Videos by Emily Verla Bovino
(with Andras Blazsek) Mounds are aggregations: gatherings of materials that exteriorise a culture... more (with Andras Blazsek) Mounds are aggregations: gatherings of materials that exteriorise a culture working through its conception of time and structuring of the universe. Settler states founded on the displacement of indigenous populations compulsively perform the effacement of aggregations, either by demolition or by transformation into accumulations for surplus value.
This paper, performed as a lecture recital, explores aggregation as a technique, distinct from collecting and archiving for its spatial sensibility, and from architecture for its relation to landscape. The accompanying sound-experiment sonifies aggregate data from geological studies of an iconic earthwork using microsounds from field recordings of its insects; the data also spatialises the resulting sound. 39 views
This keynote address given for a panel discussion of art criticism – its history, its present and... more This keynote address given for a panel discussion of art criticism – its history, its present and its future – with a special focus on Hong Kong, explores the relationship between criticism and critical voice, considering the role that both play within the city's art ecology.
The panel, moderated by H.G. Masters (Deputy Editor & Deputy Publisher, ArtAsiaPacific) features Ulanda Blair (Curator of Moving Image, M+, Hong Kong), Nick Yu (Development Manager, Blindspot Gallery, Hong Kong), Daniel Szehin Ho (Publications Editor and Project Director for Booked: Hong Kong Art Book Fair, Tai Kwun, Hong Kong). 82 views
Talks by Emily Verla Bovino
M+ Talks, 2022
Indie art toys, model bus collectibles, and mini-iterations of disappearing streetscapes in Hong ... more Indie art toys, model bus collectibles, and mini-iterations of disappearing streetscapes in Hong Kong show that miniature is more than smallness. It offers ways of rethinking the city it represents through the shifts in scale that it enacts. Reducing and enlarging, absorbing and distancing, mobilising and capturing, miniature generates images that captivate and enchant while pointing to questions of labour, information, and power in the urban environment of one of late capitalism’s ‘model’ cities.
Working with miniature as a method, Emily Verla Bovino, a 2021 M+/Design Trust Research Fellow, shares moments from over fifty conversations conducted with people variously involved in three areas of miniature selected for their relation to body, infrastructure, and architecture. The presentation follows mai nei (mini) Hong Kong across scales—cosmic, planetary, urban, object, network, gesture, material, and aesthetic.
Bovino will present her research findings, followed by a panel discussion with artists Nadim Abbas and Michelle Chan Wan Chee. This event will be moderated by M+ Curator of Design and Architecture Sunny Cheung.
Traditional Chinese and English closed captions available in the player.
M+ is Hong Kong’s global museum of visual culture.
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Academic Articles by Emily Verla Bovino
Journal of Contemporary Chinese Art, 2023
Founded in 2018 by Hong Kong heiress Queenie Rosita Law of the Law family apparel brand Bossini f... more Founded in 2018 by Hong Kong heiress Queenie Rosita Law of the Law family apparel brand Bossini fame, Q Art Group is a private art initiative between Hungary and China that, in the words of its Hungarian artistic director, promotes Central and Eastern European art ‘within the dynamics of the Belt and Road Initiative’ (BRI). Hungary was the first European country to sign onto BRI cooperation, and it leads the 14 + 1 initiative promoting investment between China and Central and Eastern Europe. The country’s national-conservative Prime Minister Viktor Orbán uses Hungary’s position as a BRI gateway to bolster an ‘illiberal’ agenda within the European Union. Meanwhile, Hong Kong’s Q Art Group – comprising the Budapest private museum, Q Contemporary, the Hong Kong gallery Double Q and Q Studio, an art studio that works with luxury properties – is rebranding both Central and Eastern Europe and China in a mix of cultural diplomacy and art market strategy between Hong Kong and Budapest. The article considers the co-constituting images of the Greater China and Central and Eastern Europe that Q Art Group presents in Hungary and Hong Kong by positioning itself as a discourse maker in Central and Eastern European art. What is the ‘post-communist landscape’ – as Q Art Group calls Central and Eastern Europe – mobilized in this endeavour and how does it serve China’s cultural diplomacy and nation-branding? Mapping the social, economic, juridical and political conditions that Q Art Group negotiates, this article asserts there is no ‘good’ way of curating art for cultural diplomacy, but that the exchange of what is called ‘culture’ and ‘identity’ under cultural diplomacy is but an operation of mutual branding among privileged forms of state capital that use art to circulate the violent philosophical logic behind cultural difference.
