Past Exhibition
7 – 17 September 2017
In 2007 Whitechapel Gallery closed for a major expansion leaving only the auditorium open for visitors. This became the launch pad for a pioneering collaborative programme dedicated to artists’ films. Ten years later Artists’ Film International has grown from five to 15 partners, pooling local knowledge to exchange moving image works across the globe, from Kabul to Hong Kong, Tromsø to Buenos Aires. The anniversary screening will highlight a work from each partner, celebrating some of the most exciting and diverse artists working in film, video and animation over the last decade.
The works are screened in chronological order on a loop. It will run through the programme twice in full on Thursdays when we are open late. Please pick up a free leaflet in-gallery for the full programme details or see below for time-slots.
#AFI10
Ryan Trecartin (b.1981, USA)
What’s the Love Making Babies For, 2003
(from the series Early Baggage, 2001-03)
Single-channel video
20 mins
Courtesy Sammlung Goetz
Selected by Ballroom Marfa, Marfa, Texas (AFI, 2008)
In his video, Ryan Trecartin interrogates heteronormative views on gender identity, as well as traditional notions of procreation. Trecartin’s alternative, technicoloured creation story debunks ideas about self-optimization and success connected with the ‘productivity’ and propagates sex and love without the need for making babies.
Nathalie Djurberg (b.1978, Sweden)
Florentin, 2004
Clay animation, digital video
3:36 mins
Music by Hans Berg
Courtesy of Lisson Gallery, London; Zach Feuer Gallery, New York and Gió Marconi, Milan
Selected by Moderna Museet, Stockholm (AFI, 2008)
Djurberg works with plasticine figures and stop-frame animation techniques to create ‘children’s films for adults only’, fairy tales gone awry. The humour in her films is both dark and absurd; they are accompanied by jarring, fairground-like musical scores, which heighten the sense of psychological unravelling.
Shahryar Nashat (b. 1975, Switzerland)
The Regulating Line, 2005
SD video
3:40 mins
Courtesy of Rodeo Gallery, London and David Kordansky Gallery, Los Angeles
Made with the kind collaboration of the Musée du Louvre.
Cast: Frédéric Dessains
Selected by Kunsthaus Zurich (AFI, 2008)
In his work Nashat examines the mechanisms of power inherent in the structure of the museum and how these shape the meaning of art. Invited to participate at the Venice Biennale in 2008 Nashat made a playful video of a gymnast in the Louvre, one of the world’s most visited museums in order ‘to breech the economy within with the museum functions’.
Lene Berg (b.1965, Norway)
The Man in the Background, 2006
DV-Cam and 8mm transferred to DVD
20 mins
Selected by Henie Onstad Art Centre, Oslo (AFI, 2008)
This work features home-movie footage of Michael Josselson, the director of the Congress for Cultural Freedom (CCF) (1950-67) and also a covert CIA-agent, on holiday with his wife Diana in 1958. It addresses western cultural politics and propaganda during the Cold War, in particular the role played by artists and intellectuals. Here, images are repeated with different voice-overs, creating a multi-faceted narrative which questions accepted versions of truth and reality.
Nova Paul (b.1973, New Zealand)
Pink and White Terraces, 2006
Video
10 mins
Selected by City Art Gallery, Wellington, NZ (AFI, 2009)
Paul’s video was made using the early cinematic device of three-colour separation, a process which makes visible three periods of time simultaneously. The red, green and blue layers echo the famous now-destroyed geological accretions on North Island, New Zealand known as the Terraces. Nova Paul builds up a picture of everyday life, where the overlapping images record both place and time.
Elizabeth Price (b. 1966, United Kingdom)
The House of Mr X, 2007
HD video
20 mins
Selected by Whitechapel Gallery, London (AFI, 2014)
Taking as its subject the home of an anonymous art collector and cosmetics magnate, which was designed and built in the late 1960s, Price’s film is a study of desire, consumption and the fetishisation of objects. She takes us on a journey though the immaculately preserved house accompanied by a soundtrack recalling 1960s girl groups and the allure of make-up advertising.
Wang Jianwei (b. 1958, China)
Symptom, 2007
Single channel video
32 mins
Selected by Ullens Centre for Contemporary Art, Beijing (AFI, 2008)
Symptom combines elements of film, theatre, opera and performance to present a highly orchestrated series of tableaux vivant in which present-day farmers and ancient warriors, references to Song dynasty epics and Greek myths, rural village life and contemporary urban experience collide. Choreographed around stasis and movement, acting as metaphors for amnesia and possibility, the artist suggests the tension between the two is a force shaping China today.
