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2018Event

Inside-Out×IFP |Talks by IAOM Artist and Researcher in Residence

Beijing Inside-Out Art Museum

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On this Saturday, September 29, 2018, Inside-Out Art Museum will collaborate with the Institute of Provocation for the first time to co-host a public event. Current artist and researcher in residence at the IOAM Art Residency Program will present at the Institute of Provocation their research and practice during September. Titled “Collisionsand Conspiracy”, Canadian artist Alvin Luong will share his video works and his methodology in art making, especially his on-going art work based on a Brecht’s play during his stay in Beijing. Peng Weihua, graduating with a BA and MA in Oil Painting from the Central Academy of Fine Arts will mainly focuses her talkon the artistic careers of the art couple Lin Gang and Pang Tao. In line with the academic agenda of the Inside-Out Art Museum, these two talks epitomize the intellectual perspectives of historical studies and contemporary art making.


Collisionsand Conspiracy

Speaker: Alvin Luong

Time: 14: 30- 16: 00

Venue: Institute for Provocation

Alvin Luong is a ruthless business mogul,an internet fitness instructor, an engineer in a romantic relationship with hishome, Richard Serra, and more recently, a race car trapped in a human body, and yellow faced agents from the USSR. Luong fabricates personas and stories by colliding various elements from biography, history, and contemporary events.The artist’s personas and stories are positioned somewhere in between realityand fiction, familiar and foreign, and humorous and tragic. Luong’s work creates contradictions out of moments of comedy, profoundness, and absurdity from living life under various conditions of governance, culture, and economics. The artist will share his strategies of production, discuss hisprojects, and preview work-in-progress produced while in Beijing as artist-in-residence at Inside Out Art Museum.


About the Speaker


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 Alvin Luong 

Alvin Luong is an artist working with video andinstallation that convey fabricated personas and stories. The artist harnesses techniques used in mass media and entertainment to create satirical dialogues dealing current issues such as gentrification, climate, and war. Some of the institutions that the artist has shown work at include Gallery 44 Centre for Contemporary Photography ( Toronto, Canada), TIFF ( Toronto, Canada), Sluice( London, UK), and Freie Kunstakademie Baden-Württemberg ( Fellbach, Germany). The artist is co-director of Bunker2 Contemporary Art Container a non-profit artspace in Toronto for experimental culture, and founder of Bad Debt a political economy workshop based in Toronto with Verso Books.



Artistic Career of Lin Gang and Pang Tao

Speaker: Peng Weihua

Time: 16: 00- 17: 30

Lin Gang and Pang Tao were born respectively in 1925 and 1934. They were the first generation of oil painters after the founding of the People's Republic of China. Lin Gang’s practice started from the creation of New Year's paintings in the early 1950s. He then studied in the Soviet Union for six years for strict training of realist painting. Growing up under the artistic influence of his parents Pang Xunqin and Qiu Di, Pang Tao studied the paintings of modernist art as a child. She graduated from the Central Academy of Fine Arts in the 1950s. In a specific historical context, the artist couple have completed many revolutionary realist paintings, but in the 1980s, they initiated artistic experiments with expressionism and abstractions which continue into the new century. Through research and review, Peng Weihua will showcase the normal and “abnormal” practices of Lin Gang and Pang Tao undercertain times by presenting the artistic choices of the artist couple, the exploration of their language of painting and their entanglement with the times.

About the Speaker

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Peng Weihua

Peng Weihua completed her BA and MA at the Fourth Studio of Oil Painting Department at the CAFA from 2008 to 2015. Her master's thesis studied Lin Gang’s artistic career, and she is conducting research on Pang Tao during her residency at the Inside-Out Art Museum.


Aboutthe Institute for Provocation

Institute for Provocation (IFP) is a Beijing based independent art organization and project space founded in 2010. Combining the study of theory and artisticpractice, IFP aims to combine cross-disciplinary knowledge and stimulatecultural exchange and production in a collective approach. IFP organizes andadvocates various kinds of activities, including artist residency, researchproject, discussion, exhibition making, workshop, publication, etc.

