#chen kuen lee

[germanpostwarmodern]

House Ketterer (1954-55) in Stuttgart, Germany, by Chen Kuen Lee. Photo by Roland Halbe.

[juliaknz]

CHEN KUEN LEE HAUS KETTERER, 1955 Stuttgart, Germany

[toryorlando11]

Toryorlando91:

Ketterer House designed by Chen Kuen Lee - Stuttgart, 1955

[maasa-pgc3]

(c) Bahar Kaygusuz

Phasenübergänge Vol 3

/ ein Projekt von NEWSTARDANCECOMPANY/ MAASA

24./ 25. September 2022, 17 Uhr 1. / 2. Oktober 2022, 16:30 Uhr Scharounplatz, 10785 Berlin 

8. Oktober 2022, 16:30 Uhr

im Märkischen Viertel, auf der Rückseite der Bauten von Chen Kuen Lee, zwischen Senftenberger Ring und Calauer Straße, 13435 Berlin 

9. Oktober 2022, 16 Uhr

vor dem Projektraum für Kunst und Architektur Scharaun, Jungfernheideweg 4, 13629 Berlin-Siemensstadt 

Nuria Hoeyng und Anne-Kathrin Tismer, NEWSTARDANCECOMPANY/ MAASA, setzen sich in ihrem mehrteiligen Projekt PHASENÜBERGÄNGE mit physikalischen Vorgängen auseinander, die sie choreografisch interpretieren. Gesetzte Strukturen und Regeln wechseln sich mit tänzerischen Improvisationen in Wechselwirkung mit dem öffentlichen Raum und Architektur ab.

Konzept, Idee, Choreografie Nuria Hoeyng, Anne-Kathrin Tismer Tanz Merav Leibküchler, Vilja Mihalovsky, Lena Strützke, Anne-Kathrin Tismer Kostümkonzept Nora Fuchs, Nuria Hoeyng, Merav Leibküchler, Anne-Kathrin Tismer Produktionsleitung Kristina Bernhardt Produktionsassistenz Keno Tismer Fotografie Bahar Kaygusuz Musik Yeong Die Field recordings Anne-Kathrin Tismer Musik mix Nuria Hoeyng Audiotexte deutsch homepage Anne-Kathrin Tismer Audiotexte finnisch homepage Vilja Mihalovsky Audiotexte hebräisch homepage Merav Leibküchler Tänzerische Übersetzung Audiotext homepage NEWSTARDANCECOMPANY-Togo 

PR/ Kommunikation Kerstin Böttcher Kontakt pr@kunst-ver-mittlung.de | +49 163 57 36 101 

PHASENÜBERGÄNGE ist eine Choreografie aus gesetzten Strukturen und Formen, die komplexen Regeln folgen und sich dadurch modifizieren. Die Formen verändern ihren Zustand durch Phasenübergänge und in verschiedenen Bezugssystemen. 

Wir sind in dreidimensionale Felder eingebundene Wellen/ Linien/ Punkte. Wir

bewegen uns in Bezug zu Materie/ Masse/ Molekülen/ Elementarteilchen; Schall/

Geräusch/ Licht/ Energie; Zustand fortschreitender Entropie/ Zeit. Wir lenken

unsere Aufmerksamkeit auf die Wechselwirkung von allem.

So entstehen an unterschiedlichen Orten im öffentlichen Raum neue Kompositionen und

die Orte verändern sich in der Wahrnehmung für diejenigen, die es gesehen haben,

dadurch, dass dort etwas stattfand. Die unsichtbaren Bewegungsabdrücke bleiben

bestehen, wie unsere DNA auch noch an Orten nachweisbar ist, auch wenn wir nicht

mehr da sind.

PHASENÜBERGÄNGE Vol 3 sind vier circa acht Minuten lange Passagen: 

1. QUARKS - bezieht sich t nzerisch auf einen Zeitraum von einer neunmillionenneunhundertneunundneunzigtausendneunhundertstel Sekunde, zu Beginn unseres Universums, nachdem es 100 Nanosekunden alt ist, bis zu dem Zeitpunkt, an dem es eine Zentisekunde alt ist. Es gibt Raum, Gravitation und Quarks, also kleine Materieteilchen, die locker herumschwirren. Ein Phasen bergang findet statt: der Quark - Hadron bergang. Gr ppchen bilden sich, formieren sich an einem Ort, einmal sogar, ganz kurz, entsteht ein Quartett. Wir dehnen diesen Zeitraum aus auf acht Minuten. Ein ganz genaues Treiben nach eigenen Regeln. 

2. VERKLUMPEN - alle Sterne unseres Universums sind nun weiße oder braune Zwerge. Verklumpte Galaxien. Materie bewegt sich kreisförmig auf Masse Punkte zu. Wir verklumpen in schönen Bewegungen um einen Punkt herum. 

3. DRIFTEN – langsam, ganz langsam driften wir auf das Zentrum des Masse Punktes. Fast scheint es, als würden wir stehenbleiben. Quarks werden durch die Gravitation wieder aus der Formation gedrückt. Wir sind wieder einzeln und doch eng zusammen. Dann verdampft der Masse Punkt und wir schwirren als Quarks wieder umher. 

