Best Asian Contemporary Art Institution
This Special Award is given to an institution who over 2015 demonstrated an outstanding commitment to researching and exhibiting Asian contemporary art. The Award is not limited to any one particular form of institution but instead looks for academic and curatorial excellent across the board.
The 2016 shortlist for Best Asian Contemporary Art Institution is:
1. the land foundation | Thailand
2. NTU Centre for Contemporary Art Singapore | Singapore
3. Para Site | Hong Kong
4. Spring Workshop | Hong Kong (Award Winner)
Best Exhibition of Asian Contemporary Art
This Special Award is given to an exhibition that will come to be seen as a key exhibition of Asian contemporary art. The Award is open to both solo and group exhibitions.
The 2016 shortlist for the Best Exhibition of Asian Contemporary Art is:
1. Chen Zhen: Without going to New York and Paris, life could be internationalized | Rockbund Art Musuem, Shanghai, China
2. Go, East: The Gene & Brian Sherman Contemporary Asian Art Collection | Art Gallery of New South Wales, Australia
3. Great Crescent: Art and Agitation in the 1960s - Japan, South Korea and Taiwan | Para Site, Hong Kong (Award Winner)
4. Twin Tracks: Yang Fudong Solo Exhibition | Yuz Museum, Shanghai, China
HOW TO VOTE
For the first time, the winner of these two awards will be decided by public voting. To vote please send an email to email@example.com stating your name, the city you live in and who you are voting for in each category.
Voting opens on 3 December 2015 and closes on 16 December 2015, 6.00pm (Singapore).
We have 5 pairs of exclusive VIP tickets to the Prudential Eye Awards 2016, held at Marina Bay Sands on 19 January 2016 to give away! Vote now, and you stand a chance to win a pair. Winners of the tickets will be contacted by 22 December 2015 via email.
UPDATE: Thank you for your overwhelming support! Voting is now closed. Winners of the exclusive VIP tickets will be contacted by 22 December 2015 via email.
BEST ASIAN CONTEMPORARY ART INSTITUTION SHORTLIST
the land foundation
CHIANG MAI, THAILAND
‘the land foundation’ was founded on February 17th, 2004 by a board of committee consisting of Mr. Rirkrit Tiravanija, Mr. Kamin Lertchaiprasert and Mr. Uthit Atimana. the land foundation unites two projects; ‘the land’ and ‘Umong Silppadhamma’. ‘the land’ project was founded in 1998 by a group of artists who aimed to open the space for public purposes for self-sustainable natural farming and as a laboratory for an experiment in the social aspects of living together regularly and naturally. ‘Umong Silppadhamma’ was founded in 2002 by a group of artists who wanted to open artistic and cultural space for young cultural activists with the intention to support self-knowledge through a variety of activities such as Vipassana meditation, yoga and art. 'the land foundation' aims to:
1. promote and support artistic and cultural activities
2. promote and support natural farming,
3. promote and support self-knowledge by Vipassana techniques.
‘the land foundation’ provides a venue for organizations, artists and people who are interested to use its space for organizing activities such as seminars, art exhibitions and artists in residence for both Thai and international artists, all free of charge.
Images Courtesy: the land foundation
NTU Centre for Contemporary Art Singapore
The NTU Centre for Contemporary Art Singapore is unique in its threefold constellation of exhibitions, residencies, and academic research and education. The NTU CCA Singapore positions itself as a space for critical discourse and encourages new ways of thinking about “spaces of the curatorial’ in Southeast Asia and beyond. As a research centre, its Public Resource Centre aims to provide visiting researchers and curators a comprehensive study on the contemporary art ecosystem in Singapore and the region.
Since the centre’s inauguration in October 2013, the NTU CCA Singapore has launched several high-profile, first-to-launch exhibitions of leading artists including Yang Fudong (China), Simryn Gill (Malaysia/Australia), Allan Sekula (United States) and Tomás Saraceno (Argentina/Germany), making it one of the first spaces in the region to present international exhibitions of such a scale. The centre’s residencies programme is dedicated to facilitating the production of knowledge and research, engaging and connecting artists, curators and researchers across various disciplines. The centre’s seven studios support the artistic process in the most direct way – by giving the time and locale to be fully engaged, and the access to an interesting and immersive context to further the space for developing ideas.
Located in Gillman Barracks, the NTU CCA Singapore is a national research centre of Nanyang Technological University. It is developed with support from the Economic Development Board, Singapore.
Image Credits (clockwise from top left):
Tomás Saraceno: Arachnid Orchestra. Jam Sessions, 23 October – 20 December 2015, Installation view. Courtesy of NTU CCA Singapore
Simryn Gill: Hugging the Shore, 27 March – 14 June 2015, Installation view. Courtesy of NTU CCA Singapore.
