inVISIBLE | hyperVISIBLE
May 20th – July 16th, 2022
Curated by Boram Jeong, Boyung Lee, Sammy Lee, and Chad Shomura
Opening Reception May 20th, 5:00-8:00pm
The theme inVISIBLE | hyperVISIBLE captures the struggles of Asians and Asian Americans to survive and thrive in the face of strong anti-Asian sentiment. Asians and Asian Americans are alternately made invisible and hypervisible through stereotypes such as “model minorities,” “honorary whites,”“perpetual foreigners,” and “enemy aliens.” Yet, Asian America is remarkably complex due to cultural diversity, various migration routes, and different socioeconomic circumstances. inVISIBLE | hyperVISIBLE will showcase Asian and Asian American artists, scholars, performers, and community organizers from different ethnic, gender, and geographic backgrounds.
Jennifer Ling Datchuk, Yikui (Coy) Gu, Sammy Seung-min Lee, Maryrose Cobarrubias Mendoza, Tsogo Mijid, Yong Soon Min, Tuan Andrew Nguyen, Scott Tsuchitani, Joo Yeon Woo, Ren Pan and five Boulder-based artists, Erin Hyunhee Kang, Renluka Maharaj, Liz Quan, Chinn Wang and Thomaz Yi.
Artist Talk with Participating Boulder Locals
Grace Gamm Theater, Dairy Arts Center
Facilitated by Boram Jeong
This artist talk is free and open to the public. Proof of vaccination required.
The Island, Film Screening
Sunday, June 5th at 5:00pm (Q&A facilitated by Boyung Lee)
A public screening of The Island by Tuan Andrew Nguyen with a Q+A from Curator Boyung Lee to follow will be held May 29th starting at 7:00pm in the Boedecker Cinema, Dairy Arts Center. A second screening of the film will be held on June 5th at 5:00pm with a Q+A from Curator Boyung Lee to follow.
Tickets are $3 and may be purchased here. Proof of vaccination required.
The Island is a short film shot entirely on Pulau Bidong, an island off the coast of Malaysia that became the largest and longest-operating refugee camp after the Vietnam War. My family and I were some of the 250,000 people who inhabited the tiny island between 1978 and 1991, when it was once one of the most densely populated places in the world. After the United Nations High Commissioner for Refugees shuttered the camp in 1991, Pulau Bidong became overgrown by jungle, filled with crumbling monuments and relics. The film takes place in a dystopian future in which the last man on earth—having escaped forced repatriation to Vietnam—finds a United Nations scientist who has washed ashore after the world’s last nuclear battle. By weaving together footage from Bidong’s past with a narrative set in its future, I question the individual’s relationship to history, trauma, nationhood, and displacement