The Chinese Culture Center (CCC) is a heritage, arts and culture destination serving the Chinese American community, diverse citywide communities and regional, national and international visitors to San Francisco. It is a place where audiences explore, reflect upon and envision a vibrant Chinese and Chinese American culture. The CCC is the primary program site operated by the Chinese Culture Foundation of San Francisco (CCF). Founded in 1965, the CCF is a nonprofit community-based organization whose mission is to preserve, promote, and influence the course of Chinese and Chinese American culture.

The Center offers a variety of educational and cultural programs. These programs range from lectures, workshops, and classes to art exhibitions, dance and musical performances, and cultural exchanges—all of which enable members of the Chinese American community and the general public alike to gain a deeper knowledge of historical and contemporary Chinese and Chinese American culture.

Position Summary: The Outreach Coordinator serves under the direction of the Executive Director and working with Project Managers, is responsible for implementing and coordinating all community outreach and civic engagement activities of the Center.

Primary duties include:

• Assist the Executive Director and Project Managers in designing, scheduling, and implementing programs to enhance participation and strengthen the impact of our outreach efforts, with a focus on Chinatown and youth
• Establish, cultivate and manage partnerships with schools, community centers and nonprofit organizations and institutions, and other cultural associations
• Work to bring these communities to the Center’s activities
• Initiate, design, and produce outreach and promotional materials
• Staff all outreach and engagement programs of the Center
• Document all outcomes of outreach and civic engagement activities for Grants Administration

Qualifications:
- 1-year experience in outreach work (paid or volunteer)
- Bilingual Chinese (Mandarin or Cantonese) and English is preferable
- Commitment to cultural and community arts
- Appreciation and/or familiarity with Chinese culture, knowledge of Chinese-American history, particularly as relates to San Francisco
- Excellent organizational and project management skills
- Strong initiative, interpersonal and communication skills, especially working with diverse communities
- Must be available Tuesday – Saturday, occasional Sundays
- Proficient in MS Office applications, Adobe Illustrator; knowledgeable in traditional and nontraditional communications forms
- Bachelor’s degree

This is a part-time position (15 – 20 hours/per week) for the duration of the grant. Compensation depending on experience; benefits package is available.

CCF is an equal opportunity employer.

To apply, please send resume and cover letter by October 20th.

HR/Outreach Coordinator
Chinese Culture Center
750 Kearny Street, 3rd Floor
San Francisco, CA 94108
e-mail: staffing@c-c-c.org

We ask supporters of the Chinese Culture Center and everyone in the Bay Area to help with our efforts to bring awareness and resources to the Taiwan typhoon relief efforts. According to current news reports, 136 people have been confirmed dead in Taiwan, 386 are missing, 45 are injured, and 523 people are buried under mudslides in two villages.

CCC is partnering with organizations to assist in fundraising efforts with relief agencies to support these families and victims of the Typhoon Morakot in Taiwan. We make these resources available on our website for those wishing to donate to this cause.

As the mission of CCC is to preserve, promote, and influence Chinese and Chinese-American art and culture, please help us bring relief to those in Taiwan in need and going through great difficulties as a result of personal and property loss.

GlobalGiving

1. How will Global Giving help victims of the typhoon in Taiwan?
GlobalGiving will work with their partners in Taiwan to bring direct relief to the victims and families.

2. Will all the money I donate through GlobalGiving go to the victims in Taiwan?
GlobalGiving holds 12.75% of your donation for admin. overhead costs and 87.25% goes directly to the relief efforts.

3. How can I donate through GlobalGiving to the relief efforts in Taiwan?
You can donate by clicking here or you can mail a check payable to The GlobalGiving Foundation. Write “Taiwan Typhoon Relief and Assistance Fund” in the memo field. Mail checks to:

The GlobalGiving Foundation
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Washington, DC 20009

( 本報記者胡健宏三藩市報道 )

隨著旅遊旺季的開始，中華文化中心再度力促華埠的歷史文化遊，希望為遊覽華埠的節目當中增添更多與中國傳統文化以及華裔歷史相關的元素，讓遊客和新一代華裔在遊覽華埠的同時，能夠增加對這方面的瞭解。

