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Erika Tan

Born, 1967 in Singapore

Erika Tan was one of the artists in Diaspora Pavilion | Venice to Wolverhampton was “a re-staging of a selection of works previously shown in the exhibition Diaspora Pavilion that took place in Venice during the the 57th Venice Biennale last year. The works shown here are by seven of the 19 artists who were part of the Venice show, all of who were selected due to the variety of ways that their practices engage with diaspora as a concept.

The Diaspora Pavilion grew out of a desire to provide a space for artists to pose counter-narratives that interrogate the notion of diaspora and a topical interest in the impact of increased global mobility, displacement and migration on culture. The idea of diaspora here functions as a tool with which to explore how artistic practice has been influenced by cross-cultural exchange.

… In an adjoining gallery Erika Tan has re-designed the large-scale work made for the Venice Pavilion, The ‘Forgotten’ Weaver (RETURNS), onto which she projects two video pieces, and has introduced a third projection element, The Weavers Lament. Together the four elements of the installation consider the relevance in the postcolonial reframing of modernism.

Curated by David A. Bailey and Jessica Taylor

The above text is from the brochure accompanying the exhibition, which took place at Wolverhampton Art Gallery, 10 February - 29 April 2018.

The brochure describes Tan’s practice as “primarily research-led and manifests in multiple formats, with a leaning towards moviong image, referencing distributed media in the form of cinema, gallery-based works, internwt and digital practices. Evolving from an interest in anthropology and the moving image, her work is often informed by specific cultural, geographical or physical contexts. Her research interests focus on the postcolonial and transnational, working with archival artefacts, exhibition histories, received narratives, contested heritage, subjugated voices and the transnational  movement of ideas, people and objects. Recent projects (Come Cannibalise Us, Why Don’t You / Sila Mengkanibalkan kami mahu tak?) explore the discursive connections between the technology of  cinematic green screen space to that of the museum and its technologies of dislocation - with particular focus on the colonial Museum in ‘Malaya’ and the repatriation of objects ‘with no shadow’.”

 

Related items

click to show details of Diaspora Pavilion | Venice to Wolverhampton brochure

»  Diaspora Pavilion | Venice to Wolverhampton brochure

Brochure relating to an exhibition, 2018

Related exhibitions

Related venues

»  Wolverhampton Art Gallery

Wolverhampton, United Kingdom