This video clip gives a short insight into our two days’ event “Exquisite Corpse”, which served as the final presentation format of “Transcultural Collaboration 2016”. What you see are impressions of the work of seven different groups, which presented their collaborative experiments in this setting. The event took place on 25/26 November 2016 at Connecting Space Hong Kong and Kai Tak Campus of the Academy of Visual Arts. If you would like to know more about the specific arts works and their content, please refer to the section “Group Works” on this website.
During three months in Hong Kong, I lived in Yau Ma Tei, which near by the Temple street night market. Every day I walked by, I found out people throw trash directly on the street, and leave huge trash to cleaners. So we decided to observe the night markets for 24 hours. As a result, people came and leave, in this big consumer city, easily buying and leave all trash behind, they only expect others to result the problem. We also do action in the night market to aware this city garbage problem, the action call: “Nothing should be abandoned.” In these research, we interviewed the cleaners, to know more about what do they think about their lives and jobs. And put these interviews into our final performance. We found out the landfill in Hong Kong is also a big issue, so we went visiting and having a interview with landfill office employee. These experiences let me to rethinking our own living place situation, and what is the difference from Hong Kong. It is hard …
At the beginning the space itself, accessories, costumes and TV monitors are assumed to be installed, and give a hint to the main performance which will be followed. Just as temples and churches do, visitors are free to visit and feel the atmosphere of the space when the ceremony is not held yet.
The floor filled with water creates second images by reflecting the videos projected on the wall. Also, the tv screens which are connected to the camera mounted on the costume, displaying the visitor’s appearance and revealing the symbol of reflection.
Cooking Phallocentrism with Kay, Wendy, Giulia, and Jade Directed, Cinematographed and Edited by Jade Park Haejun Presented for Womb club, HAO GAO YEAH 2.0 Park Haejun, Jade B.A Korea National University of Arts, School of Film, TV&Multimedia, M.F.A City University of Hong Kong, School of Creative Media (2015~)
“EXQUISITE CORPSE” playfully and unpredictably combining, displacing and replacing limbs, while forming creatures and languages of coincidence and encounter.
In the 2nd edition of this unique international graduate semester program, 27 artists and designers from six different art universities from Europe and East Asia spent one semester of intense transcultural and cross-disciplinary collaboration including all art and design disciplines. On 25 and 26 November seven groups will show their explorations and experiments in a variety of different formats and topics. …
“EXQUISITE CORPSE” playfully and unpredictably combining, displacing and replacing limbs, while forming creatures and languages of coincidence and encounter. Transcultural and Cross-disciplinary Art Performances and Installations by “The Bubble” and “Oolong 烏龍”
These events present the experiments and explorations of the annually international graduate semester program “Transcultural Collaboration” a cooperation of art universities from Hong Kong, Mainland China, Taiwan and Europe. Its general focus is on transcultural topics and its main working method is cross-disciplinary collaboration including all art and design disciplines. The program is mainly taking place in Hong Kong and includes stays in Zurich and Taipei. It’s part of the networking platform “Connecting Spaces Hong Kong – Zurich”.
Exquisite Corpse Transcultural and Cross-disciplinary Art Performances and Installations 26 November, Kai Tak Campus, 7.30pm Academy of Visual Arts, Baptist University, 51 Kwun Tong Road, Kowloon, Hong Kong These events present the experiments and explorations of the annually international graduate semester program “Transcultural Collaboration” a cooperation of art universities from Hong Kong, Mainland China, Taiwan and Europe. Its general focus is on transcultural topics and its main working method is cross-disciplinary collaboration including all art and design disciplines. The program is mainly taking place in Hong Kong and includes stays in Zurich and Taipei. It’s part of the networking platform “Connecting Spaces Hong Kong – Zurich”. Boundary There is a vast man-made cyberspace floating above our heads. The boundary of the “virtual” world and the “real” one keeps expanding, from screens to our senses. We enhance perceptions of light and sound in this boundary where new cultures and aesthetics are emerging, regardless of limitations on the land. Audio-visual Installation by Yuan Yuan, MA Media Art/School of Intermedia Art, China Academy of Art, Hangzhou Li …
After having formed a groupf, there were a diverse of issues that could have been dealt with in the project. The four of the students: Going Chow Kuo, Andreas, Lukas Mayer, Yang Liu and Mbene Mwambene settled on to tackle garbage. Not only was this enough but a form had to be decided too. The presentation would be documentary performance. We would show raw data, calculated data, images, videos, installation and most importantly theatre dance performance.
