LUNAR NEW YEAR // Moon Gates by Louise Zhang

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SYDNEY

DARLING HARBOUR

25 January – 9 February

To celebrate Lunar New Year 2020 in the Darling Harbour precinct, 4A Centre for Contemporary Asian Art (4A) is creating a special installation to mark the festival. On 25 January 2020, 4A Centre for Contemporary Asian Art will start celebrating the 2020 Lunar New Year with a series of colourful Lunar New Year Moon Gates designed by Sydney based artist Louise Zhang. Commissioned by 4A Centre for Contemporary Asian Art for the Lunar New Year, Louise’s work will see the Darling Harbour Precinct come to life with colourful facades that invite visitors to walk through and feel good fortune ahead of the year of the rat. A traditional architectural element of many Chinese Gardens and with different spiritual meanings, each of Zhang’s bright moon gate’s will feature highly detailed traditional floral motifs, celebrating Lunar New Year. Beautifully detailed lilies will feature prominently on each gate with the lily considered to be the most lucky flower for this year’s zodiac.

Louise Zhang (born 1991) is a Chinese-Australian multidisciplinary artist whose practice spans painting, sculpture and installation. Zhang explores the dynamics of aesthetics, contrasting the attractive and repulsive in order to navigate the senses of fear, anxiety and a sense of otherness reflecting her identity. Her work is inspired by horror cinema, Chinese mythology and botany, adopting and placing symbols and motifs in compositions of harmonic dissonance. Zhang’s solo exhibitions include Art eats its young, 2018, Artereal Gallery, Sydney; Soft Horror, 2017, Organhaus, Chongqing, (China); and Human Jerky: meatbags through the eyes of technology and Emotions invented by the Internet, 2018 Verge Gallery, Sydney. Her clients include City of Sydney, Apple, Lendlease and the Australian Embassy, Beijing. Zhang is represented by Artereal Gallery.

See the gates outside the Chinese Garden of Friendship in the Darling Harbour Precinct throughout the Lunar New Year festival from 25 January – 9 February 2020.

Image: courtesy Louise Zhang.

CLUB 4A: TROPPO GALAKTIKA PRESENTS: SALTY BITCH

From 5PM, 25 January, 2020, meet at 4A Centre for Contemporary Asian Art
$25 +bf. Buy tickets here

 

Club 4A returns for a third year in 2020, programmed as part of Sydney Festival. Club 4A is all about taking performance art back to the club.

 

CLUB 4A: TROPPO GALAKTIKA PRESENTS: SALTY BITCH

 

TROPPO GALAKTIKA is proud to present SALTY BITCH. Beginning at 4A we gather to move in performance procession to the club / SALTY BITCH is resistance and agitation / SALTY BITCH is sweat rimmed flavour / SALTY BITCH is stank face riding dancefloors / SALTY BITCH is cool breeze evaporation leading SALTY BITCH to invigilate on Barangaroo

 

Curated by the amazing Troppo Galaktika, as part of 4A Centre for Contemporary Asian Art and UNSW Galleries exhibition Wansolwara: One Salt Water, for Club 4A’s third iteration expect performances, music, dance and just the right amount of salt. Meet at 4A at 5PM on January 25 to be taken to a secret location.

 

Starting the night with new work from artist Nadeena Dixon, make sure you arrive at 4A between 5-6PM to join us as we make our way from the gallery to the club – with the location for our night-long party only released on the day!

 

Club 4A: Troppo Galaktika presents: SALTY BITCH features performances throughout the night from Seini “SistaNative” Taumoepeau, Bhenji Ra, and STELLY G, wearable art from Luna Aquatica, a visual feast from VJ Vaxxx on the club screen, soundtracked by sets from DJ Sista Agz, DJ SOVTRAX, AYEBATONYE, KILIMI + more.

 

Tickets will sell out – so get yours now here.

 

ABOUT THE ARTISTS:

Nadeena Dixon – Artist

Seini “SistaNative” Taumoepeau- OceaniaX Orator & Songwoman

Bhenji Ra – Performance Artist

STELLY G – Performance Artist

Luna Aquatica – Wearable Artist

VJ Vaxxx – VJ

 

ABOUT THE DJs:

DJ Sista Agz

DJ SOVTRAX

AYEBATONYE

KILIMI

 


ABOUT 4A Centre for Contemporary Asian Art
4A Centre for Contemporary Asian Art fosters excellence and innovation in contemporary Asian and Australian culture through research, documentation, development, discussion and presentation of contemporary visual art. We believe that Asian cultural thinking will have an important impact on the future. 4A’s aim is to ensure contemporary visual art plays a central role in understanding the dynamic relationship between Australia and the Asia-Pacific region. 4A has a distinctive approach to addressing Australia’s cultural diversity through a dynamic program including local and international exhibitions, public programs, workshops, seminars, symposiums and community activities. These have been recognised locally and internationally as having raised awareness of Asian-Australian art and culture and Australia’s place in the Asia-Pacific region.

WORKSHOP // Zodiac Flower Charm Workshops with Louise Zhang

Louise Zhang is a Sydney-based multidisciplinary artist whose practice spans painting, sculpture and installation. With an interest in cinema – specifically, theatrical horror – Louise explores the dichotomies between what is attractive and monstrous. She appreciates ‘otherness’ – the under-appreciated and overlooked – and brings new life to kitsch materials through playful and whimsical creative processes. This workshop series will be drawing from her practice to encourage young creatives to be inspired by the decorative architecture of

the Gardens and create their own individualistic, unique charm flower! Get ready for Lunar New Year 2020 this school holidays at the Chinese Garden of Friendship, joining Louise to make lucky charms that feature Chinese zodiac flowers. In this two-hour workshop, learn about the (sometimes surprising) meaning and uses of each zodiac sign's
flower and create your own flower as part of a special take-home hanging charm inspired by Louise’s work – the perfect Lunar New Year accessory or gift for family. After the workshops, come back to Darling Harbour during Lunar New Year festival to see Louise’s work come to life in a series of special Moon Gates to walk through. For participants aged between 7-17 years, accompanied by a responsible adult. All materials provided, with bookings online required to ensure all participants get to complete their take-home charm flower. Places are limited for each workshop, which is free with entry to the Chinese Garden of Friendship.


Louise Zhang ( b.1991) is a Sydney-based multidisciplinary artist whose practice spans painting, sculpture and installation. With an interest in horror cinema, particularly the body horror genre, Zhang is interested in the dynamics between the attractive and repulsive. By exploring how themes of perceived innocence such as prettiness and cuteness can be contrasted with notions of the perverse and monstrous, Zhang explores the intersection of fear, anxiety and a sense of otherness in the construction of identity. Zhang’s solo exhibitions include Art eats its young, 2018, Artereal Gallery, Sydney; Soft Horror, 2017, Organhaus, Chongqing, (China); and Human Jerky: meatbags through the eyes of technology and Emotions invented by the Internet, 2018 Verge Gallery, Sydney. Her clients include City of Sydney, Apple, Lendlease and the Australian Embassy, Beijing. Zhang is represented by Artereal Gallery.

All materials provided, with bookings online required to ensure all participants get to complete their take-home charm flower. Places are limited for each workshop, which is free with entry to the Chinese Garden of Friendship. Register online at 

This workshop has been produced by 4A Centre for Contemporary Asian Art for The Chinese Garden of Friendship, Darling Harbour.

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4A’s artist-led workshops throughout 2019 are supported by Create NSW’s Audience Development Fund, a devolved funding program administered by Museums & Galleries of NSW on behalf of the NSW Government.

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Image: Courtesy Louise Zhang.

Tane Andrews botanical illustration workshop

SYD CHINESE GARDEN OF FRIENDSHIP.  3.00 – 5.00PM, SAT 30 NOV 2019.

This summer at the Chinese Garden of Friendship, join 4A Centre for Contemporary Asian Art and Sydney artist Tane Andrews for a special one-off botanical workshop – over drinks and snacks!

In making artworks, Tane works with perishable organic materials including; flowers, living cocoons, wood, and water, as well as more durable products such as pearls, marble and bronze.

In this workshop, small groups of participants will work with Tane to go on an adventure through the Chinese Garden of Friendship and select and sketch inspiration from the Garden. Learn about the skills used by Tane – including botanical identification, sketching and colour – to re-create nature and create your own botanical illustration to take home, all over drinks and snacks at the Gardens by Lotus.

This special one-off event has limited places available, with a drink on arrival and all supplies included – and is free with entry to the Chinese Garden of Friendship.

Sat 30th Nov, 3pm-5pm, Chinese Garden of Friendship, Pier St, Darling Harbour

This workshop has been produced by 4A Centre for Contemporary Asian Art for The Chinese Garden of Friendship, Darling Harbour.

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UNSW Art & Design presents at 4A: Contemporary Chinese Art, Aesthetic Modernity and Zhang Peili: Towards a Critical Contemporaneity

SYDNEY. 6-8PM, THU 21 NOV.

4A CENTRE FOR CONTEMPORARY ASIAN ART

Free but registrations required.

Join Paul Gladston, Inaugural Judith Neilson Professor of Contemporary Art at UNSW, in conversation about his latest book – with Alan Cruickshank, editor of di’van | A Journal of Accounts at 4A Centre for Contemporary Asian Art: 

About the book Contemporary Chinese Art, Aesthetic Modernity and Zhang Peili: Towards a Critical Contemporaneity:

In recent decades the previously assumed dominance within the international art world of western(ized) conceptions of aesthetic modernity has been challenged by a critically becalming diversification of cultural outlooks widely referred to as ‘contemporaneity’. Contributing to that diversification are assertions within mainland China of essential differences between Chinese and other artistic cultures.

 In response to the critical impasse posed by contemporaneity, Paul Gladston charts a historical relay of mutually formative interactions between western(ised) post-Enlightenment artworlds and those prevalent historically and contemporaneously within China as part of a new transcultural theory of artistic criticality. Informed by deconstructivism as well as syncretic Confucianism, Gladston extends this theory to a reading of the work of the artist Zhang Peili and his involvement with the Hangzhou-based art group, the Pond Association (Chi she). Revealed is a critical aesthetic productively resistant to any single interpretative viewpoint, including those of Chinese exceptionalism and the supposed immanence of deconstructivist uncertainty.

Addressing art in and from the People’s Republic of China as a significant aspect of post-West contemporaneity, Gladston provides a new critical understanding of what it means to be ‘contemporary’ and the profound changes taking place in the art world today.

“essential reading for a better understanding of contemporary Chinese art and visual culture in the global context.”

–  Jason C. Kuo, Professor of Chinese Art, University of Maryland, USA

“a landmark work both in terms of cultural-criticism and art-historical analysis”

–  Paul Manfredi, Professor of Chinese, Pacific Lutheran University, USA

“anchor[s] reflections on issues of immense contemporary importance”

– Johnson Chang, Curatorial Director, Hanart TZ Gallery, Hong Kong

“an important contribution to critical discourse on contemporary art”

–  Birgit Hopfener, Associate Professor of Art History, Carleton University, Canada

About the speakers:

Paul Gladston is the inaugural Judith Neilson Professor of Contemporary Art at the University of New South Wales and was previously Professor of Contemporary Visual Cultures and Critical Theory at the University of Nottingham. Paul has written extensively on contemporary Chinese art with regard to the concerns of critical theory and, in doing so, has been formative on the development of a critically informed contemporary Chinese art studies both internationally and inside China. His recent book-length publications include Contemporary Chinese Art: A Critical History (2014), which received ‘publication of the year’ at the Awards of Art China 2015. He was founding principal editor of the peer-reviewed Journal of Contemporary Chinese Art from 2014 to 2017 and an academic adviser to the internationally acclaimed exhibition Art of Change: New Directions from China staged at the Hayward Gallery-South Bank Centre London in 2012.

Alan Cruickshank is the founding editor and publisher of di’van | A Journal of Accounts, a new journal now in its third year offering critical interpretations on contemporary visual art and its art-historical, theoretical and socio-political contexts in the greater Asia-Pacific region. Alan was previously Executive Director of the Contemporary Art Centre of SA, Adelaide and Editor of Broadsheet magazine between 2000 and 2015. He is currently Honorary Fellow, Centre for Visual Arts, Victorian College of the Arts, University of Melbourne.

Exhibition opening: On the Move: The Dion Family

WOLLONGONG ART GALLERY

46 Burelli St, Wollongong NSW 2500

1.30-3.30PM

1 DECEMBER 2019

Delving through more than a century of the Dion family, an indelible part of the Illawarra’s social fabric as members of the Chinese diaspora and operators of the region’s bus services, On the Move tells a story of migration, survival, acceptance and community spirit of a remarkable family through archival material and responses from contemporary artists.

Exhibition artists: Matt Chun, Pia Johnson and Naomi Segal.

Curator: Mikala Tai

On the Move: The Dion Family is exhibited at Wollongong Art Gallery from 1 December 2019 – 26 February 2020. The exhibition is produced and presented by Wollongong Art Gallery in partnership with 4A Centre for Contemporary Asian Art with support from The Dion Family.

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Slow Boat to Nerrigundah: The Dion family & the golden gardens of the Chinese diaspora on the South Coast of NSW

 

WOLLONGONG. SAT 25 JANUARY, 1.00 PM – 3.30 PM 

Join a talk by historian and author Dr Joseph Davis. Followed by an Open mic: Read your poetry or prose on the theme of bus travel, the Dion Family exhibition, or an anecdote about traveling on a Dion bus (5 minutes per participant).

Free, all welcome. 

This program is part of the exhibition On The Move: The Dion Family.

Produced and presented by Wollongong Art Gallery in partnership with 4A Centre for Contemporary Asian Art and the South Coast Writers Centre with support from The Dion Family.

 

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Family Ties: tracing a legacy through art

WOLLONGONG. WED 4 DECEMBER, 1.00 PM – 2.00 PM 

 

Join curator Mikala Tai and artist Naomi Segal as they discuss the process of approaching a family legacy through the lens of contemporary art.

Wednesday 4 December

Free, all welcome. 

This program is part of the exhibition On The Move: The Dion Family.

Produced and presented by Wollongong Art Gallery in partnership with 4A Centre for Contemporary Asian Art with support from The Dion Family.

 

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Please Explain: who is picking the fruit?

4A’s series Please Explain invites presenters to rethink, recharge and reimagine contemporary issues through the arts and academia. In this edition of Please Explain, as part of 4A Centre for Contemporary Asian Art exhibition John Vea: If I pick your fruit, will you put mine back? speakers discuss the realities and unrepresented stories in contemporary globalised era migrant labour, which emerged as a key indicator of regional socio-economic relationships between Australia, New Zealand and many Pacific nations.

Taking the words of Australian deputy Prime Minister Michael McCormack – who echoed the title of Vea’s exhibition when he came under fire for claiming the Pacific Islands will survive climate change because their workers come here to “pick our fruit”, following the August 2019 Pacific Island Forum in Tuvalu – as a starting point, this discussion will question such preconceptions about temporary migrant labour, and discuss the lived experience of the migrant worker.

Framed by Vea’s 2015 text The Emic Avenue; art through Talanoa and the concept of talanoa (a process of inclusive, participatory and transparent dialogue) as research method, speakers Christine Afoa, Malaemie Fruean, Leo Tanoi  and John Vea, with moderator Micheal Do, will discuss the stories, experiences and representations of Pacific migrant workers and the role art and storytelling can play in reframing and challenging the ideas of equality and validity of a global workforce.

Moderator: Micheal Do, 4A Assistant Curator and John Vea: If I pick your fruit, will you put mine back? curator with Dr Mikala Tai.

Speakers:

Christine Afoa is a Samoan-Australian writer born and raised in the Bankstown area. She is undertaking a creative writing degree at the University of Technology. Christine has performed poetry for SoFar Sounds Lounge and Bankstown Poetry Slam and her short stories have been published in UTS Writers’ Anthology 2018: Light Borrowers, 2019: Infinite Threads and Sweatshop Women: Volume One. Christine is a member of Sweatshop: Western Sydney Literacy Movement.

Malaemie Fruean is Chair, NSW Council for Pacific Communities. Established in 2003, the organisation was established to create opportunities and lend support to Pacific Communities in New South Wales, Fruean has led the organisation since its inception. Prior to this Fruean worked in community, cultural development for over two decades with experience as an educator and community liaison and leader.

Leo Tanoi is a creative producer specialising in Pacific contemporary arts practice. With over two decades of experience, Tanoi has held a number of roles and worked with artists including Greg Semu, Shigeyuki Kihara, Angela Tiatia and Michel Tufferey. From 2010 – 2015, Tanoi was the Creative Producer, Pacific Programs at Casula Powerhouse Arts Centre. In this time, he developed a number of projects including ‘Body Pacifica’ (2010) which won the Museums & Galleries NSW’s Imagine Award for Best Exhibition and Public Engagement Program. Prior to this, Tanoi contributed to ‘Edge of Elsewhere’ as a community and cultural advisor on ‘Edge of Elsewhere’ (2010 – 2012), 4A Centre for Contemporary Asian Art and Campbelltown Arts Centre. Tanoi currently is a freelance Creative Producer in the arts & culture sector and has been a peer assessor for Create NSW from 2016-2019. He is also an aspiring visual artist.

John Vea is an Tāmaki Makaurau (Auckland) based artist who works with sculpture, video and performance art. Vea works with tropes of migration and gentrification that exist within Moana Nui a Kiwa (the Pacific Ocean). By enacting stories that have been collected through everyday interactions with people, both in his home community and abroad, with a journalistic sensibility he offers a sometimes humorous and always powerfully symbolic emic viewpoint to the Western meta narrative.

Listen to a recording of the event below:

4A 2015 Beijing Studio Program Artists Announced

4A Centre for Contemporary Asian Art is please to announce the two selected Australian artists for its 2015 Beijing Studio Program.

Rober McDougall (VIC) and Angela Tiatia (NSW) have been selected to embark on a month-long residency at the studios of renowned Chinese-Australian artist Shen Shaomin.

Robert McDougall and Angela Tiatia were selected by a committee comprising Sue Acret, 4A Board Member and Co-Founder, ArtAsia Advisory; Gary Carsley, artist and UNSWAAD lecturer, and Maurice O’Riordan, Director of the Northern Centre for Contemporary Art, Darwin. Artists McDougall and Tiatia were selected based on the strength of their applications, the potential benefits for their practices and capacity to extend their own cross-cultural networks.

WORKSHOP // Botanical Textile Workshops with Victoria Garcia

Victoria Garcia is a Filipino-Australian artist and textile designer based in Sydney. Through drawing, textile design and interactive installations, Victoria creates heavily patterned, immersive environments which both question and reenact her Filipino Australian identity, narratives of colonialism, and her deep connection to the landscape. Victoria has been commissioned by major brands and companies including Warner Brothers Productions, Microsoft and Sass and Bide.

For the September/October School Holidays at the Chinese Garden of Friendship, join Sydney artist and designer Victoria Garcia for a special series of textile art workshops. In this workshop, small groups of participants will work with Victoria to learn the basics of botanical illustration, taking the surrounds of the Chinese Garden of Friendship as inspiration. Then, work with Victoria to turn your illustration into a piece of textile art, illustrating a fabric artwork that you can take home.

For participants aged between 7-18 years, accompanied by a responsible adult. All materials provided, with bookings online encouraged to ensure all participants get to complete their take-home artwork.

About the artist: Victoria Garcia is a Filipino-Australian artist and textile designer based in Sydney. Through drawing, textile design and interactive installations, Garcia creates heavily patterned, immersive environments which both question and reenact her Filipino Australian identity, narratives of colonialism, and her deep connection to the landscape. Garcia has been commissioned by major brands and companies including Warner Brothers Productions, Microsoft and Sass and Bide, and has produced large-scale public artworks for Wollongong Central and Ambush Gallery (2017), Broadway Shopping Centre (2016) and Oxford Art Factory (2013). In 2017 Garcia was awarded the Southlands Breakthrough Emerging Artist Award from Penrith Performing and Visual Arts and a Summer Studio Residency with Penrith Regional Gallery. Her work has been featured in ‘PATTERNBOX’ curated by The Textile Art Centre New York, and published by Princeton Architectural Press.

With a strong background in design and visual art, she works across fashion textiles and illustration, homewares, interiors, and costume/film. Victoria’s approach to art and design has been heavily influenced by her illustrative work and she specializes in creating hand drawn imagery and pattern. She is currently represented by illustration agency International Rescue.

Victoria Garcia’s Textile Art Workshops are produced by 4A Centre for Contemporary Asian Art in partnership with the Chinese Garden of Friendship for the September/October 2019 school holidays program. 4A’s artist-led workshops throughout 2019 are supported by Create NSW’s Audience Development Fund, a devolved funding program administered by Museums & Galleries of NSW on behalf of the NSW Government.

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LIYEN CHONG: THREADED STORIES Workshop

20 and 21 November 2010

We’ve invited Liyen Chong to develop one of 4A’s Community Mapping Projects in 2010. Liyen is known for her exquisite embroidered artworks using human hair and her use of images which form a potent symbolic language reflective of cultural history, memory and social roles of women.

Together with the Chinese Heritage Association and the Chinese Women’s Association, we are inviting the community to join the artist to embark on a project that will see the development of a new embroidered artwork -created by the community, using their own hair.

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SUMUGAN SIVANESAN: WHAT’S EATING GILBERTO GIL?

14 May 2010, Momentum Sydney, 231 Wilson Street, Eveleigh

Lecture and performance by Sumugan Sivanesan

“Only Cannibalism unites us. Socially. Economically. Philosophically.” *

Our civilised societies have a long held fascination with the primitive. The Europeans devised the colonial ‘Other’, the Moderns espoused the perfection of ‘Natural Man’, and now we have the anthropological fantasy of the ‘Last Cannibal Tribe’.

Recent developments in gene technology have revealed that all present day human cultures, at some stage, consumed the flesh of their own.

What’s Eating Gilberto Gil? explores the history of the cannibal trope, its impressions here and its potential ‘fabulation’ across the shifting dynamics of contemporary global life — invariably edging towards transgression, transformation, and ultimately consumption of a manifest tabu.

Sumugan Sivanesan’s What’s Eating Gilberto Gil?, is part of 4A’s major curated project Last Words that will unfold over the 2010 calendar. Comprising performance, workshops, lectures, solo and group exhibitions. Last Words explores language, knowledge and communication in an age of cultural diversity and globalisation, particularly focused on Asian artists living here in Australia and overseas.

Momentum Sydney, 231 Wilson Street, Eveleigh (adjacent to Carriageworks)

*Oswald de Andrade, Manifesto Antropófago. In Piratininga 374th year of the deglutition of Bishop Sardinha.

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Lecture
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TATSUMI ORIMOTO: OIL CAN PERFORMANCE

13 May 2010, 12:30pm at Gallery 4A

4A is pleased to present OIL CAN, a performance by Tatsumi Orimoto.

Employing humour, often to the discomfort of the viewer, Tatsumi Orimoto’s artistic practice examines communication. Through the duration of this performance, the absurd gives way to a tender and serious existential questioning.


Tatsumi Orimoto (Kawasaki, 1946) studied at the Institute of Art, California. In 1971 he moved to New York, where he worked as an assistant to Nam June Paik and was introduced to Fluxus. In 1977 he returned to Kawasaki where he currently lives and works. His performances have been presented in several countries including the Biennale of Sydney, Sāo Paulo Biennale and Venice Biennale.

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Performance at Gallery 4A ground level

CHARITY BANQUET: Double Happiness

The Inaugural 4A Charity Banquet: Double Happiness -Red, Bright & Shining 

17 October, 1998

There was also a fashion show featuring gowns by leading Asian-Australian and Australian designers such as Akira Isogawa, Sylvia Chan, Pigs in Space, Nelson Leong, ninety six and Museum. The gowns were then auctioned off.

Proceeds from the evening went towards the activities of the Asian Australian Artists Association and Gallery 4A.

SEMINAR: Asian-Australian Voices

A four part seminar series examining the role of Asian communities in contemporary Australian culture.

Seminar 1: Reinventing Tradition22 June 2001

Speakers: Helen Fong (chair), Mabel Lee, Greg Leong, Xiao Xian Liu, Dr. Peter Wong

Seminar 2: Shifting Perspectives -Departing from Japanese Cultural Stereotypes in Australia, 24 August 2001

Speakers: Terumi Narushima (chair), Yuji Stone, Chaco Kato, Asako Izawa, Jun Tagami

Seminar 3: Onwards Journeys -Charting the Vietnamese-Australian Identity, November 2001

Speakers: Thang Ngo (chair), Dacchi Dang, Dai Le, Khao Do, Cuong Phu Le, Hanh Ngo

Seminar 4: Mapping the Chinese-Australian Landscape -Places of Work, Leisure, Worship, 2002

Speakers: Helen Fong (chair), Howard Choy, Keep Fong OAM, Ann Toy, Tom Dion

CHARITY BANQUET: Bollywood

Annual 4A Charity Banquet and Art Auction: Bollywood 

1 September 2009, Marigold Restaurant

Music by DJ Tendertrap (Dr. Robert Herbert)

Performances by Kalaya Indian Dancers and David Sequeira

Works donated by Dani Martin, My Le Thi, Kate Beynon, Cherine Fahd, Marion Borgelt, Felicia Kan

SYMPOSIUM: Asian-Australian Art Now: Positioning the Field[s]

27, 28 September 2008

Organized by the Australian Centre for Asian Art & Archaeology, University of Sydney and Gallery 4 A. Sydney with the financial support of the ARC Asia-Pacific Futures Research Network, the School of Letters, Art and Media of the University of Sydney, and Gallery 4A. This workshop will provide a forum for statement and debates by artists, art theorists, art administrators and curators on what constitutes Asian-Australian art. We will debate whether this kind of hyphenated naming and categorization has value, and if so of what kind? Should cultural identification, in current conditions of national and global art, be deferred as simply a situation of reference of art practice, whether of the artist or the theorizing and exhibiting agencies? There is an increasing body of work by Australian artists whose starting point is their own family links to different Asian cultures, and there are artists without such a background who increasingly work directly in Asian countries or with Asian references. These positions have resulted in a complex web of Asian and Australian encounters.

Speakers include: Ah Xian, Gennady Liu, Yuji Sane, Suzann Victor, John Young, Charles Green and Lyndell Brown, Cuong Le, Francis Maravillas, Djon Mundine, Nicholas Tsoutas, Vernon Ah-Kee, Prapon Kumjim, Rodney Glick, Lindy Lee, Jamil Yamani, Alison Carroll, Christine Clark, Rachel Kent, and Kim Machan.

CHARITY BANQUET: Pachinko Royale 2009

4A Annual Banquet and Art Auction: Pachinko Royale 2009

7 February 2009, at Noble Court

Music by DJ Chad Davis, performance by Ana Moët and Maria Feng Yee

Works donated by: Vernon Ah Kee, Brook Aitken, Matt Cox, Jumaadi, Jasper Knight, Lindy Lee, Hoon Li (Jaehoon Lee), Pamela Mei-Leng See, Chris Pang, Koji Ryui, John Young, Ah Xian

For the full program, please contact us at hello@4a.com.au

BOOK LAUNCH: Look Who’s Morphing by Tom Cho

28 May 2009

Launched by William Yang with a reading by Tom Cho from his book Look Who’s Morphing

‘Gallery 4A is pleased to present in association with Giramondo and Writing and Society Research Group at the University of Western Sydney, a series of innovative public programs featuring Asian-Australian writers, which coincide and expand upon Gallery 4A’s exhibition program featuring Asian-Australian artists.

The first of these events is Tom Cho’s book Look Who’s Morphing, a modern day Gulliver Travels tale where the hero romps through a series of surreal adventures spanning across Western pop culture encounters…’


Tom Cho is a 34 year old writer from Melbourne. He has performed at various literature festivals across Australia, and his stories have been published in Australia, USA, Canada, Japan, Malaysia, France, Sweden and Italy. He is currently completing his PhD in Professional Writing in Deakin University.

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William Yang Storytelling Workshops

15 March 2009, 22 March 2009

Performance 4A presents a rare opportunity for budding storytellers, playwrights, scriptwriters, poets and authors to join celebrated photographer and monologist William Yang for storytelling workshops in Sydney on 15 & 22 March 2009.

The workshops will discuss participant’s stories and their suitability for adaptation. Selected pieces will be developed over the two workshops.


William Yang is a well-known photographer and performer. Since 1989, he has been performing monologues with image projection and music in the theatre. HIs pieces tend to be autobiographical and they explore themes of marginalisation in the Australian Chinese family, gay community and aboriginal community. To date, Yang has completed ten full-length pieces, most of which have toured Australia and internationally.

Asia-Pacific Documentary Film Festival

March 2006

Artists: Avic Ilagan, Jae Hoon Lee, Michael Shaowanasai, Wang Jian Wei, Kylie Wilkinson, Robert Nery

Curator: Binghui Huangfu

Gallery 4A participated in the 2006 Asia-Pacific Documentary Film Festival exhibiting Filipino artist Avic Ilagan’s video about the repatriation of Filipino domestic workers from Hong Kong; Sydney artist Rober Nery’s 90-minute video about Catholicism in the Philippines including a nails-and-all re-enactment of the crucifixion; and Wang Jianwei’s documentary about Chinese living in half-finished luxury apartments abandoned by developers amongst Jae Hoon Lee, Michael Shaowanasai, Wang Jian Wei and Kylie Wilkinson.

The first screenings were shown at Performance Space, from March 8-11, 2006.

Second screening, titled Nationalism: What are you talking about, was shown at Gallery 4A from March 23-31, 2006.

Congee Breakfast Tour: Nusra Latif Qureshi: Strategies of Intent

SYDNEY. SAT 28 SEPTEMBER, 11.00AM – 12.30PM

Departing from 4A Centre for Contemporary Asian Art

Join exhibiting artist Nusra Latif Qureshi, Curator Dr Mikala Tai and Curatorial Assistant Nanette Orly for a special exhibition tour of Strategies of Intent, followed by a traditional Chinatown breakfast at a much-loved local eatery where attendees will discuss some of the stories and ideas behind the Nusra’s works and the themes explored in the exhibition.

About the exhibition: Nusra Latif Qureshi’s first solo Australian institutional exhibition presents her ongoing investigation into the symbolism and assumptions embedded in art history. Reflecting on almost two decades of practice Qureshi’s attempts to undermine, shift and negate historical imagery reads as a warning for the contemporary age, where assumed realities can be little more than constructed visions.

Qureshi’s practice is characterised by meticulous layering, fragmentation, erasure and juxtaposition of visual material. Through such intervention, she investigates little known histories of colonial eras, questions established narratives and engages with the politics of representation. Through an examination of the visual histories of the South Asian region Qureshi has developed a new visual vernacular in which to examine and interrogate the act of historicisation.

Strategies of Intent brings together key works from Qureshi’s oeuvre as well as a series of new commissions by 4A Centre for Contemporary Asian Art. These commissions are Qureshi’s most ambitious to date and include a series of installations that draw on key colonial imagery, engage with the reverence of weaponry and critique the museological convention of collecting and ownership.

Nusra Latif Qureshi (b. Lahore, Pakistan, lives and works in Melbourne, Australia) attended the National College of Arts, Lahore and completed her Masters of Fine Art at the University of Melbourne. Qureshi’s practices engages with the visual histories of the South Asian region and Australian culture, questioning conventional interpretations, pulling apart and reconfiguring the found patterns to construct new narratives. Her work has been exhibited widely in Austria, Germany, New Zealand, the United States, the United Kingdom, Canada, Afghanistan, Italy, India, Japan, France, Switzerland, Finland and her home countries of Pakistan and Australia. Most recently she was exhibited at the Kunst Historisches Museum, Vienna, Austria as well as Brisbane’s QAG/GOMA. Her work has been collected widely including the British Museum, London, the Museum of Contemporary Art, Sydney and the National Gallery of Victoria, Melbourne. Qureshi is represented by Sutton Gallery, Melbourne and is currently the artist in residence at the Lyceum Club, Melbourne.

All Aboard! The moving tale of Dion’s Bus Service workshops

WOLLONGONG. TUES 3 and THURS 5 DECEMBER 2019, 10AM – 12PM

All Aboard! The moving tale of Dion’s Bus Service Celebration of Abilities Week workshops with Angie Cass. Make a collage of a bus and make it travel from Austinmer to Kiama using the magic of stop motion animation. You’ll use photos and colourful printed paper to recreate the routes of the Dions’ buses in the Illawarra.

Free, bookings and enquires email vvidulich@wollongong.nsw.gov.au or phone 02 4227 850

This program is part of the exhibition On The Move: The Dion Family.

Produced and presented by Wollongong Art Gallery in partnership with 4A Centre for Contemporary Asian Art with support from The Dion Family.

 

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John Birchmeier in-conversation with Les Dion

WOLLONGONG. WED 4 DECEMBER, 11.00 AM – 12.00 PM 

Representing the third generation of the Dion family, Les Dion together with family historian John Birchmeier will present an overview of the family background; the arrival of the first generation in Wollongong in 1907 to take up market gardening and development from 1923 of new business interests including bus services under the second generation.

Free, all welcome. 

This program is part of the exhibition On The Move: The Dion Family.

Produced and presented by Wollongong Art Gallery in partnership with 4A Centre for Contemporary Asian Art with support from The Dion Family.

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Please Explain: Do colonial objects still hold power?

SYDNEY. SATURDAY 24 AUGUST 2019.

Program Moderator: Dr Mikala Tai

Program Speakers: Damian McDonald, Nusra Latif Qureshi, Professor Mary Roberts

4A’s series Please Explain invites presenters to rethink, recharge and reimagine contemporary issues through the arts and academia. In this edition of Please Explain, as part of 4A Centre for Contemporary Asian Art exhibition Nusra Latif Qureshi: Strategies of Intentspeakers discuss the mobility of meaning and challenges presented by historical objects and imagery in a post-Orientalist world. Taking the work of artist Nusra Latif Qureshi and the text Networked Objects (2013) by Mary Roberts as a starting point, this discussion will ask whether Colonial objects still hold potency today in institutions and artistic practice; and investigate how artists and curators can work to challenge and engage with constructed histories of objects in shifting contexts.

Reading Recommendation: Mary Roberts, Networked Objects, 2013, Department of Art History and Film Studies, University of Sydney, Sydney, Australia.

Speaker Profiles:

| Moderator: 
| Dr Mikala Tai is the director of 4A Centre for Contemporary Asian Art, Sydney. As a curator, researcher, and academic specialising in contemporary Asian art, she has collaborated with local, national, and international organisations to strengthen ties between Australia and Asia. Recent curatorial projects at 4A include “The Burrangong Affray” (co-curated with Micheal Do, 2018), “Before the Rain” (2017); “I don’t want to be there when it happens” (co-curated with Kate Warren and expanded at Perth Institute of Contemporary Arts with Eugenio Viola, 2017); and “Jogja Calling” (2016). She received critical acclaim for her organization of the performance program at Art Central Hong Kong (2016 -2018). Her independent curatorial projects include “Trompe-l’œil” (Sullivan + Strumpf Singapore, 2018) “Abdullah M.I. Syed: Diving Economy—Structures” (Aicon Gallery, New York, 2017), “Closing the Gap: Contemporary Indonesian Art” (Melbourne International Fine Art, 2011), and “Yang Yongliang: On the Quiet Water” (Fortyfivedownstairs, Melbourne, 2009). Tai has taught at Monash University, Royal Melbourne Institute of Technology (RMIT), and the University of Melbourne in both undergraduate and postgraduate programs. Tai’s writing can be found in several exhibition catalogues in addition to periodicals such as Broadsheet Journal, Art Monthly Australiasia, Photofile, Vault, and Ocula. In 2015, Tai received her PhD, focusing on the influence of the global city on China’s local art infrastructure.

| Damian McDonald’s principal research areas are firearms and edged weapons, and how they are influenced by, and influence culture, as well as their design. He is interested in health and medicine, particularly the history of the material culture of the discipline, and the ways society’s notions around health and medicine change under the continuing advances in this area. His interests also include music and musical instruments, particularly rock music and the Australian underground music scene, subcultures of the 1970s and 80s and their influences on contemporary youth culture, and the material culture of computer technology.

| Nusra Latif Qureshi (b. Lahore, Pakistan, lives and works in Melbourne, Australia) attended the National College of Arts, Lahore and completed her Masters of Fine Art at the University of Melbourne. Qureshi’s practices engages with the visual histories of the South Asian region and Australian culture, questioning conventional interpretations, pulling apart and reconfiguring the found patterns to construct new narratives. Her work has been exhibited widely in Austria, Germany, New Zealand, the United States, the United Kingdom, Canada, Afghanistan, Italy, India, Japan, France, Switzerland, Finland and her home countries of Pakistan and Australia. Most recently she was exhibited at the Kunst Historisches Museum, Vienna, Austria as well as Brisbane’s QAG/GOMA. Her work has been collected widely including the British Museum, London, the Museum of Contemporary Art, Sydney and the National Gallery of Victoria, Melbourne. Qureshi is represented by Sutton Gallery, Melbourne and is currently the artist in residence at the Lyceum Club, Melbourne.

| Professor Mary Roberts is the John Schaeffer Professor of Art History. She specializes in nineteenth-century British and Ottoman art with particular expertise in Orientalism, the history of artistic exchanges between the Ottoman Empire and Europe and the culture of travel. Her books include: Istanbul Exchanges. Ottomans, Orientalists and Nineteenth-century visual culture (University of California Press, 2015), Intimate Outsiders. The Harem in Ottoman and Orientalist Art and Travel Literature (Duke, 2007) and four co-edited books: The Poetics and Politics of Place. Ottoman Istanbul and British Orientalism (Pera Museum and University of Washington Press, 2011) Edges of Empire. Orientalism and Visual Culture (Blackwells, 2005), Orientalism’s Interlocutors, (Duke, 2002) and Refracting Vision. Essays on the Writings of Michael Fried (Power Publications, 2000/2012).

In Conversation: FX Harsono x Ida Lawrence

FAIRFIELD CITY MUSEUM & GALLERY – Saturday 13 July – Saturday 12 October 2019.

Join us to celebrate the opening of In Conversation: FX Harsono x Ida Lawrence, a cross-generational and cross-cultural dialogue between internationally renowned Indonesian artist FX Harsono and Australian-Indonesian artist Ida Lawrence.

Curated by Emily Rolfe and Bianca Winataputri, the exhibition presents a new body of work by Ida Lawrence alongside the seminal work, Writing in the Rain, 2011, by FX Harsono.
The exhibition is the result of a partnership between Fairfield City Museum & Gallery and 4A Centre for Contemporary Asian Art through the 4A Curators’ Intensive Program, 2018.

WORKSHOP // Zine-making with Lee Tran Lam at the Chinese Garden of Friendship

Lee Tran Lam is a journalist and zine-maker based in Sydney. Her writing has appeared in The Sydney Morning Herald, Gourmet Traveller, Time Out Sydney, Rolling Stone, The Big Issue and even Turkish Vogue. She’s been making zines for more than 20 years (often about food and places) and they’ve featured in local exhibitions, libraries in Australia and the US, and Ebony Bizys’ Hello Tokyo book. She also hosts The Unbearable Lightness of Being Hungry podcast and Local Fidelity on FBi Radio.

This July school holidays, join Lee Tran for a special (and free!) zine-making workshop series at the Chinese Garden of Friendship, from July 8 – 19. In this workshop, small groups of participants will go on an adventure through the Chinese Garden of Friendship and visit in-house restaurant The Gardens by Lotus with Lee Tran. Capturing the journey with Polaroid pictures, participants will learn about what makes food fun.

Then, work with Lee Tran to turn this journey into a zine – a self-made magazine – that you can take home.

For participants aged between 6-15 years, accompanied by a responsible adult. All materials provided, with bookings online encouraged to ensure all participants get to complete their take-home artwork. Entry to all workshops in this series is free with entry to the Chinese Garden of Friendship. Book here!

 

Artist Biography:

Lee Tran Lam. Photo: Will Reichelt
Lee Tran Lam. Photo: Will Reichelt

Lee Tran Lam is a Sydney based writer, radio producer, editor and creator who works across publishing, podcasting, zine making and much more. Lam has written for The Sydney Morning Herald, Gourmet Traveller, Time Out Sydney, Rolling Stone, Good Food Guide, Good Weekend, The Lifted Brow, The Big Issue and even Turkish Vogue magazine. She has worked full-time in editorial positions for 14 years – most recently as managing editor of Inside Out and a writer and producer at the Good Food website. Lam has been presenting Local Fidelity on FBi radio since 2007. In her spare time, she runs The Unbearable Lightness of Being Hungry blog and podcast. The blog was singled out as one of the city’s best in “The Foodie’s Guide To Sydney” and the podcast was picked as a “Podcast We Love” by SBS (and a “Chef’s Favourite” by Bon Appétit) and chosen to be archived by the National Library.

Lam has also appeared on ABC radio, been a guest speaker at various festivals (such as Audiocraft, Vivid, Food and Words, National Young Writers Festival), hosted Q&As for institutions like Kinokuniya and Sydney Living Museums, featured work in several exhibitions, plus curated the food program at Underbelly Arts festival.

 

 

This workshop has been produced by 4A Centre for Contemporary Asian Art for The Chinese Garden of Friendship, Darling Harbour.

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The Invisible Hand – Deep Dive Discussions

SYDNEY. SATURDAY JUNE 29 2.30 PM – 3.30 PM

As part of the public programming for The Invisible Hand, 4A presents a continuation of discussion after our ‘Please Explain‘ panel, with two additional deep dive discussions highlighting the most pressing issues facing users and consumers of technology and media in the Asia-Pacific. 

Data Practice: an in-conversation with Andrea Lau and Mitchell Whitelaw

2.00 PM – 3.00 PM

Data has been called ‘the new oil’ — a valuable resource that is getting increasing attention from business, government, communities and citizens. But how might we work with data from a practical, critical and creative standpoint? Andrea Lau talks with Mitchell Whitelaw about the emerging contours of ‘data practice’, touching on models of independent practice, engaging with government and business, poetry vs functionality and cross-cultural perspectives.

About the Speakers: 

Mitchell Whitelaw is an academic, writer and practitioner with interests in digital art, design and culture, especially generative systems, data-aesthetics, and digital cultural collections. His work has appeared in journals including Leonardo, Digital Creativity, Fibreculture, and Senses and Society. His current work spans materiality, data and culture, with a practical focus on creating “generous interfaces” for digital heritage. He has worked with institutions including the State Library of NSW, the National Archives, and the National Gallery of Australia, developing innovative interfaces to their digital collections. Mitchell is currently an Associate Professor in the School of Art and Design at the Australian National University.

Andrea Lau is a data visualisation designer and co-founder and director at Small Multiples. In her role, Andrea leads the user experience and delivery of projects for Small Multiples’ government, media and innovative ASX-listed clients. She is responsible for spearheading business development, providing data visualisation direction, and educating organisations on the value of communicating stories through data. Andrea brings over ten years’ experience in digital services having worked at the ABC, Interaction Consortium and MediaSmart. With a particular interest in educating others on the power of data visualisation, she has been an instructor at General Assembly, Masterclass Tutor at Guardian News and Tutor/Lecturer at the University of Sydney. 

Designing a Participatory Economy with Cameron Tonkinwise 

3.00 PM – 4.00 PM

Interaction Design has helped create platforms that appear to seamlessly match supply-and-demand. Marketed as liberatory, these platforms have become exploitative ‘gig economies.’ It is nevertheless possible to redirect these platforms to promote more local, fairer ways of cooperatively providing services. This talk explores some of the interaction design patterns that could help establish ‘platform cooperatives.’

About the Speaker: 

Cameron Tonkinwise is a Professor, School of Design at the University of Technology, Sydney. Prior to this, he was Director of Design Studies and Doctoral Studies at the Carnegie Mellon University’s School of Design. He has previously held the role of Associate Dean Sustainability at Parsons The New School for Design and was co-Chair of the Tishman Environment and Design Center at the New School in New York, United States of America. 

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Please Explain: Are We Our Gadgets?

SYDNEY. SATURDAY 29 June 2019. 

“If you can have a conversation with a simulated person presented by an AI program, can you tell how far you’ve let your sense of personhood degrade in order to make the illusion work for you?” Jaron Lanier, You are Not a Gadget (2010)

Responding to The Invisible Handan exhibition that considers how digital platform technologies are exploiting technological convenience to co-opt personal data in an uncertain zero-sum game, this edition of Please Explain will be moderated by Ariel Bogle, Technology Reporter for The ABC, and include panelists David Vaile, stream leader for the Allens Hub for Technology, Law & Innovation at the University of New South Wales (UNSW) Faculty of Law, and Prof. Bronwen Morgan, Professor, School of Law, University of New South Wales (UNSW), alongside The Invisible Hand exhibiting artists Sunwoo Hoon and Mijoon Pak (Korea).

There is no area in life, business or society that has not been upended and rethought through platform technology companies. Nowhere is this more prevalent than the region of East Asia with the likes of Facebook and Google and their East Asian counterparts Naver, Tencent and Rakuten. It presents as no surprise that many people are anxious about our individual and collective futures and feel that as a society, we have little agency in how it is unfolding. Responding to 4A exhibition The Invisible Hand, this edition of Please Explain will focus on the writing of controversial computer philosophy writer, Jaron Lanier and his work ‘You Are Not a Gadget: A Manifesto‘ (2010), and our speakers will unpack the impact of platform technology companies in East Asia. The talk will explore the nature of platform technology companies, how these companies are destabilising the nature of democracy and governance, how data is being logged and co-opted by these companies and the possibilities for the future of our digital landscape.

Speakers: David Vaile, Bronwen Morgan, Sunwoo Hoon + Mijoon Pak
Moderator: Ariel Bogle 

Missed the event? Listen to the audio recording below:

Following Please Explain, 4A presents two deep dive discussions that highlight some of the most pressing issues facing users and consumers of technology and media in the Asia-Pacific. 

The Invisible Hand is produced by 4A Centre for Contemporary Asian Art and has been supported by the Korean Cultural Centre and was assisted by The Freedman Foundation International Scholarship for Curators. The program is administered by the National Association for the Visual Arts (NAVA). 

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Byungjun Kwon: This Is Me

SYDNEY. Wednesday 26 June 6.00PM – 7:30PM 

Byungjun Kwon (권 병준), This Is Me (이것이 나다)

Coinciding with the exhibition opening of The Invisible Hand, 4A Centre for Contemporary Asian Art presents Korean musician and performance artist Byungjun Kwon’s (권 병준) ‘This Is Me’. 

