Roberto Paci Dalò’s work is focused on sound and drawing expanding these formats into sculpture, installation, music, film, performance, and collaborative projects with a special interest in urban explorations and site-specific projects. Composer, visual artist, and director, his work has won him international admiration from – among others – John Cage and Aleksandr Sokurov. Paci Daló is also the founder and director of the Giardini Pensili company and the space Velvet Factory (Rimini).

A pioneer in the use of digital technologies, he presents live media performances in the main venues of the international electronic scene. His work has been presented in Europe, USA, Canada, Latin America, Middle East, Russia, Japan, Africa in venues of the caliber of the Kunsthalle Wien, Biennale di Venezia, Fundaciò Joan Mirò Barcelona, Charlottenborg Copenhagen, Vienna Opera House, Ars Electronica Linz, MaerzMusik Berlin, Museo Nitsch Napoli, Galleria Civica di Modena, Art First Bologna.

This time, Roberto will visit Shanghai to develop a new project for SH Contemporary, one of the most prestigious art fairs in Asia.

In collaboration with Arthub Asia, Roberto will be at the center of several activities to be held in SIVA, the Shanghai Institute of Visual Art at Fudan University, and in Shanghai.

Follow the blog here.

This exciting site-specific media project is underway! More information to come soon.

Workshop with SIVA

May 9th – 11th  9:00am-4:30pm   Room411 Building2 SIVA

Presentation of Roberto Paci Dalo’s work and lecture at SIVA 411salon (only for students)

May 11th 6:00pm-8:00pm  SIVA 411salon

Address: Room411, Building2, Fudan University Shanghai Institute of Visual Art, Wenxiang Road2200, Songjiang District, Shanghai.

Presentation of Roberto Paci Dalo’s work and students May 13th

Venue TBC, stay tuned!

Related Projects

• Shanghai in Art, Shcontemporary and Arthub Asia, 2012 (0)
• Blueprints (2012) – Qiu Zhijie and Shanghai Biennale Curatorial Summit, Witte de With (0)
• From Qiuzhuang village, an ongoing project by Li Mu (0)

What happens with production in a precarious economical and cultural context? What models, schemes and criteria survive and which ones need to be reformulated? What to produce, how and to which goals? With which structures and supports? What do we consider production: when does it start and when does it finish? Can art find answers in other traditionally differentiated audiovisual realms? What possibilities and challenges are generated by strategies such as self-production or crowd-sourcing?

WHAT ABOUT PRODUCTION? gathers in Barcelona key professionals with diverse and complementary experiences in the audiovisual production sector, with the purpose of establishing a dialogue between a wide array of moving image art production forms, structures and models. Articulated around 6 round tables curated by their moderators, the professional forum of debate aims to revise different platforms and production strategies; identify present issues and sketch future perspectives through the collective expertise and experience of its participants.

Speakers include John Akomfrah, Alessio Antoniolli, Tera Badia, Cabello/Canceller, Phil Collins, Pedro Costa, Simon Field, Ulrich Gebauer, Carles Guerra, James Lingwood, Bartomeu Mari, Lluis Minarro, Marco Muller, Maria Mur Dean, Davide Quadrio, Maria Ruido, Riot Cinema Collective, Fiona Tan, Agnes Varda among many others.

For all information please click here.

The roundtables and case studies will culminate in an ARTISTS’ FILM PITCH: six artists will be invited by a prestigious committee, to present a project in front of a professional audience, with the aim of finding producers or co-production alliances to accomplish the works.

The Forum Pro will be taking place in the framework of, and parallel to, LOOP Fair and Screen Festival.

Parallel to and as an extension to the Debate Forum, the program of exhibitions, screenings and events of the SCREEN Festival includes –among others- a section entitled What about production?

This section is built by inviting different and active production platforms and organizations to present recent works in whose production they have been involved. The aim is to map various typologies of structures that make possible artist’s research and production as well as foregrounding them as those who enable creation despite the difficult times.

Also coinciding with the days of the encounter, takes place LOOP‘12: the platform for artists’ moving image projects presented by their galleries, which puts the accent on the presentation of premières and recent productions.

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She is hosted in the city by Arthub Asia for the coming months. Several activities were held in the city with Julika Rudelius.

Presentation of Julika Rudelius work and lecture at Rockbund Art Museum

March 24th 2012, h. 7-9pm, at the 2nd floor of RAM building.

Address: RockBund Art Museum.
20 Huqiu Road, Huangpu District, Shanghai (8621) 3310 9985

The filming is underway. More information to come soon.

We thanks Ailing Foundation for the support and Fudan University Institute of Visual arts.

The project, a back-grounder.

“The majority of my art works have been created outside of my country of origin, which is Germany. In Amsterdam, I took on millionaires, Dutch Africans, and Moroccan fashionistas as my subjects. Since relocating to New York City five years ago, my focus has been on groups that exemplify the American image of success and happiness: wealthy denizens of the upscale Long Island Hamptons, powerful politicians, and poster-couples for marital bliss among them. In all of these works I have the view of an outsider to draw on, with its attendant privileges and handicaps, first as a German ex-patriate in Holland, and then occupying a more generic European foreign-ness in the U.S. Meanwhile, what helped me to develop these works and formed their underlying structure was the language which I shared with my subjects (I am fluent in both Dutch and English), and which I could manipulate with ease. Also, insofar as there is a degree of cohesion to the experiences of people across the West, there was a reasonable amount of cultural overlap as well.

In approaching making a piece in China, I am particularly interested in the absence of this shared language and culture, and in developing a new way of working that is still grounded in the same principles and set of topics that I have been pursuing throughout my body of work. As a foreigner in any country, but particularly in one where you don’t speak the language, it is typical to look for things you identify with or that are at least vaguely in common with your own culture. Based on some preliminary research, it seems to me that within the strengthening middle class in China, what is shared are the rituals of commercial consumption that are repeated between the two cultures: shopping for designer apparel, attending wine-tastings, re-thinking civil liberties in a way that questions authorities and emphasizes the individual experience over the group. At the same time, I know that while these rituals echo what I am familiar with, I cannot understand them in the same way that they are understood by the people who perform them in this other culture. When I observe a wine-tasting in China, for example, it is on the surface a ritual that I recognize and understand, and yet I can’t know what other meanings that ritual is imbued with from the Chinese perspective or what different associations it may have.This gap in shared understanding is charged by the simultaneous occurrence of both recognition and mis-recognition.

I’d like to use this unique situation to seek out the shared rituals that the globalized free market has brought in common between the West and the developing Chinese middle class and examine them more closely. Without language to give me insight into the underlying psychology of these rituals, I will be left with a more distilled experience of the ritual than I have access to in the West: simply the recognized/mis-recognized gesture, echoing my experience of the same gesture in the West, but also possessing a difference impossible for me to grasp, except in that I know I am not grasping it.

What I understand to be the growing influence of a confident middle-class also brings with it a new dynamic of migration and multiplicity to national identity. To put this notion of diversification into the frame, I am particularly drawn to develop this piece in the city of Guangzhou, whose Hongqiao neighborhood is home to a community of African immigrants. Because in the West our experience of immigration is charged by race, no matter how many generations a Chinese person’s family has been in the U.S., for example, they are still identified with the figure of the immigrant. Meanwhile, in non-Western countries it seems that a transfiguration of this frame of whiteness still holds: you might describe a white foreigner in China as an “ex-pat”, but the term “immigrant” is still generally reserved for people of color. The influx of people from Africa into Guangzhou and the interface they form with the local culture is another echoed gesture, recognized perfectly by the market and mis-recognized by my Western sensibility as a diaspora of immigrants within a country of immigrants. I feel that working in this city will allow me to tease out these layers to the experience of culture and class, keeping my own perspective self-aware through the awareness of other otherings.”

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View the artist at work: 26 – 28 June 2012, from 12 to 6 pm.

Opening: Thursday 28 June 2012, from 5 to 8 pm.

Shanghai Biennale Curatorial Summit: Thursday 28 June 2012, at 6 pm.

Artist and cosmos-builder Qiu Zhijie (邱志杰; b. 1969, Fujian Province, China) draws from major political and historical narratives to produce large-scale ink-based maps and diagrams. From Confucianism to Enlightenment, Qiu Zhijie charts new paths, centers, nodes and relationships, scrutinizing the mutable boundaries that outline histories of world thought.

