1
10
37
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Theatrical Fields Symposium
Programme Type
Conference and Symposium
Audience
General
Location
Onsite (CCA)
Offsite
Online
Offsite
Collaboration
Yes
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Symposium: Theatrical Fields
Subject
The topic of the resource
Theatre
Ways of Seeing
Performance
Description
An account of the resource
23 Aug 2014, Sat 10:30am - 4:00pm <br />TheatreWorks, 72-13 Mohamed Sultan Road, Singapore 239007 <br /><br />10.30 am - Welcome Note: Ute Meta Bauer<br /><br />10.40 - 11:00 am - Introduction to Theatrical Fields: Anca Rujoiu, CCA Curations, Exhbitions<br /><br />11.00 am - 12.00 pm - Roundtable Discussion: Eva Meyer and Eran Schaerf, Artists in conversation with Ute Meta Bauer and Katarina Pierre, Director of Bildmuseet<br />Moderator: Ong Keng Sen, Festival Director of Singapore International Festival of Arts (SIFA)<br /><br />12.00 -1.00 pm - Lunch Break<br /><br />1.00 - 2.00 pm - Screening Theatrical Phantasms: Toward an Uncertain Futurity, Keynote, Timothy Murray, Professor of Comparative Literature and English at Cornell University<br /><br />2.15 - 3.15 pm - Life or Theatre? Events so far...Keynote, Eva Meyer, Artist, Writer and Filmmaker<br /><br />3.30 - 4.00 pm Q+A<br /><br />The symposium is a public programme of <em>Theatrical Fields: Critical strategies in performance, film and video</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-08-23
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Anca Rujoiu
Eva Meyer
Eran Schaerf
Katarina Pierre
Ong Keng Sen
Timothy Murray
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Europe
North America
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Talk and Lecture
Audience
General
Programme Series
Exhibition (de)Tour
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibition de(Tour) led by Anca Rujoiu, NTU CCA Singapore Curator, Exhibitions
Description
An account of the resource
10 Jul 2015, Fri 7:30pm - 9:00pm <br /><br /><span>Structured as a series of presentations, the Exhibition (de)Tours bring together different approaches and points of view towards Allan Sekula's work and the exhibition, </span><i>Fish Story, to be continued</i><span>.</span><br /><br />This Exhibition de(Tour) is a public programme of <em>Allan Sekula: Fish Story, To Be Continued</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-07-10
Contributor
An entity responsible for making contributions to the resource
Anca Rujoiu
Subject
The topic of the resource
Oceans & Seas
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Event
A non-persistent, time-based occurrence. Metadata for an event provides descriptive information that is the basis for discovery of the purpose, location, duration, and responsible agents associated with an event. Examples include an exhibition, webcast, conference, workshop, open day, performance, battle, trial, wedding, tea party, conflagration.
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:55:55
Event Type
Podcast
Participants
Names of individuals or groups participating in the event
Priyageetha Dia
Anca Rujoiu
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies AiRCAST Episode #7: Priyageetha Dia
Subject
The topic of the resource
Diaspora
Cultural Heritage
Migration
History
Description
An account of the resource
<span>Starting off the second season of AiRCAST, we hand over the microphone to curator and writer </span><b>Anca Rujoiu</b><span> to interview our Artist-in-Residence </span><b>Priyageetha Dia</b><span>. Priyageetha and Anca are fresh out of a year-long collaboration that culminated in </span><em>Forget Me, Forget Me Not</em><span> (2022), Priyageetha’s solo exhibition curated by Anca which opened last May. In this conversation they share about the background research, interests, and aesthetic strategies behind the new body of work presented in the exhibition. They will also expand upon the significance of colonial histories and marginalised communities, agency and empowerment, as well as media and materials in Priyageetha’s practice.</span><br /><br /><span>Spanning moving image, sculpture, as well as performance and installation, the practice of Priyageetha Dia (b. 1992, Singapore) addresses identity politics by questioning dominant narratives, material histories, and socio-spatial relations. In the past few years, she has been experimenting with world-making gestures that rehash stories of repression and envision alternative futures. Her works have been included in several group exhibitions including </span><em>Attention Seeker</em><span>, La Trobe Art Institute, Bendigo, Australia (2022);</span><em><span> </span>An Exercise of Meaning in a Glitch Season</em><span>, National Gallery Singapore (2020); </span><em>2219: Futures Imagined</em><span>, ArtScience Museum Singapore (2019).</span><br /><br /><span>Anca Rujoiu is a Romanian curator and editor who has been living and working in Singapore since 2013. Taking an artist-centred approach, she is committed to artistic practices beyond the West and to what falls through the cracks within its borders. She was a member of the founding team of NTU Centre for Contemporary Art Singapore, as Curator of Exhibitions (2013–15) and Head of Publications (2016–18) and she has curated numerous exhibitions, public programs, and publishing projects. Currently, she is a Ph.D. candidate at Monash University with a research focused on institution building, artists-led institutions, and transnational exchanges.</span><br /><br /><span>Contributors: Priyageetha Dia, Anca Rujoiu</span><br /><span>Editor: Anna Lovecchio</span><br /><span>Programme Manager: Nadia Amalina</span><br /><span>Sound Engineer: Ashwin Menon</span><br /><span>Intro & Outro Music: Yuen Chee Wai</span><br /><span>Cover Image & Design: Arabelle Zhuang, Kristine Tan</span><br /><br /><span>CREDITS</span><br /><span>03’03”: Audio excerpt from </span><em>WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA</em><span>, 2022. Courtesy the artist.</span><br /><span>17’17”: Audio excerpt from </span><em>WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA</em><span>, 2022. Courtesy the artist.</span><br /><span>19’10”: Audio excerpt from </span><em>WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA</em><span>, 2022. Courtesy the artist.</span><br /><span>32’07”: Audio excerpt from </span><em>WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA</em><span>, 2022. Courtesy the artist.</span>
Date
A point or period of time associated with an event in the lifecycle of the resource
2022-06-09
Contributor
An entity responsible for making contributions to the resource
Priyageetha Dia
Anca Rujoiu
Anna Lovecchio
Nadia Amalina
Ashwin Menon
Yuen Chee Wai
Arabelle Zhuang
Kristine Tan
Format
The file format, physical medium, or dimensions of the resource
Podcast
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
<a href="https://www.buzzsprout.com/1845756/10959449-aircast-7-priyageetha-dia">https://www.buzzsprout.com/1845756/10959449-aircast-7-priyageetha-dia</a>
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/067c3f47eb6a4382004a5ffd520f286e.pdf?Expires=1712793600&Signature=by3zMoFlb6CECcyF00Oyp6nUz5JyAqNCQvSeyH9JpzYkF1HDxQs9HG5RQ6taPyi5QfohTLLeTrmIttDkrFdVyoOWdim6sVNStivBMsQmig8Zv74jFNFeHmoT2rMUCVw3F5v%7EpJjUZg7Ex5P84-Gh2Kck2pd7YXSlwpc5B90CPzbdopKCQ8qiLrJCg939eNAdU-k8w99nJ05Qi68lS6XkQP9XoOSoeADArvo%7E0horoT842Yix01zTnmHkCa9NyfYfq0IEpvkQONxgK%7EIFOiIZTidzIH1KSMFSmxZCs8JuAVkf6LKL9nKKRRMKn23JB7m9bu36qSS6VUorJbHtxK0wRQ__&Key-Pair-Id=K6UGZS9ZTDSZM
87010681e45147eaaf6aceac4ad3cbe8
PDF Text
Text
#7
PRIYAGEETHA DIA
In this episode, we hand over the microphone to curator and writer Anca Rujoiu
to interview our Artist-in-Residence Priyageetha Dia. Priyageetha and Anca are
fresh out of a year-long collaboration that culminated in Forget Me, Forget Me
Not (2022), Priyageetha’s solo exhibition curated by Anca which just opened last
month. In this conversation they share about the background research, interests,
and aesthetic strategies behind the new body of work presented in the exhibition
and they will expand upon the significance of colonial histories and marginalised
communities, agency and empowerment, media and materials in Priyageetha’s
practice.
