Archive as Verb: Asia Art Archive’s Projects in India

 
September 10 2013
Asian/Pacific/American Institute at NYU

‘In the context of Asia with its specific conditions of weak knowledge infrastructure (but also physical infrastructure, in many cases) we have to think of archive as a verb, as well as a noun. To think about what we can enable, and not just what we have or even what we can do.’ —Hammad Nasar, Asia Art Archive Head of Research and Programmes

Through collecting and making information on the recent history of contemporary art in Asia easily accessible, the Hong Kong-based Asia Art Archive (AAA) enables research and scholarship that allow for enriching and rethinking existing global narratives, and re-imagining the role of the archive.

This evening of discussion and networking will allow for a unique and intimate public forum with Hammad Nasar, AAA Head of Research and Programmes, and Sabih Ahmad, AAA Senior Researcher. They will present and discuss the Archive’s research initiatives and projects in India, which include the 2010 digitization of the personal archive of Geeta Kapur and Vivan Sundaram and the current digitization project of the personal archives of four important scholars in Baroda—Professors K G Subramanyan, Gulammohammed Sheikh, Ratan Parimoo, and Jyoti Bhatt. AAA is also compiling an extensive bibliography of art writing in India since the late 19th century, across multiple languages.

Nasar and Sabih will be joined by Jane DeBevoise, AAA Chair of the Board of Directors, and Marvin Taylor, Director of NYU Fales Library and Special Collections, for a panel discussion and Q&A moderated by Alexandra Chang, A/P/A’s Curator of Special Projects and Director of Global Arts Programs.

About Asia Art Archive (AAA)

AAA is an independent, non-profit organization based in Hong Kong with an international Board of Directors, and an Advisory Board made up of noted curators and critics. Over the last 13 years, AAA has built one of the world’s leading public collections of primary and secondary source material on contemporary art in Asia. Built of 80% donated material, the collection now holds over 41,000 records, comprised of hundreds of thousands of physical and digital items, and it continues to grow. Accessible free of charge from AAA’s physical space and searchable from anywhere in the world via the online catalogue, much of the collection is now also available globally via AAA’s digital platform–Collection Online.

About the speakers

Hammad Nasar is Head of Research and Programmes at Asia Art Archive, and moved to Hong Kong to take up this post in September 2012. Earlier, he co-founded and was curatorial director of the London-based arts organization Green Cardamom. He was a Fellow of the Clore Leadership Programme, Research Fellow at Goldsmiths College, and London and Arts Director for the UK’s Festival of Muslim Cultures (2006-7). Selected projects he has curated/co-curated include: ‘Karkhana: A Contemporary Collaboration’ at Aldrich Contemporary, Ridgefield, CT and the Asian Art Museum, San Francisco (2005-7); ‘Safavids Revisited’ at the British Museum (2009); ‘Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh’ at the Whitechapel Gallery, London (2010); ‘Beyond the Page: Miniature as Attitude in Contemporary Art from Pakistan’ at the Pacific Asia Museum, Pasadena, CA (2010); and ‘Lines of Control: Partition as a Productive Space’ at the Johnson Museum at Cornell University (2012) which opens at the Nasher Museum of Art at Duke University on September 19, 2013. Prior to entering the art world, Nasar worked as a management consultant and banker.

Sabih Mohd Ahmed is a Senior Researcher at AAA, and has been a member of Asia Art Archive’s Research+ team since 2009. Stationed in New Delhi, he has overseen the Archive’s digitization projects in the country alongside other research initiatives. Ahmad completed the interdisciplinary MA program at the School of Arts & Aesthetics, Jawaharlal Nehru University in New Delhi in 2009, and has organized and participated in numerous conferences and workshops internationally.

Jane DeBevoise is Chair of the Board of Directors of Asia Art Archive in Hong Kong and Asia Art Archive in America, the New York-based mini-hub of Asia Art Archive Hong Kong. Prior to moving to Hong Kong in 2002, DeBevoise was Deputy Director of the Guggenheim Museum, responsible for museum operations and exhibitions globally. She joined the Museum in 1996 as Project Director of ‘China: 5000 Years,’ a large scale exhibition of traditional and modern Chinese art that was presented in 1998 at the Guggenheim museums in New York and Bilbao. DeBevoise has an MA from University of California, Berkeley and a PhD from The University of Hong Kong, both in Chinese art history. She was appointed by the Home Affairs Bureau of the Hong Kong Government to the Committee for Museums 2004-2007 and to the Museums Advisory Group for the development of the West Kowloon Cultural District 2006-2007. She is a Trustee of Asian Cultural Council.

