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SFMOMA Announces SOFT POWER — International Contemporary Exhibition

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Tanya Lukin Linklater, The Treaty is in the Body, 2017 (video still); courtesy the artist and Winnipeg Art Gallery; © Tanya Lukin Linklater; photo: Liz Lott, courtesy the artist

Timely and provocative, SOFT POWER is an exhibition about the ways in which artists deploy art to explore their roles as citizens and social actors. Appropriated from the Reagan-era term used to describe how a country’s “soft” assets such as culture, political values and foreign policies can be more influential than violence or coercion, the title SOFT POWER suggests a contemplation on the potential of art and offers a provocation to the public to exert their own influence on the world. The exhibition opens at the San Francisco Museum of Modern Art (SFMOMA) on October 26, 2019 and remains on view through February 17, 2020.

Organized by Eungie Joo, curator of contemporary art, and presented exclusively at SFMOMA on two floors of the museum, the exhibition features new and recent work by 20 international artists working in 12 countries. More than three quarters of the works in SOFT POWER are commissions and new works never before presented in the United States. Taken together, the works demonstrate what cultural theorist, filmmaker and catalogue contributor Manthia Diawara has called a solidarity between intuitions — a concept that acknowledges the complexity, darkness and opacity from which our reality emerges — the poetry and imagination of our differences. According to Joo, “Professor Diawara’s solidarity between intuitions expresses how specific works can enhance our understanding of others by association and relation, while maintaining their distinct contexts and content. I trust the public can relate to many of the concerns of the artists in SOFT POWER, and hope that this exhibition will unleash an untapped energy among us.”

SOFT POWER reflects SFMOMA’s commitment to living artists and the world we share, as outlined in our new Strategic Plan,” said Neal Benezra, Helen and Charles Schwab Director of SFMOMA. “The diverse practices and perspectives represented in this exhibition embody the goals of this museum: to embrace new ideas, push boundaries and share new ways of looking at our world through the lens of contemporary art.”

Nairy Baghramian, Retainer, 2012 (installation view, Punto de la Dogana, Venice, 2015); cast aluminum, silicon, poly carbonate, chromed metal, print, painted metal, rubber

About the Exhibition

The majority of works in SOFT POWER have never been presented in the U.S., including the four-channel video installation The Specter of Ancestors Becoming (2019) by Tuan Nguyen, co-founder of The Propeller Group. Co-produced by SFMOMA and commissioned by the Sharjah Art Foundation, the work explores the creation of memory and the agency that affords. Nguyen’s remarkable collaboration with descendants of French colonial soldiers once stationed in Vietnam — tirailleurs Sénégalais — features stories written by three members of the Vietnamese community in Senegal. Enacting fictionalized vignettes that reveal their own imaginings and experiences, his collaborators call forward the unresolved ghosts of history, receiving them with compassion and grace.

The 15 artists’ commissions for SOFT POWER also include five new sculptures by Haig Aivazian that explore the relationship between mythology and nation-building; the installation Who’s Afraid of Ideology, Part 2 by Marwa Arsanios; a site-responsive installation by Dineo Seshee Bopape; a new mural by Minerva Cuevas inspired by the history of Smokey the Bear and the environmental impact of fire; a sound sculpture enveloping the fourth floor by Cevdet Erek; a series of sculpture by Hassan Khan that echoes his concurrent solo exhibition at the Palacio de Cristal in Madrid; a performance and video by Tanya Lukin Linklater on encounter as a form of repatriation in collaboration with the Hearst Museum of Anthropology in Berkeley; an installation and photographic diptych by Cinthia Marcelle based on the traces of economic instability; a performance by Jason Moran in early 2020, along with a published conversation between Moran, IONE and Jessie Baird about the revolutionary power of the dream state; the first chapter of Carlos Motta’s new project on LGBTQI Dreamers; four large-scale abstract paintings by San Francisco Art Institute alumnus Eamon Ore-Giron; ongoing research into the market potential of gas hydrate by Pratchaya Phinthong; Xaviera Simmons’ enormous painting installation inspired by and responding to Jacob Lawrence’s The Migration Series (1940–41); and a series of “flat” sculptures based on teepee covers by Duane Linklater. Highlighting the technology of mobile architecture, Linklater’s new canvases patch together distant elements that comprise indigenous reality. Incorporating the ancient geometric patterns of the Omaskêko Cree, a large format inkjet printer and natural pigments that he harvests locally, Linklater produces objects masking their own purpose through their form: nonfunctioning teepee covers, now devoid of architectural purpose, but imbued with new cultural purpose.

