1,721,171 research outputs found
RoCH fans & legends (solo exhibition)
No full text'RoCH Fans & Legends' is a solo exhibition that premieres a new body of work commissioned by Derby QUAD and the Centre for Chinese Contemporary Art (CFCCA), Manchester, in partnership with Animate Projects and the University of Salford. Featuring single and multichannel moving image works for gallery and online, 'RoCH Fans & Legends' draws on fan uploads of numerous adaptations of The Condor Trilogy (1957-61), a classic ‘new wuxia’ epic by Louis Cha aka Jin Yong. The project explores some of the genre's recurring tropes and translations – its fantasies, landscapes, and archetypes, as well as its 'poor' and 'pidgin' iterations in diasporic popular culture.
List of works, all 2015: Figures I, II, II, contravision film on revolving doors, various dimensions; Figures IV, V, VI, window film, various dimensions; Peach Blossom Isle, vinyl wallpapers, various dimensions; Covers I, animated drawing, 5 mins 5 secs; Covers II, animated drawing, 3 mins 3 secs; Condor, chalk drawing on wall; Trailers, single channel video, 4 mins; Trilogies, 3 channel video and audio work, 65 mins; RoCH Fan, concertina multiple, 102mm x 187mm x 8415m
30 Years of CFCCA: susan pui san lok (solo exhibition)
No full textThis solo exhibition is the fifth and final show in CFCCA's 30th Anniversary Programme. CFCCA (Centre for Chinese Contemporary Art) presents key works from susan pui san lok's project 'RoCH Fans & Legends', commissioned by Derby QUAD and CFCCA, Manchester, in partnership with Animate Projects and the University of Salford. 'RoCH Fans & Legends' premiered at Derby QUAD in 2015, featuring single and multichannel moving image works for gallery and online, a limited edition multiple, and an e-publication.
'RoCH Fans & Legends'' draws on fan uploads of numerous adaptations of The Condor Trilogy (a classic ‘new wuxia’ epic by Louis Cha aka Jin Yong, 1957-61), in order to explore some of its recurring tropes and translations – its fantasies, landscapes, and archetypes, as well as its 'poor' and 'pidgin' iterations, in diasporic popular culture
DIY Ballroom/Live
No full textDIY Ballroom / Live (2007-2008) was one of four projects commissioned by Cornerhouse, Manchester and BBC Big Screens for the first Bigger Picture National Touring Programme (alongside artists Juneau Projects, Esther Johnson, and Perry Bard). Conceived in two parts as both a video/audio work and related live participatory events, the project addressed the outdoor public siting of moving image work, the potential for altering social space and relations in the blurring of boundaries between spectatorship and participation, and the idea of ‘engineered spontaneity’; it also engaged social networking to test the widespread appeal of ballroom as an international language and amateur passion, bringing the global in relation to the local. The video/audio component comprised entirely of digital amateur footage of amateur ballroom dancers sourced online. At two events, the screenings coincided with the analogue ad hoc offline gatherings of amateur dancers on the street, during which the pre-edited video/audio work alternated with a camera feed of the live action. The project develops and expands on previous work engaging ideas around cultural dance, amateurism, migration, aspiration, the local and the international, as well as questions of the formation, duration, animation, and performance of archives, emphasising the unlimited, immaterial, and comparatively ‘accelerated’ archive of informal, amateur footage accruing on the web. Launched with Urban Screens 2007 in Manchester (the first edition took place in Amsterdam in 2005, with subsequent festivals in Melbourne, 2008, and Toronto, 2010), the work was presented at a conference and related screening programme (10 – 14 October 2007), going on to tour to BBC Big Screens in Norwich (_enter, Aurora Festival, 10 November 2007), Leeds (17 November 2007), and Site Gallery, Sheffield (18 March 2008).
A new version of DIY Ballroom/Live, combining the original video edit with documentary footage of the live events, is currently featured in SITE Sante Fe's MARCH 2012, an online exhibition in turn presented as part of Time-Lapse (18 February to 20 May 2012). In 1969, Seth Siegelaub, pioneering supporter of conceptual art, organized March 1969 a.k.a One Month, an exhibition that existed only in catalogue form. Siegelaub invited thirty-one artists to contribute a work; one for each day of the month. Time-Lapse curators Irene Hofmann and Janet Dees have conceived of a project that is an homage to Siegelaub’s ground-breaking ‘exhibition,’ updated for today’s virtual, technological world. March 2012 will be hosted on the homepage of SITE’s website. Each day during March one work by a different artist will be featured. The participating artists are an international and intergenerational group currently working with conceptual, time-based and media-oriented practices.
