DOCSLIB.ORG

Geng Xue Born 1983 in Jilin, China

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Geng Xue Born 1983 in Jilin, China Geng Xue Born 1983 in Jilin, China. Lives and works in Beijing EDUCATION 2014 M.F.A., Central Academy of Fine Arts, Beijing 2007 B.F.A., Central Academy of Fine Arts, Beijing SOLO EXHIBITIONS 2019 The Lightness of Being - Geng Xue Solo Exhibition, Zhuzhong Art Museum, Beijing 2018 Geng Xue: The Second IAPA Invitational Exhibition, Ceramic Art Avenue Art Gallery, Jingdezhen, China 2017 Geng Xue: Mount Sumeru, Klein Sun Gallery, New York 2016 Poetics of the Body - The Sculpture & Video Art of Geng Xue, Fengmian Art Space, Guangzhou, China Geng Xue: In search of sound, Yishu 8 Gallery, Beijing 2015 Geng Xue, University of Applied Arts, Vienna, Austria Geng Xue: Borrowing an Easterly Wind, Klein Sun Gallery, New York 2014 Mr. Sea - Geng Xue, Art Museum of Nanjing University of the Arts, Nanjing, China Mr. Sea - Geng Xue, ZERO Art Center, Beijing 2010 Geng Xue, H.T. Gallery, Beijing 2009 The Other Side - Geng Xue, National Museum of Wales, Cardiff, United Kingdom SELECTED GROUP EXHIBITIONS 2021 From Clay to Words: Ceramics as Media, Pearl Art Museum, Shanghai Wu Jie III, Gaota Art Plaza, Beijing Animation and Contemporary Art, Estonian Academy of Arts, Estonia 2020 Human After All: Ceramic Reflections in Contemporary Art, Keramiekmuseum Princessehof, Leeuwarden, Netherlands Nude - Arising From the Ground, The Ravestijn Gallery, Amsterdam, Netherlands When Speed Become Form - Live in Your Screen, Wind H Art Center, Beijing 398 West Street, New York, NY 10014 | T: +1.212.255.4388 | [email protected] | www.galleryek.com The Exhibition of Annual of Contemporary Art of China, Doulun museum of Modern Art, Shanghai; Pingshan Art Museum, Shenzhen Turing’s Lover, Jinan Art Museum, Shan Dong, China 2019 Exhibition of Annual of Contemporary Art of China 2018, Beijing Minsheng Art Museum, Beijing Symbiosis: The Intertextuality of Art and Poetry, Shenzhen OCT Contemporary Art Terminal, Shenzhen, China Because of Painting, Xiangshan Art Commune, Hangzhou, China 58th International Art Exhibition - La Biennale di Venezia, Re-Rui, China Pavilion, Venice, Italy 2018 NOW - A Dialogue on Female Chinese Contemporary Artists, Center for Chinese Contemporary Art, Manchester, United Kingdom To Ideal Land of Ceramics: Exhibition of International Contemporary Ceramic Works, Tsinghua University Art Museum, Beijing In Motion: Ceramic Reflections in Contemporary Art, Princessehof National Museum of Ceramics, Leeuwarden, Netherlands Tradition is the Power For Invention, The Prince’s Foundation School of Traditional Arts, London The 1st Biennale of Sydney - SUPERPOSITION: Art of Equilibrium and Engagement, Art Gallery of New South Wales, Artspace, Carriageworks, Cockatoo Island, Museum of Contemporary Art Australia, Sydney Opera House, and 4A Center for Contemporary Asian Art, Sydney Pareidolia, Vermilion Art Gallery, Sydney Empathy, Song Art Museum, Beijing Pingyao International Sculpture Festival, Pingyao, China 2017 Reciprocal Enlightenment, Art Museum of Central Academy of Fine Arts, Beijing Conservation in Action: Demons and Demon Quellers, Museum of Fine Arts Boston, Boston, Massachusetts Progress Everyday: The Artists Nominated by the Masters Invited by Zhuzhong Art Museum 2017, Zhuzhong Art Museum, Beijing BALLADE - Animamix Contemporary Art, Macao Museum of Art, Macau The 4th Jakarta Contemporary Ceramics Biennale - Ways of Clays: Perspectives Toward the Future, National Gallery of Indonesia, Jakarta, Indonesia In the Mood for Love - An Exhibition Featuring Chinese and Canadian Female Artists, Poly Culture Art Center, Vancouver Amassing Force - 2017 Wang Shikuo Award: Today Art Museum Exhibition of Nominated Contemporary Artists, Today Art Museum, Beijing