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Introduction
From femme sensibilities to a queer state of mind, “WOMEN我們: From Her to Here” brings together artistic works that embody feelings and experiences rooted in the non-binary—an awareness, a liminal space, and a source of power to be and be seen.
Between and beyond this exhibition are local and universal expressions of queer and feminist liberation, cultivation, and imaginations. Centered on Asian diasporic perspectives, the exhibition features video and film works, mixed media installation, photography, paintings and publications by artists of diverse gender & sexual identities across the Bay Area, Taiwan, Hong Kong, China, and more.
This is CCC’s third iteration of WOMEN我們 (a Mandarin homophone meaning both ‘women’ and ‘we’), an ongoing series which explore feminism, gender diversity, and sexual equality. For this iteration, “We” represents agency and belonging, affirming our need to sustain safe physical and psychological spaces in as a way to nourish queer and feminist creativity and cultural growth.
從女性情感到酷兒精神, 《WOMEN我們: From Her to Here》集結展示的藝術創作根植於非二元性別對立的經驗之中: 一種意識、一個閾限空間和一股形成或被見證的力量之源。
在展覽之中以及之外是對酷兒及女性自由、培養和想像力於當地的或普遍性的表達。展覽關注亞裔離散視角, 展出錄像及電影作品、混合媒介裝置、攝影、繪畫和出版物，它們來自灣區、台灣、香港、中國內陸等地的多元性別及性認同的藝術家的創作。
這是中華文化中心《WOMEN我們》 (中文同音字包含兩重含義:“女性”或“我們”)的第三屆系列群展，這一持續的系列旨在探討女性主義、性別多樣化和性別平等。此次系列群展中，“我們”代表主體性與歸屬感, 公開肯定我們對持久安全的實體與心理空間的迫切需求, 以此滋養酷兒與女性主義創造力和文化的成長。
Visiting
WOMEN我們: From Her to Here is on view February 19 – August 28, 2021. It can be viewed online at www.cccsf.us/women-from-her-to-here
In person visits to the gallery will begin in spring 2021 when permitted under current City and State stay-at-home orders. Visits will be by appointment to ensure the public’s safety. Guests can make a free appointment through the website at www.cccsf.us when the gallery reopens. City and State guidelines will be observed. Visitors will be required to wear masks and maintain social distancing.
Gallery hours are Tuesdays – Saturdays 10 a.m. – 4 p.m. at Chinese Culture Center, 750 Kearny St., 3rd Floor. Admission to the gallery is free. For more information and updates on reopening, the public should visit www.cccsf.us or call 415-986-1822.
About CCC
Chinese Culture Center (CCC), under the aegis of the Chinese Culture Foundation of San Francisco, is a non-profit organization established in 1965. CCC elevates underserved communities and gives voice to equality through education and contemporary art. Rooted in San Francisco’s Chinatown, CCC is a loud and creative voice to uplift social and economical transformation. We provide a safe environment for artists who champion activism, resiliency, and healthy communities. In doing so, we shift dominant narratives, empower change, and reimagine our futures.
《WOMEN我們: From Her to Here》展期自2021年2月19日至8月28日。請訪問www.cccsf.us, 查詢展覽信息。
實體畫廊空間參觀將根據舊金山市許可及加州居家令規定於2021年春季開放。展覽實行預約參觀以確保公眾安全。觀眾可在畫廊重新開放後, 通過網站 www.cccsf.us, 進行免費預約。具體安排將遵循舊金山市及加州政府部門的防疫指導。訪客將被要求佩戴口罩及保持安全社交距離。
畫廊開放時間: 週二 – 週六 10 a.m. – 4 p.m. , 中華文化中心, 750 Kearny St., 3rd Floor。免費開放。更多資訊及開放更新訊息, 請訪問網站www.cccsf.us 或致電 415-986-1822。
中華文化中心 (CCC) 隸屬舊金山中華文化基金會 (Chinese Culture Foundation of San Francisco), 是於1965年成立的非營利性機構。中華文化中心致力於提升未得到充分支持的社區地位，並通過教育與當代藝術為平等發聲。 根植於舊金山華埠，中華文化中心以響亮且具有創造力的發聲鼓舞社會性和經濟層面的變革。我們為倡導積極性，韌性和健康社區的藝術家提供安全的環境。在此過程中，我們轉變主流敘事，賦予變革以權力，並重新構想我們共同的未來。
Erotic Wallpaper (2019-2020)
Yao Hong 姚紅
Mixed-media installation with wallpaper, tiles
I created Erotic Wallpaper in 2019. In the current era of exploding speed and information flow, this work challenges the medium of and the viewing of drawing. The piece uses contrasting and oppositional patterns to create unique visual effects and patterns responding to the speed of contemporary information age and its underlying desires. The materials used in the installation, printed wallpaper from drawing and commonplace white tiles, reveals the hidden anxiety and pain of Taiwan’s citizens. The chaotic and conflicting patterns not only responds the Taiwan’s collective anxiety, but also my gender anxieties.
