Kai-Oi Joyce Yung

Portfolio

Interval; A Narrative Psychosis, Cornerhouse

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Amongst Dark Trees, A Clearing, Solo Exhibition, Grundy Art Gallery

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Trading Places, Sabaki Space, China

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Interval: A Narrative Psychosis, Solo Exhibition, Cornerhouse

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Amnesia, Framed Monochrome Photography Limited Editions,

Address 1

Amnesia

Scene

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Interval: A Narrative Psychosis Video Stills

Incantation

New World

Traces

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Image Wars, Abrons Arts Centre, New York

Following Bauhaus

Unrealised Potential, Touring Exhibition

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Kultureferrat, Munich

Paradise Stories, RIBA: RENEW Rooms

Trampoline, Edinburgh Steppes, The Embassy Gallery

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Scrap, Intermedia Gallery

Far West, Arnolfini

Chinese Arts Centre

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Sonic Blob

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SOCIAL ENGAGEMENT/INTERACTION

Sock Exchange, FACT

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Socking, Video Still

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Grizedale Arts & Vitamin Creative Space, Nanling, China

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Shadow Dance, The Bluecoat

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Tarot De Marseille, La Friche La Belle De Mai, Marseille

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SOCIAL ENGAGEMENT/INTERACTION

UQ&IA Performance

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Interview With A Tarot Master: Phillipe Camoine, Video Stills

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 SOCIAL ENGAGEMENT/INTERACTION

Everbloom: Pocket City Pollination, Collaboration with Eyebeam, NYC

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Getting To Know You: Global Seated Network, National Theatre

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Open-Here, EU funded touring residency; Marseille to Munich

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British Council & Liverpool Biennial Libya Exchange

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Checkpoint, Berlin Residency, Coldstore Exhibition

Dubdee, Sonic Blob Collaboration

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Kings College London & 3FF Commission Reverberations of Conflict: Syria,

Somerset House

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SOCIAL ENGAGEMENT/INTERACTION

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 PERFORMANCE

Gestalt, Calvert 22

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Military Craft II, Golden Thread Gallery, Belfast

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Military Craft, Guangzhou Live

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Late At Tate, Tate Britain

Open Situation, Tomas Ruller

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Not My Country, Peter Rosvic

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The System Is Done, Lets Start Again HKJCAC, Hong Kong

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Amnesia, A Rehearsal

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Shadow Trace

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SCULPTURE

Rabbid

Joker

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SCULPTURE

Ming

Spongimal

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SCULPTURE

Tubular Blossom

Twins

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Humph

Dodi

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SCULPTURE

Larry

Vincent

Stoopid Void

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SCULPTURE

Void Eagle

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After (The World)

Animation, Ink, pen and brush

Lilac Ring

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French Fancies

Hole and Hijab

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 DRAWINGS/PAINTINGS/COLLAGE

Auto-Psychometric Suffering Devices Vi Perception Slicer

A-PS Device Vii String Dialysis Pointer

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Peripheral Stimuli Mapping

A-PS Devices Ii Magnet Rocker

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A-PS Devices Viii Clavical

A-PS Device Ix Crossed Wire Contraptor

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Limit

Fire In The Hole

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DRAWINGS/PAINTINGS/COLLAGE

Monolith

I Become Lost

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DRAWINGS/PAINTINGS/COLLAGE

404 Man

Blobs

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No Tricks

The End Is Nigh

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DRAWINGS/PAINTINGS/COLLAGE

Realise Your Right

Eye To Eye, Hainan Island, China

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 EDUCATION, WORKSHOPS AND COURSE DEVISAL

Tate

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Tate MFA Teachers

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 EDUCATION, WORKSHOPS AND COURSE DEVISAL

Tate Treasures

Parasol Unit, London

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 EDUCATION, WORKSHOPS AND COURSE DEVISAL

South London Gallery, Inhabitable Spaces

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 EDUCATION, WORKSHOPS AND COURSE DEVISAL

Grundy Art Gallery

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 EDUCATION, WORKSHOPS AND COURSE DEVISAL

