#Tsering Tashi Gyalthang

[tomlikesdance]

Hear Her Singing: A collection of songs by women asylum seekers in the UK

[isaluciole]

Songs We Carry by Charwei Tsai & Tsering Tashi Gyalthang 蔡佳葳

[somewatching]

‘Looking for a Lady with Fangs and a Moustache’ (2019) Review: Soul-searching chai Link: https://letterboxd.com/adeeshaey/film/looking-for-a-lady-with-fangs-and-a-moustache/

[neilmasseyblog]

The MasseyClan ventured out last night to The Southbank on what was a beautifully scorching summer solstice evening - the longest day of the year. We went to see 'Hear Her Singing' by our friends @tseeering and @charweitsai 🌞 'Hear Her Singing' is a newly commissioned Hayward Gallery series of film installations at the Southbank Centre. Taiwanese artist Charwei Tsai has collaborated with Tibetan filmmaker Tsering Tashi Gyalthang to take the universal nature of song and create a platform for refugees and asylum seekers currently living or detained in the U.K. Tsai present multiple voices of struggle, resistance and hope' 🌞 To see more: http://hearhersinging.info 🌞 #hearhersinging #haywardgallery #southbank #southbankcentre #royalfestivalhall #art #artist #film #filminstallation #refugees #singing #song #women #refugeeweek (at Southbank Centre)

[edouardmalingue]

Incense Mantra - A deeper look

In our previous post we briefly mentioned the film 'Incense Mantra' (2013) by Charwei Tsai that is currently on show as part of our exhibition 'Meeting Point'. Now with online preview in hand, allow us to expand further.

Created in collaboration with the Tibetan filmmaker Tsering Tashi Gyalthang,'Incense Mantra' captures the delicate and impassable crinkled crumble of the incense stick upon which Charwei Tsai carefully wrote the Heart Sutra. Played on a loop, the viewer is privy to the material's beautiful disintegration, a process which probes reflection on the concept of ephemerality at large.

Screened in an area of the gallery that is separate from the main exhibition space, the viewer is able to focus on the buddhist chants that accompany the film as a distant echo, and lose themselves in its visual repetition. A mere sideways glance or break from this trance however, and the viewer snaps back to the reality that he is on Queen's Road Central, a bustling centre of unashamed consumerism.

Indeed, within this viewing experience two parts of Hong Kong meet; the old and the new, the traditional and the luxuriously imported. What is truly wonderful, however, is for a slice of time all is forgotten, or in the least, you are reminded of how all is actually in passing.

EMG.