1
10
10
-
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
Based on an exhibition of the same name, Theatrical Fields presents seminal texts and newly commissioned essays that explore theatricality as a critical strategy in performance, film, and video.
Related Countries
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Programme Type
Book Launch
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
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
Book Launch and Screening – <em>Theatrical Fields: Critical Strategies in Performance, Film, and Video </em>
Description
An account of the resource
<div class="event_single_dates text__research">24 Sep 2016, Sat 7:00pm - 10:00pm</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br /><p>Introduction by editors: Ute Meta Bauer, NTU CCA Founding Director and Anca Rujoiu, NTU CCA Singapore Manager, Publication</p>
<p>Followed by screening of <em>Johanna d’Arc of Mongolia</em>, Ulrike Ottinger, Germany 1989, 165mins. Coproduction with Popular-Film GmbH, Leinfelden in cooperation with ZDF, Mainz, and LaSept, Paris.</p>
<p>A limited amount of publications will be available for sale.</p>
<br />NTU CCA Singapore is pleased to launch its very first publication <i>Theatrical Fields Critical Strategies in Performance, Film, and Video</i>. The reader is published by NTU CCA Singapore, König Books, London, and Bildmuseet, Umeå. Edited by Ute Meta Bauer and Anca Rujoiu with the editorial project under the management of Leah Whitman-Salkin, the publication has been elegantly designed by Sam de Groot. <br /><br />Based on an exhibition of the same name, <i>Theatrical Fields</i> presents seminal texts and newly commissioned essays that explore theatricality as a critical strategy in performance, film, and video. The reader stages conversations between theatre and visual arts, theoretical discourse and artistic practice juxtaposing artists and theoreticians from different generations and backgrounds who share a communal interest in the theatricality as a methodology to address questions of ideology, gender, power relations. <br /><br />The reader includes seminal texts from Antonin Artaud, Mikhail Bakhtin, Ute Meta Bauer, Bertolt Brecht, Jacques Derrida, Regis Durand, Josette Féral, Jean-François Lyotard; commissioned essays from Giuliana Bruno, Eva Meyer, Timothy Murray, Katharina Sykora, Marina Warner, documentation of the exhibition <i>Theatrical Fields</i> curated by Ute Meta Bauer with Anca Rujoiu at Bildmuseet, Umea (2013) and itinerated at NTU CCA Singapore (2014) in a different configuration, excerpts of conversations between artists and curators. Artists involved in the project include: Judith Barry, Marcel Dzama, Stan Douglas, Marie-Louise Ekman, Eva Meyer and Eran Schaerf, Isaac Julien, Joan Jonas, Constanze Ruhm, Ulrike Ottinger. <br /><br />The launch of the reader is accompanied by a screening of the German filmmaker Ulrike Ottinger’s <i>Johanna d’Arc of Mongolia</i>, This epic adventure film traces a fantastical encounter between two worlds on a Trans-Siberian railway addressing the complexities of cross-cultural encounters. Combining linear and nonlinear narrative, <i>Johanna d’Arc of Mongolia</i> illustrates Ottinger’s appropriation of theatrical strategies in the cinematic, such as eccentric costumes, lush mise-en-scènes, exaggerated acting.
Date
A point or period of time associated with an event in the lifecycle of the resource
2016-09-24
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Ulrike Ottinger
Anca Rujoiu
Antonin Artaud
Mikhail Bakhtin
Bertolt Brecht
Jacques Derrida
Régis Durand
Regis Durand
Josette Féral
Josette Feral
Jean-François Lyotard
Jean-Francois Lyotard
Giuliana Bruno
Eva Meyer
Timothy Murray
Katharina Sykora
Marina Warner
Judith Barry
Marcel Dzama
Stan Douglas
Marie-Louise Ekman
Eran Schaerf
Isaac Julien
Joan Jonas
Constanze Ruhm
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
Subject
The topic of the resource
Theatre
Performance
-
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
Performance and video pioneer Joan Jonas discusses the process of creating the exhibition <em>They Come to Us without a Word</em> with co-curator Ute Meta Bauer and production manager Anna Daneri.
Programme Type
Discussion - Conversation
Programme Series
In Conversation
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
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
In Conversation with Joan Jonas, artist (United States) together with Ute Meta Bauer, Founding Director, NTU CCA Singapore (Germany/Singapore), and Anna Daneri, curator and Founding Co-Director of Peep-Hole (Italy)
Description
An account of the resource
<div class="event_single_dates text__exhibitions">15 Jan 2016, Fri 7:30pm - 9:00pm</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br />Performance and video pioneer Joan Jonas discusses the process of creating the exhibition <em>They Come to Us without a Word</em> with co-curator Ute Meta Bauer and production manager Anna Daneri. <br /><br />This conversation is part of the Education and Public Programme of <em>Joan Jonas: They Come to Us without a Word</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2016-01-15
Contributor
An entity responsible for making contributions to the resource
Joan Jonas
Ute Meta Bauer
Anna Daneri
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
Europe
North America
Audience
A class of entity for whom the resource is intended or useful.
General
Subject
The topic of the resource
Cultural Production
-
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/9745a82008a94f6a71429a890e9457a4.pdf?Expires=1712793600&Signature=t%7EcPN6FYyQ9-3LQ2BJ3f31VOKjTvmO85M2YkFqPJ9u3D1q%7EvU2RY%7EqMkW2KjekI%7EblodL4f-NEa2W550PYUoWOtWOyy1C3y3c%7EG1n5dcbCmziCJrmiE7w92bH1bmFJJJ6s1XT8wlpbTwcNviQYRgjMMTKeBRg66V5bD%7EhQLbxE5L-Uk6ePMU3y27okz4CLzr-ruGSJ53U0Kg%7EExlUG8HsRLcEdHQXlKVfY5FkI%7EdJyFUbO57yB9BHi-IO-HOhDBoVO2oziewM5n2WJAWwDm5YwJxGb-tzdgsE6JwoW5bKcXWC288HbMHW8A0P%7EF58zwsJDIX-KGTZM5q0QTDCKpgLg__&Key-Pair-Id=K6UGZS9ZTDSZM
4fab0410440bd06529fc6e190d9686bf
PDF Text
Text
on the occasion of
the opening of the
Kochi-Muziris Biennale
Fort Kochi, Kerala, India
TBA21–Academy media links
tba21.org/convening2kochi
facebook.com/TBA21
#tba21 #convening2kochi
@tba_21
Partners
December 13–15, 2016
TBA21–Academy
Köstlergasse 1
1060 Vienna, Austria
Media
Partner
Convening #2
Thyssen-Bornemisza
Art Contemporary
The Current
z
Ba
Vasco da Gama Chu rch
Kochi-Muziris Biennale– Aspinwall
ch
Bea
atm
Mah
Cochin Club
dhi
an
aG
Vasco da Gama Plaz a
Cochin Club
Vasco da Gama Plaza
Spice Market
Main Site
Kochi-Muziris Biennale
Convening #2 Locations
a
Please find all locations here:
aG
Cover photo:
Drone Shot, Atif Akin, 2016
atm
Fragrant Nature Hotel
Bazaar Rd, Mattancherry,
Fort Kochi, Kerala 682001
Ma
h
Kochi-Muziris Biennale
Aspinwall
River Rd, Fort Kochi,
Kerala 682001
ch
Spice Market
near Jeevamatha Church
Jew Town Rd, Jew Town,
Kappalandimukku,
Mattancherry, Kochi,
Kerala 682002
ea
Vasco da Gama Plaza
Church Rd, Fort Kochi,
Kerala 682001
iB
Cochin Club
7, St. Francis Church Road,
Opp Parade Ground,
Fort Kochi, Kerala 682001
Kochi-Muziris Biennale
kochimuzirisbiennale.org
d.
