We’re psyched to have photographer Michael Wolf coming in on January 12th to talk about his work of capturing and documenting life in mega cities. The lecture will begin at the usual time of 5:00pm, and it will be on the 3rd floor in room M3017 Lecture Theatre.
About the Artist:
Wolf grew up in Canada, Europe and the United States, studying at UC Berkeley and at the Folkwang School with Otto Steinert in Essen, Germany. He moved to Hong Kong in 1994 where he worked for 8 years as contract photographer for Stern magazine. He then withdrew from editorial photography in order to pursue his own projects.
Wolf’s work has been exhibited in numerous locations, including the Venice Bienniale for Architecture, Aperture Gallery, New York; Museum Centre Vapriikki, Tampere; Museum for Work, Hamburg, and the Museum of Contemporary Photography, Chicago. His work is held in permanent collections across the USA and Germany, including the Metropolitan Museum of Art in New York, the Brooklyn Museum, the San Jose Museum of Art, California; the Museum of Contemporary Photography, Chicago; Museum Folkwang, Essen and the German Museum for Architecture, Frankfurt.
He has won first prize in the World Press Photo Award Competition on two occasions (2005 & 2010) and an honorable mention (2011.) In 2010, Wolf was shortlisted for the Prix Pictet photography prize. He has also published more than 20 photo books to date including Hong Kong Corner Houses (Hong Kong University Press, 2011) Tokyo Compression Revisited (Peperoni Press/Asia One 2011,) Real Fake Art (Peperoni Press/Asia One 2011,) A Series Of Unfortunate Events (Peperoni Books, 2010) Tokyo Compression (Peperoni Press/Asia One 2010,) Hongkong Inside Outside (Asia One/Peperoni Press 2009,) The Transparent City (Aperture 2008) and Sitting in China (Steidl 2002).
To find out more about our speaker, you can check out his Wikipedia page here.
Hello all. The last colloquium of the semester will be on Wednesday, the 16th of December. We are excited to have Susan Johnston, a casting director and producer from Los Angeles here to share with us about the inner workings of the film industry in LA. She will also talk about areas of friction between traditional media and new media, IP and the way the industry responds to this. We will be meeting in the Future Cinema (M6094) and the talk will begin at 5:00pm.
The second of our 3 extra colloquium sessions this week will be a concert featuring Sergei Tcherepnin, Rie Nakajima and Feng Hao. The concert will be right after the lecture with Feng Hao and Eli Kessler (November 19th), it will be on the 1st floor in the Multimedia Theatre (M1060) and we’re hoping to begin by 8:00pm.
The first of our 3 extra colloquium sessions this week will be on Thursday, the 19th of November. We will meet at 6:00pm on the 6/F in the Future Cinema (M6094). In this session we will be hearing from artists Feng Hao and Eli Kessler about their work.
About the Artists and their Talks:
Feng Hao is an art creator. His works mainly focus on sound art and experimental music, and he is involved in drawings, performances, images, performing arts and design etc., which makes him an interdisciplinary artist with various styles. He researches on performances with pre-made guitars and explores every possibility in them. He also creates works in sound art related to social phenomenon; he also makes plunderphonic works with the name “DJ Strausss”. His experimental band Walnut Room explores music languages such as improvisation, the industrial, no wave, dark wave, etc. and expressions in performing arts.
“I am going to talk about the project “Bustling Declaration”. Working and living in Beijing, I can feel the changes indifferent aspects in the society every day; I see also quite a number of interesting phenomena with Chinese characteristics. With all these changes in the society, new problems arise. No matter you are willing or not, it seems hard to escape from the stimulations that the social environment has brought about. I will share how these interesting phenomena have influenced my works.” – Feng Hao
Keszler is a New York based artist, composer and percussionist who situates his practice within the intersections of architecture, performance, installation, notation and composition. His work uses microprocessor-controllers and sound producing constructions that activate motors to strike, scrape and vibrate enclosures. These works are often accompanied by collections of visual works, drawings and scores. His installations can be experienced autonomously or with an ensemble/solo performance featuring Keszler’s aggressively propulsive drumming.
“I will talk about piano wire as a mode of looking into various aspects of musical and extra musical avenues. As a material whose expansive capabilities allows me to work with architecture, as a form of installation and composition. I’ll talk about the transition from
working with this material outside of the context of the pianos history, and the way I’ve begun to exam its relationship with the instrument and music construction as a whole.” – Eli Kessler
In our upcoming colloquium session on November 17th, we will have artist-curator-composer-researcher James Hullick come in to talk about his projects. We’ll be back on the 6th floor, in the Future Cinema (M6094), and we’ll start at our usual time of 5:00pm.
James Hullick is emerging as one of Australia’s leading culture creators, attracting increasing national and international attention as sound artist, sculptor, composer, curator, community arts worker, published researcher and artistic director of JOLT (professional sound art org) and The Click Clack Project (an interabilities sound art org). His rise in the sonic arts is marked by a commitment to social engagement, particularly regarding the inclusion of people of all abilities in professional sonic arts making. This has been most notably achieved through his direction of the Amplified Elephants ensemble for sound artists with an intellectual disability, as part of Hullick’s ongoing residency at the Footscray Community Arts Centre.
