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Binelde Hyrcan’s video “Cambeck” is a playful study of four boys on a beach in Angola playing in a chauffeured car made of sand. Weaved through the seemingly naïve game are themes of poverty, migration and inequality. Speaking of ‘the good life’ in the United States of America, the young boys discuss separated families as a result of migration, unemployment and education, poverty, the dream of leaving the slum for a building with walls made not of tin, and the luxury of the accessibility of transport. With the innocence of the conversation in the children’s game, the harsh realities of the developing world speak loudly. The artist’s decision to include the voice of the child speaks both to the importance of imagination in survival in the face of major social, economic and political disadvantage and to the generations of children faced with the hardship of poverty and life in a war zone. Imagination and dreaming is a method of endurance and future reparation of the trauma of social devastation. “Cambeck”, playful in its presentation and uncompromising in its delivery, is a significant insight into to the realities lived by the youth in the ongoing Angolan Civil War context.
Growing up during the Angolan Civil War, Binelde Hyrcan (b. 1983, Luanda, Angola) crosses themes of power, poverty, migration and inequality in his painting, sculptural, design, film and performative practice. The artists hard-hitting themes are delicately negotiated with humor, a seductive method of confronting the troubling realities of developing countries, and in particular Angola. The artist’s contribution to the dialogue surrounding the present refugee crisis provides an important perspective of the countries in question and the journey for a better life.
Online Seminar: Frequencies of Tradition With Anselm Franke, Ho Tzu Nyen, Chia Wei Hsu, Yuk Hui, siren eun young jung, Jane Jin Kaisen, Ayoung Kim, Hyunjin Kim, Hwayeon Nam, Emily Wilcox, and Soo Ryon Yoon The Times Museum and KADIST present three online sessions that consider tradition as a contested space, where one can critically reflect on Asian modernization and the Western canon...
Women Are the Post-Apocalyptic Future Skip to content Dana Schutz, "Civil Planning" (2004), oil on canvas (all photos Ela Bittencourt/ Hyperallergic ) BERLIN and PARIS — In recent years, impending ecological apocalypse has spurred a number of contemporary artists to visualize fears of an environmental collapse...
In “Untitled II (Mapping text)”, 2009, Langa abstracts language in an attempt to change the familiar into the absurd...
Presented as part of a recent group of works titled The Paradox of Healing, Rhombus for Healing No...
Solo (2003) is a video exhibited as a video/sound installation depicting shots of drum, voice, guitar, clavier/synthesizer, and a melodica player cut into segmented fragments from the perspective of a studio recording set...
Contrast to the bustling and unrelenting experience of a city such as Hong Kong, Chris Huen Sin Kan paints the tranquil interiors of his apartment, where he leads a modest and almost hermit-like life...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
Open Call for AE x Goethe-Institut Critical Writing Micro-Residency 2021/2022 | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints March 12, 2021 ArtsEquator and Goethe-Institut Singapore are pleased to announce the launch of the inaugural AE x Goethe-Institut Critical Writing Micro-Residency 2021/2022 ...
Zhang Kechun’s photographic series The Yellow River documents the effects of modernization along the eponymous Yellow River, the second longest in Asia...
Expand, Exchange, and Beyond: A reflection of the Asian Arts Media Roundtable 2021 at SIFA | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints June 9, 2021 By Gladhys Elliona It was a laid-back day at the end of April, when I got the email from ArtsEquator informing me that I had gotten into the Asian Arts Media Roundtable (AAMR) at the Singapore International Festival of Arts 2021...
Those who stay: the Hong Kong artists fighting for a brighter future Art market Museums & heritage Exhibitions Books Podcasts Columns Technology Adventures with Van Gogh Search Search Hong Kong analysis Those who stay: the Hong Kong artists fighting for a brighter future Despite governmental intimidation of arts entities, the high cost of living and the lure of better opportunities abroad, many artists are choosing to remain in the city Lisa Movius 5 February 2024 Share The satirical cartoonist Wong Kei-kwan, who uses the pen name Zunzi, had his comic strip in the Hong Kong newspaper Ming Pao cancelled following government pressure, but he continues to live in the city Photo: Reuters/Tyrone Siu Some call it the great exodus: the family company owners, the bankers and the expatriate businesspeople departing Hong Kong in droves during and since the Covid-19 years...
How Jonathan LeVine Projects Embraces a Nimble Approach in a Hybrid Art World | Artsy Skip to Main Content Advertisement Art Market How Jonathan LeVine Projects Embraces a Nimble Approach in a Hybrid Art World Maxwell Rabb Jan 23, 2024 10:06PM Portrait of Jonathan LeVine wearing a Fez by Dylan Egan...