Art Jog 10, Changing Perspective, Jogja National Museum, Yogyakarta, Indonesia Chine, Art en Mouvement, Annecy International Animation Film Festival, Musée-Château d’Annecy, Annecy, France Flow - Arte Contemporanea Italiana e Cinese in Dialogo, Basilica Palladiana, Venice, Italy Annecy International Animation Film Festival, Annecy, France Holland Animation Film Festival, Utrecht, Netherlands Memory and Contemporaneity - China Art Today, Collateral Event of 57th Venice Biennale, Giardini Arsenale, Italy The 10th Cheongju Craft Biennale Main Exhibition, The Old Cheongju Tobacco Processing Plant, Cheongju, South Korea 2016 Luo Zhongli Scholarship 10th Anniversary Retrospective Exhibition, Art Museum of Central Academy of Fine Arts, Beijing International Youth Animation Biennale, China Academy of Art, Hangzhou, China 100 Years of Chinese Animation: document Exhibition of Wan Laiming, Screening Unit- CIAFF Special Screening, Art Academy of Arts and Films, Chengdu University, Chengdu, China Fire Within: A New Generation of Chinese Women, Eli and Edythe Broad Art Museum, Michigan State University, East Lansing, Michigan Unspoken Understanding, Wuhan Art Museum, Wuhan, China The First Young Contemporary Ceramic Art Biennial, Zhu Zhong Art Museum, Beijing ME - The Second Session of United 6, United Art Museum, Wuhan, China First Central China International Ceramics Biennale, Henan Museum, Zhengzhou, China From Painting to Animation, Suzhou Jinji Lake Art Museum, Suzhou, China The 4th Jakarta Contemporary Ceramics Biennale, National Gallery of Indonesia, Jakarta, Indonesia Wall Power, Today Art Museum, Beijing Animaux Biennale, Museum of Contemporary Art Shanghai, Shanghai From the Peony Pavilion, Suzhou Jinji Lake Art Museum, Suzhou, China Stories of the Life: Contemporary Chinese Art Exhibition, China Culture Centre, Adelaide Festival Centre, and Artspace Gallery, Sydney Peoples in Resistance, Museo De Bellas Artes, Caracas, Venezuela Holland Animation Film Festival, Utrecht, Netherlands Cross-Culture Dialogue: Sino-American Young Artists Exhibition, Jacob K. Javits Convention Center, New York Heavy Artillery, White Rabbit Gallery, Sydney Prix Yishu 8 Chine 2016 - Exposition des finalists, Yishu 8 Gallery, Beijing Fest Anca, International Animation Film Festival, Žilina, Slovakia China Contemporary Ceramic Art Exhibition, Ecuador Cultural Center of the Catholic University, Quito, Ecuador Expanding Animation, Holland Animation Film Festival, Louis Hartlooper Complex, Utrecht, Netherlands Art in Progress - Xu Bing’s Postgraduate and Doctoral Students Exhibition, Art for All Society, Macao 2015 Moving in time: B3 + Beijing Moving Image Exhibition, Central Academy of Fine Arts, Beijing CAFAM Future: Observer-Creator - The Reality Representation of Chinese Young Art, K11 Art Foundation, Hong Kong; Art Museum of Central Academy of Fine Arts, Beijing Imagined Porcelain - The Shock of the New Century, New Taipei City Yingge Ceramics Museum, New Taipei City, Taiwan China 8 - Contemporary Art from China on the Rhine and Ruhr, Lehmbruck Museum, Duisburg, Germany Biennial of the Moving Image, Museum of Applied Art, Frankfurt, Germany Dimensions of Civilization, Museum of Contemporary Arts Yinchuan, Yinchuan, China Tradition and Innovation: The Human Figure in Contemporary Chinese Art, Chazen Museum of Art, University of Wisconsin, Madison, Wisconsin Up-Youth-China: Young Artist Exhibition, Times Art Museum, Beijing Shuitu-Water and Clay around the World - The First International Ceramics Exhibition, Qingdao Sculpture Gallery, Qingdao, China Taiyuan International Sculpture Biennial Exhibition, Taiyuan Art Museum, Taiyuan, China 11th 25 FPS Festival, Studenski Center, Zagreb, Republic of Croatia Here Out There, Helsinki Festival, Helsinki, Finland The Cabinet of Wonder, Heiqiao