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rain.ykc

@rain.ykc

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Architect, Exhibition Design
Editor @september_projects
Research @harvardgsd
Former Faculty @hkuarchitecture
@nyit.architecture @prattinstitute
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A belated thank you for such an energetic opening of “Knowledge is Myth: Chimeric Continuities” on view @carpenter_center_harvard through December 13 This exhibition features works by four artists and collectives Enzo Camacho & Ami Lien, Candice Lin, Cole Lu @colelu and AYDO (Ayoung Yu & Nicholas Oh) @aydo_studio that complicate the binaries of mythology and knowledge, and their constructs + a selection of interinstitutional loans from archives and libraries across @harvard — stay tuned for more information soon about a NYC program / research talk with some of the artists at Asia Art Archive in America in December! 👁️ #knowledge #mythology #contemporaryart #exhibition #art
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‘Eyes Dazzle as They Search for the Truth’ by @aminyosefi reviewed by @cjbstein in the inaugural issue of @september_projects 🤍 September is an artist-run annual print publication, edited by @andrea_orejarena, @cjbstein and @rain.ykc and designed by @brianpaullamotte @lamotte_studios. The first issue, Map of Maps, is launching this weekend at @printedmatter_artbookfairs NYABF, Floor 2 (T66). Friends in NYC, don’t miss it ❕ 📖 Eyes Dazzle as They Search for the Truth by Amin Yousefi is now available via @luhz.press. Follow the link in bio to order your copy today. With a text by @davidcampany and @aminyosefi Published by @luhz.press Design by @zoelem Printing @faenzaprinting_italy Distributed internationally by @ideabooksnl #eyesdazzleastheysearchforthetruth #aminyousefi #davidcampany #luhzpress
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An absolute honor to be contributing to the inaugural issue of the September Magazine @september_projects. To publish a piece alongside close allies and comrades, and many more that I admire and look up to is a real treat. The topic of this piece of writing itself holds a dear place in my heart, and is something I wish to keep developing on. Thank you to the September dream team @rain.ykc @cjbstein @andrea_orejarena #septembermagazine
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“Children’s Games is an archive of relationality unmoored from our adult tendencies to stabilize, formalize, and catagorize. It stores not things but ways of being.” Writes Rain Chan @rainykc on Francis Alÿs’ work in September Project’s first publication, ‘Map of Maps’. Sign up at the link in our bio for updates. Francis Alÿs, Children’s Game #15: Espejos. Ciudad Juarez, Mexico, 2013 (stills). © Francis Alÿs. Courtesy of the artist and David Zwirner Gallery. 
Francis Alÿs, Children’s Game #29: La roue. Lubumbashi, DR Congo, 2021 (stills).© Francis Alÿs. Courtesy of the artist and David Zwirner Gallery. @francis_alys_official @davidzwirner
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September is an artist-run annual print publication. Each issue brings together conceptual photography, cinema, architecture, philosophy, fiction and nonfiction, video art, and artist books, all devoted to a single subject. The editors fill that subject with wide-ranging, often contradictory perspectives until an initial conception of a term brims over into new reflections on how to navigate our current moment. The first issue, ‘Map of Maps’, gathers nearly sixty artists and writers, including thirty newly commissioned texts. It was printed by Antiga Grafiche in Verona and designed by @brianpaullamotte @lamotte_studios ‘Maps of Maps’ has four covers. This one: Zheng Guogu, Ten Thousand Customers 270 (1997–2016). C-Print, handmade paper-carving on photographic paper, 23 ⅝ × 39 ⅜ in. (60 × 100 cm). Image courtesy of the artist, @elikleingallery , and @vitamincreativespace . Featured in @phil.z.cai ’s text Case for the Unarchived.
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“Alanna Fields’s interest reaches backward to a time before she was born—long before our contemporary moment, in which queer identities and ico- nography are increasingly detached from their origins, commodified, and casually tried on at will. Fields concentrates her search on a bygone time whose interpretation is often skewed by official historical accounts. . . . Fields has described her inexhaustible archival work as a gift to her younger self, who grew up without seeing nuanced images of Black queer individuals. To extend that remark, it can be said that the searching for, gathering, and preservation of discarded objects is also, in many ways, a searching for, gathering, and preservation of one’s own selfhood.” Luther Konadu writes about Fields’s work for ‘Map of Maps’. Alanna Fields, Kiss Me Make My World Fade Away, 2023.