SOFT POWER is also enlivened by several existing works, including a changing installation of five massive landscape drawings and tent from the durational performance Drawing a Line through Landscape by Nikhil Chopra at documenta 14; the premier of LaToya Ruby Frazier’s, Flint is Family, Part 2, in which Shea Cobb and her daughter Zion escape the ongoing Flint water crisis and “return” to their inheritance in Mississippi; Hassan Khan’s remarkable video installation Jewel (2010); a series of 15 banners and small abstract sculptures by Dave McKenzie; Pratchaya Phinthong’s “documentation” of migrant bilberry pickers in Finnish Lapland, Give More Than You Take (2010); and a wall installation and sculptures by Tavares Strachan from his Invisibles series. The exhibition features two works by Nairy Baghramian, including Retainer (2013), produced for her first major exhibition in the U.S. and extending her examination of systems of power, context, architecture and the materiality of sculpture. In this work, chromed steel supports large translucent slabs of cast resin and silicon reminiscent of a dental or gynecological intervention in process, but at a scale that confronts the full body. Within the context of the exhibition, Baghramian’s work suggests the temporal precision of physical states of matter, conjuring vast possibilities of adaptation, suffering and survival.

Full List of Artists Included in SOFT POWER:

Haig Aivazian (b. 1980, Beirut, Lebanon; lives and works in Beirut)

Marwa Arsanios (b. 1978, Washington, D.C.; lives and works in Beirut)

Nairy Baghramian (b. 1971, Isfahan, Iran; lives and works in Berlin)

Dineo Seshee Bopape (b. 1981, Polokwane, South Africa; lives and works in Johannesburg)

Nikhil Chopra (b. 1974, Kolkata, India; lives and works in Goa)

Minerva Cuevas (b. 1975, Mexico City, Mexico; lives and works in Mexico City)

Cevdet Erek (b. 1974, Istanbul, Turkey; lives and works in Istanbul)

LaToya Ruby Frazier (b. 1982, Braddock, Pennsylvania; lives and works in Chicago)

Hassan Khan (b. 1975, London, U.K.; lives and works in Cairo)

Duane Linklater (b. 1976, Ontario, Canada; lives and works in North Bay, Ontario)

Tanya Lukin Linklater (b. 1976, Kodiak, Alaska; lives and works in North Bay, Ontario)

Cinthia Marcelle (b. 1974, Belo Horizonte, Brazil; lives and works in São Paulo)

Dave McKenzie (b. 1977, Kingston, Jamaica; lives and works in Brooklyn)

Jason Moran (b. 1975, Houston, Texas; lives and works in New York)

Carlos Motta (b. 1978, Bogotá, Colombia; lives and works in New York)

Tuan Andrew Nguyen (b. 1976, Ho Chi Minh City, Vietnam; lives and works in Ho Chi Minh City)

Eamon Ore-Giron (b. 1973, Tucson, Arizona; lives and works in Los Angeles)

Pratchaya Phinthong (b. 1974, Ubon Ratchathani, Thailand; lives and works in Bangkok)

Xaviera Simmons (b. 1974, New York, New York; lives and works in New York)

Tavares Strachan (b. 1979, Nassau, Bahamas; lives and works in New York)

Nikhil Chopra, Drawing a Line through the Landscape, 2017 (production view, Bratislava); courtesy the artist, Chatterjee & Lal and Galleria Continua; photo: Madhavi Gore

Programming

October 24 – Artists’ talk with exhibition curator Eungie Joo

October–February

  • Open rehearsals by Tanya Lukin Linklater in the galleries
  • Performance by Jason Moran
  • LaToya Ruby Frazier and The Sister Tour
  • Conference on sexual orientation, gender identity, ethnicity and race at the border conceived by Carlos Motta in conjunction with the University of California, Santa Cruz

Organization + Support

Lead support for SOFT POWER is provided by The Fund for Contemporary Art. Generous support is provided by Diana Nelson and John Atwater.