Qiu Zhijie developed these series of mappings of the contemporary world based on several concepts that are summarized in the following maps: Map of 21st century; Map of Utopia; Map of Total Art; Map of Chinese History; Map of Nanjing Yangzi River and Map of Spirit Renew.

Shanghai Biennale Curatorial Summit, 
Thursday 28 June 2012, 6 pm.

Following a presentation (in the form of a guided tour) by artist and Artistic Director of the 9th Shanghai Biennale Qiu Zhijie, this event brings together Shanghai Biennale city pavilion curators to discuss and make transparent their thoughts behind the themes of the Biennale.

Participants include Davide Quadrio (Director, Arthub Asia), Henk Slager (Head of the Utrecht Graduate School of Visual Art and Design), Jens Hoffmann (Director, Wattis Institute for Contemporary Arts, San Fransisco), Laura Barreca (Curator), Defne Ayas (Director, Witte de With, Rotterdam) and Boris Groys (curator and Global Distinguished Professor at New York University and Senior Research Fellow at Karlsruhe University of Arts and Design), with Charles Esche (Director, Van Abbemuseum, Eindhoven) as a respondent.

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• smARTpower, a collaboration with Bronx Museum, NYC (0)
• Screen Play by Christian Marclay in Shanghai - a PERFORMA production (6)

In only few years’ activities, Arthub Asia is growing and positioning itself as a dynamic platform that encompasses all Asia and brings its projects and -most importantly- its spirit worldwide.

With the news that Defne Ayas is now taking over the Director’s position of Witte de With in Rotterdam, Qiu Zhijie becoming the Director of Shanghai Biennale 2012 and Davide Quadrio leading a new project for the Institute of Visual Art of Fudan University in Shanghai, Arthub Asia is proving to be the strongest platform for innovative practices in this challenging world.

We are sending this letter to you due to your dedication to the development of contemporary art and for the incredible support you have given to Arthub Asia and its projects in the last years.

Qiu Zhijie, one of our directors and insatiable artist and thinker, has been short-listed to the Hugo Boss Prize and, within this framework, he is producing a body of works that will be published in the Hugo Prize Publication 2012.

This work will be EXCLUSIVELY on sale for and by Arthub Asia.

In line with the nature of the experimental and research-based nature of projects by Arthub Asia, Qiu Zhijie has developed a body of works based on the “Map of 21st century” which he originally presented in a performative way in 2010 when invited to talk at the “Digital Life and Design conference” at HVB Forum on January 25, 2010 in Munich, Germany.

From this first project, Qiu Zhijie developed a series of mappings of the contemporary world based on several concepts that are summarized in the following maps: “Map of 21st century”, “Map of Utopia”, “Map of Total Art “, “Map of Chinese History”, “Map of Nanjing Yangzi River” and “Map of Spirit Renew”. “Map of Spirit Renew” will actually be the curatorial concept for Shanghai Biennale 2012 and will be presented as an in-situ project during the Biennale.

As Qiu Zhijie states: “Mapping is a process of trying to understand the relationship, the will and the Self, to map is to know. Mapping is a process of building concepts, and becomes the script on which we build the future-action. “

Lastly, we can also say that this body of work will be the summa of Qiu’s work of the last years, published as part of the Hugo Boss Prize publication, as well as, the starting and ending point of Qiu’s curatorial work for the Shanghai Biennale 2012.

The set of etching prints, 5 pieces, 80 x 60cm, will be an edition of 10 + 2 AP and available by March 2012.

All sets have been sold to great private and public collections.

Only the edition 2 is still available and will be sold to the biggest donation starting from 50000USD.

If you want to bid, please write your offer to davide at arthubasia.org. You can bid until 30th September 2012.

Please be advised that all this money will be invested solely in Arthub Asia’s projects.

Please contact davide @ arthubasia.org for further inquiries.

Sincerely yours

Davide Quadrio, Defne Ayas and Qiu Zhijie

Arthub Asia Directors

Related Projects

• Shanghai in Art, Shcontemporary and Arthub Asia, 2012 (0)
• Survival Techniques: narrative of resistance expanded! MoCP, Chicago (0)
• An interview with Qiu Zhijie by Li Zhenhua and commented by Davide Quadrio (1)

Special event:

Weaving together salvaged film clips, artist Uriel Orlow will present his multi-media masterpiece Aide-Mémoire at the Hokin Lecture Hall on April 25 at 6 pm.

The show, which runs in conjunction with the Museum of Contemporary Photography’s current exhibition, Survival Techniques: Narratives of Resistance, is part slideshow and part obscure history lesson, blending distant places and times to create a pictorial narrative merging the past, present and future.

Admission is free and open to the public. The Hokin Lecture Hall is located at 623 S. Wabash Ave.

About Uriel Orlow , Known for his modular multi-media installations, Orlow collects evidence from different times, locations and events. In his reconstructed pictorial landscapes, Orlow references such seemingly disparate sites as Biblical Mount Ararat, a Ghost Town in Northern Armenia on the site of an earthquake, and a Kurdish village in Turkey built out of the rubble of an ancient Armenian monastery.

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The exhibition Survival Techniques: Narratives of Resistance looks at human conflict and the ways individuals and groups endure long-term hardship. The fourteen international artists in this exhibition approach contentious political issues that, although individually nuanced, present parallel fundamental challenges to the human psyche. From various reactions to situations rising out of differences in ideologies, to the impact of nationalism, ethnicity, and power, the artists investigate a range of human travails—including exile, displacement, and the struggle to exist in a state of flux.

Central to each artist’s exploration is an attempt to reconcile the present circumstances of a given territory with its complex and often contentious history. As the artists endeavor to bridge great spans of time, they reveal to us ways people wrestle with visions of the past and the future in order to survive. The individual artworks in the exhibition connect, echo, and converse with each other, and as one moves through the various projects, specific geographies collapse into generic and unnamed worlds. As these artworks expand past local specificity they reveal universal concepts and reflect the ways our particular era exists within a fluctuating narrative of broader human history.

Curator Davide Quadrio conceived Survival Techniques while living in Thailand from 2008 to 2010, when he experienced firsthand the political turmoil of that country, including episodes of severe distress among his family members, neighbors, and the people of Thailand as a whole. With the revolutions in the Arab world, popularly known as the Arab Spring, we have continued to see civil resistance involving various measures such as demonstrations, rallies, and marches to express dissatisfaction with existing authoritarian regimes. Yet the situations in Thailand and the Arab world—and the reactions of its people—are not unique. History bears witness to ways that individuals, groups of people, and nations survive in times of political uncertainty and social unrest.

Zhang Peili’s (b. 1957, China) video Happiness (2006) employs a subtle form of political critique.  He juxtaposes appropriated film of a man speaking about political and social greatness in chopped rhetorical sentences on one screen with people applauding enthusiastically on another, alluding to the drama of political populism. The video’s structure subversively highlights the theatricality of propaganda, which has been used by top-down regimes throughout history to discourage dissent from citizens who do not agree with the principles of their government. Dual agendas also appear in the video Them (2006) by Artur Zmijewski (b. 1966, Poland). He invites individuals from four distinct factions within Poland—elderly Catholic women, left-wing social activists, members of the All-Polish Youth, and a Jewish youth group—to take part in a game that begins with each creating its own national flag. The edited video recounts the process as members critique and interrogate their competing ideologies and visions for their country’s fledgling democracy.

Uriel Orlow (b. 1973, Switzerland) weaves together historical documentation with his own materials in the video Yellow Limbo (2011), which retells the story of eight ships that were stranded for eight years on the Suez Canal following the Arab-Israeli War in 1967. The multinational crewmembers were forced to come together and survive communally while Cold War political allegiances dissolved, and the diverse people were united by a common struggle. Sigalit Landau (b. 1969, Israel) creates orchestrated videos where geographic spaces, and the conflicted ideologies that they contain, intersect. Azkelon (2011) shows young boys playing a knife game popular among Israelis and Palestinians living in Gaza and the nearby city of Ashkelon. The game, which involves the strategic drawing and redrawing of boarders with the objective of overtaking another player’s space, echoes seemingly unresolvable political tensions in the territories where the players live. Knives, which are typically thought of as weapons, become tools for cooperation, sport, and mutually agreed upon rules.

