culture360.asef.org http://culture360.asef.org Connecting Asia and Europe through arts and culture Sat, 04 Jul 2015 14:45:31 +0000 en-US hourly 1 http://wordpress.org/?v=3.5.1 ANTI Festival International Live Art prize nominees announcedhttp://culture360.asef.org/news/anti-festival-international-live-art-prize-nominees-announced/?utm_source=rss&utm_medium=rss&utm_campaign=anti-festival-international-live-art-prize-nominees-announced http://culture360.asef.org/news/anti-festival-international-live-art-prize-nominees-announced/#comments Thu, 02 Jul 2015 21:27:24 +0000 Judith Staines http://culture360.asef.org/?p=52473

The nominees for the 2nd ANTI Festival International Prize for Live Art are announced. The prize will be awarded in Kuopio, Finland in September during the festival.  In the...  Read More

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The nominees for the 2nd ANTI Festival International Prize for Live Art are announced. The prize will be awarded in Kuopio, Finland in September during the festival.  In the running for the 30,000 Euro prize are Marilyn Arsem (US), Saara Hannula (FI), Myriam Lefkowitz (FR), Bob & Roberta Smith (UK), Voina Collective (RU) and Willoh S.Weiland (AU).

The artistic directors of ANTI – Contemporary Art Festival, Johanna Tuukkanen and Gregg Whelan, say:

“In their diverse artistic processes, ranging from political and environmental activism, to urban experientialism and scientific research, these exceptional artists challenge us to re-consider our relationship to both art and the world around us, all six ask essential questions about the human condition”

The 2015 winner of the ANTI Festival International Prize for Live Art will be chosen by a three member jury: curator Tang Fu Kuen (TH), architect Sami Rintala (FI/NO) and director of Kiasma Museum of Contemporary Art, Leevi Haapala (FI) as chair.

Underling the award’s reputation Haapala says:

“Now in its second year this prize has quickly become a very important moment in the international arts calendar – it celebrates the vitality, intelligence and cultural agency of live art, in all of its many forms.”

The world’s only International Prize for Live Art is 30,000 euros, with the winning artist receiving a cash prize of 15,000 euros and the same amount in the form of a production grant for bringing a new work to the ANTI Festival in 2016. The prize is funded by the Saastamoinen Foundation.

Read more on ANTI Festival website

Image: Forever Now Aphids project, Australia (Project Director: Willoh S. Weiland)

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TEDxBangkok 2015: ‘Catching the Ripples’http://culture360.asef.org/magazine/tedxbangkok-2015-catching-the-ripples/?utm_source=rss&utm_medium=rss&utm_campaign=tedxbangkok-2015-catching-the-ripples http://culture360.asef.org/magazine/tedxbangkok-2015-catching-the-ripples/#comments Thu, 02 Jul 2015 04:34:57 +0000 David Fernández http://culture360.asef.org/?p=53029

TEDxBangkok 2015, Bangkok’s first full-scale, world-renowned talk series for ideas and creativity, took place on June 13th 2015 at Aksra King Power Complex Theatre with 18 TEDx Talks.  Read More

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Kris Sanguanpiyapand

Kris Sanguanpiyapand

TEDxBangkok 2015, Bangkok’s first full-scale, world-renowned talk series for ideas and creativity, took place on June 13th 2015 at Aksra King Power Complex Theatre with 18 TEDx Talks. It brought together some of Thailand’s foremost thought leaders, change makers and everyday people from each discipline – as speakers, attendees and enthusiasts.

TEDxBangkok 2015′s theme was ‘Catching The Ripples’. Inspired by a quote by An Xiao Mina at TED Global 2013 – “In order to see where the wave is coming from, you have to look at the ripples”-, the theme was a challenge to both speakers and attendees to transform their ideas into tangible action that would make a positive difference in their communities, and subsequently, the whole country. After all, every movement in the society came from small ripples which accumulated into a gigantic wave.

Kris Sanguanpiyapand Kris Sanguanpiyapand Mahisorn Wongphati Natavudh Pungcharoenpong Niramon Kulsrisombat Pichet Klunchun Purin Panichphant

The conference was divided into 4 sections; ‘Still Water’, ‘Crosswind’, ‘Propagation’ and ‘Full Speed Ahead’, featuring a wide spectrum of ideas delivered through brief, straight-forward talks covering all topics, from science to creativity and politics to drama.

During the first session, ‘Still Water’, one of the highlights was Purin Panichphant, an interactive artist based in Los Angeles and currently the Creative Director at the Museum of Interactive Art in Los Angeles, who kicked off the session by sharing how simply he defied the ordinary in order to lead himself to work with world industry leaders in the field of innovative design: “Everything (we create) should be simple, playful, and easy to understand.”

Next up in ‘Crosswind’, Mahisorn Wongphati, a Robotic Engineer, introduced himself as the ‘Nation Builder via Robotics’. As a driving force behind the Intelligent System Laboratory 2 (ISL2) at Chulalongkorn University and a former RoboCup champion team, Mahisorn encouraged the audience to believe Thailand “as a nation that can, and should, produce robots second to none” by showing some exemplary projects of how useful robots can be for humans in certain situations.