Jalal Toufic (b. 1962, Lebanon)
Lebanese Performance Art; Circle: Ecstatic; Class: Marginalized; Excerpt 3 , 2007
Video
5 mins
Selected by Beirut Art Centre, Lebanon (AFI, 2010)
This work examines Islamic rituals of grief, remembrance and penance and their relationship to collective memory and history. It is made up of footage of Ashura, an annual ritual marking the massacre of Hussain Ibn Ali, where Shia men are led by a Imam into a frenzy of tears and chest beating. Through repetition and alternating speeds, Toufic uses ritual and the power of communal worship as a way to explore the philosophical and political framework for producing and showing work.
Ali Kazma (b.1971, Turkey)
Jean Factory, 2008
Colour video
12 mins
Selected by The Institute for the Readjustment of Clocks, Istanbul (AFI, 2008)
Courtesy the artist and Francesca Minini, Milan
Jean Factory is part of a series of works in which the artist enters places of production, repair and maintenance – such as an operating theatre, a slaughterhouse and here a jeans factory – which are not visible in our daily life. The work brings to light the complex processes of production which provide a protective and comfortable shelter for the body and reveal the global nature of fashion.
Anetta Mona Chişa (b. 1975, Romania) and Lucia Tkáčová (b. 1977, Slovakia)
Manifesto of Futurist Woman (Let´s conclude), 2008
Video
11:13 mins
Selected by nbk Video Forum, Berlin (AFI, 2012)
Mona Chişa and Tkáčová’s video depicts a group of majorettes signalling in semaphore language. Their performance is based on the ‘Manifesto of Futurist Women’, written by the artist and poet Valentine de Saint-Point as a riposte to the 1909 Surrealist Manifesto and a call for recognition of women in society.
Nguyễn Trinh Thi (b. 1973, Vietnam)
‘Song to the Front’ from ‘Vietnamese Classics Re-cut’ series 2011-12
Black and white video
5:14 mins
Selected by San Art, Ho Chi Minh City (AFI, 2012)
Nguyen’s work abstracts a feature-length 1970s Vietnamese propaganda film of the same title. The aesthetic and political elements of the original social-realist material are collapsed into a five-minute vignette that focuses on the emotional and romantic aspects of the story.
Tran Luong (b. 1960, Vietnam)
Lâp Loè / Welts, 2012
Video
9:56 mins
Selected by Hanoi DOCLAB, Hanoi (AFI, 2015)
Luong’s video shows the artist’s bare flesh being flicked with a triangular red scarf, an item with deep historical and political significance associated with communism. It re-enacts a childhood game, referencing East Asian kung fu, where each player twists the scarf to form a whip threatening the opponent.
Marinella Senatore (b. 1977, Italy)
ROSAS – The Attic #2, 2012
HD video
30 mins
Selected by GAMeC, Bergamo (AFI, 2013)
The second in a trilogy of film operas by Senatore brings together a wide collaborative project of cast and crew in Derby, UK. More than 16,000 volunteers worked with the artist to develop all aspects of the production, creating an archive shaped by the local community.
Katarina Zdjelar (b. 1979, Serbia)
My Lifetime (Malaika), 2012
Single-channel HD video
5:37 mins
Selected by Belgrade Cultural Centre (AFI, 2013)
Zdjelar’s video features features Ghana’s National Symphony Orchestra playing a popular Swahili composition and was recorded in the capital city Accra. By documenting the performance the work explores tradition, local values and colonial independence.
Bengü Karaduman (b. 1974, Germany)
We are All in the Same Boat, 2012
Black and white computer animation
3:22 mins
Selected by Istanbul Modern, Istanbul (AFI, 2013)
Karaduman’s split -screen animation depicts relentless industrial and petrochemical production represented by a ship on the top, while the story of the Phaeton horses is depicted underwater, representing the disposable underclass keeping the geopolitical system afloat.
Tanya Busse (b. 1982, Canada) and Emilija Ŝkarnulytė (b. 1987, Lithuania)
Hollow Earth, 2013
HD video
8:15 mins
Selected by Tromsø Kunstforening, Tromsø (AFI, 2015)
This work combines archive footage, research material and landscape shots of active drilling sites in Norway and Sweden, presenting them as both tourist destinations and highly contested geopolitical territories at the forefront of debates on climate change. It is part of an ongoing collaboration between the artists that examines the dramatic changes to the arctic landscape.
