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We can open the exhibition!
We are happy to announce we can open the exhibition everything you’ve ever wanted is on the other side of the planet at AIL Vienna. The opening hours are:
7th Dec 2020 - 26th Dec 2020
Monday to Saturday (Wednesdays, Sundays and 24th, 25th Dec will be closed)
Opening hours: 12-18
Exhibition details, please see below
Everything you’ve ever wanted is on the other side of the planet
Online artist talk and walk through the exhibition (On 2nd Dec and 3rd Dec 2020)
Language: English and some Japanese with a translation
Participating artists (exhibition): Yu Araki, Oscar Cueto, Tetsugo Hyakutake, Kyun-Chome, Michikazu Matsune, Yoshinori Niwa, Lisl Ponger, Almut Rink, Kota Takeuchi, Kay Walkowiak, Pan Lu und Bo Wang, Zheng Yuan
For the window version: Sun Xun, Hikaru Suzuki
Curator: Hitomi Hasegawa
(The artists will participate the events, join the discussion, but not all of them for both dates)
Exhibition Venue: Angewandte Innovation Lab, Franz-Josefs Kai 3, Vienna, Austria
Opening ; Right after the lockdown (Currently only through the windows)
-2nd Dec 2020 (Wed)
CET 1pm /Vienna
JST 9pm /Tokyo
HKT 8pm/Hong Kong, Beijing
ID: 952 6802 5064
Artist talk: Lisl Ponger and Oscar Cueto
Plus walk through the 3D exhibition and talks by artists
-3rd Dec 2020 (Thu)
CET 2pm /Vienna
JST 10pm /Tokyo
HKT 9pm /Hong Kong, Beijing
ID: 914 9406 9663
Artist talk: Kota Takeuchi and Kyun-Chome
Plus walk through the exhibition and talks by artists
Film still from Kota Takeuchi, Blind Bombing Filmed by a Bat, 2019
Oscar Cueto, Domestic Affairs, 2015-2018
Zheng Yuan, Dream Delivery 2018
Video still, Pan Lu and Bo Wang , Miasma, Plants, Export Paintings, Color, sound, 28’00”, 2017
Lisl Ponger, The Japanese from Xenographic Views, B & W photo, 1995
Everything you’ve ever wanted is on the other side of the planet Exhibition in Vienna, Austria
Angewandte Innovation Lab / Franz Josefs Kai 3 will present everything you‘ve ever wanted is on the other side of the planet featuring thirteen artists from Austria, Japan and China. The exhibition explores how one reacts against different culture, both an individual level and as nation-states. As current pandemic revealed xenophobic sentiment and racism, sometimes it results in vandalism and exploitation. On the other hand, some people love different culture so much and into maniac phase.
The project was postponed from April 2020 by the pandemic, and again wait for the opening due to the lockdown in Austria.
(Image: Film still from Kota Takeuchi, Blind Bombing Filmed by a Bat, 2019)
Exhibition Title: everything you‘ve ever wanted is on the other side of the planet
Venue: Angewandte Innovation Lab / Franz Josefs Kai 3
Franz Josefs Kai 3, 1010 Vienna, Austria
Tel: +43 1 711332007
Open dates: Pre-open (Only through the windows ) 12th November 2020
Will open the door right after the lockdown in Vienna
Artists: Yu Araki, Oscar Cueto, Tetsugo Hyakutake, Kyun-Chome, Michikazu Matsune, Yoshinori Niwa, Lisl Ponger, Almut Rink, Motoyuki Shitamichi, Kota Takeuchi, Kay Walkowiak,
Pan Lu and Bo Wang, Zheng Yuan
Curated by Hitomi Hasegawa
POLA ART Foundation, Austrian Federal Chancellery, FRANZ JOSEFS KAI 3 sponsored by Franziska and
Christian Hausmaninger, Angewandte Innovation Laboratory, MIACA
Thanks to: Kadist Foundation Paris, Charim Gallery, Vienna
The COVID-19 outbreak has triggered bouts of racism and violence against Chinese and Asian people in Europe and elsewhere. Indeed, this pandemic has made xenophobic sentiments and racism more visible, as evidenced by the Black Lives Matter movement that followed the death of George Floyd.