nd
h
convened by TBA21 The Current
expedition leaders
Ute Meta Bauer and Cesar Garcia
and TBA21–Academy curator
Stefanie Hessler
TBA21–Academy
tba21.org/convening2kochi
facebook.com/TBA21
#tba21 #convening2kochi
@tba_21
rR
Fragrant Nature Hotel
on the occasion of the opening of
the Kochi-Muziris Biennale 2016
Fort Kochi, Kerala, India
aa
Spice Market
follow Bazaar Rd., 20 min walk
Funding
Partner
Convening #2
December 13–15, 2016
�Workshop
Landscapes Open in
the Empty Self
Dawn, prabhatam, hitiraa mahana
Nuclear Pacific
by Nabil Ahmed
with Ravi Agarwal, Ute Meta Bauer,
Zuleikha Chaudhari, Stefanie Hessler,
Amar Kanwar, KHOJ (Sitara Chowfla,
Radha Mehandru, and Pooja Sood),
Davor Vidas, Linz Wilbur
by Sharmistha Mohanty
Vasco da Gama Plaza
8.30–9.45am
Attentional exercise
7–8pm
Protocol of the Sea
Watch, Action of the
Crow’s Nest
Cochin Club
Marketplace
[Cartography 4]
“Ambiguous Objects”
and the University
Museum
Workshop
Vasco da Gama Plaza
8–10pm
10.30am–12.30pm
Unpredictable Oceans
and the Monstrosity of
the Sea
Guided visit of the installation
and sound piece
10.30am–12.30pm
Structured conversation
The Ocean as Habitat:
The rights of nature
and the international
Law of the sea
Cochin Club
2–5pm
Workshop
moderated by Ute Meta Bauer
with Ravi Agarwal, Nabil Ahmed,
D. Graham Burnett, TJ Demos, Jegan
Vincent de Paul, Markus Reymann,
Davor Vidas
“Ambiguous Objects”
and the University
Museum
Cochin Club
ഉച്ചയ്ക്ക
by Clémentine Deliss
സന്ധ
5–6.30pm
Introduction
Into The Current
moderated by Daniela Zyman
with Ute Meta Bauer, Cesar Garcia,
Francesca von Habsburg, Stefanie
Hessler, Markus Reymann
Cochin Club
The Capitalocene
Pacific
Midday, uccaykk, avatea
2–5pm
Cochin Club
Workshop
“Ambiguous Objects”
and the University
Museum
6–6.30pm
Keynote
The Law of the Sea —
through time and place
by Clémentine Deliss
Closed workshop,
various sites in Fort Kochi
by Davor Vidas
Cochin Club
2–5pm
6.30–7pm
Workshop
Prose reading
Rising Sea Levels
Reading a Wave
by Francesca von Habsburg
by Ho Rui An
Closed workshop,
deep-sea vessel by CMLRE
Vasco da Gama Plaza
3–4pm
Performative talk
2–5pm
Workshop for children
Guided visit of the installation
and sound piece
by Joan Jonas
with Filipa Ramos
Cochin Club
2–5pm
The Document’s
Expanded Field
by Jamie Y. Shi
Cochin Club
2–5pm
Cochin Club
Oceans–
sketches and notes
Fish Tails and Fish
Tales
Midday, uccaykk, avatea
by Jamie Y. Shi
by TJ Demos
Marketplace
[Cartography 4]
Vasco da Gama Plaza
by Christopher Myers
Short films
Gianini with Ishu Patel
Wutharr, Saltwater
Dreams by Karrabing Film
Collective
Poetry reading
The Tagore Letters
by Aveek Sen
Vasco da Gama Plaza
7–8pm
Sound performance
Drifting
by Jana Winderen
Vasco da Gama Plaza
8–10pm
Short films
Elementary Maps No. 3
by Anna Bella Geiger
Occidente by Ana Vaz
The Disappearance of
the Aïtus by Pauline Julier
Cargo by Laura Waddington
Speeches—Chapter 1:
Mother Tongue
by Bouchra Khalili
Brouillard—Passage 14
by Alexandre Larose
by Sylvia Schedelbauer
originally selected for the Dhaka Art
Summit program Passages
by Shanay Jhaveri
Vasco da Gama Plaza
December
13 –15
ALL DAY
Film shoot
The Episodic
by The Propeller Group
Various sites in Fort Kochi
ALL DAY
Exhibition of books
From the (Kula) Ring to
the Belt (& Road)
by Jegan Vincent de Paul
Cochin Club
ALL DAY
Installation and sound piece
Marketplace
[Cartography 4]
by Christopher Myers
Spice Market near
Jeevamatha Church
Spice Market near
Jeevamatha Church
8–10pm
Swimmy by Leo Lionni & Giulio
6.30–7pm
Sea of Vapors
The Document’s
Expanded Field
7–8pm
Workshop
Dusk, sandhya, maruapö
ഉച്ചയ്ക്ക
Keynote
Breakfast area of Fragrant
Nature Hotel
by Nabil Ahmed
with Ravi Agarwal, Ute Meta Bauer,
Zuleikha Chaudhari, Stefanie Hessler,
Amar Kanwar, KHOJ (Sitara Chowfla,
Radha Mehandru, and Pooja Sood),
Davor Vidas, Linz Wilbur
Spice Market near
Jeevamatha Church
5–5.30pm
by ESTAR(SER)
Nuclear Pacific
Cochin Club
Workshop
8.30–9.45am
Protocol of the Sea
Watch, Action of the
Crow’s Nest
Workshop
by Christopher Myers
Dusk, sandhya, maruapö
Attentional exercise
2–5pm
Marketplace
[Cartography 4]
Dawn, prabhatam, hitiraa mahana
Spice Market near
Jeevamatha Church
സന്ധ
പ്രഭാതം
ഉച്ചയ്ക്ക
December 14
Cochin Club
Guided visit of the installation
and sound piece
moderated by Stefanie Hessler
with Nabil Ahmed, Ute Meta Bauer,
Georg Eder, Amar Kanwar, Charles Lim,
Markus Reymann, Davor Vidas
by Christopher Myers
by Jamie Y. Shi
3–4pm
The Ocean as
Treasure Trove:
Deep-sea mining —
the next gold rush?
Marketplace
[Cartography 4]
Vasco da Gama Plaza
Midday, uccaykk, avatea
Closed workshop,
various sites in Fort Kochi
Structured conversation
3–4pm
selected by the Dharamshala
International Film Festival
introduced by Ritu Sarin &
Tenzing Sonam
Cochin Club
The Document’s
Expanded Field
10.30am–12.30pm
by Gianfranco Rosi
moderated by Ute Meta Bauer
with Tanya Abraham, Natasha Ginwala,
Ho Rui An, Joan Jonas, Filipa Ramos,
Vivek Vilasini, Daniela Zyman
Workshop
Breakfast area of Fragrant
Nature Hotel
Closed workshop,
various sites in Fort Kochi
Fire at Sea
Structured conversation
by ESTAR(SER)
by Clémentine Deliss
Film
8.30–9.45am
Protocol of the Sea
Watch, Action of the
Crow’s Nest
2–5pm
by Christopher Myers
Breakfast area of Fragrant
Nature Hotel
Dawn, prabhatam, hitiraa mahana
Attentional exercise
Perfomative talk
by ESTAR(SER)
2–5pm
December 15
2–5pm
Poetry reading
പ്രഭാതം
6.30–7pm
സന്ധ
പ്രഭാതം
December 13
Dusk, sandhya, maruapö
5–6.30pm
Europium by Lisa Rave
Toilets Not Temples
Performative talk
by Will Benedict & David Leonard
by Anthony Acciavatti &
D. Graham Burnett
selected and introduced by
Filipa Ramos
Vasco da Gama Plaza
WATER MACHINES
Cochin Club
Please find detailed information about
the program inside.
Program
�
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
The conference consists of three days of structured conversations, workshops, performances, talks, and screenings convened by The Current Expedition leaders Ute Meta Bauer and Cesar Garcia and TBA21-Academy curator Stefanie Hessler.
Programme Series
None
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
The Current Convening #2 Poster
Description
An account of the resource
NTU Centre for Contemporary Art Singapore is pleased to be the funding partner of Thyssen-Bornemisza Art Contemporary–Academy (TBA21) for <i>The Current Convening #2</i> in numerous locations on the occasion of the opening of the Kochi-Muziris Biennale 2016.<br /><br /><i>The Current</i> is an exploratory fellowship program based in the Pacific. Working collaboratively across disciplines, the program merges the diverse approaches of deeply committed practitioners, collectively conceptualizing ways to address climate change and environmental violence to the oceans. Expeditions aboard the Dardanella research vessel are followed by <i>Convenings</i> in which the investigations of the Expedition leaders and participants can be shared with an audience. <i>The Convening #2</i> is profoundly dedicated to the oceans, taking poetic approaches to currents and flows of water across cultures. Please join us for three days of structured conversations, workshops, performances, talks, and screenings convened by<i> The Current</i> Expedition leaders Ute Meta Bauer and Cesar Garcia and TBA21-Academy curator Stefanie Hessler. Organized by Markus Reymann.
Date
A point or period of time associated with an event in the lifecycle of the resource
2016-12-13/2016-12-15
Contributor
An entity responsible for making contributions to the resource
Francesca von Habsburg
Daniela Zyman
Markus Reyman
Stefanie Hessler
Ute Meta Bauer
Cesar Garcia
Joan Jonas
Amar Kanwar
Davor Vidas
Natasha Ginwala
Ravi Agarwal
Nabil Ahmed
Filipa Ramos
Christopher Myers
The Propeller Group
Jana Winderen
Jamie Y. Shi
Sharmistha Mohanty
Ritu Sharin
Tenzing Sonam
Jegan Vincent de Paul
Vivek Vilasini
TJ Demos
Ho Rui An
Charles Lim
Anthony Acciavatti
D. Graham Burnett
Aveek Sen
Shanay Jhaveri
Clémentine Deliss
Format
The file format, physical medium, or dimensions of the resource
Postcard
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/fc94dae21d6f9c65d6bf5e4278bb8eb0.pdf?Expires=1712793600&Signature=NCQRgwQbdD3FhW7YmKEhZf6rc4FF2cilQPbIkoc84AbHUAu0Hsmg10fKbpnWNr-CGk4QHNDta3rwqnrjjKhk%7ENrqUJXxxrrPOmG-uGuvcL3YsGp%7Eo2pnn-SRmU8OgmXKtv5h9G0mcL9kRuBfFdu2gdLkFwYyn607Iju8vQB4hxIR-x4QjItc5oa9I8Icu4Vu1zPyzO22Qhymx3WL28g-mjNoaKYkwr0hJSoU29fDvRpAmpJZ170iar5k93JRgN6GMCcDPEBOR5%7EGZ9po3ido9HGsEQIvsiJg4qC8ZJxabUr8FDjJ5p%7EduGTxapNyabgBAHM8lz6m8PGqLsT1qa5CsQ__&Key-Pair-Id=K6UGZS9ZTDSZM
569394fbdc6f6c2a4e697f9a312d3527
PDF Text
Text
on the occasion of
the opening of the
Kochi-Muziris Biennale
Fort Kochi, Kerala, India
TBA21–Academy media links
tba21.org/convening2kochi
facebook.com/TBA21
#tba21 #convening2kochi
@tba_21
Partners
December 13–15, 2016
TBA21–Academy
Köstlergasse 1
1060 Vienna, Austria
Media
Partner
Convening #2
Thyssen-Bornemisza
Art Contemporary
The Current
B
.
