Call for Applications: Leadership Camp – “Engendering Leadership”


The “Steel Butterfly” and “Lady Bird” Johnson, October 25, 1966.

Application Due Date: Midnight Sunday, November 12, 2017

First Event: Mixer for previous and incoming Leadership Camp participants on Sunday, December 3, 7–8:30pm  at 43 Remsen Street, Brooklyn NY (light refreshments served)

First Session: Sunday, March 4, 2018; subsequent meetings May, July, and September 2018

Asia Art Archive in America’s second annual Leadership Camp, a four-part closed seminar, takes four case studies as departure points. The aim of the seminar is to collectively and actively workshop emergent and/or alternative models of leadership rooted in and representative of Asia, and to tilt abstract discussions towards cultural practice, whether this be heading a museum, curating an exhibition, or making objects.

Imelda Marcos, former first lady of the Philippines and briefly in exile, serves as our first and controversial case study. The so-called “Steel Butterfly” is now an elected congresswoman of the Ilocos Norte district, mother of politicians, and continues to be an arts patron, gay icon, and alleged grafter. No prior knowledge of Marcos is necessary, and subsequent case studies will be selected by participants. Some initial questions include:

  • What Asian social structures—political, corporate, religious, civil, familial—can inform models of contemporary leadership, and how might artists, curators, gallerists, and scholars in Asia and elsewhere productively and selectively deploy these?
  • To the extent that it is often said that many communities in Asia privilege the well-being of the collective over the individual, what are the implications for individual leadership, in government as well as in the arts?
  • Has de-imperialization and global racialization confounded the colonial-era binary West/non-West as well as the Cold War ideological guidepost liberal humanism v. communism, and what power structures—and positions of power—have replaced them?
  • Are there forms of leadership that do not coalesce around people, but rather around technologies, ecologies, collectives, motifs, or entities? What does leadership without human subjects look like?

Leadership Camp is co-organized by Christopher K. Ho and AAAinA’s Ali Wong and Hilary Chassé. Prior to the first session on Sunday, March 4, 5-8pm at Asia Art Archive in America, participants will receive PDFs of the readings we will use as points of departure by email.

Applications for Leadership Camp: “Engendering Leadership” are due on Sunday, November 12. Applications should be sent to hchasse@aaa-a.org and include in ONE PDF FILE:

  • a CV
  • a narrative bio (max. 200 words)
  • a short statement about experience, interest, and your interest in leadership (max. 500 words)
  • an artwork or writing sample (optional)

Selected participants will be notified by November 22, and are encouraged to attend all four sessions, to take place on Sundays in March, May, July, and September of 2018.

Leadership Camp will begin with a social mixer with the previous year’s participants, who include: Amara Antilla, David Borgonjon, Hera Chan, Natasha Degen, Carina Evangelista, Sue Jeong Ka, Thomas D. Looser, Marisha Lozada, Alex Paik, Naomi Reis, Elizaveta Shneyderman, Liam Turkle & Evita Yumul, Taehee Whang, Ange Wong, and Brian Kuan Wood.
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Christopher K. Ho (b. Hong Kong, 1974) is known for multi-component projects that are both materially specific and conceptually expansive. He is simultaneously an artist, curator, critic, and educator based in New York and Hong Kong. His forthcoming solo project at the Bronx Museum (October 2018) draws from his lived experience as a Western-educated member of the Chinese diaspora. He has exhibited at, among others, Para Site, Storm King, the Queens Museum, Cranbrook Art Museum, the Des Moines Art Center, Dallas Contemporary, TSA New York, JOAN, MASSMoCA, the Charlotte Street Foundation, the Museum of Contemporary Art Antwerp, 179 Canal, and Socrates Sculpture Park. He participated in the Incheon Biennial, the Chinese Biennial Beijing, and the Busan Bienniale, and is currently at work on an augmented reality project for Art Production Fund. The New York Times, Artforum, LEAP, RanDian, China Daily, Art in America, Modern Painters, Hyperallergic, and ArtReview have reviewed his work. He received his BFA and BS from Cornell University and his MPhil from Columbia University, and teaches in the MFA programs at Pratt Institute and at MICA.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

