Cosmin Costinas / Léuli Eshrāghi / Inti Guerrero / Shubigi Rao
Apart, We Are Together: Thinking about Exhibitions
2. 8. 21, noon – 1 p.m.
Cosmin Costinaş (director Para Site, Hongkong, artistic director Kathmandu Triennale), Léuli Eshrāghi (artist, curator TarraWarra Biennial, Melbourne), Inti Guerrero (curator, Hong Kong/Manila, Episōdo 04/Yokohama Triennale), Shubigi Rao (artist, Singapore, curator Kochi Biennal), moderated by Sophie Goltz (Director Salzburg Summer Academy)
In english language, documentation via YouTube: https://www.youtube.com/watch?v=gE0iQWnkim8
Information
- Venue
- Online
- Date
- 2. 8. 21, noon – 1 p.m.
Cosmin Costinaş
Cosmin Costinaş born in Satu Mare (RO) in 1982, is the Executive Director/Curator of Para Site, Hong Kong (since 2011), and Artistic Director of Kathmandu Triennale 2021. He was a guest curator of La Biennale de l’Art africain contemporain-DAK’ART, Dakar (2018); guest curator at the Dhaka Art Summit (2018); co-curator of the 10th Shanghai Biennale (2014); curator of BAK-basis voor actuele kunst, Utrecht (2008-2011) (NL); co-curator of the 1st Ural Industrial Biennial, Ekaterinburg (2010)(RU); and editor of documenta 12 Magazines, documenta 12, Kassel (2005–2007)(DE).
Exhibitions
2018-2020 A beast, a god, and a line, Dhaka Art Summit; Para Site, Hong Kong; TS1/The Secretariat, Yangon; Museum of Modern Art in Warsaw; Kunsthall Trondheim (NO); MAIIAM, Chiang Mai. Koloa: Women, Art, and Technology, Para Site, Hong Kong; Nuku’alofa, Tonga; Artspace Aotearoa, Auckland (NZ). Garden of Six Seasons, Para Site, Hong Kong. 2019 An Opera for Animals, Rockbund Art Museum, Shanghai; Para Site, Hong Kong. 2018 Long Green Lizards (curated with Inti Guerrero), La Biennale de l’Art africain contemporain, DAK’ART, Dakar. 2016-2017 Movements at an Exhibition. Manuel Pelmus, Para Site, Hong Kong. Soil and Stones, Souls and Songs (curated with Inti Guerrero), MCAD, Manila; Para Site, Hong Kong; Jim Thompson Art Center, Bangkok. 2013-2015 A Journal of the Plague Year (curated with Inti Guerrero), TheCube Project Space, Taipei; Kadist and The Lab, San Francisco, CA (US). 2014 10 Shanghai Biennale – The Social Factory, Power Station of Art, Shanghai. 2012 Acts of Voicing, Wurttembergischer Kunstverein Stuttgart, Stuttgart (DE).
Publications
Costinas, A. Janevski: Is the Living Body the Last Thing Left Alive? The New Performance Turn, its Histories and its Institutions, Sternberg Press, 2018.
Chong, C. Costinas, L. Ma: Great Crescent: Art and Agitation in the 1960s—Japan, South Korea, and Taiwan, Museo Universitario de Arte Contemporáneo-MUAC, 2016.
Chou, C. Costinas and Q, Lim: Afterwork, Para Site, 2016.
Costinas, I. Guerrero, L. Ma: A Journal of the Plague Year, Sternberg Press, 2015.
Chong and C. Costinas, Taiping Tianguo: A History of Possible Encounters: Ai Weiwei, Frog King Kwok, Tehching Hsieh, and Martin Wong in New York, Sternberg Press, 2015.
Léuli Eshrāghi
Léuli Eshrāghi (Sāmoan, Persian, Cantonese) is a visual artist, writer, curator and researcher, who works between Australia and Canada. Ia/He intervenes in display territories to centre indigenous kin constellations, sensual and spoken languages, and ceremonial-political practices. Through performance, moving image, writing and installation, ia/he engages with indigenous futurities as haunted by ongoing militourist and missionary violences that once erased faʻafafine-faʻatama people from kinship and knowledge structures.
Eshrāghi has lectured at gatherings Creative Time, Hawaiʻi Contemporary Art Summit, HI (US), Experimenter Curators’ Hub (IN), March Meeting (AE), Dhaka Art Summit, Pacific Arts Association, and Asia Pacific Triennial, as well as at universities in San Juan, Melbourne, Yogyakarta, Montreal, Honolulu, Auckland and Victoria. Ia/He contributes to growing international critical practice across the Great Ocean and North America through residencies, exhibitions, publications, teaching and rights advocacy.