Both Yto Barrada (b. 1971, France; lives in Morocco) and Rainer Ganahl (b. 1961, Austria; lives in the United States) employ a high degree of irony and sarcasm in their work. Barrada’s ironic posters titled A Modest Proposal (2011) use photographs, illustrations and diagrams, slogans, stories, and games to comment on social and political issues in contemporary Morocco. For example, one poster satirically states “Modernize Morocco and Maximize its Resources and Efficiency” while another one asks viewers to “Pin the Moustache on the Marshall,” poking fun at the struggles the country faces in the eyes of globalization. Set in Berlin in the year 2045, Rainer Ganahl’s video I Hate Karl Marx (2010) presents a world in which China has risen to dominate the free market economies, and the Chinese language and culture embody the national identity of the West. A young German woman yells blame for these circumstances in Chinese to a statue of Karl Marx, as the video not only considers the ways history and national heritage take on new complexity in our global age but also taps into a xenophobia that is currently bubbling beneath the surface of Western attitudes toward China’s rising international status.

Overwhelmed by a recent revolution that shaped a nation, MRK Palash (b. 1979, Bangladesh) grew up hearing stories about his country’s violent succession from Pakistan in 1971. Like many Bangladeshi youth, Palash’s experience of this war is secondhand, yet the events led to the formation of his nation and are deeply embedded in his identity. The artist re-creates tableaus based on the stories as a way of connecting with the conflict. The photographs highlight the contrast of national heritage between the elder and the youth, and the ways one generation’s lived experience becomes legend for the next. Similarly, in his photographic series Primitive (2009), filmmaker Apichatpong Weerasethakul (b. 1970, Thailand) spent two months in the village of Nabua in northeast Thailand documenting and creating fictional scenarios of teenagers that are too young to have experienced the fierce oppression, fighting, and violence that lasted for two decades beginning in the 1960s, when the Thai army occupied the village in order to curb those who were accused of being communists. As the Cold War ended and the Communist Party of Thailand withered away, the government played down the violence, and quickly the public began to forget, leaving the young generation oblivious to this past.

In the deeply personal installation Hong Rub Khaek (2008), Navin Rawanchaikul (b. 1971, Thailand; lives in Japan) interviews Indian migrants of his parents generation who now live in his hometown of Chiang Mai, Thailand, attempting to understand their journey of coming to Thailand and making a new place and culture home. As their stories point out, globalization has brought rapid and ongoing changes that constantly remake geographies and the people who inhabit them, often causing the concept of home to be detached from a fixed location. Rawanchaikul encouragingly describes his own complicated childhood, growing up in Thailand and coming to terms with his Indian descent, illuminating the motivation for themes addressed in his art practice.

In his series of portraits from a project titled Blued Books (2008–09), Li Mu (b. 1974, China) explores the ways teenagers serving sentences at the Shanghai Juvenile Reformatory live cut off from the surrounding world. As a way of interacting with these youth, Li arranged to have a library of his personal art book collection installed in a communal space at the reformatory so that inmates could read the books and meet with the artist for weekly discussions. The inmates were eager to communicate with, learn, and earn trust from the outside world, and the loaned books served as their bridge. Li’s project illustrates the importance of visual communication, as art books can transcend the constraints of different languages, educational backgrounds, and age to yield a deeper understanding of freedom through creativity.

Politically engaged with issues of human rights, photographer Raphaël Dallaporta (b. 1980, France) and journalist Ondine Millot collaborate to address the often-ignored issues of domestic slavery and human trafficking in upscale French homes. In Domestic Slavery (2010) Dallaporta pairs straightforward images of the facades of luxury residences with written accounts by Millot describing the experiences of individuals who were enslaved by homeowners as servants inside the buildings. The lavish exteriors conceal the stories of these individuals, who often faced extreme abuse and cruelty at the hands of their captors. Domestic Slavery reveals the surprising ways humans continue to be treated as objects and property in civilized countries today, while calling attention to the horror, agony, and abuse that can be hidden behind an ordinary facade.

In her video One of Us (2010), Julika Rudelius (b. 1968, Germany, lives in the United States) explores notions of happiness using \a ubiquitous ideal, the clichéd happy couple. Unlike other works in this exhibition, which deal with personal visions of political struggle, Rudelius focuses on the ways families and individuals of privilege are often insulated from large-scale persecution. This circumstance is predicated on certain middle-class luxuries, such as wealth and private property that allow couples to disconnect from the world around them. Within this context, Rudelius questions what aspects of genuine love can or cannot be captured in a moving image. The video documents men and women talking to each other about how much they mean to one another, with each couple striking various degrees of intimacy. Periodically, Rudelius finds ways to make her presence visible in the documentation, underscoring the degree to which these couples can become oblivious to everything outside of themselves.

Exploring issues of identity, culture, and sexuality, Philippe Laleu (b. 1964, France) focuses on Thailand’s transgender population for his installation Mère nature et ses enfants, Mother Nature and her children (2011), which combines photographs, documents, and a video interview to explore Thailand’s population of people living outside of the traditional male/female binary gender system. Despite assumptions that Thailand is accepting of variations in gender identity and sexuality, Laleu’s work alludes to the daily struggle that transgendered people face in their efforts to be true to themselves.

Conceptual artist Tintin Wulia’s (b. 1972, Indonesia) touches on many of the the overall themes of the exhibition with her installation The Most International Artist (2011), in which she reflects upon international borders and the obstacles they present to human movement. Wulia creates humorous videos and installations with the over 140 passports that she has obtained in her name from various countries throughout the world. She began collecting these passports after acquiring a permanent residency visa from Australia, a document that opened up access to international travel in countries where she was previously denied entry. As Wulia explains, “With my 140 passports, I am undeniably the most international artist in the universe, and the world is my playground.” Wulia’s delight in her freedom is counterbalanced by a realization of the prejudices she and many others have endured because their nationalities prevent open, global travel. Though her passports allow her to overcome certain limitations, they represent a fracturing of her identity that necessarily detaches her from her authentic national heritage.

Special Film Screening

Three films will summarize and symbolically describe the individual and social survival that humanity faces as individuals, couples, and as a community. A solitude-portrait of artist and activist Ai Weiwei is described in the documentary Before Ai Weiwei (1994) by Daria Menozzzi. A narrative on the distortion of social behaviors in closed communities struggling to reach an understanding of what remains of inexplicable suffering is the focus of Enemies of the People (2010) by Thet Sambath and Rob Lemkin.

Before Ai  (1995) a documentary by Daria Menozzi, Premier

The intimate interview held in Beijing in 1995 by director Daria Menozzi presents an unexpected Ai Weiwei. Just back from the States, the artist explains his idea of contemporary art, his work in relationship to Beijing and China which were both to be re-discovered by the artist. Before his greatness was revealed to the world, this unique portrait of an artist struggling to position himself in an estranged world yet to become the overwhelming power of today strikes for its frankness, simplicity and fragility revealed.

The film will be presented in the exhibition in a special monitor after the first screening along with the other exhibits.

Enemies of the People (2010) by Thet Sambath and Rob Lemkin

The Khmer Rouge ran what is regarded as one of the twentieth century’s most brutal regimes. Yet the Killing Fields of Cambodia remain unexplained. Until now. In Enemies of the People the men and women who perpetrated the massacres – from the foot-soldiers who slit throats to the party’s ideological leader, Nuon Chea aka Brother Number Two – break a 30-year silence to give testimony never before heard or seen.

Unprecedented access from top to bottom of the Khmer Rouge has been achieved through a decade of work by one of Cambodia’s best investigative journalists, Thet Sambath. Sambath is on a personal quest: he lost his own family in the Killing Fields. The film is his journey to discover not how but why they died. In doing so, he hears and understands for the first time the real story of his country’s tragedy. After years of visits and trust-building, Sambath finally persuades Brother Number Two to admit (again, for the first time) in detail how he and Pol Pot (the two supreme powers in the Khmer Rouge state) decided to kill party members whom they considered ‘Enemies of the People’.