4. INTEGRALE - ist eine tänzerische Analogie zu einem neu entstehenden Universum. Wir nehmen alles was war, erstellen Integrale unserer vorherigen Bewegungen: aus einer waagerechten Linie wird eine schräge Linie, dann eine Kurve, dann vielleicht ein Polynom und dann eine Spirale usw. Wir schauen voneinander ab und um uns herum. Wir bewegen uns um unsere vorher getanzten Bewegungen herum, als hätten sie Abdrücke hinterlassen. Nach ungefähr acht Minuten ist unser neues Universum fertig. Dann gehen wir beiseite. 

Herzlichen Dank an Theaterhaus Mitte. Unterstützt durch das NATIONALE PERFORMANCE NETZ - STEPPING OUT, gefördert von der Beauftragten der Bundesregierung für Kultur und Medien im Rahmen der Initiative

NEUSTART KULTUR. Hilfsprogramm Tanz.

[smallroomstinysteps]

Apartment Building Ong (1967-68) in Stuttgart, Germany, by Chen Kuen Lee

[mundodosinconfidentes]

Associação HamTai participa de Evento Internacional da ChinWoo Brazil School

A Associação HamTai esteve , nos dias 16,17 e 18 em viagem participando de Evento Internacional da ChinWoo Brazil School e ChinWoo Paraguai.

Aconteceu em Foz do Iguaçu a Conferência de TaiChi Chen Ministrada pelos Mestre Lee Kuen Presidente do TaiChi Chen Brasil, SiMo Kikume Lee Presidente da Confederação Brasileira de Tai Chi Chuan e o nosso Grand Master Chan Kwok Wah vindo diretamente de Hong Kong. Neste dia aconteceu o Todai, ritual Chinês de reconhecimento dos discípulos do Mestre Chan Kwok Wah onde o Sh ifi Ricardo Silva e Simo Diana Antonia da AHamTai , foram agraciado deste honroso título e se tornando a 14ª linhagem do TaiChi Chen. No Domingo aconteceu o Open Chin Woo Paraguai, na cidade de Presidente Del Franco-Paraguai, um evento intenso sobe um clima de um calor exaustivo, nossos atletas conquistaram nada menos que 37 medalhas, sendo 3 de Prata e 2 de Bronze e ainda troféu de reconhecimento pela equipe. Além das delegações do Brasil estiveram presentes Argentina , Paraguai , Colômbia e Argélia. No dia 18 as equipes de TaiChi Chen se reuniram em Foz do Iguaçu-Cataratas para uma filmagem para o Grand Mester Chan Kwok Wah, levar à China como parte de divulgação da representação do TaiChi Chen na América do Sul. Agradecemos e parabenizamos os conferencistas e atletas competidores, Agradecemos as famílias e amigos que nos apoiaram desde o inicio do ano em nossas campanhas de arrecadação de fundos para participação deste evento. Agradecemos também o apoio Prefeitura de Mariana, na pessoa do Prefeito Du , que em parceria Conselho Municipal de Esportes e Secretaria de Cultura Lazer e Esportes teve um papel essencial nesta nossa ação. A AHamTai trabalha com ensinamentos do Tai Chi Chuan e Kung Fu em Mariana , Passagem de Mariana e Ouro Preto-31 35575114, www.facebook.com/ahamtai e ahamtai@yahoo.com.br , Read the full article

[takuhisamura]

虚構のはずれ On the Verge of Fiction

会期：2019年1月18日（金）ー4月7日（日） 会場：國立臺北藝術大學關渡美術館一楼

On the Verge of Fiction ​features young and emerging artists from Japan and Taiwan and aims to contribute to the cross-cultural exchange between Japan and Taiwan and current discussions concerning the historical perceptions of the two countries. The exhibiting artists play out various fictions pertinent to memory, history, landscape, and everyday life. Contemporary art practice becomes a means to interrogate fictionality in our living world, a kind which is imposed as a system of social governance.

In his book ​Sapiens: A Brief History of Humankind ​historian Yuval Noah Harari claims that human civilization results from a cognitive evolution in 70,000BC that enabled the capacity for ‘fiction’ – what he describes as imagined reality and lying. Fiction is expressed in mythology and religion and allows for large numbers of people to cooperate. According to Harari, this distinctive ability of using fiction to form tribes and nations culminated in civilization. In this respect, what we perceive is formed by fictionality, and the reality surrounding us involves many fictional aspects. Despite a number of sensational and sweeping statements Harari makes about human history, his view of human behaviour in relation to fiction is a useful starting point for an exhibition that seeks to explore social geography, political and cultural history, and contemporary society in the global context.

Harari’s notion of fiction as a big narrative that governs a nation can be epitomised by the history of Taiwan and the economy of Japan. In Taiwan, democracy and freedom of expression was achieved after the long history of Japanese rule and the martial law enforced by the local government of Taiwan. Through the historical phases from colonial period to democracy, Taiwanese people experienced the instability of constantly changing social conditions. This can be compared to Harari’s view of fiction for social governance. Taiwan’s political climate under the current influence of the People’s Republic of China unmistakably raises issues concerning the country’s regional identity and international relations. Some of the Taiwanese exhibiting artists respond to this situation by exploring oral history and collective memory.

In Japan, there is a tendency to prioritize economic growth alongside the innovation of technology and financial engineering. The Japanese government actively promotes their products as the brand ‘Cool Japan’ to compete in the international market. However, the Great Tohoku Earthquake in 2011 revealed the side effects of capitalist production. Among other things, the myth of safety regarding nuclear power generation turned out to be full of fraud and hypocrisy: the nuclear power station in Fukushima was underwritten with huge subsidies from the government for the purpose of supporting the expansion of Tokyo. The fiction behind economic growth – the myth of ‘safety’ that allowed for the multiplication of nuclear power stations in Japan – was forced on rural areas such as Fukushima which now suffers the tragic consequences of radioactive contamination. Perhaps it’s not surprising that so many Japanese artists have focused on this event in the years since the Fukushima disaster.