In 2014, whilst completing a Post-Doctoral Fellowship at the University of Melbourne (Faculty of VCA and MCM), Hullick was awarded a 2014 Australia Council Creative Australia Fellowship (for the year 2015) and the 2014 Michael Kieran Harvey Piano Scholarship for 2015/16
2014 was also the year Hullick premiered THESE COMPULSIVE BEHAVIOURS for the Melbourne Festival, broadcast on ABC Classic FM. 10 chamber orchestra works were created for this project, performed by Hullick’s BOLT Ensemble, the ARCKO Ensemble and other musicians from distinct Australian communities including Kimberley elder Pansy Nulgit, Singers with Cochlear Implants and the Amplified Elephants. Several of the works were co-created with the artists involved.
Hullick has co-directed JOLT International Festivals in Switzerland (2011) and Japan (2012/2014) as well as tours to the UK (2014) and NY (2009), working in collaboration with international producers. These events have been distinctly multi-disciplinary, and included artists i.e. Philip Brophy, Stelarc, Merzbow and Robin Fox.
We do apologize for the cancellation of the following colloquium session. Our next session will be on November 17th. We’ll have the details for that up soon.
On November 3rd we’ll be having installation artist Marnix de Nijs over for a colloquium session. During our time, we will be focusing on Marnix’s own immersive cinematographic works, such as interactive chase movie Run Motherfucker Run, Exploded Views and his latest works that investigate alternative display devices and 3D aesthetics. The talk will be in room M3017, which is Lecture Theatre 1, and we’ll be starting at 5:00pm.
Marnix de Nijs is an Rotterdam based installation artist and researcher that has been working with full body participation in immersive audio visual environments since the late nineties. His works include mainly interactively experienced machines that play with the perception and control of image and sound, but also, radical and humorous pieces such as his Bullet Proof Tent and the Physiognomic Scrutinizer. Impelled by the idea that technology acts as a driving force behind cultural change and therefore capable of generating new experiences where societal habits and communication are rethought, his work thrives on the creative possibilities offered by new technologies, while critically examining their impact on contemporary society and human perception. Marnix’s works have been widely exhibited at international art institutes, museums and festivals. He won the Art Future Award (Taipei 2000) and received honourable mentions at the Transmediale award ( Berlin 2000), the Vida 5.0 award (Madrid 2002), and Prix Ars Electronica ( Linz 2013, 2005 & 2001). In 2005, he collected the prestigious Dutch Witteveen & Bos Art and Technology Price 2005, for his entire oeuvre.
This week we will be showing a collection of faculty works. We will be back to our usual time slot of 5:00pm in the M6094 Future Cinema.
Yuk-Yui IP / Another Day of Depression in Kowloon (2012)
Shannon Walsh / Under The Umbrella Of Hong Kong’s Protest (2014)
Max Hattler / ANNAAT (2008)
dj sniff + ucnv / Liquefaction (2014)
Samson Young / Muted Situation #2: Muted Lion Dance (2014)
Kaho Albert Yu / Into The Air’s Memory 2003 (2003)
Date: 2015-10-15 (this Thursday)
Venue: Multimedia Theatre (M1060), Run Run Shaw Creative Media Centre
Doors Open: 5:45-6:00pm
Doors Closed: 6:00pm-6:50pm
Doors Open: 6:50-7:10
Doors Closed: 7:15pm-8:30pm
Nik Bärtsch‘s Ronin (www.nikbaertsch.com) – international renown Swiss musicians who produced four albums for ECM records are on tour in Asia in October 2015. With the zen-funk quartet RONIN founded in 2001, Nik Bärtsch proceeds with the work on his RITUAL GROOVE MUSIC together with Kaspar Rast (drums), Thomy Jordi (bass) and Sha (bass/contrabass clarinet).
Their music consistently follows the same aesthetic vision under various instrumental guises: creating the maximum effect by minimal means. Despite the multiplicity of the band’s influences, Ronin’s music always possesses a strong individuality. They incorporate elements of disparate musical worlds, be they funk, new classical music or sounds from Japanese ritual music. The music critic Tyran Grillo has written that their music represents some of the most sustainable music on the planet.
During Colloquium and Concert the doors will get closed. So be on time.
FREE ENTRANCE but limited number of seats. First come, first served.
For Reservation, please send email to : email@example.com
In this upcoming colloquium session we will have artist and film maker Faiyaz Jafri coming in to showcase some of his films while talking about the development of his visual language, influences & inspirations, the collective unconsciousness and his obsession with the Bambi character. The talk will be on the 6th of October, and will be starting at 5:00pm in the Future Cinema as is usual.
About the Speaker
Faiyaz Jafri is an artist and film maker, born and raised in rural Holland of Dutch and Pakistani descent. Jafri’s art explores Jungian archetypes in the modern world. In addition he searches for neo-archetypes* in mass media and global popular culture.
Jafri has always been somewhat of a perfectionist. Realizing that a computer could draw a far straighter line than he ever could, he started to use the computer as his sole medium in the late 80ies and can be seen as one of the pioneers of computer arts. He began making his first illustrations on a small Apple computer using basic vector imaging software. Cumbersome and limited as these programs may seem now, they where perfect for Jafri’s already pictographic style.
His work evolved from flat line art into a style he calls hyper-unrealism. Innovations in personal computers certainly contributed to this evolution. Despite the vast possibilities offered by modern computers he stays close to his subject, leaving out unnecessary frills and extra’s until he’s left with an image that is unambiguous and almost obscene in it’s blunt power.
His work has an almost clinically engineered feel to it without becoming cold or soulless. It is this contrast between unnatural perfection and the fact that his work conveys a strong emotion that makes his work at times haunting but always strangely human.
Jafri’s films have been selected worldwide in prestigious festivals as well as in the Museum of Modern Art in New York. More on Faiyaz Jafri and his work can be found on his site faiyazjafri.com.