Two Academic Lectures on Sep. 23

Beijing Inside-Out Art Museum

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Joan Miró: The Universe in the Eye of an Ant

Speaker: Marko Daniel

Free admission

Time: September 23, 2018, 14:00 – 15:30

Venue: Conference Room, Inside-Out Art Museum

Joan Miró was one of the great artists of the twentieth century and produced a unique body of work in dialogue with international artists, poets, architects and intellectuals in Paris, London and New York. Yet, having left his hometown of Barcelona as a young man for the rich cultural environment of Paris, he always said that he was rooted in the earth of the Catalan landscape even while working on the most abstract concepts or seeking to deal with ideas of universal significance. In this talk, Marko Daniel will present an approach to Joan Miró’s work that holds up these creative tensions as the driving force for his work and the basis for his establishing of a museum in Barcelona that holds the largest collection of his work and exhibitions of modern and contemporary art.


About the Speaker

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Marko Daniel 

Marko Daniel is the director of the Joan Miró Foundation and Centre for the Study of Contemporary Art (CEAC) in Barcelona. He was the Convenor of Public Programmes at Tate Modern and Tate Britain in London and Vice-Director of the London Consortium, a unique collaboration between the Architectural Association, the Institute of Contemporary Arts, the Science Museum, Birkbeck College and Tate that offered interdisciplinary research programmes in the humanities.



Dealing with a New Market: Emerging Contemporary Art Market in China

Speaker:Svetlana Kharchenkova

Free admission

Time: September 23, 2018, 15:45-16:45

Venue: Conference Room, Inside-Out Art Museum


In the 1980s there was barely an art market in China and now it is one of the world’s largest. Based on extensive ethnographic fieldwork in the Beijing contemporary art market and interviews with artists, art dealers, collectors, museum directors, auction house employees and others, this talk will discuss how market emergence is done and perceived by its participants. In particular, it will address how the valuation of art happens in this new market, how this market’s participants perceive their market, and how the contemporary art market in China relates to established art markets in Europe and the US.


About the Speaker

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Svetlana Kharchenkova

Svetlana Kharchenkova is lecturer of sociology of modern China at Leiden University, the Netherlands. Her research bridges contemporary China studies and economic and cultural sociology. She defended her PhD dissertation White Cubes in China: A Sociological Study of China’s Emerging Market for Contemporary Art at the University of Amsterdam in 2017. Her research of the development of the Chinese contemporary art market has been published, among others, in Socio-Economic Review and Poetics: Journal of Empirical Research on Culture, the Media and the Arts.


Divided We Stand: On the Busan Biennale 2018

Beijing Inside-Out Art Museum

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Keynote Speaker: Jörg Heiser

Free admission

Time: 14:00 – 15:30

Venue: Conference Room, Inside-Out Art Museum

Together with Cristina Ricupero and Gahee Park, Jörg Heiser co-curates the Busan Biennale 2018 which is themed around artistic perspectives onto divided territories. Torn apart are not only territories – nations, or formerly ethnically connected regions, usually by war, colonization and/or hostile estrangement – but also, importantly, psyches. What kind of sentiments and conditionings does the splitting of territories induce in people’s minds in general, and artistic minds specifically? Vice versa, what kinds of mindsets induce the splitting in the first place?

 

The biennale – the underlying theme of which is explained in this talk – approaches these questions through the lens of looking at Cold War mythology, and through Science Fiction scenarios. The psycho-mapping of split territories means to ask how the political, economic, and military powers have created ways to inhabit the world, and vice versa, how these ways either reinforce or erode these territorial divisions. What are the struggles resulting from this relationship between psyche and territory, individual and community or people? 

