Rosa’s Wound

2017 / 02 / 18 Sat.

2017 / 04 / 19 Wed.

About

Your wound too, Rosa And the hornslight of your Romanian buffaloes in star's stead above the sandbed, in the talking red- ember-mighty alembic —"Coagula," Paul Celan Jewish poet, Paul Celan, was a survivor of concentration camp and an expatriate. In Goagula, Celan connected Rosa Luxemburg, the character Rosa in Kafka's short story, A Country Doctor, and his former girlfriend, Rosa Leibovici Therefore, "Rosa" is no longer just referred to an individual but acquired a symbolic meaning associated with buffalos and the survivors of Auschwitz, uniting all the oppressed victims of unique sensibility in the poem while enveloping all the personal and collective wounds. The poet used "wound" as a symbol to "coagulate" the remote time, space, and memory; and by doing so, personal memory travelled through time and revealed a profound historical dimension. Thus, the wound is not Rosa's anymore, but a shared, common, collective wound of us all. Rosa's Wound adopts the imagery in Goagula, and transforms the "wound" into a Split that connects "time - space" as well as "individual - collective," allowing audience to glimpse into how violence and trauma have transfigured and persisted in our society. The "wound" reveals how human vulnerability has reflected our co-existence and need for one another, invoking our social responsibility to shoulder one another's pain. It invites us to contemplate on the idea of how "I" could become "we" in a changing "time - space" and between the differentiated "individual - collective." The exhibition pays attention to survivors of colonization, the Cold War, authoritarian regimes, and neoliberalism and their offspring, and revisits the invisible and indescribable history and memory from a different perspective, exploring how affective aesthetics triggers our reflection about our co-existence. It allows us to respond to other's traumas and cope with increasing violence today without letting indifference and prejudice reinforce the structure of violence and trauma. Nevertheless, as Susan Sontag has reminded us, "we" is a pronoun that requires to be constantly examined. Under different conditions and circumstances, "we" is often evoked as an imaginary collective to serve dissimilar ideologies. It is similar that, with different stances and arguments, the term "human rights," which denotes absolute justice, might give strength to strong prejudice and make it even more unbreakable in certain circumstances. How we could sidestep the trap of unmindful sympathy and identification is another aspect that this exhibition intends to explore when thinking about memory and the politics of emotion. In the name of art, Rosa's Wound expects to discuss the complex Asian historical context and status quo, echolocating its evasive boundary and discovering a path with imagination. It is a way that enables us to transit from an individualistic body to a social and historic one, which carries our shared sorrow and suffering in history. It uses memory as the politics of resistance and transcends the contingency of incidents, deconstructing traumas and sublimating them through aesthetics.

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Artists

Chen Chieh-Jen
Tetsugo Hyakutake
belit sağ
Fx Harsono
Kiri Dalena
Dinh Q. Lê
Sun Xun
Huang Wenhai

Chen Chieh-jen (1960-) was born in Taoyuan, Taiwan, Chen Chieh-jen currently lives and works in Taipei, Taiwan. Chen employed extra-institutional underground exhibitions and guerrilla-style art actions to challenge Taiwan's dominant political mechanisms during a period marked by the Cold War, anti-communist propaganda and martial law (1950 – 1987). After martial law ended, Chen ceased art activity for eight years. Returning to art in 1996, Chen started collaborating with local residents, unemployed laborers, temporary workers, migrant workers, foreign spouses, unemployed youths and social activists. In order to visualize contemporary reality and a people’s history that has been obscured by neo-liberalism, Chen embarked on a series of video projects in which he used strategies he calls “re-imagining”, “re-narrating”, “re-writing” and “re-connecting.”

Tetsugo Hyakutake(1975-)was born in Tokyo, Japan, and now lives and works in New York. He received his BFA in Photography from the University of the Arts and was awarded Promising Artist Award and the scholarship award of Society for Photographic Education, Mid-Atlantic Region. In 2009, he received his MFA from the University of Pennsylvania, USA, and won the Toby Devan Lewis Fellowship. He has won various international photographic awards since, and is known for his work that carries "post-industrial" colors mixed with the voice and personal experience of his generation that unfolds historical, economic and social issues in post-war Japan.

belit sağ (1980-) was born in Turkey, and currently lives and works in Amsterdam. Her work investigates "the violence of image" and "the image of violence." With a perspective of "questioning the manipulator," she delves into political issues from individual points of view and explores "the power of image" represented and visible in media as well as how the media portrays visually terrifying images and concepts. By doing so, she exposes the multiple relations between social order and perception embedded in the scopic regimes.

Fx Harsono (1949-) is one of the most important contemporary artists in Indonesia, and has remained a central figure in the Indonesian art scene over the past four decades. He was one of the founders of Indonesia's Gerakan Seni Rupa Baru (New Art Movement) that emphasizes on experimental, conceptual approaches and active engagement with social and political issues. In recognition of his artistic achievements over the decades, Harsono was awarded the Joseph Balestier Award for the Freedom of Art in 2015. He was also given the Prince Claus Award, honoring his crucial role in Indonesia's contemporary art scene for forty years. His work has been shown in international biennials and museums worldwide.

Kiri Dalena (1975-) was born in Manila, the Philippines, and now lives and works in Manila and Mindanao. She graduated from the University of the Philippines Los Banos with a BA in Human Ecology, and pursued further studies in 16mm documentary filmmaking at the Mowelfund Film Institute.

A visual artist and filmmaker, Dalena's work reflects social inequalities and injustices that still persist today, particularly in the Philippines. Her active involvement in the mass struggle to uphold human rights amidst state persecution is the foundation for her art practice that underscores the relevance of protest and civil disobedience in contemporary society.

Dinh Q. Lê (1968-) was born in Vietnam and immigrated to the United States at the age of ten. He currently works and lives in Ho Chi Minh City, Vietnam. He studied photography and media art at the University of California, and uses traditional Vietnamese grass weaving techniques to develop his unique artistic language. His well-known photo weaving series created in 1989 employs smiling faces of travelers, black-and-white war-time photos of Vietnamese soldiers, and Vietnamese tropical forest, and integrates these three visual elements into inseparable yet divisive images with techniques making multi-layered woven mats. His work mostly adopts the theme of the Vietnam War, simultaneously expressing his sentiments for his country as well as proposing his observation and questions about modern Vietnam's development.

Sun Xun (1980-) was born in Fuxin, Liaoning Province, China, and lives and works in Beijing now. He graduated from the Department of Printmaking, China Academy of Art in 2005, and founded πAnimation Studio the next year. He is one of the young Chinese artists active among the international art scene today, and has won various art awards. His animation works have been shown in renowned film festivals, such as Berlin International Film Festival and Venice International Film Festival. He has created a wide range of works, including animation, video, painting, woodcut, wood sculpture, and installation.

Huang Wenhai (1971-) was born in Ningxiang, Hunan Province, China. Huang is a documentary director, and has been making independent films since 2000. His works include Military Camps, Floating Dust, Dream Walking, We, Crust, and Reconstructing Faith. He has won awards in various international film festivals, including Prix Georges de Beauregard at the Festival International du Documentaire in Marseille in 2005, Grand Prize of the 28th Cinéma du Réel Film Festival in Paris in 2006, and Jury Special Prize at the Horizons Section of the 65th Venice International Film Festival in 2008.

Artworks

People Pushing
Hirohito and scars of Memory Series
Classroom
Ayhan and Me
Grain
Digital Soul
The Light of Spirit
Memorandum of Inhumane Acts No 3
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