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Rituals and Rebirths is a group exhibition curated by Peruke Projects in collaboration with A.I. in London. The exhibition examines the performances of three diasporic Southeast Asian multi-disciplinary artists, constructed around the rituals concerning the rebirths of their oeuvres and the marking of time. This presents the opportunity to reflect upon their experiences of crisis, displacement, and otherness, through their rituals, renewals, responses and provocations.
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Anida Yoeu Ali
b.1974, Cambodia -
Anida Yoeu Ali
The Red Chador , 2019
Mixed Media: Red sequins, fabric, thread and unknown bodyDimensions variable -
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Anida Yoeu AliThe Red Chador: Genesis I , 2020HD Video Single Channel (Colour) + AudioDuration: 9min19secEdition of 5 plus 2 artist's proofs
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The artist counters public complicity to "othering" through performances that are hyper visible and public. This exhibition illustrates the Chador's intimate performances, and the journey of the character's birth, death, and rebirth, calling on those she encounters to ask themselves a few simple questions:
If you encounter The Red Chador, would you fear her or walk with her?
Would you help her across the terrain, or would you block her path?
Would you take a moment to notice her?
Would you care at all?
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Anida Yoeu Ali
Lava Rising, The Red Chador: Genesis I , 2019Digital Color Print with Archival Pigment InkPaper: 75 x 112.5cm
Frame: 78 x 115cmEdition of 3 plus 1 artist's proofAnida Yoeu AliWaterbirth, The Red Chador: Genesis I , 2019Digital Color Print with Archival Pigment InkPaper: 75 x 112.5cm
Frame: 78 x 115cmEdition of 3 plus 1 artist's proof -
Anida Yoeu AliThe Day After, The Red Chador, 2019Digital Color Print with Archival Pigment InkPaper: 75 x 112.5cm
Frame: 78 x 115cmEdition of 3 plus 1 artist's proof
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About the artist
Anida Yoeu Ali (b. 1974, Cambodia) is a multi-disciplinary artist living in the US and whose works include performance, installation, videos, images, public encounters, and political agitation. Ali’s works have been exhibited at the Haus der Kunst, Palais de Tokyo, Musée d'art Contemporain Lyon, Shangri-La Museum of Islamic Art, Culture and Design and the Queensland Art Gallery. She is a recipient of the 2020 Art Matters Fellowship and the 2015 Sovereign Asian Art Prize. She graduated with an MFA from School of the Art Institute Chicago. Ali serves as a Senior Artist-in-Residence at the University of Washington Bothell and travels between the Asia-Pacific region and the USA.
Lilibeth Cuenca Rasmussen
b.1970, Philippines/Denmark
WELFARE IS NOT SUSTAINABLE
LIMITED PRIVILEGES
IMPURITY UNDER CONTROL
Lilibeth Cuenca RasmussenToday is your (performance), 2022HD Video (colour) with audioDuration: 20mins 42secsTeaser: 39secsCONTROL IS MISSING
VITAMINS FROM CHILDREN
ACCUMULATED LIFE
About the Artist
Lilibeth Cuenca Rasmussen (b.1970, Philippines) is a performance artist who lives in Denmark. Cuenca Rasmussen has exhibited and performed internationally. She has exhibited and performed at KIASMA Art Museum, Helsinki, Brooklyn Museum, New York, Tate Modern, London, Performa, New York, Venice Biennale, Thessaloniki Biennale, Busan Biennale, The Drawing Room Manila, Röda Sten, Gothenburg, AROS Art Museum, Aarhus, National Gallery, Singapore, in Copenhagen: SMK/National Gallery Denmark, Nikolaj Kunsthal, Copenhagen Contemporary.
Quỳnh Lâm
b.1988, VietnamThe Price of Humanity, 2022
Quỳnh Lâm’s latest series evolved over the last four years while living a nomadic existence, researching and working in the United States, Europe, and eventually Thailand where she completed her research during her artist residency with Peruke Projects. Her full objective is to document and present her research, as well as illustrate her emotional and creative responses to her time living in the diaspora, during the Covid-19 pandemic, surviving the traumas of being a target of racism, and the challenges of being unable to return to her home country.
Separated from her homeland, Lâm’s performance is both a tribute and a documentation of, in, and among the diaspora and her personal experiences as a “refugee”. Having let her hair grow out during the four-year passage of time, she now cuts it for the audience to confront toxic stereotypes and hate crimes towards Asian women.
As the artist enacts the ritual of cutting and collecting the hair in a box, by using a pair of scissors that denote a personal history for her, she yearns to elicit emotive responses from the audience as she invites them to participate through the abstract form of language, history, and memory. More specifically, with her use of paper notes highlighting traumatic experiences, the presentation of some of her possessions, and fragments of a body that moves endlessly through space and time, Lâm shares a spiritual and highly charged, ephemeral instance with the viewer.
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Quỳnh Lâm
The Price of Humanity (9118) , 2022
Photograph on hahnemuele paper
Paper: 24 x 35cm
Edition of 5 plus 1 artist's proof
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Quỳnh Lâm
The Price of Humanity (Objects), 2022
Woven mat: 120 x 188 cm, acrylic box with etching "052018", "112021", "052022":
64 x 11 x 8.5 cm, artist's own scissors, hair, handwritten notes on paper
matt: 120 x 188 cm
box: 64 x 11 x 8.5 cm
The Price of Humanity (Performance), 2022
Duration: 15mins 04 secs
HD video with audio
Edition of 5 plus 1AP
About the Artist
Quỳnh Lâm (b.1988, Vietnam) is an interdisciplinary artist who is currently living & working between Bangkok and London. Lâm works in performance, installation, video, and mixed media. She is a winner of The 2021 American Austrian Foundation Seebacher Prize for Fine Arts; a recipient of the Special Jury Prize – 2019 Art Future Prize in Taiwan. She has exhibited work in Vietnam and abroad; including at The Factory Contemporary Arts Center in Ho Chi Minh City; The Vincom Center for Contemporary in Hanoi, Richard Koh Fine Art Gallery in Singapore, Museum of Contemporary Art in Nashville, Palazzo Costanzi Museum in Trieste and the Abbey of San Gallo in Moggio Udinese, Italy.
Enquire about the works: info@a-i-gallery.com
Rituals & Rebirths
Past viewing_room
