Mobile Library Is a Travelling Archive of Contemporary Art
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Translation and Intercultural Education Isabel Pascua
Document generated on 10/01/2021 8:19 a.m. Meta Journal des traducteurs Translators' Journal Translation and Intercultural Education Isabel Pascua Traduction pour les enfants Article abstract Translation for children This paper deals with translated Canadian multicultural literature written for Volume 48, Number 1-2, May 2003 children and its reception in an intercultural education context in Spanish schools. In the first part of the paper I will introduce intercultural education. In URI: https://id.erudit.org/iderudit/006974ar the second part, I will examine the role of the translator working in a DOI: https://doi.org/10.7202/006974ar multicultural environment where texts are written in one language (English) in one country (Canada), then translated into another language (Spanish) and published in Spain. I will also look at the reception of these translations as well See table of contents as the strategies translators should use to maintain the otherness of the original texts. Publisher(s) Les Presses de l'Université de Montréal ISSN 0026-0452 (print) 1492-1421 (digital) Explore this journal Cite this article Pascua, I. (2003). Translation and Intercultural Education. Meta, 48(1-2), 276–284. https://doi.org/10.7202/006974ar Tous droits réservés © Les Presses de l'Université de Montréal, 2003 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. -
DECEMBER 2005 WINTER ISSUE Special Feature on Hong Kong By
DECEMBER 2005 WINTER ISSUE INSIDE Special Feature on Hong Kong by Tobias Berger, John Millichap, Lee Weng Choy, Eliza Patten, Norman Ford, Sean Chen Monumentality and Anti—Monumentality in Gu Wenda’s Forest of Stone Steles-A Retranslation and Rewriting of Tang Poetry Zhang Dali: The Face of China A Visual Koan: Xu Bing's Dynamic Desktop Interviews with Oscar Ho, Uli Sigg, Xu Bing About the Chinese Presentation at the 2005 Yokohama Triennale US$12.00 NT$350.00 US$10.00 NT$350.00 Art & Collection Editor’s Note Contributors Hong Kong SAR: Special Art Region Tobias Berger p. 16 The Problem with Politics: An Interview with Oscar Ho John Millichap Tomorrow’s Local Library: The Asia Art Archive in Context Lee Weng Choy 24 Report on “Re: Wanchai—Hong Kong International Artists’ Workshop” Eliza Patten Do “(Hong Kong) Chinese” Artists Dream of Electric Sheep? p. 29 Norman Ford When Art Clashes in the Public Sphere— Pan Xing Lei’s Strike of Freedom Knocking on the Door of Democracy in Hong Kong Shieh-wen Chen Monumentality and Anti-Monumentality in Gu Wenda’s Forest of Stone Steles—A Retranslation and Rewriting of Tang Poetry Wu Hung From Glittering “Stars” to Shining El Dorado, or, the p. 54 “adequate attitude of art would be that with closed eyes and clenched teeth” Martina Köppel-Yang Zhang Dali: The Face of China Patricia Eichenbaum Karetzky Collecting Elsewhere: An Interview with Uli Sigg Biljana Ciric A Dialogue on Contemporary Chinese Art: The One-Day Workshop “Meaning, Image, and Word” Tsao Hsingyuan p. -
The Hong Kong Polytechnic University Subject Description Form
Form AS 140 The Hong Kong Polytechnic University Subject Description Form Please read the notes at the end of the table carefully before completing the form. Subject Code CBS1A20 Subject Title Self-representation in New Media Credit Value 3 Level 1 Pre-requisite / Exclusion Co-requisite/ GEC1A05W Self-representation in New Media Exclusion GEC1A05 Self-representation in New Media CBS1A20M Self-representation in New Media Objectives This subject aims to examine how the emergence of different new media has mediated the conception and production of the self, identity, and autobiography by visual and verbal means. The complex human conditions behind such self-representation from different cultures will be investigated. Intended Learning Upon completion of the subject, students will be able to: Outcomes (a) enhance students’ literacy skills in reading and writing; (Note 1) (b) identify the mediated personal narratives embedded in different types of self-representation in new media; (c) pinpoint the boundary and difference between mere