Art & Development, Travelogue

Breathe Residency: Reflections

Flowers bloom in a distant field. On the rail from MCR to LDN, journal resting open, collecting my thoughts after three months of living in England.

Flowers bloom in a distant field. On the rail from MCR to LDN, journal resting open, collecting my thoughts after three months of living in England.

Last week, the Breathe Residency concluded. I de-installed the works from the Open Studio, packed my bags, boarded a train for a weekend in London, and cried when I saw the farm fields covered in yellow flowers. It was May; I had been in Manchester for three months. My time was filled with travel, meeting people and so much generosity.

I’ve documented my development as an artist on my website. Read Everyday Ambition, Forays into Optimism and Pessimism.

But the experience was intensely personal and emotional too. I think the most honest way of sharing my post-residency thoughts would be to post a few passages from my journal, below.

feeling in between past and future, manchester and london. where am i? macclesfield? midlands? too much in my head. i have to do some writing so i don't take breathe for granted, so i don't forget this feeling of love and generosity and goodness and integrity that i've been fortunate enough to enjoy in manchester. remain grateful. preserve the memory of this feeling as a source of happiness.

everyone said that three monthis is just enough time to get settled and then you have to leave. most of the time i disagreed with people. after the first 4 or 5 weeks, i had a routine. i had a place for my groceries, my gym, my time roughly structured. my things had each places to live in the studio. i thought i had manchester figured out pretty good. been to the places on my list more or less, nont too bothered about the onces i missed. but the last fee weeks, maybe... that's when i started to feel like part of a community, not just a visitor passing through... but most importantly i started to feel like me. i was aprt of manchester. i think i've become a ilttle bit, just a little, mancunian: comfortable in my skin in MCR. CAC was my home. Manchester was the city i lived in.

profoundly grateful. i'm a different person. three months older. maybe a modest step in becoming a better artist. but i hope i am a better person after all the benificence i've received. gratitude for kindness, hospitality, generosity. for new friends.

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Art & Development, Community, Travelogue

The Art Community in Manchester: All Right! Part 2

I’ve said it before, but I’ll say it again — I really appreciate the artist’s community here in Manchester. In the past week, I’ve put the finishing touches on my open studio, relied on the support of staff, acquaintances and new friends, and felt extremely humbled that my work is being engaged by so many smart and curious artists and art enthusiasts here. Despite my generalizations about the Manc temperament, so many artists have demonstrated generosity, enthusiasm, interest, as well as a commitment to excellence… It’s really something!

Reception at Chinese Arts Centre

Visitors look at my work in the residency studio/gallery.

Visitors look at my work in the residency studio/gallery.

Last Thursday’s Open Studio reception at the Chinese Arts Centre went great! It was terrifically organized and very well-attended. I appreciated the format: Before the galleries were opened, attendees gathered round in the shop, where Sally Lai (CAC CEO) and Yink Kwok (CAC curator) introduced myself and Ed Pien, the fantastic installation artist whose solo show is now on in CAC’s gallery. We both had a chance to speak and invite guests to ask us questions, which I think really helped people engage me, my work, and the organization. It’s a smart format.

Detail from a series of drawings on display at the Open Studio. Christine Wong Yap, 2009, glitter pen on gridded A4 paper. Text: Happiness, pleasure, absence of displeasure, satisfaction. Inspired by Paul Martin's "Sex, Death and Chocolate: The Science of Pleasure," London: Fourth Estate (2008)

Detail from a series of drawings on display at the Open Studio. Christine Wong Yap, 2009, glitter pen on gridded A4 paper. Text: Happiness, pleasure, absence of displeasure, satisfaction. Inspired by Paul Martin, Sex, Death and Chocolate: The Science of Pleasure, 2008.

CAC did a bang-on job, making the galleries look fantastic, and hosting a wonderful party. There was a post-reception gathering at Apotheca, the gorgeous lounge/bar across the street. Apotheca has demonstrated generous support for CAC and other local art events; it’s really great to see a private business so involved in the local community.

