In Motion: Yoon Hwan Bae and Umber Majeed Animation Screening


Tuesday, November 20, 7:00 – 8:30pm

Asia Art Archive in America
43 Remsen Street, Brooklyn, NY 11201

Space is limited and registration is required.
Tickets Available Here

Evolving over more than a century, the medium of animation now encompasses a wide spectrum of techniques that range from by-hand styles to experimental moving image, from screen-based films to VR installations. All of these forms, however, continue to capture and reconstruct our surroundings, simultaneously confirming and questioning our perception of reality.

Please join us for an evening of screenings and discussion, featuring two artists who use animation as part of their larger practice. Umber Majeed will present an excerpt from her The Atomically Explosive Love (2018) series and In The Name of Hypersurface of the Present (2018). Yoon Hwan Bae will show two stop-motion animations: Road to Studio B (2018) and Self-Portrait (2017). The conversation following the screenings will explore the possibilities inherent in animation’s transdisciplinary nature, as well as how this medium shapes the artists’ narrative impulse.

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Yoon Hwan BAE
draws images of imagination and fantasy based on fables, art history, and mythology. While the narratives in his works, which range from small drawings to massive roll canvases, are frequently about his own identity, they also represent human life, desire, and relationship from multiple angles. Bae has held solo exhibitions at DOOSAN Gallery New York (2018, New York, U.S.A.), Gallery Baton (2017, Seoul, Korea), DOOSAN Gallery Seoul (2017, Seoul, Korea), Space O’NewWall (2015, Seoul, Korea), Spacemom Museum of Art (2014, Cheongju, Korea), and Insa Art Space (2014, Seoul, Korea). He has also participated in group exhibitions at venues that include Seoul Museum of Art (2018, Seoul, Korea), Chapter II (2017, Seoul, Korea), Cheongju Museum of Art (2017, Cheongju, Korea), Suzhou Jinji Lake Art Museum (2016, Suzhou, China), and Seoul Olympic Museum of Art (2016, Seoul, Korea).

Umber Majeed is a multidisciplinary visual artist based between New York, USA and Lahore, Pakistan. Her writing, performance, and animation work engage with familial archives to explore the specifics of Pakistani state and urban infrastructure through a feminist lens. Majeed is a recipient of numerous fellowships including the HWP Fellowship, Ashkal Alwan, Beirut, Lebanon (2017) and Refiguring Feminist Futures – Web Residency, Akademie Schloss Solitude & ZKM, Germany (2018). She has shown in venues across Pakistan, North America, and Europe. Recent group exhibitions include; ‘Promises to Keep’, apexart, New York (2017), and ‘Witness- Karachi Biennale’, Karachi, Pakistan (2017), and ‘Volumes – Queens International’, Queens Museum, New York (2018). Her work has been acquired by several private collections, including the Lekha and Anupam Poddar Collection at the Devi Art Foundation in Gurgaon, India.

Image caption: Still from In The Name of Hypersurface of the Present, Courtesy of Umber Majeed.