Art District, Beijing 2014 The Start of a Long Journey, Art Museum of Central Academy of Fine Arts, Beijing Today Art and Fashion Award and Exhibition, Today Art Museum, Beijing Going, Going, Until I Meet the Tide - 2014 Busan Biennale Special Curating Exhibition, Busan Museum of Art, Busan Cultural Center, Kiswire Sooyoung Factory, Busan, South Korea Caissa Rising Arting, Today Art Museum, Beijing Gwanghwamun International Art Festival, Sejong Art Museum, Seoul St.Art International Exhibition of the Chinese Contemporary Ceramic Art, Today Art Museum, Beijing Looking Back 100 Years: Paying a Tribute to Traditional Chinese Painting Art, ART SANYA Art Festival, Sanya, China No Boundary Codes, LANNG Art Center, Beijing Landscape of Mind, Art Mia Foundation, Beijing Meet Again, C5 Art, Beijing; 2/1 Art Space, Shanghai 2013 I A Call-Girls Attack, Karlsruhe University of Arts and Design, Karlsruhe, Germany Minds, Eslite Gallery, Taipei; Wuhan Art Museum, Wuhan, China Exhibition of Invited Artists, Seto International Ceramic & Glass Art Exchange Program, Seto, Japan 2012 CAFAM Future, Art Museum of Central Academy of Fine Arts, Beijing 2010 Gathered World, Aberystwyth Art Centre, Wales, United Kingdom 2009 Ceramic Exhibition, Yingge Ceramic Museum, Taipei Mahjong: Contemporary Chinese Art from the Sigg Collection, Berkeley Art Museum and Pacific Film Archive, Berkeley, California 2008 RED Aside - Chinese Contemporary Art of the Sigg Collection, Fundacio Joan Miro, Barcelona, Spain The Metamorphosing Female - Female Artists Exhibition, Osage Gallery, Shanghai 2007 2007 Graduate Show Exhibition, Central Academy of Fine Arts, Beijing International Incheon Women Artists’ Biennale, Incheon Cultural & Arts Center, Incheon, South Korea After - Contemporary Art Group Exhibition, Gao Brothers Center for Contemporary Art, Beijing ARTIST-IN-RESIDENCE 2016 Prix YISHU 8, YISHU 8 Gallery, Beijing; Paris Kunst Gemeinsam Gestalten!, Gesellschaft für Deutsch-Chinesischen Kulturellen Austausch e.V., Berlin 2015 Millers Falls Art Bridge, Millers Falls, Massachusetts 2014
Load more

Recommended publications
  • The Case for 1950S China-India History
    Before 1962: The Case for 1950s China-India History The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Ghosh, Arunabh. 2017. Before 1962: The Case for 1950s China-India History. The Journal of Asian Studies 76, no. 3: 697-727. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:41288160 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Open Access Policy Articles, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#OAP DRAFT: DO NOT CITE OR CIRCULATE Before 1962: The Case for 1950s China-India History Arunabh Ghosh ABSTRACT China-India history of the 1950s remains mired in concerns related to border demarcations and a teleological focus on the causes, course, and consequence of the war of 1962. The result is an overt emphasis on diplomatic and international history of a rather narrow form. In critiquing this narrowness, this paper offers an alternate chronology accompanied by two substantive case studies. Taken together, they demonstrate that an approach that takes seriously cultural, scientific and economic life leads to different sources and different historical arguments from an approach focused on political (and especially high political) life. Such a shift in emphasis, away from conflict, and onto moments of contact, comparison, cooperation, and competition, can contribute fresh perspectives not just on the histories of China and India, but also on histories of the Global South. Arunabh Ghosh ([email protected]) is Assistant Professor of Modern Chinese History in the Department of History at Harvard University Vikram Seth first learned about the death of “Lita” in the Chinese city of Turfan on a sultry July day in 1981.