Last year, Japan and Austria celebrated the 150th anniversary of their diplomatic relations and long-standing exchanges. The beginning of this partnership was marked by the 1869 Treaty of Amity, Commerce and Navigation. Despite this friendly celebration, this treaty perfected the unequal conditions that already existed between Japan and other Western countries due to the most-favoured-nation treatment. After this treaty, unfair articles, such as extraterritorial rights, were applied to Austria and other countries. The following five countries had an advantageous treaty with Japan: the United Kingdom, the United States, France, Russia and the Netherlands.
When we encounter a totally different culture, our reaction would be polarized. Some dislike it and try to ignore it, while others get curious and try to know more. Among these, some become obsessed, even manic in their appreciation of other cultures. It is generally these people who encourage mutual understanding between different countries. On the other hand, as this unfair treaty represents, desire and craving for Others and their prosperity often result in exploitation and vandalism. Some of the works of art in this exhibition can be understood as representations of how artists respond to power imbalances in interna- tional relationships under post-colonial and neo-colonial conditions and drastically different social and class backgrounds.
Following this commemorative year, the aim of the exhibition every- thing you’ve ever wanted is on the other side of the planet is to provide some illustrations of the contradictory feelings towards foreignness, political identity and post-colonial or post-war issues from the late 19th century to today. This project also deals with how artists interpret desire, passion and love for foreign cultures, artefacts and lands. Indeed, both are polarized emotions and reactions towards other cultures. Since human beings started to search for a New World, there have been numerous things that people want from the other side of the planet.
The subjects of the works include not only Austria and Japan but also Hong Kong, the United Kingdom, Mexico, Brazil, China and the United States.
Still Images (from the top):
Finger Pointing Worker,
Nguyen Trinh Thi,
Ho Rui An,
Courtesy of images by artist
Invisible Cities -Asian Moving Images
The Crow Collection of Asian Art, Dallas Contemporary, and the Moving Image Archive for Contemporary Art: MIACA (Hong Kong), are pleased to announce to co-organize Invisible Cities, an exhibition, performances, talks, discussions, the facade installations and screening series that showcases more than twenty contemporary video works by renowned and emerging artists from China, Japan, Hong Kong, the Philippines, Singapore, South Korea, Taiwan, Thailand, Myanmar, and Vietnam. Seen together as a series of video installations and screenings at Dallas Contemporary and at the Crow Collection of Asian Art, these pivotal artistic works outline recent developments in the moving image art in Asia.
Date: 28th Sep. 2017 - 17th December 2017
Venues: Dallas Contemporary Crow Museum of Asian Collection
Participating artists and collectives:
Akita, JAPAN: Tadasu Takamine
Bangkok, THAILAND: Taiki Sakpisit
Beijing, CHINA: Sun Xun
Berlin, GERMANY: Ming Wong
Fukushima, JAPAN: Bontaro Dokuyama, Finger Pointing Worker + Kota Takeuchi (Editor/artist)
Guangzhou, CHINA: Zhou Tao
Hanoi, VIETNAM: Nguyen Trinh Thi
Hong Kong, S.A.R.: Come Inside, Ellen Pau, Leung Chi Wo, Wong Ping
Manila, PHILIPPINES: Martha Atienza
Paris, FRANCE: Momoko Seto
Seoul, SOUTH KOREA: Lim Minouk
Singapore, SINGAPORE: Ho Rui An, Ho Tzu Nyen
Tainan, TAIWAN: Kai-Chun Chiang
Tokyo, JAPAN: Yu Araki, Chim↑Pom, Kyun Chome, Hikaru Fujii
Yangon, MYANMAR: Moe Satt
Curated by: Jacqueline Chao (Crow Collection), Lilia Kudelia (Dallas Contemporary), Hitomi Hasegawa (MIACA)
Siew-wai Kok of Klex kindly host our screening in Kuala Lumpur, at the Raw Art Space.
