Workshop for Teachers and Educators led by Kelly Reedy (United States/Singapore), artist and educator, with introductions by participating artists, and exhibition curators
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Education">Education</a>
11 Feb 2017, Sat 10:00 AM - 01:00 PM <br />The Exhibition Hall and The Seminar Room, Block 43 Malan Road<br /><p>This workshop was developed in collaboration with <b>Kelly Reedy</b>, a former lecturer at the National Institute of Education, who specialises in working with museums and galleries to enhance student learning through visual arts. The workshop is created to engage educators in contemporary art and artistic practices, highlighting the educational aspects of each section of the exhibition to better prepare for visits with their classes.</p>
<span>This Workshop is part of the public programme of </span><span><em>The Making of an Institution</em></span><span>.</span>
2017-02-11
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kelly+Reedy">Kelly Reedy</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<em>Culture City. Culture Scape.</em> Public Art Trail at Mapletree Business City II
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Public+Art">Public Art</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Urbanism">Urbanism</a>
<p>Our upcoming guided tour is an excellent way to get inspired and unwind in the company of art. Enjoy a well-deserved cup of coffee and snack while we walk you through the artworks nestled in the lush compounds of Mapletree Business City II (MBC II).</p>
<p>Themed<span> </span><em>Culture City. Culture Scape.</em>, this public art project, commissioned by Mapletree and curated by NTU CCA Singapore comprises works by internationally renowned artists<span> </span><strong>Dan Graham</strong><span> </span>(United States),<span> </span><strong>Zulkifle Mahmod</strong><span> </span>(Singapore),<span> </span><strong>Tomás Saraceno</strong><span> </span>(Argentina/Germany), and<span> </span><strong>Yinka Shonibare</strong><span> </span>(Nigeria/United Kingdom). Inspired by the idea of expanded sculptural environments, the artworks explore the interplay between landscape, architecture, and the broader social and economic environments they are placed in. More than being monumental or site-specific, each work alters or permeates its local context to invite visitors to a broader, richer engagement.</p>
<p>For more information about our tours, please visit:<span> </span><a href="http://www.mapletreearts.sg/">www.mapletreearts.sg</a></p>
2017–2021
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Dan+Graham">Dan Graham</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Zulkifle+Mahmod%C2%A0">Zulkifle Mahmod </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tom%C3%A1s+Saraceno">Tomás Saraceno</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mapletree+Investments+Pte+Ltd">Mapletree Investments Pte Ltd</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<em>Art, Urban Change, and the Public Sphere</em>: Public Art Education Summit
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Architecture">Architecture</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Public+Art">Public Art</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Urbanism">Urbanism</a>
<p>NTU CCA Singapore is pleased to present <em>Art, Urban Change, and the Public Sphere</em>, which engages with art in privately owned public spaces through a Public Art Education Summit and research presentation. Taking as its point of departure the neighbouring <em>Culture City. Culture Scape. </em>Public Art Trail at Mapletree Business City—developed with curatorial consultation by NTU CCA Singapore—the presentation and Summit explore broader cultural and artistic developments on a civic scale situated in urban landscapes. How do political and economic changes in the public realm evoke a regional discourse on art in cities?</p>
<p>The Public Art Education Summit is the first of its kind in Singapore and part of a larger engagement of NTU CCA Singapore in professional education of public art. It focuses on cultural place-making and building communities through artistic practices. It aims to stimulate a debate between art professionals, policy makers, urban developers and other local stakeholders, on how and for whom art creates public spaces in our built environment. Any artistic or curatorial initiative in “public space” must address the question of how to construct “a public” and with it, how to encounter identity. Any difference—be it regional and local, ethnic and religious, economic and social—generates its own cohabitation of urban space and public culture to communicate with. The challenge for art in the public sphere lies in its openness to existing and yet, imagined communities of civic urbanism. Ranging from corporate cultural engagement in privately owned public spaces to urban regeneration, the invited speakers draw connections to the beginnings of community engagement in public art with its fluid methods. Furthermore, they suggest a critical look at different artistic and curatorial practices which reflect on “artists as citizens.” Or, how any space called public, first and foremost, is created by the different people inhabiting that space.</p>
<p>Guest-of-Honour:<span> </span><strong>Prof Wang Dawei</strong>, Executive Dean, College of Fine Arts, Shanghai University</p>
