Events Around the World
The song ‘Where have all the flowers gone?’ by Pete Seeger, heard on repeat as part of the flowers artwork, is listed as one of the top 20 most influencing political songs and an anti-war song from the 60s era. It is inspired by Mikhail Sholokhov’s novel The Quiet Flows the Don, and by three lines of an Ukrainian folk song: ‘where are the flowers, the girls have plucked them. where are the girls, they’ve all taken husbands. where are the men, they’re all in the army.’
Composed of the word ‘flowers’ in rose coloured neon light writing mounted on the simple cardboard box of a popular Vietnamese instant noodle brand, the work exudes a gentle and tender air. the noodle box is nostalgic and humble, an allusion to childhood years in the subsidized period, when the artist’s mother sold coffee and food to earn a living in hard times. Coming out from the box, a small set of headphones play the song like an echo; its sound creating a heady audio essence that emanates from within. Together, in a modest ode, these elements accentuate the interchange between the physical and intangible factors at play in the work, and slowly unfurl the complex notions of beauty and peace.
about the artist:
Tran Minh Duc (b.1982, Vietnam) is a visual artist based in Ho Chi Minh City, Vietnam working with the mediums of performance, photography, collage and installation. through a multidisciplinary approach, Tran seeks to explore collective memory and cultural archives by investigating historical narratives, the effects of colonialism and imperialism, and the lasting impacts of war and migration. He is interested in the interactions between the collective and individual, and the local and the foreign; his work forms a personal interrogation of what it means to be Vietnamese in the intricate fabric of contemporaneity. Tran graduated with a BA in painting from the College of Culture and Arts of Ho Chi Minh City, and has since exhibited widely in Vietnam and internationally. Tran is an alumnus of ACC -- in 2017, he received a fellowship from the Asian Cultural Council to be in residence at Art in General in New York City, USA. His artwork flowers was previously exhibited with MoT+++ in 2015, and is part of the Post Vidai, a Vietnamese Art Collection.
Grantee: Tran Minh Duc
The Berkshire Art Museum is presenting a group show: “Not Just Another Pretty Picture.” Featured Artists are ACC alumni Firoz Mahmud and Kevin Bubriski, James Allen, Sandra Moore, Saira Wasim, Dan Wolf.
Some artists create for content - and not to make art that looks pretty above the living room couch. Art can be disturbing, but good art prevails. Also exhibiting: “Dark Matter” – Works by the Berkshire Museum Advisory Board Members, and “Death of a Loved One” - 1890s Fashion: Collection of Greg Lafave.” along with ongoing exhibitions from the permanent collection, including Eric Rudd’s huge Iceberg Installation, Robotic Sculpture, and Berkshire Art Museum Annex – A Chapel for Humanity - a massive sculptural epic with 150 life-sized figures, 250 low-relief ceiling figures and a September 11 Memorial Garden, first opened in 2001.
Vantage Point Sharjah 7
6 July—6 October 2019
Gallery 1 & 2, Al Mureijah Square
Sharjah Art Foundation, Sharjah Art Museum
Vantage Point Sharjah 7 (VPS7) is the seventh iteration of Sharjah Art Foundation’s annual photography initiative. The open call was extended not only to residents of the UAE and other GCC countries but also to international applicants. This initiative aims to foster photographers’ development and creativity and encourage their engagement with the wider cultural community.
Over 200 applicants with a variety of professional backgrounds, skill sets and interests, responded to VPS7 open call. The exhibition features the work of 36 photographers from over 20 countries, including Republic of Congo, France, Nigeria, Sudan, Russia, South Africa, United States of America and the United Arab Emirates among others. The selected photographs offer viewers a unique perspective on various subjects by using different styles, such as conceptual photography, street photography, land and cityscapes and portraiture. These images further demonstrate a wide range of techniques in both digital and 35mm photography, such as montage, collage, archival reconstruction, infrared and light painting.
The foundation announced its first open call for submissions during the summer of 2013, inviting GCC-based photographers to submit works that fell under the theme ‘Life and Landscapes of Sharjah’. Themes of other Vantage Point exhibitions have included ‘Self-Portraiture’, ‘Performance’ and ‘Architecture and Urban Landscape’.
Grantee: Firoz Mahmud
Curated by ACC grantee Jinglun Zhu, Ilana Harris-Babou’s solo exhibition "Clean Lines" presents a new installation that draws on the branding strategies of luxury home-goods companies and the language of twentieth-century zoning laws in the US. The installation activates the surfaces and depths of the window display by expanding on the visual tactics and multilayered contents of her previous video work, Red Sourcebook (2018). In this new iteration, Harris-Babou juxtaposes the sleek lines and aspirational rhetoric of home-furnishing advertising with color-coded maps and texts from the exclusionary policies that continue to shape real estate development in the present.
