Visuals

Why Remap? Shifts in Journeys Inside and Outside History

March Meeting 2013
Why Remap? Shifts in Journeys Inside and Outside History
Tiffany Chung, Why Remap? Shifts in Journeys Inside and Outside History

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Why Remap? Shifts in Journeys Inside and Outside History Image

Why Remap? Shifts in Journeys Inside and Outside History

March Meeting 2013
Why Remap? Shifts in Journeys Inside and Outside History
Tiffany Chung, Why Remap? Shifts in Journeys Inside and Outside History

Why Remap? Shifts in Journeys Inside and Outside History Image

Why Remap? Shifts in Journeys Inside and Outside History

March Meeting 2013
Why Remap? Shifts in Journeys Inside and Outside History
Dr. Edward Simpson, Why Remap? Shifts in Journeys Inside and Outside History

Why Remap? Shifts in Journeys Inside and Outside History Image

Why Remap? Shifts in Journeys Inside and Outside History

March Meeting 2013
Why Remap? Shifts in Journeys Inside and Outside History
Ashko Sukumaran "CAMP", Why Remap? Shifts in Journeys Inside and Outside History

Why Remap? Shifts in Journeys Inside and Outside History Image

Why Remap? Shifts in Journeys Inside and Outside History

March Meeting 2013
Why Remap? Shifts in Journeys Inside and Outside History
Tiffany Chung, Ashko Sukumaran "CAMP" and Dr. Edward Simpson, Why Remap? Shifts in Journeys Inside and Outside History

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Why Remap? Shifts in Journeys Inside and Outside History Image

Overview

Although most journeys and maps both represent and result from accumulations of experience and information, only a few become recorded as history. As perceptions of the world system shift, what maps need to be re-drawn? Does this require reformulations of the type of information maps record? What journeys might contribute to these reformulations and whose stories from these journeys might inform how these are reframed?

Tiffany Chung (Artist, Vietnam)

Tiffany Chung holds an MFA from the University of California, Santa Barbara, USA (2000) and a BFA from California State University, Long Beach (1998). Her cartographic and installation works examine conflict, migration, urban progress and transformation in relation to history and cultural memory. She explores the recovery and growth of cities damaged by war or natural disasters, looking at both the physical site and the psychological realm of its inhabitants. Blurring the distinctions between art, anthropology and sociology, her current videos and large-scale installations create allegorical fantasies that examine the aftermath of colonisation and modernisation, and imagine our world at the end of the human race. Chung has participated in exhibitions around the world including, the Asia Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, Australia (2012); Six Lines of Flight, San Francisco Museum of Modern Art, USA (2012); Kuandu Biennale, Taipei, Taiwan (2012); Singapore Biennale (2011); Roving Eye, Sørlandets Kunstmuseum, Norway (2011); Atopia: Art and City in the 21st Century, Centre de Cultura Contemporània de Barcelona, Spain (2010); Incheon International Women Artists’ Biennale, South Korea (2009); and the Fukuoka Asian Art Triennale, Japan (2005).

CAMP (Artists, India)

CAMP is a collaborative studio whose projects relate to media and its history, formats and distribution. The group’s process often follows the spirit of open-source communities. CAMP is also a co-initiator of Pad.ma, an online digital-media archive. CAMP has recently participated in the Kochi-Muziris Biennale, India (2012); Gwangju Biennale, South Korea (2012); Documenta 13, Kassel, Germany and Kabul, Afghanistan (2012); The Ungovernables, New Museum Triennial, New York, USA (2012); Edgware Road Project, Serpentine Gallery, London, UK (2011– ); Two Stages of Invention, Experimenter, Kolkata, India (2011); The Matter Within: New Contemporary Art of India, Yerba Buena Center for the Arts, San Francisco, California, USA (2011); Against All Odds, Lalit Kala Akademi, New Delhi, India (2011); Sharjah Biennial, UAE (2009, 2011); Folkestone Triennial, UK (2011); Liverpool Biennial, UK (2010); Home Works 5, Ashkal Alwan: The Lebanese Association for Plastic Arts, Beirut, Lebanon (2010); Asia Art Award Exhibition, Seoul, South Korea (2010); THE JERUSALEM SHOW, OUTSIDE THE GATES OF HEAVEN, Al-Ma’mal: Foundation for Contemporary Art, Jerusalem (2009); IF WE CAN’T GET IT TOGETHER: Artists rethinking the (mal)function of communities, Power Plant, Toronto, Canada (2009); Taipei Biennial, Taiwan (2008); The Impossible Prison, Nottingham Contemporary, UK (2008); and Indian Highway, Serpentine Gallery, London (2008).

Dr. Edward Simpson (Senior Lecturer in Social Anthropology, School of African and Oriental Studies, University of London, UK)

Edward Simpson has a PhD from the London School of Economics, UK, and is currently Senior Lecturer in Social Anthropology at the School of Oriental and African Studies, University of London. His work has focused on the state of Gujarat in western India. He is interested in mobility, knowledge, morality and crisis. He is the author of The Political Biography of an Earthquake: Aftermath and Amnesia in Gujarat, India (Society and History in the Indian Ocean) (C Hurst & Co Publishers Ltd, London, 2013) - a study of the things people do in the name of humanity and humanitarianism at times of crisis; and Muslim Society and the Western Indian Ocean: The Seafarers of Kachchh (Routledge, London, 2006) – a monograph about growing up to be a seafarer.

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