<p>With contributions by:<span> </span><strong>Ute Meta Bauer </strong>(Germany/Singapore),<span> </span><strong>Richard Bell </strong>(Australia),<span> </span><strong>Lewis Biggs </strong>(United Kingdom),<span> </span><strong>Antonia Carver</strong><span> </span>(United Kingdom/United Arab Emirates), <strong>Lilian Chee </strong>(Singapore),<span> </span><strong>Amanda Crabtree </strong>(United Kingdom/France), <strong>Daniel Mudie Cunningham </strong>(Australia), <strong>Catherine David </strong>(France),<span> </span><strong>Eileen Goh </strong>(Singapore),<span> </span><strong>Sophie Goltz </strong>(Germany/Singapore),<span> </span><strong>Limin Hee<span> </span></strong>(Singapore),<span> </span><strong>Kok Heng Leun </strong>(Singapore), <strong>Richard Lim </strong>(Singapore),<span> </span><strong>Hongjohn Lin<span> </span></strong>(Taiwan/Singapore),<span> </span><strong>Massamba Mbaye </strong>(Senegal),<span> </span><strong>Alecia Neo </strong>(Singapore),<span> </span><strong>Alan Oei </strong>(Singapore),<span> </span><strong>Nikos Papastergiadis </strong>(Australia),<span> </span><strong>Jasmeen Patheja </strong>(India),<span> </span><strong>Lorenzo Petrillo</strong><span> </span>(Italy/Singapore), <strong>Milenko Prvački </strong>(Ex-Yugoslavia/Singapore),<span> </span><strong>Ashley Thompson </strong>(United Kingdom),<span> </span><strong>Philip Tinari</strong><span> </span>(United States/China), <strong>Katherine Ann Leilani Tuider </strong>(United States), et al.</p>
<p>With capability-development workshops by<span> </span><strong>Amanda Crabtree </strong>(United Kingdom/France),<span> </span><strong>Daniel Mudie Cunningham </strong>(Australia),<span> </span><strong>Hongjohn Lin<span> </span></strong>(Taiwan/Singapore) and<span> </span><strong>Katherine Ann Leilani Tuider </strong>(United States).</p>
<p>Held in association with Shanghai Academy of Fine Arts, Shanghai University, and Institute for Public Arts, London. Supported by Mapletree Investments and, additionally, by Public Art Trust, an initiative of National Arts Council Singapore.<br /><br /></p>
<p><u>Programme for Public Art Education Summit</u></p>
<p><strong>Thursday, 17 October 2019, 9.00am – 7.30pm<br /></strong>Venue: The Single Screen, Block 43 Malan Road</p>
<p>8.45am Registration and Coffee</p>
<p>9.00am Opening addresses by <strong>Low Eng Teong </strong>(Singapore), Assistant Chief Executive, Sector Development, National Arts Council Singapore, <strong>Ute Meta Bauer </strong>(Germany/Singapore), Founding Director, NTU CCA Singapore and Professor, NTU ADM, and Guest-of-Honour<span> </span><strong>Wang Dawei<span> </span></strong>(China), Executive Dean, College of Fine Arts, Shanghai University followed by Introduction by<span> </span><strong>Sophie Goltz </strong>(Germany/Singapore), Deputy Director, Research & Academic Programmes, NTU CCA Singapore, and Assistant Professor, School of Art, Design and Media, NTU</p>
<p>9.45am <i>Context is Everything</i>, Presentation by<span> </span><strong>Lewis Biggs </strong>(United Kingdom) Chair, Institute for Public Art, London</p>
<p>10.15am <em>Making Art, Making Society</em>, Presentation by<span> </span><strong>Amanda Crabtree </strong>(France), Director, artconnexion</p>
<p>10.45am <em>Community-First Public Art</em>, Presentation by<span> </span><strong>Katherine Ann Leilani Tuider </strong>(United States), Executive Director and Co-founder, Honolulu Biennial Foundation</p>
<p>11.15am Coffee Break and Discussions</p>
<p>12.00pm <em>Public Art and Community Building</em><br />Roundtable Discussion with<span> </span><strong>Eileen Goh</strong><span> </span>(Singapore), Assistant Manager, Art-in-Transit at Land Transport Authority;<span> </span><strong>Richard Lim</strong><span> </span>(Singapore), Manager, Art Management, Project Development, CapitaLand; <strong>Lorenzo Petrillo</strong><span> </span>(Italy/Singapore), Director and Founder, LOPELAB, moderated by<span> </span><strong>Lilian Chee</strong><span> </span>(Singapore), Associate Professor, Department of Architecture, National University of Singapore</p>
<p>1.00pm Lunch Break</p>
<p>2.00pm <span> </span><strong>Capability-Development Workshops</strong><br /> Venue: Studios, Block 37 Malan Road</p>
<p>#Activating#Communities <em>New Patron Model for Public Art Commissioning</em>, Workshop by<span> </span><strong>Amanda Crabtree<span> </span></strong>(France), Director, artconnexion. Register at<span> </span><a href="http://tiny.cc/amandacrabtreeworkshop?fbclid=IwAR3Q93kI4t12Kp6mr_4qz528NIwqFFdnIfRvckulb8kZaBX_zDAVy64s1e4" target="_blank" rel="noreferrer noopener">tiny.cc/amandacrabtreeworkshop</a>.</p>
<p>#Building#Communities, <em>Fundraising as Community Engagement</em>, Workshop by<span> </span><strong>Katherine Ann Leilani Tuider<span> </span></strong>(United States), Executive Director and Co-founder, Honolulu Biennial Foundation. Register at<span> </span><a href="http://tiny.cc/katherinetuiderworkshop?fbclid=IwAR1G11dbsM4GNxdqeHy00qtjn9ySWKX6_kNHdd8QpSlbedHZDPZ_eF-hjjs" target="_blank" rel="noreferrer noopener">tiny.cc/katherinetuiderworkshop</a>.</p>
<p>5:30pm End of Workshop</p>
<p>On the occasion of NTU CCA’s International Advisory Board annual meeting, invited members share their knowledge and experience.</p>
<p>6.00pm Lecture by<span> </span><strong>Nikos Papastergiadis </strong>(Australia), Professor, School of Culture and Communication, University of Melbourne</p>
<p>6:30pm Lecture by<span> </span><strong>Ashley Thompson </strong>(United Kingdom), Hiram W. Woodward Chair of Southeast Asian Art, SOAS University of London</p>
<p>7:00pm Roundtable Discussion with<span> </span><strong>Antonia Carver</strong><span> </span>(United Kingdom/United Arab Emirates), Director, Jameel Arts Centre; <strong>Catherine David </strong>(France), Deputy Director, Research and Globalisation, MNAM/CCI, Centre Pompidou; <strong>Philip Tinari</strong><span> </span>(United States/China), Director, UCCA Center for Contemporary Art, moderated by<span> </span><strong>Ute Meta Bauer </strong>(Germany/Singapore), Founding Director, NTU CCA Singapore and Professor, School of Art, Design and Media, NTU</p>
<p>7:30pm Reception</p>
<p><strong> </strong></p>
<p><strong>Friday, 18 October 2019, 9.00am – 5.30pm<br /></strong>Venue: The Single Screen, Block 43 Malan Road</p>
<p>8.45am Registration and Coffee</p>
<p>9.00am Introduction by<span> </span><strong>Sophie Goltz </strong>(Germany/Singapore), Deputy Director, Research & Academic Programmes, NTU CCA Singapore, and Assistant Professor, School of Art, Design and Media, NTU</p>
<p>9.15am <em>A Railroad Switch in Time: South Eveleigh Case Study</em>, Presentation by<span> </span><strong>Daniel Mudie Cunningham </strong>(Australia), Director, Programs, Carriageworks</p>