Beginning with a single whistle, Byungjun Kwon’s This Is Me is an experimental electroacoustic improvisational performance involving multiple layers of reverberated and looped sounds accompanied by an interactive video programmed projection. Sonically comprising of sounds made by the artist orally and simple percussive bells, the piece is an exercise in the electronic manipulation of live recorded sound. Kwon’s performance is created concurrently with a piece of video recording and face recognition software developed by Junghoon Ha. The artist is seated at a table while a camera scans his face and others drawn on paper throughout the performance while the software recognises these images as base data for face mapping. As the piece progresses, several famous faces of actors, politicians and artists are mapped to Kwon’s face via a projector, erasing the artist as if wearing a mask. In contrast to the self-assured title, This Is Me reflects on the inherent anonymity of our current digital era where our personal identity can be endlessly manipulated to erase all traditional conceptions of self. A study of an identity crisis in real time, the work is meditative in concept with the artist adopting famous visages all while toying with the automated software. Faces such as George Bush, Marilyn Monroe and Nam June Paik are twisted and contorted at Kwon’s whim all while creating a symbiotic relationship between the artist, the camera, the software and projector, underscored by transformed man-made sounds. 

This Is Me was first performed on 10 August 2013 at Talbot Rice Gallery, University of Edinburg for the 2013 Edinburgh International Festival and has since been performed at the Nam June Paik Art Centre, Gyeonggi, South Korea and Blockhaus DY10, Nantes, France (2015).

ABOUT THE ARTIST:

Byungjun Kwon (b. 1971, Seoul, South Korea, lives and works in Seoul) is a musician and performance artist and pioneering figure of South Korea’s underground music scene. Beginning his career in the early 1990s as a singer/songwriter, Kwon released seven albums prior to relocating to Amsterdam, The Netherlands to study sonology and work for STEIM as a hardware engineer, a centre for the research and development of new electronic musical instruments. Since returning to Korea in 2011 he has expanded his practice into contemporary performance art, composing and performing experimental audio-visual works. His prior work in rock music, dance music, original film soundtracks, theatre scores and fashion runway soundtracking form an unconventional basis for his approach to creating and manipulating sound to form complex pieces. Recent projects include This Is Me, Edinburg International Festival 2013, Edinburgh, Scotland (2013); Artificial Garden, Mediacity Seoul 2012: Spell on You, Seoul, South Korea (2012); and My Instrument My Sound, Culture Station Seoul 284, Seoul, South Korea (2012), alongside several electronic instrument projects at various workshops.

This performance is presented in partnership with 4A Centre for Contemporary Asian Art, The Korean Cultural Centre, Australia and the Kim Kim Gallery, and sponsored by the Ministry of Culture, Sports and Tourism with support from the Korean Foundation for International Cultural Exchange (KOFICE) as part of the Traveling Korean Arts Project ‘Take ( ) at face value’.

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Minja Gu: Pasta Nowadays

SYDNEY. 4A CENTRE FOR CONTEMPORARY ASIAN ART. Saturday 29 June 2019. 11:30 AM – 1:30 PM

Minja Gu, Pasta Nowadays

4A Centre for Contemporary Asian Art presents Minja Gu’s (Korea) Pasta NowadaysMinja Gu’s works explore the cyclical forces of consumerism in society. Using durational performance, Gu facilitates contexts that transform everyday occurrences into ceremonies and rituals. In a performance lasting approximately two hours, Gu will use the ubiquitous act of making pasta as a relational act that encourages pause, reflection and communication among her participants. The noodles are made from diverse brands and flavors of flour from diverse origins and participants are welcome to wander in and out of the performance as they wish.

ABOUT THE ARTIST:

Minja Gu (b. 1977, Daejeon, South Korea, lives and works in Seoul) is an artist working predominantly in performance and video exploring ideas related to universal objects of human experience such as labour, time and love. Her works often deconstruct everyday actions and occurrences into ceremonies and rituals, emphasising the irreversibility of time and the permanence of action. Gu’s key recent exhibition history includes works at Performance x 4A, Art Central, Hong Kong (2018); The Korea Artist Prize, National Museum of Modern And Contemporary Art, Seoul, South Korea (2018); Impakt Festival – FotoDok, Utrecht, The Netherlands (2016); And No Matter What the Phone Rings – The 6th Moscow Biennale, Moscow, Russia (2015); Our Hesitant Dialogues, Art Sonje Centre, Seoul, South Korea (2013); and the 08 Taipei Biennale, Taipei Fine Art Museum, Taiwan (2008). Gu received the award of excellence in the SongEun Art Award in 2010.

This performance is presented in partnership with 4A Centre for Contemporary Asian Art, West Space, The Korean Cultural Centre, Australia and the Kim Kim Gallery, and sponsored by the Ministry of Culture, Sports and Tourism with support from the Korean Foundation for International Cultural  Exchange (KOFICE) as part of the Traveling Korean Arts Project ‘Take ( ) at face value’.
 

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Rui Ho, Jale, Papaphilia x Mossy 333, Ham Laosethakul, RHunter

LIQUID ARCHITECTURE and 4A CENTRE FOR CONTEMPORARY ASIAN ART present a night of splayed club influences via Chinese producer RUI HO. Known for her work on Shanghai label Genome 6.66 MBP and her genre-defying live performances, RUI HO makes her Melbourne debut alongside JALE’s fine mesh of synthetic textures and a new performance by PAPAPHILIA x MOSSY 333, HAM LAOSETHAKUL’s oscillating explorations and the data smearing AI of RHUNTER.
ABOUT THE ARTISTS: 

RUI HO: A genre-blending tour de force, Berlin-based non-binary Chinese producer and artist RUI HO makes electronic music that infuses modern club music with traditional Chinese sounds, described as “a loose narrative of ancient warfare and imaginary events”. 戰記 is RUI HO’s debut EP, and their second release on Genome 6.66 Mbp. From grimy drums to epic soaring trance, their sound combines the intensity of the club with sweet and refreshing melodies from their past and present.

JALE is a DJ and irrepressible energy-source. She has cemented her place in the Melbourne club scene, creating sets featuring new sounds from around the world intended to disrupt and reimagine the idea of contemporary club music. JALE trades strict loyalty to any sub-genre for a free-wheeling mix of moods and tempos that subverts overly-familiar clubbing soundscapes.

RHUNTER constructs huge spectralist panoramas, held together at the seams by precise percussion that flickers between creaky electroacoustics and punchy HD SFX. His treatment of sound material is like hearing the hallucinatory product from a noise removal algorithm pushed beyond its intended domain; something uncompromisingly sharp, rippling, ringing, totally embracing its own digitality. But this digitality is not a cold digitality, finding its counterpoint in various organic interventions ranging from liquid bass stabs to autotuned lamentations to the occasional oceanic drum kit adventure. This translates into variously-sized tension-release-structures, keeping the material constantly breathing and moving. Crisp samples and smeared tones lose and regain assumed form, the density of the discrete sound components always inviting new permutations.

HAM LAOSETHAKUL is a Thai born Melbourne based DJ. His exploratory sets – voyage through codes and data of sound where oscillations of noise pulses in and out of life – represent his personal experience from the confines of his worldly walls. He employs linear narrative to construct a visual palette of his escapades which he expresses through a sonic exploration: takes mind through a vastly hypnotic and romantically awkward journey, allowing curiosity to be understood through uninhibited and experiential means.

Together PAPAPHILIA x MOSSY 333 imagine the connectivity between music and the body through movement – exposing the shared quality of poetics.

MOSSY 333: is a multi-disciplinary artist focused on painting, music, and performance. Her stage work evokes insight to the subjectivity of her trans feminine experiences regarding body and movement, casting a critical gaze on heteronormative cis-gendered conditioning. Her performances demystify the often essentialised idea of a trans woman, to remind people that “trans women are women with autonomy and complexities”.

PAPAPHILIA aurally interrogates the aesthetics of political representation, exploring how sensorial disorientation informs collective belonging. She blends the poetics of exaltation and sorrow from 90s dance music, RnB, disco, pop and traditional pop standards, into an electronic palette drawn from the dystopian poetics of contemporary technological disposability. Slopped pop samples morph into the stoned rhythms of backwashed synths that ebb from the rhythmic flow of acid techno to deep house.

Curated by Mat Spisbah

Video by Benjamin Portas

Presented by Liquid Architecture and 4A Centre for Contemporary Asian Art

Supported by City of Melbourne

Angel Music Bar is not a wheelchair-accessible venue

We acknowledge the Wurundjeri, Boonwurrung, Taungurong, Dja Dja Wurrung and the Wathaurung people of the Kulin Nation as the custodians of the land in which this event takes place, and we recognise that sovereignty was never ceded. We pay our respects to their Elders, past, present and becoming.

Congee Breakfast Tour: The Invisible Hand

SYDNEY. 20 JUL 2019, 11.00AM – 12.30PM

Join The Invisible Hand exhibiting artist Baden Pailthorpe and exhibition curator Micheal Do for a traditional Chinatown breakfast at a much-loved local eatery followed by a walkthrough of the exhibition and a discussion of some of the stories and ideas behind the artists’ works and the themes explored in The Invisible Hand.

The Invisible Hand considers how digital platform technologies are exploiting technological convenience to co-opt personal data in an uncertain zero-sum game. With work from Australia, New Zealand, Korea and Japan, this exhibition explores current and projected complications and contradictions in the digital realm that increasingly oscillate between technological evangelism and scepticism.

$25.00 +bf, includes breakfast. This program is included as part of our public programs for The Invisible Hand, book here 

Congee Breakfast Tour: By All Estimates

SYDNEY. 18 MAY 2019, 10.30AM – 12.30PM

Come aboard for a typical Chinatown breakfast at a much-loved local eatery with By All Estimates exhibiting artist Jessica Bradford and exhibition curator Pedro de Almeida, followed by a walk through of the exhibition and discussion of some of the stories and ideas behind the artists’ works.

Taking Singapore as a locus of multiple regional identities, By All Estimates brings together works by artists that give form to narratives obscured by the city-state’s rapid urban and social development and the coexistence of competing projections of cultural inheritance and recognition. Over the past decade especially, Singapore’s investment in cultural institutions has been seen as an attempt to position the nation as a beacon of cultural capital in Southeast Asia. Underpinning this expansion lies an ever evolving matrix of received and contested narratives that within certain contemporary public realms—from the streets of the city to the corridors of the museum—jostle, overlap or otherwise mingle in approximations of the influence of multiple ethnic representations and economic imperatives. This exhibition presents works by Kolkata-based artist Rathin Barman, Singapore-born Sydney-based artist Jessica Bradford, Singaporean London-based artist Erika Tan, and Singapore-based artist Moses Tan.

 

Jessica Bradford (b. 1987, Singapore) is a multidisciplinary artist based in Sydney. Her work explores her mixed race heritage by questioning stereotypical representations of cultural or national identity. She has held solo exhibitions at Firstdraft, MOP Projects and Galerie Pompom, and is a 2018 Parramatta Artists Studios resident. Bradford’s work has been included in curated group shows at Delmar Gallery (2017), Bathurst Regional Art Gallery (2015), Fairfield Museum & Gallery (2014) and Penrith Regional Gallery & The Lewers Bequest (2013). Bradford holds an MFA by Research from Sydney College of the Arts, and was a recipient of the Australian Postgraduate Award.  She has been a finalist in the John Fries Memorial Prize, the Tim Olsen Drawing Prize, and the Jenny Birt Award. Bradford is represented by Gallerie pompom, Sydney.

By All Estimates is produced by 4A Centre for Contemporary Asian Art and supported by the British Council and Singapore Tourism Board.

4A X NGV ART BOOK FAIR

4A Centre for Contemporary Asian Art is back again at the NGV’s Melbourne Art Book Fair. Join us to find a range of 4A supported and commissioned publications, artist prints, designs and fashion. Artists featured this year include: Araya Rasdjarmrearnsook, FX Harsono, Jason Wing, Shen Shaomin, Reko Rennie, Jason Phu, Chris Yee, and more.

4A is proud to be launching Eugenia Lim: The Ambassador at the Fair in conjunction with the national tour of Lim’s exhibition The Ambassador. Lim will be onsite and can personalise your copy of this limited print run. 

Since its launch in 2015, the annual Melbourne Art Book Fair has attracted more than 50,000 visitors annually, making it the most visited publishing event in the Asia-Pacific region.

The fifth Melbourne Art Book Fair in 2019 will see 4A join diverse emerging and established local and international publishers, artists and writers, across a four-day program of ideas, discussions and book launches at the National Gallery of Victoria. The 2019 program explores ideas around experimental and discursive publishing, challenging how we think about the publishing field.

Opening Night:

Thursday 15 March: 12:00pm – 5:00pm

Friday 16 March: 10am – 5pm and 6 – 9pm

Saturday 17 and Sunday 18 March: 10am – 5pm

Con-Yee HI MEDUSA! Exhibition Tour with dim sum and drinks

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Join artist Chris Yee and curator Con Gerakaris of 4A’s Lunar New Year exhibition HI MEDUSA! With a special Con-Yee Dumpling tour at The Chinese Garden of Friendship. Riffing off of 4A’s popular Congee Breakfast program, Chris and Con will give a guided tour of the exhibition throughout the gardens followed by an optional dim sum snacks and drinks at The Chinese Garden of Friendship’s new restaurant, The Gardens by Lotus.

Chris Yee: HI MEDUSA! is an exhibition that creates a tangible connection between the Chinese-Australian communities of Sydney and provides a unique opportunity for visitors to engage with the history of the Garden through neo-traditional artworks depicting modern and historical Lunar New Year cultural imagery.

Presenting twelve new and existing bespoke tapestries by emerging Sydney artist Chris Yee, visitors to the Chinese Garden of Friendship during Lunar New Year 2019 go on a journey through the Gardens, discovering detailed, beautiful and humorous images at every turn. Yee’s design work evokes the experiences and narratives of the Chinese diasporic communities of the city expressed through a graphic sensibility that echoes that architectural forms and decorative embellishments of the Chinese Garden of Friendship. Hand woven, the tapestries in this special exhibition, presented by 4A Centre for Contemporary Asian Art, compliment the natural flow of the venue, synthesising a harmonious environment of traditional and contemporary artistic expression.

Chris Yee (b. 1989, Sydney) is an East Ryde (Sydney) based artist, illustrator and designer who specialises in traditional “pen and paper” methodologies. Chris’ main influences stem and vary from 90’s post-apocalyptic manga, rap and punk aesthet- ics. Through his imagery he constructs narratives ranging from the humorous to the monstrous and macabre. Chris’ solo exhibitions include Mad Love, 2015, Japan Foundation, Sydney; Panorama, 2015, Kind Of- Gallery, Sydney; and has par- ticipated in group and collaborative exhibitions including No Más (with Andrew Yee), 2018, Wedge Gallery, Sydney; SOFT, 2016, Superchief Gallery, Los Angeles; and Goliath Ballroom (with James Jirat Patradoon), 2015, Goodspace, Sydney. Out- side his art practice, Chris is a designer who has produced work for some of Australia’s best-known brands, including VIVID Festival Sydney, Sony Australia, Samsung – Opera House, Vans, Red Bull and Gelato Messina.

2-3 PM EXHIBITION TOUR ONLY: $5.00 +BF
2-4 PM EXHIBITION TOUR + AFTERNOON TEA AT LOTUS: $25.00 +BF

BOOK HERE

Chris Yee: HI MEDUSA! has been commissioned by 4A Centre for Contemporary Asian Art, Sydney, Australia and produced for The Chinese Garden of Friendship, Darling Harbour.

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Xiao Lu: Impossible Dialogue 肖鲁: 语嘿

SYDNEY. 19 JANUARY – 24 MARCH 2019.

Xiao Lu: Impossible Dialogue 肖鲁:语嘿 is the first retrospective of leading contemporary Chinese artist Xiao Lu. The exhibition is anchored by Xiao Lu’s performance work Dialogue from the landmark China/Avant-Garde exhibition at the National Art Gallery, Beijing, in February 1989. This work, in which the artist fires a gun at her own art installation, is a milestone in the development of contemporary art in China. It has also has been read as a critical turning point in China’s recent history. While Dialogue remains an iconic work of that era, it is also one of the most misunderstood pieces of contemporary Chinese art. Xiao Lu: Impossible Dialogue 肖鲁:语嘿  examines Xiao Lu’s creative interest in deep emotion, extreme action, and chance. Spanning a period of 30 years, the exhibition presents significant performance works by Xiao Lu including a new commission that explores the artist’s ongoing connection to Australia.

Xiao Lu (born 1962, Hangzhou) works with performance and installation. She is a graduate of the Subsidiary School of the Central Academy of Fine Arts, Beijing and Zhejiang Academy of Fine Arts (China Academy of Art), Hangzhou. Her graduation work Dialogue was included in the China/Avant-Garde exhibition in Beijing in 1989 and became famous after she fired a gun at it, which led to her temporary arrest and an extended period of residence in Sydney. Xiao Lu’s fictional memoir Dialogue《对话》, published in Chinese and English in 2010, exposed powerful forces affecting women artists in contemporary China. Xiao Lu’s work has been included in important international exhibitions, most recently Performer and Participant, Tate, London (2018) and Art and China After 1989: Theatre of the World, Guggenheim Museum, New York (2017), and been collected by public and private institutions including the Tate, London; Museum of Modern Art, New York; Taikang Insurance Group Art Collection, Beijing; and White Rabbit Collection, Sydney. Xiao Lu lives and works in Beijing and Australia.

Xiao Lu: Impossible Dialogue is produced and presented by 4A Centre for Contemporary Asian Art. This exhibition and associated programming are supported by the Australian Government through the Australia-China Council of the Department of Foreign Affairs and Trade, the Australian Research Council (ARC) Future Fellowship project led by Dr Claire Roberts Reconfiguring the World: China. Art. Agency. 1900s to Now (FT140100743), and the Faculty of Arts, School of Culture and Communication, The University of Melbourne.

肖鲁:语嘿 是中国当代著名艺术家肖鲁的首次回顾展。展览从肖鲁1989年2月在北京中国美术馆内举办的,具有里程碑意义的中国现代艺术展上的装置行为作品《对话》——艺术家对着自己的装置开枪开始。这件作品在中国当代艺术发展中具有重要意义,被普遍认为是中国现代历史转折的文化信号,但它也成为当代中国艺术中最容易被误解的作品之一。 “肖鲁:语嘿”展示了艺术家对深层情感、极端行动和不同语境的创造发挥,同时也显示艺术家作品的鲜明特质。展览的作品跨越肖鲁30年艺术发展过程,包括一个全新的与悉尼相关的作品。通过这次回顾展,让观众探讨艺术家与澳大利亚的持续关系。

肖鲁(1962年生于杭州)从事行为表演和装置艺术。她毕业于北京的中央美术学院附属中学和杭州的浙江美术学院(中国美术学院)。她的毕业作品《对话》在1989年北京的中国现代艺术展览中展出,她在开枪后被临时拘捕,之后长期居住在悉尼。肖鲁的自传体小说《对话》中英版于2010年出版发行,此书揭露了影响当代中国女性艺术家的一股强大力量。肖鲁的作品已被选入重要的国际展览,近期包括:“表演者与参与者”,泰特,伦敦(2018年)和”1989年之后的艺术与中国:世界剧场”,纽约古根海姆博物馆(2017年)。其作品被公共和私人机构收藏,包括:伦敦泰特美术馆;纽约现代艺术博物馆;北京泰康保险集团艺术收藏;以及悉尼白兔收藏。肖鲁在北京和澳大利亚生活和工作。

“肖鲁:语嘿”由4A当代亚洲艺术中心制作和展出。本次展览及相关教育项目得到了澳大利亚政府,澳中理事会的支持、以及罗清奇博士主持的澳大利亚研究理事会(ARC)前程研究项目《重设世界:中国、艺术与动力 1900年至今》(FT140100743)和墨尔本大学文化与传播学院艺术系的支持。

Exhibition Documentation

All images: Kai Wasikowski

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Xiao Lu: Impossible Dialogue 肖鲁:语嘿, installation view, 4A Centre for Contemporary Asian Art. Tables: China/Avant-Garde exhibition archival materials. Back: Xiao Lu, Dialogue (对话
), 1989, C-type print on vinyl, documentation of installation, and performance: 11.10am,
5 February 1989, China/Avant-Garde exhibition, National Art Gallery, Beijing. Reproduced courtesy Wen Pulin Archive of Chinese Avant-Garde Art and Xiao Lu. Projection: China/Avant-Garde exhibition, set of 210 archival 35mm colour transparency slides produced by Fine Arts Magazine, 1991. Private collection. Far Left: Wang Youshen, China/Avant-Garde exhibition. Before and after the ‘Shooting Incident’ (detail), 1989 – 2019, inkjet prints, dimensions variable, courtesy Wang Youshen. Image: Kai Wasikowski.

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Xiao Lu, Dialogue (对话
), 1989, single channel video, 2:04 minutes, documentation of installation and performance: 11.10 am, 5 February 1989, China/Avant-Garde exhibition National Art Gallery, Beijing. Reproduced courtesy Wen Pulin Archive of Chinese Avant-Garde Art and Xiao Lu. Image: Kai Wasikowski.

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Xiao Lu: Impossible Dialogue 肖鲁:语嘿, installation view, 4A Centre for Contemporary Asian Art. Tables: China/Avant-Garde exhibition archival materials. Back: Wang Youshen, China/Avant-Garde exhibition. Before and after the ‘Shooting Incident’ (detail), 1989 – 2019, inkjet prints, dimensions variable, courtesy Wang Youshen. Bottom Right: China/Avant-Garde exhibition, set of 210 archival 35mm colour transparency slides produced by Fine Arts Magazine, 1991. Private collection. Image: Kai Wasikowski.

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Xiao Lu: Impossible Dialogue 肖鲁:语嘿, installation view, 4A Centre for Contemporary Asian Art. China/Avant-Garde exhibition archival materials. Image: Kai Wasikowski

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Xiao Lu: Impossible Dialogue 肖鲁:语嘿, installation view, 4A Centre for Contemporary Asian Art. Left: Xiao Lu, Tides (絅蟙) (detail), documentation of performance, Sydney, 18 January 2019, installation: sand, bamboo poles. Commissioned by 4A Centre for Contemporary Asian Art, courtesy the artist. Right: Xiao Lu, Sperm (精子), 2006, C-type print, 120 x 160cm, edition 6/10, printed 2016, documentation of performance: 21-23 May 2006, Long March Project – Yan’an, Kangda Hotel, Yan’an. Courtesy Long March Space and the artist. Image: Kai Wasikowski.

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Xiao Lu: Impossible Dialogue 肖鲁:语嘿, installation view, 4A Centre for Contemporary Asian Art. Xiao Lu, 15 Gunshots… From 1989 to 2003, (15枪…从1989 到 2003), 2003, 15 black and white digital prints, framed and then punctured by a bullet,
100 x 45 cm, printed 2018, edition 12/15,
photographs by Li Songsong. Courtesy the artist. Image: Kai Wasikowski.

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Xiao Lu: Impossible Dialogue 肖鲁:语嘿, installation view, 4A Centre for Contemporary Asian Art. Left: Xiao Lu, Polar (极地) (detail), 2016,
C-type prints, 80 x 120 cm, editions 1/9 and 5/9, printed 2018, documentation of performance: 23 October 2016, Beijing Live 1, Danish Cultural Center, 798 Arts District, Beijing, China. Photographs by Yi Zhilei. Courtesy the artist. Right: Xiao Lu,
Polar (极地),
2016,
single channel video, 4:43 minutes,
documentation of performance: 23 October 2016, Beijing Live 1, Danish Cultural Center, 798, Beijing, China. Filmed by Zhang Zhiqiang and Li Kai, edited by Zhang Li and Xiao Lu. Courtesy the artist. Image: Kai Wasikowski.

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Xiao Lu: Impossible Dialogue 肖鲁:语嘿 , detail installation view, 4A Centre for Contemporary Asian Art. Left: Xiao Lu, Tides (絅蟙) (detail), documentation of performance, Sydney, 18 January 2019, installation: sand, bamboo poles. Commissioned by 4A Centre for Contemporary Asian Art, courtesy the artist. Centre: Xiao Lu,
One (合), 2015,
single channel video, 3:10 minutes,
documentation of performance: 5 September 2015, Live Action 10, Valand Academy, University of Gothenburg, Sweden. Filmed by Zhang Zhiqiang, edited by Xiao Lu. Courtesy the artist. Right: Xiao Lu, One, (合一) (detail), 2015,
C-type print, 120 x 80 cm, edition 6/10, printed 2017, documentation of performance: 5 September 2015, Live Action 10, Valand Academy, University of Gothenburg, Sweden. Photographs by Lin Qijian. Courtesy of the artist. Image: Kai Wasikowski

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Xiao Lu, Tides (弄潮), 18 January 2019, Sydney, sand and, bamboo, inkjet print on silk. Photograph by Jacquie Manning. Commissioned by 4A Centre for Contemporary Asian Art.

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In Conversation, Xiao Lu

BRISBANE. 24 JAN 2019. 6.00PM – 8.00PM.

4A is pleased to present an in conversation with leading contemporary Chinese artist Xiao Lu, on the occasion of her first retrospective, Impossible Dialogue, at 4A Centre for Contemporary Asian Art, Sydney, at The Institute of Modern Art, Brisbane.  Xiao Lu will be in dialogue with two of the exhibition’s co-curators  Claire Roberts and Xu Hong to view and discuss videos of some of the artist’s recent performance works.

The conversation will focus on Xiao Lu’s ongoing creative interest in deep emotion, extreme action and chance, and connect with broader themes including art and gender, feminism, activism and the writing of art histories.

Presented by the School of Culture and Communication, The University of Melbourne and 4A Centre for Contemporary Asian Art, Sydney and the exhibition Xiao Lu: Impossible Dialogue 肖鲁:语嘿, in association with The IMA, Brisbane.


 Acknowledgements:

Xiao Lu: Impossible Dialogue is produced and presented by 4A Centre for Contemporary Asian Art. This exhibition and associated programming are supported by the Australian Government through the Australia-China Council of the Department of Foreign Affairs and Trade, the Australian Research Council (ARC) Future Fellowship project led by Dr Claire Roberts Reconfiguring the World: China. Art. Agency. 1900s to Now(FT140100743), and the Faculty of Arts, School of Culture and Communication, The University of Melbourne.

Header Image: Xiao Lu, One, performance, 5 September 2015, Valand Academy, University of Gothenburg, Sweden. Photograph by Lin Qijian, courtesy Xiao Lu.

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NIGHTVISION IV, The Long

29 May- 21 June 

Window Video Projections screening

Sunset – Sunrise

Thursday, Friday and Saturday

Artists: Luke Butterworth, Brad Hammond, Cecelia Huynh, Samantha Rath, Paula Wong.

Nightvision IV is a program of short silent video works showcasing the talents of young and emerging national and international artists projected on to the Asia-Australia centre ground-floor window. Curated by Aaron Seeto, Nightvision screens sunset to sunrise every Thursday, Friday and Saturday evenings.

4A x Sahtein Lebanese Feasts Cooking Class

SYDNEY. THURS NOV 29, 6.00 – 8.30PM

On Thursday November 29, join artist Justine Youssef and her mother Siham Chamoun for a special one-off cooking class. Siham is the amazing brains behind Sahtein Lebanese Feasts, an Instagram account which documents traditional Arabic recipes and intimate familial stories related to her village in Lebanon. She provided our wonderful mezze platters at Justine’s 4A opening, as well as the breakfast spread at the Manoosheh Breakfast Tour.

From 6PM, join us at 4A to learn how to make Warak Enab – delicious, rice-stuffed grape leaves – and join your classmates, Justine and her mum for a light dinner.

Places for this special workshop are strictly limited to 10 participants and tickets are $60, inclusive of all cooking materials, instructions, light dinner and drinks.

This program is presented as part of 4A’s current exhibition, Justine Youssef: All Blessings, All Curses.

Please Explain: Why is My Curriculum White? Panel Discussion

SYD. 22 NOV – 6.30-8.00PM

Please Explain: Why is My Curriculum White? Panel Discussion
Thursday 22 November 2018
6.30PM–8.00PM

Moderator: Justine Youssef
Speakers: Alissar Chidiac , Dr Jason De Santolo , Jennine Khalik, Dr Omid Tofighian
4A’s series Please Explain invites presenters to rethink, recharge and reimagine contemporary issues through the arts and academia. In response to the Why Is My Curriculum White campaign this edition of Please Explain considers Omid Tofighian’s article in The Conversation that challenges our education system to rethink and reframe Eurocentric norms that currently provide the foundations from which to learn. Joining him are Sydney based community workers and artists who base their practices in diversifying ideas of ‘the norm’ and seek to tell complex, diverse and sometimes paradoxical stories of who we are today. This conversation is led by Justine Youssef, who has curated this panel as part of her 4A exhibition, Justine Youssef: All Blessings, All Curses.

Missed the event? Listen to the audio recording below:

Speaker Profiles:

 | Moderator: Justine YOUSSEF

| Justine YOUSSEF is currently living on the unceded territory of the Darug peoples. She received her Bachelor of Fine Art from the National Art School, Sydney, Australia and is currently working from the Parramatta Artist Studios. She has been awarded the New South Wales Artists’ Grant (NAVA and Create NSW), as well as a studio residency at Blacktown Arts. She has held collaborative solo exhibitions at Seventh Gallery, Melbourne, and Firstdraft, Woolloomooloo with Duha Ali in 2018, and has participated in group exhibitions at Airspace Projects, Marrickville; Bankstown Art Center, Bankstown; Sullivan+Strumpf, Zetland; and Collab Gallery, Chippendale. Her work can be found in the collections of the National Association for the Visual Arts; the National Art School Drawing Archive; and the Sydney Gallery School.

 | Alissar CHIDIAC

| Alissar Chidiac has been working in different contexts of community and cultural engagement for almost 40 years. Since 1991 her focus has been on Arab Australian cultures, through contemporary cultural production, cultural heritage and performance work. She worked at the Powerhouse Museum in Sydney (1998-2004) where she initiated a diversity of critical projects, innovative exhibitions and Arab community partnerships through the ‘wattan project’. She creatively developed model programs with Auburn Community Development Network, including ‘Inside Out_Muslim Women Exploring Identities and Creative Expressions’ (2005-2007) and ‘Moving Calligraphy_Visual Storytelling’ (2009-2010) bringing together artists of Arabic and Chinese calligraphies and local Aboriginal artists. In 2011-2012 she was Creative Producer of Casula Powerhouse Art Centre’s national initiative ‘No Added Sugar: Engagement and Self-Determination: Australian Muslim Women Artists’. Alissar worked as Creative Producer with ‘Auburn Cartographies of Diversity’ (2015-2017) activating community engagement and producing local exhibitions in Auburn. She has also been contracted by Fairfield City Council in 2017-2018 to facilitate professional development and mentorship programs with emerging artists and community members. Alissar and Maissa Alameddine are currently Artist Coordinators with Arab Theatre Studio Creative Hub in Granville, supported by Cumberland Council, through Create NSW’s ‘Making Spaces’ program. Alissar initiated Arab Theatre Studio in 2014, after a Space Residency with Urban Theatre Projects in 2013. In 2005 Alissar was awarded a two-year Fellowship by the Community Cultural Development Board of the Australia Council for the Arts. In 2010 she won the annual ‘Ros Bower Award’, honouring a lifetime contribution to community arts and cultural development. 

| Dr Omid TOFIGHIAN

| Dr Omid Tofighian is a lecturer, researcher and community advocate, combining philosophy with interests in rhetoric, religion, popular culture, transnationalism, displacement and discrimination. He completed his PhD in Philosophy at Leiden University, the Netherlands, and graduated with a combined honours degree in Philosophy and Studies in Religion at the University of Sydney. Omid has lived variously in the UAE where he taught at Abu Dhabi University; Belgium where he was a visiting scholar at K.U. Leuven; the Netherlands for his PhD; and intermittent periods in Iran for research. His current roles include Honorary Research Associate for the Department of Philosophy at the University of Sydney; faculty at Iran Academia; and campaign manager for Why Is My Curriculum White? – Australasia.’ He contributes to community arts and cultural projects and works with asylum seekers, refugees and young people from Western Sydney. He has published numerous book chapters and journal articles and is author of Myth and Philosophy in Platonic Dialogues (Palgrave 2016) and translator of Manus by Behrouz Boochani (Picador 2017).

Jennine KHALIK

| Jennine Khalik is a Sydney-based journalist and digital producer at the ABC. She was formerly a reporter with the national broadsheet The Australian, in news and art, and with NewsLocal.

Jason DE SANTOLO

| Dr Jason De Santolo (Garrwa and Barunggam) is a researcher, creative producer & father committed to forging a sustainable world for future generations through transformative research strategies, storytelling & practices of renewal. Born in Larrakia homelands – Darwin, he moved to Aoteaoroa/NZ at an early age, and studied treaty & international environmental law. His unique research practice integrates video, creative practice & renewal strategies through a Garrwa driven decolonising research paradigm. In 2014 he received a UTS Research Excellence Scholarship and graduated in 2018 with a creative doctorate that explores the renewal of song traditions through his passion for filmmaking & collective aspirations for self determination.

Artists’ Christmas Car Boot Sale

SYDNEY. 6 DEC 2018, 5.00 – 9.00PM

The Artists’ Christmas Car Boot Sale is curated by Sydney-based artist Garry Trinh. Descend to the lower levels of World Square to encounter established and emerging artists. Step into cars transformed into mini galleries and fossick in boots for one-off original art just in time for Christmas. Think driver-seat seances, artworks delivered straight from the studio and intimate car boot performances.

Featuring DJ Coris, refreshments and a pop-up Gift Wrapping service with all proceeds being donated to Wesley Mission to tackle homelessness in Sydney, this will be a Christmas Market like no other!

Featured cartist boots include:

The Car Boot Sale will take place on Thursday 6 December, 2018 on Level 5 of World Square Shopping Centre (644 George St, Sydney NSW 2000).


 

garry-trihn

Garry Trinh (born Sydney,  Australia and lives and works in Sydney, Australia) is an artist working in photography, video, painting and works on paper. He holds a BA in Psychology and a BA in Visual Communications / Photography and Digital Imaging from the University of Western Sydney.

Trinh was the winner of the Sydney Life photography prize in 2007 and won the Auburn Mayoral Photographic Prize in 2009 and 2010. His photo book Just Heaps Surprised to be Alive was nominated for Photography Book of the Year at the 4th International Photo book Festival at Kassel, Germany. From 2017-2018 Trinh was a full time tenant at Parramatta Artists Studios. His work is collected by the Art Gallery of NSW and Artbank. He has been exhibited at the Australian Centre for Photography, Campbelltown Arts Centre, Blacktown Arts Centre, Casula Powerhouse Arts Centre, Stills Gallery, Gallery 4A and many others.

Trinh makes art about the uncanny, unexpected and spontaneous moments in daily life and to express his personal ideas. He is perplexed by the perception of artists as coffee-drinking loafers who work whenever they feel like it. He doesn’t even drink coffee. His works are about a way of looking at the world, to reveal magic in the mundane. He is never bored and never late.

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Exhibition Opening: Justine Youssef: All Blessings, All Curses

SYD. THURSDAY 1 NOV – 6.00-8.00PM

 

Edmund Capon AM, OBE, Chair of the Board of 4A, and
Mikala Tai, Director of 4A Centre for Contemporary Asian Art
invite you to join us at the opening of:

Justine Youssef: All Blessings, All Curses
Exhibition opening: 6-8PM, Thursday 1 November
To be officially opened by artist Lindy Lee.


You are invited to join 4A Centre for Contemporary Asian Art on Thursday, 1 November as we open the exhibition Justine Youssef: All Blessings, All Curses.

All Blessings, All Curses presents recent and newly commissioned works by Sydney-based artist, Justine Youssef. Born in the heart of Western Sydney, Youssef’s practice explores the stifling white heat of global xenophobia with deeply personal and universal ruminations that layer the smell, sights and textures of her ancestral homeland, Lebanon.

This opening event starts at 6:00PM with drinks and an opening address.

Click to RSVP to this special event by Friday 19 October.

Exhibition runs 2 November – 16 December 2018.
Curated by Mikala Tai. Curatorial Assistant Tian Zhang.


#AllBlessingsAllCurses @4a_Aus
www.4a.com.au


Image above: Duha Ali and Justine Youssef, 2018, Kohl (still), single channel video, 4:18; courtesy the artists.

Manoosheh Breakfast Tour

SYD. SATURDAY 3 NOV – from 10.30AM

Join artist Justine Youssef and curator Mikala Tai for a tour of All Blessings, All Curses followed by a Sobhiyeh – Lebanese Breakfast – in the gallery. Hear from the artist about the process of developing this series of works over a traditional Lebanese breakfast of za’atar manoosheh, labneh and olives.
$25 (+bf) includes breakfast. Book here.

Family Workshop: Garden Worlds with Kai Wasikowski

SYDNEY, 8, 9, 11 OCTOBER

Join Sydney-based artist Kai Wasikowski to make your own garden image and turn it into a beautiful ‘sun-print’ photograph, inspired by the Chinese Garden of Friendship. Drop into the gardens between 11-1pm on Mon 8, Tue 9, or Thu 11 October to learn how to use materials to make a botanical scene.

Have fun developing your “gardening” skills, arrange your own garden scene using plants, then create a take-home ‘nature’ photograph using the sun, whilst exploring the plants, colours and textures of the Garden of Friendship.
With professional photographer and artist Kai, you’ll make a blue and white print, ready to frame display at home! Whether you stay for 15 minutes or the full two hours this fun workshop will help you create a botanical print and learn basic photographic principles.
For participants aged between 5-12 years, accompanied by a responsible adult. All materials provided, drop in session, no bookings required. Garden Worlds is produced by 4A Centre for Contemporary Asian Art in partnership with Kai Wasikowski and the Chinese Garden of Friendship for the October 2018 school holidays program.

Chapter One: Thinking through it

PEACOCK GALLERY, AUBURN. 15 September – 21 October 2018.

Opening: Saturday 15 September 2018, 1:30 – 3:30pm.

As part of the 2018 Curators’ Intensive presented by 4A Centre for Contemporary Asian Art two emerging curators have been selected to curate an exhibition at Peacock Gallery.

Chapter One: Thinking through it is a project curated by Sabrina Baker that exists as a reading room, research space and open studio. Artists have contributed things that influence their working methods and you’re invited to dive into their practice through the stacks of books taken from bedside tables and studio desks, the photographs, knick knacks and stuff that feeds into the development of their work.

Hannah Donnelly, Thea Jones, Shivanjani Lal, Nikki Lam, Anja Loughhead, Stephen Pham, and Jason Phu work with different materials and methods to craft works that explore place in relation to the self.

Each of the artists explore themes of personal identity and myth making with a grounding in being both inside and outside of their local environments – where they are now and where they have been before.

Tongues (curated by Isabel Rouch) // Peacock Gallery – 4A Curators’ Intensive Exhibition 1

PEACOCK GALLERY, AUBURN. 15 September – 21 October 2018.

Opening: Saturday 15 September 2018, 1:30 – 3:30pm.

As part of the 2018 Curators’ Intensive presented by 4A Centre for Contemporary Asian Art two emerging curators have been selected to curate an exhibition at Peacock Gallery.

Tongues (curated by Isabel Rouch) is the first offering in an ongoing curatorial project, exploring the varied effects language can have on us as individuals.

The exhibition questions how our experience of the world and self changes with language, and what can be lost or gained through translation.

Tongues brings together the personal perspectives of multidisciplinary, Sydney based artists, Yeliz Yorulmaz, Kai Wasikowski and Eugene Choi; each sharing the experience of being multilingual or growing up in a multilingual context.

All three respond to the theme of identity through language, reflecting particularly on how their exposure to linguistic diversity has influenced them, and in addition, how their art practice fits into this layered understanding and correspondence.

Hungry Ghost Festival: The Burrangong Affray

SYDNEY. SATURDAY 11 AUGUST 2018

On the final weekend of The Burrangong Affray and to mark the month of the Hungry Ghost Festival, join artist Jason Phu in collaboration with Eugene Choi for a special lion dance performance.

There will also be an opportunity to contribute to the offerings to be made when the artists next visit the township of Young.

For more information about The Burrangong Affray click here.


Artist Biographies: 

Eugene Choi (b. 1993, Sydney, Australia; lives and works in Sydney) is a performance-based artist whose practice has evolved around the physicality of constructing internal and external structures working across sculpture, performance, installation, video and text. Often influenced by the body in movement, Choi’s practice travels between controlled and uncontrolled states by engaging herself in unfamiliar, yet composed situations, relying on the live response of her physical and emotional body. A self-made system of geometry becomes integral between objects, bodies and space, attempting to achieve equilibrium.

Jason Phu (b.1989, Sydney, Australia; lives and works in Sydney) studied at COFA, Sydney graduating with honours in 2011 and NSCAD, Nova Scotia. He works across a range of mediums from installation, painting and sculpture where he traces the connections between the tradition of Chinese brush and ink painting and contemporary practice. His work has been informed by several China based residencies at CAFA, Beijing; DAC Studios, Chongqing; and Organhaus, Chongqing which has enabled him to further investigate the tradition of calligraphy. Recently Jason has had numerous solo exhibitions in Australia including Westspace, Melbourne; Nicholas Projects, Melbourne; CCAS Gorman Arts Centre, Canberra; and ALASKA PROJECTS, Sydney. He won the coveted Sulman Prize in 2015 and in the same year received a Freedman Foundation Travelling Scholarship which allowed him to develop his practice between China and Australia.

 

PERFORMANCE DOCUMENTATION: 

hungry_ghost_01 hungry_ghost_03 hungry_ghost_09 hungry_ghost_13 hungry_ghost_16 hungry_ghost_27 hungry_ghost_30 hungry_ghost_48

All images: Kai Wasikowski for 4A Centre for Contemporary Asian Art.

The Burrangong Affray: Jason Phu and John Young Zerunge has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Header image: Jason Phu, In the morning I wake the rooster. In the afternoon I drive across the mountains & waters. At night I cut all my ties, 2018, multimedia installation, dimensions variable; commissioned by 4A Centre for Contemporary Asian Art for The Burrangong Affray: Jason Phu and John Young Zerunge. Image: Document Photography.

 

 

Please Explain: ‘Census, Map, Museum’

SYDNEY. SATURDAY 1 SEPTEMBER 2018

| Moderator: Pedro DE ALMEIDA

| Speakers: Rushdi ANWAR; Alana HUNT; Associate Professor Phillip GEORGE; Djon MUNDINE, OAM; Sarker PROTICK

| 4A’s series Please Explain invites presenters to rethink, recharge and reimagine contemporary issues through the arts and academia. Responding to Temporary Certainty presented at 4A this edition of Please Explain seeks to examine ideas and issues around nationalisms, sovereignty and memorialisation.

Join artists Rushdi Anwar, Alana Hunt and Sarker Protick alongside speakers Associate Professor Philip George and Djon Mundine OAM who will take a key premise articulated by political scientist and historian Benedict Anderson in his seminal text Imagined Communities (1983) as a jumping off point for a broad discussion.

Reading Recommendations:

 

Speaker Profiles:

| Pedro DE ALMEIDA 

| Pedro is Program Manager at 4A Centre for Contemporary Asian Art and exhibition curator, Temporary Certainty.

| Rushdi ANWAR 

| Rushdi Anwar (b. Halabja, Kurdistan) is a Melbourne-based artist, currently working between Australia and Thailand. His installation, sculpture, painting, photo-painting and video work often reflect on socio-political issues relating to Kurdistan, Iraq and the Middle East. He explores these issues through an investigation of form, utilising a material vocabulary and different processes of making. Anwar was educated in Kurdistan and Australia, studying at the Institute of Kirkuk- Kurdistan and Enmore Design Centre/Sydney Institute. He holds a Master of Fine Art (2010) and a PhD in Fine Art (2016) from RMIT University, Melbourne. He has held solo and group exhibitions widely in Australia, Austria, Bulgaria, Canada, Finland, France, Japan, Kurdistan, Norway, Switzerland, Thailand, United Arab Emirates and USA. Recent and upcoming exhibitions include 12th Gwangju Biennale, Korea (2018), and the 13th Havana Biennial, Cuba (2019). Anwar’s works are held in the collections of the Australian War Memorial, the Kurdistan Regional Government, and in private collections. He has curated exhibitions in Kurdistan (2010), Thailand (2012, 2015), and Australia (2013). Following several artist-in-residence programs in Thailand, he co-founded and co-coordinated the Australian Thai Artist Interchange, Melbourne (2012–2016), an organisation founded to enhance cross-cultural exchange, awareness and appreciation of art and culture between Thais and Australians. Rushdi is a founding member, with Brook Andrew and Shiraz Bayjoo, of the artist collective The Working Collection.

| Alana HUNT 

| Alana Hunt (b. 1984, Sydney) makes contemporary art, writes and produces culture through a variety of media across public, gallery and online spaces. She lives on Miriwoong country in the north-west of Australia and has a long-standing engagement with South Asia. The politics of nation making and the colonial past and present of Australia and South Asia are central to her practice. Since 2009, she has orchestrated participatory art and publishing projects that have activated different media forms in the public sphere to shed light on Kashmir. Paper txt msgs from Kashmir (2009–2011) prompted media in India and Pakistan to speak about a state-wide mobile phone ban they had previously been silent on. This work won the Fauvette Laureiro Artist Scholarship. In 2016, the seven-year participatory memorial Cups of nun chaicirculated as a newspaper serial in Kashmir, reaching thousands of people on a weekly basis during a period of civilian uprising and state oppression. This work won the 2017 Incinerator Art Award. Her essay, A mere drop in the sea of what is, published by 4A Papers (Issue 1, November 2016), explored the art circulating on the ‘streets of social media’ in Kashmir and made it into the Hansard Report of the Australian Parliament. In 2018, Alana undertook a residency in Sulawesi with Rumata Art Space & the Makassar International Writers’ Festival and will present Cups of nun chai at Tufts University Art Gallery, Massachusetts, and a series of artists presentations at Tufts, Brown, and Parsons universities. Her work is held in both public and private collections including Artbank and the Macquarie Group Collection.

| Associate Professor Phillip GEORGE  

| UNSW’s Associate Professor Phillip George’s practice operates across zones of cultural difference, exploring and making connections between the complexities that exist between East and West. His work draws connections between Australian beach culture and the fractured, turbulent zones of the Middle East. George has exhibited widely over the past thirty years with exhibitions throughout Australia, Europe, America and Asia. In 2008 George produced his seminal exhibition, Borderlands at the Casula Powerhouse in Sydney, NSW. His work is in private and public collections in Australia and internationally.

| Speaker: Djon MUNDINE OAM  

| Djon Mundine OAM, member of the Bandjalung people of northern New South Wales, is a curator, writer, artist and activist. He has held prominent curatorial positions in many national and international institutions, including the Art Gallery of New South Wales, Museum of Contemporary Art, Sydney and Queensland Art Gallery. Between 1979 and 1995 he was the Art Advisor at Milingimbi and Ramingining in the Northern Territory. He was the concept artist of the Aboriginal Memorial at the National Gallery of Australia in 1988. In 1993 he received the Medal of the Order of Australia for service to the promotion and development of Aboriginal arts, crafts and culture. In 2005-2006 he was Research Professor at The National Museum of Ethnology (Minpaku) in Osaka, Japan. He is currently an independent curator of contemporary Indigenous art.

| Speaker: Sarker PROTICK

| Sarker Protick (b. 1986, Bangladesh) is a Dhaka-based artist whose work explores the possibilities of time, light and sound. His portraits, landscapes and photographic series engage philosophically with the specificities of personal and national histories. Sarker’s approach across various mediums incorporates detailed observations and subtle gestures as a means of creating personal spaces, often minimal and atmospheric. He was named in British Journal of Photography’s annual ‘Ones to Watch’ and Photo District News’ (PDN) 30 emerging photographers of the year. Sarker is the recipient of Joop Swart Masterclass, World Press Photo award, and Australian Photobook of the Year grand prize. His body of work Exodus was awarded the Magnum Foundation Grant 2018. Sarker’s work has been shown in museums, galleries and photo festivals internationally, including Art Dubai; Paris Photo; Singapore Art Week; Dhaka Art Summit; Chobi Mela International Photography Festival, Dhaka; Latvian Contemporary Museum of Photography, Riga; and Noorderlicht International Photofestival, Netherlands. Sarker is a faculty member at Pathshala South Asian Media Institute, Dhaka, and currently represented by East Wing Gallery, Dubai.