Survival Techniques: Narratives of Resistance is co-organized by MoCP Director Natasha Egan and Davide Quadrio, cofounder of Arthub Asia, a group of independent thinkers devoted to contemporary art creation in China and across Asia, with the assistance of Allison Grant, MoCP Assistant Curator. A selection of works for this exhibition comes from the FarEastFarWest collection on extended loan to the MoCP. FarEastFarWest commissions and collects challenging artworks focused on contemporary Asia and its role in the world.

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April 15, 2012 at 4 pm CST on the Caogang River, Zhujiajiao, China

Talk by Duke Riley in Shanghai: The Rematch

Thursday, April 12^th

18:30 – 20:00

Minsheng Art Museum

570 Huai Hai Xi Lu, Building F

Have you ever wondered how the animals were chosen to be on the Chinese zodiac? American artist Duke Riley has come to Shanghai to recreate the legend of the race that resulted in the choosing of the 12 animals. Please join us at the Minsheng Art Museum as he talks about his project, The Rematch, and what it means to work in the public sphere as an artist.

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According to Chinese mythology, the Jade Emperor initiated the zodiac in order to organize the measurement of time. The first twelve animals to cross the mighty river in a competitive race would each receive a year of the zodiac. The rat and the cat, both poor swimmers, persuaded the gullible ox to carry them across. As the ox began to lead the pack, the rat pushed the cat overboard and jumped off the ox to win the race alone. Hence, the first year of the zodiac was bestowed upon the cheating rat.

In the spirit of art, community, and competition, artist Duke Riley has organized a rematch. On Sunday, April 15 at 4 pm CST, a river race and performance will take place on the Caogang River in the idyllic water village of Zhujiajiao on the outskirts of Shanghai. Each animal of the zodiac will be transported on a traditional gondola, accompanied by a local rower and an opera singer from Zhujiajiao. The singer will perform songs from the “first animal” perspective, making a musical case for why that animal should have won the original race.

According to Riley, an American artist with a history of staging epic water-based battles and performances, “No calendars will be reset at the finish line nor will any closer understanding of that mythical day be realized. The only realization will be a brief moment of divine absurdity between two shores.”

The Rematch, commissioned by smARTpower, an initiative of the U.S. Department of State’s Bureau of Educational and Cultural Affairs and administered by the Bronx Museum of the Arts, has brought Riley to China for the first time. Though the country may be new terrain for the American artist, his proclivity for maritime themes features strongly throughout his body of work. Riley chose this particular project to highlight the porous nature of waterfront communities, and the tolerance and cultural exchange that transient maritime cultures generally foster.

In addition to the race, Riley has organized workshops that integrate the efforts of the community into the production of The Rematch. Drawings of the zodiac animals by local twelve year-old students have been translated into silk embroideries by local artisans. The embroideries will function as banners on the gondolas and will indicate which zodiac animal is on the gondola.

The Race

The twelve gondolas bearing the live zodiac animals (some animal stand-ins will be necessary, i.e. the dragon) will begin at a leisurely pace and will be split into two different starting lines. They will meet in the middle of the Caogang River and line up side-by-side facing the Fangsheng Bridge. At the start of the race, they will row past Ming and Qing dynasty architecture and continue under the Fangsheng Bridge. This bridge is one of the main areas to watch the race, along with adjacent waterfront restaurants and the boat launch pavilion. The gondolas will continue beyond the bridge where the traditional architecture gives way to demolition and new condominium developments under construction. The rowers will make a loop around a stationary post, then head back to the Fangsheng Bridge. The first to pass any of its arches will be declared the winner.

THE HORSE DECLARED THE WINNER OF THE REMATCH IN ZHUJIAJIAO, CHINA

(April16 , 2012) The horse beat out 11 other Chinese zodiac animals to be named the winner of The Rematch, a redo of the mythical race. According to mythology, the rat cheated to become the first animal of the Chinese zodiac. Sunday’s race, which took place on the Caogang River in Zhujiajiao, China, set the record straight – even if only in the name of public art, community, and spectacle.

The ox came in a very close second place and the monkey came in third place. A video of this “photo finish” can be viewed here.

The Rematch was organized by American artist Duke Riley and is part of the U.S. Department of State’s smARTpower initiative, which brings people of all cultures together through the visual arts to create mutual understanding. With production partner Arthub Asia, Riley worked closely with local artists, farmers, designers, embroiderers, traditional opera singers, hip hop and rock singers, school children, and many other members of the community to make The Rematch a reality.

An awards ceremony took place canal side at the Fengshang Pavilion, where the children who designed the flags and the local embroiderers who stitched viewed race. Prizes and trophies were awarded to the first, second and third place animals/rowers. They posed for photographs with Riley and local dignitaries. As is very important in Chinese culture, a feast with the participants completed the close of The Rematch.

Tidbits about The RematchTwitter @TheRematchDukeR
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about The Rematch on Facebook www.facebook.com/DukeRiley

Duke Riley

Since receiving his MFA from Pratt Institute in 2006, Duke Riley has actively exhibited and engaged in performance work. Recent collaborative performances include a St. Patrick’s Day celebration in Havana, Cuba—which was so warmly embraced by the residents of that city that it is now an annual event—and a large-scale, Wagnerian enactment of a sea battle waged in the reflecting pool of Corona Park for the Queens Museum of Art, with the aid of well over a hundred participants. His collaborations have included building sets and costumes from found materials, which range from things found in nature, such as winter-killed marine grasses, to things that might commonly be found at a local hardware store, such as broom heads, which he used to make the plumes of makeshift gladiator helmets. Related works can be found in a number of private and museum collections. He is represented by MagnanMetz in New York City. More information is available at www.dukeriley.info.

smARTpower

smARTpower, an initiative of the USA Bureau of Educational and Cultural Affairs, administered by The Bronx Museum of the Arts, sends 15 U.S. artists abroad to work with local artists and young people around the world to create in situ art projects. Selected artists design and implement programs within a 45 day period in cooperation with local arts organizations in China, Ecuador, Egypt, Ghana, India, Kosovo, Lebanon, Nepal, Nigeria, Pakistan, the Philippines, Kenya, Sri Lanka, Turkey, and Venezuela.

smARTpower artists are strongly encouraged to create a tangible legacy of the work, to remain in country, through a variety of visual arts media, including painting, sculpture, drawing, video, installation, photo-based work, public art, and interdisciplinary projects.Projects emphasize participatory work and address a full range of relevant subjects including, but not limited to, women’s empowerment, the environment, health, education, and civic engagement.

Arthub Asia

Spearheaded by a dynamic team of specialized curators and producers, and in collaboration with museums and other public / private spaces and institutions, Arthub Asia initiates and delivers ambitious art projects through a sustained dialogue with visual, performance, and new media artists. Inspired by the collective intelligence generated by independent thinkers across China and rest of Asia, Arthub Asia serves as a collaborative production lab, a creative think tank as well as a curatorial research platform. Arthub Asia is committed to furthering experimentation, knowledge-production and diversity among dedicated artists, art professionals, scholars, and arts organizations in the region.

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All over the web you can find websites with different calls, open calls, calls for this & calls for that , etc..
Some have the same open calls, some overlap, other calls are hardly mentioned at all.

Callfor.org tries to merge all these open calls into one website.

Callfor.org is your open call source for international calls where no fees are needed to participate/enter.

For now they mainly focus on the Arts, but Design & Architectural calls will follow.

Hope you find what you need !

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Arthub Asia is happy to announce the collaboration with Chen Zhou. His new work is divided in four parts, each part linked together by small clues.  It is a sort of discussion and interpretation of power systems among people. Egocentrism, nihilism and submission are represented by three man, all with hidden distortions, fears and psychological fragilities. A metaphor of human condition where sexuality is played by the characters portrayed as a tool and symbol of their reason of existence or, on the opposite, of decay.

The work will be premiered at the Shen Zhen Sculpture Biennale next month.

This production signs the first formal collaboration of Arthub Asia with Aike Gallery, Shanghai/Palermo.