Grantee: Zhu Jinglun
The Performance 'Welcome (Back) to Saigon, We are from Củ Chi' is a multi version performance work by Đức. The work is inspired by a photograph taken at Địa đạo Củ Chi (The Cu Chi Tunnels site) which is posted on Wikipedia information page of this site. The photograph represents 3 ladies getting dressed up in South Vietnamese traditional costume áo bà ba, khăn rằn and green soldier hat showing that they are playing role of Củ Chi guerrillas at the site now became well-known by tourists who come to Saigon. Vietnam and Saigon Ho Chi Minh City specifically in the recent decades of market oriented economy has shown many positive changes but also interferences in social political history, of the past and the presence.
The three young performers in the performance, this time with Performance festival program Transient Creatures taking place in HCMC in June, will state their welcoming message 'Welcome Back to Saigon' to any people who joins the events to start the conversation(s). Even if one is a veteran coming back to Saigon to search for the traces from the past or they are just very young people who make their first trip to Vietnam as well as multi-national cooperations, they are all Welcomed Back to Saigon by three young citizens saying they are from Củ Chi.
Grantee: Tran Minh Duc
ACC alumnus Wu Chi-Tsung will be joining the group exhibition Abstract by Nature in Sean Kelly New York. Opening on Jun 28, the group exhibition will be featuring major works by an international group of artists, each of whom engages both traditional and non-traditional methods to produce meditative works that have a distinctly timeless quality. Wu Chi-Tsung’s Landscape in the Mist 001, Still Life 009 – Maple, Still Life 011 – Tsubaki and Cyano-Collage Series 061 and 062 will be featured, all of whom shares the claim of the exhibition, that is to reflect, evoke or transform elements of the natural world into pure poetic forms.
The exhibition will be on view till Aug 2, with an opening reception in the presence of the artist on Thursday, Jun 27.
CONSCIOUSNESS OF REALITIES
A Solo Exhibition by Aung Myat Htay
Opening 6 July 2019 at 6 pm at Myanm/art
“Consciousness of Realities” is intended to examine the roots of the local community through its psychosocial characteristic features. Every group of people raised in the same land has a diverse mix of native and migrated species. The relationship of otherness has physical and mentally bound into one culture even different colors, languages, behaviors and beliefs. This art series will reconsider these realities of being through the perception of visual hybridity vis a vis the phenomenon of historical evidence of human’s deepest relationship to their natural environment.
Aung Myat Htay was born in December 1973 in Mandalay, Burma/Myanmar, and is currently based in Yangon. He worked in bronze casting statues with his father since he was young. Started art education at Fine Art school in 1991 in Mandalay and graduated with a BFA in 1998 University of Art and culture Yangon. Without being concerned by traditional means of expression, he explores the potential in the freedom of expression found in contemporary art. He expresses social messages with work that combines a contemporary sense with traditional forms of painting and sculpture. He is also known as a curator in Myanmar’s art community since 2005. In addition to his involvement within Myanmar, he has presented work in several regions of Asia including Thailand, India, Japan, Indonesia and the Philippines. In 2010 he participated In Fukuoka Asian Art Museum’s residency program. In 2011 he joined the Live Art 2011 in Banglore, India. In 2012 he invited and residency at the Koganecho Bazaar International art festival in Yokohama, Japan. In 2012, he was selected artist of Southeast Asia Finalist of Sovereign Asian Art Prize too. In 2014, he got a six-month grant from Asian Cultural Council for the New York Fellowship program to research contemporary art, meet the artist & curator and create new work in the US. In 2016-17 He participated the Curator workshop of Japan Foundation Asia Center Southeast Asia Art Studies Project and curated the local exhibition. In recently published the DVD Magazine Vol:2 “Silence is Golden” Research on Contemporary Myanmar Art. Now based in Yangon.
Grantee: Myat Htay Aung
Sentro Rizal Washington DC is pleased to invite you to a reception to formally open Intersection, the latest solo exhibition of internationally-renowned Filipino stoneware potter Hadrian Mendoza, on Tuesday, 25, June 2019, 6:30 PM to 8:30 PM, at the Philippine Chancery Annex Building.
This event marks Mendoza’s 29th solo exhibition as he explores themes such as the intersection of cultures, materials, people and lines. Mendoza has lived in the Philippines and in the United States as his works reflect a common ground between both cultures.
Bloom, the main installation in the exhibition is composed of intersecting lines made of dirt and porcelain flowers. A figure pouring a watering can nurtures the growth of the budding flowers. This recreation of the bulol rice terrace god is an installation about the positive impact he has as a teacher tending to his students, which are represented by porcelain flowers. The lines made of dirt that intersect at several points represent cultures, ideas and people crossing paths. After being back and forth between the Philippines and the US, the artist also sees this installation as a map composed of roads that he has travelled.
