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羅德島黑石谷旅遊局徵櫻花公主


Do you know someone interested in
representing Rhode Island
in Washington D.C.?
Apply to be RI's Cherry Blossom Princess in 2020
Blackstone Valley Tourism Council and the State Society of Rhode Island are seeking out a motivated young woman, between the ages of 19 and 24 to represent Rhode Island as its 2020 Rhode Island Cherry Blossom princess. This year’s princess crowning will take place in March and the exciting crowning ceremony has historically occurred in the governor’s private chambers.

The Cherry Blossom princess is charged with representing Rhode Island at public and private events with government, business, arts and media leaders held throughout the week of the National Cherry Blossom Celebration in Washington, D.C. In the past decade alone, the Cherry Blossom princesses have met with former First Lady Laura Bush; toured the White House, attended events at the Japanese ambassador’s residence; visited Arlington Cemetery, the Institute for Peace, Kennedy Center and the national Monuments; performed community service for the homeless; promoted literacy at local elementary schools; and learned about the Japanese culture and the friendship between Japan and the United States.
 
Each princess has been selected by their state society based on their achievements, and all the princesses are qualified to represent the United States. During the National Cherry Blossom Celebration, a queen is selected among the class of state Cherry Blossom princess representatives. It is the tradition of the program that the queen is selected by the spinning of a wheel. The wheel is spun once for the runner up and a second time for the queen.  
 
The queen then gets the opportunity to visit Japan on a good will tour to celebrate the friendship between the United States and Japan. She will visit Tokyo and is hosted by the Japan Sakura Foundation and meets with many local dignitaries and the prime minister. She also is hosted by the Gakudo Kofu Foundation in Ise City, where she visits Pearl Island. This year, the U.S. queen visited Shikuoka, where the research laboratory that created the Cherry Blossom trees that surround the Tidal Basin were developed. It is an amazing experience!

The application submission deadline is January 12, 2020.

For more information, application and princess requirements, go to: cherryblossomprogram.com

And for any questions, please contact Michael Martin, Program Director, Blackstone Valley Tourism Council at mike@tourblackstone.com
or call (401)-724-2200.
BLACKSTONE VALLEY'S
CHERRY BLOSSOM PROGRAM



















Film: Lost In The Fumes《地厚天高》
Panelists:
- Victoria Tin-bor Hui 許田波 (Associate Professor of Political Science in the University of Notre Dame)
- Ho-Fung Hung 孔誥峰 (香港民族論 author and Chair of the Department of Sociology at The Johns Hopkins University)
- Walter C. Clemens, Jr. (Professor Emeritus at Boston University and author of “Could Hong Kong Become Another Estonia?”)
- Frances Hui 許穎婷 (Author of “I am from Hong Kong, not China” and Hong Kong activist based in Boston)

(The panel discussion is conducted in English. The film has Cantonese audio, with English and Chinese subtitles.)

Co-organizers:
Massachusetts Institute of Technology Hong Kong Student Society
Local HK-activist Frances Hui
————————————————————

We will screen the movie Lost In the Fumes, which is a biography of Edward Leung realizing his struggle during his political movement in 2016 (Read the details below), following a panel discussion, which will focus on the political climate of Hong Kong, such as the rise of localism, the conflicts between HK and China under one-country-two-systems, and the rapid evolution of the format of the Hong Kong political movement.

Invited speakers:
Victoria Tin-bor Hui, Associate Professor of Political Science in the University of Notre Dame
Ho-Fung Hung, Professor and Chair of the Department of Sociology at The Johns Hopkins University
Walter Clemens, Professor Emeritus at Boston University and Associate Professor at Harvard University's Davis Center for Russian and Eurasian Studies
Frances Hui, Hong Kong activist based in Boston and student journalist at Emerson College minoring in political science

Date: November 16 (Saturday)
Venue: MIT Building 34-101, 50 Vassar St, Cambridge
Time: 2:30 p.m - 5:30 p.m.

