https://weiyi-chang.com Weiyi Chang Wed, 29 May 2024 00:33:20 +0000 https://weiyi-chang.com en https://weiyi-chang.com/Index-exhibitions Mon, 19 Oct 2020 11:51:33 +0000 Weiyi Chang https://weiyi-chang.com/Index-exhibitions Recent Projects https://weiyi-chang.com/Projects-Folder Thu, 29 Oct 2020 17:24:42 +0000 Weiyi Chang https://weiyi-chang.com/Projects-Folder Exhibitions and Public Programs https://weiyi-chang.com/An-Opulence-of-Squander Wed, 29 May 2024 00:33:20 +0000 Weiyi Chang https://weiyi-chang.com/An-Opulence-of-Squander An Opulence of Squander The Morris and Helen Belkin Art Gallery September 3 – December 8, 2024 <img width="2000" height="1383" width_o="2000" height_o="1383" data-src="https://freight.cargo.site/t/original/i/18ed45d02b89450c6ec981ae49dcb5b811a9627489f25d8d4e2180955543337e/Belkin_-An-Opulence-of-Squander_019.jpg" data-mid="218192265" border="0" src="https://freight.cargo.site/w/1000/i/18ed45d02b89450c6ec981ae49dcb5b811a9627489f25d8d4e2180955543337e/Belkin_-An-Opulence-of-Squander_019.jpg" /> <img width="2000" height="1484" width_o="2000" height_o="1484" data-src="https://freight.cargo.site/t/original/i/50be3de453d5e3d62ac604ff695ec3e6352eb0552b8a0c04d37fe88eab54518b/Belkin_-An-Opulence-of-Squander_013.jpg" data-mid="218192294" border="0" src="https://freight.cargo.site/w/1000/i/50be3de453d5e3d62ac604ff695ec3e6352eb0552b8a0c04d37fe88eab54518b/Belkin_-An-Opulence-of-Squander_013.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/1a6b0ead6caaff9078921e42a687f23ce862b3175885f5c8f6c9e749c7f87eee/Belkin_-An-Opulence-of-Squander_011.jpg" data-mid="218192376" border="0" src="https://freight.cargo.site/w/1000/i/1a6b0ead6caaff9078921e42a687f23ce862b3175885f5c8f6c9e749c7f87eee/Belkin_-An-Opulence-of-Squander_011.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/9d642d606a46922723f56f6a8b5a32301fbcc1d2c85ed96e3311b29f0cce4c46/Belkin_-An-Opulence-of-Squander_008.jpg" data-mid="218192300" border="0" src="https://freight.cargo.site/w/1000/i/9d642d606a46922723f56f6a8b5a32301fbcc1d2c85ed96e3311b29f0cce4c46/Belkin_-An-Opulence-of-Squander_008.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/bd5340674d1df8cfd4d28b2cd55f74f5e2647ea43905eb66357f97a76ed0e2c5/Belkin_-An-Opulence-of-Squander_012.jpg" data-mid="218192405" border="0" src="https://freight.cargo.site/w/1000/i/bd5340674d1df8cfd4d28b2cd55f74f5e2647ea43905eb66357f97a76ed0e2c5/Belkin_-An-Opulence-of-Squander_012.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/edb114c37c469115c4525709b08d8f4e70264d0d6d3edf99dd6e813c0b067485/Belkin_-An-Opulence-of-Squander_014.jpg" data-mid="218192284" border="0" src="https://freight.cargo.site/w/1000/i/edb114c37c469115c4525709b08d8f4e70264d0d6d3edf99dd6e813c0b067485/Belkin_-An-Opulence-of-Squander_014.jpg" /> <img width="2000" height="1204" width_o="2000" height_o="1204" data-src="https://freight.cargo.site/t/original/i/c1714141a47e4d4290bfc84a68205e18d66f65bdb76c6619a1723f00958cf1db/Belkin_-An-Opulence-of-Squander_018.jpg" data-mid="218192280" border="0" src="https://freight.cargo.site/w/1000/i/c1714141a47e4d4290bfc84a68205e18d66f65bdb76c6619a1723f00958cf1db/Belkin_-An-Opulence-of-Squander_018.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/f930ecd102ce4f4d603176f986257a3c7b93963cb9404d1a58f459417f7e5ea5/Belkin_-An-Opulence-of-Squander_004.jpg" data-mid="218192301" border="0" src="https://freight.cargo.site/w/1000/i/f930ecd102ce4f4d603176f986257a3c7b93963cb9404d1a58f459417f7e5ea5/Belkin_-An-Opulence-of-Squander_004.jpg" /> <img width="2000" height="1500" width_o="2000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/21db7c94e1c2bb21e2951069801cce0a6ea63368f53fa3379d493883a1b468bf/Belkin_-An-Opulence-of-Squander_015.jpg" data-mid="218192283" border="0" src="https://freight.cargo.site/w/1000/i/21db7c94e1c2bb21e2951069801cce0a6ea63368f53fa3379d493883a1b468bf/Belkin_-An-Opulence-of-Squander_015.jpg" /> Installation view, An Opulence of Squander (3 September-8 December 2024), Morris and Helen Belkin Art Gallery, University of British Columbia. Photo: Rachel Topham Photography. Featuring Lorna Brown, Alexandra Dikeakos, Geoffrey Hendricks, Stu Horn, Deborah Koenker, Richard Ibghy &amp; Marilous Lemmens, Mike MacDonald, Robert Rauschenberg, Soft Turns, Howard Ursuliak, and Kelly Wood. Taking its title from an essay by artist Kelly Wood, An Opulence of Squander brings together works largely from the Belkin’s collection and archive with artists that reflect on &nbsp;concepts of surplus and excess to question the dual ascription of artistic work as a form of both luxury and waste. The works in the exhibition are unified by their critique of the pursuit of perpetual growth under