This study was supported by the: Research Grants Council of the Hong Kong Special Administrative Region (Award PDFS2122-3H05)
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The Hong Kong Institute of Architects Journal, 2021
Yue Man Square, a commercial centre designed by local and migrant Chinese architects trained with... more Yue Man Square, a commercial centre designed by local and migrant Chinese architects trained within the modern movement, could have been the focus of developing re-use projects for future design innovations in Kwun Tong.Though in name, the use of Yue Man Square has remained the same – a town centre – the complex sociality it once denoted has dissolved. Miniatures might have fostered it had they been taken seriously as a method. Instead, miniatures, which are not about smallness, but about the emotional and symbolic impact of the act of scaling and the practice of modelling from an object-in-use, are deployed in urban renewal to placate opposition to redevelopment and erasure.
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Journal of Contemporary Chinese Art, 2021
In 2016, between Guangdong strikes in mainland China and Hong Kong's unionization momentum, Hong ... more In 2016, between Guangdong strikes in mainland China and Hong Kong's unionization momentum, Hong Kong artist Wong Ka Ying posted a call on Facebook founding the Hong Kong Artist Union (HKAU). The gesture followed the mischievously named Come Inside, Hong Kong's 'first female artist duo' created by Wong and artist Mak Ying Tung, which declared it would combat art's 'formalized system'. Ironically, one of its first actions was to enrol in a course on insurance that could help it formalize healthcare for artists. Come Inside welcomed the idea that opposition to the 'system' brings artists into it. HKAU took shape within this 'trap' when Wong and Mak started researching trade unions. 'On Union, Displaced' explores the past four years of HKAU existing as a union-not-yet-registered-as-an-official-union, a serious gesture of ludic conceptualism that plays with artistic freedom's relationship to captivity and capture. Through Rey Chow's theory of conceptual art as trap, it traces HKAU's entanglement in the history of Hong Kong art groups, regional labour organizing, and efforts to reground the term 'artist'. Studying HKAU requires various conceptual frameworks: Yuk Hui's cosmotechnics; Laikwan Pang's multiple sovereignties; Sandro Mezzandra and Brett Neilson's border-as-method; Linda Lai Chiu-han's performative research; and Frank Vigneron's plastician. The article explores how being 'plastic'-a union displaced; a union whose registration with the Hong Kong Special Administrative Region is perpetually negotiated-has helped HKAU pose important questions about solidarity and sovereignty in art.
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Engramma, 2020
Italian architect Gio Ponti’s designs for Hong Kong client Daniel Koo Shing-cheong at both the Sh... more Italian architect Gio Ponti’s designs for Hong Kong client Daniel Koo Shing-cheong at both the Shui Hing Building in Tsim Sha Tsui (1963, now Prestige Tower) and Koo’s private home in Tai Tam (1963) were high-profile commissions that modestly experimented with materials in cladding and façade construction more than half a century before Swiss architects Jacques Herzog and Pierre de Meuron designed glazed-ceramic and cast-aluminum envelopes for monumental buildings in Hong Kong’s cultural sector – the M+ Museum of Visual Culture (West Kowloon, 2020) and Tai Kwun Centre for Heritage and Arts (Central, 2018). Along with Norman Foster’s Hongkong Shanghai Bank (1983), Paul Rudolph’s Lippo Building (1986) and I. M. Pei’s Bank of China (1990), Ponti’s Shui Hing was cited in at least one well-known travel guide at the end of the 1980s, as among the works of architectural merit from the latter part of the British colonial era worth seeing, and was the only project of the group in Kowloon. Koo’s house on Deep Water Bay Road, on the other hand, never had such status. It has always been relatively unknown.
