MIACA presents Japan and Hong Kong's artists in 'Comparing Experimental Cinemas' Symposium, at Srishti School of Art, Bangalore, India. Introducing the works of Map Office, Adrian Wong, Hikaru Suzuki and Yuichiro Tamura on 18th and 19th December 2014.
Srishti School of Art, Design and Technology and Centre for Research and Education in Arts and Media (CREAM), University of Westminster, in collaboration with Experimenta India, present ‘Comparing Experimental Cinemas’, an international symposium on experimental moving image practices.
‘Comparing Experimental Cinemas’ inaugurates a British Academy-funded research project which proposes to map histories and modes of artists’ moving image across localities in Asia and beyond, and to theorize the regionality of experimental moving image practices. This symposium also intends to facilitate the establishing of a network of exchange and support among practitioners and researchers, who are largely, but not exclusively, based in the Asia-Pacific region.
The symposium consists of two days of illustrated talks and screening programmes by academics, curators, artists, festival directors and researchers of experimental and avant garde film from India, Indonesia, Japan, Hongkong, Malaysia, New Zealand, South Korea, Thailand, Vietnam, and the UK, who will be coming together for the first time to present and discuss the historical and contemporary context of experimental cinema in Asia.
2nd Dec 2014 7pm
Chi Art Space, New World Tower, Central, Hong Kong
Talk at the K11 Foundation space with Robin Peckham, chief editor of LEAP, Qinyl Lim, curator of ParaSite and Hasegawa of MIACA. Thanks for all who joined the talk!
Speakers; Robin Peckham (Leap), Qinyl Lim(Para SIte Art Space), Hitomi Hasegawa (MIACA)
這是陽光明媚的天 It's a Sunny Day
Date: Saturday, 20 September 2014, 12:00-20:00
2014年9月20日，星期六，中午12點至晚上8點
Oil Street Art Space, Gallery 2
12 Oil Street, North Point, Hong Kong
3 minutes’ walk from Fortress Hill MTR station, exit A
Next to AIA Tower
MIACA collection screening day at the video screening hut by Elaine W. Ho, in conjunction with the exhibition Can We Live (Together)
MIACA文獻庫藏品放映日－何穎雅錄像放映棚 /「假如（在一起）」聯合策劃
MIACA is pleased to share with you all a special screening from our collection this Saturday at the Oil Street Art Center. The screenings are co-hosted by the Oil Street Community Screening Hut by Elaine W. Ho, in conjunction with the current exhibition Can We Live (Together). Please stop by and take a look, between 12:00 noon and 20:00; the detailed schedule is below.
The screening includes a Japanese controversial video piece by Yutaka Tsuchiya about Yasukuni, which will be shown for the first time in Hong Kong. All other works are also premiering in Hong Kong.
《你怎樣看昭和天皇的戰爭責任？》What Do You Think About the War Responsibility of Emperor Hirohito? (1997)
日語配英文字幕，彩色，有聲，53分鐘
Japanese with English subtitles, color video with sound, 53”
土屋豊 Tsuchiya Yutaka, born in 1966, lives and works in Tokyo. He is a figurative documentary filmmaker who is sometimes referred to as a media activist. He started his art practice in 1990.
What Do You Think About the War Responsibility of Emperor Hirohito? (1997) is still a controversial piece. At Yasukuni Shrine on August 15th, 1996, the 51st anniversary of the end of War, the taboo question of whether they think that Emperor Hirohito bore some responsibility of World War II. The visitors in Yasukuni are the families of deceased and former soldiers, and we can see how they conceive the Emperor and the last World War. Tsuchiya manipulates the interviews images and old footage from the former war, juxtaposing them as media images.
Program 2 (12:00-16:50, 18:00-19:00)
"這是陽光明媚的天 It's a Sunny Day" (短片作品 shorts compilation)
featuring works by Masanobu Nishino, An Jungju, Chikara Matsumoto, Satoru Tamura, Hikaru Suzuki, Mai Yamashita + Naoto Kobayashi
日語配英文字幕，彩色，有聲，23分鐘
Japanese and English subtitles, colour and sound, 23'00
The “It's a Sunny Day” compilation video programme is comprised of eight works from the MIACA collection reflecting a sunny day with several narratives and emotions evoking personal memories from childhood. The play of children refers to Michel de Certeau’s notion on the tactics of the socially weak, outlining the everyday unconscious and repetitive or consumptive activity as a form of resistance to power and dominant regimes. "It's a Sunny Day" is curated by Hitomi Hasegawa.
