Pathway: Dear Yu Chu by Pei Chi Wu — In Virtual Return We (can’t) Dehaunt by Yarli Allison — The In/Extinguishable Fire by Thuy-Han Nguyen-Chi — Sleeping In Between Tehching Hsieh and On Kawara by River Lin
This year has progressed both so slowly and so quickly, with days, weeks, and months spent indoors somehow blending into one. This screening pathway investigates time, its glitches, fluidity, and inevitability. In this pathway, the artists and their films interrogate the discrepancies between memory, reconciling between known and unknown histories with the contemporary moment.
Time warp speaks to the confusion within lived experiences, remembrance, and knowledge. Through archival practices, interviews, VR, and performance, these artists work around minute personal experiences that have morphed over time, embracing the distortions and haze that comes with its passing.
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.
Arianna Mercado is a curator and writer based between London and Manila. She is the co-founder of Kiat Kiat Projects, a nomadic curatorial initiative with a focus on alternative exhibition formats. Mercado’s curatorial practice has been involved with understanding and decoding informal relationships, spontaneity, and chaos to grasp varied and persisting methods of collaboration and collective working. Her current research has been focused on thinking through archipelagos and urban wildlife as mirrors into ideas of mobility, networks, and connections. Mercado is the recipient of the 2017 Purita Kalaw-Ledesma Prize for Art Criticism and has worked on projects with Calle Wright, the Museum of Contemporary Art and Design Manila, and the Cultural Center of the Philippines. She is currently pursuing her MFA in Curating at Goldsmiths, University of London.
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.
Thuy-Han Nguyen-Chi is a Berlin and London-based artist whose practice mutates in and out of sculpture, installation, moving image and interdisciplinary research. Her work explores imaginations of freedom at the intersection of film-making and film theory, critical refugee studies and postcolonial studies, personal/prosthetic memory and individual/collective histories. Nguyen-Chi studied Fine Arts at Städelschule (class of Simon Starling and Peter Fischli, 2010-2015) and Film at the School of the Art Institute of Chicago (2017-2019).
Currently, she is pursuing PhD research in Film at CREAM, University of Westminster. She has exhibited and screened her work at Atletika, Vilnius; Centro di Musica Contemporanea di Milano, Milan; Gene Siskel Film Center, Chicago; Haus, Vienna; Kunstverein Nürnberg, Nürnberg; Museum für Moderne Kunst, Frankfurt; Nottingham Contemporary, Nottingham; Portikus, Frankfurt; Sàn Art, Saigon; Site Galleries, Chicago, among other venues.
Born in 1989, Pei Chi Wu currently works and lives in London, UK and is pursuing a master’s degree in Fine Art from Goldsmiths, University of London. Her art practice includes moving image, sound, installation and performance, and is often inspired by the carried story of found objects. Wu’s practice has been drawn towards alternative narratives of found objects and personal stories, as well as taboo and traditional folk rituals. She has been thinking about the coincidences and gaps between the storyteller and the story itself, attempting to dig through elements undiscovered and overlooked from its context by collecting and cultivating hidden stories, dreams, and languages interwoven with personal identities. Wu poetically deconstructs and reinterprets shared histories and reconsiders the changing values of time and space as affected by colonialism, collective memory, and existence. Through quotidian items and moments, Wu constructs new, illogical storylines to retell forgotten histories, while also breaking the boundaries between different perspectives. Wu treats all information found and discovered through her process as clues in a map, and follows its route to imagine their absence. Sometimes, Wu sees herself as a storyteller that does not attempt to provide a cohesive and accessible story. Wu both accepts and embraces confusion and entanglements in her narratives, allowing for fluidity and unpredictability to enable open-endedness while conveying intimate yet alienated moments between illusion and reality. Wu has exhibited internationally, including podcasts in Art Licks and Montez Press, worldwide (2019, 2020); Somos Art, Berlin (2019); a curatorial exhibition by SE°111 at Safehouse, London (2019).