    [Show full text]
  • Why China Cannot Adopt Capitalism
    A CHINESE WEEKLY OF NEWS AND VIEWS Why China Cannot Adopt Capitalism Peace and Disarmament m Construction Site. Photo by Sun Chengyi Beijing HIGHLIGHTS OF THE WEEK VOL. 30, NO. 13 MARCH 30, 1987 CONTENTS NOTES FROM THE EDITORS 4 Macao to Return to China EVENT5AREN0S 5-9 'Sunday Engineers' Help Farmers p. 24 p. 20 Prosper Managers Receive In-Service Training Skvserapcrs Pose Problems lo Deng on the Recent Events Boning Self-Scrvice Stores: Can They • This article from the enlarged edition of Deng's Selected Survive? Works, deals with two major events — student unrest and the Energy Building in ihc Rural replacement of the Party General Secretary. In spite of these Areas events, there will be no change in the Party's line, principles and Weekly Chronicle (March 16-22) policies, says Deng (p. 33). INTERNATIONAL 10-13 Macao's Return Is Finalized Debt Problem: Mutual Compro-, • After eight months of negotiations, China and Portugal mise: the Only Way Out finally reached an agreement on the question of Macao, (Moup of 77: r.con(>niic Strategy another step towards the reunification of China (p. 4). In ihc Making Albania: Focus on Fconomic Developtnent China Spells Out Its Stand on Disarmament The United States: Weinberger s lli-Fated Visit • At a Beijing World Disarmament Campaign meeting sponsored by the UN, Chinese Vice-Foreign Minister Qian Qichen expounded China's nuclear policy and expressed the Worlfl Peace and Disarmament 14 government's concern about the spread of the arms race into NPC: Its Position and Roie 17 outer space. He also pointed out the relationship between The Election Process In Ttanjin 22 nuclear and conventional disarmament and urged the Why Capttafism is Impractical in superpowers to take the lead in all types of disarmament (p.
    [Show full text]
  • The Self-Organization of Contemporary Art in China, 2001–2012
    Bao Dong Rethinking Practices within the Art System: The Self-Organization of Contemporary Art in China, 2001–2012 The Origin of the Term “Self-Organization” in China The term “self-organization” was first used in the context of contemporary Chinese art in 2005 at the Second Guangzhou Triennial curated by Hou Hanru, Hans Ulrich Obrist, and Guo Xiaoyan. Self-organization was one of the special projects of the triennial, and there were two panel discussions on the topic. The exhibition theme “Beyond” focused on the topic of alternative modernity in China and non-Western countries, and the term self-organization was defined by the following statements: “A number of independent art organizations, institutions, and communities have taken an active role in artistic creation and practice” and “their projects are often diverse, flexible” and “self-induced in nature.”1 Altogether, twenty-four self- organized groups2 were included in this project, and for the curators, the concept of “self-organization” was used to differentiate independent and autonomous organizations from those attached to government systems or political parties. This feature is also the fundamental difference between the various artist-run autonomous organizations and the organizations within the conventional art system as constituted by Chinese Artists Association, along with the various academies of painting, art institutes, museums, and so on. In other words, self-organization is considered a force operating outside of the conventional art system, just as the inception, growth, and flourishing of contemporary Chinese art is believed to have been achieved outside of official systems. In terms of any independence from the conventional art system, self- organization is not a new phenomenon in the contemporary Chinese art scene.
