Events

I am a heart beating in the world: Diaspora Pavilion 2, Sydney

ICF and 4A present ‘I am a heart beating in the world: Diaspora Pavilion 2, Sydney’

Exhibition dates: 16 April – 7 June 2020
Exhibition opening: Thursday 16 April 6-8pm
Location: 4A Centre for Contemporary Asian Art (1
81 – 187 Hay Street, Sydney, Australia)

Exhibiting artists: Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa and Daniela Yohannes.
Curators: Adelaide Bannerman, Mikala Tai and Jessica Taylor.

I am a heart beating in the world is the first of a series of peripatetic international events that culminate in the second edition of International Curators Forum’s (ICF) Diaspora Pavilion being planned to take place during the Venice Biennale 2021. 4A Centre for Contemporary Asian Art is collaborating with ICF to present this unfolding series that will interrogate and complicate the term diaspora. As the first project of the series, I am a heart beating in the world presents the navigations, imaginings and lived experiences of diasporic subjectivities through the works of six artists based in Australia, the UK and Caribbean: Abdul-Rahman Abdullah, Kashif Nadim Chaudry, Lindy Lee, Leyla Stevens, Zadie Xa, Daniela Yohannes.

Understanding diaspora as a distinct sometimes provisional experience nuanced economically, historically and regionally I am a heart beating in the world is as much an exhibition as it is a research project, underpinned by fieldwork and reviews of how artists, curators, theorists and institutions engage with diaspora as a topic. 4A’s biannual 4A Curators Intensive will be held alongside the exhibition in April bringing together early-career Australian curators alongside a UK based early career curator for a week-long professional development programme. The intensive will be facilitated through workshops, lectures, site visits and discussions.

This project is made possible with the support of the Outset Partners Grant.

Artist Biographies:

Abdul-Rahman Abdullah (b. Port Kembla, Australia 1977 lives and works in Perth, Australia) is a sculptor whose practice explores the different ways that memory can inhabit and emerge from familial spaces. Drawing on the narrative capacity of animal archetypes, crafted objects and the human presence, Abdullah aims to articulate physical dialogues between the natural world, politics and the agency of culture. Recent exhibitions include The National, Museum of Contemporary Art, Sydney, Australia (2019), Dark Horizons, Pataka Art + Museum, Wellington, Aotearoa New Zealand (2017) and Magic ObjectAdelaide Biennale of Australian Art, Adelaide, Australia (2016).

Kashif Nadim Chaudry (b. Nottingham, United Kingdom 1976 lives and works in Nottingham, United Kingdom) is informed by his family heritage in tailoring which has influenced and focused his practice around the importance of materiality and craftsmanship. His work is characterised by the working, shaping and moulding of physical objects through the use of elaborate textile-based techniques to create monumental installations from fabric and found objects. Negotiating his identity as a British born gay man of Pakistani Muslim heritage much of Chaudry’s work questions how people choose to position themselves in the world. In relation, it is increasingly the sculptural and three-dimensional possibilities within his work that address the idea of positioning power, the sacred and the ceremonial. Recent exhibitions include Swags & Tails as part of the Asia Triennial, Manchester, UK (2014) and The Three Graces, Turner Contemporary, Margate, UK (2016).

Lindy Lee (b. Brisbane, Australia 1954 lives and works in Byron Bay, Australia) has an expansive practice that explores her Chinese ancestry through Taoism and Ch’an (Zen) Buddhism – philosophies that see humanity and nature as inextricably linked. Symbolic gestures and processes that call on the element of chance are often used to produce a galaxy of images that embody the intimate connections between human existence and the cosmos. Rather than singular visual statements, they are thoughtful objects where meaning emerges from sustained meditation. Recent exhibitions include the solo Lindy Lee: The Dark of Absolute Freedom, The University of Queensland Art Museum, Brisbane, Australia (2014), and group exhibitions Divided Worlds: Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, Australia (2018) and Marking Time, Museum of Contemporary Art, Sydney, Australia (2012).

Leyla Stevens (b. Cooroy, Australia 1982 lives and works between Bali, Indonesia and Sydney, Australia) is an Australian-Balinese artist and researcher who works predominately within moving image and photography. Her practice is informed by ongoing concerns around gesture, ritual, spatial encounters, transculturation and counter histories. Working within modes of representation that shift between the documentary and speculative fictions, her work deals with a notion of counter archives and alternative genealogies. Recent exhibitions include her solo presentations Their Sea is Always Hungry, UTS Gallery, Sydney, Australia (2019) and Of Love and Decomposition, Firstdraft, Sydney, Australia (2016) and group exhibitions Breathing Room (collaboration with Woven Kolektif), Cement Fondue, Sydney, Australia (2019), BEAUT 19, Brisbane & Elsewhere Art UnTriennial, Brisbane, Australia (2018) and the John Fries Award, UNSW Galleries, Sydney, Australia (2018).