capitalist regimes and its demand for continuous production. Measures of productivity, such as gross domestic product, gross national income and unemployment rates, are treated as indicators of a society’s collective social, political and cultural well-being. But the ongoing climate crisis challenges the doctrine of productivity, exposing the unfettered waste and excesses that are often a by-product of economic growth. In lieu of the imperative to produce, An Opulence of Squander brings together artworks by Lorna Brown, Alexandra Dikeakos, Geoffrey Hendricks, Stuart Horn, Richard Ibghy and Marilou Lemmens, Deborah Koenker, Mike MacDonald, Michael Morris, Robert Rauschenberg, Howard Ursuliak, Kelly Wood and the artist collective Soft Turns that recognize both the limits to productivity and the contradictory ideological premises that foster and justify the continued exploitation of people and nature. For more information, visit the Morris and Helen Belkin Art Gallery. To read the accompanying curatorial essay, click here. Public Programs Conversation Series: Of Other Earths Sept. 10, 2024 with Soft Turns Oct. 8, 2024 with Lisa Myers Nov. 5, 2024 with Dr. Camille Georgeson-Usher Of Other Earths is a series recuperating forgotten, suppressed and abandoned histories to reconsider capitalist and colonial relationships to the planet and its inhabitants. Multiplying and compounding environmental harms are radically destabilizing earthly habitats, calling into question the viability of existing productivist paradigms that require continuous resource extraction and consumption. This online conversation series foregrounds practitioners who aim to decentre and unsettle the logic of perpetual growth by examining alternative approaches to human-planetary relations. In each session she will engage an artist or scholar about their work in the context of one of the provocations running through the exhibition An Opulence of Squander. These dialogues will offer a generative way to think about how we engage, care for, and conserve past works of art and artists and the ecological lessons that experience might hold. https://weiyi-chang.com/Writer-in-Residence-Gallery-44 Tue, 20 Jun 2023 20:57:52 +0000 Weiyi Chang https://weiyi-chang.com/Writer-in-Residence-Gallery-44 Writer-in-ResidenceGallery 44January 2023 to December 2024 <img width="781" height="751" width_o="781" height_o="751" data-src="https://freight.cargo.site/t/original/i/611e2018a3d1e49846d68ce851cb8e4b0f4f315acc84771b99574b051060b3ed/Screen-Shot-2023-09-21-at-2.46.16-PM.png" data-mid="191506583" border="0" data-scale="35" src="https://freight.cargo.site/w/781/i/611e2018a3d1e49846d68ce851cb8e4b0f4f315acc84771b99574b051060b3ed/Screen-Shot-2023-09-21-at-2.46.16-PM.png" />&nbsp; Earthrise, 1968. Courtesy of NASA. Currently the 2023-24 Writer-in-Residence at Gallery 44, collaborating with Soft Turns, Artist-in-Residence, on a series of original essays and publications commissioned by Gallery 44. July 2024: preliminary reflections on artistic researchFor Descartes, human beings are unique insofar as we possess the ability to reason, to use language, to engage in self-reflection, and other advanced, arguably exclusively human, cognitive activities; these features are the grounds upon which humans are accorded moral status and why other beings are not. This cognition-led perspective lends itself to a hierarchical conception of species and entities, placing humans at the very top of a secular Great Chain of Being, followed by animals, plants and non-living things at the very bottom. Over the years, however, this approach has been challenged by a number of philosophers, who argue that more-than-human species—great apes, cetaceans, elephants, domesticated dogs and so on—also demonstrate cognitive abilities previously presumed to be uniquely human. If human cognition is not unique, then there is no reason why moral status ought to accrue to humans and not others. Read the full text here. November 2023: universal, timeless, celestialWhen we use nature metaphors to describe mechanical and technological entities, we naturalize and neutralize the man-made systems and structures that increasingly delineate our lives. The concept of the Cloud is one metaphor that has come under scrutiny as of late. Clouds evoke images of weightlessness, universality, disembodiment and ethereality; clouds are seen as an endless natural resource that exists somewhere vaguely out there—a picture that is quite removed from the hardcoded material infrastructure that supports it. Read the full text here. June 2023: chiseled in the stony flesh of the planet Until recently, the notion that plants