我們先播放電影《地厚天高》,一套描寫「香港本土主義」政治人物梁天琦,在2016年間參與政治運動的內心掙扎。活動會以一小時座談會和公眾發問作結,討論將圍繞香港政治氣候,包括香港本土主義的興起,「一國兩制」下的中港矛盾,以及香港政治運動的急劇轉變等議題。

演講嘉賓:
許田波:University of Notre Dame 政治學系副教授
孔誥烽:The Johns Hopkins University 社會學系主任及教授
Walter Clemens:Boston University榮譽退休教授 及 Harvard University Davis Center for Russian and Eurasian Studies副教授
許穎婷:波士頓香港社運人士及Emerson College 新聞學系學生,副修政治系

日期:十一月十六日(星期六)
地點:MIT Building 34-101, 50 Vassar St, Cambridge
時間:下午二時半至下午五時半
————————————

Clash of The Times in Hong Kong: Independent Movie Series and Discussions on Hong Kong's Political Climate

In this series, we will screen movies made by independent filmmakers that reflect Hong Kong’s political climate in the past five years, followed by a panel discussion on related topics. Through the message of movies and the exchange of ideas in the discussion, we aim to unveil the root cause of social conflicts seeded since the Umbrella Revolution in 2014, and the emergence of the unprecedented protest-model in recent anti-extradition-law movement. We hope the series could be an opportunity for the audience to review their standpoints and compare the diverse political views that arose in such an uneasy peace. Ultimately, we wish all of us put aside our prejudice, respect the diversity of the social movement and keep striving for the development of civil society in Hong Kong. The series is co-organized by Harvard University’s Asian Pacific American Law Students Association, the Hong Kong Student Society of MIT and local HK-activist Frances Hui.

There will not be any entrance fee. But voluntary donation in cash/credit card is highly encouraged. Collected donations will first be transferred to a non-profit organization (will be announced soon) as an intermediary to cover the cost of the event, then a portion will go to subsidizing Ying-E-Chi for its film production cost and future operation, while the remaining funds will be transferred to "Spark Alliance HK" to aid protesters in Hong Kong arrested from political engagement.

Ying-E-Chi is an HK-based non-profit arts organization established by a group of Hong Kong independent filmmakers. We acknowledge their hard work in creating Hong Kong independent movies that reflect topics untouched by the mass media industry.

Spark Alliance Hong Kong is a non-profit foundation that supports grass-root arrestees, including free legal consultation, subsidized emergency medical service, arranging family visits, and assisting employment in future.

【時代中的矛盾與革命: 獨立電影放映會及香港政治氣候嘉賓座談】


是次放映活動系列由 哈佛大學亞太美國法學生組織、 麻省理工學院香港學生會 以及 波士頓香港社運人士許穎婷 聯合舉辦,將會播放獨立製作電影,反映這五年來香港政治氣候。電影播放完畢後,將會有嘉賓座談會討論相關的焦點議題。我們希望觀眾藉此討論,理解香港各種政治思潮的異同,以及社會各種衝突和矛盾的成因,從而思考自己在動盪政局中的定位,放下彼此成見,讓各種社會運動百花齊放,為建構香港公民社會共同奮鬥。

活動將不收取入場費,但歡迎收取以現金或信用卡形式的自願捐款。集得捐款先給予一非牟利組織(會另作公佈)作為中介,用於覆蓋活動成本,其後部分將撥入「影意志電影工作室」,資助工作室的製作成本及未來發展,餘數將會全數捐入「星火同盟抗爭支援」基金,以支援抗爭被捕人士。

「影意志」是香港一間非牟利的電影工作室,由一眾獨立電影工作者所組成。我們衷心鳴謝「影意志」努力創作獨立電影,反映主流創意工業甚少接觸的香港政治議題。

「星火同盟抗爭支援」基金的宗旨是支援無政黨,鎂光燈以外的被捕、被囚者,為有需要的人士、他們的親友提供各種支援服務,具體包括免費被捕保釋及有關法律諮詢、被捕者上庭出入護送及緊急醫療資助、探訪及援助在囚人士及其家屬,以及協助他們獲釋後重新就業等等。
——————————————

Lost In The Fumes|Hong Kong|2017|93min|In Cantonese with Chin&Eng subtitles
Edward Leung was an average student before he unexpectedly finds himself at the focal point of two Legislative Council elections. The 60,000 votes from By-election guaranteed his seat in the next round, yet the regime closed the door of LegCo by imposing extra measures. He could only put his backup Baggio Leung into the race. Meanwhile Edward faces counts of rioting charges for taking part in the Mongkok Protest. Once an rising star, now may be a doomed prisoner. As the oath-taking controversy unfold, Edward retreats from spotlight and goes studying abroad while chaos continue to reign over Hong Kong.