<p>9.45am <span> </span><em>Biennials as Public Space</em>, Presentation by<span> </span><strong>Hongjohn </strong><strong>Lin </strong>(Taiwan/Singapore), Associate Professor, Taipei National University of Arts</p>
<p>10.15am <span> </span><em>Action Sheroes, Heroes, Theyroes. Resonate #NeverAskForIt</em>, Presentation by<span> </span><strong>Jasmeen Patheja </strong>(India), Founder, Blank Noise</p>
<p>10.45am <span> </span><em>Beyond Education, Beyond Community</em>, Presentation by<span> </span><strong>Milenko Prvački </strong>(Ex-Yugoslavia/Singapore), Senior Fellow, LASALLE College of the Arts, artist and founder, ART WALK Little India</p>
<p>11.15am Coffee Break and Discussions</p>
<p>12.00pm <span> </span><em>Art, Public Space, and Urban Development</em><br />Roundtable Discussion with<span> </span><strong>Kok Heng Leun</strong><span> </span>(Singapore), Artistic Director, Drama Box;<span> </span><strong>Alecia Neo</strong><span> </span>(Singapore), artist and co- founder, Brack;<span> </span><strong>Alan Oei</strong><span> </span>(Singapore), Artistic Director, The Substation, moderated by<span> </span><strong>Limin Hee</strong><span> </span>(Singapore), Director, Research, Centre for Liveable Cities</p>
<p>1.00pm Lunch Break</p>
<p>2.00pm <span> </span><strong>Capability-Development Workshops</strong><br /> Venue: Studios, Block 37 Malan Road</p>
<p>#Supporting#Communities <em>Urban Communities and their Stakeholders</em>, Workshop by<span> </span><strong>Daniel Mudie Cunningham </strong>(Australia), Director, Programs, Carriageworks.</p>
<p>#Educating#Communities <em>Biennials as Public Space</em><em>:<span> </span></em><em>Between Artistic Approaches and Public Demands</em>, Workshop by<span> </span><strong>Hongjohn </strong><strong>Lin </strong>(Taiwan/Singapore), Associate Professor, Taipei National University of Arts.</p>
<p>5:30pm End of Workshop</p>
<p> </p>
<p><strong>Saturday, 19 October 2019, 9.00am – 1.00pm<br /></strong>Venue: The Single Screen, Block 43 Malan Road</p>
<p>8.45am Registration and Coffee</p>
<p>9.00am Introduction by<span> </span><strong>Sophie Goltz </strong>(Germany/Singapore), Deputy Director, Research & Academic Programmes, NTU CCA Singapore, and Assistant Professor, School of Art, Design and Media, NTU</p>
<p>9.15am <em>Participation in Practice: Artists as Ally</em>, Presentation by<span> </span><strong>Alecia Neo<span> </span></strong>(Singapore), artist</p>
<p>9.45am <span> </span><em>The Village of the Arts of Senegal</em>, Presentation by <strong>Massamba Mbaye </strong>(Senegal), lecturer, Dakar Cheikh Anta Diop University & Virtual University of Senegal</p>
<p>10.15am <span> </span><em>Aboriginal Tent Embassy</em>, Presentation by<span> </span><strong>Richard Bell </strong>(Australia), artist</p>
<p>10.45am Coffee Break and Discussions</p>
<p>11.15am Roundtable Discussion with<span> </span><strong>Richard Bell<span> </span></strong>(Australia), artist,<span> </span><strong>Hongjohn Lin<span> </span></strong>(Taiwan/Singapore), Associate Professor, Taipei National University of Arts,<span> </span><strong>Massamba Mbaye </strong>(Senegal), lecturer, Dakar Cheikh Anta Diop University & Virtual University of Senegal, and<span> </span><strong>Alecia Neo </strong>(Singapore), artist, moderated by<span> </span><strong>Sophie Goltz<span> </span></strong>(Germany/Singapore), Deputy Director, Research & Academic Programmes, NTU CCA Singapore, and Assistant Professor, School of Art, Design and Media, NTU</p>
<p>12.00pm Closing Remarks by Lewis Biggs (United Kingdom)</p>
<p> </p>
<p>Programme as of 1 October 2019, subject to change.</p>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ute+Meta+Bauer">Ute Meta Bauer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Richard+Bell">Richard Bell</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lewis+Biggs%C2%A0">Lewis Biggs </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Antonia+Carver">Antonia Carver</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lilian+Chee">Lilian Chee</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Amanda+Crabtree">Amanda Crabtree</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Daniel+Mudie+Cunningham%C2%A0">Daniel Mudie Cunningham </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Catherine+David">Catherine David</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Eileen+Goh">Eileen Goh</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sophie+Goltz">Sophie Goltz</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Limin+Hee%C2%A0">Limin Hee </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kok+Heng+Leun">Kok Heng Leun</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Richard+Lim">Richard Lim</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Hongjohn+Lin">Hongjohn Lin</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Massamba+Mbaye">Massamba Mbaye</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Alecia+Neo">Alecia Neo</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Alan+Oei">Alan Oei</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nikos+Papastergiadis">Nikos Papastergiadis</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jasmeen+Patheja">Jasmeen Patheja</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lorenzo+Petrillo">Lorenzo Petrillo</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Milenko+Prva%C4%8Dki%C2%A0">Milenko Prvački </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ashley+Thompson%C2%A0">Ashley Thompson </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Philip+Tinari%C2%A0">Philip Tinari </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Katherine+Ann+Leilani+Tuider">Katherine Ann Leilani Tuider</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Low+Eng+Teong%C2%A0">Low Eng Teong </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Wang+Dawei%C2%A0">Wang Dawei </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<em>Basic Object of Knowledge [B.O.O.K.]: The Contemporary Book And Its Model</em>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Design">Design</a>
<em>Basic Object of Knowledge [B.O.O.K.]: The Contemporary Book And Its Model </em>guide as part of Singapore Art Book Fair 2014.