About the Speaker

 Jörg Heiser is a professor for art theory at the University of the Arts in Berlin, Germany, where he is the Director of the Institute for Art in Context. For 20 years, he was on the editorial board of frieze magazine, London, for whom he continues to write. He have many publications, including the books All of a Sudden. Things that Matter in  Contemporary Art  (2008) and  Double Lives in Art and Pop Music  (2018, forthcoming). His curatorial projects include  Romantic Conceptualism  (BueroFriedrich Berlin and Bawag Foundation Vienna, 2007/8),  Nuit Blanche Monaco , Monte Carlo (2016), and, together with Cristina Ricupero and Gahee Park, the Busan Biennale 2018, South Korea.

Jörg Heiser is a professor for art theory at the University of the Arts in Berlin, Germany, where he is the Director of the Institute for Art in Context. For 20 years, he was on the editorial board of frieze magazine, London, for whom he continues to write. He have many publications, including the books All of a Sudden. Things that Matter in Contemporary Art (2008) and Double Lives in Art and Pop Music (2018, forthcoming). His curatorial projects include Romantic Conceptualism (BueroFriedrich Berlin and Bawag Foundation Vienna, 2007/8), Nuit Blanche Monaco, Monte Carlo (2016), and, together with Cristina Ricupero and Gahee Park, the Busan Biennale 2018, South Korea.

Honar Nazd-e Iranian Ast va Bas? (Art belongs to Iranians? Period!)

Beijing Inside-Out Art Museum

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Participants: Rouzbeh Akhbari and Eshrat Erfanian (Artists in Residency at Inside-Out Art Museum)

Free admission

Time: 15:45 – 17:15

Venue: Conference Room, Inside-Out Art Museum

This conversation was developed pursuant to ongoing conversations between this month’s artist residents at Beijing Inside-Out Art Museum, Rouzbeh Akhbari and Eshrat Erfanian, and the Inside-Out Museum’s curatorial staff.  Akhbari and Erfanian are different generation Iranian-Canadian artists with a research-driven practice and a shared interest in political economy, urban theory and politics of contemporary image production and distribution. In this event, they will build upon short anecdotes detailing the socio-political contexts framing their departure from Iran and their transition into the arts. This will serve as a starting point to portray a broader image of the minutiae of forces at work in Iranian contemporary art today, particularly under the rigid western-backed sanction regimes that have crippled the mainstream economic structures of the country. 

In hopes of dissecting the complexity of the international gaze upon Iran’s contemporary art scene, this conversation will reflect on a major exhibition of Iranian artists presented in Toronto’s Agha Khan Museum last year, and question its formation as a cultural product primarily constructed for an exotifying western consumer. In contrast, the artists will elaborate on the role of international residencies and alternative/noncommercial spaces that have pried open new opportunities for Iranian artists to engage in important conversations, exhibitions and knowledge sharing within the Global South. Lastly, the conversation will end by situating the current state of affairs in Iran’s arts scene today within the greater regional consciousness of the Arab Spring and its political byproducts.

About the Participants

    Rouzbeh Akhbari is an artist working in video installation and film. His practice is research-driven and usually exists at the intersections of political economy, critical architecture and planning. Through a delicate examination of the violence(s) and intimacies that occur at the boundaries of lived experience and constructed histories, Akhbari uncovers the minutiae of power that organizes and regiments the world around us. 

 

Rouzbeh Akhbari is an artist working in video installation and film. His practice is research-driven and usually exists at the intersections of political economy, critical architecture and planning. Through a delicate examination of the violence(s) and intimacies that occur at the boundaries of lived experience and constructed histories, Akhbari uncovers the minutiae of power that organizes and regiments the world around us. 

 Eshrat Erfanian is an artist and scholar working in a range of media including video, installation, digital photography, painting, and printmaking. Her work minds the phenomenon of speed related to digital and new technology and its relation to image production. Erfanian is a visiting Faculty at the Vermont Collage of Fine Arts in Vermont, USA. She is an alumnus of the ISP at Whitney Museum of American Art. and holds a Ph.D. from York University.