Asian-Australian Art Now: Positioning the Field(s)

Saturday 27 – Sunday 28 September, 2008

Organised by the Australian Centre for Asian Art & Archaeology, University of Sydney and Gallery 4A, Sydney with the financial support of the ARC Asia-Pacific Futures Research Network, the School of Letters, Art and Media of the University of Sydney, and Gallery 4A.

This workshop will provide a forum for statement and debates by artists, art theorists, art administrators and curators on what constitutes Asian-Australian art. We will debate whether this kind of hyphenated naming and categorisation has value, and if so what kind? Should cultural identification, in current condition of national and global art, be deferred as simply a situation of reference of art practice, where of the artist of the theorising and exhibiting agencies? There is an increasing body of work by Australian artists whose stating point is their own family links to different Asian cultures, and there are artists without such a background who increasingly work directly in Asian countries or with Asian references. These positions have resulted in a complex web of Asian and Australian encounters.


The workshop will be organised in four sessions with the confirmed speakers listed below:

Saturday 27 September

Morning: Art Practice: Asian-Australian Artists
Speakers include: Ah Xian, Gennady Liu, Yuji Sone, Suzann Victor, John Young

Afternoon: Art Theory
Speakers include: Charles Green and Lyndell Brown, Cuong Le, Francis Maravillas, Djon Mundine, Nicholas Tsoutas

Sundau 28 September

Morning: Art Practice: Australian Asian Artists
Speakers include: Vernon Ah-Kee, Prapon Kumjim, Rodney Glick, Lindy Lee, Jamil Yamani

Afternoon: Exhibition
Speakers include: Alison Carrol, Christine Clark, Rachel Kend, Kim Machan

Exhibition Opening: Temporary Certainty

SYDNEY. 6-8PM, THURSDAY 30 AUGUST. 

You are invited to join 4A Centre for Contemporary Asian Art on Thursday 30 August as we open major group exhibition Temporary Certainty.

Rushdi Anwar 
Alana Hunt 
Sarker Protick 

Taking in geographies shaped by sudden shifts of historical change wrought by complex interventions and their subsequent social impact in the greater Asia region, Temporary Certainty presents works by artists that are indelibly marked by their emergence within conditions of uneasy reconciliation. With a focus on Bengal, Kurdistan and the Kimberley region of Western Australia, this exhibition explores how artists approach the question of reconfiguring regional cultural adaptation in contemporary forms that embody the consequences of broader geopolitical expediencies.

Grappling with tensions between certainty and doubt, permanence and all that is ephemeral, Temporary Certainty contemplates the value of what can be apprehended—much less held onto—with any guarantee in a present age lurching towards ever greater polarisations.

 

 

Temporary Certainty is produced by 4A Centre for Contemporary Asian Art. Rushdi Anwar’s commissioned work has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. The presentation of Sarker Protick’s Exodus has been supported by The Esplanade, Singapore, with additional support from the Australian Centre for Photography.

Exhibition opening: The Burrangong Affray

THURSDAY 28 JUNE. SYDNEY.

You are invited to join 4A Centre for Contemporary Asian Art on Thursday, 28 June, as we open major exhibition The Burrangong Affray.

Between November 1860 and September 1861 the New South Wales goldfields of Burrangong, near the present day township of Young, were the site of Australia’s largest racially motivated riot. Rising antagonism over gold mining access and cultural habits saw trivial misunderstandings intensify into racial tensions that erupted into violence across the goldfields. Over ten months, Chinese miners were subjected to threats, robbery and sustained acts of violence. This anti-Chinese sentiment swept through the goldfields of Victoria in the 1850s and by the early 1860s reached a flashpoint in New South Wales, provoking public discussion and debate. In Sydney, the NSW Parliament responded to the contention by passing legislation to restrict Chinese immigration and began, alongside Victoria and South Australia, to write the prelude to the White Australia Policy.

For The Burrangong Affray, through a series of residencies in Young and surrounding historical sites over the past 18 months, 4A Centre for Contemporary Asian Art has commissioned Chinese-Australian artists Jason Phu and John Young Zerunge trace the events and repercussions of this period of civil disobedience. Supported by historian Dr Karen Schamberger, the artists’ research-led practice interweaves these accounts of history to create contemporary mediations that reflects upon the forces of identity, economics, race and otherness in Australia today.

This exhibition is the second iteration of a four-part exhibition project. The first was realised in Young in April. 2018.


This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Please Explain: The Burrangong Affray

SYDNEY. 30 JUNE.

12-2PM

4A Centre for Contemporary Asian Art

181-187 Hay St, Haymarket, Sydney.

4A’s series Please Explain invites presenters to rethink, recharge and reimagine contemporary issues through the arts and academia. Responding to The Burrangong Affray presented at 4A this edition of Please Explain seeks to examine the lasting effects of this somewhat overlooked incident in Australia’s history. Join artists Jason Phu and John Young Zerunge, along with historian Dr Karen Schamberger and writer and journalist Gabrielle Chan as they discuss the histories and the resonances in the current day of the Burrangong Affray and associated events.

Missed the event? Listen to the audio recording below:

BOOK LAUNCH: Imagining Taiwan: The Role of Art in Taiwan’s Quest for Identity by Sophie McIntyre

SYDNEY // Monday July 2 // 12.30 – 1.30

4A Centre for Contemporary Asian Art is delighted to host the launch of Dr Sophie McIntyre’s new book Imagining Taiwan: The Role of Art in Taiwan’s Quest for Identity.

Taiwan’s quest for identity and international recognition has been the most important and fiercely contested issue for nearly half century, both nationally and internationally. Imagining Taiwan is the first in-depth and comprehensive study, published in English, which critically explores the pivotal role played by the visual arts in Taiwan’s identity discourse. Drawing on 25 years of research, Sophie McIntyre analyses the ways in which identity narratives have been imagined, interpreted and transmitted, locally and globally, through the production, selection, display and reception of Taiwan art. This book focuses on the post-martial law era, a transformative period when democratisation gave rise to a heightened sense of Taiwanese consciousness, and a growing awareness of Taiwan’s place in the world. Artists, curators, art critics and scholars in Taiwan actively engaged in identity issues in unique, and often subversive ways. The author reveals how, with the turn of the new millennium, identity discourses in the visual arts shifted, from a Taiwan-centred narrative into a transnational vision embracing local, regional and global perspectives. Imagining Taiwan brings together primary and archival sources, and nearly 200 images, many published for the first time. It is an essential reference for specialists and students in art, curatorship, museums, and Taiwan and China studies, and it will also appeal to those seeking a greater understanding of the wider region.

Sophie McIntyre is a scholar and curator of art from the Asia-Pacific, with expertise in art from Greater China. She received her PhD from the Australian National University (2013) and has lectured and held fellowships in universities in Australia, Taiwan, China and Hong Kong. She has also curated more than 30 exhibitions, several of which featured art from Taiwan. Her texts have been widely published in books, journals, and catalogues in Australia and internationally

4A Symposium: This Is How We Do It

MELBOURNE // 3 AUGUST 2018

4A Centre for Contemporary Asian Art and the University of Melbourne invite you to join us for 4A’s 2018 symposium, This Is How We Do It: Museums and Galleries in Asia.

This Is How We Do It: Museums and Galleries in Asia brings together leading professionals from museums and galleries across wider Asia to share experiences and discuss what’s next for our region’s cultural and creative spaces. With international experts including Philip Tinari (China), director of Ullens Center for Contemporary Art, Beijing; Joselina Cruz (Philippines), director of the Museum of Contemporary Art & Design (MCAD), Manila; and Reem Fadda, independent curator (Palestine); alongside local speakers representing community, state and national institutions and organisations, this symposium seeks to generate debate and discussion around the central question of how Australia’s arts ecology can learn from and embrace new models and practices from our Asian neighbours.

A day-long symposium, this event is free to attend but RSVPs are required due to limited seating capacity and catering which will be included for all registered attendees.  Click here to register.

To download the day’s program, complete with bios, click here.

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Symposium schedule:

9.00AM– 10.00AM                             Registration 

10.00AM – 10.15AM                           Welcome

Prof. Su BAKER AM (Australia), Pro Vice-Chancellor Engagement and Director, Centre of Visual Arts (COVA), Victorian College of the Arts, University of Melbourne

Dr Mikala TAI (Australia), Director, 4A Centre for Contemporary Asian Art

10.15AM – 10.30AM                           Opening presentation

| Prof. Charles GREEN (Australia), Professor of Contemporary Art, School of Culture and Communication, University of Melbourne

Charles Green frames the day’s discussions by providing a brief contextual overview of Australia’s varied engagements and relationships with Asia within changing global contemporary art contexts.

10.30AM – 11.15AM                           Focus presentation

| Reem FADDA (Palestine), independent curator based in Ramallah, Palestine.

In August 2017, the Palestinian Museum in Ramallah opened its inaugural exhibition, Jerusalem Lives (Tahya Al Quds). Through her curatorial direction, Reem Fadda examined the city of Jerusalem as a case study that aimed to metaphorically represent globalisation and its failures and expose the challenges imposed by militarisation and occupation that Jerusalem and its people are facing. Combining a multifaceted approach that included commissioned site-specific artworks in the grounds and gardens of the Museum, alongside a program that supported civic institutions in the city that have adopted an enduring methodology of collective struggle, Reem discusses the processes by which a new museum in an old city engaged more than just art and artists in a process of mutual knowledge production as a frontier of resistance.

11.15AM – 12.30PM                           Panel 1 – Old spaces, new stories: the future of responsive institutions

| Speakers: Dr Rebecca COATES (Australia), Director, Shepparton Art Museum; Reem FADDA (Palestine); Dr Anthea GUNN (Australia), Senior Curator of Art, Australian War Memorial; Kirsten PAISLEY (Australia), Deputy Director, National Gallery of Australia.

| Moderator: Dr Mikala TAI

How do museums and galleries that have long held a central responsibility to maintain and build upon collections ensure that their priorities are responsive to changing local and global contexts? Whether it be the question of the decision-making processes behind the acquisition of artworks, the question of programming and wider cultural engagement with audiences, or the role of advocacy and education, established institutions in today’s climate are unavoidably charged with expectations of reflecting, responding and developing new curatorial strategies, new content, new audiences and new experiences. Bringing together leading gallery directors and curators with extensive experience in tackling these expectations, this panel will focus on the essential imperative of established institutions to maintain relevance.

12.30PM – 1.30PM                             Lunch break

1.30PM – 2.15PM                               Focus presentation

Joselina CRUZ (Philippines), Director, Museum of Contemporary Art & Design (MCAD), Manila

Joselina Cruz’s curatorial projects over the past decade have been defined by her commitment to developing spaces and platforms, particularly in Southeast Asia and the Philippines more specifically, a region whose cultural infrastructure has rapidly evolved while also growing its own cultural projections and methods of engagement with local and international audiences. Central to her concerns as a curator and a cultural leader is the responsibility of prompting conversations about the intertwined structures of power and influence, in art as well as politics, alongside providing opportunities for artists’ voices and platforms for cultural self-determination. Joselina will explore these subjects through a discussion on recent projects including Pacita Abad: A Million Things to Say (2018) and Apichatpong Weerasethakul: The Serenity of Madness for MCAD (2017), and The Spectre of Comparison, the Philippines Pavilion at the 57th Venice Biennale (2017), that presented artists Lani Maestro and Manuel Ocampo in an exploration of the ‘double-consciousness’ of colonial experiences and legacies.

Presentation supported by Artspace, Sydney.

2.15PM – 3.30PM                               Panel 2 – Expanded and expansive: curatorial approaches that push the boundaries of the institution

| Speakers: Joselina CRUZ (Philippines); Reuben KEEHAN (Australia), Curator Asian Art, Queensland Art Gallery | Gallery of Modern Art (QAGOMA); Natalie KING (Australia), independent curator and Enterprise Professor, Victorian College of Arts; Dr Sophie McINTYRE (Australia), independent curator and Lecturer, Faculty of Creative Industries, Queensland University of Technology.

| Moderator: Dr. Olivier KRISCHER (Australia), Deputy Director, China Studies Centre, University of Sydney.

Institutions, by their inherent organisational nature, have a marked tendency to institutionalise the production of knowledge. This can, and often does, have the unintended effect of creating barriers for engagement and participation by the communities they purport to serve and reflect. Often criticised as ‘gate-keepers’, whether deserving and substantiated or not, an increasing number of museums and galleries have responded to this perception by introducing independent voices within their curatorial programs. Offering insights based on the diverse and extensive experiences and accomplishments of working in Asia, the panelists will address the challenges at play when institutions seek to break down boundaries between artists, communities and cultures more broadly, as well as identify successful examples of collaboration and representation within expanded modes of cultural engagement.

4.00PM – 4.50PM                               In conversation

| Speakers: Philip TINARI and Lisa HAVILAH (Australia), Director, Carriageworks, Sydney, Australia.

Join one the world’s leading experts in contemporary Chinese art as Phil Tinari sits down with Lisa Havilah for a conversation that will encompass such topics as the exponential growth of international engagement with Chinese art and culture; the effect of rising art market value of contemporary Chinese art upon the emergence of a new generation of artists; the fear of censorship and questions of artistic and institutional independence; and China’s strategic investment in soft power through cultural infrastructure and its promotion.

Session co-presented with Melbourne Art Week. 

4.45 PM – 5.00PM                              Questions from the audience and concluding remarks

Speaker: Dr Mikala TAI

 

This Is How We Do It: Museums and Galleries in Asia is co-presented by 4A Centre for Contemporary Asian Art and The University of Melbourne. Additional support thanks to our partners at Artspace Sydney, and Melbourne Art Week. 

Keynote: Philip Tinari

MELBOURNE // 31 JULY 2018

4A Centre for Contemporary Asian Art is pleased to partner with Melbourne Art Fair and University of Melbourne, with support from Federation Square, to present Philip Tinari as the keynote speaker at Melbourne Art Fair.

Prior to joining UCCA, Tinari launched LEAP, an internationally distributed, bilingual magazine of contemporary art published by the Modern Media Group, in 2009. He is a contributing editor of Artforum, and was founding editor of that magazine’s Chinese edition in 2007. Widely regarded as an authority on China’s contemporary art scene, he was co-curator, with Alexandra Munroe and Hou Hanru, of the 2017 exhibition “Art and China after 1989: Theater of the World” at the Solomon R. Guggenheim Museum in New York.

For more information on 4A’s symposium and extended talks program, please see: http://www.4a.com.au/thisishowwedoit/

Congee Breakfast Tour with artist Jason Phu

SYDNEY // 15 JULY 2018

Join artist Jason Phu in a special artist led tour of The Burrangong Affray and the Haymarket area. The exhibition tour includes a visit to a nearby Buddhist Craft and Joss Stick store, where Jason will unpack the significance of this craft as it relates to exhibition, followed by a traditional Taiwanese congee breakfast.

Please wear comfortable walking shoes. Spaces limited (15pax).

Workshop: Wild stories: the heroes and villain in our gardens

SYDNEY // JULY 2018

A 4A workshop at the Chinese Garden of Friendship with Diego Bonetto

This hands-on learning experience led by food adventurer Diego Bonetto invites children to go on adventure through the Garden’s plants and stories, Explore the gardens and learn about the history of these special plants before creating a crafty story using vegetables and plants. This workshop is presented by 4A Centre for Contemporary Asian Art in partnership with the Chinese Garden of Friendship for the July 2018 school holidays program.

For participants aged between 5-10 years, accompanied by a responsible adult. All materials provided.

Wild stories: the heroes and villains in our gardens is produced by 4A Centre for Contemporary Asian Art in partnership Diego Bonetto and the Chinese Garden of Friendship for the July 2018 school holidays program.

Artist Biography:

Diego Bonetto is a wild food advocate based in Sydney, most famous for his offering of urban foraging workshops. Building on the knowledge acquired while growing up on a farm in Italy, Diego introduces people to the ever-present food and medicine plants that surround us. He collaborates extensively with chefs, herbalists, environmentalists and cultural workers promoting new understanding of what the environment has to offer. He works to enable convivial conversations around belonging, sustainability and agency. In other words he offers an alternative for people to re-engage with their neighbourhoods, streets and footpaths through edible adventures.

Workshop: Tracing Shadows: Paper Cutting Workshop with Tianli Zu 

SYDNEY // JULY 2018

A 4A workshop at the Chinese Garden of Friendship

The Chinese Garden of Friendship is filled with shadows. Children are invited to join leading Chinese-Australian artist Tianli Zu to try their hand at the traditional Chinese art of paper cutting. Whether you spend ten minutes or an hour with her you will be able to create a work that mimics the shadows of the gardens.

For participants aged between 5-10 years, accompanied by a responsible adult. All materials provided, drop in session, no bookings required.

Tracing Shadows: Paper Cutting Workshop is produced by 4A Centre for Contemporary Asian Art in partnership with Tianli Zu and the Chinese Garden of Friendship for the July 2018 school holidays program.

 

Workshop: Sketching Skills 101

SYDNEY // JULY 2018

A 4A workshop at the Chinese Garden of Friendship with Kristone Capistrano

The Chinese Garden of Friendship is filled with flowers, trees and hidden animals. Join Sydney-based artist Kristone Capistrano and try to capture them on paper. Drop into the gardens between 11-1pm to learn the basics of sketching with a leading local artist. Have fun developing your observational drawing skills whilst exploring a variety of drawing techniques, including cross-hatching, stippling and positive/negative space. You will also have the chance to draw one of your sketches onto a glossy ceramic tile, ready to display at home! Whether you stay for 15 minutes or the full two hours Kristone will help you sketch your favourite part of the garden to take home

For participants aged between 5-10 years, accompanied by a responsible adult. All materials provided, drop in session, no bookings required.

Sketching Skills 101 is produced by 4A Centre for Contemporary Asian Art in partnership with Kristone Capistrano and the Chinese Garden of Friendship for the July 2018 school holidays program.

 

Artist Biography:

Kristone Capistrano is a Philippine-born Sydney based emerging artist working in contemporary drawing and portraiture. In 2017 whilst still completing his Honours year in Fine Arts, Kristone was awarded the first prize for the Royal South Australian Portrait Biennale, Commended prize for the Lloyd Rees Youth Award, and both the Local Artist and People’s Choice awards for the Blacktown Art Prize. Kristone has participated in multiple group exhibitions in Australia including exhibitions held at the Blacktown Arts Centre, Campbelltown Arts Centre and Muswellbrook Regional Art Gallery. He is currently preparing for his forthcoming solo exhibitions at Crowther Contemporary in Melbourne and Tong Lau Space in Hong Kong. His works are included in the Blacktown City Art Collection, as well as in numerous private collections in Sydney, Perth, Adelaide and Manila. Kristone is also a qualified English and Visual Arts teacher with extensive experience in teaching both Primary and Secondary education.

SNACKCHAT: Bankstown Poetry Slam

SYDNEY // Thursday May 17 2018 // 6.30-8.00PM (Bar opens from 6pm)

Bankstown Poetry Slam, recognised widely as the largest regular poetry slam in Australia, brings to 4A Centre for Contemporary Asian Art a BPS style slam in the heart of Sydney. As one of the final programs in the SNACKCHAT series presented for the Biennale of Sydney join us for a snacks, drinks and slam. With 5 randomly chosen members of the audience judging the performances, the poets will have the stage and 3 minutes to win the crowd over with their clever wordsmithery. The evening will also feature a guest poet, stay tuned for details.

RSVP now.

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SNACKCHAT is a new series of events by 4A Centre for Contemporary Asian Art, creating conversations about Sydney’s diverse cultural fabric over shared snacks from different community groups.

Please Explain: Australia’s fear of multilingualism

SYDNEY // Thursday 7 June 2018 // 6-8PM
4A Centre for Contemporary Asian Art
4A’s series Please Explain invites presenters to rethink, recharge and reimagine contemporary issues through the arts and academia. Responding to Akira Tayakama’s Our Songs – Sydney Kabuki Project presented at 4A as part of the Biennale of Sydney this edition of Please Explain is curated by Dr Elly Kent.
Australia seems to be quite happily multicultural but very comfortable being mono-lingual. Despite being a country of hundreds of languages our education system remains steadfastly focused on cursary study of languages that is not interwoven throughout primary and tertiary education. As a result we remain a nation that fails to celebrate our cultures through language and we fail to prepare our next generations to be global citizens. Where do we go from here?
Join 4A Centre for Contemporary Asian Art for a robust debate.
Speakers: poet/writer Lorna Munro;  Kevin Ngo, poet and Bankstown Poetry Slam organiser; Jane Stratton of LOST IN BOOKS, and linguist Asefeh Zeinalabedini.
Moderator: Dr Elly Kent
Want to bone up on the conversation before the night? Please see our recommended reading here.
Missed the event? Listen to the audio recording below:

*Image courtesy of the Biennale of Sydney. Document Photography.

Professional Development Information Night: Beijing Studio Program and 4A Curators’ Intensive

Sydney // Monday 30 April 2018 // 6.00-7.00PM
4A Centre for Contemporary Asian Art

Join our Program Information Night to meet with 4A staff to learn more about the 4A Beijing Studio Program, and/or 4A Curators’ Intensive. The evening will consist of a short presentation on what to expect from each program and information about the application process. Staff will be happy to answer any questions you may have.

RSVP now.

If you’re not based in Sydney or can’t make it to the session, join in on Facebook Live from 6PM AEST here.


About the opportunities:

The 4A Curators’ Intensive is an initiative developed by 4A Centre for Contemporary Asian Art to encourage professional advancement amongst early career Australian cultural practitioners with an interest in curatorial practice. In 2018, the Curators’ Intensive, will take place in Melbourne between Tuesday 31 July – Saturday 4 August.

Now in its seventh consecutive year, the 4A Beijing Studio Program is a unique initiative that sees three Australian artists embark on a month-long residency in September at the studios of internationally renowned Chinese-Australian artist Shen Shaomin. This experience provides a unique opportunity for artists to be mentored by a leading international artist, undertake research for new works, develop professional networks and witness first-hand the changes occurring in one of the world’s most vibrant capitals. The program covers airfares, accommodation, daily meals, travel insurance and a small stipend.

For more information on our professional development opportunities.

SNACK CHAT with Chun Yin Rainbow Chan with participants from Akira Takayama’s ​Our Songs – Sydney Kabuki Project

SYDNEY // Thursday 5 April // 6.00PM – 7.00PM

Be part of 4A Centre for Contemporary Asian Art’s Biennale of Sydney program SNACKCHAT . Partake in a conversation about the cultural fabric of Sydney with participant’s from Akira Takayama’s video work Our Songs – Sydney Kabuki Theatre while enjoying some snacks from Hong Kong.

For this edition of SNACKCHAT Chun Yin Rainbow Chan and her mother Irene Chan reperform their songs from Akira Takayama’s Our Songs – Sydney Kabuki Theatre and step you through a history of their family in Hong Kong. Accompanied by a visual presentation this is a SNACKCHAT not to miss!

This event is presented in collaboration with the 21st Biennale of Sydney.

Chun Yin Rainbow Chan, pictured with her mum Irene Chan. Photo: 4A Centre for Contemporary Asian Art
Chun Yin Rainbow Chan, pictured with her mum Irene Chan. Photo: 4A Centre for Contemporary Asian Art

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SNACKCHAT is a new series of events by 4A Centre for Contemporary Asian Art, creating conversations about Sydney’s diverse cultural fabric over shared snacks from different community groups.

Image: Akira Takayama, Our Songs – Sydney Kabuki Theatre, 2018. Courtesy the artist and the Biennale of Sydney.

Community Offering: The Burrangong Affray

YOUNG, NSW. 21 April. From 10am

On April 21, 4A Centre for Contemporary Asian Art led a community event with Australian-Chinese artists Jason Phu and John Young Zerunge in response the to events of The Burrangong Affray, including the Lambing Flat Riots, 1860 -1861.

We invited the community of Young and the surrounding areas to join the artists as they create a tribute at Chinese Cemetery, Murrumburrah and Blackguard Gully, Young. At each site the artists will lead us in a ceremony of incense burning, offerings and ceremonial gestures to welcome good luck and banish the bad spirits of the past.

Community members joined the artists as they pay tribute to these sites and these historic events.

This event forms part The Burrangong Affray: Jason Phu & John Young Zerunge exhibition.

Images below capture part of the day’s performance processes and events. All images: 4A Centre for Contemporary Asian Art:

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Top image: Currawong Farm. Photo: Jason Phu.

SNACK CHAT with the Parents’ Cafe: with participants from Akira Takayama’s ​Our Songs – Sydney Kabuki Project

SYDNEY // Wednesday 14 March // 6.30PM – 8.00PM

Be part of the first SNACKCHAT  – and partake in a conversation about the cultural fabric of Sydney with participant’s from Akira Takayama’s video work Our Songs – Sydney Kabuki Theatre while enjoying some snacks from Fairfield’s Parents’ Cafe.

This event is presented in collaboration with the 21st Biennale of Sydney.

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SNACKCHAT is a new series of events by 4A Centre for Contemporary Asian Art, creating conversations about Sydney’s diverse cultural fabric over shared snacks from different community groups.

 

Image: Akira Takayama, Our Songs – Sydney Kabuki Theatre, 2018. Courtesy the artist and the Biennale of Sydney.

4A x Para Site at Melbourne Art Book Fair

Friday 16 – Sunday 18 March, 2018
Melbourne Art Book Fair
National Gallery of Victoria

Since its launch in 2015, the annual Melbourne Art Book Fair has attracted more than 50,000 visitors making it the most visited publishing event in the Asia-Pacific region.

The fourth Melbourne Art Book Fair in 2018 will bring together international and local publishers and practitioners in a weekend of free talks, book launches, performances, and stalls featuring art, design, architecture and photography publications from around the world.

Opening Hours
Friday 16 March: 10am – 5pm and 6 – 9pm
Saturday 17 and Sunday 18 March: 10am – 5pm

Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society.

4A Centre for Contemporary Asian Art (4A) is an independent not-for-profit organisation based in Sydney, Australia. 4A fosters excellence and innovation in contemporary culture through the commissioning, presentation, documentation and research of contemporary art. Our program is presented throughout Australia and Asia , where we ensure that contemporary art plays a central role in understanding and developing the dynamic relationship between Australia and the wider Asian region.

Lantern Decorating and Music Family Workshops – Sydney Chinese New Year Festival at the Chinese Garden of Friendship

SYDNEY – 24 FEBRUARY, 3 MARCH 2018 CHINESE GARDEN OF FRIENDSHIP

 

Lantern Decorating Workshop

In 2018, Sydney’s 4A Centre for Contemporary Asian Art invites you to join us in celebrating Chinese New Year at our family-friendly workshops in the Chinese Garden of Friendship on Saturday 24th February and Saturday 3rd March 2018.

Located within Darling Harbour, the workshops will take place in the serene hidden oasis of the Chinese Garden of Friendship, allowing participants to experience and appreciate the traditional Chinese landscapes and philosophy of the garden.

For just a gold coin donation, families can participate in the creation and decoration of paper lanterns with activities designed to cater to a wide age range. Participants are also invited to create origami dogs to celebrate the Year of the Dog.

4A will provide all materials for construction, as well as guided instruction.

The lantern workshops continue the commitment of the 4A Centre for Contemporary Asian Art to the City of Sydney’s Chinese New Year celebration, with the goal of developing creativity and public engagement with Sydney’s Chinatown community and culture.

Music Workshop/Performance: Rainbow Chan’s Weitou Lullaby
 
On Saturday24th February, join artist and musician Chun Yin Rainbow Chan – and her mum – at the Chinese Garden of Friendship to learn a lullaby in Weitou.
Weitou dialect is a Yue Chinese language that is spoken mainly by older generations in Shenzen and Hong Kong’s New Territories. Rainbow, who grew up between Hong Kong and Australia, is on a journey to learn her family’s local dialect through song. In this session, Rainbow will talk about her experience of reconnecting with language and place through song, give a performance, and then teach participants a simple lullaby in Weitou. Rainbow will be joined and assisted by her mum in this session and families are encouraged to join us and sing along together.
4a-rainbow-may-16

About Chun Yin Rainbow Chan:

Chun Yin Rainbow Chan is a multidisciplinary artist who works across sound, performance and installation. Born in Hong Kong and raised in Sydney, she is interested in duality, diaspora and the effects of globalisation on modern Chinese society. Tying together her works across installation and pop music is the relationship between nostalgia, migration and identity. Since winning FBi Radio’s Northern Lights Competition in 2011, Chan has been building a reputation as one of the most innovative artists in Australia with her highly personal, experimental pop music. She recently released her debut album Spacings (Silo Arts & Records) which was met with critical acclaim, handpicked as the feature album on FBi Radio, Radio Adelaide, RTRFM and scoring 4 stars from Rolling Stone.

 

 

Breakfast with a Botanist

SYDNEY. SATURDAY 11 NOV 11AM – 12.30PM

As part of our Not Niwe, Not Nieuw, Not Neu exhibition program, join botanist David Mabberley and exhibition curator Micheal Do as they delve into the world of botanicals and art over breakfast in the heart of bustling Chinatown.

About David Mabberley
Professor David J. Mabberley AM is a British-born, Australian educator and author. He was consecutively Director of the University of Washington Botanic Gardens (Seattle, USA), Keeper of the Herbarium, Library, Art and Archives at the Royal Botanic Gardens Kew (United Kingdom) and Executive Director of the Royal Botanic Gardens, Sydney. He is now an Emeritus Fellow, Wadham College, University of Oxford (United Kingdom), Professor Extraordinary, University of Leiden (The Netherlands) and Adjunct Professor, Macquarie University, Sydney. Among his varied academic interests are the taxonomy of tropical trees, notably citrus, and the history of science and botanical art. Internationally he is perhaps best known as author of the award-winning Mabberley’s plant-book: a portable dictionary of plants, their classification and uses, now in its fourth edition (2017). Of his six books on botanical art, Joseph Banks; Florilegium (Thames & Hudson) and Painting by Numbers: the life and art of Ferdinand Bauer (NewSouth) are also published this year.

Image courtesy The Department of Plant Sciences, University of Oxford.

Please Explain: The artist and flower: Responding to Banks and Botanicals

SYDNEY. WEDNESDAY 15 NOV 6 – 8PM.

As part of our Please Explain talks series, join Not Niwe, Not Nieuw, Not Neu exhibition artist James Tylor and expert historians and botanists in a discussion of the work of Sir Joseph Banks and how artists are working to respond with and against this colonial science, history and legacy.

Speakers’ Biographies: 

Ann Elias

Ann Elias is Associate Professor in Art History at the University of Sydney. Research interests include: camouflage as a military, social and aesthetic phenomenon; flowers and their cultural history; coral reef imagery of the underwater realm. Books include Camouflage Australia: art, nature, science and war (2011), Useless Beauty: flowers and Australian art (2015), and Coral Empire (in preparation for Duke University Press) about photographic and cinematic representations of the underwater at the colonial tropics in the early twentieth century. She is a Key Researcher with the Sydney Environment Institute, a serving member of the International Committee of the College Art Association of America, and International Liaison for the Art Association of Australia and New Zealand.

David Mabberley

Professor David J. Mabberley AM is a British-born, Australian educator and author. He was consecutively Director of the University of Washington Botanic Gardens (Seattle, USA), Keeper of the Herbarium, Library, Art and Archives at the Royal Botanic Gardens Kew (United Kingdom) and Executive Director of the Royal Botanic Gardens, Sydney. He is now an Emeritus Fellow, Wadham College, University of Oxford (United Kingdom), Professor Extraordinary, University of Leiden (The Netherlands) and Adjunct Professor, Macquarie University, Sydney. Among his varied academic interests are the taxonomy of tropical trees, notably citrus, and the history of science and botanical art. Internationally he is perhaps best known as author of the award-winning Mabberley’s plant-book: a portable dictionary of plants,their classification and uses, now in its fourth edition (2017). Of his six books on botanical art, Joseph Banks; Florilegium (Thames & Hudson) and Painting by Numbers: the life and art of Ferdinand Bauer (NewSouth) are also published this year.

Richard Neville

Richard Neville is the Mitchell Librarian and Director of Education & Scholarship at the State Library of NSW. With a research background and acknowledged expertise in nineteenth Australian art and culture, he has published widely on colonial art and society, and curated numerous exhibitions focusing on these areas. He has also been extensively involved in the acquisition, arrangement, description and promotion of the Library’s renowned Australian research collections.

James Tylor

James’ artistic practice examines concepts around cultural identity in Australian contemporary society and social history. He explores Australian cultural representations through his multi-cultural heritage, which comprises Nunga (Kaurna), Māori (Te Arawa) and European (English, Scottish, Irish, Dutch, Iberian and Norwegian) Australian ancestry. James’ work focuses largely on the 19th century history of Australia and its continual effect on present day issues surrounding cultural identity in Australia.

About Please Explain:

4A’s new series Please Explain invites presenters to rethink, recharge and reimagine contemporary issues through the arts and academia.

Image credit: Sir Joseph Banks, Florilegium: Plate 63 (detail), 1980 – 1990, copperplate engraving. Image courtesy Angela Tandoori, Melbourne.

Political Practice: Independent spaces and projects in the Asia Pacific

SYDNEY — THURSDAY 23 NOVEMBER 2017 — 6.15PM

Join 4A for an evening discussion moderated by Kelly Doley.

This panel will focus on the role of independent grassroots spaces and projects in the Asia Pacific working together to support experimentation, political and critical practices and forge responsive conversations that larger institutions may not be able to provide. International panelists Anna Eschbach and Antonie Angerer discuss the complexities and successes of running one of Beijing’s first independent spaces alongside 4A’s Director Mikala Tai and Jeff Khan, the artistic director of Performance Space. Pondering questions of cross platform partnerships, transnational programming, methodologies for supporting experimental artistic practice and ideas of feminist performance practice this discussion will be robust and dynamic.

This event will be Auslan interpreted thanks to support from the Australia Council for the Arts. 

 

Speakers:

Kelly Doley, independent artist and curator (Feminist South project)

Anna Eschbach and Antonie Angerer, Directors of i:project space, Beijing China

Jeff Khan, Artistic Director, Performance Space and curator of Liveworks Festival

Mikala Tai, Director, 4A Centre for Contemporary Asian Art.

4A Night Walk

SYDNEY — THURSDAY 1 FEBRUARY 2018 — 6.00PM

Experience China town’s food culture and public art under the the evening glow of its neon lights.

As part of the City of Sydney’s Sydney Chinese New Year Festival celebrations, 4A will lead a evening tour of Sydney’s China town that includes a brief history of its public art and magnetic regional cuisine.

The tour will also include a private tour of 4A’s exhibition, ‘Equal Area‘.

Image courtesy Lukezemephotography, Flickr. Image used under a Creative Commons License. 

Congee Breakfast Tour – Lee Kun-Yong: Equal Area

SYDNEY — SATURDAY 17 FEBRUARY — 10.00AM – 12:00PM

Join the 4A team on a morning tour of the heart of Sydney’s Chinatown, it’s art and magnetic regional cuisine.

As part of Lunar New Year celebrations, 4A will lead a morning tour of Sydney’s Chinatown that includes it’s public art and it’s magnetic regional cuisine.

The tour will include a private tour of 4A’s exhibition, ‘Equal Area‘ and culminate with a traditional Taiwanese congee breakfast.

4A x Para Site at VOLUME 2017 | Another Art Book Fair

Friday 13 – Sunday 15 October, 2017
VOLUME 2017 | Another Art Book Fair
Artspace

Artspace, in partnership with Printed Matter, Inc., New York and Perimeter Books, Melbourne, presents VOLUME 2017 | Another Art Book Fair. The second edition of this biennial event will take place from 13 – 15 October at Artspace.

Artspace will welcome 4A Centre for Contemporary Asian Art x Para Site, alongside over 70 fellow exhibitors from across Australia and the world, including Amsterdam, Hong Kong, South Korea, Colombia, France and the United States. In addition to an international line up of publishers, artists, collectives, galleries and distributors, there will be a free program of talks, artist-led workshops, book launches, readings and performances.

Fair Dates & Hours
Friday 13 October | Doors Open 3pm; Launch 6 – 9pm
Saturday 14 & Sunday 15 October | 11am – 6pm

Para Site is Hong Kong’s leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society.

4A Centre for Contemporary Asian Art (4A) is an independent not-for-profit organisation based in Sydney, Australia. 4A fosters excellence and innovation in contemporary culture through the commissioning, presentation, documentation and research of contemporary art. Our program is presented throughout Australia and Asia , where we ensure that contemporary art plays a central role in understanding and developing the dynamic relationship between Australia and the wider Asian region.

Feminist South September Reading Group

  • 6.00PM – 7.00PM, Thursday 28 September 2017
  • ‘Feminism is a Western Concept: a reading group’
  • 4A Centre for Contemporary Asian Art
  • 181-187 Hay St, Haymarket NSW

In partnership with Feminist South, 4A is pleased to host the monthly Feminist South reading group on the last Thursday of the month. This reading group is Phase 1 of the Feminist South research and curatorial project led by Kelly Doley and i:project space, Beijing.

Feminist South is a curatorial project and research platform spanning across 2017-2019 that aims to generate critical dialogue around contemporary feminist performance practice in the context of the Asia Pacific.

Rather than attempting to fit Western feminist theories and movements onto the multiplicities that make up practice in the Asia Pacific, the project seeks to create its own terms of reference in order to decentre and disrupt the conventional understandings of feminist art and create new narratives for practices that are located in the here and now.

All welcome, please join the discussion. Email kellydoley@gmail.com to join the Feminist South mailing list and RSVP.

 

Readings for September:

Lo, Jacqueline. “Australia’s Other Asia in the Asian Century.” In Contemporary Asian Art and Exhibitions: Connectivities and World-making, by Antoinette Michelle and Turner Caroline, 219-32. ANU Press, 2014.
http://www.jstor.org/stable/j.ctt13wwv81.15?refreqid=excelsior%3Ad6002aceba5aed334054e299781ab4f4&seq=3#page_scan_tab_contents

Erickson, Britta. ‘The Rise of a Feminist Spirit in Contemporary Chinese Art’, Art AsiaPacific, Issue 31, 2001, 65–71

https://library.artasiapacific.com/articles/1956

NIGHT CAP WITH HAHAN X 4A: VVVVVVVVVIP PARTY FOR EVERYONE

FRIDAY 8 SEPTEMBER
9:00 PM – 12:00 AM

Sydney Contemporary ticket holders
Location: The Old Clare Hotel, Chippendale

Where you will you will party like a VIP

Step through the velvet ropes and into the Old Clare

At this party hosted by international speculative superstar Uji Handoko Eko Saputro aka Hahan, you’ll be showered in gold, mix with the glitterati, and drink only the finest.

Secret password required.

 

Speculative Entertainment No.1 Sydney Edition has been co-commissioned by 4A Centre for Contemporary Asian Art and Project 11. 4A would like to thank Project 11 for their generous support of this project.

PROJECT11LOGO

Congee Breakfast Tour – I don’t want to be there when it happens

SYDNEY – 7 OCTOBER – 10.30AM – 12.30PM

Join 4A Assistant Curator Micheal Do for a tour of I don’t want to be there when it happens, followed by a congee breakfast.

I don’t want to be there when it happens brings together artists who explore the psychology of contemporary trauma. Recent works by Raj Kumar, Sonia Leber & David Chesworth and Adeela Suleman all confront the larger socio-political realities of Pakistan in the era of contemporary warfare. Through video and installation, the artists address the experience of the individual in the midst of a continuous state of war. By scanning the landscape with nonsensical logic, futilely seeking to document destruction, and questioning the appropriation of religion, the artworks in the exhibition avoid resolution and closure. Instead, they highlight the individual’s inability to comprehend the expansive uncertainty of combat, and the impossibilities of representing the trauma of conflict.

Please Explain: Fear of small numbers and the geography of anger

SYDNEY
Tue 19 September 2017
6-8PM
4A Centre for Contemporary Asian Art
Free
Moderator: Associate Professor Phillip GEORGE
Speakers: Abdul Rahman ABDULLAH, Mehwish IQBAL, Khaled SABSABI and Nur SHEKEMBI.

 Join 4A for the first event in 4A’s new series Please Explain that invite presenters to rethink, recharge and reimagine contemporary issues through the arts and academia. In the inaugural series, co-curated by Nur Shkembi and Mikala Tai, the Australian Muslim experience is front and centre with thought provoking discussions on feminism, fantasy, politics and racism and features members of the collective Eleven.

The first panel, Please Explain: Fear of small numbers and the geography of anger, brings together artists Abdul Rahman Abdullah, Khaled Sabsabi and Mehwish Iqbal with academics and curators Nur Shkembi and Associate Professor Philip George. Taking cues from Arjun Appadurai’s Fear of Small Numbers. An Essay on the Geography of Anger, artistic practice and academic work are considered in light of the questions Appadurai raises about the darker side of globalisation and multiculturalism.

Feminist South July Reading Group

  • 5.30PM – 6.30PM, Thursday 27 July 2017
  • ‘Feminism is a Western Concept: a reading group’
  • 4A Centre for Contemporary Asian Art
  • 181-187 Hay St, Haymarket NSW

In partnership with Feminist South, 4A is pleased to host the monthly Feminist South reading group on the last Thursday of the month. This reading group is Phase 1 of the Feminist South research and curatorial project led by Kelly Doley and i:project space, Beijing.

Feminist South is a curatorial project and research platform spanning across 2017-2019 that aims to generate critical dialogue around contemporary feminist performance practice in the context of the Asia Pacific.

Rather than attempting to fit Western feminist theories and movements onto the multiplicities that make up practice in the Asia Pacific, the project seeks to create its own terms of reference in order to decentre and disrupt the conventional understandings of feminist art and create new narratives for practices that are located in the here and now.

All welcome, please join the discussion. Email kellydoley@gmail.com to join the Feminist South mailing list and RSVP.

The Feminist South reading for July is:

  • Article complicating the narrative that contemporary art was bestowed upon China by the West: Carol Yinghua Lu, ‘Accidental Conceptualism’, eflux Journal #01 – December 2008

http://www.e-flux.com/journal/70/60556/from-the-anxiety-of-participation-to-the-process-of-de-internationalization/

  • Wu Tsang discussing working in Asia as a queer trans identified artist and the use of ‘Western’ terms: ‘Wu Tsang A Life in Process’, Leap Magazine, No. 38 19 May 2016 by Stephanie Bailey

http://www.leapleapleap.com/2016/05/wu-tsang-a-life-in-process/

  • Bringing it back to the Australian context: ‘Does feminism speak for all women?’, Lia Incognita, 23 July 2013, Peril Asian Australian Arts and Culture

http://peril.com.au/topics/politics/does-feminism-speak-for-all-women/

Speculative Entertainment No.1 Sydney Edition

Presented as part of Sydney Contemporary – 7 – 10 September 2017 

Is there something truly universal nowadays, when human conception about value has been influenced by many factors and layered dimensions? What is more valuable when all of this factors and dimensions are detached? The answer then refers to “time”. Hahan observes that human’s process, actions, opportunities, predictions, and hopes cannot be separated from time.

Join 4A Centre for Contemporary Asian Art and Hahan at Sydney Contemporary 2017 for your chance to become part of an experimental art market in Speculative Entertainment No. 1 Sydney Edition.

Speculative Entertainment No.1” is an ongoing project that developed from Hahan’s experiments about time and privilege, as well as an interest to experiment with the art market and use it as medium. This work is intended to hack the art market, and particularly to hack the artwork collecting system which usually limited. This work was initially exhibited during ARTJOG 9 (2016), an annual artist-based art fair in Yogyakarta, and has also been presented in conjunction with 4A Centre for Contemporary Asian art at Art Central Hong Kong (2017).

This work consists of a 7.5 m x 2.6 m painting which is divided into 1,619 square lots. Each lot is sized 10 cm square and the price for each lot is twice the entrance fee of the art fair. During the exhibition period at scheduled time, the audience can become “collectors” with the same opportunities, hopes, privileges, and speculations by choosing any lot they want at the venue. The audience members who purchase the lot(s) are encouraged to speculate by re-selling it according to their own speculative price and Hahan, as the artist, will charge 10% commission from the selling.

 

About the artist:

Uji Handoko Eko Saputro aka Hahan (1983, Kebumen, Indonesia) lives and works in Jogjakarta, Indonesia. Hahan’s art making is concerned with the tussle between ‘high art’ and ‘low art’, blurring realism with decoration. Hahan incorporates film, music and street culture into a distinct visual language, creating a sense of movement and spontaneity in what can be described as a topsy-turvy reality steeped in satirical humor. In recent years, he attempts to display an art with the concept that emphasises the interaction with the visitors and relate it with the development of art in global as well as its society. He also one of the founders of Ace House Collective, a young artists’ collective and initiative space based in Yogyakarta which trying to capture the culture of Indonesian contemporary society through multidiscipline work process, collaboration, and research.His works have been collected by several art museum including Queensland Art Gallery of Modern Art (QAGOMA) Brisbane, Australia and National Gallery of Victoria (NGV) Melbourne, Australia.

 

Speculative Entertainment No.1 Sydney Edition has been co-commissioned by 4A Centre for Contemporary Asian Art and Project 11. 4A would like to thank Project 11 for their generous support of this project.

PROJECT11LOGO

 

Documentation:

 

4a17_scaf_hahan_03

Uji Handoko Eko Saputro aka Hahan, Speculative Entertainment No.1 Sydney Edition (performance documentation), Sydney
Contemporary Art Fair 2017, Carriageworks, Sydney.

 

4a17_scaf_hahan_06

Uji Handoko Eko Saputro aka Hahan, Speculative Entertainment No.1 Sydney Edition (performance documentation), Sydney
Contemporary Art Fair 2017, Carriageworks, Sydney.

 

4a17_scaf_hahan_15

Uji Handoko Eko Saputro aka Hahan, Speculative Entertainment No.1 Sydney Edition (performance documentation), Sydney
Contemporary Art Fair 2017, Carriageworks, Sydney.