Just a few words to introduce them.
Spanning moving image, sculpture, performance, and installation, the artistic
practice of Priyageetha Dia revolves around histories of exploitation and identity
politics. In recent years, she is experimenting with storytelling as a world-making
strategy to address and redress the flaws of colonial narratives and breed the
potential for future agencies.
Priyageetha Dia and Anca Rujoiu recording AiRCAST, 9 June 2022. Courtesy NTU CCA Singapore.
Anna Lovecchio: Welcome to the second season of AiRCAST. On this podcast,
we visit the Residencies Studios of NTU Centre for Contemporary Art Singapore
nestled on the fringe of a vibrant rainforest in Gillman Barracks. In this series
of open-ended conversations, we invite different guests to probe the mind of
our Artists-in-Residence and unfold some of the ideas, materials, processes,
influences, and research methodologies behind their practice. My name is Anna
Lovecchio. I am a curator, Assistant Director of Programmes at NTU CCA, and the
editor of this podcast.
Anca Rujoiu is a Romanian curator and editor working in Singapore since 2013.
She was a member of the founding team of NTU Centre for Contemporary Art
Singapore. The numerous exhibitions, public programs, and publications she has
curated speak of her strong artist-centric approach and commitment to creative
practices beyond the West. She is currently pursuing a Ph.D. at Monash University
with a research on institutional building, artists-led institutions, and transnational
exchanges.
[Audio excerpt from WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA, 2022. Courtesy
the artist.]
�Anca Rujoiu: Hi, Priya.
international level, such as what it means to be a Tamil artist not just here, but also
outside of this [Singaporean] context.
Priyageetha Dia: Hi, Anca.
Anca Rujoiu: It’s really a pleasure to be in conversation with you today. We have
been in dialogue for the past one year and I hope this conversation will wrap up
many things that we have discussed while also raising new questions and placing
your work within a bigger picture. Before I dig into my first question, I wanted to
wish you happy birthday!
Priyageetha Dia: Thank you!
Anca Rujoiu: We are conducting this conversation at a very special moment.
It’s a turning point for you, age-wise. It’s a nice coincidence, as it happens with
anniversaries, to look back into the past so we understand where we are in the
present. Also, two weeks ago, you opened a solo exhibition at Yeo Workshop,
Forget me, Forget me not, and we will talk more in detail about it. With this solo
exhibition in the background, while also carrying this conversation at a turning
point for you age-wise, I wanted to start with a very broad question: how do you
see your practice and your journey as a woman artist at this particular moment in
time?
Priyageetha Dia: Thanks for starting with that question. It was definitely a
pleasure working with you for the past one year on this exhibition. There was
a lot of back and forth, exchanging, testing, and figuring things out together.
I actually see that process as part of my practice as well. It forms a rhizome.
It never really concludes. It’s always blooming and extending. And, you know,
my journey as a woman artist is not just me being a woman but also being
someone who is Singaporean Tamil. I think a lot about my identity throughout my
journey as an artist. And this is definitely challenging. There are discussions and
discourses that have yet to happen within the Singapore arts scene and I think
about bringing these up by highlighting specific lived experiences in my work.
They form a part of me through this journey. I find myself sometimes struggling,
sometimes embracing parts of myself throughout the process, but it is definitely
an empowering journey for me so far. I see myself looking at identity politics not
just on a local level, but also on an international level, such as what it means to be
a Tamil artist not just here, but also outside of this [Singaporean] context.
I see myself looking at identity politics not just on a local level, but also on an
Anca Rujoiu: Compared to six years ago, where do you see yourself now as an
artist?
Priyageetha Dia: Within my practice, in the last six years, I have touched on many
important topics that I find have yet to be discussed. One being my identity—from
where I started to where I am now. Thinking about identity is not just about the
personal but also the historical, the biographical, and the social. How there are
many, how do I put it, many things that I have yet to speak about. About the last
six years, I guess I don’t have one concrete answer because it’s still developing.
It’s still changing. But there has definitely been a lot of growth from where I
started five or six years ago.
Anca Rujoiu: I just want to pick up on what you mentioned just now, that you
started to look at identity from a broader historical perspective, if that’s the right
way to put it, going beyond the personal. I believe that is also at the core of the
exhibition that we worked on together, Forget me, Forget me not, where you
have been looking into the history of migration of Indian communities from South
India to Malaya to work in rubber plantations. Maybe we can start by talking a bit
about this history. Do you want to elaborate on what drove your interest into this
specific narrative? How did your research start?
Priyageetha Dia: For me, it’s a question of being in this part of the world. My
positionality within Singapore. raised a few questions and got me to think about
my roots, my ancestors, and their journey to Southeast Asia. I guess it was a new
way of thinking about the histories of Tamil labourers coming into Southeast Asia,
to reflect back into my own family and personal histories. And that started from
a conversation with my cousin, looking back at how labour has been so diverse
within our own family.
Anca Rujoiu: We should mention that your cousin is in Malaysia?
