The Archival Impulse: Collecting and Conserving the Moving Image in Asia

 

Thursday, September 10, 10AM – 1PM
The Museum of Modern Art
The Celeste Bartos Theater
The Lewis B. and Dorothy Cullman Education and Research Building
4 West 54 Street (between Fifth and Sixth avenues), New York, NY 10019

Organized by Asia Art Archive, Collaborative Cataloging Japan, and MoMA’s C-MAP initiative, this three-panel event provides a forum to rethink and share the methods, philosophies, and challenges in archiving moving image and time-based media works in Asia.

DEVELOPING COLLECTIONS
Hiroko Tasaka (Tokyo Metropolitan Museum of Photography), Farah Wardani (National Gallery Singapore), Fang Lu (Video Bureau, Beijing and Guangzhou), and Stuart Comer (MoMA, New York) introduce collection strategies and compare archiving practice at their organizations in Japan, Singapore, China, and New York. The panel will explore the impetus behind the development of these collections, the urgencies to which they respond, and how they expand upon existing art historical narratives.

OPENING THE DIGITAL VAULT
David Smith (Asia Art Archive, Hong Kong), Sen Uesaki (Keio University Art Center, Tokyo), Alf Chang (ETAT Lab, Taipei), and Ben Fino-Radin (MoMA, New York) explore the transition from a static physical archive to a digital infrastructure that is open, nonlinear, web-like, and constantly evolving. As the modes of access continue to change, how do we effectively preserve moving image and time-based works in the digital age, and bring this material into a rhizomatic network of knowledge?

TRANSFORMING HISTORIES
Go Hirasawa (Meiji Gakuin University, Tokyo), Mariam Ghani (Artist, New York), Huang Chien-hung (Taipei National University of Arts), and Jane DeBevoise (Asia Art Archive, Hong Kong and New York) discuss research projects that develop out of archival materials. Pointing to sources ranging from personal archives to commercial and state-sponsored media production, these projects attempt to expand and nuance ways of thinking about history, politics, and collective memory.

Admission is free with your RSVP. However, space is limited and seating will be offered on a first-come, first-served basis. Please arrive early to be guaranteed a seat.
RSVP: contact_c-map@moma.org


Image: Mariam Ghani. Still from What we left unfinished. In progress. Research project, installations, and feature film. Shown: discarded scraps from the feature film Gunah (1979), and newsreel (1978). Image courtesy of the artist.

 

 

Asia Art Archive collects, preserves, and makes information on contemporary art of Asia easily accessible in order to facilitate understanding and research in the field. (www.aaa.org.hk, www.aaa-a.org)

Collaborative Cataloging Japan supports preservation and archival initiatives for Japanese postwar moving image works. (www.collabjapan.org)

MoMA’s Contemporary and Modern Art Perspectives (C-MAP) is the Museum’s cross-departmental research program on art in the global age, which currently focuses on Asia, Latin America, and Central and Eastern Europe. (post.at.moma.org)

 

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 poetics, digital print, Displacement, DNA, Documentary, Domestic Labor, Drawing, east asia, Economics, Education, encyclopedia, EPOXY, essays, exhibition, Exhibition History, Experimental Music, Feminism, Festivals, Fiction, Field-recording, Film, 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., humanities, 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, Propaganda, 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, structural film, Surveillance, System, Taiwan, technology, Television, text, 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 arts, 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