    [Show full text]
  • Fiona Tan Coming Home
    Fiona Tan Sherman Art Foundation Contemporary Coming Home Fiona Tan Coming Home Sherman Contemporary Art Foundation Contents in association with the National Art School 12 Preface Anita Taylor Fiona Tan 14 Introduction Gene Sherman Coming Home 19 Colour Plates A Lapse of Memory 47 Disorient 74 Essay Infinite Crossroads Juliana Engberg 82 Production Credits 84 Artist Biography 88 Artist Bibliography 92 Contributors 94 Acknowledgements 13 It is with enormous pleasure that the National The extension of the project to include the Preface Art School (NAS) joins with Sherman NAS Gallery is a direct outcome of discussions Contemporary Art Foundation (SCAF) to involving the Deans/Directors of the three present ‘Fiona Tan: Coming Home’. The major art schools in Sydney in May 2009, held proposal to extend the project – commissioned at the invitation of Dr Gene Sherman, in which Anita Taylor by SCAF – across our two venues represents a Gene and her team at SCAF proposed an Director significant new partnership for NAS. I believe ongoing dialogue to explore opportunities to National Art School the opportunity afforded by this collaboration engage more extensively with the art students establishes an exciting new direction for both of Sydney. Most importantly, SCAF and NAS our organisations. share a commitment to supporting outstanding The two Sydney venues are each hosting a exhibitions that underscore the value of art and separate body of work: Disorient, 2009, first culture in our society. shown to great acclaim in the Dutch Pavilion at The hard work, commitment and dedication the 53rd Venice Biennale, is screening at SCAF in of a number of individuals are required to Paddington, and A Lapse of Memory, 2007, is deliver an exhibition of this scope.
    [Show full text]
  • Locating Vietnamese Contemporary Art Scene
    Locating Vietnamese contemporary art scene An ethnographic Hong-Ngoc TRIEU attempt from afar TRI14437741 Abstract. Initially, as a student majored in Design Cultures, I was intrigued in Vietnam precisely because I barely knew anything about the art history of my country. Having exposed to the studies of Design Cultures and Histories, I set out to fnd how Vietnamese art history is chronicled by putting it in a complex relationship with the sociocultural and political background. Identifying and locating art from a place like Vietnam that rarely fgures in art history cannot be done overnight as I am thousand miles away from the happenings. This essay, thus, is my humble attempt to look at Vietnam’s contemporary art scene through an afar-ethnographic approach mainly by fexible design methods such as interview, survey, case study, discourse analysis and participant observation. Given how little experience in the real-world research and history learning that I possess, my fndings are based on personal analysis, percep-on and hence, do not necessarily reflect other’s views on the same topic. Entrance to contemporary art scene: tracing the Vietnamese art history In order to investigate the Vietnamese reform in 1986, where restriction on contemporary art scene, I am essentially artistic creativity were steadily relaxed asking the question of how it is and hence allowed artist greater freedom constructed and perceived within the art of expression and facilitating exposure to community and the stream of Vietnamese contemporary trends in both Asian and history of art. While world contemporary Western art. However, unlike the world art had started and risen to prominence contemporary art with its rich outline of since the 1950s - 1960s, its Vietnamese artistic movements in term of quantity, counterpart only came into existence in the diversity and quality, Vietnamese latter decades of the twentieth century; contemporary art scene has barely seen therefore, it is relatively new to the public.
