Podcasts about 4a centre

Ep.223 Pio Abad (b.1983) is an artist whose work is concerned with the personal and political entanglements of objects. His wide-ranging body of work, mines alternative or repressed historical events and offers counter narratives that draw out threads of complicity between incidents, ideologies and people. Deeply informed by unfolding events in the Philippines, where the artist was born and raised, his work emanates from a family narrative woven into the nation's story. He has exhibited at the Ashmolean Museum, Oxford; 58th Carnegie International; the 5th Kochi-Muziris Biennial; Ateneo Art Gallery, Manila; Museum of Contemporary Art, Tokyo; Kadist, San Francisco; Oakville Galleries, Ontario; the 2nd Honolulu Biennial; 12th Gwangju Biennial; 4A Centre for Contemporary Asian Art, Sydney and Gasworks, London. He was recently nominated for the 2024 Turner Prize. Abad's works are part of a number of important collections including Tate, UK; Carnegie Museum of Art, Pittsburgh; Hawai​i State Art Museum, Honolulu and Singapore Art Museum. Abad is also the curator of the estate of his aunt, the Filipino American artist Pacita Abad. He has co-curated monographic exhibitions on Pacita Abad at the Museum of Contemporary Art and Design Manila and Spike Island, Bristol. Photo Credit: Frances Wadsworth Jones Artist https://www.pioabad.com/ Tate Museum https://www.tate.org.uk/art/artists/pio-abad-30636/pio-abad-beautiful-things-can-be-vessels-for-painful-stories Ashmolean Museum https://www.ashmolean.org/exhibition/ashmolean-now-pio-abad-those-sitting-in-darkness | Shortlist Turner Prize https://www.ashmolean.org/press/ashmolean-now-pio-abad-turner-prize-shortlist-press-release Pacita Abad https://en.wikipedia.org/wiki/Pacita_Abad | https://ago.ca/events/pacita-abad-roundtable-conversation | https://tinakimgallery.com/news/205-first-of-its-kind-retrospective-of-filipino-artist-pacita-abad-opens-cbs-news/ Frieze https://www.frieze.com/article/frieze-masters-magazine-2024-pio-abad-gerret-willemsz-heda University of Oxford https://www.glam.ox.ac.uk/article/artist-pio-abads-exhibition-at-the-ashmolean-museum-shortlisted-for-2024-turner-prize Royal Academy https://www.royalacademy.org.uk/art-artists/name/pio-abad Kadist https://kadist.org/people/pio-abad/ Wallpaper https://www.wallpaper.com/art/turner-prize-2024-artists Widewalls https://www.widewalls.ch/magazine/pio-abad-2024-turner-prize Artnet News https://news.artnet.com/art-world/who-will-clinch-the-u-k-s-top-art-honor-inside-the-turner-prize-exhibition-2541699 Museums Association https://www.museumsassociation.org/museums-journal/news/2024/09/turner-prize-artist-explores-ashmolean-collection/ Vogue Philippines https://vogue.ph/lifestyle/art/pio-abad-exhibit-turner-prize/ | Pacita Abad https://vogue.ph/lifestyle/art/pacita-abad-decades-strong-path-of-color-set-ablaze/ Tatler Asia https://www.tatlerasia.com/lifestyle/arts/turner-prize-pio-abad-interview Open Space Contemporary https://www.openspacecontemporary.com/projects/10-minutes-with-open-space/10-minutes-with-pio-abad/ Silver Lens https://www.silverlensgalleries.com/artists/pio-abad

James Nguyen: Open GlossaryIn the upcoming exhibition called Open Glossary, Sasja had a conversation with James Nguyen and Budi Sudarto, who are the artists involved in the second edition of the Copyright Agency Partnerships Commission. This commission aims to support mid-career and established visual artists in creating a significant new artwork. For Open Glossary, James Nguyen will collaborate with Tamsen Hopkinson, Budi Sudarto, Kate ten Buuren, and Chris Xu on a multi-lingual installation that will be showcased across ACCA's gallery spaces.Born in Vietnam and based in Naarm/Melbourne, James Nguyen's interdisciplinary practice examines strategies of decolonisation, while also interrogating the politics of family history, language, displacement and diaspora. Open Glossary probes the language and terminologies that permeate contemporary art and society more widely. Nguyen and collaborators present dynamic installations, videos, performances and events that foster multi-lingual conversations on a range of contemporary issues, including Land Rights and Indigenous Constitutional Recognition, gender diversity and sexual identity, and the linguistic links and spiritual connections of Southeast Asia, First Nations Australian and Moana neighbours.Curator: Shelley McSpeddenThis project is presented in partnership with the Copyright Agency as part of the 2023 Copyright Agency Partnerships (CAP) Commission, supporting mid-career and established Australian visual artists to produce a major new commission. The first in the series was TextaQueen's Bollywouldn't at the 4A Centre for Contemporary Asian Art's Haymarket gallery.Venue: Australian Centre for Contemporary Art - 111 Sturt Street, Southbank VIC 3006, Melbourne, Australia16 Sep–19 Nov 2023Free Entry - https://www.eventbrite.com.au/.../james-nguyen-open...https://acca.melbourne/exhibi.../james-nguyen-open-glossary/Music:Chim Sau by RPT MCKHareudang by Kalia SiskaSokkar by Elyanna

