HOWIE TSUI
徐浩恩


Howie Tsui est né à Hong Kong en 1978. Il a grandi entre Lagos (Nigéria) et Thunder Bay (Ontario, Canada), et vit et travaille à Vancouver. Tsui emploi une grande variété de médiums pour réaliser des installations fictives qui bousculent des formes d’art canonisé et des genres narratifs issus notamment de la tradition littéraire chinoise. Il synthétise les anxiétés socioculturelles divergentes autour de la superstition, des traumatismes, de l’acculturation et de l’altérité. Tsui est diplômé de l’université de Waterloo (2002) et a reçu le prix Joseph Stauffer du jeune artiste le plus prometteur par le Canada Council en 2005. Son travail fait partie des collections du National Gallery of Canada, Vancouver Art Gallery, Art Gallery of New South Wales, Canada Council Art Bank, Ottawa Art Gallery, City of Ottawa, Global Affairs Canada et du Musée d’art contemporain de Baie-Saint-Paul (Canada).

L’œuvre d’Howie Tsui tend à être une hybridation des influences historiques de l’art chinois et de la culture pop hongkongaise des années 1980, ainsi que des éléments de la culture pop nord-américaine. Le BC Arts Council et le Canada Council for the Arts ont financé la production de son projet “Retainers of Anarchy”, un film d’animation de 25 mètres de long, d’abord projetée au musée d’art contemporain Vancouver Art Gallery (Vanart) en 2017, puis au musée OCAT à Xi’an, Chine, en 2018 et à la Ottawa Art Galler en 2019. Cette installation vidéo utilise un logiciel informatique de très haute technologie, un programme algorithmique qui nécessite une technologie pointue pour l’exécuter. Dans «Retainers of Anarchy», et dans son travail “Parallax Chambers”, Howie Tsui s’inspire du genre littéraire du wuxia, qu’il appréhende comme un outil narratif de dissidence et de résistance. Le wuxia est une forme traditionnelle de littérature liée aux arts martiaux qui s’est popularisée au XXe siècle à travers le cinéma et la télévision.
“Parallax Chambers”, oeuvre vidéo sur laquelle Tsui travaille depuis 2018, ouvre un nouveau chapitre dans son travail en constante évolution. Il utilise un processus pointu mêlant dessin, animation et programmation algorithmique pour représenter une pièce particulière d’un immeuble fictif de la Citadelle de Kowloon à Hong Kong (démolie en 1993). Chaque pièce met en scène des séquences animées d’art martial en même temps que des habitants de l’appartement mènent leurs rituels quotidiens domestiques et professionnels. Cette juxtaposition vise à créer un amalgame entre ces deux groupes de fiction et de réalité, et à souligner les affinités que l’on peut trouver entre la nature anarchique de l’univers des arts martiaux d’une part, et la société auto-organisée de la Citadelle de Kowloon d’autre part.
A titre plus personnel pour Howie Tsui, la Citadelle de Kowloon, de par sa situation au delà des frontières géographiques et administratives de la Chine et de Hong Kong, sert d’avatar au sentiment de liminarité perpétuelle que ressentent tous les émigrés, comme c’est le cas pour Tsui qui a grandi au Canada, venant de Hong Kong. “White Camel Mountain” est le premier chapitre d’une série de pièces dont chacune mettra en scène une secte particulière décrite dans le livre Legend of Condor Heroes de Jing Yong.

Au-delà du sujet de ces films d’animation, ceux-ci illustrent de façon remarquable le passage d’Howie Tsui du dessin classique au New media art. Tsui s’est auparavant fait remarquer pour ses oeuvres à l’encre sur papier (The Unfortunates of D’Arcy Island, 2013 ; Horror Fables, 2009), ses installations de dessins gravés sur bois (Hei Gung Deviation, 2017) et sur peau (Of Malingerers, Skulkers And Dupes, 2012), ou même sur un jeu de flipper (Musketball!, 2012).