Additional Screenings (to be shown upon request):
Future for Museum, Second Planet
Kevin, Yu Ebihara
Man in the Tunnel Alley, Kenji Iwaisawa
ーーーーーーー
What Do You Think About the War Responsibility of Emperor Hirohito? 《你怎樣看昭和天皇的戰爭責任？（靖國神社部份，1996年8月15日）》
Japanese with English subtitles, color video with sound, 53” 日語配英文字幕，彩色，有聲，53分鐘 (1997)
Production Company, Source: W-TV OFFICE
製作公司，片源：W-TV OFFICE
Tsuchiya Yutaka, born in 1966, lives and works in Tokyo. He is a figurative documentary filmmaker who is sometimes referred to as a media activist. He started his art practice in 1990. In 1999, his first feature film The New God won an International Critics Prize Special Mention at the Yamagata International Documentary Film Festival. TV Peep Show (2003) received awards at the International Film Festival Rotterdam, Montreal International Festival of New Cinema and the Hawaii International Film Festival. In 2012, GFP Bunny won a prize at the Tokyo International Film Festival, and was shown at many prestigious film festivals, including those of Rotterdam, Hamburg, Taipei, Singapore and so on.
In 1994, Tsuchiya used his own distribution channel to issue the video Without Television for free reproduction by audiences. In 1998 he organized the independent video distribution agency Video Act!, and he continues working today towards the expansion of the network of media activists and filmmakers. Currently, he is working as a producer, collaborating with young independent filmmakers. This year Tsuchiya produced the highly acclaimed film The End of the Special Time We Were Allowed (2014) directed by Shingo Ota.
What Do You Think About the War Responsibility of Emperor Hirohito? (1997) is still a controversial piece and has not been shown many times, even in Japan. However, the responses from the Yasukuni visitors in the piece show what the Yasukuni Shrine means to those who lived through the last World War, and how they conceive the Emperor in their minds. Tsuchiya himself remarked that this work was made to “destroy the bad feelings when he says ‘Emperor (Tennoh)’”, which is true for most Japanese people, including the young generation.
Aaron Gerow described this work in 1997:
…visitors at Yasukuni Shrine on August 15th, 1996, the 51st anniversary of the end of the war, [were asked] the taboo question of whether they think that Emperor Hirohito bore some responsibility for the tragedy of WWII. It is not surprising that most of the respondents, visiting a shrine to Japan's war dead which is more accurately a religious glorification of militaristic nationalism, say no, but Tsuchiya and his partner, using such devices as a head-held camera, let them comfortably speak their minds, gaining an interesting insight into the contemporary ideology of the emperor. Refusing to criticize them directly, Tsuchiya digitally manipulates the interviews to present them precisely as media images set against other broadcasts, a strategy which demands a viewer different from that of dominant television: one who is discerning and selective and can make up his or her own mind.
生於1966年，現於東京生活及工作的土屋豊是個紀錄片導演。土屋有些時候被視為媒體行動者。土屋的創作始於1990年。1999年，他的第一部長片《The New God》（新神）在山形國際紀錄片影展中獲得FIPRESCI特別賞。《Peep TV Show》（偷窺電視節目）（2003）更在鹿特丹國際電影節、蒙特利爾新電影電影節及夏威夷國際電影節獲獎。2012年作品《GFP Bunny》奪得東京國際電影節的獎項，更在包括鹿特丹、漢堡、台北、新加坡等多個電影節放映。
土屋在1994年開始，以其自己的發行渠道，出版錄像作品《Without Television》（無電視），並讓人自由複製。1998年，土屋成立了獨立錄像發行公司“Video Act!”。他持續地發展開拓媒體行動者網絡的工作，並一直繼續拍片。他現在亦以監製的身份與年輕的獨立電影人合作。今年，土屋就監製了太田信吾導演的《The End of the Special Time We Were Allowed》（我們被允許的時間終結），作品屢獲好評。
What Do You Think About the War Responsibility of Emperor Hirohito?
When I am asked this question, I always feel uncomfortable, especially just to say “Emperor”. I never criticize the Emperor, but I feel hesitation, discomfort and guilt.
I started this project to destroy this feeling. Why can an average citizen like me not talk about our own Emperor? An emperor who is a “symbol of a unified Japan”?
In this project, I conducted interviews at the Yasukuni Shrine on the 15th August, the day of commemoration for the end of World War II. At Yasukuni, there were many families of the deceased and former soldiers. Their words have the weight of reality. After the interviews, I was scared of the imperial system. It controls them, and it controls me. I think we should break through this system. If I feel guilty when I ask this question, it is from a position within the system where I am “unified” and “controlled”.