地厚天高|香港|2017|93分鐘|粵語對白|中英文字幕
梁天琦沒有想過自己會由寂寂無名的普通大學生,成為近年兩場香港立法會選舉的焦點。補選曾得的六萬多票讓他足以穩操勝券奪得一席,然而,下一輪選舉中,他雖簽過確認書,高牆卻宣告他無緣踏足議會。他說過「就算爬入去、躝入去也好, 也要成為一個代議士」,結果,他只能作旁觀者,為後備名單上的梁頌恆拉票助選。年初一晚,警察在旺角衝突時向天鳴槍,梁天琦也在現場。背著三條暴動罪的控告,他的自由生活正在倒數。鎂光燈背後的梁天琦,不再是雄辯滔滔的明日之星,而是他朝可能鋃鐺入獄的階下囚。梁頌恆當選以後,梁天琦驟然消失在政治亂局當中。當香港接連發生宣誓爭議、人大釋法、多位議員資格被取消,他在餘下日子卻毅然負笈美國進修。


坐忘雅聚  古琴音樂與文化講座
由波士頓琴社主辦,琴人楊信宜老師主持的『坐忘雅聚』將於119日﹝週六﹞下午二時正假Bedford Town Center舉行年度雅集。內容有琴曲彈奏、文化講座及交流時間三部份;講題為「内視返聼:魏晉南北朝的音樂文」,主講者呂晨晨,現為哈佛大學建築與藝術史博士研究生。活動進行以中文為主,免費入場,歡迎自由贊助。地址:Union School Room, Bedford Town Center, 12 Mudge Way, Bedford, MA 01730,網址:www.bostonguqin.org

Attachments area

BCPA 10th Anniversary Gala

$50.00$70.00
Purchase the ticket(s) for the BCPA 10th Anniversary Gala 訂購BCPA十週年慶典晚會門票
Dress code (著裝要求): Black Tie (正式)
                         (女生爭奇鬥艷,男生正裝即可)
Age (年齡): 21 or older (年滿21歲)
Date (日期): October 6, 2019 (2019年10月6日) 5:00-10:30pm
Place (地點): Charles River Museum of Industry & Innovation (查爾斯河工業與創新博物館) @154 Moody Street, Waltham, MA 02453
本次慶典活動我們租用了查爾斯河工業與創新博物館的場地。該博物館位於查爾斯河邊,收藏了美國十九、二十世紀工業革命的機器和文物。博物館建築本身和藏品都值得一看。
Food and drinks will be provided in the event. Event activities include keynote speech, performances, games, selfie photo studio and more. 晚會提供食物和酒水「門票包括中西式finger foods,點心Dim Sum和非酒精飲料。酒精飲料需自行購買(紅/白酒:$5;啤酒:$4)」
食品單(大家自行選擇,平均1份/人):
中式:
   芝麻球;蛋撻;蜜汁叉燒酥;蟹皇燒賣;酥皮奶皇包
西式:
   Brie and Pear Phyllo
   Caprese Skewers with Balsamic Drizzle
   Pecan Crusted Chicken Bites with Honey Dijon Dip
   Classic Crab Cakes with Roasted Red Pepper Remoulade
   Herb and Garlic Shrimp with Saffron Aioli
   Vegetarian Maki Rolls with Wasabi, Soy and Pickled Ginger
還有演講,表演,遊戲,攝影棚自拍等活動。
節目包括:
Ukrainian coloratura soprano (乌克兰花腔女高音歌唱家)Olga Lisovskaya, and Italian tenor Giovanni Formosano. Together they will perform well known Russian and Italian songs along with popular operatic arias.
《那些年》倍低音大提琴,吉他合奏-Carion and Cary
配乐诗朗诵 《光影之间》-单东旭
《再回首/ 凴着愛》国语粤语三人重唱-Annie,  Weibo and Cary
小品《摄影的幸福在哪里》-李绍平
旗袍舞《韵》-表演者:BLT时装队,冯立宁,罗丹 ,周莉,王堤,唐昱寰, 王仲丽 。 编舞和指导老师:冯立宁
互动游戏,主持: 东旭
《My Way》– Annie, Daryl
對話10年會員,主持:曲岩、東旭
Please select ticket type and number of ticket, then click “Add to cart”.
請先選門票種類 “Ticket type” (Member 會員 or Non-member 非會員),然後輸入購買門票數量,最後加入購物車 “Add to cart”.
Each BCPA member may purchase up to two member tickets (one for the member and one for his/her dependent member). There is no number limit for purchasing non-member tickets. 
每個BCPA會員最多可以購買兩張會員票(僅限會員本人和一名他/她的附屬會員)。購買非會員票沒有票數限制。
Please note: if you are purchasing member ticket(s), please add BCPA member # in the “Order notes” field when you fill out billing information.
請注意,如果您購買的是會員票,當您填寫付帳信息時請在“Order notes”的地方填寫BCPA會員號碼。
You will receive a confirmation email once your payment is successfully processed. Your digital ticket(s) will be send to you in a separate email.
付款成功後您會收到確認郵件。電子票會隨後附在另一封郵件中發出。