During the third act, ‘Propagation’, Kris Sanguanpiyapand, Co-Founder of Blind Theatre, presented his Peter Pan-inspired vision through his work, ‘being not just a social cause, but to broaden the audience views of how to experience stage performances’. In his opinion, “drama can be a very practical tool for human interaction and therefore it shouldn´t be just misunderstood or misconceived.”

Finally in ‘Full Speed Ahead’, some of the most interesting presentations came onstage. Among others, Natavudh Pungcharoenpong, Tech Entrepreneur and Founder of Ookbee, a leading digital publishing platform in Thailand and expanding across South-East Asia, explained his not-so-secret business recipe of “simply offering a new way for people to read their favourite publications by bringing them to smart devices and at the same time, making it cheaper and friendlier to use.” He also suggested that it may be the right time for some forward-thinking in order to apply start-up ideas to the non-tech world.

Another remarkable act was by the Director of Urban Design and Development Center (UddC), Niramon Kulsrisombat, who announced firmly that “the era of walking has arrived to Bangkok”, unveiling Goodwalk.org campaign, a collaboration between UddC and Thai Health Foundation (THF). It is a new mobility concept that promotes a more efficient and environment-friendly urban map, favouring public transport, cycling or even footpaths over energy-intensive cars. “There is a need to look at data and patterns in a city so that we too can have a better understanding of the society and find ways to make cities more liveable.”

Last but not least, and in fact, probably one of the most striking and wildly-clapped presentation of the conference was ‘performed’ by Pichet Klunchun, an award-winning Contemporary Choreographer who exposed his vision about traditional culture: “arts should transcend and evolve with time.” In particular, he portrayed Thai traditional dance in a hilarious, clever and poignant way, to express his belief that “a better public understanding of body movement would lead to an enlightenment and better appreciation of Thai dance.”

These ripples caused from TEDxBangkok 2015 did not seem to end with the event. Now, through the ideas laid out at the conference, it´s about time for Thailand to create a better understanding among people, before early next year, when TEDxChiang Mai takes the baton.

 

For those who missed the talks from the speakers, the entire conference can be viewed online from the recorded TEDxBangkok 2015 talks here: www.TEDxBangkok.net or www.facebook.com/tedxbangkok

 ________________________________

About TED

TED is a global community, welcoming people from every discipline and culture who seek a deeper understanding of the world. We believe passionately in the power of ideas to change attitudes, lives and, ultimately, the world.

TED is a nonprofit devoted to spreading ideas, usually in the form of short, powerful talks (18 minutes or less). TED began in 1984 as a conference where Technology, Entertainment and Design converged, and today covers almost all topics — from science to business to global issues — in more than 100 languages.

In the spirit of ideas worth spreading, TED created a program called TEDx; a program of local, self-organized events that bring people together to share a TED-like experience.

For more details about TED, please check: https://www.ted.com/

 

About TEDxBangkok

Prior to this first full-scale edition, TED was initially established in Bangkok through TEDxBKK, a series of TEDx events in Bangkok organized between 2010 and 2012. It was previously organized with similar intention which was to empower people with ideas worth spreading. Unlike TEDxBKK, TEDxBangkok is licensed and organized by a separate volunteer team with similar goal which is to drive changes through the power of inspiring stories. Currently TEDxBKK has been discontinued and you can view their archived information on their website here: http://www.tedxbkk.com/

For more details about TEDxBangkok, please check: www.TEDxBangkok.net

 

About TEDxChiang Mai

A platform for ideas worth spreading, a dialogue, a call for action, and a community of people who believe in ideas, creativity, innovation and collaboration. Apart from the annual large creativity and idea forum “TEDxChiangMai”, some smaller TED events & activities are organized throughout the year.

For your info, another TEDx will be taking place here in Thailand: TEDxChiangMai 2016 on 30 January 2016.

For more details, please check: http://www.tedxchiangmai.com/

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31st Higashikawa International Photo Festivalhttp://culture360.asef.org/event/31st-higashikawa-international-photo-festival/?utm_source=rss&utm_medium=rss&utm_campaign=31st-higashikawa-international-photo-festival http://culture360.asef.org/event/31st-higashikawa-international-photo-festival/#comments Wed, 01 Jul 2015 21:46:57 +0000 Judith Staines http://culture360.asef.org/?post_type=event&p=51285

The Higashikawa International Photo Festival in Hokkaido is the longest running photography festival in Japan, which annually awards 5 photographers with a prestigious prize. Along with four local artists,...  Read More

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The Higashikawa International Photo Festival in Hokkaido is the longest running photography festival in Japan, which annually awards 5 photographers with a prestigious prize. Along with four local artists, New Zealand’s Anne Noble is one of this year’s winners.

The 31st Higashikawa International Photo Festival takes place 4 August – 2 September 2015.

