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DTSTART;TZID=Europe/London:20211119T110000
DTEND;TZID=Europe/London:20211216T180000
DTSTAMP:20260412T142908
CREATED:20211125T041741Z
LAST-MODIFIED:20211125T041742Z
UID:30058728-1637319600-1639677600@eventsforlondon.co.uk
SUMMARY:Kūnlún\, Michael & Chiyan Ho - Unique Art Exhibition
DESCRIPTION:Chinese Art Exhibition in London\nThe mountains of Kūnlún\, in ancient Chinese mythology\, are the dwelling place of gods and fantastic beasts. They are also\, of course\, an actually existing mountain range. This mystical locale\, situated somewhere between reality and myth\, provides a particularly apt window into the practice of Michael and Chiyan Ho. The duo studied architecture at the Architectural Association in London before developing an idiosyncratic painting practice that involves pushing specks of acrylic paint from the back of the canvas to the front to form the backdrop\, then switching to oil to paint the figures on top. In this laborious process\, marked by both formal ingenuity and symbolic fecundity\, an enigmatic space—one in which ambiguous protagonists lie afloat in nocturnal fields of lush foliage—is called into existence. \nV.O Curations is pleased to announce Kūnlún\, the first solo exhibition by artist duo\, Michael and Chiyan Ho. Comprising seven new oil and acrylic paintings\, this new body of work developed during their residency\, employs myth\, metaphor and magical realist narratives as a form of worlding and to explore Chinese diasporic identity.\nA newly commissioned text by writer and curator\, Alvin Li\, will accompany the exhibition.
URL:https://eventsforlondon.co.uk/event/kunlun-michael-chiyan-ho-unique-art-exhibition/
LOCATION:V.O Curations\, 56 Conduit Street\, London\, W1S 2YZ
CATEGORIES:Arts,Community Events,Events in London,Exhibitions,Free Events,Pop Up,Visual Arts
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DTSTART;TZID=Europe/London:20211015T110000
DTEND;TZID=Europe/London:20211111T180000
DTSTAMP:20260412T142908
CREATED:20211020T043215Z
LAST-MODIFIED:20211020T043215Z
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SUMMARY:The Green Room
DESCRIPTION:The Green Room is an exhibition and public engagement project curated by Reem Shadid\, developed\nin part during her residency at V.O Curations. The project invites artists\, Anna Engelhardt and Bahar\nNoorizadeh\, to share questions and insights around the deep interdependence of the digital world\nwith our material one\, namely by exploring digital platforms\, websites\, infrastructures and networks. \nThrough their respective (art)works – Circuits of Truths (C.T) by Engelhardt and Weird Economies\n(W.E)\, a project initiated by Noorizadeh – this presentation will consider the back-end infrastructure of\ndigital platforms as a set of ambiguous relations rather than cables\, wires\, and servers. The exhibition\ncautiously approaches how we relate to and navigate the cyber domain as space. Drawing from the\nspectrum that ranges from public to private physical spaces. \nThe Green Room presents cyberspace as a part of such a continuum. The exhibition unleashes the\ncontent\, architecture\, networks\, and infrastructures of the two works through an online and physical\nspace. It seeks to propose how to think through\, create and re-appropriate other modes of relating\,\ngovernance\, knowledge\, verification and ownership through these tools. \nConceived as a hybrid back-end space\, C.T AND W.E come together through spatial interventions as\nwell as a public programme\, comprising conversations and workshops. W.E and C.T meet at three\ncentral nodes that will guide spatial and conceptual engagement: ownership\, verification and\nsurveillance. \nAs an online platform and think-tank prioritizing artistic strategies that trace economic imaginaries\ndespite current financial arrangements and systems\, Weird Economies (www.weirdeconomies.org)\nself-reflectively questions and deliberates the platform’s code of ethics\, and mode of ownership and\ngovernance. It also aims to recuperate the increasingly extractive\, privatized and hegemonized\ncondition of a digital platform in order to create a common one that is able to scale up and down\neffectively when needed. During the exhibition period\, W.E gathers ‘stakeholders’ to share and\ndiscuss values\, goals and strategies to create a common space for the research and practice of\nalternative economies. At a time when art institutions are increasingly relying on digital content\, how\ncan we understand ownership of this content and its circulation? What forms of collective\nparticipation\, decision-making\, autonomy\, accountability and cooperation among members working\nacross geographies might mean today or what could it look like? What can this hybridity of our being\nand relations open up to in building the tools\, networks\, economies and infrastructures that we need. \nThrough Circuits of Truth\, Engelhardt scrutinises the notions of authenticity and fake\, foundational\nfor our