were capable of anything resembling intelligence was considered far-fetched. Lacking the physiological mechanisms believed to be required for basic levels of cognition and thought, plants were relegated to the status of automatons, incapable of intelligence or complex decision-making, driven entirely by genetically ingrained instincts. This approach was reflected in their limited representational modes, which tended to emphasise plants as passive creatures at the mercy of their environments, objects that are acted upon rather than actants in and of themselves. This assumption justified plants’ negligible moral value, which allowed them to be readily exploited and extracted in the pursuit of capitalist accumulation.&nbsp; Read the full text here. https://weiyi-chang.com/After-La-vida-nueva Mon, 19 Oct 2020 11:51:40 +0000 Weiyi Chang https://weiyi-chang.com/After-La-vida-nueva After La vida nuevaArtists Space (online) August 8 – 31 2020 Video documentation,&nbsp;After La vida nueva, Artists Space (online), New York, week 1. Curated by Weiyi Chang, Sofia Jamal, Colleen O’Connor, and Patricio Orellana, the 2019-20 Helena Rubinstein Curatorial Fellows of the Whitney Independent Study Program. Featuring works by Amelia Bande, Theresa Hak Kyung Cha, Electronic Disturbance Theater 2.0/b.a.n.g. lab, Renée Green, Rummana Hussain, Caroline Key, Alan Michelson, Rashaad Newsome, Catalina Parra, Cici Wu, and Raúl Zurita. On a sunny, cloudless day in June 1982, five decommissioned World War II planes took off from Flushing Airport in Queens, New York. In white smoke-dots blotted across the sky, they typed out a poem, "La vida nueva", by the artist and poet Raúl Zurita as he and a group of friends and artists looked on. The work referenced the 1973 U.S.-led military coup against the democratically elected government of Salvador Allende and the subsequent dictatorship in Chile. After La vida nueva takes its name from this work of Zurita's and turns back to this era that was full of the promise and violence of the new, to bring us a sense of a moment in time lost and imperfectly recovered. Through video, installation, sculpture, poetry, performance and archival documentation, the works explore constructions of self and nation by sifting through the unstable terrain of the past. Drawing on histories and archives of feminist, queer, and Third World liberation movements and responding to the uneven forces of neoliberalization, the artists suggest the pursuit of a new life that is concomitant with new ways of being together. Written by Weiyi Chang, Sofia Jamal, Colleen O’Connor, and Patricio Orellana, the 2019–20 Helena Rubinstein Curatorial Fellows of the Whitney Independent Study Program.Editor: Joshua Lubin-LevyCuratorial Instructor: Sadia ShiraziProject Managers: Ella Viscardi, Joshua Lubin-Levy, and Sadia ShiraziDesigners: Nazlı Ercan and Hilary GreenbaumTranslator: Ezequiel ZaidenwergPrinter: Spencer PrintingISBN: 978-0-87427-168-3 Exhibition catalogue (English and Spanish): <img width="895" height="432" width_o="895" height_o="432" data-src="https://freight.cargo.site/t/original/i/8c402128081ba68f9c694f663e98b4ee78b13c10e6b60b1ee6b84fb81ad49c7f/After-La-vida-nueva-cover.png" data-mid="87642845" border="0" src="https://freight.cargo.site/w/895/i/8c402128081ba68f9c694f663e98b4ee78b13c10e6b60b1ee6b84fb81ad49c7f/After-La-vida-nueva-cover.png" />After La vida nueva, After La vida nueva: Book of Archives, and After La vida nueva: Book of Gossip accompanied the virtual exhibition that took place on Artists Space’s website from August 8–31, 2020. Featuring a curatorial essay, reproductions of archival materials, and interviews with artists and contributors to the exhibition, this catalogue was an extension of the exhibition in response to the COVID-19 pandemic. It was offered free for download and by mail in the United States.Contributors include Amelia Bande, Alan Michelson, Cici Wu &amp; Yong Soon Min, Rashaad Newsome, and Juan Queiroz. Downloadable PDFs: After La vida nueva After La vida nueva: Book of Archives After La vida nueva: Book of Gossip Funding Acknowledgement Participation in the Whitney Museum of American Art’s Independent Study Program was made possible by the generous support of the Canada Council for the Arts Professional Development for Artists grant and the British Columbia Arts Council’s Early Career Development Grant. https://weiyi-chang.com/Maryse-Lariviere-Orgazing Mon, 19 Oct 2020 11:51:42 +0000 Weiyi Chang https://weiyi-chang.com/Maryse-Lariviere-Orgazing Maryse Lariviere: OrgazingOr GalleryNovember 18 2018 – January 19 2019 <img