Our guest is the one-and-only TextaQueen. They are a Goan-Indian artist and are known for working predominantly in felt-tip pen - aka 'texta' (hence the name) - to draw out politics of gender, race, sexuality and identity on paper. In this episode, we discuss South Asians' love-hate relationship with Bollywood but with a twist. TextaQueen's exciting new project with 4A Centre for Contemporary Asian Art - Bollywouldn't -  imagines an alternative universe. It deconstructs all the "-isms" in the Bollywood genre, giving agency back to South Asians, particularly those marginalised within our cultures through sexuality and gender identities.We speak about what decolonising Bollywood means, re-imagining its impact on South Asians and why art is perhaps the best way to do it. Tune in!TextaQueen's image credit: Leah Jing McIntosh.Please support the show by becoming a member and helping us publish global and progressive South Asian stories: www.buymeacoffee.com/southasiantodayVisit southasiantoday.com.au for unique South Asian stories every day.Support the show

Marikit Santiago is one of Australia's most impressive artists, combining a skilful representational painting technique with powerful imagery. Mythology, Disney, her Filipino heritage, religion, guilt, motherhood and family are examples of the subject matter she draws from and her upcoming show, 'For us sinners' at 4A Centre for Contemporary Asian Art in Sydney, is set to contain some of the most impactful work she has produced to date. What's equally striking is the contrast between her painting style and the surface on which she often chooses to paint: found cardboard, typically in the form of flattened packing boxes complete with rips, creases and packing tape! Marikit won the Art Gallery of NSW's Sulman prize in 2020 with her work ‘The Divine', a painting of her three children who were also her collaborators. We talk in this episode about how they contribute to her practice and why that collaboration is so important to her work. Apart from winning the Sulman, Marikit has been a finalist in many other prizes including the Archibald prize twice.  She has exhibited in 6 solo shows and her upcoming exhibition at 4A Centre for Contemporary Asian Art is her first institutional show. It is curated by Micheal Do and opens on 26 March 2022. We recorded this conversation in Marikit's garage studio with her stunning recent work, Thy Kingdom Come, leaning precariously against the easel. Rich with cultural and religious symbolism, as well as quite a few cartoon characters, the complex painting had been finished the day before our interview, after nine months' work. A short video of Marikit in her studio will also be uploaded to the Talking with Painters YouTube channel and this website soon. To hear the podcast episode click 'play' beneath the above feature photo. Current and upcoming exhibition Solo exhibition 'For us sinners', 4A Centre for Contemporary Asian Art, Sydney, 26 March to 15 May 2022 Archibald Prize 2021, currently showing at Cowra Regional Art Gallery, NSW, until 1 May 2022 Links Marikit SantiagoMarikit Santiago on Instagram Egon SchieleRodel TapayaJojit SolanoBalikbayan BoxAida Tomescu video Thy Kingdom Come, 2021 – 2022, interior paint, acrylic, oil, pyrography, pen, gold leaf on found cardboard (pen and paint markings by Santi Mateo Santiago and Sarita Santiago), collaboration with Maella Santiago, 167cm x 307cm. Courtesy of the artist and The Something Machine, Bellport, New York. Photo credit: Garry Trinh Tagsibol/tagsabong, 2019, acrylic, oil, pyrography, pen and paint on found cardboard144.5 x 214 cmFinalist, Sulman Prize, 2019, Art Gallery of NSW Filipiniana (self-portrait in collaboration with Maella Santiago Pearl), acrylic, interior paint, pen and oil on found cardboard110.5 x 100.7 cmPhoto: Garry TrinhFinalist Archibald Prize AGNSW 2021 The divine, acrylic, oil, pen, pyrography and 18ct gold leaf on ply179.5 x 120.5 cmWinner Sir John Sulman Prize, AGNSW, 2020 The Serpent and the Swan, 2021, interior paint, acrylic, pyrography, oil and Dutch metal gold leaf on found cardboard, 162cm x 77cm x 2cm.Photo: Garry Trinh The Serpent and the Swan, 2021 interior paint, acrylic, pyrography, oil and Dutch metal gold leaf on found cardboard, 162cm x 77cm x 2cm.Photo: Garry Trinh