 

4a17_scaf_hahan_20

Uji Handoko Eko Saputro aka Hahan, Speculative Entertainment No.1 Sydney Edition (performance documentation), Sydney
Contemporary Art Fair 2017, Carriageworks, Sydney.

 

4a17_scaf_hahan_17

Uji Handoko Eko Saputro aka Hahan, Speculative Entertainment No.1 Sydney Edition (performance documentation), Sydney
Contemporary Art Fair 2017, Carriageworks, Sydney.

 

4a17_scaf_hahan_21

Uji Handoko Eko Saputro aka Hahan, Speculative Entertainment No.1 Sydney Edition (performance documentation), Sydney
Contemporary Art Fair 2017, Carriageworks, Sydney.

 

Symposium – When South is North: contemporary art and culture in South Asia and Australia

SYDNEY. 16 AUG 2017.

 

4A Centre for Contemporary Asian Art, in association with the Institute for Culture and Society at Western Sydney University, presents:

When South is North:  contemporary art and culture in South Asia and Australia

Wednesday 16th August, 2017

1 PSQ (1 Parramatta Square), Western Sydney University
169 Macquarie Street,
Parramatta City

Free, registrations required.

 

4A Centre for Contemporary Asian Art and the Institute for Culture and Society at Western Sydney University invite you to join us for 4A’s 2017 symposium, When South is North: contemporary art and culture in South Asia and Australia.

With local and international speakers drawn from all over South Asia, this symposium is led by artists, cultural commentators, scholars and grass-roots workers who understand the real issues which affect art and culture from the region.  With keynote presentations from artists Adeela Suleman (Pakistan) and Reena Kallat (India) and curator and Director Vidya Shivadas (India)– plus a wide range of Australian-based artists, academics, politicians, community workers and more – When South is North aims to build dialogue around South Asia and Australia in a contemporary arts context.

The focus of the day will be on question-making, debate and discussion – focusing on the hows and whys within the region’s contemporary art and cultural landscapes.

 

A day-long symposium, this event is free to attend, but RSVPs are required as catering will be included for all registered attendees.

 

When South is North – Symposium Schedule:


9.00 – 10.00    Registration 


10.00 – 10.15  Welcome

| Prof. Paul JAMES, Western Sydney University, Director, Institute of Society and Culture

| Dr. Mikala TAI, Director of 4A Centre for Contemporary Asian Art


10.00 – 10.30  Opening Presentation

 | Speaker: Associate Professor Devleena GHOSH

| Associate Professor Devleena Ghosh of the University of Technology, Sydney, sets the tone for the day, discussing her fields of research in colonial, postcolonial, environmental and global studies, specifically in the Indian Ocean region.


10.30AM – 11.30AM Focus Presentation

 | Speaker: Reena KALLAT (India)

Session supported by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

| Reena Kallat’s practice spans drawing, photography, sculpture and video and engages diverse materials, imbued with conceptual underpinnings. She has widely exhibited at institutions across the world such as Museum of Modern Art (MOMA), New York; Mori Art Museum, Tokyo; Vancouver Art Gallery; Saatchi Gallery, London;  Helsinki City Art Museum, Finland; National Museum of Contemporary Art, Seoul; Casa Asia, Madrid and Barcelona; Campbelltown Arts Centre, Sydney;  Museum of Contemporary Art, Shanghai;  amongst many others.  Here, Kallat discusses her practice and experiences of working across cultural boundaries.


11.30AM – 1.00PM Panel 1 – Art in, of, from, South Asia? Artists working across cultures and geographies.

 | Moderator: Pedro DE ALMEIDA

| Speakers: Reena KALLAT (India), Ramesh Mario NITHIYENDRAN, Nusra Latif QURESHI, Adeela SULEMAN (Pakistan) and Abdullah M.I SYED

Session supported by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

| The politics and geography of South Asia are neither neutral or exact. Artists from this region continue to undergo post-colonial cultural and political processes of national building, whereby issues of freedom of speech, national identity-making and economic forces continue to revise and re-invent art making practices and art historical study. Drawing together artists from across Australia and South Asia, this panel discusses artists’ experiences working within and outside South Asian contexts in contemporary art.


1.00PM – 2.30PM Lunch Break/Networking/Parramatta Artist Studios Visit

Thanks to the generous support of the Institute for Culture and Society at Western Sydney, lunch will be provided for all registered attendees from 1PM. From 1.30PM, attendees are invited to attend our optional Parramatta Artists Studios tour:

1.30 – 2.30pm: Parramatta Artists Studios: Open Studios
2 Minute Walk from PS1
Level 1 & 2, 68 Macquarie St, Parramatta
Tour and artist talks with Marikit Santiago and Kalanjay Dhir begins at 1.45pm
Meet Parramatta Artists Studios artists and see works in progress from artists working across artistic disciplines. 2017 artists include Khadim Ali, Kate Beckingham, Penelope Cain, Emma Fielden, Annie McKinnon, Salote Tawale, Hannah Toohey, Cigdem Aydemir, Harriet Body, Kalanjay Dhir, Caroline Garcia, Anna McMahon, Marikit Santiago, Shireen Taweel and Garry Trinh.


2.30PM – 3.30PM Focus Presentation

 | Speaker: Vidya SHIVADAS (India)

|  Vidya Shivadas is the Director of the Foundation for Indian Contemporary Art, and a curator based in New Delhi. After her Bachelors in Sociology from Delhi University and a Masters in Art Criticism from Faculty of Fine Arts, MS University of Baroda, she joined Vadehra Art Gallery in 2002. She has curated exhibitions at the Gallery which include Something I’ve been meaning to tell you (with Sunil Gupta), April 2011; Faiza Butt, Ruby Chishti, Masooma Syed (three Pakistani women artists), April 2009; Fluid Structures: Gender and Abstraction in India, April 2008; among others. In 2009, she was a guest curator at Devi Art Foundation and worked on the solo exhibition of Bangladeshi artist Mahbubur Rahman. In 2007, she was invited to participate in the educational programming for Documenta 12 from May to September 2007 in Kassel, Germany.


3.30PM – 5.00PM Panel 2 – Situating South Asian arts and culture in Australia

 | Moderator: Dr Mehreen FARUQI

| Speakers: Sunil BADAMI, Melanie EASTBURN, Amrit GILL, Gary PARAMANATHAN, S. SHAKTHIDHARAN

Through census data, in 2011, close to 1 million Australians identified as of South Asian background. This panel will explore the work of prominent organisations and institutions who have made significant impacts on South Asian art and culture in Australia. Our panelists, with backgrounds encompassing policy-making, community arts, literature and media, will unpack what guides cultural decision making and how these decisions impact history, artistic output and authenticity.


5.00PM – 6.00PM Networking drinks

Thanks to the generous support of the Institute for Culture and Society at Western Sydney, drinks will be provided for all registered attendees.


6.00PM – 6.45PM Keynote Presentation

 | Speaker: Adeela SULEMAN (Pakistan)

With an introduction from Phillip KEIR. The Keir Foundation has co-commissioned Adeela’s work as part of 4A’s associated exhibition, I don’t want to be there when it happens.

| Internationally regarded artist, coordinator of Vasl Artists’ Collective in Karachi, and Associate Professor and Head of the Fine Art Department at Indus Valley School of Art and Architecture, Adeela Suleman is a force to be reckoned with. In this keynote presentation, Suleman will discuss her experience as an artist, educator in Karachi, Pakistan and the violence and censorship she has encountered in her work.


 

6.45PM – 7.00PM Questions from the audience and concluding remarks

 | Speakers: Distinguished Professor Ien ANG, Western Sydney University, with Adeela SULEMAN (Pakistan)

| Questions from the audience to Adeela Suleman will be moderated by and followed with concluding remarks and thank you from Distinguished Professor Ien Ang, Western Sydney University

 


SPEAKER LIST 

 | Professor Ien Ang

| Distinguished Professor Ien Ang is a Professor of Cultural Studies and was the founding Director of the Institute for Culture and Society. She is one of the leaders in cultural studies worldwide, with interdisciplinary work spanning many areas of the humanities and social sciences. Her books, including Watching Dallas, Desperately seeking the audience and On not speaking Chinese, are recognised as classics in the field and her work has been translated into many languages. Her current ARC research project is entitled Sydney’s Chinatown in the Asian Century: from Ethnic Enclave to Global Hub (with Donald McNeill and Kay Anderson in collaboration with the City of Sydney). She currently chairs an Expert Working Group on Asia Literacy: Language and Beyond, for the Australian Council of Learned Academies’ Securing Australia’s Future program. She complted her PhD, 1990, Social and Cultural Sciences, University of Amsterdam, The Netherlands, a Doctorandus/Mphil, 1982, Mass Communication, University of Amsterdam, The Netherlands and Kandidaats/BA, 1977, Psychology, University of Amsterdam, The Netherlands

 | Sunil Badami

| Sunil Badami is a bon vivant, raconteur and flâneur. He’s also a writer, performer, academic and broadcaster. He’s written for publications including The Sydney Morning Herald, Good Weekend, The Australian, The Monthly, The New Daily, The Australian Literary Review, Australian Gourmet Traveller, Art and Australia, Seizure, Southerly, Westerly, Island and Meanjin, and his work has been published in anthologies in Australia and overseas, including in Best Australian Stories and Best Australian Essays.  In addition to regularly chairing and hosting launches, events and festivals, he’s appeared on stage at the Sydney and Melbourne Writers’ Festivals and the Belvoir Street and Griffin Theatres. He presented the national ABC Local Radio show Sunday Takeaway, and continues to appear regularly on ABC TV, ABC Local Radio, Double J and Radio National, where his documentary Riddle. Mystery. Enigma was nominated for the prestigious Prix Marulić. He was also the final Grand Champion of the long-running TV quiz show Sale of the Century. He’s currently editing his novel for publication.

 | Pedro de Almeida

| Pedro de Almeida has been program manager at 4A Centre for Contemporary Asian Art since 2012. Pedro’s critical writing on art is published regularly, appearing in ArtAsiaPacific, Art Monthly Australasia, Broadsheet Journal, LEAP, Photofile and un Magazine among others. He is editor of 4A Papers, a newly established online platform for writing on contemporary art and culture in the Asia Pacific region, and is a member of Broadsheet Journal’s international editorial advisory board. Pedro recently participated in the Experimenter Curators’ Hub 2017, Kolkata, an annual platform for developing and sustaining discourse on curatorial practice and exhibition making through critical discussion and debate.

 | Melanie Eastburn

| Melanie Eastburn is Senior Curator of Asian art at the Art Gallery of New South Wales. From 2004 until 2016 she was Curator of Asian art at the National Gallery of Australia. Melanie has also worked at the National Museum of Cambodia in Phnom Penh, 2003-2004, and the Powerhouse Museum in Sydney 2001-2003. She was closely involved in negotiating the long-term loans to the NGA from the National Museum of Cambodia and has curated a number of exhibitions including: Glorious: earthly pleasures and heavenly realms, AGNSW, from May 2017; Time, light, Japan, AGNSW, December 2016 – May 2017; The story of Rama: Indian miniatures from the National Museum, New Delhi (coordinating curator; curator: Dr Vijay Mathur), NGA, 2015; Divine worlds: Indian painting, NGA, 2012; Black robe, white mist: art of the Japanese Buddhist nun Rengetsu, NGA, 2007; Fruits: Tokyo street style, Powerhouse Museum, 2002
  | Dr Mehreen Faruqi

| Dr Mehreen Faruqi joined the NSW Legislative Council in June 2013 and is the first Muslim woman elected to any Parliament in Australia. Prior to this she was the Director of the Institute of Environmental Studies at University of NSW and an Associate Professor in Business and Sustainability. She is a civil and environmental engineer with a PHD in Environmental Engineering. Since migrating from Pakistan to Australia in 1992, with her young family, Mehreen’s work has focused on developing real solutions to social and environmental challenges.

 | Amrit Gill

| Amrit Gill is Senior Manager, International Projects at the Australia Council for the Arts. Amrit has over 10 years’ experience in the Australian arts sector in community arts and cultural development, social enterprise, and international cultural relations. At the Australia Council she has managed the review of international residencies programs as well as the implementation of the Council’s first international arts strategy. Prior to joining the Australia Council, Amrit worked at Milk Crate Theatre, the British Council, and Information and Cultural Exchange (ICE). She holds a Bachelor of Art Theory/Arts from the University of New South Wales.

 | Devleena Ghosh

| Devleena Ghosh teaches in the Faculty of Arts and Social Sciences at the University of Technology Sydney. She has researched and published widely on the cultural and political relationships between the British colonies of India and Australia in the late nineteenth and early twentieth centuries as well as on coal and climate change in India and Australia. She is the recipient of the WangGung Wu Award for best article (“Burma-Bengal Crossings: Intercolonial Relationships in Pre-Independence India”) in the Asian Studies Review in 2016.

 | Professor Paul James

| Professor Paul James is a professor of Globalisation and Cultural Diversity at Western Sydney University, and has been the Director of the Institute for Culture and Society since 2014. He is a social theorist and writes on topics related to globalisation, sustainability, social change and the human condition. Paul James has been an editor and author of roughly thirty books, most importantly he brought out a 16 volume series called ‘Central Currents in Globalization’, which maps all the older disciplnes in the social sciences and humanities. He is the Research Director for the international organisation Global Reconcilliation. He is on the Council of the Institute of Postcolonial Studies, Honary Professor at King’s College London, and a Fellow of the Royal Society of the Arts (London). He is editor of Arena Journal, as well as an editor/board-member of nine other international journals, including Globalizations and Global Governance. He completed his PhD, 1991, Ashworth Social Theory Centre, Department of History and Philosophy Science, University of Melbourne, and his BA (Hons), 1981, Department of Political Science, University of Melbourne.

| Reena Saini Kallat

| Reena Saini Kallat’s (b. 1973, Delhi, India) practice spans drawing, photography, sculpture and video engages diverse materials, imbued with conceptual underpinnings. She has widely exhibited at institutions across the world such as Museum of Modern Art (MOMA), New York; Mori Art Museum, Tokyo; Kennedy Centre, Washington; Vancouver Art Gallery; Saatchi Gallery, London; SESC Pompeia and SESC Belenzino, Sao Paulo; Helsinki City Art Museum, Finland; Tel Aviv Museum of Art, Israel; National Museum of Contemporary Art, Seoul; Casa Asia, Madrid and Barcelona; ZKM Karlsruhe, Germany; Campbelltown Arts Centre, Sydney; Hangar Bicocca, Milan; Museum of Contemporary Art, Shanghai; Chicago Cultural Centre amongst many others.  Her works are part of several public and private collections including the National Taiwan Museum of Fine Arts, Taiwan; Vancouver Art Gallery, Canada; Initial Access (Frank Cohen Collection), UK; Fondazione Golinelli, Italy; Bhaudaji Lad Museum, Mumbai; National Gallery of Modern Art, New Delhi; Ermenegildo Zegna Group, Italy and Burger Collection, Hong Kong amongst others.

| Ramesh Mario Nithiyendran

| Ramesh Mario Nithiyendran (b. 1988 Colombo Sri-Lanka, Australia from 1989) Sri Lankan-born, Sydney-based artist Ramesh Mario Nithiyendran creates rough-edged, vibrant, new-age idols that are at once enticing and disquieting. He experiments with form and scale in the context of figurative sculpture to explore politics of sex, the monument, gender and religion. Formally trained in painting and drawing his practice has a sculptural emphasis which champions the physicality of art making. He has exhibited at various spaces and contexts including the Art Gallery of South Australia’s flagship exhibition, the 2016 Adelaide Biennial of Australian Art and The National: New Australian Art 2017. He has presented solo exhibitions at the National Gallery of Australia, The Ian Potter Museum of Art and the Shepparton Art Museum. In 2014, Nithiyendran was awarded the 2014 NSW Visual Arts Fellowship (emerging) administered through Artspace. In 2015, he was the winner of the 2015 Sidney Myer Fund Australian Ceramic Award, Australia’s richest and premier award for artists working in the medium of ceramics. Forthcoming exhibitions include a solo presentation at the 2018 Dhaka Art Summit. His work is held in various collections, including the National Gallery of Australia, the Art Gallery of South Australia, Artbank, The Ian Potter Museum of Art and the Shepparton Art Museum.

 | Gary Paramanathan

| Gary Paramanathan works at the intersection of arts, culture and community. Currently working at AFTRS, he has previously worked at Fairfield City Council, Information and Cultural Exchange (ICE) and collaborated with a number of arts and cultural organisations. Gary Paramanathan was born in Sri Lanka. His foray into arts comes after completing a Bachelor of Commerce at The University of Sydney, and finding nothing amusing about a nine to five job. Gary is the founder and director of Colourfest Film Festival (2010-2017). He holds a Masters of International Communication from Macquarie University and also writes for the South Asian Australian blog southerncrossings.com.au. He hopes to please his brown parents someday by making lots of money and procuring a Dr. in front of his name.

 | Nusra Latif Qureshi

| Nusra Latif Qureshi – 1973; arrived Melbourne 2001; lives and works Melbourne. Nusra Latif Qureshi trained in Lahore in the Mughal miniature painting tradition and has developed an extraordinary contemporary painting practice that engages with the rich, visual histories of South Asia. Qureshi is recognized as an important member of a generation of Pakistani artists who have revived and innovated the traditional art of Mughal miniature painting. Qureshi lectured at the National School of Art in Lahore from 1995 to 1999, and immigrated to Australia in 2001 to take up postgraduate study. She has shown in numerous solo and group exhibitions across Asia, the United States, Europe and Australia.

| S. Shakthidharan

| Shakthi is the founder and artistic director of Western Sydney arts company CuriousWorks. His current projects are in partnership with, or have appeared at, Sydney Film Festival, Belvoir Theatre and Streaming Museum (New York). Shakthi was Associate Artist at Carriageworks from 2013-2015. In 2015 he was awarded the Phillip Parson’s Playwright Award from Belvoir Theatre and in 2011 the Kirk Robson by Australia Council for the Arts, given to an artist for their work in relation to social justice and community cultural leadership.

| Vidya Shivadas

| Vidya Shivadas is the Director of the Foundation for Indian Contemporary Art, and a curator based in New Delhi. After her Bachelors in Sociology from Delhi University and a Masters in Art Criticism from Faculty of Fine Arts, MS University of Baroda, she joined Vadehra Art Gallery in 2002. She has curated exhibitions at the Gallery which include Something I’ve been meaning to tell you (with Sunil Gupta), April 2011; Faiza Butt, Ruby Chishti, Masooma Syed (three Pakistani women artists), April 2009; Fluid Structures: Gender and Abstraction in India, April 2008; among others. In 2009, she was a guest curator at Devi Art Foundation and worked on the solo exhibition of Bangladeshi artist Mahbubur Rahman. In 2007, she was invited to participate in the educational programming for Documenta 12 from May to September 2007 in Kassel, Germany.

| Adeela Suleman

| Adeela Suleman – Born 1970 in Karachi, Pakistan. Suleman studied Sculpture at the Indus Valley School of Art and completed a Master’s degree in International Relations from the University of Karachi. She is currently the Coordinator of Vasl Artists’ Collective in Karachi, in addition to being Associate Professor and Head of the Fine Art Department at Indus Valley School of Art and Architecture. Suleman has participated extensively with group and solo exhibitions worldwide, including Phantoms of Asia at the Asian Art Museum, San Francisco, the 2013 Asian Art Biennial at the National Taiwan Museum of Fine Art, Hanging Fire – Contemporary Art from Pakistan at The Asia Society, New York; Gallery Rohtas 2, Lahore; Canvas Gallery, Karachi; Aicon Gallery, New York; and, the International Exhibition of Contemporary Art, Bologna, Italy (2008). Reviews and features of work appear in Artforum and the New York Times, among other publications. The artist lives and works in Karachi, Pakistan.

 | Dr. Abdullah M.I. Syed

| Dr. Abdullah M.I. Syed – (b. 1974, Karachi Pakistan) is a contemporary artist and designer working between Sydney, Karachi and New York. Trained in diverse disciplines, his art practice weaves religious, cultural and socio-political narratives of east and west, seamlessly knitting together art historical references and concerns from each. Syed holds a PhD in Art, Media and Design (2016) and a Master of Fine Arts (2009) from University of New South Wales, Sydney. Syed’s works have been featured in nine solo exhibitions and several national and international curated group exhibitions.

 | Dr. Mikala Tai

| Mikala Tai is a curator, researcher and academic specialising in contemporary Asian art and Australian design, who over the past decade has collaborated with local, national and international organisations to strengthen ties between Australia and Asia. Mikala currently sits on the board of BUS Projects, Melbourne. She is on the Chinese New Year Festival Advisory Panel, and is an Editorial Advisor for UnMagazine as well as a seasonal lecturer and tutor at The University of Melbourne. In 2006 Mikala completed her Bachelor of Arts (Honours) at the University of Melbourne and in early 2015 submitted her PhD at UNSW Art & Design examining the influence of the Global City on China’s local art infrastructure.

 

 

 

When South Is North would not be possible without the support of our project partners:

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When South is North: Contemporary Art and Culture in South Asia and Australia was a one-day symposium produced and presented by 4A Centre for Contemporary Asian Art in association with the Institute for Culture and Society at Western Sydney University. Presented at 1 Parramatta Square, Western Sydney University campus, Parramatta, on 16 August 2017. The symposium was assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. Adeela Suleman’s participation in this symposium and 4A exhibition I don’t want to be there when it happens was supported by co-commissioning partner The Keir Foundation with further assistance from Sherman Foundation.

Symposium Documentation
All images: 4A’s Kai Wasikowski

 

| Prof. Paul JAMES, Western Sydney University, Director, Institute of Society and Culture

Prof. Paul JAMES, Western Sydney University, Director, Institute of Society and Culture

 

| Dr. Mikala TAI, Director of 4A Centre for Contemporary Asian Art

Dr. Mikala TAI, Director of 4A Centre for Contemporary Asian Art

 

 Associate Professor Devleena GHOSH

Associate Professor Devleena GHOSH

 

Reena KALLAT (India)

Reena KALLAT (India)

 

Reena KALLAT (India)

Reena KALLAT (India)

 

Panel 1 – Art in, of, from, South Asia? Artists working across cultures and geographies. | Moderator: Pedro DE ALMEIDA | Speakers: Reena KALLAT (India), Ramesh Mario NITHIYENDRAN, Nusra Latif QURESHI, Adeela SULEMAN (Pakistan) and Abdullah M.I SYED

Panel 1 – Art in, of, from, South Asia? Artists working across cultures and geographies. | Moderator: Pedro DE ALMEIDA | Speakers:
Reena KALLAT (India), Ramesh Mario NITHIYENDRAN, Nusra Latif QURESHI, Adeela SULEMAN (Pakistan) and Abdullah M.I SYED

 

Parramatta Artist Studios visit as part of When South Is North

Marikit Santiago in her studio at Parramatta Artist Studios. Visit as part of When South Is North.

 

Parramatta Artist Studios visit as part of When South Is North

Kalanjay Dhir in his studio at Parramatta Artist Studios. Visit as part of When South Is North.

 

Vidya SHIVADAS (India)

Vidya SHIVADAS (India)

 

Vidya SHIVADAS (India)

Vidya SHIVADAS (India)

 

Panel 2 – Situating South Asian arts and culture in Australia | Moderator: Dr Mehreen FARUQI | Speakers: Sunil BADAMI, Melanie EASTBURN, Amrit GILL, Gary PARAMANATHAN, S. SHAKTHIDHARAN

Panel 2 – Situating South Asian arts and culture in Australia | Moderator: Dr Mehreen FARUQI | Speakers: Sunil BADAMI,
Melanie EASTBURN, Amrit GILL, Gary PARAMANATHAN, S. SHAKTHIDHARAN

 

Panel 2 – Situating South Asian arts and culture in Australia | Moderator: Dr Mehreen FARUQI | Speakers: Sunil BADAMI, Melanie EASTBURN, Amrit GILL, Gary PARAMANATHAN, S. SHAKTHIDHARAN

Panel 2 – Situating South Asian arts and culture in Australia | Moderator: Dr Mehreen FARUQI | Speakers: Sunil BADAMI, 
Melanie EASTBURN, Amrit GILL, Gary PARAMANATHAN, S. SHAKTHIDHARAN

 

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Adeela SULEMAN (Pakistan)

 

 

 

 

 

Exhibition Opening: I don’t want to be there when it happens

Thursday, 17 August 2017

6.00pm to 8.00pm

SYDNEY.

Exhibition runs: 18 AUGUST – 8 OCTOBER 2017

I don’t want to be there when it happens brings together artists who explore the psychology of contemporary trauma. Recent works by Raj KumarSonia Leber & David Chesworth and Adeela Suleman all confront the larger socio-political realities of Pakistan in the era of contemporary warfare. Through video and installation, the artists address the experience of the individual in the midst of a continuous state of war. By scanning the landscape with nonsensical logic, futilely seeking to document destruction, and questioning the appropriation of religion, the artworks in the exhibition avoid resolution and closure. Instead, they highlight the individual’s inability to comprehend the expansive uncertainty of combat, and the impossibilities of representing the trauma of conflict.

I don’t want to be there when it happens presents truth as a precarious oscillation between fiction and reality. The artists resist literal or documentary approaches to their subjects, relying instead on speculative, symbolic, ambiguous and unstable modes of representation. In doing so, they emphasise how the individual’s attempts to understand and comprehend the reality of contemporary conflict are equally characterised by uncertainty and irresolvability. I don’t want to be there when it happens also seeks to acknowledge and present a multiplicity of perspectives on the ongoing conflicts in Pakistan and its region—perspectives which are all too easily overlooked or obscured by Western media and political interests.

 

Curated by Kate Warren and Mikala Tai.

 

Image: Adeela Suleman (2017) I don’t want to be there when it happens. Courtesy the artist.

 

Adeela Suleman’s work to be shown in I don’t want to be there when it happens has been co-commissioned by 4A Centre for Contemporary Asian Art and The Keir Foundation.

Presented in collaboration with:

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Feminist South June Reading Group

  • 6.00PM – 7.30PM, Thursday 29 June 2017
  • ‘Feminism is a Western Concept: a reading group’
  • 4A Centre for Contemporary Asian Art
  • 181-187 Hay St, Haymarket NSW

In partnership with Feminist South, 4A is pleased to host the monthly Feminist South reading group on the last Thursday of the month. This reading group is Phase 1 of the Feminist South research and curatorial project led by Kelly Doley and i:project space, Beijing.

Feminist South is a curatorial project and research platform spanning across 2017-2019 that aims to generate critical dialogue around contemporary feminist performance practice in the context of the Asia Pacific.

Rather than attempting to fit Western feminist theories and movements onto the multiplicities that make up practice in the Asia Pacific, the project seeks to create its own terms of reference in order to decentre and disrupt the conventional understandings of feminist art and create new narratives for practices that are located in the here and now.

All welcome, please join the discussion. Email kellydoley@gmail.com to join the Feminist South mailing list and RSVP.

 

The Feminist South reading for June is: Introduction and Chapter One, The Birth of Chinese Feminism: Essential Texts in Transnational Theory, Edited by Lydia H. Liu, Rebecca E. Karl, and Dorothy Ko, Columbia 2013
https://cup.columbia.edu/book/the-birth-of-chinese-feminism/9780231162906 If you cannot get a copy yourself please get in touch. June’s Feminist South session will start with a quick discussion of the May text that we missed having a group chat about, Aileen Moreton-Robinson, Talkin’ up to the White Woman : Aboriginal Women and Feminism, 2000.

Congee Lunch Tour: Dacchi Dang: An Omen Near and Far

SYDNEY – 12PM – 2PM Saturday 1 July 2017
Departing: 4A Centre for Contemporary Asian Art, 181-187 Hay St, Haymarket, NSW.
Join 4A’s Pedro de Almeida, for a lunchtime tour of Dacchi Dang: An Omen Near and Far and get a taste of Haymarket with lunchtime congee, and an opportunity to meet artist Dacchi Dang and see his performance Et in Arcadia Ego.

Places for this special tour are limited and this event is presented as part of our June exhibition, Dacchi Dang: An Omen Near and Far.

 

Congee and associated snacks are included in your ticket price.

Publication Launch – Our Issue: Curatorial actions shaping a discourse about Asia from Asia

Publication launch

Our Issue: Curatorial actions shaping a discourse about Asia from Asia 

4A is pleased to host the Sydney launch of Anabelle Lacroix’s recent publication at 4A Centre for Contemporary Asian Art.

5.30PM, Thursday May 25 2017, 4A Centre for Contemporary Asian Art. 181-187 Hay Street, Haymarket, Sydney

The publication will be launched by writer and curator Anabelle Lacroix in conversation with Luise Guest from White Rabbit.

About Our Issue:

After several continuous waves of European, Japanese and Chinese colonisation, Taiwan is now seeking to create a clear political and cultural identity of its own. Informed by its unique history Taiwan is home to a thriving and engaged contemporary art scene that is increasingly active. Our Issue is a new publication that captures a growing section of Taiwanese contemporary art.

In 2016 Taiwan has three major biennales running concurrently and a host of other cultural events offering a plethora of diverse contemporary offerings. It brought to the fore the strengthening of a discourse about ‘Asia from Asia’—from within, as opposed to a Western one—with ideas of decolonisation and ‘de-cold War’ at its centre. This essay sheds light, and discusses the growth of curatorial projects from within Asia that seek to profile a shifting discourse in the region. Examining major biennales, museum exhibitions as well as independent spaces and artist-run initiatives, Lacroix’s new publication considers emerging perspectives of contemporary Asian art in Taiwan.

This bilingual English – Chinese publication was published by the Kuandu Museum of Fine Arts following Anabelle Lacroix’s curatorial residency at the museum. This residency is a reciprocal exchange between RMIT University and Taipei National University of the Arts (TNUA).

Biographies:

Anabelle Lacroix is a curator based in Melbourne, currently working as a research assistant at the VCA, University of Melbourne on a project on Artist Run Initiatives in Australia and the Asia-Pacific, and produces the visual arts program of the Melbourne Festival. Prior to her Taipei residency she took part in the 2016 4A Curators’ Intensive, and is now co-curating an upcoming 2017 Liquid Architecture project in Taiwan.

Luise Guest is Director of Education and Research for the White Rabbit Collection of Contemporary Chinese Art. With a background in art education and freelance writing focused on China, Luise’s art writing has been published in a range of online and print journals. Her book, ‘Half the Sky: Conversations with Women Artists in China’ was published by Piper Press in 2016, and she curated exhibitions in Hong Kong and Beijing to coincide with its launch in China. Luise’s current research focuses on contemporary female artists who subvert the conventions of ink painting and calligraphy. She blogs at www.anartteacherinchina.blogspot.com

BOOK NOW

This launch is held in conjunction with 4A Centre for Contemporary Asian Art’s Australian premier screenings of He Xiangyu’s The Swim which will begin at 6.3opm. You are welcome to attend.

Sydney Information Night: 4A Emerging Writers’ Program 2017

4A invites interested applicants to join us on May 25 in Sydney to meet with 4A staff to learn more about the 4A Emerging Writers’ Program, and ask any questions you may have about the Program.

Applications are now open and close 5.00PM Friday 30 June 2017.

Sydney Info Night with 4A Papers Editor Pedro de Almeida- RSVP here.
Guest Speaker: 2016 Emerging Writer Minerva Inwald
5.30PM – 6.30PM, Friday 25 May
4A Centre for Contemporary Asian Art, 181-187 Hay St Haymarket, Sydney.

Followed by a screening of He Xiangyu’s The Swim.

The 4A Emerging Writer’s Program is open to Australian students currently undertaking a degree at honours or postgraduate level in art, history or related fields of study at an Australian tertiary institution. This program will be rigorous and is specifically designed for tertiary students with a keen interest in fieldwork research in art and culture, and someone who can demonstrate a flair and passion for writing.

The selected writer will undertake a one-week research trip to a Pacific nation in September 2017. Facilitated by 4A and its networks, the writer will be asked to conceive and deliver two writing outcomes for publication in 4A Papers and Program supporter Art Monthly Australasia. This may include a critical essay, historical research, interview, review, profile, or feature with accompanying online audio-visual content.

The writer will be supported by the team at 4A and in particular by Pedro de Almeida, Editor, 4A Papers and Michael Fitzgerald, Editor, Art Monthly Australasia.

The 4A Emerging Writer’s Program has been developed as part of 4A Centre for Contemporary Asian Art’s broader professional development program for early career arts professionals. Together with the annual 4A Beijing Studio Program and the biannual 4A Curators’ Intensive, the 4A Emerging Writer’s Program supports emerging Australian talent to work within the Asia-Pacific region.

Applications will be assessed by a panel and the selected writer notified within two weeks following the submission deadline.

 

If you have any questions in relation to the program or how to apply please contact Pedro de Almeida on (02) 9212 0380 or pedro.de-almeida@4a.com.au

 

The 4A Emerging Writer’s Program is supported by Art Monthly Australasia.

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Familiar Stranger

SYDNEY. 7 APRIL – 21 MAY 2017.

Artists: Shumon Ahmed, Chun Yin Rainbow Chan, Bashir Makhoul, Veer Munshi, Shireen Taweel and Curtis Taylor.

The reconciliation between memory and reality plagues the act of returning. There is no resolution between the two. Memories are etched into the psyche hinged on topographical monuments, whispered words and subconscious everyday patterns while reality erases such symbology through the passing of time. Familiar Stranger examines this third, non-existent space that plagues the returnee as they seek to retrace their memories in places that have been rebuilt or reinscribed. With familiarity reduced to invisible archaeological sites the returnee searches for recognition and legitimacy in a now unacquainted geography.

The exhibiting artists examine the negation and erasure of familiarity by presenting place as a space defined by uncertainty. There is a continue shift between points of view that begets the collapse of spatial certainty and becomes defined by its own instability. For the migrant the idea of returning becomes an implicit part of their identity; the constant oscillation between the possibility and impossibility of return a daily taunt. In Familiar Stranger the moment of return is the focal point where, for some, it is a wistful hope and for others a violent decimation of expectancy. Resisting melodrama, the artists turn to the familial archive and the personal memorial to bring form to the constant internal struggle between what is and what was.

 

About the artists:

Bashir Makhoul (b. 1963, Galilee, Palestine, lives and works in Birmingham, United Kingdom) is a Palestinian artist born in Galilee in 1963. He has been based in the United Kingdom for the past 22 years. During this time he has produced a body of work, based on repeated motifs, which can be characterized by their power of aesthetic seduction. Once drawn into the work however, viewers find themselves engaged with something far more complicated than a beautiful pattern. Economics, nationalism, war and torture are frequently woven into the layers of Makhoul’s work and often the more explicit the material, the more seductive the surface.

Makhoul completed his PhD in 1995 at Manchester Metropolitan University in the UK. He has exhibited his work widely in Britain and internationally, including the Hayward Gallery, London, Tate Liverpool, Harris Museum, Preston, Arnolfini Gallery, Bristol, Ikon Gallery, Birmingham, the Liverpool Biennial, Jordan National Museum, NCA Gallery Lahore Pakistan, the Florence Biennial, Haus am Lutzowplatz Berlin, UTS Gallery, Sydney, Australia, Elga Wimmer Gallery, New York, Changshu Art Museum, Suzhou Art Museum, Shenzhen Art Museum in China, 798 Yang Gallery Beijing and many others. In 2013, he  presented his work at the Venice Biennial in Italy and Aichi Biennial in Japan. He will show at the Asian Triennial in Manchester UK in 2014.

Curtis Taylor (b. Broome, Western Australia, Australia, lives and works in Perth, Australia) is a filmmaker, screen artist, actor and a young Martu leader. Growing up in remote Martu desert communities and in the city, Curtis has both traditional Martu knowledge and a non-Aboriginal education. After finishing school in 2008 Curtis worked as Community Coordinator and Youth Development Officer at Martu Media (a division of Kanyirninpa Jukurrpa), where he also spent 18 months working on the major Yiwarra Kuju: The Canning Stock Route project as a filmmaker and youth ambassador. Curtis was the recipient of the 2011 Western Australian Youth Art Award and Wesfarmers Youth Scholarship. His screen work including the acclaimed short film ‘Mamu’ has been shown in international film festivals from Brazil to Nepal. Curtis has almost completed his film and media studies at Murdoch University. He was the Director’s Attachment and is the Narrator of ‘Collisions’.

Chun Yin Rainbow Chan ( b. 1990, Hong Kong, lives and works in Sydney, New South Wales, Australia) is a multidisciplinary artist who works across sound, performance and installation. Born in Hong Kong and raised in Sydney, she is interested in duality, diaspora and the effects of globalisation on modern Chinese society. Chan often evokes traditional Chinese methods or styles and represents them in uncanny ways. Her research engages with the authentic and the copy, exploring sites of exchange and desire which complicate Western notions of originality and “appropriate” consumption.

Central to Chan’s work is the circulation of knock-off objects, sounds and images in global media. Her work positions the fake as a complex sign that shapes new myths, values and contemporary commodity production. Sustained by a parasitic relationship to the original, the counterfeit interacts with the world in unpredictable ways. Chan investigates how these mimetic symbols, such as bootlegs or fake luxury goods, problematise the socially-regulated impulse of consumerist desire.

Tying together her works across installation and pop music is the relationship between nostalgia, migration and identity. Since winning FBi Radio’s Northern Lights Competition in 2011, Chan has been building a reputation as one of the most innovative artists in Australia with her highly personal, experimental pop music. She recently released her debut album Spacings (Silo Arts & Records) which was met with critical acclaim, handpicked as the feature album on FBi Radio, Radio Adelaide, RTRFM and scoring 4 stars from Rolling Stone. Under her techno project, Chunyin, Chan released Code Switch EP on UK label, Off Out, in September.

Chan has performed extensively with notable performances at the Sydney Opera House, Museum of Contemporary Art, Gallery of Modern Art, Art Gallery of New South Wales and Iceland Airwaves Festival. She has exhibited works at Firstdraft Gallery, Liquid Architecture and Squiggle Space. In October 2016, she was invited by 4A Centre for Contemporary Asian Art to participate in the inaugural Longli International New Media Arts Festival in Guizhou Province, China. Chan has collaborated with choreographer Ivey Wawn for Out of The Studio, presented by DirtyFeet, and soundtracked ABC web-series The Glass Bedroom, directed by Kate Blackmore.

Shumon Ahmed  (b. 1977, Bangladesh, lives and works in Dhaka, Bangladesh) is a Dhaka-based poet and an artist who explores the fusion between video, photography, Sound, text and performance, creating stories that while seemingly contradictory, are private yet collective. His work with the camera and film has also been likened to abstract painting due to his experimental processing techniques with unpredictable results that yield the melancholic.

Ahmed studied photography at the South Asian Media Academy, Dhaka, Bangladesh (2006- 2009) & at The Danish school of Media and Journalism, Arhus, Denmark (2008).

His work has been previously exhibited in various galleries, festivals and screenings around the world including the 2014 Kochi-Muziris Biennale, India, Dhaka Art Summit, Bangladesh (2012, 2014, 2016), Whitechapel Gallery, London, UK (2010), Fotomuseum, Winterthur, Switzerland (2010), Art science museum, Singapore (2016), Krinzinger Projekete, Austria (2016) and a recent solo exhibition at Project88, Mumbai, India (2015).

In April, Shumon will take part in Familiar Stranger, a group exhibition at 4A Centre for Contemporary Art, Sydney.

Veer Munshi (b. 1955, Kashmir, India, lives and works in Dehli, India), a Kashmiri artist who now lives in Delhi has consistently used his art to reflect his anguish at the situation in his home state, his pain and struggle spilling over onto his canvass. Making a human rights statement rather than a political one, he has constantly sought to highlight the turmoil that comes  with his separation from his heritage, and to highlight the increasingly the narrow space that exists for culture and art in his state. He is also convinced that art. Because of its universal nature, can play a significant role in the resolution of the Kashmir situation. Unlike other contemporary artists, though, viewing pleasure is no motivator for veer in the creation of his art,rather it is about sharing a personally-felt experience as a ‘refugee’. His paintings and installations reflect a Kashmir that is in the context of the Kashmir.

Shireen Taweel (b. 1990, Bankstown, New South Wales, Australia, lives and works in Sydney, Australia) is currently practicing at the Parramatta Artist Studios in Sydney.  Much of Taweel’s practice is informed by her identity connected to the Middle East as her heritage further inspires her creative exploration through the refined processes in metallurgy. The nature of the relationship of her forms sit in a space between jewellery and sculpture, where her techniques of making takes the traditional art of copper-smithing into a contemporary context.

The works partake in a cross-cultural discourse, while the sense of the arcane and shifted structures opens dialogue between shared histories and relations between communities of fluid identities.

Taweel is a current Kickstart Helix Next Wave participant. Her recent solo shows include fractured//fluid terrains at SEVENTH Gallery, Melbourne (2017), translated roots at Verge Gallery, Sydney (2017) tomorrow, InshAllah at 55 Sydenham RD Marrickville, Sydney (2016) rhythms of the ritualistic at Gaffa Gallery, Sydney (2016) and promised denial at 146 ArtSpace, Hobart (2016).  Taweel is also a nominee of The Jameel Art Prize (2018) at Victoria and Albert Museum in London.

 

Exhibition Documentation
All images: Document Photography

 

Left: Installation view at 4A Centre for Contemporary Asian Art: Bashir Makhoul, Wounds, 2007 – 2008, lenticular print,
400 x 200cm. Courtesy the artist. Image: Document Photography. Right: Installation view at 4A Centre for Contemporary Asian
Art: Veer Munshi, Leaves like hands of flame, 2010 – 2012, two channel video, 5: 32. Courtesy the artist and Latitude 28, New
Delhi, India.


Left: Installation view at 4A Centre for Contemporary Asian Art: Shumon Ahmed, What I have forgotten could fill an ocean,
what is not real never lived, 2013, polaroid photographs, analogue phone set, original sarod score composed by Yusuf Khan and
poetry recited by Nader Salam, dimensions variable. Courtesy the artist, Samdani Art Foundation, Dhaka, Bangladesh &
Project88, Mumbai, India. Image: Document Photography Right: Installation view at 4A Centre for Contemporary Asian Art:
Bashir Makhoul, Wounds, 2007 – 2008, lenticular print, 400 x 200cm. Courtesy the artist.


Installation view at 4A Centre for Contemporary Asian Art: Shumon Ahmed, What I have forgotten could fill an ocean, what is
not real never lived, 2013, polaroid photographs, analogue phone set, original sarod score composed by Yusuf Khan and poetry
recited by Nader Salam, dimensions variable. Courtesy the artist, Samdani Art Foundation, Dhaka, Bangladesh & Project88,
Mumbai, India.


Right: Installation view, 4A Centre for Contemporary Asian Art: Shireen Taweel, Al Nahas, 2015, etched copper, 90 x 40 x 30 cm.
Courtesy the artist. Shireen Taweel, Al Nahas, 2015, etched copper, 100 x 90 x 40. Courtesy the artist. Left: Installation view,
4A Centre for Contemporary Asian Art, Curtis Taylor works as below. Curtis Taylor, Karlaya, 2014, video, 23 seconds.
Courtesy the artist. Curtis Taylor, Marlu, 2014, video, 42 seconds. Courtesy the artist. Curtis Taylor, Marrka Marrka – Mirage, 2017,
red dirt and animated projection, dimensions variable. Courtesy the artist. Curtis Taylor, Parnajarrpa, 2014, video, 29 seconds.
Courtesy the artist.


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Installation view, 4A Centre for Contemporary Asian Art: Chun Yin Rainbow Chan (陳雋然), To enclose one’s mouth, 2017, ink,
silk, wood, video loop, dimensions variable. Courtesy the artist.


Left: Installation view, 4A Centre for Contemporary Asian Art, Curtis Taylor works as below. Curtis Taylor, Karlaya, 2014,
video, 23 seconds. Courtesy the artist. Curtis Taylor, Marlu, 2014, video, 42 seconds. Courtesy the artist. Curtis Taylor, Marrka
Marrka – Mirage, 2017, red dirt and animated projection, dimensions variable. Courtesy the artist. Curtis Taylor, Parnajarrpa,
2014, video, 29 seconds. Courtesy the artist. Image, Document Photography. Right: Installation view, 4A Centre for Contemporary
Asian Art: Shireen Taweel, Dome, 2015, etched copper, 90 x 40 x 30 cm. Courtesy the artist. Image, Document Photography. And
Shireen Taweel, Sophia, 2015, etched copper, 90 x 40 x 30 cm. Courtesy the artist.

An Omen Near and Far: Tour & Talk

SYDNEY, SAT 10 JUNE, 11.00AM – 12.30PM

4A Centre for Contemporary Asian Art

Part of the public program for 4A’s exhibition Dacchi Dang: An Omen Near and Far

 

Join 4A for an artist-led exhibition tour of Dacchi Dang: An Omen Near and Far followed by a panel discussion centred on Dacchi Dang’s current production of a new body of work commissioned by the Australian War Memorial.

Showcasing work spanning three decades, Dacchi Dang: An Omen Near and Far is the first survey exhibition of one of the preeminent Vietnamese-Australian artists working today. Dang will lead a tour of the exhibition, offering insights into the evolution of his practice across photography, printmaking, and video, and discuss the development of his new installation work, specially commissioned by 4A for the exhibition, that has arisen from research undertaken during a return to Vietnam in 2017.

Following the tour, 4A hosts a panel discussion between the artist, Dr Anthea Gunn, Senior Curator of Art at the Australian War Memorial, and 4A Program Manager Pedro de Almeida centred upon Dacchi’s creation of a new body of work for the Australian War Memorial’s Gillespie Bequest commission (2016-2018).

In 2012 a bequest was left to the Australian War Memorial by the retired Major John Milton Gillespie, a Vietnam veteran and immigration consultant. In recognition of both this significant gift and Mr Gillespie’s life and work, the Memorial decided to use the bequest to commission work that explores the wartime experience of Vietnamese–Australians and its legacy today. Engaging Australian and Vietnamese–Australians military veterans of the Vietnam War – whom the artist has recorded interviews with around Australia – and engaging with the Memorial’s extensive collection and archives, Dang’s nationally significant commission will represent the first contribution from a Vietnamese–Australian artist to the Memorial’s art collection.

The exhibition tour led by Dacchi Dang will run for 30 minutes from 11.00am – 11.30am, followed by a 60-minute panel discussion from 11.30am – 12.30pm allowing time for audience questions.

Feminist South Reading Group – April 2017

‘Feminism is a Western Concept: a reading group’
6.00PM – 7.30PM, Thursday 27 April 2017

  • 4A Centre for Contemporary Asian Art

181-187 Hay St, Haymarket NSW

From April, in partnership with Feminist South, 4A will host a a monthly Feminist South reading group on the last Thursday of the month beginning 27 April. This reading group is Phase 1 of the Feminist South research and curatorial project led by Kelly Doley and i:project space, Beijing.

Feminist South is a curatorial project and research platform spanning across 2017-2019 that aims to generate critical dialogue around contemporary feminist performance practice in the context of the Asia Pacific.

