AFA BEIJING
Beijing Contemporary Art Centre

The exhibition will be divided in 4 sections, which will run simultaneously in 4 different rooms.

Adamo Macri - One Onion Canon

HEP 2010 Beijing China
AFA BEIJING
1 ArtBase, "Beijing 318 Art Garden" East 6-3, Hegezhuang Village, Cuigezhuang Township, Chaoyang District, Beijing China

16 January - 14 March 2010
Curated by Jose Drummond - AFA Beijing
HEP curated by Alison Williams

Paradox

Dave Swensen, Nicole Rademacher, Khairy Hirzalla, Hakan Akcura, Larry Caveney, Kim Miller, Vienne Chan, Basmati Corpus, Irina Gabiani, Xenia Vargova, Ng Fong Chao 

Loss & Desire
 
Gaia Bartolini, Daniel Chavez, Michael Douglas Hawk, Richard Jochum, Alison Williams, Debbie Douez, Manfred Marburger, Gili Avissar, Jose Drummond, Masha Yozefpolsky, Bianca Lei, Li Xiaosong

Transformation

Amina Bech, Bill Millett, Anders Weberg, Glenn Church, Alison Williams, Christy Walsh, Alberto Guerreiro, Alicia Felberbaum, Sue Pam-grant, Danny Germansen, Li Mu, Alice Kok

Fantasy

Adamo Macri, Ebert Brothers, Verena Stenke, Andrea Pagnes, Robertina Sebjanic, Niclas Hallberg,  Michael Chang, Paolo Bonfiglio, João Ricardo, Cindy Ng, Peng Yun




The term "video" commonly covers a vast range of activities, including feature films on video tape, music videos, home video recordings, closed circuit video surveillance, corporate and information video, video used for legal evidence in the police and court systems, television, internet, and, we shouldn't forget video art in all its manifestations.

We can link the word "video" to specific objects like videotape or video cameras and obvious related practices and as much as there is heterogeneity of practices, which go under the same name, the purposes are as diverse - showing that the term is archaic and that "video" is a hybrid medium in constant transformation.

This current uncertainty about the role and nature of "video" and the inclusion of disciplinary boundaries is linked to a broader crisis in knowledge, a characteristic of our times.
The displacement of the traditional culture by the rise of a spectacular image suggests that as much as video offers a new kind of object, it is also part of a profound transformation of the social and cultural conditions within which is produced.

The various manifestations of Video Art throughout the last 40 years provide us an alternative parallel timetable where unquestionably were eliminated the concerns, techniques and problems inherited from more academic art forms. In most cases, the artists who use video developed a process of exploration and reduction, by the elimination of all extrinsic characteristics until they arrive at what is, presumably, a core, an essence.

The assumption that by stripping the medium down to its unique features will lead us to its innermost core, its own proper identity is just one side of the question. It is for the artist to trace a concern, not so much for limiting the specificity of different media, but for understanding their interrelationships. In other words, video artists today are most often interested in the hybrid rather than the pure, in transformation and intersection rather than discrete and stable boundaries.
Video is, therefore, one of the most prolific visual mediums in use today.
Contributions from the extensive collection of the Human Emotion Project, founded and directed by the South African artist Alison Williams, give Macau a selection that links together more than 40 voices from all over the world.

Exhibition 2010