Ironically, Ponti’s now forgotten Shui Hing, for which the Milan-based architect designed the façade and interiors, stands across from one of Hong Kong’s most celebrated film locations, Chungking Mansions (1961), a composite building studied for its ethnic, economic and social complexity, made famous by filmmaker Wong Kar Wai’s Chungking Express (1994). Aimed at fostering trade relationships through Hong Kong-Milan designs that experimented with open interiors, surface textures, and relationships between building and environment, Ponti’s commissions for Daniel Koo were part of the same critical historical moment as Chungking Mansions: a period between the attempted electoral reform of the 1946 Young Plan – which would have enfranchised more Chinese residents with decision-making power – and the post-crisis social reforms that followed the 1967 leftist riots. This essay contributes to studies that inquire into the impact that architectural experiments in Hong Kong had on visiting architects and their designs elsewhere. Its main objective, however, is to explore architecture’s political unconscious, discussing Shui Hing and the Villa Koo as an important lost chapter in the history of Hong Kong modernism and, the city’s politics of consumption. Lastly, the epilogue describes the process by which research for the essay took shape after several encounters with works by Hong Kong artist Leelee Chan.
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Museum Anthropology, 2020
Writing through ethnographic fiction, art practice, and art
historical research, this essay prese... more Writing through ethnographic fiction, art practice, and art
historical research, this essay presents a study of minimalist
Donald Judd’s The Chinati Foundation/La Fondacion Chinati
(1979–1986), a museum in West Texas designed by
the artist. It explores Chinati in relation to its site—the Texas-
Mexico borderlands—focusing on three objects of evidence
found in and around it: a World War II–era Germanlanguage
sign inside the former military complex that Judd
retrofitted for the museum, and that he dated and autographed;
a wall of a derelict adobe building graffitied with
a denouncement of Chinati; and a granite gravestone with
an Arabic inscription, marking the final resting place of
Lebanese peddler Ramon Karam, whose death on the Rio
Grande in 1918 was used as evidence in Senate hearings in
support of increased U.S. militarization at the border. The
essay shows how working with ethnographic fiction toward
a new evidential paradigm shifts perspectives on Chinati,
Judd’s practice, the borderlands, and the relationship
between scholarship and art practice.
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Engramma, 2019
Beginning with ruminations upon #blacklivesmatter protestor Ieshia Evans’ ‘new nymph’ and ending ... more Beginning with ruminations upon #blacklivesmatter protestor Ieshia Evans’ ‘new nymph’ and ending with a challenge to the hegemony of the ‘mood-board’ in art-and-design education, this essay proposes one possible panorama of Warburg studies in the United States. Rather than isolate activities in the U.S. within the nation’s borders, the author – a Warburgian who currently holds a faculty position at an American college of art and design in Hong Kong – considers the U.S. context as one node within a broader global network of Warburg studies from the Americas to Southeast Asia; a node that plays the part of receiver and transmitter, a channel or throughway. With special attention to feminist projects, artistic research, and work that aims to decenter ‘Warburg studies’ from both the figure of Warburg himself and his most frequently cited concepts, this survey of recent developments looks at the myriad ways scholars, artist-researchers, and scholar-artists whose work is based in the U.S., or has moved through the U.S. with great impact, have worked to move Warburg studies beyond becoming just another one of art history’s patriarchal ancestor cults.
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California-Italian Studies, 2016
In recent art history, the “plastic” is a concept undervalued as a designation for sculpture, or,... more In recent art history, the “plastic” is a concept undervalued as a designation for sculpture, or, in perception, as a single sense associated with touch. “Plasticity,” as popularized by the neurosciences, is generally understood as an elastic adaptability that evades fixity for flexibility. Current continental philosophy has revisited plasticity for its explosive rather than regenerative capacity to receive and produce form; however, this rethinking has neglected the concept of the plastic in art. Using scholarly comedy to explore accidents of resemblance (pseudomorphisms) and acausal coincidences (synchronicities) among artist-writer Piet Mondrian’s “plasticism,” art historian Aby Warburg’s “plastic art,” and artist-humorist Gelett Burgess’ plastic figure called “goop,” this essay generates insights on the concept of the plastic in art history, artist writings and art practice.