My "Sorted" badges for sale at the CAC front desk, with a special reception offer; Regular price: £10/$15.

My Sorted badges for sale at the CAC front desk, with a special reception offer.

I had heard that Chinese Arts Centre’s known for putting on strong previews, and this one did not disappoint. The turnout was amazing (interestingly, many people were not fashionably late — maybe 50 people arrived within the first half hour? But the flow of people throughout the evening seemed continuous). It was also really nice that some of the local MA students stopped by, even though the closing of their show at the Triangle was concurrent. I felt really happy to hear Stephen Ashdown’s comment about my commemorative badge:

SORTED is a first-rate emblem of Manchester pride!

Ed Pien Lecture at Whitworth Gallery

Ed Pien presents a slide lecture at the Whitworth Art Gallery, Manchester.

Ed Pien presents a slide lecture at the Whitworth Art Gallery, Manchester.

Ed’s show at CAC is a finely tuned installation of netting, video, sound and mirrors. It’s dark, kinetic, immersive, and deeply affective. Ed talked about his work in a Tuesday Talk at the Whitworth and I really enjoyed hearing about his arc — his past drawings, paper cuts and installations seem to truly lead to his current installation.

I especially enjoyed hearing about an installation comprised of dozens of two-layer drawings of ghosts: the top layer was on a lightweight, semi-transparent paper, which floated upward revealing the lower layer when viewers triggered a motion sensor. Brilliant!

Dinner at Islington Mill

Islington Mill is super cool. I knew it as a building converted to artists’ studios, rehearsal space for bands like The Ting Tings, the site of an experimental art academy, free library, gallery and performance venue. If that’s not enough the proprietors, Bill and Maury, are starting a B&B. And, if that too is not enough, they’re also starting a series of artists’ dinners, in which artists or curators create an art and dining experience for about 25 people.

Ed and Johannes' dinner at Islington Mill

Ed and Johannes' dinner at Islington Mill

Ed Pien and Johannes Zits served an artists’ meal last night. I helped out because cooking is rad: teamwork, collaboration, being in the zone, etc. Ed and Johannes presented a carefully crafted menu that was in dialogue with a series of videos of their past performance work. For example, the salad’s baked goat cheese mirrored the moon in Ed’s animation of dancing silhouettes. The Greek goat stew went along with Johannes’ performance with a goat. The food was very high quality, and the artists, arts presenters and arts supporters in attendance made a beautiful cross-section of the Manchester arts scene. It was all sort of made possible with the hard work and vision of Bill and Maury (Maury’s out of town so Bill had to do everything from setting up tables to mounting the projector to serving the beer and making coffee.). These guys are the indefatigable cornerstones of the community here — I really admire that they can achieve so much, and still seem like friendly, relaxed people to boot.

I felt really privileged to be part of it — to squeeze in this happy experience before I left, and to feel like there’s so much more potential collaboration and goodness here that I have to come back.

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Art & Development, News, Travelogue

sorted: a new artist’s multiple

Christine Wong Yap, Sorted, 2009, limited edition of 50 enamel and gilt badges, 1 inch diameter.

Christine Wong Yap, Sorted, 2009, limited edition of 50 enamel and gilt badges, 1 inch diameter.

SORTED
A Limited Edition of 50 Gilt and Enamel Pin Badges

breathe_33b

Inspired by British commemoratives, the badge depicts a banner over a rain cloud, which is obscuring a drab rainbow. These symbols suggest the coexistence of gloomy outlooks and vibrant attitudes.

The limited-edition badge is the result of a study of Mancunian slang, temperament and weather. The artist noticed Mancunian inventiveness in the expressions of displeasure, as well as the tendency to downplay enthusiasm.

The artist also observed that the weather is valued as a source of comiseration. Perhaps Mancs employ defensive pessimism, wherein low expectations are more likely to be pleasantly surpassed.