Hitomi Hasegawa will visit and do screening and talk.
Artists: Kyun Chome, Bontaro Dokuyama, Nobuaki Ito, Aya Momose
Date: Sat 12th August 2017, 8 pm
Venue: Raw Art Spaceo8, 4F, Japan Panggong, 50150 Kuala Lumpur
Admission: suggested donation RM10
KNOCK – Videos and films on the genealogy of socially engaged art in Asia
MIACA is delighted to present the project KNOCK explores the genealogy of socially engaged art and social practice in Asia, focusing on film and video art. KNOCK includes both historical films that deal with society, and contemporary community-based art videos and artists’ documentaries that explore the seeds of today’s social practice.
Date of screening: 30th August to 8th October, 2017
Symposium: 2nd September, 2017
Venue: MMCA Museum of Modern and Contemporary Art, Seoul, Korea
Any artwork can be social, even if it explores an artist’s own inner emotions or pursues a purely symbolic or aesthetic expression. However, works that actively interact with the community or document social issues can be distinguished from those focusing solely on visual language.
Recently, the terms ‘socially engaged art’ or ‘social practice’ have been circulated in the contemporary art field. Socially engaged art relies on ‘social intercourse as a factor of its existence.’ It requires working collaboratively through social and participatory forms. Socially engaged art can fall into the category of social practice. There is a range of different names: relational art, community art, new-genre public art, and participatory art, among others. This kind of art articulates the realization of derivative democracy, social inclusion, art-activism and so on. We can see early examples of socially engaged art in the New York exhibition Living as Form: Socially Engaged Art from 1991–2011, curated by Nato Thompson in 2011.
According to Pablo Helguera, the term ‘socially engaged art’ emerged in the mid-1970s, and has its roots in the United States during the late 1960s. Its genealogy goes back to avant-garde and conceptual art. In the 1960s, social movements led to the emergence of performance art and installation art concerned with process and site-specificity. Video art emerged slightly later, in the 1970s. Since then, many artists and filmmakers have become more aware of social issues, and art has become more and more socially and regionally context-based. Now, we see social practice as a concrete area of contemporary art.
Today, socially engaged art or social practice is part of the norm in Asian contemporary art scene. There are numerous discussions surrounding it, as well as platforms to showcase it, such as Projects on Socially Engaged Art in Asia at Shanghai Rockbund Museum in 2013, Social Practice Lab in Asian Arts Initiative in Philadelphia and the Digital Archive of Chinese Socially Engaged Art in the City University of Hong Kong, initiated by Bo Zheng. There was a large academic conference, Socially Engaged Art in Japan, in Seattle in 2015. SEA Research Lab was established in 2015, and had an exhibition in 2017 in Tokyo.
However, if we think about the relationship between art and society, socially engaged art is not entirely new for artists and filmmakers. We can find many early examples of attempts to intervene in or create community, seeking derivative democracy through art practices. In addition, socially engaged art is often performative, since it directly engages with a specific social situation. Thus, it is highly affinitive to using moving images as part of its output. Many social practice artworks therefore use video as a part of the works themselves.
The project KNOCK explores the genealogy of socially engaged art and social practice in Asia, focusing on film and video art. Although early video art and experimental films of the 1960s often concentrated more on the aesthetic or time-based features of video, there have historically been many video works that deal with societal issues, with a focus on documenting real life. KNOCK includes both historical films that deal with society, and contemporary community-based art videos and artists’ documentaries that explore the seeds of today’s social practice.
The project does not aim to comprehensively cover socially engaged art videos in Asia; rather, it attempts to collect and showcase moving image works that deal with society, activism and democracy, in both the film and contemporary art fields in Asia.
