RIOT FOOD HERE by Henry Tsang
RIOT FOOD HERE focuses on the 1907 anti-Asian riots, taking the form of food offerings in four locations over four days in May and June 2018. These locations would be at significant sites along the parade route organized by the Asiatic Exclusion League that turned into a riot, with a mob that attacked Chinatown, then Powell Street. The food samples would be from five cultural perspectives: European, Chinese, Japanese, Aboriginal and Punjabi. The purpose of the project is to stimulate dialogue and awareness of this historic event in order to reflect upon the ongoing struggle since colonial times about who has the right to live here.
A walking tour with Michael Barnholden (author of Reading the Riot Act: A Brief History of Riots in Vancouver) tracing the path taken by the demonstrators, will also be programmed.
Henry Tsang is a visual and media artist and occasional curator based in Vancouver. His artworks incorporate digital media, video, photography, language and sculptural elements that follow the relationship between the public, community and identity through global flows of people, culture and capital. Projects include Maraya, an eight-year collaboration that investigates the reappearance of Vancouver’s False Creek in Dubai as the Dubai Marina; Orange County, and Olympus, shot in California, Beijing, Torino and Vancouver, exploring overlapping urban and socio-political spaces; and Welcome to the Land of Light, a public artwork along Vancouver’s seawall that underscores Chinook Jargon, a 19th Century local trade language, and the English that replaced it. Curatorial projects include Self Not Whole: Cultural Identity and Chinese-Canadian Artists in Vancouver (1991); Racy Sexy (1993); and City at the End of Time: Hong Kong 1997 (1997). Henry is an Associate Professor at Emily Carr University of Art & Design.
Ten Different Things engages ten critically-engaged artists to investigate the role of culture as a critical ingredient in the construct and vitality of the contemporary city. What propositions, provocations, concepts or visions do artists have for creating a public sphere that promotes cultural life? How can we create structures, processes or dynamics to produce new ways of living, working, interacting, or occupying the city? Where are the intersections in public life where artists can produce alternate outcomes?
Photo credit: Cecilia Yuan Liu