Yang Fudong: Incidental Scripts, 12 December 2014 – 1 March 2015, Installation view. Courtesy of NTU CCA Singapore
NTU Centre for Contemporary Art Singapore, Exhibitions Block, 43 Malan Road, Gillman Barracks. Courtesy of NTU CCA Singapore.
Para Site is Hong Kong's leading contemporary art centre and one of the oldest and most active independent art institutions in Asia. It produces exhibitions, publications, discursive, and educational projects aimed at forging a critical understanding of local and international phenomena in art and society.
Founded in early 1996 as an artist run space, Para Site was Hong Kong's first exhibition-making institution of contemporary art and a crucial self-organised structure within the city’s civil society, during the uncertain period preceding its handover to Mainland China. Throughout the years, Para Site has grown into a contemporary art centre, engaged in a wide array of activities and collaborations with other art institutions, museums, and academic structures in Hong Kong and the international landscape. Since 2012, Para Site has been running an International Art Residency Programme and has been organizing an annual international conference. This is accompanied, starting from 2015, by a new educational format aimed at training young curators and other art professionals. In early 2015, Para Site moved to greatly increased premises, in North Point/Quarry Bay. Para Site's activities are made possible by the generous support of its patrons, and grants from foundations and the Government of the HKSAR.
Images Courtesy: Para-site
Spring Workshop is a cultural initiative that brings people together to experiment with the way we relate to art. Committed to an international cross-disciplinary program of artist and curatorial residencies, exhibitions, music, film and talks, Spring serves as a platform and laboratory for exchange between the vibrant artists, organizations and audiences that define Hong Kong’s rich cultural landscape and their international counterparts who seek to engage in far-reaching dialogue.
From the outset, Spring Workshop (est. 2012) has worked closely with local institutions such as Asia Art Archive, Para Site Art Space, and Hong Kong New Music Ensemble and overseas partners, such as Witte de With Center for Contemporary Art in Rotterdam, not only by offering residency support for their visiting guests but also by co-presenting a variety of live events, education and discursive programs, and exhibitions. Spring is dedicated to supporting the artistic process, as well as to creating encounters in which the public and practitioners can engage in meaningful dialogue. We have supported research for new productions by many artists including Ming Wong, and will premiere the new film of artist Wu Tsang in March 2016, which was researched, written and filmed during her six-month research residency.
Spring Workshop is conceived as a five-year experiment in rethinking support for Hong Kong’s developing art and cultural landscape with a focus on weaving together local and international ecosystems. Spring engages with the local community by providing a platform for emerging artists such as Trevor Yeung and Ho Sin Tung to develop and share work-in-progress, and a year-long residency on our terrace for urban farming collective HK Farm, which culminated in the publication of the HK FARMers’ Almanac . Spring’s other publications include A Fictional Residency, a book of short stories created in situ by six authors as part of our Moderation(s) project, and Stationary, an annual collection of stories distributed hand to hand.
Images Courtesy: Spring Workshop
BEST EXHIBITION OF ASIAN CONTEMPORARY ART SHORTLIST
Chen Zhen: Without going to New York and Paris, life could be internationalized
ROCKBUND ART MUSEUM, SHANGHAI, CHINA, 30TH MAY TO 7TH OCTOBER 2015
Rockbund Art Museum (RAM) in Shanghai celebrated its 5th anniversary in May 2015 with the ambitious exhibition “Chen Zhen: Without going to New York and Paris, life could be internationalised”. Organized by RAM, curated by international curator Hou Hanru, with Xu Min, the long-term life and work partner of Chen Zhen, as artistic consultant, the show featured large-scale installations, as well as sketches and notes by Shanghai-born conceptual artist Chen Zhen (1955–2000).
Largely recognized as one of the most important Chinese artists of the last two decades, Chen Zhen’s work derives from his personal experience of migrating and working across different continents and cultures. Chen Zhen drew inspiration from his own life experience, travelling between his native city of Shanghai and Paris, responding to and engaging with contemporary social issues across different cultures. The exhibition mainly focused on Chen Zhen’s travels in and out of Shanghai during the 1990s, reflecting on the rapid changes of social reality within the city at this time.