Lee Kai Chung (b. 1985, China)
The History of Riot (The DJ), 2013
Video
9:14 mins
Selected by Para/Site, Hong Kong (AFI, 2015)
Lee references 1967 Leftist riots in Hong Kong between pro-Communist supporters and the government, which culminated in demonstrations against British colonial rule, and the brutal assassination of radio commentator Lam Bun, a critic of the pro-Communist demonstrators. Lee’s video acts as a tribute to Lam who became a symbol for the freedom of speech.
Eduardo Basualdo (b. 1977, Argentina)
Eyelids, 2014
Video documentation, no sound
2 mins
Selected by Fundación PROA, Buenos Aires (AFI, 2015)
Basualdo’s fixed camera documents an art installation in Austria of two semi-transparent curtains on both sides of a window. As they move, the curtains offer a glimpse of what lies beyond. The artist was interested in how ‘delicate glass is enough for two completely different worlds to exist only millimetres away’.
Yama Rahimi (b. 1992, Afghanistan)
Creation Song, 2014
Video
7:17 mins
Selected by CCAA – Centre for Contemporary Arts Afghanistan, Kabul (AFI, 2015)
Rahimi’s Creation Song juxtaposes footage of an Afghan cemetery with images of headstones being chiselled, exploring rituals of mourning, burial and renewal accompanied by the sound of the stonemason’s relentless labour.
Pallavi Paul (b. 1986, India)
Long Hair, Short Ideas, 2014
Single channel screen HD video
24:39 mins
Selected by Project 88, Mumbai (AFI, 2015)
The third in a series of essay films using the documentary form as a starting point, Paul looks at the role of the ‘revolutionary wife’. Following the story of the wife of Indian revolutionary poet Vidrohi, the film looks at the relationship between her domestic life after her husband abandoned her and her own involvement with radical political movements during the 1970s.
Igor Jesus (b. 1989, Portugal)
POV, 2015
Full HD video
1:39 mins
Selected by MAAT – Museum of Art, Architecture and Technology, Lisbon (AFI, 2016)
Jesus captures the movement of a speaker plummeting from the sky, destabilising the viewer’s point of view as the land-sky axis is inverted at a dizzying speed, ending in a sudden crash landing.
Wojciech Bąkowski (b. 1979, Poland)
The Analysis of Emotions and Vexations, Part 2, 2016
Video animation
10:33 mins
Selected by the Museum of Modern Art Warsaw (AFI, 2017)
Bąkowski’s plays with the temporalities of the stop-motion animations; he says: ‘Not enough time to draw them neatly. I must do it quickly, on serviettes that fly away’. Putting the viewer in the role of the listener, his works aim to start a conversation in search of familiar words, images and feelings.
Dimitri Venkov (b.1980, Russia)
Krisis, 2016
Single channel HD video
32:26 mins
Selected by National Centre for Contemporary Arts (NCCA), Moscow (AFI, 2016)
Krisis re-enacts a discussion among Russian and Ukrainian artists on social media during the early stages of the Maidan protests in December 2013, when a statue of Lenin was torn down in Kiev. The ensuing conversation among the film’s 12 protagonists or jurors reveals deep aesthetic, historical and political divisions, and is based on Sidney Lumet’s film Twelve Angry Men, 1957, which questions consensus building in jury trials.
Mary Reid Kelley (b. 1979, USA) with Patrick Kelley (b. 1969, USA)
This is Offal, 2016
HD video
12:51 mins
Selected by Hammer Museum, Los Angeles (AFI, 2017)
Reid Kelley collaborated with her partner on the stylised black and white video of a performance. It is an absurdist take on TV medical; the organs of a young woman’s body argue about the cause of her death and wider issues of language, gender and philosophy.
All films courtesy the artists
Ryan Trecartin (b.1981, USA)
What’s the Love Making Babies For, 2003
(from the series Early Baggage, 2001-03)
Single-channel video
20 mins
Courtesy Sammlung Goetz
Selected by Ballroom Marfa, Marfa, Texas (AFI, 2008)
In his video, Ryan Trecartin interrogates heteronormative views on gender identity, as well as traditional notions of procreation. Trecartin’s alternative, technicoloured creation story debunks ideas about self-optimization and success connected with the ‘productivity’ and propagates sex and love without the need for making babies.