Cochin Club
Vasco da Gama Plaz a
Mah
a
atm
Gan
dhi
Bea
ch
Vasco da Gama Chu rch
Kochi-Muziris Biennale– Aspinwall
Main Site
Kochi-Muziris Biennale
Spice Market
Vasco da Gama Plaza
Cochin Club
a
Convening #2 Locations
tm
Please find all locations here:
ha
Cover photo:
Drone Shot, Atif Akin, 2016
Ma
Fragrant Nature Hotel
Bazaar Rd, Mattancherry,
Fort Kochi, Kerala 682001
ch
Kochi-Muziris Biennale
Aspinwall
River Rd, Fort Kochi,
Kerala 682001
ea
Spice Market
near Jeevamatha Church
Jew Town Rd, Jew Town,
Kappalandimukku,
Mattancherry, Kochi,
Kerala 682002
iB
Vasco da Gama Plaza
Church Rd, Fort Kochi,
Kerala 682001
dh
Cochin Club
7, St. Francis Church Road,
Opp Parade Ground,
Fort Kochi, Kerala 682001
Kochi-Muziris Biennale
kochimuzirisbiennale.org
Rd
Ga
n
convened by TBA21 The Current
expedition leaders
Ute Meta Bauer and Cesar Garcia
and TBA21–Academy curator
Stefanie Hessler
TBA21–Academy
tba21.org/convening2kochi
facebook.com/TBA21
#tba21 #convening2kochi
@tba_21
ar
Fragrant Nature Hotel
on the occasion of the opening of
the Kochi-Muziris Biennale 2016
Fort Kochi, Kerala, India
a
az
Spice Market
follow Bazaar Rd., 20 min walk
Funding
Partner
Convening #2
December 13–15, 2016
�Workshop
Landscapes Open in
the Empty Self
Dawn, prabhatam, hitiraa mahana
Nuclear Pacific
by Nabil Ahmed
with Ravi Agarwal, Ute Meta Bauer,
Zuleikha Chaudhari, Stefanie Hessler,
Amar Kanwar, KHOJ (Sitara Chowfla,
Radha Mehandru, and Pooja Sood),
Davor Vidas, Linz Wilbur
by Sharmistha Mohanty
Vasco da Gama Plaza
8.30 –9.45 am
7–8 pm
Protocol of the Sea
Watch, Action of the
Crow’s Nest
Cochin Club
Marketplace
[Cartography 4]
“Ambiguous Objects”
and the University
Museum
Workshop
Vasco da Gama Plaza
8–10 pm
10.30 am–12.30 pm
Unpredictable Oceans
and the Monstrosity of
the Sea
Guided visit of the installation
and sound piece
Cochin Club
Nuclear Pacific
by ESTAR(SER)
Breakfast area of Fragrant
Nature Hotel
by Nabil Ahmed
with Ravi Agarwal, Ute Meta Bauer,
Zuleikha Chaudhari, Stefanie Hessler,
Amar Kanwar, KHOJ (Sitara Chowfla,
Radha Mehandru, and Pooja Sood),
Davor Vidas, Linz Wilbur
Workshop
“Ambiguous Objects”
and the University
Museum
Closed workshop,
various sites in Fort Kochi
by Jamie Y. Shi
Cochin Club
by TJ Demos
Cochin Club
ഉച്ചയ്ക്ക
2–5 pm
Workshop for children
Fish Tails and Fish
Tales
with Filipa Ramos
Cochin Club
by Aveek Sen
Vasco da Gama Plaza
7–8 pm
Sound performance
Drifting
by Jana Winderen
Vasco da Gama Plaza
8–10 pm
Short films
Elementary Maps No. 3
by Anna Bella Geiger
Occidente by Ana Vaz
The Disappearance of
the Aïtus by Pauline Julier
Cargo by Laura Waddington
Brouillard—Passage 14
by Alexandre Larose
Sea of Vapors
by Sylvia Schedelbauer
originally selected for the Dhaka Art
Summit program Passages
by Shanay Jhaveri
Vasco da Gama Plaza
December
13 –15
Keynote
by Clémentine Deliss
Closed workshop,
various sites in Fort Kochi
Cochin Club
Exhibition of books
by Jegan Vincent de Paul
Closed workshop,
deep-sea vessel by CMLRE
Vasco da Gama Plaza
7–8 pm
3–4 pm
Guided visit of the installation
and sound piece
Oceans–
sketches and notes
Marketplace
[Cartography 4]
by Joan Jonas
Vasco da Gama Plaza
Cochin Club
ALL DAY
Installation and sound piece
Marketplace
[Cartography 4]
by Christopher Myers
Spice Market near
Jeevamatha Church
by Christopher Myers
Spice Market near
Jeevamatha Church
8–10 pm
Short films
Collective
ALL DAY
by Francesca von Habsburg
by Ho Rui An
Workshop
Various sites in Fort Kochi
From the (Kula) Ring to
the Belt (& Road)
Rising Sea Levels
Reading a Wave
2–5 pm
by The Propeller Group
Workshop
Prose reading
Wutharr, Saltwater
Dreams by Karrabing Film
The Episodic
2–5 pm
6.30 –7 pm
Swimmy by Leo Lionni & Giulio
Film shoot
“Ambiguous Objects”
and the University
Museum
6–6.30 pm
Gianini with Ishu Patel
ALL DAY
Workshop
Performative talk
Midday, uccaykk, avatea
The Tagore Letters
2–5 pm
Cochin Club
by Davor Vidas
moderated by Ute Meta Bauer
with Ravi Agarwal, Nabil Ahmed,
D. Graham Burnett, TJ Demos, Jegan
Vincent de Paul, Markus Reymann,
Davor Vidas
by Clémentine Deliss
ഉച്ചയ്ക്ക
The Capitalocene
Pacific
Structured conversation
2–5 pm
Poetry reading
2–5 pm
The Document’s
Expanded Field
Keynote
The Law of the Sea —
through time and place
The Ocean as Habitat:
The rights of nature
and the international
Law of the sea
Midday, uccaykk, avatea
6.30 –7 pm
Workshop
10.30 am–12.30 pm
Cochin Club
Dusk, sandhya, maruapö
8.30 –9.45 am
Protocol of the Sea
Watch, Action of the
Crow’s Nest
Workshop
Dusk, sandhya, maruapö
Cochin Club
5–5.30 pm
Attentional exercise
2–5 pm
Spice Market near
Jeevamatha Church
Dawn, prabhatam, hitiraa mahana
Spice Market near
Jeevamatha Church
സന്ധ്യ
പ്രഭാതം
ഉച്ചയ്ക്ക
December 14
by Jamie Y. Shi
by Christopher Myers
moderated by Stefanie Hessler
with Nabil Ahmed, Ute Meta Bauer,
Georg Eder, Amar Kanwar, Charles Lim,
Markus Reymann, Davor Vidas
by Christopher Myers
2–5 pm
Marketplace
[Cartography 4]
The Ocean as
Treasure Trove:
Deep-sea mining —
the next gold rush?
Marketplace
[Cartography 4]
Vasco da Gama Plaza
Midday, uccaykk, avatea
Guided visit of the installation
and sound piece
Structured conversation
3–4 pm
selected by the Dharamshala
International Film Festival
introduced by Ritu Sarin &
Tenzing Sonam
Cochin Club
3–4 pm
10.30 am–12.30 pm
by Gianfranco Rosi
moderated by Ute Meta Bauer
with Tanya Abraham, Natasha Ginwala,
Ho Rui An, Joan Jonas, Filipa Ramos,
Vivek Vilasini, Daniela Zyman
The Document’s
Expanded Field
Breakfast area of Fragrant
Nature Hotel
Closed workshop,
various sites in Fort Kochi
Fire at Sea
Structured conversation
by ESTAR(SER)
by Clémentine Deliss
Film
8.30 –9.45 am
Protocol of the Sea
Watch, Action of the
Crow’s Nest
2–5 pm
by Christopher Myers
Breakfast area of Fragrant
Nature Hotel
Dawn, prabhatam, hitiraa mahana
Attentional exercise
Perfomative talk
by ESTAR(SER)
Workshop
പ്രഭാതം
Poetry reading
December 15
2–5 pm
സന്ധ്യ
പ്രഭാതം
6.30 –7 pm
Attentional exercise
സന്ധ്യ
പ്രഭാതം
December 13
Dusk, sandhya, maruapö
5–6.30 pm
5–6.30 pm
The Document’s
Expanded Field
Performative talk
Introduction
Europium by Lisa Rave
Toilets Not Temples
by Jamie Y. Shi
by Will Benedict & David Leonard
by Anthony Acciavatti &
D. Graham Burnett
Into The Current
moderated by Daniela Zyman
with Ute Meta Bauer, Cesar Garcia,
Francesca von Habsburg, Stefanie
Hessler, Markus Reymann
Cochin Club
Cochin Club
selected and introduced by
Filipa Ramos
Vasco da Gama Plaza
WATER MACHINES
Cochin Club
Please find detailed information
about the program inside.
Program
�
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733de1529d975385163b74762446a49d
PDF Text
Text
Dates
Participants
December 13–15, 2016
8.30 am–10 pm
Tanya Abraham
Anthony Acciavatti
Ravi Agarwal
Nabil Ahmed
Ute Meta Bauer
D. Graham Burnett
Zuleikha Chaudhari
Sitara Chowfla
Clémentine Deliss
TJ Demos
Georg Eder
Senator J. Kalani English
ESTAR(SER)
Cesar Garcia
Natasha Ginwala
Francesca von Habsburg
Stefanie Hessler
Ho Rui An
Shanay Jhaveri
Joan Jonas
Amar Kanwar
Lelei Tui Samoa LeLaulu
Charles Lim
Matt Lucero
Radha Mehandru
Sharmistha Mohanty
Christopher Myers
Tuan Andrew Nguyen
Jegan Vincent de Paul
Filipa Ramos
Markus Reymann
Ritu Sarin
Aveek Sen
Jamie Y. Shi
Tenzing Sonam
Pooja Sood
Matthew Strother
Phunam Thuc Ha
Davor Vidas
Vivek Vilasini
Linz Wilbur
Jana Winderen
Daniela Zyman
Venue Locations
Cochin Club
Vasco da Gama Plaza
Spice Market near
Jeevamatha Church
Various sites in Fort Kochi
Venue Partner
Kochi-Muziris Biennale 2016
Categories
Exhibition of books
Film screenings
Film shoot
Guided visits
Installation and sound piece
Keynotes
Performances
Poetry readings
Structured conversations
Talks
Workshops
�The
Current
The Current is the exploratory soul of
Thyssen-Bornemisza Art Contemporary. An
experimental fellowship program based in the Pacific,
The Current was born out of a deep concern for
the oceans and an even deeper curiosity about and
love for their interconnected ecosystems, staggering
biodiversity, and the cultural diversity of people who
live on their shores. Covering nearly 71 percent of
the earth’s surface, the oceans provide a habitat for
99 percent of life on our planet. They are home to
both the largest animal and the mightiest living reef
structure on our planet, the Great Barrier Reef. The
reef can be seen from the moon, an environment we
know more about than we know about the oceans. The
oceans are our life support system, providing us with
every other breath we take.
The oceans are being severely exploited and polluted.
They are used as a dump site for things that we want
to make disappear. But the ocean has an unmatched
ability to regenerate. Previously unimaginable
organisms living on chemical energy have been
discovered to reside in deep-sea hydrothermal vents.
Yet many of these vents are rich in rare earth metals
essential for electronic consumer products and have
become targets of a new industry with predictably
devastating effects: deep-sea mining.
The events of recent weeks in international
politics have underlined the urgency to act and to
communicate the global challenges of our time
far beyond the silos of our disciplines. The sea has
been a source of inspiration for human culture for
centuries, but due to the state it is in, and politicians’
lack of vision, it is imperative that we shape a different
narrative. The Current Convening #2 attempts just
that: to foster collaborations between international
practitioners of different disciplines, to imagine
together with an engaged audience positive visions for
the future, and to formulate strategies to put these into
action. We no longer have the luxury of ignorance and
procrastination. It is in this spirit that we invite you to
actively participate in this program, which is designed
to spark your curiosity, inspire, and entertain you.
