Video Art Screening Programs
Video Art Programs from the collction
URA ARU (the backside exists), 1985-86, color, sound, 28min. 30sec.
Nov 26, 2013–January 26, 2014
Scene from URA ARU (the backside exists)
[The 36th Program]
Jonathas de Andrade
November 26, 2013–January 26, 2014
Pacifico (Pacific), 2010, Super 8 in DVD, 12min.
This film starts with an animation sets an initial tone through a paper and styrofoam constructed environment. The extraordinary earthquake that sets Chile loose: free from the vast terrain that conforms the South American continent. In this fictional scenario, the earthquake means a metaphor to resolve conflicts of the borders.
The artist’s intention is to approach and to understand the construction of truth through specific episodes in the history of different Latin American countries. He is questioning the validity or trustworthiness of a document and/or political artifice by revising a series of apparently unresolved historical and contemporary scenarios.
In 1904, Chile and Bolivia signed a peace treaty in hopes to end their long-term conflict, yet Bolivia lost a vast of their coast and land. Under such fictitious and alternate scenario, far from the preceding social and political chaos that is referenced, Chile becomes a peaceful island drifting along the Pacific, and Bolivia gains access once again to the coast that they so much yearned for.
Jonathas de Andrade:
Born in 1982 in Maceió, Brazil. De Andrade studied Social communication at the Federal University of Pernambuco. He has shown his works in solo exhibitions at the Kunsthalle Lissabon (2013) , the Montreal Museum of Contemporary Art (2013) and group exhibitions including the Istanbul Biennial(2011) , the New Museum Triennial(2012) and the Lyon Biennal(2013). He received the Special Prize of the Future Generation Art Prize(2012).
[The 35th Program]
Nguyen Trinh Thi
September 25–November 24, 2013
Song to the Front (Vietnamese Classics Re-Cut Series), 2011, single-channel SD video, black and white, stereo, 5 min. 14 sec.
Nguyen Trinh Thi re-edited a historical Vietnamese war film produced by the Vietnam Feature Film Studio, transforming the obscure black-and-white classic into a vignette that deconstructs the melodramatic and romanticized elements of social-realist drama. Bài ca ra trận (Song to the Front) is a propaganda film glorifying the struggles of the proletariat and aimed at drumming up patriotism. By inserting close-ups of key characters – a young soldier, emblematic of the generation who willingly sacrificed their lives on the front lines for their country and the communist cause, and a nurse who cares for wounded soldiers – one after another with unrelated scenery of starry skies or flocks of birds in flight, set to Stravinsky’s The Rite of Spring, Nguyen intentionally obfuscates the old film’s plotline. While leaving things up to the viewer’s imagination, she encourages reinterpretation of the blatantly ideological original work.
Guest curator: Zoe Butt (Executive Director, Sàn Art, Ho Chi Minh)
Nguyen Trinh Thi:
Nguyen Trinh Thi was born in 1973 in Hanoi, Vietnam, where she is currently based there. She majored in journalism at the University of Iowa and Pacific International Affairs at the University of California, San Diego. While in the United States she was active as a journalist, but since 2005 she has focused on creating documentary films and video art. In 2009, she founded DOCLAB in Hanoi, an educational center and studio for the production of documentary films and video art.
[The 34th Program]
July 23–September 23, 2013
Metropolis, 2008, HD Video, mono/color, sound, 9 min. 30 sec.
Stone on Stone, 2009, HD Video, mono/color, sound, 7 min. 44 sec.
Sun City, 2013, HD Video, mono/color, sound, 8 min. 39 sec.
Rob Carter creates photographs, videos, and installations based primarily on the motif of the city. His stop-motion animations, made by repeatedly cutting and rearranging preexisting photographs, bring a real city and buildings to life. With delightfully humorous movements against a changing landscape, the works form a highly suggestive whole. By combining the warmth of his handiwork with a cool philosophical view of human activities, Carter arrives at unique urban narratives.
Born in Worcester, U.K. in 1976, Carter currently lives in New York. After studying at the Ruskin School of Drawing and Fine Art, Worcester College, Oxford University, he completed an MFA at Hunter College (part of the City University of New York). He has shown his work at various international exhibitions and film festivals.