Higashikawa was declared as the ‘Town of Photography’ in 1985.  Since holding this title, Higashikawa has been a platform for the meeting of people, photography culture and nature over the last thirty years. Celebrating 120 years of resource development of the land, Higashikawa was declared the Culture Capital of Photography in May 2014, with the determination to link photography and people across the world.

The Higashikawa International Photo Festival is organized annually to vitalize the town of Higashikawa, transforming it into a “photo town” according to the concepts outlined in the “Photo Town Manifesto.” Devoted to photography and people who love photography, it provides a yearly focus for the activities of Higashikawa’s citizens and suggests new directions for the future.

The winner of the Overseas Photographer Award 2015 (amounting to JPY 1 million) went to New Zealand’s Anne Noble, one of the country’s most respected contemporary photographers. Noble is widely renowned for images of her daughter’s mouth, as well as those of Antarctica. The latter has been a major focus of her work over the last decade, resulting in a series of photographic books, including her award-winning The Last Road (Clouds, 2014), and national and international exhibition projects. Recently, Noble has also turned to exploring the decline of the honeybee and global threats to complex natural systems.

The exhibition features the 2015 award winners:

Overseas Photographer Award: Anne Noble

Domestic Photographer Award: Tokihiro Sato

New Photographer Award: Maiko Haruki

Special Photographer Award: Kazutoshi Yoshimura

Hidano Kazuemon Award: Kikujiro Fukushima

and you can read more about the Awards on Art Radar Asia

In 2014, Higashikawa joined the Asia Pacific PhotoForum network of photography festivals around the Asia-Pacific region and rim.

Image: © Anne Noble | Ruby’s Room #10, from the series ‘Ruby’s Room’ 1998-2006

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Chronus Art Center Shanghai | Research Fellowshiphttp://culture360.asef.org/opportunity/chronus-art-center-shanghai-research-fellowship/?utm_source=rss&utm_medium=rss&utm_campaign=chronus-art-center-shanghai-research-fellowship http://culture360.asef.org/opportunity/chronus-art-center-shanghai-research-fellowship/#comments Wed, 01 Jul 2015 21:34:47 +0000 Judith Staines http://culture360.asef.org/?post_type=opportunity&p=52976

Chronus Art Center (CAC) in Shanghai is offering a 12 month Research & Creation Fellowship, to host international artists and researchers of extraordinary talent in the field of new...  Read More

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CAC shanghaiChronus Art Center (CAC) in Shanghai is offering a 12 month Research & Creation Fellowship, to host international artists and researchers of extraordinary talent in the field of new media art to develop work in Shanghai in 2015/16.

CALL FOR PROPOSALS: Research & Creation Fellowship (US$30,000)

Deadline: July 15, 2015

This 12-month fellowship program is designed to host international artists and researchers of extraordinary talent working in the area of new media art in order to conduct research and creation at Chronus Art Center (CAC) in Shanghai. The Research and Creation Fellowship aims to advance the experimental nature of media art, contribute to CAC’s research and educational mission, foster global exchange, and explore new models collecting new media art work.

The Fall 2015 Season Fellowship will sponsor one international artist/researcher (individual or team) to engage with the Shanghai and other Chinese art, and technology communities. The selected Fellow will be expected to work in CAC’s laboratory with CAC’s research and creation team on a range of activities including: active contribution to the larger CAC community, collaborative partnership with other residents, leading research initiatives, educational programs and public engagement, and developing current or future research areas for the organization. Developed projects, including prototypes, documentation, and work-in-progress, will be presented to the public at Chronus Art Center.

ELIGIBILITY
- This fellowship is open to international artists and researchers.
- Applicants are expected to demonstrate previous experience in the development of similar projects.
- Individuals and collaborative teams are invited to apply. In either case, please detail in your application how technical and creative responsibilities will be met.

FELLOWSHIP FOCUS
In the inaugural year of the Research and Creation Fellowship program, we are seeking exploratory and innovative proposals that explore artistic applications of emerging technologies, and have the potential to engage CAC and the public to learn alongside artists and creative technologists developing thought-provoking work. Proposed projects should relate to one or multiple of the areas outlined on the website.

One selected Fellow (either as an individual or as a team) will be offered a total amount of USD30,000 grant for a period of one year to cover travel, accommodation and stipend, including materials during his/her residency in Shanghai.

Established in 2013, Chronus Art Center (CAC) is China’s first nonprofit art organization dedicated to the presentation, research / creation and scholarship of media art. CAC with its exhibitions, residency-oriented fellowships, lectures and workshop programs and through its archiving and publishing initiatives, creates a multifaceted and vibrant platform for the discourse, production and dissemination of media art in a global context. CAC is positioned to advance artistic innovation and cultural awareness by critically engaging with media technologies that are transforming and reshaping contemporary experiences.

