Jun 15 2018

AAP MONTHLY PICKS: June–July, 2018

by The Editors

In Search of Southeast Asia through the M+ Collections

Jun 22–Sep 30

M+ Pavilion, Hong Kong

Installation view of SOPHEAP PICH’s Compound, 2011, bamboo, rattan, plywood and metal wire, dimensions variable, at “Compound,” The Henry Art Gallery, Seattle, 2012. Copyright the artist. Courtesy M+ Museum, Hong Kong.

Curated by the M+ Museum’s lead curator for visual art, Pauline J. Yao, and associate curator for design and architecture, Shirley Surya, the institution’s forthcoming show brings together the works of artists, designers and architects from Southeast Asia showcasing the visual culture of the region. Ranging from archival documents and photographs to moving image, sculpture and architectural models, “In Search of Southeast Asia through the M+ Collections” negotiates the myriad historical and cultural narratives that run through and bind the region’s communities and countries, and explores how Southeast Asia has been historicized and represented in the museum’s own collection. Some artists included in the international display are Geoffrey Bawa, Chun Kaifeng, Simryn Gill, Sopheap Pich, Sumet Jumsai, The Propeller Group, Rirkrit Tiravanija, and anothermountainman.

Banu Cennetoğlu

Jun 29–Aug 26

Chisenhale Gallery, London

BANU CENNETOĞLUList of 16.264 Documented Deaths of Asylum Seekers, Refugees and Migrants due to the Restrictive Policies of Fortress Europe. Documentation as of 13.06.2012 by UNITED for Intercultural Action, 2012, 150 public posters, dimensions variable. Courtesy the artist and Rodeo, London.

Chisenhale Gallery will present the first UK solo exhibition of Istanbul-based artist Banu Cennetoğlu, whose works examine themes of memory, ownership and belonging. A newly commissioned moving-image work will map the artist’s digital archive, which chronicles everything—from scenes of public unrest to private moments such as the birth of her daughter—that happened between March 2006 to 2018, probing how perceptions of current affairs and contemporary culture shift over time. Also included will be the artist’s ongoing project The List (2007– ), which will be displayed across public (web)sites in London and Liverpool, forcing viewers to recognize the deaths of migrants and refugees who have lost their lives en route to Europe since 1993. Through this exhibition, the artist urges viewers to question the private and shared experiences of mortality, and the politics of how they are recorded and represented.

Jason Phu and John Young Zerunge: The Burrangong Affray

Jun 29–Aug 12

4A Centre for Contemporary Asian Art, Sydney

JOHN YOUNG, The Field, 2018, HD video (still in production): duration unknown. Courtesy the artist.

“The Burrangong Affray” presents the works of Chinese-Australian artists Jason Phu and John Young Zerunge, who collaboratively explore the history of anti-Chinese sentiment in Australia, which escalated with the wave of riots and racially-driven violence across the New South Wales goldfields of Burrangong in the mid-19th century. Responding to contemporary issues of race, otherness and identity in Australia today, Phu’s practice experiments with traditional Chinese ink painting with a contemporary twist, while Young Zerunge works with abstraction and historical re-imaginings. This will be the final installment of a two-part exhibition—the first of which was a tributary ceremony of incense burning, remembering the lives of Chinese-Australians affected by, and lost in, the Burrangong riots.

Karrabing Film Collective

Jun 30–Aug 30

Institute of Modern Art, Brisbane

Installation view of KARRABING FILM COLLECTIVE’s The Mermaids: Mirror Worlds, 2018, salvaged wood and corrugated iron enclosure with concrete supports, filing cabinet, oil drums, barbed wire, chicken wire, beer cans and two-channel HD video: 26 min 29 sec, at “Trade Markings,” Van Abbemuseum, Eindhoven, 2018. Photo by Marcel de Buck. Courtesy Van Abbemuseum, Eindhoven.

The Karrabing Film Collective is an innovative, Indigenous, new-media, grassroots initiative that interrogates Australia’s history of non-Indigenous occupation and contemporary structures of settler power. Highlights include the collective’s first multi-channel film installation, titled The Mermaids: Mirror Worlds (2018), co-commissioned by the Institute of Modern Art (IMA), Finnish non-profit arts organization PUBLICS, international art research foundation Frontier Imaginaries, and the Van Abbemuseum in Eindhoven. A bildungsroman-type story about a young Indigenous man, Mermaids examines the multinational chemical and extractive industries’ harmful effects on the environment. With this exhibition, the IMA brings together a powerful presentation that reveals marginalized Indigenous perspectives with an aim to challenge dominant non-Indigenous narratives, and champions film as a tool of creative agency and social analysis.

Liverpool Biennial

Jul 14–Oct 28

Various Locations, Liverpool

Installation view of EI ARAKAWA’s Harsh Citation, Harsh Pastoral, Harsh Münster, 2017, LED strips on hand-dyed fabric, LED transmitter, power supply units, SD cards, transducers, cardboard, amplifiers and media player, dimensions variable, at Skulptur Projekte Münster, 2017. Courtesy Henning Rogge.

The Liverpool Biennial’s tenth edition—which draws its title, “Beautiful World, Where Are You?,” from a 1788 poem by the German thinker Friedrich Schiller, encapsulating the upheaval of his era—will reflect on the turbulent contemporary situation of a world in social, political and economic flux. With over 40 artists from 22 countries featured in the main exhibition, as well as a parallel showcase of Liverpool’s own civic collections of art objects and architecture in “Worlds within Worlds,” the biennial will be spread across public spaces and art venues including Tate Liverpool and RIBA North. Included in the presentation will be works by installation artist Naeem Mohaiemen, multimedia Korean artist Suki Seokyeong Kang, New York-based performance artist Ei Arakawa, and Lebanese artist Lamia Joreige.