Curatorial projects
2023 9th TarraWarra Biennial of Australian Art: Ua usiusi faʻavaʻasavili, TarraWarra Museum of Art, Healesville (AU). 2021Pasapkedjinawong with John G Hampton, MacKenzie Art Gallery, Regina (CA). Sāmoan Hxstories, Screens and Intimacies II, imagineNATIVE + A Space Gallery, Toronto (CA). 2020 Écrans autochtones: temporalité et mouvement with Mylène Guay, imagineNATIVE Film + Media Arts Festival, Toronto. ʻO le ūa na fua mai Manuʻa, University of New South Wales Galleries, Sydney. 2019 Transits & Returns with Freja Carmichael, Lana Lopesi, Sarah Biscarra Dilley, Tarah Hogue, Vancouver Art Gallery, Vancouver (CA). Layover with Freja Carmichael, Lana Lopesi, Sarah Biscarra Dilley, Tarah Hogue, Artspace Aotearoa, Auckland (AU). 2018 The Commute with Freja Carmichael, Lana Lopesi, Sarah Biscarra Dilley, Tarah Hogue, Institute of Modern Art, Brisbane (AU). 2017 Pōuliuli (Faitautusi ma Fāʻaliga), Yirramboi First Nations Arts Festival, West Space, Melbourne, and Ala Moana Center, Honolulu, HI (US). 2016 Ua numi le fau, Next Wave Festival, Gertrude Contemporary, Melbourne.
Exhibitions
Solo exhibitions
2021 La fin est toujours le début d’autre chose | The end is where we start from, Quand la nature ressent / Sensing Nature: Momenta Biennale de l’image, Diagonale, Montréal (CA). 2019 tagatanu‘u, Watch This Space, Alice Springs (AU). 2015 Merri Yaluk, Gaffa Gallery, Sydney (AU). ‘O lā ‘āitu lāitiiti, We have always been here, Auckland Pride Festival, Studio One Toi Tū, (AU). 2014 Tagiauē, neospace, Collingwood (AU). 2012 potu aiga, Conduit Arts Initiative, Fitzroy (AU).
Group exhibitions
2022 Au fil des îles, archipels, Centre d’exposition de l’Université de Montréal, Montréal. Embodied Knowledge: Queensland Contemporary Art, Queensland Art Gallery | Gallery of Modern Art, Brisbane (CA). 4+3=1: THERE ARE STORIES TO BE FORGED FOR COMMON DENOMINATORS TO COME FORTH AND SOCIAL BALANCE TO BE RESTORED, SAVVY Contemporary, Berlin. A Clearing in the Forest, Tate Modern, London. Trilogie de cendre, FRAC Pays de la Loire, Nantes (FR). A Tangled Bank, Penrith Regional Gallery, Penrith (GB). 2021 Deadly Decade, Blak Dot Gallery, Melbourne (AU). Projections: Léuli Eshrāghi and Jessica Karuhanga, Queer City Cinema / Dunlop Art Gallery, Regina (CA). TAEAO, Subspace.art commission, Subspace.art, online. Tender gestures, loud voices, Footscray Community Arts Centre, Melbourne. FIELD NOTES, Sauerbier House, Noarlunga (AU). 2020 The body as collective desire | Le corps comme désir collectif, 52 Actions, Artspace Sydney/online. Potu faitautusi: o gagana e, ia uluulumamau! Be Courageous, Language Teachers! Reading Room, Columbus Printed Arts Center, Columbus, OH (US). Un/spoken screening program, Gallery 1C03, Plug In ICA, Video Pool Media Arts Centre + VUCAVU, Winnipeg/online (CA). AOAULI, ACCA Open commission, Australian Centre for Contemporary Art, Melbourne/online. Fluidity, Incinerator Gallery, Melbourne/online. TAFA (((O))) ATA, MUMA ONLINE commission, Monash University Museum of Art, online. NIRIN: 22nd Biennale of Sydney, various venues, Sydney/online. Te Whāinga: A Culture Lab on Civility, Smithsonian Asian Pacific American Center and Auckland Museum Tāmaki Paenga Hira, Silo Park, Auckland (AU). 2019 Waterways: Asian Indigenous Relations in Contemporary Art curated by Ethnocultural Art Histories Research Group and Indigenous Art Research Group, Concordia University, Montréal. For Whom Masculinities Matter, Never Apart, Montréal. Sharjah Biennial 14: Leaving the Echo Chamber – Journey Beyond the Arrow, Sharjah Art Foundation, Sharjah (UAE). Seeing Voices, NETS + Monash University Museum of Art, regional tour to Bathurst Regional Gallery, Bathurst (AU). 2018 The Commute, The IMA Institute of Modern Art, Brisbane (AU). 2015 Narrative of Location, Seventh Gallery; Gaffa Gallery, Sydney.