Rather than attempting to fit Western feminist theories and movements onto the multiplicities that make up practice in the Asia Pacific, the project seeks to create its own terms of reference in order to decentre and disrupt the conventional understandings of feminist art and create new narratives for practices that are located in the here and now.

All welcome, please join the discussion.

Readings for April are:

  • Chandra Talpade Mohanty, “‘Under Western Eyes’ Revisited: Feminist Solidarity through Anticapitalist Struggle,” in her Feminism Without Borders: Decolonizing Theory, Practicing Solidarity (Durham, N.C., and London: Duke University Press, 2003), pp.221-251
  • Maura Reilly, “Introduction: Toward Transnational Feminisms,” Global Feminisms: New Directions in Contemporary Art (London/New York: Merrell, 2007), pp. 14–45.

Participants will be provided with reading links upon RSVP.

Familiar Stranger – Chun Yin Rainbow Chan Performances

SYDNEY – AS PART OF FAMILIAR STRANGER – 7 APRIL – 21 MAY  2017.

Visit 4A at the following times to see Chun Yin Rainbow Chan perform as part of her Familiar Stranger work:

  • 11.30am Saturday 22 April
  • 2.00pm Saturday 29 April

Bookings are not required for these special performance events.

 

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Chun Yin Rainbow Chan perform as part of her Familiar Stranger work, 4A Centre For Contemporary Asian Art. Image: Document Photography.
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Chun Yin Rainbow Chan perform as part of her Familiar Stranger work, 4A Centre For Contemporary Asian Art. Image: Document Photography.

 

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Chun Yin Rainbow Chan perform as part of her Familiar Stranger work, 4A Centre For Contemporary Asian Art. Image: Document Photography.

Familiar Stranger – Cantonese Class

As part of the public program for Familiar Stranger, you are invited to join us for weekly Cantonese language classes on Thursday nights for the duration of the exhibition.

With a curriculum curated by Chun Yin Rainbow Chan, join us for these one-hour classes to either refresh or learn new language skills and gain a further insight into Chan’s work.

  • 6-7.30PM Thursday 20 April 2017
  • 6-7.30PM Thursday 27 April 2017
  • 6-7.30PM Thursday 4 May 2017
  • 6-7.30PM Thursday 11 May 2017
  • 6-7.30PM Thursday 18 May 2017

Bookings are open now.

4A Emerging Writer’s Program – 2017

4A is pleased to announce that the 4A Emerging Writer’s Program 2017 program recipient is Mitana Arbon, current Honours student in Asian Studies at ANU. Mitiana will be travelling to Samoa in late 2017 to undertake research and build engagement with local artistic communities in Upolu and Savai’i.

Mitiana Arbon is an Honours student at the School of Culture, History, and Language at the Australian National University. His research thesis examines how institutions curate and articulate an understanding of the Pacific as a cohesive art region through art. It draws upon a case study of the Pacific Collection at the National Gallery of Australia examining how its narrow curatorial focus on ‘traditional’ art pieces as reflective of Pacific Cultures, has limited a broader creative and aesthetic understanding of the current reality of multi-sited and diverse contemporary community practices.

Mitiana has a wide range of creative and personal interests in the Pacific region that stems from his dual academic engagement with the Pacific and his Samoan family, from the village of Tafua tai, Savai’i. He is also a Research Officer on Labour Mobility and Migration at the Development Policy Centre and an avid blogger on Pacific topics. His research interests include contemporary regional issues of development, politics, social change and heritage management.


4A Program Manager and Editor of the 4A Papers, Pedro de Almeida says,

“In its second year, 4A’s Emerging Writer’s Program attracted applicants from New South Wales, Victoria, South Australia and the Australian Capital Territory. This year the Program was offered to emerging writers who are also current tertiary students at honours and postgraduate level. Additionally, in 2017 4A decided to put a focus on facilitating writers’ engagement with Pacific nations, cultures and artists. Applicants came from a variety of research areas including arts, art history, curatorial studies and Asian studies. 4A was impressed that the majority of the applicants had demonstrated a keen interest in and knowledge of the region, proposing fieldwork in Hawai’i, Samoa, Tuvalu and Vanuatu with subjects ranging from the development of private collections and museums to the visual culture that emanates from Vanuatu’s reggae music scene.”

2017 Emerging Writer’s Program judge Lisa McDonald (Associate Curator, Human History (Maori and Pacific) at Canterbury Museum and Adjunct Fellow with the School of Anthropology and Sociology at the University of Canterbury) said:

“Mitiana’s project reflects his deep commitment to the field of Pacific studies. His proposal was of the highest merit and clearly demonstrated his academic engagement with current research methodologies. Privileging the agency of indigenous artists based in Samoa, his project will no doubt provide insightful analysis of the creative practices of contemporary makers. I congratulate Mitiana on his award and wish him every future success in both his professional and personal pursuits.”

Art Monthly Australasia Editor and 2017 Emerging Writer’s Program judge, Micheal Fitzgerald, said:

Art Monthly Australasia is excited to be involved again with the 4A Emerging Writer’s Program, inaugurated last year with the ‘Sea Pearl White Cloud’ project in Guangzhou, and commends this year’s initiative in sending an emerging writer into the Pacific. Mitiana’s winning submission to conduct research with a number of contemporary artists based in Samoa was a stand-out proposal and promises to deepen this important new engagement with the region.”


About the judging panel:

Michael Fitzgerald was the arts editor for the South Pacific edition of Time magazine (1997-2007) before becoming managing editor of Art & Australia (2008-12) and helping relaunch Photofile magazine for the Australian Centre for Photography in 2013. He has been editor of Art Monthly Australasia since 2014.

Dr Lisa McDonald is Associate Curator, Human History (Maori and Pacific) at Canterbury Museum and Adjunct Fellow with the School of Anthropology and Sociology at the University of Canterbury. Her research focuses on contemporary art from Melanesia, with emphasis on makers based in Port Vila and Port Moresby.

Pedro de Almeida is an arts manager, curator and writer, joining 4A as Program Manager in 2012. Over the past decade he has developed and delivered a broad range of artistic and cultural projects in partnership with local and international organisations that have been distinguished by their engagement with culturally and socially diverse artists, communities and audiences.


ABOUT THE 4A EMERGING WRITER’S PROGRAM

DEADLINE:                Friday 30 June 2017

TRAVEL DATES:       September 2017   

 

Following the inaugural offering in 2016, 4A Centre for Contemporary Asian Art is pleased to announce the 4A Emerging Writer’s Program that will support an emerging Australian writer to travel to the Pacific in September 2017 to realise two publication outcomes.

The 4A Emerging Writer’s Program is open to Australian students currently undertaking a degree at honours or postgraduate level in art, history or related fields of study at an Australian tertiary institution. This program will be rigorous and is specifically designed for tertiary students with a keen interest in fieldwork research in art and culture, and someone who can demonstrate a flair and passion for writing.

The selected writer will undertake a one-week research trip to a Pacific nation in September 2017. Facilitated by 4A and its networks, the writer will be asked to conceive and deliver two writing outcomes for publication in 4A Papers and Program supporter Art Monthly Australasia. This may include a critical essay, historical research, interview, review, profile, or feature with accompanying online audio-visual content.

The writer will be supported by the team at 4A and in particular by Pedro de Almeida, Editor, 4A Papers and Michael Fitzgerald, Editor, Art Monthly Australasia.

The 4A Emerging Writer’s Program has been developed as part of 4A Centre for Contemporary Asian Art’s broader professional development program for early career arts professionals. Together with the annual 4A Beijing Studio Program and the biannual 4A Curators’ Intensive, the 4A Emerging Writer’s Program supports emerging Australian talent to work within the Asia-Pacific region.

 

The 4A Emerging Writer’s Program has been made possible with the support of 4A Patrons Richard Funston & Kiong Lee.

 

KEY DATES

Applications open:                   Monday 3 April 2017

Sydney Info Night:                  Friday 26 May 2017 – RSVP here.

Applications close:                  Friday 30 June 2017 (5.00pm)

Samoa travel dates:                September 2017

(exact dates of one-week itinerary to be determined in consultation with 4A).

 

APPLICATION GUIDELINES

The selected writer must be:

  • Over the age of 18 years.
  • An Australian citizen or permanent resident who is enrolled in a degree at honours or postgraduate level in art, history or related fields of study at an Australian tertiary institution at the time of application.
  • The definition of “emerging” is a writer who has not previously published more than 12 texts in any subject, in print or online (blogs or self-published platforms excluded).

4A will provide the selected writer with:

  • Return airfare from the recipient’s nearest state capital city to chosen Pacific nation.
  • Accommodation, per diems and travel insurance for the period of the trip.
  • An honourarium.

To apply, submit a single PDF document including:

  • A Cover Page with your name, address, phone number, email address and evidence of current tertiary enrolment (student ID card or similar).
  • A Letter of Intent addressing your interest in participating in the Program, articulating your specific area of interest in the Pacific and which nation you propose to travel to; how it will be beneficial to you; and how it will contribute to the development of your research and writing practice. Maximum one page.
  • A Statement that outlines your current writing or research focuses and interests. Maximum one page.
  • A CV illustrating relevant study and work experience, previously published texts, personal projects and achievements. Maximum one page.
  • A Writing Sample of up to 1,000 words (this can be unpublished and preferably in a professional writing style rather than academic in tone).
  • A Proposed Collection of Writings that you would produce as part of this project. Maximum one page.
  • Shortlisted writers will be asked to provide evidence of Australian permanent residency status, current enrolment at honours or postgraduate level at an Australian tertiary institution, and date of birth.

 

Applications should be submitted via email, post or in person to:

Pedro de Almeida

Program Manager / Editor, 4A Papers

4A Centre for Contemporary Asian Art

 

In person: 181-187 Hay Street, Haymarket, NSW 2000

Post: PO Box K1312, Haymarket NSW 1240

Email: pedro.de-almeida@4a.com.au

 

Applications closed 5.00PM Friday 30 June 2017.

Applications were assessed by a panel and the selected writer notified within two weeks following the submission deadline.

 

If you have any questions in relation to the program or how to apply please contact Pedro de Almeida on (02) 9212 0380 or pedro.de-almeida@4a.com.au

 

The 4A Emerging Writer’s Program is supported by Art Monthly Australasia, and made possible with the generous support of 4A Patrons Richard Funston & Kiong Lee.

art-monthly-australasia-1

 


Image: Observation Society from the street during the install of Sea Pearl White Cloud, part of the 2016 4A Emerging Writers Program, May 2016. Photo: Pedro de Almeida.

Over two weeks spanning late May and early June 2016, Minerva Inwald, 4A’s 2016 Emerging Writers Program participant, traveled to Guangzhou, China, to experience the lead up to Sea Pearl White Cloud 海珠白雲, a collaborative two-stage exhibition project produced by 4A Centre for Contemporary Asian Art and local independent contemporary art space, Observation Society, that saw presentations in Guangzhou and Sydney. Sea Pearl White Cloud presented new works by Australian artist Lucas Ihlein and Hong Kong-based artist Trevor Yeung that are informed by questions of temporality, exchange and poetics while reflecting on the urban condition in the twenty-first century. Read her piece for the 4A Papers here.

 

 

4A Beijing Studio Program – 2017 call for applications

Applications have now closed for the 2017 edition of 4A Centre for Contemporary Asian Art’s annual Beijing Studio Program.

 

DEADLINE:                5PM, Monday May 8 2017

TRAVEL DATES:      Tuesday, 12 September – Friday, 13 October, 2017

 

 

The program allows three early career artists will undertake a one month-long intensive studio program throughout September 2017 at the studios of internationally renowned Chinese-Australian, artist Shen Shaomin located in Huairou District on the outskirts of Beijing.

4A’s Beijing Studio Program provides a unique opportunity for these artists to research new projects, develop new professional networks and witness first-hand the changes occurring in one of the most vibrant cities in Asia. The program includes return airfares, accommodation, travel stipend and travel/medical insurance.

Applications have now closed and were due by 5PM AEST Monday May 8, 2017.

 

ABOUT SHEN SHAOMIN

Over the last twenty years Chinese-Australian artist Shen Shaomin has forged an important international career with an emphasis on experimental, conceptual and installation works. Based in Beijing, and having spent over a decade in Australia, Shen’s work spans a number of medium and explores individual and collective experiences of humanity and their impacts on our natural and constructed surroundings. Shen Shaomin has previously exhibited with 4A in The Floating Eye, Sydney Pavilion, 9th Shanghai Biennale (2012); and presented the solo exhibition, The Day After Tomorrow (2011). His work has been included in Liverpool Biennial (2006) and the 17th Biennale of Sydney (2010) and most recently featured as part of Busan Biennale 2016 and at Encounters, Art Basel Hong Kong 2017. In China he has exhibited at Today Art Museum, Beijing; Tang Contemporary, Beijing; Platform China, Beijing; Shanghai Zendai MoMA, Shanghai; and Osage Gallery, Hong Kong. Across Europe and North America selected exhibitions include, Groniger Museum, Holland; Urs Meile Gallery, Switzerland; ZKM Museum Karlrusche, Germany; Millennium Park, Chicago and Eli Klein Fine Art, New York.

The Program covers airfares, accommodation, daily meals, travel/medical insurance and a small stipend. Moreover, it will provide an ongoing professional mentorship, cross-cultural exchange and access to 4A’s networks in China.

 

Application Guidelines

ELIGIBILITY AND CRITERIA

Applications are open to visual artists who are Australian permanent residents. We are looking for strongly emerging or midcareer artists’ who will will benefit from the professional mentorship, dialogue and bonding between residents, cross cultural exchange and access to 4A’s networks in China.

Successful applicants will be chosen based on the quality of their past work, reasons for participation, viability of their participation and the potential benefits to the applicant’s artistic development.

Decisions will be made by an independent panel and all decisions are final.

Please submit support material which has been completed in the last two years.

 

PROGRAM PERIOD

Successful artists must be available for travel to Beijing, for one month beginning from Tuesday, 12 September – Friday, 13 October, 2017.  Dates are non-negotiable. All three selected artists will be travelling at the same time.

 

REQUIRED INFORMATION

To apply for the 4A Beijing Residency Program please download a copy of the application form and include the following:

  • A statement of interest detailing why you would like to participate in the Studio Program and how you will benefit from the experience. Maximum 1 page, 12 point font.
  • A current CV. Maximum 1 page.
  • Support material in the format of a PDF document with 10 images and captions. Please supply video content as a URL web link (10 minutes max).

Please do not send us original material as it will not be returned.

 

SUPPORT MATERIAL

Please supply images in PDF at 72-dpi res with your application. Please include captions and explanations where appropriate. Please do not send individual files.

Video material must be uploaded to a website and URL should be supplied for viewing.

 

AMENITIES

Accommodation and facilities are housed in Shen Shaomin’s studio, 52km from Beijing city center (approximately 60 mins drive). These are newly built residences. The studio will provide daily meals in addition to a program’s stipend. A driver/translator available for a limited number of days to explore surrounding artists’ studio, galleries and other locations.

Chinese language skills are not necessary.

 

TERMS & CONDITIONS

  • Artists are responsible for obtaining necessary visas for entry into China and appropriate travel/medical insurance.
  • Artists are responsible for any excess baggage or freight to/from the Studio Program.
  • Artists will be asked to sign an agreement that outlines the terms of the Program and their travel.
  • Upon returning, artists will be required to take part in a public discussion about their trips.

 

Enquiries and applications should be directed to:

Micheal Do

Assistant Curator

4A Centre for Contemporary Asian Art

Phone: +61 2 9212 0380

Email:

m.do@4a.com.au

 

Studio Information Nights:

Join one of our Studio Information Nights to meet with 4A staff to learn more about the 4A Beijing Studio Program, and ask any questions you may have about the Program.

Sydney: 

6-7PM, Wednesday April 26

Guest speaker: Justin Shoulder

4A Centre for Contemporary Asian Art, 181-187 Hay St Haymarket, Sydney. Click here to RSVP.

Melbourne

6.30-7.30PM, Thursday April 27

Guest speaker: Eugenia Lim

Bus Projects, Melbourne CBD. Click here to RSVP.

Perth 

6-7pm, Wednesday 3 May

Guest Speaker: Abdul Rahman Abdullah

Moana, Perth WA. Click here to RSVP. 

He Xiangyu’s The Swim – Premiere Australian Screenings

SYDNEY – Free screenings: May 25 – 28 2017.

4A Center for Contemporary Asian Art is pleased to announce the Australian premiere of He Xiangyu’s latest film, The Swim

The Swim is an art film with documentary characteristics. The artist returned to his hometown in Kuandian for three times – a poor county located by Yalu River on the China-North Korea border. Through interviewing and filming 6 veterans participating in the Korean War and 6 defectors fleeing from North Korean as well as their families, the film unveils the cruel reality hidden behind the beautiful scenery and presents the utopian fantasy projected on individuals.

This will be only the second international screening of this work (after an international premiere at the Guggenheim in February 2017).

He Xiangyu is a leading contemporary artist based between Beijing and Berlin who first garnered attention for his large-scale works, such as The Coca Cola Project and Tank Project. Xiangyu is represented by White Cube and his work is in the collections of:Rubell Family Collection, Miami, USA; Kunstmuseum Bern, Bern, Switzerland; Pinault Collection, France; White Rabbit Gallery, Sydney, Australia; Domus Collection, USA; Boros Collection, Berlin, Germany; Long Museum, Shanghai, China; Mercator Foundation, Essen, Germany; Artron Art Museum, Shenzhen, China; M WOODS Museum, Beijing, China; Sishang Museum, Beijing, China.

 

Director’s Statement:

On the Tomb-sweeping Day in 2015, I went back to my hometown for ancestor worship. In China, it is a day when we mourn the deceased and wish them living a happy life in the other world. My hometown is a border town where I was born and grew up. I used to know well about the neighbours and the landscape. But after leaving for years, I found the landscape that seemed familiar and everlasting before had concealed certain strange reality now. The Utopia in my carefree childhood makes me feel complicated and ambiguous, which inspires me to rediscover the place and the people’s life there.

I spent more than half a year on field trips and collected a large amount of materials. The interviewees include a dozen North Korean defectors and over twenty veterans participating in the Korean War. Their narrations unveil the realistic face of my hometown. Following my childhood memory and local people’s narrations, I started my first filming in this April along the border between China and North Korea. Later, I went back twice. During the three filming trips, the experiences of the individual interviewees, their struggle in reality and their expectation for the future were so fascinating and touching. Although have gone through the geographical and spiritual departure and return, the land that used to be so familiar is still strange to me.

 

About He Xiangyu (b.1986, Dandong, China.Lives and works across Beijing, China and Berlin, Germany.)

He Xiangyu’s experimental practice can be seen as both a material testing ground and conceptual laboratory that investigates diverse personal, social and political themes. Part of a generation of Chinese artists who grew up during a period of rapid urbanisation, He Xiangyu is one of the most important and influential figures in contemporary Chinese art.  He has said that “I’m seeking to adjust and guide people’s perception through the material changes within the object”, using a range of media to reflect on philosophic ideas such as the increasing materialism and obsolescence of our society as well as the effects of the institutionalisation and commercialisation of contemporary art.

He Xiangyu is represented by White Cube and has an international reputation. His solo exhibitions have been presented in London, Frankfurt, Sydney, Tokyo and Beijing. His works are included in numerous group shows, including Soil and Stones, Souls and Songs by Kadist Art Foundation, the Biennale de
Lyon, Fire and Forget: On Violence in the KW Institute for Contemporary Art in Berlin, 28 Chinese in the Asian Art Museum/ San Antonia Museum of Art in San Francisco and San Antonia, Shanghai Biennale, Busan Biennale and exhibitions in many important institutions in the world.

He Xiangyu’s works have been collected by the Uli Sigg Collection (Switzerland), Rubell Family Collection (Miami, USA), Kunstmuseum Bern (Bern, Switzerland), François Pinault Collection (France), White Rabbit Gallery (Sydney, Australia), Domus Collection (New York, USA), Boros Collection (Berlin, Germany), Long Museum (Shanghai, China), Stiftung Mercator (Essen, Germany), M Woods Gallery (Beijing, China) and the Si Shang Art Museum (Beijing, China).

 

This is the second time 4A Centre for Contemporary Asian Art has presented He Xiangyu in Sydney. The Swim follows the 2012 exhibition of the Cola Project – where the artist worked with factory workers to boil thousands of litres of Cola, creating a black sludge which He used to create Song dynasty style ink paintings.

For more information about the Cola Project, click here.

Image: The Swim (2017) (still) © He Xiangyu. Courtesy the artist and White Cube.

Rickshaw Tales – Family Program @ The Chinese Garden of Friendship

SYDNEY: CHINESE GARDEN OF FRIENDSHIP 4 February – 5 February 2017 | 12.30pm-3.30pm
In this free family program as part of the 2017 Chinese New Year celebrations, join 4A Centre for Contemporary Asian Art at the Chinese Garden of Friendship.

Decorate a life-size cardboard rickshaw with Chinese New Year motifs, and go on an artist-led story walk inspired by the work of Louise Zhang.

This event is held in partnership with and supported by the Chinese Garden of Friendship:

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Cinema Alley: Ten Years

WEDNESDAY FEBRUARY 1, SYDNEY. In 2017 4A’s beloved Cinema Alley returns with Ten Years. 

“If we can’t even see the storms in our future, how can we talk about hope? How can we find courage to change?”

As part of the exhibition Before the Rain five young Hong Kong directors consider the future of their city. Ten Years  (103 minutes, Cantonese drama, with Chinese and English subtitles), was one of the 2015 HKAFF Center-pieces, is a collection of five short stories; a prophecy, and a fable for Hong Kong. Through their films, the directors raise questions about the most central issues concerning our city, and the audience is invited to ponder together:

a Where will our terrorist attacks come from?

【 Extras (浮瓜) Directed by: Kwok Zune (郭臻) 】

b What is left for us to protect, when the awareness to preserve is at its end?

【Season of the End (冬蟬) Directed by: Wong Fei-Pang(黃飛鵬)】

c How does the fading of Cantonese affect the life of the people?

【Dialect (方言) Directed by: Jevons Au (歐文傑)】

d Will there be self-immolators in Hong Kong, ten years from now?

【Self-immolator (自焚者) Directed by: Chow Kwun-Wai (周冠威)】

e What is our next generation meant to learn?

【Local Egg (本地蛋) Directed by: Ng Ka-Leung (伍嘉良)】

All the stories are independent, yet at the same time, intricately related to one another. They are attempts to portray decisions and struggles of humanity in a dark age. Through films, they acknowledge a difficult future, and reflect upon the present.

The screening of Ten Years is complemented by the short film Miles to Go by HK URBEX. HK URBEX is a collective of visual storytellers from Hong Kong that explore the abandoned spaces of the megacity. In Miles to Go they appear in the main streets of the city during the Umbrella Movement of late 2014.

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Rickshaw Tales – Chinese New Year 2017

HAYMARKET – JANUARY 27 – FEBRUARY 14, 2017. 

Tickets on sale now – click here to make your booking. 

Jump aboard a customised, artist-commissioned rickshaw for curated local food tours throughout Haymarket as 4A celebrates Chinese New Year 2017.

4A’s Rickshaw Tales is a community-engaged program where people ride a customised, artist-commissioned rickshaw on curated tours through Haymarket.

Ride around the suburb on a rickshaw that has been customised by Sydney-based Chinese Australian artist Louise Zhang. Zhang’s lolly-esque globular painting style is evocative of the Asian sweets riders will get to sample as they learn about the stories behind the food at some of Haymarket’s most-loved snack stops. Participants will also be able to partake in a walking tour version of this program with a 4A staff member.Participants will also be able to partake in a walking tour version of this program with a 4A staff member.

Please note: this tour involves food sampling. While alternatives may be provided where possible, food intolerances and preferences are unable to be catered for. In the event of wet weather or extreme heat, refunds will be provided and alternative tour bookings offered where possible. 

 

 

On February 4-5, bring the whole family to our childrens’ program, produced in partnership with the Chinese Garden of Friendship. Rickshaw Tales has been made possible with major support from the City of Sydney and is part of the 2017 Sydney Chinese New Year Festival.

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Documentation:

 

Sydney - January 19, 2017: Chinese-Australian artist Louise Zhang (c) and 4A Gallery Director Mikaela Tai ride a rickshaw Louise decorated to celebrate Chinese New Year (photo by Jamie Williams/City of Sydney)

Louise Zhang and 4A Gallery Director Mikala Tai ride a rickshaw Louise decorated to celebrate Chinese New Year (photo by
Jamie Williams/City of Sydney)

 

Sydney - January 19, 2017: Chinese-Australian artist Louise Zhang with a rickshaw she decorated to celebrate Chinese New Year (photo by Jamie Williams/City of Sydney)

Louise Zhang with a rickshaw she decorated to celebrate Chinese New Year  (photo by Jamie Williams/City of Sydney)

 

Sydney - January 19, 2017: Chinese-Australian artist Louise Zhang with a rickshaw she decorated to celebrate Chinese New Year (photo by Jamie Williams/City of Sydney)

Louise Zhang with a rickshaw she decorated to celebrate Chinese New Year  (photo by Jamie Williams/City of Sydney)

Exhibition Opening: Familiar Stranger

OPENING NIGHT: THURSDAY APRIL 6 2016.

Artists: Shumon Ahmed, Chun Yin Rainbow Chan, Bashir Makhoul, Veer Munshi, Shireen Taweel and Curtis Taylor.

The reconciliation between memory and reality plagues the act of returning. There is no resolution between the two. Memories are etched into the psyche hinged on topographical monuments, whispered words and subconscious everyday patterns while reality erases such symbology through the passing of time. Familiar Stranger examines this third, non-existent space that plagues the returnee as they seek to retrace their memories in places that have been rebuilt or reinscribed. With familiarity reduced to invisible archaeological sites the returnee searches for recognition and legitimacy in a now unacquainted geography.

The exhibiting artists examine the negation and erasure of familiarity by presenting place as a space defined by uncertainty. There is a continuing shift between points of view that begets the collapse of spatial certainty and becomes defined by its own instability. For the migrant the idea of returning becomes an implicit part of their identity; the constant oscillation between the possibility and impossibility of return a daily taunt. In Familiar Stranger the moment of return is the focal point where, for some, it is a wistful hope and for others a violent decimation of expectancy. Resisting melodrama, the artists turn to the familial archive and the personal memorial to bring form to the constant internal struggle between what is and what was.

 

This event starts at 6PM with drinks on arrival, followed by a brief opening address from Brendan O’Flynn, Human Rights Watch and 4A Director and curator Mikala Tai, and performance from Chun Yin Rainbow Chan from 7PM – 7.30PM.

Exhibition opening: Wansolwara: One Salt Water

SYDNEY

6.00PM – 8.00PM 

16 JAN 2020 

4A HAYMARKET

Wansolwara: One Salt Water is a series of exhibitions, performances and events from across the Pacific and throughout the Great Ocean. Wansolwara – a pidgin word from the Solomon Islands meaning ‘one-salt-water’ or ‘one ocean, one people’ – reflects not a single ocean, but rather a connected waterscape that holds distinct and diverse cultures and communities. Through art, performance and conversation, the project celebrates the depth and diversity of contemporary visual and material culture throughout these regions, placing customary practices alongside contemporary articulations in art, writing and the moving image.

Unfolding across multiple sites over the summer of 2020 Wansolwara: One Salt Water profiles the creativity of the region through multidisciplinary forms. Artists Terry Faleona, Ruha Fifita, Rebecca Ann Hobbs, Shivanjani Lal, Paula Schaafhausen and Vaimaila Urale all present significant bodies of work that trace connections to the Pacific through language, tradition, dance and ceremony. Commissioned by 4A and UNSW Galleries, artist and curator Léuli Eshrāghi presents O le ūa na fua mai Manuʻa a focus within the exhibition that expands the Pacific from a geographical region to consider networks and exchange facilitated by the Great Ocean. The project brings fresh international perspectives to current endeavours to embody and awaken Indigenous sensual and spoken languages through works that focus on language, the body, gender, sex, desire and pleasure. It features works by asinnajaq, Sarah Biscarra Dilley, Sebastián Calfuqueo Aliste, Mariquita Davis, Amrita Hepi, Caroline Monnet, Faye Mullen, Shannon Te Ao, Angela Tiatia and Gutiŋarra Yunupiŋu.

4A and UNSW have also commissioned Troppo Galaktika, a Sydney-based collective to curate the third iteration of Club4A focused on the continuing and contemporary cultures of the Pacific. This evening of food, parades and performances weaves its way from 4A to a karaoke club in Haymarket, animating the streets of Sydney with performances that occur outside the gallery and within the living, pulsating nightlife of the city.

Alongside the exhibition a series of academic modes of enquiry elucidate key themes of the project. Australian based early-career writers Mitiana Arbon, Winnie Dunn, Enoch Mailangi and Talia Smith have been commissioned to participate in the Wansolwara Writers Program. Their critical responses to the exhibition will be shared on FBi Radio, through podcasts and in a special edition of 4A’s biannual online journal the 4A Papers available in May 2020. A day-long symposium at UNSW Art & Design and series of public programs will further illustrate, through research, the depth and diversity of creativity from the region.

 

Creatives: Sebastián Calfuqueo Aliste, Mitiana Arbon, asinnajaq, Mariquita ‘Micki’ Davis, Sarah Biscarra Dilley, Winnie Dunn, Léuli Eshraghi, Ruha Fifita, Troppo Galaktika, Amrita Hepi, Rebecca Ann Hobbs, Shivanjani Lal, Enoch Mailangi, Caroline Monnet, Faye Mullen, Paula Schaafhausen, José Da Silva, Talia Smith, Mikala Tai, Shannon Te Ao, Angela Tiatia, Vaimaila Urale, Gutiŋarra Yunupiŋu and more to be announced.

This opening event starts at 6:00PM with drinks and an opening address.

 

Wansolwara: One Salt Water is exhibited across both 4A (17 Jan – 29 Mar) and UNSW Galleries (17 Jan – 18 April).

Before the Rain – Exhibition Opening

Join us to celebrate the opening of Before the Rain, 4A’s first exhibition in 2017.

 

SYDNEY. 21 JANUARY – 19 MARCH 2017.

Luke Ching, Liu Ding, Yuan Goang-Ming, James Kong, Tang Kwok Hin, Sarah Lai, Swing Lam, Ellen Pau and Sampson Wong.

Before the onset of a downpour there is a moment of heavy humidity that hangs low in the air. Building over time it signals the inevitability of a deluge that will interrupt and intercept patterns of normality. For Hong Kong, a city defined by humidity, the deluge that began on September 28 2014 was the result of a long and steady buildup of uncertainty, anxiety and the long held need to articulate a cohesive identity for the city.  Before the Rain addresses the tensions that precipitated the recent political and civil urgency in Hong Kong and the city’s pressing need to reimagine its future.

The exhibiting artists frame the conversation from a multiplicity of perspectives presenting the complexity and concerns of a city facing a future planned by others. They approach the city with an intent to protect it; their works may appear as warnings but they are underpinned by a need to safeguard.  Commissioned for the exhibition is a new work by Samson Wong that transforms the entrance gallery into a narration of the Umbrella Movement. Ephemera taken from the streets, continuous loops of CCTV and news footage, blogs, tweets and newspapers will populate the gallery inviting the viewer to sift through the materials and navigate their own opinion of a city in flux. Before the Rain responds to a continuously evolving discourse thats shifts and tangents are proving to be one of the most critical events in South East Asia’s recent history.

 

This event starts at 4:00pm with drinks on arrival, followed by a brief opening address from Michael Lynch, CBE, AM; artist and artistic leader of the movement,Sampson Wong (HK); and 4A Director and curator Mikala Tai.

4A 2016 Fundraiser Auction open now

This month marks the 20th anniversary of 4A Centre for Contemporary Asian Art. Over the last two decades 4A has carved a place for Asian-Australian artistic voices and celebrated Australia’s dynamic and diverse engagement with Asia.

Celebrate the 4A Centre for Contemporary Asian Art’s 20th anniversary and support our future work by bidding on works by the likes of Shaun Gladwell, Guo Jian, Anida Yeou Ali, and Chen Qiulin. Proceeds support our efforts to foster excellence and innovation in contemporary Asian and Australian culture. 

Our 4A 2016 Fundraiser Auction is now open. Bidding closes 6PM AEDT, on 6 November 2016.

Click here to view all works available and place your bids now. 

Image: Guan Wei, The Classic of the Mountains and Seas, 2012. Silkscreen. Courtesy the artist. Available for purchase as part of the 4A 2016 Fundraiser Auction.
Auction powered by Paddle8, the online auction house.

 

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CINEMA ALLEY 2012

SYDNEY. 3 FEBRUARY 2012, 8pm.

Coinciding with the City of Sydney’s Chinese New Year Festival, Cinema Alley celebrates contemporary Chinese video art with the screening of five significant short video artworks by Asian artists and filmmakers in an open-air street cinema located on Parket Street, Haymarket in the heart of the Chinatown district.

Curated by Aaron Seeto, Cinema Alley features a selection of short film and video-based art works by five leading contemporary Asian artists: Chen Cheih-Jen; Jun Yang; Ou Ning and Cao Fei; Wang Qingsong; and Yuan Goang-ming. The films explore the artists’ different perceptions of their cities, transformation, experiences of alienation and the effects that history and tradition place on the individual.

Globalisation, labour, consumerism and migration are key themes in the films with the content touching on the harrowing experience of a man adrift on a small boat at sea, the hardship faced by factory workers, teams of skyscraper construction workers and the fate of once rural Chinese regions experiencing the rapid onset of real estate development.

 

MEDIA COVERAGE

Central Magazine by Kim Shaw

Time Out Sydney by Stuart Holmes

CINEMA ALLEY 2014

Friday 7 February 2014
Golden Age Cinema & Bar, 80 Commonwealth St, Surry Hills

Cinema Alley at Golden Age Cinema & Bar is a night of Chinese cinematic wonder and cutting-edge video art presented in the architectural grandeur of the art deco Paramount Pictures building in the ‘Hollywood Quarter’ of Sydney’s Surry Hills.

Curated by 4A in response to the unique setting of Golden Age Cinema, Cinema Alley at Golden Age Cinema & Bar presents two feature films and two installations of video art that explore the significant changes that have occurred to the physical and cultural landscape of China over recent decades.

Offering ticketed cinema screenings in addition to free contemporary video art installations, dapper attired wait staff, specially curated cocktails and tempting bites, 4A invites audiences to bring in the Chinese Year of the Horse in the elegant surrounds of a ‘golden age’.

Curator Toby Chapman says, ‘Cinema Alley presents a suite of feature lms and video installations from China that engage with ideas of nostalgia and the important role that the moving image has played in China’s collective imagination.

The evening will feature the Sydney premiere screening of leading Chinese director Jia Zhangke’s (贾樟柯) A Touch of Sin (天注定) (2013), the critically acclaimed Tarantino-esque thriller that earned Best Screenplay at the 2013 Cannes Film Festival. Also showing is Jia Zhangke’s haunting minimalist drama Still Life (三峡好人) (2006), awarded Golden Lion at the Venice Film Festival in 2006.

In the foyer and bar areas, the free video art installations by contemporary Chinese artist Chen Qiulin (陈秋林), and Hong Kong based video, installation and performance artist Adrian Wong, will provide multi-sensory experiences with bespoke costumes, cocktails and dining menu to complete the evening.

Cinema Alley at Golden Age Cinema & Bar is produced by 4A Centre for Contemporary Asian Art in partnership with Golden Age Cinema & Bar and is an associated event of the Sydney Chinese New Year Festival.

4A Birthday Party

Join 4A staff (past and present), exhibiting artists and supporters for a birthday party you wont forget – hosted at the fantastic Ching Yip Coffee Lounge with a curated set of classics fromChun Yin Rainbow Chan. First release of tickets available here.

Just $20 gets you access to the party, inclusive of unlimited drinks, a selection of Ching Yip snacks and a whole lot of fun.

Join us before the party at 4A for the opening of Jogja Calling

WHEN
WHERE
Ching Yip Coffee Lounge – 413 Sussex Street #210, Sydney, NSW 2000 – View Map

 

 

Image: Thang Ngo, Noodlies.com

un Magazine 10.2 launch – Sydney


 

Join 4A partner un Magazine for the launch of issue 10.2.

RSVPs required, and drinks available by donation.


Join us to celebrate the launch of un Magazine issue 10.2, and the launch of the special-edition un Anthology: Melbourne Art & Writing (2004 – 2014), a 10-year retrospective of un Magazine.

UN MAGAZINE ISSUE 10.2

Edited by Shelley McSpedden, with Sub-Editor Alana Hunt, issue 10.2 explores configurations of contemporary coexistence, social connections, and community.

Featured artists and writers: Nikos Pantazopoulos, Virginia Fraser, Elvis Richardson, Raafat Ishak, Ross Coulter, Tom Civil, Sam Wallman, Phuong Ngo, Laura Castgnini, Rose Gibbs, Tristen Harwood, Tiarney Miekus, Zanny Begg, Pedro de Almeida, Sumugan Sivanesan, Elise Routledge, Luke Letourneau, Anusha Kenny, Michelle James, Lauren Burrow, Georgina Griddle, Matthew Taft, Julian R. Murphy, Georgia Robenstone, Anna Dunnill, Nick Terrell, Nathan Gray, Nick Modrzewski.

UN ANTHOLOGY: MELBOURNE ART & WRITING (2004 – 2014)

un Anthology is a critical and celebratory review of Australia’s popular free bi-annual contemporary art magazine, with articles, essays, artist pages, and reviews selected from a decade of publishing, as well as special commissions from Kelly Fliedner, Anthony Gardner, Justin Clemens, Bianca Hester and Lisa Radford.

The un Anthology will be for sale at the launch, and on the un Projects website.

Brian Fuata, Untitled (ghost machinery refit / letting go of the sheet – a possible addition to a program of events), Chisenhale Gallery, London, .2015. Performance. Photo: courtesy the artist.
Brian Fuata, Untitled (ghost machinery refit / letting go of the sheet – a possible addition to a program of events), Chisenhale Gallery, London, 2015. Photo: courtesy the artist.

To mark the launch of un Magazine 10.2, un Projects and 4A Centre for Contemporary Asian Art present a performance by Brian Fuata, Hot Topic.

Taking in the architectural spaces of 4A’s unique nineteenth-century heritage building, Brian Fuata’s site-responsive work centres on formal and conceptual frames for the act of writing, specifically the object of the white page. Long used as the ultimate visual metaphor – at once signaling the birth of creation and the death of ideas, and indeed the author – the white page is pulled apart by Fuata in an embodied testing and teasing of its historical and cultural significance as both site and object for the production of narratives.

Through a soft queer and post-colonial lens, Hot Topic demonstrates how the dominant culture of this particular object, commonly valued over the ephemeral and intangible acts of the reading and speaking of words, is articulated upon the body and in space. In a series of structured 20-minute improvisations, Fuata comically employs the image of the ghost in a conjuring of open discussion with audiences in the round that implicitly and explicity demonstrates the structure and content of the artist’s improvising. Experienced and embodied Hot Topic is an act of inscription that record the utterances and gestural fabrication of the performance itself.

The artist will enter and re-enter the space with the following items:

  • a pile of A1 or A2 white sheets of paper
  • white tape
  • his laptop
  • a microphone
  • some kind of light source
  • his phone to record sound and moving image
  • a notebook and pencil
  • a queen sized white bed sheet.

Brian Fuata’s (b. 1978, Wellington, NZ) practice is characterised by an improvisational and interdisciplinary approach to performance. He uses a range of sites for his work including theatres, galleries, mobile phone text messages and email. Fuata has been curated in exhibitions and is a recipient of new work commissions that include: Tarrawarra Biennial (2016); The Physics Room, Christchurch (2016); Performa, New York (2015); The Poetry Project, New York (2015); UnionDocs, New York (2015); Chisenhale Gallery, London (2015), Carriageworks, Sydney (2015); ACCA, Melbourne (2014) and MCA, Sydney (2013). He is also part of Wrong Solo with Agatha Gothe-Snape formed in 2009.

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Brian Fuata, Untitled (ghost machinery refit / letting go of the sheet – a possible addition to a program of events), Chisenhale Gallery, London, 2015. Photo: courtesy the artist.

Presented by:

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Twenty Years – 4A Symposium

TWENTY YEARS

On Friday 4 November, 4A Centre for Contemporary Asian Art together with The Power Institute, The University of Sydney will stage a major symposium event, Twenty Years, with support from the Power Institute, Sydney University, the Asian Australian Studies Research Network and the China Studies Centre.

This day-long symposium celebrated 4A’s twenty-year anniversary. Twenty Years brought together those who have played a role in the development of 4A as a leader in Asian contemporary art in Australia since 1996 and those that will shape the next twenty years. A keynote presentation by Sara Raza, Guggenheim UBS Map Curator, Middle East and North Africa, was followed by an in-conversation between Raza and Edmund Capon, OBE AM, Chair of 4A Centre for Contemporary Asian Art.
 

Twenty Years Symposium:
Friday 4 November, 2016.
9.30AM – 7.30PM
The Foyer, Sydney Law School, University of Sydney, City Road, Camperdown, Sydney.

Watch the Symposium sessions below, recorded by Matthew Venables and thanks to our wonderful partners at The Power Institute:



4A would like to thank the Power Institute, Sydney University, the Asian Australian Studies Research Network and the China Studies Centre, and, of course, all the wonderful speakers, attendees and staff who participated in this important event.

Twenty Years – Symposium Schedule

9.30 – 10.00    Registration 

 

10.00 – 10.15  Welcome

| Prof. Mark LEDBURY, Director of the Power Institute

| Dr. Mikala TAI, Director of 4A Centre for Contemporary Asian Art

 

10.15 – 10.30  Opening Remarks

| Edmund CAPON, OBE AM, Chair of 4A Centre for Contemporary Asian Art

 

10.30 – 12.00 Session one – The Last Twenty 

 | Chair: Aaron SEETO

| Speakers: Lindy LEE, Prof. Ien ANG, Dacchi DANG and Victoria LOBREGAT.

Session supported by the China Studies Centre, The University of Sydney.

4A Centre for Contemporary Asian Art is a creation of the Asian Australian Artist’s Association that was founded in 1996 in the midst of socio-political debates about multiculturalism and Australian identity. This session brings together some of the early members of the organisation to reflect on the context that framed the inception of 4A.

 

12.00 – 1.00    Lunch

 

1.00 – 2.30      Session two – The Asian Australian Artist 

 | Chair: Prof. Jacqueline LO

| Speakers: Abdul ABDULLAH, Mayu KANAMORI, Owen LEONG and John YOUNG

Session convened with the Asian Australian Research Network.

Reflecting on 4A’s foundation as an artist association this session focuses on the cultural politics of Asian Australian art and identity from the perspective of artists. The artist panelists will all reflect on how their diverse histories inform their practice and politics.

 

2.30 – 3.15      Afternoon Tea & Launch of The 4A Papers

 

3.15 – 4.45      Session three – The Next Twenty

 | Chair: Dr. Mikala TAI

| Speakers: Alex BOWEN, Pedro DE ALMEIDA, Dr. Abdullah M.I. SYED and Dr. Stephen WHITEMAN

Session convened and supported by the Power Institute, The University of Sydney

The next era for 4A will see expanded areas of focus, new questions and new challenges. This session brings together a diverse panel of 4A collaborators who are working with the organisation to navigate the future of one of Australia’s most unique and important contemporary art spaces.

 

4.45 – 5.00      Closing Remarks

| Dr Mikala TAI, Director of 4A Centre for Contemporary Asian Art

 

5.00 – 6.00 – Evening Break

Join us across the grass at Taste Baguette for a quick pre-keynote break. Nibbles provided!

 

6.00 – 7.30      Keynote

| Speaker: Sara RAZA

| In Conversation with: Edmund CAPON, OBE AM, Chair of 4A Centre for Contemporary Asian Art

Sara Raza will present a keynote on her curatorial research exploring questions concerning the critical role of curating and the importance of site specificity in new emerging centers in Central Asia, Caucasus and the Gulf. Correspondingly, Raza will highlight the global stage of the exhibition as a site where the cross circularity of several overlapping and urgent topics concerning the migration of people and ideas and the prohibition of civil liberties converge to create an urgent yet fluid forum for activating ideas through visual culture.

 

SPEAKERS

 

abdul-abdullah

Abdul Abdullah is an artist from Perth, currently based in Sydney, who works across painting, photography, video, installation and performance. As a self described ‘outsider amongst outsiders’, his practice is primarily concerned with the experience of the ‘other’ in society. Abdullah’s projects have engaged with different marginalized minority groups and he is particularly interested in the experience of young Muslims in the contemporary multicultural Australian context. Through these processes and explorations Abdullah extrapolates this outlook to an examination of universal aspects of human nature.

 

abdullah-m-i-syed

Artist Abdullah M.I. Syed was born in Karachi, Pakistan and presently works between Karachi and Sydney, Australia. Syed’s artwork utilizes a variety of mediums and techniques to communicate complex political ideas. This includes print screening and the shadow play produced with dollar bills and razorblades. His political commentary tackles controversial topics such as the War on Terror, immigration, and Western attitudes towards the East. He participated in the Britto artists’ workshop and an artist residency at Cicada Press. He has also co-curated exhibitions, notably Michael Esson: A Survey of Drawing, Michael Kempson: A Survey of Prints, Aboriginal Dreams and Let’s Draw the Line in Karachi, Pakistan. As a designer he co-coordinated the Design Department at the University of Karachi as well as lectured there and at UCO in the United States. He is currently completing his Ph. D at the College of Fine Arts in Sydney, Australia.

professor-ien-ang

Distinguished Professor Ien Ang is a Professor of Cultural Studies and was the founding Director of the Institute for Culture and Society. She is one of the leaders in cultural studies worldwide, with interdisciplinary work spanning many areas of the humanities and social sciences. Her books, including Watching Dallas, Desperately seeking the audience and On not speaking Chinese, are recognised as classics in the field and her work has been translated into many languages, including Chinese, Japanese, Italian, Turkish, German, Korean, and Spanish. Her most recent book, co-edited with E Lally and K Anderson, is The art of engagement: culture, collaboration, innovation (University of Western Australia Press, 2011).

Her current ARC research project is entitled Sydney’s Chinatown in the Asian Century: from Ethnic Enclave to Global Hub (with Donald McNeill and Kay Anderson in collaboration with the City of Sydney). She currently chairs an Expert Working Group on Asia Literacy: Language and Beyond, for the Australian Council of Learned Academies’ Securing Australia’s Future program.

As a prominent public speaker and a Fellow of the Australian Academy of the Humanities, she is frequently called on for keynote addresses in Australia and internationally. As an ARC Professorial Fellow, Professor Ang aims to explore the theoretical and practical implications of notions of ‘cultural complexity’, in a research program entitled ‘Cultural Research for the 21st Century: Building Cultural Intelligence for a Complex World’. She is a champion of collaborative cultural research and has worked extensively with partner organisations such as the NSW Migration Heritage Centre, The Art Gallery of New South Wales, The Special Broadcasting Service and the Museum of Contemporary Art.