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PUBLIC COLLECTIONS

National Gallery of Canada
Art Gallery of New South Wales
Vancouver Art Gallery
Ottawa Art Gallery
Musée d’Art Contemporain de Baie-Saint-Paul
Canada Council Art Bank
City of Ottawa
Global Affairs Canada
Embassy of Canada (Beijing)

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AWARDS

2018   Sobey Art Award Longlist
2012   RBC Emerging Artist Award
2010   Corel Endowment Fund for the Arts Award
2005  Joseph S. Stauffer Prize, Canada Council for the Arts

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RESIDENCIES

2018    Burrard Arts Foundation
2014    Spring Workshop, Hong Kong
2011     Centre A International Centre for Asian Art, Vancouver
2009   Art City, Winnipeg
2008   Symposium international d’art contemporain de Baie-St-Paul, Baie-Saint-Paul, QC
2007   Islands Fold Artist Residency, Pender Island, BC

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SOLO SHOWS

2020
Retainers of Anarchy, Art Gallery of Greater Victoria
Retainers of Anarchy, Ringling Museum of Art, Sarasota, Florida
Burrard Arts Foundation, Vancouver
Galerie LJ, Paris

2019
Retainers of Anarchy, Ottawa Art Gallery

2018
Retainers of Anarchy, OCAT Xi’an
Interloper and the Inverted Prism, Art Labor Gallery, Shanghai

2017
Retainers of Anarchy, Vancouver Art Gallery

2013
Friendly Fire, Art Gallery of Southwestern Manitoba
Horror Fables, Le Gallery, Toronto
Celestials of Gold Mountain, Wil Aballe Art Projects, Vancouver

2012
Radiant Specters, Gallery Wendi Norris, San Francisco
Friendly Fire, Agnes Etherington Art Centre, Kingston (catalogue)

2011
Celestials of Saltwater City, Centre A (Vancouver International Centre for Contemporary Asian Art)

2010
Horror Fables, MAI (Montréal, arts interculturels)
of Manga & Mongrels, Gallery Jones, Vancouver

2009
Horror Fables, Carleton University Art Gallery, Ottawa (catalogue)
Horror Fables, Ace Art Inc., Winnipeg

2008
of Shunga & Monsters, Le Gallery, Toronto

2007
of Manga & Mongrels, G+ Gallery, Toronto

2006
of Manga & Mongrels, Gallery 101, Ottawa

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GROUP SHOWS
2020 In the Present Moment: Buddhism, Contemporary Art and Social Practice, Art Gallery of Greater Victoria
2019 Spring! A Group Show of Contemporary Drawing, Galerie LJ, Paris
2019 Façade Festival, Vancouver Art Gallery and Burrard Arts Foundation
2018 Luminocity, Kamloops Art Gallery
2018 We’ll All Become Stories, Ottawa Art Gallery
2018 Diverse Voices from Vancouver, Elizabeth Leach Gallery, Portland
2015 Bites Back, Art Labor Gallery, Shanghai
2015 Anatomica, Dalhousie Art Gallery, Halifax
2015 越界/粵界 (transgression/cantosphere), Centre A
2015 Out of Line, Oakville Galleries
2015 Truth of the Matter, Ottawa Art Gallery
2014 Shine A Light: Canadian Biennial, National Gallery of Canada, Ottawa (catalogue)
2014 A Journal of the Plague Year – Islands Off the Shore of Asia, Para Site, Hong Kong
2014 Thru the Trapdoor, On Main Gallery, Vancouver
2014 Neo Folk, Ikkan Art International, Singapore
2014 Beside Yourself, Audain Art Centre, Vancouver
2013 You Cannot Kill What is Already Dead, Doris McCarthy Gallery, Toronto
2013 Spatial Poetics XII: Release Me, Powell Street Festival, Vancouver
2013 Intersections, Cineworks, Vancouver
2013 Accumulations, Le Gallery, Toronto
2013 A Clear Blazing Trail, Magic Pony Gallery, Toronto
2012 Phantoms of Asia: Contemporary Awakens the Past, Asian Art Musuem of San Francisco (catalogue)
2012 The Calendar’s Tales, 808 Gallery, Boston University School of Fine Arts
2012 Local Flora, Galerie SAW Gallery, Ottawa
2011 Picture Book 1, Interurban Gallery, Vancouver
2011 Place and Circumstance, City Hall Art Gallery, Ottawa
2010 Exploded View, Ottawa Art Gallery
2010 Monster, West Vancouver Museum
2010 Made in Canada, Shenkman Arts Centre, Orleans
2010 Par Chemin, Yves Laroche Galerie d’art, Montreal
2009 Life Drawing, Narwhal Art Projects, Toronto
2008 Hut on an Island, Grasshut Gallery, Portland
2008 Listen to your Heart, MOHS Exhibit, Copenhagen
2008 Parcours et Perspectives, Musée d’art contemporain de Baie-Saint-Paul, Quebec
2007 The Pleasure, Jaime Torres Bodet Cultural Centre, Mexico City
2006 Paper Pushers, Gallery 1988, Los Angeles
2006 Fresh Start, Arena 1 Gallery, Santa Monica
2006 I Am 8-Bit, Gallery 1988, Los Angeles
2006 Said and Done, AntiSocial Gallery, Vancouver
2005 Enjoy Relax Happy, Niagara Gallery, Toronto
2005 My Culture Includes My Scene, Ottawa Art Gallery
2005 Then and Now, Gene Siskel Film Center of the Chicago Institute of Art
2005 Semi-Permanent05: Sketchel, Sydney Convention and Exhibition Centre, Australia
2004 Coming Soon, Gene Siskel Film Center of the Chicago Institute of Art
2004 Fresh Produce 04, Gallery Anno Domini, San Jose
2003 Scatalogue: 30 Years of Crap in Contemporary Art, Galerie SAW Gallery, Ottawa

