Situated Knowledges – Art and Curating On the Move – A Shared Campus Event
Afterall is pleased to participate in Situated Knowledges – Art and Curating On the Move, a Shared Campus Event held at Tai Kwun Contemporary, Hong Kongand Migros Museum für Gegenwartskunst, Zurich.
Once Upon A Place – A Panel Discussion
Date
Friday, June 25
Time
10:15–11:40pm CEST / 4:10–5:40pm HKT
Location
Zoom
Afterall Exhibition Histories series editor Lucy Steeds will be joined by John Tain, Head of Research at AAA in this public talk to consider the question: If art lives in its public presentation, how may we conserve and nurture what matters after the event of exhibition is over?
They will consider this question while rooting ourselves in a show curated in London in 1989, ‘The Other Story: Afro-Asian Art in Postwar Britain’.
John Tain and Lucy Steeds will introduce this exhibition as the basis for recent online work by Asia Art Archive (Hong Kong) and Afterall (London) respectively.
Please register at the Zoom Webinar HERE
Situated Knowledges, Situated Works– A Workshop
Date
Friday, 25 June 2021
Time
1:00–4:00pm CEST / 7:00–10:00pm HKT
Location
Central Saint Martins in London + Tai Kwun in Hong Kong + Zoom
Maximum number of Participants
20
Registration
This workshop is fully booked, therefore we no longer accept registrations.
Inspired by the artist Ha Bik Chuen’s unique collage practice, this workshop activates participants’ situated knowledges by reimagining their own artworks, or artworks of their choice, at either one of two host venues – Hayward Gallery in London or Tai Kwun in Hong Kong. This develops conversations in the earlier panel discussion: ‘Once Upon a Time, Or a Place’.
Ha Bik Chuen was a Hong Kong artist who had a parallel practice of creatively documenting shows he attended, for instance through collage books. These collages complicate time, place and knowledge, igniting new possibilities that go beyond national, historical and cultural boundaries.
Participants are invited to consider the socio-historical, geo-political and cultural situation of their current home base, vis-a-vis the host venues: how might the context on offer, in London or Hong Kong today, or particular curatorial gestures in these contexts, inflect the work on display? Working with a piece of art you have made – or another of your choosing, perhaps from the 1989 exhibition ‘The Other Story’, or from Ha Bik Chuen’s archive – locate this in situ at the Hayward Gallery or Tai Kwun. What other artworks do you foresee alongside? What curatorial frame do you imagine? How will your artwork take root here and blossom in this environment?