In response to such big fictions in relation to social ideology and capitalism, the artists present differing fictions from their subjective standpoints, working closer to the Latin etymology of fiction ‘fictiō’meaning ‘forming’ and ‘feigning.’ Some artists prompt us to contemplate the being and non-being of the subject in question. In so doing, their work reveals the ordinary and real from different perspectives, which in turn provides us with a means to criticise and deconstruct social fictionality. Other artists distance themselves from reality as formed by social fictionality, imposed as it is on our humanity. The exhibition as a whole demonstrates both social and subjective fictions through mediums, and reframes ‘here’ and ‘now’ in differing perspectives in these ways:

1.          Representing ‘here’ and ‘now’ by using fiction.

2.          Hypothetically escaping or transcending from ‘now’ to past or future.

3.          Hypothetically escaping or transcending from ‘here’ to a different place.

In this show, fiction straddles reality and vice versa, as if gazing at the tide on the beach. The exhibition explores the themes of hypothetical escaping, history and memory, everyday fictionality, speaking bodies and changing fiction. The types of exhibited artworks range from painting, sculpture, video and performance to installation. Artistic concerns, including oral history, collective memory, everyday life and the flux of our consciousness, are brought together to create dialogues that speak pertinently of our current condition and the times we are living in. Viewers are invited to unpack stories, envisage landscape ‘on the verge of fiction,’ and reconsider the historical perceptions of Japan and Taiwan.

Artists

Atsuko Nakamura, Chen Fei-Hao, Chen Ting-Chun, Chen I-Chun, Chou Tai-Chun, HarukoSasakawa, Joyce Ho, Kenta Kawagoe, Li Cheng-Liang, Taku Hisamura, Teppei Yamada w/z Yuta Ogawa, Yuriko Sasaoka

Program Planner: Ho Yu-Kuan

Curator: Hayato Fujioka

Co-curator: Huang Pei-Wei

Lighting Designer: Tsai Min-Hau

Carpentry Executor: Cheng An-Shun

Transportation: JC Art Engineering Co., Ltd.

Special Thanks Mabel Wang, Hsu Fong-Ray, Lee I-Hua, Tsai Kuen-Lin, Chen I-Chun, André Chan, Sayuri Fujiwara, Tsukasa Doi, Takafumi Kageyama, Alison Green, Audrey Thomas-Hayes

http://www.kdmofa.tnua.edu.tw/en/index.php?REQUEST_ID=bW9kPWV4JnBhZ2U9ZGV0YWlsJllZPTIwMTkmRUlEPTIyNw==

[meikueipadilha-blog]

Instituto Meikuei Padilha de Artes Marciais Chinesas

Natural de São Paulo (Capital), Jaqueline Rosa Padilha, 28 anos sou professora de Kung Fu estilo Dragão Shaolin Tradicional foi discípula do GM Cássio Xavier por muitos anos e atualmente vem se aperfeiçoando no estilo Hungar Kuen sendo discípula do Mestre Lee Kuen e GM Benny Wong, iniciei meus estudos na universidade na área de Educação física para assim me aperfeiçoar junto a arte marcial.

Hoje dentro dos discípulos deixados pelo Mestre Cassio é a primeira aluna mulher deixada por ele que alcançou a faixa Preta , tive meu inicio nas artes marciais com 9 anos de idade , meu interesse pela artes marcial veio devido a filmes na televisão que sempre aguçam a curiosidade de experimentar e vivenciar a arte em si, quando cheguei na escola para assistir a aula de Kung fu fiquei fascinada pela aula onde fui incentivada a fazer uma aula teste e dessa mesma permaneci na arte e aprofundando os conhecimentos dentro do mesma.

Aos meus 13 anos de idade me tornei instrutora onde o meu Mestre acho que mesmo com a idade e com certas dificuldades por ser mulher eu tinha potencial para tal cargo assim começando a dar aulas com eles em academias e escolas onde ele mesmo lecionava. Admito que tive dificuldades no inicio como muitos discípulos no seu começo, porém o mestre Cassio me incentivou assim seguir seus passos sempre passando adiante os conhecimentos passados a mim e aos meus parceiros de treino.

Tenho alguns conhecimentos adquiridos fora do estilo Dragão e Hungar tais como Wushu olímpico, Zhong Hua Unificado, Dança do leão chinês, Taichi Chuan estilo Chen, Bei Shaolin Quan com os ensinamentos do Mestre Buzzi e Boxe Chinês.

As viagens dentro da minha carreira marcial que acho importantes foram para o Paraguai, Chile e Argentina. Sendo que no primeiro disputei no campeonato Internacional Aberto de artes marciais, o segundo disputei o Torneio Internacional de defesa pessoal e Artes Marciais da UIAMA e o terceiro Campeonato Mundial UIAMA.

Sou Tri Campeão Internacional de Artes marciais, Tri Campeã Sul Americana, Tri Campeã Brasileira entre outros títulos presentes no meu currículo marcial até os dias de hoje.