    [Show full text]
  • 1St China Onscreen Biennial
    2012 1st China Onscreen Biennial LOS ANGELES 10.13 ~ 10.31 WASHINGTON, DC 10.26 ~ 11.11 Presented by CONTENTS Welcome 2 UCLA Confucius Institute in partnership with Features 4 Los Angeles 1st China Onscreen UCLA Film & Television Archive All Apologies Biennial Academy of Motion Picture Arts and Sciences Are We Really So Far from the Madhouse? Film at REDCAT Pomona College 2012 Beijing Flickers — Pop-Up Photography Exhibition and Film Seeding cross-cultural The Cremator dialogue through the The Ditch art of film Double Xposure Washington, DC Feng Shui Freer and Sackler Galleries of the Smithsonian Institution Confucius Institute at George Mason University Lacuna — Opening Night Confucius Institute at the University of Maryland The Monkey King: Uproar in Heaven 3D Confucius Institute Painted Skin: The Resurrection at Mason 乔治梅森大学 孔子学院 Sauna on Moon Three Sisters The 2012 inaugural COB has been made possible with Shorts 17 generous support from the following Program Sponsors Stephen Lesser The People’s Secretary UCLA Center for Chinese Studies Shanghai Strangers — Opening Night UCLA Center for Global Management (CGM) UCLA Center for Management of Enterprise in Media, Entertainment and Sports (MEMES) Some Actions Which Haven’t Been Defined Yet in the Revolution Shanghai Jiao Tong University Chinatown Business Improvement District Mandarin Plaza Panel Discussion 18 Lois Lambert of the Lois Lambert Gallery Film As Culture | Culture in Film Queer China Onscreen 19 Our Story: 10 Years of Guerrilla Warfare of the Beijing Queer Film Festival and
    [Show full text]
  • Jeffu Warmouth: NO MORE FUNNY STUFF Is the First Solo Exhibition in the Fitchburg Art Museum’S New Series of Shows Devoted to Contemporary New England Artists
    Fitchburg Art Museum in Partnership : with Fitchburg State University Presents: February 9 - June 1, 2014 Table of Contents 1 Foreword 3 Acknowledgments 5 A Word From The Artist 7 Introduction 9 JeFFu’s FFantastic FFunhouse Exploring Galleries 13 Experimental Performance 23 Playing With Your Food 51 Falling Into A Digital Paradise 19 Rethinking The Motion Picture 91 Exhibition Checklist 95 Biography 103 Bibliography Foreword: Jeffu Warmouth: NO MORE FUNNY STUFF is the first solo exhibition in the Fitchburg Art Museum’s new series of shows devoted to contemporary New England artists. It’s fitting – and important – to begin with Jeffu, because he is Fitchburg’s best-known contemporary artist. His work has been shown across the United States, and abroad, and he has been a vital participant in the regional visual arts community for two decades. This exhibition also reflects the deepening relationship between AMF and Fitchburg State University as we work together to create enhanced artistic and educational experiences for Fitchburg State students and FAM’s audience. A show as complex as Jeffu Warmouth: NO MORE FUNNY STUFF would have been impossible for FAM to achieve alone. Fitchburg State contributed the hard work and creativity of its faculty and students in myriad ways, provided technology and IT support, and invested funds in the exhibition. In return, their students enjoyed a real professional challenge while developing career-boosting portfolio materials. This pilot collaboration worked so well, that it will be continued for future shows at FAM. I would like to thank Fitchburg State President Robert Antonucci for his generosity of spirit and resources, and Professor Rob Carr for his vision and passion.
    [Show full text]
  • JAVIER TÉLLEZ Born in 1969, in Valencia, Venezuela Lives and Works in Long Island City, Queens, NY