Eshrat Erfanian is an artist and scholar working in a range of media including video, installation, digital photography, painting, and printmaking. Her work minds the phenomenon of speed related to digital and new technology and its relation to image production. Erfanian is a visiting Faculty at the Vermont Collage of Fine Arts in Vermont, USA. She is an alumnus of the ISP at Whitney Museum of American Art. and holds a Ph.D. from York University.

Crescent Exhibition Closing Programme

Beijing Inside-Out Art Museum

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Crescent Exhibition Closing Programme

Time: 2pm, July 1, 2018

Venue: Conference Room, Inside-Out Art Museum

Free admission

The Exhibition Crescent: Retrospectives of Zhao Wenliang and Yang Yushu will come to a close on July 1, 2018. We are honoured to invite Professor Dai Jinhua from the Peking University as keynote speaker to join our closing ceremony. This is also the first presentation of our new lecture series “ China as an Issue” (updated from the previous Interim Meetings project) . After the lecture, we will have a book launch for the exhibition catalogue, and the participating artists of Crescent will join a booking signing session as a sweet end to the exhibition. We will also invite our 8 volunteers who participate in guided tours during the exhibition period on each weekend, thanking them for their contributions by offering them an opportunity to have a close-door dialogue with the two artists. 

Join us on July 1!!! 

China as an Issue Lecture Series (3)

Retrieved and Lost: Historical and Cultural Memories

Keynote Speaker: Dai Jinhua

14:00-16:00

The 20th century in China is undoubtedly an era when both Chinese society and civilization witnessed radical transformations. This lecture intends to draw from the convention and rhetoric of historical narratives -“rupture” and “continuation”- to discuss the cultural symptom of China’s modern history narrative in the 20th century and even the 21st century, which contains ruptures and deficiencies, memories and amnesia, delirium and speechlessness. It further investigates the loss and restoration of historical memories, exploring the social process and cultural dilemma between the recovery and loss of our historical memories, and reflect on the path and possibility of cultural memory and historical narrative.

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Dai Jinhua, lives and works in Beijing. Graduated from the Department of Chinese Language and Literature at Peking University, she taught in the Department of Film and Literature at the Beijing Film Academy for 11 years. She started to teach at the institute of Comparative Literature and Comparative Culture in Peking University since 1993. She is Distinguished Professor of Humanities, Peking University, Director of the Film and Culture Research Centre of Peking University. Her research area includes film, mass media and gender studies. She offers dozens of courses including Intensive Film Studies, Chinese Film Cultural History, Theory and Practice of Cultural Research, Gender and Writing etc. She has lectured over ten countries and regions in Asia, Europe and North America. She published more than 10 monographs. Her monographs and papers have been translated into English, French, German, Italian, Spanish, Japanese and Korean. Representative works include: Scenes in FogFilm CriticismInvisible WritingYesterday's IslandGendering China, and etc.

About “China as an Issue” Lecture Series

Inside-Out Art Museum has started out a series of work with the intention to better understand ourselves since the beginning of 2017. We continuously return to the local sites of art and intellectual histories, searching for threads of ideas, logic of language, and concepts of art that continue to exert impact on us in spite of multiple changes of time and space. Insisting on facing  the realities in China and the issues of it, we strive to track the development inherent in art history using suitable methods on the premise that we are a part of History, Asia, and the Globe.

For a long time in China’s art world, many art practitioners yearn for and wish to learn from Europe and North America’s art, art historical narratives, theories, institutional practices and system construction, which are regarded as effective reference and universal experience. In the current practice of many art museums, similarly, it has become an increasingly widespread phenomenon to import star artists, curators, or ready-made practices effective in the Western context, and to worship them as a classic without reservation.

There is a lack of interest in the in-depth discourses on ourselves or our problems, so is there a lack of confidence and methodology to form our own inner tensions. Even when confronted with work to comb through our own history, practitioners in China’s art world tend to display their unfamiliarity and arrogance of ignorance. It is against this background that the Inside-Out Art Museum practices. By describing differences, returning to ourselves, and more importantly, by appealing and mobilizing, we wish to take the lead to improve initiative and develop in-depth observation in China’s art world, while constantly re-visiting the historical context and political situation of our work.

