POURAN JINCHI Born 1959 in Mashad, Iran Lives and Works in New York City

Total Page:16

File Type:pdf, Size:1020Kb

POURAN JINCHI Born 1959 in Mashad, Iran Lives and Works in New York City ART PROJECTS INTERNATIONAL POURAN JINCHI Born 1959 in Mashad, Iran Lives and works in New York City EDUCATION 1993 Studio Painting, The Art Students League of New York, New York, NY 1989 Sculpture and Painting, University of California, Los Angeles, CA 1982 Bachelor of Science, Civil Engineering, George Washington University, Washington DC SOLO EXHIBITIONS 2018 Pouran Jinchi: Tajvid Paintings, Art Projects International (Viewing Room), New York, NY 2017 The Line of March, The Third Line, Dubai, UAE 2015 Black and Blue, Leila Heller Gallery, New York, NY 2013 The Blind Owl, The Third Line, Dubai, UAE 2012 Pouran Jinchi: Dawn, Noon and Night, Art Projects International, New York, NY 2010 Entropy, Leila Heller Gallery, New York, NY Ritual Imprint, The Third Line, Dubai, UAE 2008 Pouran Jinchi, The Vilcek Foundation, New York, NY Pouran Jinchi: A Survey, Art Projects International, New York, NY Fabricated, The Third Line, Dubai, UAE 2007 Recitation, M.Y. Art Prospects, New York, NY 2005 Alef, M.Y. Art Prospects, New York, NY 2003 Derakht, 511 Gallery, New York, NY 2002 Entangled Thoughts, Macy Gallery, Columbia University, New York, NY 2001 Antworks, M.Y. Art Prospects, New York, NY Derakht, Shibata Etsuko Gallery, Tokyo, Japan 2000 Ruba’iyat Series, M.Y. Art Prospects, New York, NY Pouran Jinchi: Recent Paintings, Art Projects International, New York, NY 1999 Poetry Paintings, Nikolai Fine Arts, New York, NY SELECTED GROUP EXHIBITIONS 2018 Infinite Present, Cambridge Arts Council Gallery 344, Cambridge, MA (upcoming) Long, Winding Journeys, Katonah Museum of Art, Katonah, NY 2016 Pouran Jinchi’s Ravaged Garden, NYU Abu Dhabi Center, New York, NY 2015 The Great Game, curated by Marco Moneguzzo and Mazdak Faiznia, Pavilion or Iran, 56th International Art Exhibition, la Biennale di Venezia, Venice, Italy Deceptively Simple, Art Projects International, New York, NY Accented, Maraya Art Center, Sharjah, UAE 2014 Artist in Exile: Creativity, Activism, and the Diasporic Experience, Dr. M. T. Geoffrey Yeh Art Gallery, St. John’s University, Queens, NY Persepolis: Word & Image, The William Benton Museum of Art, University of Connecticut, Stoors, CT 2013 New Blue and White, curated by Emily Zilber, Museum of Fine Arts, Boston, MA 2012 Phantoms of Asia: Contemporary Awakens the Past, Asian Art Museum, San Francisco, CA 2011 Two Person Show, Freeze Art Fair, London, England The Bravery of Being out of Range, Athr Gallery, Jeddah, Saudi Arabia Third Eye / I: Iranian Contemporary Art, Other Gallery, Shanghai, China 2010 Tarjama/Translation, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY Light of the Sufis: The Mystical Arts of Islam, Museum of Fine Arts, Houston, TX 2009 Iran Inside Out, Chelsea Museum of Art, New York, NY Light of the Sufis: The Mystical Arts of Islam, curated by Ladan Akbarnia, Brooklyn Museum, NY Tarjama/Translation, curated by Leeza Ahmady and Iftikhar Dadi, Queens Museum of Art, NY Art Projects International 434 Greenwich Street, New York, NY 10013 tel: (212) 343-2599 artprojects.com Selseleh/Zelzeleh: Movers & Shakers in Contemporary Iranian Art, LTMH, New York, NY Unknown Territory - New Work: Il Lee × Pouran Jinchi × Filipe Rocha da Silva, Art Projects International, New York, NY 2008 East West Dialogues, Mysticism, Satire and the Legendary Past, curated by Dr. Layla Diba, LTMH, New York, NY Artparis, The Third Line, Abu Dhabi, UAE 2007 Contemporary Calligraphics: Three Artists Image the Word, Binghamton University Art Museum, Binghamton, NY Gulf Art Fair, The Third Line, Dubai, UAE Cultural