Marvin J Taylor, Director of the Fales Library and Special Collections, holds a BA in Comparative Literature, an MLS from Indiana University, and an MA in English from NYU. He has held positions at the Lilly Library at Indiana University and Columbia University’s Rare Book and Manuscript Library and Health Sciences Library. He has been at the Fales Library since 1993. In 1994, Taylor founded the Downtown Collection, which contains over 12,000 printed books and 15,000 linear feet of manuscripts and archives. He was editor of The Downtown Book: The New York Art Scene, 1974-1984 (Princeton University Press, 2006) and co-curator of the exhibition The Downtown Show: The New York Art Scene, 1974-1984. He has overseen numerous grants from the NEA, NY State Council on the Arts, National Film Preservation Foundation, and private foundations including the Delmas, Goldstein, Ruben, and Mellon foundations.

Alexandra Chang is Curator for Special Projects & Director of Global Arts Programs at the Asian/Pacific/American Institute at NYU. She is also Director of the ongoing Global Asia/Pacific Art Exchange. Chang is co-organizer for the inter-institutional East Coast Asian American Art Project and the Virtual Asian American Art Museum Project. She serves as co-organizer for the Diasporic Asian Art Network and sits on the executive committee of the International Network for Diasporic Asian Art Research. She is the author of Envisioning Diaspora: Asian American Visual Arts Collectives from Godzilla, Godzookie to the Barnstormers (2009).

This evening’s event is part of the A/P/A Institute’s NYU Global Asia/Pacific Art Exchange initiatives and was organized in conjunction with Asia Art Archive in America. 

ALL KEYWORDS

20th century, abstract art, Abstraction, Access, acrylic, acrylic painting, Afghanistan, Africa, AIDS, Alternative Space, American History, american revolution, Animation, Anthology, anthropology, Architecture, Archive, art, Art Administration, art and society, art criticism, art history, art writing, Artificial Intelligence, artist book, Artist Books, artist's book, Artists Books, artist’s book, asia, Asia Art Archive, Asia-Pacific Triennale, Asian American, asian american art history, asian politics, Auction, Auctions, Australia, autobiography, Automation, Autonomy, avant-garde, Bangladesh, Beijing, Bhutan, Biennial, Big Tail Elephant, Bookbinding, Books, Brooklyn, Brunei, Buddhism, Burma, Butoh, Cambodia, Canton Express, care-giving, cartography, Catalogue, Censorship, Central Asia, ceramic art, ceramics, Chance, charcoal, Chengdu, China, Chinatown, chinese, chinese artist, Chinese-American, cities, civil rights movement, climate, collage, Collecting, collection, Collections, Collective, Collectivity, colonialism, commercial art, Communism, community, Community Art, Composition, conceptual art, conceptual photography, Conservation, contemporary, contemporary art, culinary arts, cultural criticism, cultural heritage, cultural identity, cultural nationalism, Cultural Revolution, cultural studies, cultural theory, culture, Curating, Cutlural Revolution, cynical realism, Dance, Design, desire, developing countries, Dhaka Art Summit, Diaspora, digital, Digital Archives, digital art, digital poetics, digital print, Displacement, DNA, Documentary, Documentation, Domestic Labor, Drawing, east asia, Economics, Education, Emigration & Immigration Studies, encyclopedia, environment crisis, environmental art, EPOXY, essays, etching, ethnic group, ethnic violence, ethnicity, ethnogenesis, ethnography, exhibition, Exhibition History, Experimental Music, family, Family Archives, Family