Hong Kong is populated by 7.2 Million people making it one of the densely poluted places on earth. The consumer power is astronomically highly hence a clear problematic waste problem. Needless to say, space is a challenge but where would the waste finally rest? …
If you walk through the streets of Hong Kong and you feel some water drops falling on your head, then it is probably not raining.
Videos – Pictures – Performance – Installation by Huang Liangpeng and Evan Ruetsch.
We encounter air conditioning water every day, when the condensation falls on our heads, we are nothing but helpless, for a moment you feel this unpleasant wet feeling. Nevertheless, the water drops will dry out.
We allow the falling condensation water to leave its traces through Traditional acts.
Being the result of a very harmonious group of four, the cube was soon completed. A minimalistic white box with carrying handles, resembling a litter for transporting royalty, stood there ready to be used. The interior was coated with a sound-absorbing material, covered in black velvet. Roughly one cubic meter of black and white silence. …
There is a vast man-made cyberspace floating above our heads. The boundary of the “virtual” world and the “real” one keeps expanding, from screens to our senses. We enhance perceptions of light and sound in this boundary where new cultures and aesthetics are emerging, regardless of limitations on the land.
Treasure Hill Artist Village/ The Cube Project Space/ Toad Mountain/ Taipei Biennal – Taipei Fine Arts Museum
Insulted Lemon Jam Playlist
Salted lemon drink (54:92)
Sham Shui Po (1:29:56)
First jam, (16:30) – approx
Second jam (21:19) – approx
Presentation 1 (32:23)
Presentation 2 (25:44) – approx
Feedback 2 (32:51)
Final (25:44) – approx
LINE UP 22h DJ Warm Those Buns Up DJ Set cimonfinix 22h30 Phonetic Phony Audioperformance Kai & Grace 22h45 Womb Club Dance & Videoinstallation by Carmen, Jesica, Goingshow and Jade 22h50 Scarlet (Hao) & Sherry Yuan Audiovisual Performance by Hao and Sherry 23h10 #cautionwetfloor Performance Cimon & Léo 23h30 Haze’n’hofer Concert by Yannik 00h15 senseless DJ Set Jan 1h45 the Queens of Chateau Coq Drag Show by Dennis & Daniel 2h neoliebe DJ Set by Angelo
Participants divided into three groups to explore different facets of Hong Kong. Everyone was asked to document the experience and share this experience the day after with the rest of the group.
Sound making teabag Tea infusing network Networking frame work Net playing puppets
[ Introduction of the artist group ] Artist Group: VAGA Body & Multimedia Experimental Group Group member: Yang Liu (Chinese), born in 1991, choreographer, body explorer, who graduated from Hong Kong Academy for Performing Arts, MFA in dance. Her recent works focus on body senses and performance exploration, seeking the personality in the body and sensational instinct. Meanwhile, she explores how to represent and create meaning of the body in field and time. Group member: Kuo Ying Hsiu (Goingshow Kuo) (Taiwaness), born in 1985, a transdisciplinary artist and a lecturer in the Department of Media and Visual Communication Design at Chang Gung University, during 2012-2016. In recent years, she’s been focusing on social issues and the relationship between field and identity. For more info: https://goingshow.carbonmade.com [ Project theme ] “Shape”- Embodying Places This project is a nomadic platform of artistic research exploring the possibilities of impromptu dance as a tool to analyze the social fabric in different contexts. Through observations and social experiments in different places in the past few years, our group produced improvisational, …
We realised the need of clear goals and a sharper work frame to go on with the group research. Our common interests were taken as guidelines: body, space and inner spiritual energy.
Some keywords were selected as input for our perspective: body, future, water, gravity, media, community, AI, boundaries, ritual and ceremonies.
Our practices attempted to relate this concepts with the multicultural and futurist contexts found in the city and countryside e.g. the field works experienced during the retreat week. …
The idea to meet continuously, bring to the table of known material, new material and explore materials we haven’t had the chance to explore. Practising in a way of exploration, but also narrowing down our imagination of different possibilities. This is a start to self-reflect and questioning of how to break the limitations and extremities of sound. To impose awareness to the disorientated of information and insight, whilst discovering the uncertainty and suffering of ones endurance through this process of collaboration. …
When we talk about cultures, it is very natural for us to think about the differences. There are lots of vision in our minds, from our experience, tell us about that. We lived separately for thousands of years.
In the same cyberspace we live together, which is possessing the earth like a ghost, reconstructing where we live and what lives in us. Here the memes travel at the speed of light, cultures beyond the distance are integrated to unify.