Village, Flashback/Forward, Dubai Properties, Dubai, UAE 2002 Routes of Influence: International Artists from Asia, Art Projects International, New York, NY Poetry of the Winds, 2002 Flag Art Festival, 2002 FIFA World Cup, Seoul/Japan 2000 The Rose and the Nightingale, Macy Gallery, Columbia University, New York, NY 1999 Visions of the Millennium, Greenwich Arts Center, Greenwich, CT United Nations Millennium Day, Benefit Exhibition, The United Nations, New York, NY The Cambodia Trust, Benefit Exhibition, The New York Academy of Science, New York, NY The Learning Project, Benefit Exhibition, The Craft Museum, New York, NY 1998 Artists for Gardens, Benefit Exhibition, The Puck Building, New York, NY 1997 Two Person Show, Gallery Stendhal, New York, NY Two Person Show, Gallerie Ott, Dusseldorf, Germany 1996 Annual Contemporary Art Exhibition, curated by Lower Manhattan Cultural Council, The Federal Reserve Bank of New York, New York, NY SELECTED BIBLIOGRAPHY McQuaid, Cate. “‘New Blue-and-White’ at the MFA.” The Boston Globe, March 7, 2013. Review. Ha, Jiye. “MFA Exhibit Forges Connections to Past through Porcelain.” The Harvard Crimson (Cambridge), February 26, 2013. Review. Siegal, Nina. “Persian Calligraphy Opens a Door to Modern Art,” The New York Times, October 17, 2012. Harding, Allison, and Mami Kataoka. Phantoms of Asia: Contemporary Awakens the Past. Exhibition catalogue, reproductions. San Francisco: Asian Art Museum, 2012. Akbarnia, Ladan. “Pouran Jinchi. Prayer Stone 5, 2009.” Collecting for the Future: A Decade of Acquisition Highlights. Reproductions. New York: Brooklyn Museum, 2012. Adam, Georgina, Melanie Gerlis, and Gareth Harris. “Looking on the Bright Side.” The Art Newspaper (London), October 13, 2011. Koh, Daveen. “A Divine Diversion.” The Cornell Daily Sun (Ithaca, NY), September 28, 2011. Ekhtiar, Maryam. “Transcending Forms: The Calligraphic Paintings of Pouran Jinchi.” Contemporary Practices, vol. X, 2011. Brown, Amelia. “Communicating Translation: Tarjama/Translation at the Johnson Museum.” The Cornell Daily Sun (Ithaca, NY), August 31, 2010. Akbarnia, Ladan, with Francesca Leoni. Light of the Sufis: The Mystical Arts of Islam. Exhibition catalogue, reproductions. Foreword by Peter C. Marzio. Houston: Museum of Fine Arts, 2010. Eigner, Saeb. Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran. Reproduction. Foreword by Zaha Hadid. London: Merrell Publishers, 2010. Akbarnia, Ladan. “Profile: Pouran Jinchi.” Canvas (Dubai), vol. 5, issue 5, 2009. Reproductions. Cotter, Holland. “Tarjama/Translation.” The New York Times, Art in Review, August 13, 2009. “Museums: The Actually Cool Guide, Queens Museum of Art,” Time Out New York, July 30, 2009. Cotter, Holland. “Iran Inside Out,” The New York Times, Art in Review, July 23, 2009. Farzin, Media. “Pouran Jinchi.” Tarjama/Translation: Contemporary Art from the Middle East, Central Asia, and their diasporas. Exhibition catalogue, reproductions. New York: ArteEast, 2009. Cotter, Holland. “The Many Voices of Enlightenment.” The New York Times, Art Review, June 12, 2009. “Iran Inside Out at Chelsea Art Museum.” Artnet (New York), April 30, 2009. Art Projects International 434 Greenwich Street, New York, NY 10013 tel: (212) 343-2599 artprojects.com Iran Inside Out: Influences of Homeland and Diaspora on the Artistic Language of Contemporary Iranian Artists. Exhibition catalogue, reproductions. New York: Chelsea Art Museum, 2009. Galligan, Gregory. “Pouran Jinchi at Art Projects International.” Art Asia Pacific (New York), issue 62, March/April 2009. Review, reproduction. Attwood, Karen. “Royal Taste in Art Put on Display.” The National (UAE), November 16, 2008. Curtil, Sophie and Miloš Cvach. l’Art par 1001 mains. Reproduction. France: Éditions Milan, 