AMY ZHANGSocials: @amyzhanggggAmy is a Chinese-Australian movement artist that specialises in performance, movement direction and choreography. Her work spans across live performance, film, tv and digital art. Her artistic movement practise is grounded in Chinese ways of knowing and storytelling through experimenting with the intersections of street style foundations and contemporary frameworks. Amy has exhibited works with various artists and organisations across Australia including Performance Space, The Hayes Theatre, Brisbane Festival, First Draft, Belvoir St Theatre, Supercell Festival, 4A Centre for Contemporary Asian Art, Critical Path and Diversity Arts. Amy was also an artist in residence at the City of Sydney Live/Work residency in 2019-2020.Commercially, Amy has performed in, choreographed and movement directed campaigns for, but not limited to, recognisable names like Rita Ora, Cartier, Nike, Google, Calvin Klein and Beats by Dre.Credits aside, Amy reckons anyone can dance and hopes to convince as many people of this as she can.In this conversation, we dived into the following:- Indulging in different creative outlets as a child.- ‘Cool Asian Mum' project.- Exploring the creative process.- Simple steps to get dance work you'd like to receive.- Rock up in real life vs social media presence.- Saying yes to experiences that sound exciting and fun.- Becoming obsessed with the things you enjoy.Logo: @lawrencetandesignsAnimation: @cold_tea_artAnimation track: melaniac. - we're just some motherf***ing kids

Diversity Arts Australia and British Council joined forces to run INTERSECT, a knowledge-exchange program between Australia and the UK which connected culturally diverse and First Nations arts and screen leaders from both countries. This episode we talk to INTERSECT participants about how they "put down cultural markers" in their respective sectors to affect long-term change, making diversity a vital part of core business rather than just a "side dish."Featuring: INTERSECT participants Abdul Shayek (Theatre Director and Artistic Director of FIO), Nike Jonah (Executive Director of the Pan-African Creative Exchange) and Mikala Tai (former Director of 4A Centre for Contemporary Asian Art). Alison Tanudisastro also speaks to Sydney-based artist Ayebatonye about how they've been adapting in Covid times at a we are the mainstream event.Learn more about British Council Australia: https://www.britishcouncil.org.au/

The Covid-19 pandemic saw a surge of Anti-Asian racism. In response, Diversity Arts Australia launched I Am Not A Virus, an artist-led project that provides powerful counter-narratives to xenophobia and racism. This episode spotlights interviews from Asian artists, partners and curators from the I Am Not A Virus project, along with two spoken word pieces that were commissioned as part of the project.Featuring: Erin Wen Ai Chew (founder of Asian Australian Alliance and Being Asian Australian), artists Jacqueline Pon, Sean Stephen Ryan, Jayanto Tan, Andrea Srisurapon, 4A Centre for Contemporary Asian Art curator Reina Takeuchi, and works by Kelly Huynh and Jasper Lee-Lindsay.Read Asian Australian Alliance's "COVID-19 Racism Incident Report Survey Comprehensive Report 2021" here: http://diversityarts.org.au/tools-resources/asian-australian-alliance-releases-covid-19-racism-incident-report-survey-comprehensive-report-2021/