About Shen Zhen Sculpture Biennale

The 7th Shenzhen Sculpture Biennale will take place from May 12 to August 31, 2012 at OCT Contemporary Art Terminal (OCAT) in Shenzhen, China. The Shenzhen Sculpture Biennale (formerly known as Shenzhen International Contemporary Sculpture Exhibition) has been supported by Shenzhen Overseas Chinese Town Corporation Ltd. since its first edition in 1998. This year, the exhibition will be organized by OCT Contemporary Art Terminal and is officially named Shenzhen Sculpture Biennale.

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Starting with the residency and production of Julika Rudelius, Arthub Asia is welcoming an intense program for the year 2012-2013 of lecturing, curatorial and exhibitions.

Working together with the curator of the Institute’s spaces in Moganshang Road n. 50, the art district of Shanghai, Arthub Asia welcomes the amazing opportunities that this collaboration will bring.

More to come…

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The topic of the conversation will be Asia / China from a contemporary cultural and business perspective and I will be leading the forum, that will take place (tentatively) in one of the following dates: 26 or 27 or 28 June.

THNK is the Amsterdam School of Creative Leadership, where participants explore challenges such as public-private collaborations on pressing issues for our future. THNK participants are a very select group of managers, social entrepreneurs and NGO staff in their 30s and 40s, highly educated and very successful in their careers. They share the passion for starting “positive revolutions” to tackle wicked problems.

The format of the forum sessions is the Transforming Dialogue, which typically consists of four 25-minutes dialogues with a rotating group of five participants. Each group will focus on a specific topic in a selected area of expertise.

For more information click here

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Sharing the same aim of sustaining creativity in the most diversified ways, Arthub Asia and Creative India strongly believe in building an international program that begins from a thorough understanding of the locality to reach out to the rest of the world.

In particular the two biggest economic powerhouses of Asia are rarely being connected with a long term collaboration scheme of micro projects of artistic relevance.

The first collaboration will see Creative India involved in specific projects both for Shcontemporary and for the Shanghai Biennale 2012. Following this first collaboration, Arthub Asia is working on commissioning a new piece by a Chinese artist for the Sculpture Park that Creative India has been developing over the last two years in South India.

This is only the beginning. More to come!

For more information about Creative India please click here.

Image: Aaditi Joshi, 2012 courtesy of the artist and Gallery Maskara.

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Shanghai Exhibition Center

Preview & Inauguration (by invitation only):

Thursday, September 6: 5–10pm

Opening Hours:

Friday, September 7: 11am–6pm

Saturday, September 8: 11am–6pm

Sunday, September 9: 11am–5pm

www.shcontemporary.info

SH Contemporary is the most successful art fair in China, as it captures the dynamism of the Chinese art market as well as the spirit of Shanghai; a true creative city, bridging together business, culture and innovation.

Supporting primarily the development of the region’s contemporary art system, also by redefining the notion of “international” from an Asian perspective, the fair is an efficient business platform and a curatorially-led  project. Presenting the most interesting Asian, Asia-Pacific and Western contemporary art to the scrutiny of a growing group of local and international collectors and art lovers.

The 6th edition of the fair will once again take place in the spectacular Shanghai Exhibition Center, one of the city’s landmark buildings, from 7-9th September 2012, with Preview on the 6th.

Under the direction of Massimo Torrigiani, SH Contemporary is organized into two main sections that juxtapose and magnify cutting-edge and emerging art:

1. The Art Show features over 100 selected exhibitors, with sectors dedicated to young galleries and galleries specialized in photography.

2. SH Contemporary Projects, organized with the support of the participating galleries and in co-operation with Arthub Asia’s curatorial network, highlights the work of leading Chinese artists and international talents:

• Now Ink is an ongoing exhibition initiated with last edition of SH Contemporary and co-curated this year by Xiang Liping. It focuses on contemporary ink and calligraphy-related multimedia works

• Hot Spots - co-curated for this edition with artist Shi Yong - is dedicated to large scale and site specific projects, including a series of monumental commissioned pieces by Indian artists, with the contribution of Creative India Foundation and its director Diana Campbell

• First Issue is built around the works of young artists who have had their first shows or important presentations in 2011-12

• The Video Room is dedicated to the latest developments in moving image and new media

• The 2nd edition of The Asia Pacific Photography Prize will be awarded by an international jury of photographers, editors, curators and critics

• Pillow Talks is a new series of intimate conversations among artists, critics, curators and collectors friends

The 2011 edition saw the return of most of the leading Chinese galleries, a growth in sales of Asian and Western artists and a renewed energy with the participation of 90 exhibitors - complemented by 30 individual artists’ projects - over 30 private museums and institutions, 500 invited collectors and 35.000 visitors. The selection of established and emerging Asian and Western galleries included, among others, 01100001, Aike-Dell’arco, Art Seasons, Aura, Beijing Art Now, Beijing Commune, Boers-Li, C-Space, Continua, Eigen+Art, Greenaway Art Gallery, James Cohan, Lin & Lin, Long March, M97, Nature Morte, Pearl Lam Fine Art, Pékin Fine Arts, Red Gate, Shanghai Gallery of Art, Shanghart, Star Gallery, Tang Contemporary, The Pace Gallery Beijing, Tina Keng, Triumph Art Space, Vanguard, and White Space.

Shanghai in Art: the fair is complemented by a full VIP program and a series of presentations, activities and events organized by the city’s leading galleries, museums and cultural institutions.

SH Contemporary is organized by BolognaFiere China Ltd., a BolognaFiere Group company, in cooperation with Shanghai International Cultural Communication Association (SICCA), Shanghai Art Fair Organization Committee and Eastern Shanghai International Culture Film & Television Group. BolognaFiere Group is one of Europe’s leading fair organizers and experts in large-scale exclusive lifestyle fairs. Headquartered in Bologna, Italy, it has branches in the US, Russia and China, where it has become one of the main foreign trade show organizers.

Arthub Asia is a curatorial network lead by Davide Quadrio (co-founder and co-director), Defne Ayas (co-director, and director of Witte de With – Center for Contemporary Art, Rotterdam, NL) and Qiu Zhijie (artist, co-director of Arthub Asia and curator of the forthcoming 9th Shanghai Biennale).

The Creative India Foundation was launched in August 2010 in order to advance and establish India’s first international sculpture park. To that end, CIF has been funding Indian sculptors to create new commissioned works, attend international residency programs and to be a part of international exhibitions.

For more information, please visit: www.shcontemporary.info

If you would like to discuss your participation to SH Contemporary 2012 please contact fair director Massimo Torrigiani at massimo.torrigiani@shcontemporary.info

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Cambodia, East Timor, Nepal, Laos, Bangladesh, Bhutan, Myanmar, Tajikistan, Kyrgyzstan, Uzbekistan, Vietnam, The Philippines, Thailand, Mongolia, Turkmenistan, Azerbaijan.

GRANTS & COLLABORATIONS

For the past 15 years, one of the core activities of the Prince Claus Fund was to fund cultural initiatives through open calls for project proposals in the field of culture and development.

The Prince Claus Fund firmly believes that culture is a basic need and actively seeks innovative, quality cultural projects in spaces where resources and opportunities for cultural expression, creative production and research are limited and/or threatened.

In addition to being a financial partner, the Prince Claus Fund contributes its expertise and its extensive network to its collaborations and grants recipients.

As of 2012, the Prince Claus Fund will issue two targeted calls to support cultural initiatives in all artistic disciplines. One annual call will target a specific region or number of countries. The second call will be thematic.

Each call remains open for approximately six weeks. After the call closes, the evaluation and selection process takes another four months before grant recipients are announced.

CURRENT OPEN CALLS

The current call welcomes project proposals for cultural initiatives from organizations and individuals from the following countries:

Cambodia, East Timor, Nepal, Laos, Bangladesh, Bhutan, Myanmar, Tajikistan, Kyrgyzstan, Uzbekistan, Vietnam, The Philippines, Thailand, Mongolia, Turkmenistan, Azerbaijan.

The deadline for the submission of projects is 15 March 2012. Only applications received before the deadline will be considered.

For examples of projects funded by the Prince Claus Fund, please check our annual reports http://www.princeclausfund.org/en/the-fund/facts-and-figures

The development, scripting, production and post-production of short and full-length documentary, animation, experimental and feature films, as well as research and writing of literary works, novels, short stories, poetry and biographies is not included in this grant.