2008. Baysa, Kóan Jeff. “Lost in Transliteration.” Ctrl+P Journal of Contemporary Art (Manila), issue 10, March 2008. Reproduction. “Countries: United Arab Emirates.” Art Asia Pacific Almanac 2008 (New York), vol. 3, 2008. Reproduction. “Art & Culture.” Time Out Dubai, January 17–24, 2008. Reproductions. Wilson-Goldie, Kaelen. “Desert Oasis–or Mirage?” Art + Auction (New York), October 2007. Reproduction. “Under the Hammer.” CNN Traveller (London), Inside the Middle East, March 2007. Reproduction. Ekhtiar, Maryam. “Practice Makes Perfect: The Art Of Calligraphy Exercises (Siyah Mashq) In Iran.” Eastern Art Report (London), 2006. Goodman, Jonathan. “Pouran Jinchi at M. Y. Prospects.” Art in America (New York), October 2002. Review, reproduction. Goodman, Jonathan. “Pouran Jinchi.” Art Asia Pacific (New York), issue 32, 2001. Review, reproductions. Cotter, Holland. “More Abstraction.” The New York Times, Fine Arts & Leisure, January 21, 2000. Zimmer, William. “What 72 Artists Figured Out About Boxes Measuring 1 by 1 by 1.” The New York Times (Connecticut Edition), January 2, 2000. “Short List.” The New Yorker, December 27, 1999. SELECTED COLLECTIONS The Metropolitan Museum of Art, New York, NY The Museum of Fine Arts, Houston, TX Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY Cincinnati Art Museum, Cincinnati, OH Brooklyn Museum, Brooklyn, NY Arthur M. Sackler Gallery, Smithsonian Institution, Washington, DC Federal Reserve Bank, New York, NY Sprint Corporation, Kansas City, MO Pratt Institute, NY Zayed National Museum, Abu Dhabi, UAE Jameel Art Foundation, Dubai, UAE Farjam Collection, Dubai, UAE Cleveland Clinic, Abu Dhabi, UAE Art Projects International 434 Greenwich Street, New York, NY 10013 tel: (212) 343-2599 artprojects.com.
Recommended publications
  • FIELD MEETING Curatorial Statement and Lineup
    Wednesday, October 22 – Sunday, November 2, 2014 Asia Society will host ACAW 2014’s signature program FIELD MEETING: CRITICAL OF THE FUTURE, October 26th & 27th; keynote presentation by Tom Finkelpearl; commissioned performances from Haig Aivazian, Polit-Sheer-Form Office, Bavand Behpoor, and more; 35 art professionals to present latest projects and initiatives; highlighting individual practices, history and institution building in Asia, and subculture cross-pollination. Organized by ACAW director Leeza Ahmady and associate curator Xin Wang CURATORIAL STATEMENT AND LINE-UP INTRODUCTION Inspired by and born of the intense field work carried out by all practitioners of art, FIELD MEETING foregrounds the immediacy of these dynamic exchanges by bringing together over 40 artists, curators, scholars, and institutional leaders whose works variously relate to and problematize the cultural, political, and geographical parameters of contemporary Asia. As a curated platform, FIELD MEETING capitalizes on this fall’s citywide museum and gallery exhibitions shedding light on various aspects of contemporary Asian art through highlighting individual and regional practices; simultaneously, the intensive two-day forum facilitates another Sun Xun, Magician Party and Dead Crow, 2013, installation (wall painting, kind of exchange beyond established ink & color on paper, paper sculpture, and other materials). Courtesy of institutional representation and discourse the artist and Edouard Malingue Gallery, Hong Kong. to expose the field’s creative practices in a more timely and less mediated fashion. Through lectures, performances, discussions, and most crucially, the presence of the art practitioners both on stage and in the audience, FIELD MEETING presents contemporary art from Asia in its present tense and as a working process that dynamically interacts with creative energies worldwide while challenging its own boundaries.