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

20th century, abstract art, Abstraction, Access, acrylic, acrylic painting, Afghanistan, Alternative Space, American History, Animation, Anthology, anthropology, Architecture, Archive, Art Administration, art history, art writing, Artificial Intelligence, artist book, artist's book, artist’s book, Asia Art Archive, Asian American, Automation, Autonomy, avant-garde, Bangladesh, Buddhism, Burma, Cambodia, care-giving, Catalogue, Censorship, Central Asia, ceramic art, ceramics, Chance, Chengdu, China, Chinatown, cities, collage, Collecting, Collective, Collectivity, commercial art, Communism, Composition, conceptual art, conceptual photography, Conservation, contemporary art, Cultural Revolution, culture, Curating, Cutlural Revolution, Design, Diaspora, digital, digital print, Displacement, DNA, Documentary, Domestic Labor, Drawing, Economics, Education, encyclopedia, EPOXY, essays, exhibition, Exhibition History, Experimental Music, Feminism, Festivals, Fiction, Field-recording, Fluxus, Folklore, Form, Foundations, Gender, Genetics, Geography, ghosts, Godzilla, Graphic Novel, group exhibition, Gutai, Gwangju Biennale, histories, history, Hong Kong, hong kong S.A.R., Identity, Imaging, Imitation, in situ, independent art space, Independent Publisher, Index, India, Indonesia, Infrastructure, ink, ink and colors, ink painting, ink-painting, Installation, installation art, Institution, Internet, Iran, Island, Japan, Khmer Rouge, Korea, Labor, Land, Land Art, Language, Lhasa, literature, Locality, Madagascar, Malaysia, Manananggal, mapping, Memory, Mexico, Migrant Workers, Migration, Miniature Painting, Minimalism, mixed media, mixed-media, Model Opera, modern art, mourning, Moving Image, multi-media art, multimedia, multimedia art, Murals, Museum studies, Museums, Music, Myanmar, mythology, nationalism, Nations, New Media Art, New York City, North Africa, oil, oil painting, painting, paintings, Pakistan, Pakistani, participatory, Pedagogy, people, Perennial exhibition, Performance, performance art, Philippines, photographs, Photography, Pop Culture, Pop Music, Preservation, print, prints, Protest, Public Space, Publication, Publishing, Realism, Revolution, Saudi Arabia, Sci-Fi, Science, Sculpture, Secrets, Shamanism, Singapore, Small Press, Socialist Realism, socially engaged art, Sonic Art, sound, Sound Art, South Asia, South East Asia, south korea, Southeast Asia, Sri Lanka, Surveillance, System, Taiwan, technology, Television, Thailand, the Middle East, The Philippines, Theater, Tibet, Time-Based Media, Tomato Grey, Tradition, trama, Tunisia, United States, united states of america, Unity, USA, Vampires, Video Art, Video Game, Vietnam, Violence, Virtual Reality, visual culture, VR, War, Water Rights, watercolor, watercolour painting, woman artist, women, women artist, women artists, woodcuts, writing, Zhejiang Academy, Zine

ARTISTS, CRITICS, CURATORS, AND OTHER CONTRIBUTORS

Aisha Khalid, Aki Onda, Alexander Keefe, Alexandra Chang, Alexandra Munroe, Alf Chang, Amy Lien, Amy WOOD, Annysa Ng, Anthony Yung, Arin Rungjang, Ashley Billingsley, Ashok Sukumaran, Bani Abadi, Bani Abidi, Barbara London, 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, Chen Chieh-jen, Chen Tong, Chen Wei-ching, Chen Xiaomei, Chihoi, Chitra Ganesh, 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, DREAMER FTY, Ei Arakawa, Eleanor Heartney, Enzo Camacho, EPOXY Art Group, 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, Hajra Waheed, Hammad Nasar, Heman Chong, Herb Tam, Hiroko Tasaka, Hitomi Iwasaki, Ho Tzu Nyen, Howie Chen, Hsu Chia-Wei, Huang Chien-Hung, Huang Hua-Chen, HUANG Xiaopeng, I-Hua Lee, Il Lee, Ingrid Chu, Jaeyong Park, Jane DeBevoise, Jean-Hubert Martin, Jen Liu, Jennifer Davis, Jewyo Rhii, Joan Lebold Cohen, Joanne, John Pirozzi, José Maceda, Julian Ross, Jun Yang, June Yap, Kaho Albert Yu, 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 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, Ming Fay, Minoru Yoshida, Miwako Tezuka, Moe Satt, 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, 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, Risha Lee, Roslisham Ismail a.k.a. Ise, Ruijun Shen, Ryan Lee Wong, Saadia Toor, Sabih Mohd Ahmed, Sam Hart, Samita Sinha, Samsom Young, Samson Young, Sareth Svay, Sean Anderson, Sen Uesaki, Shaina Anand, Shanta Rao, Sharmini Pereira, Shen Xin, Shiraga Kazuo, Shuddhabrata Sengupta, Simon Wu, Sming Sming Books, Sohl Lee, Son Ni, Song Dong, Sopheap Pich, Stephanie Comilang, Stephanie H. Tung, Stephen Teiser, Su Yu-Hsien, Sung Hwan Kim, Sunghee Lee, Tabaimo, Takahiko Iimura, Takako Tanabe, Takeshi Ikeda, Tammy Nguyen, Tang Kwok Hin, Teresa Kwong, The Dunhuang Foundation, The Otolith Group, Theresa Hak Kyung Cha, Tiffany Chung, Tobias Madison, Trần Minh Đức, Uli Sigg, Umber Majeed, Vivian Sming, Wang Jianwei, Wang Jing, Wang Wei, 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, Yung MA, Zhang Hongtu, Zhang Peili, Zheng Shengtian, Zhenzhen Qi, Zhou Tao, Zoe Butt