GRANT GUIDELINES

1. About Prince Claus Fund’s Grants

• Proposals submitted after the deadline will not be considered.

• In the event that the grantee does not sign the grant contract within 60 days upon receipt thereof, the grant will be canceled.

2. Eligible Candidates

• The Prince Claus Fund invites all parties working in the cultural and artistic spheres in the countries included in the current call to send their project proposals regardless of age, years of experience, nationality, ethnicity, religion or any other factor.

• This includes individuals and organisations concerned with culture and development.

3. Eligible Expenses

• Prince Claus Fund only covers project-related expenses, and not running operating costs.

4. Place and Duration

• Prince Claus Fund will not provide support retroactively, i.e. to projects already implemented

• The Prince Claus Fund will only accept proposals for activities that start at a minimum 4 months after the deadline of the deadline of the call for proposals.

• The project’s timeframe should not exceed 12 months

5. Eligible Applications

• Previous grantees may not apply for a new grant unless the previous grant expired before the application submission deadline for this year.

6. How to Apply

• Applicants may file applications online on our website. Links to work samples on sites such as YouTube or Vimeo can also be added directly into the application. Photos, documents can also be directly uploaded in the electronic application form.

• You will receive email confirmation once the online application has been received. You are advised to follow up on receipt for mailed material, as we will not contact you if any part of your application is incomplete.

7. Evaluation and Selection Process

• Please see ‘Procedures’ http://www.princeclausfund.org/en/programmes/about-the-applications for more details.

• The grant recipients’ names will be published on our website.

8. Grant Contracts

• Prince Claus Fund will draft a contract to be signed by the selected grantees. The contract will include contract start and end dates, grant amount, financial requirements, payment schedule, general provisions, implementation and amendments, required reports, and project results.

9. Payment Schedule

• A grantee will receive 25% of the grant total amount as a first payment. Once a first progress report has been received, a second installment of 50% will be made. Once the project is complete and the grantee has submitted the deliverables, narrative and financial reports, the remaining 25% will be transferred.

PCF’s grant selection aims to ensure that projects are selected in a transparent and fair manner, according to clear criteria and a rigorous selection process where due consideration is given to all proposals that meet our eligibility requirements.

Evaluation Process

Phase 1: Intake

Proposals are screened in order to verify whether they fall within the Fund’s criteria for consideration. Only requests for activities starting the earliest four months after the deadline will be considered.

Phase 2: Evaluation of Applications by the Programme Committee

The Program Committee evaluates all applications according to the following criteria: Quality, Innovation, Engagement and Development Relevance, Crossing Cultural boundaries, Trust and Respect, Amnesty for Culture, Culture and Conflict, Beauty in Context, Zones of Silence. Each criteria will be given a score between 1 and 3 quantified as follows: 1 = low, 2= medium, 3 = strong.

Phase 2: Research and Approval

The selected proposals will be researched and second opinions are gathered from independent experts. Although applicants may provide references, the Prince Claus Fund always seeks independent and objective opinions for each proposal. Based on the results of this phase, the Programme Committee approves or rejects a proposal.

Phase 3: Reporting, Evaluation and Communications

Once approved, the applicant is notified about the amount of financial support. A contract is drafted and signed by both the applicant and the Prince Claus Fund. Timely reporting and communication are preconditions for continued support. After finalization of the project, the project and the degree to which the objectives have been fulfilled are both evaluated and documented. Exemplary projects that the Fund has supported are being disseminated on the website and shared within its network. The grantees are announced on the Prince Claus Fund’s website

Criteria for the Evaluation of Applications under Research

1. Quality: Does the individual/organization have an established record on quality? Will the proposed activity take place at a sufficient level of quality to reach its stated objectives and impact? Are the project results specific, measurable, achievable, realistic, and do they meet a specific deadline? To what extent is there coherence among the identified project objectives and expected outcome and results?

2. Innovation: Is the activity innovative enough, in format and organization, and/or in terms of content? Does it relate/address issues that are unusual and open possibilities for dialogue and/or new interpretations of the social and artistic environments? Will the activity bring in new ideas/perspectives? Are applicants’ utilizing new tools for

expression? Would the project be visible? Will relevant collaborations and networks be employed?

3. Engagement and development relevance: Does the activity engage with society, through content or format? What will be the impact and contribution in the local or worldwide cultural development? Will it make a difference? Will it stimulate culture?

4. Crossing cultural boundaries: Will the activity contribute to intercultural exchange? Does it cross political, social, ethnic, cultural or artistic boundaries? Does it bring people together?

5. Trust and respect: Are the organizers of the activity trustworthy? Are they respected by their peers? Is the requested support sensible in relation to the stated activities?

6. Amnesty for culture: Will the activity provide an avenue for or stimulate cultural expression for those that for social, political or other reasons find themselves limited to express themselves?

The Fund’s main working themes are:

- Culture and Conflict: further the role of culture as a way of engaging with people and communities in countries which have undergone recent experiences of profound social upheaval and conflicts

- Beauty in context: the creation of beauty in places where ugliness seems to have triumphed through war, poor government or other forms of misfortune.

- Zones of silence: space for the people and activities that are hidden and silenced through exclusion, war and/or unjust local or national government.

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For smARTpower, Duke Riley will restage in Shanghai the legendary swimming race that determined the sequential order in which the twelve animals of the Chinese zodiac appear; all of the zodiac animals will be represented by live animals (minus the Dragon), which will be ferried separately across the Huangpu River in boats decorated according to each animal and paddled by different groups within the community. According to Riley, “No calendars will be reset at the finish line nor will any closer understanding of that mythical day be realized. The only realization will be a brief moment of divine absurdity between two shores.” The project is also intended to highlight the porous nature of waterfront communities, and the tolerance and cultural exchange that transient maritime cultures generally foster.

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The artist Li Mu during his residency at the Museum in 2011 wanted to share the direct experience of modern and contemporary art with his family and friends in his remote village in Hunan province as a way to connect the villagers with an important part of his life and art.

Carpenters, workers, his family will be part of this year long encounter: they will re-create part of the vanabbemuseum collection in China, displaying it in this village.

Arthub Asia is proud of this initiative and is working with Li Mu to make it happen.

A library project

In order to make the project living after this exhibition, Li Mu will set up a library in the village to explore a possible interactive relationship between the “art” and the villagers.
The library will be made by an abandoned bus, placed in Li Mu’s home on the space just outside the gate of his house. All books will be art books and this is how Li Mu describes what he would like this library to look like:

“A library as a life, that continues to grow and change. It may be small, as small as only hundreds books but maybe it will grow bigger

“A library” free for all, open on every Saturday and Sunday. Retired elementary school teacher Wei Yiming will be employed as librarian, responsible for the library opening and maintenance.

“A library” will held on a regular basis workshops with kids and adults alike.

“A library” as a place for artistic and cultural talks for the villagers.

“A library” regular for films and documentaries.

The Library project  was originally presented as part of archive exhibition “Institution for the Future” curated by Biljana Ciric.

To make books donations and for more information please click here.

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Enclave, an ambitious new-build street of 10 gallery units in London launches in March 2012, hosting national and international project spaces and galleries.

We are pleased to announce an opportunity for a new or established Asian project space, collective or gallery to join a diverse host of international spaces at the site, renting at below market rates. This can include free additional use of an impressive 8 x 8m gallery as an exhibition, performance, residency and events space 5 weeks yearly.

The units (4 x 8m) available are highly finished, double height, heated, ground floor with glazed frontage and with full disabled access. Enclave offers a unique opportunity for a start ups and experimental projects to establish a base in one of London’s most creative and up and coming hubs.

Confirmed tenants so far include Centre of Attention; AnArchitecture; Swedish and Nordic Project Space Snowball Project Space, Occupy My Time, and Berlin’s Styx Project Space showing yearly.

Enclave will launch with a month-long exhibition curated by temporarycontemporary, invited Project Spaces and includes projects selected by David Thorp, LUX, and artists Adam Christensen, Anthony Gross and Toby Huddlestone. Further details to be announced.