Artists include: Axle Contemporary, Daniel Bejar, Martin John Callanan, Beth Coleman + Howard Goldkrand, Ron Cooper, Matthew Cusick, Faith Denham, Brent Green, Hillerbrand + Magsamen, Jennie C. Jones, Tellervo Kalleinen + Oliver Kochta-Kalleinen, susan pui san lok, Conor McGarrigle, Linda Montano, neuroTransmitter, Huong Ngo (in collaboration with George Monteleone and Or Zubalsky), Paul Notzold, Geof Oppenheimer, Ben Patterson, Dawit L. Petros, Adrian Piper, Liliana Porter, Postcommodity, Mark Tribe, Claudia X. Valdes, and Donald Woodman. A cumulative archive will be on view in SITE’s galleries during March; in April and May an archive of all 31 works will be on view
Making ways (visual essay for the Journal of Visual Culture's Ways of seeing: 40th Anniversary Issue)
No full textMaking Ways is a visual essay produced for the Journal of Visual Culture’s Ways of Seeing 40th Anniversary Issue, v11 n2.
The images are collaged from archival material belonging to film-maker Michael Dibb, who directed the television series, Ways of Seeing (1972), and went on to produce an eponymous book publication in collaboration with John Berger, Sven Blomberg, Chris Fox, and Richard Hollis.
The Journal of Visual Culture marks the 40th anniversary of John Berger’s 'Ways of Seeing', the 1972 BBC television mini-series and adapted book with a special issue edited by Raiford Guins, Juliette Kristensen, and Susan Pui San Lok. Berger's book, now part of the Penguin on Design series which includes Sontag’s 'On Photography' and McLuhan’s 'The Medium is the Message', has been a monumental influence on the fields of art history, cultural studies, design, visual communication, and, of course, visual culture studies. With an editorial by Guins, the issue includes contributions from Mieke Bal, Geoffrey Batchen, Lisa Cartwright, Jill Casid, Laurie Beth Clark, Clive Dilnot, Jennifer Gonzalez, Martin Jay, Guy Julier, Louis Kaplan, Peter Lunenfeld, Griselda Pollock, Adrian Rifkin, Vanessa Schwartz, and Marita Sturken. It features an interview by Juliette Kristensen with the programmes’ and book’s producers Mike Dibb and Richard Hollis, as well as a photo essay by Susan pui san Lok, that draws on Dibb’s personal archive to highlight the televisual project’s collaborative production and material traces. As the Journal’s Events editor, Lok also commissioned five photo-essays that take up some of the book’s enduring themes: Julian Stallabrass continues the circuitous critique of looking, desiring, and selling, into the realm of subvertising; Sonia Boyce plays on the relay and duplication of eyes and lenses, rotating around and with their at least doubled subjects; Ming Wong shifts centres and perspectives, transposing the intermingled dreams of advertising and movie industries from 1950s Hollywood to 1950s Singapore, and so-called West to East; John Timberlake alludes to the politics and disavowal of climate change, hinting at pollutant incursions upon an urban picturesque; while Broomberg and Chanarin, in the face of saturated, mediatised and televised violence and death, implicate the viewer in ways of seeing and the politics of looking, then and now
Faster, higher
No full textFaster, Higher is a multi-screen installation commissioned by Film and Video Umbrella and the British Film Institute. Staged as a solo show at BFI Southbank to coincide with the Beijing Olympics and act as an imaginative precursor to London 2012, the work was also exhibited at the Hatton Gallery, Newcastle, in Hit The Ground (2009), as part of the Great North Run cultural programme. A further solo staging coinciding will take place at The Gallery, Winchester Discovery Centre (2012).