Chikara Matsumoto / Heavy Metal (2005) / Music: Orga-no-Lounge / 4'00"
Satoru Tamura / The Plastic Models Break into Pieces (2000) / 1'53"
Mai Yamashita + Naoto Kobayashi / Miracle (2004) / 3'13"
Hikaru Suzuki / Trauma (2004) / 1'07"
Mai Yamashita + Naoto Kobayashi / Infinity (2006) / 4’42"
The “It's a Sunny Day” compilation video programme is comprised of eight works from the MIACA collection reflecting a sunny day with several narratives and emotions evoking personal memories from childhood. The play of children refers to Michel de Certeau’s notion on the tactics of the socially weak, outlining the everyday unconscious and repetitive or consumptive activity as a form of resistance to power and dominant regimes.[1]
Masanobu Nishino’s two works from everyday life shows a peaceful trivia and the small play of artists under the sunshine.
An Jungju’s lip-synch piece also shows a comic moment from a child’s individual play-like action.
Chikara Matsumoto’s low-tech animation explores the expressions of video through hand-drawn images. Music by organ-o-rounge adds a mysterious harmony to the work.
Satoru Tamura’s plastic model piece satisfies our primitive desire to destruction.
Two pieces by Mai Yamashita + Naoto Kobayashi are the labor-intensive work of this artist couple, exploring and pursuing the simple joy and surprise of achieving something that may not hold any significance for others. At the same time, the simplicity of ideas is a part of kid’s play itself. Hikaru Suzuki’s Trauma evokes an ambiguous memory of violence in contrast to the peaceful, quiet forest landscape on a sunny day.
“It’s a Sunny Day” is curated by Hitomi Hasegawa.
'Hairy Soy Source, Soap and Ten Statements for an Artist '
Exhibition, open video library (O.V.L. 3)
and artist talk by Nobuaki Itoh
Date: 16th and 17th May, 2014
16th May 2pm-9pm / 17th May 11am-6pm
(Exhibition and library open)
Artist Talk by Nobuaki Itoh
Date: 17th May, Sat., 2014, 3pm-5pm
(Japanese and English translation)
Free admission
Venue: 707, Block B, Ming Pao Industrial Center, 18 Ka Yip Street, Chai Wan
Venue in Chinese: 柴湾嘉業街18号 明報工業中心 B座7楼 707
(Please show the address in Chinese to Taxi driver, or take mini Bus #62 from Hen Fa Chun MTR station, Get off at Chai Wan Industrial Building)
MIACA is pleased to present Nobuaki Itoh, 'Artist' (2013) and his artist talk at the Chai Wan Mei 2014.
Itoh, an artist and a researcher, seems like being obsessed by death and human body.
Itoh used to work for the funeral company, preparing dead persons for the ceremony. WIth this memory, he created an artwork entitled 'Reminiscence of Corpses' (2010) which is a sound installation, based on the voices and monologues about his memory of the senses of touching many corpses. The installation consisted of many speakers, each one is for artists own voice talking about a corpse he saw and worked. 'Dead one/Living one' (2010) is a two-screen video installation with a sleeping artist and his own grandmother who is in her dying bed.
The work showing in Chai Wan Mei is a documentary of the disciplinary process of a young artist, whose works are on living insects. Itoh trained her to shout ten statements for an artist within one minute, which is partially a traditional psychological technique being utilized by companies. What is a success as an artist? Does a strategy for building self-esteem really work for that?
Nobuaki Itoh, born in 1981, lives and works in Kyoto. He participated in the Ogaki Biennial, IAMAS, Caso Kyoto and others, won a prize at the Taro Okamoto Art Prize in 2007. This is his first show in Hong Kong.
At our video library, you can enjoy a large selection from our archive. (We have limited numbers of monitors) Coffee or tea, some sweets will be served.
MORIYAMA -screening and talk by the director, Keiichi Miyazawa
Tuesday, January 21, 2014
Screening: 19:00-20:00
Talk by Keiichi Miyagawa, Dorector of MORIYAMA: 20:00-21:00
A Space, Asia Art Archive
10F, Hollywood Centre, 233 Hollywood Road, Sheung Wan, Hong Kong
Para Site and MIACA are pleased to present the screening of MORIYAMA, a 2007 film featuring an interview with the legendary Japanese performance artist Yasuhide Moriyama, initiator of Spider Group 集団蜘蛛.
