Model Minority and Model Majorities: Furen Dai, Christopher K Ho, and friends

 

Thursday, November 7, 7pm

132 West 21st Street, 10th floor, New York, NY

 

In collaboration with Asia Art Archive in America, artists Furen Dai and Christopher K Ho invite special guests Matthew Shen Goodman, Owen Duffy, Martha Tuttle, Luke Cheng, Jean Shin, Daisy Nam, Philip Poon, Celine Wong Katzman, j.p.mot, and Maia Chao to present a series of propositions responding to the strangeness of Asian and Asian-American lived experience in relation to historical meta-narratives and notions of “home”—country politics, history, and language.

 

Furen Dai is an artist and the Collection and Program Assistant at Asia Art Archive in America. Her artistic practice has focused largely on the economy of cultural industry, and how languages lose function, usage, and history. Dai’s hybrid art practice utilizes video, sound, sculpture, painting and collaboration. Her years as a professional translator and interest in linguistic studies have guided her artistic practice since 2015. She has exhibited work at the National Art Center, Tokyo; Athens Digital Arts Festival, Greece; International Video Art Festival Now&After, Moscow, Russia; and Edinburgh Artists’ Moving Image Festival, Scotland, amongst others. She is currently a resident of the International Studio & Curatorial Program.


 

Christopher K. Ho is a speculative artist based in New York, Hong Kong, and Telluride, Colorado. He is known for a practice that includes making, organizing, writing, and teaching. His multi-component projects address privilege, community, and capital, and draw equally from learned material about, and lived encounters with, power and otherness in a bipolar and increasingly networked world. Recent solo exhibitions include Embassy S ites at Tomorrow Maybe, Hong Kong (2019); Aloha to the World at the Don Ho Terrace at the Bronx Museum of the Arts, New York (2018); Dear John at the Brooklyn Academy of Music, New York (2018); and CX 888 at de Sarthe Gallery, Hong Kong (2018). He is a recent recipient of a Rauschenberg Foundation Residency, and is currently at work on a project for Asia Society Hong Kong. His work has been featured in the New York Times, Artforum, YISHU, Art in America, Modern Painters, LEAP, the South China Morning Post, Hyperallergic, and ArtReview. He received his BFA and BS from Cornell University and his MPhil from Columbia University.

 

Maia Chao is an interdisciplinary artist driven by the social—the systems we create to relate to one another and the mechanisms we use to make sense of the world. As a child, Chao spent 10 years working as an exceedingly normal cashier named Eveny Chefa, at a fictional store in her parents’ basement called Harland’s. Making with video, performance, sculpture, and social practice, she embraces absurdity and play as emancipatory tools for collaboration and collective imagining. Chao is co-creator of Look at Art. Get Paid., a socially engaged artwork set to launch across a cohort of art museums in 2020. She has received a Fulbright Grant, Mellon Artist Residency at Haverford College, Fine Arts Work Center Fellowship, a Van Lier Fellowship, The Shed commission, and a residency at Pioneer Works. Chao holds a BA from Brown University and an MFA from the Rhode Island School of Design.

 

Luke Luokun Cheng grew up as a closeted overachiever mathlete kid who yearned to affirm his own subjectivity. In college, he studied photography with MoMA-collected artists, focusing on a quiet, studied approach to portraiture. After working at Facebook for two years as a product manager, he escaped Silicon Valley to grow new roots in New York City. In 2017, he started contributing to an emerging queer Asian nightlife scene spearheaded by Bubble_T and reignited his art practice with the group show Eating Bitterness in which he served bitter melon stir-fry to gallery visitors. As a gentrifier living in Chinatown, he also began lending his time and skills to the community via Think!Chinatown. Since then, he has developed a few different themes within his practice: 1) the relationship between social technology and poignancy; 2) community-building as a site of strength within systems of alienation, 3) imagining a queerness that is Chinese(-American), or perhaps imagining a Chinese-ness that is queer.

 

Owen Duffy is an art historian, writer, and curator based in New York, and is the recently appointed Director of the Yeh Art Gallery at St. John’s University in Queens. He is a contributing editor for Momus, and has published his writing with ArtReview, BOMB, Frieze, Artforum, CURA., and Art & Education, among others. He has presented his research at such institutions as the National Gallery of Art, Washington D.C.; the Stedelijk Museum, Amsterdam; the Virginia Museum of Fine Arts, Richmond; and LASANAA Live Art Hub, Kathmandu. Recent scholarly publications include “Ai Weiwei’s Furniture-Sculpture: Radical Ambiguity and the Function of Critique” in the Journal of Contemporary Chinese Art, and “Anish Kapoor’s Cloud Gate: Decentering the World” in Public Art: Place, Context, Participation (Lisbon: Institute of Art History, 2019). He has been a visiting critic at the Rhode Island School of Design, Maryland Institute College of Art, and through Frame Finland and earned his PhD from Virginia Commonwealth University where he completed a dissertation on the topic of The Politics of Immateriality and "The Dematerialization of Art." He is a member of Essex Flowers.

