Advertisements

 

Eco Art Challenge by Global Shapers Beijing

 

(BEIJING, China) – On March 16th, I was invited to give a talk at Global Shapers Beijing (Hub 2) for their Eco Art Challenge. I spoke about my work and, more importantly, about what I learned, my triumphs and failures with my Year for the Planet personal challenge. Other speakers included Break Free from Plastic China and Eric Lau. Afterwards, the participants created a whale sculpture made of plastic trash and embarked on a 7-day plastic-free challenge—a very difficult thing in Beijing, where plastic seems to weed its way in places you did not think it would.

Year for the Planet
Why go plastic-free

You can download a pdf of my talk here:

Thanks to Yoka and Zishu of Global Shapers Beijjng for the kind invitation!

Advertisements

I talk art, science, Beijing apocalypses, and taekwondo (among other things) in this rad interview with Dr. Amy Brady of Guernica Magazine and the Chicago Review of Books for her monthly “Burning Worlds”! Here I mentioned the fellowships I just concluded and will continue and how they have shaped my practice, in Beijing with China Residencies and Red Gate Residency, Southeast Asia with Mekong Cultural Hub, Vienna with KulturKontakt Austria, and Berlin with Haus der Kulturen der Welt. Thank you very much!

Check out the interview here: https://mailchi.mp/9dc8381fcb68/burning-worlds-climate-change-in-art-and-literature-514617?e=%5BUNIQID%5D on Artists and Climate Change: http:// https://artistsandclimatechange.com/2019/02/05/an-interview-with-interdisciplinary-artist-catherine-sarah-young/

C-Platform, a culture and art research and curatorial organization focusing on current trends and future concepts in the realm of mixed media based in Xiamen, China, profiles The Apocalypse Project series. Many thanks to all the residencies and grants that have supported this work. I trace my Chinese half from Xiamen so this is quite special for me, indeed. Xie xie!

Article in Chinese and English: https://www.c-platform.org/event/%e6%9c%aa%e6%9d%a5%e5%90%af%e7%a4%ba%e5%bd%95/?lang=en

I just wrapped up a fellowship with the Haus der Kulturen der Welt’s (Un-)Learning Place! These were five wonderful days with fantastic people from around the world challenging institutions, our assumptions, realities, etc. Many thanks to HKW and the facilitators of our track, Spaces of Theory, including diffrakt: center for theoretical periphery and raumlabor berlin! Here’s a collection of my thoughts via my Instagram account:

(BERLIN, Germany) – Guten Tag! I’m honored and excited to be one of the selected fellows for The (Un-)Learning Place, a program by the Haus der Kulturen der Welt. What a great start to 2019 and how fitting having just been immersed in anthropogenic food futures, sustainability and decolonization with China Residencies and Mekong Cultural Hub / British Council this past Fall. I’m in Track 5 on Space/Theory. I can’t wait to be back in Berlin, one of my favorite cities in the world! Let’s take this on. See you soon!

 

From the program text by HKW:

The present is characterized by a crisis of the established epistemic-political order. Outdated categories and terms no longer function. Representational logics fail to grasp the complexity of contemporary phenomena and increasingly global societies, whose change is accelerated by digital infrastructures. In this situation, it is necessary to unlearn established modes of referring to the world and to rethink methods of constructing, situating and criticizing reality.

During the Opening Days of HKW’s new long-term project The New Alphabet , HKW will set up a unique space for gathering, discussion and workshops—a unique (Un-)Learning Place curated by Boris Buden and Olga von Schubert. In the five-day curriculum international participants are invited to take part in (Un-)Learning Tracks to work with curatorial, artistic, or activist strategies in close collaboration with self-organized research collectives and independent artists, researchers and curators.

How do the cultural techniques of archiving, integrating, and classifying transform archived knowledge from within? Can the necro-aesthetics—the presentation of dead beings—in Natural History Museums be reframed by changing museum taxonomies? How do body molecules tell stories of their century-old political suppression and how can they be reread? What are modes of resistance in digital network cultures and how is it possible to navigate through increasingly opaque streams of data and information? What would spaces of learning and unlearning look like in a world permeated by institutional infrastructures of dominance and cultural supremacy? How can a library of African diasporic writing be cataloged without reproducing oppressive categories? And what role does our understanding of the workings and logics of theory and its institutional practice play within?