Nathalie Djurberg (b.1978, Sweden)
Florentin, 2004
Clay animation, digital video
3:36 mins
Music by Hans Berg
Courtesy of Lisson Gallery, London; Zach Feuer Gallery, New York and Gió Marconi, Milan
Selected by Moderna Museet, Stockholm (AFI, 2008)
Djurberg works with plasticine figures and stop-frame animation techniques to create ‘children’s films for adults only’, fairy tales gone awry. The humour in her films is both dark and absurd; they are accompanied by jarring, fairground-like musical scores, which heighten the sense of psychological unravelling.
Shahryar Nashat (b. 1975, Switzerland)
The Regulating Line, 2005
SD video
3:40 mins
Courtesy of Rodeo Gallery, London and David Kordansky Gallery, Los Angeles
Made with the kind collaboration of the Musée du Louvre.
Cast: Frédéric Dessains
Selected by Kunsthaus Zurich (AFI, 2008)
In his work Nashat examines the mechanisms of power inherent in the structure of the museum and how these shape the meaning of art. Invited to participate at the Venice Biennale in 2008 Nashat made a playful video of a gymnast in the Louvre, one of the world’s most visited museums in order ‘to breech the economy within with the museum functions’.
Lene Berg (b.1965, Norway)
The Man in the Background, 2006
DV-Cam and 8mm transferred to DVD
20 mins
Selected by Henie Onstad Art Centre, Oslo (AFI, 2008)
This work features home-movie footage of Michael Josselson, the director of the Congress for Cultural Freedom (CCF) (1950-67) and also a covert CIA-agent, on holiday with his wife Diana in 1958. It addresses western cultural politics and propaganda during the Cold War, in particular the role played by artists and intellectuals. Here, images are repeated with different voice-overs, creating a multi-faceted narrative which questions accepted versions of truth and reality.
Nova Paul (b.1973, New Zealand)
Pink and White Terraces, 2006
Video
10 mins
Selected by City Art Gallery, Wellington, NZ (AFI, 2009)
Paul’s video was made using the early cinematic device of three-colour separation, a process which makes visible three periods of time simultaneously. The red, green and blue layers echo the famous now-destroyed geological accretions on North Island, New Zealand known as the Terraces. Nova Paul builds up a picture of everyday life, where the overlapping images record both place and time.
Elizabeth Price (b. 1966, United Kingdom)
The House of Mr X, 2007
HD video
20 mins
Selected by Whitechapel Gallery, London (AFI, 2014)
Taking as its subject the home of an anonymous art collector and cosmetics magnate, which was designed and built in the late 1960s, Price’s film is a study of desire, consumption and the fetishisation of objects. She takes us on a journey though the immaculately preserved house accompanied by a soundtrack recalling 1960s girl groups and the allure of make-up advertising.
Wang Jianwei (b. 1958, China)
Symptom, 2007
Single channel video
32 mins
Selected by Ullens Centre for Contemporary Art, Beijing (AFI, 2008)
Symptom combines elements of film, theatre, opera and performance to present a highly orchestrated series of tableaux vivant in which present-day farmers and ancient warriors, references to Song dynasty epics and Greek myths, rural village life and contemporary urban experience collide. Choreographed around stasis and movement, acting as metaphors for amnesia and possibility, the artist suggests the tension between the two is a force shaping China today.
Jalal Toufic (b. 1962, Lebanon)
Lebanese Performance Art; Circle: Ecstatic; Class: Marginalized; Excerpt 3 , 2007
Video
5 mins
Selected by Beirut Art Centre, Lebanon (AFI, 2010)
This work examines Islamic rituals of grief, remembrance and penance and their relationship to collective memory and history. It is made up of footage of Ashura, an annual ritual marking the massacre of Hussain Ibn Ali, where Shia men are led by a Imam into a frenzy of tears and chest beating. Through repetition and alternating speeds, Toufic uses ritual and the power of communal worship as a way to explore the philosophical and political framework for producing and showing work.
Ali Kazma (b.1971, Turkey)
Jean Factory, 2008
Colour video
12 mins
Selected by The Institute for the Readjustment of Clocks, Istanbul (AFI, 2008)
Courtesy the artist and Francesca Minini, Milan
Jean Factory is part of a series of works in which the artist enters places of production, repair and maintenance – such as an operating theatre, a slaughterhouse and here a jeans factory – which are not visible in our daily life. The work brings to light the complex processes of production which provide a protective and comfortable shelter for the body and reveal the global nature of fashion.
