Methodologies and Principles in Curating and Facilitating Collaboration —— Case Study: ADAM Artist Lab 2018
Dec 22, 2018 Saturday 19:00 - 20:30
2F, Rockbund Art Museum (Shanghai 20 Huqiu Road)
In recent years, there are increasing performing art platforms offering short-term residency for a number of participants in a form of ‘Lab’ or ‘Camp’ as part of Art Festival or Professional Meetings. With different program structure and agenda, the program creates unique experiences for participating artists. In some case it feels like ‘Reality Show’ but in most cases, artists are expected to fulfill a certain goal of agendas of platform usually generating new works collectively in a presentable form.
This talk will share about Artist Lab of Asia Discovers Asia Meetings 2018 (ADAM) curated by Huang Ding-Yun and Henry Tan. From the inspirations, working processes to analysis and reflections on the program formation, direction, outcomes and sustainability of the program. Ding-Yun and Henry will share their personal experiences in participating or curating similar program in their career, such as Mutual Unknown, 2017 in Jakarta and Autopilot, 2014 in Bangkok, TPS Residency 2018 in Melbourne. We then ask further, under the situation of globalization, to artists and creative practitioners, what kind of imagination and expectation to/from a short-term lab program? And is it efficient? Can we really reach for the new idea within only a few days or weeks? What is the deeper meaning of ‘working collectively in a lab?’
Huang Din-Yun is an artist and theatre director. In 2016, he co-created “Co-coism” with Hung Chien-Han and Chang Kang-Hua. At its inception, the organization is a response to the singular authorship and inertial thinking bestowed on contemporary theatre directors and choreographers. Co-coism highlights “working collectively” in the creation process and underscores that a creator’s independent identity is not mutually exclusive with collaborations and continuous alignments with cross-disciplinary participants.
The works often consider the myriad forms of performance arts and their distinct involvement with live audience; they delineating on such arts’ association with quotidian actions, theater and the coexistence of individual and group concerns. Thereby, the works elicit awareness of independence, motion and sensory of an individual audience/participant in the performance, in effort to devoid the one-way perception of receiving and analyzing and to enable a reconstruction of one’s unique experience through direct engagement and participation.
Henry Tan is an artist based in Bangkok. Tan engages with recent trends and critical debates in participatory art or social practice. Henryandpartners is an ongoing project working on “AnonymÆssage” by using treatment as a medium to investigating the line between treatment, torture and sexual arousal.
Tan currently research on the geopolitics along the maritime silk route and connection between Thailand and Sri Lanka as part of Colomboscope festival 2019. Tan is interested in the meaning of Pearl in history, what does the “Pearl” represent and how people perceived its physical quality and ideology behind implication of “Pearl”.
As art activities proliferate, performance and performing arts are evermore presented to the public, notably seen in art museums across recent years. The series of lectures of “Spectrum of Performance(ing) Arts” is not designed to invent some new vocabulary or definition, or to inquire “What is Performance (Performing)?”, but to examine how art in an unbound state flows and mutates into a spectrum with colorful connotations and more possibilities. It looks forward to the confluence and interaction of different realms of art, discussions from the artist, curator, researcher and scholar perspectives on issues such as the role of the platform, methods of artistic creation, ways of watching performances, the concept of curating, and the development of performance art and performing art under the globalization framework, as well as more dialogues in unexpected aspects between the speakers and audience.
This series of lectures is jointly initiated by RAM and Zhang Bing, an independent curator, and supported by Shanghai Artemis Art Center.
Shanghai Artemis Art Center (SAAC), funded by Anxin Trust Co., Ltd. and approved for registration by Shanghai Bureau of Civil Administration, was established officially on June 6, 2016 as a non-profit art institution.
SAAC aims at promoting the production and development of modern arts, through hosting, supporting and assisting non-profit artistic activities of various forms, including but not limited to art exhibitions, publications, public projects, artistic research, academic discussion, art curating, criticism and writing.
Free admission, reservation is required.