Atualmente estou seguindo meu caminho nas Artes marciais com meu Instituto ( Instituto Meikuei Padilha )  dando aulas para meus alunos com o Kung Fu no Estilo Dragão Shaolin Tradicional e Hungar Kuen onde a faixa de idade a partir dos 5 anos e ambos os sexos , dentro dessa faixa é respeitado  a característica de cada individuo  assim podemos valorizar em cada aluno seu melhor potencial e aperfeiçoar a cada um dentro de seus limites físicos e dentro disso o aluno começa a se moldar junto a sociedade trabalhando seu caráter  e reforçando seus bons costumes, respeito a si mesmo e ao próximo, solidariedade, Honestidade dentre outras características.

Trabalho também atualmente com Kung fu Educacional que consiste em uma aula um pouco diferenciada da abordagem de uma academia, o kung-fú educacional objetiva a integração do educando no esporte e na sociedade por meio de didáticas vinculada a Pedagogia e a Educação Física como recreações, competições internas e externas, exercícios corporais balanceados onde sempre procura-se respeitar os limites, a idade e as características de cada criança ou jovem. Tudo isso somado as técnicas milenares e a filosofia de vida oriental. Diferentemente do kung-fú tradicional, o educacional não visa o contato físico através do combate, mas sim as técnicas das formas (katis ou taolus) para o desenvolvimento motor, psíquico e cognitivo do aluno, que se soma as demais habilidades e competências curriculares da criança ou do jovem em idade escolar.

Tem uma frase do Bruce Lee que diz assim “A vida é um processo fluente e em alguns lugares do caminho coisas desagradáveis ocorrerão. Podem deixar cicatrizes, mas a vida continua a fluir. É como a água fluente, que ao estagnar-se, torna-se podre; não pare! Continue bravamente, porque cada experiência nos ensina uma lição.”  , com essa frase posso dizer que na vida sempre temos que seguir em frente superando ou passando pelos obstáculos proposto pela mesma e com os ensinamentos que são passado pra ti passe ele adiante pois assim você contribui para que uma ou varias pessoas se tornem melhores e se isso não ocorrer não se torture pois na vida temos o livre arbítrio a cada um de nos fazemos nossas escolhas e com elas vivemos nossas consequências então não pare, não estacione, siga sempre em frente independente do seu obstáculo.

[germanpostwarmodern]

House Ketterer (1954-55) in Stuttgart, Germany, by Chen Kuen Lee. Photo by Roland Halbe.

[hsiaochichu]

Organize 2017 Dreamin’ MoNTUE open call inMuseum of National Taipei University of Education

2017 MoNTUE Open Call— Dreamin’ MoNTUE 2017.04.08 – 2017.05.07    Ming-Hwa YEH’s The Serene Gallery

2017 Dreamin’ MoNTUE 序言Preface

MoNTUE北師美術館

美術館作為承載各種藝術內涵的場域，是否還能有更多的可能？北師美術館自成立以來，各種藝術能量在美術館場域中匯聚與激盪，創造出美術館與觀眾間多元的想像與對話。

藝術家跳脫現存藝術類型的框架，自由地運用各種媒材創作，持續實驗與探索。北師美術館為鼓勵創作者，於2015年起推動「作夢計畫Dreamin’ MoNTUE」，整合美術館資源與專業，給予創作者充分發揮的舞台。

此次「2017作夢計畫Dreamin’ MoNTUE」展出葉名樺《一個人的美術館－寂靜敲門》與陳彥斌《嗨歌三百首masingkiay》，兩位表演藝術家在各自一個月的展期內，隨著時間推移，創造出新的空間感官經驗與開放的參與模式，使「展覽」與「表演」原本類屬不同空間的機能合而為一。藝術家、藝術創作、觀眾於美術館場域中消解時間象限，共同創造一場有機的展覽。

Art museum: a place that houses a kaleidoscope of artistic expressions. But is that all it is? Since its inception, the Museum of National Taipei University of Education (MoNTUE) has been breaking boundaries by coalescing artistic energies from diverse backgrounds in the creation of imaginative dialogues between art and the people.

True artists are always seeking ways to break with existing conventions and play with innovative and creative mediums through experimentation and exploration. In view of encouraging artists to dream outside the box, the MoNTUE launched the Dreamin’ MoNTUE initiative in 2015, consolidating resources and professional opportunities to present a stage for artists to create art to their hearts' content.

The 2017 Dreamin' MoNTUE exhibition features Ming-Hwa YEH's The Serene Gallery and Fangas Nayaw's masingkiay. These two performing artists will each, in their one-month long exhibition period, move with the time to create a new sensory experience that marries "exhibition" and "performance", two seemingly different forms of art belonging to divergent spatial realms. The open engagement approach merges the two functions into one space. Artists, artworks, visitors are no longer bound by time in the museum. Together, they give birth to an organic exhibition.

一個人的美術館－寂靜敲門 The Serene Gallery 2017.04.08 – 2017.05.07

如果自然不值得去認識，生命就不值得去認識。－ 龐加萊（Jules Henri Poincaré）

"If nature were not worth knowing, life would not be worth living." - Jules Henri Poincaré 

《寂靜敲門》走過兩階段的劇場呈現，第三階段《一個人的美術館－寂靜敲門 》是作品脫離劇場於美術館的再言說，創造屬於觀者個人的感知經驗。引納劇場的流動發展轉換至展示空間的移動及觀者感受鋪陳，此次展覽觀者將可選擇獨自一人進入到美術館空間，在寂靜與獨身之中碰觸內在與外在世界的模糊疆域。

The Serene Gallery is the third phase of its precursor Nordic, a two-phase theatrical presentation. It's about moving the theatrical stage to a museum to re-imagine and create a sensory experience unique to each viewer. Infused with the movements and scene changes from the theater, and suffused in the meandering in a museum and meditative ebb and flow of senses, viewers have the option of visiting the gallery space alone, and get in touch with the blurry grey area between the internal and external world in serenity and solitariness.