About Eungie Joo, Curator of Contemporary Art

Eungie Joo joined the San Francisco Museum of Modern Art (SFMOMA) in 2017 as curator of contemporary art, a newly established role that supports the museum’s mission to engage with the art and artists of our time. Previously Joo was curator of Sharjah Biennial 12: The past, the present, the possible (2015) in the United Arab Emirates. The exhibition included the work of over 50 artists and cultural practitioners from 25 countries and featured new works, performances and site-specific commissions by 36 of those artists, including SOFT POWER participating artists Nikhil Chopra, Hassan Khan and Cinthia Marcelle; as well as Julie Mehretu, Damián Ortega, Taro Shinoda, Adrián Villar Rojas, Haegue Yang and Lynette Yiadom-Boakye.

Joo was Keith Haring Director and Curator of Education and Public Programs at the New Museum in New York from 2007–12, where she spearheaded the Museum as Hub initiative and curated the 2012 New Museum Generational Triennial, The Ungovernables. She was artistic director of the 5th Anyang Public Art Project/APAP 5 (2016); director of art and cultural programs at Instituto Inhotim in Brazil (2012–14); commissioner for the Korean Pavilion at the 53rd Venice Biennale (2009); and founding director and curator of the Gallery at REDCAT in Los Angeles (2003–7). In addition to many other distinctions, Joo received the Walter Hopps Award for Curatorial Achievement in 2006. A frequent contributor to exhibition catalogues and magazines, she is editor of Rethinking Contemporary Art and Multicultural Education (Routledge, 2011) and co-editor of Art Spaces Directory (ArtAsiaPacific and New Museum, 2012). She received her doctorate in Ethnic Studies from the University of California at Berkeley.

Publication: Soft Power: A Conversation for the Future

The exhibition will be accompanied by a fully illustrated catalogue, Soft Power: A Conversation for the Future, with essays by artist Marwa Arsanios on Ecofeminism; filmmaker and cultural theorist Manthia Diawara on the poetic concepts of Edouard Glissant; Whitney Museum of American Art curator Adrienne Edwards on the state of time- based art; writer Yasmine El-Rashidi on the colonization of narrative: SOFT POWER curator Eungie Joo on the exhibition; and composer Jason Moran in conversation with playwright and poet IONE and linguist Jessie “Little Doe” Baird on dreams and their manifestations. In addition, each participating artist is profiled in a 6-8 page section featuring installation images of the exhibition and commissioned contributions by a striking lineup of curators, thinkers and writers including: Haytham el-Wardany on Haig Aivazian; Athena Athanasiou on Marwa Arsanios; Eungie Joo on Nairy Baghramian and Cinthia Marcelle; Portia Mahlodi “Uhuru” Phalafala in conversation with Dineo Seshee Bopape; Naeem Mohaiemen in conversation with Nikhil Chopra; Max Haiven on Minerva Cuevas; Cevdet Erek on his practice; LaToya Ruby Frazier on her project Flint as Family; Hassan Khan on the concepts at play in his work; a photo essay by Duane Linklater; Magdalyn Asimakis on Tanya Lukin-Linklater; Meg Onli in conversation with Dave McKenzie; Karma Chávez on Carlos Motta; Jovanna Venegas on Jason Moran; Koyo Kouoh in conversation with Tuan Andrew Nguyen; Marcela Guerrero on Eamon Ore-Giron; Thanavi Chotpradit on Pratchaya Phinthong; Brian Keith Jackson on Xaviera Simmons; and Stamatina Gregory on Tavares Strachan. The publication Soft Power: A Conversation for the Future is distributed by Rizzoli and will be available in January 2020.

