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Anya and Andrew Shiva Gallery

Anya and Andrew Shiva Gallery

Anya and Andrew Shiva Gallery

860 11th Avenue
John Jay College

3D exhibitions

  • Anya and Andrew Shiva Gallery

    POLYCENTRIC, DIALOGICAL AND RELATIONAL: ART BY JOHN JAY FACULTY

    Curated by Thalia Vrachopoulos

  • Anya and Andrew Shiva Gallery

    Weaving Justice

    Curated by Thalia Vrachopoulos

  • Anya and Andrew Shiva Gallery

    THE RIGHT TO SILENCE?

    GREECE IN USA launches its program with the group exhibition “The Right to Silence?” that the non-profit platform organizes in New York under the auspices of the Greek Ministry of Culture at John Jay College of Criminal Justice, CUNY, City University of New York and at other cultural venues from December until June 2021. GREECE IN USA conceives and produces projects that build long-lasting partnerships with leading institutions and individuals who actively engage with Greece. In this context the opening exhibition consists of a survey and two parallel streams addressing different political and geographical contexts, focusing on Greece/Cyprus at Gallery X curated by Sozita Goudouna. GREECE IN USA has also invited curator and professor Thalia Vrachopoulos to respond to the theme with a focus on Asian Artists and curator Tressa Berman to propose a historic American artist. GREECE IN USA invites numerous artists, curators and scholars to respond to “The Right to Silence?,” the on-going events in NYC will be announced accordingly.

  • Anya and Andrew Shiva Gallery

    THE RIGHT TO SILENCE: ASIA

    Part II The Right To Silence: Asia curated by Thalia Vrachopoulos In the context of the exhibition Right to Silence, I will examine several traditions in Asia evinced in works by artists from Japan, Korea, China, Taiwan and Thailand as they pertain to both the 5th Amendment Right and more loosely interpreted as selected or imposed silence. Silence in Asia which is primarily a listening culture does not signal the withholding of information as it does in most western cultures, but rather it signifies careful thought or is seen as calming pause. This is evidenced in the meditative works of the Japanese artists Kenichi Nakajima and Hiroshi Sunairi. In Japan silence is sometimes used to avoid showing disagreement, and in some cases as seen in Goro Nakamura’s work, this silence can reveal conflicting thoughts. In South Korea since it has a Confucianist grounding, the most important person or oldest speaks first while the audience keeps still until directly addressed. Although none of these artists kowtow to this philosophy it is nevertheless somewhat manifested as underlying principle in the works of Ho Han, Hoyoon Shin, Buldong Park, Chonggon Byun, Jonggu Lee, Mina Cheon, Oksang Lim, and Wonhee Noh. For others like Hobong Kim, Maelee Lee, Jaiseok Kang, Jeongsoo Shim, and Kyonghyo Park this tradition is not as important as challenging the prevailing norms. Three main religious philosophies Buddhism, Taoism, and Christianity exist in combination in South Korea. In Japan Shintoism which replaces Taoism, advocates silence as an awareness of nothingness. In Thailand from where Vasan Sitthiket comes, 95% of the population practices some form of Buddhism that practices silence as a way of self-awareness, understanding and wisdom. In Buddhism silence is believed to strengthen one’s spirituality, whereas in Taoism stillness is crucial for alchemical transformation and harmony. Buddhist philosophy takes silence as manifestation of complete sincerity grounded in the nature of heaven and earth. So that silence has been part of all these Asian religious philosophies since antiquity and inform not only society but also the artworks of its advents. In Taiwan where Chin-chih Yang was born, the majority of people like in mainland China, practice a combined version of Buddhism and Taoism. It is these main philosophies that impact the beliefs, life and standards of the represented artists but also the majority of Asian artists depending on their geographical area. Silence can also be used as a bargaining method. An example of this is a negotiating table comprised of both Asians and Europeans wherein Asians maintain silence while their opposites taking it for dissatisfaction, keep upping the ante. Furthermore, in most Asian cultures, silence can be paradoxical and can signal respect as much as protest. Silence can relieve tension in the body or it can create nervousness as a result of the anxiety it produces. The absence of the aural sense in itself creates psychological discomfort thus a desire to fill the pause. Silence in the Asian countries has ancient precedents that are grounded in Taoism whose philosophy teaches followers to submit to the path/way (or divine way of the universe) advocating humility and piety rather than imposing one’s will upon the universe. As such, it can be understood as passive whereas in the west, such behaviors for the most part, are seen as active or even aggressive. Confucianism although not a religion per se, informs even the most modern Asian countries, and advocates a passive stance vis a vis the idea of class structure and filial piety. Its philosophies have exerted great influence on Asian culture, politics, family, and education. Consequently, when examining the law as it pertains to the 5th Amendment Right, (Miranda Warning,) there are some differences in perception and cultural traditions as well as the legal philosophies in Asia. The 5th Amendment does not have a direct equivalent in the Korean constitution. While the American 5th Amendment Right covers a variety of related topics which are explained in separate articles, in the South Korean constitution originally drafted in 1954, it was general, providing the defendant with the Miranda warning before he was charged, but not in its current detailed position. The 1997 article 95 of the Taiwanese Code of Criminal Procedure was revised to include the right to silence for the defendant who had to be notified before interrogation. And in Thailand, it was in 2004 that these provisions were introduced as amendments to the Criminal Procedure Code. Japan passed it Criminal Procedure Code in 1948, but amended it in 2004 to include the right to silence along with the obligation to

