Screening pathway: “It’s about the space” by Howl Yuan
Pathway: Displaced by Tzu-Yun Liang & Yanzhen Wu — Sleeping in between Tehching Hsieh and On Kawara, but at home by River Lin — In Virtual Return We (can’t) Dehaunt by Yarli Allison — A New Experience of Love by Maiko Jinushi.
2020, for obvious reasons, is very unusual for many of us. International travel has been frozen, globalization shown to have been challenged, the daily routine is interrupted – the only certainty is uncertainty. It’s a break, a painful break. It’s a process of reflecting, reshaping, and re-acting. Among all these factors, I like to take this screening pathway to stress one of them, the ‘space’.
There’s a slight difference between ‘space’, ’place’, and ‘site’. According to Yi-Fu Tuan’s book Space and Place: The Perspective of Experience (1977), ‘space’ refers to an abstract idea – the prototype. This pathway builds upon this prototype in relation to different parameters. Displaced reminds us of the space shared with different species; Sleeping in between Tehching Hsieh and On Kawara, but at home unfolds the experience of space in time; In Virtual Return We (can’t) Dehaunt utilises virtual space to bridge returning and belonging; and A New Experience of Love explores the space between people, including ourselves.
This pathway doesn’t prescribe an order for viewing, so please feel free to reshuffle them, or even add films within the program to make your own pathway that is about the ‘space’. Let the prototype develop to your own narrative.
Till We Meet Again IRL presents 12 films and video works that explore varied narratives, histories, and fixations shared by artists living between and through Asia and elsewhere. The works in this series span across multiple geographies within Asia, Europe, and America, but at the same time, also confront the tensions of being in between these geographies: physically, culturally, or temporally. Through their works, these artists have interrogated unique reflections on space, origins, and passages with a number of approaches to video, from the use of the body, archival material, and autobiographical urges.
For more information on the weekly release of the screening pathways click here.
Yarli Allison (b. Ottawa, Canada) was raised in British colonial Hong Kong. Building upon her experiences of displacement, Yarli embodies ‘emotional geography’ studies to compose both sculptural and virtual fictitious scenarios that are seemingly hopeful and functional, yet on the verge of falling apart. Often interacting with personas or creatures, these imagined worlds consist of her invented survival tactics and coping mechanisms. Yarli utilises the process of cognitive restructuring and belonging remapping to play with the sense of futility and the uncertain future of ‘what if’. Themes including border systems, datafication, and function creep are explored, along with skinships, queerness, and sexual objectification. Yarli’s recent virtual reality generated work, referencing her early age refuge-seeking experiences with ‘digital gamification’ in cyberspace. They pose questions on sculpture’s physicality, mobility, and its preservation in the posthuman and dematerialised conditions to come. Despite this, she constantly returns to her sculpture-installation background, leaving strong raw-handcrafted traces in her work that emphasise accidents caused by human errors in the making.
Howl Yuan (原承伯) is a Taiwanese, Bristol-based performance maker, writer, curator, researcher and alternative podcast host. He holds a Master’s degree in performance (theatre) from University of Chichester, and is a Ph.D. candidate at University of Exeter. His practices focus on cultural identity, mobility, migration, sites and places. His works and projects have been presented in numerous venues and festivals across Taiwan and the UK, such as Camden People’s Theatre, The Wardrobe Theatre, Marlborough Theatre, Exeter Phoenix, Spill Festival, Migration Matters Festival, and Chinese Arts Now Festival in the UK; and The Guling Street Avant-garde Theatre, The Pier-2 Art Centre, Acid House, Taipei Contemporary Art Centre, and Taroko Arts Residency Project in Taiwan. Howl also curates and initiates different projects. One of them is Artists Home Swap, a performance arts exchange program between Taiwan and the UK. AHS highlights crossing cultural values in artistic influence to communities; and aims to open up the intercultural dialogues by artists and artworks. In addition, he is the guest curator in Migration Matters Festival 2020-2021. Howl’s writing appears on Performing Arts Forum (Macao), LAC studio (China), and Centre for Contemporary Asian Art (Australia). He is also one of the core members and host for the performing arts podcast Ming Strike.
Maiko Jinushi (1984, Japan) is a visual artist and filmmaker based in Tokyo. She obtained her MFA in Painting from Tama Art University in Tokyo and further studied at the Jan van Eyck Academie in Maastricht. Her work has evolved from drawings and novels on themes of personal tales to the creation of poetic narratives that comprehensively combines elements including film, multi-channel installations, performances to emerge questions what we are and how we live in the contemporary world.
Tzu-Yun Liang (b. 1992) is an environmental artist. Her works create dynamic experiences of time, space, and critical thinking through installation, text and mixed media. Liang’s practices have been focusing on the rhythm and flow of spaces. Her works are presented in
numerous venues across the UK, Taiwan and beyond. She is currently studying for her MA in Art, Space & Nature at the University of Edinburgh. Liang’s previous works discussed the process of organisms consciously perceiving the world around people. She believes that when an idea is developed, the artwork is created, then it is no longer attached to the artist. For her, the most intriguing part of art is the
diverse approach and the uncertain outcome – that is, in the process of interaction between people and the environment, various possibilities of random triggering are explored.
River Lin. Working across the contexts of visual art, performance and dance, artist River Lin composes situations, choreography, and participation to stage the artist’s body and surroundings as live exhibitions. His performance process examines immaterial labour, queer culture, historical texts and social engagement. River’s work has been presented by the Palais de Tokyo and Centre National de la Danse (Paris), Performatik 19 (Brussels), ANTI Contemporary Art Festival (Kuopio), Live Art Development Agency (London), Buzzcut Festival (Glasgow), Draw to Perform (London/Brighton), Tempting Failure (London), 2020 Taiwan Biennial, 2016 Taipei Biennial, M+ Museum (Hong Kong), Rockbund Art Museum (Shanghai), Serendipity Arts Festival (Goa) and Liveworks Festival (Sydney) among others. Recently River’s expanded his performance practice into curating. Since 2017, he’s initiated and headed Asia Discovers Asia Meeting for Contemporary Performance (ADAM) with Taipei Performing Arts Center, fostering exchange and collaboration between artists from across the fields of visual and performing arts and the Asia-Pacific region. In 2019, he co-curated Camping Asia, a biennial of dance, in collaboration with Centre National de la Danse. Born in 1984 in Taipei, he lives and works between Paris and Taipei.
Graduated from environmental design at Nanjing University, Yanzhen Wu’s practice focuses on interior and landscape design, with projects that span explorations of the nursing home, exhibition hall and resident flat. Her practice won the Province Interior Design Competition. Yanzhen Wu is currently studying in MA Art, Space and Nature at the University of Edinburgh, which has shifted her practice to issues around “human intervention” that are present from the dirt in the garden; plants, animals, humans in the city; to COVID-19 and the pandemic – they all share the same features of “human intervention”. The relation between human beings and their surroundings is her current focus.