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CATALOGUES
2018 Art Labor Gallery, Howie Tsui: Retainers of Anarchy, Shanghai, 2018. Authors: Karen Smith and Anna Holmwood.
2017 Vancouver Art Gallery, Ottawa Art Gallery, Art Gallery of Greater Victoria, Howie Tsui: Retainers of Anarchy, Vancouver, 2017. Authors: Alice Ming Wai Jim, Diana Freundl, Michelle Gewurtz, and Michelle Jacques.
2014 National Gallery of Canada, Shine A Light: Canadian Bienniale 2014, Ottawa, 2014. Author: Drouin-Brisebois, Hill, Kunard, Shaughnessy and Vogl.
2014 Laurence King, The Book of Hearts, London, 2014. Author: Francesca Gavin.
2012 Agnes Etherington Art Centre, Howie Tsui: Friendly Fire, Kingston, 2012. Author: Jan Allen, Steven Loft & Paul Roberston.
2012 Asian Art Musuem of San Francisco, Phantoms of Asia: Contemporary Awakens the Past, San Francisco, 2012. Author: Mami Kataoka & Allison Harding.
2009 Carleton University Art Gallery, Howie Tsui: Horror Fables, Ottawa, 2009. Author: Emily Falvey & Sandra Dyck.
2008 Islands Fold Publishing, Of Shunga & Monsters, Pender Island, 2008. Author: Luke Ramsay.