Unrealised Potential

Zhaha Hadid, Manchester International Festival

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 EDUCATION, WORKSHOPS AND COURSE DEVISAL

Liverpool John Moores University

La Friche La Belle De Mai, Marseille

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 EDUCATION, WORKSHOPS AND COURSE DEVISAL

Smiths Row

Carousel Project

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 EDUCATION, WORKSHOPS AND COURSE DEVISAL

Manchester Art Gallery

The Red Gallery & 3FF

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The Art Of Social Engagement, Cornerhouse

Liverpool Biennial

Mediamatic, Amsterdam

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Contemporary Chinese Art and Globalisation

You You Gallery, Guangzhou

KIAD, Kent

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Castlefield Gallery, Manchester

Grizedale Arts

Grundy Art Gallery

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City University, Hong Kong

Paradise Stories, RIBA

Encounters, Sheffield

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Grundy Art Gallery

Golden Thread Gallery

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ARTICLES & TEXT

Wrongteous

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Art In A City: Revisited

27 Senses, Chisenhale Gallery

27 Senses
Chisenhale Gallery, London
2010
Kai-Oi Jay Yung
Commissioned by Arts Council England

27 Senses has been a long time coming, the curators text words reveal a simplistic
deep-seated desire rooted in celebrating, recapturing, reminding and reoffering a part
of the lost, hidden and forgotten story of the significant artist Kurt Schwitters to
challenge and reconfigure our present collective memory of his significance and what
we know of his private and public life. The departure point is to trace time in Norway
following the economic and political turmoil of Nazi Germany and his own nomadic
path resultant of his exile as degenerate artist.

Any forced confusion, struggle and obstacle in the lengthy process that undeniably
ensued this attempt to embark on a research tour that retraces Schwitters Hjertoya
and specifically, his potato shack-like Hutte/studio is absent from this show. Through
careful selection of artists in this group show, we experience different perspectives in
this story through a seamless transposal into location and dimensions of Chisenhale
itself.

The vast, concrete industrial warehouse facilitates an anonymous capsule to

cohesively house the resulting works of Goldsmith, Von Hausswolff, Nilsen,
Holmqvist, Koether, McGeorge. Together their mediums span writing, poetry,
composing, animation, montage, performance, their histories Manifesta, Van Abbe,
PS1 Contemporary, radio, Mexico City an ode to Schwitters legacy.

The visitor enters the space as though through the gates of a narrow walled settlement
with its confines defined by the architectural housing that unites all the component
works. At first we are unsure of the direction to take, our viewpoint of the space as a
whole is interrupted by the angles, bevels and curves of the predominant physical
structures carved by McGeorge, which in their homogenous pale wooden tones block
ones panoramic scope to gather any easy overview of the space and individual
elements.

Von Hausswolffs Branden film/narrative documentary is projected onto the far end
of the semi- enclosed office like space. The strange open plan room, grey carpet and
5/6 black chairs create a small cinema almost as though were seated in the confined
cabin of a boat, the least obtrusive and most intimate blank canvas to absorb viewers
cast gaze onto the mesmerising plodding pace and crystalline sound of The Fire.

Von Hausswolff has chosen to present Lamms performative documentary, which

unfolds a Norwegian mans coming to terms with his former coercion into a life of
espionage for the Soviet Union during the Cold War. This video is the strongest work
in the show, it serves not only as the introductory connection into the psychological
and material environment of Schwitters but also through Lamms narrative tones that
pervade Chisenhale; his voice soundtrack to the show.