    JAVIER TÉLLEZ Born in 1969, in Valencia, Venezuela Lives and works in Long Island City, Queens, NY EDUCATION Arturo Michelena School of Fine Arts, Venezuela SELECTED SOLO EXHBITIONS 2016 To Have Done with the Judgment of God, Koenig & Clinton, New York 2014 Shadow Play, curated by Mirjam Varanidis, Kunsthaus Zürich, Switzerland Games are forbidden in the labyrinth, Walter and McBean Galleries, San Francisco Art Institute, CA Games are forbidden in the labyrinth, REDCAT Gallery, co-produced with Kadist Art Foundation, Los Angeles, CA 2013 Praise of Folly, Stedelijk Museum voor Actuele Kunst, Ghent, Belgium The Conquest of Mexico, Figge von Rosen Galerie, Cologne, Germany 2012 Ungesehen und unerhört II: Javier Téllez, Museum Sammlung Prinzhorn, Heidelberg, Germany Rotations, Galerie Peter Kilchmann, Zürich, Switzerland 2011 Letter on the Blind for the Use of Those Who See, Arthouse at the Jones Center, Austin, TX O Rinoceronte de Dürer, Fruits, Flowers, and Clouds, Museum for Applied Arts, Vienna, Austria Letter on the Blind for the Use of Those Who See, Museum of Contemporary Art Cleveland, OH O Rinoceronte de Dürer, Galerie Arratia Beer, Berlin, Germany 2010 Vasco Araújo/Javier Téllez - Larger than Life, curated by Isabel Carlos, Museo de Arte Contemporánea, Vigo, Spain Vasco Araujo/Javier Téllez - Larger than Life, Museu Calouste Gulbenkian, Lisbon, Portugal 2009 41⁄2, curated by Hilke Wagner, Kunstverein Braunschweig, Germany Mind The Gap, curated by Sabine Schaschl, Kunsthaus Baselland, Switzerland Javier Téllez: International Artist
    [Show full text]
  • RU Newsletter June 2019
    Like Tweet Pin +1 in JUNE INCOMING RU RESIDENTS RU is pleased to announce this month’s residency cohort of US-based artists: Arghavan Khosravi (MA ) and Serge Serum (LA), both selected for residencies focused on discrimination and marginalization issues. This program made possible with funding from NEA/Artworks and NYC Cultural Affairs. We also welcome incoming artists Takayuki Matsuo (NYC/Japan) and Sebastien Berger (Germany). RU JUNE PUBLIC PROGRAMS -June 1, 4-7pm at Chashama Midtown, COCOONS, open studio with Eduardo Navarro, discover the prolific production of this Panamean artist and a unique site-specific installation; -June 8, 12-5pm at Equity Gallery, RU Exhibition Closing: Dynamis, with Rashwan Abdelbaki, Chantal Feitosa, Kyung-jin Kim, Cansu Korkmaz, and Angélica Maria Millán Lozano; curated by RU alum Luciana Solano and hosted by Equity Gallery. -June 13, 1pm at RU, Meet Over Lunch: Queer Forever! and the contemporary art scene in Vietnam, by visiting Hanoi-based artist and curator Nguyễn Quốc Thành, co-founding member of the Nha San Collective (NSC). In conversation with Bartek Remisko; -June 19, 1pm at RU, Meet Over Lunch: RU artist Gabriella Ciancimino presents her mural project Smell in Dialect and the key role of community engagement for Smell in Dialect, commissioned by NYC Health + Hospitals/Kings County for the pediatric unit; -June 29, 1pm-5pm, RU Exhibition: RU Argentinian artist and muralist Joaquin Zavaleta unveils a site-specific mural commissioned by the City Reliquary Community Museum in Williamsburg, Brooklyn. DONATE TO RU OTHER NEWS Artists nominations for upcoming residencies: Selected through the Open Call: International Residencies for Saudi-based Artists, Ahaad Alamoudi will spend two months at RU this Fall with support from ATHR, a contemporary art project space and gallery in central Jeddah whose new cultural exchange scheme with international artists and curators is part of its commitment to promoting cultural dialogue between Saudi Arabia and the rest of the world.