[The 33rd Program]
Kwan Sheung Chi
May 14–July 14, 2013
ONE MILLION(New Taiwan Dollar Ver.), 2012, HD Video, color, sound, 9 min. 43 sec.
ONE MILLION(Japanese Yen Ver.), 2012, HD Video, color, sound, 1 min. 8 sec.
ONE MILLION(Hong Kong Dollar Ver.), 2011, HD Video, color, sound, 8 min. 18 sec.
As the title suggests, One Million is a video work depicting the counting of one million bills. Divided into three versions, the first shows a huge number of ten-thousand-yen bills (from Japan) being counted without the slightest hint of disarray followed by a similar scene with one-thousand-dollar bills (from Hong Kong), and one with one-thousand-dollar bills (from Taiwan). But looking more closely, we realize that the video was created by repeating the same scene of moving fingers, and that though it looks as if many bills are being counted, there are actually only a few.
In our age in which, due not only to various economic developments but also to the rise of the Internet and a variety of other media, information is constantly being converted into data, the distinction between things that seem to exist and things that real do exist has grown increasingly vague. At the same time, these systems are fraught with the danger that everything will be lost when they break down. In a simple manner, One Million asks us to consider the current state of our society in which a huge degree of instability underlies the desire for convenience and rationality.
Kwan Sheung Chi:
Born in 1980 in Hong Kong, where he currently resides. He graduated from the Chinese University of Hong Kong in 2003. While still in school, in 2002, he received widespread attention for a solo exhibition that was held at ten venues, including a museum, in Hong Kong. In his practice, Kwan uses a variety of expressive methods including a video, three-dimensional, and installation format.
Selected Solo Exhibitions:
2009: No matter. Try again. Fail again., gallery EXIT, Hong Kong
2011: New Media Section, Art Taipei 2011, Taipei World Trade Center, Taipei, Taiwan
2012: Collected Works, Yuka Tsuruno, Tokyo, Japan
Selected Group Exhibitions
2010: Videozone V, The 5th International Video Art Biennial in Israel, Center for Contemporary Art, Tel Aviv, Israel
2012: Mobile M+: Yau Ma Tei, Yau Ma Tei, Hong Kong
[The 32nd Program]
March 19–May 12, 2013
IN PRAISE OF THE BEAST, 2009, Single channel HD Video, 14 min. 58 sec.
The work begins with a cake sitting in the middle of a forest, decorated in celebration of the beasts that live out in the wild. These celebrated beasts, however, do not understand that the cake is food, let alone its celebratory intent. The wild boars that emerge stamp on the cake and destroy it, and begin to roll all over it as though they are playing in mud. Some viewers may think these boars are ugly and monstrous, and others may think they are rather cute. Wild beasts are portrayed in many fables and other stories as representations of the ugly and chaotic. But to these beasts that actually live out in the wild, such images made by humans bear no relevance. In fact, the humans who presented them with the cake can be said to be arrogant. Humans are supposed to be animals, no different from these wild boars, yet we have burdened ourselves with a host of problems, such as the destruction of nature and environmental pollution caused by mass consumption. Is it truly the beasts who are barbaric, or is it we? The work poses us viewers with this question through the image of the wild boars innocently frolicking in the cake.
Born 1977 in the historic city of Pamplona, located in northern Spain. Graduated from the Polytechnic University of Valencia with a degree in Fine Arts in 2001. MA in Photography at the Royal College of Art in London, 2011. Lives and works in London. Alfaro questions the true nature of order and ethics, with religion and native mythology or fables among her primary motifs. Her works are presented in a variety of different forms, such as photographs, video, and installations. Selected for participation in Bloomberg New Contemporaries 2010 and awarded with a grant from the Genesis Foundation that funded her 2012 solo exhibition A Very Crafty and Tricky Contrivance (London), Alfaro is among the leading artists of her generation.
[The 31st Program]
January 26–March 17, 2013
The Course of Things, 2012, HD Video, sound, 9 min. 30 sec.