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Mons | Fervant China exhibitionhttp://culture360.asef.org/event/mons-fervant-china-exhibition/?utm_source=rss&utm_medium=rss&utm_campaign=mons-fervant-china-exhibition http://culture360.asef.org/event/mons-fervant-china-exhibition/#comments Tue, 30 Jun 2015 21:58:29 +0000 Judith Staines http://culture360.asef.org/?post_type=event&p=52642

As part of the Mons 2015 European Capital of Culture programme, the Fervant China (La Chine Ardente) exhibition features monumental sculpture works by around 20 contemporary Chinese artists. It...  Read More

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As part of the Mons 2015 European Capital of Culture programme, the Fervant China (La Chine Ardente) exhibition features monumental sculpture works by around 20 contemporary Chinese artists. It runs July 4 – October 4 2015.

This exhibition features no ink or brushes, but plenty of monumental sculptural works that highlight the new relationship between Chinese artists and the three-dimensionality of sculpture and its materials. Some twenty artists will be on display in the former slaughterhouse – the main hall, cold store and garden – to form a magnificent series.

More information on Les Anciens Abattoirs – the former abattoirs now transformed into an art museum.

Further information on the exhibition [in French]

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Asia Art Archive | jobs in Hong Kong & New Delhihttp://culture360.asef.org/opportunity/asia-art-archive-jobs-in-hong-kong-new-delhi/?utm_source=rss&utm_medium=rss&utm_campaign=asia-art-archive-jobs-in-hong-kong-new-delhi http://culture360.asef.org/opportunity/asia-art-archive-jobs-in-hong-kong-new-delhi/#comments Tue, 30 Jun 2015 21:29:20 +0000 Judith Staines http://culture360.asef.org/?post_type=opportunity&p=52941

Asia Art Archive (AAA) has two full-time job openings – a Researcher with focus on South East Asia, based in Hong Kong and an Associate Curator to be based...  Read More

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Asia Art Archive (AAA) has two full-time job openings – a Researcher with focus on South East Asia, based in Hong Kong and an Associate Curator to be based in New Delhi who will oversee AAA public programmes in India.

NOTE: different deadlines for the two jobs!

1. AAA seeks Researcher for South East Asia l Hong Kong based


Asia Art Archive (AAA) is seeking a full-time Researcher with a focus on South East Asia (SEA).
The successful candidate will report to the Head of Research and Programmes, and work as part of the team in Hong Kong.

AAA is committed to its role as a catalyst for knowledge production around modern and contemporary art through the development and activation of its growing digital collection, and in connecting with other knowledge networks and platforms. The Researcher will be part of a dynamic team helping to develop and oversee research projects and related programmes.

Responsibilities include:

  • Identifying, initiating, and overseeing research projects that correspond to, and expand AAA’s research interests
  • Developing programmes—workshops, talks, and exhibitions—that contribute to, and circulate the outcome of research inquiries and archived material
  • Contributing to, activating, and building upon AAA’s existing network with stakeholders, educational institutions, and researchers, within and beyond the SEA region

The ideal candidate should be an outgoing, passionate, dynamic and organised team player, who is also able to work well individually. Further requirements are:

  • A strong intellectual curiosity
  • A post-graduate degree in the arts or related discipline
  • Relevant work experience in the field
  • Excellent interpersonal and communication skills
  • Excellent command of written and spoken English with a proficiency in one or more SEA language preferred

DEADLINE for applications: July 24

2. AAA seeks Associate Curator—Research & Programmes | New Delhi based


Asia Art Archive (AAA) is seeking a full-time Associate Curator to develop and oversee its public programmes in India.

The successful candidate will work closely with the Senior Researcher in developing and overseeing all public programmes, including: talks, workshops, symposia, film screenings, artist residencies, and participation in collaborative platforms.

AAA is committed to its role as a catalyst for knowledge production around modern and contemporary art through the development and activation of its growing digital collection, and in connecting with other knowledge networks and platforms. The Associate Curator will work to develop programmes that draw out lines of enquiry from AAA’s projects and collections, opening up new dialogues with multiple audiences.

Responsibilities include:

  • Working closely with the Senior Researcher and the Research team to develop a holistic programming strategy for AAA in India, via workshops, talks, exhibitions, and web platforms
  • Overseeing the organisation of all aspects of programmes including: conceptualisation, budgeting, collaboration, communication, and logistics
  • Working collaboratively with all AAA departments
  • Developing and maintaining close relationships with public and cultural practitioners including; artists, curators, academics, and writers
  • Maintaining AAA’s digital presence through its website and social media platforms
  • Assisting the Senior Researcher in liaising with external collaborators and partners
  • Contributing to, activating, and building upon AAA’s existing network within and beyond India
  • Working with the Communications team to ensure the concepts behind AAA’s programmes are communicated broadly and effectively

The ideal candidate should be an outgoing, passionate, dynamic, and organised team-player, who is also able to work well individually. Further requirements are: 