width="3240" height="2160" width_o="3240" height_o="2160" data-src="https://freight.cargo.site/t/original/i/3f075453ffd4e2e144578571ac3f2f6ea8c21a58159ccbe6032c4470a577eb46/orgazing-17.jpg" data-mid="87556612" border="0" src="https://freight.cargo.site/w/1000/i/3f075453ffd4e2e144578571ac3f2f6ea8c21a58159ccbe6032c4470a577eb46/orgazing-17.jpg" /> <img width="3240" height="2160" width_o="3240" height_o="2160" data-src="https://freight.cargo.site/t/original/i/32a217c7eb96610b4142cecdd7067fd1cc99f89b4c25e28551574f8f06e66619/orgazing-18.jpg" data-mid="87556627" border="0" src="https://freight.cargo.site/w/1000/i/32a217c7eb96610b4142cecdd7067fd1cc99f89b4c25e28551574f8f06e66619/orgazing-18.jpg" /> <img width="3240" height="2160" width_o="3240" height_o="2160" data-src="https://freight.cargo.site/t/original/i/98ed03a65e228154e453e779dd87c4540c92cdbe58d7298d6cfd83101d7ed9fd/orgazing-21.jpg" data-mid="87556668" border="0" src="https://freight.cargo.site/w/1000/i/98ed03a65e228154e453e779dd87c4540c92cdbe58d7298d6cfd83101d7ed9fd/orgazing-21.jpg" /> <img width="3240" height="2160" width_o="3240" height_o="2160" data-src="https://freight.cargo.site/t/original/i/92a8984c3a4accd1d9ed23cdf2b88ce2ac80dc6297bbc1e45416eacd327be064/orgazing-22.jpg" data-mid="87556689" border="0" src="https://freight.cargo.site/w/1000/i/92a8984c3a4accd1d9ed23cdf2b88ce2ac80dc6297bbc1e45416eacd327be064/orgazing-22.jpg" /> <img width="3240" height="2160" width_o="3240" height_o="2160" data-src="https://freight.cargo.site/t/original/i/87124077c7cd3910e070b5c37db8d7bf103e52676e7e574a61c830569f411e40/orgazing-3.jpg" data-mid="87556680" border="0" src="https://freight.cargo.site/w/1000/i/87124077c7cd3910e070b5c37db8d7bf103e52676e7e574a61c830569f411e40/orgazing-3.jpg" /> <img width="3240" height="2160" width_o="3240" height_o="2160" data-src="https://freight.cargo.site/t/original/i/f0956e6556c6d2e50ec3175402cdaec74df0e636090704f07bcc2d78765172c1/orgazing-5.jpg" data-mid="87556673" border="0" src="https://freight.cargo.site/w/1000/i/f0956e6556c6d2e50ec3175402cdaec74df0e636090704f07bcc2d78765172c1/orgazing-5.jpg" /> Installation views, Orgazing, Or Gallery, Vancouver. Photos by Dennis Ha. Curated by Weiyi Chang. Orgazing marks Montréal-based artist Maryse Larivière’s first exhibition in Vancouver. An exhibition in three parts, Orgazing draws on the histories and cultural contexts of women’s literary writing and experimental film, and figures desire as a point of reference through which to invoke new paradigms of knowledge acquisition and production. Centred on the tribulations of fictional female protagonist, Orgazing analyses the constructed character of knowledge and objectivity, the possibility of new theories of epistemology, and the uneven power dynamics that certain forms of knowledge perpetuate. On a rocky outcrop off the shores of Scotland, an unnamed protagonist conducts research into new modes of communication under the watchful eyes of her captors. A slim red volume contains the protagonist’s intimate letters to her lover and comrade, detailing the speculative world they inhabit and the nature of their transgressive research. As her captivity persists, the protagonist’s words dissolve from familiar phonetic arrangements into whistles, warbles, chirps and trills – pure sound and vibration exceeding the limits of language. Broaching a world of auditory pleasure, the protagonist elaborates a new regime of scientific research, one that articulates a relational intimacy that refigures the dynamic between subject and object, self and other. A 16mm film installation illustrates fragments of the protagonist’s journey, oscillating between her gaze and the surveillance cameras that track her movements through her concrete jail and the rugged island terrain. Projected from an artificial rock emitting a single beam of light, the film installation moves across different perspectives and reinforces the multiple subject positions that constitute and produce knowledge. A new 16mm film further details the protagonist’s novel research methodologies and elaborates the speculative future she inhabits. Maryse Larivière is an artist, writer and scholar whose work crosses sculpture, performance, collage, text, and film. She is currently a PhD candidate in the Department of Visual Arts at Western University, where her research focuses on women’s textual production. Larivière has exhibited widely in Canada, including Optica, Montreal; Untitled Art Society, Calgary; DNA&nbsp;Art Space, London; The Rooms, St. John’s; and Walter Phillips Gallery, Banff. Her writing has been published in periodicals such as Canadian Art and C Magazine, and she has written three books including Orgazing (2017), Hummzinger (2016), and