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@womensartprojectasia
Roof projection of Treasure House depicts scenes of women's empowerment, peace and hope. Traditionally made by women, the paper-cuts are transformed into screens for the films. The films follow the artist's creative process and journey of motherhood as everyday life is woven together with documentation of the social practice commissions. These commissions have supported indigenous peoples of China and Taiwan by honouring localised artforms made by the Hmong and Amis people
Treasure House 2022
Jui Pin Chang / 1964 / Taiwan // Tiffany Singh / 1978 / New Zealand Xiang wedding quilts, Hmong textile, Amis Textile, Flower cloth, Tablecloths, Papercut, Bamboo, Thread, 2 channel projection
Treasure House is a historical reference to the generational experience of making, bound to domestic and household responsibility. As embroidery and weaving are largely regarded as the birthplace of women's industry and liberation towards equality and financial independence.
The artwork begins in 1972 when the small enterprise movement saw each household become the 'living room factory'. Thischildhood experience with women-led industry became a life-changing experience for artist Jui-Pin Chang, cementing family obligation and craft-led making as lifelong components of her art career.
The architecture of the Whare (Maori) or Mother Room (Amis) references the 5000 year DNA connections across the Pacific Ocean between the Dulan Coast and Aotearoa. Its construction speaks to the domestic offerings of Xiang embroidery, traditional folk art made by women, that carry the distinct characteristics of Chu culture. These treasured bedquilts were gifted to the artist Jui-Pin Chang to honour her marriage when she was first able to travel to mainland China (1988) with her father after Martial Law ended (1949 -1987) Politically and personally historic these quilts for the marital bed, are stitched with the traditional symbols of happiness for women. Realist forms in hand dyed silk, the rising phoenix, one hundred children, pine cranes and peony flowers symbolise dreams of equality in union, fertility, long life and prosperity respectively.
Installing Treasure House 2022 for the Love and Hope~2022 World Women's Art Confluence Art Festival // We/Women's Boundary Narrative ~ Continuity, Flow and Convergence.
Therefore, at this moment, we gather the female artistic power of Taiwan & the world on the east coast of Taiwan, to view the roles & creations of contemporary female artists from different perspectives. A contemporary context of boundary dialogue & extension in contemporary Taiwanese women's creations, and provides a medium for viewers to think about the relationship between themselves, others, & the societies we live in. On the one hand, it is a metaphor for the brewing of new things from existing things, & at the same time, it is exploring the connected to extend, evolve, & to grow meaning.
Exhibition Venue: Taitung Art MuseumExhibition Date: 25 Jun to 4 Sep 2022 Instructor: Ministry of Culture｜Organizer: Taitung County Government,
｜Sponsors: Taishin Bank, Itayuan Hostel Taitung County Aboriginal Culture Association, Norden Ruder Hostel - Taitung Branch, Qu Tao Man Hotel - Taitung Hotel Cham Cham Taitung, Women's Bookstore, National Women's House
｜Equipment cooperation: ViewSonic
Originally the beading was used as currency similar to the shells. The Amis created their own beads the darker red bead & green beads where created or offerings ceremony & prayer. The beads are a symbol of status in the community, with beads being collected over time and with age.
Today we had the privledge of working with the Orchid Weaver Women. Weavers who love dying & weaving from the Dulan Amis tribe. We were able to work alongside them, learning the plant medicines & technologies of nature.
The women make localised works with a deep knowledge of the Amis culture. This collboration fosters & continues the spirit of mutual support & companionship within the tribe. Today was our first day of collaboration through the processes of natural fibre art that will become a central part of All The Good Dreams For Women exhibition for the We/Women's Boundary Narrative ~ Continuity, Flow and Convergence at the Taitung Art Museum in July
Jui-Pin Chang & Tiffany Singh have again joined forces to develop the womens Art Project in Asia. This time they are in Taitung for the Love and Hope~2022 World Women's Art Confluence Art Festival . The ground work is produced in collaboration with Hmong refugee community and the Amis Women's Collective, positioning a narrative of women’s liberation through objects of the domestic. This central symbol aims to elevate the world view of artwork made by women, paying tribute to traditional roles passed down from generation to generation, from mother to daughter. As women have bartered their expertise in skill with one another, decorative needlework became a valued commodity.
RESIDENCY AT BANGKOK 1899 During her three-month residency, Singh has used her multidisciplinary approach to transform Bangkok 1899 into an immersive Social Practice Hub. Looking after her two young children while simultaneously building this exhibition, she exemplifies a new contemporary art paradigm to enable women artists, who are also mothers, to live and work in a supportive residency environment.
This new suite of work explores the narrative of Women’s Liberation through objects of the domestic. From multiple collaborations with other women artists, Singh and Chang map out factors that affect how women participate in various artistic disciplines. These relationships provide a narrative around the history, identity and technical skills related to the production of so-called “women’s” work. Through performative aspects and subtle gestures, The Pink Period provides an opportunity to learn about, and to address issues that affect women artists.
Developed through the collaborative project Women’s Art Project Asia during a residency at Taipei Artist Village (Taiwan). Singh invited her collaborator Taiwanese artist Jui-Pin Chang to build upon their existing research to delve further into societal expectations, family obligations and being classified as a minority voice within the art world to produce the first iteration of The PInk Period for the Grand Opening of bangkok 1899.
The way we consume and think about art and culture in recent years has moved toward the participatory. Perhaps this is in response to the isolating aspects of our digitized lives. For The Pink Period the artworks are created in a move towards the literal. Works that hold physical and emotional expressions of time and that move through a time-based experience. The work is born to expire, enacting the cycle of composing and decomposing all at once. This is a natural cycle replicates the cycles of life and relies on documentation as part of the archiving process to become a part of the artworks own life cycle. These images of the work life cycle show the daily offerings and maintenance to keep the work alive over the 14 day life cycle of the opening phase of the exhibition. The performative aspects invited viewers to light candles, incense and make offerings.