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SELECTED BIBLIOGRAPHY
2018 Nicole Lee, “Pacific Crossings & Howie Tsui: Retainers of Anarchy,” Asian Diasporic Visual Cultures and the Americas, (Vol. 4, Issue 1-2, 2018), P213-216.
2018 Victoria Nolte, “Asian Canadian Minor Transnationalism: A Method of Comparison,” Asian Diasporic Visual Cultures and the Americas, (Vol. 4, Issue 1-2, 2018), P65-88.
2017 Elliat Albrecht, “Howie Tsui: Retainers of Anarchy,” Artomity, (Summer).
2017 Kevin Griffin, “Retainers of Anarchy mashes up time up time and narrative to arrive at the present”, Vancouver Sun, (7 April).
2017 Rachel Rosenfield Lafo, “Howie Tsui: Retainers of Anarchy”, Galleries West, (9 April).
2017 William Tham, “Terminus/Gateway Cities: Pacific Crossings and Retainers of Anarchy at the Vancouver Art Gallery”, Ricepaper, (10 April).
2017 Nathaniel Ainley, “Traditional Chinese Scroll Painting Comes to Life in an Algorithmically Animated Projection”, Vice, (12 April).
2015 Michael Baker, “Retainers of Anarchy: In Conversation with Howie Tsui”, nomorepotlucks, (Nov/Dec, 2015).
2015 Angela Ko, “Interview with Howie Tsui”, Left Coast Art, (June 8, 2015).
2014 Doretta Lau, “Play List: Howie Tsui”, South China Morning Post, (May 11) P2.
2014 “Artist Eats: Howie Tsui”, Worlds Best Ever
2013 “Hit List: Howie Tsui,” Akimbo
2013 Christine Conley, “Howie Tsui”, Canadian Art (Winter 2013), 148.
2012 Erica Gomez & Vanessa Kauffman, “On the Cover: An Interview with Howie Tsui”, Eleven Eleven (Issue 15), P255.
2012 Peter Simpson, “Pinball Battlefield”, Ottawa Citizen (14 May), C5-C6.
2012 Jesse Hamlin, “Asian Art Museum’s ‘Phantoms of Asia’ connects”, San Francisco Chronicle (13 May), P14.
2012 Andrew David King, “Ghosts in the Archive”, ZYZZYVA (26 June).
2012 Kamille Parkinson, “Interpreting the War of 1812”, Kingston Whig-Standard (19 July).
2011 Joni Low, “Evoking Past into Present: The Spectral Imagination of Howie Tsui”, Yishu: Journal of Contemporary Chinese Art (Nov/Dec 2011, Vol.10 No.6), 67 – 86.
2011 Robin Laurence, “Ghost Stories Find Scary Form”, Georgia Straight (16 – 23 June) 63.
2011 Kevin Griffin, “Howie Tsui: A Bestiary of Horror Stories”, Vancouver Sun (1 July).
2011 Jeff Hamada, “Howier Tsui/Interview”, Booooooom! (14 July).
2011 Carren Jao, “Howie Tsui at the crossroads of culture”, Poketo (5 July).
2010 Petra Halkes, “Exploded View”, Border Crossings (Vol. 29, No. 3, Issue 115), 131-132.
2010 Helena Wadsley, “Of Manga & Mongrels”, Galleries West (Vol. 9, No. 3, Fall / Winter 2010).
2010 Aaron Boissonneault, “Horror Fables”, PaperWait(Vol. 12 ) 34-41.
2010 Adam Volk, “Asian Fusion”, Ottawa Xpress (1-7 April), 8.
2010 Paul Gessell, “The Trouble with Excellence”, Ottawa Citizen (5 March), A3.
2010 Robin Laurence, “Monster: The Fear Inside”, Canadian Art (25 February).
2010 Paul Gessell, “Odd, and Odder ”, Ottawa Citizen (27 February), G1.
2009 Robert Enright, “The Mongrel’s Progress: Howie Tsui”, Border Crossings (Vol. 28, No. 4, Issue 112), 16.
2009 Cindy Deachman, “Black Magic”, Ottawa Magazine (February/March), 47-48.
2009 Paul Gessell, “Creep Show at Carleton”, Ottawa Citizen (27 April), D1.
2009 David Balzer, “Spring Drafts”, Eye Weekly (26 March), 47.
2009 Rupert Bottenberg, “Mulling over Manga”, Montreal Mirror (12-18 March), 45.
2009 Morgan A. Cook, “Sex, Death, Fear and Fairy Tales”, Upfront Magazine (April), 14-15.
2009 Tony Martin, “Chan vs. Tsui: An Epic Conversation”, Get Guerilla, (Issue 19, March).
2009 Damian Purdy, “The Fright Stuff”, The Manitoban, (Oct. 19 – 26), 22.
2009 Jaya Beange, “Asian Fables a Real Horror Show”, The Uniter, (Oct. 21 – 28), 15.
2009 Sandee Moore, “Freaky Fixation”, Uptown Magazine, (Nov. 5 – 12), 17.
2009 Rosanne Barrett, “Long-distance call: Howie Tsui”, South China Morning Post, (13 Dec), 10.
2008 Paul Gessell, “Corporate Art on the Edge”, Ottawa Citizen, (Jan. 24), E-E1.
2008 Leah Turner, “Artisan”. Color Magazine, (Autumn Issue, 6.4), 86.
2007 Donna Balkan, “Canada Council Celebrates 50 Years”, Ottawa Life Magazine, (Vol. 10/No. 4), 21.
2006 Allison Collins, “From Tsui’s Imagination”, Ottawa Xpress (14-21 September), 17.
2006 Paul Gessell, “A weird and wonderful collision of east and west”, Ottawa Citizen (14 September), E1.
2006 Emily Lam. “Of Manga and Mongrels”, The Fulcrum, (Sept. 28), 21.
2005 Anita Euteneier, “Culture Clash”, Ottawa Xpress, (June 23-30), 18.
2005 Fiona Killackey, “Pleased to Meet You”, STU Magazine, (No. 35), 24.
2004 Anita Euteneier, “Packing a Punch”, Ottawa Xpress, (Sept. 16-22), 19.
2004 Anita Luo, “Showstopper”, Jasmine Magazine, (Fall), 68.
2004 Fateema Sayani, “Howie Tsui in Process”, Hipster and Poser, (Sept.), 14-15.
2003 Colin Vincent, “Howie Tsui”, Mirror Magazine, (Dec/Jan), 12-13.
2003 Denis Armstrong, “Poop packs a punch”, Ottawa Sun, (June 19), 34.
2003 Anita Euteneier, “Suspended Adolescence Goes International”, Ottawa Xpress, (May 15-21), 17.
2003 Alan Neal, “Where watching paint dry is great fun”, Ottawa Citizen, (April 21), B4.

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