中華文化中心助理項目總監汲逢源表示，華埠歷史文化游其實是中心長期以來都有的項目，不過今年中心特別將該項目系統地加以整理，從而能更有條理地在介紹華埠時加入文化與歷史的內涵。例如會在遊覽的過程當中，向遊客介紹中醫中藥的歷史與現狀，還有一些中國的傳統節日以及這些節日的意義和習俗。

而在歷史方面，汲逢源表示除了介紹華埠以及一些主要僑團的歷史之外，還會加入華人移民來美160多年以來的歷史，當中會包括淘金潮、華人帶來的農業和漁業、排華法案等，當中也會加入一些實際的數據來證明華人對美國所作出的貢獻。

汲逢源認為這種帶有文化與歷史的華埠游計劃，除了對遊客來說增加了不少樂趣之外，對年輕一輩的華裔更是有非常重要的影響，因為透過這些活動，新一代的華裔能夠瞭解先僑的貢獻與艱辛奮鬥，從而增強自我的信心和自尊心，對於一些中國人的傳統禮教和習俗亦有更深刻的認識和理解。

中華文化中心的華埠歷史文化遊由中心負責提供，汲逢源表示中心方面已經在積極進行開展宣傳工作，包括在各大酒店派發宣傳單張，採訪一些參加該計劃的團友並將採訪短片上載到YouTube等來增加這個計劃的知名度。與此同時，該計劃還在這個經濟低潮時期創造工作機會，正在招聘雙語而且對中華文化有所認識的人士來擔任導遊，有關招聘的詳情可以與中華文化中心聯絡（415）-986-1822，或將簡歷電郵至fengyuan@c-c-c.org。

( 本報記者江智慧三藩市報道 )

三藩市中華文化中心現正舉行當代藝術家聯展，展期至8月23日止，這個名為「現在時雙年展：華藝先鋒」，包括31位各國年輕新進藝術家，將華人主題以攝影、影像、油畫、動畫、雕塑及裝置藝術等藝術型式呈現。

其中一些參展藝術家簡介如下：參展女性藝術家崔斐生於山東濟南藝術世家，現居紐約。獲浙江藝術學院油畫學士學位，在國內常畫泥巴路和石塊，作品風格凝重。 1996年美國留學，自由的教育體制改變了她的藝術風格，從平面油畫走向裝置藝術。有一次她搬家，發現地下的小樹枝像中國書法的筆觸，她因而開始用樹枝創作裝置藝術。

她用大頭針將樹枝釘在潔白的牆面上，近看是一枝枝小樹枝，遠看像一幅書法，別具禪意。她認為這是來自大自然的信息。她說：「中國在劇變，來到美國也是巨變之一，無處不在的變化使我想抓住一種永恆不變的東西，我在自然規律中找到了。」

■三藩市中華文化中心舉行雙年展，圖為Elizabeth Moy的攝影作品。 中華文化中心提供

Elizabeth Moy取得雪城大學油畫藝術學士學位，並獲加州藝術學院攝影碩士學位，現居紐約布魯克林。其父為亞裔代表美國參加越戰，2005年再次前往伊拉克。她認為，照片留住了往昔，卻只能捕捉到霎那瞬間。「如果我們當時在場，我們就會記得當時情景；如果我們沒能趕上那一刻，我們會試著追溯歷史自己解讀。」因此，她將風格迥異的攝影作品編織起來，以她的方式，捕捉父親越戰的記憶。

美籍墨西哥裔藝術家Sergio de La Torre生於邊境Tijuana，現任三藩市大學藝術與建築學院助理教授。他以影片《新龍城》（Nuevo Dragon City）參展，觀眾可一窺當地華人世界。他回到家鄉與當地華裔青少年，重現一起發生在20年代的真實事件。當時華裔為躲避暴徒，藏身於一家家具店。他的拍攝手法呈現當時華裔身為少數族裔背被忽視、排擠的內心世界。

其他參展的藝術家包括李荊山、方璐、張凌生、梁麗婷、羅文驎、葉艾明、塔瑪拉、陳曼玲、張文馨、張維倫、胡智騰、卜樺、黃介彥、Suzanne Husky、李煥庭、馬良、林冠瑩、Elizabeth　Moy、張賢明、Tucker Nichols、夏漢強、Nadim Sabella、Zachary Royer　Scholz、岑志廉、Charlene Tan、蔡仁杰、雲明正、雲翠蘭等。

Chinese Culture Center: Present Tense Biennial – Chinese Character .

