Rice (1) copy.png
BAESIANZ

 

PRESENTS

 

NO ROOM LEFT in the MARGINS

The Bomb Art Factory Foundation and Baesianz present No Room Left in the Margins, a screening of 10 short films by British artists from the Asian diaspora. Together, these films offer an insight into narratives which challenge limited ideas of Asian identities that exist within varied cultures.

Q&A

'The Temple of Sleepy Chan' by Jade Ang Jackman

'The Temple of Sleepy Chan' by Jade Ang Jackman

The Temple of Sleepy Chan is filmmaker Jade Jackman’s collaboration with Japanese-British latex fashion brand, Hanger. Founder Claire Yurika Davis draws on her childhood as part of The Moonies, Japanese tea ceremonies, and The Matrix for her AW18 collection. The clothes are mirrored in the color-coded rooms and otherworldly interiors of the Temple: a place that is both timeless and infinite, allowing the visitor to relax from the heady pace of modern life. Jackman explains: “You can’t think about time while in the Temple. Given how constantly connected and engaged we are, I wanted to allude to how this state cannot last. So, eventually, a model will arrive—notifying you that it’s your time to leave the Temple of Sleepy Chan.” Jade Ang Jackman (1994) is a film director and writer. After studying Law & Anthropology at the London School of Economics, she first became interested in telling stories related to the criminal justice system and so started out in the world of documentary. Since then, she has worked across video genres but is often inspired by things around her whether that be curiosity over beauty regimes, the Jade green of her grandma’s necklace or casting that reflects her worldview. In 2018, she won best new director at the British Film Institute’s Future Film Festival and in November 2019 was nominated for Best New Director by the SHOTS. She has also been profiled as a woman shaping the future of the creative industries by the Dots. Director: Jade Ang Jackman Creative direction: HANGER / Claire Yurika Davis Producer: Holly Wolfers Director of Photography: Nathalie Pitters Editor & Sound design: D-Fran Post producer: Karan Chhatwal Executive producer: Martin Roker Featuring Prim Patnasiri, Jinan Golley, Fa & Fon Watkins, Flowerchild Stylist: Lee Trigg Hair: Rebecca Chang Mua: Julia Edwards Choreography: Emma Zangs Set Design: Studio Augmenta Commissioned by Nowness
'Points of Departure' by Alia Syed

'Points of Departure' by Alia Syed

'Points of Departure’ uses archive footage of a collective past and combines it with personal recollections to fracture the normative culturally dominant view of Glasgow’s cityscapes and re-insert a Scottish Asian presence. After unsuccessfully searching the BBC archive for footage that I could relate to as a mixed race child growing up in Scotland, I formulated a set of rules governing how I would edit the footage: I could not find a human presence I could relate to, so I would only present footage where there was no human presence. The initial concept for the voice over comes from a tablecloth I retrieved whilst clearing my father’s house; using a redundant artefact that had previously been imbued with what Bergson refers to as a ‘re-collective’ memory of domestic ritual to express my interaction with the archive. This develops through an Urdu song from the archive, and my father’s translation of that song. Both these aural elements are contrasted with documentary footage of Glasgow’s past. The combination of the overtly personal, together with the historical, creates the rubric from which subsequent registers of narrative emerge; this kaleidoscope allows different subjectivities to be produced. Alia Syed was born in Wales, grew up in Scotland and lives in London. She has been making films for over 25 years. Syed’s films have been shown at numerous institutions around the world. Most recently she was Artist in Focus at Courtisane Festival Gent in Belgium (2019). Other exhibitions of note include, Delirium Equilibrium at Kiran Nadar Museum of Art, New Delhi (2018), Los Angeles County Museum of Art in 2012-13, 5th Moscow Biennale (2013); Museum of Modern Art, New York (2010); Museo National Centro de Arte Reina Sofia, Madrid (2009); XV Sydney Biennale (2006); Hayward Gallery, London (2005); Tate Britain, London (2003); Glasgow Museum of Modern Art, Scotland (2002); Iniva, London (2002); The New Art Gallery in Walsall (2002); and Tate Modern, London (2000). Additional Camera Tanya Syed Camera Assistant Callum Bannister Sound Recordist Crawford Milne Song Teri Baaten Hi Sunane Aaye Written by Ahmed Faraz Additional Music Tanya Syed Dubbing Mixer Paul Flitcroft Editor Hilary McMusker-Thompson, Lucy Harris Online Editor Micheal Garden
'The Filial Daughter' by Lu Xiao-Wei