Active between 1968-1973, the group is known for its extreme and sometimes explicit public performances which lead to Moriyama's arrest and trial for obscenity in 1973, a trial that ended the group's active years. Some of Spider Group's actions remain undocumented, while others were mistakingly attributed to Zero Dimension, even appearing in the latter group's publication. Moriyama remained absent from the public light until 1987 and he and the group were almost forgotten by art historians, until an exhibition curated by Raiji Kuroda at the Fukuoka Art Museum in 1997 and the realization of MORIYAMA. Spider Group has also been featured in several publications, including Anarchy of the Body: Undercurrents of Performance Art in 1960s Japan by Kuroda. MORIYAMA also features interviews with Raiji Kuroda (Chief Curator, Fukuoka Asian Art Museum) and Yoshihiko Imaizumi (founder of Bigakko in 1969, and close collaborator of Natsuyuki Nakanishi and Genpei Akasegawa of High Red Center).
The screening is followed by a discussion with the director of the film, Keiichi Miyagawa, moderated by Hitomi Hasegawa (in Japanese with English translation). This event is a satellite project of the exhibition Great Crescent: Art and Agitation in the 1960s-Japan, South Korea, and Taiwan, on view at Para Site through February 9.
Yasuhide Moriyama (born 1936) is a performance artist, painter, and the initiator of Spider Group. He lives and works in Kitakyushu, Japan.
Keiichi Miyagawa is an artist, founding director of the Kitakyushu Biennial and member of the artist collective SECOND PLANET (with Hisao Sotoda). He also runs Gallery Soap, an artist-run space in Kitakyushu.
MORIYAMA, 2007
Camera: Keiichi Miyagawa, Tetsu Takagi
Music: souru kyoudai (Seoul Brothers)
Director: Keiichi Miyagawa
Produced by: soap land records
Running Time: 59’25”
Language: Japanese with English subtitles
Para Site is Hong Kong's leading contemporary art space and one of the oldest and most active independent art centres in Asia. It produces exhibitions, publications and discursive projects aimed at forging a critical understanding of local and international phenomena in art and society.
Once was Now, Now is Over, Yet will Come 曾經是現在，現在已結束，然而會再來
Time-based art works themed around Time
以時間來命名的時間性藝術作品
October 31 – November 16, 2013
Artists: Takehiro Iikawa, Lyota Yagi
Curator: Hitomi Hasegawa
Venue: Platform China (HK)
2013年10月31日至2013年11月16日
藝術家：八木良太，飯川雄大
策展人：長谷川仁美
地點：站台中国（香港）
Unit 601, Chai Wan Industrial Building Phase 1, 60 WIng Tai Rd., Chai Wan, Hong Kong
香港柴湾，永泰道60号，柴湾工业城第一期601单元，站台中国
+852 9768 8093
What is time? Can time be compared to a line – unique, straight and continuous? Does this line have a beginning or end? What if one day things simply ground to a halt? If you froze in the middle of reading this text, raindrops froze mid-air, birds froze in the sky, everything on the planet stopped in its tracks, the entire universe completely ceased moving except for the passage of time itself? Will anyone ever have the chance to experience a moment like this?
Aristotle and Leibnitz believe that time cannot exist independently without the chain of events which make it up. Time is made up of the changes and circumstances, which it comprises, and otherwise time does not exist.
Other philosophers including Plato and Newton perceive time as an empty container into which things and events can be placed; but the container still exists independently of what (if anything) is placed in it.
American philosopher Sydney Shoemaker pursues this idea of "empty time” in a theory where he proposes a small finite world divided into three zones, namely A, B and C. People in Zone A come to a complete halt for one hour once every two years.
While the freeze in Zone A is taking place, Zone A appears to those in Zones B and C to be pitch black, since no light can enter or exit the frozen zone. A similar event takes place in Zone B for an hour once every three years, and in Zone C, this happens for an hour once every 5 years. A global freeze occurs every 30 years. No one witnesses this global freeze, but everyone is aware it takes place. On this day, inhabitants of this strange world celebrate "empty time party".
Time is something ubiquitous and connects us with history and ancient time. Time is physical, mathematical, a part of the universe, inhuman and cruel. To work with Time, you need to choose a concrete attitude. It can either be romantic, or it can be scientific, it can also be commercial, and it can be philosophical and so on. This exhibition focuses on the two perceptions of Time by two young artists, Lyota Yagi and Takehiro Iikawa.