Artists: Tamara Albaitis, Nancy Chan, Anita Wen-Shin Chang, Julie Chang, Thomas Chang, Sergio de la Torre, Cui Fei, Justin Hoover, Bu Hua, Arthur Huang, Suzanne Husky, Khiang H. Hei, Larry Lee, Sean Marc Lee, Liting Liang, Lucy Kalyani Lin, Ken Lo, Fang Lu, Maleonn, Elizabeth Moy, Ming Mur-Ray, Tucker Nichols, Nadim Sabella, Zachary Royer Scholz, Indigo Som, Charlene Tan, Patrick Tsai, Imin Yeh, Xudung Yu, David & Michelle Yun. Curated by Kevin B. Chen.

Comment by AB: Thirty-one artists from the Bay Area and beyond essay on contemporary Chinese culture. A fine exhibition all the way around, with high points including Suzanne Husky’s regimented rendition of workers in a Chinese factory interior, a column of blue and white porcelain bowls reaching to the ceiling by Larry Lee, a walk-through sound installation by (not sure), and to remind us of how much garbage we generate, a cornucopia of fast food restaurant throwaways set against two tall walls papered with Chinese restaurant take out menus (not sure who this one’s by either). Penty more good stuff too, and special added bonus– more art and installations appear in storefront windows throughout Chinatown. Definite go see.

Art.

Art.

We throw a lotta stuff away art (like it).

Sound installation art (like it).

Porcelain bowl art by Larry Lee (like it).

Factory worker art by Suzanne Husky (like it).

Photography.

Photography.

Photography.

Art.

Not sure.

Art and photography.

Population density.

Vibrant, political, poetic, and challenging,the Present Tense Biennial, coordinated by the Chinese Cultural Center and the Kearny Street Workshop, speaks volumes about contemporary Asian/American identity. Curated by Kevin B. Chen with Abby Chen and Ellen Oh, this exhibition assembles work by thirty-one artists from the bay area and abroad in response to contemporary Chinese Culture. After viewing several bay area exhibitions of work by native Chinese artists (major shows at SFMOMA and BAMPFA), I was pleased to behold an Asian American response to the challenges of identity and shifiting political currents as it relates to cultural heritage at the Present Tense Biennial.

Cui Fei is a Chinese artist that exhibits actively in the United States. Pictured above is a detail from a large wall installation, Manuscript of Nature V. From afar, the installation has the appearance of a calligraphic manuscript with its stroke-like sense of movement. Upon closer examination however, one realizes that each “character” is a unique sculpture informed by the natural formation of twigs. Language and its conventional, evolving nature is a running theme in this show and Cui Fei’s lyrical installation poignantly explores the illusory and mutable qualities of written word in relation to the timeless structure of nature.

Tamara Albaitis adds a sonic dimension to Cui Fei’s dialogue on language through her interactive installation consisting of two hanging grids of speakers–each mini-speaker emitting an element of speech (a vowel, a consonant, a dipthong). Not only does the grid format allude to the way we attempt to structure our thoughts through language and the lined formatting of written compositions, it also (through the collective, babel-esque sounds of this piece) deconstructs the conventions and notions of power attached to language/speech.

(Image: Cui Fei, Manuscript of Nature V. Image via Chinese Cultural Center Online Gallery)

Thomas Chang’s series of photographs taken from Splendid China Theme Park in Orlando, Florida reframe the meta-Chinese Monuments (see the architectural wonders of China at 1/10th the size!) such that the images take on a surreal appearance of both authenticity and artifice. In this way, Chang’s photography incisively highlights the disjunction between cultural legacy and historical tourism and the resultingly muddled messages this sends to the public.

(Thomas L. Chang,

Great Wall

. Image via: Chinese Cultural Center Online Gallery)

The tension between artifice, material production, and cultural/personal perception is another running theme in the show. In Lucy Kalyani Lin’s The Yangtze, a neon light that mimics the curves of the Yangtze river; mounted upon a series of mirrored cubes–evoking visions of the China’s neon-lit urban centers (Shanghai immediately comes to mind) and the notion of the river as a symbol of economic livelihood. Zachary Reyer Scholz’s work adapts a similar theme: by mounting cubic forms on flat mirrored surfaces (milk cartons, cinder blocks), these mundane forms take on the illusion of increased depth and formal complexity–the multiplied grid-like images suggest construction foundations and the steel frames of industrial growth. Other highlights include Indigo Som’s wall installation of Chinese restaurant menus <1% and Charlene Tan’s black and white, paper cornucopia overflowing with photo-copies of fast-food containers from China, entitled The Good Life.