self-expression and performing/advertising the self in new media; (d) analyze how embodied self-expression in new media has transcended traditional means of communication; (e) evaluate critically the merit and limitation of specific forms of self- representation in new media. Subject Synopsis/ 1. Overview about Interpreting Life Narratives in Different Media (1 Indicative Syllabus lecture) (Note 2) 2. Self-representation in Self-portraiture: Identity Construction (2 lectures) Vermeer, Velasquez, Rembrandt, Kathe Kollwitz, Courbet, Cèzanne, Van Gogh, Toulouse Lautrec, Charlotte Salomon, Picasso, Dali, Magritte, Egon Schiele, Frida Kahlo, Francis Bacon, Orlan, Ana Mendieta, Adrian Piper, Yu Hong, Fang Lijun, & Yue Minjun, Song Dong & Wilson Shieh 3. -
15Invitati Ons15years Marysia Le Wandowska Apr May 15
15INVITATI ONS15YEARS MARYSIA LE WANDOWSKA APR MAY 15 MARYSIA LEWANDOWSKA PROPERTY PROTEST COMMO NS WORKING LEXICON Artist Marysia Lewandowska, 2014/15 AAA resident contributed Property, Protest, Commons, and the Alternative Economies of Art, a series of public workshops co-organised with curator Esther Lu, and co-presented with Taipei Contemporary Art Center (TCAC). Leading towards Made in Public, a collectively generated project and publication, participants interrogated the relationship between art, property, protest, and the commons in the context of recent cultural and political events in Asia. A third workshop took place at TCAC 18–20 September 2015. Marysia Lewandowska Property, Protest, Commons and the Alternative Economies of Art April–May 2015 PROPERTY PROTEST COMMONS Working Lexicon The Property Protest Commons dossier Addressing recent histories and aims at composing a speculative proposing alternative readings of lexicon, acting as a provisional tool the archive are important steps in useful for rethinking the economies taking possession of intellectual of sharing in the context of current terrain from which many artists have cultural and political events in Asia. been excluded. Institutions often While exposing connections between impose exclusive access and restrict the three distinct terms and tracing knowledge of the analogue past; their less rehearsed trajectories, a we ought to intensify our efforts distributed set of images and texts in supporting distributed networks points to the role translation plays by way of integrating physical and in the exchange. The considerations digital assemblies. All archives of placement and shared use of the threaten to reveal what we are unable folder, together with the design of to anticipate—the sediment of the the pages, introduce ruptures and missing, the hostile shadow of the slippages into experience. -
Irene Chou 周綠雲 (1924-2011)
Artist Biography As of October 2019 Irene Chou 周綠雲 (1924-2011) 1924 Born in Shanghai, China 1941 BA in Economics, St. John’s University, Shanghai, China 1946 Reporter for the Peace Daily, Shanghai, China 1949 Moved to Hong Kong 1976 -1984 Taught lithography and ink painting at the University of Hong Kong 1992 Moved to Brisbane, Australia 2011 Passed away Selected Solo Exhibitions 2019 “A World Within: The Art and Inspiration of Irene Chou”, Asia Society Hong Kong, Hong Kong “A Tribute to Irene Chou” at Ink Asia, Presented by Ink Society, Hong Kong 2008 “Irene Chou at Eighty-Four”, Hanart TZ Gallery, Hong Kong 2007 “The Norman W. M. Ko Collection of Hong Kong Art”, University Museum and Art Gallery, The University of Hong Kong, Hong Kong “Life is a Many Splendoured Thing”, The Rotunda, Exchange Square Central, Hong Kong 2006 “Universe of the Mind – Irene Chou a Retrospective Exhibition”, University Museum and Art Gallery, The University of Hong Kong, Hong Kong “Irene Chou”, Hanart TZ Gallery, Hong Kong 2004 “Irene Chou Solo Exhibition”, Multicultural Community Centre, Brisbane, Australia “From Representation to Revelation: The Transitional Works (1950-1990) of Irene Chou”, Grotto Fine Art, Hong Kong “Irene Chou at Eighty”, Hanart TZ Gallery, Hong Kong 2003 “The Universe is My Heart, My Heart is the Universe”, Hong Kong Arts Centre, Hong Kong “Irene Chou, My Universe”, iPreciation, Singapore 2000 “The Universe is My Mind: Paintings by Irene Chou”, Hanart TZ Gallery, Hong Kong 1998 “The Universe Lies Within: Paintings by Irene Chou”, Rotunda, -