Filmed in 1971, the imagery, removed from present through seamless black/white flits
between stills documenting Lamms crew and equipment, gliding footage of

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Between Kismet and Karma. South Asian Women Artists Respond to Conflict

Between Kismet and Karma is a stunning achievement. It has great academic, political and
theoretical value, certainly. But what makes it unique is the stunning creativity, beauty and
insight of the artists work. I am humbled by their profound seriousness and commitment
and their powerful aggregation of issues of conflict, nationality, culture, society and gender to
create artworks of breathtaking vision and power. I have discovered what it is that lies between

South Asian Women Artists Respond to Conflict

Between Kismet and Karma
kismet and karma: South Asian womens creative genius.
Bidisha
Writer, critic and broadcaster

Thoughtful, provocative and mind-expanding, the Between Kismet and Karma intervention
in our Alchemy Festival made me grateful that we have the collective passion and
intelligence of Shisha. The challenges faced by their artists and crafts people to help shape
our world positively is balanced by their passion and determination to do so.
Jude Kelly
Artistic Director, Southbank Centre

Between Kismet and Karma: South Asian Women Artists Respond to Conflict was conceived by Shisha in
curatorial partnership with the University of Leeds. This full-colour publication explores the projects
complex creative web of programmes, including the central exhibition, as well as the affiliated symposium,
Beyond Borders; artist residencies; film programme and various interventions. It also includes evaluative
feedback from the project as a whole.

Between Kismet and Karma provides an engaging and enlightening view of the featured artists,
artwork and audiences, and addresses the curatorial themes of gender, home, body, environment and
nation. The publication provides a platform for artists, curators, academics and audiences to revisit,
question and reflect on this multifaceted and unique programme, which was organised in collaboration
with a myriad of partnerships, including museums, galleries, artist networks and universities across
the UK and South Asia.

01 Preface and Introduction Preface and Introduction 02

Kissing
Fate
Kai-Oi Jay Yung

My initial raised eyebrow to an exhibition tagged
Between Kismet and Karma: South Asian Women
Artists Respond to Conflict sprang from concern
that a show purporting to platform contempo-
rary post-colonial socio-political contexts across
South Asia through purely selected female artistic
representations, could only serve to homoge-
nously group diverse ethnicities under an anon-
ymous geographical art banner. Rather than
signify the precedence of such an exhibition;
gender, cultural/ethnic origin and the tensions
intertwined between inhabitants and nation
states from Bangladesh, India and Pakistan to
Sri Lanka perhaps such an agenda was to rele-
gate tendencies to deal with specific multiple
conflict sites through the generic themed art
from the other; female and ethnic.
My encounter with two visitors at Leeds Art
Gallery, both Indian one Hindu and the other
Sikh was to prelude the underlying strength of
this show and remove my doubt. They informed
me Kismet and Karma simultaneously connoted
adages are accurate or specific to one religion
or another, it was a reflection that we have to
begin somewhere to understand positions of
cultural difference and belief. It highlights the
importance of the individual to effectuate any
such change, in the same manner the sympo-
sium, film programme and events by this col-
laboration between Shisha and the University
of Leeds sought to facilitate exposure to
largely Western public audiences.
Colombo-based artist Anoli Pereras Elastic
Dress visually arrests the viewer upon entering
the gallery. The blood-red, triffid-like dress
sprawls, an amorphous bleeding of the traditional
red-dot bindi, into a threatening crawling em-
bodiment, contorting female dress and body
into an uncontrolled latex mass. Her sketch-like
watercolours serve as a backdrop narrative,
suggesting the biological gender constraints of
childbirth and motherhood they hint at the
womans role and media filtering of self-percep-
tion eating disorders, plastic surgery such

LEFT
fate, the deed, whilst Kismet upturns this notion ideas then explode into the dramatic high
Amour Suit for through a magical hope of unknown destiny. colour and sensual, tactile physicality of the
Rani of Jhansi
What will be will be or keep doing what you garment. There is something inescapable, op-
Naiza H Khan
2008 want to do, the rest will follow. Whether such pressive about the sheer volume of material.