Application procedure: Deadline for Round 3 of submissions: 10th Jan 2012. For further information on Enclave, and how to submit your proposal email: info@tempcontemp.co.uk

For further information on the area visit:

http://www.southlondonartmap.com/

New York Times: http://tinyurl.com/chclk9

Google Maps: http://tinyurl.com/bnu6xrv

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Performa Premiere Zhou Xiaohu: Crazy English Camp
Saturday, November 19, 1 PM
Saturday, November 19, 4.30 PM
at Judson Memorial Church, at Washington Square Park South.

For Performa 11, the Shanghai-based Chinese artist Zhou Xiaohu will invite the inventor of Crazy English, a company specialized in teaching English language to thousands of Chinese students in stadiums or large open spaces. The teaching requires repetitions of sounds, words, and sentences in American English together with gestures and movements. Crazy English is both a performance and an effective technique that translates standard American English into a gestural, theatrical movement. Concerned with Chinese social behaviors that mis-translate and misinterpret western marketing concepts and tools, Zhou’s aim, through the simple action of bringing Crazy English to New York, is to show how something familiar can instantly be transformed into something alien and foreign, thus raising questions of legitimacy and the distorted effects of cultural imperialism.

CREDITS:

Performa Premiere Crazy English by Zhou Xiaohu Feat. Li Yang, inventor of Crazy English

Curated by Defne Ayas, Davide Quadrio

Co-presented by Arthub Asia

With generous support from Depart Foundation.

About ZHOU XIAOHU

Critical of the role and influence of visual media in everyday life, Zhou Xiaohu (born 1960 in Changzhou, China)’s practice reflects on how history is documented in a digital age where particular details may be privileged, fabricated, altered and omitted. Working across performance, photography, installation, sculpture, video and animation, Zhou’s work has most recently been shown at the 8th Gwangju Biennial (2010); Tate Modern, London (2010); National Art Museum of China, Beijing (2010); Long March Space, Beijing (2010); BOZAR, Brussels (2009), Walsh Gallery, Chicago (2008), BizArt Art Space, Shanghai (2009, 2007).

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A Dj will perform the music of the 5 compilation for this unique night of fun and dance.

Favorite songs selected by:

Marina Abramovic, A Constructed World, Shahidul Alam, Maria Thereza Alves, Carola Annoni, Cory Arcangel, Francesco Arena, Alessio Ascari, John Baldessari, Daniele Balit, Miroslaw Balka, Luca Massimo Barbero, Colette Barbier, Liliana Basarab,  Pierre Beloüin, Daniel Birnbaum, Dominique Blais, Katinka Bock, Elena Bordignon, Sylvie Boulanger, Candice Breitz, Kerstin Brätsch, Cecilia Canziani, Etienne Chambaud, Mehdi Chouakri, Nataline Colonnello, Lauren Cornell, Bice Curiger, Nemanja Cvijanovic, Daria de Beauvais, Ann Demeester, Gintaras Didžiapetris, Cathryn Drake, Gilles Drouault, Jimmie Durham, Haris Epaminonda, Jacob Fabricius, Didier Faustino, Ettore Favini, Chris Fitzpatrick, Sylvie Fleury, Luca Francesconi, Aurélien Froment, Julien Fronsacq, Chiara Fumai, Dora Garcia, Francesco Garutti, Ida Gianelli, Dominique Gonzalez-Foerster, Tue Greenfort, Theodoulos Gregoriou, Antonio Grulli, Henrik Haakansson, Jeppe Hein, Fabrice Hybert, Anton Kern, Terence Koh, Johann König, Stéphane Kropf, Claire Le Restif, Beatrice Leanza, Luca Lo Pinto, Géraldine Longueville, Bartomeu Marí, Samuele Menin, Darius Mikšys, Viktor Misiano, Aaron Moulton, Ciprian Muresan, Deimantas Narkevičius, Melanie Ohnemus, Orlan, Tony Oursler, Virginia Overton, Lara Pan, Francesco Pantaleone, Florence Parot, Francesco Pedraglio, Adriano Pedrosa, Dan Perjovschi, Angelo Plessas, Luigi Presicce, Riccardo Previdi, Davide Quadrio, Judith Quentel, Dan Rees, Francesca Referza, Caterina Riva, Gerwald Rockenschaub, Dieter Roelstraete, Aïda Ruilova, Nana Seo Eun-A, Sissi, Annika Ström, Yann Sérandour, Pascale Marthine Tayou, Sandra Terdjman, Massimiliano Tonelli, Luca Trevisani, Nicola Trezzi, Joris Van de Moortel, Neville Wakefield, Franz West, Jocelyn Wolff, Akram Zaatari, Raphaël Zarka, Li Zhenhua

The Top100 vol.5 CD is produced by:

Dena Foundation - Paris

Arthub Asia - Shanghai, Beijing, Bangkok

Cneai - Paris

N.O. Gallery, Milano

graphic design: Martin Pyper, Amsterdam

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8 December 2011 – 8 January 2012

Presented by: Videotage

In collaboration with: Asia Art Archive, Hanart TZ Gallery, KEE Club, Osage Art Foundation, School of Creative Media of City University of Hong Kong and Spring Workshop (In alphabetical order)

Supported by: Hong Kong Arts Development Council

Curators: Isaac Leung 梁學彬‭, ‬ Li Zhenhua‭ ‬李振華

Advisors: Valerie C Doran 任卓華, Oscar Ho 何慶基, Linda Lai 黎肖嫻, Qiu Zhijie 邱志傑‭, ‬Shen Qibin 沈其斌, Zhang Peili 張培力

Artistic Director: Ellen Pau 鮑藹倫

Exhibition Artists:

aaajiao 徐文愷, Cao Fei 曹斐, Henry Chu 朱力行, Feng Mengbo 馮夢波, Linda Lai 黎肖嫻, Teddy Lo 羅揚文, Ou Ning 歐寧, Ellen Pau 鮑藹倫, Qiu Zhijie 邱志傑, Eric Siu 蕭子文, Jeffrey Shaw 邵志飛‭, ‬Johnnie To 杜琪峯‭,‬‭ ‬Wang Luming 王鹿嗚, Wang Jianwei 汪建偉, Wang Zhenfei 王振飛, Yang Fudong 楊福東, Danny Yung 榮念曾, Zhang Peili 張培力

Video Artists:

Cao Kai 曹愷, Cao Fei 曹斐, Chen Man 陳曼, Cheng Ran 程然, Du Jie 杜傑, Feng Mengbo 馮夢波, Fu Yu 富鈺, Jia Haiqing 賈海清, Jiang Zhi 蔣志, Ou Ning  歐寧, Qiu Zhijie 邱志傑, Shi Qinq 石青, Wang Jianwei 汪建偉, Wang Ning 王寧, Wang Yuyang 王郁洋, Wu Quan 武權, Wu Ershan 烏爾善, Yang Fudong 楊福東, Ye Linghan 葉凌瀚, Zhang Dan 張丹, Zhao Liang  趙亮, Zheng Yunhan 鄭雲瀚, Zhou Xiaohu 周嘯虎

Introduction:

Videotage, a leading non-profit organization proudly presents One World Exposition in Decemeber this year to facilitate, promote and present media art in Hong Kong also the Greater China region.  One World Exposition precedingly features 18 contemporary media artists from both Hong Kong and Mainland China, exhibits their classic pieces in joint dialogue, and explores the position, history, currency and future of media art under the rapid development of contemporary Chinese art.  Between the 8th December 2011 to the 8th January 2012, a series of exhibitions and programmes will be hosted at the most exciting art and cultural venues in Hong Kong for general public and art-lover to participate.

One World Exposition is the first substantial project that aims at exploring the development of Chinese media art from the regional, national and global perspectives. Through a series of exhibitions, screenings, performances, artist’s talks and symposia, this project targets to enrich public’s understanding in contemporary Chinese media artists’ and their works from different context and cultural backgrounds, and hopefully bridge artistic and cultural exchange between regions and across time.