    [Show full text]
  • FOCUS KAZAKHSTAN Thinking Collections: Telling Tales: a Survey Exhibition of Kyzyl Tractor Art Collective
    FOCUS KAZAKHSTAN Thinking Collections: Telling Tales: A Survey Exhibition of Kyzyl Tractor Art Collective Signature Program of Asia Contemporary Art Week 2018 Mana Contemporary, Jersey City October 14– 30 November 30, 2018 Curated by Leeza Ahmady and Vladislav Sludskiy Opening Events: Sunday, October 14 Press walkthrough with the curators, 1:30-2:30PM Performance by Kyzyl Tractor, 3PM RSVP [email protected] Kyzyl Tractor Art Collective, Red Bridge of Kyzyl Tractor 2002, archival photo. As part of a documentary film shooting by B. Kairbekov. Courtesy of the artists & Asia Contemporary Art Week 2018 Thinking Collections: Telling Tales: A Survey Exhibition of Kyzyl Tractor Art Collective, a signature program of Asia Contemporary Art Week 2018 at Mana Contemporary, is part of Focus Kazakhstan, a landmark initiative celebrating the art of Kazakhstan through four thematic presentations in London, Berlin, Suwon and Jersey City. This unprecedented survey reunites Kyzyl Tractor collective, known for their feverish experimentations in the mid 1990’s and early 2000’s, after almost two decades of working both separately and occasionally together. The exhibition highlights each artist’s individual practice and contextualizes their work from all periods interacting with one another. The group is acclaimed for reorienting nomadic, Sufi, and Shamanistic philosophies as a new artistic language in juxtaposition with the region’s seismic socio- economic and political shifts. The show comprises two monumental sculptural works - one newly conceived and a reproduction of an older destroyed work - alongside numerous archival photos of the collective’s earlier performances, sculptures, paintings, drawings, found objects and other paraphernalia. On October 14, the opening day of the exhibition, the collective will reenact one of their legendary performance rituals entitled Purification.
    [Show full text]
  • (Hagen) Kim 4218 TAMU, College Station, TX 77843-4218 (Tel:) 1-979-862-3267; (Fax:) 1-979-845-3884 Hagenkim [email protected]
    Hwagyun (Hagen) Kim 4218 TAMU, College Station, TX 77843-4218 (Tel:) 1-979-862-3267; (Fax:) 1-979-845-3884 http://people.tamu.edu/ hagenkim [email protected] Education University of Chicago, Ph.D. in Economics (Committee: Robert E. Lucas Jr., Lars P. Hansen, and Boyan Jovanovic) University of Chicago, M.A. in Economics Seoul National University, B.A. in Economics Academic Positions 2016-present: Associate Professor with Tenure, Finance, Mays Business School, Texas A&M University 2010-2016: Assistant Professor, Finance, Mays Business School, Texas A&M University 2007-2010: Assistant Professor, Economics, Texas A&M University 2004-2007: Assistant Professor, Economics, State University of New York at Bu¤alo Refereed Publications “Evaluating Factor Pricing Models Using High Frequency Panels” (with Y Choi, Y. Chang, and J. Y. Park), Quantitative Economics: Journal of the Econometric Society, accepted for publication “Does Ambiguity Matter? Estimating Asset Pricing Models with a Multiple-Priors Recursive Utility” (with D. Jeong and J. Y. Park), Journal of Financial Economics, Vol. 115 (2) (February 2015): 361-382 “Do Individuals Have Preferences Used in Macro-Finance Models? An Experimental Investigation”(with A. Brown), Management Science, Vol. 60 (4) (April 2014): 939-958 “Momentum E¤ect as Part of a Market Equilibrium”(with S. Choi), Journal of Financial and Quantitative Analysis, Vol. 49 (1) (February 2014): 107-130 “Term Structure Dynamics with Macro Factors using High Frequency Data”(with H. Park), Journal of Empirical Finance, Vol. 22 (June 2013), 78-93 “Using the Credit Spread as an Option-Risk Factor: Size and Value E¤ects in CAPM”(with Y.