FAR EAST PHENOMENON
PAINTINGS
by
        LIN, CHIA-HUNG
at
YV Art Museum
administered under CAI

Acton, MA – Contemporary Arts International (CAI), a nonprofit art center, also known as YV Art Museum, presents the painting exhibition entitled FAR EAST PHENOMENON by LIN CHIA-HUNG in CAI’s Gallery. An opening reception with artist talk will be held on Sunday, October 6 at 2 PM.
After half a century of globalization and the existence of the internet, one would think the phenomena in the Far East are quite familiar to the world, but it is quite the contrary. This exhibition seeks to raise awareness, and hopefully, build a bridge for better understanding of the Far East. In this show, the paintings of “cute, little, girlish, and simplified” portraits undoubtedly confront the taboo in western art that “Art speaks the Truth,” with an assumption that the Truth of human nature is far from being cute and simplified. So the critical question is: Is it Lin the artist’s conscious confrontation or is it Lin Chia-Hung’s naiveté? 

Lin started his career as a portrait painter, however he was frustrated that viewers only wanted to see “who is the person of this portrait,” not its aesthetics, not its conceptual value, so he decided to remove individuality from the image.  His background in manga training equips him well with this stylizing technique. His bright-eyed girlish woman speaking through her stunning eyes and dainty nose and mouth, strongly suggests his influence from the Japanese manga art form.

It is common knowledge that manga is the most influential social commentary media in Japan. It reaches out to all walks of life, all ages, and backgrounds in society. In a highly structured society where rules bind everything, manga is like a little naughty devil, giving people tickles for some fun, to jump above social constraints for a little while. Overlain with visual Pop Art, it slips funky ideas or politically incorrect comments into peoples’ lives and the media know that its treacherous deeds will be forgiven. Taiwan, being under Japanese occupation for 50 years prior to the end of World War II, was certainly submersed in its influence. However, Chinese also has had its own “Maan Hua” (translated as “Manga” in Japanese) as one form of literary culture for centuries. This historical context helps us understand where Lin’s source of inspiration comes from. Evidently, from his series of paintings we have read his social commentary on “Student/ Schooling” issues, “Marriage” issues, and the “Rebels” in disguise behind the innocent face.

While in the old days, the mechanics of animation consisted of thousands of hand-drawn pictures, this process is now simplified by computers. As an experienced animation film editor, Lin expands the seemingly quiet female figure with subtle movement. She is not moving in this instance, but it looks as if she is surely about to move, her big eyes are going to blink any minute. The definition of “animation” is “bringing to life”, and Lin animates his painting, bringing us the essence that neither computer nor photograph can compare. From here on, one is equipped with sufficient information to imagine the drawings before and after this picture.

Surely, Truth can’t be all beautiful, but, fine artists seem to be the special genus of people who take on the mission to investigate deep into the not-so-beautiful part of human nature. Artists question troublesome social norms and the avant-garde, and we feel that we should carry the cross to speak up on subjects that are not “beautiful” and “comfortable”.  As a result, artwork that catches public attention is provocative by nature. It is not difficult to find evidence among renowned artworks that bravely demonstrate “Art speaks the Truth” with extreme means. One example is the use of unconventional material like elephant dung. Chris Ofili, 29, born in Manchester UK, just won the 20,000 pound Turner Award, by making shit beautiful. Another example is the human body exhibition by Gunther von Hagens, an attraction crafted out of the gruesome dead. As all material has been explored, all subjects have been examined; the Truth seems to be on the flip side of the beautiful. Being an academically trained artist with his antenna open to the art world, Lin knows what the art world is chasing after; therefore, “naiveté” is out of the question. The fact is, he bumps into the “prettiness taboo” head-on.

Furthermore, in the realm of portrait, regardless of style, Western perception of being “realistic” in terms of capturing the essence of the person is undeniably an important factor for its aesthetic value. So another question materializes: Is Lin’s portrait figure realistic? If so, in what sense is it realistic? For this question, let’s go to the market place in Asia. The millions who have traveled to the Far East surely have witnessed common places such as markets, department stores, restaurants, streets, and surely have had contacts with Lin’s “stylized” female figure. In Western countries with more diverse features, “beauty” stresses on individuality. Lin’s figure of the Far East, where features are fairly homogeneous (black hair, dainty noses and eyes, etc.), all differences have been simplified to the common denominator of femaleness. Lin’s depiction of the eyes seems to mock the fact in the Far East that big eyes are thought to be the essential trait in a beauty. But if one looks more closely, it is not so much the eyes that are big in proportion to her face, it is the rest of the features, i.e. mouth and nose, that are dramatically small. Moreover, the rest of the body is miniaturized, leaving only the round face and big eyes to advocate the story. Still, the general impression is they are too beautiful and too cute, even though one can see these are women, not little girls. Their make up and behavior captures the real women in service industries, for example restaurant’s wait staff. True, they are paid to do the job, but they are real, they are everywhere, real in the Far East and real in Lin’s painting.