2014
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Dann%C3%A9+Ojeda">Danné Ojeda</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=42&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Guide">Guide</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Reading Group: <em>Dislocating/Locating Southeast Asia/Trinh T. Minh-ha</em> by Nurul Huda Rashid and Phoebe Pua, PhD candidates, NUS
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=History">History</a>
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<div class="event_single_dates text__exhibitions">This reading group will be held over three modules with each consisting of two sessions discussing a selection of texts on related topics. Participants are highly encouraged to attend both sessions for each module to ensure continuity and quality of discourse.</div>
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<p></p>
<p>Led by visual artist and writer<span> </span><strong>Nurul Huda Rashid</strong><span> </span>and film scholar<span> </span><strong>Phoebe Pua</strong>, both PhD candidates, National University of Singapore.</p>
<p>This reading group takes ideas central to Trinh T. Minh-Ha’s writing as points of access to raise questions about the imagined histories, geographies, and communities of Southeast Asia. Over six sessions, the group will discuss themes of storytelling, feminism, and identities, and explore terms such as “third world,” “nusantara,” “woman,” and “native” with an eye towards interpreting them as acts and articulations of counter-narrative.</p>
<p> </p>
<p><span><strong>Module 1<br /></strong></span>10 & 24 November 2020, 5.30 – 7pm</p>
<p>‘The Storytellers’ focuses on the medium and method of narratives. Both sessions in this module consider how storytelling becomes an instrument of strategy in constructing geographies, histories, identities.</p>
<p><strong>Session A</strong></p>
<p>‘Un/sound design’ eavesdrops on Trinh T. Minh-ha’s theories on film sound. The reading group will discuss the chapter “Holes in the Sound Wall” (from When the Moon Waxes Red, 1991) as an introduction to Trinh’s experimental disregard for sonic conventions. We will examine the role of sound design in radical storytelling. This chapter will also be discussed in relation to Singapore GaGa (1995), a 55-minute documentary by Singaporean filmmaker Tan Pin Pin.</p>
<p><strong>Session B</strong></p>
<p>‘Locating History’ is an exercise in contemplating history alongside existing tropes of research and representation. The session will discuss readings by Linda Tuhiwai Smith, “Twenty-five Indigenous Projects” and excerpts from Ariella Azoulay’s “Unlearning Imperialism”. Positioned as decolonial and de-imperial projects in their approaches to re-historicising narratives, it will consider possibilities in re-locating the contexts of image and place in Trinh’s work within the region.</p>
<p><strong><span>Module 2</span><br /></strong>8 & 22 December 2020, 5.30 – 7pm</p>
<p>‘new feminism, who dis?’ begins with a selection of Trinh T. Minh-ha’s writing on feminism and womanhood from the 1990s. Both sessions in this module seek to read these texts as points of departure to consider what feminism is, looks like, does, and means in the context of contemporary Southeast Asia.</p>
<p><strong>Session A</strong></p>
<p>‘Re-reading Woman, Native, Other’ revisits one of Trinh’s most well-known ideas: the triple bind. As a self-identified Third World woman intellectual working and living in the United States, Trinh is insistent on the need to cross borders of identities and practice self-location. The session asks if her argument remains relevant for feminists today; most immediately, in the context of Southeast Asia, does the Third World woman still exist and, if so, how might she relate to the feminism of her own country’s cosmopolitan capitals? Instead of reading Trinh’s book Woman, Native, Other (1989), the group will read a dialogue between Trinh and filmmaker-writer Pratibha Parmar conducted shortly after the book’s publication titled ‘Woman, Native, Other: A Dialogue between Pratibha Parmar and Trinh T. Minh ha’ (1990).</p>
<p><strong>Session B</strong></p>
<p>‘Toward Feminist Turns’ explores new feminist methods of annotating, intervening, and radicalising against/alongside narratives about women in SouthEast Asia. Sampling excerpts from the feminist archival turn, digital and data feminism, and movements, this session will re-encounter new feminisms through new interfaces and technologies of mobilising. How do we gather from a global feminist approach? How are these articulated through practices in art and research? How do we begin to retell stories of Southeast Asian women today?</p>
<p><strong><span>Module 3</span><br /></strong>2 & 16 February 2021, 5.30 – 7pm<strong><br /></strong></p>
<p>‘Citizens of Elsewhere’ is concerned with the difficult questions pertaining to placeness, belonging, and legitimacy–topics that have recurred in Trinh T. Minh-ha’s writing and films over the decades.</p>
<p><strong>Session A</strong></p>
<p>‘In-between’ engages with the often unwieldy epistemological implications of calling a place ‘home’. The group will read the chapter ‘Far Away, From Home’ (from Elsewhere, Within Here, 2011) and discuss Trinh T. Minh-ha’s inclination toward rupturing the image of home as static and singular in order to accommodate its possibility as shifting and serial. The discussion will also consider our collective and individual rights to lay claim to, allow, and negate a call to home. The chapter will also be discussed in relation to Fifth Cinema (2018), a 56-minute essay film by Hanoi-based filmmaker Nguyễn Trinh Thi.</p>
<p><strong>Session B</strong></p>
<p>‘Siapa di nusantara?’ will focus on reimagining identities in relation to placeness. The nusantara summons a historical geography that connected land and sea, gathering different ethnicities and beliefs with the aim of offering alternatives to nationalists’ boundaries of nation-states. This session will bring into question the porous dimensions of identity when dislocated from fixtures of land, nation and state, and rethink identity through oceanic affinities. A visual repository of images will be introduced to re-read ways we classify and respond to Trinh’s films: as escapes into ways of reimagining geographies of self, to invoke a sense of familiarity, and de-imperialize ways of seeing. Note: Reading group materials are accessible after registration.<br /><br /></p>
<p><strong>BIOGRAPHY</strong></p>
<p><b><span>Phoebe </span></b><b><span>Pua</span></b><span> (Singapore) is a PhD candidate with the Department of English Language and Literature at NUS. Her dissertation is concerned with the controversial figure of the third world woman, as seen particularly in contemporary films from Southeast Asia. </span></p>