Where Wild Flowers Grow (2015). Funding Acknowledgement Orgazing produced with the support of the Conseil des Arts et des Lettres du Québec, VIVO Media Arts Centre, Western Front, Untitled Art Society (Calgary), and CCA&nbsp;Glasgow. Weiyi Chang’s curatorial residency was generously supported by the British Columbia Arts Council’s Early Career Development Grant. https://weiyi-chang.com/The-Writing-Table Thu, 29 Oct 2020 17:30:55 +0000 Weiyi Chang https://weiyi-chang.com/The-Writing-Table The Writing TableOr Gallery March 2018 – March 2019 <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/e5be7d12f1926451f2f764cb6cc2b1414909491c07f9cc14e277d126d6210a7c/WritingTable_SkyGoodden_Apr2018_4.jpg" data-mid="87558657" border="0" src="https://freight.cargo.site/w/1000/i/e5be7d12f1926451f2f764cb6cc2b1414909491c07f9cc14e277d126d6210a7c/WritingTable_SkyGoodden_Apr2018_4.jpg" /> Programmed by Weiyi Chang. Featuring Lucien Durey, Merray Gerges, Sky Goodden, Nasrin Himada, Tiziana La Melia, Maryse Lariviere, and Alison Sinkewicz. The Writing Table was a series of free talks and workshops held in the Or Gallery Bookstore. Dedicated to examining the ecologies between writing and visual art practice, the series invited established artists and writers to work as facilitators in a discussion and workshop aimed at cultivating new voices in arts writing, exploring alternative and creative forms of writing, and examining writing as a vehicle and as a process for thinking about and producing art. From art criticism, to curatorial writing, to writing as artistic practice, The Writing Table considers the ways in which cogent and critically engaged writing plays a fundamental role in furthering arts discourse, in fostering community, and in upholding or challenging inequalities and power dynamics within cultural discourses. The Writing Table is open to individuals from all backgrounds and experience levels, from recent graduates to writers working in other fields who are interested in the visual arts. Funding AcknowledgementSupported by the British Columbia Arts Council’s Early Career Development Grant. https://weiyi-chang.com/Nightshift Mon, 02 Nov 2020 13:32:57 +0000 Weiyi Chang https://weiyi-chang.com/Nightshift Nightshift Burckhardt Library, documenta 14July–August 2017 <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/0a9a2a6b5ecfefedb775a10a93f5870617e5aa748788c10c9efeb904add40574/IMG_1989.jpg" data-mid="87384566" border="0" src="https://freight.cargo.site/w/1000/i/0a9a2a6b5ecfefedb775a10a93f5870617e5aa748788c10c9efeb904add40574/IMG_1989.jpg" /> Curated by Weiyi Chang.Featuring books from the Burckhardt Library at Peppermint and University of Kassel Libray, and video and photo documentation of a performance by Inge Nabuurs and Erwin van Doorn. “In colonizing the night we renounce the daylight hours.” – Lucius Burckhardt, “The Night is Man-made” The colonization of the night is a relatively recent phenomenon: during the feudal era, the night was a time for rest and recuperation, the darkness a salve for the aching bodies of labourers. Nighttime was associated with witchcraft and danger, fear and libidinal desire. In the early modern period, alongside the growing colonization of territory, the colonial motor turned its attentions to the colonization of the darkest hours of the day. Nocturnalization revolutionized the world, enabling new paths to the Divine, new forms of entertainment, and a new public sphere—effectively reconfiguring the relationship between humanity, the earth, and the cosmos. With the advent of artificial lighting, cities and countries implemented laws governing the night, precipitating social structures and conventions that determine and define the way night is experienced and lived. From laws that restricted opening hours, to policies that arrested public transportation, to norms that dictated acceptable nighttime activities, the night has, like the day, become divided and subjected to what Lucius Burckhardt styles, “invisible design.” For Lucius Burckhardt, the invisible design that structures the organization of nighttime is not merely practical, but also social. For some, the night is a time for leisure and rest, and yet for others, the setting sun signals a second shift; factory workers, custodians, security guards, and all manner of laboring bodies arising with the dusk, their workday beginning long after the city closes its doors. The social conventions of urban life all too often ignore this invisible second shift that sustains cities, with relatively little attention paid to the social and cultural ramifications that come with shiftwork. As Burckhardt writes, “Can a life in