15Invitati Ons15years Walid Raad Jun Sep 16
15INVITATI ONS15YEARS WALID RAAD JUN SEP 16 WALID RAAD SECTION 39_INDEX XXXVII: TRABOULSI Following his 2014 residency at AAA, New York-based artist Walid Raad developed Section 39_Index XXXVII: Traboulsi. The project stemmed from his research into AAA’s Ha Bik Chuen Archive and consisted of several ‘sculptural spaces’ built by Raad’s fictional collaborator, Suha Traboulsi, who creates reproductions of canonical modern paintings by Arab artists. Walid Raad Section 39_Index XXXVII: Traboulsi June–September 2016 5 Section 39_Index XXXVII: Traboulsi Walid Raad 21 Jun–3 Sep 2016 AAA Project Team Ingrid Chu Claire Hsu Hammad Nasar, Inviter Chantal Wong AAA Project Coordinator Holly Leung Special Thanks Vivian Poon Michelle Wong Credits Editing by Ingrid Chu Editing assistance by Lucia Kim, Maloy Lukian, and Grace Tsoi. All photography and images courtesy of Asia Art Archive unless otherwise noted. Additional photography by Walid Raad (p 4) and Kitmin Lee (pp 2-3, 6-7). Design Hani Charaf, Kemistry Design ISBN 978-988-13427-8-2 © 2017 Asia Art Archive All rights reserved 8 Asia Art Archive marks its 15th Asia Art Archive is an independent year by extending 15 Invitations non-profit organisation initiated to creative practitioners to in 2000 in response to the look within and beyond the urgent need to document and organisation as an archive, a make accessible the multiple collection of material, a digital recent histories of art in the platform, and a node in a wider region. With one of the most collective network. 15 Invitations valuable collections of material take various sizes, forms, and on art freely available from its creative directions—literary, website and on-site library, AAA polemic, political, sonic, physical, builds tools and communities to and digital—and function collectively expand knowledge as a series of ‘drop pins’ to through research, residency, and alternatively navigate where AAA educational programmes. -
Big Business, Selling Shrimps: the Market As Imaginary in Post-Mao
For decades critics have written disapprovingly about the relationship between the market and art. In the 1970s proponents of institutional critique wrote in Artforum about the degrading effects of money on art, and in the 1980s Robert Hughes (author of Shock of the New and director of The Mona Lisa Curse) compared the 01/07 deleterious effect of the market on art to that of strip-mining on nature.1ÊMore recently, Hal Foster has disparaged the work of some of the markets hottest art stars – Takashi Murakami, Damien Hirst, and Jeff Koons – declaring that their pop concoctions lack tension, critical distance, and irony, offering little more than “giddy delight, weary despair, or a manic- Jane DeBevoise depressive cocktail of the two.”2 And Walter Robinson has spoken about the ability of the market to act as a kind of necromancer, Big Business, reanimating mid-century styles of abstract painting for the purposes of flipping canvas like Selling real estate – a phenomenon he calls “zombie formalism.”3 Shrimps: The ÊÊÊÊÊÊÊÊÊÊMoralistic attacks against the degrading impact of the market on art are not unique to US- based critics. Soon after the end of the Cultural Market as Revolution, when few people think China had any art market at all, plainly worded attacks on Imaginary in commercialism appeared regularly in the nationally circulated art press. As early as 1979, a n i Jiang Feng, the chair of the Chinese Artists h Post-Mao China C Association, worried in writing that ink painters o a were churning out inferior works in pursuit of M - t 4 s material gain.Ê ÊIn 1983, the conservative critic o P Hai Yuan wrote that “owing to the opportunity for n i y high profit margins, many painters working in oil r a n or other mediums have switched to ink painting.” i g e a s And, what was worse, to maximize their gain, i m o I v these artists “sought to boost their productivity s e a B 5 t e by acting like walking photocopy machines.” In e D k e r the 1990s supporters of experimental oil a n a M painting also came under fire. -
Shaping Visions Unites Expressions of Lived and Natural Environments by Five Celebrated Cultural Medallion Recipients
