January 2017 – January 2018
The Crow Collection of Asian Art, in partnership with the Edith O’Donnell Institute of Art History at the University of Texas-Dallas, presents an all-day forum on Talavera and global ceramic histories on the occasion of the exhibition Clay Between Two Seas: From the Abbasid Court to Puebla de los Angeles.
This international symposium will bring together scholars of art history nationally and internationally to present diverse perspectives and experiences on the subject of ceramic types, styles, and iconography. Lectures and discussions will explore the developments of ceramic technology, industries, and their historical movements globally.
Online Ticket Sales end Thursday, January 12, 2017 at 11:59 pm.
Tickets for the Symposium will be available for purchase at-the-door at 9:00 am in the Dallas Museum of Art, Horchow Auditorium on Saturday, January 14, 2017. Cash and credit cards accepted.
VIP Dinner: Friday, January 13, 2017, 6:00 pm – 9:00 pm
Symposium: Saturday, January 14, 2017, 9:00 am – 5:30 pm
Symposium Program for Saturday, January 14, 2017
Session I at the Dallas Museum of Art, Horchow Auditorium
9:00-9:45 AM: Registration
10:00-10:15 AM: Welcome and Opening Remarks
Back Stories: China and West Asia, 6th – 10th century
Denise Leidy, Ruth and Bruce Dayton Curator for Asian Art, Yale University Art Gallery
Fortunes and Circumstances: How an Islamic Art Form became a Mexican Icon
Farzaneh Pirouz, Art Historian, Independent Curator and Islamic Art specialist
Grandeza Poblana: making money and making things in a colonial city, 1532-1930
Guy Thomson, Professor Emeritus of Latin American History, University of Warwick
12:00-1:30 PM: Break for Lunch
Session II at the Crow Collection of Asian Art
1:30-2:00 PM Registration and Orientation in Grand Gallery
2:00-4:00 PM Moderated Group Discussion Sessions in exhibition galleries
Jessica Hallett, Researcher in Art History at the Centre for the Humanities (CHAM), Universidade Nova de Lisboa, Portugal
Ronda Kasl, Curator of Latin American Art, The Metropolitan Museum of Art
William R. Sargent, former H.A Crosby Forbes curator of Asian Export Art, Peabody Essex Museum
4:00-4:30 PM Closing Panel Discussion in Grand Gallery
Rick Brettell, Founding Director, The Edith O’Donnell Institute of Art History and the Margaret McDermott Distinguished Chair
Jacqueline Chao, Curator of Asian Art, Crow Collection of Asian Art
4:30-4:45 PM Closing Remarks
INTERESTED IN CONNECTING WITH OTHER ARTISTS?
Join five of the artists featured in Invisible Cities, an exhibition and screening series that showcases more than twenty contemporary video works by renowned and emerging artists from countries in Asia, and artists working here in DFW for brunch at the Crow Collection.
Then, stay for the Invisible Cities Forum, a marathon day of screenings, performances, and panel discussions by cutting edge video and performance artists featured in the exhibition.
*Please note that 75% of the brunch attendees will be high school art students.
Seating is limited. Tickets are non-refundable.
Inspired by Asian Contemporary Art Week (ACAW) New York annual signature program FIELD MEETING, the Invisible Cities Forum is an exhibition in the form of an all-day gathering that will feature lectures, performances, and lively discussions that will underscore current practices and initiatives in the moving image art of Asia. This forum will feature an exclusive screening and talk by Ho Tzu Nyen, live performances and Q&As with Moe Satt, Ho Rui An, and Come Inside, and a panel discussion led by the Invisible Cities curators.
INTERESTED IN CONNECTING WITH OTHER ARTISTS? Click here to find out more about the Artist 2 Artist Brunch + Forum Tickets!
HO RUI AN – DASH
Opening with footage of an accident captured from a dashcam, DASH considers how the accident—or crisis—becomes legible within a risk-managed and financially hedged era. While the dashcam was originally designed as a device that bears witness to the accidents that happen to the vehicle to which it is fitted, its proliferation in recent years has inadvertently yielded a contemporary index of the accident in the form of the vast accumulation of crash footage on the Internet.
Taking this condition of the dashcam as a point of departure, the lecture considers the broader logic of “horizon scanning” that underpins the foresight programmes of the Singapore government, which combine big data and scenario planning as tools for “surprise anticipation”. As a crucial node along the electronic circuits of global finance as well as the sweaty regional routes crossed by disenfranchised migrant labour, Singapore is held up within the lecture as a privileged site to attend to the disturbances or “weak signals” that crop up on the horizon. From this limit-space where one can never know what might come at you, a fantastic speculative economy—populated by the likes of “black swans” and “dragon kings”—is produced to affirm some narratives while extinguishing others.