'The Filial Daughter' by Lu Xiao-Wei

Lu Xiao-Wei known professionally as Lu is a Taiwanese filmmaker and photographer based in London. Lu’s work embodies rich, striking visuals and symbolism with a focus on cultural relevance. She started directing fashion films, music videos and innovative content after she completed an MA in Photography and Electronic Art at Goldsmiths University of London. Lu's work aims to expand people's perceptions and explore marginalised narratives in Asian communities, gender identities, and her own experiences of Asian womanhood. Having directed and produced films for i-D, Nike, Universal Music, Conde Nast, Adidas and gal-dem, Lu’s work has been featured on NOWNESS, Boiler Room 4:3, The FADER and Hunger TV. Her experimental short 'Fern', won the Best Sound award at New York City Independent Film Festival and was one of the finalists at Chicago’s Blow-Up Arthouse Film festival, and played at Berlin Fashion Film Festival and Manchester Film Festival. Film: The Filial Daughter https://vimeo.com/285924270 Description: A mixed-media documentary short covering Taiwanese professional funeral mourners known as ‘Filial Daughters’. The film explores questions of representation, female identity and the clash between tradition and modernity in present day Taiwan. Professional mourning is a time-honoured tradition that is slowly dying out in Taiwan - as little as twenty years ago, there were hundreds of mourners working at funerals that lasted for over 30 days. Nowadays, this number is drastically lower, reflected by the fact that services rarely last beyond a fortnight. Liu Jun-Lin is currently the youngest and one of the best-known professional mourners still working in Taiwan. The Filial Daughter captures her and her band's pre-funeral rituals and elaborate performances, which include acrobatic dance manoeuvres, sombre songs, theatrical elements and detailed choreography. The event is steeped in folkloric tradition yet wholly modern, featuring maximal lighting and pumped up PA systems. Perceived as a lower class occupation and often associated with the criminal underworld, professional mourners are often looked down upon, despite their role in seeing loved ones into the afterlife. The Filial Daughter asks whether an economy built on emotional transactions can survive Taiwan’s march into modernity, and shines a light on the adversity faced by Liu Jun-Lin as a one of the country’s last professional mourners. CREDITS Directed by: Lu Produced by: Lu Model Man Shot by: Lu Xiao-Wei Model Man Da Mu Assistant Camera: Chen Yun-Ru Sound Recordist: Model Man Sound Design Morgan Williams Edit by: Rob Brandon, Lu Xiao-Wei Colourist:Tim Martin Music by: Model Man Featuring: Liu Jun-Lin Liu Wen-Ji Xu Xiao-Ci Liu Ting-Ru Tang Ya-Ting


Baesianz
is a forthcoming publication which celebrates artists of Asian heritage from all around the world. Founded in London by three friends from origins spanning China, Pakistan, and Iran, Baesianz aims to platform the art and voices of Asians living both within and outside of Asia to create an evolving library that can be experienced by all.

 

FEATURED FILMMAKERS

Hussina Raja

Hussina Raja is a British-Kashmiri multi-disciplinary artist based in London. She explores themes of identity, heritage and culture using film, photography, installation and performance.