Therefore, we decide to raise the agenda “China as an Issue” for further discussion on the basis of our previous project series “Interim Meetings”. “China as an Issue” is the starting point inherent in all our work that is neither a nationalist viewpoint nor an ambition driven by the imagination of nation-state. We raise this issue in consideration of the specificity of our practice, because China, as the place and settings where our practice takes place, is our existence and reality. Another consideration relates to the situation that our peers within and without China have displayed excessive neglect of the issues of China as well as the thoughts and practices generated here. We question and criticize the revelry and fantasy resulted from the flattening of history and cultural relativism in global discourses.

With the appeal to re-imagine and historicize ourselves, at the beginning of 2018, we initiated “Interim Meetings”, a project that includes writing, lecturing and publishing. The project proposes to consider the present time as an object of continuous dialogue and identification, and to repeatedly view the growing and changing trends inside and outside the art world. We hope that, through this project, we can inspire actions and discussions in the art and culture industry to face up to the realities. In the past several episodes of “Interim Meetings”, we invited active researchers and young peers in the art community to participate in the project and share their achievements in their respective practices. Now, we have decided to clarify our appeal to present “China as an Issue” as an upgraded version of this project. This upgraded project will keep focusing on new thoughts and practices arising from reality, while trying to refine its background and position in the history and present.

“China as an Issue” is not a slick mirror image that responds to the opportunistic actions in the dominant nationalist narrative, nor does it present an insular tendency to reject foreign theories in the research of domestic issues. Rather, it is the foundation of our practice and vision, as well as  the boundary to be challenged; it is a critical viewpoint born out of cultural, historical and political relatedness instead of exclusiveness. We would like to invite and call upon our peers in the art and academic circles again to participate in our following lectures, exhibitions, publications, and to start the debate and discussion on “China as an Issue”.

Crescent: Retrospectives of Zhao Wenliang and Yang Yushu Exhibition Catalogue Launch and Book Signing

Zhao Wenliang, YangYushu

16:15-17:00

On the last day of Crescent: Retrospectives of Zhao Wenliang and Yang Yushu, we are honoured to invite the two elderly artists to the museum. We will have a book launch for the exhibition catalogue, and the artists will join a booking signing session as a sweet end to the exhibition. We will also invite our 8 volunteers who participate in guided tours during the exhibition period on each weekend, thanking them for their contributions by offering them an opportunity to have a close-door dialogue with the two artists.

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《新月:赵文量、杨雨澍回顾展》

编著:苏伟、杨天歌、冯兮

Zhao Wenliang (b. 1937) and Yang Yushu (b. 1944) are the central figures of the loosely organized Yuyuantan Painters School emerged in the 1960s and the No Name (Wuming) Group emerged in the 1970s. From 1963 onwards, Zhao engaged himself in out-door sketch practice and persisted in painting and sketching by all means during the Cultural Revolution. He had influenced a group of young fellow artists during those years. On December 31, 1974, Zhao organized and participated in an underground art exhibition of what was to become the No Name Group. The exhibition was held at Zhang Wei’s residence (Room 305, Fusuijing Building, Beijing). Zhao then organized and participated in the first and second public exhibitions of the No Name Group (Hua Fang Zhai, Beihai Park, Beijing), in 1979 and 1981 respectively. Yang Yushu, who sees Zhao as his mentor of painting, participated in all those exhibitions as well. Invited by Liu Haisu in 1983, Zhao and Yang participated in the Five Painters Show at the residence of the poet Huiwa. In 1984, a German friend invited them to hold a one-week exhibition at his place at the Beijing Friendship Hotel. They held the Joint Exhibition of Zhao Wenliang and Yushu at the National Art Museum of China in 2004. In 2006 and 2007, they participated in the retrospective exhibition of the No Name Group (Beijing, Shanghai and Guangzhou).