ALL KEYWORDS

Afghanistan, Alternative Space, American History, Animation, Anthology, Architecture, Archive, Art Administration, art history, artist's book, artist’s book, Asia Art Archive, Asian American, Automation, Autonomy, avant-garde, Bangladesh, Cambodia, Censorship, ceramic art, Chance, China, Chinatown, cities, collage, Collecting, Collective, Collectivity, Communism, conceptual photography, Cultural Revolution, culture, Curating, Cutlural Revolution, Design, Diaspora, Displacement, Documentary, Domestic Labor, Drawing, Economics, Education, encyclopedia, EPOXY, Exhibition History, Experimental Music, Feminism, Fiction, Fluxus, Form, Gender, Geography, ghosts, Godzilla, Graphic Novel, Gwangju Biennale, histories, Hong Kong, Identity, Imaging, Imitation, Independent Publisher, Index, India, Infrastructure, ink, ink painting, Installation, installation art, Institution, Internet, Island, Japan, Khmer Rouge, Korea, Labor, Land, Language, Locality, Madagascar, Malaysia, mapping, Memory, Mexico, Migrant Workers, Miniature Painting, Minimalism, mixed media, Model Opera, Moving Image, Music, mythology, nationalism, Nations, New Media Art, New York City, North Africa, oil, oil painting, painting, paintings, Pakistan, Pakistani, Pedagogy, people, Perennial exhibition, Performance, performance art, Philippines, Photography, Pop Culture, Pop Music, prints, Protest, Public Space, Publication, Realism, Revolution, Sci-Fi, Science, Sculpture, Shamanism, Singapore, Small Press, Socialist Realism, sound, South Asia, Southeast Asia, Sri Lanka, Surveillance, System, Taiwan, Thailand, the Middle East, Theater, Tomato Grey, Tradition, Tunisia, United States, Video Art, Vietnam, Violence, War, watercolor, woman artist, women artists, woodcuts, Zhejiang Academy, Zine

ARTISTS, CRITICS, CURATORS, AND OTHER CONTRIBUTORS

Aisha Khalid, Alexandra Chang, Alexandra Munroe, Alf Chang, Amy WOOD, Annysa Ng, Anthony Yung, Arin Rungjang, Ashley Billingsley, Ashok Sukumaran, Bani Abadi, Bani Abidi, Barbara London, Bing Lee, Birgit DONKER, Boris Groys, Brinda Kumar, Cai Guoqiang, CAMP, Cao Fei, Casey Tang, Chang Chao Tang, Chen Chieh-jen, Chen Tong, Chen Wei-ching, Chen Xiaomei, Chihoi, Christoph NOE, Christopher K. Ho, Christopher Phillips, Chương-Đài Võ, Cici Wu, Cooperativa Cráter Invertido, Cosmin Costinas, David Smith, Desire Machine Collective, Dinh Q Le, Dooeun Choi, Ei Arakawa, Eleanor Heartney, Erin Gleeson, Eugene Wang, Fang Lu, Farah Wardani, Fei Dawei, FENG Yuan(馮原), Frédéric Dialynas Sanchez, fwf, Gao Shiming, Gianni Jetzer, Glenn Phillips, Go Hirasawa, Hammad Nasar, Heman Chong, Herb Tam, Hiroko Tasaka, Hitomi Iwasaki, Ho Tzu Nyen, Howie Chen, Huang Chien-Hung, Huang Hua-Chen, HUANG Xiaopeng, I-Hua Lee, Il Lee, Ingrid Chu, Jaeyong Park, Jane DeBevoise, Jean-Hubert Martin, Jennifer Davis, Jewyo Rhii, Joan Lebold Cohen, Joanne, John Pirozzi, Julian Ross, Jun Yang, June Yap, Kaho Albert Yu, Katherine Grube, Kim Yong-Ik, Kit Yi Wong, Koki Tanaka, Korakrit Arunanondchai, Laurel Ptak, Lê Thuận Uyên, Lee Kit, Lee Mingwei, Lee Weng Choy, Lesley Ma, Li Ming, Li Ran, Li Xiaofei, Liang Jianhua, Lin Yilin, LinDa Saphan, Liu Ding, Liu Shiyuan, Lynn Gumpert, Lyno Vuth, Maline Yim, Mao Chenyu, MAP Office, Margaret Lee, Margo Machida, Mariam Ghani, Marvin Taylor, Meghan Forbes, Meiya Cheng, Mel Bochner, Michelle Wong, Michelle Yun, Midori Yoshimoto, Murtaza Vali, Museum of Unknown, Nadim Abbas, Naeem Mohaiemen, Nate Hun, Nico Baumbach, Nikhil Raunak, nos:books, Ocean Leung, Onejoon Che, 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, Reiko Tomii, Richard Vine, Rina Banerjee, Roslisham Ismail a.k.a. Ise, Ruijun Shen, Ryan Lee Wong, Saadia Toor, Sabih Mohd Ahmed, Samsom Young, Samson Young, Sareth Svay, Sean Anderson, Sen Uesaki, Shaina Anand, Sharmini Pereira, Shiraga Kazuo, Shuddhabrata Sengupta, Sohl Lee, Son Ni, Song Dong, Sopheap Pich, Stephanie Comilang, Su Yu-Hsien, Sung Hwan Kim, Sunghee Lee, Tabaimo, Takahiko Iimura, Takeshi Ikeda, Tammy Nguyen, Tang Kwok Hin, Teresa Kwong, Theresa Hak Kyung Cha, Tiffany Chung, Tobias Madison, Trần Minh Đức, Uli Sigg, Wang Jianwei, Wang Jing, Wang Wei, William LIM, Work on Work, Wu Shanzhuan, Xiaoyu Weng, Xin Wang, Xu Bing, Xu Tan, YANG Jiechang, Yin Xiuzhen, Ying Kwok, YOUNG-HAE CHANG HEAVY INDUSTRIES, Yung MA, Zhang Hongtu, Zhang Peili, Zheng Shengtian, Zhou Tao, Zoe Butt