Daniela Yohannes (b. 1982 lives and works in Guadeloupe, in the French Carribean) is a British-Eritrean/Ethiopian artist who, since training, as an illustrator has meandered through several disciplines before becoming an artist. Since moving to the Caribbean two years ago, her surroundings have found their way into her creations. She describes her inspiration as that of the invisible; the forces and concepts that drive and surround us: unseen but constantly at work on our bodies and minds. Her paintings and recent moving image works are witness to the expression of nature; explorations of the intimate experiences that are shared only with the elements: earth, air, water, and space. She confronts themes of the unconscious, race, identity and ancestry, the ethereal nature of the cosmos and plurality of the individual – interrogating the nature of belonging and what constitutes that feeling of ‘home’ and the impact and consequences of alienation. Recent solo exhibitions include; The Fall: A Woman’s descent into the Unconscious, Addis Fine Art Project Space London, UK, (2019), Beyond Voudou, The Pikture Gallery Bangkok, Thailand (2010) and group exhibitions Influence Project, Real Music Rebels East Wing Takeover, Somerset House London, UK, (2018) and House of Wahala Project Texas, USA (2017).

Zadie Xa (b. Vancouver, Canada 1983 lives and works in London, United Kingdom) explores the overlapping and conflation of cultures that inform self-conceptualisation identities and notion of self through performance, video, painting and textiles. Her layered textile works are sites for exploring contemporary identity construction and performance through cultural sampling, informed by her own experience within the Asian diaspora. Xa’s intricate, hand sewn wearable and performable garments stitch together a range of personally relevant imagery sourced from music, digital space, fashion, and art history. Xa has developed a system of personalised semiotics that propose entirely new images and objects, creating a personal visual language for articulating nuanced Asian identity narratives, which are frequently situated within fantastical or supernatural realms. Recent solo exhibitions include Meetings on Art performance program for the Venice Biennale open week (2019), Child of Magohalmi and the Echos of Creation, Yarat Contemporary Art Space, Baku, Azerbaijan (2019) and Soju Sipping on a Sojourn to Saturn, Galeria Agustina Ferreyra, Mexico (2018).

Image: Zadie Xa, Child of Magohalmi and the Echos of Creation, live performance as part of Art Night London 2019, devised with and performed by Iris Chan, Jia-Yu Corti, Mary Feliciano, Jihye Kim and Yumino Seki, percussion: Jihye Kim, choreographed by Jia-Yu Corti and Yumino Seki; photo: Matt Rowe.

Curator in Residence, Herbert Art Gallery & Museum

 

Curator in Residence at Herbert Art Gallery & Museum

 

We are excited to announce the appointment of Sylvia Theuri as New Art West Midlands and International Curators Forum Curator in Residence. Hosted by Culture Coventry at the city’s Herbert Art Gallery & Museum, the role will see Sylvia work with 6 artists from New Art West Midlands’ 2019 graduate cohort, across a year of bespoke professional development activity, leading up to an exhibition of new work by those artists at the Herbert Art Gallery in autumn 2020.


ICF Beyond the Frame programme site visit to Haus der Kunst, Munich, February 2017

Sylvia was selected for the post by a panel of arts professionals through an open call to curators based in and affiliated with the West Midlands. The post was made possible through partnership with the Herbert Art Gallery and International Curators Forum, as part of a New Art West Midlands programme supporting new talent and perspectives funded by Arts Council England. The partnership with International Curators Forum brings access to international networks and contexts – part of a distinctive professional development package that aims to create pathways into future opportunities for Sylvia and for the artists involved.

Sylvia notes: “I am excited to have taken on the role of Curator in Residence and to be a part of shaping the developing arts and culture in the city of Coventry where I live and call home. It is of great importance that we foster the visibility of and engagement with the visual arts to new and varied audiences, by ensuring that visual art spaces are not seen as ‘uninhabitable spaces’ but rather as welcoming and comfortable”.

Talking about working with artists to support new work relating to Coventry, Sylvia says: “I am very much looking forward to working with a cohort of New Art West Midlands 2019 artists to help shape their professional development across the course of the next year towards a new exhibition in 2020”.

Craig Ashley, Director of New Art West Midlands, said: “We are delighted to announce Sylvia’s appointment and look forward to working with her over the next 12 months. She brings a distinctive approach and perspective, with ambitions to support and reflect the region’s very best talent.”

 

 

 

New Art West Midlands x Coventry Biennial of Contemporary Art


New Art West Midlands x Coventry Biennial of Contemporary Art


ICF has partnered with New Art West Midlands and Coventry Biennial of Contemporary Art to select 20 recently-graduated artists to participate in the New Art West Midlands 2019 exhibition as part of this year’s Coventry Biennial.