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Squid Game, Style influence and Sustainable consumption

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Photo source: Netflix

Have you heard about the recent South Korean drama blockbuster named Squid Game yet? It was released on Netflix on Sept. 17, 2021, and has quickly earned a worldwide audience. Since debuting, it has been viewed by more than 100 million people and has become the no. 1 trending in top 10 lists in 94 countries around the world.

Not only topped the list, but the South Korean drama has also created a trend that has influenced fashion style around the world and dominated the online platforms such as Google, Facebook, Instagram, and several online shopping websites: Amazon, eBay, Shoppee, and so on.  On Google.com, you will find more than 223,000,000 results in only 0.53 seconds; on Amazon.com, the term “Squid Game costume” has also become a top finding, even when you have just typed only two characters “sq”, the full term “Squid Game costume” will appear and you can find more than a thousand of results about this kind of clothes. 6,150 results for Squid Game costume appear when searching on eBay. On Instagram and Facebook, the hashtag #SquidGameCostume has recently become the most popular key hashtag and could be the influent style this winter.

Unlike trending superhero movies like Captain American, Avengers, with characters wearing specialized and inconvenient costumes for daily use, “Squid Game” is full of players wearing banal teal-green tracksuits. And this style of wearing tracksuits has been promoted by luxury fashion brands such as Louis Vuitton and Channel in recent years, because of its convenience and full of fashion, suitable for almost everyone from children, young people, and adults. That’s why the seemingly simple tracksuits in “Squid Game” turned out to be more trending.

The green tracksuit will likely become popular because of its convenience and ease of production, but it’s not the only known outfit, one that’s probably even more sought-after is the set of hot pink boiler suits and black masks watch the spectacle. Halloween is just around the corner, this type of costume has the potentiality to become another “red jumpsuits and Salvador Dalí masks” – a phenomenon that comes from the previous hit Money Heist.  Clearly, Squid Game costume could be a perfect choice for the one who is looking for the new and trending Halloween costume, and fashion influencers may have to queue in line after Squid Game this Halloween and winter.

With marketing strategies in all aspects that an ordinary person can reach just by picking up the smartphone, it is not difficult for “Squid Game” to be accessible through advertisements, and finding a way to win in marketing could be more easily for fashion companies and even companies that are not engaged in the fashion industry. Netflix even sells Squid Game t-shirts and hoodies on its website, and it seems that marketing the products of trending movies will become the marketing trend in the future.

However, from the environmentalist or sustainable consumption supporters’ perspective, the influences of the fads can go against what they’re pursuing. Sustainable consumption is the use of services and related products, which responds to basic needs and brings a better quality of life while minimizing the use of natural resources and toxic materials as well as the emissions of waste and pollutants over the life cycle of the service or product so as not to jeopardize the needs of future generations. Sustainable consumption is closely related to sustainable production and sustainable lifestyles. When thinking about the relationship of a hot trend like Squid Game and its influence, we could see the 4M plus model (4M +) including Mass media marketing -Mass outfit obsession – Mass production – Mass consumption, and the plus could be the Mass damage for the environment. It may seem to be not a kind of mass production if it only happens once in a blue moon and only happens for one movie/show, but in fact, it is an unstoppable game that every director wants to win. Fashion’s influence could be a tool to reach the top trending show of the year and also be a push for the fashion industry and consumption later.

So, is the top trending show doing well in marketing and promoting fashion consumption by creating style influence, definitely Yes, but is it promoting sustainable consumption? I am not sure.

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The winner of the All About Photo Magazine contest is a picture of a happy Nenets family

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Photo: Yulia Nevskaya, "Tundra people"

The work of the Russian photographer Yulia Nevskaya “Tundra People” – a photograph of a happy woman from the Russian northern region of Taimyr surrounded by three children won first prize in the All About Photo Magazine travel photography competition. This photograph’s victory is particularly noteworthy for the UNESCO-announced Decade of Indigenous Languages (2022–2032), which will focus on the rights of native speakers of indigenous languages.

All About Photo is a free and independent magazine that has become one of the most vibrant portals of photography on the web. Moreover, All About Photo result is one of the most far-reaching online magazines where you can find everything related to photography.