  • A post-graduate degree in the arts or related discipline
  • Minimum of 2–3 years’ work experience in the field of contemporary art (curatorial experience is an advantage)
  • Excellent organisational skills and the ability to coordinate multiple projects at a time
  • Excellent interpersonal and communication skills
  • Fluency in English (knowledge of a South Asian language is an advantage)
  • Proficiency in Microsoft Word, Excel, PowerPoint (Photoshop is an advantage)

Deadline for applications: July 15

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Orde Baru OK.Video Festival | Interview with the Artistic Director Mahardika Yudhahttp://culture360.asef.org/asef-news/orde-baru-ok-video-festival-interview-with-the-artistic-director-mahardika-yudha/?utm_source=rss&utm_medium=rss&utm_campaign=orde-baru-ok-video-festival-interview-with-the-artistic-director-mahardika-yudha http://culture360.asef.org/asef-news/orde-baru-ok-video-festival-interview-with-the-artistic-director-mahardika-yudha/#comments Tue, 30 Jun 2015 03:28:33 +0000 Valentina Riccardi http://culture360.asef.org/?p=52987

As part of the media partnership between ASEF culture360 and Orde Baru - OK.Video Festival, we have interviewed Mahardika Yudha, the Artistic Director of OK.Video  Read More

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As part of the media partnership between ASEF culture360 and Orde Baru – OK.Video Festival, we have interviewed Mahardika Yudha, the Artistic Director of OK.Video. This  year he is also doubling as the curator of the exhibition after previously serving as the curator of OK.Video Flesh – 5th Jakarta International Video 2011 for the sub-theme of Surveillance & Self Potrait with Rizki Lazuardi.

 

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  • The OK. Video festival has been successfully organized by Ruangrupa since 2003 under the name ‘Jakarta International Video Festival’. This year, the festival came with a new name, Orde Baru or “New Order”. Could you tell us the reasons behind the change of its name?

The idea of changing the name and expanding the artistic medium of the festival has popped up since 2009. During that time, the use of the internet by the public had begun to show positive impacts.

People were no longer just consumers of information, they started to produce these information.

The climax of internet usage can be seen during the previous Indonesian presidential election in 2014. Indonesians creatively and productively made various forms of information, ranging from text to video, from production to distribution, and they did it voluntarily, massively, structurally and independently. Indonesians have reached a position where they try to solve problems without any government assistance.

The technological growth especially in media in our society has driven us to expand the scope of the artistic medium used, not limited to only video, but also the scope of discussion on the arts of media itself. In the realm of Indonesian art, the discussion on video art has been completed and this was then followed by the urgency to develop it. With such reasons, we changed the festival from Jakarta International Video Festival to Indonesia Media Arts Festival.

Stabilizer by Reza Asung Afisina  Digital Print on Cotton Fabric & Video Installation  2015  Indonesia

Stabilizer by Reza Asung Afisina Digital Print on Cotton Fabric & Video Installation 2015 Indonesia

  • Orde Baru (New Order) is also the central theme of this year’s edition. In which way will this New Order be reflected in the festival?

Orde Baru has always been an issue in Indonesia. The theme of this year’s festival was inspired by the Soeharto’s Orde Baru – or military regime –, which lasted for 32 years (1966-1998). Orde Baru was borne in 1966 to distinguish themselves and separate power from Orde Lama led by Soekarno. This year’s festival coincides with the 50 years commemoration of the events of genocide due to the seizure of power in Indonesia back in 1965.

Departing from this theme, OK. Video tried to discuss the issue of historical and political media archive that was controlled by the government ruled in the analog era. In this digital era, however, it is being controlled by the corporation and has somehow influenced the development of the society, especially in Indonesia and other post-authoritarian countries. As we know, the end of the Cold War in the late ’80s had shifted the role of the state to the corporation. Sharing experiences and discussion of the issues is broken down into several programmes such as exhibitions, screenings, multimedia performances, symposium, discussions, and workshops. Further details of the festival’s statement can be seen on our website.

The crowd of the opening and a performance of Cut and Rescue (IDN) in collaboration with Genta Surya Choir

The crowd of the opening and a performance of Cut and Rescue (IDN) in collaboration with Genta Surya Choir

  • The festival had many different programmes to offer this year. Can you give us a brief overview of the highlights not to be missed?

It is the first time that OK. Video is presenting multimedia performances by music groups such as bequiet and brisik; Racun Kota, a multimedia performance by Contact Gonzo (Japan) that relates the physical body with analog technology; and a social and political symposium featuring members of an online journal to specifically discuss socio-political issues in Indonesia.

 

  •  Can you tell us more about the Fringe events and in particular the Media Arts, Technology, and the New Order Symposium?

The Symposium is one of the works of a group named IndoPROGRESS, a sociopolitical online journal managed by Indonesia’s young generation. The symposium invited several speakers to discuss how media technology in the New Order regime formed the Indonesian society. The symposium discussed the political strategy of media technology in the New Order regime and its relevance to the current media situation.