Professor Ang has had the title of Distinguished Professor conferred on her by Western Sydney University in recognition of her outstanding research record and eminence. She is the first person at the University to be conferred with this honour.

 alex-bowen

Alex Bowen heads up the cultural and creative programs at the City of Sydney, encompassing the city’s network of nine libraries, Customs House, Pine Street Creative Arts Centre, cultural development, business development and sponsorship, and major events including New Year’s Eve, Art & About and Lunar New Year celebrations.

Alex has over twenty-five years experience in the arts and cultural sector: including in State and Federal funding bodies, regional galleries, contemporary art spaces, festivals, as an educator and practitioner. Alex’s deep passion is being able to help artists, arts workers and arts organisations do what they do best in a global city.

 

edmund-capon-am-obe

Mr Capon took up his appointment as Director of the Art Gallery of New South Wales in November 1978 following his arrival from London where, for the previous five years, he held the position of Assistant Keeper, Far Eastern Section, Victoria and Albert Museum.  He stepped down as director on 23 December 2011.

Mr Capon attained a Master of Philosophy Degree in Chinese Art and Archaeology (including language) from London University’s Department of Oriental and African Studies with his thesis entitled: The Inter-dependence of Chinese Buddhist Sculpture in Bronze and Stone from AD386 to 581, and is a recognised world expert in his particular field.

In October 2003 Mr Capon opened the Art Gallery of New South Wales’ newly rebuilt Asian galleries.  This major building project has created two levels of greatly enhanced and expanded exhibition space for the Gallery’s Asian collection, as well as space for touring exhibitions of Asian art.  In May 2011 Mr Capon opened 3,300 square metres of new and refurbished modern and contemporary galleries, which includes dedicated display space for the Kaldor Family Collection.

Mr Capon is a Visiting Professor in the School of Languages and Linguistics, Faculty of Arts and Sciences, University of New South Wales; is on the Board of the St James Ethics Committee; has written extensively on the arts of China; written and presented a 3-part ABC TV-China Central Television co-produced documentary entitled Meishu: Travels in Chinese Art which has been distributed worldwide; developed the AGNSW as a centre for Asian art display and education; created the Gallery’s highly successful Foundation, a Capital fund, to acquire works for the Collection; has curated exhibitions encompassing Asian, European and Australian art; has written extensively on Chinese art & archaeology and on the work of artists such as Jeffrey Smart, Caravaggio and Giacometti.

Mr Capon’s most recent non-Gallery publication is a collection of essays entitled I Blame Duchamp: My Life’s Adventures in Art which was published in November 2009 by Penguin Australia. He was awarded the Doctor of Letters honoris causa from the University of NSW in 2000 and from Macquarie University in 2010. He has been honoured by the governments of Britain, France, Italy and Australia for his contribution to art and culture.

 

dacchi-dang

Dacchi Dang was born in 1966 in Saigon, Vietnam, and currently lives and works in Brisbane. His personal experience as a refugee generates difference in how he sees the multiple geographical and social landscapes of Australia and Vietnam. This provides new knowledge and understanding of the physical and cultural landscape of both countries. With this approach he creates or reinvents layered landscapes through his personal experiences and memories in order to focus his gaze and reflect on his ‘self’ in relation to the location of home.

Dang has a Graduate Certificate of Applied Science in Cultural Heritage Studies, University of Canberra (2003); an MA and BFA, College of Fine Arts, University of NSW (1996, 1991); and is currently a confirmed candidature of Doctor of Philosophy at the Queensland College of Arts, Griffith University.

Dang has exhibited his work since the early 1990s. Recent solo exhibitions includeLiminal, Centre for Contemporary Photography, Melbourne (2007) and Gallery 4A, Sydney (2006); The Boat, Gallery 4A, Sydney (2001); and Phantasmagorie, Phyllis Palmer Gallery, Melbourne (2001) and Horsham Regional Arts Gallery, Melbourne (2001). Recent group exhibitions include Hashi Hashi, The Galleria, Brisbane (2009);Planet Ueno, Taito Community Museum, Ueno, Tokyo, Japan (2008); Re-StArt, 733 Art Factory, Chengdu, China (2008); The Revenge of Genres: Contemporary Art from Australia, Cité International des Arts, Paris, France (2008) and Les Brasseurs, Liege, Belgium (2007); and News From Islands, Campbelltown Arts Centre, Sydney (2007).

 

pedro-de-almeida

Pedro de Almeida is Sydney-based curator, programmer, arts manager and writer. Over the past decade he has developed and delivered artistic and cultural programs that have been distinguished by their engagement of culturally and socially diverse artists, communities and audiences. Since 2012 Pedro has been Program Manager at 4A Centre for Contemporary Asian Art, Sydney. Curatorial projects for 4A include Sea Pearl White Cloud 海珠白雲 (2016, co-curated with Anthony Yung), presented in collaboration with Observation Society, Guangzhou, and MASS GROUP INCIDENT (2015, co-curated with Toby Chapman and Aaron Seeto), a multi-stage program of exhibitions, performances and site-specific projects that explored ideas of collective action through the complex position of the individual in relation to the group. Pedro also curated Beijing Silvermine (2014), a presentation of French Beijing-based photography collector Thomas Sauvin’s archive of found 35mm snapshots that reveal an intimate perspective of the lives of ordinary Chinese in the decades following the Cultural Revolution, and Ways: Omar Chowdhury (2014). Independent curatorial projects include Ian North – Felicia: South Australia 1973-1978 (2013) for the Australian Centre for Photography, Sydney, with accompanying artist monograph; and EXCAVATION: The Armory Exhibition (2012), Sydney Olympic Park.

Pedro previously held the position of Program Coordinator at Campbelltown Arts Centre (2008-2011) in Sydney’s western suburbs where he worked across a multidisciplinary artistic program. This included the large-scale exhibitionsNgadhu, Ngulili, Ngeaninyagu: A Personal History of Aboriginal Art in the Premier State (2008, curated by Djon Mundine OAM) and Gallery A Sydney 1964-1983 (2009, curated by John Murphy), both with accompanying catalogues. He was Associate Curator and Project Manager of the major three-year project Edge of Elsewhere (2010-2012, curated by Thomas J. Berghuis, Lisa Havilah and Aaron Seeto), which commissioned artists from Australia, Asia and the Pacific—Newell Harry, Jun Nguyen-Hatsushiba, Shigeyuki Kihara and Young-Hae Chang Heavy Industries, among others—to produce new works in partnership with a diverse range of communities as part of the Sydney Festival. Other professional roles include developing public programs for Sydney Living Museums (2011-2012), and Publisher’s Assistant at Allen & Unwin (2006-2008), Australia’s largest independent publisher.

Pedro’s writing on art is published regularly and has appeared in ArtAsiaPacific, Art & Australia, Art Monthly Australasia, American Suburb X, Broadsheet Journal, Photofile and un Magazine among others. He has authored and contributed to several exhibition catalogues and artists’ monographs including, most recently, TV Moore: With Love & Squalor (2015). He is Editor of The 4A Papers, a newly established online platform for writing on contemporary art and culture in the Asia Pacific region, and is a member of Broadsheet Journal’s international Editorial Advisory Board (since 2016). Pedro graduated with a Bachelor of Visual Arts (Honours) from Sydney College of the Arts, University of Sydney (2003). In 2014 he undertook a secondment at Delfina Foundation, London, and is currently undertaking a Master of Philosophy at University of New South Wales Art & Design with research around the politics art and public housing.

 mayu-kanamori

Born in Tokyo, based in Sydney and often between places on planes, cars, foot, trains and subways.

Story telling is Mayu’s art and craft. She often work site specifically with communities, and collaborate with artists and creators from all genres. Mayu writes plays, blogs and poetry; creates installations, performances, documentaries and radio programs; produces art projects, oral history programs and seminars; facilitates community workshops and arts projects; takes photographs, makes video and audio installations; researches, interviews and assists others to tell their stories. She draws during my spare time.

Some of her activities include being a board member of The Koto Music Institute of Australia, on the management committee of Living with Our Dead, and a founding member of Nikkei Australia.

Mayu likes to expand her mind and horizons, swim, listen, play and laugh; endeavour to be receptive and open; listen mindfully and with humility; and would like to be of service for the betterment of humanity and for world peace.

 

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Professor Ledbury took his degrees at the University of Cambridge and the University of Sussex, and his first academic post was as lecturer in Cultural History at the University of Portsmouth. He then moved to the University of Manchester where he was lecturer in Art History, until he joined the Sterling and Francine Clark Art Institute in Massachusetts, in 2003. As Associate Director of the Research and Academic Program at the Clark, he oversaw the expansion of the research program’s ambition and reach. He devised, planned and ran workshops, conferences and partnerships and worked to develop and oversee a lively residential scholars’ program. As Director of the Power Institute, Professor Ledbury ensures that the Power furthers its research and public engagement mission through talks, conferences and the support of research and publications.

Professor Ledbury’s research interests are in the history of European art, particularly French Art, in the eighteenth and early nineteenth centuries, and he is specifically interested in the relationships between theatre and visual art and in concepts of genre in Enlightenment philosophy and aesthetics. He is committed to historically and archivally informed scholarship, has published widely on Boucher, Greuze, David, and on inter-arts networks and relationships.

 

 

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Lindy Lee is one of Australia’s foremost contemporary artists, with a career spanning three decades in Australia and internationally. Born in Brisbane, Lee’s works from the 1980s began an ongoing investigation into issues of selfhood, identity and authenticity via concepts of the copy and the original. Lee studied at The Chelsea School of Art, London in 1979–80, at SCA from 1981 to 1984 and later at UNSW. In 2001, a monograph on her work by Benjamin Gennochio and Melissa Chiu was published by Fine Arts Press and Craftsman House, Sydney. In 2008 Lee was the subject of an ABC TV documentary for the Artists at Work series.

Solo exhibitions include: Flowers Fall, 10 Chancery Lane, Hong Kong; Birth & Death, Artspace, Sydney; Narrow Road to the Interior, Atrium Space, MITA, Australian High Commission, Singapore; No Up, No Down, I am the Ten Thousand Things, AGNSW, Sydney.
Group exhibitions include: Post Eden, Today Art Museum, Beijing 2010; Process/Journey, Australian Embasssy, Redgate Gallery, Beijing 2008; OPEN07, Venice, Italy 2007; Le Mois de la Photo à Montréal 2005: Image & Imagination, Montréal, Quebec, Canada 2005; Buddha: Radiant Awakening, AGBSW, Sydney 2002; Three Views of Emptiness: Buddhism and the art of Tim Johnson, Lindy Lee and Peter Tyndall, Monash University Museum of Art, Victoria 2001; Spirit + Place, MCA, Sydney 1997; and Photography is Dead, Long Live Photography, MCA, Sydney.

 

 

Owen Leong was born in Sydney. He is a contemporary artist exploring identity, abjection and transformation. Working with photography, video, and installation his art blurs the boundaries between real and fictional selves to explore how the body is physically, socially and culturally framed.

His artwork visualises the structures that mark our bodies through race, gender and colour. His artistic practice explores corporeal encoding and the disruption of hierarchical systems to elicit the diffuse, and often invisible, power of white hegemony in post-colonial Australia. His work evolves from the premise that identities are fluid and constantly changing, and uses the body and skin as a surface across which social and cultural forces are transmitted.

Owen Leong completed a Master of Fine Arts at College of Fine Arts UNSW in 2005, where he was the recipient of a prestigious Australian Postgraduate Award. He has exhibited widely in Australia and internationally. Recent solo exhibitions include Tidal Skin at Nellie Castan Gallery, Melbourne; Infiltrator at Grantpirrie Gallery, Sydney; and White Amnesia at Sherman Galleries, Sydney.

His work has been included in major international group exhibitions including the Liverpool Biennial Independents, Liverpool; Magic Spaces at Today Art Museum, Beijing; Soft Power at Zendai Museum of Modern Art, Shanghai; and Asian Attitude: Transit Forces at the National Museum of Poznan, Poland.

Leong was awarded the Visual Arts Centre Facade Project Public Art Commission by La Trobe University and the City of Greater Bendigo in 2012. He received the people’s choice award in the prestigious Bowness Photography Prize in 2009. A three-time finalist in the Helen Lemprière Traveling Art Scholarship, he has been the recipient of numerous awards and grants from the Australia Council for the Arts, Ian Potter Cultural Trust, Art Gallery of NSW and Asialink. He has held residencies at Artspace, Sydney; Chinese Arts Centre, Manchester; Cité Internationale des Arts, Paris; and Tokyo Wonder Site, Japan. Leong’s work is held in numerous private collections across Australia, New Zealand, and the United Kingdom.

 

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Professor Jacqueline Lo is Associate Dean (International) for the ANU College of Arts and Social Sciences and Executive Director of the Australian National University’s Centre for European Studies. She is also the Chair of Academic Board (2016-2018).

Jacqueline is an Adjunct Research Fellow of the Centre for Interweaving Performance Cultures at the Free University of Berlin. Her research focuses on issues of race, colonialism, diaspora and the interaction of cultures and communities across ethnic, national and regional borders. Publications include Staging Nation(HKUP 2002), Performance and Cosmopolitics (Palgrave Macmillan 2007, with Helen Gilbert). Her latest publications include editing a special issue of the Asia Europe Journal (2014) and contributing to a volume of essays on the concept of empathy and memory studies (2016).

Jacqueline has considerable experience in the areas of education and cultural policy, cultural diplomacy and management in the tertiary sector. She is presently serving on the reference group for the ACT Arts Framework Policy Review and regularly conducts briefings for govenrment and the diplomatic corps. She has been Visiting Fellow at UCLA, NYU, the Free University of Berlin and Konstanz University, and DAAD Guest Professor at the University of Cologne. She is the Founding Chair of the Asian Australian Studies Research Network and a member of the NYU Global Arts Exchange Program. She was awarded the Chevalier Ordre des Palmes Académiques in 2014.

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Victoria continues to draw inspiration from uniquely Australian sunlight, mid-century houses and a sense of place.

Her latest painted work renders sometimes minutely observed gardens and vistas beyond the outskirts of the city. Most of the houses she renders are from regional locations which are only now reacting to the pressure of expansion which radiates from heavily populated urban areas. One of Victoria’s chief aims is to document the passing of a distinctive era, a pre-digital age, (which is done by a diary of photographs over 25 years) and to record that transition in her work.

 sara-raza

Guggenheim UBS MAP Curator, Middle East and North Africa

Sara Raza was selected by a committee of esteemed experts in the region as Guggenheim UBS MAP Curator, Middle East and North Africa. As a part of her two-year residency at the Guggenheim in New York, Raza is curating the third phase of the Guggenheim UBS MAP Global Art Initiative.

Born in London in 1979, Raza earned a BA in English Literature and History of Art and an MA in Art History and Theory, both from Goldsmiths College, University of London. She also pursued studies towards her Ph.D. at the Royal College of Art.

Raza has curated exhibitions and projects for several international biennials and festivals, including the Tashkent Biennial: Quotations from Daily Life, Art Gallery of Uzbekistan (2011); Rhizoma (generation in waiting), Collateral Event, Venice Biennale (2013); and Baku Public Art Festival: A Drop of Sky, Yarat Contemporary Art Space, Baku, Azerbaijan (2015). She also co-curated the Bishkek International: In the Shadow of Fallen Heroes at the Bishkek Historical Museum and Alto Square, Bishkek, Kyrgyzstan, in 2005.

In 2008, Raza curated the group exhibitions Cult of Personality and New Image Making, which featured projects by artists including Yael Bartana, Ergin Çavuşoğlu, and Erbossyn Meldibekov, for ShContemporary, Shanghai. She has organized a number of exhibitions for Maraya Art Centre, Sharjah, United Arab Emirates, including solo presentations of the work of Adel Abidin, Wafaa Bilal, and Mohamed Kazem, and the group exhibitions Migrasophia (migration + philosophy) (2012) and The Beginning of Thinking is Geometric(2013). She co-curated Shezad Dawood’s North American debut at the Plug In ICA, Winnipeg, Canada, in 2010, and organized Ergin Cavusoglu’s UAE debut at The Pavilion Downtown, Dubai, in 2011.

Raza has lectured and participated in panels at Zentrum für Kunst und Medientechnologie Karlsruhe, Germany (2004); Brown University, Providence, Rhode Island; San Jose State University; and Bishkek Historical Museum, Kyrgyzstan (all 2005); Queen Mary University and Westminster University (both London, 2006); Sharjah Biennial, United Arab Emirates (2009); Intelligence Squared, United Kingdom, London (2010); the State Museum of History of Uzbekistan, Tashkent, Uzbekistan (both 2011); Sotheby’s Institute of Art, London (2011–13); Institute of Contemporary Arts, London (2012); Institut du Monde Arabe, Paris, and American University of Sharjah (both 2013); Casa Árabe, Madrid (2014); Davis Museum at Wellesley College, Boston; and Museum of Fine Arts, Houston (both 2015).

Formerly, Raza was the head of education at Yarat Contemporary Art Space, Baku, Azerbaijan, founding head of curatorial programs at Alaan Art Space, Riyadh, Saudi Arabia, and curator of public programs at Tate Modern, London (2006–8). She was an educational advisor to Edge of Arabia’s CULTURUNNERS US tour (2013–14) and a jury member for the 2014 Akbank Contemporary Artists Prize, for which she also curated the shortlist exhibition (2014). She was a nominator for the Jameel Prize of the Victoria and Albert Museum (2012 and 2015) and Future Generation Art Prize of the Victor Pinchuk Foundation (2014). She was the winner of the United Kingdom Arts Council’s Emerging Curator’s Award at the South London Gallery (2004), and a finalist for the Walter Hopps Award for Curatorial Achievement (2015).

Sara Raza writes for numerous art publications and is the West and Central Asia desk editor of ArtAsiaPacific. She is the author of Punk Orientalism: Central Asia’s Contemporary Art Revolution, which will be published in winter 2016 by Black Dog Publishing, London.

 

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Aaron Seeto is Curatorial Manager, Asian and Pacific Art at the Queensland Art Gallery | Gallery of Modern Art. He was formerly Director of 4A Centre for Contemporary Asian Art, Sydney, a non-profit art organisation with a long established reputation for supporting Asian and Australian cultural dialogue. Aaron’s curatorial work revolves around the Asia-Pacific region and the impact and experience of migration and globalisation on contemporary art practice, working with artists to create projects that approach migrant and diasporic communities in critical ways.

He was on the curatorial team that delivered the Eighth Asia Pacific Triennial of Contemporary Art (APT8) in 2015. Recent curated projects include Yangjiang Group – Actions for Tomorrow (2015, 4A Centre for Contemporary Asian Art and offsite venues); Edge of Elsewhere (as co-curator 2010-2012 , Campbelltown Art Centre and 4A Centre for Contemporary Asian Art); and News from Islands (2007, Campbelltown Arts Centre), a survey of contemporary practice from Asia and the Pacific. He has also assisted in bringing major exhibitions of key artists to Australia including He Xiangyu, Araya Rasdjarmrearnsook and Song Dong among others. 

 

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Mikala is a curator, researcher and academic specialising in contemporary Asian art and Australian design, who over the past decade has collaborated with local, national and international organisations to strengthen ties between Australia and Asia. Curatorial projects include Closing The Gap: Contemporary Indonesian Art (2011) at Melbourne International Fine Art (MIFA) when she was director; Yang Yongliang (2009) at 45 Downstairs, Melbourne; public programs for Swimming in Sand; Growing Rice under an Umbrella  (2014) at No Vacancy Gallery, Melbourne; project managing Common Threads (2015), a project initiated by the Council of Textile and Fashion Industries of Australia (TFIA) to strengthen the relationship between Australian fashion and textiles and Hong Kong; and leading VIP Tours to Art Basel Hong Kong, Art Dubai and Sharjah Biennale. As an academic Mikala has taught at both RMIT and the University of Melbourne in both undergraduate and graduate programs in Contemporary Art, Modernism and Exhibition Management, in addition to having devised and delivered the inaugural Contemporary Asian Art syllabus at RMIT (2012 – ) and the first China Fieldwork Course (2015 – )with Rebecca Coates and Kate McNeill at the University of Melbourne. More recently Mikala was the founder and director of Supergraph – Australia’s Contemporary Graphic Art Fair, which has been held twice at the Royal Exhibition Building in Melbourne and exhibited at Somerset House, London (2015). She was also part of the public programs team for Melbourne Now (2013) at the National Gallery of Victoria, and previously the Cultural Program Manager for the Melbourne Fashion Festival (2009-2013). Mikala currently sits on the board of BUS Projects, Melbourne. In 2006 Mikala completed her Bachelor of Arts (Honours) at the University of Melbourne and in early 2015 submitted her PhD at UNSW Art & Design examining the influence of the Global City on China’s local art infrastructure.

 

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Stephen Whiteman holds degrees in art history and East Asian Studies from Brown University, where he earned his AB, and Stanford University, from which he received his MA and PhD. Before joining the faculty at The University of Sydney, Stephen taught art and architectural history of Asia at the University of Pennsylvania, Middlebury College and the University of Colorado. He has been a research fellow in Garden and Landscape Studies at Dumbarton Oaks in Washington, DC, and was most recently the A. W. Mellon Postdoctoral Fellow at the Center for Advanced Study in the Visual Arts at the National Gallery of Art, also in Washington. His research has also received support from the Graham Foundation for Advanced Study in the Fine Arts and the Chiang-ching Kuo Foundation for International Scholarly Exchange.

His current research focuses on the visual culture and built environment of the Qing imperial court during the early 18th century, with a particular interest in the role of gardens and landscape in imperial discourse. Stephen’s teaching, which ranges from surveys of Chinese art and East Asian architecture to the diverse artistic production of modern and contemporary Asia, emphasises close engagement with objects, including frequent visits to exhibitions and museum storage, as well as exhibition and research-based courses.

 

 

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John Young Zerunge was born in Hong Kong in 1956 and moved to Australia in 1967. He read philosophy of science and aesthetics at the University of Sydney and then studied painting and sculpture at Sydney College of the Arts, specifically with the conceptual artist Imants Tillers and musical prodigy (the late) David Ahern. His investigation of Western late modernism prompted significant phases of work from a bi-cultural viewpoint, including series of paintings in the last four decades – the Silhouette Paintings, The Polychrome Paintings, the Double Ground Paintings and the Abstract Paintings.

Recently Young’s work has focused on transcultural humanitarianism with two projects entitled Bonhoeffer in Harlem and Safety Zone. Bonhoeffer in Harlem, a tribute to Dietrich Bonhoeffer, was installed at St. Matthaus Church, Kulturforum in Berlin in 2009, whilst Safety Zone, a tribute to 21 foreigners who saved the lives of 300,000 citizens during the ‘Rape of Nanjing’ in 1937, was shown at Anna Schwartz Gallery, Melbourne in 2010 and at the University of Queensland Art Museum in 2011.

Since his first exhibition in 1979, Young has had more than 60 solo exhibitions and over 160 group exhibitions. One of his first major projects was held at the Institute of Modern Art, Brisbane, in 1984. His works have been shown in major exhibitions both in Australia and abroad, including at the Solomon R. Guggenheim Museum, New York. He has devoted a large part of his four-decade career towards regional development in Asia, and has participated in many regional group travelling exhibitions including Asialink’s Art from Australia: Eight Contemporary Views, (1991, South East Asian Museums), Transcultural Painting (1994-5, Taiwan, China, Hong Kong), AGWA’s Confess and Conceal (1993, all South East Asian Museums), as well as Systems End (1996, Japan and Korea) and The Rose Crossing (1999-2001, Singapore, Hong Kong, Australia). He was also seminal in establishing in 1995 the Asian Australian Artists’ Association (Gallery 4A), now the 4A Centre for Contemporary Asian Art, a centre for the promotion of Asian philanthropy and the nurturing of Australasian artists and curators. Young has regular solo exhibitions in Melbourne, Sydney and Brisbane, Australia, and also shows in Berlin, Beijing and Hong Kong.

In 2005-06, a survey exhibition covering 27 years of works was held at the TarraWarra Museum of Art, Victoria, curated by Maudie Palmer and a monograph by Carolyn Barnes was published by Craftsman House, Thames and Hudson to coincide with this show. A second survey covering works from 2006-2012 was exhibited in February-March 2013 at Drill Hall Gallery, Australian National University, Canberra. Young currently resides in Melbourne with his partner Kate Mizrahi and children Jasper and Charlotte-Persia.

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Exhibition opening: Xiao Lu: Impossible Dialogue 肖鲁: 语嘿

SYDNEY. SATURDAY 19 JAN 2019. 4.00PM

Edmund Capon AM, OBE, Chair of the Board of 4A, and

Mikala Tai, Director of 4A Centre for Contemporary Asian Art
invite you to join us at the opening of: 

Xiao Lu: Impossible Dialogue 肖鲁:语嘿. 

Exhibition opening: 4-6PM, Saturday 19 January


Xiao Lu: Impossible Dialogue 肖鲁:语嘿.  is the first retrospective of leading contemporary Chinese artist Xiao Lu. The exhibition is anchored by Xiao Lu’s performance work Dialogue from the landmark China/Avant-Garde exhibition at the National Art Gallery, Beijing, in February 1989. This work, in which the artist fires a gun at her own art installation, is a milestone in the development of contemporary art in China. It has also has been read as a critical turning point in China’s recent history. While Dialogue remains an iconic work of that era, it is also one of the most misunderstood pieces of contemporary Chinese art. Xiao Lu: Impossible Dialogue 肖鲁:语嘿  examines Xiao Lu’s creative interest in deep emotion, extreme action, and chance. Spanning a period of 30 years, the exhibition presents significant performance works by Xiao Lu including a new commission that explores the artist’s ongoing connection to Australia.

Xiao Lu (born 1962, Hangzhou) works with performance and installation. She is a graduate of the Subsidiary School of the Central Academy of Fine Arts, Beijing and Zhejiang Academy of Fine Arts (China Academy of Art), Hangzhou. Her graduation work Dialogue was included in the China/Avant-Garde exhibition in Beijing in 1989 and became famous after she fired a gun at it, which led to her temporary arrest and an extended period of residence in Sydney. Xiao Lu’s fictional memoir Dialogue《对话》, published in Chinese and English in 2010, exposed powerful forces affecting women artists in contemporary China. Xiao Lu’s work has been included in important international exhibitions, most recently Performer and Participant, Tate, London (2018) and Art and China After 1989: Theatre of the World, Guggenheim Museum, New York (2017), and been collected by public and private institutions including the Tate, London; Museum of Modern Art, New York; Taikang Insurance Group Art Collection, Beijing; and White Rabbit Collection, Sydney. Xiao Lu lives and works in Beijing and Australia.

Xiao Lu: Impossible Dialogue is produced and presented by 4A Centre for Contemporary Asian Art. This exhibition and associated programming are supported by the Australian Government through the Australia-China Council of the Department of Foreign Affairs and Trade, the Australian Research Council (ARC) Future Fellowship project led by Dr Claire Roberts Reconfiguring the World: China. Art. Agency. 1900s to Now (FT140100743), and the Faculty of Arts, School of Culture and Communication, The University of Melbourne.

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Art and Activism: Changing the Conversation

SYDNEY. SUNDAY 20 JAN 2019. 12.00 – 2.00PM

Prominent Chinese artist Xiao Lu appears in conversation with Sydney Festival Director Wesley Enoch to discuss her solo exhibition Xiao Lu: Impossible Dialogue 肖鲁:语嘿 . This talk focuses on how art can be a platform for championing important debate – ultimately, reframing conversation and changing minds. This event is part of the Sydney Festival program for 2019.

Xiao Lu (born 1962, Hangzhou) works with performance and installation. She is a graduate of the Subsidiary School of the Central Academy of Fine Arts, Beijing and Zhejiang Academy of Fine Arts (China Academy of Art), Hangzhou. Her graduation work Dialogue was included in the China/Avant-Garde exhibition in Beijing in 1989 and became famous after she fired a gun at it, which led to her temporary arrest and an extended period of residence in Sydney. Xiao Lu’s fictional memoir Dialogue《对话》, published in Chinese and English in 2010, exposed powerful forces affecting women artists in contemporary China. Xiao Lu’s work has been included in important international exhibitions, most recently Performer and Participant, Tate, London (2018) and Art and China After 1989: Theatre of the World, Guggenheim Museum, New York (2017), and been collected by public and private institutions including the Tate, London; Museum of Modern Art, New York; Taikang Insurance Group Art Collection, Beijing; and White Rabbit Collection, Sydney. Xiao Lu lives and works in Beijing and Australia.

Xiao Lu: Impossible Dialogue is produced and presented by 4A Centre for Contemporary Asian Art. This exhibition and associated programming are supported by the Australian Government through the Australia-China Council of the Department of Foreign Affairs and Trade, the Australian Research Council (ARC) Future Fellowship project led by Dr Claire Roberts Reconfiguring the World: China. Art. Agency. 1900s to Now (FT140100743), and the Faculty of Arts, School of Culture and Communication, The University of Melbourne.

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In Dialogue: Gender + Art in Asia

MELBOURNE. 30 JAN 2019. 2.00PM – 5.00PM

Presented by Buxton Contemporary and the School of Culture and Communication, The University of Melbourne in association with 4A Centre for Contemporary Asian Art, Sydney and the exhibition Xiao Lu: Impossible Dialogue 肖鲁:语嘿.


This international workshop moderated by Claire Roberts coincides with the exhibition Xiao Lu: Impossible Dialogue (4A Centre for Contemporary Asian Art, Sydney). It brings together artists, art critics and art historians to discuss the question of gender and art in China, as well as in Indonesia and Singapore. The workshop will begin with short presentations and the viewing videos and slides of performance art works by Xiao Lu, Arahmaiani, and Suzann Victor, followed by group discussion. Conversation will focus on the practice of these artists and their choice of medium as well as the reception of their work in local, regional and global contexts. Speakers will include Wulan Dirgantoro, Chloe Ho, Shao Yiyang, Xiao Lu and Xu Hong. People who wish to actively contribute to the workshop discussion or just be present are all welcome.


Moderator:

Claire Roberts is an Australian Research Council (ARC) Future Fellow and Associate Professor of Art History in the School of Culture and Communication at the University of Melbourne. Her current ARC research project ‘Reconfiguring the World. China. Art. Agency 1900s to Now’ focuses on the international context of modern and contemporary Chinese art.

Speakers:

Wulan Dirgantoro is a McKenzie Postdoctoral Fellow in the School of Culture and Communication at the University of Melbourne. Her research interests are gender and feminism, and trauma and memory in Indonesian modern and contemporary art. Her publications including Feminisms and Indonesian Contemporary Art: Defining Experiences (2017) and ‘Aesthetics of Silence: Exploring Trauma in Indonesian Painting 1970-1980’ in Ambitious Alignment: New Histories of Southeast Asian Art (2018). Prior to her current role she was a lecturer at the MA Asian Art Histories program at LASALLE College of the Arts, Singapore (2014-2016) and research fellow of Art Histories and Aesthetic Practices 2016/2017 program (Forum Transregionale Studien) and Visiting Fellow at the Institute for Cultural Inquiry (ICI), Berlin.

Chloe Ho is a doctoral candidate in the School of Culture and Communication at the University of Melbourne. Her interest is in twentieth and twenty-first century Singapore art, specifically in relation to performance, performance art, and art historiography. She investigates the place of performance in the transmission of art and the art historical in the Singapore context, looking at both artistic works and social phenomena and its relation to society. Her current research project attempts to contextualise the absence of university-level art historical studies in Singaporean universities and the absence of a formal canon for Singaporean art as a resistance toward Western structures of knowledge with artwork and events in Singapore from the late 1980s to the present.

SHAO Yiyang is a professor of Art history and Theory, deputy chair of School of Humanities at Central Academy of Fine Art in Beijing. She received her Ph.D in 2003 from the Department of Art history and Theory at the University of Sydney. She has published widely in Chinese and English on modern and contemporary art and theory including most recently Modern and Contemporary Art in the 20th Century (2018), as well as “Whither Art History?”, Art Bulletin (June 2016), and “The International Identity of Chinese Art Theoretical Debates on Chinese Contemporary Art in the 1990s” in Jason C. Kuo ed,Contemporary Chinese Art and Film Theory Applied and Resisted (2013).

XIAO Lu (born 1962, Hangzhou) works with performance and installation. She is a graduate of the Subsidiary School of the Central Academy of Fine Arts, Beijing and Zhejiang Academy of Fine Arts (China Academy of Art), Hangzhou. Her graduation work Dialogue was included in the China/Avant-Garde exhibition in Beijing in 1989 and became famous after she fired a gun at it, which led to her temporary arrest and an extended period of residence in Sydney. Xiao Lu’s fictional memoir Dialogue《对话, published in Chinese and English in 2010, exposed powerful forces affecting women artists in contemporary China. Xiao Lu’s work has been included in important international exhibitions, most recently Performer and Participant, Tate London (2018) and Art and China After 1989: Theatre of the World, Guggenheim Museum, New York (2017), and been collected by public and private institutions including the Tate, London; Museum of Modern Art, New York; Taikang Insurance Group Art Collection, Beijing; and White Rabbit Collection, Sydney. Xiao Lu lives and works in Beijing and Australia.

XU Hong is a graduate of the Department of Art, Shanghai Normal University (1985) and the graduate art history program of the Central Academy of Fine Art, Beijing (1992). She was Associate Researcher at the Shanghai Art Museum (1985-2000) where she was involved in editorial work, theoretical research, curatorial projects and artistic practice, and then Deputy Head of Research and Head of the No. 1 Academic Department at the National Art Museum of China (2001-2013). In 2005 she became a Senior Research Fellow and was named an ‘Outstanding Expert’. She was a visiting Professor at Tainan National University of the Arts, and is currently an expert advisor for the Tsinghua University Art Museum. She is a leading curator, art historian and critic. Her research focuses on modern and contemporary Chinese art and Chinese women’s art.


Acknowledgements:

Xiao Lu: Impossible Dialogue is produced and presented by 4A Centre for Contemporary Asian Art. This exhibition and associated programming are supported by the Australian Government through the Australia-China Council of the Department of Foreign Affairs and Trade, the Australian Research Council (ARC) Future Fellowship project led by Dr Claire Roberts Reconfiguring the World: China. Art. Agency. 1900s to Now (FT140100743), and the Faculty of Arts, School of Culture and Communication, The University of Melbourne.

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Header Image: Xiao Lu, One, performance, 5 September 2015, Valand Academy, University of Gothenburg, Sweden. Photograph by Lin Qijian, courtesy Xiao Lu.

The China/Avant-garde Exhibition and Xiao Lu: 30 Years On

SYDNEY. FRIDAY 1 FEB 2019. 10.00AM – 5.00PM

Thirty years on, what is the significance of the China/ Avant-Garde exhibition which opened at the China National Art Gallery (National Art Museum of China), Beijing on 5 February 1989? Since the forced closure of the exhibition, after Xiao Lu fired a gun at her installation Dialogue and a subsequent ‘bomb threat’, no comparable exhibitions of Chinese experimental art have been held at China’s premier art gallery. What impact did the exhibition have on artists, the art scene in China generally, and the writing of art history within China and beyond? This day-long international workshop, coinciding with the exhibition Xiao Lu: Impossible Dialogue 肖鲁:语嘿 , brings together a diverse group of speakers, including participating artists and individuals who viewed the exhibition, as well as art historians and informed commentators, to reflect on the exhibition and its legacy and the work of Xiao Lu during the period from 1989 to 2019.

Featuring speakers: John Clark, Paul Gladston, Nicholas Jose, Olivier Krischer, Li Yu-Chieh, Archibald McKenzie, Claire Roberts, Sang Ye, Shao Yiyang, Mikala Tai, Xu Hong.

Download the program schedule here.

Xiao Lu: Impossible Dialogue is produced and presented by 4A Centre for Contemporary Asian Art. This exhibition and associated programming are supported by the Australian Government through the Australia-China Council of the Department of Foreign Affairs and Trade, the Australian Research Council (ARC) Future Fellowship project led by Dr Claire Roberts Reconfiguring the World: China. Art. Agency. 1900s to Now (FT140100743), and the Faculty of Arts, School of Culture and Communication, The University of Melbourne.

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Please Explain: Gender + Art in China

SYDNEY. SATURDAY 2 FEB 2019. 2.00PM – 3.30PM

The first Please Explain panel for 2019 reflects on Xiao Lu’s practice and examines the representation and misrepresentation of gender in contemporary Chinese art. Considering exhibition histories both nationally within China and internationally as part of the wider art community the panel will debate and dissect how museological and curatorial structures have contributed to how gender has been portrayed in contemporary art from China. This event is part of our public programming for Xiao Lu: Impossible Dialogue 肖鲁:语嘿, part of Sydney Festival 2019.

Speakers:  Chun Yin Rainbow Chan, Kelly Doley (moderator), Luise Guest, Shao Yiyang and Xiao Lu.

Join us from 1.30PM at 4A for a special pre-exhibition tour conducted by visiting Beijing-based curator Alia Lin.

Speaker Profiles: 

| Moderator: Kelly DOLEY

| Kelly Doley is a Scottish-Australian artist and curator living and working on Gadigal land (Sydney). She is currently Deputy Director, UNSW Galleries and member of artist collective Barbara Cleveland.

| Chun Yin Rainbow CHAN
| Chun Yin Rainbow Chan works across music, performance and installation. Born in
Hong Kong and raised in Sydney, Rainbow is interested in mistranslations, diaspora
and the effects of globalisation on modern Chinese society. Her research engages with
the authentic and the copy, exploring sites of exchange and desire which complicate
Western notions of originality and appropriate consumption. Central to
Rainbow’s work is the circulation of knock-off objects, sounds and images in global
media. Her work positions the fake as a complex sign that shapes new myths, values
and contemporary commodity production.
Tying together her works across installation and pop music is the relationship
between nostalgia, migration and identity. She released her debut record Spacings
(Silo Arts & Records) in 2016, which was feature album on FBi Radio, Radio Adelaide & RTRFM. She’s been nominated for numerous awards including FBi SMAC 2016 for
Best Live Act, Record of the Year, and AIR 2017 Best Dance/Electronica Album. Her
stunning single “Let Me” won SMAC Best Song of 2017.

Rainbow has performed extensively including live appearances at Sydney Opera
House, Museum of Contemporary Art, Gallery of Modern Art, Art Gallery of New South
Wales, Museum of Old and New Art, Iceland Airwaves and National Taiwan Museum of
Fine Arts. Her installations have been exhibited with Firstdraft Gallery, Liquid
Architecture, 4A Centre for Contemporary Asian Art and Longli International New
Media Arts Festival, China.

| Luise GUEST
| Luise Guest is the Manager of Research for the White Rabbit Collection, currently the
largest ongoing collection of contemporary Chinese art internationally. A writer,
researcher and art educator – and a very bad student of Chinese – Luise writes
regularly about Chinese art for The Art Life. Her book Half the Sky: Conversations
with Women Artists in China was published by Piper Press in 2016. Luise’s current
research project examines Chinese women artists whose work subverts and reinvents
traditions of ink painting.

| SHAO Yiyang 
| SHAO Yiyang is a professor of Art history and theory, deputy chair of School of
Humanities at Central Academy of Fine Art in Beijing. She received her Ph.D in 2003
from the Department of Art history and Theory at the University of Sydney. She has
published widely on modern and contemporary art and theory including most
recently in Chinese, Global Perspectives in Contemporary Art (2019), Modern and
Contemporary Art in the 20th Century (2018), as well as ‘Whither Art History?’. Art
Bulletin (June 2016), and ‘The Inernational Identity of Chinese Art Theoretical
Debates on Chinese Contemporary Art in the 1990s’ in Jason C. Kuo
ed, Contemporary Chinese Art and Film: Theory Applied and Resisted (2013).

| Alia LIN 

Alia Lin was born in Hohhot, China in 1990. She graduated from Parsons the New School for Design in 2015 with a BFA in Architectural Design. From 2015 to 2016, Lin interned at the Design Department of the Metropolitan Museum, where she worked on the exhibition design of many projects. In 2017, she graduated from University College London with a master’s degree in History of Art. In 2018, Lin worked as a curator at Zhuzhong Art Museum in Beijing. She curated and designed the exhibition “Her Kind 创” (2018) which included Xiao Lu, Zhao Yin’ou and Cao Yu.

| XIAO Lu

| XIAO Lu (Born 1962, Hangxhou) works with performance and installation. She is a
graduate of the Subsidiary School of the Central Academy of Fine Arts, Beijing and
Zhejiang Academy of Fine Arts (China Academy of Art), Hangzhou. Her graduation
work Dialogue was included in the China/Avant-Garde exhibition in Beijing in 1989
and became famous after she fired a guna t it, which led her to temporary arrest and
an extended period of residence in Sydney. Xiao Lu’s fictional memoir Dialogue 《对
话, published in Chinese and English in 2010, exposed powerful forces affecting
women artists in contemporary China. Xiao Lu’s work has been included in important
international exhibitions, most recently Performer and Participant, Tate London (2018)
and Art and China After 1989: Theatre of the World, Guggenheim Museum, New york
(2017), and been collected by public and private institutions including the Tate,
London; Museum of Modern Art, New York; Taikand Insurance Group Art Collection,
Beijing; and White Rabbit Collection, Sydney. Xiao Lu lives and works in Beijing and
Australia.

 

Xiao Lu: Impossible Dialogue is produced and presented by 4A Centre for Contemporary Asian Art. This exhibition and associated programming are supported by the Australian Government through the Australia-China Council of the Department of Foreign Affairs and Trade, the Australian Research Council (ARC) Future Fellowship project led by Dr Claire Roberts Reconfiguring the World: China. Art. Agency. 1900s to Now (FT140100743), and the Faculty of Arts, School of Culture and Communication, The University of Melbourne.

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Congee Breakfast Tour: Xiao Lu: Impossible Dialogue 肖鲁:语嘿

SYDNEY. SATURDAY 9 FEB 2019. 10.00AM – 12.30PM

Join curator Mikala Tai and academic Paul Gladston for a tour of Xiao Lu: Impossible Dialogue 肖鲁:语嘿 followed by a congee breakfast at a local Haymarket restaurant.

This event is part of our public programming for Xiao Lu: Impossible Dialogue 肖鲁:语嘿, part of Sydney Festival 2019.

Xiao Lu: Impossible Dialogue is produced and presented by 4A Centre for Contemporary Asian Art. This exhibition and associated programming are supported by the Australian Government through the Australia-China Council of the Department of Foreign Affairs and Trade, the Australian Research Council (ARC) Future Fellowship project led by Dr Claire Roberts Reconfiguring the World: China. Art. Agency. 1900s to Now (FT140100743), and the Faculty of Arts, School of Culture and Communication, The University of Melbourne.

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Exhibition opening: By All Estimates

SYDNEY. THURSDAY 11 APR 2019. 6.00 – 8.00PM

A Centre for Contemporary Asian Art
invites you to join us at the opening of: 

 By All Estimates

Exhibition opening: 6.00-8.00PM, Thursday 11 April

RSVP here.


 

Artists: Rathin Barman, Jessica Bradford, Erika Tan and Moses Tan

Taking Singapore as a locus of multiple regional identities, By All Estimates brings together works by artists that give form to narratives obscured by the city-state’s rapid urban and social development and the coexistence of competing projections of cultural inheritance and recognition. Over the past decade especially, Singapore’s investment in cultural institutions has been seen as an attempt to position the nation as a beacon of cultural capital in Southeast Asia. Underpinning this expansion lies an ever evolving matrix of received and contested narratives that within certain contemporary public realms—from the streets of the city to the corridors of the museum—jostle, overlap or otherwise mingle in approximations of the influence of multiple ethnic representations and economic imperatives. This exhibition presents works by Singapore-born Sydney-based artist Jessica Bradford alongside Singaporean London-based artist Erika Tan, among others.

Jessica Bradford’s ongoing historical and present-day research around Singapore’s Haw Par Villa underpins her most recent body of work spanning painting, ceramics, video and installation. Formerly known as Tiger Balm Garden, Haw Par Villa’s website describes the site as ‘an 8.5-hectare Asian cultural park, the last of its kind in the world … The eclectic park is a treasure trove of Asian culture, history, philosophy and religion—quirky yet enlightening, at the same time.’ Established in 1937 by Burmese-Chinese brothers Aw Boon Haw and Aw Boon Par, the developers of the famous Tiger Balm medicinal ointment, the park has was intended as a both an educational and entertaining experience that offered hundreds of statues and giant dioramas based on Chinese folk history, mythology and morality. In the 1980s, a period coinciding with Bradford’s early memories of visiting with her family as a child, the park was acquired by the Singaporean Government during a period of concentrated governmental debate around national identity marked by a renewed focus on ‘Asian values’. Over the years, sculptures have been added or removed, modified or relocated by various involved parties, often altering the intended symbolism or meaning of the statues, dioramas and the park itself. In her work, Bradford seeks to simultaneously excavate and further obfuscate Haw Par Villa’s layered representations of the intertwined projections of cultural and national identities and the forms they take within changing regional and global ideological and economic contexts alongside competing ideas around tradition and its processes of inheritance.

Erika Tan’s Repatriating The Object With No Shadow: Along, Against, Within and Through (2013–14) takes the structure of an A to Z (a ‘gesture’ towards the encyclopaedic or comprehensive), to approach a glossary of terms, events, artefacts and personal accounts which connect us to the historical through the specifics and the context of the colonial museum in Malaya. Beginning with ‘A is for adventure, advantage and advocate’, Tan’s video work employs archival anthropological films of indigenous tribes of the Malay peninsula, tracking shots of museum displays, animations of collection objects backed by green screens, and a voiceover narration that hovers between pedagogical lecture and fictional fable, among other audio-visual material, to create a mesmeric filmic montage that challenges past paradigms of ethnographic commission and omission, inclusion and exclusion, with broader contemporary resonances and implications.

 

Artists:

Rathin Barman (b. 1981, Tripura, India) is an artist based in Kolkata, India, who is interested in interventions in urban spaces. His sculptures, drawings and installations seek to redefine space and investigate the city as a spatial and political phenomenon, reflecting many ideologies and different socio-political points of view. Recent solo exhibitions include I Wish to Let You Fall Out of My Hands (Chapter II) (2017) and No…I Remember It Well (2015), Experimenter, Kolkata, and A Goldfish Bowl (2014), GALLERYSKE, Bangalore. Group exhibitions include Art Basel 2018, Basel; Rendez-vous/13 Biennale de Lyon (2015), Institut de’Art Contemporain, Lyon; Land of No Horizon(2014)Nature Morte, New Delhi;  Dhaka Art Summit (2014); Edge Effect, Kochi-Muziris Biennale 2014, Kochi; Midnight’s Grandchildren, Studio X (2014), Mumbai; Art Dubai (2013); India Art Fair, New Delhi (2012–2014); nd Frieze New York Sculpture Park (2012); Barman’s work is in the collections of Kiran Nadar Museum of Art, Devi Art Foundation, New Delhi; Coimbatore Center for Contemporary Art (CoCCA), Coimbatore, among other important collections. He is represented by Experimenter, Kolkata.