    [Show full text]
  • Mariam Ghani [email protected] Kabul-Reconstructions.Net/Mariam 372 Dekalb Ave
    Mariam Ghani [email protected] kabul-reconstructions.net/mariam 372 DeKalb Ave. #3I Brooklyn, NY 11205 tel 718.638.9867 fax 718.398.0894 cell 917.676.8322 E D U C A T I O N & D I S T I N C T I O N S May 2002 MFA summa cum laude in Photography, Video & Related Media, School of Visual Arts Areas of Specialization: Video & the Moving Image; Installation; Computer Arts Distinctions: Aaron Siskind Memorial Scholarship, 2001. January 2000 B.A. summa cum laude with honors in Comparative Literature, New York University. Areas of Specialization: Italian Literature, Visual Studies, Middle Eastern Studies Junior Year Abroad: University of Florence, Italy (Indirizzo: Italianistica) Distinctions: Sir Harold Acton Memorial Scholarship, National Merit Scholarship, Dean’s Undergraduate Research Grant, Italian Departmental Award for Best Student, elected to Phi Beta Kappa in junior year. F E L L O W S H I P S , A W A R D S & R E S I D E N C I E S Akademie Schloss Solitude Fellowship, 2005-07. Smack Mellon Artist in Residence, 2005-06. NYFA Fellowship in Computer Arts, 2005. Eyebeam Atelier Artist in Residence, 2004. Turbulence.org Net Art Commission, 2004. Lower Manhattan Cultural Council Artist in Residence, Woolworth Building, 2003-04. Artist in the Marketplace, Bronx Museum of the Arts, 2002-03. Soros Fellowship for New Americans, 2001-03. R E L E V A N T P R O F E S S I O N A L E X P E R I E N C E Fall 05 Visiting Artist, Art & Technology, Stevens Institute of Technology, Hoboken, NJ.
    [Show full text]
  • FIELD MEETING Take 4: Thinking Practice
    FIELD MEETING Take 4: Thinking Practice Asia Contemporary Art Week’s (ACAW) Signature Forum Friday Nov 11, 10 am-6 pm, hosted at Solomon R. Guggenheim Museum (Peter B. Lewis Theater) & Saturday, Nov 12, 10 am-6 pm at Asia Society (Lila Acheson Wallace Auditorium) Over 400 New York and US based arts professionals gather for the 4th iteration of FIELD MEETING, dedicated to the dismantling of one of the most commonly used terms in the art world today: practice Curated by ACAW Director Leeza Ahmady Space is limited, registration required at field-meeting-thinking-practice.eventbrite.com Introduced in 2014, FIELD MEETING appropriates the format of an art forum to rethink exhibition making, from an act of displaying objects to one that stages compelling creative minds— to showcase the living energy of people: their ideas, research, processes, and significant activities. Now an annual signature event of the curatorial and educational platform, Asia Contemporary Art Week, each edition of FIELD MEETING invites over 30 outstanding artists, curators, writers and scholars based in Asia and beyond to embody their work through their own presence by presenting newly conceived performances, lecture-performances, and lively discussions to an equally select audience of New York and US based arts professionals. Inspired by artist and philosopher Rasheed Shezad Dawood, Nature Interpretation Center, Kalimpong Hill Station. Image source: tourmyindia.com, Aareen’s famous declaration that to create as part of the artist's research for his lecture-performance, "A Virtual Tour of Kalimpong" art is to advance the “journey of an idea”, this year’s FIELD MEETING is dedicated to comprehending artistic practice in all its nuances and predications, in an effort to yield an experimental realm whereby new materials, concepts, and projects are tested out and reflected upon collectively.