Priyageetha Dia: Yes. I would say I have very limited family here [in Singapore]
and most of my family is based in Malaysia. I don’t have other relations elsewhere.
So it’s within the context of Singapore, and Malaysia, where part of my identity
�forms. To think about these histories is to think it through tracing back into
Malaysia itself and then thinking about, you know, the colonial period of Malaya.
Having these conversations with my cousin was quite enriching because there
were certain narratives that I didn’t know were part of our family history. And,
then, understanding my aunt’s role in the plantation, and the sort of routine and
practices that she did, or performed, as a plantation labourer. These were things
that formed part of my research for Forget Me, Forget Me Not. And then it kind of
developed into reading accounts of plantation labourers that were being recorded
or documented by the colonial subjects. There were definitely a lot of emotions
that arose from reading these accounts; partly because the information that was
presented had a lot of trauma and pain, and there was the lack of agencies to give
voice to the plantation laborers. Apart from reading the accounts, there were a
lot of colonial archives that documented the plantation estates as well as of the
labourers performing the labour. Looking at that, I wanted to devise a new form
of thinking, or even playing as a storyteller in retelling these narratives in a newer
form that gave more agency, or respect, to the labourers who are skilled workers.
They knew the trade of running a plantation and even the ropes of tapping
rubber.
Anca Rujoiu: Maybe to give a bit more context to this specific historical
narrative, we should mention that the history you looked at was a time when
Malaya became the largest rubber exporter. It also became the most profitable
industry for the British Empire. This type of economy, as you mentioned, relied
extensively on migrant workers coming from parts of present-day South India.
From the research you did, and the documentation that we shared together, one
contradiction that we noticed, first of all, was that these workers were considered
unskilled, which is ridiculous because there was so much skill involved in the
tapping of rubber. It really required mathematical precision to cut the bark in a
way that does not damage, or minimise damage, to the tree. We also became
more aware of how the system of what at the time was called ‘indentured labour’
was more or less disguised slavery. It relied on forms of control across all aspects
of life, from the [labour] the workers did, the food they ate, the clothes they wore,
and so on. That’s a bit of the background of the research that you conducted. I
think what has been so distinct in your work for this exhibition is that you not only
looked into these archives, but you really confronted them. You were trying to
speak back to them…
Priyageetha Dia: Yeah, working with these materials, these histories, and
narratives, while thinking about how these histories were presented by nonTamil people… I thought, you know, these stories are being told by outsiders. So
what is my role as a Tamil woman? What is my role here? [How] to provide or
give a sense of agency back to the labourers? I mentioned before about being
overwhelmed with reading the accounts and, at some point, angry because there
was just so much violence that was being recorded on how they [labourers] were
being treated. For me, it was important to bring a sense of empowerment to
these laborers and I took on the role as a storyteller. I thought about retelling the
story in a way that I could give a sense of agency [to the labourers]. I don’t know
if I’m repeating myself but being a storyteller was definitely a challenging process
for me because when histories have been recorded with so much violence and
trauma, how can I form a new way of telling them? That’s what I struggled the
most with— to form a narrative around it. For me, the way I went about this was
to think of how I used language to describe and form experiences. Be it about
the human and its relation to the environment, or about the nonhuman as well.
So thinking about the body in its environment, about Malaya as a person itself,
and how it houses these stories. Not just to talk about, you know, plantation life,
but how they have been part of a landscape… to think about the travels through
waters to different routes. To think about the journey into Malaya. To think about
how they looked at land through a different sort of gaze. And to think about a
sense of care, and of being gentle in a way like with the rubber tapping leaving
the scars on the tree bark. To think about approaching it in a very caring manner.
To think about the life of the nonhumans as well, that were basically endangered
because of the plantation systems. Bringing back their memories was a way to
strategise the narrative for me.
[Audio excerpt from WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA, 2022. Courtesy
the artist.]
Anca Rujoiu: You made this storytelling manifest in an animation that you created
specifically for this exhibition. We’ll talk more in detail about the animation but,
as part of it, you constructed a narrative, a poem, or rather, a body of writing that
is made out of a shared vocabulary across the Tamil and Malay languages. This
poem, I would say, really conjures the voices of the labourers and it guides the
viewers into the journey of migration and labour. Before we talk more specifically
about your interest in language, do you want to share the poem that you wrote
for this exhibition which is integrated into the animation itself?
�Priyageetha Dia: Okay. Do you want me to read it out?
Anca Rujoiu: Yes.
[Audio excerpt from WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA, 2022. Courtesy
the artist.]
Priyageetha Dia: Okay…
Our Labour
was wanted
in the பூமி [ Bumi ]
of the
Sea People
Sayang,
the சமுத்திரம் [ semudera ]
remembers
the calling
for us to be
on the edges
of far-shy
constellations
and flattering
currents
the monsoon
breaths
and migratory
flows
exiled melanin-rich souls
from active chambers
of the கப்பல் [ kapal ]
Sayang,
the winds remember
the cosmic chants
of Our Descendants
and பக்தி [ bhakti ]
for Bodies
and Land
Priyageetha Dia, Forget Me, Forget Me Not, 2022, installation view, Yeo Workshop.
Courtesy Ahmad Iskandar.
�while we memorised
the faint சரித்திரம் [ cerita ]
of those Free
and Unfree
bellied deep
into the
unknown archives
We remember
these tender hands
circuiting
in bloodlines
that stretched
across
the ends
of other channels
into an
infinite abyss
who resisted
in whispers of
insolent tongues
living in
chronic
motions
on reddened,
rusting
lands
seeking
tenderness of
restful order
within these
Nusantara
worlds
Sayang,
these grounds
Remember
[break]
Sayang,
power was
never
peculiar
to மனிதன் [ manusia ]
the demands
for Us
yielded the raging force
into a common kin
the ஜீவன் [ Jiwa ]
of other
Beings
exiled into
a thing
of the past
rooted in
primal
reminders
etched
between
the folds
�and creases
of calloused hands
Sayang,
as the பூமி [ Bumi ]
withers
so has
Our Labour
buried beneath
like blooming
rhizomes of
flesh
and blood
Echoing, seeping
in between steel
and stone
and the smells
of camphor,
gingelly and
சந்தனம் [ cendana ]
still drifts
across
the Kalinga Seas
Sayang,
we remember
those of us
seen
or unseen
everywhere
yet
nowhere
murmuring in
Old and New
futures
under the
ancient
சூரியன் [ Surya ]
gathering,
locating in
spectral forces
amongst
the breathing,
living
in the
பூமி [ Bumi ] of the
Sea People
Anca Rujoiu: Thank you Priya. Do you want to talk about the process of writing
this text and why it was important for you to create connections across the Tamil
and Malay vocabularies?