I enjoyed each and every piece of this exhibition so thoroughly that I visited twice–I also recommend checking out Imin Yeh’s patterned appliances installed in storefronts at 710 Kearny St. and taking a close look at Liang Liting’s surreal ink paintings.

I leave you with this haunting photograph by Maleonn. The piece pictured above is entitled Nostalgia #4. His poetic statement about his series on view at the CCC is both enigmatic and profoundly revealing–and I think, a fitting way in which to grasp the wealth of exciting work in this exhibition:

Then, the pure smile of the leaving youth, the lost and broken love, the way that cannot back down, and the lonely hurricane, the nights and the desolate dream, the endless distance, and the weak house of ideals, will finally be mercilessly shattered by time, and grinded into smoke and ashes. In the most private corner of everyone’s heart, it gradually piles up to the secret pain permeated into the deepest feelings, and one hears nostalgia

Indeed, the works produced here by artists young and old, of various ethnic backgrounds, conjure up a sense of collective nostalgia, of loss, of disjunction–however, that an exhibition like this exists and opens itself up to public discussion lends the work in this show an over arching bid for hope and critical engagement.

Go see this show!!!

Chinese Cultural Center; 750 Geary (in the Hilton, 3rd floor). Gallery Hours: Tuesdays – Saturdays 10 am to 4 pm
Sundays 12 noon to 4 pm. FREE ADMISSION.

Artist Ken Lo outside the Chinatown storefront that’s home to his “Lucky Feet, Happy Shoes” pseudo-shop, part of the Present Tense Biennial. (Lacy Atkins / The Chronicle)

The name of the store, on the awning and on T-shirts in both English and Chinese, is “Lucky Feet, Happy Shoes,” but good luck trying to shop there. The storefront is just a front and the shoe exists in the mind of its creator Ken Lo. So does “Yellow Fever,” and so does his relationship with Kobe.

“If I can pull this off, people will walk past this shoe store and never think of it as art,” says Lo, creator of the installation. “They’ll think of it as a store featuring some shoe from a guy they’ve never heard of.”

That guy would be Lo, who is 5 feet 7 inches and never got past playground hoops. “I can hold my own against sixth-graders,” he says. But that didn’t stop him from creating a fantasy life as K. Lo.

“What artists do, primarily, is they manifest what they most want to see in the world,” says Lo, “and something I did want, I did dream about, is that Kobe Bryant was my best friend. But the piece is not about Kobe. It’s just a good entry point.”

The installation is among eight vacant shops taken over by artists participating in “Present Tense Biennial: Chinese Character,” a group show of 31 artists presented by the Chinese Cultural Center in collaboration with Kearny Street Workshop. The main exhibition is in the concrete Hilton, where two commercials, one 30 seconds, the other two minutes, will entice viewers to “Lucky Feet” at 704 Kearny St., across from Portsmouth Square.

Lo, who works full time managing an architectural signage firm in the Bayview district, did not get any funding support for his artwork. He paid for it out of pocket. He has a point to make, and the point is “you don’t matter unless you have a name,” he says. “And you’re not a name that means anything unless you have a shoe.”

Lo is perhaps more basketball-obsessed than most artists. When working on his projects at his apartment uphill from the Tenderloin, he has the NBA playoffs on with the sound off. This is how his grandparents introduced him to the Los Angeles Lakers. They didn’t need the sound because they came from Hong Kong and didn’t understand English.

Like any kid will, he became infatuated with his favorite player. But in his case, the player, Bryant, was a few months younger than Lo, who is now 30. Lo’s devotion to Kobe followed him from West Covina (Los Angeles County), where he grew up, to San Francisco, where he entered art school. For his master’s of fine arts final project at UC Berkeley, he dimmed the lights and premiered a 12-minute video in which the character K. Lo is a tattooed rapper, whose dunks in Kobe’s face attract the attention of two slinky chanteuses, shaking booty to the thumping. Asked where he got the models for that, Lo calmly admits that he played those parts himself, and also the character of his mother.