Image Credits (clockwise from top left):
Le Bureau de Change (Detail) , 1996-2004, Wood, metal, water, coins, glass, light, 290 x 367 x 423 cm; Private Collection, Paris ; Courtesy GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins; Photo provided by Rockbund Art Museum
Daily Incantations, 1996, Wood, metal, Chinese chamber pots, electric wires, parts of electronic objects, sound system, 230 x 700 x 350 cm; Courtesy de Sarthe Gallery, Hong Kong; Photo provided by Rockbund Art Museum
Zen Garden (Detail) , 2000, Alabaster, iron, plastic plants, wood, sand, small stones, light, 175 x 340 x 300 cm; Courtesy GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins; Photo provided by Rockbund Art Museum
Purification Room, 2000-2015,Found objects, clay, 850 x 1100 x 450 cm; Private Collection, Paris; Courtesy GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins; © Chen Zhen, ADAGP, Paris - SACK, Seoul, 2015; Photo provided by Rockbund Art Museum
Go East: The Gene & Brian Sherman Contemporary Asian Art Collection
ART GALLERY OF NEW SOUTH WALES, AUSTRALIA, 14TH MAY TO 26TH JULY 2015
Spanning both the Art Gallery of NSW and Sherman Contemporary Art Foundation, Go East presented the largest public display of Sydney philanthropists Gene and Brian Sherman’s contemporary Asian art collection. The exhibition featured over thirty works by twenty of Asia’smost dynamic artists whose practices range from installation and performance to photography and sculpture. Many of the works from the collection had never before been seen in Australia - including those by major artists Jitish Kallat and Yang Zhichao. The exhibition also marked the premiere of a newly commissioned artwork by Chinese artist Ai Weiwei, An Archive (2015). Underpinned by strong societal commentary, Go East offered visitors a rare insight to the Shermans’ personal journeyas collectors, as well as the opportunity to consider Australia’s uniquegeographic and cultural connection to Asia.
Image Credits (clockwise from top left):
Jitish Kallat, Public Notice 2 (Exhibition View), 2007
Zhang Huan, Family Tree (detail), 2000
Jitish Kallat, Public Notice 2 (detail), 2007
Yang Zhichao,Chinese Bible (detail), 2009
Great Crescent: Art and Agitation in the 1960s - Japan, South Korea and Taiwan
PARA SITE, HONG KONG, 22ND NOVEMBER 2013 TO 9TH FEBRUARY 2014
A small essay of comparative art history, Great Crescent: Art and Agitation in the 1960s—Japan, South Korea, and Taiwan highlighted “anti-art” performative tendencies in Japan, South Korea, and Taiwan in the 1960s—a decade of turbulence and transformation worldwide, which was also a critical period in the social and political, as well as cultural and artistic histories of the three neighbouring countries. Against the mainstream dominated by modernist abstraction in each country, orientations toward the use of the artist’s body and ephemeral action emerged not only as local manifestations of a broader movement in international postwar art but also as indigenous responses to their respective national contexts. Rather than presenting a comprehensive statement on the topic, this selection of works aimed to make a small contribution to the budding research and study on the history of avant-garde performance in East Asia.
Great Crescent included many reproductions of documentary images of immaterial, if critical, performances and events, accompanied by textual narratives and printed matters. Artists included Chang Chao-Tang, Choi Boong-hyun, Chuang Ling, Hi Red Center, Huang Huacheng, Jeong Gang-ja, Kang Guk-jin, Yoko Ono, and Zero Dimension.
Image Courtesy: Para Site
Twin Tracks: Yang Fudong Solo Exhibition
YUZ MUSEUM, SHANGHAI, CHINA, 1ST SEPTEMBER TO 15TH NOVEMBER 2015
The title of the exhibition, “Twin Tracks”, originated from the Chinese proverb Nanyuan Beizhe, literally meaning to “go south by driving the chariot north”. The title referred not only to the two different styles of works on display in the exhibition, but also Yang Fudong’s favored working method. Through the primary medium of video, Yang Fudong expands upon the formal qualities of the film language, as well as conveying the depth and breadth of his ideas. When creating a work, Yang Fudong does not start with a clear concept or image in mind, rather, as he describes, he pursues a “recognized sensibility,which happens to be precisely the same sensibility felt by the audience”. The final result is a ‘recognized film’ independent of a unified style or subject matter.
“Twin Tracks: Yang Fudong Solo Exhibition” focused on five important works by Yang Fudong presented since 2007: East of Que Village (2007), BlueKylin/A Journal of Shan Dong (2008), The Fifth Night (2010), About theUnknown Girl – Ma Sise (2013-2015) and the China premier of The ColoredSky: New Women II (2014). Through a focus on twin tracks of Yang Fudong’s work, the exhibition explored the complex ambiguous relationship between reality and unreality to re-examine different lifestyles of modern society and itsmeaning. The threads of images and themes within the works cross stretches,some seeming to emerge from the echo of the past, while others are obscured and disappear in a distant haze. Their significance lies not in the relationship between each other, but in the impression the artist has left.
The Fifth Night , 2010, 7-channel video installation, 35mm b&w film transferred to HD, music: Jin Wang; Courtesy of Yuz Museum, Shanghai; Photo by JJY Photo (top two images)
About the Unknown Girl – Ma Sise , 2013-2015, Films, Photographs, Installations, etc., Exhibition view in Yuz Museum,Shanghai 2015; Courtesy of Yuz Museum, Shanghai; Photo by JJY Photo (bottom left)
East of Que Village, 2007, 6-channel video installation, Exhibition view in Yuz Museum,Shanghai 2015; Courtesy of Yuz Museum, Shanghai; Photo by JJY Photo (bottom right)