DEFINING MOMENTS LECTURE SERIES: Founding of Gallery 4A and the inaugural exhibition in 1997 with Dr Mikala Tai ABOUT THIS LECTURE: In this lecture, Dr Mikala Tai discusses the founding of Gallery 4A in Sydney and its inaugural exhibition in 1997 featuring three Asian-Australian artists: Emil Goh, Lindy Lee and Hou Leong, curated by Melissa Chiu, 4A’s first curator and director. Tai considers the exhibition and the context in which the organisation launched and how 4A continues to expand and thrive. ABOUT THE SPEAKER: Dr Mikala Tai is the Director of 4A Centre for Contemporary Asian Art, and a curator, researcher and academic specialising in contemporary Asian art and Australian design. Tai has collaborated with local, national and international organisations to strengthen ties between Australia and Asia. As an academic Tai has lectured at both RMIT and the University of Melbourne, and devised and delivered the inaugural Contemporary Asian Art syllabus at RMIT (2012 – ) and the first China Fieldwork Course (2015 – ) with Rebecca Coates and Kate McNeill at the University of Melbourne. Tai was the founder and director of Supergraph – Australia’s Contemporary Graphic Art Fair, which has been held twice at the Royal Exhibition Building in Melbourne and exhibited at Somerset House, London (2015). Tai currently sits on the board of BUS Projects, Melbourne. THANK YOU TO OUR PARTNERS: Presenting Partner Abercrombie & Kent; Research Partner Centre for Visual Art (CoVA); Event Partners Melbourne Gin Company, Capi and City of Melbourne; Media Partners Art Guide Australia, The Saturday Paper, 3RRR FM Produced by Gatherer Media. Further information: acca.melbourne/series/defining-moments/

Join Jess Bradford, finalist in the churchie emerging art prize 2020, in conversation with exhibition curator Talia Smith, exploring the themes and ideas embedded within her practice. Jess Bradford is a Singaporean-born and Sydney-based artist working across painting, ceramics, video, and installation. Her work explores her mixed-race heritage by examining representations of cultural and national identity. Bradford has exhibited at various institutions and art spaces including Art Gallery of South Australia, 4A Centre for Contemporary Asian Art (2019), Bathurst Regional Art Gallery (2015), Fairfield Museum & Gallery (2014), and Penrith Regional Gallery & The Lewers Bequest (2013). She has been a finalist in the Ramsay Art Prize, John Fries Memorial Prize, the Tim Olsen Drawing Prize, and the Jenny Birt Award. Bradford is represented by Galerie pompom, Sydney. https://ima.org.au/exhibitions/the-churchie-emerging-art-prize-2020/

In Episode 2, Drew Pettifer unpacks Otherness with artist Abdul Abdullah, academic Professor Nikos Papastergiadis, and Mikala Tai, Director, 4A Centre for Contemporary Asian Art. Abdul works across painting, photography, video, installation and performance. His projects have engaged with different marginalized minority groups and he is particularly interested in the experience of young Muslims in the contemporary multicultural Australian context.

On Agenda, we often talk to artists about the political significance of the club space in terms of resistance for marginalised communities. Sydney specifically has a long history of the club as a site of resistance, a space not only for dancing and music, but also for experimentation in performance art. This week Katie was joined by artist Rainbow Chan and Director of 4A Centre for Contemporary Asian Art Mikala Tai, who spoke about Club 4A, a performance art night happening at Dynasty Karaoke featuring Amrita Hepi, DEADKEBAB, Rainbow Chan and more.

On this episode we were joined in the studio by the curator from 4A Centre for Contemporary Asain Art, Pedro de Almeida, and exhibiting art and co-founder of 4A, Dacchi Dang, to talk about Dang's 'An Omen Near and Far.' Jason Phu chats to us about winning the Sulman Prize and being the Artistic Director of a medieval fair. And we discuss 'Hola' at Mosman Art Gallery, which is part of the Bayanihan Philippine Art Project, with artist JD Reforma. Music by Laura Hunt.

This episode of The Hanging reviews 'Before the Rain' an exhibition at 4A Centre for Contemporary Art by Gabby Chantiri.