Through the skillful use of several ingenious tricks, The Course of Things presents footage of the unpredictable actions of the visitors at the Natural History Museum in London as fiction rather than documentation. One trick is the narration by the British-born film director Alfred Hitchcock, which leads us through the story. The director’s voice, extracted from his television program Alfred Hitchcock Presents, is meticulously edited to form a monologue on the essence of the suspense genre. Further tricks such as the film-like camera angles, zoomed-in footage, and the insertion of background music transform the museum into a stage and the visitors into actors, creating a suspense theater of sorts. Going back and forth across the boundaries between fiction and reality, The Course of Things presents a humorous demonstration of how everyday life can be more dramatic than fiction.
collectif_fact, formed by Annelore Schneider (b. 1979, Neuchâtel, Switzerland) and Claude Piguet (b. 1977, Neuchâtel, Switzerland) and based in London and Geneva, is an artists’ group that mainly works with video. Using the method of taking apart existing stories and reconstructing or re-editing them to create different stories or to add different meanings, collectif_fact explores the narrative possibilities in video. The group creates multilayered, collage-like video works composed of fragments such as words excerpted from books and other sources, bars of music, memories and reality.
[The 30th Program]
November 20, 2012–January 14, 2013
Times in New York, 2009, Single channel HD Video, sound, 16 min. 55 sec. South Stone, 2010-2011, Single channel HD Video, sound, 24 min. 51 sec.
Time in New York is a documentary video recording of Zhou Tao going on with his life in a New York apartment, while putting on a modest performance wherein the artist attaches balls of thread to his waist, tacking the string onto the walls so as to leave visual traces of his movement. His bodily movement becomes a material in itself through this visualization, and with the passing of time, these visual traces gradually emerge as a detailed drawing of sorts.
South Stone is set in an underdeveloped region of the same name, located in the city of Guangzhou in China. The artist and his friends appear with serious expressions against documentary-style footage of the region’s landscape, delivering a string of unrelated performances with a somber attitude, as though in response to the quiet passage of time in South Stone. These works are a humorous expression of what performance is for Zhou: a means for building relationships between unfamiliar places and himself.
Zhou Tao: Born 1976 in Changsha, China, lives and works in Guangzhou, China. BFA in oil painting and MFA in mixed media at the Guangzhou Academy of Fine Arts. Zhou creates theater-like films that are neither realistic nor unrealistic by capturing daily life using documentary-like methods and using it as a stage for his performances. Solo exhibitions at Times Museum in Guangzhou (2012) and Queens Nails Projects in San Francisco (2011), among others. Also participated in various group exhibitions, such as the 6th Curitiba Biennial (2011) and Yes, But… at Location One in New York (2010), attracting attention as a leading young Chinese artist.
[The 29th Program]
September 19–November 18, 2012
11.02-2011: The Video Diaries, 2011, color, single-channel (original: three-channel) video, sound, 6 min. 19 sec.
On Feburary 11, 2011, the news of former president Mubarak’s downfall in Egypt shook the entire world. However, this revolution was covered in detail from earlier on by video-sharing websites and other online media. These videos captured the voices of countless citizens standing up against terror, as well as images of those who were victimized. The same could be said of artists. In this work, such video footage from various sources are combined in order to reconstruct the revolution as a ‘diary’ of sorts, or imagery from a personal perspective that is not portrayed in journalistic media.
Khaled Hafez: Born 1963 in Cairo, lives and works in Cairo. Creates paintings and video works that carry political messages by depicting Egyptian popular culture and the image of Egyptians as seen from Western society. Hafez has participated in many international exhibitions, including Manifesta 8 (2010). Awarded by the Fondation Blachère at the 9th Bamako Encounters African Photography Biennial (2011).
[The 28th Program]
July 18-September 17, 2012
Shooting Stars, 2010, HD, color, sound, 9min
Countless glimmering lights stream down the screen, accompanied from time to time by echoing metallic sounds. When viewers learn that this beautiful, enchanting work was inspired by the repeated clashes between protesters and the military in Thailand in 2010, the impression they receive will surely be an entirely different one. In Shooting Stars, Sutthirat Supaparinya demonstrates the characteristic of the medium of film, or how it can transform reality into something entirely different. When we are faced with a beautiful film that is dissociated from reality, we are led to ask ourselves what we truly ought to believe.