Roxy Rezvany

Roxy is a British filmmaker of Iranian-Malaysian-Chinese descent, born and raised in Brent, London, who has been working in film and video production for seven years. Her work aims to expand peoples perception of British identity, particularly as someone of mixed immigrant parentage, and to bring marginalised narratives to the mainstream.

Vivek Vadoliya

Vivek Vadoliya is a London-based photographer & director. Since studying photography at Nottingham Trent University, his practice has encompassed portraiture and fashion and most recently expanded into documentary. His aesthetic can be described as intricately sensitive in its social rawness. His personal work adopts an anthropological approach; a method of working that is faithful to his commitment toward a visual narration that seeks to document overlooked communities and discover unique subcultures, an inclination that is undoubtedly informed by his lived experience as a second-generation British Indian.

Lu Xiao-Wei

Lu Xiao-Wei known professionally as Lu is a Taiwanese filmmaker and photographer based in London. Lu’s work embodies rich, striking visuals and symbolism with a focus on cultural relevance. She started directing fashion films, music videos and innovative content after she completed an MA in Photography and Electronic Art at Goldsmiths University of London. Lu's work aims to expand people's perceptions and explore marginalised narratives in Asian communities, gender identities, and her own experiences of Asian womanhood.

 

Jade Ang Jackman

Jade Ang Jackman is a film director and writer. After studying Law & Anthropology at the London School of Economics, she first became interested in telling stories related to the criminal justice system and so started out in the world of documentary. Since then, she has worked across video genres but is often inspired by things around her whether that be curiosity over beauty regimes, the Jade green of her grandma’s necklace or casting that reflects her worldview. In 2018, she won best new director at the British Film Institute’s Future Film Festival and in November 2019 was nominated for Best New Director by the SHOTS. She has also been profiled as a woman shaping the future of the creative industries by the Dots.

Mona Bakht

Mona Bakht is London-based creative who recently graduated from Central Saint Martins where she studied Fashion Communication and Promotion. Her practice focuses primarily around filmmaking and photography, with a lo-fi style reminiscent of the 80's and raw documentation of cultures and communities. From moving image to editorial shoots, Mona is able to show the world her multidisciplinary style in the form of storytelling.

Nicolee Tsin

Nicolee is a Hong Kong born and London-based director and writer. She uses film as a means of rethinking identity and representation; by exploring images and narratives that revolve around the underrepresented community, especially those of Asian heritage, she hopes to create new conversations and reconstruct meanings of their experiences on screen.

 

Yuen Hsieh

Yuen Hsieh creates “fiction for a new generation”: the Taiwan-born, London and Shanghai-based filmmaker is known for his dystopic, futuristic videos, many that shed a light on the issues facing Chinese youth today. Inspired by dystopic sci-fi, video games, and anime, he aims to reveal “unspeakable truths” or taboo subjects such as sex work, suicide, and bullying.

Amy Dang

Amy is a London-based visual artist and filmmaker. With a particular interest in creating site-specific experiences through moving image (film, animation) and sound, her work often investigates the complexity of the human psyche, self-identity, and the various communications we form with nature and technology.

 

Alia Syed

Alia Syed was born in Wales, grew up in Scotland and lives in London. She has been making films for over 25 years. Syed’s films have been shown at numerous institutions around the world. Dr Amna Malik wrote that ‘Alia Syed's practice as a filmmaker tests the conventions of writing. Even though her films deploy a narrative structure they do so to unravel the very idea of beginnings and endings that is necessary to the act of making sense. Instead she uses repetition, circularity and the layering of word and image to explore the conditions under which the subject of language and desire is made present but also eludes our grasp.’ Most recently, Alia was Artist in Focus at Courtisane Festival Gent in Belgium (2019). Other exhibitions of note include, Delirium Equilibrium at Kiran Nadar Museum of Art, New Delhi (2018), Los Angeles County Museum of Art in 2012-13, 5th Moscow Biennale (2013); Museum of Modern Art, New York (2010).

Flower 2.png