Curator Jo-Lene Ong walks through historic marketplaces across Taiwan, Paris, Devon, London, and Manchester, exchanging island mentality for more archipelagic thinking, via Steph Huang’s sculptural installation, I Am in a Pretty Pickle (2024).

Through works combining sculpture, sound, and film, contemporary artist Steph Huang explores mass production, consumption, and waste. She often focusses on the transcultural and historical dimensions of food industries, and the implications of such markets on our natural environment. Roaming the street markets of cities in Taiwan, where she was born, and London, where she lives and works, she also draws from their vernacular architectures, and different local cultures. Steph’s first exhibition at Tate Britain in London sits near the river Thames, a boat ride away from Billingsgate, the UK’s largest inland fish market; and in Manchester, at its historic Market Buildings, once part of the Victorian Smithfield Fish Market.

Curator Jo-Lene Ong connects sculptural works like I Am in a Pretty Pickle (2024), with the Situationist International’s practice of the dérive, repurposing objects collected through exploration. We situate her interest in wonder and playful approach to media with the likes of Haegue Yang, currently on view at the Hayward Gallery in London, and Rasheed Araeen, entwining the roles of cook and artist.

We look at the traces of maritime trades and food industries on our everyday lives, and our relationship with ocean ecosystems, highlighting the legacies of colonialism in contemporary capitalism and climate crises. From esea contemporary’s previous exhibitions of artists like Jane Jin Kaisen, Jo-Lene moves towards her particular interest in transmission, and more ‘watery ways of being’ beyond borders, referencing Astrida Neimanis’ hydrofeminism (2017) and looking to Sharjah Biennale 16 in 2025.

We discuss ‘island travel’ and ‘archipelagic thinking’ as central to Steph’s artistic, and Jo-Lene’s curatorial, practices. Jo-Lene shares how her relationship with identity has been shaped by working in different contexts, from Malaysia, to Amsterdam, and the UK. We discuss the relative in/visibility of East and Southeast Asian (ESEA) identities in these different places - histories of Indonesia and the Dutch East Indies, and Malaysia, a British colony between the 1820s and 1957 - as well as the overlaps between Hokkein and Taiwanese languages, as variants or dialects of Chinese.

Steph Huang: There is nothing old under the sun runs at esea contemporary in Manchester until 8 December 2024. The exhibition is part of the Mark Tanner Sculpture Award (MTSA)’s National Touring Programme, first exhibited at Standpoint in London in 2024. The exhibition will tour to Cross Lane Projects in Kendal in March 2025.

An exhibition book of the same number launches at esea contemporary on 30 November 2024.

Art Now: Steph Huang: See, See, Sea runs at Tate Britain in London until 5 January 2025.

For more about archipelagos and Édouard Glissant, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist ⁠Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019)⁠, part of ⁠PEACE FREQUENCIES 2023⁠: ⁠instagram.com/p/C0mAnSuodAZ⁠

For more from esea contemporary, hear Musquiqui Chihying, a recent artist-in-residence, on Too Loud a Dust (2023) at Tabula Rasa Gallery during London Gallery Weekend in 2023: pod.link/1533637675/episode/29b9e85442a30e487d8a7905356541dd

PRODUCER: Jelena Sofronijevic.

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