Image by David Kelley for Coming Soon!, 2014, co-curated by Frédéric Dialynas Sanchez and Ashley Billingsley. Courtesy of l’éclair.
Image by David Kelley for Coming Soon!


It Begins with a Story: Zine Conversation and Workshop

June 11, 2017
AAA in A, '09-'21

43 Remsen St. Brooklyn, NY

A conversation and zine-making workshop with artists Frédéric Dialynas Sanchez and Ashley Billingsley, and AAA Researcher Chương-Đài Võ. The conversation focused on the zine as an art form and its appeal to artists and readers in a time of digital media and mass circulation. Dialynas Sanchez and Billingsley shared their experience working on Coming Soon! and the zine as an on-going project of l’éclair, a nomadic curatorial platform founded by Dialynas Sanchez and Emma Perrochon. The conversation was followed by a workshop during which participants were invited to create zines as a social activity.

This event is part of a series of programs leading up to Asia Art Archives’s symposium, “It Begins with a Story: Artists, Writers, and Periodicals in Asia”, co-hosted by The University of Hong Kong in January 2018.

photo documentation of the event
photo documentation of the event
imagephoto documentation of the event
photo documentation of the event

Frédéric Dialynas Sanchez is a French artist of Cretan, Spanish and Vietnamese heritage, currently based in Paris and Sète. He graduated from Arts & Design School of Dijon (ENSAD, 2008). He completed a post-diploma in visual arts in Lyon, under the direction of Jean-Pierre Rehm (ENBAL, 2008/2009), and a post-master program in Shanghai managed by Paul Devautour (L’École Offshore, 2013/2014). His first solo show took place at Suffusive Art Gallery in Hanoi (2007). His paintings have been included in Portrait de l’artiste en motocycliste and The artist as a collector, both curated by Olivier Mosset at Le Magasin, CNAC of Grenoble (2009); Museum of Fine Arts of La chaux de fond (2010); and Museum of Contemporary Arts of Tucson (MOCA) in Arizona (2010/2011). He took part in an exhibition about globalization and tourism titled Cosmotopia at Le Commun, BAC of Geneva (2012), in which he showed work made in response to his time spent in Vietnam.

Ashley Billingsley‘s drawings, paintings and installations address landscape as site of human vulnerability. Using formal strategies such as repetition, discontinuity and spatial ambiguity, she undermines the understanding of the whole and points to larger questions concerning navigation and meaning in conditions more complex and changeable than we can fully access. Current projects include Reverse River, a series of paintings excerpting fragments of the Cambodian landscape along the Tonlé Sap River; and Fire in Woods, graphite drawings inspired by a scene in Akira Kurosawa’s epic 1954 film, Seven Samurai.  She studied at the School of the Art Institute of Chicago before completing a BFA at the University of Minnesota-Minneapolis and an MFA at the School of the Museum of Fine Arts, Boston and Tufts University combined degree program. Select exhibitions include Nuanced: Open-Endedness, Capaciousness and Other Provocative Conditions of Making at Dedee Shattuck Gallery in Westport, MA; Exchange Codes at the Mills Gallery in Boston, MA; An Aesthetics of Slowness at Dorsky Gallery in Long Island City, NY; and On the Streets, an exhibition sponsored by apexart, NY at JavaArts in Phnom Penh, Cambodia.

Chương-Đài Võ is a Researcher at Asia Art Archive. She specializes in modern and contemporary art related to Southeast Asia. She was a Mellon Postdoctoral Fellow at Massachusetts Institute of Technology. In addition, she has received fellowships and grants from Asian Cultural Council, Fulbright Program, National Endowment for the Humanities, and University of California Pacific Rim Research Program. Her curatorial work has been supported by apexart, Dorsky Gallery Curatorial Programs, and the Boston-area New Art Center. She has a PhD from University of California, San Diego, and a BA from Johns Hopkins University.

NYC Department of Cultural Affairs Logo

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