Call for Applications: Asia Art Archive in America’s Leadership Camp

Application Due Date: Friday July 29, 2016

First Seminar Date: Sunday, August 21, 2016, 5–8pm
Refreshments served

Asia Art Archive in America’s inaugural Leadership Camp’s theme is “Envisioning Institutions.” Organized and moderated by Christopher K. Ho with AAA-A’s Ali Wong and Xiaofei Mo, Leadership Camp combines seminar-type discussions of selected texts, presentations by participants and guests, and a public component. The goal is to collectively workshop formats, frameworks, and missions for new and existing institutions.

Applications for Leadership Camp: “Envisioning Institutions” are due on Friday, July 29. Applications should be sent to awong@aaa-a.org. Please send all the below elements in ONE PDF FILE:

  • a CV
  • a narrative bio (max. 200 words)
  • a short statement of interest detailing your overall directional approach to interpreting “Institution” (max. 500 words)
  • an artwork or writing sample (optional)

Your statements will be incorporated into the planning of future seminars and taken into consideration as we plan for guest speakers. Selected participants will be notified by August 5.

Prior to the first session on Sunday, August 21, 5-8pm at Asia Art Archive in America, 43 Remsen Street, Brooklyn NY 11201, participants will receive PDFs of the readings we will use as points of departure by email.

FRAMING QUESTIONS FOR SESSION 1:

In the 1970s, institutional critique questioned the museum’s authority and attenuated canonical, chronological history’s supremacy. By the 1990s, artists could—and often did—occupy the position of curator and gallerist; they moved up the hierarchy from “labor” to “management.” But this turned out to be a two-way street. The 1990s also witnessed curators like Hans Ulrich Obrist emerge from the haze of administration and into the lumen. And today collectors are heralded as artistic visionaries, their proper names perambulating from museum walls to exhibition titles.

The becoming-artist of curators and collectors paralleled the institutionalization of alternative spaces such as PS1, in 2000 rebranded MoMA PS1. Luc Boltanski and Eve Chiapello’s 1999 The New Spirit of Capitalism further traced the inexorable mainstreaming of the margins—capitalism’s hallmark—through transformations of the subject. For them, while the contemporary model of the freelancer resists bureaucracy and forms of organization endemic to an earlier stage of capitalism, it dovetails with advanced network capitalism’s salient methodologies. Liberated, individual, and spontaneous, the freelancer, for instance, lacks company-issued healthcare and is expected to be passionate about his or her work.

This session asks: Might artists, curators, and scholars work through this institutionalization and with this subject position rather than bemoaning assimilation, or wallowing in the fact that we are paradigmatic subjects of neo-liberal capitalism? Might there be other forms of capitalism emerging from the East that complicate the narrative above? Might once marginal spaces now constitute institutional instruments for change? Done constructively, might the task of representing contemporary subjectivity found a new civic art and if so, what might this look like?

Image courtesy of Asia Art Archive in America

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Hong Kong-born Christopher K. Ho employs diverse formats to explore often-invisible social forces implicating contemporary art. His solo show Demoiselles d’Avignon (2013, Y Gallery, NY) refracted Western abstraction through the eyes of a future class of refined Chinese princelings, while Privileged White People (2013, Forever & Today, NY) examined the sensibility of artists who grew up during the affluent Clinton presidency. He has had solo exhibitions at Winkleman Gallery, NY (2010, 2008); FJORD, Philadelphia (2013); and Galeria EDS, Mexico City (2009). His work has been reviewed in the New York Times, Art in America, Modern Painters, Artforum, and ArtReview. He participated in the Incheon Biennial (2009), the Chinese Biennial Beijing (2008), and the Busan Bienniale (2008), and produced site-specific pieces for Storm King (2013) and the Cranbrook Art Museum (2011), where he was the 2010 Critical Studies Fellow. He has additionally taught at Virginia Commonwealth University and at Rhode Island School of Design. He is trustee of NurtureArt.

 


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

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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, thangka, The, the Middle East, The Philippines, Theater, Tibet, Tibetan art, Time, Time-Based Media, Tomato Grey, 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, 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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, 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, 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, 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