Videotage brings together internationally recognised media artists from diverse background and discipline, who work on video art, film, lighting, theatre, computer game and interactive media.  Participating gems include, but not limited to, Feng Mengbo, Ou Ning, Ellen Pau, Qiu Zhijie, Jeffrey Shaw, Johnnie To, Wang Jianwei, Yang Fudong, Danny Yung and Zhang Peili.  Co-curated by Isaac Leung and Li Zhenhua who are experts in media art, 18 participating artists will be presented in joint dialogue to explore the multi-faceted nature of Chinese media art in both the regional and global contexts.  8 groups of exhibits will be showcased to delineate and juxtapose lineage of histories, complexity and cross-complication, so as to project insights for the future framework for the development of Chinese media art.  One World Exposition also debuts collaborative live performances of ‘Qiu Zhijie x Ellen Pau’ and ‘Wang Jianwei x Danny Yung’, that will inaugurate the opening night.  Feng Mengbo will perform Bruce Lee VJ Project, jointly presented by Videotage, Hanart TZ Gallery and KEE Club, which will be a first in Hong Kong.  All programme is opened to general public to sensitise new audience and inform new understanding in reaction to the changing landscape of Chinese media art.

All programme of One World Exposition is opened to general public and is of free admission, except Bruce Lee VJ Project by Feng Mengbo is for RSVP.  Pencil down the week from the 8th to the 12th December 2011 for the excitement and amusement of Chinese media art.  For further information and updates, please visit One World Exposition’s official website: www.oneworldexpo.org.

For general enquiry: info@videotage.org.hk

For press enquiry: press@videotage.org.hk

(For information about opening hours, please visit One World Exposition’s official website: www.oneworldexpo.org/en/schedule.html)

2. Screening

Date: 10 Dec 2011 – 8 Jan 2012

Venue: Osage Kwun Tong

Address: 5/F, Kian Dai Industrial Building, 73-75 Hung To Road, Kwun Tong, Kowloon, Hong Kong

3. Symposium

Date: 10, 11 December 2011

Time: 1pm – 5pm

Venue: Lecture Theatre 1, L3, Run Run Shaw Creative Media Centre

Introduction

Situated at the Pearl River Delta as a self-governing territory of China, Hong Kong is always “inside” and “outside” the culture of Mainland China. By curating One World Exposition, we hope to leverage the strategic location of Hong Kong and re-engage contemporary Chinese art from the regional, national and global perspectives. Apart from viewing and representing Chinese art from the geopolitical position of SAR, we also hope to re-think our identities through different concepts of the cultural China. While media artists in Hong Kong has gone through different stages of media and aesthetic genres, it will be a great opportunity to self-reference Hong Kong media art in comparison to various artistic and cultural movements of the Greater China.

Focusing on the issues of identity, economy, society and the bureaucracy of the emerging Chinese art scene, we strive to explore contemporary Chinese art in a non-simplistic way. Each day of conferences will involve scholars, artists, and public intellectuals to discuss the complex phenomenon of the artistic, cultural and the technology of contemporary Chinese life. Through invitations and public calls for papers, we hope to synthesize various progress, limitations and strategies for the transformation of our world of Chinese art.

Panel 1 Making of The Greater Chinese Art 大「中國」藝術的塑造

Speakers: Melissa Chiu 招穎思, Valerie C Doran 任卓華, Oscar Ho 何慶基

Panel 2 Unmasking the Business of Art 揭示藝術經濟體制

Speakers: Dong Bingfeng 董冰峰, Guo Xiaoyan 郭曉彥, Shen Qibin 沈其斌

Panel 3 Technosocial Subversivity 科技社交的顛覆性

Speakers: Isaac Mao 毛向輝, Ou Ning 歐寧, Davide Quadrio 樂大豆

Panel 4 Experimenting the Future of “New Media” 「新媒體」的未來實驗

Speakers: Hector Rodriguez 羅海德, Wang Jun-Jieh 王俊傑, Zhang Ga 張尕

About Videotage:

Videotage is a leading non-profit organisation in facilitating, promoting and presenting new media art in Hong Kong. Since 1986, Videotage has developed itself from an umbrella for media artists, to a network of media art and culture for cross-disciplinary cultural productions, and platform to facilitate international exchange.

With the continuous support from the Hong Kong Arts Development Council and other funders, Videotage organises exhibitions, workshops, performances, exchange programs etc. to bring new media art closer to our everyday life. VMAC (Video Media Art Collection) was officiated in 2008 with a mission to collect, preserve and build an extensive archive of local video art. Representing more than 20 years of development in media art, the archive is of high significant educational value to the discourse of media archeology and art history in Hong Kong.

We conceive new media art as a cultural movement that brings art and technology productions to nodes of intersections. To promote a free and open DIY culture, Videotage begins to host Dorkbot HK in 2010. The network will be a hotbed of creativity and innovation, where artists actively engage with technology and address contemporary social, political and cultural concerns. With the success of Wikitopia in 2010, we will continue exploring how citizen and social media reshape humankind in the era of network culture. We will also continue providing service and support to media artist and general public for the development of media art and strengthen the position of Videotage as a cultural hub of knowledge transfer for art, culture and technology.

Address: Unit 13, Cattle Depot Artist Village 63 Ma Tau Kok Road, To Kwa Wan Kowloon, Hong Kong

Tel: (852) 2573 1869

Fax: (852) 2503 5978

Website: http://videotage.org.hk

About Curators:

Isaac Leung 梁學彬

Leung is a practicing artist, curator and researcher who received an Honorary Fellowship of Bachelor of Fine Arts degree at the New Media Art Department of the School of the Art Institute of Chicago and Central Saint Martins College of Art and Design. His passion in exploring issues concerning contemporary art began during his time in college. During 1998-2008, his artworks were exhibited in over 30 venues across the globe. His works were featured on National Public Radio (USA), and in Agence France-Presse (France), Chicago Tribune (USA), NY Arts Magazine (USA), Chicago Readers (USA) and The South China Morning Post (Hong Kong).

In 2005, Leung was appointed as the Director of the media art organization Videotage. During the past years, he has initiated and participated in projects that included exhibitions, workshops, lectures, publications, online projects and symposia such as, 40 Years of Video Art in Germany and Hong Kong, (Hong Kong and Germany), Boderline Film Festival (Beijing), Venice Biennale International Architecture Exhibition (Venice, Hong Kong), Perpetual Art Machine (New York), “97+10: HK Hand Baggage” (Shanghai), ISEA Festival (San Jose), Microwave International Media Art Festival (Hong Kong). In 2005, Leung was appointed as the working group consultant of the award winning international exhibition “Body Movies” that was presented by the Home Affairs Bureau. The creative practice in artistic and curatorial project has prompted him to conduct substantial research on art and culture. Apart from the video documentary that was awarded by the Hong Kong Arts Development Council, his interdisciplinary project is being actualized as a Mphil academic thesis at the Lingnan University. Leung is currently a PhD researcher at the School of Creative Media, City University of Hong Kong, researching on the contemporary Chinese art market.

Li Zhenhua 李振華

Li Zhenhua is a writer, curator, producer and artist living in Beijing /Shanghai and Zurich. He is the founder of Laboratory Art Beijing (www.bjartlab.com) and the Mustard Seed garden (www.msgproduction.com), in 2010 he has been working for the Shanghai eARTS Festival as chief planner. He has joint widely about new media art symposiums, talks, presentations in leading galleries and museum spaces around the world, such as talk in ZKM Karlsruhe (2003), Walker Art Centre Minneapolis (curated the WAVE project), Guangzhou Museum (as artist of the Guangzhou Triennial 2005), Synthetic Times: Media Art China 2008 (work as producer), Nanjing Triennial 2008 (work as curator). One of his most recent artwork is showing in the Beam me up exhibition in Basel, an online project dealing with time and perception of our daily life, with questioning on the ontology of human being. He is an advisor for Leonardo Journal (2007) and was part of the Jury of the Transmediale Award 2010.

About Artist Director:

Ellen Pau 鮑藹倫

Started as a self-taught video artist, Ellen Pau takes many roles in Hong Kong art scene - independent cinematographer, curator, and art critic. Her single channel videos and video installation works are extensively exhibited worldwide in film festivals and biennials. Ellen is the founder of Videotage, a media art collective in Hong Kong and also the founding director / curator of the Microwave International New Media Arts Festival. In recent years, she expands her research to Asian new media arts. She works as an art consultant for her newly founded company Inter-Act Arts.

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