To realize this program and symposium, five curators/programmers from different Asian countries have worked together. They are either from the film or the art field.
Knock is the title of a controversial 1975 city play by Shuji Terayama. Terayama invented ‘city plays’ in 1970. Audiences would purchase a map, which directed them to interventions held at 18 different locations across the Asagaya neighborhood of Tokyo. The plays were implemented for 30 hours in different public/private spaces, involving numerous citizens and members of the general public. At times, these interventions happened in residential areas, which led to local citizens alerting the police. This was an early attempt at conducting the plays (art) within the community, and let many audience in the roles of the plays, it was quite close to social practice, as many people participated with or without their knowledge. Terayama’s aim for the project, as indicated in its title, was to “knock” on the closed doors (in both literal and psychological terms) of the local residents.
We hope that the KNOCK project can showcase Asian video artists’ and filmmakers’ expressions related to society, and indicate a loose chronological and geographical lineage of socially engaged art. As Terayama intended, we hope that the project knocks on the audience’s minds in Seoul, where many social and political issues are continuously presenting themselves.
-Opening reception: 30th Aug 2017 4pm
Opening films: The Meaning of Style, A Cart of Coals, Like We are not Here
-Lecture: 2nd September 2017, 2 pm
Akira Takayama presentation moderated by Hitomi Hasegawa
-Symposium; 2nd September 2017 4pm
Panels: Inti Guerrero, Hitomi Hasegawa, Kin Eunhee, Wiwat Lertwlwatwongsa, , Anand Patwardhan, Akira Takayama, Xin Zhou
3rd September 2pm Anand Patwardhan
6th September 5pm Jung Yoonsuk
9th September 6:30pm Kang Sang-woo
13th September 5pm Gina Kim
15th September 2pm Au Sow-Yee
16th September 3pm Jang Minseng
20th September 4pm Lee Hyuk-sang
-Screening of 15hours work by Wang Bing is included the program
The list of the artists and whole programs can be downloaded from here (PDF, 10MB)
 Pablo Helguera, Education for Socially Engaged Art, Jorge Pinto Books Inc., 2011
 Gregory Sholette , After OWS: Social Practice Art, Abstraction, and the Limits of the social http://www.e-flux.com/journal/31/68204/after-ows-social-practice-art-abstraction-and-the-limits-of-the-social
 Yates McKee, Occupy and the End of Socially Engaged Art, e-flux journal #72, 2016 http://www.e-flux.com/journal/72/60504/occupy-and-the-end-of-socially-engaged-art/
 Pablo Helguera, Education for Socially Engaged Art, Jorge Pinto Books Inc., 2011
For some examples in China, please see; http://arthubasia.org/project/situating-socially-engaged-art-in-china-by-zheng-zhuangzhou
 http://www.t-time.jp/Terayama/eizo/eizo_01.html video: https://www.youtube.com/watch?v=WmsW51ew-ao
Underground Theater, July issue (#7) 1972, Tenjyo Sajiki, Tokyo
Shuji Terayama’s underground public stage, Japan Times 2013 http://www.japantimes.co.jp/culture/2013/09/04/arts/shuji-terayamas-underground-public-stage/#.WPAwQlPyjp4
Artists/filmmakers: Chen Chie-Jen, Fujiko Nakaya, Hakudo Kobayashi, Chang Chao Tang, Chim Pom, Li Binyuan, KyunChome, Moe Satt, Yau Ching and others.