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宣傳影片Trailer：https://goo.gl/Afk9Vx

導覽摺頁 Brochure ：https://goo.gl/Lbwn16（中）https://goo.gl/Xa5Wcp（Eng）

完整照片Photos：Album 1、Album 2

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▒ 創作概念Concept｜葉名樺 Ming-Hwa YEH ▒ 藝術家Artists｜葉名樺 Ming-Hwa YEH 、董育廷 Yu-Ting TUNG、晟 | SHENG、趙卓琳 Adrianne CHIU ▒ 演出 Performer｜葉名樺Ming-Hwa YEH、Mark van Tongeren、蕭碩寬 A-Kuan ▒ 創作顧問 Mentors｜高俊宏 Jun-Honn KAO、周書毅 Shu-Yi CHOU ▒ 劇場構作 Dramaturge｜鄧富權 Fu-Kuen TANG

------- 北師美術館Museum of National Taipei University of Education 林曼麗教授 Professor Mun-Lee LIN

展覽統籌Exhibition Coordinator｜朱筱琪 Hsiao-Chi CHU 展覽執行Exhibition Executors｜徐珮琳Pei-Lin HSU、鍾一瑄Ihsuan CHUNG 媒體暨編輯Media Relation and Editor｜朱筱琪Hsiao-Chi CHU 教育推廣Education and Promotion｜趙宜恬I-Tian CHAO 、王尹庠Yin-Hsiang WANG 國際事務International Affairs｜王若璇Rocean WANG 實習生Intern｜陳俐臻Lea Jen CHEN、陳靚瑜Ching Yu CHEN、劉彥均、Yen Chun LIU

About 2017 Dreamin’ MoNTUE : http://montue.ntue.edu.tw/exhibit/show/20

MoNTUE, Museum of National Taipei University of Education No. 134, Section 2, Heping E. Road, Da’an District, Taipei City, 106 Website：http://montue.ntue.edu.tw/ FB：https://www.facebook.com/MoNTUE2011/

[2anemon]

[institutoclf]

SEMINARIO LATINOAMERICANO MASTER CHEN YONG FA Colaboran en el: Dai Sihing Mark Whelan Sifu Sergio Arione Sifu Barry Hale Sifu Thomas Furh Sifu Rafael Ruiz Rodriguez Temario Kung Fu: Wu Dip Do (cuchillos Mariposa) Tong yun Jong (muñeco de cobre Ma Yin kuen (Forma del caballo) Ba Gwa Kuen (Forma de palo Ba Gwa) Ba Gwa sin (abanico Ba Gwa) Sup Ji Cern Do (doble sable) Ba Gwa Sanda (Sanda de la familia Chan) Lohan Qi Gong: Sarm Jiaos 18 Lohan Siu Lohan Tres tesoros Luk Hei (6 respiraciones y 5 energias forma) Caminar yin y yang DICTADO POR LA 5° generacion y Guardian del estilo MASTER CHEN YONG FA EN Buenos Aires SOLO PARA MIEMBROS DE LA FAMILIA CHAN Info: www.choyleefutargentina.com www.Institutokungfu.com.ar #choyleefut #Institutokungfu #choyleefutargentina #shifuraulsuarez #familiachan #Institutochoyleefut (en Choy Lee Fut Argentina Familia Chan)

[entmtbiz]

Youth Square "Garden of the Artisans" Arts Festival presents "Shenzhen x Hong Kong Art & Culture Exchange Festival - HK Stop"

HONG KONG, May 16, 2017 /PRNewswire/ -- Youth Square is a project commissioned by the HKSAR Government's Home Affairs Bureau, and aims to facilitate the youth to fully develop their potential. This year, Youth Square "Garden of the Artisans" Arts Festival is presenting a series of art and cultural exchange events. One of the highlights is co-organising with different youth talents from Shenzhen, Guangzhou, and Shanghai to organise a series of music and dance performances between May and September 2017 so as to foster their mutual understanding and friendship through the process of rehearsal and performance.

Youth Square “Garden of the Artisans” Arts Festival presents “Shenzhen x Hong Kong Art & Culture Exchange Festival - HK Stop” Opening Ceremony and "The Same Song" concert choir was successfully held on 13 May at Youth Square, Chai Wan. Hong Kong Diocesan Girls' School Choir and Shenzhen Senior High School Lily Girls Choir performed their refreshing masterpieces and sang "Pearl of the Orient" together for the first time in Hong Kong.

  "The Golden Age" Orchestra Performance on 14 May was performed by Hong Kong Diocesan Girls' School Symphony Orchestra and Shenzhen Experimental School Symphony Orchestra, featuring Italian conductor special invited by Musicus Society, Mr Gian Paolo Peloso, performed various surging masterpieces to the audience.