which one’s waking hours never or only rarely coincide with those of the majority population even be called a social life?” In conjunction with the work of Inge Nabuurs and Erwin van Doorn, the Nightshift Vitrines explored Burckhardt’s analysis of the night as a social and cultural phenomenon, bringing together a body of texts and images from the Burckhardt Library and University of Kassel Library. The Vitrines invert normative conditions of artistic viewership, renouncing the day as they rest in their protective blankets, and taking up the night shift in the twilight hours after the rest of the exhibition closes. Edited by Sepake Angiama, Clare Butcher, Alkisti Efthymiou, Anton Kats, and Arnisa Zeqo.Language: English / GreekPages: 384 pagesSize: 23x 12 cmWeight: 526 gBinding: SoftcoverISBN: 9783943620801 Published in aneducation — documenta 14, Berlin: Archive Books. <img width="1000" height="747" width_o="1000" height_o="747" data-src="https://freight.cargo.site/t/original/i/64e74c9aef2eb7e6160c0349364d7f41ce991a7822ada7dbf0a232497d1e8bf6/f067d1dac09855a7d7e967806377b373f8842314_aneducation.jpg" data-mid="87643611" border="0" data-scale="69" src="https://freight.cargo.site/w/1000/i/64e74c9aef2eb7e6160c0349364d7f41ce991a7822ada7dbf0a232497d1e8bf6/f067d1dac09855a7d7e967806377b373f8842314_aneducation.jpg" /> This is not a book of good intentions.It attempts to introduce a chorus of voices that speak from different positions on aneducation, the education program for Learning from Athens, documenta 14 in Athens and Kassel. Instead of objectives and overviews, target groups and outcomes, successes or failures, the program was determined by process and experience. In thinking through the body it was possible to examine how we come together and recognize knowledge not as a one-way transmission but as a form of exchange that can be circulated. Further, the aim was to listen and learn as an institution, be receptive, and acknowledge the complexities of hearing, from eavesdropping to listening to one’s inner voice. The mode of ‘being with’ guided our program and publication, both of which seek to lay bare the opaque relationships between education, exhibition making, and their publics.Forty-eight entries are organized alphabetically as a lexicon, each written by various members of the aneducation team and documenta 14 Chorus, as well as curators, artists, and educators who contributed to the program. The publication’s many points of departure present just as many desires for other sites of learning. Cross references among the entries show the deep relationships that existed—and continue to deepen—between the methods, programs, and locations of aneducation.aneducation aimed to complicate the politics of ‘knowing’ as institutional practice—namely, its genealogies and the power relations it imposes. It was not only about knowledge, but the daily embodied practices of listening, walking, gesticulating, performing, doing, reading, and being in dialogue with others. An open ecology was needed, and developed in conversation with artists, local publics, and associated organizations, drawing on many practices as processes for learning. This was realized in core questions concerning what shifts, drifts, and remains.Many of the thoughts, practices, references, and reflections that surfaced during this endeavor are made visible in this publication. The entries raise questions around methodology, infrastructure, desire, and of education. Some terms are conceived individually with others in mind, while some are collectively generated. So who is the we? The ‘we’ is many individual, collected, and shared voices. Instead of failing to attempt representing the ‘we’, it has been important to speak from the first person singular—a complex web of subjectivities, encounters, and conversations indecipherable from the lines that intertwine them.Words alone cannot carry the meaning of our individual and collective experience; language has its limits, its lack, but also its power. As a semantic mode of witness, a way to deal with the collective production of sounds, gestures, voices, and encounters through words, the vocabulary issued here comprises a vehicle towards blurring linguistic and subjective hierarchies.This is one of many introductions and perhaps no introduction at all.Contributors to aneducation – documenta 14: Aliaa Abou Khaddour, Sevnç Akhundova, Subhieh Alrawashdeh, Sepake Angiama, Babis Baltas, Dahlia El Broul, Clare Butcher, Barbara Ida Campaner, María Magdalena Campos-Pons, Sky (Miriam) Carranza, Raven Chacon, Weiyi Chang, Panos Charalambous, Nikhil Chopra, Ciudad Abierta (Open City), Moyra Davey, Alkisti