In five (Un-)Learning Tracks the (Un-)Learning Place seeks out strategies to navigate through the inherent classification and ordering systems of archives, libraries, museums, institutional architectures, and digital networks and offers approaches to situating, negotiating and ‘(un-)learning’ research in artistic, site-specific, poetic, and bodily practices. Together with eight independent curatorial, activist or artistic collectives, and invited guests, the (Un-)Learning Place offers its 80 international participants the opportunity to investigate new strategies for interdisciplinary research and potential crossdisciplinary collaborations in the fields of Translation, Digitality, Archiving, Embodied Infrastructures as well as the Politics of Space and Theory, in order to challenge established perspectives and collectively develop ways of restructuring the order of things.

It’s almost 2019, and what a year 2018 has been! Here’s a year in review:

Personal

I started the year decluttering my parents’ house, stopped needing a cane from a hip injury, went back to training in taekwondo again, made lots of new friends, and reconnected with old ones. My dad was diagnosed with a benign brain tumor and is back in Manila from treatment in New York. Apart from residency/fellowship travel (see below), I visited Lucerne (to see a friend), Bratislava, Berlin, Salzburg, and Bangkok (with extended family).

Research: Philippine jungles

I visited Cleopatra’s Needle Critical Habitat sponsored by Great Escapes Philippines and Centre for Sustainability PH.

Exhibitions: Manila, Germany, Dublin

The Sewer Soaperie and An Olfactory Portrait of the Amazon Rainforest were part of the Manila Biennale in February. The Ephemeral Marvels Perfume Store was part of “Victor Papanek: The Politics of Design” at the Vitra Design Museum in Germany in September, and was also part of Science Gallery Dublin’s In Case of Emergency exhibition which closed in February.

Projects, Residencies, Fellowships, Awards: Vienna, Beijing, Taipei

From April to June I did a visual arts residency with KulturKontakt Austria and the Austrian Federal Chancellery. I produced another body of work, Wild Science, which explores the role of science in society. There were fun collaborations, such as with Dr. Gerhard Heindl of the Schönbrunn Tiergarten for this piece, Der Tiergarten 1.0: Human Forces on the Animal Kingdom, and a photo shoot with some cool herpetologists and taxidermists at the Naturhistorisches Museum Wien (Natural History Museum, Vienna). I also produced Letters for Science and asked youth from Eferding, Austria to write letters to climate change deniers.

In Manila in September, we finished photo and video shoots of The Ephemeral Marvels Perfume Store and The Sewer Soaperie. I also started doing research for Wild Science on religion and beliefs in Quiapo, a part of Manila where Catholicism, Islam, and paganism intersect.

In Beijing in November for part 1 of the Crystal Ruth Bell Residency with China Residencies and Red Gate Gallery, I performed The Planetary Renewal Spa for the first time and did research for Future Feast. I’ll be back in March 2019 to finish the project.

I’m one of the ten inaugural SEAΔ fellows of the Mekong Cultural Hub and the British Council with part 1 held in Taipei in late November. We were divided into four groups, and mine will meet in Cambodia in May 2019 to execute our project. We will all be together to present the outcomes in Bangkok in June and reflect on the program in September.

I did the second Year for the Planet edition, focusing on my clothing choices.

The Apocalypse Project was shortlisted for Best Climate Solutions Award by Euro-Mediterranean Center on Climate Change (CMCC).

This year’s Ritual Card is a Sunset Wheel, based on the cyanometer used by Alexander von Humboldt.

Talks: From Mental Health to Art and Social Norms

I spoke about artists and mental health in Manila, and spoke about art, science and social norms at the Academy of Fine Arts in Vienna and in Crossboundaries Beijing.

Media

I’m one of ArtReview Asia’s Future Greats for their Summer issue and was featured in my alma mater, the SVA NYC’s Visual Arts Journal for the Fall issue. I wrote an article for Vienna-based contemporary art magazine Springerin, entitled “A Different Shape of Progress: Contemporary Art and Social Inclusion.” I was part of a podcast by America Adapts (Episode 78: Flooding, Climate Change, and Art).

If you have been part of my year at all, thank you very much for your support! Here’s to another productive year. May 2019 be full of new work, growth, relationships, and life!