The two artists have totally different approaches towards time in their respective artistic practices. Yagi considers directly time-based media such as music or video. He manipulates and distorts time within music or video compositions, or uses physical media like CDs, LP records and music tapes. His series of work "CD" (2011) are created by peeling off vaporized aluminum from CDR and sticking the pieces onto the canvas. Whatever the content used to be, the memories or the music from the CDs now exist between the fine layers of aluminum and canvas’ rainbow-like surface.
His piece "Vinyl" (2005-) is an LP record made from ice presented on a record player playing a very subtle kind of music. As time passes, the grooves of the record melt and the music fades away to become noise, while the audience enjoys an elusive and ephemeral melody.
In the video work "Stealing Time” (2007), Iikawa challenges human perceptions of time. Having informed everyone on the team except for one player, Iikawa "steals" this player's time. The artist records the player's reaction when the Futsal match unusually finishes twice as fast as usual. We see how the human perception of time is not precise.
In "The Clock for Practice of Time” (2006-) series, Iikawa made videos over the course of 24 hours, visually showing what time it was. His works are concerned with the relationship between people and time, nature and the urban landscape.
Lyota Yagi (b. 1980, lives and works in Kyoto, Japan) His works have been own in the Yokohama Triennial 2011, Yokohama, Japan; Winter Garden, Ernst Museum, Budapest, Hungary; MOT Annual, Museum of Contemporary Art, Tokyo, Japan, amongst others. He was an Asian Cultural Council Fellow in 2010.
Takehiro Iikawa (b. 1981, lives and works in Kobe, Japan) His works have been shown in Young Video Artists Initiative, Mori Art Museum, Tokyo; Fade out, Fade In, Kodama Gallery, Kyoto and Tokyo; rendezvous 09, Institut d’art contemporain, Lyon, France; the Yokohama Triennial (participated as COUMA), Yokohama Japan amongst others.
Text by Hitomi Hasegawa
Organized by: Platform China, MIACA
Supported by: Asahi ShimbunFoundation
City University Hong Kong,
HAPS Kyoto
Thanks to: Mujinto Production, Tokyo
Kodama Gallery, Tokyo, Kyoto
Performance and lecture Lyota Yagi + Takehiro Iikawa
Tue, October 29, 2013. 5 - 7pm
Venue: Future Cinema Studio, 6F, Run Run Shaw Creative Media Center, School of Creative Media, City University Hong Kong, 18 Tat Hong Avenue, Kowloon Tong, Hong Kong
表演和演講：10月29日，星期二下午5.00 – 7.00，
地點：九龍塘達康路18號邵逸夫創意媒體中心L6香港城市大學創意媒體學院(SCM)
A performance and lecture focusing on the perceptions of Time by two young Japanese artists, Lyota Yagi and Takehiro Iikawa will take place at the School of Creative Media, leading up to the opening of their upcoming show at Platform China's "Once Was Now, Now Is Over, Yet Will Come" (Oct 31 - Nov 23, 2013) curated by Hitomi Hasegawa presenting a number of time-based media including video, photography, and site-specific installations.
Both artists work extensively with video, sound and photography, and they will be discuss their individual approaches to the theme of time, how their practice relates to one another, and give an insight into the world of their artistic practice.
On the occasion of their first lecture and performance in Hong Kong, the artists will present new video footage shot during Iikawa's stay in Hong Kong, a brief workshop with Yagi introducing the audience to the creation of his modular sound installations "Vinyl" and "CD" and a final performance where video, sound and installation by both artists come together for the finale.
Hitomi Hasegawa is a Hong Kong based curator and founded the Moving Image Archive of Contemporary Art (MIACA) in 2006. Hasegawa also works
for the Setouchi Triennial 2013 and has since 2000 curated a number of exhibitions and screenings in venues including the Kunsthalle Dusseldorf, Istanbul Short Film Festival, Oberhausen Short Film Festival, Kunstbuero in Vienna, Kulturhuset and Skulpturenshus in Stockholm.
Thanks to: Dr.David Jhonston, Ariel Hung, Dr. Takuro Mizuta Lippit.
Courtesy /Yuchiro Tamura
WUNDERKAMMER - Yuichiro Tamura Artist Talk
Date: 23rd May, 2013 5pm to 7pm
Location: Para Site Art Space, 4 Po Yan Street, Sheung Wan
RSVP: info@miaca.org
MIACA presents Yuichiro Tamura artist Talk during the Art Basel at Para Site Art Center. Yuichiro Tamura firstly presents his work in Hong Kong, at the Basel Art Fair HK. The work he will show, Nightless is a roadmovie composed the images feom only Google Street View.