Jessica Bradford (b. 1987, Singapore) is a multidisciplinary artist based in Sydney. Her work explores her mixed race heritage by questioning stereotypical representations of cultural or national identity. She has held solo exhibitions at Firstdraft, MOP Projects and Galerie Pompom, and is a 2018 Parramatta Artists Studios resident. Bradford’s work has been included in curated group shows at Delmar Gallery (2017), Bathurst Regional Art Gallery (2015), Fairfield Museum & Gallery (2014) and Penrith Regional Gallery & The Lewers Bequest (2013). Bradford holds an MFA by Research from Sydney College of the Arts, and was a recipient of the Australian Postgraduate Award.  She has been a finalist in the John Fries Memorial Prize, the Tim Olsen Drawing Prize, and the Jenny Birt Award.

Erika Tan (b. 1967, Singapore) is an artist and curator based in London. Her work evolves from an extensive process of research focused on interests in received narratives, contested heritage, subjugated voices and the transnational movements of ideas, people and things. Solo exhibitions include APA JIKA, The Mis-Placed Comma, National Gallery Singapore ‘Uncommissioned’ tablet platform (2017-2020); Come Cannibalise Us, Why Don’t You? (Sila Mengkanibalkan Kami, Mahu Tak?), a major exhibition, symposium and artist book project presented at NUS Museum, Singapore, and Central Saint Martins School of Art, London (2014-2016), and Persistent Visions, Chinese Arts Centre, Manchester (2005), NUS Museum, Singapore (2010) and Vargas Museum, Manila (2010). Group exhibitions include Diaspora Pavilion, 57th Venice Biennale (2017); On Attachments and Unknowns, SA SA BASSAC, Phnom Penh (2017); Double Visions, He Xiangning Museum of Art, Shenzen (2014); Camping and Tramping Through The Colonial Archive: The Museum in Malaya, NUS Museum, Singapore (2011–2013); Thermocline of Art, ZKM, Germany (2007); Around The World in Eighty Days, South London Gallery/ICA (2007); the inaugural Singapore Biennale (2006); Cities on the Move, Hayward Gallery, London (1999). Tan studied Social Anthropology and Archaeology at Kings College, Cambridge; Film Directing at The Beijing Film Academy, followed by an MA in Fine Art at Central Saint Martins School of Art, London. She currently teaches Fine Art at Central Saint Martins, University of the Arts London, was awarded the Stanley Picker Fine Art Fellowship 2018-2020, and is a founding member of Asia-Art-Activism, Raven Row, London.

Moses Tan (b. 1986, Singapore) is a Singapore-based artist whose work explores histories that intersect with queer theory and politics while looking at melancholia and shame as points of departure. Working with drawing, video and installation, his interest lies in the use of subtlety and codes in the articulation of narratives. He graduated from LASALLE College of the Arts with a BA(Hons) in Fine Arts and a BA(Hons) in Chemistry and Biological Chemistry from Nanyang Technological University. He was awarded the Noise Singapore Award for Art and Design in 2014, Winston Oh Travel Research Grant in 2016, and the LASALLE Award for Academic Excellence in 2016. He has shown in Grey Projects (SG), Hidden Space (HK), Indiana University (US), Sabanci University (TR), Kunst Im Dialog (DE) and also recently completed a residency in Santa Fe Art Institute (US).

Header image: Jessica Bradford, Haw Par Villa #4 (Swans), 2016, pastel and liquid pencil on primed aluminium  sheet on top of underglazed earthenware. Courtesy the artist and Galerie pompom, Sydney.
Feature image: Jessica Bradford, Haw Par Villa Rock Study #22, 2018,bisque fired underglazed porcelain, approx. 11.5x20x7.5cm. Courtesy the artist and Galerie pompom, Sydney.
By All Estimates is produced by 4A Centre for Contemporary Asian Art and supported by the British Council and Singapore Tourism Board.
Erika Tan’s work and participation in public programs has been supported by the British Council.

Please Explain: The Rise of New Asia Is Not the End of the World

SYDNEY. SATURDAY 13 APRIL 2019.

2.00PM – 3.30PM

4A’s series Please Explain invites presenters to rethink, recharge and reimagine contemporary issues through the arts, academia, journalism and related fields. Responding to By All Estimates presented at 4A, an exhibition that brings together works by artists that give form to narratives often obscured by the Singapore’s rapid urban and social development, this edition of Please Explain will feature exhibiting artists Erika Tan (UK) and Moses Tan (Singapore) alongside academic Dr Yvonne Low (Power Institute, The University of Sydney) and Ursula Sullivan, co-owner of Sullivan+Strumpf, the first Australian gallery to establish a presence in Singapore at Gillman Barracks.

Taking the seminal essay Authenticity, Reflexivity, and Spectacle; or, The Rise of New Asia is Not the End of the World (2004) by prominent Singaporean art critic and curator Lee Weng Choy as a key reference for discussion, speakers will explore a range of ideas and relate their own experiences concerning Lee’s central premise that “Singapore imagines itself not just as taking the best from the East and the West—as the inheritor of the great traditions and the latest technologies—but, by offering itself as the paradigm of New Asia, Singapore also stakes a claim as part of the avant-garde of the next stage of global capitalism.”  This Please Explain will ask: How has his contention may have further evolved over the past fifteen years? How does the construct of ‘New Asia’ play out in the contemporary arts scene and global imagination? How have past and present institutional and national agendas influenced the way local artists and art markets operate? What is the democratic role of the arts in public discourse? And what role do artists play within Singapore’s investment in its rise as a global knowledge-based economy in the twenty-first century?

Missed the event? Listen to the audio recording below:


Speakers: 

Dr Yvonne Low, Erika Tan, Moses Tan, Ursula Sullivan

Moderator: Pedro de Almeida, 4A

Speaker Profiles: 

|  Dr Yvonne Low 
Dr Yvonne Low specialises in the modern and contemporary arts of Singapore, Malaysia and Indonesia. Her research interests include colonial histories, cultural politics of art development, women artists and feminist art history, and digital art history. Yvonne has published widely, and is on the editorial committee of Southeast of Now: Directions in Contemporary and Modern Art in Asia and Ambitious Alignments: New Histories of Southeast Asian Art. She holds degrees majoring in Art History from the University of Sydney and the University of Melbourne and has taught part-time at Nanyang Technological University, the University of New South Wales, and is currently a Lecturer in Asian Art at the University’s Power Institute. She is also the project coordinator for Site and Space in Southeast Asia, and co-convenor of Gender in Southeast Asian Art Histories 2019.

|  Ursula Sullivan 

Ursula Sullivan is co-owner of Sullivan+Strumpf. Established in 2005, Sullivan+Strumpf presents the work of established and emerging artists at the forefront of contemporary art in the Asia-Pacific region. The gallery has spaces in Sydney’s Zetland and Singapore’s Gillman Barracks. Alongside co-owner Joanna Strumpf, Ursula has helped foster the careers of some of the most exciting artists working in the region today.
|  June Yap 
Dr June Yap is Curatorial Director at Singapore Art Museum, Singapore. Dr Yap previously served as a curator at SAM, in 2003 and 2004. She has also served as curator at the Institute of Contemporary Arts Singapore and at the Solomon R Guggenheim Museum under the Guggenheim UBS MAP Global Art Initiative, where she presented the well-received exhibition on South and Southeast Asian Art titled No Country. In 2011, she served as the curator for the Singapore Pavilion at the Venice Biennale.

|  Erika Tan 

Erika Tan is an artist and curator based in London. Her work evolves from an extensive process of research focused on interests in received narratives, contested heritage, subjugated voices and the transnational movements of ideas, people and things. Solo exhibitions include APA JIKA, The Mis-Placed Comma, National Gallery Singapore ‘Uncommissioned’ tablet platform (2017-2020); Come Cannibalise Us, Why Don’t You? (Sila Mengkanibalkan Kami, Mahu Tak?), a major exhibition, symposium and artist book project presented at NUS Museum, Singapore, and Central Saint Martins School of Art, London (2014-2016), and Persistent Visions, Chinese Arts Centre, Manchester (2005), NUS Museum, Singapore (2010) and Vargas Museum, Manila (2010). Group exhibitions include Diaspora Pavilion, 57th Venice Biennale (2017); On Attachments and Unknowns, SA SA BASSAC, Phnom Penh (2017); Double Visions, He Xiangning Museum of Art, Shenzen (2014); Camping and Tramping Through The Colonial Archive: The Museum in Malaya, NUS Museum, Singapore (2011–2013); Thermocline of Art, ZKM, Germany (2007); Around The World in Eighty Days, South London Gallery/ICA (2007); the inaugural Singapore Biennale (2006); Cities on the Move, Hayward Gallery, London (1999). Tan studied Social Anthropology and Archaeology at Kings College, Cambridge; Film Directing at The Beijing Film Academy, followed by an MA in Fine Art at Central Saint Martins School of Art, London. She currently teaches Fine Art at Central Saint Martins, University of the Arts London, was awarded the Stanley Picker Fine Art Fellowship 2018-2020, and is a founding member of Asia-Art-Activism, Raven Row, London.

 

|  Moses Tan

Moses Tan is a Singapore-based artist whose work explores histories that intersect with queer theory and politics while looking at melancholia and shame as points of departure. Working with drawing, video and installation, his interest lies in the use of subtlety and codes in the articulation of narratives. He graduated from LASALLE College of the Arts with a BA(Hons) in Fine Arts and a BA(Hons) in Chemistry and Biological Chemistry from Nanyang Technological University. He was awarded the Noise Singapore Award for Art and Design in 2014, Winston Oh Travel Research Grant in 2016, and the LASALLE Award for Academic Excellence in 2016. He has shown in Grey Projects (SG), Hidden Space (HK), Indiana University (US), Sabanci University (TR), Kunst Im Dialog (DE) and also recently completed a residency in Santa Fe Art Institute (US).

| Moderator: Pedro de Almeida 

Pedro is Business Manager at 4A Centre for Contemporary Asian Art and exhibition curator of By All Estimates.


By All Estimates is produced by 4A Centre for Contemporary Asian Art and supported by the British Council and the Singapore Tourism Board.
Erika Tan’s work and participation in public programs has been supported by the British Council.
Image above: Jessica Bradford, Haw Par Villa #4 (Swans), 2016. Image courtesy the artist and Galerie pompom, Sydney.

Exhibition curator: Pedro de Almeida

Assistant curator: Janet Jin, who has assisted on development of this Please Explain discussion.

WORKSHOP // Hanging Out: create an illustrated wall hanging with artist Chris Yee

SYDNEY. 15 – 18 APRIL, 2019.

10.00 AM – 12.00 PM

For the April School Holidays at the Chinese Garden of Friendship, join Sydney artist Chris Yee for a special series of free illustration workshops.

Chris Yee (b. 1989, Sydney) is an East Ryde (Sydney) based artist, illustrator and designer who specialises in traditional “pen and paper” methodologies. Chris’ main influences stem and vary from manga, to rap and punk aesthetics, while also expressing a traditional graphic sensibility that echoes that architectural forms and decorative embellishments of the Chinese Garden of Friendship.

Following from Chris’ recent exhibition at the Gardens, Chris Yee: HI MEDUSA!, which presented twelve bespoke tapestries that took visitors to the Chinese Garden of Friendship during Lunar New Year 2019 on a journey through the Gardens, discovering detailed, beautiful and humorous images at every turn.

In this workshop, small groups of participants will work with ink and marker pens to learn how to create their own motifs that reflect their interests and the imagery of the Gardens, working with templates and techniques to create their own take-home wall hanging.

For participants aged between 6-15 years, accompanied by a responsible adult.

Each workshop is free, and has all materials provided, with bookings online encouraged to ensure all participants get to complete their take-home artwork. 

Artist Biography:
Chris Yee (b. 1989, Sydney) is an East Ryde (Sydney) based artist, illustrator and designer who specialises in traditional “pen and paper” methodologies. Chris’ main influences stem and vary from 90’s post- apocalyptic manga, rap and punk aesthet- ics. Through his imagery he constructs narratives ranging from the humorous to the monstrous and macabre. Chris’ solo exhibitions include Mad Love, 2015, Japan Foundation, Sydney; Panorama, 2015, Kind Of- Gallery, Sydney; and has participated in group and collaborative exhibitions including No Más (with Andrew Yee), 2018, Wedge Gallery, Sydney; SOFT, 2016, Superchief Gallery, Los Angeles; and Goliath Ballroom (with James Jirat Patradoon), 2015, Goodspace, Sydney. Outside his art practice, Chris is a designer who has produced work for some of Australia’s best-known brands, including VIVID Festival Sydney, Sony Australia, Samsung – Opera House, Vans, Red Bull and Gelato Messina.

Chris Yee: HI MEDUSA! was commissioned by 4A Centre for Contemporary Asian Art, Sydney, Australia, curated by Con Gerakaris, and produced for The Chinese Garden of Friendship, Darling Harbour for Lunar New Year 2019.

This workshop has been produced by 4A Centre for Contemporary Asian Art for The Chinese Garden of Friendship, Darling Harbour.

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UNSW Art & Design presents at 4A: ‘Post-Colonial Wild Rhizome: Contemporary Art in Taiwan and Its Ruptures’

PLEASE NOTE THE LOCATION FOR THIS TALK HAS BEEN UPDATED:

Lecture Theatre EG02

UNSW  | Art & Design

UNSW Sydney

Paddington campus

Cnr Oxford St & Greens Rd,

Paddington, NSW 2021

 

SYDNEY. 2 MAY 2019. 6-8PM

Dr. Jow-Jiun Gong, Associate Professor and Director Doctoral Program, Art Theory and Practice, Tainan National University of the Arts (TNNUA), Tainan City, Taiwan

Moderator: Dr Veronica Tello (UNSW Art & Design)  

In this discussion, Dr. Jow-Jiun Gong will analyse the ruptures in contemporary Taiwanese art among the paradigms of European, Japanese and Chinese art histories:

“Using artworks I selected for the 2018 Taiwan Biennale as examples, I argue that the works not only reflect the logic of post-colonial thoughts in Taiwan, but they form a phenomenon which I call ‘wild rhizome’: a self-initiated, grass-root approach of the artist community to build and connect their practices outside institutions. The transformations of artists’ organizations and their diverse types of mimicry parallel the natural environment and complex historical context where these works emerge. In addition, the numerous high mountains which are the backbone of the island, as well as the oceans surrounding it, fostered the cultural diversity and possible ways of amending the colonial ruptures and trauma.”

 

Presented by UNSW | Art & Design in partnership with 4A Centre for Contemporary Asian Art.

Series organisers: Prof. Paul Gladston and Dr Yu-Chieh Li.

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Image: Jun-Honn KAO, Apparatus of Topa, 2018. Image courtesy of the artist.

Exhibition opening: The Invisible Hand

SYDNEY. THURSDAY 27 JUNE 2019. 6.00 – 8.00PM.

4A Centre for Contemporary Asian Art
invites you to join us at the opening of: 

The Invisible Hand

Exhibition opening: 6.00-8.00PM, Thursday 27 June.

RSVP here.


Artists: Baden Pailthorpe, Exonemo, Simon Denny, Sunwoo Hoon, Mijoon Pak

The Invisible Hand considers how digital platform technologies are exploiting technological convenience to co-opt personal data in an uncertain zero-sum game. With work from Australia, New Zealand, Korea and Japan, this exhibition explores current and projected complications and contradictions in the digital realm that increasingly oscillate between technological evangelism and scepticism.

In 1991, the World Wide Web creator, Tim Berners-Lee, developed the first website at the European Organisation for Nuclear Research (CERN) in Geneva, Switzerland. Since then, over one billion websites have proliferated across the globe, with 2.5 trillion Internet searches made every year. Everyday our connected devices generate some 2.5 quintillion bytes of data, creating a rapidly expanding field of human communication and providing unparalleled insights into our lives. The rise of global platform companies—Facebook, Amazon, Apple, Rakuten, Tencent and Naver among others—are largely underpinning this mass connectivity, with Facebook alone weaving together over 700 billion friendships across the globe.

However, from search results to self-publishing platforms, these global corporate powers are logging every digital click, like, share and scroll made on these supposedly free services—selling on this consumer information to third parties and advertisers. While this business model has produced mass convenience, connectivity and information sharing, a closer examination reveals a vast information inequity between users and these providers. Nowhere are these invisible computing forces more present than in the hyper connected East Asia region, where household internet penetration and use is at its global highest. In this region, platform technology companies have the power to alter the course of history, in the same way recent technologically-led scandals like Cambridge Analytica have manipulated contemporary politics in America, Thailand and India, and the coordinated cyber-attacks of public health records loom over Singapore.

Against this dystopic information landscape, The Invisible Hand examines our ever evolving digital realm with careful focus on the East Asia region, a place at the bleeding edge of this technological frontier. Exploring the existential threat of Big Tech through a series of commissioned and recent works the artists each untangle the networked rhythms of our age, with careful allusion to science, public policy, economics and share price. Through these meditations The Invisible Hand presents artistic agitation to the arena of public debate—providing new perspectives, understandings and predications that enable us to better understand our place in this newly formed digital battleground.

Artists: 

Simon Denny: Born 1982, Auckland, New Zealand, lives and works in Berlin, Germany. Drawing upon research into the practices and aesthetics of technology companies, Simon Denny creates artworks that interrogate the implications of big data in our contemporary age. Denny represented New Zealand at the 56th Venice Biennale (2015). His work was included in Manifesta 11 (2016), 9th Berlin Biennale (2016), 6th Moscow Biennale (2015), 13th Biennale de Lyon (2015), La Biennale de Montreal (2014), the 55th Venice Biennale (2013), 1st Brussels Biennial (2008), and the 16th Biennale of Sydney (2008). His work has been included in exhibitions at museums and institutions throughout Europe and the United States, and has recently been the subject of solo exhibitions at the Hammer Museum, Los Angeles (2017); BOZAR, Brussels (2017); the Museum of New Zealand Te Papa Tongarewa, Wellington (2016); Wiels, Brussels (2016); Serpentine Gallery, London (2015-2016); MoMA PS1, New York (2015); Portikus, Frankfurt (2014); Museum Moderner Kunst Stiftung Ludwig MUMOK, Vienna (2013); and Kunstverein München, Munich (2013).

Exonemo: Formed 1996, Tokyo, Japan. The artists live and work in New York, New York, United States of America.
Artist unit, Exonemo formed in 1996 with key members Sembo Kensuke and Akaiwa Yae. Exonemo create experiments that explore the boundaries of the internet and internet culture. Critical to this examination are the exploration of digital paradoxes and the divide between analog, digital and real life. Exonemo’s exhibitions include: Baruch College Library, New York, U.S.A 2018; Plg.in, Basel, Switzerland, 2008, Whitney Museum, New York, 2019; Jogja National Museum, Jog Jakarta, Indonesia, 2018, New Museum, New York, USA; Art Tower Mito, Ibaraki, Japan, 2018. Since 2012 they have organized the ‘Internet Yami-Ichi’, a large flea market that has taken place in Tokyo and New York and which makes the often immaterial flotsam of cyberspace tangible in online-themed objects.

Sunwoo Hoon: Born 1989, Seoul, South Korea, lives and works in Seoul, South Korea. Sunwoo Hoon translates key socio-political moments from history into isometric 8 bit ‘digital drawings’ loaded with intense meaning and narrative. His key exhibitions include the Daum, online web-portal, 2015 – 2017, Foundation Cartier pour l’art contemporain, 2017 and Gwangju Biennale, 2018. His work is collected by Foundation Cartier pour l’art contemporain and in 2015, he won the Emerging Artist
Award from the Seoul International Cartoon and Animation Festival (SICAF). From 2016 – 2017, he was Editor-in-chief of Yourmana.

Mijoon Pak: Born 1978, Seoul, South Korea, lives and works in Seoul, South Korea. Mijoon Pak is long-term collaborator with Sunwoo Hoon. Since meeting fellow artist Sunwoo Hoon, she has been critical to the development of their collaborative practice as a storyteller. Prior to this, Mijoon has had a corporate career at large multinational firms including Google, Bloomberg, Oracle, SAP, and Samsung.

Baden Pailthorpe: Born 1984 Canberra, Australia. Baden Pailthorpe lives and works in Sydney, Australia. Baden Pailthorpe’s work explores the spatiality of power, politics and the cultures of late Capitalism through hyper-real animation, video and sculpture. His key exhibitions include UTS Art Gallery, Sydney (2018); Sullivan+Strumpf, Sydney & Singapore (2017); 21st Triennale di Milano, Milan (2016); Newcastle Art Gallery, Newcastle (2015); Casula Powerhouse, Sydney (2015); Artspace, Sydney (2014) & CACSA, Adelaide (2015); Hors Pistes, Centre Pompidou, Paris (2014); Westspace (2014); La Gaîté Lyrique, Paris (2013); and Palais de Tokyo, Paris (2012).

Header image: Baden Pailthorpe (with GGF LAN Party), Pitch Deck (detail)2017 (custom dual PC): ASRock X299 Taichi; Intel i9 7900X; 64GB G.Skill Trident Z RGB; Zotac GTX 1080 10th Anniversary Edition; Intel 600P 512GB M.2 SSD; Thermaltake 1000W RGB Toughpower PSU; Thermaltake LCS; CableMod Sleeved Cables. Build: Stuart Tonks, GGF LAN Party. Image courtesy the artist and Sullivan+Strumpf, Sydney.

UNSW Art & Design presents at 4A: ‘Memes, Myth and Meaning in 21st Century Chinese Visual Culture’

SYDNEY. 18 JULY, 2019, 6.00 – 8.00PM

Dr. Justine Poplin (Victoria University Melbourne)

Moderator: Dr. Yu-Chieh Li (UNSW Art & Design)

With the expansion of our social networks and access to information through freely available online sources, the internet can provide an inspiring and highly educational method of working, communicating and researching. Yet not all people have unfettered connection to the global community as mediated through online sources, but instead are constrained by online and offline environments created by political entities.

This presentation outlines the background surrounding internet censorship in mainland China and explores significant expressions of identity through visual culture that proliferate despite censorship. Notwithstanding the restrictions on speech and expression of ideas that are divergent to the harmonious society, the online ecology lends itself to creative pathways to circumnavigate and attain information. The practice of using online visual metaphors is an alternative way to communicate to a like-minded community, simultaneously connecting to the subculture through codes, that were initially created to be read by people in that community. Focussing on the emergence of the Grass Mud Horse phenomenon in 2009, this particular symbol is used to explain how the internet can be driver for new forms of visual culture; outlining how, through online communities new heroic icons emerge. Poplin further claims that due to internet censorship, symbols are created by anonymous online users to circumnavigate the restrictions of internet censorship.

The discussion explores the capacity for understanding this contemporary and unique online visual phenomenon, also demonstrating how it manifests, drives and creates new forms of visual culture with a world spirit in mainland China and beyond. By giving examples of how creativity and online identities manifest and thrive through online communities using coded visual metaphors, the creation and use of the symbolism signifies an ideological departure from accepted and acknowledged Chinese values and belief systems through mimetic usage in art and design.

 

Presented by UNSW | Art & Design in partnership with 4A Centre for Contemporary Asian Art.

Series organisers: Prof. Paul Gladston and Dr Yu-Chieh Li

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Exhibiton opening: Nusra Latif Qureshi: Strategies of Intent

SYDNEY. THURSDAY 22 AUGUST 2019. 6.00 – 8.00PM.

4A Centre for Contemporary Asian Art
invites you to join us at the opening of: 

Nursa Latif Qureshi: Strategies of Intent

Exhibition opening: 6.00-8.00PM, Thursday 22 August

Exhibition to be opened with an address from artist, filmmaker and academic Helen Grace.

RSVP here.


Nusra Latif Qureshi’s first solo Australian institutional exhibition presents her ongoing investigation into the symbolism and assumptions embedded in art history. Reflecting on almost two decades of practice Qureshi’s attempts to undermine, shift and negate historical imagery reads as a warning for the contemporary age, where assumed realities can be little more than constructed visions.

Qureshi’s practice is characterised by meticulous layering, fragmentation, erasure and juxtaposition of visual material. Through such intervention, she investigates little known histories of colonial eras, questions established narratives and engages with the politics of representation. Through an examination of the visual histories of the South Asian region Qureshi has developed a new visual vernacular in which to examine and interrogate the act of historicisation.

Strategies of Intent brings together key works from Qureshi’s oeuvre as well as a series of new commissions by 4A Centre for Contemporary Asian Art. These commissions are Qureshi’s most ambitious to date and include a series of installations that draw on key colonial imagery, engage with the reverence of weaponry and critique the museological convention of collecting and ownership.


About the artist:
Nusra Latif Qureshi (b. Lahore, Pakistan, lives and works in Melbourne, Australia) attended the National College of Arts, Lahore and completed her Masters of Fine Art at the University of Melbourne. Qureshi’s practices engages with the visual histories of the South Asian region and Australian culture, questioning conventional interpretations, pulling apart and reconfiguring the found patterns to construct new narratives. Her work has been exhibited widely in Austria, Germany, New Zealand, the United States, the United Kingdom, Canada, Afghanistan, Italy, India, Japan, France, Switzerland, Finland and her home countries of Pakistan and Australia. Most recently she was exhibited at the Kunst Historisches Museum, Vienna, Austria as well as Brisbane’s QAG/GOMA. Her work has been collected widely including the British Museum, London, the Museum of Contemporary Art, Sydney and the National Gallery of Victoria, Melbourne. Qureshi is represented by Sutton Gallery, Melbourne and is currently the artist in residence at the Lyceum Club, Melbourne.

About our opening speaker:
Helen Grace is a new media artist, filmmaker, writer and academic interested in the nexus between art & politics, memory and history. Her work has played an active role in the development of art, cinema, photography, cultural studies and education in Australia and regionally for 30 years. Grace’s work is in the collections of the National Gallery of Australia, Canberra; Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; and has been exhibited internationally in Hong Kong, the US, the UK, France, Spain and Finland. She recently completed a major new video installation, entitled The Housing Question in collaboration with Narelle Jubelin.  The work is currently exhibited at Penrith Regional Gallery, Home of the Lewers Bequest.

Grace is the author of Culture, Aesthetics and Affect in Ubiquitous Media: The Prosaic Image, (Routledge, 2014) and she co-edited (with Amy Chan Kit-Sze and Wong Kin Yuen) Technovisuality: Cultural Re-Enchantment and the Experience of Technology (IB Tauris, 2016). She was Founding Director of the MA Programme in Visual Culture Studies at the Chinese University of Hong Kong and is now Adjunct Professor in the Department of Cultural and Religious Studies at CUHK and an associate in the Department of Gender and Cultural Studies, at the University of Sydney. She is a member of the Film Advisory Panel of Sydney International Film Festival, where she focuses on Asian and independent cinema.

#StrategiesofIntent @4a_Aus
www.4a.com.au


 

Talking About Rice While Eating Rice

Thursday 11 August

6.00PM – 7.30PM

Free – Book Your Seat.

Join us for an evening with this most ubiquitous of grains.

Building on his recent visit to a rice farming enterprise in Guangdong province, Lucas Ihlein hosts a conversation with artist Vic McEwan, recipient of the Arts NSW Regional Fellowship 2014-15 (NarranderaNSW), and rice farmer Tim Randall (Griffith NSW). Discussion will focus on asking what social, environmental and economic factors affect rice farming communities in Australia and China today?

Several varieties of Randall Organic Rice will be sampled on the night!

This 4A Centre for Contemporay Asian Art public program is a co-production with the Kandos School of Cultural Adaptation (KSCA) and the Material Ecologies Research Network (MECO) at University of Wollongong.

Presented as part of Sea Pearl White Cloud海珠白雲, an exhibition of new work by Lucas Ihlein and Trevor Yeung, produced by 4A Centre for Contemporary Asian Art in partnership with Observation Society, Gaunzghou, and supported by the City of Sydney.

盧卡斯艾靈Lucas Ihlein (b. 1975, Sydney, Australia) is a Wollongong-based artist whose current work explores the relationship between socially engaged art, agriculture and ecological management. He is a founding member of artists’ collectives SquatSpace, Big Fag Press, and Teaching and Learning Cinema. Exhibitions include The Yeomans Project (with Ian Milliss), Art Gallery of New South Wales (2013-14); Green Bans Art Walk, The Cross Arts Projects & Big Fag Press, Sydney (2011); In the Balance: Art for a Changing World, Museum of Contemporary Art, Sydney (2010); There Goes the Neighbourhood, Performance Space, Sydney (2009); and The Bon Scott Project, Fremantle Arts Centre, Perth (2008). Ihlein completed a PhD at Deakin University, Melbourne, in 2008 entitled Framing Everyday Experience: Blogging as Art, which was awarded the Alfred Deakin Medal for best Doctoral Thesis in Humanities and Social Sciences. In 2015 Ihlein was awarded a prestigious Australia Council for the Arts Fellowship for Emerging and Experimental Arts. He is currently an ARC DECRA Research Fellow at University of Wollongong, Australia. http://guangzhou-delta-haiku.net

 Image caption: Linda Tan 谭静远 tending her rice field, Xiangyang Village, Guangdong, China, May 2016. Photo: Lucas Ihlein.

 

4A Curators’ Intensive Lecture Series

As part of the biannual Curators’ Intensive 4A Centre for Contemporary Asian Art presented keynote presentations by three leading international curators. Carol Yinghua Lu (Beijing, China) Zarmeené Shah (Karachi, Pakistan) and Pooja Sood (Delhi, India) are leading curatorial practitioners working to interrogate contemporary concerns through curatorial frameworks.

These talks are FREE and allow you to view Pio Abad, 1975-2015 by night with a drink in hand.

Venue: 4A Centre for Contemporary Asian Art,
181-187 Hay Street, Haymarket, Sydney

We encourage you to book early as these keynotes will book out.

The 4A Curators’ Intensive supported by Copyright Agency Cultural Fund.

 

 

Carol Yinghua Lu

Revisits and Thick Description – Critical Reflections of Art Historical Narratives in the Post-Seclusion Era in China through Exhibition-Making. 

Seclusion (closed-door) policy has been employed by various Chinese governments in the recent history of China. Only during the Qing Dynasty, a generation of progressive thinkers and intellectuals introduced the notion of China as a nation state in the perception of its relationship to the rest of the world and in the field of history writing. In order to prevent the unorthodox ideas and cut off the outside forces, which interfered its authority, the Qing Administration implemented the seclusion policy, which had brought about serious consequences. Following the founding of the People’s Republic of China in 1949 by the Communist Party, closed-door policy has been mobilized to various degrees over various periods, particularly during the Cultural Revolution, to cut off all diplomatic ties from the rest of the world, suspending exchanges in terms of economy, politics, culture and science, to assert nationalism and assure the unquestioned and unchallenged authority of the government.

More than three decades have passed since the end of the Cultural Revolution and China has been ushered into what can be considered “post-seclusion”, a term proposed by artist Liu Ding based on his observation and investigation into the contemporary ideology of the general public in China. In collaboration with Liu Ding, I have been working on researches concerning the recent history of art, especially on the critical issues in the broader context of the intellectual, political, social and revolutionary histories that inform and shape our sense of art history, the basis for our artistic practice and discourse in China. We have attempted to combine historic research and exhibition making in the field of contemporary art practice, envisioning and discovering connected links between historic events to contemporary thinking and practice. In this talk, I will elaborate on two examples of our collaborative curatorial practice: From the Issue of Art to the Issue of Position: Echoes of Socialist Realism and New Measurement Group and Qian Weikang: Two Case Studies of Conceptual Art Practice in the Early 1990s, and discuss how we employ the medium of exhibition with specific approaches as a means of historic research and reconsideration.

Monday 27 June, 6.30 FREE.  Book now.

Zarmeené Shah

The Karachi Biennale: A Case Study in Alternative Sites of Exchange

Taking the upcoming inaugural Karachi Biennale in 2017 as model, this talk opens up possibilities of how one begins to formulate ways of anchoring the ideas and dialogues generated in contemporary practices from Pakistan and around. Focusing on the biennale’s thematic of Witness, Shah discusses curatorial approaches and strategies geared towards the unpacking of a layered conceptual framework, highly relevant to this historically and geopolitically charged region, that looks at ideas of the personal and the political (geo/socio/religio), of memories and histories (written, unwritten, rewritten), and of investigations of the urban, the city of Karachi, within which many artistic practices find themselves entrenched. With a lack of state support and of many formal institutional structures and spaces, this presentation also raises questions of art in alternative/public space and takes into consideration issues of articulation, dissemination, audience and engagement. In such places, how must the roles of curators, artists, institutions and individuals shift in order to meet the challenges of a burgeoning art industry and evolving art practices that do not find Western institutional, critical and infrastructural models at their heart? As co-curator of the exhibition, Shah looks at the biennale as a site of exchange, investigating the possibilities, potentials and impacts of this large-scale, inaugural international art event for the city where it is to be located, the country, and for the region at large.

Tuesday 28 June, 6.30 FREE. Book Now.

Pooja Sood

48Degrees C. Public. Art. Ecology: Questions of public arts beyond spectacle

48C.Public. Art. Ecology was the first large scale contemporary public art and ecology festival in India. Held for 13 days in December, 2008 in the  booming urban agglomeration of Delhi – the worlds most populous city with over 17 million inhabitants and the second most polluted city in the world, it was financially supported by the Goethe Instiut and GIZ in India.
Given that contemporary’ fine’ art is still largely confined to museums and  galleries in South Asia and that the museum/gallery going audiences are themselves extremely thin, Sood will discuss the potential and  challenges of conceptualizing and curating a public art project in Delhi.
Sood will explore issues particular to the urban ecology of Delhi and the possibilities of contemporary art production in exploring an alternative vision of the city and its urban development. Questions such as what constitutes public space in India  and what its encounter with an elite discourse of contemporary, globalized art can possibly mean –  if anything –  to audiences in Delhi, will form the core of her presentation.

Wednesday 29 June, 6.30 FREE. Book Now.

Images:  
 Lead image: Little Movements II, Museion 2013, exhibition view. Foto Othmar Seehauser (Curated by Carol Yinghua Lu and Liu Ding) all curator images courtesy of the speakers.

Exhibition opening: John Vea: If I pick your fruit, will you put mine back?

SYDNEY. THURSDAY 24 OCTOBER, 2019. 6.00 – 8.00PM.

4A Centre for Contemporary Asian Art
invites you to join us at the opening of: 

John Vea: If I pick your fruit, will you put mine back?

Exhibition opening: 6.00-8.00PM, Thursday 24 October.
RSVP here


John Vea’s Australian debut examines the complex labour flow throughout our region. Continuing his exploration of pacific migrant workers his practice is anchored by his signature wit and humour that challenges viewers to consider the equality and validity of a global workforce.

Vea’s practice has been defined by a journalist-like investigation into how workers from Moana Nui a Kiwa (the Pacific Ocean) have been co-opted as labour for both Aotearoa New Zealand and Australia. Anchored by a series of talanoa (conversations) Vea’s work prefaces the voice and lived experience of the migrant worker employed within dominant and authoritative social structures. These discussions inform how Vea scaffolds his practice and locates his work as a means to examine the overlooked and the underrepresented.

In the contemporary globalised era migrant labour has emerged as a key indicator of regional socio-economic relationships.  Labourers from Moana Nui a Kiwa have been subordinated by both Australia and New Zealand to support both agricultural production and urban development. Specific schemes such as Recognised Seasonal Employment (RSE) in New Zealand grants season migrant workers temporary entry to plant, harvest and pack crops in exchanged for minimum wage. On completion of the designated work they are immediately returned home; their contributions to the success and prosperity of New Zealand’s economy barely noticed or acknowledged. Vea uses polices such as the RSE as a basis from which to work, his crafted responses are sometimes humorous but always compelling counterpoints to dominant perspectives and the status quo.

If I pick your fruit, will you put mine back? is John Vea’s first comprehensive international solo exhibition presenting recent significant works alongside a new commission from 4A Centre for Contemporary Asian Art. This commission will be developed as a reflection of a year-long research project into the history of 4A’s locale in Haymarket, Sydney. As a site for trade and exchange on the banks of the harbor, the area now known as Haymarket has played an important role for the communities that have resided here for centuries.

 

 

 

John Vea: If I pick your fruit, will you put mine back? includes new performance and installation works commissioned by Performance Space and 4A Centre for Contemporary Asian Art.

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John Vea: If I pick your fruit, will you put mine back?  is powered by Lūpa, a media player for art galleries. More information at lupaplayer.com 

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Performance x 4A 2019

HONG KONG. 26 – 31 MARCH 2019.

Venue: Art Central Hong Kong, Central Harbourfront Event Space, 9 Lung Wo Road, Central, Hong Kong.

Artists: Bettina Fung, Brian Fuata, Minja Gu and Ko Siu Lan.

Building upon its critically acclaimed performance programme, 4A Centre for Contemporary Asian Art (4A) returns to Hong Kong’s Art Central for a fourth year with Performance x 4A: a series of interactive live works examining ideas of time and duration that question the futility and fruits of human endeavour. Featuring over 100 leading international galleries in 2019, the 2018 edition of Art Central had its highest ever attendance, welcoming over 39,000 international collectors, curators and art enthusiasts.

In partnership with Art Central, 4A Centre for Contemporary Asian Art will continue to push the boundaries of durational performance art in 2019 by commissioning four artists from the Asia Pacific who will transform the fair experience. Bettina Fung’s | 馮允珊 (Hong Kong/United Kingdom) I am tired with you uses the traditions of printmaking to create a collective mind-map of the audience’s reflections on fatigue, labour relations and possibilities of ‘non doing’. Brian Fuata’s (Australia/Samoa) Care disfigurements (other men’s flowers) crosses emotional, artistic and entertainment spectrums and will traverse the fair from booth to booth with a combination of performance exercises, deadpan humour, bed sheets and mineral water. Minja Gu’s (Korea) The Authentic Quality: HK will set up a restaurant-cum-exhibition-cum-relational-aesthetics project in a fair booth, prompting audiences to re-evaluate cycles of consumerism through the ubiquitous three-minute noodle packet and Siu Lan Ko’s (Hong Kong/Canada) New Territories Old Territories will ask audiences to consider their ideas of Hong Kong now and into the future through interactive sculpture works examining ideas of space, geography, and nationhood.

Art Central will showcase over 100 leading galleries alongside a dynamic program of ambitious installations, engaging panel discussions and experimental film. As Art Central’s exclusive performance partner, the performance works presented by 4A seek the public’s participation with site-specific movement, activity and actions that encourage critical engagement.

About the artists:

Bettina Fung | 馮允珊 is best known for her performative drawing practice that invites collaboration. Drawn to the liminal space between nothing and existence that is potent with possibilities, Fung is interested in sharing process and allowing works to unfold over time before an audience. Fung’s key exhibition history includes works at Surface Gallery, Nottingham, UK, Spacex, Exeter, UK, Musee d’Art, Toulon, France and the One Billion Rising UK Art Festival.

Brian Fuata works in performance through live and mediated forms. He employs various modes of presentation within the framework of structured-improvisation. In Fuata’s works, the act of viewing is a reciprocating action between artist and audience and audience with each other. Fuata employs the ‘blank sheet’ as a recurring motif in his work, which transforms with different contexts into emails, paper, Word.Doc, google.doc, SMS text, concrete, film, and in the case of his 20-minute ghost performances, a white bedsheet. Major solo works include Placeholder, Enjoy Gallery, Christchurch (2016); All titles, Performa Biennial, New York (2015); Untitled (ghost machinery refit/letting go of the sheet), Chisenhale Gallery, London (2015); and nationally at the Close to the knives (one to five) email performances, Tarrawarra Biennale, Tarrawarra (2016); FIFO Ghost, Liquid Architecture at the National Gallery Victoria, Melbourne (2015); Apparitional Charlatan… Carriageworks (2016); Privilege (performance), Museum of Contemporary Art Australia, Sydney (2015); Points of Departure: one to three, email performance, Australian Centre for Contemporary Art, Melbourne (2014) He is one half of Wrong Solo a performace collaboration with artist Agatha Gothe-Snape since 2009.

Minja Gu’s performance works explore the cyclical forces of consumerism in society with durational pieces that turn everyday occurrences into ceremonies and rituals. Gu’s key recent exhibition history includes works in SPACE CROFT, Seoul, Arko Art Center, Seoul, National Museum of Modern and Contemporary Art, Gwacheon, and The Taipei Biennale, Taipei. She received the award of excellence in the Songeun Art Award in 2010 and in 2018 was one of the participants for the Korea Artist Prize.

Ko Siu Lan lives between Hong Kong and Toronto, and creates text based installations and durational performances that examine ideas and constructs of space, geography and identities. Ko’s art installations and performances have been shown internationally in Beijing, Brussels, Bangkok, Copenhagen, Hong Kong, Jerusalem, London, New York, Paris, Sao Paulo, Stockholm, Singapore, Tel Aviv, and Warsaw.

Documentation: 

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Bettina Fung | 馮允珊, I am Tired With You, Courtesy Art Central 2019.

Bettina Fung | 馮允珊, I am Tired With You, Courtesy Art Central 2019.
Bettina Fung | 馮允珊, I am Tired With You, Courtesy Art Central 2019.

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Brian Fuata, Care disfigurements (other men’s flowers), Courtesy Art Central 2019. 

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Brian Fuata, Care disfigurements (other men’s flowers), Courtesy Art Central 2019. 

Brian Fuata, Care disfigurements (other men's flowers), Courtesy Art Central, 2019
Brian Fuata, Care disfigurements (other men’s flowers), Courtesy Art Central, 2019
Brian Fuata, Care disfigurements (other men's flowers), Courtesy Art Central, 2019
Brian Fuata, Care disfigurements (other men’s flowers), Courtesy Art Central, 2019

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Minja Gu, The Authentic Quality: HK, Courtesy Art Central, 2019. 

Siu Lan Ko, New Territories Old Territories, Courtesy Art Central, 2019
Siu Lan Ko, New Territories Old Territories, Courtesy Art Central, 2019

 

 

Club 4A 2019

SAT 25 MAY, 2019. DYNASTY KARAOKE, SYDNEY.

On May 25 2019, 4A Centre for Contemporary Asian Art presents the second edition of Club 4A, leaving the confines of the white cube and taking performance art back to the club.

Curated by Mathew Spisbah and Rainbow Chan, Club 4A will host an evening of adventurous performance and audio visual art at Dynasty Karaoke, Chinatown. For the second event in this series, launched by 4A Centre for Contemporary Asian Art in 2018, we welcome the avant-garde club sounds of headlining Chinese artist Rui Ho.

Known for her work on Shanghai label Genome 6.66 MBP and her genre-defying live performances, Rui Ho will make her Australian debut at Club 4A. With a practice that bridges modern club influences with traditional Chinese sounds, her music fuses the tension of heritage, identity and modernity in a globalised world.

Club 4A will also feature new collaborative works from interdisciplinary artists Rainbow Chan x Marcus Whale, live electronic improvisations from Del Lumanta x Milkffish, the sensitive and brutal catharsis of Ptwiggs, Yumgod’s deconstructed footwork techniques and the debut performance of Wtychings.

Showcasing alongside these musicians, Club 4A presents new visual and 3D works from Hong Kong artist Harry Chan will create the LED backdrop for the evening, plus animated contributions by Sydney videos artists Kynan Tan and Craig Stubbs-Race.


ABOUT THE ARTISTS:

SOUND ARTISTS

Rui HO is a Berlin based Chinese artist making electronic music that bridges modern club influences with traditional Chinese sounds. Her music is inspired by a diverse range of club genres, Rui Ho combines the intensity these sounds with sweet and refreshing melodies from her past and present.

Rainbow Chan & Marcus Whale, Sydney based artists and musicians, collaborate to perform a new semi-imporvised piece, drawing on their mutual interests in identity and memory. Rainbow Chan is an interdisciplinary artist, performer and musician whose works engage with mistranslation, diaspora and globalisation. Marcus Whale similarly works across music, performance and text, focusing on the blurry, haunted intersection between desire and religion. In this joint performance the pair melds together voice, electronics, and marginalised narratives.

Del Lumanta & Milkffish bring together their distinctive musical voices through this collaborative performance.  Del Lumanta is an artist and musician from Western Sydney. Their ambient music is a meditation on modern restlessness. Their other music projects include GAS, Call Compatible, Video Ezy (Paradise Daily), Skyline (Nice Music) and Basic Human (Meatspin). Milkffish is an experimental noise-maker who blends digital sounds, field recordings, bass guitar and Filipino folkloric instruments.

Yumgod aka Neil Cabaingan, is a Filipino producer known for his deconstructed footwork techniques. Having worked with Pacifica rap crews such as Fanu Spa and being an integral part of TSV label in Melbourne, Yumgod’s output crosses juke, footwork, trap and hip-hop.

Ptwigg aka Pheobe Twiggs, is a Sydney based prodcuer who creates expansive, deconstructed bass productions; swerving between the sensitive and the brutal in the blink of an eye. Working with extended recording techniques, Twigg produces lustral, experimental club music as a form of catharsis. Her debut EP ‘Purge’ explores the eerie and unnerving, meticulously crafting each track whilst disregarding genre imposed boundaries.

VIDEO ARTISTS

Kynan Tan is interested in networks, data, relationality and digital systems of control, exploring these areas through digitally-derived artworks. These works engage with digital aesthetics, code and data, taking form as multi-channel audio-visual performances and installations, sculptures, sound, and 3D simulations of data processes and materials. These works collectively examine the affectivity and relationality of digital systems as they operate across (non)sensibility.

Harry Chan is a Hong Kong based artist working in photomedia. His works often reconfigure quotidian objects into humorous, poetic and absurd combinations. For Club 4A, Harry Chan’s new video work will be in dialogue with Rui Ho’s futuristic music by experimenting with VR footage of Hong Kong cityscapes. Follow him on @nth_hppns

Craig Stubbs-Race is a 3D designer/artist with a passion for typography, experimental shapes, and communicating succinct messages through motion. With a background in film-making, his work is inspired by a range of text-based graphics including interactive digital art, book covers, band posters and East Asian signage. See @craig_sr.


ABOUT 4A Centre for Contemporary Asian Art
4A Centre for Contemporary Asian Art fosters excellence and innovation in contemporary Asian and Australian culture through research, documentation, development, discussion and presentation of contemporary visual art. We believe that Asian cultural thinking will have an important impact on the future. 4A’s aim is to ensure contemporary visual art plays a central role in understanding the dynamic relationship between Australia and the Asia-Pacific region. 4A has a distinctive approach to addressing Australia’s cultural diversity through a dynamic program including local and international exhibitions, public programs, workshops, seminars, symposiums and community activities. These have been recognised locally and internationally as having raised awareness of Asian-Australian art and culture and Australia’s place in the Asia-Pacific region.

Club 4A is presented by project partner 4A Centre for Contemporary Asian Art in Sydney, with support from project partner Liquid Architecture.