£10 / $15.

Come to the Chinese Arts Centre reception on 23 April to receive a special discounted price of only £7.

Residents of the USA can email me at cwy (at) christinewongyap.com to reserve your badge.

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Art & Development, Community, Research, Travelogue

Bits and Bobs

Detail from a drawing/sculpture in progress.

Detail from a drawing/sculpture in progress.

Cheap and cheerful

Here in Manchester, there’s a saying, cheap and cheerful. It means what it sounds like. For example, This and That is a tasty curry house that offers three items for £4.20; it’s praised as epitomizing cheap and cheerful.

I like the phrase because:

  • It’s thoroughly appreciative, even though Mancs can seem totally unsentimental.
  • It’s characteristic of something local: As Stuart Maconie put it in Pies and Prejudice,

    …many of the north’s market and mill towns … have become shrine[s] devoted to binge drinking and discount shopping.*

    Within a half-mile radius, there are three pound stores–Poundland, Pound World and Pound Empire, whose business name, confusingly, is Pound Kingdom–and one Quality Save.

  • It reminds me of a Chinese expression, which is nearly identical (literally, “has attractiveness, has cheapness”). For my ultra-frugal immigrant parents, no higher compliment could be paid.

I’m about four days away from the Open Studio reception (Thursday, April 23, 5:30-7:30 pm, Chinese Arts Centre), so I’ve been working hard to finish several projects. Some are inspired by cheap and cheerful, so I’m making use of knickknacks from pound shops, like fans with multi-colored LEDs. Here’s a studio shot of the fans wired together to run on grid power instead of batteries, something I learned from this Instructables page.

Studio view

Studio view

Dan Graham, Tate Podcasts

Though I missed Dan Graham’s speaking engagements in the SF Bay Area this spring, I got his podcast lecture from the Tate. I enjoyed his talk, even without the pictures; he’s whip-smart, brisk, and completely free of affectation. For someone to have shown in as many Biennales and Documentas as he has, it’s very refreshing to hear him say in the same even, ego-less tone, that the Queen of Norway commissioned him to make a pavilion, so he made one on a fjord, it’s quite popular, and it’s referred to as a shower stall. Asides like this, from most other artists, would come across as false modesty.

Projections!

Preparing for T.S. Beall's artist's talk at Islington Mill

Preparing for T.S. Beall's artist's talk at Islington Mill

I enjoyed meeting Tara Beall, the artist in residence at Islington Mill, whose work is a fascinating combination of Arte Povera, webcam-sourced-video, boundaries, interstitial spaces, architecture, and installations that are a hybrid of kinetic art and video projections.

Her work seems in dialogue with the work of Ed Pien, whose new show at the Chinese Arts Centre is being installed right now. I’ve been getting sneak peeks of it — mirrors, projectors, cut paper, and macramé on the scale of architecture — and I think it’s going to be phenomenal!


*To be fair, Maconie also wrote, “Like [Manchester] at its best, [The Smiths] had glamor and gloom, winsomeness and wit; they were magical and proletariat all at once.”

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Art & Development

art that speaks for itself v. artist that speaks for herself

Rage is all the rage right now, particularly the populist sort.

–Geoff Nunberg, “The Ghost of Populism Walks Again, “Fresh Air” Commentary, 3/30/09 (Read the transcript or listen on NPR.org)

I prefer art that speaks for itself.

–Comment by Amateur on “Christine Wong Yap, Oakland, CA,” Artistaday.com, February 17, 2008.

To explain why artists who let the work “speak for itself” are vulnerable, Adrian Piper presents a hypothetical example of an artist whose work is misinterpreted by a critic:

The important point is that if you have not developed the tools–and guts–to correct this edgy, but mistaken, interpretation of your work…, you have effectively lost control of [your art’s] public meaning. You’ll become rich, inarticulate and misunderstood. If the systematic public misinterpretation of your artwork … worries you, then you better learn to write about it, the way art critics do, so as to correct the misunderstanding.