Nightlight Screening in Basel, Switzerland
MIACA is proud to present The Nightlight Screenings second edition with WHITE FRAME (Switzerland) exploring recent works from Swiss and international artists. This initiative aims to draw a more focused attention to video art and art film works to a broader public and to simultaneously foster international exchanges for our Swiss productions. Participating artist include;
Nguyen Trinh Thi,
Wee Li Lin and Charles Lim, and
Date: 25 August 2017
Venue: Garden of the Christoph Merian Foundation, St. Alban-Vorstadt 5, Basel, Switzerland
Hazy Sundays; Love Man Love Woman by Nguyen Trinh Thi
Date: 24th July, 2016 17:00
Place: Connecting Space, 18-20 Fort Street, North Point, Hong Kong
Love Man Love Woman by Nguyen Trinh Thi
Color | 2007 | 54min | Vietnamese with English Subtitles
Directed by: Nguyen Trinh Thi
This documentary piece consists of several interviews that construct the narrative about a Buddhist master mediumI who is a gay person in Hanoi. Through Master Luu Ngoc Duc, one of the most prominent spirit mediums in Hanoi, and his vibrant community, the film explores how effeminate and gay men in homophobic Vietnam have traditionally found community and expression in the country’s popular Mother Goddess Religion, Đạo Mẫu.
This month’s film is selected by Hitomi Hasegawa. On selecting “Love Man Love Woman”, she says, “ [the film] is a story about the antagonism between the society and sexual minority. (It) also revealed personal role, sexual desire and status in the community. The master also has a kind of the liberation through his religious job as a master medium, but through this documentary, we rather see his agony, shadows and sadness. They make the good contrast of his bright smile and laugh, the vivid costume and makeup of the master medium, funny dance and songs.”
*All screening sessions are open to public and free of charge.
彩色｜2007 ｜54分鐘 ｜越南語，附英文字幕
About HAZY SUNDAYS
"Hazy Sundays" is a monthly screening programme curated by Chantal Wong, Nuria Krämer and friends. Through presenting a range of handpicked films by cultural figures in Hong Kong,"Hazy Sundays" seeks to show the various perspectives on identity construction in relation to history and the changing economic and politic situations in urban cities like Hong Kong. "Hazy Sundays" looks at the junction of artistic creation and cinema, media politics, identity and site in an approachable way, inviting members of the public and movie aficionados to engage in social dialogues, re-examining the relationships between the self and the culture.
Lecture Curating Art After New Media Hong Kong
Date: 18-22 May, 2016 2pm-
Place: MIACA, Chai Wan
MIACA had a lecture with the selected applicants of curating course that the Videotape, the Polytechnic University, and the ISEA organized.
More than 30 participants came to our studio and talked about new media and curating.
Yu Araki at The 60th BFI London Film Festival
Date: Sep., 2015
Place: British Film Institute, London, UK
The 60th BFI London Film Festival selected Yu Araki’s wonderful piece, Angelo Lives!
Asian Film and Vide Art Forum
Date: 2015 Sep. 9th to Oct. 31st
Place: National Museum of Modern and Contemporary Art (MMCA) Seoul, Korea
MIACA presented two screening programs, one is about Feminism, the other is about Immediacy that the term discussed in 60's in film sphere. Both we picked up from the contemporary artists. We did the two-days symposium together with the film/video organizations of IAMIN, International Artists Moving Image Network, from Thailand, Indonesia, Malaysia, Korea.
Artists include; Map Office, Valerie Portefaix Adrian Adrian Reid Wong, Hikaru Suzuki, Yuichiro Jose Tamura, ('Immediacy' ) Phoebe Man, Mai Endo, Robot (John Millar and Takuji Kogo), Angela Su, Sputniko! and Hiroko Okada. ('Feminism revisited')
※ SCREENING BROCHURE DOWNLOAD(PDF)
Gender, Genitor, Genitalia -Rokudenashiko Tribute exhibition
Date: Opening:On 29th Aug. 2015
Exhibition: 29th August 2015 to 20th September 2015
Place: Woofer Ten 活化廳,
404, Shanghai Street, Yau Ma Tei, Kowloon, Hong Kong
On 29th Aug. 2015, the opening of the Gender, Genitor, Genitalia -Rokudenashiko Tribute exhibition. At the Woofer Ten, themed feminism, censorship, media and genitalia.
All the fund was raised by the Indie GoGo and the Campfire, thanks for all who supported us!!