Encaustic wax on archival pigment print and plexiglass panel, 30×40×11⁄2in. @alannafields
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“It’s all in pursuit of trying to capture this thing in all its dimensional- ity before it’s lost. Not in a nostalgic way, but I think something in its twilight is just more acutely what it is, and we can understand it better because the picture is almost complete. It’s almost resolved in its tra- jectory. And I think art is the right place for that inquiry, because it is kind of the final frontier of the analog, the thing in a room, the thing that gathers dust,” says @mungothomson in conversation with @mklombino in September Project’s first publication, ‘Map of Maps’. Sign up at the link in our bio for updates. All Images, Mungo Thomson, stills from Time Life Volume 9. Life Model, 2025,
4K video with sound, 9:53 minutes.
Soundtrack: Mark Fell and Will Guthrie,“Diffractions 1,” 2020 (excerpt). © Mungo Thomson. Courtesy the artist and Karma @karmakarma9
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We are delighted to share the first issue of September, an artist-run annual print publication bringing together conceptual photography, cinema, architecture, philosophy, fiction and nonfiction, video art, and artist books, all devoted to a single subject. Our first issue, ‘Map of Maps’, gathers nearly sixty artists and writers, including thirty newly commissioned texts, around the theme of archives. Thank you to every single contributor. This magazine is brimming to the seams with your insightful, provocative, touching, and surprising interpretations. Across the issue, these responses take many forms and directions. Among them, Keisha Scarville’s intimate portraits of her father’s passport photographs—collaged, painted over, and repurposed to explore identity and belonging; Jeffrey Gibson’s intervention in the Brooklyn Museum’s archive, where he places moccasins on a colonial statue; and Bernardo Mosquera’s curatorial and critical essay considering the archive through a Brazilian Candomblé perspective, in which past, present, and future happen at once, moving away from dominant Western forms of linear time and considering how this shapes archiving in both personal and institutional realms. These are just a few of the many perspectives gathered in ‘Map of Maps.’ Check out the first issue for the work of all of our contributors, which we are deeply grateful to have had the honor to publish. ‘Map of Maps’ is the product of sixteen months of hard work. September is a true labor of love and obsessiveness, something at the root of the archival impulse in all of us. Thank you to Antiga Grafiche in Verona for the gorgeous printing. And last but not least, we are deeply grateful to September’s designer @brianpaullamotte @lamotte_studios ‘Maps of Maps’ has four covers. This one: Sara Cwynar, Red Rose II, 2020, 24 × 30 inches, archival pigment print mounted on Dibond. Courtesy the artist and Cooper Cole, Toronto, and The Approach, London. @cwynars @coopercole @approachgallery m
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As the MET renovates and recently reopened its Nolan Study Room, September editor and architect Rain Chan talks to the project’s architect Michael Young. @rain.ykc @young_ayata “The Metropolitan Museum of Art is not so much a singular building than an accumulation of spaces layered over time,” - @rain.ykc The architects talk about an institutional shift: As archives move from storage toward access, the role of the library transforms from a place of preservation into one of encounter, a space where knowledge begins to circulate differently. Plan of Completed Scheme. The Metropolitan Museum of Art. New York City. Additions 1908–1916. Courtesy of Metropolitan Museum of Art, New York City. @metmuseum
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From documenting fictional U.S. presidents to the internet, “other” categories, double vision, train stations, and an upcoming exhibition at Hong Kong Palace Museum to “all hell breaking loose” as the chocolate mousse made its entrance this conversation took place over dinner in Bed-Stuy between two friends. An incredible architect-artist and an equally masterful curator, or two pretty darn good writers—by extension impressive thinkers—Rain Chan and Sofia Thiệu D’Amico. They are integral to New York’s niche set of creative avant-garde Asian diaspora, when they feel like ticking that box. Visit cultbytes.com to read it! #nyc #art #architecture
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From Aries Season xoxo
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Encouraging a more layered understanding of place, Rain Chan, a trained architect, reviewed Cici Wu and Karen Wongs exhibition "Under Moon and Sun" @99canal.nyc. His reflections on geography, public gatherings, memory, and diaries embedded within five video works subtly usher the reader beyond the walls of art theory into the emotional mechanics of city scapes. The show is closed but the review remains poignant. Follow link in bio or cultbytes.com to read the article. #videoart #newyorkcity
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