    [Show full text]
  • Selected Bios/Statements/Images
    SSeelleecctteedd BBiiooss//SSttaatteemmeennttss//IImmaaggeess Author’s note: With this essay, my intention is to publicize the artists of Central Asia. While I have written the contents of many of the following biographies, some text has been borrowed directly from various publications, press releases, websites, and other sources. In addition, some are texts that the artists have submitted to me within the past three years. Most bios do not list an exhibition history. Instead, they provide a general sense of the artists’ thematic direction, preferred media, level of achievement, and public exposure. Lida Abdul (Afghanistan) Born in Kabul, Afghanistan, in 1973, Abdul lived in Germany and India as a refugee before going to the U.S. Her work fuses the formalist traditions she was learned in the U.S. with the numerous aesthetic traditions—Islamic, Buddhist, Hindu, pagan, and nomadic—that collectively influenced Afghan art and culture. She has produced work in various media, including video, film, photography, installation, and performance. Her most recent work has been featured at the Venice Biennale 2005; Kunsthalle Vienna; Museum of Modern Art Arnhem, Netherlands and Miami Cantral; CAC Centre d'Art Contemporain de Brétigny; and Frac Lorraine Metz, France. She has also exhibited in festivals in Mexico, Spain, Germany, Uzbekistan, Kyrgyzstan, and Afghanistan. She was a featured artist at the Central Asian Biennial 2004. Recently, she was in Kabul, Afghanistan, working on projects exploring the relationship between architecture and identity in post-war Afghanistan. Lida Abdul, Untitled. Video, 2004. Leeza Ahmady (Afghanistan/USA) Leeza Ahmady was born and raised in Kabul, Afghanistan, and arrived in New York City in 1987 as a young teenager.
    [Show full text]
  • Curriculum Vitæ of Kyung Il Lee: Curriculum Vitae
    Curriculum Vitæ of Kyung Il Lee Texas A&M University-Commerce Office Phone: (903) 468-3331 Department of Mathematics Office Fax: (903) 886-5945 Department of Computer Science E-mail: [email protected] Commerce, TX 75428 Education School of Mathematics, University of Leeds, UK Ph.D. in Mathematical Logic, 2012, Supervisor: S. Barry Cooper Thesis Title: Automorphisms and linearisations of computable orderings Texas A&M University-Commerce, USA M.S. in Computer Science, 2017, Supervisors: Jinoh Kim and Sang C. Suh Western Illinois University, USA M.S. in Mathematics, 2006, Two-year study under the supervision of Iraj Kalantari Korea University, South Korea M.A. B.A. course work in Philosophical Logic, 2003-04, Taught by Inkyo Chung (Unofficial) B.S. course work in Physics, 2002-03 B.S. in Mathematics, 2002 Employment Adjunct Instructor of Mathematics, Texas A&M University-Commerce, Fall 2016 – Present Adjunct Instructor of Computer Science, Texas A&M University-Commerce, Spring 2016 – Present Research Assistant of Computer Science, Texas A&M University-Commerce, Fall 2014 – Fall 2015 Postdoctoral researcher of Mathematics, Yonsei University, Fall 2012 – Spring 2014 Instructor of Mathematics, Yonsei University, Spring 2013 – Spring 2014 Instructor of Mathematics, Korea University, Spring 2013 Graduate Assistant of Mathematics, University of Leeds, Fall 2006 – Spring 2011 Graduate Assistant of Mathematics, Western Illinois University, Spring 2005 – Spring 2006 Research Interests Pure Mathematics: Mathematical Logic, Computability Theory,
    [Show full text]
  • Elaine Merguerian, Asia Society 212-327-9271 46 NYC MUSEUMS and GALLERIES JOIN TOGETHER to CELEBRATE ASIAN CONTEMPORARY