Efthymiou, Bonita Ely, Natalia Escudero López, Aboubakar Fofana, Juliane Gallo, Maximilian Gallo, Daniel García Andújar, Anne Garthe, Gauri Gill, Aylin Gönenç, Sanchayan Ghosh, Ayşe Güleç, Irena Haiduk, Keiko Higashi, Mira Hirtz, Rangoato Hlasane, Gordon Hookey, Candice Hopkins, Necmiye Iskender, Amelie Jakubek, Mona Jas, Neslihan Kabak, Sarah Maria Kaiser, Natalie Karaitiana, Andreas Ragnar Kasapis, Anton Kats, Yul Koh, Gila Kolb, Tim König, Zvonimir Kontrec, Aynur Köşeler, Annette Kulenkampff, Katalin Ladik, Gerhard Lang, Yuyen Lin-Woywod, Ibrahim Mahama, Hans Ragnar Mathisen/Keviselie, Annika Mayer, Lala Meredith-Vula, Marta Minujín, Christa Mojab, Naeem Mohaiemen, Joar Nango, Rosalind Nashashibi, Bonaventure Soh Bejeng Ndikung, Aiko Okamoto, Nikolay Oleynikov, Georgios Pappadopoulos, Elli Paxinou, Dan Peterman, Jeannette Petrik, Nathan Pohio, Alessandra Pomarico, Pope.L, Esther Poppe, Malali Rasa, Katharina Reinhold, Erik Ritzel, Dieter Roelstraete, Clara Ronsdorf, Lala Rukh, SAVVY Contemporary, Hind Salti, Khvay Samnang, Mateusz Sapija, Konstanze Schütze, Andara Shastika, Ahlam Shibli, David Smeulders, Mounira Al Solh, Philipp Spillmann, Verena Sprich, Adam Szymczyk, Vincent Tao, Arda van Tiggelen, Maya Tounta, Leanne Turvey, Sadaf Vasaei, Cecilia Vicuña, Ayfer Vural, Cilian Woywod, Laurie White, Zafos Xagoraris, Arnisa Zeqo, Mary Zygouri. https://weiyi-chang.com/An-Absolute-Movement Mon, 19 Oct 2020 11:51:38 +0000 Weiyi Chang https://weiyi-chang.com/An-Absolute-Movement An Absolute MovementOr Gallery June 22 – July 17, 2017 <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/238bb8b95d989a575dadd0405e8b7ace6ec715ca1e380caba6c957b7d109e145/or_anabsolutemovement-11.jpg" data-mid="87541609" border="0" src="https://freight.cargo.site/w/1000/i/238bb8b95d989a575dadd0405e8b7ace6ec715ca1e380caba6c957b7d109e145/or_anabsolutemovement-11.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/74a99437111c2224d9127be3d415faeb04f4168b1a5288757222740348d016e3/or_anabsolutemovement-13.jpg" data-mid="87541616" border="0" src="https://freight.cargo.site/w/1000/i/74a99437111c2224d9127be3d415faeb04f4168b1a5288757222740348d016e3/or_anabsolutemovement-13.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/3406e6eba60cc14a8227bc3604f6f12b1cfde29bc8ce0d5c9dc041df99ab60d1/or_anabsolutemovement-24.jpg" data-mid="87541627" border="0" src="https://freight.cargo.site/w/1000/i/3406e6eba60cc14a8227bc3604f6f12b1cfde29bc8ce0d5c9dc041df99ab60d1/or_anabsolutemovement-24.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/d8cd5e174d7be6b227d82dc2904f5f2e00bc87fd8e315c0dd4b3b3ab7730d9e6/or_anabsolutemovement-22.jpg" data-mid="87541630" border="0" src="https://freight.cargo.site/w/1000/i/d8cd5e174d7be6b227d82dc2904f5f2e00bc87fd8e315c0dd4b3b3ab7730d9e6/or_anabsolutemovement-22.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/6a2d0900ec04cf2079be9cfd4183965e469b7e126fd5f40035d4ae3ce060908d/or_anabsolutemovement-25.jpg" data-mid="87541633" border="0" src="https://freight.cargo.site/w/1000/i/6a2d0900ec04cf2079be9cfd4183965e469b7e126fd5f40035d4ae3ce060908d/or_anabsolutemovement-25.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/7f909732e9cea5047215bb0ea7c327ebead4198aee2ee28d63a0229fda688204/or_anabsolutemovement-30.jpg" data-mid="87541636" border="0" src="https://freight.cargo.site/w/1000/i/7f909732e9cea5047215bb0ea7c327ebead4198aee2ee28d63a0229fda688204/or_anabsolutemovement-30.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/e8bc0a89b10ce672d4eb97c503d3064c74c727af4acc174f813f5a4f493a700a/or_anabsolutemovement-1.jpg" data-mid="87541638" border="0" src="https://freight.cargo.site/w/1000/i/e8bc0a89b10ce672d4eb97c503d3064c74c727af4acc174f813f5a4f493a700a/or_anabsolutemovement-1.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/dc12f6bfa6847d7642935884e87c6552f1671f2573dd7f96f2bf1377721683d4/or_anabsolutemovement-5.jpg" data-mid="87541696" border="0" src="https://freight.cargo.site/w/1000/i/dc12f6bfa6847d7642935884e87c6552f1671f2573dd7f96f2bf1377721683d4/or_anabsolutemovement-5.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/a11d423549e54103ef9af6e3241ec69fbf1166ae01bce85935c90760e5d77960/or_anabsolutemovement-34.jpg" data-mid="87541786" border="0" src="https://freight.cargo.site/w/1000/i/a11d423549e54103ef9af6e3241ec69fbf1166ae01bce85935c90760e5d77960/or_anabsolutemovement-34.jpg" /> Installation views, An Absolute Movement, Or Gallery, Vancouver. Photos by Dennis Ha. Curated by Weiyi Chang.