Eugenia Lim is an Australian artist who works across video, performance and installation. Interested in how nationalism and stereotypes are formed, Lim invents personas to explore the tensions of an individual within society – the alienation and belonging in a globalised world. Conflations between authenticity, mimicry, natural, man-made, historical and anachronistic are important to the work. To this end, Lim finds inspiration in sites and objects that are both ‘contemporary’ and ‘out of time’, embodied and virtual. Model homes, suburban sprawl, CCTV, online chat rooms, fake food, historical parks and the Australian landscape have all featured in the work. Counterpoint to these sites, Lim has performed the identities of Japanese hikikomori; a Bowie-eyed rock star; the cannibal Issei Sagawa; a suburban beautician; Miranda from Picnic at Hanging Rock and currently, a gold Mao-suited ‘Ambassador’. This dialogue between place and performance reflects the push-pull between Australian and Asian, the mono and the multicultural. Lim’s work has been exhibited, performed and screened locally and internationally at venues, festivals and fairs that include: Tate Modern, GOMA, ACMI, HUN Gallery NY, Next Wave, FACT Liverpool, 24HR Art (Darwin), Substation (Singapore), Schoolhouse Studios, Experimenta, Sydney Contemporary, Melbourne Festival, ACAF (Shanghai), TINA, Dark MOFO, Bus Projects, West Space and MPavilion. Current projects in development include The Australian Ugliness, a video work exploring contemporary Australian identity and culture through its architecture and built environment; and The People’s Currency, a performance-cum-factory that explores the human impact of globalisation in the era of Foxconn. Her work is held in a number of private and public collections. Collaboration, artistic community and the intersection between art and society informs her practice: in addition to her solo work, she co-directed the inaugural Channels: the Australian Video Art Festival, is a board member at Next Wave, the founding editor of Assemble Papers and co-founded Tape Projects.
She has received a number of Australia Council for the Arts grants and residencies, including a residency at the Experimental Television Centre NY and exchange at the Rhode Island School of Design (RISD). In 2016, Lim undertook a residency at Bundanon Trust and at the studio of Shen Shaomin as a 4A Beijing Studio resident. In December 2016, she will be artist-in-residence with the Robin Boyd Foundation.
posted on: 8 Mar 2017
Eugenia has been in residence at the Ballarat Gallery for Part 1 – A journey of a thousand miles begins with a single step , the first in a series of month-long exhibitions and events for the project Big Walk to Golden Mountain. BWTGM is one of several national events marking the 160th year of Chinese migration to the goldfields. This expansive project pays tribute to the 500km walking trek from Robe in South Australia to the central Victorian goldfields undertaken by gold seekers from the Guangdong region in China. Devised by Castlemaine-based Punctum Inc., Big Walk to Golden Mountain explores the contemporary influence of this historic migration landscape in our region using a breadth of art forms. It also represents the regional contribution to the Art Centre’s major Asia TOPA program, connecting it to the goldfields of Central Victoria.
posted on: 8 Feb 2017
Preview: 14 February 2017, 5-8pm
Season: 15 – 19 February 2017, daily 8am-8pm
Free participatory performance
Flinders Street Amphitheatre
Federation Square, Melbourne
Premiere of a major performance commissioned by 4A Centre for Contemporary Asian Art for Asia TOPA Asia-Pacific Triennial of Performing Arts
The People’s Currency takes its name from renminbi (China’s currency) and explores the social impacts of globalisation on those who seek their fortunes in the factories of China – or the ‘workshop of the world’. When almost everything is now ‘Made in China’, how are we all implicated as consumers, in the labour conditions of the production line? Dressed as a gold Mao-suited ‘ambassador’, will preside over a ‘factory’ of workers. The public is invited to enter into short-term ‘employment’ on the factory floor. The People’s Currency turns a site in Melbourne’s CBD into ‘Renminconn’, a closed loop ‘special economic zone’. In Lim’s project, mass-production and money-printing become strategies for contemplating the human impact of the ‘long march’ of global capitalism.
posted on: 7 Feb 2017
11 February – 30 April 2017
Bundoora Homestead Art Centre
7-27 Snake Gully Drive, Bundoora
Closing the Distance brings together contemporary Chinese and Australian-Chinese artists to explore issues of migration, place and the contemporary diaspora experience. The exhibition will focus on artists whose works make connections to shared Chinese cultural heritage, lineage, and lived experience. Central to this exhibition is the exploration of contemporary migration and the movement of people, culture and history across local and global boundaries. Closing the Distance highlights how cultural differences are valuable in providing diverse viewpoints, but also how shared personal experiences and narratives can provide a means to bridge these differences. The artists featured are from across the world and include Kevin Chin, Pei Pei He, Pia Johnson, Lindy Lee, Owen Leong, Eugenia Lim, Chun-yu Liu, Jason Phu, Cyrus Tang, Guan Wei, Shen Wei and Louise Zhang. Curated by Sophia Cai.
Eugenia will perform a new live work ‘Invisible Cities’ on 18 March, 12-5pm.