Images, Feminism, feminist theory, Festivals, fiber, fibre art, Fiction, Field-recording, Film, Fluxus, Folklore, Form, Foundations, Fukuoka Triennial, Gender, Genetics, Geography, ghosts, global capitalism, globalization, Godzilla, Graphic Design, Graphic Novel, group exhibition, Guangzhou, Gutai, Gwangju Biennale, heneng, histories, history, Hong Kong, hong kong S.A.R., humanities, Identity, identity politics, imagined realities, Imaging, Imitation, immigrant, in situ, independent art space, Independent Publisher, Index, India, indian, indian art, indigenism, Indonesia, Infrastructure, ink, ink and colors, ink painting, ink-painting, Installation, installation art, Institution, interactive art, Internet, internet art, Iran, iranian, islam, Island, Japan, Japanese American, jiang tiefeng, keywords, Khmer Rouge, Korea, korean, Labor, Land, Land Art, Language, laos, late imperial china, Leadership Camp, Lecture, Lhasa, Li Zhensheng, liberalism, Libraries, Library, literary criticism, literature, liu shaohui, Live Art, Live Performance, Locality, Madagascar, Malaysia, Manananggal, Map, mapping, maps, media, Memory, Mexico, Middle East, Migrant Workers, Migration, Miniature Painting, Minimalism, minjung movement, Minority Demographic Studies, mixed media, mixed-media, MOCA, Model Opera, modern art, Modernism, modernity, mongolia, mourning, Moving Image, multi-media art, multiculturalism, multimedia, multimedia art, Murals, museum education, Museum studies, Museums, Music, muslim, Myanmar, Myanmar (Burma), mythology, nationalism, Nations, Nepal, net art, New Enlightenment Movement, new media, New Media Art, New York City, North Africa, nostalgia, oil, oil painting, Oral Histories, Organization, orientalism, painting, paintings, Pakistan, Pakistani, participatory, pattern, Pearl River Delta, peasant painting, Pedagogy, people, Perennial exhibition, Performa, Performance, performance art, Philippines, photo installation, photograph, photographs, Photography, Pidouhui, political pop, politics, Pond Society, Pop Culture, Pop Music, Portraiture, post colonialism, post-feminism, post-modernism, postcolonialism, postmodernism, Preservation, print, printmaking, prints, Propaganda, Protest, Public Art, Public Space, Publication, Publishing, Queer Art, race, Realism, religion, Research, Residencies, Revolution, Saudi Arabia, Sci-Fi, Science, Sculpture, Secrets, Shamanism, Singapore, Site Specific, slavery, Small Press, social histories, social realism, social sciences, social stratification, social theory, socialism, Socialist Realism, socially engaged art, sociology, sociopolitical, solo exhibition, Song Ling, Sonic Art, sound, Sound Art, sound installation, South Asia, South East Asia, south korea, Southeast Asia, space, spirituality, Sri Lanka, stereotypes, structural film, Sungari Auctions, Surveillance, System, Taiwan, technology, technology and spectatorship, Television, text, textile, Thailand, thangka, The, the Middle East, The Philippines, Theater, Tibet, Tibetan art, Time, Time-Based Media, Tomato Grey, trade, Tradition, traditional art, trama, Translation, triennial, Tunisia, turkish, uncertainty, Under the Influence, United States, united states of america, Unity, urban planning, Urbanism, USA, Utopian, Uyghur, Vampires, Video, Video Art, Video Game, Vietnam, Violence, Virtual Reality, visual arts, visual culture, VR, War, water color, Water Rights, watercolor, watercolour painting, woman artist, women, women artist, women artists, women's studies, wood, woodcut, woodcuts, Workshop, writing, WWII, Xinjiang, yunnan school of painting, Zhang Peili, Zhejiang Academy, Zine

