Catalogue of the 7th Beijing Biennale 2017 (original) (raw)
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Over 20 art projects conceived and organized by independent curator Luca Zordan, in collaboration with international art galleries, cultural centers, museums, and embassies, on view at the site of the art fair as well as around Beijing, presenting the work and perspectives of foreign artists in China. In these past years globalization has created tremendous opportunities for global collaboration among different countries. At the same time, it has also generated a unique set of problems and issues relating to the effective daily relation with different cultures. We are finding ourselves more and more involved in communication across cultures, between cultures, among cultures. For this reason, understanding other cultures and relating to them is now fundamental. Foreign artists in China want to examine the work of those foreign artists who have decided to take the cultural challenge of confronting themselves with a new culture, entering in contact with China, and making direct experience of the local environment. The projects presented at Art Beijing examine the perspectives and visions of over 20 artists from different nationalities, ages, and cultural backgrounds, who have been living in China, working here, or at least coming here to produce work. Many of the presented artworks are strongly related to China as they are produced here using local materials; some of them might even appear documentations of social and environmental conditions of China; some others reveal their inspiration from this cultural environment. There are also some works which seem not to have any connection with our surroundings, as if they could have been done elsewhere. Looking at the exhibited artworks, we also have to consider all the cultural relations, human experiences, collaborations and interactions with local people, environment, society, culture, which constitute their process of production. They can be truly appreciated only considering the context in which they are produced and to which they intrinsically relate at the point that we could say that many of these works in a certain way belong to China and are not at all foreign. In fact, confronting with different artistic perspectives and cultural points of view can also help us to learn more about ourselves. The contact with what we consider foreign can stimulate us to understand ourselves more, to know deeper the reality around us, to change our mind on some aspects of this reality, to look at things we have never noticed before, to discover new imaginations. Walking next to each other, we can understand better ourselves and the reality, and contribute together to its development. Exhibited artists: Igor Baskakov (Russia), Francisca Benitez, Maartje Blans (The Netherlands), Antonio Gomez Bueno (Spain/USA), Felice Candilio, Francesco De Grandi (Italy), Julio De Matos (Portugal), David Evison (UK/Germany), Anne Graham (Australia), Guo Jian (China), Elisa Haberer (France), Kristiina Koskentola (Finland/The Netherlands), Ewa Kuras (Poland), Manuel S. Rodriguez Loayza, Gabriela Maciel (Brazil), Ioannis Marinoglou (Greece), Alfredo Martinez (USA), Nicoykatiushka (Chile), Vanessa Notley (Scotland/France), Milla-Kariina Oja (Finland), Viktor Popov, Li Qiao (China), Eugenia Raskopoulos, Bianca Regl (Austria), John Reynolds (New Zealand), Alessandro Rolandi (Italy), Gustavo Rugeles G. (Venezuela), Felipe Santander, Tony Scott (Australia), Varvara Shavrova (Russia/Ireland), Jiří Straka (Zcech Republic), Wang Zhiyuan (China), Martin Wehmer (Germany), Xu Shuang (China), Karla Zapata (Venezuela), Sandor Zsila (Hungary). Partner institutions: Dell'Arco Gallery (Italy), Antenna (Chile), Atelier#2 Gallery (Russia), CINU (Bolivia), Delegation of the European Commission ( EU) to China, Embassy of Brazil, Embassy of Bulgaria, Embassy of Greece, Embassy of Hungary, Embassy of Ireland, Embassy of Poland, Embassy of Portugal, Embassy of the Czech Republic, Embassy of the Kingdom of the Netherlands, Hippolyte (Finland), Italian Institute of Culture, Lukas Feichtner Galerie (Austria), Michael Schultz Gallery (Germany), Moriarty (Spain), Starkwhite (New Zealand), Embassy of Venezuela, French Cultural Institute (France), University of Melbourne, Faculty of Arts (Australia).