Once an artist has that tool in hand, she has a voice in the cycle of critical and institutional legitimation that may work to her benefit, or to her disadvantage. It may work to her artistic benefit, if her main interest is in encouraging accurate understanding of her intentions in doing the work. But for that very reason, it may work to her professional disadvantage, if her more spoiled critical fans get really excited [about their interpretations], but don’t want to hear about [her actual intentions]. An artist who publicly corrects a critic’s factual mistakes or mistaken interpretations of her work or even worse, the critic’s fuzzy thinking, bad grammar or sick personal agendas, may draw attention while she also makes a lot of enemies. So if you decide to speak up, just don’t expect to be loved. If you want to be loved, let everyone think [their own interpretations.]

Adrian Piper, “Criticizing the Critics,” keynote lecture at Frieze, 9/27/07

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Art & Development, Community

the art community in manchester: all right!

I’ve had the good fortune of sharing my work and investigations with loads of local artists and curators in and around Manchester. For example, yesterday, artist and curator Paul Harfleet was nice enough to open Apartment for one last visit before it closes permanently. The Plaited Fog artist’s collective generously had me up to Preston for a chat and a curry. (Warm thanks to artist and curator Elaine Speight and Rebecca Chesney.)

People usually want to know what I think of Manchester. Invariably, I start by talking about what I’ve learned about Mancunian temperments. I try to contextualize my thoughts as observations. Still, it’s quite surreal — and perhaps a bit presumptuous — to tell people what I think of their attitudes.

While I notice the tendency to down-play enthusiasm, in all fairness I’d like to add that I’ve experienced tremendous hospitality, curiosity, and engagement here. One of the obvious best things about Manchester is its investment in culture; a less obvious (for tourists of only the briefest stays) best thing about Manchester is the local artists’ and curators’ investment in art, culture and community. The art community members I’ve met have been very generous with their time, energy, resources and knowledge, for which I’m very grateful.

Here’s a completely subjective, incomplete list of some of the amazing arts partners in Manchester:

Manchester Art Gallery
City art gallery/museum; like all civic museums in England, admission is free. And people go. Brilliant.

Chinese Arts Centre

Chinese Arts Centre

Chinese Arts Centre
Not-for-profit gallery, residency, tea shop

Urbis
Art/design/arch centre with exhibitions about the urban environment

Cornerhouse
Not-for-profit gallery/indie film house

Castlefield Gallery
Not-for-profit artist led gallery, run by the indubitable Kwong Lee. Castlefield also does TheArtGuide.co.uk, a terrific email newsletter about art events in and around Manchester.

International 3 Gallery
(Semi-)not-for-profit artist-led gallery. Feels like The Mission District.

Whitworth Art Gallery
University gallery; large exhibition space, great contemporary programming. Home of the terrific, but under-publicized, Tuesday Talks, organized by Mr Pavel Bucher.

Cube
Art/arch/design gallery

Detail from Johannes Zits' installation at 20+3 Projects

Detail from Johannes Zits' installation at 20+3 Projects

Post-opening imperial pints at Jam Street Cafe

Post-opening imperial pints at Jam Street Cafe

20+3 Projects
An artist-run gallery based in a Heidi Schaefer‘s house.

Islington Mill
Artist-led art studio compound with an experimental art school and library, and occasional exhibitions and short residencies. Also functions as a music venue. (Tomorrow, Thursday 4/16, AIR Tara Beall, will talk about her work at 6pm.)

Rogue Studios
Art studio compound with occasional exhibitions

jeremy deller procession 2009
Love love love this banner, esp given the socialist history of Manchester.