HO RUI AN (b. 1990; lives and works in Singapore)
Ho is an artist and writer working in the intersections of contemporary art, cinema, performance and theory. He writes, talks and thinks around images, with an interest in investigating their emergence, transmission and disappearance within contexts of globalism and governance. Working primarily across the mediums of lecture, essay and film, his recent research considers questions surrounding liberal hospitality, participatory democracy and speculative futures. He has presented projects at the 2nd Kochi-Muziris Biennale, Wiener Festwochen, Vienna; Haus de Kulturen der Welt, Berlin; Hessel Museum of Art and CCS Bard Galleries, Annandale-on-Hudson; NUS Museum, Singapore; Jorge B. Vargas Museum and Filipiniana Research Center, Manila; Serpentine Galleries, London; NTU Centre for Contemporary Art Singapore and Para Site, Hong Kong. He was Artist-in-Residence abroad the Tara Oceans Polar Circle Expedition in 2013 and at the NTU Centre for Contemporary Art Singapore in 2016. He is also the Singapore desk editor for ArtAsiaPacific and has contributed to numerous publications.
Come Inside’s new performance is inspired by the intentionally-posing girls’ photo shoots on social media. It explores how the subjects dress in stereotypical costumes of certain “girl” roles in daily life, and how they use props and exaggerated body language to create ridiculous, yet daily-seen scenes, and encourage viewers to take photos and make comments. This time they wear typical tennis outfits, with short skirts and head bands, each holding a tennis racket. A thread links the two rackets, upon which a tennis ball slides, from one side to the other. The sole purpose for the girls’ awkward poses and body movements is to keep the thread tightly pulled between the rackets so the ball will continue to slide.
Together, Mak and Wong use their pseudo “Come Inside” brand and fake pop group personas to critique social norms and gender constructs in Hong Kong, as well as consumer culture’s influence on gender-based merchandise. The pair uses adolescent visuals to parody hyper-feminine culture, while appropriating stereotypes to turn them into strengths. The objectification of women is everywhere on the internet today; even the most common activities, like sports, are used as tools to promote the single standard of a desired, flawless woman: healthy, sporty, energetic, and young, with a tanned and tight body.
COME INSIDE (based in Hong Kong, S.A.R.)
Come Inside is a new art collective formed by young Hong-Kong-based artists Mak Ying-tung and Wong Ka-ying. Since Mak graduated from the School of Creative Media – City University of Hong Kong and Wong graduated from the Fine Arts Department, Chinese University of Hong Kong, they both have strived to be established artists in the past three years, by participating in various group shows, and held solo exhibitions in Hong Kong, China, and other countries. In 2016, their art journey has come to a new page as they are fed up with the formalized system and depressed atmosphere of society, and decided to attack the world with “Come Inside”. Come Inside welcomes everyone to join their newly created, fancy and funny world, and wish everyone can experience the “art orgasm” from the bottom of their inner selves by creating guerilla art in diverse spaces.
MOE SATT – SMILE
Note about the performance from the Artist: “Smiling is medicine for people. Smiling is a good communication tool for people. When you get your enemy to smile at you, you forget he/she is your enemy. When you come back home from your office, and your mom or wife smiles at you, you reduce your stress. When I developed this piece, the country was under pressure, so people seemed unhappy with life. That is why I wanted to make people smile. People armed with smiley faces will be able to resist and move beyond the pressure they face. So, smile, smile, smile. Everybody, smile.”
MOE SATT (b.1983; Lives and works in Yangon, Myanmar)
Artist and curator Moe Satt started creating art after graduating from East Yangon University in Myanmar with a degree in Zoology in 2005 and is part of a new generation of emerging Burmese artists. In 2008, he founded and organized Beyond Pressure, an international festival of performance art in Myanmar. He has been invited to be the resident artist at several locations including International Residence at Recollets (Paris, 2015), IASPIA (Sweden, 2016) and so on. He has actively participated in live arts festivals throughout Asia and Europe. He has participated in several major exhibitions including the Busan Biennale (2012), CAFA biennale (Beijing, 2013), Concept Context Contestation: Collective-Driven Art In Southeast Asia (Bangkok, 2013), and The Journal of the Plague Year (South Korea, 2014). Select exhibitions he has curated include “On/Off: Myanmar Contemporary Art Event”, The Almaz Collective (Vietnam, 2010), “Forward/Backward: 8 Myanmar Second-Wave Contemporary Artists”, H Gallery (Thailand, 2011), “The Mirror_ reflect the society”, TS1 Gallery (Myanmar, 2014), and “Silent for a while: Contemporary art from Myanmar, 10 Chancery lane (Hong Kong, 2016).
SCREENING AND ARTIST TALK:
HO TZU NYEN
We see the site of an unknown disaster, where fifty 50 humans oscillate between consciousness and unconsciousness, life and death, as the light constantly alternates between warm to cool, day to night.
EARTH reconfigures history painting in an apocalyptic mode, and traces of paintings by Caravaggio, Girodet, Géricault and others haunt its landscapes like ghosts. EARTH exists with multiple soundtracks, created by different experimental musicians and sound artists from different places in the world. Collaborators include The Observatory (Singapore), Yasuhiro Morinaga and Stefano Pillia (Japan, Italy), Wolfram (Poland), Oren Ambarchi (Australia), Aki Onda (Japan) and Nils Frahm (Germany).