PRESS RELEASE STPI Gallery’s Annual Special Exhibition Shaping Visions unites expressions of lived and natural environments by five celebrated Cultural Medallion recipients Opens to Public: Sunday, 27 Sep – Sunday, 15 Nov 2020 STPI Gallery Free Entry Shaping Visions STPI Gallery is delighted to present its Annual Special Exhibition 2020, Shaping Visions. This year, STPI proudly looks close to home with its selection of five extraordinary artists in Singapore: the late master of Chinese ink Chua Ek Kay; pioneering collage artist Goh Beng Kwan; leading sculptor Han Sai Por; seminal performance artist Amanda Heng; and renowned watercolour painter Ong Kim Seng. Shaping Visions marks the first time these distinguished practitioners — who have each been awarded The Cultural Medallion, the nation’s highest honour for arts and culture practitioners — exhibit together, in an ode to their immense artistic contributions. A testimony of artistic sensibilities and achievements across time Shaping Visions unites each artist’s distinct depictions showcases each artist’s trail-blazing style and expert of natural and built environments, shedding light command of media and materials. As the artists hail on personal reflections of and postures towards an from backgrounds that are largely not printmaking- evolving society. centric, the exhibition will feature a diverse range of expressions that invite moments of pause, suspension By bringing together existing, signature pieces as well and perception. as print-based works produced during their respective residencies -
Downloaded from Brill.Com09/28/2021 03:24:39AM Via Free Access ,
Blood, Sweat and Tears. The Martyred Body in Chinese Performance Art Tania Becker When we speak of offending images in the context of contemporary Chinese art, some of us may remember articles that were published in , voices of outrage in reaction to Zhu Yu’s performance Eating People: Is it art when a man eats a dead baby? london — My God, what kind of society do we live in? A Chinese man eats a dead baby on TV and actually claims it’s art! The announcement alone unleashed one of Great Britain’s hottest debates on the freedom of the media, the press, and art: the British tv Channel wanted to broad- cast the documentary Beijing Swings, which includes photographs of Chinese artist Zhu Yu apparently eating a dead baby. According to Zhu, the corpse is from a miscarriage. In one of the photographs, he’s washing the body in a sink. Another photo shows him biting into a dismembered body part. Zhu has said that the pictures were taken during a perfor- mance titled »Eating Humans« in his house in Beijing. Yesterday, Zhu Yu claimed that as an artist, it’s his job to initiate debates over morality and art. His work involves exploring whether boundaries still exist. It does not, however, seem to bother anyone when this »artist« transgress- es these boundaries. Not even the guardians of the law — because de- spite the fact that artists using human body parts for their art can be sentenced to ten years in prison, nothing happened [...]. Tania Becker - 9783846763452 Downloaded from Brill.com09/28/2021 03:24:39AM via free access , After the images made the rounds in the Internet, the shocking act of consum- ing a fetus met with reactions worldwide. -
JEREMY SHARMA Born 1977, Singapore
JEREMY SHARMA Born 1977, Singapore EDUCATION 2006 Master of Art (Fine Art), LASALLE College of the Arts, Singapore 2003 Bachelor of Art (Fine Art) with High Distinction, LASALLE College of the Arts (RMIT), Singapore RESIDENCIES 2016 Stelva Artist in Residence, Italy 2015 NTU Centre for Contemporary Arts, Singapore 2014 Temenggong Artist in Residence with Fundación Sebastián, Mexico City 2008 Artist Residency & Exchange Program (REAP) by Artesan Gallery Singapore, Manila, The Philippines 2007 Royal Over-Seas League (ROSL), Travel Scholarship, Hospitalfield, Arbroath, Scotland, United Kingdom 2004 Studio 106, Former Residential-Studio of the late Cultural Medallion Dr. Ng Eng Teng, Joo Chiat Place, Managed by LASALLE-SIA College of the Arts, Singapore AWARDS AND PRIZES 2013 RPF Grant, LASALLE College of the Arts, Singapore 2013 Creation