&nbsp;Featuring works by Sonny Assu, Fiona Bowie, Matt Browning, Kelly Jazvac, Genevieve Robertson and Jay White. An Absolute Movement brings together works by Sonny Assu, Fiona Bowie, Matt Browning, Kelly Jazvac, Genevieve Robertson &amp; Jay White that address the ongoing devastation of climate change and environmental crisis. As the consequences of climate change continue to threaten our ways of living and being, the question of time has become a crucial dimension underwriting our modes of understanding and grappling with the realities of ecological crisis. The works gathered bridge entangled temporalities, visualizing and materializing the precarious situation of the present and the uncertain futures that have yet to unfold. Sonny Assu’s series of photographs, Longing (2011), navigate the entwined processes of capitalism and colonialism through a reflection on the material detritus of the logging industry in British Columbia; Fiona Bowie’s Surface (2010-2013) documents the underwater realm of False Creek in the wake of the area’s decimation by industrialization and urbanization; Matt Browning’s Untitled (2017) are woven silk spirals that index the artist’s labour with the labour of silkworms, whose bodies are sacrificed in the pursuit of the luxury material; Kelly Jazvac’s Plastiglomerates(2013) are post-consumer readymades comprised of sand, stone, shell, and coral mixed with plastic detritus that has washed ashore on Kamilo Beach, Hawaii; Genevieve Robertson &amp; Jay White’s pinhole camera images, Watchers (2015), document the proposed route of the Kinder Morgan Trans Mountain Pipeline in an act of counter-surveillance to critically engage with the shifting landscapes of extraction. Sonny Assu is an artist and member of the Liǥwildaʼxw of the Kwakwaka’wakw Nations, currently based in Campbell River. He has exhibited solo at Campbell River Art Gallery, Thunder Bay Art Gallery, and Oakville Galleries. Fiona Bowie is a Costa Rica-based artist from Vancouver. She has produced a number of public art projects, and her work has been exhibited at Western Gallery (Bellingham, WA), Charles H. Scott Gallery (Vancouver), and Yukon Arts Centre (Whitehorse). Matt Browning is an artist from Seattle, Washington. His work has been exhibited at the Whitney Museum of American Art (New York), Vancouver Art Gallery, and the Morris and Helen Belkin Art Gallery (Vancouver). Kelly Jazvac is a London, Ontario-based artist. Her work has recently been exhibited at the Contemporary Art Gallery (Vancouver), Parisian Laundry (Montreal), and The Philip and Muriel Berman Museum (Collegeville, PA). Genevieve Robertson is a Vancouver-based artist. Her work has been exhibited at Touchstones Museum (Nelson), The New Gallery (Calgary), and Gallery 555 (Toronto). Jay White is an artist and filmmaker based on Bowen Island, BC. His work and films have been exhibited internationally at venues including the Istanbul Design Biennale, National Arts Centre (Ottawa), and Modern Fuel (Kingston). Downloadable PDF catalogue Funding AcknowledgementThe exhibition was made possible with support from the Killy Foundation and the Audain Endowment for Curatorial Studies through the Department of Art History, Visual Art and Theory in collaboration with the Morris and Helen Belkin Art Gallery at the University of British Columbia. https://weiyi-chang.com/Writing Thu, 29 Oct 2020 17:23:48 +0000 Weiyi Chang https://weiyi-chang.com/Writing Writing 2024 2024 2023 2023 An Opulence of Squander, exhibition essay. Vancouver: Morris and Helen Belkin Art Gallery. (Link) “preliminary reflections on artistic research,” Gallery 44. (Link) “universal, timeless, celestial,” Gallery 44. (Link) “Ephemeral Audience.” Interview with Nabuurs&amp;VanDoorn, in&nbsp;GREYZONES, Milan: Kunstverein Publishing Milano (Link). 2023 2023 20232020 “Eclipse,” FrameWork, Toronto: Susan Hobbs Gallery. (Link)“How to Ask A Question: Interview with Colin Miner,” Gallery 44 Digital. (Link to podcast)“chiseled in the stony flesh of the planet,” Gallery 44. (Link) After La vida nueva, New York: Whitney Museum of American Art. Exhibition catalogue. Co-written with Sofia Jamal, Patricio Orellana, and Colleen O’Connor. (Link) 2019 2019 “Steven Cottingham’s Heat, Death at Wil Aballe Art Projects,” C Magazine 142.“After nature and culture: Plastiglomerate in the age of capital,”&nbsp;Peer-reviewed chapter in Art, Theory and Practice in the Anthropocene, Delaware: Vernon Press. Edited by Julie Reiss. 2018 “Nightshift,” in aneducation — documenta14. Berlin: Archive Books. (Link) 2017 2017 Laufmappe, Kassel: documenta 14. Exhibition catalogue. Associate editor. (Link) “Interview with Kelly Jazvac,” C Magazine 134. 2016 2016 “Art in 2016: A View from Vancouver,” feature,&nbsp;Canadian Art. (Link) “Witness,” Canadian Art (Winter 2017).&nbsp; 2015 “Reclaiming the North,” Luma Quarterly 002. (Link)