Another fringe event is the online exhibition showcasing the internet-meme trend in Indonesia. This online exhibition is curated by the young curator, Aditya Fachrizal Hafiz, and saw the appearances of some Indonesian artists known for using social media as their exhibition gallery. There is also an Open Lab programme which brought together four communities in Indonesia – lifepatch, WAFT Lab, Digital Nativ, and MakeDoNia – to discuss about the media and technology culture in the society, and to create various applications using the technology that is close to the society.

Updated information on the fringe events, including the recap and papers from speakers can be accessed on our website as well as on our social media channels.

 

A Keynote speech from Seno Gumira Ajidarma at the program Symposium

A Keynote speech from Seno Gumira Ajidarma at the program Symposium

How many artists did you welcome, and from which parts of the world?

In the end, we had 73 participating artists from 21 countries: South Africa, the United States, Austria, the Netherlands, Belgium, the Czech Republic, Hong Kong, Indonesia, UK, Japan, Germany, Canada, Colombia, South Korea, Norway, Pakistan, the Philippines, France, Russia, Venezuela, and Vietnam.


What about Ruangrupa? Can you share with us some of the other projects and initiatives that your artists have planned for this year?

In June 2016, Ruangrupa will be curating Sonsbeek Festival 2016 in Arnhem, the Netherlands.

 

Read more about the Festival:

http://culture360.asef.org/event/asef-culture360-media-partner-of-the-orde-baru-ok-video-indonesia-media-arts-festival/

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Athens: arts and culture in times of uncertaintyhttp://culture360.asef.org/magazine/athens-arts-and-culture-in-times-of-uncertainty/?utm_source=rss&utm_medium=rss&utm_campaign=athens-arts-and-culture-in-times-of-uncertainty http://culture360.asef.org/magazine/athens-arts-and-culture-in-times-of-uncertainty/#comments Tue, 30 Jun 2015 02:32:59 +0000 Herman Bashiron Mendolicchio http://culture360.asef.org/?p=52909

If there is a country daily exposed in the international news today, that is, without a doubt, Greece.   Read More

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Debtocrazy Revolutions. ODC EnsembleVyrsodepseio. Photo by Mairi Zigouri

Debtocrazy Revolutions. ODC EnsembleVyrsodepseio. Photo by Mairi Zigouri

If there is a country daily exposed in the international news today, that is, without a doubt, Greece. The economic situation, the growing discontent among its citizens, the new political configurations and the tensions between the European Union, the International Monetary Fund and the Greek government, have all surpassed the national context and now are part of an international case.

In a recent trip to the Greek capital, the city of Athens, I tried to understand the production, development and circulation of art and culture in “difficult times”. For that I met and talked to artists and professionals from cultural institutions, and I dipped in the atmosphere of the city today. If we exclude those central streets crossed by tourists, the Acropolis area and some spring nights in Gazi or Exarcheia, the general atmosphere of the city is definitely quite tense.

The economic crisis, which has evident effects on the daily life of the population, has certainly affected the art and cultural sector. At the same time, the points of view and perceptions regarding the vitality, the opportunities and the strength of the sector are quite discordant.

On one side, the cultural and artistic field have been ravaged by the savage cuts brought by a widespread depression. On the other side, the cultural and social life in the city of Athens seems to remain bright and effervescent. What are the reasons behind this apparent contradiction? From a certain point of view, the public funding in Greece has always been quite small and the sector is used to struggle to find the necessary funds to survive. According to some Athenians, the economic crisis has awakened, paradoxically, a sense of vitality, a rediscovered sense of relations, giving new and higher relevance to the social aspects of life. Other Athenians, nonetheless, perceive a deep depression in the sector, pointing at the example of many artists and cultural professionals who have migrated to other countries.

Vyrsodepseio

Vyrsodepseio

Beyond this interesting, mostly subjective and passionate debate, one thing is quite evident in contemporary Greece: art and culture are now taking a more social and political direction, working and reflecting on the consequences of the economic crisis.

One of the most powerful disciplines in Greece – from ancient times– is theatre. Several young as well as long standing theatre companies, a myriad of venues of different sizes, from big theatres to small spaces for performing arts, overflow the streets of the capital city. The low ticket prices – most of theatres have adopted a standard prize of 10 Euros for the main shows, while offering quite often free entrance to unemployed people – have ensured long queues at the doors of these spaces. The crisis, in this particular atmosphere, has become a sensitive topic and many companies have brought it to the stage.

The multidisciplinary project and performance P.I.G.S./Sotiria, directed by Marilli Mastrantoni and produced by Theatre Entropia, addresses the financial, political and social crisis in Southern Europe, through the impersonation of a series of stigmas and stereotypes that humiliate people of different countries under the present circumstances. As the director stated: “Amidst a global crisis with complex challenges and painful changes, Europe was severely affected by the Markets’ speculative attacks”.