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That the trail of this bridal gown is tautly pinned
to two sides of the gallery wall, gesture and emo-
tional response is bound in frustration. The inter-
mittent pinning enables the parade of flowing
fabric. We are forced to take in each laborious
hand-made chain-mailing loop; it is then that
we begin to comprehend the specificity of the
artists cultural biography, beyond the expected.
Sujeewa Kumari Weerasinghes video performance
Skin of the White Teabags is poetic and subtle
in its summoning of its Eurasian origins, synon-
ymous with British Tetley and the mystical trade of
the China Silk route through India to what
appears to be Brighton beach, or perhaps Hik-
kaduwu. We cannot locate the artist, clad in a hand-
stitched cloak organically layering her skin with
tea bags; passers-by are bemused. She morphs
between Pereras Elastic Dress and the iconoclastic
portraits and symbols of fellow artist Tayeba
Begum Lipi. Weerasinghe elapses notions of
perception, tradition and time from Pereras
watercolours and dress into the digital enhanced
washed tones and grained textures of her surreally
abstracted film. The slow motion and soporific
sound lulls us into a disorienting dream space
that negates any attempt to fetishise the gaze;
the patched tea-skin transforms her into a
potentially menacing oversized owl, removing
any sense of recognition, thus the female
becomes unseen. These notions extend into
her second video performance, Living Sculpture.
This time her guise is a colourful patterned fabric.
Through the obscured camera views, she again
confuses the viewers capacity to locate her, is
she amongst the market hustle and bustle of
envisaged New Delhi or Islamabad, or a busy
Sri Lankan port?
The themes pervade between the exhibits and
across the Asian diasporic starting points of each
artist. The simplicity of Shilpa Guptas 100 Hand
Drawn Maps of India is captivating, cleverly
enticing solitary viewing that bridges an instinctive
relationship between the viewer and Guptas
collaborators. Each participant attempts to trace
an outline of India from memory. The simple
black lines rhythmically flit in size and shape;
orientating perceptions of Guptas homeland.
The nave identifications are humble, honest; no
outlines are identical, triggering us to contemplate
the accuracy of personal perception and how
such borders and divisions were enforced. Where
something so specific as a country is outlined,

PAGE34 ABOVE
Works by Tayeba Begum Lipi Untitled
Between Kismet and Karma Sadia Salim, 2008
Exhibition Between Kismet and Karma
Leeds Art Gallery Exhibition
6 March 9 May 2010 Leeds Art Gallery
6 March 9 May 2010
PAGE35
Works by Naiza H Khan RIGHT
Between Kismet and Karma In Our Times
Exhibition Shilpa Gupta, 2008
Leeds Art Gallery Between Kismet and Karma
6 March 9 May 2010 Exhibition
Leeds Art Gallery
6 March 9 May 2010

36 EXHIBITION EXHIBITION 37

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LEFT& RIGHT
About Elsewhere
Priya Sen
2007

100 Hand Drawn Maps of India engenders
breathing space since it does not necessitate a
specific cultural language to relate to the
artist/biographical place. The participatory
element pared down to a single channel pro-
jection prompts us to consider how we know
our rights and customs, borders, political
boundaries, and ultimately our relationship
with ourselves and neighbours.
The six portraitures by Dhaka-based artist
Tayeba Begum Lipi resonate colour and sym-
bolism, boldly confronting the viewer from painting in response to such heritage and discourse on Hindu mythology. Her photo-
the canvas surface. Her depictions of Madhu- change. Her works effortlessly merge the graphs situate these anti-garment effigies in a
bani village women, Gothna trade rituals in- potentially irreconcilable bi-polaric hereditary seascape, subtly forging a transitional link to
terspersed with links to British rule and past and post-colonial present. the soldering and material of Yasmine Kabirs
monarchy through the figure of Elizabeth ship-breaking video, and hinting at Guptas
and use of indigo dye all conjure the place In the adjacent gallery, Weerasinghes and kinetic sound piece, In Our Times, whose
Asian style, tone, pattern, despite their Pereras skins transform into Naiza H Khans singingvoice teases viewers into the main
abstraction. These collages offer pointed galvanised steel skirts and corsets which con- gallery space, and unfurls us into a spacious
references to those defining customs con- trast the allegoric impenetrable female warrior arrangement of video and ceramics.
figuring the individuals understanding of na- with the seductive feminine. Leather, zips,
tion state and modern day identity in Ban- feathers seamlessly melded together to compose The drive of Priya Sens About Elsewhere is a
gladesh, as well as a taste of contemporary incongruous outfits for current day female welcome contrast in pace. This video work