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Engramma, Oct 2015
When Aby Warburg completed his dissertation in 1893 he began working on the fragmentary draft fo... more When Aby Warburg completed his dissertation in 1893 he began working on the fragmentary draft for a playlet titled Als ein junges Mädchen die Duse sehen wollte (When a well-brought up girl wanted to see a Duse performance, 1893 – 1894). The present essay delays going immediately to the Warburg Institute archive to research this playlet. Instead, it lingers in a playful moment of desirous anticipation for the purpose of engaging Duse’s so-called “intellectual work” with “natural” gestures in a dialogue about how Warburg’s Pathosformel (pathos formulae) has evolved in twenty-first century semio-capitalism. Reading through Warburg’s correspondence about Italian actress Eleonora Duse and researching reviews that paired Duse in a performance polarity with French Actress Sarah Bernhardt, we enjoy the delay of ‘Wanting to see Duse’ to conjure Duse to our side so she can accompany us in watching another amateur playlet: a contemporary comedy (2013 and ongoing) produced in a residency program at the Museum of Contemporary Art Chicago and debuted at the Berlin Biennale (2014). Preparatory Notes for a Chicago Comedy (2013 and ongoing) by Polish artist Goshka Macuga and Belgian curator Dieter Roelstraete, is “playful play” with another of Warburg’s experiments in amateur playwriting - a humorous sketch titled Hamburg Kunstgesprache (Hamburg Art Conversations, 1896). Unlike the Duse playlet, Hamburg Art Conversations was completed and performed. Warburg cast family members, and himself, in various roles on the occasion of a New Year’s Eve party. Watching Chicago Comedy through what George Bernard Shaw called Duse’s greatness in acting the “interval,” results in a new way of looking at Plate C in Mnemosyne (1924 – 1929): this new reading relates Plate C back to three notes that Warburg wrote for his Grundlegende Bruchstucke (Foundational Fragments, 1888 - 1905) while traveling in North America (1895 – 1896). Finally, thinking about Chicago Comedy in relation to Warburg’s Grundlegende Bruchstucke definition of the kunstlerische Akt (““artistic” act”) and Verleibung [corporalization] also poses new questions about introjection and object-relations in psychoanalysis and neuroscience, sculpture and performance, between a three dimensional hunk of flesh called the human, animated objects taking subject and object positions, and the abyssal one-dimensional wormholes of internet hyperspace.
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Radio by Emily Verla Bovino
Marfa Public Radio, National Public Radio, KRTS, 2012
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Popular Magazines by Emily Verla Bovino
Ocula Magazine
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Pin Up, 2020
The dramatically cantilevered Shek O Bus Terminus in Hong Kong’s Southern District makes a brief ... more The dramatically cantilevered Shek O Bus Terminus in Hong Kong’s Southern District makes a brief but important cameo appearance in Steven Soderbergh’s 2011 pandemic thriller Contagion. One of the early victims of the film’s fictional virus meets their tragic end backdropped by the British colonial-era mid-century building, an example of Hong Kong Modernism distinguished by its large balcony. Already having heritage status, the faded yellow building is now a coronavirus architectural icon: the day the World Health Organization declared COVID-19 a pandemic, the almost decade-old Contagion jumped rankings to become the second most popular streaming rental.
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Mousse Magazine
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Ocula, 2019
Selected Features and Insights from Ocula Magazine, including reflections on Hong Kong exhibition... more Selected Features and Insights from Ocula Magazine, including reflections on Hong Kong exhibitions at Asia Art Archive, Tai Kwun's JC Contemporary, M+ Museum of Visual Culture, Blindspot Gallery and Hanart TZ Gallery.
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Frieze Magazine
Selected art writing from Frieze Magazine. For a selection of other texts from the magazine, vis... more Selected art writing from Frieze Magazine. For a selection of other texts from the magazine, visit http://www.frieze.com/issue/author/20915/. A full collection dating back to 2007 is available upon request.
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The Daily Meal, 2011
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Catalogue Essays by Emily Verla Bovino
Trafo Galeria, 2022
Collaboration with Ilona Nemeth for 'Ilona Nemeth: Eastern Sugar' at Trafo Galeria in Hungary. Th... more Collaboration with Ilona Nemeth for 'Ilona Nemeth: Eastern Sugar' at Trafo Galeria in Hungary. The essay was an accompanying text for the exhibition that both responded to the works displayed and inspired this particular installation in Trafo's architectural space, a former power station.
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Eastern Sugar, 2018
An essay on Ilona Nemeth's exhibition Eastern Sugar at the Kunsthalle Bratislava. First publishe... more An essay on Ilona Nemeth's exhibition Eastern Sugar at the Kunsthalle Bratislava. First published in Art Margins (MIT Press) then in the Kunsthalle Bratislava catalogue of the exhibition.