This version of the film features the soundtrack of Black to Comm (Germany)
Director & Editor: Ho Tzu Nyen
Project Manager: Stephanie Goh
Producer: Fran Borgia
Director of Photography: Amandi Wong
Lighting Designer: Andy Lim
Production Designer: James Page
Soundtrack: Black to Comm
Sound mix by Titus Maderlechner
Cast: John Low, Helen Chua, Ian Tan, Jim Goh
HO TZU NYEN (b. 1976; Lives and works in Singapore, Singapore)
Ho makes videos, installations and theatrical performances, often working with historical and philosophical texts and artifacts. His work has been presented at the Haus der Kulturen der Welt (Berlin, 2017); Guggenheim Museum Bilbao (2015); DAAD Gallery (Berlin, 2015); Guggenheim Museum (New York, 2013); Mori Art Museum (Tokyo, 2012); the 54th Venice Biennale (2011); Artspace, (Sydney, 2011); Tate Modern (London, 2010); the 6th Asia-Pacific Triennial (Brisbane, 2009); the 1st Singapore Biennale (2006) and the 26th Sao Paulo Biennale (2004). His feature and medium length films have premiered at Cannes Film Festival (2009) and the 66th Venice International Film Festival (2009). His theatrical works have been presented at the Asian Arts Theatre, Gwangju (2015); Wiener Festwochen (2014); Theater der Welt (2010); the KunstenFestivaldesArts (2006, 2008).
View the Forum schedule.
Seating is limited. Tickets are non-refundable.
Join us for an exclusive screening of Nguyen Trinh Thi’s short films Letters from Panduranga (2015) and Vietnam The Movie (2016) at the Crow Collection of Asian Art.
Nguyen Trinh Thi
Letters from Panduranga (2015)
This essay film, made in the form of a letter exchange between a man and a woman, was inspired by the fact that the government of Vietnam plans to build the country’s first two nuclear power plants in Ninh Thuan (formerly known as Panduranga), right at the spiritual heart of the Cham indigenous people, threatening the survival of this ancient matriarchal Hindu culture that stretches back almost two thousand years.At the border between documentary and fiction, the film shifts audience attention between foreground and background, between intimate portraits and distant landscapes, offering reflections around fieldwork, ethnography, art, and the role of the artist. Intertwining circumstances of the past, present, and future, the film also unfolds a multi-faceted historical and on-going experience of colonialisms, and looks into the central ideas of power and ideology in our everyday.
Nguyen Trinh Thi
Vietnam The Movie (2016)
Color, Black and white, sound
Vietnam The Movie uses a carefully structured montage of clips from drama and documentary films to give a chronological account of Vietnamese history from the mid-1950s to the late 1970s, encompassing the end of French colonialism and America’s involvement in the Vietnam War. But this is no conventional history lesson. Rather, the excerpts chosen contrast a variety of external and often oppositional views, ranging from mainstream Hollywood drama to European art-house. Source material from the US includes Apocalypse Now, Born on the Fourth of July and Forrest Gump, whilst Europe is represented by the works of Harun Farocki, Rainer Werner Fassbinder, Werner Herzog and Jean-Luc Godard. Director Nguyễn Trinh also splices extracts from the films of Nagisa Oshima, Satyajit Ray and Ann Hui into the mix. The result suggests that any ‘true’ picture of Vietnam has been lost to the multiplicity of symbolic purposes to which the country, its people and their tribulations have been put.
***Warning: Nudity and adult content. Viewer discretion is advised.
NGUYEN TRINH THI (b. 1973; Lives and works in Hanoi, Vietnam)
Nguyen Trinh Thi is an independent filmmaker and video/media artist. Her diverse practice has consistently investigated the role of memory in the necessary unveiling of hidden, displaced or misinterpreted histories, and examined the position of artists in the Vietnamese society. Nguyen studied journalism, photography, international relations and ethnographic film in the United States. Her films and video art works have been shown at festivals and art exhibitions including Sydney Biennale 2017, Jeu de Paume, Paris; CAPC musée d’art contemporain de Bordeaux; the Lyon Biennale 2015; Asian Art Biennial 2015, Taiwan; Fukuoka Asian Art Triennial 2014; Singapore Biennale 2013; Jakarta Biennale 2013; Oberhausen International Film Festival; Bangkok Experimental Film Festival; Artist Films International; DEN FRIE Centre of Contemporary Art, Copenhagen; and Kuandu Biennale, Taipei.
Seating is limited. Tickets are non-refundable.
Due to Gallery Rotation for our upcoming exhibition only the exhibition Fierce Loyalty: A Samurai Complete will be available through January 19, 2018. The newest exhibition Earthly Splendor: Korean Ceramics from the Collection will open to the public on Saturday, January 20, 2018 at 1 pm.
The Members’ First Look and Tour will take place on Saturday, January 20, 2018 at 11:00 am.
If you are a member and would like to rsvp, please email email@example.com. If you are not a member and would like to learn more about becoming a member click here.