Events

Artist Talk: New World Art: Cultural Contiguity of Asia Society Revisited

Tue, May 30, 2017 6:30 pm at Alwan for the Arts

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Conversation with Artists from Asia

Free and Open to the Public

Doors Open at 6 P.M.

A wager: The future of cultural investment is in cartography. The global map is in flux, the pivotal and axiomatic points are being reconfigured —the ‘epistemological centers’ and grounding referents such as the Greenwich mean are shifting. In the present condition, the terms of scientific validation are inextricably linked to Western reasoning as a universal definition of what is and what should be. This is an entrenched paradigm, immobile and unrelenting in its control over the direction of the aesthetic gaze and the palates of taste, let alone in its access to capital provision, the speculative potential of wealth accumulation it hedges, and its capacity to institutionalize human consent.

An aesthetic or intellectual discourse is recognized and valid only in so far as it is negotiable on terms of Western modernity. The alternative is automatically foreclosed, has neither communicative imaginary nor translatable possibility.Worse still, visions that are unaligned with the axiomatic centers of knowledge,, that can connect cultural morality and social-political aspirations between people in various corners of the world, outside of the sphere of Western paradigms, are prejudged as unsustainable and irrelevant.

To explore nascent possibilities of the wider cultural space and to shift the gaze elsewhere, Alwan is playing host to various artistic expressions that are beyond the consigned focus on the Middle East. With the intention to expand the sense of cultural connectivity, these presentations resist geographic contiguities enforced by naturalized cultural norms, and strive to envision the possibilities of new cartographies of art.

Artists

Momose Aya was born in Tokyo in 1988, currently lives and works in Tokyo. Completed an MFA in Oil Painting, Musahino Art University in 2013. Momose, who began by videoing performing arts acts, uses video to reveal the relationship between one’s body and voice. Through her work she urges us to reassess the relationship between video and voice. Her major exhibitions include: “Voice Sample” (Yokohama Museum of art, 2014), “SENSOU-GA STUDIES (Tokyo Metropolitan Art Museum), “Artist File 2015 Next Doors: Contemporary Art in Japan and Korea” (The National Art Center, Tokyo and National Museum of Modern and Contemporary Art, Korea, 2015-2016), “Roppongi Crossing 2016: My Body, Your Voice” (Mori Art Museum, 2016). In 2017 she is now staying in New York for six months as a recipient of a grant from the Asian Cultural Council.

Tran Minh Duc (b. 1982, HCMC, Vietnam) is drawn to the history of place, how images of the past inspire human action in their appropriated, fragmented and intangible forms such as oral histories, religious calendars, postcards, found material/ objects and much more. Tran’s work specifically examines the character of urban life in Vietnam, studying the interaction between collective and individual, between ideas of what is local and foreign. His art encompasses performance, photography, collage and installation. He has participated in numerous artist-in-residency programs in Japan, France and USA.He currently lives and works in Ho Chi Minh City, Vietnam.

Born in Tokyo in 1983, AKI INOMATA graduated with an MFA in Inter Media Art from Tokyo University of the Arts.She creates her artworks through collaboration with living creatures. Her “Why Not Hand Over a ‘Shelter’ to Hermit Crabs?” series, in which she gives hermit crabs shells made with a 3D printer, brings to mind migrants, refugees, and their ability to swap nationalities. For “I Wear the Dog’s Hair, and the Dog Wears My Hair”, she makes herself a cape out of her dog’s hair and a smaller cape out of her own hair. Wearing the dog hair cape, the artist has the dog wear the cape made from her hair so that they are wearing each other’s coats.http://www.aki-inomata.com/

Kornkarn Rungsawang was born in Thailand in 1988. She received her bachelor of Fine and Applied Arts from Burapha University. Rungsawang is a contemporary dancer/choreographer, whose work represents a new generation of artists bridging the gap between tradition and contemporary dance. Currently, she is in a six-month fellowship at the International Choreographers Residency Program of the American Dance Festival in summer 2017.

Shubho Saha is an interdisciplinary artist. His artistic practice is engaged with space and community, South Asian religious aspect, Border issues and atmosphere, Social issues and Political unrest, Consumerism and the context of Food politics, and the effect of consumerism on urban landscapes. He is cofounded an artist collective in Dhaka, which is called Back ART, and he is the director of ‘Dhaka Live Art Biennale’.

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Alwan for the Arts is supported, in part, by the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council of the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature and by an award from the National Endowment for the Arts.

Last updated: 2017-11-14 11:38:08

“Why Not Hand Over a ‘Shelter’ to Hermit Crabs?” by AKI INOMATA
“Why Not Hand Over a ‘Shelter’ to Hermit Crabs?” by AKI INOMATA
Surreal Identity by Shubho Saha
Surreal Identity by Shubho Saha
Invisible Distance by Momose Aya
Invisible Distance by Momose Aya
Happiness Lives Beyond the Clouds by Tran Minh Duc
Happiness Lives Beyond the Clouds by Tran Minh Duc
Kornkarn Rungsawang
Kornkarn Rungsawang

Alwan for the Arts

16 Beaver Street, 4th Floor
(between Broad St. and Broadway)
New York, NY 10004
(646) 732-3261

Alwan Auction 2016

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