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Finissage: The D-Tale, Video Art from the Pearl River Delta
Apr
13
6:00 PM18:00

Finissage: The D-Tale, Video Art from the Pearl River Delta

The D-Tale, Video Art from the Pearl River Delta
Episode III: The Politics of the Self

Panel discussion with Nikita Yingqian Cai and Melanie Roumiguière, 18:00–19:30

Storytelling and Active Withdrawal as Forms of Resistance

– Situated Practices at Times Museum and the DAAD Artists-in-Berlin Program

Nikita Yingqian Cai (Chief Curator at the Guangdong Times Museum) and Melanie Roumiguière (Head of Visual Arts at DAAD Artists-in-Berlin Program) will situate their practices by connecting the curatorial frameworks of their institutions with artistic practices supported, mediated and consolidated within and beyond their regional contexts. They will discuss storytelling and active withdrawal as an artistic strategy – taking a closer look at different forms of resistance that can be decisive for the visions of an institution and their practice.

The conversation will focus on the rhetorics of diverse geographies and the communities to be addressed, as well as the manifestation of gender politics in the programming of both institutions. These will serve as starting points to scrutinize curatorial approaches from various perspectives. In dialogue, Cai and Roumiguière hope to open up new ways of collaboration by exchanging mutual and diverse impulses and histories.

Nikita Yingqian Cai lives and works in Guangzhou, where she is currently Chief Curator at Times Museum. She has curated exhibitions such as A Museum That is Not (2011), Jiang Zhi: If This is a Man (2012), You Can Only Think about Something if You Think of Something Else (2014), Roman Ondák: Storyboard (2015), Big Tail Elephants: One Hour, No Room, Five Shows (2016) and A Man Who Never Threw Anything Away (2017), Omer Fast: The Invisible Hand (2018) and Zhou Tao: The Ridge in a Bronze Mirror (2019). Her recent curatorial research and practice have focused on issues of gender, alternative modernity and transnational trajectories between China and the global south, presented in the exhibition Pan Yuliang: A Journey to Silence (Villa Vassilieff in Paris and Times Museum, 2017) and the research initiative of All the Way South in 2017. She organizes the para-curatorial series as annual assembly, and has covered topics such as: No Ground Underneath: Curating on the Nexus of Changes (2012), Active Withdrawal: Weak Institutionalism and the Institutionalization of Art Practice, (co-organized with Biljana Ciric, 2013), Cultivate or Revolutionize? Life between Apartment and Farmland (co-organized with Binna Choi, 2014), Between Knowing and Unknowing: Research in-and-through Art (2015), Reciprocal Encounters: The Enactment of Collecting and its Modes of Representation (2016) and In the Name of Archive: Re-imagining History as Contemporary Art Practice (2017) and South of the South: Rhetorics of Geography and Imageries of Delinking (2018). Her writings have appeared in a number of publications and magazines.  

Melanie Roumiguière studied cultural sciences and aesthetic practice in Hildesheim. She lives and works in Berlin, where she took over the position as Head of Visual Arts at the DAAD artists-in-Berlin Program in late 2018. At daadgalerie she curated in 2019 the solo-exhibition The City with Rossella Biscotti and a new commissioned project with Minerva Cuevas under the title No Room To Play. Together with Anna-Catharina Gebbers she is currently developing the exhibition Deep Sounding – History as multiple narratives, to be presented in summer 2019.  

Prior to joining the DAAD artists-in-Berlin Program she worked as curator and exhibition director at the Hamburger Bahnhof – Museum for Contemporary Art – Berlin. She was part of the curatorial team for the project Hello World. Revising a Collection, where she conceived the chapters Entangled Holdings: Arte Popular, Surrealism and Emotional Architecture and Communication as Global Happening: Performance Art, Concept Art, Media Art in 2018. Since 2013 she curated exhibitions with Mariana Castillo Deball (2014), Michael Beutler (2015), and Gülsün Karamustafa (2016) at the Hamburger Bahnhof, where she also oversaw numerous publications and events. Previously she worked as a curatorial assistant for documenta and realized projects at the MACBA: Museum d’Art Contemporani de Barcelona, at the GAK Society for Contemporary Art in Bremen, and at the Frankfurter Kunstverein.  


Performance by Isaac Chong Wai, 20:00–21:00

Rehearsal of the Futures: Police Training Exercises (Part 2)

In this performance, Isaac Chong Wai will take the history of protests – through its repetitive expressions and actions – as the point of departure. "Rehearsal of the Futures: Police Training Exercises" is a continuation of Chong’s investigation into imagined futures and how, through certain movements and postures, past ideology can be interpreted and improved upon by future generations.

Isaac CHONG Wai is a Berlin-based artist from Hong Kong, with an MFA in Public Art and New Artistic Strategies from the Bauhaus-Universitat in Weimar, Germany, and a BA in Visual Arts from the Academy of Visual Arts at the Hong Kong Baptist University. His work has been shown at M+ Museum and Para Site in Hong Kong, Stiftung Brandenburger Tor and Haus der Kulturen der Welt in Berlin, Deutsche Künstlerbund, Berlin and Gwangju Media Art Festival, Kunstfest Weimar and Macura Museum in Novi Banovci and the Moscow International Biennale for Young Art in Museum of Moscow. He has had solo exhibitions at Kunstraum München in Munich (2018), Goethe Institut Hongkong in Hong Kong (2018), Bauhaus Museum in Weimar (2016). His work employs a range of media, including live performance, video, photography, and site-specific installation, and explores the interplay between the collective and the individual, the politics of time and space, and real and imagined futures.

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