Inti Guerrero
Inti Guerrero, born in Bogotá in 1982, is the Artistic Director of Bellas Artes Projects, Manila (since 2018) and tutor of KASK-Curatorial Studies programme at the University of Ghent. He was the Estrellita B. Brodsky adjunct curator of Latin American Art at Tate, London (2016-2020); chief curator of the 38th EVA International-Ireland's Biennial, Limerick (2018)(IR); guest curator of La Biennale de l’Art africain contemporain-DAK’ART, Dakar (2018); co-curator of the 44th Salón Nacional de Artistas, Pereira (2016); and Artistic Director of TEOR/éTica, San José (2011-2014).
Exhibitions
2020 ESKWELA, education program, BAP, Manila. Episodio 04, 2020 Yokohama Triennale, Yokohama. 2019 Songspiels and Tragicomedies, BAP, Manila. Fairest of the Fair, BAP, Manila. Your Special Island by Ming Wong, CCP, Manila. Fraccionar, Casa Luis Barragán, Mexico City. 2018 What to Let Go? Para Site International Conference, Asia Society, Hong Kong. Long Green Lizards (curated with Cosmin Costinas), La Biennale de l’Art africain, Dakar. 38th EVA International – Ireland’s Biennial, Limerick. 2016-2017 Soil and Stones, Souls and Songs (curated with Cosmin Costinas), MCAD, Manila; Para Site, Hong Kong; Jim Thompson art center, Bangkok. 2013-2015 A Journal of the Plague Year (curated with Inti Guerrero), TheCube Project Space, Taipei; Kadist and The Lab, San Francisco, CA (US). 2014 A Chronicle of Interventions, Tate Modern, London. Josephine Baker and Le Corbusier in Rio – A Transatlantic Affair, Museum of Art of Rio, Rio de Janeiro (BR). 2013 Institute for Tropical Fascism, Bergen Assembly, Bergen (NO).
Publications
Guerrero, N. Valencia: Fraccionar (exh. cat), Estancia FEMSA, 2019.
Guerrero and M. Packer: 38 EVA International, Ireland’s Biennale (exh. cat), EVA, 2018.
Costinas, I. Guerrero, Lesley Ma: A Journal of the Plague Year, Sternberg Press, 2015.
Guerrero: Duet for Cannibals, Sap Jam Books, 2010.
Guerrero: Flying Down to Earth (exh. cat), MARCO and FRAC Lorraine, 2010.
Guerrero: The City of the Naked Man (exh. cat), Museum of Modern Art of São Paulo, 2010.
Shubigi Rao
Shubigi Rao’s interests include libraries, archival systems, histories and lies, literature and violence, ecologies and natural history. Her complex layered installations comprise books, drawings and etchings, video and pseudo-science machinery, metaphysical puzzles, ideological board games and archives, examining current and historical flashpoints as perspectival shifts, as well as examining contemporary crises of displacement, whether of people, languages, cultures or knowledge bodies. These forms address a key argument in her current research – that current geo-politics is invariably influenced by language, cultural shifts and destruction in a proportion often underplayed in history.
As part of Pulp: A Short Biography of the Banished Book, a 10-year project about the history of book destruction, she visits public and private collections, libraries and archives that have served as flashpoints in history, collecting fragments, ephemera, anecdotes and buried secrets, and piecing together (through film, books, drawings and art-works) a composite chronology of the literary and violent trajectories of our species. While researching the global approach to knowledge archiving, access, retrieval and disposal, the project generates a semi-mythologised biography of the book, while referencing the wealth of information that is never accessed, or is marginalised, disregarded or forgotten.
In 2020, the second volume of Pulp won the Singapore Literature Prize (creative non-fiction). The first volume had been shortlisted in 2018. The first exhibition of the project Written in the Margins won the 2018 APB Signature Prize Juror's Choice Award. She represented Singapore at the National Pavilion in the 59th Venice Biennale in 2022, and was Curator for the 2022 Kochi-Muziris Biennale.