Anetta Mona Chişa (b. 1975, Romania) and Lucia Tkáčová (b. 1977, Slovakia)
Manifesto of Futurist Woman (Let´s conclude), 2008
Video
11:13 mins
Selected by nbk Video Forum, Berlin (AFI, 2012)
Mona Chişa and Tkáčová’s video depicts a group of majorettes signalling in semaphore language. Their performance is based on the ‘Manifesto of Futurist Women’, written by the artist and poet Valentine de Saint-Point as a riposte to the 1909 Surrealist Manifesto and a call for recognition of women in society.
Nguyễn Trinh Thi (b. 1973, Vietnam)
‘Song to the Front’ from ‘Vietnamese Classics Re-cut’ series 2011-12
Black and white video
5:14 mins
Selected by San Art, Ho Chi Minh City (AFI, 2012)
Nguyen’s work abstracts a feature-length 1970s Vietnamese propaganda film of the same title. The aesthetic and political elements of the original social-realist material are collapsed into a five-minute vignette that focuses on the emotional and romantic aspects of the story.
Tran Luong (b. 1960, Vietnam)
Lâp Loè / Welts, 2012
Video
9:56 mins
Selected by Hanoi DOCLAB, Hanoi (AFI, 2015)
Luong’s video shows the artist’s bare flesh being flicked with a triangular red scarf, an item with deep historical and political significance associated with communism. It re-enacts a childhood game, referencing East Asian kung fu, where each player twists the scarf to form a whip threatening the opponent.
Marinella Senatore (b. 1977, Italy)
ROSAS – The Attic #2, 2012
HD video
30 mins
Selected by GAMeC, Bergamo (AFI, 2013)
The second in a trilogy of film operas by Senatore brings together a wide collaborative project of cast and crew in Derby, UK. More than 16,000 volunteers worked with the artist to develop all aspects of the production, creating an archive shaped by the local community.
Katarina Zdjelar (b. 1979, Serbia)
My Lifetime (Malaika), 2012
Single-channel HD video
5:37 mins
Selected by Belgrade Cultural Centre (AFI, 2013)
Zdjelar’s video features features Ghana’s National Symphony Orchestra playing a popular Swahili composition and was recorded in the capital city Accra. By documenting the performance the work explores tradition, local values and colonial independence.
Bengü Karaduman (b. 1974, Germany)
We are All in the Same Boat, 2012
Black and white computer animation
3:22 mins
Selected by Istanbul Modern, Istanbul (AFI, 2013)
Karaduman’s split -screen animation depicts relentless industrial and petrochemical production represented by a ship on the top, while the story of the Phaeton horses is depicted underwater, representing the disposable underclass keeping the geopolitical system afloat.
Tanya Busse (b. 1982, Canada) and Emilija Ŝkarnulytė (b. 1987, Lithuania)
Hollow Earth, 2013
HD video
8:15 mins
Selected by Tromsø Kunstforening, Tromsø (AFI, 2015)
This work combines archive footage, research material and landscape shots of active drilling sites in Norway and Sweden, presenting them as both tourist destinations and highly contested geopolitical territories at the forefront of debates on climate change. It is part of an ongoing collaboration between the artists that examines the dramatic changes to the arctic landscape.
Lee Kai Chung (b. 1985, China)
The History of Riot (The DJ), 2013
Video
9:14 mins
Selected by Para/Site, Hong Kong (AFI, 2015)
Lee references 1967 Leftist riots in Hong Kong between pro-Communist supporters and the government, which culminated in demonstrations against British colonial rule, and the brutal assassination of radio commentator Lam Bun, a critic of the pro-Communist demonstrators. Lee’s video acts as a tribute to Lam who became a symbol for the freedom of speech.
Eduardo Basualdo (b. 1977, Argentina)
Eyelids, 2014
Video documentation, no sound
2 mins
Selected by Fundación PROA, Buenos Aires (AFI, 2015)
Basualdo’s fixed camera documents an art installation in Austria of two semi-transparent curtains on both sides of a window. As they move, the curtains offer a glimpse of what lies beyond. The artist was interested in how ‘delicate glass is enough for two completely different worlds to exist only millimetres away’.
Yama Rahimi (b. 1992, Afghanistan)
Creation Song, 2014
Video
7:17 mins
Selected by CCAA – Centre for Contemporary Arts Afghanistan, Kabul (AFI, 2015)
Rahimi’s Creation Song juxtaposes footage of an Afghan cemetery with images of headstones being chiselled, exploring rituals of mourning, burial and renewal accompanied by the sound of the stonemason’s relentless labour.
