---------- Forwarded message ---------- From: Press (Arthub Asia) <[email protected]> Date: Mon, May 10, 2010 at 5:24 AM Subject: Double Infinity: “The Last Two Decades Revisited” in Shanghai THIS weekend To: [email protected]
*Double Infinity: “The Last Two Decades Revisited”* *SATURDAY, May 15, 2010 * *11:00 – 12:30 PM* Panel Discussion: *Cracking Open Once Again: The Timeline of Chinese Art History. Part 1 1979-1995 (approx) Participants: Song Haidong (artist), Chen Tong (artist/publisher), Dr. Paul Gladston (art historian), moderated by Carol Lu.* Is there ever an agreed history? What are the possible narratives for Chinese contemporary art history? What kind of timelines could be drawn throughout Chinese art history? Does this way of thinking about cultural developments in China make sense, or does it borrow too much from western art historical models? The soft Chinese art history takes its twists and turns, both from 1979 and 1989 onwards. What happened between these points and since then? What were the consequences of the diaspora after 1989? Is an autonomous art practice a possibility at all? Must contemporary practices be isolated, out of public view? What is the meaning of avant-garde? What could be meant by the continuation of points of encounters from 1920s onwards? *12:30 – 13:15 PM* A screening of Asia Art Archive documentary- *"From Jean-Paul Sartre to Teresa Teng: Contemporary Cantonese Art in the 1980s"* Based on primary research, rare film footage and personal interviews with key artists, AAA’s documentary bears witness not only to the “reading fever” that gripped the Chinese art world in the 1980s. It also highlights the experimentalism and verve of artists and critics in South China whose contributions to the development of contemporary art have been deep and long lasting. *14:30-16:00 PM* Panel Discussion:* Points of Encounter: the reception of Chinese art as shaped abroad - perceptions and exoticism. Part II: 1995-2010.* Participants*: Li Zhenhua, Qiu Zhijie, Hu Jieming,* moderated by *Davide Quadrio*. Respondent: *Zhang Peili* Why is China adopting western models and structures? Has Chinese contemporary art been instrumentalised by the international art system, and does this continue to occur? Did Chinese artists play the game, not realising the long-term effects of this process on the artistic environment in China? Where does the “mainstream” start,that artists are so concerned about? Isn’t art more about the media and impact these days? How much of an outsider can one be? How can contemporary art deal with itself when fenced within creative industries? Why does everybody seem so fed up with talking about China in relation to the West? Is there a possible way of approaching this exhausted theme, making it new and relevant? What are the problems of translating artistic practices? Is there any hope for cultural exchange? *16:00 PM-17:00 PM* *Rites of Passage by* *Julika Rudelius*. Originally conceived as a film, Rudelius organises a live work around the notion of translation. Her piece will be simultaneously translated, creating a continuous shifting of meaning in the work. *SUNDAY, May 16, 2010 * *11:00-12:15 PM* A keynote lecture on *Globalism/Internationalism/Localism *by *Pieter van Wesemael *puts* *the Shanghai World Exhibition into its historical context and looks at how World Expos have reflected international and globalist politics since their inception. *12:15-13:45 PM** *Panel discussion: *Global Claims, Local Effects* Participants: *Defne Ayas, Charles Esche, Kim Hyun Jin,* and *Georg Schöllhammer* Panelists look at inter-European cultural conditions, particularly since 1989, and introduce specific cases from elsewhere in the non-western world, including the post-Soviet Caucasus and Republic of Korea. What might it mean to connect Chinese and other non-western situations in cultural production and presentation? Is a new kind of non-aligned cultural movement useful or possible? How are artistic histories in these regions recorded and written and how might the received narratives be questioned? What is the influence of European modernism on the extra-European world given that it was exported as a universalist form alongside colonialism and socialism in former Third World countries? To what extent do developments in countries such as former Eastern Europe or Turkey mirror the post-1989 experience in China? How do they differ? *14.30-16:00 PM* Panel Discussion: *Localism and Social Engagement in the City. Participants: Tsuyoshi Ozawa (Xijing Men), Jin Shan (Shu Fu Collective), Alexander Brandt, Beatrice Leanza, moderated by Defne Ayas. Respondent: Gao Shiming* Panelists will address socially engaged forms of artistic production in urban context, highlighting collective/collaborative efforts, multiplicity, and open-ended experimentation, both historically and currently, in China and across Asia. *16:00-17:00 PM* *Golden Ghost (Double happiness comes to the door) by* *Surasi Kusolwong.* Thai artist, Surasi Kusolwong has installed a whole room full of waste thread material in which a golden necklace is hidden every week and can be found by lucky visitors. The finder is able to keep the necklace, making the “game” a potentially profitable experience, while also playing with the extremes of value within society. The symposium is organised by *Arthub (Defne Ayas, Davide Quadrio)* and the *Van Abbemuseum (Charles Esche). * *Venue: *Dutch Cultural Centre at 800 Chang De Lu at Changping Lu Shanghai *Translation will be provided.* *About Double Infinity* *Double Infinity* is a collaborative encounter between the Van Abbemuseum and Arthub Asia, situated in and around the Dutch Culture Centre in Shanghai, parallel to the World Expo 2010. The Double Infinity project loops through and crosses over itself time and again. It is at one and the same moment an exhibition, a performance series, a lecture programme, a publication, a promotional tool, a celebration, a collaboration and a playful look at international relations. It marks the first time that a European museum opens itself and its collection to the responses of artists living and working in China – responses that form a host of enriching, humorous and critical insights. *Participating artists* Lara Almacergui, Johanna Billing, Stanley Brouwn, Comfortable Collective (Jin Shan, Gao Mingyan, Li Mu, Maya Kramer), Cao Fei, Alicia Framis, Liu Gang, HHD_FUN (Wang Zhenfei & Wang Luming), Job Koelewijn, John Körmeling, Surasi Kusolwong, El Lissitzky, David Maljkovic, Julika Rudelius, Speedism, Xu Tan, Zhou Xiaohu, Xijing Men (Chen Shaoxiong, Gimhongsok, Tsuyoshi Ozawa). *Curators* Charles Esche, Defne Ayas, Davide Quadrio, Remco de Blaaij *Location* Dutch Culture Centre 800 Show, 800 Changde Road 200040 Shanghai, China Opening hours: Tuesday – Sunday: 11 am – 7 pm More information on www.arthubasia.org *Partners* Netherlands China Arts Foundation, Gemeente Eindhoven, Dutch Culture Centre, Mondriaan Foundation, DutchDFA (Dutch Design Fashion and Architecture), Shama Xujiahui *Arthub Asia* is a multi-disciplinary organization devoted to contemporary art creation in China and rest of Asia, founded in 2007. In collaboration with museums and other public / private spaces and institutions, it initiates and delivers ambitious art projects through a sustained dialogue with visual, performance, and new media artists. Arthub Asia is committed to furthering experimentation, knowledge-production and diversity among dedicated artists, art professionals, scholars, and arts organizations in the region. Arthub Asia is a Network Partner of Prince Claus Fund 2008-2010.
_______________________________________________ oberlist mailing list [email protected] http://idash.org/mailman/listinfo/oberlist