P.I.G.S.  Sotiria. Theatre Entropia

P.I.G.S. Sotiria. Theatre Entropia

The ODC Ensemble, based at Vyrsodepseio (see below), is also producing several pieces and performances focused on the diverse aspects of the political, social and economic crisis. The role of gentrification and its effects on daily life in times of crisis constitute the main reflection behind the performance Re-volt Athens. The pieces DERMA/Skin – “a poetic metaphor for the current state of the Greek society into crisis” – and META – “a performance about the end of the world” – are also focusing on related aspects of the crisis, and find in the current situation, a powerful source of inspiration.

One of the most interesting spaces devoted to contemporary arts and creation in Athens is Vyrsodepseio/Tannery. VYRSO in short is a multi-stage space located in Votanikos, a “no man’s land” area in the centre of Athens, surrounded by abandoned factories and street dogs. Vyrsodepseio, formerly the largest tannery in the Balkans in the 19th century and declared cultural heritage by the Ministry of Culture, is a symbol of re-birth and struggle in the middle of the post-industrial crisis. As expressed in the webpage of the space, Vyrso is: “An experiment on how to produce art in “difficult times”, an evolving project of synergies and co-operations”. I had the opportunity to visit Vyrso with her director, Elli Papakonstantinou, breathing the energy of the space and noting the interested they have in bringing to the space both locals and foreigners. A programme of art residencies and a strategic interest in playing a key role for the international networking of Greek artists are other important aspects of Vyrsodepseio. Among other events, Vyrso hosted part of the “IETM Athens Plenary” in 2013, titled “Tomorrow”, when more than 500 programmers and artists visited the city.

Other important cultural infrastructures devoted to contemporary art in Athens – which are more rooted in the territory and go beyond the specificity of the “difficult times” – are the National Museum of Contemporary Art and the DESTE Foundation. Established in 2000, the National Museum still occupies the same provisional venue designated in 2002 although it will soon be relocated in the renovated facilities of the old Fix brewery. The DESTE Foundation for Contemporary Art, founded in 1983 by collector Dakis Joannou, is a non-profit institution devoted to the promotion of both emerging and established artists. DESTE presents several art exhibitions in its main space in Nea Ionia and in severalvenues around Athens. It isimportant to highlight its current collaboration with the Benaki Museum, “which aims to promote new and radical developments in contemporary art through a series of solo and group contemporary art exhibitions hosted at the museum”, as well as in its HYDRA space, located in the island of Hydra. One of the most interesting activities of the Foundation is the DESTE Prize, designed to support and promote young Greek artists.

DESTE’s building in Nea Ionia. Photo Panos Kokkinias

DESTE’s building in Nea Ionia. Photo Panos Kokkinias

Beyond these big spaces for contemporary art and the exciting scene of theatres and performing arts venues, Athens has also an interesting panorama of emerging alternative spaces run by artists and a number of galleries with a sparkling activity. Among other interesting activities, one worth mentioning is the Athens Art Residency organized by Kappatos Gallery; a project launched in 2013 to promote artistic research and production through the international exchange of practice and knowledge.

The Athens Biennale (the last one held in 2013 under the title of AGORA, aimed at creating a critical reflection and a space for exchange and debate) together with several international projects like the SEAAA Mobility Alliance or Kathréptis (a gathering to reflect on the cultural life of cities), complete a picture of a capital city currently in a state of transformation.

If on one side, the economic and social crisis represent, no doubt, a terrible moment of distress and poses serious challenges, on the other side, Greece is again the central argument in the international scenario, awakening the interest of a wide and international audience.

The artistic and cultural activities in Greece are living through an ambiguous, hybrid and ambivalent period: while the Ministry of Culture declares they have zero budget, new models and new formats are being explored, all of which are creating a sense of change, vitality and effervescence in the artists’ community. The difficulties are real and tangible: several art and cultural professionals have already migrated, and the marginality of the sector is a constant threat. The response of the sector requires today a special effort and a deep critical reflection in order to understand both the role of arts and culture in the local society, as well as the impact and contribution of international projects and collaborations.

 

Useful Links:

 

Herman Bashiron Mendolicchio holds a European PhD in “Art History, Theory and Criticism” from the University of Barcelona. He is faculty at Transart Institute (NY-Berlin) and Post-Doctoral Visiting Researcher at United Nations University Institute on Globalization, Culture and Mobility (UNU-GCM). His researches involve the subjects of intercultural processes, globalization and mobility in contemporary art and cultural policies, the interactions between artistic, educational, media and cultural practices in the Mediterranean and the cultural cooperation between Asia and Europe. He has participated in several international conferences and developed projects and research residencies in Europe, Asia, USA and the Middle East. As an art critic and independent curator he writes extensively for several international magazines. He is Editorial contributor at Culture360 – Asia-Europe Foundation (ASEF), Managing Editor at ELSE – Transart Institute, and co-founder of the Platform for Contemporary Art and Thought, InterArtive. 