If you want to get the catalogue, please contact firstname.lastname@example.org The price (color p132, Chinese, English, and Japanese) is 100HKD/130USD
-Talk event with artists, including Rokudenashiko, Ryoko Suzuki and participating artists at Para Site Art Space, Hong Kong
-Performance by Chan Mei Tung
articles about the exhibition;
- Makoto Aida 会田誠
- Michael Leung 梁志剛
- Phoebe Man 文晶瑩
- Lam Hoi Sin 林愷倩
- Ling & Comma （ Gao Ling & Elaine W. Ho, 高靈&何穎雅 )
- Sputniko! スプツニ子!
- ROBOT (John Miller and Takuji Kogo) ロボット（ジョンミラー＋古郷卓司）
- Rokudenashiko ろくでなしこ
- Ryoko Suzuki 鈴木涼子
- Chan Mei Tung 陳美彤
- K Y Wong 黃嘉瀛
- Yuk King Tan
Lecture “After Fukushima -Young Japanese artists”
Date: Aug 22nd 2015
Place: Hong Kong Arts Center, Wan Chai, Hong Kong
At the Hong Kong Arts Center, Hasegawa of MIACA introduced Japanese young artists after Fukushima.
The artists introduced; Olta, Haruka Kawaguchi, Kota Takeuchi, Kyun Chome, Japonica, Aya Momose, Motoyuki Shitamichi, Yuki Iiyama, Mai Endo, Chim Pom
Speaker; Hitomi Hasegawa (MIACA director, Curator)
And The Story Goes
Date: 14th Mar (Sat) 2015, 18:30-20:30,
Place: WING | Platform for Performance
21/F, Unit 2102, Chai Wan Industrial City Phase II
70 Wing Tai Road, Chai Wan, HONG KONG
We did a screening event on 14th Mar (Sat) 2015, Screening by MIACA, food curated by SOOK, drink and performance!
Come and check the new space in Chai Wan, this is an inaugural event of the WING platform for performance. Plus please take a look at Chai Wan Mei Festival open studios and galleries, also a pop-up exhibition by Inti Guerrero!
The space Wing was initiated by Leslie Van Eyck, performing arts curator.
And The Story Goes
- Mai YAMASHITA + Naoto KOBAYASHI (JP)
When I Wish Upon A Star
- Kenji IWAISAWA (JP)
Man In The Tunnel Alley
- Adrian WONG (US/HK)
Sang Yat Fai Lok
- Hikaru SUZUKI (JP)
- Masanobu NISHINO (JP)
Chop Wood / Float Island / Hose
- LI Xiaofei (CN)
A Packet Of Salt
- MAP Office (HK)
Under The Umbrella
Special Guest; Masanobu Nishino
in collaboration with Chai Wan Mei Art and Design Festival 2015
Tell Me a Tale /Perfromances
SAT 14 MAR 12-8.30 pm
SUN 15 MAR 12-6 pm
WING is thrilled to present its first participation in Chai Wan Mei Art & Design Festival. Tell Me a Tale marks the debut of WING. Crossing the borders between visual art, dance, theatre and embracing other hybrids in an intimate relation with the audience, it reflects a vision that focuses on sharing space, time and ideas to develop artistic practices in relation with a local environment and an international arts community.
Two Hong Kong based choreographers Elysa WENDI and Scarlet YU re-think space and time in choreography through durational performances sharing their stories with the visitors of the festival. Scarlet YU (HK/SG) engages the spectator in a one to one performance to re-create the choreographer’s autobiography questioning the border between the private and the public. Elysa WENDI (SG/HK) has borrowed 10 books from 10 Hong Kong choreographers to create a daily-changing performance of 10 hours for 10 consecutive days, in dialogue with the environment and the people visiting the library.
Didier FAUSTINO’s (FR/PT) parasitic performance operates in various spaces going from streets, industrial corridors and elevators to various private spaces, questioning the relation between the body and its architectural surroundings.