Markus Reymann, director, TBA21–Academy
�Convening #2
TBA21–Academy presents The Current Convening #2
on the occasion of the opening of the Kochi-Muziris
Biennale 2016.
Convening #2 is a three-day program profoundly
dedicated to the oceans. It aims to reexamine and
unfold questions arising from the ethics of exploration,
the rights of nature and the international law of the
sea, processes of image and knowledge making,
collaborative modes of exchange, as well as sharing
poetic approaches to currents and flows of water
across cultures. We invite you to participate in this
engaging program of structured conversations,
workshops, performances, talks, and screenings
convened by The Current expedition leaders Ute Meta
Bauer and Cesar Garcia and TBA21–Academy curator
Stefanie Hessler.
The Convening takes the form of an archipelago of
processes sited throughout Fort Kochi. The Cochin
Club functions as a central hub encouraging unique
moments of daily encounter among The Current
Fellows, local participants, and visiting guests.
Expanding beyond the hub, the Convening is nested
in the city’s urban spaces, in the central Vasco da
Gama Plaza, in the spice market, in its museums, and
on the shores of the sea. Kochi’s maritime history and
narratives shaped by trade, migration, and travel at sea,
alongside contemporary concerns such as dredging
and labor conditions, resonate in today’s cultural
consciousness in the city and form the discursive
background for the Convening.
�Daily
Structure
Following the biorhythms of different organisms and
environments, located in the zones of indeterminacy
between night and day, dawn and dusk, shade and
light, the Convening is organized according to three
different times of day:
Dawn
Malayalam: sandhya പ്രഭാതം, Tahitian: hitiraa mahana
ATTENTIONAL EXERCISES
Each morning, research associates of the collective
ESTAR(SER) www.estarser.net lead interested
participants in an exercise of sustained attention to the
water forms in and around Kochi.
STRUCTURED CONVERSATIONS
Occurring every morning in the Cochin Club, the
structured conversations offer spaces of encounter,
debate, and exchange.
Midday
Malayalam: uccaykk ഉച്ചയ്ക്ക, Tahitian: avatea
്
FELLOWS PROJECTS
Occurring at various sites and throughout the duration
of the Convening, the Fellows projects are “works
in progress” contributions by the participants in the
expeditions.
TEMPORARY ACADEMY
A major goal of The Current is to generate new models
for collective learning and knowledge dissemination.
The Temporary Academy encompasses an exhibition
of books and a series of workshops.
Dusk
Malayalam: prabhatam സന്ധ്യ, Tahitian: maruapö
HUB NIGHTS
Each evening, the Cochin Club is activated with
�keynote talks, readings, and other interventions from
a host of contributing voices. Organized thematically
and drawing on a cross-section of interests,
these gatherings aim to experiment with forms of
presentation that allow for expanded engagement with
the oceans.
PLAZA CONFLUENCES
Poetry readings, performances, and film screenings at
the Vasco da Gama Plaza in Fort Kochi engage with
the oceans from a variety of perspectives.
About
TBA21
Founded in 2002 by Francesca von Habsburg in Vienna,
Thyssen-Bornemisza Art Contemporary (TBA21)
represents the fourth generation of the Thyssen family’s
commitments to the arts. After more than fourteen
years of collecting, commissioning projects, and
engaged exhibition practice, TBA21 has established
a highly respected collection of more than seven
hundred contemporary artworks in the field of new
media, including film, video, light, sound and mixedmedia installations, sculpture, painting, photography,
and performance. TBA21’s unique collection is the
result of its ongoing commitment to commissioning
and disseminating numerous art projects, including
multimedia installations, sound compositions, endurance
performances, and contemporary architecture. This
has led to its pioneering reputation in the art world.
The foundation sustains a far-reaching regional and
international orientation through collaborations with
other cultural partners around the world and explores
modes of presentation that are intended to provoke and
broaden the way viewers perceive and experience art. In
2015 Francesca von Habsburg decided to dedicate the
foundation’s ongoing program to becoming an agent of
change by focusing on the complexities and urgencies
of the “Anthropocene era” as well as the pressing
challenges posed by climate change, with a special
focus on marine ecosystems.
�Itinerary
December
13 –15
DEC 13 –15
ALL DAY
Film shoot
Various sites in
Fort Kochi
Please check
www.tba21.org/
convening2kochi
for updates
DEC 13 –15
ALL DAY
Exhibition of books
Cochin Club
The Episodic
by The Propeller Group
The Propeller Group is a cross-disciplinary structure
for creating ambitious art projects, headquartered in
Ho Chi Minh City. The Episodic is The Propeller Group’s
ongoing project within The Current. Conceived as a
social media organism that occupies multiple online
platforms, The Episodic presents a series of connected
moments in the form of short videos and images that
weave interconnected narratives about the ocean and
the histories of exploration. The Episodic aims to create
a structure for content that can connect participants
in The Current with communities encountered through
travel, audiences of the Convenings, and other
makers and cultural figures. In The Episodic, everyone
involved is a producer and a curator at once. During
the Convening, The Propeller Group stages a series
of improvisational and responsive shoots that will
eventually create content for The Episodic.
From the (Kula) Ring
to the Belt (& Road)
by Jegan Vincent de Paul
The Current Fellow Jegan Vincent de Paul presents
a selection of books that are part of a collection
of materials and ongoing research that he has
�undertaken to examine (un)official perspectives on
Chinese state-led infrastructure construction across
the Indian Ocean littoral, attempting to reveal the
political fallout of the routes and its general social,
cultural, and economic effects.
DEC 13 –15
ALL DAY
Installation and
sound piece
Spice Market near
Jeevamatha Church
Marketplace
[Cartography 4]
by Christopher Myers
While international capital and information technologies
circulate around the globe at dizzying speeds,
there are other forms of globalization that predate
these technological conduits. In local marketplaces
throughout the world, exchange systems that have
lasted for centuries continue to connect communities,
cementing relations between far-flung geographies in
the intimacy of goods bought for family dinners and in
the age-old rituals of negotiation and haggling that are
familiar everywhere from Papua New Guinea to New
York City street corners.
Marketplace [Cartography 4] is an installation and
sound piece by Christopher Myers that utilizes the
discarded materials and evidence of these ancient
and contemporary exchanges in order to highlight
the overall unity in the rituals of trade and to rethink
globalization from the vernacular and the cultural,
rather than through formal and capital relations.
�December
13
പ്രഭാതം
DEC 13
8.30–9.45 am
Attentional exercise
Breakfast area of
Fragrant Nature
Hotel
DEC 13
10.30 am–12.30 pm
Structured
conversation
Cochin Club
Dawn, prabhatam, hitiraa mahana
Protocol of the Sea
Watch, Action of the
Crow’s Nest
by ESTAR(SER)
The amphibious Irish-American-Polynesian naturalistexplorer known as “M. I. Return Maycomb” (1764–
1818?) traced a marginal and meandering course at
the peripheries of sea-knowledge and self-craft on the
watershed of modernity. Was he associated with the
Order of the Third Bird? New evidence, in the form of
the Protocol of the Sea Watch, suggests that he was.
This “attentional exercise” appears to derive from
the habitus of nineteenth-century sailors, who spent
years daily regarding the surface of the sea from their
perches aloft, scanning for signs of shoals, whales, and
weather. Each morning of The Current Convening #2,
interested individuals are invited to join visiting research
associates of the collective ESTAR(SER) to experiment
with a reconstruction of the Protocol of the Sea Watch.
Unpredictable Oceans
and the Monstrosity of
the Sea
moderated by Ute Meta Bauer
with Tanya Abraham, Natasha Ginwala, Ho Rui An, Joan
Jonas, Filipa Ramos, Vivek Vilasini, and Daniela Zyman
This conversation catalyzes narratives of mythological
and cultural encounters with the sea, inspired by
primordial, monstrous, and chaotic associations.
�Artists, philanthropists, practitioners, and writers
come together to share their different perspectives
and forms of engagement with the oceans as moving,
compelling, and precarious entities. The Current
expedition leader Ute Meta Bauer moderates this
conversation about the seas as unpredictable spaces
that are constantly in flux, whose unstable perimeters
are presently migrating due to climate change
and shifts in oceanic traditions, giving rise to new
challenges and evoking new imaginaries.
ഉച്ചയ്ക്ക
DEC 13
2–5 pm
Workshop
Cochin Club
Midday, uccaykk, avatea
The Document’s
Expanded Field
by Jamie Y. Shi
Writer Jamie Y. Shi explores the publication as
a site to document long-term, process-based
projects beyond the image or video form. Thinking
about experimental writing as a method, Shi works
with five local emerging writers to collect distinct
types of discursive elements from the Convening—
transcripts from conversations, interviews with project
participants, improvisational poetry, and scripts—to
be included in a publication that will index the various
depths, relationships, and intensities that form The
Current. After the Convening, Shi will assemble a
collective library of resources meant to exist on a
website that will provide a communal reading list
of works informing the practices of The Current
participants and collaborators.
�DEC 13
2–5 pm
Workshop
Cochin Club
Nuclear Pacific:
A temporary working group on the
tribunal for French nuclear weapons
testing in Moruroa and Fangataufa
(1966–96)
by Nabil Ahmed
with Ravi Agarwal, Nabil Ahmed, Ute Meta Bauer,
Zuleikha Chaudhari, Stefanie Hessler, Amar Kanwar,
KHOJ (Sitara Chowfla, Radha Mehandru, and Pooja
Sood), Davor Vidas, and Linz Wilbur
The Inter-Pacific Ring Tribunal (INTERPRT) is an
interdisciplinary project initiated by The Current Fellow
Nabil Ahmed for an alternative commission of inquiry to
investigate patterns of environmental violence and their
impact on sovereignty in the Pacific region regarding
land-based mining, deep-sea mining, and nuclear
weapons testing. Unfolding the Pacific ring as a spatial
diagram, the project tactically deploys architecture to
evidence spatial realities of mineral extraction as well
as spatially diffused and temporally protracted forms
of environmental violence. Following The Current’s
recent expedition to French Polynesia in July 2016, this
workshop constitutes a temporary antinuclear working
group for the Pacific. With India’s membership in the
“nuclear club” in perspective, the group seeks to test
the conditions for a future tribunal to emerge—one that
aims to hold those responsible materially accountable
for the devastating nuclear weapons tests that were
conducted on and around the atolls of Moruroa and
Fangataufa between 1966 and 1996, as well as the
tests’ contemporary planetary impacts.