In my creative process, I carry almost no emotion when I draw by hand. I try to resolve a great, aching anxiety in my life through an impersonal approach. By standing clear of myself, I hope to see myself more clearly. The resulting work becomes a neurotic visual texture that defies common sense. I believe this drawing texture adds new sense and sensibility to the aesthetic reservoir of the history of art.
這次展覽的作品是我在2019年期間創作的作品『情慾圖紙』，這件作品於現在速度與訊息流量爆炸的時代中，重新挑戰了繪畫的媒介與觀看，並用極度矛盾的圖騰造成視覺上的幻聽效果回應當代訊息社會的速度．並同時賦予當代繪畫一種新的詮釋、和畫法；且試圖和過去的藝術史對話。同時我使用的材料透露出了台灣人民底層的焦慮和疼痛，而這龐雜混亂的矛盾圖騰不僅回應了這時代的壓迫，也隱微的參透了我的個人身份-性別。台灣焦慮和我的性別焦慮滾動在一起，成為了這樣新的繪畫。
談到創作過程，我在手繪時幾乎是毫無情緒的，以一種不帶入個人情緒的方式去解決我生活中巨大疼痛的焦慮感，我想站著離自己遠一些才能看自己看得更清楚。另外除了裝置方法外，特別值得一提的是印刷的手法，通過印刷這個媒介和我手繪的矛盾圖騰做對話，形成一種溫度難測的詭局繪畫感；我想這種繪畫感在藝術史上是新的感受和感動。
Work Info
Sambal Belacan in San Francisco (1997)
Madeleine Lim
16mm film, 24:56
來自新加坡的三名第一代亞洲移民女同性戀者拼命打造自己的家園與歸屬感。這部屢獲殊榮的紀錄片探討了文化身份，女同性戀性行為和移民身份如何引發有關歸屬感的強烈質疑。結合劇本化的場景，電影院，詩歌，訪談和新聞短片，這部混合體裁的電影從視覺上傳達了居住在美國的亞洲女同性戀移民的多重經歷。
《三番參巴醬》贏得了1997年聖何塞電影電視委員會的喬伊獎和1998年國家教育媒體網絡的銅獎蘋果獎。它在全球國際電影節兩年多的巡迴放映會中, 座無虛席，並通過美國公共廣播公司播放給數百萬觀眾。
1998年，該電影因其對國家、種族和性的坦率刻畫而在新加坡被禁播。 2020年10月，新加坡政府發布了一項臨時豁免禁令，並允許新加坡國際電影節在節前單元“新浪潮”中放映《三番參巴醬》。電影被使用R21進行分級。根據政府規定，該電影只對包括Madeleine Lim母親在內的33人進行放映。
Three first-generation immigrant Asian lesbians from Singapore grapple to create home and belonging. This award-winning documentary explores how cultural identity, lesbian sexuality, and immigration status raise powerful questions about belonging. Combining scripted scenes, cinema verité, poetry, interviews, and newsreel footage, this mixed-genre film visually conveys the multi-layered experiences of immigrant Asian lesbians living in the U.S.
"Sambal Belacan in San Francisco" won the 1997 Award of Excellence from the San Jose Film & Video Commission's Joey Awards and the 1998 National Educational Media Network's Bronze Apple Award. It was featured at sold-out theaters on the international film festival circuit around the world for over two years and was broadcast on PBS to millions of viewers.
In 1998, the film was banned in Singapore due to its frank portrayal of nationality, race, and sexuality. In October 2020, the Singaporean government issued a one-time exception to their ban and allowed the Singapore International Film Festival to screen "Sambal Belacan" in San Francisco at their pre-festival program New Waves. The film was slapped with an R21 classification rating. Due to government regulations, it screened to an audience of just 33 people, including Madeleine Lim's mother.
Work Info