    [Show full text]
  • Hans Haacke Biography
    P A U L A C O O P E R G A L L E R Y Hans Haacke Biography 1936 Born Cologne, Germany 1956-60 Staatliche Werkakademie (State Art Academy), Kassel, Staatsexamen (equivalent of M.F.A.) 1960-61 Stanley William Hayter's Atelier 17, Paris 1961 Tyler School of Fine Arts, Temple University, Philadelphia 1962 Moves to New York 1963-65 Return to Cologne. Teaches at Pädagogische Hochschule, Kettwig, and other institutions 1966-67 Teaches at University of Washington, Seattle; Douglas College, Rutgers University, New Jersey; Philadelphia College of Art 1967 - 2002 Teaches at Cooper Union, New York (Professor of Art Emeritus) 1973 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1979 Guest Professorship, Gesamthochschule, Essen 1994 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1997 Regents Lecturer, University of California, Berkeley Lives in New York (since 1965) Awards 1960 Deutscher Akademischer Austauschdienst (DAAD) 1961 Fulbright Fellowship 1973 John Simon Guggenheim Foundation Fellowship 1978 National Endowment for the Arts 1991 College Art Association Distinguished Artist Award for Lifetime Achievement Deutscher Kritikerpreis for 1990 Honorary Doctorate in Fine Arts, Oberlin College 1993 Golden Lion (shared with Nam June Paik), Venice Biennale 1997 Kurt-Eisner-Foundation, Munich Honorary Doctorate Bauhaus-Universität Weimar 2001 Prize of Helmut-Kraft-Stiftung, Stuttgart 2002 College Art Association Distinguished Teaching of Art Award 2004 Peter-Weiss-Preis, Bochum 2008 Honorary Doctorate, San Francisco Art Institute
    [Show full text]
  • 61 Story of the Monkey: the Modular Narrative and Its Origin of <The
    61 http://dx.doi.org/10.7230/KOSCAS.2012.29.061 Story of the monkey: The modular narrative and its origin of <The Uproar in Heaven> Ⅰ. Introduction Ⅱ. The character-driven strategy and the hero of class struggle Ⅲ. Shifting plotlines and mirror structure Ⅳ. Influence of the Zhanghui style Ⅴ. Conclusion Wang, Lei 초 록 The essay explores the narrative structure of the classical Chinese feature animation, <The Uproar in Heaven> (a.k.a. Da Nao Tian Gong, 1964). The film is presented with a modular structure which is quite unique compared with the storytelling in feature animated films from other cultures, but could be connected with the tradition narrative structure in Chinese Zhanghui style novels in Ming and Qing Dynasty. By relating the original text of the story, the 16th century novel Journey to the West (a.k.a. Xi You Ji), with the film <The Uproar in Heaven>, the essay addresses the question of how the narrative tradition in Chinese classical literature influenced the Uproar in Heave for its segment narrative structure, character driven storytelling strategy and mirrored repetitive 2 plot lines. The subject of this essay is even more significant after the restored 3D version of <The Uproar in Heaven> was re-released in the spring of 2012 and became one of the best-selling animated feature film in the history of the country. Key Word : Chinese animation, Non-linear narrative, <The Uproar in Heaven> 62 Ⅰ. Introduction The stories of the Monkey King(a.k.a. Sun Wukong), the skilled fighter with supernatural strength, 72 transformations into various animals and objects, and super-fast traveling skills of 54,000 kilometers in one somersault, has been the most popular childhood fantasy of Chinese for hundreds of years.
    [Show full text]
  • All Our Relations: the 18Th Biennale of Sydney Connects Continents Mcmaster, Gerald
    OCAD University Open Research Repository Faculty of Liberal Arts & Sciences 2012 All our relations: The 18th Biennale of Sydney connects continents McMaster, Gerald Suggested citation: McMaster, Gerald (2012) All our relations: The 18th Biennale of Sydney connects continents. Canadian Art, 29 (2). pp. 76-81. ISSN 0825-3854 Available at http://openresearch.ocadu.ca/id/eprint/2119/ Open Research is a publicly accessible, curated repository for the preservation and dissemination of scholarly and creative output of the OCAD University community. Material in Open Research is open access and made available via the consent of the author and/or rights holder on a non-exclusive basis. Since he took a leave of absence from the Art Gallery ofOntario (AGO) to work 011 the 18th Bie11nale of Syd11ey with atheri11e de Zegher, a former AGO colleag11e, Gerald McMa ter ha bee11 hard to pin dow11 for 11ews: he ha bee11 tral'elling the world a11rl looking at arti t for the show, which ope11s at the e11d ofJ1111e. We caught 11p with him via email a11d a ked a few q11e tion . Canadian Alt: What's your role in the 18th Biennale of Sydney? Gerald McMaster: Along with atherine de Zegher, I'm the arti tic director for the Biennale, which will open this June in Sydney, Au tralia. A collaborator , we began in conversation, with the idea that our dialogue would develop outward into other conver- sations. Essentially, we are a curatorial partner hip, omething that isn't new to me at all. Catherine and I had worked on an exhibition for the Drawing enter a Imo t ten year ago, and then we connected again for the rehang of the Canadian and European galleries at the Art Gallery of Ontario.
    [Show full text]