Hadrian has also created a series of busts and large sculptures of heads. Some have 2 faces, one on each side having different emotions. In one particular piece titled Intersection, a face with orthodontic braces has lines embossed on the top of its head. These intersecting lines represent our thoughts and decisions, all crossing at different points. The emotion on its face shows tension, similar to the tension created by tightening one’s braces.
Dangerous Flower, a series of 12 bulbous forms depict the stages of a flower in bloom. The forms speak of the dichotomy between danger and beauty coexisting in one piece. Tusk-like porcelain protrusions grow from the bulbs in intricate spiral and circular designs. The series represents growth, which is evident in the transformation of the porcelain tusks.
Filipino themes are also explored in this collection with themes that include the Ifugao bulol rice terrace gods of the northern region in the Philippines. The bulol are believed to contain spirits that ensure abundant harvests and protection from natural catastrophe. The Manunggul jar also serves as inspiration for Mendoza. The Manunggul jar is a secondary burial jar that was found in the Tabon caves in Palawan. Mendoza’s interpretation of the jar is represented by a circle on a plinth with the boat and two figures on top. The exhibition also includes functional wares such as Ikebana jars, bowls, and tea sets.
Grantee: Hadrian Mendoza
7pm Miyama McQueen-Tokita (ACC grantee) - koto / Jessie Cox - percussion / James Ilgenfritz - bass
7:45 Dan Joseph - hammer dulcimer
8:30 small group improvisations:
Chris McIntyre - trombone
Josh Sinton - baritone saxophone
Judith Berkson - voice
Dan Joseph - hammer dulcimer
Miyama McQueen-Tokita - koto
Jessie Cox - percussion
James Ilgenfritz - bass
Grantee: McQueen-Tokita Miyama
The Sweet Requiem is a Tibetan feature narrative directed by ACC alumni Ritu Sarin and Tenzing Sonam that tells the story of a young exile Tibetan woman in Delhi who unexpectedly sees a man from her past. Long suppressed memories of her traumatic escape across the Himalayas are reignited and she is propelled on an obsessive search for reconciliation and closure.
The film opened at Toronto International Film Festival and opens its North American theatrical release at the IFC Center in New York.
Drummer and composer Susie Ibarra, an ACC alumna, leads the DreamTime Ensemble in the performance of Fragility: A Game of Polyrhythms. A dynamic musical ‘game piece’, the performance invites members of the audience to conduct the ensemble through rhythms and musical motifs. Using polyrhythms as a model for human interdependence, the work is a staging of relationships with the ‘game’ element allowing for a spirited shifting of roles and perspectives in live musical experimentation. Drawing on deep knowledge of Asian and jazz percussive traditions, Ibarra and the DreamTime Ensemble lead audiences on a journey into a mesmerizing musical environment of multi-layered sonic textures.
Formed by Susie Ibarra, the DreamTime ensemble includes Claudia Acuña, vocals; Yves Dharamraj, cello; Cornelius Dufallo, violin; Yuka C. Honda, electronics; Susie Ibarra, drumset and percussion; and Jake Landau, guitar, banjo and keyboard. Their first album Perception, released in December 2017, was chosen by The New York Times for their top ten playlist, premiered at WinterJazzFest NYC 2018, and was featured in WBGO’s Take Five Gives the Drummer Some which featured Drummer-Led records. The album has many influences, including the late, great Brazilian percussionist Naná Vasconcelos, who was meant to record for the album.
Fragility: A Game of Polyrhythms builds upon explorations conducted in an earlier work Fragility: An Exploration of Polyrhythms, which was commissioned and premiered at Asia Society in June 2018 as part of Creative Common Ground, and developed in partnership with Pioneer Works artist residency program. Creative Common Ground is an initiative that expands contemporary performance practice by commissioning, producing, and presenting artists who explore beyond traditional disciplinary boundaries. The initiative is supported by a generous grant from The Andrew W. Mellon Foundation. Fragility: A Game of Polyrhythms is presented in partnership with Harvestworks and their 2019 New York Electronic Art Festival.
Grantee: Susie Ibarra
Cry Joy Park—Gardens of Dark and Light investigates the history and social landscape of Charleston, a cultural capital of the American South, and an exemplar of its complex opulence and beauty. The exhibition creates an immersive, multi-sensory experience that explores the juxtaposition of utopia and dystopia. Cry Joy Park is an ongoing series of work following Paradise Interrupted, an installation opera conceived, designed, and directed by ACC alumna Jennifer Wen Ma, which made its world premiere at Spoleto Festival 2015.
Grantee: Jennifer Wen Ma