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IMAGE HISTORY MEMORY PLACE:  JOHN YOUNG & WEI LENG TAY

About this Event
Abridge began with a series of interviews with migrants to Hong Kong from southern China, which led Wei Leng Tay to revisit a body of photographs she made while living and working in Hong Kong from 1999 to 2015. In this conversation, Australian-Hong Kong artist John Young AM joins Wei Leng to discuss how their practices confront history, memory, identity and displacement. John Young’s series 1967Dispersion (2008), based on the circumstances prompting the artist’s migration from Hong Kong to Australia in 1967, marked the first of Young’s History Projects (2007-2019), which have explored the imaging of historical trauma and transcultural solidarity as a form of ethical and social practice. For both artists, Hong Kong has been a site of personal experience yet also a catalyst for exploring such complex issues more globally, and from the present. ....

New Zealand , New York , United States , Hong Kong , New South Wales , Causeway Bay , Hong Kong General , Wei Leng , Wei Leng Tay , Shuxia Chen , John Young , Zhang Peili , Olivier Krischer , Kim Machan , Australian National University , Fukuoka Asian Art Museum , University Of Sydney , Hong Kong Heritage Museum , Asian Art Research , Tokyo Metropolitan Museum Of Photography , University Of Sydney China Studies Centre , Solomonr Guggenheim Museum , Objectifs Centre For Photography , National Taiwan Museum Of Fine Art , Australian Hong Kong , History Project ,

Kim Tschang-Yeul (1929–2021) - Artforum International

Korean artist Kim Tschang-Yeul, who was widely known for his “water drop” paintings, which he characterized as a way of erasing his ego, died January 5 at the age of ninety-one. Along with Nam June Paik and Lee Ufan, Kim was one of Korea’s most influential artists of the past century.
Born in 1929 in Maengsan, in what would come to be North Korea, Kim in 1945 moved south, where he studied under Lee Kwae-dae, eventually enrolling in the art program at Seoul National University. Following the interruption of the Korean War (1950–53), Kim, with Park Seo-Bo, Suh Se-Ok, Ha Chong-Hyun, and Chung Chang-Sup, led Korea’s burgeoning Art Informel movement, whose concerns with nonrepresentational abstract art paralleled those of their counterparts in Europe and America. Kim’s work and that of his compatriots would prove to have an enormous impact on the artists of the subsequent Dansaekhwa movement. Kim’s work of this time earned him spots in both the Paris Biennale of 1961 ....

P Yongan Namdo , North Korea , New York , United States , France General , Kwangju Gwangyoksi , South Korea , Soult Ukpyolsi , Cheju Do , Museum Of Fine Arts , Languedoc Roussillon , Chung Chang , Almine Rech , Kim Tschang Yeul , Lee Kwae Dae , John Yau , Jasper Johns , Lee Ufan , Nam June Paik , Centre Pompidou , Tokyo Metropolitan Museum Of Art , Hirshhorn Museum , National Museum Of China , Seoul National University , National Museum Of Contemporary Art , National Taiwan Museum Of Fine Arts ,