<p><b><span>Nurul Huda Rashid</span></b><span> (Singapore) is a PhD candidate in Cultural Studies at NUS. Her research interests focus on images, narratives, visual and sentient bodies, feminisms, and the intersections between them.</span></p>
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10 November 2020
24 November 2020
8 December 2020
22 December 2020
2 February 2021
16 February 2021
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Conference: “There is no such thing as <em>documentary</em>”
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=History">History</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Identity">Identity</a>
<p>As the concluding programme of the exhibition<span> </span><em>Trinh T. Minh-ha. Films</em>. (17 October 2020 – 28 February 2021) at NTU CCA Singapore, this four-part conference brings together scholars and practitioners across filmic, anthropological and curatorial disciplines, addressing notions of multivocality, performativity, and truth in fiction, through Trinh’s practice as a filmmaker and theorist.</p>
<p>As Trinh wrote: “There is no such thing as<span> </span><em>documentary</em>…The words will not ring true.” Both a response and homage to Trinh’s provocation, and at once a close but also an opening, the conference extends multiple threads of inquiry beyond the ontological frames presented in Trinh’s films, to further explore the theoretical parallels and proximities between arrangement and composition, territorialisation and deterritorisalisation, that underscore Trinh’s cinematic works.</p>
<p>Co-organised by Dr Erika Balsom (Canada/United Kingdom), Prof Ute Meta Bauer (Germany/Singapore), Dr Marc Glöde(Germany/Singapore), and Dr Ella Raidel (Austria/Singapore)</p>
<p>Presented in collaboration with King’s College London</p>
<p>Supported by NTU Centre for Liberal Arts and Social Sciences<br /><br /></p>
<p><strong>PROGRAMME SCHEDULE</strong></p>
<p> </p>
<p><strong>Friday, 26 February 2021, 4.00 – 7.00pm (SGT)</strong></p>
<p><strong>Session 1:<span> </span><em>Speaking Nearby<br /></em>Chaired by Dr Erika Balsom (Canada/United Kingdom), Reader, Film Studies, King’s College London (KCL)</strong><br /><br /><br /></p>
<p>This session will explore historical and contextual approaches to films and writings of Trinh T. Minh-ha, putting her work into dialogue with questions of intercultural cinema, the critique of documentary naturalism, and the relationship between film theory and film practice. In particular, speakers will think through how notions of “speaking nearby” and “speaking about” may serve as a lens through which to open broader considerations of the aesthetics, ethics, and politics of Trinh’s cross-disciplinary work.</p>
<p> </p>
<p>4.00 – 4.10pm Introduction</p>
<p>4.10 – 4.25pm Welcome address by<span> </span><strong>Prof Ute Meta Bauer<br /></strong></p>
<p>4.25 – 5.15pm <span> </span><strong>Keynote Lecture:<span> </span><em>Is there still no such thing as documentary?</em></strong><span> </span>by<span> </span><strong>Dr Erika Balsom</strong></p>
<p>Some thirty years ago, Trinh wrote, “There is no such thing as documentary… The words will not ring true.” This presentation will explore the context and meaning of this declaration. With reference to Trinh’s <em>What About China? </em>(Part I of II, 2020–2021) and other recent works of experimental nonfiction, it will question how this notion resonates today, some thirty years after its original formulation. </p>
<p>5.15 – 5.45pm Break</p>
<p>5.45 – 6.15pm <span> </span><strong>Presentation:<span> </span><em>What about Foreigners? Or, How Far Away is Nearby?</em><em> </em></strong><strong><em>Notes about Harmony, Trinh T. Minh-ha’s What About China? </em></strong><strong><em>and </em></strong><strong><em>Michelangelo<span> </span></em></strong><strong><em>Antonioni’s<span> </span></em></strong><strong><em>Chung Kuo, Cina<span> </span></em></strong>by<span> </span><strong>Prof Chris Berry</strong><span> </span>(United Kingdom), Professor, Film Studies, KCL</p>
<p>This presentation draws on the juxtapositions between Trinh’s focus on harmony in<span> </span><em>What About China?<span> </span></em>(Part I of II, 2020–2021) and Michelangelo Antonioni’s very un-harmonious experiences with his 1972 film<span> </span><em>Chung Kuo, Cina</em>, which was denounced by the Chinese government that had invited him to film in the country. The maintenance of a “harmonious society” (和谐社会) is an ancient Chinese ideal, much cited by the Chinese Communist Party in the twenty-first century. Was Antonioni’s film lacking in aesthetic harmony? Was Antonioni’s behaviour un-harmonious? Is Trinh’s famous “speaking alongside” a harmonious mode of filmmaking? What are some of the different ideas about harmony and the treatment of foreigners that might inform our understanding of these films?</p>
<p>6.15 – 6.45pm <span> </span><strong>Presentation:<span> </span><em>‘About’ theory. About.<span> </span></em></strong>by<span> </span><strong>Dr Nicolas Helm-Grovas<span> </span></strong>(Spain/United Kingdom), Lecturer, Film Studies, Education, KCL</p>
<p>‘About the cinema. About. The words will not ring true.’ In “Documentary Is/Not a Name,” Trinh asks: “How is one to cope with a “film theory” that can never theorise “about” film, but only with concepts that film raises in relation to concepts of other practices?” Whereas film theory is frequently understood as a form of metalanguage—as a systematic, explanatory, conceptual and/or speculative discourse that speaks<span> </span><em>about</em><span> </span>an object discourse, film—here it is precisely the relation of ‘aboutness’ that is criticised. This talk unpacks this objection to ‘aboutness’, arguing that it has both a political or ethical dimension, drawing on a Foucauldian critique of the disciplinary nature of speaking<span> </span><em>about</em>, closely tied to Trinh’s critique of historic forms of documentary representation; and a conceptual or discursive dimension, based on a Barthesian critique of the distinction between science and literature from the standpoint of ‘writing’. Destabilising distinctions between theoretical discourse and artistic discourse, films and writing, theory and practice, what does this critique mean for the practice of film theory, and for the designation of certain films, including Trinh’s, as ‘theoretical’?</p>
<p>6.45 – 7.00pm Response by<span> </span><strong>Dr Daniel Mann</strong><span> </span>(Israel/United Kingdom), Leverhulme Early Career Fellow, KCL<br /><br /></p>
<p><strong>Saturday, 27 February 2021, 1.30 – 7.00pm (SGT)</strong></p>