The opening show was co-organised by Youth Square and Shenzhen Youth Federation, "Shenzhen x Hong Kong Art & Culture Exchange Festival - HK Stop" and debuted on 13 May 2017 in Youth Square located in Chai Wan. The event was honoured to be supported by the convenor and Artistic Director Ms Xu Xia, and invited various elite performers from Hong Kong and Shenzhen, including Ms Grace Chiang of Diocesan Girls' School Choir, Ms Dorothy Hui of Diocesan Girls' School Orchestra, Ms Hu Manxue of Shenzhen Senior High School Lily Children's Choir, Mr Luo Zhenhua of Shenzhen Experimental School Symphony Orchestra, and Mr Gian Paolo Peloso, Conductor special invited by Musicus Society. They performed together with the four music groups from Hong Kong and Shenzhen secondary schools to unleash their music talent on the stage of Youth Square.

"Shenzhen x Hong Kong Art & Culture Exchange Festival - HK Stop" Opening Ceremony was honoured to invite various officials and guests from Hong Kong and Shenzhen, and officiating guests include Mr Chen Lin, Director-General of Department of Youth Affairs, Liaison Office of the Central People's Government in the HKSAR, Mr Vincent Fung, Principal Assistant Secretary for Home Affairs, Mr Xu Youjun, Vice Chairman of Shenzhen Municipal CPPCC, Mr Pan Jiadong, Officer of Shenzhen CPPCC Hong Kong, Macao, Taiwan and Foreign Affairs Committee, Mr Liu Guangyang, Chairman of Shenzhen Youth Federation, Ms Leonie Ki, CPPCC Member, Executive Director of New World Development Co. Ltd. and Vice-Chairman of Musicus Society, Ms Doris Luey, Executive Director of Youth Square, Ms Xu Xia, Convenor and Artistic Director, Ms Chui-Inn Lee, President of Musicus Society and Mrs Janice Choi, MH, Chairman of Musicus Society to inaugurate the arts festival.

Mr Vincent Fung, Principal Assistant Secretary for Home Affairs said, "In this special day on celebrating the 20th anniversary of Hong Kong Special Administrative Region, Youth Square is glad to be supported by various organisations, and co-organise this event with Shenzhen Youth Federation to create an opportunity for youth from Hong Kong and Shenzhen to interact through music. The music elites can understand each other through communications, and to create a valuable friendship through music."

Two renowned choirs joint concert for the first time in Hong Kong

The opening ceremony commenced on 13 May with "The Same Song" concert choir, performed by Hong Kong Diocesan Girls' School Choir and Shenzhen Senior High School Lily Girls Choir. Both groups have won numerous awards in different global choir competitions, and being the best groups in class. They are invited to perform together on stage for the first time in Hong Kong representing youth choirs in Shenzhen and Hong Kong.

During the night, both groups performed their refreshing masterpiece, including classics like "Welcome the Sun", "Spark (To Music)", "Wai Saluo" and "Closer to you". Ms Grace Chiang of Diocesan Girls' School led the choir to competitions all around the world and won a lot of prizes. Ms Hu Manxue is the current conductor of Shenzhen Senior High School Lily Children's Choir. Both teachers believed that both groups are very blessed to perform on stage together for the first time in Hong Kong. This was an invaluable experience to them to learn from each other. The two teams finally sang together at the last song representing Hong Kong - "Pearl of the Orient".

"The Golden Age" Orchestra Performance on 14 May was performed by Diocesan Girls' School Symphony Orchestra and Shenzhen Experimental School Symphony Orchestra. Mr Gian Paolo Peloso (Italy), Conductor special invited by Musicus Society also led the orchestra to perform "Antonin Dvorak: Carnival Overture". Before the show began, Mrs Lau Kun Lai-kuen, Stella, JP, Principal of Diocesan Girls' School and Ms Dorothy Hui, Diocesan Girls' School Orchestra exchanged souvenirs with Ms Long Ping, Principal of Shenzhen Experimental School and Mr Luo Zhenhua, Conductor of Shenzhen Experimental School Symphony Orchestra on behalf of Hong Kong and Shenzhen respectively. It is expected that there will be more opportunities for cultural cooperation and exchanges between Hong Kong and Shenzhen in the future.

Youth Square "Garden of the Artisans" Festival will continue delivering a wave of music and dance activities. In August, Youth Square will co-organise with Guangdong Modern Dance Company and Guangzhou Opera House to hold a Guangdong and Hong Kong Youth Dance Exchange Program. In addition, Hong Kong music elites will perform A Cappella vocal music with local youth musicians in Shanghai during September. The youth will unleash their talents through the cooperation. Please visit Youth Square website for further details.

Photos download: https://goo.gl/QFvQWE

Youth Square "Garden of the Artisans" Arts Festival presents "Shenzhen x Hong Kong Art & Culture Exchange Festival - HK Stop" Opening Ceremony and "The Same Song" concert choir was successfully held on 13 May at Youth Square, Chai Wan. Hong Kong Diocesan Girls' School Choir and Shenzhen Senior High School Lily Girls Choir performed their refreshing masterpieces and sang "Pearl of the Orient" together for the first time in Hong Kong.

"The Golden Age" Orchestra Performance on 14 May was performed by Hong Kong Diocesan Girls' School Symphony Orchestra and Shenzhen Experimental School Symphony Orchestra, featuring Italian conductor special invited by Musicus Society, Mr Gian Paolo Peloso, performed various surging masterpieces to the audience.