—Catherine

YearinReview2018_B.jpg

 

 

 

It’s that time of the year when I finish all residencies, fellowships, talks, and exhibitions, and reflect on the year that’s about to pass. It’s been a wonderful year of learning from different cultures and finding other ways of pursuing my practice. In 2018, I held residencies and fellowships in Vienna (KulturKontakt Austria and the Austrian Federal Chancellery), Beijing (China Residencies and Red Gate Gallery), and Taipei (Mekong Cultural Hub and the British Council). This post recalls some of my favorite memories during Part 1 as a SEAΔ fellow. Head to this post for thoughts about my Vienna residency, and this one for my Beijing residency.


Hot off the heels of my residency in China was my fellowship as part of the inaugural SEAΔ Program of the Mekong Cultural Hub and the British Council. I flew to Taipei from Beijing and got to work.

SEAΔ is a program co-created by Mekong Cultural Hub and British Council which creates space for cultural practitioners to reflect on how their work in arts and culture can contribute to sustainable development within South East Asia through their individual and collective leadership.

The inaugural SEAΔ fellows from Cambodia, Laos, Malaysia, Myanmar, Philippines, Thailand, Taiwan, and the UK, together with staff from the Mekong Cultural Hub and the British Council. Image credit: Mekong Cultural Hub

Each year 10 Fellows are selected from 10 countries: Cambodia, Laos, Myanmar, Thailand, Vietnam, Malaysia, Indonesia, Philippines, Taiwan and the United Kingdom. The program has 4 main gatherings spread over a one-year period where Fellows get together. Each gathering takes place in a different country and has a unique purpose: exchange, create, share then reflect.

The first gathering, SEAΔ Exchange, was held in Taipei, and after the week-long exchange, we were split into four groups based on our proposed projects, which we were going to iterate for the second part of the program, SEAΔ Create. I was with my co-fellows Sinath Sous (Cambodia), Zikri Rahman (Malaysia), and Thet Oo Maung (Myanmar)—a great fit since we were all working on sustainability in some way. For SEAΔ Create in May, our group will gather in Cambodia to execute the project.

Our project is in conjunction with Arts and Environment Festival 2019 in Kampong Thom, which SEAΔ fellow Sinath Sous is spearheading.  The platform will be opened for artistic exchange to encourage experience sharing of arts and environment to better address climate challenges. The objectives are to focus on capacity-building workshops based events to support the team in climate action and to promote local knowledge among development experts and governments on this topic of sustainable development project in the future. My part here involves co-designing art workshops and scavenger hunts for the participants to reflect on climate change impacts in Cambodia.

During the exchange in Taipei, the fellows finally met each other and it was great to learn about their work. We engaged in design thinking workshops, met with the creative community of Taipei, and learned from stellar speakers who shared their work. We also had opportunities to go outside of the city, such as meeting the staff and artists of the Bamboo Curtain Studio. Taiwan is an island bustling with creativity and promise.

The SEAΔ program was the most unique in all of the fellowships I’ve had, and certainly stands out among all of the things I’ve done this year. Frankly, this is one of the few fellowships I’ve had in Southeast Asia—an involuntary choice, seeing that most opportunities available to me have been in the West and in East Asia where I felt more culturally adapted to as a Chinese-Filipino who grew up in a Chinese community, and in the Philippines where American culture is widely available. While I have tried to pursue projects in my home region, such as a research trip earlier this year to Cleopatra’s Needle Critical Habitat in Palawan, the Philippines with the Centre for Sustainability PH and Great Escapes Philippines, and the art residency I did with Plan International and the International Climate Initiative last year, finding funding for the projects I want to do will take time (and a bigger network and fairy dust), and it has been a lot easier and more logical to accept all these foreign opportunities while there were available and while I was within their age limits.

Applying to SEAΔ was my way of filling in the gaps in my world experience, and to be able to find something worthwhile to do considering that this region will bear the brunt of climate change impacts. I’m extremely grateful for this opportunity and am really excited for the rest of the fellowship. It was my first time in Taipei—a personal revelation according to my childhood friend Barbie whom I reconnected with in my Beijing residency was that the books we read in Chinese school were actually Taiwanese. This would give me a bigger identity crisis if my grasp of the Chinese language were any better. But the people were wonderful and the parks were free and the food was fantastic. Cambodia will also be a whole new world for me. I can’t wait for 2019!

SEAΔ Exchange, the first part of the SEAΔ program, happened from November 26-30, 2018 in Taipei, Taiwan. SEAΔ Create for my group will take place in Kampong Thom, Cambodia. Thank you to the wonderful staff of the Mekong Cultural Hub and the British Council!