<p><strong>Session 2:<span> </span><em>Filmic Interferences<br /></em>Chaired by Dr Marc Glöde (Germany/Singapore), Assistant Professor, NTU School of Art, Design and Media</strong><br /><br /><br /></p>
<p><em>Filmic Interferences</em> is a panel that will highlight the aspect of filmmaking from the perspective of contemporary filmmakers. It will address the changing role of categories like “documentary” and the increasing interferences that challenge these ideas. The presentations will take a closer look at the impact of forms and strategies from experimental film and discuss the impact on other filmic discourses such as visual anthropology, feminism or intercultural cinema. By taking the films of Trinh T. Minh-ha as a resonating point, the panel will investigate how these debates have created a development that has changed how we think through the filmic medium, how we think about film, and about filmic representation. Apart from aspects that are very closely related to the ideas of fact, fiction and narration, another focus will be directed towards the general frames of perception and discussion of film. </p>
<p> </p>
<p>1.30 – 2.00pm Welcome</p>
<p>2.00 – 2.15pm Introduction by<span> </span><strong>Dr Marc Glöde</strong></p>
<p>2.15 – 2.45pm <span> </span><strong>Presentation:<span> </span><em>Framing the Frame<span> </span></em></strong>by<span> </span><strong>Tan Pin Pin</strong><span> </span>(Singapore), film director</p>
<p>In this presentation, Tan will speak about her film practice that now spans over twenty years. She will address the relationship between documentary and experimental film-making in her own work and how some of her filmic topics have oscillated between these fields. Apart from this journey through the formal and thematic aspects of her films, the presentation will delve into how specific institutional frames have created very different dynamics that have an impact on the general perception of the work. These raise the question: how do the works function in the different contexts, for example of the university, the museum, the cinema, or the festival, in society at large?</p>
<p>2.45 – 3.15pm <strong>Presentation:<span> </span><em>Stories and Histories<span> </span></em></strong>by<span> </span><strong>Nguyễn Trinh Thi</strong><span> </span>(Vietnam), artist and filmmaker</p>
<p>In this talk, Nguyễn will share her thoughts about her own filmic practice, addressing aspects of how the process of filmmaking connects with the process of remembering and critical reflection. Her work is always an engagement with socio-cultural environments and never shies away from a critical confrontation—either in relation to surrounding obstacles of society or in relation to the filmic form itself. She addresses these issues in her practice often by combining original footage gathered through extensive field research and found footage which complicates the distinctions between video art and documentary filmmaking. The outcomes of these meticulous compositions are always complex and multilayered renderings of Vietnam’s past and the continuing reverberations of historical events in the present. By highlighting some of these aspects in her works Nguyễn will offer a deeper insight into how this practice asks for alternative methods of accessing unwritten histories. </p>
<p>3.15 – 3.30pm Response by<span> </span><strong>Dr David Teh</strong><span> </span>(Australia/Singapore), Associate Professor, Department of English Language and Literature, NUS</p>
<p>3.30 – 3.45pm Break</p>
<p> </p>
<p><strong>Session 3:<span> </span><em>Performing the Documents<br /></em></strong><strong>Chaired by Dr Ella Raidel (Austria/Singapore), Assistant Professor, NTU ADM and WKWSCI</strong><br /><br />This panel attempts to define documents and performativity in filmmaking in terms of its methods, artistic processes and cultural political significance. To perform the documents means to take action to reveal their inner logic of cultural representation. Through the consideration of documents in relation to poetics, participation and activism it shows the way how colonial truth and knowledge are being constructed and how diasporic histories are experienced. Films become not only cultural-political texts, but also visual and acoustic apparatuses in making aware one’s origins and destinies.</p>
<p> </p>
<p>3.45 – 4.00pm Introduction by<span> </span><strong>Dr Ella Raidel</strong></p>
<p>4.00 – 4.30pm <span> </span><strong>Presentation:<span> </span><em>The Acoustics of the Archipelagic Imagination in<span> </span></em></strong><strong><em>Southeast Asian Artists’<span> </span></em></strong><strong><em>Film,<span> </span></em></strong><strong>Dr Philippa Lovatt</strong><span> </span>(Scotland), Lecturer, Film Studies, and Co-Director, Centre for Screen Cultures, University of St Andrews</p>
<p>How do we conceptualize films in relation? As we seek to trace the connections and affinities we see, hear, and feel across a regional cinema, what kinds of alternative cartographies (affective, aesthetic, cultural, or industrial) emerge? How do we think through and with the aesthetic practices of artists and filmmakers in a way that enables us to avoid both re-inscribing arbitrary lines across territories and disavowing the specific historic and lived conditions of the nation? Drawing from Trinh T. Minh-ha’s writing on the acoustic experience of diaspora and Édouard Glissant on the poetics of relation, this talk will focus on Nguyễn Trinh Thi’s<span> </span><em>Everyday</em><em>’</em><em>s the Seventies<span> </span></em>(2018) and Shireen Seno’s<span> </span><em>Nervous Translation </em>(2017), and will reflect on how we might consider regionality through the acoustic, affective, and emotional cartographies depicted in these works, both of which explore experiences of migration in and out of the region during the 1970s and 1980s. </p>
<p>4.30 – 5.00pm <span> </span><strong>Presentation:<span> </span><em>Performative Documentary Practices<span> </span></em></strong><strong><em>from<span> </span></em></strong><strong><em>The Epistemological South<span> </span></em></strong>by<span> </span><strong>Rosalia Namsai Engchuan</strong><span> </span>(Germany/Thailand), anthropologist and filmmaker</p>