CIGE 2009 - China International Gallery Exposition Beijing
CIGE-2009中艺博国际画廊博览会 China International Gallery Exposition (CIGE), Beijing, China. 2009 Supported by the Ministry of Culture of The People’s Republic of China, the Sixth Edition of the China International Gallery Exposition (CIGE 2009) takes place at the Exhibition Hall of the China World Trade Centre in Beijing in April. Under the artistic direction of Luca Zordan, CIGE 2009 hosts around 80 selected outstanding galleries from over 20 countries, presenting a panorama of cutting edge contemporary art, welcoming and encouraging any form of art expression, including photography, video, painting, sculptures, mixed media, installations, prints, digital and net art, textile, design… CIGE is China’s first and most established international art fair, presenting around 84 contemporary art galleries from over 20 countries. In 2009 CIGE strengthens its relations in China, presenting 23 outstanding art galleries from Mainland China and 9 from Taiwan. Solid ties and exclusive networks are established with neighbouring Japan and Korea, which are represented at the art fair respectively with 7 and 12 galleries. South East Asia vibrant contemporary art scene also emerges as great protagonist at CIGE, with the participation of 7 galleries from Indonesia, 2 from the Philippines, 1 from Singapore, and 1 from India. In 2009 CIGE widens its artistic horizons through Asia and the Asia-Pacific Region. For the first time in the history of CIGE participating galleries are from Pakistan (1), Mongolia (1), and Australia (2). Facing the challenges and changes of the economical and political balance of our multipolar and interdependent world, CIGE would like to position itself as a dynamic and unique platform, open to contemporary artistic creations and visions from all over the world. For the first time in its history, CIGE presents art galleries from all the five continents (Asia, Europe, America, Africa, and Oceania). CIGE 2009 features art galleries from Europe, Italy (3), Spain (3), Germany (3), England (1), Austria (1), and The United States of America (1), and is delighted to welcome galleries from Latin America (Cuba and Mexico), Middle East (Syria and Israel), and Africa (Kenya). The participation of art galleries from Syria and Kenya marks the first gallery presentation at CIGE of contemporary art from the Arab world and the African continent. CIGE 2009 continues to focus on contemporary art, encouraging any form of art expression, including photography, video, painting, sculptures, mixed media, installations, prints, textile, design. Understanding the relevance of technology and globalization on the economic infrastructure of the art world, CIGE 2009 SPECIAL PROJECTS invite galleries, artists, not-for-profit art organizations, museums, institutions, private collection, and visitors to reflect on our contemporary visual culture. On the Second Floor of the China World Trade Center, MAPPING ASIA presents a selection of solo shows of contemporary artists from Asia. Mapping Asia Solo Projects are evaluated by an international Art Expert Committee of Major Museum Directors and Curators from USA and Europe, which will act as a Jury choosing and announcing the 3 most interesting solo shows in occasion of CIGE 2009 Opening Preview. CIGE 2009 INTERNATIONAL SOLO SHOWS -also located on the Second Floor of the China World Trade Center- would like to present the works of international artists, who have entered in direct contact with China, valuing the importance of intercultural experience as well as of the capacity of adaptability to the local environment, its bio diversity and cultural richness. In order to guarantee a display of international artistic quality, CIGE 2009 SUBLIMINALS and VIDEO LOOPS develop collaborations, quality partnerships and strategic alliances with museums, art institutions and cultural centres. CIGE 2009’s FORUM will be co-host by UCCA, The participants invited to the conference are directors and curators of major American and European museums and art institutions who have deep and long relations with contemporary art in Asia. The interactions between the art fair and worldwide institutions aim to stimulate dialogue and discussion, giving the cultural centres the opportunity to present their programs of exhibitions, and contributing to enrich cross cultural knowledge in China.
Inside out of the biennale (Annual Meeting of The International Art Market Studies Association 2017)
* This is a conference paper for the 2017 meeting of The International Art Market Studies Association (July 2017, London, United Kingdom) This paper addresses the social economy created by 2016 Shanghai Biennale that ran from November 12, 2016 to March 12 2017. With the selection of the Indian curator/artist group Raqs Media Collective as the chief curator, the 11th Shanghai Biennale was structured around the idea to launch “the possibilities of South-South dialogue within the current scenario of a highly interconnected world.” Such an agenda has defined the selection of art works and artists presented in the Biennale – as works of video art, socially engaged multi-media installations, and performing arts being the highlights of the three-month-long show. Many events were convened around the city – including the 51 Personae Project, a collaboration launched with the local group Dinghaiqiao Mutual Aid Society.