Sutthirat Supaparinya: Born in Chiang Mai, Thailand in 1973, lives and works in Chiang Mai. BFA in Painting from the Faculty of Fine Arts at Chiang Mai University and Postgraduate degree in Media Arts from the Hochschule für Grafik und Buchkunst in Leipzig, Germany. Awarded a fellowship from the Asian Cultural Council in 2011 to conduct visual arts research as an Artist in Residence of the International Studio & Curatorial Program in New York. Exhibits internationally, including the 4th Yebisu International Festival for Art & Alternative Visions in 2012.
[The 27th Program]
May 15-July 16, 2012
1, 2, 3, Herring, 2011, color, sound, 2min27sec
Shahar Marcus’s artistic practice is centered on performances that he acts out himself. In 1, 2, 3, Herring, he casts himself in the role of a World War II-era soldier and plays the children’s game of “1, 2, 3, Herring,” similar to the American game of “Red Light, Green Light,” with three other soldiers who are in fact cardboard cutouts of himself in costume. The scene takes place on a reconstructed war site in Israel, of the 1948 war with Egypt, shortly after the Israeli Declaration of Independence. By placing himself in this memorial site and using both humor and irony in the act of fighting against himself, the artist invites viewers to contemplate how various perspectives of ‘manipulation’ and ‘censorship’ become involved in the process of ‘historification’ of such events.
Shahar Marcus: Born in Petach Tikva, Israel in 1971, lives and works in Tel Aviv. Creates works that involve his own body, crossing boundaries between different modes of expression, such as performance, video, and sculpture. Won the Experimental Cinema Award at the Jerusalem Film Festival in 2009. Also exhibited in international exhibitions such as the 3rd Moscow Biennale in 2009 and the Mediations Biennale in 2010.
[The 26th Program]
Un Ruido Naranjo, 2009, color, sound, 25min2sec
February 7-April 22, 2012
[The 25th Program]
A Space Exodus, 2009, color, sound, 5min24sec
November 29, 2011-February 5, 2012
[The 24th Program]
2 dogs, 2010, color, sound, 2min54sec
September 21-November 27, 2011
[The 23rd Program]
NIGHTLESS, 2011, color, sound, 25min00sec
July 12-September 19, 2011
[The 22nd Program]
CRUZADA, 2010, color, sound, loop, 8min36sec
April 26-July 10, 2011
[The 21st Program]
papers digital version, 1991/2003, color, sound, 1min
March 8-April 24, 2011
desktop, 2005, color, sound, 6min10sec.
patterns, 2009, color, sound, 6min6sec.
[The 20th Program]
Sleep Walk Sleep Talk, 2009, 2channel HD Video, 21min50sec
January 18-March 6, 2011
[The 19th Program]
Self Portrait, NYC, 2006, HD Digital Video, 2min.
November 23, 2010-January 16, 2011
On The Grid, 2007, HD Digital Video, 3min2sec.
Building Across From Glitter Bend, 2008, HD Digital Video, 2min.
*Original version is loop.
[The 18th Program]
Choy Ka Fai
Rectangular Dreams, Single Channel Version 2010, Video, 22min40sec.
October 5-November 21, 2010
[The 17th Program]
La Marche Turque, 2006, mono, sound, 2min16sec.
August 24-October 3, 2010
WA, 2004, color, sound, 1min56sec.
Tambourro, 2004, color, sound, 3min.
[The 16th Program]
The Shortcut to the Systematic Life: City Spirits, 2005, Single channel video, 4min50sec.
July 6-August 22, 2010
Invisible City: Taiparis York, 2008, Single channel video, 5min3sec.
[The 15th Program]
Trilogy about Clouds, 2005, mono, sound, Converted from 16mm film to DVD, 13min
May 25-June 20, 2010
[The 14th Program]
132BPM/132BPM, 2005, color, sound, loop, 13min, music:Sex in Dallas
March 13-May 9, 2010