<p>In a world where everything and nothing has changed¾in a state of ongoing coloniality of knowledge production in the aftermath of epistemicide¾this talk acts as a space to valorise and explore artistic epistemologies as openings towards other futures. Contemplating the echoes of Trinh’s seminal provocation of documentary’s indexicality with truth, the talk proposes a shift in the focus of research from<span> </span><em>objects</em><span> </span><em>of art</em><span> </span>towards<span> </span><em>artistic processes</em>, through an ethnographic exploration of the processual, dialogical, social, and material nature of knowledge formation. Drawing from her own artistic practice as well as ongoing conversations with the artists Korakrit Arunanondchai, Stephanie Comilang and Cahyo Prayogo, Rosalia Namsai Engchuan’s presentation responds to Boaventura de Sousa Santos’ call for<span> </span><em>epistemologies of the South</em>, unfolding other ways of learning and knowing, that performatively transcend modernity’s temporally-conceived, institutionalised, and normative divisions of (official) knowledge formation inherited from the colonial order.</p>
<p>5.00 – 5.15pm Response by<span> </span><strong>Silke Schmick</strong>l (Germany/Hong Kong), Curator</p>
<p>5.15 – 5.30pm Break<br /><br /><strong>Session 4:<span> </span><em>Reverberations—Spatialising the Temporal, the Sonic, and the Pictorial<br /></em></strong><strong>Chaired by Prof Ute Meta Bauer (Germany/Singapore), Professor, NTU ADM and Founding Director, NTU CCA Singapore</strong><br /><br /></p>
<p>Reverberation: the prolonging of a sound, a continuing effect. Taking the exhibition<span> </span><em>Trinh T. Minh-ha. Films.</em><span> </span>as its starting point, this panel session discusses the spatio-temporal resonances of Trinh’s cinematic works when curated in an exhibition setting. The panel also explores collaborative curatorial practices, expanding into the realms of research, programming, and production, and how the Trans-Institutional Partnership among NTU CCA Singapore, Rockbund Art Museum, Würtembergischer Kunstverein Stuttgart, and the CCA Wattis Institute for Contemporary Arts enables ongoing reverberations of support for an artist’s work across borders and time while allowing for distinction and differentiation based on each organisation’s context and approach.</p>
<p> </p>
<p>5.30 – 5.45pm Introduction by<span> </span><strong>Prof Ute Meta Bauer</strong></p>
<p>5.45 – 6.15pm <strong> Presentation:<span> </span><em>Textures<span> </span></em></strong>by<span> </span><strong>Larys Frogier</strong><span> </span>(France/China), Director, Rockbund Art Museum</p>
<p>Frogier’s presentation is a sincere engagement to go along with the work of Trinh T. Minh-ha, being fully available to unfold multiple relations to in/visibility, opacity, sound/silence, time, displacement and locality. Rather than identifying Trinh as a filmmaker, theoretician, poet, musician, Frogier suggests that it is worthwhile to return to a simple question: how do the textures that surface through image, text and sound making in Trinh’s work make us come alive as people, institutions, and political subjects? How about considering poetry, music, cinema, and theory not only as artistic, intellectual or academic disciplines, but as fundamental acts of life? It further explores the possibilities of curating Trinh’s work as an art institution, sometimes in extremely challenging ideological contexts, in order to develop a vision that, instead of a display or programme, has more to do with the subtle but deep distillation of soul, intuition, and movement.</p>
<p>6.15 – 6.45pm <span> </span><strong>Presentation:<span> </span><em>Loops and Entries: Performing Film in Exhibition Formats<span> </span></em></strong>by<span> </span><strong>Iris Dressler</strong><span> </span>(Germany), Co-director, Württembergischer Kunstverein Stuttgart</p>
<p>Since the 1990s, Iris Dressler and Hans D. Christ have been working in close collaboration with diverse artists on different models of presenting film in the exhibition space. The loop as a mode of repetition and shifting, in particular the shifting of entry points and thus of narrative orders, plays a central role, as well as aspects of the choreography of movement, light, and sound, experiments with the juxtaposition of extreme divergent sizes or with open and closed spaces. Dressler will present a selection of these approaches in her talk.</p>
<p>6.45 – 7.00pm Response by<span> </span><strong>Dr Karin Oen</strong><span> </span>(United States/Singapore), Deputy Director, Curatorial Programmes, NTU CCA Singapore<br /><br /></p>
<p></p>
26 February – 27 February 2021
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Erika+Balsom">Erika Balsom</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ute+Meta+Bauer+">Ute Meta Bauer </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marc+Gl%C3%B6de">Marc Glöde</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marc+Glode">Marc Glode</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ella+Raidel">Ella Raidel</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=King%E2%80%99s+College+London">King’s College London</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=NTU+Centre+for+Liberal+Arts+and+Social+Sciences">NTU Centre for Liberal Arts and Social Sciences</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Chris+Berry">Chris Berry</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Iris+Dressler+">Iris Dressler </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Rosalia+Namsai+Engchuan">Rosalia Namsai Engchuan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Larys+Frogier">Larys Frogier</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nicolas+Helm-Grovas+">Nicolas Helm-Grovas </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Philippa+Lovatt">Philippa Lovatt</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Daniel+Mann">Daniel Mann</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nguy%E1%BB%85n+Trinh+Thi+">Nguyễn Trinh Thi </a>
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Arahmaiani in collaboration with Jimmy Ong <em>Flag Project</em>, 2006 – 2021
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<p><i><strong><em>Free Jazz III. Sound. Walks.<br /></em></strong><br />“Song For A Tree”</i></p>
<p><i>Since the beginning of the birth</i></p>
<p><i>of creatures on earth –</i></p>
<p><i>We have lived together</i></p>
<p><i>We take care of each other</i></p>
<p><i>And love each other.</i> </p>
<p><i><span class="markgz2ythaht">– Arahmaiani</span>,<span> </span></i>2021 </p>