DEC 13
2–5 pm
Workshop
Closed workshop,
various sites in Fort
Kochi
“Ambiguous Objects”
and the University
Museum
by Clémentine Deliss
The workshop invites museum professionals, academics,
and those interested in museum collections to take
�with a public
interface on
December 15,
2–5 pm, at the
Cochin Club
DEC 13
3–4 pm
Guided visit of the
installation and
sound piece
Spice Market near
Jeevamatha Church
part in a three-day transdisciplinary, experimental
exercise around “ambiguous objects.” In the first of
three sessions, the workshop investigates a historical
museum collection in Kochi in search of artifacts that
blur the distinctions between nature and culture and
sea and land, constituting “enigmatic debris” (“épaves
énigmatiques,” Paul Valéry, 1921). During the second
session, participants identify and acquire, where
possible, unfamiliar artifacts from a local secondhand
market that for them evoke the poetic uncertainty
of meanings in the twenty-first century. The final and
third session includes a discussion of the “ambiguous
objects” acquired by each of the participants and an
open exchange with the public. Through this inquiry,
the workshop explores the potential for the remediation
of historical artifacts using the format of a “museumuniversity,” a site of dialogical experimentation and
research centered on museum collections.
Marketplace
[Cartography 4]
by Christopher Myers
Please find detailed information about the installation
and sound piece in the ALL DAY program at the
beginning of the itinerary.
5–6
Intro
Int
സന്ധ്യ
Dusk, sandhya, maruapö
The evening starts off with an introduction to The
Current and questions related to the ethics of visiting
when embarking on expeditions, forms and tactics
of structuring the gaze, and the eye of the camera.
At the heart of this evening are a poetry reading by
the celebrated author Sharmistha Mohanty and a
performance by the artist and illustrator Christopher
Myers, tapping into interrogations of broader histories
of methods in visual ethnography, mapping, and
knowledge and meaning making.
mod
with
von
Reym
C
�DEC 13
5–6.30 pm
Introduction
Cochin Club
DEC 13
6.30–7 pm
Poetry reading
Vasco da Gama
Plaza
DEC 13
7–8 pm
Performative talk
Vasco da Gama
Plaza
Into The Current
moderated by Daniela Zyman
with Ute Meta Bauer, Cesar Garcia, Francesca von
Habsburg, Stefanie Hessler, and Markus Reymann
Organized as a presentation by the founder of TBA21,
Francesca von Habsburg, and the director of
TBA21–Academy, Markus Reymann, “Into The Current”
brings into conversation the expedition leaders Ute
Meta Bauer and Cesar Garcia and TBA21-Academy
curator Stefanie Hessler. The conversation homes in on
cross-disciplinary encounters and new research-based
working modes within the framework of knowledge
transfer and exchange of The Current. Panelists
introduce the program of Convening #2, look back at
the previous expeditions, and discuss the potential
of The Current for collectively creating visions for the
deep future, enhanced though the intervention of an
artistic imagination.
Landscapes Open in
the Empty Self
by Sharmistha Mohanty
Marketplace
[Cartography 4]
by Christopher Myers
Christopher Myers comes from a long line of
storytellers. His performative talk traces new and
vernacular forms of globalization in sound, media, and
culture, thinking about how urban music, film, dance,
images, and marketplaces transcend the local and
provide new models for transnational communications.
�DEC 13
8–10 pm
Film
Vasco da Gama
Plaza
Fire at Sea
Gianfranco Rosi, 2016, 114 min.
Selected by the Dharamshala International Film Festival
introduced by Ritu Sarin and Tenzing Sonam
Situated 150 miles south of Sicily, Lampedusa has
made headlines as the first port of call for hundreds
of thousands of African and Middle Eastern refugees
hoping to make a new life in Europe. After spending
months living on the island and engaging with its
inhabitants, Rosi accumulated an extraordinary array of
footage, portraying the history, culture, and daily lives
of the islanders. Focusing on twelve-year-old Samuele
as he explores the land and attempts to gain mastery
of the sea, the film slowly builds a breathtakingly
naturalistic portrait of the Lampedusan people and the
events that surround them.
�December
14
പ്രഭാതം
DEC 14
8.30–9.45 am
Attentional exercise
Breakfast area of
Fragrant Nature
Hotel
DEC 14
10.30 am – 12.30 pm
Structured
conversation
Cochin Club
Dawn, prabhatam, hitiraa mahana
Protocol of the Sea
Watch, Action of the
Crow’s Nest
by ESTAR(SER)
Every morning, interested individuals are invited to
join visiting research associates of the collective
ESTAR(SER) to experiment with a reconstruction of the
Protocol of the Sea Watch.
The Ocean as Habitat:
The rights of nature
and the international
law of the sea
moderated by Ute Meta Bauer
with Ravi Agarwal, Nabil Ahmed, D. Graham Burnett,
TJ Demos, Jegan Vincent de Paul, Markus Reymann,
and Davor Vidas
Climate change, pollution, and other habitat-altering
agents are endangering the “common heritage of
humankind.” The ocean as a global waste bin is hardly
addressed as a result of insufficient international
regulations of the sea. The constantly changing
parameters and unpredictable developments of
the oceans prompt a need to rethink and rewrite
the obsolete international law of the sea that was
conceived under the relative stability of the Holocene
epoch. The conversation puts forward interdisciplinary
�perspectives from the fields of art, ecology, law, and
policy, recognizing the earth and its ecosystems as
living beings with inalienable rights to exist, persist,
maintain, and regenerate their vital cycles.
ഉച്ചയ്ക്ക
DEC 14
2–5 pm
Workshop for
children
Cochin Club
To sign up for the
workshop, please email
kochiworkshops@tba21.org
Midday, uccaykk, avatea
Fish Tails and Fish Tales
by Filipa Ramos
The workshop is for children aged 5–11. Together
we’ll write one and many stories, thinking about
how tales are told, inventing new ways of combining
memory with discovery and imagination, and
discussing the ways in which we share experiences,
visions, and emotions with others.
The starting point for the workshop is a set of
images that were taken during The Current’s recent
expedition to the Tuamotu Archipelago, in French
Polynesia: pictures of fish, of crabs, of birds, but
also of desert islands, of ecological disasters, and of
people working and thinking together. How do images
lead to stories? And how do stories convey images?
In this workshop we’ll explore the stories that images
tell and the images that stories summon.
DEC 14
2–5 pm
Workshop
Cochin Club
To sign up for the
workshop, please email
kochiworkshops@tba21.org
The Document’s
Expanded Field
by Jamie Y. Shi
Please find detailed information in the program of
December 13, 2–5 pm.
�DEC 14
2–5 pm
Workshop
Cochin Club
Nuclear Pacific:
A temporary working group on the
tribunal for French nuclear weapons
testing in Moruroa and Fangataufa
(1966–96)
Please find detailed information in the program of
December 13, 2–5 pm.
DEC 14
2–5 pm
Workshop
Closed workshop,
various sites in Fort
Kochi,
with a public interface
on December 15,
2–5 pm, at the
Cochin Club
DEC 14
3–4 pm
Guided visit of the
installation and
sound piece
Spice Market near
Jeevamatha Church
സന്ധ്യ
“Ambiguous Objects”
and the University
Museum
by Clémentine Deliss
Please find detailed information in the program of
December 13, 2–5 pm.
Marketplace
[Cartography 4]
by Christopher Myers
Please find detailed information about the installation
and sound piece in the ALL DAY program at the
beginning of the itinerary.
Dusk, sandhya, maruapö
The evening focuses on the rights of nature, ecological
sustainability, and issues at stake in the law of the
sea. The evening begins with keynotes by TJ Demos,
author of Decolonizing Nature: Contemporary Art and
the Politics of Ecology, and Davor Vidas, director of the
Law of the Sea Program at the Fridtjof Nansen Institute
�in Oslo, followed by a performative talk by the visual
artist and pioneer of video and performance art Joan
Jonas, who reflects on the poetic and spiritual aspects
of nature in the face of climate change.
DEC 14
5–5.30 pm
Keynote
Cochin Club
DEC 14
6–6.30 pm
Keynote
Cochin Club
The Capitalocene
Pacific
by TJ Demos
The Capitalocene proposes an alternative terminology
to the more familiar Anthropocene, designating the
geologic age of the present as founded over centuries
of capitalism-in-nature and nature-in-capitalism,
according to the theorist of world-systems ecology
Jason Moore. Drawing on his forthcoming book Against
the Anthropocene: Visual Culture and Environment
Today, TJ Demos investigates the Capitalocene Pacific
as a site of conflict, one positioned between, on the
one hand, ongoing industrialization and militarization
and, on the other, negative geologic impacts (ocean
acidification, rising sea levels, and mass species
extinctions) and artistic-activist interventions directed
against environmental destruction and catastrophic
climate change—a conflict that will only intensify under
the US presidency of Donald Trump.
The Law of the Sea—
through time and place
by Davor Vidas
There are many ways of looking at the development
of the law of the sea. Let us go on a journey. On a
Sunday in September 1298, we start in the “Great
Sea” (as the Bible calls the Mediterranean): here we
visit a semienclosed sea found within a semienclosed
sea. We then hoist sails and are out on the oceans:
it is the late fifteenth century, the time of European
overseas “discoveries”—and in 1500 we stop at a
place important for the transoceanic spice trade. One
hundred years later: in one strait on an early morning
�in February 1602, we witness something that will lead
to emergence of the law of the sea as a branch of
international law. We then travel onward in time to
an island—it is December 1982, and the end result of
developments so far—UNCLOS—is signed here. Finally,
we arrive at the present day and cast our glance
toward the polar regions: what is going on there—and
what is the outlook?
DEC 14
6.30–7 pm
Prose reading
Reading a Wave
by Ho Rui An
Vasco da Gama
Plaza
DEC 14
7–8 pm
Performative talk
Oceans –
sketches and notes
Vasco da Gama
Plaza
by Joan Jonas
Joan Jonas’s talk conceived for this Convening draws
from a wellspring of materials, literature, mythology,
and the artist’s collections of sketches and notes on
the sea, exploring “the ocean as a poetic, totemic, and
natural entity, as a life source and home to a universe
of beings.” Video footage of underwater scenes—
from Jean Painlevé’s black-and-white reels of sea
creatures to shots of aquariums—intersect poetically
and associatively with excerpts from Herman Melville’s
Moby Dick, Sy Montgomery’s Soul of an Octopus, and
Italo Calvino’s The Aquatic Uncle. The oceans are an
ongoing thematic touchstone in Jonas’s recent works,
such as her project for the United States Pavilion of
the 56th Venice Biennale, They Come to Us without a
Word (2015), a multilayered ambient work addressing
the spiritual aspects of nature through video, drawings,
objects, and sound.