Priyageetha Dia: For me, to think about creating this narrative or to build these
visual languages of rethinking the plantation, the stories, and the labourers, was
to also use language as a form to re-envision the other side of the story. The use
of ‘english’ was very intentional; english with the small, lower-cap ‘e’. I thought
about the historical connection of language by thinking through its similarities
between Tamil and Malay vocabularies. In a way, the narrative becomes complete
for those who understand or speak the languages. The way that I approached
it was to… write back. To think about how I am producing forms of knowledge
through this language and it doesn’t become easy for someone who only speaks
or understands english. The meaning, then, becomes almost foreign in a way.
Initially, throughout the process of thinking about the language that I was forming
for the narrative, we thought about inserting the English translation of these
words into the video work. I was thinking about how to not give it away easily if
someone were to watch the video, and about positioning the English translation
at the end of the video. That was definitely an intentional way of prioritising those
who speak and understand the language.
�Anca Rujoiu: At what point, or how did you, become aware about this shared
vocabulary? And what did this signal to you?
just making things with CGI. That was very enriching for me. Yeah, and I definitely
love the process of building things while sitting down.
Priyageetha Dia: I think about language through my ancestors, especially the
way my grandma speaks. The language which is both a combination of Tamil and
Malay, and sometimes English. To think about that mixture through that narrative
[of migration and plantation labour] was something unique in its positionality.
How certain words in Malay almost become part of everyday speech in Tamil
households here is a very unique thing, because you do not find that outside of
Southeast Asia. I thought of bringing that kind of structure into the narrative.
Anca Rujoiu: Does it give you a certain freedom?
Anca Rujoiu: Going back into the animation itself, we mentioned that this text
was integrated into the video, which I would say is really the core piece in the
exhibition. This is all computer-generated imagery (CGI). It’s not also the first time
you are working with this medium but I believe that this 12-minute animation
is perhaps your most developed video. It combines, as you already described,
tropical landscape imagery with more apocalyptic scenes of destruction, sea
waves, rubber trees, and we are guided through this landscape through the lens
and the body of a protagonist with female bodily attributes as well as a hybrid
entity. So before we dig deeper into the animation itself, let’s talk about the
choice of medium. I think it’s important to highlight that you are self-taught in
CGI. I wanted to ask you: what drove you towards this specific medium? And how
did you see CGI as an appropriate language to transpose this historical content?
Priyageetha Dia: It’s almost like… in the digital world you can construct your
own environment, or landscape, and you just basically put things together. Then
you have this entirely new world to yourself! In a way, you also take on a role as
a filmmaker, because you control how you want to envision your perspectives
of the landscape, of the environment, or of how your subject moves. As part
of the process of learning CGI, in a way you also learn about becoming a
filmmaker, through having that sense of control with how you create your own
moving-image works. Yeah, and with animation… I am still learning a lot about
CGI. I would definitely say I am still an amateur. I haven’t yet developed to be a
professional. But this work for Forget Me, Forget Me Not, it’s a starting point to
think about animation and film, as well as thinking about feminist perspectives
through making moving-image works. I definitely see that developing over the
course of the next few years.
Priyageetha Dia: For me, the last few years have been a way to reconsider the
way I approach my practice. Partly because I didn’t have a studio space, this lack
of space drove me to think about my practice digitally. I spent the last few years
learning CGI through YouTube tutorials. It was definitely a steep learning curve.
One thing that fascinated me was that I could build these worlds and have a
sense of control over how I wanted to form the narrative, or to form the way an
object or a subject move. To think about how that materiality could mimic reality
and bring about new forms of looking at a subject, or even a landscape… I really
liked it. World-building is definitely something that I found myself really interested
in, as a way of thinking about things in a very speculative manner. Working with
CGI opened up all these possibilities. The way I started working with CGI was to
look at free 3D assets or models, and to just play around with them. Through that
process, I understood the very different technicalities that come into play using or
Priyageetha Dia: Yes, definitely. Because I have that sense of control where I am
able to project my visions through a specific visual language. I like that a lot.
Anca Rujoiu: Can you talk more about this process of world building? What is
distinct about it? What informs your own vision about the world?
Anca Rujoiu: To make it a bit more visual for the listeners—do you want to pick
up a specific scene from the animation in Forget Me, Forget Me Not, describe it,
and give some details on how you crafted it?
Priyageetha Dia: It usually starts with storyboarding. By imagining the retelling
of these histories and narratives, you have to go through that whole phase of
imagining. In becoming a storyteller, I take on the role of envisioning how I see
different scenes, and these are almost very basic in themselves. Thinking about
the breathing body: do I want to capture the entire body or do I want to capture
a specific part of the body that encapsulates the breathing movement? So
zooming in, have the camera focus just on the neck and chest area to capture
that movement of breathing. To think about the sound of labour and then to
�embody the being itself as Malaya… I thought about all of that throughout the
storyboarding process.
[Audio excerpt from WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA, 2022. Courtesy
the artist.]
And throughout this animation process, thinking about the style of how I position
the visuals was also to think about the absence of the horizon. I took on the
vertical perspective as a way to create a sense of timelessness in body and in
space. The horizon which is a very Western way of thinking about how land and
time are separated. I wanted to move away from that and think about the entire
animation in a vertical perspective, thinking about the landscape in a vertical
perspective… Even the body, and the nonhuman, everything was captured
vertically.
Anca Rujoiu: Yes, there is very little sense of depth in this animation, which I think
really amplifies its texture and sense of tactility. But let’s do an exercise and think
of a specific scene. I have in mind one where you zoomed in and you get really
close to the metallic skin of the protagonist. You can see the piece of jewellery
with the name ‘Malaya’ and you become aware of the materiality of the body. Do
you want to talk about how you thought that specific scene through?
the wall guiding the viewer through the space. Do you want to talk about your
interest in this movement, or of the performativity of hands that you have also
explored in the past?