Pallavi Paul (b. 1986, India)
Long Hair, Short Ideas, 2014
Single channel screen HD video
24:39 mins
Selected by Project 88, Mumbai (AFI, 2015)
The third in a series of essay films using the documentary form as a starting point, Paul looks at the role of the ‘revolutionary wife’. Following the story of the wife of Indian revolutionary poet Vidrohi, the film looks at the relationship between her domestic life after her husband abandoned her and her own involvement with radical political movements during the 1970s.
Igor Jesus (b. 1989, Portugal)
POV, 2015
Full HD video
1:39 mins
Selected by MAAT – Museum of Art, Architecture and Technology, Lisbon (AFI, 2016)
Jesus captures the movement of a speaker plummeting from the sky, destabilising the viewer’s point of view as the land-sky axis is inverted at a dizzying speed, ending in a sudden crash landing.
Wojciech Bąkowski (b. 1979, Poland)
The Analysis of Emotions and Vexations, Part 2, 2016
Video animation
10:33 mins
Selected by the Museum of Modern Art Warsaw (AFI, 2017)
Bąkowski’s plays with the temporalities of the stop-motion animations; he says: ‘Not enough time to draw them neatly. I must do it quickly, on serviettes that fly away’. Putting the viewer in the role of the listener, his works aim to start a conversation in search of familiar words, images and feelings.
Dimitri Venkov (b.1980, Russia)
Krisis, 2016
Single channel HD video
32:26 mins
Selected by National Centre for Contemporary Arts (NCCA), Moscow (AFI, 2016)
Krisis re-enacts a discussion among Russian and Ukrainian artists on social media during the early stages of the Maidan protests in December 2013, when a statue of Lenin was torn down in Kiev. The ensuing conversation among the film’s 12 protagonists or jurors reveals deep aesthetic, historical and political divisions, and is based on Sidney Lumet’s film Twelve Angry Men, 1957, which questions consensus building in jury trials.
Artists: Wojciech Bąkowski (b. 1979, Poland); Eduardo Basualdo (b. 1977, Argentina); Lene Berg (b.1965, Norway); Tanya Busse (b. 1982, Canada) and Emilija Ŝkarnulytė (b. 1987, Lithuania); Nathalie Djurberg (b.1978, Sweden); Igor Jesus (b. 1989, Portugal); Bengü Karaduman (b. 1974, Germany); Ali Kazma (b.1971, Turkey); Tran Luong (b. 1960, Vietnam); Lee Kai Chung (b. 1985, China); Anetta Mona Chişa (b. 1975, Romania) and Lucia Tkáčová (b. 1977, Slovakia); Sharyar Nashat (b. 1975, Switzerland); Nguyễn Trinh Thi (b. 1973, Vietnam); Pallavi Paul (b. 1986, India) ; Nova Paul (b.1973, New Zealand); Elizabeth Price (b. 1966, UK); Yama Rahimi (b. 1992, Afghanistan); Mary Reid Kelley (b. 1978, USA) with Patrick Kelley; (b. 1969, USA) Marinella Senatore (b. 1977, Italy); Jalal Toufic (b. 1962, Lebanon); Ryan Trecartin (b.1981, USA); Dimitri Venkov (b.1980, Russia); Wang Jianwei (b. 1958, China); Katarina Zdjelar (b. 1979, Serbia).
Current partner organisations:
Ballroom Marfa, Texas; Belgrade Cultural Centre; Centre for Contemporary Arts Afghanistan (CCAA), Kabul; Fundacion PRÓA, Buenos Aires; Galleria D’Arte Moderna e Contemporanea, Bergamo; Hammer Museum, Los Angeles; Hanoi/DOCLAB; Istanbul Modern; Museum of Art, Architecture and Technology (MAAT), Lisbon; Museum of Modern Art, Warsaw; Video- Forum of Neuer Berliner Kunstverein (n.b.k.); Para/Site Art Space, Hong Kong; Project 88, Mumbai; Tromsø Kunstforening; Whitechapel Gallery, London.
Previous partner organisations:
Beirut Art Centre; Cinématèque de Tanger, Tangier; Institute for the Readjustment of Clocks, Istanbul; NCCA, Moscow; City Gallery Wellington, New Zealand; Henie Onstad Art Center, Oslo; Kunsthaus Zurich; Moderna
Museet, Stockholm; New Media Centre, Haifa; San Art, Ho Chi Minh City; Ullens Centre for Contemporary Art, Beijing.
Thu 7 Sep 2017, 6pm
£9.50/£7.50 concs
This special event brings together artists and curators from across the globe to consider collaborative practices, explore how art can transcend national boundaries and discuss models of distribution for sharing local knowledge.