�DEC 14
8–10 pm
Short films
Selected and introduced by Filipa Ramos
Vasco da Gama
Plaza
Leo Lionni and Giulio Gianini, with Ishu Patel, 1966, 6 min.
Swimmy
Swimmy is the story of a little black fish who survived
a school of fish that was eaten by a large tuna. Alone
and scared, different from all the other small red fish,
Swimmy goes from hiding in the seaweed to making
many friends and finding a way that will save them all
from the big fish that terrify them.
Wutharr, Saltwater
Dreams
Karrabing Film Collective, 2016, 29 min.
A delirious, dreamlike film, Wutharr, Saltwater Dreams
is the most experimental of Karrabing Film Collective’s
works to date. Departing from a hypothetical situation
of crisis in the Aboriginal filmmakers’ daily lives, the film
explores how the group addresses it through collective
problem-solving gestures and how the legacy of
colonialism, as well as the imposition of Christian moral
codes and settler-colonial rule of law, condition and
affect ancestral land use and traditional cultures.
Europium
Lisa Rave, 2014, 21 min.
Using various levels of imagery, the essay film Europium
draws connections between Papua New Guinea’s
colonial past and fetish cult, the planned high-tech
excavation of raw materials, and everyday consumer
goods. The film weaves its individual images and
narrative around the rare earth element europium.
Named after the European continent, the material will
be culled from the Bismarck Sea to ensure brilliant
color images on smartphone displays and other flat
screens.
�Toilets Not Temples
Will Benedict & David Leonard, 2014, 26 min.
Toilets Not Temples combines different styles of
narrative–such as live interviews, newsreel, sci-fi genre,
and music video–to portray specific current situations
that concern the production and distribution of food,
from fish farms in Norway to onion plantations in India,
addressing issues of global distribution, agriculture,
environmental collapse, marketing, and trade.
December
15
പ്രഭാതം
DEC 15
8.30–9.45 am
Attentional exercise
Breakfast area of
Fragrant Nature
Hotel
Dawn, prabhatam, hitiraa mahana
Protocol of the Sea
Watch, Action of the
Crow’s Nest
by ESTAR(SER)
Every morning, interested individuals are invited to
join visiting research associates of the collective
ESTAR(SER) to experiment with a reconstruction of the
Protocol of the Sea Watch.
�DEC 15
10.30 am–12.30 pm
Structured
conversation
Cochin Club
The Ocean as
Treasure Trove:
Deep-sea mining—
the next gold rush?
moderated by Stefanie Hessler
with Nabil Ahmed, Ute Meta Bauer, Georg Eder, Amar
Kanwar, Charles Lim, Markus Reymann, and Davor Vidas
Deep-sea mining is a new extractive activity that has
been recognized as an emerging threat to the oceans.
Seabed mining targets polymetallic nodules that are
used in the production of batteries and alloys, and
there are strong indications that this might well be
the next gold rush. Its effects will most likely impact
ecosystems from the microbial level to the structural
constitution of the seabed in a way that we are not
remotely able to anticipate. TBA21-Academy was
present during the 5th Deep-Sea Mining Summit in
London in April 2016 and organized a conference titled
“Design of the Seabed” at the 3rd Istanbul Design
Biennial in November 2016. Departing from these
previous engagements, agents and practitioners from
the fields of art, ecology, law, and science bring greater
visibility to the potentially immense effects on the
future of the oceans and humankind.
ഉച്ചയ്ക്ക
DEC 14
2–5 pm
Workshop
Cochin Club
To sign up for the
workshop, please email
kochiworkshops@tba21.org
Midday, uccaykk, avatea
The Document’s
Expanded Field
by Jamie Y. Shi
Please find detailed information in the program of
December 13, 2–5 pm.
�DEC 14
2–5 pm
Workshop
Closed workshop,
various sites in Fort
Kochi,
with a public interface
on December 15,
2–5 pm, at the
Cochin Club
DEC 15
2–5 pm
Workshop
Closed workshop,
deep-sea vessel by
CMLRE, Kochi, a
research institute
under the Ministry
of Earth Sciences,
Government
of India with a
mandate to study
the marine living
resources
This is a closed workshop,
to find out more,
please email
kochiworkshops@tba21.org
“Ambiguous Objects”
and the University
Museum
by Clémentine Deliss
Please find detailed information in the program of
December 13, 2–5 pm.
Rising Sea Levels
by Francesca von Habsburg
with Ravi Agarwal, Senator J. Kalani English, Francesca
von Habsburg, Lelei Tui Samoa LeLaulu, Davor Vidas,
and Linz Wilbur
Climate change is warming the atmosphere, glaciers
are melting, and sea levels are rising—with surging
waters threatening coastal societies from Venice to
the Pacific. As inhabitants struggle to find methods
of mitigation, migration may be the only solution:
entire countries could disappear altogether over the
next few decades. And so too will ancient dances,
traditional cultures, and spiritual sites. Aside from
economic and geopolitical issues, the case of lost
habitat raises a number of important questions about
cultural, linguistic, and spiritual heritage. Taking as
its site the city of Kochi, which is thought to lie close
to the ancient port city of Muziris, this workshop
considers speculative, bold, ethical, creative, and legal
possibilities to combat the effects of climate change. It
asks whether there may be a plan A to counter forced
migration and, if so, what it might be.
�DEC 15
3–4 pm
Guided visit of the
installation and
sound piece
Spice Market near
Jeevamatha Church
സന്ധ്യ
Marketplace
[Cartography 4]
by Christopher Myers
Please find detailed information about the installation
and sound piece in the ALL DAY program at the
beginning of the itinerary.
Dusk, sandhya, maruapö
The evening is dedicated to flows, passages, and
movements, from the rivers to the sea, to everchanging currents, and to sonic ecological change.
A performative talk by Anthony Acciavatti, architect,
cartographer, and professor at Columbia University,
and D. Graham Burnett, renowned writer, historian
of science, and professor at Princeton University, is
followed by a poetic and associative intervention by
the curator Aveek Sen, circling around waterways
and how these interweave with personal biographies,
memories, and wider ecological concerns. A sound
performance by the artist and former TBA21–Academy
Fellow Jana Winderen turns our attention toward the
sonic dimension of the oceans, making audible water
currents and ecological change occurring in coral reefs.
DEC 15
5–6.30 pm
Performative talk
Cochin Club
WATER MACHINES
by Anthony Acciavatti and D. Graham Burnett
Wallace Stevens’s “Sea Surface Full of Clouds” (1924)
is a poem in five sections, each of which returns to a
single ambiguous scene: the blossoms of water vapor
in a blue sky reflected in the heaving masses of water
below. Across the poem, the sea and the sky function
as mutual mirrors, which produce scintillating inversions
that shake language loose from its moorings and leave
the human adrift upon the “perplexed machine / of
�ocean.” Departing from this image, Anthony Acciavatti
and D. Graham Burnett will sequence through a series
of water systems (hydrographic cycles, oceanographic
structures, monsoon metrics, submarine optics),
unfolding the poetics of techno-rationalizing regimes of
aquatic knowledge.
DEC 15
6.30–7 pm
Poetry reading
Vasco da Gama
Plaza
DEC 15
7–8 pm
Sound performance
Vasco da Gama
Plaza
The Tagore Letters
by Aveek Sen
Between 1887 and 1895 Rabindranath Tagore wrote
a series of letters to his young niece, Indira, from the
banks of a network of rivers in undivided Bengal. In
them the river itself, with its endless flow and the
myriad forms of human and animal life along its
banks, animates the poet’s consciousness: the drift
of his mind, his empathy, his memory, his gaze, his
reading, his letters, essays, stories, songs, and poems,
compulsively written throughout that leisurely time on
the water. Many years later, in 1912, the year before
he was awarded the Nobel Prize, Tagore published
selections from these letters as Chhinnapatra
(Scattered Letters). He based his text on his niece’s
transcriptions of these letters but sequenced them
himself as a work in its own right.
Drifting
by Jana Winderen
Drifting is a sound performance by Jana Winderen
commissioned for Convening #2. From the North
Atlantic Current to the Caribbean Sea and the Pacific
washing onto the shores of Panama, Winderen is
surveying the soundscapes of drifts that fluctuate
according to the temperature, pressure, and salinity
of water and are shaped by invisible landscapes
hidden beneath the waves. Telling stories of currents,
movement, and migration, these sound tracings are
also indicators for the health of ecosystems and the
manifold inhabitants of the seas, from cetaceans to
plankton, as well as mammals, fish, and crustaceans
feeding from these drifting microscopic organisms.
�DEC 15
8–10 pm
Short films
Originally selected for the Dhaka Art Summit program
Passages by Shanay Jhaveri, assistant curator of South
Asian art, Department of Modern and Contemporary
Art, Metropolitan Museum of Art, New York
Vasco da Gama
Plaza
Elementary Maps No. 3
Anna Bella Geiger, 1976, 10 min.
The visual poem alludes to the stereotypes and myths
attributed to cultures from Latin America through the
relationship between the anthropomorphic character
of the South Cone’s topography and semantic games,
between the formal and the metaphorical.
Occidente
Ana Vaz, 2014, 15 min.
A film-poem of an ecology of signs that speak of a
colonial history repeating itself. Subalterns become
masters, antiques become reproducible dinner sets,
exotic birds become luxury currency, exploration
becomes extreme-sport-tourism, monuments become
geo-data.
The Disappearance of
the Aïtus
Pauline Julier, 2014, 35 min.
A poetic essay about Tuvalu, a micro-state in the
South Pacific that is threatened by rising sea levels.
An analogy between the vanishing of the country itself
and of its inhabitants’ imaginaries. A metaphoric fable
about the electrical modernization of the country. And
scientific information about waves and stories.
�Cargo
Laura Waddington, 2001, 29 min.