digital realm. The website (https://machinic.info) offers insight into and tools to reconsider our\nrelationship to the complex paradoxes of truth production. Introducing users to the various steps the\ncontent goes through to become ‘true’ reveals the digital assembly line that manufactures\nauthenticity. Engelhardt allows choosing the level and mode of engagement with the infrastructure\nshe investigates. The networks she highlights span from tracking devices that spread fake news to\ncyber weapons that engage verified accounts. Through her intervention in The Green Room\, she\nforces us to confront our own digital autonomy or lack thereof. What is the role of seemingly menial\nvisual signifiers like blue verification ticks and authentication requests on the internet? How can we\nexit the closed verification bubbles reliant on binaries of ‘true’ and ‘fake’? Where do we start looking\nto reverse engineer these various mechanisms of “truth” production? \nThe public programme for The Green Room looks at broader questions of digital infrastructures to\naddress the central nodes of the project. Interviewed by Engelhardt\, Emily Rosamond\, lecturer in\nVisual Cultures at Goldsmiths University\, will talk about reputational warfare and algorithmic rating.\nJared Davis\, Associate Editor of AQNB and co-host of the editorial platform’s Artist Statement\npodcast\, will convene a workshop on digital ownership and cooperation. Finally\, W.E will host a closed\nassembly that will draw and connect desired\, practical and imagined values\, goals and strategies to\ncreating a digital commons based on shared interest in alternative economies; the results of this\nmapping will be installed in space following the workshop. \nThe Green Room scratches at questions around the relationship between digital infrastructures and\nmaterial worlds\, understanding it as a continuum from one realm to another rather than their current\ncommon binary dispossession. What can this understanding support and what does it reveal? In what\nhas become an inevitable search\, we seek to locate public space in relation to private digital worlds\nand vice versa and are left constantly with the question; What can these technologies open up anew\nin our current conditions\, be it as a new language\, constellation of relations\, or an opportunity to\nexplore and instrumentalize that which lies within the gaps and leaks of these intersecting worlds. \nAnna Engelhardt is a Russian media artist and writer whose research-based practice explores post-\nSoviet infrastructures as a form of politics. Comprising texts\, videos\, websites\, and digital platforms\,\nher investigations take on multiple forms of media and distribution as they develop over time. Her\nproject Circuits of Truth (2021) explores cyberwar from the perspective of user verification\, and was\ncommissioned by GARAGE Museum of Contemporary Art\, Moscow. Produced using deepfake\ntechnology\, her video essay Adversarial Infrastructure (2020) investigates the colonial violence of\nthe Russian Crimean Bridge\, and was shown at Ars Electronica\, 67th International Short Film Festival\nOberhausen\, Vancouver International Film Festival and Kyiv Biennial. Anna’s writings have been\npublished in Mute Magazine\, Strelka Magazine\, Journal of Visual Culture\, and the European Review. \nBahar Noorizadeh is a filmmaker\, writer\, and platform designer. She works on the reformulation of\nhegemonic time narratives as they collapse in the face of speculation: philosophical\, financial\, legal\,\nfutural\, etc. Noorizadeh is the founder of Weird Economies\, an online art platform that traces\neconomic imaginaries extraordinary to financial arrangements of our time. Her work has appeared at\nthe German Pavilion\, Venice Architecture Biennial 2021\, Tate Modern Artists’ Cinema Program\,\nTransmediale Festival\, DIS Art platform\, Berlinale Forum Expanded\, and Geneva Biennale of Moving\nImages among others. She is pursuing her work as a PhD candidate in Art at Goldsmiths\, University\nof London where she holds a SSHRC Doctoral Fellowship. \nReem Shadid is a curator\, researcher and cultural organizer who works on the emancipatory\npossibilities within artistic practice\, exploring the ways it intersects with ecological\, political and\nsocio-economic forms. She is the producer and host of Radio Alhara’s show Listening with Reem\nShadid; monthly listening sessions with artists\, researchers and curators working at the intersection\nof sonic\, visual and literary productions. She is also a contributing editor at Infrasonica\, a digital\nplatform of non-western cultures. Previously\, she was the Deputy Director of Sharjah Art Foundation\,\nwhere she served in various capacities\, focusing mainly on organising and producing the Sharjah\nBiennial between 2006-2020.
URL:https://eventsforlondon.co.uk/event/the-green-room/
LOCATION:V.O Curations\, 56 Conduit Street\, London\, W1S 2YZ
CATEGORIES:Sculpture,Visual Arts,Writers
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