“Cross-dressing and dancing like a fool makes me a bit queasy,” he says, “but I think it was emotionally sincere.”

So is he a video artist? Painter? Collage artist? Actor? Female impersonator? Lo ponders the question. “There are a lot of people who paint because they are really good at painting,” he says. “I just happen to be good at self-deprecation. So I will call myself a ‘dilettante at different medias.’ “

Fashion designer would be another. “If I had more time, I’d find a shoemaker in China and commission them to make a shoe,” he says. So what happens if somebody sees the display model and has to have the Asian Invasion?

“If that happened,” he says, “maybe I’ll make them a shoe and sneak it over to them.”

Present Tense Biennial: Chinese Character: Runs through Aug. 23 at the Chinese Culture Center, 750 Kearny St. Maps to storefront installations are at the gallery and online at www.c-c-c.org. (415) 986-1822.

By Claire Light | May 05, 2009

The VIP opening for the Present Tense Biennial: Chinese Character show at the Chinese Culture Center was slated for 6:30pm. But a cordon of CCC staff and board members and local politicoes — plus curator Kevin Chen and (presumably) all the artists present — barred a packed lobby-ful of attendees from the gallery for an hour, giving speech after speech (and issuing city supervisor-signed certificates). When the gallery finally opened, the entire audience rushed into the exhibition space like a small boar down a boa constrictor’s throat. Worse: the snakelike gallery (entrance at the front, exit at the back) was blocked at the exit end, encouraging viewers to linger in the galleries socializing after they’d finished looking around. It was impossible to see the work.

I go into such gory detail because the scene illustrates the glorious contradictions of mounting a show like Present Tense Biennial. The Chinese in me was amused at the necessity of making sure the city graced this new enterprise, and making sure everyone involved was given face, publicly. The contemporary art viewer in me was annoyed as hell that I had to wait around and then try to see the show through crowds of schmoozers. At the moment, I have little information about how this marriage was arranged, or where the self-proclaimed “biennial” will go in two years. All I know is that, by its very circumstance, the show is both a meld and a clash of three different approaches to representing community.

The Chinese Culture Center is a contemporary manifestation of “Old Chinatown,” a way of organizing an increasingly well-educated immigrant population within the traditional ethnic enclave, using the guanxi (or web of favors and connections) that runs through all sectors and classes of the San Francisco Chinese community. Exhibition co-sponsor Kearny Street Workshop (full disclosure, I was on staff 1999-2003) is a nearly forty-year-old “Asian American Movement” dinosaur, a creation of the early 70s’ critical mass of American-born Asians trying to communicate both with traditional ethnic communities and with the American mainstream, while carving out a third niche to declare and define their own identity.

And then there is curator Kevin Chen. Although Intersection for the Arts is not directly involved in Present Tense Biennial, Chen brings to the show a powerful whiff of the ethos he’s helped develop at Intersection in the past decade; an unacknowledged, post-colonial, “post-racial” perfume of a practice that insists on nothing but the ability of the work to play in a contemporary international context.

I put “post-racial” in scare quotes because, in the past ten years, our community arts curators and editors have been doing a St. Vitus’ Dance around the question of when identity art begins to eat itself. And no wonder: as long as we don’t grapple directly with this question, we can continue to push the boundaries of what is considered identity art, and satisfy both the clarion call of racial solidarity, and the siren song of aesthetic indulgence. Such curators have been taking advantage of the now-aging tradition of ethnic-specific cultural productions, to sneak in work by artists not of that ethnic description that might bolster or illuminate the body of work being shown. It’s also a small rebellion against pure racial lines, and a sly challenge to the viewer to question racial taxonomies.

Present Tense Biennial: Chinese Character is exciting to me because it is the first acknowledged ethnic arts show I’ve seen that doesn’t just quietly sneak in a racial diversity of artists, but actually declares that tactic as its raison d’etre, and does it in a context of melding three ways of organizing community (past, present, and future?) Billing itself simply as a show where “31 artists reflect on and reinterpret contemporary Chinese culture,” Present Tense surprises less with its actual work than with its intentions. Much of the work — I assume deliberately — rides the line of orientalism, or at least exotification of the Chinese Other. What’s fascinating is that some of this work is by Chinese Americans, such as Thomas Chang, who’s been making a career out of photographing charged spaces empty of people, to see what is left behind; Chang’s photo series of Chinese landmarks can only be called surreal in the scenes’ utter absence of human presence. It’s squirmily uncomfortable, and some of the best work such a show can present.

