Asia Art Archive in America’s 2020 Leadership Camp: “Other Racisms”


Application Due Date:
Midnight Tuesday, September 15, 2020 (applicants notified by Wednesday, September 30)
First Session: Sunday, October 11, 2020: 5-8pm

“Other Racisms” is the theme of the fourth iteration of Asia Art Archive in America’s annual Leadership Camp. This four-part closed seminar explores race and ethnicity from and within an Asian context. It addresses racism not only against Asians, but also among and by Asians.

Organized and moderated by Christopher K. Ho and AAA-A’s Furen Dai, Leadership Camp’s intimate format interweaves seminar-type discussions of selected texts with the lived experiences and diverse knowledge of participants. The goal is to use these as guideposts to collectively and actively workshop discourses of race pertaining to, embedded in, and/or emanating from the variegated cultures and terrain of Asia.

Applications for Leadership Camp: “Other Racisms” are due on September 15, 2020. Applications should be sent to fdai@aaa-a.org and include in one PDF file:

  •  a CV
  • a narrative bio of 100-200 words
  • an example of a historical or contemporary artwork you think might have characteristics of or exemplify “other racisms,” and a statement of fewer than 500 words explaining your choice.
  • an artwork or writing sample of your own (optional)

Your examples and statements will be incorporated into the planning of the four sessions, to be spread over 2020-2021. Selected participants will be notified by Wednesday, September 30.

Prior to the first session on Sunday, October 11, 5-8pm, participants will receive PDFs by email of the readings to be discussed. (Depending on CDC guidelines, the first session will be held either virtually via Zoom or at Asia Art Archive in America, 43 Remsen Street, Brooklyn, NY 11201).

Initial framing questions include:

  • What if the “other” in “Other Racisms” is replaced with “our”? What are our racisms?
  • How might we illuminate ingrained and invisible hierarchies between South, East, and Southeast Asians, and develop a language to address, and possibly redress, these?
  • How do—and how should—debates about race manifest in visual culture formally, figuratively, symbolically, and materially? Are there positive, negative, and neutral examples?
  • Where do notions of class and systems of caste intersect with issues of race, and can awareness of these amend curatorial practices, art pedagogies, and organizational structures?
  • Decades ago, Deng Xiaoping touted “socialism with Chinese characteristics.” What are examples of “racism with Han characteristics”? What aspects are imported from the West, and what are endemic? Is it possible—or useful—to distinguish them?
  • The political format of the nation state begets a particular and pragmatic definition race. Do other formats—for instance, of universal empires or, contemporarily, of economic coalitions like APEC or ASEAN—bring their own exigencies to the term?
  • In the US, race relations primarily concern whites and others, with the former being a fixed term and the latter often interchangeable. When and how do we relate to other “others” in the West, and in our respective “home” countries?

Christopher K. Ho (b. Hong Kong) is known for multi-component projects that are both materially specific and conceptually expansive. He is an artist, educator, curator, and critic based in New York and Hong Kong. He has exhibited at, among others, the Bronx Museum, the Brooklyn Academy of Music, UCCA Beijing, Asia Society Hong Kong, the Times Museum, ParaSite, Storm King, the Queens Museum, the Incheon Biennial, and the Busan Bienniale. He is currently editing an anthology with curator Daisy Nam titled Best! Letters from Asian Americans. The New York Times, South China Morning Post, Artforum, Art Asia Pacific, Yishu, Frieze, LEAP, RanDian, Art in America, Modern Painters, Hyperallergic, and Art Review have featured his work. He received his BFA and BS from Cornell University and his MPhil from Columbia University.

New York-based artist Furen Dai (b. Hunan, China) works in video performance, installation and film. Dai received her BA in Russian language and literature from Beijing Foreign Studies University, and her MFA from Tufts University. She has presented her work at the National Art Center, Tokyo; Athens Digital Arts Festival, Greece, amongst others. She has participated in residencies, including International Studio and Curatorial Programs, Art OMI, NARS Foundation, Saas-Fee Summer Institute of Art and has received public art commissions from The Art Newspaper (2019) and Rose Kennedy Greenway (2020). She is the recipient of The Milton and Sally Avery Arts Foundation Fellowship (2017) and an Emergency Grant from Foundation for Contemporary Arts (2020).

Image: Larry Feign, Aieeyaaa! Learn Chinese the Hard Way, 1986.

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, Automation, Autonomy, avant-garde, Bangladesh, 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-American, cities, civil rights movement, 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, EPOXY, essays, etching, ethnic group, ethnic violence, ethnicity, ethnogenesis, ethnography, exhibition, Exhibition History, Experimental Music, family, Family Archives, Family Images, Feminism, 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, indigenism, Indonesia, Infrastructure, ink, ink and colors, ink painting, ink-painting, Installation, installation art, Institution, interactive art, Internet, internet art, Iran, iranian, Island, Japan, Japanese American, jiang tiefeng, keywords, Khmer Rouge, Korea, korean, Labor, Land, Land Art, Language, laos, Leadership Camp, Lecture, Lhasa, Li Zhensheng, Libraries, Library, 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 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-modernism, postcolonialism, postmodernism, Preservation, print, printmaking, prints, Propaganda, Protest, Public Art, Public Space, Publication, Publishing, 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, spirituality, Sri Lanka, stereotypes, structural film, Sungari Auctions, Surveillance, System, Taiwan, technology, technology and spectatorship, Television, text, textile, Thailand, The, the Middle East, The Philippines, Theater, Tibet, Time, Time-Based Media, Tomato Grey, Tradition, 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, wood, woodcut, woodcuts, 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, 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, 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, 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, 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, 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, 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, Uli Sigg, Umber Majeed, Việt Lê, Vivian Sming, Wang Jianwei, Wang Jing, Wang Wei, Wang Xu, Waterfall, William LIM, Work on Work, Wu Shanzhuan, 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