Abdul Abdullah is a four time Archibald finalist and this year he has paintings hanging in both the Archibald and Sulman prizes in the Art Gallery of NSW. He has won several art prizes including the Blake Prize for Human Justice in 2011 and has been finalist in many others. Abdul's art delivers a strong message. Issues of identity and the current political environment concerning  the Muslim community in Australia are front and foremost in his work. We talk about how he sees 9/11 impacted the Muslim community and how after that event 'it became apparent that in the popular imagination Muslims in Australia had become the 'bad guys''.  We also talk about the 2005 Cronulla riots and how he came about painting retired police officer Craig Campbell for the Archibald. He also gives insights into his painting process and photographic art. Abdul's work is currently included in four shows in Victoria and NSW with another three coming up over the next few weeks, including a solo show in Melbourne in November. Current and upcoming exhibitions: 'Archibald, Wynne and Sulman Prizes' 2016 - Art Gallery of NSW  - 16 July - 9 October 2016, Sydney, NSW 'Painting, more painting'  - Australian Centre of Contemporary Art  - 29 July - 25 September 2016, Melbourne, Victoria 'Coming to terms' (solo exhibition) - Fehily Contemporary/Mossgreen Sydney -  4 August - 3 September 2016, Sydney NSW 'The Public Body' - Artspace - 25 August - 23 October 2016, Sydney NSW 'Burden' - (solo exhibition) - Fehily Contemporary - 9 November - 3 December 2016, Melbourne, Victoria 'Jogja Calling' - 4A Centre for Contemporary Asian Art - 22 October to 17 December 2016, Sydney, NSW 'Basil Sellers Art prize 5' - Ian Potter Museum of Art- 19 July - 6 November 2016, Melbourne, Victoria Show notes  (links to things and people we talk about in the show): Abdul Abdullah Fehily Contemporary Abdul-Rahman Abdullah (Abdul's brother) Archibald prize Sulman prize Indonesian artist Hahan Tracey Moffatt 'Hero cop Craig Campbell left behind by the Cronulla riots' SMH, January 17 2016 SBS documentary:  Cronulla Riots - The day that shocked the nation 'Combatting Prejudice with Art' - Abdul Abdullah - TEDx Youth Sydney Blake Prize for Human Justice Ian Strange https://www.youtube.com/watch?v=ef16UOVL2F4

John Choi is partner of CHROFI. Established in 2000, the practice's founding design, TKTS, has been widely recognised for its design innovation and urban strategy. His awards include New York Art Commission Award, Jørn Utzon Award for International Architecture, and the New York's Building of the Decade. He is Adjunct Professor at the University of Sydney, and serves on the board of 4A Centre for Contemporary Asian Art. Choi will discuss the recent work of the firm, which includes Stamford on Macquarie, $100M boutique residential tower in Sydney, Lune de Sang - a forestry estate in the Byron Shire hinterland, and other civic and master planning projects currently undertaken by his practice.

I Kosmos tredje program från Australien tar vi oss till Melbourne som är landets näst största stad och som ofta beskrivs som Australiens kulturella centrum. Sedan mitten av 90-talet har staden växt betydligt, till stor del på grund av invandring från andra länder. Författaren Nam Le kom själv till Australien som litet barn och båtflykting.  Idag är han en internationellt hyllad författare och skribent, känd genom debutboken Båten.   -Det finns en sorts förväntan på dig som invandrare, säger han, något som gjorde att när jag som ung pratade om hur mycket jag tyckte om att läsa och skriva, svarade mina föräldrar med att säga: det där är nog bra, men satsa på matte och naturvetenskap istället, för du kommer ju ändå aldrig kunna tävla med dem som haft engelska som modersmål. -Som författare handlar det om att inte fastna i förenklade bilder av motsättningar; ett vi och ett dem, av offer och förövare. Vi är alla motsägelsefulla individer och det gäller även rasismen. Det finns olika sorters rasism, vissa mer möjliga att förlåta än andra. Men det är därför fiktionen är viktig, genom den kan du ju skildra alla de här lagren av mänsklighet, säger Nam Le. Kosmo har också träffat Deborah Zion vars egen familj är judisk och kom till Australien på 30-talet. Idag är Deborah Zion forskare vid Monash University i Melbourne och har bland annat studerat hälsa hos flyktingar i Australien. -Landet har en rasistisk historia, inte minst i förhållande till den asiatiska befolkningen och till urbefolkningen. Men i Australien handlar det inte så mycket om etnisk tillhörighet, det är inte som i USA. För oss är det mer en fråga om flyktingvågor och rädsla. Varje ny grupp som kommer får det svårt, sen kommer en annan grupp och så går det på, i någon sorts 20-årsvågor. Men Melbourne är en smältdegel, vi har den högsta andelen etniskt blandade äktenskap i världen, säger hon. Och så har Kosmos Cecilia Blomberg träffat Aaron Seeto, chef  för 4A Centre for Contemporary Asian Art, ett ickekommersiellt konstgalleri i Sydneys Chinatown. Det bildades för 16 år sen av konstnärer med asiatisk bakgrund för att fokusera på just den asiatiska samtida kulturens närvaro i landet. Australien ligger ju egentligen i Asien och folkförflyttningar och mångkulturalismen hör till historien.   -Vi vill att människor, när de tänker på Australien, också ska ha med sig bilden av det asiatiska. Det är en stor del av landet, säger Aaron Seeto. Reporter och programledare: Anneli Dufva Producent: Marie Liljedahl