The work incorporates montages of Olympic archive material and rarely-seen Chinese documentary footage spanning the last century, with original footage shot near the London 2012 site. Despite China’s voluntary self-exclusion from the Games over three decades, and the avowed apolitical idealism of the latter as a global brand, Faster, Higher finds resonances and commonalities in the visual and cultural rhetoric around notions of nation, sport, patriotism and physical endeavour. New footage shot at the London Wushu Academy points to the mixed cultural identifications of young British athletes today, with martial arts serving as a (Chinese) national, internationally popular, and yet-to-be recognised Olympics sport.
Opening with the rituals and symbols of state ceremony and international unity, flags jostle along a succession of parades, punctuated by the release of doves and balloons. Colour bars and countdowns signal a different ‘universal’, implicating the entwined histories of the Games and the moving image, while alluding to archival points of entry. The Olympic rings are echoed through clocks, archers’ targets, lassoes, and gymnasts’ hoops, while the ascent of pole-vaulters, mountaineers, balloons and lanterns invoke the movement’s motto: citius, altius, fortius. Meanwhile, the 2012 site is rendered paradoxically visible and invisible via its blue perimeter: a literal and metaphorical screen, barrier and defence, against which dreams may be projected, protests erased, and the labour behind the spectacle concealed
Lightness (moving image commission for the exhibition, Everything Flows: The Art of Getting in the Zone)
No full textLightness is a new moving image work commissioned by Film and Video Umbrella, and funded by the Wellcome Trust. It is one of four projects that have developed out of collaborative dialogues between artists and scientists, around the subject of sporting excellence, in this case with Professor Nicola Clayton (University of Cambridge) and Dr Tali Sharot (UCL). Alongside work by the artists Cornford and Cross, Dryden Goodwin, and Roderick Buchanan, Lightness was presented as part of the exhibition, Everything Flows: The Art of Getting in the Zone. An accompanying programme of talks and events featured Stephen Mumford (Dean of the Faculty of Arts at the University of Nottingham and Professor of Metaphysics in the Department of Philosophy), Heather Corcoran (Executive Director of Rhizome, New York), Gareth Evans (Adjunct Film Curator, Whitechapel Gallery), Quentin Cooper (BBC Radio 4, Material World presenter), and Catherine Wood (Curator of Performance, Tate Modern).
Lightness borrows its title from one of Italo Calvino’s Six Memos for the Next Millenium (1988) – on lightness of thought, of language, of science; on ‘the sudden agile leap’, ‘weightless gravity’, and flight. The central subject of the work is the pole vault event – its mechanics and poetics, from training and repetition, to competition. The vault serves as a symbolic gesture of the human capacity and tendency towards aspirations for the future, intermixed with memories of the past, and the role of optimism in evaluating past and future. The goal of achieving literally ever-greater heights, repeatedly defying of gravity, is epitomised in the moment between flying and falling, a fleeting encapsulation of suspension, ‘in the zone’.
Following athletes ranging from beginners to current and future Olympic contenders – the Enfield and Haringey Pole Vault Club at Lee Valley, and Kate Dennison (until recently the British record holder) at Loughborough – the two-screen installation aims to explore the repetition, circularity, and complexity of the pole vault event; the different cognitive processes entailed at various stages both of the vault, and of individual sporting careers; and the insistence of optimism as both rhetoric and technique for both coach and athlete
Citius, Altius (single-channel video work commissioned for the Samsung IOC Olympics Media Art Collection)
Get PDFCitius, Altius (2012) is a 10 mins, split-screen single-channel video work, commissioned by the London/Seoul-based agency SUUM Project, for the Samsung IOC Olympics Media Art Collection.
Citius, Altius takes as its point of departure the artist’s earlier 5-screen moving image installation, Faster, Higher, originally commissioned by Film and Video Umbrella and BFI (2008). It is one of nine pieces commissioned for the Samsung IOC Olympics Media Art Collection, alongside work by Kota Ezawa, Cao Fei, Yeondoo Jung, Kimsooja, Torsten Lauschmann, Emily Wardill, Hiraki Sawa and Kyungwoo Chun.
The collection premiered at De La Warr Pavilion, Bexhill, (11-12 August 2012), as a weekend of screenings under the title Blue Crystal Ball. Blue Crystal Ball was then presented as part of the Abandon Normal Devices (AND) Festival in Manchester, in the form of an exhibition at the Holden Gallery, Manchester Metropolitan University (30 August-20 September 2012
- …