 

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Creative Design economy development in Thailandhttp://culture360.asef.org/news/creative-design-economy-developments-in-thailand/?utm_source=rss&utm_medium=rss&utm_campaign=creative-design-economy-developments-in-thailand http://culture360.asef.org/news/creative-design-economy-developments-in-thailand/#comments Mon, 29 Jun 2015 22:04:59 +0000 Judith Staines http://culture360.asef.org/?p=52134

The creative design economy in Thailand is benefiting from various initiatives, with research and resources facilities, a Creative Thailand campaign and the roll out of a series of Creative...  Read More

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The creative design economy in Thailand is benefiting from various initiatives, with research and resources facilities, a Creative Thailand campaign and the roll out of a series of Creative and Design Centres in various gateway cities to promote artistic goods made by local artists.

Thailand Creative & Design Center (TCDC) was established in 2004 to connect and promote interaction among creativity, skill, cultural asset and business conducive to creating quality products and services that meet the global market demand.

creativethailandCreative Thailand: Building Thailand’s Economy with Creativity” is a campaign run by Thailand Creative & Design Center (TCDC), office of Knowledge Management and Development, with an aim to create public awareness toward the Creative Economy and promote the Creative Industry as a key for the national economic development. This project composes of the website www.creativethailand.org and the monthly magazine which is a free publication with an aim to promote creativity as a new economic engine for Thailand and to create better understanding of creativity as a key asset of Thai economic development in the future.

Established in 2005, TCDC Resource Center in Bangkok is one of Asia’s largest design and creativity resource centres. It aims to be a place for designers, students, entrepreneurs and enthusiasts in design and creativity to develop and expand their knowledge and skills as well as to help strengthen capability and competitiveness of Thai designers in a global market place.

Material ConneXion® Bangkok is Asia’s first innovative design materials library. We compile information about interesting materials and latest innovation with real samples to keep you abreast of new developments in the world of design materials as well as the chance to explore materials used by leading international designers.

In Chiang RaiThailand’s Ministry of Culture is speeding up the establishment of “Creative and Design Centers” in various gateway cities in the country to promote artistic goods made by local artists and other indigenous products, said Permanent Secretary for Culture Apinan Poshyananda. According to Apinan, Chiang Rai and Ratchaburi will be the first two gateway provinces where the “Creative and Design Center” will be set up under a THB7,900m budget of the ministry. The centers are expected to be a hub for local artists, designers, developers and residents to produce and share their folk wisdom’s to tourists, leading to extra income for their communities.

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CIMAM annual conference | grant programhttp://culture360.asef.org/opportunity/cimam-annual-conference-grant-program/?utm_source=rss&utm_medium=rss&utm_campaign=cimam-annual-conference-grant-program http://culture360.asef.org/opportunity/cimam-annual-conference-grant-program/#comments Mon, 29 Jun 2015 21:56:12 +0000 Judith Staines http://culture360.asef.org/?post_type=opportunity&p=52961

CIMAM offers 24 grants to support the attendance of modern and contemporary art curators and museum or collection directors to CIMAM’s 2015 Annual Conference, ‘How Global can Museums be?’...  Read More

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CIMAM offers 24 grants to support the attendance of modern and contemporary art curators and museum or collection directors to CIMAM’s 2015 Annual Conference, ‘How Global can Museums be?’ to be held in Tokyo, 7–9 November 2015.

Deadline: Wednesday 15 July 2015 24:00 CET

The Annual Conference is  the most important gathering of the year for CIMAM, International Committee for Museums and Collections of Modern Art. It is attended by directors and curators of modern and contemporary art museums and collections and independent professionals. Over 200 delegates from more than 50 countries are expected to attend CIMAM’s 2015 Annual Conference in Tokyo.

Eligibility

Grants are restricted to modern and contemporary art curators and museum or collection directors in need of financial help to attend CIMAM’s Annual Conference. Researchers and independent curators whose field of research and specialization is contemporary art theory, collections and museums are also eligible. While professionals of all career levels are encouraged to apply, priority is given to junior professionals (less than 10 years’ experience). Applicants having received CIMAM grants from the same grant contributor will not be considered for a new grant before 3 years.

TWO categories apply to eligible applicants from ASEM countries:

1. The Getty Foundation, Los Angeles supports 15 professional development grants to contemporary art museum and collection curators and directors residing in countries with Emerging Market and Developing Economies according to the International Monetary Fund’s World Economic Outlook. The support received from the Getty Foundation has been made possible thanks to the collaboration of ICOM.

2. The Gwangju Biennale Foundation supports 4 travel grants to modern and contemporary art museum and collection curators and directors residing in South Korea

(Some travel grants are also available for eligible professionals from Latin America)

The support is limited to cover conference registration*, travel expenses (round trip economy tickets only) and accommodation in one of the hotels recommended by CIMAM. Distribution of funds is set on a case-by-case basis for each recipient. Funds are exclusively related to support the purpose for which the grant has been awarded.

CIMAMInternational Committee for Museums and Collections of Modern Art, is an International Committee of ICOM. CIMAM is an international forum of professional character for the discussion of theoretical, ethical and practical issues concerning the collection and exhibition of modern and contemporary art.

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