Header: Craig Stubbs-Race

Beijing Studio Program 2016

Applications Call Out

DEADLINE: THURSDAY 12 MAY 2016 AT 6PM AEST

Three early or mid-career artists will embark on a month-long intensive studio program in September 2016 (exact dates to be announced) at the studios of internationally renowned Chinese-Australian artist Shen Shaomin, located in Huairou District on the outskirts of Beijing.

The 4A Beijing Studio Program provides a unique opportunity for artists to research new projects in rich cultural surroundings, build professional networks and observe the changes taking place in one of the most important cities in the Asia region. On their return to Australia the artists will be invited to present their experiences in a public forum and make a proposal for an exhibition at 4A. If successful they will be mentored by 4A in the development of an exhibition in 2017. This is the fourth consecutive year that the program has been running.

The Program covers airfares, accommodation, daily meals, the cost of travel/medical insurance and a small stipend. It will provide an ongoing professional mentorship, cross-cultural exchange and access to 4A’s networks in China.

ABOUT SHEN SHAOMIN

Over the last twenty years Chinese-Australian artist Shen Shaomin has forged an important international career with an emphasis on experimental, conceptual and installation works. Based in Beijing, and having spent over a decade in Australia, Shen’s work spans a number of mediums and explores individual and collective experiences of humanity and their impacts on our natural and constructed surroundings. Shen Shaomin has previously exhibited with 4A in The Floating Eye, Sydney Pavilion, 9th Shanghai Biennale (2012); and presented the solo exhibition, The Day After Tomorrow (2011). His work has been included in Liverpool Biennial (2006) and the 17th Biennale of Sydney (2010). In China he has exhibited at Today Art Museum, Beijing; Tang Contemporary, Beijing; Platform China, Beijing; Shanghai Zendai MoMA, Shanghai; and Osage Gallery, Hong Kong. Across Europe and North America selected exhibitions include, Groniger Museum, Holland; Urs Meile Gallery, Switzerland; ZKM Museum Karlrusche, Germany; Millennium Park, Chicago and Eli Klein Fine Art, New York.

Please read APPLICATION GUIDELINES below and download a 4A BEIJING STUDIO PROGRAM_APPLICATION FORM_2016 for full details.

APPLICATION GUIDELINES

ELIGIBILITY

Application is open to visual artists who are currently Australian permanent residents with less than ten years’ continuous professional experience (including postgraduate studies), or who consider themselves early or mid-career for other reasons.

Please submit support material which has been completed in the last two years. 

PROGRAM PERIOD

Successful artists must be available for travel to Beijing, for one month in the beginning of September 2016 (exact dates to be announced). Once set, dates are not negotiable. The selected artists will be travelling at the same time.

CRITERIA

Successful artists will be chosen based on the quality of their works, reasons for participation, viability of their participation and the potential benefits to the applicant’s artistic development.

REQUIRED INFORMATION

To apply for the 4A Beijing Studio Program please download a copy of the 4A BEIJING STUDIO PROGRAM_APPLICATION FORM_2016 and include the following:

1. A statement of interest detailing why you would like to participate in the Studio Program and how you will benefit from it. Maximum 1 page.

2. A current CV. Maximum 1 page.

3. Support material material comprising a Powerpoint document with 10 images OR video material (10 minutes maximum) supplied as URL link to uploaded content.

Please do not send us original material and note that submitted material will not be returned.

Applications should be submitted via email, post or in person to:

Toby Chapman – Curator

4A Centre for Contemporary Asian Art

In person: Shop 3/181-187 Hay Street Haymarket NSW 2000

Postal address: PO Box K1312 Haymarket Sydney NSW 1240

Email: toby.chapman@4a.com.au

Applications for the 4A Beijing Studio Program 2016 close 6PM AEST Thursday 12 May 2016.

SUPPORT MATERIAL

Please supply images in Powerpoint or PDF at 72-dpi res with your application. Please do not send individual files.

Video material must be uploaded to a website and URL should be supplied for viewing.

AMENITIES

Accommodation and facilities are housed in Shen Shaomin’s studio, 52km from Beijing city centre (approximately 60 mins drive). These are newly built residences. In addition to a stipend, the studio will provide meals daily as well as a driver/translator available for a limited number of days to explore surrounding artists’ studios, galleries and other locations.

Chinese language skills are not necessary.

TERMS & CONDITIONS

  • Artists are responsible for obtaining necessary visas for entry into China and appropriate travel/medical insurance.
  • Artists are responsible for any excess baggage or freight to/from the Studio Program.
  • Artists will be asked to sign an agreement outlining the terms of the Program and their travel.
  • Artists will be asked to provide a public presentation of their trip on their return. 

ENQUIRIES

Toby Chapman
Curator
4A Centre for Contemporary Asian Art
181-187 Hay St, Sydney NSW 2000
02 9212 0380
toby.chapman@4a.com.au

Artist talk – Monyet Gila: Episode One and launch of Art Monthly Australasia

Saturday 19 March: Artist talk at 12.30pm // Art Monthly Australasia launch at 1pm

Artist Adri Valery Wens focuses on cultural stories of Hindu-Javanese origin, specifically the Wayang Orang (Human Puppet) performance based on two foundation epics – the Mahabharata (the story of the great Bharata Dynasty) and the Ramayana (the story of Rama’s Journey). Wens delves into the complexity and tensions of his cultural background through a series of photographic depictions of himself ‘performing’ characters within these epic narratives. Staged in Jakarta, dressed in elaborate costumes and theatrical makeup, the images translate the philosophical, political, poetic, performance and re-performance content of the epic stories through the genre of self-portraiture.

Join the artist as he discusses his work in Monyet Gila: Episode One. 

Following the talk, Art Monthly will relaunch as Art Monthly Australasia. Reflecting the magazine’s expanded Asia-Pacific coverage, Art Monthly’s March 2016 bumper edition explores Australia’s historic and contemporary engagement with Asia across the visual arts, with essays by some of Asian art’s leading curators, including Russell Storer and Mami Kataoka, artist pages by Jumaadi, and much to contemplate.

To help celebrate its launch, you are invited to join us at 4A on Saturday 19 March 2016 at 1pm.

Art Monthly’s Asia focus edition will be officially launched by Chaitanya Sambrani, followed by 20th Biennale of Sydney artist Yuta Nakamura in conversation with Jasmin Stephens.

Monkey Around – Monyet Gila public program

Saturday 16 April from 11am – 12.30pm. Children are invited to meet artist Adri Valery Wens and learn about the legend of Hanoman and the traditional Javanese artistic theatrical form of Wayang Orang. Children will be encouraged to respond to their learnings through craft activities. Recommended for 6 to 12 years old.

$5 entry. Book tickets here

4A Art Quiz

6:00pm – 10:00pm Monday 7 March

You think you know a thing or two about art, eh?

Round up a team of brainy art buffs and join us at the Bearded Tit for a night of trivia questions.
Register a group and secure a table for the evening. Max of 8 people per team.Single ticket holders will be either seated or standing at the bar.
$35 entry includes a drink on arrival, with proceeds going towards 4A Centre for Contemporary Asian Art.
This event is part of the Art Month program.
Book tickets here

Art Central Hong Kong

23 – 26 March, 2016

ROUNDTABLE X 4A is a series of discussions, interviews, presentations and performances hosted by 4A. This dynamic program will focus on artistic and curatorial practices from across Asia and the Pacific, in particular highlighting the work of 4A and other non-profit organisations in supporting and developing new discourses and conversations. Roundtable breaks down the stigma around contemporary art by inviting guests to join the 4A team at their communal table to participate or simply listen to their extensive program.

Learn more about what it takes to commission new artworks, hear experiences of artists participating in residencies abroad, or watch new performance artworks by some of Australia’s leading practitioners. Roundtable will feature new performances by artists Frances Barrett, Abdullah M.I. Syed and Latai Taumoepeau, each of which reflect on the context of the contemporary art fair in Asia.

Read the full program here

4A圓桌會談

4A圓桌會談是由4A Centre for Contemporary Asian Art於展會期間舉辦的一連串互動討論、訪問、簡佈及表演活動。閱讀更多

 

Please Explain: no one’s drowning, baby

SYDNEY

4A HAYMARKET

2.00PM – 3.30PM

SUN 19 JAN 2020

Pacific Island nations are in the midst of a climate change crisis. This edition of 4A Centre for Contemporary Asian Art’s Please Explain talks series takes Marshall Islander poet, performance artist, educator Kathy Jetñil-Kijiner’s address and poem  “Dear Matafele Peinem”, presented at the 2014 Opening Ceremony of the UN Secretary-General’s Climate Summit as a starting point for discussion on the role artists and activists play in this major challenge facing our Pacific region.

Although the South Pacific Islands collectively emit far below 1% of total global greenhouse gases responsible for climate change, the region and its island countries remain among the most vulnerable in the world to its negative impacts. With the failure of Australia to agree to the Tuvalu Declaration at the 2019 Pacific Islands forum (which aimed to not only acknowledges a climate change crisis but also have countries agree to revise the emissions reductions targets and calls for a rapid phase out of coal use), PIF chair, Tuvalu’s Prime Minister Enele Sopoaga said to Australia’s Prime Minister Scott Morrision, “ ‘You are concerned about saving your economy in Australia … I am concerned about saving my people in Tuvalu.'”

4A’s series Please Explain invites presenters to rethink, recharge and reimagine contemporary issues through the arts and academia and in this session we ask: what stories are being told across our ocean, and what are we to lose if the crisis is not met with appropriate action? What is the role of art and policy here –  what can we do?

In a discussion moderated by Sydney Festival Artistic Director Wesley Enoch, artist Paula Schaafhausen exhibiting at 4A Centre as part of Wansolwara: One Salt Water will speak to this issue alongside Guardian Australia Pacific Editor, Kate Lyons and UNSW’s Professor John Church, pre-eminent expert in sea level rise, in this major Sydney Festival panel event.
Wansolwara: One Salt Water is presented in partnership with UNSW Galleries, and supported by Art Monthly Australasia, FBi Radio and Sydney Festival.

Please Explain: no one’s drowning, baby is presented with support from Sydney Festival.

4A acknowledges and pays respect to the Gadigal people of the Eora nation, the traditional custodians of the land on which 4A Centre for Contemoporary Asian Art is built and operates.

Artist Paula Schaafhausen, exhibiting at 4A Centre as part of Wansolwara: One Salt Water, Guardian Australia Pacific Editor Kate Lyons and Professor John Church, pre-eminent expert in sea level rise, speak to this issue in this major Sydney Festival panel event moderated by Wesley Enoch.

Listen to the days recording here:

Speaker Profiles:

 | Moderator: Wesley Enoch

| Wesley Enoch is a writer and director for the stage. He was the Artistic Director of Queensland Theatre Company from 2010 to 2015 and is the current Artistic Director at the Sydney Festival. He hails from Stradbroke Island (Minjeribah) and is a proud Noonuccal Nuugi man.

Previously Wesley has been the Artistic Director at Kooemba Jdarra Indigenous Performing Arts; Artistic Director at Ilbijerri Aboriginal Torres Strait Islander Theatre Co-operative and the Associate Artistic Director at Belvoir Street Theatre. Wesley’s other residencies include Resident Director at Sydney Theatre Company from 2000 – 2001; the 2002 Australia Council Cite Internationale des Arts Residency in Paris and the Australia Council Artistic Director for the Australian Delegation to the 2008 Festival of Pacific Arts. He was creative consultant, segment director and indigenous consultant for the 2018 Gold Coast Commonwealth Games. Wesley has written and directed some of Australia’s most iconic Indigenous theatre productions.

 

Kate Lyons

| Kate Lyons is the Pacific Editor of Guardian Australia, and was previously a reporter and live-blogger on Guardian Australia’s foreign desk, where she anchors the Guardian’s live coverage of breaking world news and reports on Asia and the Pacific. She previously worked at the Guardian UK and has won a Drum Online Media Award and been longlisted for the Orwell Prize for exposing Britain’s social evils. Through the Pacific journalism project Guardian Australia will establish a network of Indigenous Pacific journalists and collaborate with publications across the Pacific, including Vanuatu, Tonga, Fiji, Papua New Guinea, the Marshall Islands, the Solomon Islands, Samoa, French Polynesia and New Caledonia. The aim is to increase public discussion of the social, geo-political, environmental, and economic issues relevant to the region. Kate will also commission major investigations and present these stories in new and engaging ways, including through collaboration with other Australian media organisations.

 

 | Paula Schaafhausen

| Paula Schaafhausen (b. Motuatua, Samoa 1972 lives and works in Maloloelelei, Samoa) is a Samoan artist who has been educated in Aotearoa New Zealand obtaining her Masters of Fine Arts from Elam, University of Auckland. Her practice reflects her culture and her concerns around the environment. Since returning to Samoa as an adult the clear effects of climate change on the landscape – from changes in the coastline to the impact of plastics on the beaches and ocean – have deeply influenced her practice. Paula currently manages the Aiga Folau o Samoa (the Samoan Voyaging Society) where she is developing programs around traditional navigating drawn from traditional Samoan knowledge. Exhibitions include: Hidden Gems, Taumeasina Island Resort, Apia, Samoa (2019), Ebbing Tagaloa, Enjoy Public Art Gallery, Wellington Aotearoa New Zealand (2014) and Material Culture, Fresh Gallery, Tāmaki Makaurau Auckland, Aotearoa New Zealand (2010).

 

 | Professor John Church

| Professor John Church was a research scientist with CSIRO from 1978 to 2016, and in the 1990s was the initial leader of the ocean climate program in the then Division of Oceanography. He helped establish the predecessor of the now Antarctic Climate and Ecosystems Research Centre.  He was promoted to CSIRO Fellow in 2010.  His focus for the last two decades has been the role of the ocean in the climates system, particularly anthropogenic climate change. He is an expert in estimating and understanding global and regional sea-level variability and change, and the Earth’s energy budget. He has made major contributions to the international climate research over many years through membership and chairing of the Scientific Steering Group of the World Ocean Circulation Experiment and the Joint Scientific Committee of the Wold Climate Research Programme and contributions to the Global Climate Observing System. He is the author of over 150 refereed publications, over 100 other reports and co-edited three books. He is a Fellow of the Australian Academy of Science, the Australian Academy of Technological Sciences and Engineering, the American Meteorological Society and the Australian Meteorological and Oceanographic Society.

 

wansolwara-logo-block

In conversation with Dr Thomas Berghuis

4A & The University of Melbourne present a conversation on building and expanding the contemporary art museum in Asia & the Pacific.

 

Speakers: Dr Thomas Berghuis (Museum MACAN, Jakarta, Indonesia) &
Dr Rebecca Coates (Shepparton Art Museum, Victoria, Australia)
Date: Tuesday, September 15, 6.30-7.30pm
Venue: 4A Centre for Contemporary Asian Art

RSVP via Eventbrite

Join 4A for a conversation between Thomas J. Berghuis and Rebecca Coates, two new museum directors working respectively in Indonesia and Australia, as they consider the expanding role of new and existing museums in the Asia-Pacific. From conceiving the strategic beginnings of a new museum to reconsidering an existing museum for the contemporary era this discussion brings together two of the regions most influential directors. With the role of the museum in consistent flux this conversation promises to address the challenges that face the museum director today.

The conversation will be facilitated by Mikala Tai, Director of 4A, and Pedro de Almeida, Program Manager at 4A.


 

Dr. Thomas J. Berghuis, has recently left the position of The Robert H. N. Ho Family Foundation Curator of Chinese Art at the Solomon R. Guggenheim Museum in New York to become the Director of Museum MACAN (pronounced mah-chaan), a future Museum of Modern and Contemporary Art in Indonesia, with a strong international collection and focus. ‬‬‬

Dr. Rebecca Coates is Lecturer in Art History and Art Curatorship at The University of Melbourne and has recently taken on the position of Acting Director of the Shepparton Art Museum in Victoria, Australia.‬


 

This conversation is part of Art Curatorship, Now & Beyond – A two-day symposium celebrating 25 years of the Masters of Art Curatorship at the University of Melbourne, that will be held from September 17-19.

Founded in 1990, the Masters of Art Curatorship at the University of Melbourne incorporates theoretical, art historical and practical study units, focusing on the changing role of art museums and arts organisations, and training generations of art curators, exhibition managers and museum professionals, many of who have gone on to hold significant positions in Australia and internationally.

 

Image: Katie Lee, Collected Objects, Varied Materials (2013), mixed media, dimensions variable with objects from the SAM Collection. Courtesy the artist & Shepparton Art Museum.

JOURNAL OF DUSK

Journal of Dusk is a new performance by Indonesian-Australian artist Jumaadi that has been commissioned especially for 4A Centre for Contemporary Asian Art. Featuring a series of new shadow puppets created by the artist and accompanied by musical performances, Journal of Dusk draws on a form of traditional Indonesian theatre called wayang kulit to weave poetic narratives based on historical connections between Australia and South-East Asia. Beginning with depictions of agrarian life, Jumaadi presents a montage of imagery from Australia and Indonesia including animals and plants, through to more abstract scenes of landscapes and places.

Journal of Dusk continues Jumaadi’s interest in the history of migration and exchange between Australia and Indonesia during the twentieth century through a creative reinterpretation of the story of the construction of Australia’s first gamelan, an Indonesian percussion instrument. Jumaadi has been investigating historical moments from the period 1927-1949, a time of significant movement of people between Indonesia and Australia, particularly Indonesians held as prisoners in exile some of whom were moved by the Dutch colonial government to Australia during the Second World War. This work is inspired by the story of a Javanese man who produced a gamelan ensemble using scrap metal during his exile in Dutch New Guinea (now a district within the Indonesian province of Papua). The gamelan came to Cowra, NSW, in 1942 and is now held by the University of Melbourne.

Jumaadi is accompanied by co-performers and musicians Margaret Bradley, Cameron Ferguson, Aris Setyo and Kyati Suharto.

In addition to the three performances, Jumaadi will be leading a workshop for younger audiences (recommended age 7-12)*. Children will join Jumaadi in the making of shadow puppets, story writing and the actual performance of shadow puppetry. They will leave with a shadow puppet of their own creation.

 

Journal of Dusk – A Contemporary Shadow Play by Jumaadi

Performances:
Friday 16 October: Performance: 7:00pm – 8:00pm
Saturday 17 October: Children’s Workshop & Performance: 10:00am – 12:30pm
Performance: 5:00pm – 6:00pm

Venue:
4A Centre for Contemporary Asian Art, 181-187 Hay St, Sydney.

Price:
$15 per person for Performance Only tickets
$35 for child and guardian (Children’s Workshop & Performance combo ticket)
$15 per additional child or guardian (Children’s Workshop & Performance combo ticket)

Video & Edit: Dara Gill
Co-produced by and © Das Platforms and 4A Centre for Contemporary Asian Art, 2015

 

Jumaadi (b. 1973, Indonesia) has an artistic practice that encompasses drawing, painting, performance, weaving and installation that tells stories based personal memory and folkloric traditions. His work has been presented extensively worldwide, including in Asia, Europe, USA and Australia. In 2013 Jumaadi represented Australia at the Moscow Biennale Of Contemporary Art in Russia for which he was supported by the Australia Council through its New Work Grant for Mid Career Artist. Solo and group exhibitions include David Roberts Art Foundation, UK, 2014; Watters Gallery, Australia, 2014; National Gallery of Indonesia, Indonesia, 2011; and the French Cultural Centre, Indonesia, 2010. Jumaadi holds a Master in Fine Art from the National Art School in Sydney and divides his time between Australia and the Netherlands. He is represented by Watters Gallery, Sydney, and Jan Manton Art, Brisbane.

Margaret Bradley is an artist and educator who currently works in Early Learning and Primary Education, Learning and Teaching for the NSW Department of Education. Margaret’s professional practice is underpinned by her passion for Indonesian arts and culture, particularly the Sundanese music of West Java. She has studied at the Sydney Conservatorium of Music and with leading musicians. Margaret has been exploring Indonesian music and culture for over thirty years while performing in Indonesia and Australia as a soloist and with Songket, Bodiswara, Sirkus Barock, Alan Dargin, Djaelani, Dody Satya Ekagustdiman, Ismet Ruchimat, Robert Lloyd, Mandiri, Balai, Meritja and Arafura.

Cameron Ferguson is a visual artist, musician and performer. Cameron’s practice is broadly based within the still life genre and object-based art, and involves creating illustrations and installations that form associations between objects, place and memory. He holds a Bachelor of Fine Arts (Honours) and is currently completing a Masters of Fine Art (Research) at the National Art School, Sydney. His work is held in numerous private collections.

Aris Setyo graduated from the Indonesian Institute of the Arts SOLO Central Java in 2015 with a Masters of Music with a major in Traditional Javanese Gamelan Music. He has been an employee of the Consulate of the Republic of Indonesia since 2015, and prior to this worked extensively throughout Indonesia with a number of traditional music ensembles. His compositions are inspired by the main characters of famous Javanese shadow puppet plays, making an aural connection between the imagery, narrative and themes of the performance.

Kyati Suharto graduated from the Sydney Conservatorium of Music High School and studied illustration at Enmore Design Centre. This education has given her a rich knowledge of the interplay between visual culture and music. She is a multi-instrumentalist who specialises in trombone. Kyati grew up in Java and her music is influenced by her experiences as an artist who is inspired by the sounds and sights of her hometown.

 

SUPPORTER
 

Journal of Dusk is commissioned and produced by 4A Centre for Contemporary Asian Art and assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. This project is also supported by the Consulate General of the Republic of Indonesia, Sydney.

 

Check out The Woman Who Married The Mountain (2013) for a taste of Jumaadi’s unique shadow play performance work. The Woman Who Married The Mountain was exhibited at the 5th Moscow Biennale of Contemporary Art in Russia in 2013. 

 

Image/s: Jumaadi, Journal of Dusk (2015). Images courtesy the artist.

Video: Jumaadi, The Woman Who Married The Mountain (2013), performance with Cameron Ferguson, 5th Moscow Biennale of Contemporary Art, Manege Central Exhibition Hall,
Moscow, Russia. 

Opening of Tell Me My Truth

Edmund Capon AM, OBE, Chair of the Board of 4A, and
Aaron Seeto, Director of 4A Centre for Contemporary Asian Art
invite you to the opening of

TELL ME MY TRUTH
SIMON FUJIWARA, HELEN GRACE, AMALA GROOM, FX HARSONO, HE XIANGYU, JAMES NEWITT, TONY SCHWENSEN, JOHN VON STURMER

Opening: Thursday 26 March 2015, 6pm – 8pm
To be launched by Michael Snelling, Director and Chief Executive, National Art School, Sydney.

Exhibition dates: 27 March – 16 May 2015
RSVP: info@4a.com.au or via Facebook

4A Centre for Contemporary Asian Art
181 – 187 Hay St
Sydney NSW 2000

 

 

Tell Me My Truth is produced by 4A Centre for Contemporary Asian Art; assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body; and supported by the City of Sydney Cultural Grants Program.

 

Book launch: Araya Rasdjarmrearnsook – Storytellers of the Town

4A Centre for Contemporary Asian Art (4A) announces the publication of Araya Rasdjarmrearnsook: Storytellers of the Town, a comprehensive exhibition catalogue that traces key ideas, moments and works in the development of one of Thailand’s foremost contemporary artists, and a leading female voice in South East Asian art.

Published following Araya Rasdjarmrearnsook’s 2014 solo exhibition at 4A which presented two decades of her practice through seminal installation and video works, this publication includes newly commissioned texts by exhibition curators, Professor Emeritus John Clark, University of Sydney, and curator and PhD candidate, Clare Veal, Department of Art History & Film Studies, University of Sydney; a text by Thai art critic and researcher Judha Su; and an interview with the artist, originally published in 2007 and reproduced for the first time in English.

Beautifully designed by Michael Boston and published in hardcover, the Araya Rasdjarmrearnsook: Storytellers of the Town catalogue will be launched at the opening of 4A exhibition, Tell Me My Truth and is also now available for purchase online. RRP AU$50.00 (inclusive of GST).

 

 

Thursday 26 March 2015, 6:00PM
RSVP info@4a.com.au
Coinciding with the launch of 4A exhibition Tell Me My Truth

4A Centre for Contemporary Asian Art
181-187 Hay St, Sydney

This publication has been produced by 4A Centre for Contemporary Asian Art and supported by 100 Tonson Gallery, Bangkok; Gordon Darling Foundation; the Commonwealth through the Australia-Thailand Institute of the Department of Foreign Affairs and Trade; ANU Drill Hall Gallery, Canberra; and the University of Sydney.

 

 

Image: Araya Rasdjarmrearnsook, Great Times Message, Storyteller of the Town, The Insane (2006), three-channel video installation, installation view, 4A Centre for Contemporary Asian Art. Courtesy Araya Rasdjarmrearnsook. Photo: Zan Wimberley

 

Sydney’s Chinatown in the Asian Century

This public symposium is based on an ARC Linkage project by researchers at the Institute for Culture and Society (UWS) in collaboration with the City of Sydney, on Sydney’s Chinatown in the 21st Century: From Ethnic Enclave to Global Hub. The symposium is an opportunity for the researchers, Chinatown stakeholders and members of the community to discuss the transformations of Chinatown in the past few decades.

Presentation and discussion from 6:00 pm – 7:00 pm, followed by a reception from 7.00PM – 8.00PM

Sydney’s Chinatown in the Asian Century
Date: 9 March 2015
Time: 5.30PM – 8.00PM
Venue: 4A Centre for Contemporary Asian Art, 181- 187 Hay St, Sydney NSW 2000
Free Admission (bookings essential)
RSVP by 1 March 2015: ics@uws.edu.au or 02 9685 9600
More info

 

 



Photo:
Andrea Del Bono, University of Western Sydney.

 

TWILIGHT GARDEN PARTY AT THE CHINESE GARDEN OF FRIENDSHIP

4A Twilight Garden Party at the Chinese Garden of Friendship, Darling Harbour (2015). Photos: Blue Murder Studios.
Celebrate the Chinese New Year with 4A and Chinese artist collective Yangjiang Group as they take over Sydney’s Chinese Garden of Friendship!

This one-night-only special event will feature live art performances led by Yangjiang Group, a contemporary art collective hailing from the coastal city of Yangjiang in China’s southern Guangdong province.

Featuring DJs as well as food and bar by pioneering Sydney laneway outfit Grasshopper Eating House and Bar, this is a rare opportunity to experience a night of contemporary art and performance set within the beauty of the Chinese Garden of Friendship, Darling Harbour.

Yangjiang Group will be bringing their unique brand of art and reverie to Sydney’s Chinese Garden of Friendship with a series of performances and encounters that take calligraphy off the page and into every aspect of the celebrations.

This is a special ticketed event presented as part of the major exhibition Yangjiang Group – Actions for Tomorrow at 4A.


Twilight Garden Party at the Chinese Garden of Friendship

Date: Saturday 14 February 2015, 7pm – 11pm
Venue: Chinese Garden of Friendship, Pier St, Darling Harbour NSW
Price: $45 per person
Ticket price include a cocktail on arrival and 7 courses of food designed by Grasshopper Eating House specifically for this event. This is strictly an 18+ event.

THIS EVENT HAS SOLD OUT

WET WEATHER INFO
In the event of rain the event will still go ahead in covered areas of the garden. 

FOR INFORMATION ON THE TWILIGHT GARDEN PARTY EVENT CLICK HERE

MAPLINK FOR THE CHINESE GARDENS DARLING HARBOUR


 

On The Night

Enjoy a complimentary cocktail by Grasshopper Bar upon entering the Garden.

Join Yangjiang Group at the bar to play a traditional Chinese party game – with unexpected results!

Witness the artists create original poetry and rhyming couplets onsite, producing bespoke pieces of calligraphy for audiences.

Be a part of Yangjiang Group’s trademark After Dinner Calligraphy performance where the artists will create a large-scale piece of calligraphy live using the food scraps from your meal.

End the night with Tea Garden, an intimate performance designed especially for the Garden where guests will sample four kinds of tea prepared by Yangjiang Group artist Zheng Guogu which, when consumed in a particular sequence, offer a shift in physical and spiritual perception.

All while enjoying a specially curated set by DJ Leo Tanoi with surpise musical guests.

 


 

Menu

Water Pavilion

Cucumber, funghi, lotus root and black sesame

Spicy eggplant and tofu

 

Peace Boat Pavilion

Vermicelli, Chinese broccoli, carrot and egg net salad

Jellyfish and baby octopus wasabi salad

 

Tea Pavilion

Peppered beef and rice box

Sweet potato and rice yakitori

Sherry, soy and sesame crispy chicken wings

 


 

The Chinese Garden of Friendship in Darling Harbour was built as a symbol of friendship between Sydney and Guangzhou, the capital of Guangdong province, to mark Australia’s bicentenary in 1988. The Garden was built by Chinese landscape architects and gardeners observing a 3000 year old tradition of imperial park design.

The Twilight Garden Party at the Chinese Garden of Friendship is presented by 4A Centre for Contemporary Asian Art and the Sydney Harbour Foreshore Authority in association with the 2015 Sydney Chinese New Year Festival.

 

 

Image: Yangjiang Group, After Dinner Shu Fa at Cricket Pavilion, 2012, Eastside Projects and Grizedale Arts, Birmingham. Courtesy the artists.

Subscribe to our mailing list HERE for the latest updates or follow us on Facebook, Twitter or Instagram.

 

 

4A Twilight Garden Party at Chinese Garden of Friendship is produced by 4A Centre for Contemporary Asian Art; supported by Chinese Garden of Friendship – Darling Harbour; assisted by the Australian Government through the Australia Council for the Art, its arts funding and advisory body; supported by the Commonwealth Government through the Australia-China Council of the Department of Foreign Affairs and Trade; supported by the City of Sydney Cultural Grants Program; assisted by the generous supporters of 4A’s Actions for Tomorrow Kickstarter campaign. Twilight Garden Party is an associated event of the Sydney Chinese New Year Festival. Event Partner: Grasshopper.

 

 

Opening of Actions for Tomorrow

Edmund Capon AM, OBE, Chair of the Board of 4A, and
Aaron Seeto, Director of 4A Centre for Contemporary Asian Art
invite you to the opening of

ACTIONS FOR TOMORROW
YANGJIANG GROUP

Saturday 17 January 2015, 2 – 4pm
4A Centre for Contemporary Asian Art
181 – 187 Hay Street, Haymarket
RSVP: info@4a.com.au or via Facebook
Exhibition dates: 17 January – 7 March 2015

More info

 

Yangjiang Group – Actions for Tomorrow is produced by 4A Centre for Contemporary Asian Art; assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body; supported by the Commonwealth Government through the Australia-China Council of the Department of Foreign Affairs and Trade; supported by the City of Sydney Cultural Grants Program; supported by Chinese Garden of Friendship – Darling Harbour; assisted by the generous supporters of 4A’s Actions for Tomorrow Kickstarter campaign; and is an associated event of the Sydney Chinese New Year Festival.

Members Program: 4A A4 Exhibition Preview

Be first through the door for our much anticipated 4A A4 fundraising exhibition for your chance to purchase works by leading contemporary Australian and international artists available across the board for $200 each. Artworks are exhibited anonymously with artists’ names and artwork details revealed upon sale. Support 4A’s programs by getting in before the general public.

4A A4  – EXCLUSIVE MEMBERS’ PREVIEW
Venue: 4A Centre for Contemporary Asian Art
Date: Thursday 6 November 2014
Time: 5.30pm – 6.30pm (prior to general admission 6.30pm – 8.30pm)
Become a 4A Member

The 4A Members’ Program is a series of tailored events offering a chance to connect with people who share your passion for contemporary art. If you’re not a Member then join today to enjoy what our Members’ Program has to offer and all the other benefits of membership. View our 2014 program here.

4A is currently closed to the public until January 2015. Subscribe to our mailing list for updates and follow us on Facebook, Twitter and Instagram.

YOU CAN NOW PURCHASE 4A A4 ARTWORKS FROM 4A’S ONLINE SHOP

 

Zheng Guogu in conversation with Aaron Seeto

Zheng Guogu in conversation with Aaron Seeto
Thursday 30 October 2014, 6.30-7.30pm 
Venue: 4A Centre for Contemporary Asian Art

RSVP via eventbrite
This event has now booked out. Please join the waiting list for tickets.

Join us for a conversation between acclaimed Chinese artist Zheng Guogu (郑国谷) and Aaron Seeto, Director of 4A Centre for Contemporary Asian Art.

Zheng Guogu is internationally recognised for producing large-scale installations and architectural interventions that highlight the absurd and often ironic connections between traditional Chinese culture and everyday life. He works both independently and as a leading member of the Chinese contemporary art collective, Yangjiang Group, based in the coastal city of Yangjiang in the Pearl River Delta in Guangdong province. As part of a generation of Chinese artists who have been affected by the explosion of global market forces, Zheng’s art practice questions the meaning of calligraphy, painting, performance and architecture in our globalised contexts.

Zheng Guogu will discuss the emergence of Yangjiang Group during the early 2000s; the artistic strategies employed by the group living outside the key centres of artistic production in China; and their idiosyncratic perspective on the relationship between culture and everyday activities such as gambling, gaming, drinking tea, calligraphy, food and built environments. Zheng will also discuss previous projects of Yangjiang Group and the development of a major new project for 4A Centre for Contemporary Asian Art to be presented in January 2015.

 

RSVP via eventbrite


The conversation is presented in association with University of Sydney China Studies Centre.


About Zheng Guogu’s visit
Zheng Guogu will be in Sydney undertaking a site visit at 4A Centre for Contemporary Asian Art and the Chinese Garden of Friendship in Darling Harbour where the Yangjiang Group will exhibit and perform in a special project to take place in early 2015. You can participate and support this major project by supporting 4A’s Kickstarter crowdfunding Initiative to bring these artists to Australia.

https://www.kickstarter.com/projects/4acentre/actions-for-tomorrow



Yangjiang Group – Actions for Tomorrow is produced by 4A Centre for Contemporary Asian Art with the support of the Chinese Garden of Friendship, The Australia Council for the Arts, City of Sydney and the Australia-China Council.

Click through to the 4A Kickstarter campaign
Check out the great rewards


#ActionsForTomorrow 

Thanks to our Kickstarter supporters: Deborah Paauwe, Geoff, Anna Waldmann, Hanna Barber, Antonio Lopez, Michael Snelling, Eliane Marti, Elke Wohlfahrt, Caroline Chanthaporn, Michael McGregor, Yu Ye Wu, Michèle Reymond, Julia Champtaloup, Luise Guest, Annette Larkin, Sally Brand, Gina Fairley, JZT, Johnny Stark. Mingyue Zhou, Jennifer Stafford, James Turnbull, Bonita Ely, Hong An James Nguyen, Pedro de Almeida, Kyle Weise, Michael Rolfe, Sarah McGhee, Sam Wild, Kim Spinks, Kiong Lee, Xia Li Summerfield, Sam, Rebecca Craig, Bridget Ikin, Harrie Sengers, Willi’s WIne Bar, Naomi Shedlezki, Annette Shun Wah, Jason Phu, Tony Albert, Michele Sandoz, Mark Connolly, Lena Walter, Gerda can den Bergh, Elliott Blesdoe, Chloé Wolifson, Pam Hewitt, Mikala Tai, Winnie Chan, Toby Chapman, Jane O’Sullivan, Monique Claire, Jess Scully, John Choi, Tatyana, Sheila Pham, Ronana Sulich, Jun Qiu, Jane Somerville, Dick Quan, Gene Sherman, Kirsty Collins, Jayanto Damanik, Brooke Aitken, Lucy Wang, Daniel Droga, Nicholas Forrest, Andrew Rothery, Christine Maroussis, Stephanie Pereira, John Lam-Po-Tang and Lorraine Heller-Nicholas.

Edge of Elsewhere 2011/12 Book Launch

Friday 10 October, 6-7pm
RSVP HERE
To be officially launched by Frank Panucci, Executive Director of Arts Funding, Australia Council for the Arts.

4A Centre for Contemporary Asian Art
181 – 187 Hay Street, Sydney
NSW 2000 Australia

Over three years Edge of Elsewhere (2010 – 2012) co-curated by Dr Thomas J. Berghuis, Lisa Havilah, and Aaron Seeto saw the presentation of commissioned works that were the result of community engaged projects produced by some of the most exciting contemporary artists from across Australia, Asia and the Pacific.

Campbelltown Arts Centre and 4A Centre for Contemporary Asian Art invites you to the launch of the Edge of Elsewhere 2011/2012 publication, a comprehensive book that documents the creative development of this unique project, showcases each artists’ work and features contributions from local and international writers and curators.

The book will be available for sale at the launch (RRP AUD$40.00) and from Campbelltown Arts Centre and 4A Centre for Contemporary Asian Art.

 

Edge of Elsewhere 2011/2012 is published by Campbelltown Arts Centre in partnership with 4A Centre for Contemporary Asian Art and supported by the Australia Council for the Arts Visual Arts Board and Community Partnerships and the NSW Government through Arts NSW.

 

 

 

 

 

4A A4 CALL OUT FOR A4 WORKS

Artists! 4A is seeking A4 art works from across Australia and the globe for this year’s 4A A4 fundraising exhibition, celebrating the work of emerging and established artists alike and raising funds for 4A’s program.

Last year 4A A4 raised over $25,000 in 24 hours, through the generosity of artists and supporters. Help us break this record!

Join the challenge and make it A4. Be creative with your choice of material and the medium of the work, so long as you keep within an A4 size limit.

Registration is free. Then post or deliver your art work to 4A by Friday 31 October 2014, 5pm.

All art works will be:

  • Featured in the exhibition
  • Featured online at 4a.com.au and on 4A social media
  • Available for sale for a fixed price of AUD $200 each with proceeds going directly back to 4A’s program.
  • Art works will be sold anonymously. The names of artists only announced once works are sold.
  • All submitted art works are considered donations to 4A. Entries will not be returned.

Rally your networks to take part by sharing this link with friends. Thank you for your support!

Since 1996, artists have always supported artists and contributed to the making of 4A. Today we’re just as passionate as the artists who started the organisation and our ethos stands: to create opportunities for other artists, develop platforms to exhibit and encourage critical, independent discussion. Artists today need all the help they can get! This is the second year of 4AA4, check out the artists list from last year here.

 

 

Exhibition dates

Submission deadline:  Friday 31 October, 5pm

Exhibition opening: 6 November 2014, 6-8pm

 

Eligibility

Submission is open to all artists from Australia and internationally.

Registration is free and submissions are unlimited. We value your support!

 

How to Apply

Complete the registration form and submit it with the art work to:

4A A4 submissions
4A Centre for Contemporary Asian Art
PO BOX K1312
Haymarket NSW 1240


Enquiries

info@4a.com.au
+ 61 2 9212 0380

 

Image: Tully Arnot

 

Members’ Program: Shen Jiawei Studio Visit

4A takes you to beautiful Bundeena on the edge of the Royal National Park to the studio of celebrated Chinese-Australian artist, Shen Jiawei. Members have the rare opportunity to get a personal glimpse into the studio practice of a prominent painter who was a self-taught and prolific propaganda artist during China’s Cultural Revolution, with his work reproduced on posters seen in the millions. Members meet at 4A and travel with us by public transport (train and ferry) to Bundeena (approx 60 mins travel time each way). Places are limited so book early!

EVENT #2
SHEN JIAWEI STUDIO VISIT
Meeting point: 4A Centre for Contemporary Asian Art
Date: Saturday 30 August 2014
Time: 1.00pm – 5.30pm
Ticketed: $22 for Members / $77 for non-Members / $49.50 for non-Members (concession)
Bookings are now closed.

The 4A Members’ Program is a series of tailored events offering a chance to connect with people who share your passion for contemporary art. If you’re not a Member then join today to enjoy what our Members’ Program has to offer and all the other benefits of membership. View our 2014 program here.

 

HAZE

Haze
Tully Arnot, Sarah Contos, Jensen Tjhung
22 August – 25 October 2014
Opening: Thursday 21 August, 6.00pm-8.00pm, in the presence of the artists
To be opened by Guan Wei.
Artists’ talks: Saturday 23 August, 2.00pm-3.00pm

Image: Tully Arnot, Alternate Great Wall (2014), digital image. Courtesy the artist.

Curators’ Intensive Public Talk – Dr Sophie McIntyre: Politics, Art & Representation: Curating in an intercultural context

Dr Sophie McIntyre

Politics, Art & Representation: Curating in an intercultural context

Friday 11 July, 2.00pm – 4.00pm
This event has now ended 

This presentation explores the spatial and relational dynamics of curating exhibitions in an intercultural context, and it focuses on the meaning and significance of place in a geo-political, cultural, artistic and museological context. Drawing on several exhibitions  of contemporary art from the Asia-Pacific region that McIntyre has (co)curated, the presentation will delve into the politics of cultural representation and it will reflect on some of the challenges and valuable insights gained when curating across and between different cultures and audiences.

For more information about the 4A Curators’ Intensive click here

4A_icon_pos                        CF_Logo_BW - new with CA

The Curators’ Intensive is an initiative of 4A Centre for Contemporary Asian Art and has been made possible with the support of Sue Acret & James Roth and the Copyright Agency Cultural Fund. 4A acknowledges the support of the Northern Centre for Contemporary Art.

Curators’ Intensive Public Talks – Cosmin Costinas: Ten Million Rooms of Yearning & A Journal of the Plague Year – A Case Study of Para/Site Art Space, Hong Kong.

Cosmin Costinas
Ten Million Rooms of Yearning & A Journal of the Plague Year: A Case Study of Para/Site Art Space, Hong Kong.


Saturday 12 July, 2.00pm – 4.00pm
This event has now ended

This talk will present an insight into recent research and projects by Cosmin Costinas for Para/Site Art Space, Hong Kong. Para/Site is Hong Kong’s leading contemporary art space and one of the oldest and most active independent art centres in Asia. It produces exhibitions, publications and discursive projects aimed at forging a critical understanding of local and international phenomena in art and society.
 
Since 2011 Cosmin Costinas has been the Executive Director and Curator of Para/Site, where he has delivered a number of exhibitions that discuss and explore local political and historical contexts. Costinas will discuss a number of the challenges in presenting these projects, and consider how they fit within broader curatorial conversations in Hong Kong.
 
As a relative newcomer to Hong Kong, Cosmin will also speak about his personal perspective in developing exhibitions and the role that collaboration plays in working in a new cultural context. What kind of responsibility does a curator, or indeed an organisation, have to the local?

 

For more information about the 4A Curators’ Intensive click here

4A_icon_pos                        CF_Logo_BW - new with CA

The Curators’ Intensive is an initiative of 4A Centre for Contemporary Asian Art and has been made possible with the support of Sue Acret & James Roth and the Copyright Agency Cultural Fund. 4A acknowledges the support of the Northern Centre for Contemporary Art.

4A Curators’ Intensive Public Talk – Robin Peckham: Tracing the Post-Internet

Robin Peckham
Tracing the Post-Internet: A Case Study in Curatorial Process


Thursday 10 July 6.30pm – 8.00pm
This event has now ended 

What are the relationships between the movement that has come to be called ‘post-internet’ and the media realities of the historical moment that enables it?  This talk will present the curatorial process and research behind the exhibition Art Post-Internet co-curated by Peckham, paying close attention to the differences between survey methodologies and thematic approaches. Peckham will respond to notions including the differences between intent and effect in artistic practice, the tension between documentation and materiality in recent art, collaboration as a tool, the specificities of the exhibition and other possible realisations, and categories of curatorial work from essayistic narrative compositions to forms of analysis.  This presentation will tentatively structure a logic by which we might be able to expand a thematic understanding of post-internet art based on an empirical understanding of its social core.
Watch Online

 

For more information about the 4A Curators’ Intensive click here

 

4A_icon_pos                        CF_Logo_BW - new with CA

The Curators’ Intensive is an initiative of 4A Centre for Contemporary Asian Art and has been made possible with the support of Sue Acret & James Roth and the Copyright Agency Cultural Fund. 4A acknowledges the support of the Northern Centre for Contemporary Art.

CURATORS’ INTENSIVE 2014

4A’s Curators’ Intensive is an initiative developed by 4A to encourage professional advancement amongst early career Australian cultural practitioners with an interest in curatorial practice. The Intensive will take place between Thursday 10 – Sunday 13 July at various locations in Sydney, Australia.

This is the second Intensive (following 2012) and will be led by three established curators who are working in an international context with a particular focus on the Asia-Pacific region. In 2014 the Curators’ Intensive will feature:

Cosmin Costinas (HK)

Dr Sophie McIntyre (AUS)

Robin Pekham (HK/Beijing)

These curators along with 4A will deliver this program over four consecutive days through a mix of public discussions and closed forums. The Intensive will consist of the following: each evening there will be a public presentation by one curator. On the following day a closed workshop will be led by one of the curators for participants only. Through these discussions participants will expand on the issues raised by curators during their public presentations.

This program will be of interest to curators or cultural practitioners at the beginning of their careers, as well as those currently working independently or in institutions and interested in participating in an expanded discussion around curatorial practice. While focused on a broad conception of contemporary Asian art, this program will encompass a much larger range of curatorial discussions. The participating curators have a wide variety of experiences from socially engaged art, curating local history, international perspectives, as well as museums and independent spaces.

 

PUBLIC LECTURES

In 2014 the 4A Curators’ Intensive includes a series of free public talks at 4A presented by our guest curators.
Bookings are essential via eventbrite. Please note you will need to book separately for each talks.

 

Thursday 10 July, 6.30pm – 8.00pm
Tracing the Post-Internet: A Case Study in Curatorial Process
Robin Peckham
Book here

What is the relationship between the movement that has come to be called ‘post-internet’ and the media realities of the historical moment that enables it?

This talk will present the curatorial process and research behind the exhibition Art Post-Internet co-curated by Peckham, paying close attention to the differences between survey methodologies and thematic approaches to curating. Peckham will respond to notions including the differences between intent and effect in artistic practice, the tension between documentation and materiality in recent art, collaboration as a tool, the specificities of the exhibition and other possible realisations, and categories of curatorial work from essayistic narrative compositions to forms of analysis.

This presentation will tentatively structure a logic by which we might be able to expand a thematic understanding of post-internet art based on an empirical understanding of its social core.

 

Friday 11 July, 2.00pm – 4.00pm
Politics, Art & Representation: Curatorship in an intercultural context
Dr Sophie McIntyre
Book here

This presentation explores the spatial and relational dynamics of curating exhibitions in an intercultural context by focussing on the meaning and significance of place in a geo-political, cultural, artistic and museological context. Drawing on several exhibitions  of contemporary art from the Asia-Pacific region that Dr. McIntyre has (co)curated, the presentation will delve into the politics of cultural representation and it will reflect on some of the challenges and valuable insights gained when curating across and between different cultures and audiences.

 

Saturday 12 July, 2.00pm – 4.00pm
Ten Million Rooms of Yearning & A Journal of the Plague Year: A Case Study of Para/Site Art Space, Hong Kong.

Cosmin Costinas
Book here

This talk will present an insight into recent research and project