<p>Arahmaiani’s practice is anchored within communities with the goal of studying and developing collective creativity, to find alternative, innovative and creative solutions to problems communities are facing these days. By implementing an “open art system” through an inter-disciplinary approach, Arahmaiani open invitation is to overcome rigid discourses and establish new value systems. When in Yogyakarta, she stays often with Jimmy Ong, with whom she shares an interest in dealing with issues of culture, environment and social-political conflicts. An artist who left Singapore 30 years ago, Jimmy found himself back in Singapore during the COVID-19 pandemic, where he attempted a community project with migrant workers under quarantine. Together they intend to hold dialogues and discussions to identify issues and concerns important to such communities in Singapore, including permaculture, urban farming, and food security while exploring the creative interconnections of culture, music, and botany.<br /><br /><span>In this performance incorporating a flag bearing the word </span><em>guyub</em><span> – the Javanese term for living harmoniously – Arahmaiani offers an original sound composition by </span>Wukir Suryadi<span> (Indonesia) as a “song for the plants.” She invites us all to respond to this offering and create our own songs for plants, inspired by mutual care and harmony.</span></p>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Arahmaiani+">Arahmaiani </a>
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st_age x NTU CCA
Dana Awartani
Listen to my words, 2020
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Feminism">Feminism</a>
<p>Co-produced by NTU Centre for Contemporary Art Singapore and Thyssen-Bornemisza Art Contemporary (TBA21) for st_age, an online platform for new commissions initiated by TBA21 as a response to the Covid-19 crisis. It is a provocation to artists, institutions, practitioners, and activists to engage with the many issues that the pandemic has made even more visible in the precarious current moment.</p>
<p>Watch<span> </span><em>Listen to my words</em><span> </span>(2020)<span> </span><span><a href="https://www.stage.tba21.org/detail/listen-to-my-words-2020">here</a>.</span></p>
<p><span>In the empty expanse of the screen, a delicate pattern of straight lines and curved shapes is slowly traced by an invisible hand. In Islamic visual culture, where figurative representation is notoriously forbidden, abstract geometric compositions chart spiritual journeys and convey ideals of cosmic interconnectedness. The pattern created by Dana Awartani for </span><i><span>Listen to my words</span></i><span> is inspired by the ornamental motifs of </span><i><span>jali</span></i><span> and </span><i><span>mashrabiya</span></i><span>, latticed screens used in traditional Islamic architecture to regulate light, airflow, and heat in the arid climate of many Middle Eastern countries. Besides this climatic function, </span><i><span>jali</span></i><span> also play a socially and visually divisive role, marking the confinement of women within the domestic sphere and the impossibility of seeing them clearly.</span></p>
<p><span>The entrancing emergence of the geometric design becomes progressively tangled with the voices of modern-day Saudi women that the artist invited to recite a selection of verses. The selected poems were written by Arab poetesses from the pre-Islamic era up to the 12th century, and reflect the significant but scarcely documented tradition of women’s poetry in the Arab culture. They relay first-person expressions of longing, yearning, and pride penned by women who, in different eras and in different corners of the vast Arab region, found similar strength and empowerment in their bodies and audaciously reversed the male-dominated discourse of desire. </span></p>
<p><span>By interlacing geometric symbolism and poetic utterances, Awartani’s digital animation unleashes these powerful voices once again and orchestrates an intergenerational dialogue that subtly questions the status of women in contemporary society. </span></p>
<p><i><span>Listen to my words</span></i><span> developed from a multimedia installation of the same title realised in 2018.</span></p>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Dana+Awartani">Dana Awartani</a>
Workshop: “Bridge” as a Metaphor for Connectivity and Dis-connectivity by artists Chiew Sien Kuan and Joey.Spl
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Materiality">Materiality</a>
<div class="event_single_dates text__research">14 Sep 2019, Sat 03:00 PM - 06:00 PM</div>
<div class="event_single_venue">The Seminar Room, Block 43 Malan Road</div>
<br /><p>Registration required via Peatix: <a href="http://buildingbridges.peatix.com/">buildingbridges.peatix.com</a></p>
<p>Fee: $12</p>
<br />In this workshop, you will have hands-on experience in making simple light circuits and building small wood assemblage bridges. Through these works, you will create a narrative of bridging a connection and learn simple lighting mechanisms to emphasise the idea of connectivity and dis-connectivity.<br /><br />A public and education programme of <em>Siah Armajani: Spaces for the Public. Spaces for Democracy</em>.
2019-09-14
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Chiew+Sien+Kuan">Chiew Sien Kuan</a>
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Reading Group: <em>Gut-Geographies: Queering Public Space and the Narratable Self after Feminism</em> by Sophie Goltz and Dr Tania Roy
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Feminism">Feminism</a>
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The topic of gut-geographies is suggested to outline the relation of space, collective action, and phenomenological appearance, to the proposition of organic empathy—or the capacity of biological substrata in the body to problem-solve, “control, calculate, protect, and destroy” (Wilson 2004: 82). Following through key positions in post-gender theories of embodiment, the readings widely engage the interventions of “gut-feminism” with the wider problematics of public space and communal action, especially in urban contexts that are not directly addressed by the readings. By suggesting the capacity of bodies to affect and be affected in mutually implicated ways within the material or historical constraints of public space, the reading group invites participants to further relate the status of narrative truth-claims to those of the (neuro-)biological sciences.<br /><br /><p><span>22 August 2019</span></p>
<p><i><span>Love and the Politics of Seclusionary Action</span></i><span> by Adriana Cavarero, </span><span>with additional readings by Luce Irigaray and Hannah Arendt</span> </p>
<p><span>26 September 2019</span></p>
<p><i><span>Gut-Knowledges</span></i><span> by Elizabeth Wilson</span> </p>
<p><span>24 October 2019</span></p>
<p><i><span>Precarity, Plasticity and Entanglement</span></i><span> in texts by Catherine Malabou and Judith Butler</span></p>
22 August - 24 October 2019
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sophie+Goltz">Sophie Goltz</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
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