About"Shenzhen x Hong Kong Art & Culture Exchange Festival"

To celebrate the 20th anniversary of Hong Kong Special Administrative Region and to strengthen the communication between the youth of Hong Kong and Shenzhen, Youth Square co-operated with Shenzhen Youth Federation and related departments to hold "Shenzhen x Hong Kong Art & Culture Exchange Festival" during May to July 2017 under the guidance of Liaison Office of the Central People's Government in the Hong Kong S.A.R., Shenzhen Municipal CPPCC, Shenzhen Municipal Party Committee Propaganda Department. With the theme of celebrating the 20th anniversary of Hong Kong Special Administrative Region and interactions between Shenzhen and Hong Kong, the event fully delivers the positive and dynamic image of the youth from Shenzhen and Hong Kong, and fosters the communication and cooperation through the culture, art, economic and social aspects.

Shenzhen is the closest city to Hong Kong, and the youth from the two places are frequently interacting with each other. The art festival focused on cultural exchange and invited the most representative students, youth delegates and groups in Shenzhen and Hong Kong to be the guest performers which brought nine quality performances to Shenzhen and Hong Kong citizens. Despite the performances from Diocesan Girls' School Choir and Shenzhen Senior High School Lily Children's Choir during the opening ceremony, other Hong Kong performance groups include: The Learners Chorus, Musicus Society, Diocesan Girls' School Wind Orchestra, VTC Symphony Orchestra, and Youth violinist Mr John Sit; Shenzhen performance groups include: Shenzhen Experimental School Symphony Orchestra, Youth Symphony Orchestra by Shenzhen Symphony Orchestra, Chorus "Caisangzi" of Shenzhen University, Shenzhen Ukulele Association and youth pianist Ms Cai Huiping. The most exciting day of the Shenzhen x Hong Kong Art & Culture Exchange Festival will be 18 June as our Ambassador World-class cellist Mr Trey Lee will be in joint performance with Youth Symphony Orchestra by Shenzhen Symphony Orchestra and Shenzhen Experimental School Symphony Orchestra presenting classical music to youth and citizens of both cities. The Season of Art spreads across two months with a thousand performers is expected to reach a total of 200,000 youth of the cities.

New World Facilities Management Company Limited

New World Facilities Management Company Limited is a non-profit making company and a wholly-owned subsidiary of New World Group (HK Stock Code: 00017). Embracing the mission of youth development and supporting youth to contribute to society, we strive to develop Youth Square as the platform for youth to exchange knowledge and experience and to develop and discover their potential.

Youth Square

The Youth Square, which came into full operation in 2010, is a youth development project of the Home Affairs Bureau of the HKSAR Government, with an aim to be the hub of diversified youth development activities for youth to develop their potential. Youth Square facilities include the 643-seat Y Theatre, Y Studio, multi-function areas and the Y Loft which has 148 guest rooms. Youth Square has been conducting over 100 themed events under "Music & Dance", "Arts & Culture" and "Community Engagement". Youth Square has been holding over 7,500 youth events and served for more than 1.6 million participants since 2010. In addition, with participants came from more than 60 countries or regions, Y Loft has been providing accommodations for more than 70,000 youths who participated in various exchange programmes in Hong Kong. Youth Square is located in Chai Wan and is managed and operated by New World Facilities Management Company Limited on a non-profit making basis.

6G model is Youth Square's guiding principle. 6G refers to Groom, Grow, Glow, Green, Global Vision and Give Back.

Official web site: http://ift.tt/UZlIpw.

Musicus Society

Musicus Society is a registered charity founded in 2010 under the vision of cellist Trey Lee, which aims to promote music and its education through cross-cultural collaboration. The Society's core activities include cross-cultural collaborations between local and overseas artists, commissioning of new music based on Chinese culture, and support of music education for students of all social backgrounds to foster future cultural ambassadors from Hong Kong. Website: http://ift.tt/1YnljKJ

Photo - http://ift.tt/2qmorfI Photo - http://ift.tt/2qmjaoM

Read this news on PR Newswire Asia website: Youth Square "Garden of the Artisans" Arts Festival presents "Shenzhen x Hong Kong Art & Culture Exchange Festival - HK Stop"

[cleverkittentimetravel-blog]

State of the Arts in Singapore: Where is the Periphery? by Jeffrey Say

“Histories, Practices, Interventions” book - co-edited with Seng Yu Jin, referencing the dominance of the state. 

Singapore is designed, staged and engineered  - This even applies to creativity - Rem Koolhaus describes it as “if there is chaos, it is authored chaos.” - Singapore as a performative nation-state, spectacles of anguish 

Brief History of Singapore Visual Art - 1938: NAFA set up - schooled in Western art and Chinese ink tradition, the creation of a hybrid style called the Nanyang style, with local subject matter. First generation artists include Liu Kang and Georgette Chen.  - 1950s: Equator Art Society - nationalist, anti-colonialist, works depicting the poor, strikes against the British. Role downplayed as associated with leftist/Communist ideals, thus disbanded and abandoned social realist works. Chua Mia Tee was a member of the Equator Arts Society. An example of artwork produced then is “Epic Poem of Malaya” (1955) - students from the Chinese middle school were involved in strikes and riots, with Communist undertones.  - 1960s and ‘70s: Singapore art dominated by internationalism. Second generation artists influenced by overseas education. Beginnings of conceptual-based practices: Cheo Chai Hiang - “5′ x 5′ (Singapore River)” (1972) - submitted as a set of instructions to the president for the Modern Art Society, Ho Ho Ying. Following this, there were different iterations of the work. 