Nevskaya worked a lot in the north of Russia, including with small peoples: the Nenets and the Sami. She took many photographs in one of the most interesting and northern cities of Russia – Norilsk.

This is how she described her trip.

“Norilsk is an industrial city, there are many industries that are harmful to the environment. This city was a revelation for me. I expected to see a smoky sky and an oppressive atmosphere. But the city turned out to be full of light, a combination of shades of white and blue against the background of the silence of the Arctic, “Nevskaya said.

The main enterprise of the city – Norilsk Nickel – has been actively cooperating with the indigenous people of the region for a long time.

The Taymyr Peninsula is a peninsula in the Far North of Russia, in the Siberian Federal District, that forms the northernmost part of the mainland of Eurasia. Administratively it is part of the Krasnoyarsk Krai Federal subject of Russia.

Nornickel has been cooperating with the Indigenous Minorities of the North for more than 30 years.

The photo shows Angelina Wanga with her children Denis, Linda and Dima. The picture was taken at the end of April. Snow in the tundra will melt only at the beginning of summer.

In July, at the UNESCO headquarters in Paris, with the support of Norilsk Nickel, the exhibition “The World in the Faces” of the famous Russian photographer Alexander Khimushin was held. The author personally presented a collection of more than 170 artistic photographic portraits of representatives of different peoples of the world, shot in authentic national costumes in places of residence. The exhibition was dedicated to the upcoming International Decade of the World’s Indigenous People and Their Languages. It is a celebration of multiculturalism and our incredible ethnic diversity at its best.

In 2018, Khimushin went to the Russian Arctic – Taimyr. The result was a series of portraits of the region’s indigenous inhabitants – Dolgans, Nganasans, Enets, Nenets, Evenks.

Khimushin became the first Russian photographer to have an exhibition at the UN headquarters in New York. Works from The World in Faces project were exhibited at the University of Lille in France, and for six months were broadcast on the screen of the world’s largest digital art center in Bordeaux.

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Landmark report highlights untapped potential of Africa’s film industry

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Nigerian film actress Toyin Abraham was among entertainers who helped the UN share messages to address myths surrounding COVID-19./ Toyin Abraham

Africa’s film and audiovisual industries could create over 20 million jobs and contribute $20 billion to the continent’s combined Gross Domestic Product (GDP), the UN cultural agency, UNESCO, said on Tuesday in a new report highlighting this untapped potential. 

The African Film Industry: Trends, Challenges and Opportunities for Growth is the first-ever mapping of the sector, which currently employs some five million people and accounts for $5 billion in GDP across Africa.

Making creativity viable

Audrey Azoulay, the UNESCO Director-General, presented the report in Paris alongside esteemed filmmakers Abderrahmane Sissako and Mati Diop.

“This landmark publication reflects on the importance of strengthening international cooperation to enable all countries, in particular developing countries, to develop cultural and creative industries that are viable and competitive both nationally and internationally,” she said.

The report aims to help the African film industry, and decision-makers, to take stock of the current landscape and plan strategically for future growth.

Africa’s potential as a film powerhouse remains largely untapped, despite a significant growth in production across the continent, the report argues. Nigeria alone produces around 2,500 films a year.

Even though affordable digital film equipment and online platforms allow direct distribution to consumers, opening new avenues for content creators, Africa is the most underserved continent in terms of movie theatres.  Currently, there is only one cinema screen per 787,402 people.

Lights, camera, piracy

The film industry also faces the significant problem of piracy.  The UNESCO report estimates that 50 per cent to over 75 per cent of revenue is lost to piracy, though precise data does not exist.  Additionally, just 19 out of 54 African countries offer financial support to filmmakers.

The report outlines further challenges, including limitations on freedom of expression, as well as education, training and internet connectivity.

Films as ‘public goods’

This year marks two decades since the adoption of a UNESCO Declaration that upholds cultural diversity as being as necessary to humanity as biodiversity is to nature.

Ms. Azoulay said in commemorating the anniversary, “we must raise our voice to reaffirm that films are indeed ‘public goods’ that require public support and investment to ensure equal access to creation, production, distribution, dissemination and consumption.” 

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