Grantee: Lisa Ross
Tatsuo Miyajima opens his first solo exhibition in New York with Lisson Gallery, premiering his new series, Innumerable Life/Buddha. The exhibition will feature five works by the Japanese artist, introducing US audiences to his eastern philosophies and signature digital visual vocabulary. This new body of work, a series of glowing red installations, are inspired by a particular Buddhist teaching, reminding us of the power of the individual within a networked whole. A continuation of Miyajima’s meditations on time and its passage, these installations invite reflection, addressing the fundamental concepts of change, death, connection and eternity. The exhibition follows on from recent large-scale public commissions including Count Down Dialogue (2018) launched during West Bund Art & Design Fair, and comes ahead of Miyajima’s largest solo exhibition in Asia to date, opening at the new Shanghai Minsheng Art Museum in May 2019.
The five new works in the Innumerable Life/Buddha series are made up of glowing LED displays, with thousands of numbers counting down from nine to one at differing speeds, before going dark momentarily. These digits embody the human cycle and the eastern philosophy of change and renewal; each solitary, blinking diode signifying the individual body and soul. The counting sequence continues, as if everlasting, and yet ‘0’, implying death, is expressed solely by darkness. Through this allusion, the numbers – or ‘Life’ – are destined to an everlasting cycle of regeneration. This idea is also reflected in the colour of the new works: the radiant red of the installations denotes the blood of life, love, fire, passion, strength and joy.
Grantee: Tatsuo Miyajima
Creative China Festival is committed to becoming a platform to nurture innovative creators and foster in-depth collaborations between China and the US in the fields of contemporary arts and culture. CCF shares the influential and dynamic works of Chinese contemporary arts and culture through 80 events in 8 cities during 200 days, including discussions, films, dances, theater, music, design, art, youth program, artist talks, workshops, fellowships, family programs, publication grants, US arts delegations to China, and arts study tours.
Japonismes 2018: les âmes en resonance, an unprecedented celebration of Japanese culture that will unfold across France starting in July. For eight months, Japan’s finest culture will be showcased in Paris, the city of art, and other parts of the country on an epic, all-embracing scale. This grand event represents the Government of Japan’s largest endeavor to share Japanese culture with the world, a flagship project for making culture a pillar of our country’s diplomatic engagement.
Grantee: Kohei Nawa