    latest works

    • Eozen Agopian

      Before the Past, My Spring, Full of You, Rebirth
    • Cianne Fragione

      Heaven and Earth Are Dressed in Their Summer Wear (Soundview)
      60 x 30 inch (h x w)
      Oil, Mixed media, and assemblage on canvas
    • Cianne Fragione

      Heaven and Earth Are Dressed in Their Summer Wear (yellow and white polka dots)
      60 x 30 inch (h x w)
      Oil, Mixed media, and assemblage on linen
    • Cianne Fragione

      Heaven and Earth Are Dressed in Their Summer Wear (pink and green)
      60 x 30 inch (h x w)
      Oil, Mixed media, and assemblage on linen
    • Cianne Fragione

      Heaven and Earth Are Dressed in Their Summer Wear (Wax Flower)
      58 x 41 inch (h x w)
      Oil, Mixed media, and assemblage on linen
    • Cianne Fragione

      Heaven and Earth Are Dressed in Their Summer Wear (blue eyelet)
      60 x 30 inch (h x w)
      Oil, Mixed media, and assemblage on canvas
    • Tara Foley

      Tapestry for Talos
    • Chin Chih Yang

      Pollution Solution , 2021
      woven cans
    • Eozen Agopian

      Untitled #1, 2015
      20 x 25 cm (h x w)
      ACRYLIC AND THREAD ON CANVAS
    • Renee Magnanti

      Weaving Worked by Women , 2019
      80 x 108 inch (h x w)
      intaglio with hand coloring and paper yarn weaving
    • Eozen Agopian

      Crashed
    • Kalos & Klio

      Dragons Drones , 2017-2019
      150 x 200 cm (h x w)
      hand woven rug, sheep wool
    • Kalos & Klio

      The Dream , 2017-2019
      140 x 200 cm (h x w)
      handwoven rug, Tibetian Yak wool
    • Title Weaving Justice
    • Yiannis Christakos

      Weaves on my Skin , 2016
      60 x 80 cm (h x w)
      Pencils, Embroidery, Cotton Thread on Canvas
    • Yiannis Christakos

      Flying Again , 2015
      50 x 70 cm (h x w)
      Pencils, Embroidery, Cotton thread on paper
    • Yiannis Christakos

      Everything Will be Fine , 2016
      60 x 80 cm (h x w)
      Oil, Pencils, Embroidery, cotton thread, resin on canvas
    • Kalos & Klio

      War Has an End, 2017 -2019
      55 x 180 cm (h x w)
      Hand woven textile, cotton
    • Kalos & Klio

      The Wheel Of Democracy, 2017 – 2019
      170 x 270 cm (h x w)
      hand woven rug, Tibetian Yak wool
    • Xin Song

      The W Series 03
      Paper cut collage
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