Education including teaching experience
2008 Masters in Fine Arts, First Class Honours, LASALLE College of the Arts, Singapore
2006 BA Fine Arts (Painting), First Class Honours, LASALLE College of the Arts, Singapore
2005 Diploma in Fine Arts (Painting) with Distinction, LASALLE College of the Arts, Singapore
1996 BA (Hons) in English, Second Class First Division, Delhi University, New Delhi
Teaching (selected)
July 2021 Summer Academy Salzburg (AT)
June 2020 Visiting curator, HISK, Ghent (BE)
Feb-May 2018 Dissertation supervisor for Master of Arts Fine Arts candidates, LASALLE College of the Arts, Singapore
September 2017 Visiting studio supervisor at SOTA, Singapore
2011 - May 2016 Dissertation supervisor for Master of Arts Fine Arts candidates, LASALLE College of the Arts, Singapore
Aug 2014-May 2016 Studio tutor and theory lecturer for BFA and Diploma Fine Arts LASALLE College of the Arts
2013-2015 Dissertation supervisor and lecturer in dissertation research and writing for BA Fine Arts, LASALLE College of the Arts, Singapore
2011-2015 Studio supervisor and final exhibition curator for Masters in Art Therapy, LASALLE College of the Arts, Singapore
2006-2014 Lecturer in Critical Studies/Theory for BFA, LASALLE College of the Arts, Singapore
2014 Lecturer in Methods and Materials of Asian Art Histories, Masters of Asian Art Histories, LASALLE College of the Arts, Singapore.
2012, 2011 Dissertation supervisor, Masters of Asian Art Histories, LASALLE College of the Arts, Singapore
2010-2012 Lecturer in Art History at Ngee Ann Polytechnic, Singapore (Oct 2010 – Feb 2011 and Apr 2011 – Dec 2012). Lecturer in International Visual Arts, Ngee Ann Polytechnic, Singapore (Apr–Dec 2011)
2010 Dissertation supervisor for Master of Arts in Asian Art Histories candidates at LASALLE College of the Arts, Singapore (Jan – May)
2009, 2007 Lecturer in Printmaking (Studio and Workshop), LASALLE College of the Arts, Singapore
Website
Exhibitions
Solo exhibitions
2022 Pulp III, Singapore National Pavilion, 59th Venice Biennale, Venice (IT). 2021 A Small Study of Silence, 10th Asia-Pacific Triennial, Australia. 2018 The Pelagic Tracts, 4th Kochi-Muziris Biennale, India. The Wood for the Trees, Objectifs Centre for Photography and Film, Singapore. 2017 Written in the Margins, Künstlerhaus Bethanien, Berlin. 2013 Useful Fictions, Grey Projects, Singapore. The Retrospectacle of S. Raoul, Earl Lu Gallery, Institute of Contemporary Arts Singapore. 2008 The Tuning Fork of the Mind, 2nd Singapore Biennale 2008, Singapore
Group exhibitions (recent)
2021 Plants in Print, Botanic Gardens, Singapore.2019 Arus Balik – From below the wind to above the wind and back again, NTU-CCA, Singapore. State of Motion: A Fear of Monsters, by Asian Film Archive, Singapore. 2018 Winners exhibition of the APB Signature Art Prize, 2018, National Museum Singapore. About Books, AlbumArte, Rome. Draw-in Drawing, Boan artspace, Seoul. 2017 Historical Fictions: a manual for the aspiring tyrant. Spoken word artwork for AFF and Sanja Ivekovic’s Monument to Revolution, Documenta 14, Athens.2016 10th Taipei Biennial 2016, Taipei, Taiwan. Demain est une île (Tomorrow is an island), Villa Vassilieff, Paris. Ghost on the Wire 2, Objectifs Gallery, Singapore. 2015 Urban:ness, DUCTAC, Dubai, UAE. Dear Painter, Sundaram Tagore Gallery, Singapore. Shubigi Rao: Exquisite Corpse, showcase under Curating Lab, NUS Museum Singapore. Mysterious Objects at Noon, Objectifs Gallery, Singapore, and Bermondsey Gallery, London (UK). Singapore mon Amour (literary section), part of Singapour en France – le Festival
Publications
Recent publications/reviews
Pulp III: An Intimate Inventory of the Banished Book, Rock Paper Fire Singapore, 2022
Pulp II: A Visual Bibliography of the Banished Book, Rock Paper Fire Singapore, 2018
Written in the Margins, Künstlerhaus Bethanien, Berlin, Germany, 2017
Pulp: A Short Biography of the Banished Book, Rock Paper Fire Singapore, 2016
History’s Malcontents: The Life and Times of S. Raoul, Institute of Contemporary Art Singapore, 2013
Useful Fictions, Grey Projects, Singapore, 2013