- Late ‘80s: Artists adopted new mediums to make art.  Rejection of formalism, incorporation of audience participation in a creative act.  - 1989: Policy paper on art and culture released by the Advisory Council on Culture and the Arts from a white paper.  - 1990: Substation founded by Kuo Pao Kun  - 1991: National Arts Council (NAC) set up - 1993: National Heritage Board (NHB) set up  - 2000: Renaissance City Report released which positioned Singapore as a global arts city, released in three versions. The results were institutionalisation - the Singapore Art Museum (1996) and the Esplanade (2002) 

The Economic Imperative - EDB (1990) set up a Creative Services Strategic Business Unit, that led to the creation of Art Stage and Gilman Barracks 

Emergence of Contemporary Art in Singapore

(1) The Artists’ Village (TAV) - Founded by Tang Da Wu in 1988, in Sembawang - Invited friends and students eg. Amanda Heng, Lee Wen, Zai Kuning - to visit, stay and use the space - Housed 35 artists at its height, with 50 others participating in TAV activities  - “Interested in art as a continuous process” - T.K. Sabapathy - Resistance against the commodification of art  - Lee Wen stated that there were four components: (1) concern for social issues (2) tolerance for uncertainty (3) improvisation (4) high regard for process-based art  - Original location was then earmarked for redevelopment - “The Space” - Hong Bee Warehouse - where Vincent Leow performed his piece “The Three Legged Frog: Lifestyles of the Rich and Famous (1992) - wearing a suit laminated with US dollar bills - a critique of materialism and superstitious beliefs. Also Lee Wen’s “Yellow Man” (1999) - performed in Australia and Thailand, exaggerating ethnic identity - testing perceptions of race, identity and “Asian-ness” 

(2) 5th Passage: AGA and Josef Ng incident - 5th Passage (1991) by Suzann Victor, Susie Lingham and Han Ling, based in Parkway Parade - 1993: organised Artist General Assembly, a 12-hour event - Josef Ng’s protest piece against how 12 gay men were gated and arrested by police, then caned, which ended with the snipping of his pubic hair. He was then convicted for obscenity, fined, and could never perform again. - Government ceased funding for performance art for the next 10 years, 5th Passage was blacklisted and evicted from Parkway  - Loo Zihan re-enacted the work in 2012, titled “Brother Cane” at Substation 

Tang Da Wu performance “Don’t Give Money to the Arts” (1995)  - Approached President Ong Teng Cheong to don a jacket with the message on the back “Don’t Give Money to the Arts” and passed him a note which said “Dear Mr. President. I am an Artist, I am Important.” during an art fair, questioning cultural policy, state funding. 

Substation

- Singapore’s first independent art space - Peaked in the 1990s: incubator for research and process-based work - Eg. Jason Lim and Ng Siew Kuen, “Three Tonnes of Clay” (1995) - “an ideal of freedom and civic expression” - Audrey Wong describing the Substation  - Activism is circumspect (not openly adversarial) - T.K. Sabapathy - “Critical obliqueness” - Russell Storer - questioning is not overt, conceptualist strategies/institutional critique  - Limitations of artists relying on government funds - limited artistic freedom 

Contemporaneity

 - Delicate balance of state tension. Artists focusing energy inwards leading to allusive and coded works that require a discerning audience - a comment by Tan Boon Hui, former director of SAM - Overly conceptual work? Eg. “Mike” (2005) by Lim Tzay Chuen, “I Wanted to Bring Mike Over” - Singapore Pavilion at the 51st Venice Biennale  - Vertical Submarine - “Foreign Talent” (2007) - referencing the migrant worker contribution to Singapore development 

Singapore Survey 2010: Beyond LKY, held at Gallery Valentine Willie  - Curatorial brief: imagine a world without LKY  - Jason Wee - “Self Portrait (No More Tears)” - a portrait of LKY made of shampoo bottle caps, referencing sanitisation in Singapore society. “Self Portrait (No. One Mr. Lee” - “My Father, Mr. Lee” plaque - a reference to paternalism  - Interesting how different forms of art are treated: Eg. Green Zeng: Malayan Exchange (Study of a Note of the Future) (2010) - notes with photos of political exiles, rewriting historical narrative versus “To Singapore with Love” by Tan Pin Pin - treatment of banned films  - Jimmy Ong, “Papa Can You Hear Me #7″ (2010) - playing cards with words from gay anthem “Papa Can You Hear Me?” from Barbara Streisand film - “self-censorship” using lyrics from a song versus his own words  - Sonny Liew: The Art of Charlie Chan Hock Chye - S Chandrasekaran - addressing the challenges of performance art in Singapore  - “Golden Staircase” by Priyageetha Dia - eight steps of HDB covered in gold foil, was this considered art or vandalism? 

[ofhouses]

382. Chen Kuen Lee /// House Straub Senior /// Knittlingen, Germany /// 1956

OfHouses guest curated by AMUNT: ”Chen Kuen Lee was an architect of Chinese descent, working in Germany and Taiwan. He was a pupil and associate of Hans Scharoun. Subsequently he started his own business and in the 1950s and 1960s built a variety of apartment buildings and houses/villas in and around Stuttgart. House Straub Senior was designed as a domicile for a furniture manufacturer, who also used it as a lived-in exhibition area. The most concise elements of the house – with its multifaceted living landscape – are the wide span roof construction that connects the first floor to the bedrooms and the open gallery to the main living space, the interior pond, and the planting bed. The house is an architectural icon of living in the garden – of the relation to nature, which is one of the basic principles of organic architecture – and it presents us with Lee’s full range of spatial experiences.” (Photos: © AMUNT, Archiv Michael Koch.)