 

Matthew Shen Goodman is a writer and a senior editor at the magazine Triple Canopy. His nonfiction and critical writing can be found online and in print in magazines including Frieze, Art in America, Bookforum, The Nation, LARB, and N+1. He currently is working on a novel about multiracialism and Asian American conservatism.

 

Celine Wong Katzman is a Singaporean-American writer, curator, and educator based in New York. Her research is concerned with time-based media, performance, and other forms critically engaged with new technologies. She is interested in supporting historically overlooked practitioners in these areas. Currently, Wong Katzman works as a teaching assistant at the School for Poetic Computation and will begin a yearlong curatorial fellowship at the Queens Museum in mid-May. In 2017 she co-founded the curatorial collective EST with Diane Zhou and Son Kit, which questions the Western imaginary of Asia as a monolithic entity. While overly-expansive, orientalist definitions make it impossible to ascribe cultural, political, or geographical unity to Asia, EST is interested in its potential as a call to organize across a spectrum of experience.

 

j.p.mot is a visual artist of Khmer and Muslim origin born and raised in Montreal, Québec. He is currently based in Brooklyn. His aim is to unravel the imaginary tropes of our society by rendering himself in various portrait of speculative mythical origins which explore our political behavior through everyday objects embedded in critical satire and conditioned humor. He is a conceptual artist with an eclectic body of work which often incorporates but is not limited to in-situ creations, found objects, kinetic sculpture, performances, hacking and a distinct affinity for discarded corrugated cardboard. He obtained a BFA from the University of Quebec in Montreal in Visual and Media Art in 2009 and graduated with an MFA in Visual Art in New Genre from Columbia University in New York in 2015. His work has been shown in Montreal, Quebec, New York, California, Mexico, Iceland, Thailand, and Singapore. As an emerging artist, he was awarded multiples recognitions through grants and fellowships both in his home country of Canada and abroad. Recently, he received a fellowship from the NARS Foundation in Brooklyn, took part in a residence at MASS MoCA in North Adams, and was the recipient of a grant from the Canada Council for the Art.

 

Daisy Nam is currently the assistant director at the Carpenter Center for the Visual Arts, Harvard University, where she works on public programs, publications, and exhibitions. She has curated shows including Matt Keegan: Replicate in 2018. Previously she was the assistant director of public programs at the School of the Arts, Columbia University, curating programs–talks, screenings, performances, workshops–working closely with artists to engage with the campus community and public at large. At the Solomon R. Guggenheim Museum she developed initiatives to support the museum’s collection, exhibition and educational programs. She holds a master’s degree in Curatorial and Critical Studies from Columbia University and a bachelor’s degree in Art History from New York University. She has written for magazines such as Boston Art Review, The Rib, and Wilder.

 

Philip Poon is an architect based in New York City. After studying architecture at Rice University and English Literature at Columbia University, Philip worked as an architect in Japan, Holland, and Switzerland before completing his Masters of Architecture at the Harvard Graduate School of Design in 2018, where his design thesis was “The New Chinese-American restaurant.” His current interest is finding an architecture that can represent minority cultures in an increasingly polarized and segregated America. Philip has two upcoming exhibitions in the summer of 2019. One is a solo architecture exhibition at the

gallery in Pearl River Mart that will show two projects constructed at 1:5 scale. The other is part of a group show where he will show a sculpture that seeks to capture the complexities and dynamics of a changing Manhattan Chinatown.

 

Jean Shin is recognized for her monumental installations that transform everyday objects into elegant expressions of identity and community engagement. Her work has been widely exhibited in over 150 major museums and cultural institutions including at The Museum of Modern Art in New York, Philadelphia Museum of Art, Smithsonian American Art Museum in Washington DC, Museum of Fine Art Houston, and Barns Foundation. In recognition of excellence, she has received numerous awards including two New York Foundation for the Arts Fellowships and a Pollock Krasner Grant, among others. She is a tenured Professor of Fine Arts at Pratt Institute in Brooklyn, NY

 

Martha Tuttle was born in Northern New Mexico, and grew up mostly in New Mexico (although some in New York, and Boston). Her mother was born in Beijing to a Chinese mother and an American father, and her father is from New Jersey. Tuttle received a B.A. in Visual Arts from Bard College in 2011, and an M.F.A from Yale School of Art (Painting and Printmaking) in 2015. Since graduating, she has balanced her studio practice with writing and teaching. She is represented by Tilton Gallery in New York, Rhona Hoffman Gallery in Chicago, Luce Gallery in Italy, and Geukens and DeVil in Antwerp, Belgium. She was a 2017-2018 Sharpe Walentas Studio Residency recipient, and has been in residence at The Ucross Foundation in Ucross Wyoming, and The Rauschenberg Residency in Captiva Florida, among others. She continues to maintain her connection to the desert, which is a strong inspiration, and lives and works in Brooklyn, NY.

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MA Curatorial Practice 
School of Visual Arts


132 W. 21st Street, 10th Floor 
New York, NY 10011-3203

 

Tel: 212.592.2274
Fax: 212.592.2555

Email: macp@sva.edu