The audience also encountered works on the floor and were required to make a decision to respect them as artworks or use them as doormats.
The dialogue among artists, collectors, viewer/participants, critics and museums is a major way that ephemeral art stays relevant and connected to its culture. The residue of that dialogue lies in our memory and can be recalled when we encounter the work again in other contexts. This is the premise of the final presentation of The Pink Period where the life cycle of the work has been filmed then projected into the final gallery presentation. This formalised version communicates a time based narrative through film, the collective incense sticks the burnt down candles, with the rehanging of the doormat work Cut Stitch and Braid previously exhibited on the floor, as fine art works on the walls.
THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand
CUT, STITCH & BRAID, 2019 upcycled textiles produced in collaboration with CHAMALiiN and the Pakistani community Intensively partnering with a cross-section of communities in Bangkok, the artists responded to pieces produced inside women-led cottage industries to create the final series presented here. Modernization has changed how items are made, leading to a loss of culture in many communities, as hands are replaced by machines. The embroidery seen on the mats illustrates this paradigm shift. The chosen quotes are lifted from interviews with women artists that took place during Singh’s and Changs research and development phase at the Taipei Artist Village in collaboration with the Taiwan Women’s Art Association and Creative New Zealand. The doormats are made using all upcycled material to reflect the age-old process of breathing new life into well-used objects.
Requiring a gesture from the audience, this work requests that you make a choice: whether or not to “walk over” women’s work. This simple decision was documented to inform future iterations.
The bilingual 'doormats’ present common sayings around the positioning of women in society. The commentary unpacks stereotyping and historical idioms. The artists will look to develop different mats in different cultural contexts as the project develops.
THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand
RED CARPET, 2019 Textiles produced in collaboration with CHAMALiiN and the Pakistani community The “red carpet” is a central symbol to elevate the world view of artwork made by women. This pays tribute to traditional roles passed down from generation to generation, from mother to daughter. As women bartered their expertise in skill with one another, decorative needlework became a valued commodity. The narrative of this work speaks to the beginning of Women’s Liberation through industry driven opportunity. Red Carpet was created by piecing together textiles produced by women from various time periods, countries and cultures, making a space for women to respond to their identities as artists and artisans. Requiring a gesture from the audience, this work requests that you make a choice: whether or not to “walk over” women’s work. This simple decision was documented to inform future iterations.
Our partnership with CHAMALiiN connected us to the Hmong women. With the aim to empower a vulnerable community of women in Bangkok through supporting safe, sustainable, and ethical livelihood opportunities. For the exhibition we commissioned pieces from the Hmong women to be woven into the Red Carpet and surrounding works. The women have total creative control over who they choose to use their canvas to communicate who they are and how they feel.
THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand
ENERGY, WATER & EARTH, 2019 pressed metal, water, flowers, candles, incense, rice, day old materials from the domestic altar Energy, Water & Earth exists as an elemental representation of the interconnectivity of all things. All five elements are represented within this work, however, water is the most predominant, as it is the most Yin and most feminine. Water, as the tide, has a deep association to the moon, pushing downward and inward, transmitting stillness and conserving energy. The work itself maps out collaborative processes, strategic partnerships and the “velvet triangles of empowerment” associated with feminist critical theory.
THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand
DOMESTIC ALTAR 2019 pressed metal, water, flowers, candles, rice, chili, lemongrass, thai basil, peppercorns, sage, lotus Interspersed between the works lies the domestic altar. Constructed from common Thai pressed metal bowls and cups. These stacked vessels mirror the stupa form as a way of referencing the form of the Thai Buddhist Stupa. The Domestic altar is a reminder to the offerings Mother Earth presents and the domestic rituals that connect and bind us.
THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand
MAIDEN, MOTHER & CRONE, 2019 rose quartz, clear quartz, moonstone, metal This offering of moonstone and quartz honours the Yin energy. The role of the crystals is to harness and ground the properties of the feminine: intuition, compassion and wisdom. This elemental work aligns with the moon’s cyclic phases, as it orbits the earth — the waxing crescent, the Full Moon, and the waning crescent. These aspects also represent the three phases of a woman’s life in terms of physical reproduction—before, during, and after the body’s ability to have a child.
THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand
TALKING BOX, 2019 wooden plinth, wooden box, speaker, sewing materials, audio from interviews with Margaret Chui, Peng Yiping and Xiaohuahua in collaboration with The Taipei Women’s Art Association This work explores women’s relationship to objects of the domestic by providing a narrative around the history, identity and technical skills related to producing so-called “women’s work.” The artist invites you to lift the lid to listen to issues that affect women artists today. The performative aspect of maintaining this altar daily signals the many domestic responsibilities that women carry.
THE PINK PERIOD September 7 – November 10, 2019 Bangkok 1899 // Thailand
TRANSMISSIONS, 2019 papercut, single channel video Examining notions of time, travel and motherhood, Transmissions explores the challenges women face in conjunction with the long-lasting flexibility and strength of Eastern traditions. Hieronymus Bosch’s The Garden of Earthly Delights (c. 1517) is transformed into an intricate, papercut screen to form a worldly, personal paradise. In this installation, soft thin paper is cut hollow. This process conveys a long-term unremitting labor that exemplifies lasting patience. The cut out trees, flowers, figures and cities nurture the projected video, portraying the intimacy of everyday life, and the many roles a woman must fulfill in order to reach her desires in a professional, artistic career.