Priyageetha Dia: I think about the figure of the hand as a metaphor for labour,
and I emphasise or amplify the hand throughout the exhibition space. I don’t think
about the hand just for its potential use for labour, but how it acts or becomes
part of a gesture of care, of embrace within that space. For me, the hand was
an integral part of forming the entire narrative for the video work. And then to
also think about how it doesn’t necessarily have to be the figure of the hand, but
also with the placement of the soil just beneath the hands on the walls, to think
about movement through other materials. Even with the hammock, it captures
the figures of the plantation labourers performing and working on the estates
so as to think about how the hand doesn’t necessarily take on a very large scale,
but it also exists on a very micro level. When you look into the works, the hands
are repeated throughout the entire exhibition. But when we were planning for
the show and we were doing the rendering for the space, I was initially looking
at how the hands come together as a way of emulating a hug in that space, or
Priyageetha Dia: I think I didn’t really have a specific way of going about it. I just
thought of looking at the details and the movement, and thinking of what would
best capture that. The materiality of the skin, you know, it could be read in so
many layers. I was thinking of the spectral figure, almost like a glowing body with
a glowing skin, or hardened skin. To think about labour and industrial materials,
and how it sort of manifests as a bodily thing. So, initially, when I was planning out
for that scene, it started off as something glowing and shiny, and then it became
skin-like throughout that whole process. Yeah, it never made, or mimics, a sense
of hyperrealism of an actual body or skin.
Anca Rujoiu: As I mentioned, this animation is really at the at the core of the
exhibition. There are many elements that extend in the show itself. One important
component are the labouring hands that are featured in the animation which
also takes a material form in the space of the exhibition. Someone who enters
the exhibition is confronted with these hands that are blown out and glued on
Priyageetha Dia, Forget Me, Forget Me Not, 2022, installation view, Yeo Workshop.
Courtesy Ahmad Iskandar.
�as a way of acting as a wayfinder within the space. Someone actually mentioned
about how the TV, or the screen, acts like the body in the space and the hands
sort of extend from the screen. So, in a way, they look at the entire space as a
body situated within the exhibition space.
Anca Rujoiu: That’s a very interesting observation because we were thinking
through the exhibition design as a way of creating a unified environment, even
if the space itself has partitions. In the architecture of the exhibition, the hands
became a bounding element and a way to create connections from one space to
another. I am also glad you mentioned the hammock which is another important
part of the exhibition. You improvised a hammock out of latex sheets on which
you imprinted edited stock photographs of workers in the plantations. You talk
about this hammock as a way to put these bodies at rest, if I recall correctly.
Priyageetha Dia: At the beginning of the research, while looking at colonial
archives and imagery, the ones you see resting in the armchairs or hammocks
were the colonizers. So to think about that in contrast with sites of rest and
bodies performing labour was a way to build something [new]. I actually bought
a lot of latex in the beginning of my research and I was thinking of what I could
make out of this material. The interesting thing about getting the material, which I
got from the UK, was also how it…
Anca Rujoiu: Although the rubber was produced in Malaysia!
Priyageetha Dia: Exactly. It’s quite funny because on their website, the company
mentioned about how they sourced the materials from Malaysia. The process of
buying back the rubber to talk about these issues was also part of that process.
Latex as material… it’s an interesting one because within the Western context,
rubber has been manipulated in a way that it becomes a material of fetishization.
I decided to look away from that context and to think about latex as just a rubber
material. It was a way of reclaiming that material back and to think about the
imagery of plantation labourers as well as how I could put those two things
together. So for me to build a hammock was to think about that specific site of
rest and to contrast it with the imagery of plantation labourers performing the
labour. In that hammock itself, the images are actually screen printed on the latex.
And in a way, the image becomes part of the material; it’s almost like it’s ingrained
within the material. It’s an act of, you know, bringing it all back together, or
reclaiming directly in the material.
Anca Rujoiu: We should mention that [the stock images] are screen printed with
white ink on a white latex sheet. So the photographs become quite spectral.
Priyageetha Dia: The choice of white ink was to think about invisibility, or even
just visibility. At a distance, the image comes out in its entirety, but up close, the
image becomes obscure, vague. You can’t really tell what the image actually is.
And I thought that was sort of an interesting dynamic in looking at the image
itself.
Priyageetha Dia, Forget Me, Forget Me Not, 2022, installation view, Yeo Workshop.
Courtesy Ahmad Iskandar.
Anca Rujoiu: And these are the images that you sourced online. If anyone
googles ‘Malaya rubber’, they will find these colonial photographs that are now
owned by corporations, the largest being Getty Images. You appropriated these
images and processed them…
�Priyageetha Dia: It’s a way to think about how colonial archives have been
distributed online and profited off by corporations and, also, think about my
role as a Tamil person working on this research. Do I then participate in the
act of profiting off the image by purchasing the image? Or do I just then use
the image with the watermark that is still explicitly shown on the image itself?
For me, my intention was to reclaim the imagery as a way of almost giving it a
second life, not to think about it as just being stored away online. So I went about
removing the colonial photographer’s name, and just retained the watermark of
the corporations who own the images as a way to think about the ownership of
the image, and the issues of consent in colonial photography, the power behind
the colonial gaze… I was thinking about all that using the archival imagery in the
hammock.
Anca Rujoiu: This is a very spontaneous question, Priya, but since you mentioned
your interest in latex as material… there is certain tradition of using latex in the
arts. I wonder if you looked at artists like Eva Hesse and thought about latex as a
sculptural material, but from a woman’s standpoint.
Priyageetha Dia: When I was an undergraduate, I actually worked on latex.
Unknowingly, it came about again. So working with this material almost forms a
cycle in my practice. But yes, I actually worked with latex as a material before. I
thought about it as a very sculptural material then, much in the same way as Eva
Hesse employed latex… I used it to create casts out of spaces within the HDB
home. So I approached latex to capture the space and the architectural structures
of a HDB house, be it the window grills, the gates, or the doors. And that’s how I
came about employing latex as a way to kind of create a sense of memory.
Anca Rujoiu: After talking about the use of latex in your work, let’s move the
discussion to another recurrent material in your practice: gold. At some point, you
mentioned to me that your forefathers were goldsmiths and part of the reason
that gold became such an important material for you was to reconnect with a lost
family tradition, but this time from a women’s perspective. Your graduation work,
Golden Staircase (2017), received a lot of attention. We don’t need to go into the
meaning and reception of this specific work, but would you mind talking about
the meaning of gold in your practice and also in relation to your other past works.
Priyageetha Dia, Forget Me, Forget Me Not, 2022, installation view, Yeo Workshop.
Courtesy Ahmad Iskandar.
Priyageetha Dia: For me, the materiality of gold takes form as a sort of ancestral
material, and I use it in a way to potentially transform space, or even take up
space in a way. That’s how the Golden Staircase happened. To think about
transformation, or to think about the experience of space, especially living in
public housing my entire life. To think about that materiality within that setting
was sort of transformative. In fact, that particular flight of stairs… I hold a very
personal relationship to that space. As a way of honouring, or creating a sense of
memory within that space, I gilded the entire flight of stairs in gold. It was meant
as a form of documentation before it actually got hyped up online and offline.