38 EXHIBITION EXHIBITION 39

LEFT smacks of diarist style/MTV footage. Sen deals with
Measured, Stitched and
Stretched Series (detail) menacing contemporary points of conflict through
Anoli Perera edited anecdotes and the guise of the unassum-
2009
ing characters featured. A hand duck puppet
FOLLOWING PAGE addresses homosexuality, whilst a child re-enacts
Elastic Dress and narrates, I am going to slay you, conjuring
Anoli Perera
2010 memories of the brutalities of the Nepalese palace
massacre. The internal/external dialogue I am
not sure why I said that is delivered via split
screens, whilst the threading humour renders
the discordant text to sonic and image addictive.
The humble simplicity of Guptas maps is reincar-
nated in the somewhat solitary sadness of Ka-
birs The Last Rites. The minimalist film score
heightens an eerie, ghostly portrayal of decline
in Bangladeshs shipbuilding industry. Tiny figures
are cast against monolithic ships, the footage
documents children playing in amongst the
broken parts and pieces crates, components,
pipes this rusting iron graveyard becomes an
attempt to salvage trade inhabitants scrabble
for any worthy treasure amongst the waste.
Alongside this, Sadia Salims ceramic works, which
cast everyday objects and lines of verse and
conversational fragments into the firing process
together, point to poverty and our displaced
communities; a certain fragility of the structures
we live in. Both connote the geopolitical relations
between countries and the international trading
arena such as Bangladeshs commerce with
northeast India in attempt to curtail further defi-
cit, or implications of wider macro socio-political
forces that determine the individual fate at micro
level; job, food, shoes. Is this how belief in
Kismet may save us?
Guptas In Our Times, singing mobile microphone
appears to culminate all the wrangling themes
emanating the show into one sonorous, kinetic
voice piece. Here, the tumultuous and violent
realities of unsavoury proxy war, Mumbais throbbing
overpopulation and consequential inner city
dysfunction, right-wing propaganda, struggle for
basic freedoms, Kashmir territorial conflict,
Muslim-Hindu separatism, terrorism, female
victimisation and Partition are all pertinently
bounded and encapsulated in In Our Times.
There is no fear or shame here to air these myriad
histories. The rhythmic quality of Guptas voice
is disarming, the dreamlike singsong drifting
throughout the space is removed from human
interaction it is made fact and incarcerated
via the automated mechanisation of the kinetically
balancing sculpture. The Tryst with Destiny
speech printed and displayed as one of the
three texts read by Gupta herself is similarly
disconcerting; it blocks any rupture between past-
future/lose-win stalemates, and we reflect upon
the karma of Nehrus promise to Bollywood
Mumbai, amidst recent media saturation en-
capsulating Slumdog Millionaire romantic love
against endogamy a Tryst with Destiny.
There is melancholy here; the piece suggests
no peaceful resolution to these points of con-
tention; voices and aspirations are locked within
the swinging microphone as we watch their rise
and fall. Our position is that of apocalyptic es-
trangement devoid of human recognition save
the voice, and we are forced to question; time
has passed but has the way we live progressed?
The curatorial approach of Between Kismet and
Karma punctures any easy glazed bid to explore
issues of heritage and identity and enables disparate
views on emblematic South Asia and our relation
to them. The works proliferate new openings for
understanding long and complex socio-political
contexts through converging the diverse artforms
and reflections of prolific female artists from Sri
Lanka to India whilst fracturing any singular
interpretation. The show does not preach, but
prompts viewers to quietly weigh and critically
question any two-dimensional social stigmas con-
cerning class, international agenda, inter-communal
co-existence and individual desires despite gender,
race or religion. At once playful and powerful,
here difference is able to self-tessellate.
Kai-Oi Jay Yung
Interdisciplinary Artist

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Changing Climates

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Vital Performance, Chinese Arts Centre

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Contemporary Art in Northern Ireland Since The Belfast Agreement, Wolvehampton

Art Gallery

Archiving Place & Time: Contemporary Art Practice in Northern Ireland since the Belfast
Agreement
Wolverhampton Art Gallery
2010
Kai-Oi Jay Yung
Commissioned by Arts Council England

This exhibition commendably deals with the complex and sensitive intricacies of
contemporary art practice in Northern Ireland since the Good Friday Agreement came into
force in December 1999. A wide variety of works reflect the political aftermath of an
economic and living environment shaped and scarred by over 3 decades of violence, fear,
hatred and warring factions.