The new aesthetic is a being grows from bits, like its father grows from atoms. Creating is not a projection from mind to the world, but an experiment, a feedback loop, communication between us and the aesthetic being. It is not a construction, but an instauration.
During several mentoring sessions differences according to approaches and interests within the group continued to appear. Additionally the group experienced discomfort while supervisions, but was later benefited from bilateral mentorings. During these sessions, decisions were made like the usage of screens instead of light projectors in the front space of the future performance; or a setting of the space as clear as possible for the movement improvisations and interactions, which would deal with inner and outer spaces of the traditionally framed stage. So the improvisation was also decided to have an open ending. …
Mbene Mbunga Mwambene was born in Kitwe, Zambia but grew up in different towns and cities between Zambia and Malawi. He worked between Malawi and European Theaters from 2012-2015. He studied for a Diploma in Journalism at the University of Malawi before pursuing MA in Theatre at Bern University, Switzerland. He is a Theatre Artist, Journalist, Poet, Dancer, playwright, and Theatre Director but worked at Nanzikambe Arts but also as a freelancer artist and journalist. He was also involved in a three year partnership between Theater Konstanz , Germany and Nanzikambe Arts . His actively involved in Hamburg-Blantyre twin sister partnership. His professional acting life has revolved around doing interactive theatre for disadvantaged communities and also performing innovative theatre pieces for local and international audiences. His passion for innovative theatrical productions is also contextualized with the existence of his current solo production entitled The Story of a Tiger, which has been show across Germany, Switzerland, Japan, Liechtenstein, Ireland, Malawi, and Austria. He also performed “Refugees, I and Switzerland, Waiting for Godot and Body Scan” in Switzerland. .His solo …
This lecture series and seminar will frame the 2nd edition of a transcultural and cross-disciplinary graduate semester program entitled “Transcultural Collaboration,” a new educational format and initiative involving various art universities from Switzerland, Hong Kong, China, Taiwan, Japan, and Singapore. The program rests on the fundamental need to discuss and understand “globalization” and the questions and issues arising therefrom. It is obvious that globalization not only involves the expansion of production, consumption, and communication, but also the problems, and the potentials, of differentiation/distinction, of provoking otherness, of different forms of cultural evolution and blending, and of influencing power structures.
Lecture by Jörg Huber and Daniel Späti
Taking a risk is usually more often associated with danger than with a chance that opens up new perspectives. In our daily life we are trying to secure and assure as much aspects possible, which starts with prenatal diagnostics even before we are born. We are (made being) afraid of the unknown and uncertain because it’s BEYOND of our control. …
Lecture by Manray Hsu
The contemporary art biennial is a global phenomenon. As part of cultural apparatus of modernity, the art biennial, like international expos, tends to be future-oriented, often with an optimistic, or even utopian tone. Just as modern utopian promises have been constantly broken, biennials (again, like expos) rarely if not never live up to what they propose to show on the exhibition level, let alone the social changes promised. Hence the so-called “biennial bashing,” prevalent in art circles around the world.
A film by Ella Raidel
“Double Happiness” takes the Chinese copy of Hallstatt, a small idyllic town in Austria, as the starting point to explore China’s Fast urbanization. Chinese cities are built where histories and memories can be easily forgotten and thus rewritten. …
Yuki Kihara’s illustrated lecture entitled Vision of Salome, centers on works she has produced in the last decade or so where she features herself in the guise of ‘Salome’ – a Samoan woman in Victorian mourning dress appearing in across video, live performance and photographic mediums while subverting historical cross-cultural representations of Pacific people, unpacking the myth of the Pacific as paradise and critiques the imposition of European concepts of gender and sexuality onto colonized peoples.
Mi You, Researcher/Curator, Academy of Media Arts, Cologne
Nina Willimann, Choreographer/Performer, MA Transdisciplinary Studies ZHdK
Prof. Dr. Andreas Langenohl, Justus Liebig University Giessen, Department of Sociology
Collaboration in the Arts & Design & Collaborate!
Presentation of two international programs and initiatives at ZHdK (a. Mona Mijthab on her research/product development projects in Africa/India; b. Christoph Schenker & Gitanjali Dang on Draft Projects.
Lecture by Jörg Scheller
In the late 1960s and early 70s, Heavy Metal emerged as a distorted, extreme version of blues, rock’n’roll, rock and hard rock. It was only in the late 70s that it turned into a fully-fledged genre with clearly delineated boundaries and distinct characteristics: heavily distorted guitars, double-bass drumming, virtuoso solos and aggressive vocals. Soon, notions such as “true metal” (Manowar) or “classic metal” were used to stress that Heavy Metal was a self-contained, independent movement. …