Manchester International Festival
OK, Kanye, Kraftwerk, Lou Reed, Laurie Anderson, De La Soul and the Happy Mondays might get the big headlines, but Marina Abramovic at the Whitworth, a video installation scored by Damon Albarn, and Jeremy Deller’s procession sound amazing…

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Art & Development, Research, Travelogue

Mancunian slang and temperments

Mancunian Slang Adjective Flash Drawings: Stroppy, Naff, Scally, Grotty, Mardy Ink on six ready-made fluorescent yellow die-cut papers 12 x 7.5 inches each; 37 x 50 inches assembled. Produced during the Breathe Residency at Chinese Arts Centre

Mancunian Slang Adjective Flash Drawings: Stroppy, Naff, Scally, Grotty, Mardy Ink on six ready-made fluorescent yellow die-cut papers 12 x 7.5 inches each; 37 x 50 inches assembled

One of the things I’ve been researching during the Breathe Residency is Mancunian slang and temperaments. (Mancunian means of Manchester, for you Yanks). Manchester is known as a rainy post-industrial city, but I’ve found its emphasis on cultural life and development to be very forward-looking. It’s sort of like an English Detriot or Oakland–perpetually stuck between an unrecoverable past and a difficult-to-realize future, but with glimpses of hope all around.

The first thing I noticed about Manchester is the accent–broad, flat vowels, and the way words like “early” (“arr-lah”) feel flipped around to me. The next thing I noticed is the colorful slang.

I did some drawings that attempted to quantify the Mancunian temperment by taxonomizing the slang words that I heard by chance. In other words, I noticed that there were more slang words to describe displeasure, than there were to describe pleasure.

Above, an initial early version of the project. For the benefit of my fellow Americans, here’s a run-down:

Stroppy and mardy are both unpleasant characteristics, sort of irritable, uncommunicative, whiny. Many Brits are surprised that Americans don’t use the word stroppy. Maybe in an Anne of Green Gables book, but not in Oakland.

Naff means not good. Janky might be a good American corollary.

Scally means chav, a young Briton who’s adopted American hip-hop style, generally regarded as tacky, trashy, low-life. They are usually described as wearing trackie bottoms (track suit pants), flat caps (baseball hats), trainers (sneakers) and Burberry hats, though I haven’t seen any Burberry hats in Manchester. There are connotations of class, Northerner-ness (city mouse v. country mouse?), and probably racial ones, too, but I don’t know enough about it.

Grotty means dingy. It’s also used like the American slang adjective, ghetto.

Another word I heard was wanky, which is just a short way of saying like a wanker.

I only heard a few slang words that were positive:

Chuffed means enthusiastic, e.g., “I’m not too chuffed about it myself.”

As in America, Wicked means cool, e.g., “Hey, I’ve got an open studio coming up.” [Hands over a postcard.] “Wicked.” I’ve only heard it once or twice, which I attribute to a reluctance to express unbridled enthusiasm.

Sorted means sorted out, e.g., “Have you got it sorted?” or “Did you eat?” “Yeah, we went to Pizza Hut. Sorted.”

One more phrase is necessary to round out this list.

All right is the typically lukewarm, understated Mancunian way of expressing approval or appreciation. It can mean anything from OK to great. E.g., a Mancunian could enjoy an event, and describe it as “all right.”

This is in contrast with the American usage, which expresses neutrality or can even be a euphemism for bring underwhelmed, e.g., “How was ‘Marley and Me’?” “It was all right.” “Hm, didn’t really do it for you, huh?”

—–

The Manc temperment is partly explained by the Northern identity. In England, a North-South divide signifies cultural differences as well as disparate levels of prosperity and health indicators.

For those interested in learning more about the north of England, I’d recommend these starting points:

Stuart Maconie’s Pies and Prejudice: In Search of the Great North, which I blogged about before.

Time Shift – Series 8 – The North-South Divide, an interesting hour-long BBC documentary.

HearManchester.com, which I also mentioned in a previous blog

Zeitgeist, a Salford University-produced arts and entertainment TV program. Watch past episodes online.