The interdisciplinary works range from literal to more metaphorical interpretations of

Northern Irelands people and landscape, and the far- reaching socio-political transformation
resulting from the Agreement and its significance to the present post-industrial urban
environment. Together the works assemble a historical and contextual framework for the
viewer to correlate their own narrative of an identity that is product of shifting territorial
conflict. Despite the many works, the space has been partitioned and choreographed well,
with space for viewer to consider nuances between the works and for some pieces to
communicate in isolation.

On entry to the gallery directly to our right, Conor Mcfeelys Disclaimer confronts us. The
gallery cordon instructs we cannot enter this installation, but the well-ordered rows of
sandbag oddities and wall aligned baseball bats are prohibiting in their regimentation. The
small bags are made from prison blankets, some marked with thick black tar that binds them
to the ground. The baseball bats are intermittent colours, sandy beige following washed out
red. Both suggest the new threats dominating Northern Irelands communities- that perhaps of
gang culture which replaces the sirens and bombs.

Disclaimer sets the agenda for the exhibition; marking a movement towards the deployment
of contemporary visual expression from those having personally lived through the memory of
the past and direct involvement and concern with its future.

This resonates through the pair of photographic diptychs hung on the adjacent wall, by Willie
Doherty and Sandra Johnston. Dohertys silver gelatin prints provide a stark physical
manifestation of Johnstons more concept laden C type prints. Donegal Lane is a bleak
snapshot into an eerie stillness, a street backed off by a barbed wired wall to the left and
boarded up shops to the right. The lane leads the eye to a big windowless Soviet like bloc,
there is little to suggest hope and fruition here. Meanwhile, we are further entrapped in
Footbridge/The Westlink. This ominous footpath running above the Westlink dual
carriageway demarcates the Catholic and Protestant divide, again the concrete encaged
cityscape is desolate and old replaces new with homophobic graffiti and also a new footbridge
which is a bright red and more open in design. That the bridge depicted here has been
dismantled and replaced serves as archive to the past and point of symbolic change for those
familiar with the story.

Johnstons imagery then suggests an explanation for Dohertys resultant imagery. A close up
of what appears to be a stone tablet with all text obscured except the abbreviation Vol and
its neighbouring image of white washed graffiti both point to a war prolonged by a
bombardment of voices fighting to be heard and consequential breach in duration, trust and
safety of a treaty. Given the history of instability of Northern Irelands peace process to date,
can there be sustained agreement?

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Bedwyr Williams, Nimrod, Ceri Hand Gallery

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Static: Noodle Bar, A-N

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Community Engagement, A-N

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Socks Rifles and Umbrellas, A-N

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Unrealised Potential

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Goshka Macuga: The Nature of The Beast, The Whitechapel Gallery

The Bloomberg Commission: Goshka Macuga: The Nature of the Beast

The Whitechapel Gallery
2010
Kai-Oi Jay Yung
Commissioned by Arts Council England

Polands recently rewritten Communist history situate Macugas Nature of the Beast
in the intricacies of the Iraq invasion and its aftermath and the countrys partitioning
and civilian loss during the second world war.

Macugas role is curator/facilitator of overlapping facts and fictions. She

simultaneously reveals findings stemming from research of a place, enabling viewer
to not only fathom links between works and individuals but she sets up a mechanism
allowing overview of that artistic process of compiling, archiving and distilling and
contrived channelling of a narrative. For instance, A Time to Live, A Time to Die was
composite and re-ordering of the work of others- images of Picassos girl, Ernsts
birds her mining of the Tate archive led to (un)tangling the collaborative/group
process of Moore, Nash, Hepworth and co rather than their individual artistic pursuits.
We see less of her own hand in creative production in this show, no Madame
Blavatsky or Study of Lord Byron- rather the Bloomberg commission reveals
Macugas practice focus in terms of orchestration of the narrative assemblage process
rather than physical conception of works.