    Contact: Elaine Merguerian, Asia Society 212-327-9271 46 NYC MUSEUMS AND GALLERIES JOIN TOGETHER TO CELEBRATE ASIAN CONTEMPORARY ART SATURDAY, MARCH 15 TO MONDAY, MARCH 24, 2008 Tie Ying, The Long March 01, 2006; CP dimensions: 99 x 272 cm; JC dimensions: 130 x 358 cm. © Tie Ying 2000 – 2006 Over 100 artists will present their works at 60 special events at 46 museums and galleries during the fifth Asian Contemporary Art Week (ACAW), March 15 to 24, featuring receptions, exhibition viewings, screenings, artist conversations and walkthroughs throughout New York City. ACAW aims to promote increased public awareness of the richness and diversity of contemporary Asian art. “Since the first Asian Contemporary Art Week held in 2002, there has been a dramatic increase in awareness of Asian contemporary art and we like to believe this initiative has contributed to this fact,” notes Asia Society Museum Director Melissa Chiu. “The ACAW Consortium feels that as general knowledge spreads, there is a need for more focused education and so this year, there is an increased emphasis on public programs involving the artists during the week.” “Participants in this year’s Asian Contemporary Art Week will enjoy an incredibly diverse and broad array of presenting venues as well as an expanded list of artists from almost every region of Asia,” notes ACAW Director Leeza Ahmady, an independent curator. Featured artists hail from China, Japan, Korea, Taiwan, Vietnam, Thailand, India, Pakistan, Indonesia, Iran, Afghanistan, Uzbekistan, Tajikistan, Kyrgyzstan, Kazakhstan and, for the first time, from the Middle East: Lebanon, Palestine and Israel. New to this year’s ACAW format is Artists in Conversation, a series of talks given by 35 leading and emerging artists who speak about their works and share their concepts and inspirations.
    [Show full text]
  • The Korean Wave 2007
    THE KOREAN THE KOREAN WAVE AS VIEWED THROUGHWAVE THE PAGES OF THE NEW YORK TIMES IN 2007 THE KOREAN WAVE AS As Viewed Through the Pages of The New York Times in 2007 THE KOREAN WAVE AS VIEWED THROUGH THE PAGES OF THE NEW YORK TIMES IN 2007 THE KOREAN WAVE AS This booklet is a collection of 65 articles selected by Korean Cultural Service New York from articles on Korean culture by The New York Times in 2007. THE KOREAN THE KOREAN WAVE AS VIEWED THROUGHWAVE THE PAGES OF THE NEW YORK TIMES IN 2007 THE KOREAN WAVE AS As Viewed Through the Pages of The New York Times in 2007 First edition, March 2008 Edited & published by Korean Cultural Service New York 460 Park Avenue, 6th Floor, New York, NY 10022 Tel: 212 759 9550 Fax: 212 688 8640 Website: http://www.koreanculture.org E-mail: [email protected] Copyright©2008 by Korean Cultural Service New York All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying, recovering, or by any information storage and retrieval system, without permission in writing from the publisher. From the New York Times © 2007 The New York Times All rights reserved. Used by permission and protected by the Copyright Laws of the United States. The printing, copying, redistribution, or retransmission of the Material without express written permission is prohibited. Cover & text design by Jisook Byun Printing & binding by Karis Graphic Corp. Printed in New York Korean Cultural Service New York CONTENTS FOREWORD DANCE&THEATER The Korean Wave and American Views of Korea, Yesterday and Today 008 KO–ryO DANCE Theater 081 The Korean Wave: Last Year, Twenty–five Years Ago 012 A Contest for the World, Led by South Koreans 082 With Crews, And Zoos, A B–Boy World 084 MOVIES Jump 087 Tazza 017 FILM 018 FOOD It Came From the River, Hungry for Humans (Burp) 019 Koreans Share Their Secret for Chicken With a Crunch 089 Asian–American Theaters Plan New Festival 021 Heated Competition.