The work existed there for about a week, and I eventually took it down. Just to
think about the transformation of space through a specific material and to think
about taking up space, and honouring space, it was very important in the
production of that work for me. I also think about my family tradition, of being
part of a goldsmiths or even blacksmiths [family], and then part of it was also
about plantation labourers. It’s a mix. And I see these materials as a way to think
about my practice.
�Priyageetha Dia: The work was definitely a play on identity… to think about
space or taking up space was to also think about the entire building, since I had
been living in that space for a very long time. Then, I thought about how I could
potentially create these flags and hang them on each floor. It was a way to look
at the entire architecture of the HDB block as a body itself. And yes, it was a
continuation of Golden Staircase. It was also the year I actually left that HDB
block and moved to another neighbourhood. So it acts as a way of remembering
the space, as well as my position within public housing.
Anca Rujoiu: You also showed these flags in a new work within a gallery space
where you marked each golden flag with a word written in red; the words were
selected from criticism that you received on Golden Staircase. I have not seen
these works, only in documentation, but I was a bit surprised that you made the
choice to expose and amplify that criticism. Why was that important for you?
Priyageetha Dia, Golden Staircase, 2017, installation view. Courtesy the artist.
Anca Rujoiu: So one year after Golden Staircase, you made a continuation to it, if
that’s a correct way to put it. This was ABSENT-PRESENT (GOLDEN FLAGS) [2018]
where you hung golden flags on every floor in the same [apartment] block where
you had Golden Staircase, a block where you’ve been living for over 20 years. You
hung these flags on hooks which are typically used for hanging the Singapore
flag during the National Day celebrations and the work was later removed and
destroyed by the authorities. Apart from the obvious connections, what made you
continue with this work?
Priyageetha Dia, ABSENT-PRESENT, 2018, installation view. Courtesy the artist.
�Priyageetha Dia: For me, ABSENT-PRESENT somehow formed an integral
dialogue with Golden Staircase. As a society, we see artworks, specifically public
artworks, being formed within the environment, as reflection of society and of
how society looks at that material. Initially, when it was removed, I was told it
reminded [people] of Chinese joss papers and it was inauspicious. There were also
other comments about it being an act of vandalism and even a hazard for public
safety for those who are living in that block. All of these words were selected
based on, I guess, how people reacted to the work and they just became part of
the work as a stencil in red.
Anca Rujoiu: Maybe to think in the big picture about your practice… I think it’s
fascinating that your work started with such a material basis with these sitespecific works. You also did a series of performance works, using your own body
or working in collaboration with peers. And now, you are starting to integrate
CGI and digital technology into your work. How do you make these transitions
between the material and the digital? And how do you see yourself balancing
these relations in the future?
Anca Rujoiu: That was going to be my question: what does it mean for you to
have a studio space and if it will influence your practice in any way?
Priyageetha Dia: Definitely. Now that I’ve been provided a screen and some
speakers… I am even thinking about producing electronic music because I’ve
always been using found music in my work. To think about producing [my own
music] with the given equipment in the space, I’m definitely looking forward to
that, as well as to potentially create newer world-building scenes using CGI and
just testing it out on the screens. That’s what I’m looking forward to for the next
two to three months.
Anca Rujoiu: Great. I’m looking forward to it too!
Priyageetha Dia: Thank you Anca.
Anca Rujoiu: I think we can end here, no?
Priyageetha Dia: Yes!
Priyageetha Dia: I guess my practice takes on a rather shapeshifting approach.
It’s never really concrete in one form. I like to be as fluid and malleable as possible
in my practice, for instance the materiality of gold is translated digitally where it
takes the form of an alter ego, or avatar, and it shapeshifts throughout. It’s not
just necessarily about gold. Now, I am more interested in the historical narratives
of Southeast Asia, how that could be portrayed as a material, and if it could
potentially take another form by using CGI. So it’s definitely a transformation from
where I started to where I am now. I might potentially go back to thinking about
site-specific works in the future. I’m just going be as fluid as possible.
Anna Lovecchio: You listened to AiRCAST, a podcast of NTU Centre for
Contemporary Art Singapore, a national research centre for contemporary art of
Nanyang Technological University. To find out more about our programmes, visit
our website at www.ntu.ccasingapore.org, you can sign up to our newsletter, or
follow us on your favourite social media platforms. And of course, if you’d like to
hear the voices and thoughts of our other Artists-in-Residence, do subscribe to
this podcast. AiRCAST is produced by NTU CCA Singapore with the support of
National Arts Council Singapore.
Anca Rujoiu: This will be my last question as we are running out of time. We are
doing this conversation in the context of you being an Artist-in-Residence at NTU
CCA Singapore, in the beautiful landscape of Gillman Barracks. If I’m not wrong, it
is the first time you have a studio for yourself, right?
This episode featured artist Priyageetha Dia in conversation with Anca Rujoiu.
I am Anna Lovecchio, the editor of this podcast.
The Programme Manager is Nadia Amalina.
The Audio Engineer, Ashwin Menon.
Priyageetha Dia: Yes, yes, it’s such a nice feeling to have an entire studio space
to yourself to just sit, reflect, think, read, sleep! It’s a privilege to have a space
as big as the NTU CCA Singapore’s studio. I’m really looking forward to thinking
about potentially opening up the studio and showing my research to the public.
The intro and the outro were composed by our previous Artist-in-Residence Yuen
Chee Wai with field recordings of our non-human neighbours in the beautiful
forest around us. Thank you for listening.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resources
Programme Resource
Collateral and other print or digital materials pertaining to residency programmes. Examples include residency brochures, postcards, etc.
Short Description
In this conversation Priyageetha and Anca share the background research, interests, and aesthetic strategies behind the new body of work presented in the exhibition. They will also expand upon the significance of colonial histories and marginalised communities, agency and empowerment, as well as media and materials in Priyageetha’s practice.
Programme Series
Residencies AiRCAST
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Transcript of Residencies AiRCAST Episode #7: Priyageetha Dia
Subject
The topic of the resource
History
Displacement
Decolonialism
Postcolonialism
Description
An account of the resource
Starting off the second season of AiRCAST, we hand over the microphone to curator and writer Anca Rujoiu to interview our Artist-in-Residence Priyageetha Dia. Priyageetha and Anca are fresh out of a year-long collaboration that culminated in Forget Me, Forget Me Not (2022), Priyageetha’s solo exhibition curated by Anca which opened last May. In this conversation they share about the background research, interests, and aesthetic strategies behind the new body of work presented in the exhibition. They will also expand upon the significance of colonial histories and marginalised communities, agency and empowerment, as well as media and materials in Priyageetha’s practice.