A review of the 2019 Singapore Biennale
CoBo Social, 2019
From the outset, "Every Step in the Right Direction," the title of the sixth edition of the Singapore Biennale, impulses a positive energy. Featuring 77 artists and art collectives, it takes place this year in 11 different venues across the city and aims at highlighting the transformative power of art, seen as a potent agent of change. Patrick Flores, its artistic director and chief curator, places it under the umbrella of Salud Algabre (1894-1979), a Filipino woman who fought against American colonialism and defended the rights of the peasants all her life. As a woman coming from a lower-class population, her long, yet unabated, struggle embodies the potency of all emancipatory projects against any normalized yet exclusive established order. The Biennale is far from being straightforward political, though. Rather, "Every Step in the Right Direction" focuses rather on local, almost humble, artistic initiatives that contribute to imperceptible but tangible changes. The general impression is a collection of micro narratives which, when added, bring forth renewed perceptions of the social, cultural and political transformations associated with today's globalization and modernity. This multiplicity expands also our conception of Southeast Asia as a region usually defined from a narrow geopolitical perspective. Instead, Flores aims at reimagining the region from an ethical and geo-poetic dimension, favoring a more relational and open approach. The curatorial team comprising of Flores and six curators hailing from different backgrounds and locales around Southeast Asia and Asia, facilitates this diversity.
Review: Art from the Greater East Asian Co-Prosperity Sphere, 2017
SUNSHOWER Exhibition catalogue: SUNSHOWER – Contemporary Art from Southeast Asia 1980s to Now, Date of Issue: August 9, 2017 >>Exhibition-catalogues are significant. However big the show, once taken down, it is primarily the catalogue, that speaks for the exhibition-artworks’ relationship with each other and the larger field. When the field is young and undecided, the catalogue, embodying the curator’s vision and position, matters more. This critic’s own knowledge of Southeast Asian art is grounded in the scholarship built through multiple-essay catalogues of historically relevant shows. A number of these were produced by Japan’s institutions, particularly with the opening of the Fukuoka Art Museum in 1979. Take for instance the principal text from the catalogue of one such regional exhibition, ‘Art in Southeast Asia 1997: Glimpses into the Future’, produced by The Japan Foundation Asia Centre in ‘97. Curator Junichi Shioda’s essay ‘Glimpses into the Future of Southeast Asian Art: A Vision of what Art should be’, constructed and cross-examined the idea of a regional canon, independent from Euramerican modernism, through the socially-rooted practices of artists from five Southeast Asian countries. Two other academic essays in this exhibition-catalogue further provided analyses of art in Southeast Asia and contemporary art in Indonesia. Around the same time, a similarly vital exhibition ‘Contemporary Art in Asia: Traditions/Tensions’ was curated by Thai scholar Apinan Poshyananda. This exhibition’s catalogue included seven essays that built the discourse around the politically charged practices of various Southeast Asian artists among others from Asia. Such exhibition-catalogues sought intellectual contributions from field-scholars who connect socio-economic complexities, and ground artistic practices in their respective historical, cultural and political contexts. Such catalogue-essays, written two decades ago or today, are important to establishing the canon around Southeast Asian art because scholarly analyses of exhibition artworks, and their comparison with other pieces, permit the discerning of larger currents and parallels that give shape to the field. That artists from Southeast Asia have been potent voices for social change and reformation is established through scholars’ analyses of artworks presented in writing for exhibition-catalogues, past and present.<<
Recent Exhibitions of Contemporary Asian Art in Europe (DRAFTS ONLY: NOT FOR CITATION )
2003
2003 50th Venice Biennale The vernissage days at Venice in 2003 opened in torrid heat, and a very large crowd of art people, about 50% of whom would appear to have been dependencies of curators and art press, and not, mainly, people interested in contemporary art save as an obscure spectacular ritual or tourist event. It was all a bit like the Louvre on Saturday afternoon in spring, without the Mona Lisa, without bullet-proof glass. These were less than ideal conditions for viewing art let alone engaging in the 'collaboration' curatorially envisaged in two sub-exhibitions Zones of Urgency and Utopia Station. 2003 ‘Alors, la Chine?’, Artlink, vol 23, no 4 This was a major exhibition of contemporary Chinese art at the Centre Georges Pompidou, Paris from 25th June to 13th October 2003.
Some Asian Artists at the 2001 Venice Biennale
2003
I went to the Venice Biennale for the first time this year expecting to see some kind of acceptance of the huge range of modernist art now produced and exhibited in many Asian countries. Instead I found myself in a peculiar set of time warps, ones constructed by, for example, the peculiar historical architecture of Venice and the history of its Biennale, and also by the vagaries of the European art curatorial practice which in part had chosen the works.