Fujinoyama Biennale 24 Oct – 23 Nov 2020

Fujinoyama Biennale 2020

24 October – 23 November 2020

A new site-specific installation work by artist James Jack will be exhibited at the former Igarashi residence.

 

http://fujinoyama-biennale.com

 

Shizuoka, Japan

 

 

Art and Climate Change in the Pacific exhibit 2020

James Jack. Sea Birth three. 2020. 4K digital video still.

 

Inundation: Art and Climate Change in the Pacific  

January 19 – February 28, 2020
The Art Gallery at the University of Hawai‘i at Mānoa (UHM), Art Building

March 28 – June 26, 2020 New dates TBA
Donkey Mill Art Center, Hōlualoa, Hawai‘i

Inundation refers to both the watery disasters of climate change and the overwhelming emotions they evoke. This exhibition, curated by Jaimey Hamilton Faris, Associate Professor at the Department of Art and Art History at the University of Hawai‘i at Mānoa, features work by Mary Babcock, Kaili Chun, DAKOgamay, James Jack, Kathy Jetn̄il-Kijiner, Joy Lehuanani Enomoto, Charles Lim, and Angela Tiatia. Based in the Pacific, these artists experience the climate emergency as an extension of long-term colonial, extractive and developmental forces that have made their communities especially vulnerable.

This major group show consists of multi-media videos, installations, and community performance projects, many of which have been conceived for this exhibition. Artists address climate justice situations in Hawai‘i, the Republic of the Marshall Islands, the Kingdom of Tonga, Tuvalu, the Philippines, Okinawa, and Singapore. As curator Hamilton Faris writes the exhibition “create[s] a space to process raw emotions, inspire collective imagination, and generate capacity for creative, actionable, and communal responses to our watery climate.”

Join curator Jaimey Hamilton Faris and guests for discussions on climate change and climate justice.

Thursday, January 23
Water Talks II: Climate Justice in the Pacific, The UH Art Gallery

4:00 – 5:30 PM  |  Tales of the Okinawan Sea
This special evening talk-story series brings together artists, scientists, policy-makers, historians and more to discuss how to move forward in this era of radical social and ecological transformation.

James Jack, Artist
Kenneth Kaneshiro, Director of the Center for Conservation Research and Training, Pacific Biosciences Research Center, SOEST
Norman Kaneshiro, Musician, UHM lecturer

facilitated by Aiko Yamashiro, Executive Director of the Hawai’i Council for the Humanities

James Jack. Sea Birth three. 2020. 4K digital video still.

 

University of Hawai‘i Art Gallery

Online catalog, video archive and climate justice resources available here:

https://www.inundation.org/

 

 

Selected Press
Inundation: Psychic Costs of the Climate Emergency

Jan 14, 2020

In just twenty years, awareness of climate change has progressed to climate anxiety. According to Time Magazine, mental health studies show “eco-anxiety” exploded last year from Greenland to Australia. A new exhibit at UH Mānoa aims to work through the grief and denial toward community action.

Full article here: https://www.hawaiipublicradio.org/post/inundation-psychic-costs-climate-emergency

 

 

Balay Ni Tana Dicang residency & solo exhibition dates TBA

James Jack will create new artworks with local materials based on the social and ecological history of the island of Negros during a two-month residency at ABungalow for an exhibition held in the ancestral home Balay Ni Tana Dicang. A solo show of these new works will be held at Kapitana Gallery in Talisay City opening in June 2020 (Dates postponed TBA).

The Kapitana Gallery
Balay Ni Tana Dicang

36 Enrique Lizares Street
6115 Negros Occidental
Talisay City, Philippines

 

Selected Press
Balay ni Tana Dicang: Why a century-old home is able to move with the times

The ABungalow artist’s residency program was birthed after artists exhibiting at Kapitana Gallery experienced working and residing at Lizares’ residence.

“Artists who were my friends stayed at home to fulfill our plans of hosting workshops, opening exhibits with a special way of presenting Balay ni Tana Dicang,” Lizares says.

“Art galleries with some attachment to Negros came back wanting to co-host exhibits. Later, they wanted their artists to come and conduct a residency here in Negros, which we tried on a domestic level at the beginning. The results have been nothing short of astounding… and the residency gained momentum.”

ABungalow derives its name from the 1950s American-style home Lizares rescued from demolition, which he transported from its location to a lot close to his own home, turning it into a single-story bungalow, “employing a simple style that exists in my own residence—a tropical American-style residence built in 1952.”

He further describes it as an area “surrounded by air and light, not to mention an ever-evolving garden in front, and an established mangrove in the rear giving the place a sense of being there… In the rear is another bungalow/work space for artists… a space all to themselves.”

Galleries in Manila have continued to recommend artists for the residency, where they interact with the community, “to provide some inspiration in their works,” even beyond the residency.

Plans include the visit of an American artist to work on a community-based art project, using locally sourced materials, which he has done in other countries.

A century-old home, lovingly maintained by descendants of one larger-than-life and tenacious lady, is partially subsidized by contemporary art. Typically looking into the future, she not only arranged all her children’s marriages, but also adequately provided support for each of them, provided ample land and influenced each with her impeccable lifestyle standards.

Since the matriarch had been fair and generous in the care and upbringing of several from the second and third generations of her clan, her home shall not fade into oblivion, but will instead move on into modern times and remain sustained in future generations, perhaps always by some activity prevalent in its present age.

https://lifestyle.inquirer.net/340107/balay-ni-tana-dicang-why-a-century-old-home-is-able-to-move-with-the-times/