Fast Futures: Asian Video Art
ACAW Video Program

Please click on the each icon for detailed video program.
--Nominators for ACAW Video Program

--Juror Statements

Nominators for ACAW Video Program

Nancy Adajania, Chief Editor/ Art India
Leeza Ahmady, Independent Curator, Managing Director of Asian Contemporary Art Week/Asia Society
Tobias Berger, Executive Director and Curator/Para Site Art Space, Hong Kong
Shumita Bose, Director/ Bose Pacia Gallery
Melissa Chiu, Director of the Museum and Curator for Contemporary Asian and Asian American Art/ Asia Society
Anita Dube, Artist
Esa Epstein, Director/ Sepia International/Alkazai Collection
Gridthiya Gaweewong, Director and Curator/ Project 304, Thailand
John Hanhardt Senior, Curator of Film and Media Arts/ Guggenheim Museum
Betti-Sue Hertz, Curator of contemporary art/ San Diego Museum of Art
Claire Hsu, Executive Director/Asia Art Archives
Amar Kanwar, Artist
Hong Hee Kim, Director/ Ssamzie Space, Korea
Yu Yeon Kim, Independent Curator
Dinh Q Le, Artist
Nalini MalaniAndrew Maerkle, ArtistDeputy Editor/Art Asia Pacific Magazim
Alnoor Mitha, Director/Shisha
Johan Pijnappel, Art Historian and Curator, India
Rashid Rana, Artist
Raqs Media, Collective Artists
Shahzia Sikander, Artist
Vivan Sudaram, Artist
Alia Swastika, Artistic Artistic Manager/ Cemeti Art House, Indonesia
Alcira Tatehata, Director / The National Museum of Art, Osaka
Miwako Tezuka, Assistant Curator /Asia Society
Eugenie Tsai, Shinya Watanabe Independent Curator
Lee Wen Artist
Hung Wu, Professor of Department of Art History/ University of Chicago

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Juror Statements

Melissa Chiu

This year’s Asian Contemporary Art Week marks an important new development in the reception of Asian art in the United States. Asian art is no longer the exclusive domain of Asia-specific institutions, and many galleries and organizations are participating this year for the first time.

Although much can be said about the maturity of Asian contemporary art today, one of the main arguments for this year’s focus on video is that Asian artists of a younger generation have great facility in this medium. There are many reasons why: the accessibility of video-editing programs (pirated versions often circulate among artists); the ease of shipping and installation of video art, which has allowed international participation in multiple, sometimes simultaneous, exhibitions around the world; and, perhaps most importantly, the speed with which one can create video works, which suits the pace of these fast-changing societies. Many critically-acclaimed Asian artists are best known for their video works shown in international biennials and museum exhibitions in Asia, the United States, and Europe.

This year’s event was planned in three phases. The first was an open call to artists to submit their work for consideration. This was assisted by a number of leading curators, critics, gallerists, and writers in Asia and the United States, who also nominated artists for the program. We received over one hundred submissions from artists in Afghanistan, Iran, Pakistan, India, Japan, China, Korea, Taiwan, Thailand, and Malaysia, as well as Asian artists in the U.S. From this pool, the jury (consisting of Barbara London, a curator at the Museum of Modern Art [official title?]; Yu Yeon Kim, an independent curator; and myself) made a selection of works. The final phase was to present these works to the participating venues—a group of museums, alternative spaces, and galleries in New York—to choose works for display during the week. In some cases the video works form a curated exhibition, while in others they are shown alongside exhibitions of Asian artists.

The mission of this year’s program, as with previous years, is to highlight the range of art practices by Asian artists. In its fourth year, Asian Contemporary Art Week is the culmination of a successful consortium of curators, museum directors, gallerists, and collectors with a mission to draw attention through educational programs to the increasingly sophisticated body of work produced by artists in Asia.

Barbara London

Contemporary art exhilarates through its perpetual state of transition. Artists work with mediums that best suit their ideas, responding to situations around them. Video and computers have been part of artistic practice for decades. The difference in artistic activity today relates to how quickly creative thinkers around the world become part of mainstream discourses. Through their distinctive visions, media artists in Asia shed new light on subjects and cogently bring their experiences to our attention. The Internet has made the planet seem smaller and introduced new ideas to more varied audiences. The ACAW programs are an excellent example.

Yu Yeon Kim

Video art made by artists originally from Asia, or who are a part of Asian communities in the U.S., frequently addresses the problematics of language and identity. This is born of necessity. Being part of a diaspora, an Asian American, or a foreigner in a new land, one encounters the simultaneous contradictions of alienation and immersion within the host culture. There is a sense of constantly traversing different planes of reality, even without changing location. A place may not be the same place for everyone—cultural legacies and traditions may vary—especially in a metropolis like New York City. Because of this, the Asian video artist can provide a unique perspective that throws light on aspects of Western culture that others take for granted. However, it is debatable if video, or other forms of art, really reflects the imprint of specific ethnicities. In this age of hyper-communication, artists are surely participants in an international dialogue.

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