Grant, National Arts Council, Singapore 2007 Royal Over-Seas League (ROSL) Travel Scholarship 2005 LASALLE-SIA Scholarship 2005 JCCI Arts Award, Japanese Chamber of Commerce and Industry, Recipient (with KYTV) 2003 Phillip Morris Singapore Arts Award, Honorable Mention 2003 Studio 106, Residency Award 2002 The Lee Foundation Study Grant, Singapore 2000 Action for Aids Award, First Prize (Open Category), Singapore 1999 The Della Butcher Award, Presented by The Rotary Club of Singapore, winner COLLECTIONS Singapore Art Museum Ngee Ann Kongsi, Singapore SOCIÈTÉ GÉNÈRALE The Westin, Singapore One Farrer Private Limited NUS Business School, Singapore Prime Partners COMMISSIONS Slow Fury, Asian Film Archives, -
PARTICLE POETRY: a Show Case by Teamlab
FOR IMMEDIATE RELEASE GAJAH GALLERY SINGAPORE PRESENTS PARTICLE POETRY: a show case by teamLab ÓteamLab Courtesy of Ikkan Art International Impermanent Life, at the Confluence of Spacetime New Space and Time is Born Digital Work, 4 Channels, Continuous Loop 121 x 271 x 15cm Edition of 8 teamLab Gajah Gallery Singapore presents Particle Poetry, a showcase of six single-channel and multiple- channel works by the art collective teamLab, presented in collaboration with Ikkan Art International. Known as “ultra technologists”, interdisciplinary art collective teamLab leads the field of digital installation and multimedia art, navigating the confluence of art, science, technology and the natural world. Several digital installations by teamLab can be found across Singapore in public and permanent collections, including Resonating Forest – Shiseido Forest Valley which opened at Jewel Changi Airport in April 2019, and has marvelled travellers and visitors from across the world. The digital works at Gajah Gallery span a six-year period of 2012 to 2018, including Impermanent Life, at the Confluence of Spacetime New Space and Time is Born, Sunflower Phoenix, Gold Waves, and Flower and Corpse Glitch. Particle Poetry opens on Friday, 26 February at Gajah Gallery, in Tanjong Pagar Distripark in Singapore. As Gajah Gallery celebrates our 25th Anniversary, we also look to the future of art within the region of Southeast Asia by presenting contemporary mediums and collaborative projects. FOR IMMEDIATE RELEASE teamLab (f. 2001) is an international art collective, an interdisciplinary group of various specialists such as artists, programmers, engineers, CG animators, mathematicians and architects whose collaborative practice seeks to navigate the confluence of art, science, technology, and the natural world. -
Chua Ek Kay: Singapore's Second-Generation Chinese Ink Artist October 19, 2018
A N A LY S I S I N S I G H T S N E W S P R O F I L E S Profiles Chua Ek Kay: Singapore's Second-Generation Chinese Ink Artist October 19, 2018 Revisiting the renowned ‘Street Scene’ and ‘Lotus Pond’ Series By Chua Chingyi Share 0 Chua Ek Kay, ‘Dream of the Lotus Pond’, ink and colour on paper, 65 x 179cm. Image courtesy of Art Agenda, S.E.A. Born in 1947, Chua Ek Kay was part of a large cohort of 20th century diaspora of Chinese artists who spent their formative years in China, but emigrated later on. Chua’s family arrived in Singapore in 1953, and seled into their new home in Chinatown’s Teochew Street. Like the others, his diasporic identity allowed external ideologies and inspiration to influence personal progression. The artist was taught calligraphy by his father from the age of seven, and subsequently went under the tutelage of Fan Chang Tien, a first-generation ink painter of the literati painting tradition. He also gained interest and trained in Western art techniques, through his studies at Singapore’s LASALLE College of the Arts and later on in Australia. Considering his exposure to various cultures, Chua’s practice did not cater to, or insist on a mono-cultural lineage. Perhaps maintaining his main medium of choice in ink painting had to do with his “cultural genes”, but he actively extended his oeuvre, taking into consideration the ideas of Western modernist aesthetics in his practice. Chua’s artistic trajectory progressed in multiple different courses because of three individuals whom he looked up to as points of references and inspiration.