    [Show full text]
  • Press Release Hong Kong | March 3 | 2017
    PRESS RELEASE HONG KONG | MARCH 3 | 2017 Conversations and Salon: Art Basel’s 2017 program in Hong Kong Art Basel’s 2017 Conversations and Salon series will offer a wide range of panels featuring artists, gallerists, art historians, writers, curators, museum directors and collectors from around the globe, including Cosmin Costinas, Michael Craig- Martin, Valerie C. Doran, Cao Fei, Ryan Gander, Alexie Glass-Kantor, Michael Govan, Leung Chi Wo, William Lim, Kingsley Ng, Ho Tzu Nyen, Ellen Pau, Qiao Zhibing, Abigail Reynolds, Mizuki Takahashi, Keiichi Tanaami, Philip Tinari, Xiaoyu Weng, Wong Hoy Cheong and Yang Yongliang among many others. Art Basel, whose Lead Partner is UBS, takes place at the Hong Kong Convention and Exhibition Centre from March 23 to March 25, 2017. Conversations, Art Basel’s renowned talks series, will commence on Wednesday, March 22. The first of seven conversations, ‘Cities on the Move – 20 Years on’, will commemorate the twentieth anniversary of the iconic namesake exhibition, which was one of the first major shows to investigate the impact of globalization and extreme urbanization. ‘Cities on the Move’ was first curated by Hans Ulrich Obrist and Hou Hanru and presented at Secession in Vienna before it toured to institutions in Bordeaux, New York and London among others. This conversation will feature artists Ellen Pau (b. 1961), Xu Tan (b. 1957), Wong Hoy Cheong (b. 1960) and Anthony Yung, Senior Researcher, Asia Art Archive, Hong Kong. The conversation will be moderated by Hou Hanru, Artistic Director, MAXXI, National Museum of 21st Century Arts, Rome, and Curator 2017 Bi-City Biennale of Urbanism\Architecture, Shenzhen and Hans Ulrich Obrist, Artistic Director, Serpentine Galleries, London.
    [Show full text]
  • Asian Contemporary Art Week Monday, May 18, 2009
    Sunday, May 10 – Asian Contemporary Art Week Monday, May 18, 2009 ACAW Participation Details & Benefits Ro Lee, mer P Xin ed ro n, G e o r g ia n C n ar yn a Eli z R ab o e b th e K r t o s o c h n E s t e r l i Cao, Jonath n lex an e A G , o C o d a m l e a b n E , elissa s M C t , h e D h iu r l s i , n o L e a h ee v G z i u d a n A S A h o m l o n, X a ha ia C om d m in y ia g ill Z h W a n g hris Mao, A C i W e iw e i, R i c M h ino a ru r Y d a s G u d o a l u , b M i w a k o T e z u k a , Y u t a k a M i n o Photos from ACAW 2008 Opening Reception at Sotheby’s by Julie Beers www.acaw.net Event Scope The mission for Asian Contemporary Art Week is to create a broad alliance of curators, museum directors, gallery owners, educators and collectors who come together to promote awareness and appreciation of Asian contemporary art in the United States. ACAW highlight the broad spectrum of artworks produced by Asian contemporary artists working in their home countries and abroad.
    [Show full text]
  • US-Korea Conference on Science, Technology, & Entrepreneurship
    UKC US-Korea Conference 2 0 1 6 08.10 08.13 On Science, http://ukc.ksea.org/UKC2016/ Technology, & Entrepreneurship Co-Organized with Korean Federation of Science & Technology Societies (KOFST) Korea-US Science Coorperation Center (KUSCO) Korean-American Scientists and Engineers Association (KSEA) www.ksea.org About KSEA Korean-American Scientists and Engineers Association (KSEA) is a 45-year-old non-profit national-level professional organization. It is open for individuals residing in the USA who are engaged in science, engi- neering or a related field. KSEA’s objectives are: • To promote the application of science and technology for the general welfare of society; • To foster the cooperation of international science communities especially among the US and Korea; • To serve the majority of Korean-American Scientists and Engineers and help them to develop their full career potential. KSEA has 78 Chapters/Branches, 13 Technical Groups and 27 Affiliated Professional Societies (APS) cov- ering all major branches of science and engineering. Since its birth in 1971, KSEA has been recognized as the main representative organization promoting the common interests of Korean-American scientists and engineers toward meeting the objectives mentioned above. KSEA welcomes participation from 1.5th-generation, 2nd-generation, and 3rd-generation Korean-Amer- ican scientists and engineers including the mixed-race and adoptee communities. KSEA promotes helping younger-generation Korean-Americans to be aware of the rapid advances in science and engineering occur- ring both inside and outside of the US. Especially, to create opportunities for young generation members to interact with talented scientists and engineers in Korea.
    [Show full text]