American Pavilion at the Gwangju Biennial: "Rhythmic Vibrations"
Artists: Chang Li-Ren, HORSE & Yujun Wang, Jane Jin Kaisen, Sahar Khoury, Lo Lai Lai Natalie, Trinh T. Minh-ha, Younhee Chung Paik, Hayal Pozanti, Gazelle Samizay & Labkhand Olfatmanesh, and TT Takemoto
Curators: Abby Chen & Naz Cuguoglu (Asian Art Museum)
Dates: August 30 – December 1, 2024
Venue: May 18 Memorial Cultural Center (152, Naebang-ro, Seo-gu, Gwangju)
Opening: September 5 at 10 am
Presented by the Asian Art Museum of San Francisco’s contemporary art department (Abby Chen & Naz Cuguoglu), "Rhythmic Vibrations" inquires what it means to present Asian art and to be the Asian Art Museum in the USA at this moment in history. This presentation marks several firsts: it is the first time in both the museum and American history that the Asian Art Museum has been invited to represent the USA on a globally significant platform, and it is also the inaugural American Pavilion at the Gwangju Biennial. Curated by two immigrant curators, this exhibition rehistoricizes the narrative of an American Pavilion, examining the potential implications of this milestone for the museum and the art community.
“Do we represent America and does America represent us?” This exhibition showcases the curatorial attempt to share their version of America. More interested in posing questions than providing answers, "Rhythmic Vibrations" features artists from the Asian Art Museum’s newly developed contemporary art collection, as well as artists active in the Bay Area (Sahar Khoury, Trinh T. Minh-ha, Younhee Chung Paik, Gazelle Samizay, and TT Takemoto), beyond the Bay Area (Labkhand Olfatmanesh and Hayal Pozanti) and beyond the USA (Chang Li-Ren, HORSE & Yujun Wang—suggested by Matsu Biennial—, Jane Jin Kaisen, and Lo Lai Lai Natalie). The exhibition highlights a sample of artists the museum engages with, whether as part of the collection, through alliance and allyship building, or through admiration. The collaborative approach focuses on working with artists who are more familiar to the audience at large and bringing attention to lesser-known artists.
Presented at the May 18 Memorial Cultural Center, this exhibition holds particular significance as it coincides with the 30th anniversary of the May 18 Foundation’s establishment. In a tribute to the Gwangju uprising, the exhibition honors the resilience and sacrifices of those who fought for human dignity. By amplifying the voices of women and queer artists hailing from Hong Kong, Iran, Jordan, Korea, Japan, Vietnam, Afghanistan, Taiwan, and Turkey, this exhibition highlights different kinds of uprisings, and exercises of noise making and generating rhythmic vibrations.
This project marks a pivotal moment, rewriting the narrative to end marginalization. Following its presentation at Gwangju Biennial, the exhibition will return to the USA to be restaged at the Asian Art Museum and then to Matsu Biennial. As the work travels, the curators aim to move closer to answering the profound questions they pose. However, the Gwangju Biennale edition is particularly crucial, as it serves as a platform for experimenting with borderless ideas, irrespective of nationality. To facilitate a collective search for clues, gatherings will be organized during the opening week, inviting friends and allies to reflect on what it means for the Asian Art Museum to represent America in Asia.
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