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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
On its five-year anniversary, the Centre continues advocating for free spaces, celebrating the practice of improvisation, as well as of collective and performative approaches.
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Programme Type
Screening
Audience
General
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
Screening Programme: Stagings. Soundings. Readings. Free Jazz II
Description
An account of the resource
<div class="event_single_dates text__exhibitions">21 Sep 2018, Fri - 6 Nov 2018, Tue 12:00 PM - 07:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<p>Videos will be shown on a continuous loop during opening hours over the course of <em>Stagings. Soundings. Readings. Free Jazz II. </em></p>
<p><strong>21 – 30 September 2018<br /></strong>Mariana Silva,<em> Digital Specimens: Pointcloudfallout,</em> 2015, 10 min 35 sec</p>
<p>In <em>Digital Specimens: Pointcloudfallout</em> an offscreen dialogue, set in the near future, unfolds on the politics of scanning artefacts and monuments into 3-D. Amidst the consequences of climate change and war, the two characters discuss how digital copies unsettle repatriation claims and colonial tensions under the pretext of digital conservation.<br /><br /><strong>2 – 7 October 2018<br /></strong>Justin Shoulder and Bhenji Ra, <em>Deep Alamat</em>, 2014, 4 min</p>
<p><em>Deep Alamat</em> is a compelling narrative concerning two mythic figures, “OO” and “Beige Cantrell,” drawn from the artists’ collective imaginations. Shoulder’s OO is from his series of <em>Fantastic Creatures</em>that feature sculptural costumes and are animated in live performance, video, and photographic works. OO’s patterns are a form of Aposematism (warning colouration). OO performs a gestural dance drawing from animal signals and carnivalesque spectacle. Initially inspired by a one-hit-wonder pop star, Beige Cantrell derives from Ra’s obsession with digital failure, internet hype, software intelligence, and the online secondary experience. Ra’s understanding of movement, body control, and precision allows for his character to physically represent ideas of recognition software as he scans, detects, and aligns his body accordingly.</p>
<p><strong>9 – 14 October 2018<br /></strong>Anton Ginzburg, <em>Ultraviolet</em>, 2015, 25 min</p>
<p><em>Ultraviolet</em> explores the issues of perception and phenomenology at the intersection of nature and technology. The film is divided into three parts that correspond to the musical structure and composition. The film was conceived as an ongoing dialogue with its soundtrack composed by Michael Pisaro. The relationship between the cinematic image and the live sound is an experiment in a tradition of expanded cinema. It starts with very high frequencies in the first part, later working its way down into the guitar range. The film addresses the aura of representation through the video footage of various landscapes such as waterfalls, trees, and mountains, both in high- and low-res.<br /><br /><strong>16 – 21 October 2018<br /></strong><span>Vladimir Erofeev, </span><em>Pamir: Krysha mira</em><span> (Pamir: Roof of the World), 1927, 49 min (original: 71 min)</span><br /><span>Version with music by Carlos Casas</span><br /><br /></p>
<p><strong>23 – 28 October 2018<br /></strong>Phill Niblock, <em>The Magic Sun</em>, 1966, 60 min</p>
<p>Shot in 1966, while the Sun Ra Arkestra was still based in New York City (before relocating to Philadelphia in 1968), the composer and filmmaker Phill Niblock’s <em>The Magic Sun</em> is an obscure artefact of profound beauty. It features frenetic black-and-white footage of the band playing, and an incredible soundtrack. Its existence displays an often understated relationship between two contemporary iterations of the New York avant-garde. Considering the neglect that free jazz usually suffers in the face of its peer, the film could be considered important for that alone, being also a wonderful journey through sight and sound.<br /><br /></p>
<p><strong>30 October – 6 November 2018<br /></strong>Luke Fowler, <em>Country Grammar (with Sue Tompkins)</em>, 2017, 18 min 29 sec</p>
<p>The film begins with Tompkins performing at Chem19 Recording Studio. The camera films from a multitude of perspectives, employing rhythmic pans, tilts, and opaque or reflective screens. These distorted views, combined with non-synchronised images of the performer, depart from a 70s “direct cinema” approach to filming musicians. After the ritualistic opening section, the film widens its view to locations outside of the studio. The repetition of actions (picking books from a shelf, re-arranging the contents of a fridge) suggest a searching for a threshold between the filmed image and Tompkins’ own spoken word acts. Taking cues from the performers’ hypnotic yet concrete play with words, the film creates a metaphoric, symbiotic language, where an open-ended approach to montage transcends both reductive imagery and straight documentation.<br /><br />A public programme of <em>Stagings. Soundings. Readings. Free Jazz II.</em></p>
<p></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
21 September - 6 November 2018
Contributor
An entity responsible for making contributions to the resource
Mariana Silva
Justin Shoulder
Bhenji Ra
Anton Ginzburg
Vladimir Erofeev
Phill Niblock
Luke Fowler
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Europe
North America
Oceania
Subject
The topic of the resource
Climate Crisis
Technology
Performance
Nature
-
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
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Bhenji
Surname or Business Name
Ra
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2018
Birthplace
Philippines
Occupation
Professional title or identity
Artist
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
Bhenji Ra is an interdisciplinary artist who reframes performance through a combination of dance, choreography, video, and installation. Her work is often concerned with the dissection of cultural theory and identity. She uses spectacle and her own personal histories to explore themes of race, sexuality, and gender, giving voice to hidden and marginalised communities, and suggesting alternative modules of community. She is part of Sydney-based collective Club Ate.
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Philippines
Australia
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Artist
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
Bhenji Ra
Subject
The topic of the resource
Body
Performance
Identity
Institutional Critique
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
Oceania
Contributor
An entity responsible for making contributions to the resource
Bhenji Ra