Don’t get me wrong, the other work is fine … fun and interesting and worthy and all that. But it IS the usual mix of primarily conceptual candy with raucous and speculative photography and fine drawing: essentially the three modes artists in the Bay Area underground are restricted to. There is a fun column of rice bowls, and an interesting installation of chopsticks painted to become graphs of the racial content of cities where the artist has lived, and a worthy sound installation of different languages emitted from a grid of microphones that looks from a distance like a Go board. There’s Anita Chang’s fun documentary of growing up making fortune cookies and lifting weights. There is a lovely wall installation of calligraphy made from curling twigs. There are walls and walls of beautiful, as well as derivative, photographs of Chinese people, going about their stereotypical or hipsterosyncratic business, depending on the photographer. And, perhaps the best work in the show, there is a wonderful and terribly appropriate series of storefront installations celebrating and parodying the 150-year-old mercantile and export relationship between China and the US.

Nothing wrong with that. But is it so wrong of me to find this interesting more because these artists are from different countries and linguistic traditions, and yet working in the same visual idiom towards the same project of de-and-re-stereotyping? Am I missing the point when I say that this show can only be done once before it loses its interest, or that the next biennial will have to diversify aesthetically and formally in order to stay relevant? Is it bad of me to recommend you see the show as a perfect embodiment of a transitional moment in American racial politics? And am I mistaken when I assume that my confusion about which artist did what (caused by poorly placed wall labels) is yet another small symptom of this fascinating shift?
Resources

* Chinese Culture Center of San Francisco
* Present Tense

(本報記者江智慧三藩市報道 )

三藩市中華文化中心歷來最大規模的展覽「現在時雙年展：華藝先鋒」，昨晚正式開幕，邀集31位新一代年輕當代藝術家聯展，三藩市參事邱信福、州眾議員 Mark Leno、中華文化基金會主席蔡流輪、州眾議員馬世雲代表謝漢屏、市長辦公室代表等人皆到場，連同三藩市中華文化中心總監鄧式美、項目總監陳暢等人剪綵，場面熱鬧。鄧式美希望該展可以引發社區對當代中國的探討，也期待灣區民眾不只前來欣賞，更可帶動民參與、加入傳承。

三藩市中華文化中心雙年展開幕，鄧式美（左）及陳暢合影於裝置藝術。 「現在時雙年展：華藝先鋒」，由今日起至8月23日，展出31位各國年輕當代藝術家作品，將華人主題以攝影、影像、油畫、動畫、雕塑及裝置藝術等型式呈現。現場可以看到家庭主題、飲食主題等。

鄧式美表示，希望社區中的老中青年代民眾皆來欣賞，中華文化中新希望敞開大門，與社區進行更多面向的交流。陳暢也說，欣逢五月亞太傳統月，以及五四運動九十周年，此次集合不同國家的藝術家看他們眼中的中國。年代已不同，希望更跳脫國籍、種族框架。貴賓們皆祝賀展出成功。

參展的藝術家包括岑至廉、崔斐、李荊山、方璐、張凌生、梁麗婷、羅文驎、葉艾明、塔瑪拉、陳曼玲、張文馨、張維倫、胡智騰、卜樺、黃介彥、Suzanne Husky、李煥庭、馬良、林冠瑩、Elizabeth　Moy、張賢明、Tucker Nichols、夏漢強、Nadim Sabella、Zachary Royer　Scholz、Charlene Tan、蔡仁杰、雲明正、雲翠蘭等。

展場在三藩市中華文化中心畫廊，以及六個散佈在華埠的街邊櫥窗。開放時間為每周二至周日上午11時至下午4時。地址在乾尼街750號，希爾頓酒店三樓。可上網www.c-c-c.org或電415-986-1822。

「現在時雙年展」作品包括：攝影、攝像、繪畫、動畫、雕塑、裝置藝術等多種形式。「現在時雙年展」貴賓開幕禮訂於5月1日舉行，展出日期由5月2日至8月23日，有關展覽可上網：www.c-c-c-.org或電話查詢415-986-1822。