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Art & Development, News

upcoming: tech tools, open studio

dark into light christine wong yap
Dark into Light, 2008, mixed media installation: 100 night lights, par can, spot bulb, 10 x 10 x 8 feet. Swarm Gallery

Dark into Light, an installation I first showed at Swarm Gallery in Oakland, last year, will be included in Tech Tools of the Trade: Contemporary New Media Art at de Saisset Museum, April 17 – June 28, 2009.

I’ll still be here in the UK during the opening on Friday, April 17, 2009 from 7:00-9:00 pm, but that doesn’t mean you can’t be there!

It should be a great show; the other artists include Jim Campbell, Anthony Discenza, Rodney Ewing, Martha Gorzycki, Lynn Hershman, Scott Kildall, Nina Katchadourian, Andrew Kleindolph, Jill Miller, Deborah Oropallo, Alan Rath, Jackie Sumell, Stephanie Syjuco, Gail Wight.

I’m also really looking forward to the program on Wednesday, May 20, 2009 from 6:00-8:00 pm, Tactical Digital Aesthetics, an evening of art and conversation exploring new media, remediation, and cultural politics. Keynote by Johanna Drucker; roundtable by Ray Beldner, Stephanie Syjuco, Anthony Discenza, and Johanna Drucker; and moderated by Katie Vann and Kathy Aoki.

This survey exhibition features work produced by Bay Area-based or Bay Area-rooted artists using new media—defined in the context of this exhibition as electronic, digital, or web-based. Organized into accessible thematic sections, the work in this exhibition explores the ways that technology has shaped our sense of selves, our vision, our bodies, and our world. The exhibition examines our cultural fascination with technology (including our continued faith in its benefits), our myriad uses of the internet, as well as the potentially troubling applications of technology in simulation and surveillance.

While the work in the exhibition features a broad range of conceptual and artistic approaches, all of it is unified by its multidisciplinary content. As a result, the exhibition has been organized around thematic areas that highlight the works’ connections to contemporary cultural and social phenomena: Biomorph, Identity, Web Repurposing, New Light, Hope and Promise, Surveillance, and Simulation.

This exhibition is co-curated by the de Saisset Museum and SCU Assistant Professor Kathy Aoki.

Unlimited Promise, 2009, installation: foil paper, thread, light, shadow, 15 x 20 x 14 feet. Produced in the Breathe Residency at Chinese Art Centre.
Unlimited Promise, 2009, installation: foil paper, thread, light, shadow, 15 x 20 x 14 feet. Produced in the Breathe Residency at Chinese Art Centre.

Open Studio 23 – 30 April 2009
Reception: Thursday 23 April, 5.30-7.30pm

If you’re in Manchester, come to the Open Studio at Chinese Arts Centre! The reception co-incides with the preview for Ed Pien’s new installation in the Centres’ gallery.

Breathe Artist-in-Residence Christine Wong Yap, a multi-disciplinary visual artist from San Francisco, California, will open her studio to the public from April 23 – 30, 2009, with a public preview on Thursday, 23 April, 5.30-7.30 pm.

Christine Wong Yap’s art practice is an exploration of the competing pulls of optimism and pessimism. Using metaphors such as dark and light or words and meanings, Wong Yap explores the dialectical relationship between optimism and pessimism and its influence on our experience of the world. Her explorations take the form of installation, sculpture, multiples and works on paper.

Wong Yap, who has been in residence at the Chinese Arts Centre since 29 January, has immersed herself in art activity throughout the Northwest. She’s presented her work to MA students from local universities and reviewed art events and exhibitions from Barrow to Birmingham on her blog. She has also engaged in a self-directed course of study spanning British commemoratives, Roman typography, Mancunian slang and temperments, institutional signage, President Obama’s optimism, time perspectives and utopias. Her recent studio activities include text-based drawings, a installation of lights and shadows, and a light-box integrated into the Centre’s architecture. During the Open Studio, Wong Yap will share works-in-progress and release a new artist’s multiple.

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