He works with video, photography and performance, explores the boundary between human behaviours and aesthetic realm. His works also adrees history and archives. Tamura won the Excellent Prize in the 14th Japan Media Arts Festival in 2011. The WUNDERKAMMER is a title of his project that audience-participate style implemented during his Tokyo Wonder Site residency program in 2010.
Tamura was born in 1977, currently lives and works in Berlin.
TEOR/éTica -Two case studies on architecture and fascism in the tropics
talk by Inti Guerrero
23rd April, 2013
19:00-21:00 (Tropical drinks and refreshments are served)
Admission free
Spring Workshop http://www.springworkshop.org
3F, Remex Centre, 42 Wong Chuk Hang Rd., Aberdeen, Hong Kong
Organized by Spring Workshop and MIACA
On Tuesday 23 April, 7pm at Spring workshop, curator Inti Guerrero talks about the curatorial work behind a series of acclaimed exhibitions he developed as the Associate Artistic Director of TEOR/éTica, a not-for-profit space, founded in 1999 in Costa Rica.
The exhibitions featured in this talk & screening night are:
"Edificio Metálico” (included in Artforum’s Best of 2012 issue) is based on a prefabricated building that was shipped from Belgium to Central America in the 19th century. An exhibition where works by Dominique Gonzalez-Foerster and experimental short films by Syrian director Ossama Mohammed are placed together with manifestations of pop culture, including excerpts from a concert of the White Stripes in an opera house located in the heart of the Amazon.
"Men Amongst the Ruins” departs from a monument of fascist iconography, in which a German eagle meets a Mayan-Aztec pyramid. The show explores the symbolic implications of this structure by addressing the ways in which ideological radicalization is expressed today in various contexts of the world. It presents works by a range of artists including gay cult film director Bruce LaBruce and Hong Kong based Leung Chi Wo.
About Inti Guerrero:
Inti Guerrero is an art critic, curator and traveller. Currently he is the Associate Artistic Director/Curator of TEOR/éTica. As an independent curator he has curated: Kadist. Pathways into a collection at Minsheng Museum in Shanghai; Man Up, Tate Film, Tate modern, London; The City of the Naked Man, Museum of Modern Art of São Paulo; Flying Down to Earth, MARCO, Vigo and FRAC Lorraine, Metz; and Duet for Cannibals, Royal Tropical Institute, Amsterdam, 2010. His texts have been published in Afterall, Manifesta Journal, Ramona, ArtNexus, Metropolis M and Nero. He lives in Hong Kong and periodically works in San Jose, Costa Rica.
About TEOR/éTica:
TEOR/éTica is a non-for-profit space dedicated to artistic and curatorial practices. It is one of the oldest and most active independent art centres in Central America and the Caribbean.Its program include international exhibitions, publications, residencies and symposia.
TEOR/éTica has created an international cultural and theoretical network and has gained recognition for generating new ways of thought.
Joins us for this night of insightful discussions, screenings of rarely seen short films and fresh tropical cocktails.
Constant Dullaart was born in Netherland, 1979, lives and works in Berlin. He is a former resident of the Rijksakademie in Amsterdam. His practices focus on visualizing internet vernaculars and software dialects, and the approach is critical to corporate systems influencing the contemporary semantics. Editing online forms of representation, and the user's access to it, he creates installations and performances online and offline. Dullaart's work has been published internationally in print and online, and exhibited at venues such as MassMOCA, UMOCA the New Museum in New York, Autocenter in Berlin, and de Appel, W139, and the Stedelijk Museum in the Netherlands. Dullaart has curated several exhibitions and lectured at universities throughout Europe, most currently at the Rietveld Academy in Amsterdam. He recently co-founded an internet art documenting initiative, http://net.artdatabase.org. He is also a regular participant of the Speed Show invented by Aram Bartholl.
http://constantdullaart.com
Dullaart will talk about his own practices, projects and may show his new moving image piece regarding Facebook. Please join on Monday, 5th of November!
still from Sans-Titre 2010 (C)Neil Beloufa
MIACA screening Traces of Rational Violence ( Traces of Rational Violence is the VIP program of HK Art Fair )
Date: Saturday 19th May, 2012 17:00-19:30
Venue: Double Happiness
Artists: Roee Rosen, Neil Beloufa, Kota Takeuchi, Yasuto Masumoto
8F, Foo Tak Building, 365-367 Hennessy Road, Wan Chai, Hong Kong
Supported by the Dawei Charitable Foundation, ACO books and cafe
map: http://bit.ly/whKDvz After the screening, Yasuto Masumoto will do a presentation about his work.