Cargo is a lyrical voyage on the Mediterranean
depicted in a series of extended moments. Combining
diaristic text with painterly visuals, Laura Waddington
recounts a dialogue between a mute woman and the
forgotten men who work on a cargo ship. We are drawn
into a nomadic journey at the frontier of European
consciousness, a reflection on what it means to be a
citizen without country, to drift without destination.
Brouillard—Passage 14
Alexandre Larose, 2014, 10 min.
In this film made in his family’s backyard in Lac-SaintCharles, Canada, Alexandre Larose superimposes
walking trajectories shot along a man-made path
leading to a lake. The result is an extremely layered
one-take 35mm film, creating an impression of the
filmmaker’s rich memories of this special place by the
lake, reminiscent of its waters themselves.
Sea of Vapors
Sylvia Schedelbauer, 2014, 15 min.
Sylvia Schedelbauer’s films negotiate the space
between broader historical narratives and personal,
psychological realms through poetic manipulations
of archival footage. Sea of Vapors is a stroboscopic
cascade of evocative images, cut frame by frame
to flow into an allegory of the lunar cycle conflating
landscapes and the human body.
�July 2016 | Tuamotus – French Polynesia | Hydrophone | by Markus Reymann
July 2016 | Tuamotus – French Polynesia | Tree | by Ute Meta Bauer
�July 2016 | Tuamotus – French Polynesia | Diver | by Francesca von Habsburg
October 2015 | The Kula Ring – Papua New Guinea | by Jegan Vincent de Paul
�October 2015 | The Kula Ring – Papua New Guinea | by Francesca von Habsburg
October 2015 | The Kula Ring – Papua New Guinea | Dardanella | by Francesca von Habsburg
�Participants
Zuleikha Chaudhari IN
Artist, theater director, and
lighting designer based in New
Delhi and Mumbai, India
Sitara Chowfla IN
Curator and program manager
at KHOJ International Artists’
Association in New Delhi, India,
since September 2013
Tanya Abraham IN
Journalist, author, and arts
administrator, works for national
and international publications
and is the creative director and
curator of Kashi Art Gallery and
founder of The Art Outreach
Society, Fort Kochi, India
Anthony Acciavatti US
Architect, historian, and
cartographer, founding editor of
Manifest: A Journal of American
Architecture and Urbanism,
professor at Columbia University
Ravi Agarwal IN
Clémentine Deliss UK/DE
Independent curator, publisher, and researcher, Fellow of Institute of Advanced Study, Berlin,
curator of Dilijan Arts Observatory, former director of Weltkulturen
Museum, publisher of Metronome
and Metronome Press
TJ Demos US
Professor in the Department
of the History of Art and Visual
Culture, University of California,
Santa Cruz, and Founder and
Director of its Center for
Creative Ecologies
Artist, environmental activist,
writer, and curator; founder of
the environmental NGO Toxics
Link, New Delhi, India
Georg Eder AT
Project manager at TBA21,
planning and organizing
The Current
Nabil Ahmed UK
Senator J. Kalani
English US
Researcher, writer, and educator
working on environmental
conflict and forensic architecture
Ute Meta Bauer DE/SG
Founding director of NTU CCA
Singapore and professor at
the School of Art, Design and
Media (ADM) at the Nanyang
Technological University (NTU),
expedition leader, The Current
D. Graham Burnett US
Works at the intersection
of historical inquiry and
artistic practice, focusing on
experimental approaches
to hermeneutic activities
traditionally associated with the
research humanities. He’s an
editor at Cabinet and teaches at
Princeton
Represents the 7th Senatorial
District of Hana, East & Upcountry
Maui, Molokai, Lanai, and Kahoolawe and is currently the Majority Leader of the Hawai’i Senate
ESTAR(SER) US
ESTAR(SER) is an established
body of private, independent
scholars who work collectively to
recover, scrutinize, and (where
relevant) draw attention to the
historicity of the Order of the
Third Bird. www.estarser.net
Cesar Garcia MX/US
Founding director and chief curator
of The Mistake Room, Los Angeles;
former associate director and senior
curator of LA><ART (2007–12),
expedition leader, The Current
Natasha Ginwala IN/DE
Curator, researcher, and writer.
Curatorial adviser for documenta
14 as well as curator of Contour
Biennale 8, entitled Polyphonic
Worlds: Justice as Medium
(2017)
Francesca von
Habsburg CH/AT
Philanthropist, founder, and
chairwoman of TBA21 in Vienna
since 2002, commissioner
The Current
Stefanie Hessler DE/SE
Curator of TBA21–Academy
and writer from Germany,
cofounder of the art
space Andquestionmark in
Stockholm, curator of several
exhibitions around the world,
from Chile to Sweden
Rui An Ho SG
Artist and writer working in the
intersections of contemporary
art, cinema, performance, and
theory
Shanay Jhaveri IN/US
Assistant curator for South Asian
modern and contemporary art at
the Metropolitan Museum of Art,
New York
Joan Jonas US
World-renowned multimedia
artist who has exhibited
around the world, including in
Documenta and the Biennale
of Sydney, as well as in a solo
exhibition at the Museum of
Modern Art, New York
Amar Kanwar IN
Filmmaker and artist, recipient of
several awards, including Golden Gate at the San Francisco
Film Festival (1999); the Edward
Munch Award for Contemporary
Art, Norway (2005); and the
Leonore Annenberg Prize for Art
and Social Change (2014)
�Lelei Tui Samoa
LeLaulu US
Special adviser to the World
Bank for oceans, member
of the Advisory Council of
the International Finance
Corporation (IFC), a director of
the Caribbean Media Exchange
on Sustainable Tourism, and
chairman of the Earth Council
Alliance, Apia, Samoa
Charles Lim SG
Award-winning filmmaker
and world-renowned artist,
founder of the art collective
TSUNAMII.NET, founder of
Bobbing Buoy Films
Matt Lucero US/VN
Graduated from the California
Institute of the Arts in 2003 and
is an artist and member of The
Propeller Group since 2009
Radha Mehandru IN
Filmmaker and a member of the
KHOJ curatorial and program
team who focuses on the organization’s community-based projects and outreach
Sharmistha Mohanty IN
Author of three prose works,
Book One, New Life, and Five
Movements in Praise. She is also
the founder and editor of the
literature journal Almost Island
Christopher Myers US
Widely acclaimed for his work
with literature for young people,
and is also an accomplished fine
artist who has lectured and
exhibited internationally
Tuan Andrew Nguyen VN
Cofounder of the Propeller Group
and cofounder of Sàn Art, an
artist-initiated exhibition space
and educational program in Saigon, Vietnam. Has works in the
collections of the Queensland Art
Gallery; Carré d’Art; the Museum
of Modern Art, New York; and the
Guggenheim Museum
Jegan Vincent de
Paul LK/SG
Worked as researcher and
designer in various capacities
around the world: from Ai
Weiwei to LOT-EK architecture
firm, research fellow at MIT
Program in Art, Culture and
Technology, cofounder of
Counter, cofounder and writer
for critical.org
Filipa Ramos PT/UK
Writer and editor based in
London, where she works as
editor-in-chief of art-agenda.
Her research focuses on the
historical and contemporary
intersections of humans and
other animals in art and cinema
Markus Reymann DE/AT
Director of TBA21-Academy
and The Current, initiator of
numerous expeditions aboard
the Dardanella, a moving
platform of cultural production
and interdisciplinary exchange
within TBA21
Ritu Sarin IN
Filmmaker, artist, cofounder and
codirector of the Dharamshala
International Film Festival
Aveek Sen IN
Writer on art, literature, music,
and society, associate editor at
The Telegraph, Calcutta
Jamie Y. Shi US
Editor-at-large at MISPRINT and
special projects manager at the
Mistake Room, Los Angeles;
curatorial assistant at Shanghai
Project
Tenzing Sonam IN
Filmmaker, artist, cofounder and
codirector of the Dharamshala
International Film Festival
Pooja Sood IN
Independent curator and
art management consultant,
founding member and director
of KHOJ International Artists’
Association
Matthew Strother US
Writer, reader, and occasional
performer. He received a BA from
Yale in English and an M.A. from the
New School for Social Research in
Liberal Studies. He is a member of
the speculative historiographical
collective ESTAR(SER)
Phunam Thuc Ha VN
Specialist in filmmaking and
antiquities, has restored antique
sculptures as well as produced
feature films; cofounder of The
Propeller Group
Davor Vidas HR/NO
Research professor, director of
the Law of the Sea Programme,
Fridtjof Nansen Institute, Norway
Vivek Vilasini IN
Multimedia artist, trained in
sculptural practices from
traditional craftsman, works
recently shown at MOCA,
Shanghai, CCCB, Barcelona,
Chicago Art Fair, Newark
Museum, in the Sharjah Biennale
and in the show Indian Highway
at Astrup Fearnley Museum of
Modern Art, Oslo, Norway
Linz Wilbur US
Independent researcher and
affiliate at the Hawaii Research
Center for Futures Studies,
Honolulu, USA
Jana Winderen NO
Multichannel artist, researcher of
hidden depths with technology
and audio
Daniela Zyman AT
Chief curator of TBA21 in
Vienna, co-commissioner
The Current
�Organizers
Founder & chairwoman
TBA21, commissioner
The Current
Francesca von
Habsburg
Chief curator, TBA21,
co-commissioner
The Current
Daniela Zyman
Executive, Conference,
Workshops & Archive, NTU
Centre for Contemporary Art
Singapore
Samantha Leong
Min Yu
Curator, Outreach & Education,
NTU Centre for Contemporary
Art Singapore
Magdalena Magiera
Programming
Chief curator, TBA21,
co-commissioner
The Current
Daniela Zyman
Curator, TBA21
Boris Ondreička
Assistant curator, TBA21
Cory Scozzari
Director, TBA21–Academy
Assistant curator, TBA21
Markus Reymann
Frederike Sperling
TBA21 The Current expedition
leader, founding director,
NTU Centre for Contemporary
Art Singapore
Head of Publications
Eva Ebersberger
Collection
Ute Meta Bauer
TBA21 The Current expedition
leader; founding director and
chief curator of the Mistake
Room, Los Angeles
Cesar Garcia
Curator, TBA21–Academy
Stefanie Hessler
Project manager,
TBA21–Academy
Georg Eder
Production assistant,
TBA21–Academy
Isabella Cavalletti
Production assistant,
TBA21–Academy
Head of Collection
Simone Sentall
Colophon TBA21
Founder & chairwoman
TBA21, commissioner
The Current
Registrar Collection &
Exhibitions
Elizabeth Stevens
Francesca von
Habsburg
Registrar Collection &
Exhibitions
Trustees
Media
Udo Kittelmann
Istvan Nagy
TBA21–Academy
Director, TBA21–Academy
Andrea Hofinger
Head of Media
Sophie Bayerlein
Project Manager Media
Elodie Grethen
Markus Reymann
Development
Natasa Venturi
Curator, TBA21–Academy
Project manager
Producer, What About Art?