The selected artists include: Betsy Bradley, Hira Butt, Sarah Byrne, Gemma Costin, Anna Katarzyna Domejko, Andreana Fatta, Matt Gale, Amy Guo, Ewan Johnston, Navi Kaur, Shiyi Li, Mengxia Liu, Farwa Moledina, Tayyibah Mota, Laura Onions, Ameera Sadiq, Matías Serra Delmar, Rosie Piercy, Georgia Tucker and Lily Wales.

New Art West Midlands x Coventry Biennial of Contemporary Art runs 4 October – 24 November 2019


Farwa Moledina, ‘Interwoven’, 2018, Ways of Belonging, Ort Gallery at Midlands Art Centre

This autumn New Art West Midlands returns with a new model, working in collaboration with Coventry Biennial of Contemporary Art and International Curators Forum to introduce an exciting group of artists across the city. From traditional arts venues to unexpected spaces and public places, the exhibition aims to reach new audiences and show the value of creativity as Coventry moves closer to its tenure as UK City of Culture in 2021.

The selected artists are recent graduates from the West Midlands’ art schools and creative Higher Education programmes. The region has a rich offer and heritage when it comes to art education; New Art West Midlands is a partnership with the leading institutions to celebrate the talented individuals emerging from undergraduate, postgraduate and doctoral programmes.

Applications were received from over one hundred artists, representing recent graduates from Birmingham City University, Coventry University, University of Wolverhampton, University of Worcester, Staffordshire University and Hereford College of Arts.

The selection panel included ICF team members Adelaide Bannerman and Jessica Taylor, invited selector Cindy Sissokho and Ryan Hughes, the founder and director of Coventry Biennial. ICF’s Diaspora Pavilion project model has informed the direction of New Art West Midlands 2019 as a professional development programme.

In addition to participation in Coventry Biennial, a smaller cohort from these 20 artists will be selected to work with an appointed curator on a yearlong professional development programme. This intensive period will support practice-based skills toward the development of new work for a further curated exhibition at the Herbert Art Gallery (Culture Coventry) in autumn 2020.

Speaking about the selection and quality of submissions, Jessica Taylor commented: “International Curators Forum is thrilled to be partnering with New Art West Midlands, Coventry Biennial and Herbert Art Gallery on this important opportunity to support a cohort of recently-graduated emerging artists and a curator from the West Midlands.

“We are excited that the Diaspora Pavilion model has influenced the development of this programme, which champions diversity and the professional development of emerging practitioners in the region. The connections made and exposure gained by the 20 selected artists as a result of their inclusion in this Biennial stands to be of great importance during this moment of transition in their careers, and we look forward to working closely with some of the artists as they continue on in the programme alongside a selected curator in 2020.”

Highlights include new large-scale installations, sculpture, photography, video, paintings, drawings and digital artworks, exploring themes of cultural identity, technologies and the environment among others.

Sarah Byrne’s (University of Wolverhampton) work reflects on experiences growing up in England as British girl with an Asian mother. Her projections use imagery from her mother’s old photo albums of childhood trips to the Philippines to question the events and exchanges that have contributed to a separation in her two national identities.
“I am a renegade botanist” declares Gemma Costin (Hereford College of Arts). Her travelling seedpod is a repurposed caravan that used to be called home, now transformed into a space to interrogate ideas of nature and biophilia.
Amy Guo (Staffordshire University) investigates the relationship between human and digital technologies. Works consider the ways in which our social interactions with others are mediated through technology and the visibility of our digital selves.
Farwa Moledina’s (Birmingham City University) series of prints on paper and textile are concerned with re-appropriating and reclaiming Orientalist imagery of Muslim Women. In today’s postcolonial, globalised world, refugees, immigrants and persons of dual culture often find themselves caught between tradition, integration and redefinition of their complex identities.
Through film, photography and mixed media, Tayyibah Mota (Coventry University) considers the Hijab. Her work seeks to display the tradition within and opposition to this Muslim practice, whilst sharing personal experiences of some of the British Muslim women who wear them.
Rosie Piercy (University of Worcester) deals with the very current issue of tuition fees and the cost of education in Britain. Her sculpture ‘Forever in Debt’ consists of helium filled balloons highlighting the exact balance of her student loan as they slowly deflate.

Ryan Hughes, director of Coventry Biennial, commented: “We are really delighted by the work we have selected and are looking forward to bringing it to Coventry to share with audiences. The professional development focus of New Art West Midlands aligns strongly with our vision for a social and critically engaged biennial for the region. The unique and inclusive new model they have built will create deeply meaningful opportunities for these artists in the West Midlands and beyond.”