Violence is something to be hated, an action born out of hostility, anger, and a lack of consideration for others. Violence uses power to control and subordinate. However, humans have an inherent proclivity towards violence. Tracs of Rational Violence features various works that treat themes of violence and show its entangled relationships with contemporary society.
artists: Roee Rosen, Neil Beloufa, Kota Takeuchi and others
Guest; Inti Guererro
Monday, April 16th 2012 7pm-
at Voi Voi Rakkaus 10F, The Loop, 33 Wellington Street, Central Hong Kong
($20 or more donation will be asked)
Inti Guerrero talks about his projects
Miaca is pleased to announce the start of a new series of talk/discussion/lectures on assorted Mondays.
The first session will be a talk from curator Inti Guerrero. He will talk about his past and current projects. Guerrero's projects are often related to architecture, sexuality, historical events and involving non-canonical visionary personas from the avant-garde.
Inti Guerrero is a curator and art critic based in Hong Kong. He is currently the Associate Artistic Director of TEOR/e'Tica in Costa Rica. His recent curatorial projects include: Kadist. Pathways into a collection, Minsheng Museum, Shanghai; Man Up!, Tate film - Tate Modern, London; Flying Down to Earth, FRAC-Lorraine, Metz; The City of the Naked Man, Museum of Modern Art of Sao Paulo, Brazil; and Duet for Cannibals, Royal Tropical Institute, Amsterdam . He has published in Afterall (London), Manifesta Journal, Metropolis M (Amsterdam) and ArtNexus (Miami) a.o. Guerrero attended De Appel's Curatorial Program in the Netherlands.
MIACA (Moving Image Archive of Contemporary Art) was established in 2006 in Japan, and has recently relocated to Hong Kong. MIACA preserves and distributes moving image works, and is one of the earliest institutions specialized in the region's moving image art.
Season's Greetings from MIACA
Dear friends and artists,
We MIACA moved to Hong Kong in 2012, and hope to expand our activity in Asian region.
Thank you for supporting MIACA and hope to see you in Hong Kong!
MIACA
"Blue, Red, White and Yellow" Yasuto Masumoto solo exhibition at Observation Society in Guangzhou, China
Why are we so enthusiastic for the Olympic Games or the World Cup? Whydo we have such strong feelings of love and hate for our country, and why do they cause us to kill each other in times of war? What is it about the nation thatcan move us this much?
The project Yasuto Masumoto would present in this exhibition is an examination of these fundamental human emotions. Local volunteers are divided into groups and fight each other with handmade plastic rockets. Masumoto's works are always sensitive to cultural differences and how human conditions and emotions are shaped by circumstance.
At the opening of the Observation Society, Masumoto will also conduct a performance that refers to his own great-grand mother's experience in Hiroshima on August 6th, 1945 when she was exposed by radiation of the atomic bomb.
The exhibition is the first in China for the artist.
Opening reception/performance:
June 18th 2011, 19 pm~
Support：Liberia Borges Institute for Contemporary Art, MIACA Japan Curator：Hitomi Hasegawa Thanks to：Chen Tong
The 57th International Short Film Festival Oberhausen
11th May, 2011 17:00 at Sunset, Lichtburg Theater, Oberhausen Germany
Screening of MIACA program and short presentation
Presentation by Yuichiro Tamura
----2011 MIACA Program:
Chen HangFeng ---Three minutes
Fan Hsiao-Lan --- AGump
Rhowa Jeoung --- Man is Consumption Goods / Circulation
Daido Moriyama --- shinjuku 1973, 25pm
Yuichiro Tamura --- Nightless
Adrian Wong --- Sang Yat Fai Lok
Mai Yamashita + Naoto Kobayashi ---Telepathy
Thanks to: Osage Gallery, Hong Kong, OV Gallery, Shanghai, Takuro Someya Contemporary Art ,Tokyo, Taka Ishii Gallery, Tokyo
Videotage & MIACA presents..
SPEED SHOW HK -Peep Show! Has the Computer Become the Contemporary Peep Box?
Thursday, November 18 ・ 7:00pm - 10:00pm
Location Fresh Cyber Cafe
灣仔駱克道94-100號景都大廈2樓C室（灣仔地鐵站C出口，大廈大門按2C進入）Flat C, Floor 2, King Tao Building, 94-100 Lockhart Road, Wanchai (Press 2C for Entry)
Wan Chai, Hong Kong
Participating Artists:
Candy Factory (Japan)
Cory Arcangel (USA)
Evan Roth (France)
Chen Hangfeng (China)
James Powderly (Korea)
MAP Office (Hong Kong SAR)
Rafael Rozendaal (Netherland/Brasil)
Shiro Masuyama (Germany)
Yangachi (Korea)
Manolis (Hong Kong SAR)
Yu Araki (Japan)
Zhou Xiaohu (China)
Adam Enfroy (USA)
The peep box has its origins in the 15th century European invention of a box for viewing pictures through a peephole. It was most often used as a means of showing a series of explicit photographs. As a machine to peep through a small hole at a series of sexually explicit images, it spreads throughout the world.