ARTISTS, CRITICS, CURATORS, AND OTHER CONTRIBUTORS

Aisha Khalid, Aki Onda, Aki Sasamoto, Alexander Keefe, Alexandra Chang, Alexandra Munroe, Alf Chang, Ali Van, Amy Lien, Amy WOOD, Annysa Ng, Anthony Tino, Anthony Yung, Arin Rungjang, Ashley Billingsley, Ashok Sukumaran, Bahar Behbahani, Bahar Behbani, Bani Abadi, Bani Abidi, Barbara London, Beatrix Pang, Belinda Q. He, Benjamin Moskowitz, Beth Citron, Betsy Damon, Bing Lee, Birgit DONKER, Boon Hui Tan, Boris Groys, Brinda Kumar, Cai Guoqiang, CAMP, Cao Fei, Casey Tang, Chang Chao Tang, Chang Yuchen, Chen Chieh-jen, Chen Tong, Chen Wei-ching, Chen Xiaomei, Chihoi, China, Chitra Ganesh, Chris Wu, Christoph NOE, Christopher Ho, Christopher K. Ho, Christopher Phillips, Chương-Đài Võ, Cici Wu, Cooperativa Cráter Invertido, Cosmin Costinas, David Smith, Desire Machine Collective, Diana Campbell Betancourt, Dinh Q Le, dmp editions, Dooeun Choi, DREAMER FTY, Ei Arakawa, Eleanor Heartney, Elizabeth W. Giorgis, Enzo Camacho, EPOXY Art Group, Erin Gleeson, Eugene Wang, Fang Lu, Farah Wardani, Fei Dawei, FENG Yuan(馮原), Franklin Furnace, Frédéric Dialynas Sanchez, Fully Booked, Furen Dai, fwf, Gaku Tsutaja, Gao Shiming, Gianni Jetzer, Glenn Phillips, Go Hirasawa, Guan Xiao, Hajra Waheed, Hammad Nasar, Heman Chong, Herb Tam, Hiroko Tasaka, Hitomi Iwasaki, Ho Tzu Nyen, Hồng-Ân Trương, Howie Chen, Hsu Chia-Wei, Huang Chien-Hung, Huang Hua-Chen, Huang Po-chih, HUANG Xiaopeng, I-Hua Lee, Iftikhar Dadi, Il Lee, Ingrid Chu, Interference Archive, Jaeyong Park, Jaishri Abichandani, Jane DeBevoise, Jean Shin, Jean-Hubert Martin, Jen Hoyer, Jen Liu, Jennifer Davis, Jewyo Rhii, Joan Lebold Cohen, Joanne, John Pirozzi, John Tain, José Maceda, Julian Ross, Jun Yang, June Yap, Kaho Albert Yu, kate-hers RHEE, Katherine Grube, Kim Yong-Ik, Kimia Maleki, Kit Yi Wong, Koki Tanaka, Korakrit Arunanondchai, Laurel Ptak, Lê Thuận Uyên, Lee Kit, Lee Mingwei, Lee Weng Choy, Lesley Ma, Levi Easterbrooks, Li Ming, Li Ran, Li Shi, Li Xiaofei, Liang Jianhua, Lin Yilin, Linda Huang, LinDa Saphan, Lisa Ross, Liu Ding, Liu Shiyuan, Louiza Ho, Lynn Gumpert, Lyno Vuth, Maika Pollack, Maline Yim, Mao Chenyu, MAP Office, Margaret Lee, Margo Machida, Mariam Ghani, Martha Wilson, Marvin Taylor, media art, Meghan Forbes, Meiya Cheng, Mel Bochner, Miao Ying, Michelle Wong, Michelle Yun, Midori Yoshimoto, Ming Fay, Minoru Yoshida, Miwako Tezuka, Moe Satt, Morgan Wong, Mukaddas Mijit, Murtaza Vali, Museum of Unknown, Nadim Abbas, Naeem Mohaiemen, Nate Hun, new media, Nico Baumbach, Nikhil Raunak, Nonny de la Peña, Nora Taylor, nos:books, Ocean Leung, Onejoon Che, Ou Ning, Pad.ma, Pak Sheung Chuen, Pan An-yi, Park Chankyong, Passenger Pigeon Press, Patty Chang, photography, Pi Li, Polit-Sheer-Form Office, Prem Krishnamurthy, Qiu Anxiong, Qiu Deshu, Qiu Zhijie, Rabbya Naseer, Rania Ho, Raqs Media Collective, Rebecca Karl, Reiko Tomii, Richard Vine, Rina Banerjee, Risha Lee, Rob Smith, Roslisham Ismail a.k.a. Ise, Ruijun Shen, Ryan Lee Wong, Saadia Toor, Sabih Mohd Ahmed, Sadya Mizan, Sam Hart, Samita Sinha, Samsom Young, Samson Young, Sareth Svay, Sean Anderson, Sen Uesaki, Shaina Anand, Shanta Rao, Sharmini Pereira, Shauba Chang, Shen Xin, Shiraga Kazuo, Shuddhabrata Sengupta, Simon Leung (梁碩恩), Simon Wu, Sming Sming Books, Sohl Lee, Son Ni, Song Dong, Sopheap Pich, Stephanie Comilang, Stephanie H. Tung, Stephen Teiser, Su Hui-Yu, Su Yu-Hsien, Sung Hwan Kim, Sunghee Lee, Svetlana Kharchenkova, Tabaimo, Takahiko Iimura, Takako Tanabe, Takeshi Ikeda, Tammy Nguyen, Tang Kwok Hin, Taro Hanaga, Teresa Kwong, The Dunhuang Foundation, The Otolith Group, Theresa Hak Kyung Cha, Tiffany Chung, Tishan Hsu, Tobias Madison, Tom Looser, Trần Minh Đức, Tsherin Sherpa, Uli Sigg, Umber Majeed, video art, Việt Lê, Vivian Sming, Wang Gongyi, Wang Jianwei, Wang Jing, Wang Wei, Wang Xu, Waterfall, William LIM, Work on Work, Wu Shanzhuan, Xen Nhà, Xiaoyu Weng, Xie Xiaoze, Xin Wang, Xu Bing, Xu Tan, YANG Jiechang, Yang Wang, Yin Xiuzhen, Ying Kwok, Yoon Hwan Bae, YOUNG-HAE CHANG HEAVY INDUSTRIES, Yu Cheng-Ta, Yung MA, Zhang Hongtu, Zhang Peili, Zheng Shengtian, Zhenzhen Qi, Zhou Tao, Ziying Duan, Zoe Butt