Date
A point or period of time associated with an event in the lifecycle of the resource
2022-06-09
Contributor
An entity responsible for making contributions to the resource
Priyageetha Dia
Anca Rujoiu
Format
The file format, physical medium, or dimensions of the resource
Transcript
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/646753974">https://vimeo.com/646753974</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
646753974
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
00:02:11
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Open College: Entanglements - Writing the Environment. Trailer.
Subject
The topic of the resource
Education
Description
An account of the resource
Entanglements – Writing the Environment is a course that offers participants the opportunity to develop their writing skills and interests in ways that promote and illustrate environmental awareness, concerns and sensitivities.
Date
A point or period of time associated with an event in the lifecycle of the resource
21, 22, 24, 25 February 2022
Contributor
An entity responsible for making contributions to the resource
Anca Rujoiu
Jason Wee
Format
The file format, physical medium, or dimensions of the resource
Video
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/59702e4334103cb60cbced0d7fcb1e48.pdf?Expires=1712793600&Signature=A22g7k3LVDQXuhqCASJaOL5X59d%7E5EP%7EnGWiYdTDbHnHfDJ-cXslF7xmXqnaDn9fP4C--hGEj-%7E6sbdKA2apoMfM7H6vGV7IzxggWRE4XnTOhnQEFF5aFRAjxG0hBZtBmJKk1JHhJ14zpKCjxEpE8NN-DHNUxW7hHhffMn83xBuV6Whruh%7Ea51X4mIU-6nkiy6KdnSdV3%7Ezky-HQarExWscNpuK-PnHX7TQEA4kwK23CaT4B9uvZ9QBl6Y2JN9UTFbZ47ErgFygC98WQJbjIGbIEzb9UmUISOzWHxoMnDw6S1-YxQ8TJW8bkI8hZtxvK8QYkU5pjHxhpH90UO7A%7ERA__&Key-Pair-Id=K6UGZS9ZTDSZM
dcdf9598a319c32093cb88075219bbfd
PDF Text
Text
Entanglements – Writing the Environment
Instructors: Jason Wee & Anca Rujoiu
Date:21, 22, 24 and 25 February 2022
Time: 9:00am – 4:00pm
Day 1 - Monday, 21 February 2022
Who Writes?
Required Texts:
Camille Stories D Haraway Pp.143-168
Supplementary:
Observer-narrator - Michael Taussig - Becoming Palm
Interviews - Anca Rujoiu, Walking Conversation with Robert Zhao Renhui
Feral Atlas, Introduction https://feralatlas.supdigital.org/?cd=true&bdtext=introduction-to-feral-atlas
Svetlana Alexievich: The author interviews herself on missing history and why Chernobyl calls our world
into question (essay from the Chernobyl Prayer)
Day 2: Tues 22 February 2022
Environmental Histories of Singapore
Required Texts:
Film: Storytelling for Earthly Survival by Fabrizio Terranova
Lucy Davis - Like Shadows Through Leaves - Migrant Ecologies film
Timothy Pwee https://biblioasia.nlb.gov.sg/vol-17/issue-1/apr-jun-2021/agriculture
Editors’ Introduction to Making Kin
Supplementary:
Resilience: A Journal of the Environmental Humanities 4.2-3 166. Web.
Wong, M. E. ‘Revisiting Jane Jacobs’s Urban Complexity in Global Sustainability City Discourse’.
Architecture_MPS 19, 1 (2021): 3. DOI: https://doi.org/10.14324/111.444.amps.2021v19i1.003
Ursula Heise: From the Blue Planet to Google Earth: Environmentalism, Ecocriticism and the Imagination
of the Global
Day 3: Thurs, 23 February 2022
Interdependencies Ecologies & Wildness
Required Texts:
Excerpts from Jason Wee’s ‘In Short, Future Now’
Jack Halberstam’s Wildness - introduction
Anna Tsing The Mushroom at the End of the World
NANYANG TECHNOLOGICAL UNIVERSITY
�Supplementary:
Simryn Gill & Michael Taussig Becoming Palm
Alison Bechdel's The Secret to Superhuman Strength
Richard Powers: Overstory: Patricia Westerford
http://www.richardpowers.net/the-overstory/
John Durham Peters The Marvelous Clouds: Toward a Philosophy of Elemental Media
Day 4: Fri, 24 February 2022
Editing Voices, Collective Voices
Required Texts:
Italio Calvino’s Six Memos for the Millenium
Phillip Lopate on the Essay and Anthologies
https://diymfa.com/podcast/episode-377-phillip-lopate
Supplementary:
Schneider-Mayerson, Matthew. “Some Islands Will Rise: Singapore in the Anthropocene.”
NANYANG TECHNOLOGICAL UNIVERSITY
�
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/d8b16fe36fab86d7783376e659530fee.jpg?Expires=1712793600&Signature=fsknrLR3HWbaetjBRvwB4CnuWpQn12OxjL3tA0qsz4olaci0l6hv%7E-Wmpm-KUxygdpSINtpX3wlZEiMbtbeE1fYx465UxuGdBpul0Sb1eBVeOrZCbr4pNG0iwf6lgI6ovTsH6bs-MVa70SIV5t7wU8%7ERbPBa3wunyopoMwdwYcfI7Rz5ATIMrWjgbSzC8K-60BZJfuyfHijoW%7Ec8UDpK300ZsIZL4CmxeshkyxWENyfZYABO%7EDhXmZP6tTKV1wMI9ui4mjYGJHZRUz9J2F9541AVzehBmzQbFWFilaoaw0G4pZ3ym3YWLsvGAidxrYJjcNUiUbo4934o1E7Ql8IMFg__&Key-Pair-Id=K6UGZS9ZTDSZM
11927f9f3bd72abcc40ef77d13505af0
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Jason Wee (Front) and Anca Rujoiu (Back), course instructors, Entanglements - Writing the Environment, NTU CCA Singapore, 2021.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Course
Audience
General
Professional
Programme Series
Open College Immersive
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
Yes
Short Description
Entanglements – Writing the Environment is a 4-day course which offers participants the opportunity to develop their writing skills and interests in ways that promote and illustrate environmental awareness, concerns, and sensitivities.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Open College: Entanglements - Writing the Environment
Subject
The topic of the resource
Education
Nature
Description
An account of the resource
Entanglements – Writing the Environment is a 4-day course which offers participants the opportunity to develop their writing skills and interests in ways that promote and illustrate environmental awareness, concerns, and sensitivities. Participants will explore diverse issues of the environment captured in writing through experimenting with a variety of writing forms from the glossary definition, annotations, essay, review, poetry, short fiction and novel. The course format will include examination of literary texts related to environmental themes, class discussions, as well as writing and editing practice to texts produced throughout the course. By the end of this course, participants will have a new literary appreciation and increased confidence in writing about the natural world.