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Videos by Emily Verla Bovino
This paper, performed as a lecture recital, explores aggregation as a technique, distinct from collecting and archiving for its spatial sensibility, and from architecture for its relation to landscape. The accompanying sound-experiment sonifies aggregate data from geological studies of an iconic earthwork using microsounds from field recordings of its insects; the data also spatialises the resulting sound.
The panel, moderated by H.G. Masters (Deputy Editor & Deputy Publisher, ArtAsiaPacific) features Ulanda Blair (Curator of Moving Image, M+, Hong Kong), Nick Yu (Development Manager, Blindspot Gallery, Hong Kong), Daniel Szehin Ho (Publications Editor and Project Director for Booked: Hong Kong Art Book Fair, Tai Kwun, Hong Kong).
Talks by Emily Verla Bovino
Working with miniature as a method, Emily Verla Bovino, a 2021 M+/Design Trust Research Fellow, shares moments from over fifty conversations conducted with people variously involved in three areas of miniature selected for their relation to body, infrastructure, and architecture. The presentation follows mai nei (mini) Hong Kong across scales—cosmic, planetary, urban, object, network, gesture, material, and aesthetic.
Bovino will present her research findings, followed by a panel discussion with artists Nadim Abbas and Michelle Chan Wan Chee. This event will be moderated by M+ Curator of Design and Architecture Sunny Cheung.
Traditional Chinese and English closed captions available in the player.
M+ is Hong Kong’s global museum of visual culture.
Academic Articles by Emily Verla Bovino
This study was supported by the: Research Grants Council of the Hong Kong Special Administrative Region (Award PDFS2122-3H05)
Ironically, Ponti’s now forgotten Shui Hing, for which the Milan-based architect designed the façade and interiors, stands across from one of Hong Kong’s most celebrated film locations, Chungking Mansions (1961), a composite building studied for its ethnic, economic and social complexity, made famous by filmmaker Wong Kar Wai’s Chungking Express (1994). Aimed at fostering trade relationships through Hong Kong-Milan designs that experimented with open interiors, surface textures, and relationships between building and environment, Ponti’s commissions for Daniel Koo were part of the same critical historical moment as Chungking Mansions: a period between the attempted electoral reform of the 1946 Young Plan – which would have enfranchised more Chinese residents with decision-making power – and the post-crisis social reforms that followed the 1967 leftist riots. This essay contributes to studies that inquire into the impact that architectural experiments in Hong Kong had on visiting architects and their designs elsewhere. Its main objective, however, is to explore architecture’s political unconscious, discussing Shui Hing and the Villa Koo as an important lost chapter in the history of Hong Kong modernism and, the city’s politics of consumption. Lastly, the epilogue describes the process by which research for the essay took shape after several encounters with works by Hong Kong artist Leelee Chan.
historical research, this essay presents a study of minimalist
Donald Judd’s The Chinati Foundation/La Fondacion Chinati
(1979–1986), a museum in West Texas designed by
the artist. It explores Chinati in relation to its site—the Texas-
Mexico borderlands—focusing on three objects of evidence
found in and around it: a World War II–era Germanlanguage
sign inside the former military complex that Judd
retrofitted for the museum, and that he dated and autographed;
a wall of a derelict adobe building graffitied with
a denouncement of Chinati; and a granite gravestone with
an Arabic inscription, marking the final resting place of
Lebanese peddler Ramon Karam, whose death on the Rio
Grande in 1918 was used as evidence in Senate hearings in
support of increased U.S. militarization at the border. The
essay shows how working with ethnographic fiction toward
a new evidential paradigm shifts perspectives on Chinati,
Judd’s practice, the borderlands, and the relationship
between scholarship and art practice.
Radio by Emily Verla Bovino
Popular Magazines by Emily Verla Bovino
Catalogue Essays by Emily Verla Bovino
This paper, performed as a lecture recital, explores aggregation as a technique, distinct from collecting and archiving for its spatial sensibility, and from architecture for its relation to landscape. The accompanying sound-experiment sonifies aggregate data from geological studies of an iconic earthwork using microsounds from field recordings of its insects; the data also spatialises the resulting sound.