On entry there is a video screen to our left with three chairs, separate headphones and
on the floor leading to the screen is an Afghan rug, situating what we are about to
watch. Welcome The United Nations of Iraq is woven across the top, banner like it
relocates atrocities of Spanish civil war embedded in the Guernica tapestry symbolism
into the long history of war torn Iraq. The rugs territories are delineated in warm sand
tones, its modest size rendering it kitsch in relation to the tapestry. Made
anonymously by Iraqi and Armenian filmmakers, the 20 minute film Operation
Phantom Fury rallies anti-US sentiment since we see footage and perspectives
unlikely exposed in our media channels concerning the cluster bombing and missiles
destroying of Fallujah. This further heightens debate surrounding recent equipment
supplies and UK troop presence as we watch the mass exodus of refuges and those
displaced in the aftermath of aerial bombardment targeting the city with little regard
for the civilian population. The narrator informs us of the removal of human rights as
at times romanticised imagery and music is interspersed by short interviews with
displaced women and injured men we watch as they flee from noisy explosions,
crumbling of their buildings and dereliction of their city, survivors digging trenches to
bury the dead, at times, almost like a computer game, recalling Harun Farockis
virtual simulations; the overplayed imagery, the capacity to apprehend the conclusive
brutality of such war. This animates the disjointed limbs, tortured animal screams and
severed heads frozen in Picassos tapestry. It embellishes a somewhat flattened war
memorial of tapestry as effigy with a personalisation through the sounds, voices and
moving imagery of the documentary. As mesmerising and as bloody as Picassos
Guernica- the first city to be victim of serial bombing.

To our right- a bust of Colin Powell, modelled by Barnhart and Johnson pinpoints a
monumentus event in the story of US indictment against Iraq; Powell is seen
incarcerated in a seminal point of accusation, holding a purportedly phial of anthrax in

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 COVERAGE

Mag Mag Adding Complexity to Confusion

Vivienne Westwood, 100 Days

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Open Here Art Territories, Vilnius, Lithuuania

Cosmopolite Meeting Place The Guardian

and Artists House

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European Magazine A-N Future Forecast

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Time Out Another Late Night

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)*()-*()54
In Jan
Were looking forward to an
exciting 2011, with the return of
Manchester International Festival
and Asia Triennial bringing some
major exhibitions to our galleries
later in the year.
This month its your
last chance to visit popular
exhibitions UnSpooling Artists
& Cinema, and Edition #2.
Then look out for The People
Youre Not, inspired by last
years Unrealised Potential,
opening at the end of the month.
Film highlights in January
include our Patron Danny
Boyles latest film 127 Hours,
a gripping tale of survival, and
True Grit, the Coen Brothers
take on the classic 1969 Western.
$0/5&/54
Listings information
Art/Exhibitions & Events
Film/New Releases
Courses
Books
Information
Food/Drink
Cover image: True Grit.
All information correct at time of press.
COVERAGE
Cornerhouse
January 2011
www.cornerhouse.org
"35 As part of Edition, artist Kai-Oi Jay
Yung has transformed Gallery 1
with her new multi-channel
Edition # 2 video installation, Interval;
A Narrative Psychosis.
The starting point for the exhibition
Kai-Oi Jay Yung was an investigative journey Yung
undertook across Hong Kong
Interval; A Narrative and California. The work in the
show reflects the distinct character
Psychosis of these places, but also draws
parallels between them, linking
together the diverse aspects
of Yungs experiences from
the South China seas, to Palm
Springs, from a Hong Kong face
Until Sun 16 Jan reader to an Alcatraz inmate.
Central to the exhibition is the film
Gallery 1 Amnesia; A Rehearsal, in which
Yung, inspired by her visit to the
Free Sarah Winchester Mystery House
in San Jose, takes on the persona
of 19th Century figure Winchester,
exploring this fascinating character
and her obsession with the occult.
Based on the themes that emerged
during the making of this film,
Yung has distilled the extensive
footage from her journey into six
categories: Love, Architecture,
Present, Death, Incantation and
Journey. The resulting videos
explore how we sequence and
reconfigure the information and
experiences of our daily lives, into
personal narratives and memories.
Edition is our annual month-long
venture, which acts as a testing
ground for innovation and
cross-disciplinary collaborations.
Exhibition produced by
Cornerhouse, with initial
02 development through the
07 Micro Commissions
programme supported by
11 the Paul Hamlyn Foundation.
12
www.cornerhouse.org/mico Tour/Interval;
A Narrative Psychosis
14 Sat 15 Jan
15 14:00 15:00
FREE, booking required
Image credits:
Top row: New World, Sarah Artist Kai-Oi Jay Yung will lead
Winchester; A Mystery this informal introductory tour
House. Middle row: Amnesia; of Interval; A Narrative Psychosis,
A Rehearsal, New World. discussing the themes and
Bottom row: Love, Sarah motivations surrounding her
Winchester; A Mystery House. work and inviting questions
All Kai-Oi Jay Yung, 2010. from participants.
03
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December 2010