What You Will Learn
1. To understand different formats of writing and writing conventions that can be applied to other facets of daily life.
2. To integrate environmental concerns in writing of fiction and non-fiction.
3. To identify and analyse developments in the field of environmental literature through the study of specific works.
4. To develop a personal style of writing by connecting ideas and creating an effective narrative.
Who Should Sign Up
Artists, Cultural Producers, Curators, Researchers, Educators, Naturalists, Editors, Art Critics, Budding Writers or someone who simply enjoys writing
Course Instructors
Jason Wee and Anca Rujoiu
Date
A point or period of time associated with an event in the lifecycle of the resource
21, 22, 24, 25 February 2022
Contributor
An entity responsible for making contributions to the resource
Jason Wee
Anca Rujoiu
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
On Publishing: Leah Whitman-Salkin in conversation with Anca Rujoiu
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/486714163">https://vimeo.com/486714163</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
486714163
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
On Publishing: Leah Whitman-Salkin in conversation with Anca Rujoiu
Description
An account of the resource
3 Aug 2015, Mon 7:30pm - 9:00pm <br /><br />Drawing on her experience at the renowned art publishing house, Sternberg Press and Harvard Design Magazine, Leah Whitman-Salkin will share her editorial perspective on art and design publishing. While focusing on a few projects, she will discuss the editorial thinking in developing a publishing series and a magazine, but also all the production aspects involved in the field: the complex system of connections between editor/publisher, writer, designer and distributor. The presentation will be followed up by a conversation with Anca Rujoiu, NTU CCA Singapore Curator, Exhibitions.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-08-03
Contributor
An entity responsible for making contributions to the resource
Leah Whitman-Salkin
Anca Rujoiu
Subject
The topic of the resource
Cultural Production
Design
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
North America
Europe
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
Allan Sekula Symposium Part 2: The Sea as Contested Territory
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/487167841">https://vimeo.com/487167841</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
487167841
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Allan Sekula Symposium Part 2: The Sea as Contested Territory
Description
An account of the resource
26 Sep 2015 2.30 – 4.45pm <br /><br />On the occasion of Allan Sekula’s exhibition, Fish Story, to be continued, NTU CCA Singapore presents an international symposium that will mark a concluding point to the show and will highlight the continued relevance of Allan Sekula’s work and writings on the theme of globalisation and capitalism. The symposium will bring together art professionals who have collaborated with Allan Sekula across the years, as well as different researchers and artists who share a set of common interests with his work.The programme will focus on key themes underlying Allan Sekula’s practice including questions of critical realism in contemporary art, representation of labour as well as the vast topic of the sea. <br /><br />Part 2: The Sea as Contested Territory Speakers: Chung Chee Kit, Shabbir Hussain Mustafa and Charles Lim <br /><br />Roundtable Discussions Moderated by Ute Meta Bauer and Anca Rujoiu
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-09-26
Contributor
An entity responsible for making contributions to the resource
Chung Chee Kit
Shabbir Hussain Mustafa
Charles Lim
Ute Meta Bauer
Anca Rujoiu
Subject
The topic of the resource
Oceans & Seas
Globalisation
Labour
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Europe
North America
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
Allan Sekula – Exhibition de(Tour) led by Anca Rujoiu
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/487998175">https://vimeo.com/487998175</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
487998175
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Allan Sekula – Exhibition de(Tour) led by Anca Rujoiu
Description
An account of the resource
10 Jul 2015, Fri 7:30pm - 9:00pm
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-07-10
Contributor
An entity responsible for making contributions to the resource
Anca Rujoiu
Subject
The topic of the resource
Oceans & Seas
Globalisation
Identity
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
The discussion on issue 46 will be preceded by a presentation of Afterall’s history by its Co-founder, Charles Esche, Director of Van Abbemuseum, The Netherlands.
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/519418138">https://vimeo.com/519418138</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
519418138
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Launch: Afterall Journal Issue 46
Description
An account of the resource
13 Oct 2018, Sat 02:00 PM - 05:00 PM The Single Screen, Block 43 Malan Road <br /><br />NTU Centre for Contemporary Art Singapore is hosting the launch of the Afterall journal issue 46, Autumn/Winter 2018 as well as the latest publication in the Afterall Exhibition Histories series, Artist-to-Artist: Independent Art Festivals in Chiang Mai 1992–98 with the presence of the editors on Saturday, 13 October 2018. <br /><br />As part of the three-year research and publishing partnership between the Nanyang Technological University and the University of the Arts London started in 2017, issue 46 was conceived in Singapore in a collective effort by the editorial team (Ute Meta Bauer, Ana Bilbao, Charles Esche, Anders Kreuger, David Morris, Anca Rujoiu, and Charles Stankievech). This issue traverses different geographies and contexts, from Southeast Asia to the Americas with a focus on artistic practices that take a clear position against the long-lasting endurance of oppressive systems, be it racial, patriarchal or colonial. The performative body of work of Singaporean artist Lee Wen and his explorations on identity and representation are unpacked in two essays by Alice Ming Wai Jim, Professor and Concordia University Research Chair in Ethnocultural Art Histories, Canada, and Võ H`ông Chu’o’ng-Đài, Researcher at Asia Art Archive, Hong Kong. Yin Ker, Assistant Professor at the School of Art, Design and Media at Nanyang Technical University, Singapore, discusses the internal complexities of the Burmese contemporary art scene in one of this issue’s contextual essays. <br /><br />The discussion on issue 46 will be preceded by a presentation of Afterall’s history by its Co-founder, Charles Esche, Director of Van Abbemuseum, The Netherlands. Celebrating 20 years of activity this year, Afterall journal is widely acknowledged for its in-depth analysis of artistic practices, contextual essays, engagement with exhibition histories and curatorial practices within various geographical constituencies.
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-10-14
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Ana Bilbao
Charles Esche
Anders Kreuger
David Morris
Anca Rujoiu
Charles Stankievech
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Artistic Research
Cultural Production
History
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English