The panel, moderated by H.G. Masters (Deputy Editor & Deputy Publisher, ArtAsiaPacific) features Ulanda Blair (Curator of Moving Image, M+, Hong Kong), Nick Yu (Development Manager, Blindspot Gallery, Hong Kong), Daniel Szehin Ho (Publications Editor and Project Director for Booked: Hong Kong Art Book Fair, Tai Kwun, Hong Kong).
Working with miniature as a method, Emily Verla Bovino, a 2021 M+/Design Trust Research Fellow, shares moments from over fifty conversations conducted with people variously involved in three areas of miniature selected for their relation to body, infrastructure, and architecture. The presentation follows mai nei (mini) Hong Kong across scales—cosmic, planetary, urban, object, network, gesture, material, and aesthetic.
Bovino will present her research findings, followed by a panel discussion with artists Nadim Abbas and Michelle Chan Wan Chee. This event will be moderated by M+ Curator of Design and Architecture Sunny Cheung.
Traditional Chinese and English closed captions available in the player.
M+ is Hong Kong’s global museum of visual culture.
This study was supported by the: Research Grants Council of the Hong Kong Special Administrative Region (Award PDFS2122-3H05)
Ironically, Ponti’s now forgotten Shui Hing, for which the Milan-based architect designed the façade and interiors, stands across from one of Hong Kong’s most celebrated film locations, Chungking Mansions (1961), a composite building studied for its ethnic, economic and social complexity, made famous by filmmaker Wong Kar Wai’s Chungking Express (1994). Aimed at fostering trade relationships through Hong Kong-Milan designs that experimented with open interiors, surface textures, and relationships between building and environment, Ponti’s commissions for Daniel Koo were part of the same critical historical moment as Chungking Mansions: a period between the attempted electoral reform of the 1946 Young Plan – which would have enfranchised more Chinese residents with decision-making power – and the post-crisis social reforms that followed the 1967 leftist riots. This essay contributes to studies that inquire into the impact that architectural experiments in Hong Kong had on visiting architects and their designs elsewhere. Its main objective, however, is to explore architecture’s political unconscious, discussing Shui Hing and the Villa Koo as an important lost chapter in the history of Hong Kong modernism and, the city’s politics of consumption. Lastly, the epilogue describes the process by which research for the essay took shape after several encounters with works by Hong Kong artist Leelee Chan.
historical research, this essay presents a study of minimalist
Donald Judd’s The Chinati Foundation/La Fondacion Chinati
(1979–1986), a museum in West Texas designed by
the artist. It explores Chinati in relation to its site—the Texas-
Mexico borderlands—focusing on three objects of evidence
found in and around it: a World War II–era Germanlanguage
sign inside the former military complex that Judd
retrofitted for the museum, and that he dated and autographed;
a wall of a derelict adobe building graffitied with
a denouncement of Chinati; and a granite gravestone with
an Arabic inscription, marking the final resting place of
Lebanese peddler Ramon Karam, whose death on the Rio
Grande in 1918 was used as evidence in Senate hearings in
support of increased U.S. militarization at the border. The
essay shows how working with ethnographic fiction toward
a new evidential paradigm shifts perspectives on Chinati,
Judd’s practice, the borderlands, and the relationship
between scholarship and art practice.
Gulf Labor is a coalition of artists and activists who have been working since 2011 to highlight the coercive recruitment, and deplorable living and working conditions of migrant laborers in Abu Dhabi’s Saadiyat Island (Island of Happiness). Our campaign focuses on the workers who are building the Guggenheim Abu Dhabi, Louvre Abu Dhabi, and the Sheikh Zayed National Museum (in collaboration with the British Museum).
MOBILE IRONY VALVE. On the Pearl Interpolation (PERP) in a Monument to Bad Memory, was the Week 33 contribution to Gulf Labor’s 52 weeks by Emily Verla Bovino. It comprises a scroll montage, a chapbook and thermoplastic printed objects. It was featured in the publication The Gulf: High Culture / Hard Labor, edited by Andrew Ross (http://www.orbooks.com/catalog/the-gulf-high-culturehard-labor-edited-by-andrew-ross/) and presented at the 56th Venice Biennale.
To see how to add a perp to the herp to the lerp and the berp already present in the library of things, download the chapbook and watch scroll montage here.