Around the start of the 20th century the peep box began to disappear, as this space of voyeuristic desire shifted to the cinema hall. Today, however, the Internet appears to be an optimal contemporary medium for satisfying voyeuristic desires.
Exploring these new horizons of digital voyeurism, Peep Show contains a range of online art works by contemporary artists exploring 21st century voyeurism and scopophilia from both aesthetic and political perspectives.
Full text: http://www.no-where.org.uk/frame/index.php?m=pdetail&id=1&focus=statement&l
Thanks to: no.w.here London, LONG MARCH SPACE Shanghai, Takuro Someya Contemoprary Art Tokyo, Seiji Ueoka, FAT Tokyo, Yoshitaka Mouri
What is SPEED SHOW?
SPEED SHOW is an open exhibition format initiated by Free Art and Technology. http://fffff.at/tag/speedshow/ SPEED SHOW can be organized by anyone. Simply ‘hit an Internet-cafe, rent all computers they have and run a show on them for one night’!
On 18 November 2010, Videotage and MIACA will present a one-night SPEED SHOW curated by Hitomi Hasegawa at Fresh Cyber Cafe´ in Wanchai, Hong Kong. Featuring Internet art of internationally renowned artists from all over the world, this SPEED SHOW －Peep Show! will explore the new horizons of digital voyeurism. Everyone is invited to join this party at the cozy cafe´, to see some art, have some drink or, well, check some emails. (Curator: Hitomi Hasegawa)
Peep Show包含一系列當代藝術家的網上藝術作品，從美學及政治角度探索21世紀的voyeurism以及scopophilia。
什麼是SPEED SHOW？
SPEED SHOW是由Free Art and Technology發起的一個公開展覽形式。http://fffff.at/tag/speedshow/
SPEED SHOW主?者只需鎖定一間網絡??室，租用所有電腦，作歴時一晩的展出。
在2010年11月18日的晩上，Videotage與MIACA將於灣仔Fresh Cyber Cafe，展出由日本研究學家Hitomi Hasegawa策劃的SPEED SHOW HK - 「目及」！。當晩，來自世界各地的知名藝術家將會透過互聯網藝術，探討現代數碼科技下偸窺文化的新視野。誠意邀請各位到場，參加這個可以上網邊看藝術、邊check email的派對！
A non-commercial in situ Video Art exhibition involving 10 artistic interventions in the urban landscape of Hong Kong during two weeks in November. City-O-Rama aims to intervene in private spaces with public access in Central Hong Kong to introduce multi-media art, create a dialogue and build up new audiences among the local community for contemporary forms of visual arts. Satoru Tamura is participated from us, with the corporation with Takuro Someya Contemporary Art.
http://www.h-kage.com/CityORama.html
YouTube Play /Guggenheim & YouTube A Biennial of Creative Video
Final 25 works are selected !!
22th Oct. 2010 - 25th Oct., 2010
http://www.youtube.com/user/playbiennial
MIACA is an official affiliate of Youtube Play / A BIannial of creative Video
Private Chorus / Yasuto Masumoto solo exhibition at Alternative Space LOOP
Opening Reception: 19th June, 2010 5pm at Loop, Seoul
LOOP: 335-11, Seogyo-dong, Mapo-gu, Seoul Korea
+82 3141 1377
19th June 2010 - 30th July 2010
www.galleryloop.com
photo by Kazue Kawase
Innovation in Moving Image -Polish Avant-Garde Franciszka and Stefan Themerson films of 1930's to 40's
"Rain or Shine" by the Group 1965 DVD is released now!
Special Appendix: The Group 1965 Talk at Yakatabune with English subtitles
Cast: Makoto Aida, Sumihisa Arima, Tsuyoshi Ozawa, Oscar Oiwa, Parco Kinoshita, Hiroyuki Matsukage
Price: 2800 Yen (25USD)
Please visit NADIFF in Ebisu Tokyo, or get one at amazon. Or Contact: MIACA Japan / info@miaca.org
Courtesy /Yuchiro Tamura
still from Sans-Titre 2010 (C)Neil Beloufa