www.cornerhouse.org

)*()-*()54 "35
In Dec Edition # 2
Get into the festive mood this
month with some heart-warming Kai-Oi Jay Yung
seasonal favourites including Interval; A Narrative
Its a Wonderful Life and The
Wizard of Oz, plus enjoy audience
Psychosis
selected classics from The
Big Lebowski to Goodfellas.
Also recommended is Julian
Schnabels Miral, which explores
the Israeli-Palestinian conflict
through a moving examination
of the lives of four women.
Artist Kai-Oi Jay Yung
will be transforming Gallery 1
with a compelling video
installation as part of our annual
Edition programme. And finally, Sat 11 Dec Sun 16 Jan
dont miss the screening of Gallery 1
Rosa Barbas captivating films,
accompanying UnSpooling
Artists & Cinema. Free

$0/5&/54 As part of Edition, our annual

month-long venture, which
acts as a testing ground for
Listings information innovation and cross-disciplinary
collaborations, Cornerhouse
presents a new commission
by Kai-Oi Jay Yung.
Art/Exhibitions & Events 02
For Interval: A Narrative
Film/New Releases Psychosis, Yung has created a
& Events 06 multi-channel video installation
in Gallery 1 that draws upon the
Film/Seasons 10 recent investigative journey she
Courses 13 took across Hong Kong and
California. The work seeks to
Books 13 draw parallels between these
seemingly distinct countries,
Information 14 cross-referencing diverse
Food/Drink 15 aspects of Yungs experiences
from the South China seas to
Palm Springs, from a Hong Kong
face reader to an Alcatraz inmate.
Through her editing process,
Cover image: Image: Rare Exports: A Christmas Tale. Yung explores how we distill
All information correct at time of press.
and reconfigure the information
and experiences of our individual
lives, inviting visitors to forge
Workshop/
Exploring Narratives
their own personal trajectories
through the places and voices
Sat 18 Dec
14:00
presented. The gallery experience FREE, Booking required
culminates in the performative
narrative Amnesia; A Rehearsal,
Join artist Kai-Oi Jay Yung for
this interactive exploration of
an unexpected restaging of
Interval: A Narrative Psychosis.
nineteenth century American
figure Sarah Winchester and
Participants will be invited to use
different creative approaches
her occult fixation. Blurring
to consider the narrative themes
reality with fiction, this exhibition
reveals the psychosis that loops
running through the sculptural,
photographic and video works in
across time and space, and
permeates our daily lives.
the exhibition and consider how
this relates to their own personal
experience and memories.
Exhibition produced by
Cornerhouse, with initial
development through the Image credits:
Micro Commissions Top: Kai-Oi Jay Yung, Golden
programme supported by Buddha, Incantation. Bottom:
the Paul Hamlyn Foundation. Kai-Oi Jay Yung, Amnesia;
www.cornerhouse.org/mico A Rehearsal. (Both 2010).
03

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Calvert 22