Yang Yeung runs the non-profit art organization Soundpocket, whose mission is to promote listening and sound as artistic practices. At Soundpocket, Yeung manages, organizes, curates andwrite essays on art and its relation to society.
Yang Yeung stumbled upon art in Hong Kong by accident. In 2008, she founded the non-profit art organization Soundpocket, an incubator and inquirer of the art of sound in Hong Kong. As director of Soundpocket, she manages, organizes, curates, and edits. She engages in the same activities independently, and is particularly concerned with the legitimacy of institutions regulating art and culture in Hong Kong. She realizes as she works that it is necessary to sustain critiques against authorities that promote domination. Yeung teaches classics at the Chinese University of Hong Kong.
Residents from Hong Kong
Isa Rosenberger examines radical political changes and their social and economic consequences. The starting point of Rosenberger’s investigations is often ideologically charged architectural and monumental manifestations in urban space, for the reason that they reveal the changes in the prevailing orders of perception. Rosenberger documents places and conversations using photography and video. She combines these documentations with fictional contents, so that her works never remain merely in the field of theoretical debate. By juxtaposing subjective views and everyday biographies with the canonised representations of history, Rosenberger examines the construction of reality and the power of images related to it, in this way seeking to allow established stories to be newly reflected upon.
Isa Rosenberger (born 1969) lives and works in Vienna. Rosenberger studied at the University of Applied Arts in Vienna and at the Jan van Eyck Academy in Maastricht. Her recent solo exhibitions include Espiral, Grazer Kunstverein, 2011; Edith Russ Site for Media Art, Oldenburg, 2009 and Secession, Vienna, 2008. Recent group exhibitions include It’s The Political Economy, Stupid, Pori Art Museum, 2013 and Austrian Cultural Forum, New York, 2012; Thessaloniki Centre of Contemporary Art, 2012; Appropriation of the Present – Exhibition of Works from the Collection, Galerie für zeitgenössische Kunst GfzK, Leipzig, 2012; Second World, Galerija Nova, Zagreb, 2011; Triennale Linz 1.0, State Gallery Linz, 2010 and Eccentric Paths II, The Latvian National Museum of Art, Riga. In 2008 she received the Otto Mauer Prize for Fine Art.
Residents from Austria
Historical and personal memory are interconnected in the work of Edgardo Aragón, revisiting history through a series of remakes and bringing into the present situations and narratives from his family that relate to broader social, cultural and political issues – and those related to the context of Oaxaca, the state of his birth, and to the conditions of a country disrupted by drug trafficking. He generally uses video to tell or retell a story and bring it back into operation and circulation. Matamoros (2009) is a road movie recording the artist’s journey on Mexican roads from Oaxaca to the United States border, following the same route Pedro Vazquez took in the 1980s transporting drugs. In Efectos de familia [Family Effects] (2007/2009), members of Aragón’s family – cousins, nephews – “are forced to learn the family history, related to various forms of organised crime.” In these works, affective ties have replaced moral judgement through symbolic actions that allow the violence associated with the “narco” to be seen from another viewpoint different from the way it is portrayed in the media.
Edgardo Aragón (born 1985) received his B.A. in Fine Arts from the ENPEG la Esmetalda, Mexico City. His work has been the subject of solo exhibitions at institutions including the Museo Universitario de Arte Contemporaneo (MUAC), Mexico City; MoMA P.S.1, New York; and the Luckman Gallery, Los Angeles, CA. His work has also been included in group exhibitions including Resisting the Present, Musee d’Art Moderne de la Ville de Paris, 2012;Disponible: A Kind of Mexican Show, San Francisco Art Institute, 2011; Historias Fugaces, Laboral Centro de Arte, Gijon, 2011; and El horizonte del topo, Palais des Beaux-Arts, Brussels, 2010. His work was also included in the 3rd Moscow Biennial of Young Artists, the 12th Istanbul Biennial, and the 8th Mercosur Biennial. His films have been screened in film festivals in Werkletiz, Marseille, and Mexico City. He lives and works in Oaxaca.