From Far East classical aesthetics, the 3-D likeness of a portrait to a real person is not from the contrast of light and shadow, a technique universally valued in the West. There was never a single light source like that of Rembrandt’s painting in the Far East tradition.  In fact, prior to westernization, shadow in a painting read as “dirty smudges” that a trained fine painter would not do. In contrast to the western tradition of portraits in which an artist may do several paintings from one model, each with a different setting, facial expression, or style to articulate the artist’s ideas, Lin creates one “signature figure” with a neutral expression. There is no indication of mood except a minimal area of white on or around the pupil, sufficient to suggest its context. He gave the portrait a clean (without shadow), universal (no individuality) look. Perhaps it is passive aggression, or more appropriately, an aggressive submissiveness, which many Westerners generalize as the Asian behavior toward outsiders. As a result, we often hear the comment “an outsider will never be truly accepted in an Asian society, particularly Japan”. 

When meeting with the public, Lin appears to be shy, quiet, and humble. Like his signature figure, he is projecting a “quiet space” for his audience to create their own context, a humble motivation, and quite effective. As art critic Yi Tze Guo so appropriately compared Lin Chia-Hung to Yoshitomo Nara, she commented “The manga/cartoonish style of his (Lin’s) characters manifests the young generations’ bantering attitude/humor; while on the other hand, the emotional layers under the seemingly serene surface are reminiscent of the subtle aesthetics of classic humanism.”
One could say that Lin’s work is the Taiwanese Yoshitomo.  

Furthermore, Edward Lucie-Smith in ARTODAY stated his observation that “The main difference (between the period from 1960 to the present and the first six decades of the twentieth century) is to be found in plurality, absence of hierarchy, and a vast expansion of the cultural base.” Any art movement has to build upon a former art platform, which we call heritage or tradition. The Pop Art movement in the US in the 60s from Andy Warhol certainly was no exception. What is Warhol’s heritage? We might say the late Modernism when commercialism started rising, which is very different from Japanese Pop Art star Takashi Murakami’s heritage in Japanese art, which combines westernization with commercialism. However, in Japan and Taiwan, while the Pop Art movement permeates into all forms of traditional art, we would also expect a society so repressed with rules and discipline to be cautious and play it safe for the act of Pop Art liberty. In Murakami’s case, he stands on the shoulders of sophisticated prints from fine art in the Emperor’s court down to the fabric design in the common market place. In terms of subject he tactfully blends fashion, commercial objects, advertisements, and even western performance. While his painting in the olden days would have been taken as wallpaper, it is now deliberately portrayed as fine art work in major Museums around the world. Lin’s painting is a continuation of the Pop Art movement in the Far East, constrained, but liberated nevertheless.

Surely no one doubts that Art is an important communication tool, and if one were to measure its success by how many people an art form has reached, Pop Art would rank most highly in the West, while in Japan, Manga would be the first of the first. The sheer number of people under Manga’s influence emphasizes its importance.

Pop Art is fine art. Lin’s painting is the meeting place where painterly tradition merges into the animated computer world, a 21st century Far East phenomenon that few westerners have shifted gears to enter, look, and understand.

Lin Chia-Hung’s manga style painting has won him many awards in international Art Expos. His paintings are in the collection of National Taiwan Museum of Fine Arts.

Our art grounds are open to the public Thursday-Sunday from 1PM-6PM. CAI’s admission fee is $5 for students & seniors and $10 for adults.

For more information, visit our website at www.contemporaryartsinternational.org.

_____________________________________________________________________
Contemporary Arts International (CAI), also known as YV Art Museum, is a non-profit, 501c3 tax-exempt organization located in a 12-acre granite quarry in Acton MA. The mission of CAI is to promote the creation, understanding and appreciation of contemporary arts in the global context through art education, residency, exhibition, and international symposium. For more information, visit www.contemporaryartsinternational.org
www.yvartmuseum.org

Contemporary Arts International (CAI)
68 Quarry Road
Acton MA 01720
Phone: 617-699-6401  
Email:  ypeet@verizon.net

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