Stefanie Hessler
Susanne Janetzki
Project manager,
TBA21–Academy
Project manager
Eve Lemesle
Producer, What About Art?
Afrah Shafiq
Georg Eder
Azra Demir Ramovic
Financing & Administration
Karin Berger
�
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
The conference consists of three days of structured conversations, workshops, performances, talks, and screenings convened by The Current Expedition leaders Ute Meta Bauer and Cesar Garcia and TBA21-Academy curator Stefanie Hessler.
Programme Series
None
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
The Current Convening #2 Conference Guides
Description
An account of the resource
NTU Centre for Contemporary Art Singapore is pleased to be the funding partner of Thyssen-Bornemisza Art Contemporary–Academy (TBA21) for <i>The Current Convening #2</i> in numerous locations on the occasion of the opening of the Kochi-Muziris Biennale 2016.<br /><br /><i>The Current</i> is an exploratory fellowship program based in the Pacific. Working collaboratively across disciplines, the program merges the diverse approaches of deeply committed practitioners, collectively conceptualizing ways to address climate change and environmental violence to the oceans. Expeditions aboard the Dardanella research vessel are followed by <i>Convenings</i> in which the investigations of the Expedition leaders and participants can be shared with an audience. <i>The Convening #2</i> is profoundly dedicated to the oceans, taking poetic approaches to currents and flows of water across cultures. Please join us for three days of structured conversations, workshops, performances, talks, and screenings convened by<i> The Current</i> Expedition leaders Ute Meta Bauer and Cesar Garcia and TBA21-Academy curator Stefanie Hessler. Organized by Markus Reymann.
Date
A point or period of time associated with an event in the lifecycle of the resource
2016-12-13/2016-12-15
Contributor
An entity responsible for making contributions to the resource
Francesca von Habsburg
Daniela Zyman
Markus Reyman
Stefanie Hessler
Ute Meta Bauer
Cesar Garcia
Joan Jonas
Amar Kanwar
Davor Vidas
Natasha Ginwala
Ravi Agarwal
Nabil Ahmed
Filipa Ramos
Christopher Myers
The Propeller Group
Jana Winderen
Jamie Y. Shi
Sharmistha Mohanty
Ritu Sharin
Tenzing Sonam
Jegan Vincent de Paul
Vivek Vilasini
TJ Demos
Ho Rui An
Charles Lim
Anthony Acciavatti
D. Graham Burnett
Aveek Sen
Shanay Jhaveri
Clémentine Deliss
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
-
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Text
Exhibition
Joan Jonas
They Come to Us
without a Word
22 January – 3 April 2016
�The NTU Centre for Contemporary Ar t Singapore is honored to present They Come to Us without
a Word, video and per formance pioneer Joan Jonas’s first large-scale exhibition in Singapore and
Southeast Asia. They Come to Us without a Word was organized for the U.S. Pavilion of the 56 th Venice
Biennale by the MIT List Visual Ar ts Center and co-curated by Paul C. Ha, Director of the MIT List Visual
Ar ts Center and Ute Meta Bauer, Founding Director of the NTU Centre for Contemporary Ar t Singapore.
With this exhibition Jonas evokes the fragility of nature, using her own poetic language to address the
irreversible impact of human interference on the environmental equilibrium of our planet.
Located in Gillman Barracks, the NTU CCA Singapore is a national
research centre of Nanyang Technological University and is suppor ted
by a grant from the Economic Development Board, Singapore.
The NTU CCA Singapore is unique in its threefold constellation
of exhibitions, residencies, academic research and education.
It positions itself as a space for critical discourse and is dedicated
to facilitate the production of knowledge and research, engaging
and connecting ar tists, curators and researchers from Singapore,
T h ey C o m e t o Us wit h ou t a Word Educ ation and Public Pro gram (Fre e A dmission)
Southeast Asia and beyond, and across various disciplines.
Since its inauguration in October 2013, the NTU CCA Singapore
January
Fri, 15 Jan, 7.30 – 9pm
has presented several high-profile, first-to-launch exhibitions of
leading ar tists including Yang Fudong (China), Simr yn Gill (Malaysia/
Founding Co-Director of Peep-Hole
Tue, 19 Jan, 1 – 3pm
In Conversation with Joan Jonas, ar tist, Ute Meta Bauer, Founding Director, NTU CCA
Singapore, and Anna Daneri, NTU CCA Singapore Curator-in-Residence, curator and
(Argentina/Germany).
Australia),
Allan
Sekula
States)
and
Tomás
Saraceno
Behind the Scenes with Jan Kroeze, lighting designer
Sat, 23 Jan, 11am – 1pm
Curatorial Tour with Anna Daneri
Sat, 30 Jan, 10am – 12pm
Workshop for Teachers and Educators with Kelly Reedy, ar tist and educator
February
Wed, 10 Feb, 7.30 – 9pm
(United
NTU Centre for
Blo c k 43 Ma la n Ro a d
contemporary art
S in g a p o re 109443
Singapore
Exhibition (de)Tour with Filipa Ramos, curator
Fri, 12 Feb, 7.30 – 10pm
Screening of Night Fishing by Park Chan-kyong, ar tist and filmmaker &
Park Chan-wook, filmmaker and Manshin: Ten Thousand Spirits by Park Chan-kyong
Sat, 13 Feb, 1 – 4pm
nt u c c a e vent s @ntu.e du. s g
Workshop and Screening of selected films by Park Chan-kyong
Wed, 17 Feb, 7.30 – 10pm
Tu e – Su n
12 – 7pm
Fr i
E xh i b i t i o n h o u rs
12 – 9pm
O p e n o n Public Ho lidays
Exhibition (de)Tour with Yasser Mattar, behavioral scientist and paranormalist
Fri, 26 Feb, 7:30 – 9pm
+65 6460 0300
Screening of More than Honey by Markus Imhoof, ar tist and filmmaker
C lo se d o n Mo n days
Fre e a d mi ss io n
March
Wed, 2 Mar, 7.30 – 9pm
Exhibition (de)Tour with John Ascher, Assistant Professor, Depar tment of Biological Science, NUS
Fri, 18 Mar, 7.30 – 10pm
Screening of Lives of Performers by Yvonne Rainer, Wind and Duet by Joan Jonas,
selected films by Mark Nash, curator, writer, Visiting Associate Professor at NTU CCA Singapore
Sat, 19 Mar, 1 – 4pm
Workshop and Screening of selected films by Mark Nash
Wed, 30 Mar, 7.30 – 9pm
for updates on
ntu.ccasingapore.org
exhibitions and
facebook.com/ntu.ccasingapore
program, visit
Instagram @ntu_ccasingapore
Exhibition (de)Tour with Kenneth Dean, Head of Chinese Studies Department, NUS
and NTU ADM
located at
I n c o l l a b o ra t i o n w i t h
Free docent-led tours by Friends of the Museum will uncover Gillman Barracks’ rich histor y and introduce its galleries and include
a visit to NTU CCA Singapore. Fridays to Sundays, at various times. Please register at www.gillmanbarracks.com/tours
Joan Jonas, They Come to Us without a Word, 2015. Production Still. Cour tesy of the ar tist.
Su p p o r t e d by
�
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Short Description
Joan Jonas: They Come to Us Without a Word Postcard
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
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Joan Jonas: <i>They Come to Us Without a Word</i> Postcard
Description
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Joan Jonas: <i>They Come to Us Without a Word</i> Postcard
Date
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2016-01-23
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Paul C. Ha
Ute Meta Bauer
Joan Jonas
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Southeast Asia
-
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255142200c178f46d41f6a77ac009b3d
PDF Text
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They Come to Us
without a Word
Joan Jonas
�“We know what animals do and what beaver and bears and salmon and other
creatures need, because once our men were married to them and they
acquired this knowledge from their animal wives.”
(Hawaiian Indians quoted by Lévi-Strauss in The Savage Mind.)
— John Berger, Why Look at Animals? (1977)1
“If you are going to tell me the story of the dandelion and the honeybee,
John, I shall hit you. Lyrical poetry is the most disgusting drivel on earth, not
excepting the theology. I’m going to bed . . .”
“When a dandelion calls to a bee with its scent to give it honey, and the bee
goes off with the pollen from the flower and sows it somewhere far away—
that I call a Super-communion. It would be remarkable if a more super
communion could be established, even though intergalactic
communications were put in order.”
— Halldór Laxness, Under the Glacier (1972)2
NOTES
1. John Berger, Why Look at Animals? (London: Penguin Books, 2009), 13.
2. Halldór Laxness, Under the Glacier, trans. Magnus Magnusson, 1972 (New York: Vintage
International, 2005), 137.
Cover: Joan Jonas, They Come to Us without a Word, 2015. Production still. Courtesy of the artist.
They Come to Us
without a Word
Joan Jonas
22 January–3 April 2016
�Introduction
The NTU Centre for Contemporary Art Singapore is honored to present They
Come to Us without a Word, video and performance pioneer Joan Jonas’s first
large-scale exhibition in Singapore and Southeast Asia. They Come to Us
without a Word was commissioned for the U.S. Pavilion, co-curated by Paul C.
Ha and Ute Meta Bauer and presented by the MIT List Visual Arts Center at
the 56th Venice Biennale. The U.S. Pavilion featuring Joan Jonas was awarded
a Special Mention by the Jury. With this exhibition, Jonas evokes the fragility
of nature, using her own poetic language to address the irreversible impact of
human interference on the environmental equilibrium of our planet. Each
room of the exhibition is dedicated to a particular creature (bees, fish), an
object (mirror), force (wind), or place (the “homeroom”). Four rooms feature
two videos each, one engaging with the central motif and the other a “ghost”
narrative. Jonas developed these videos in a studio in Westbeth, New York in
2015 during a series of workshops with friends’ children ranging in age from 5
to 16 years old. The children performed in front of video backdrops containing
excerpts from Jonas’s earlier works, as well as landscape footage shot in
Nova Scotia, Canada, and Brooklyn, New York. In a fifth mirrored room full of
reflections, crystal beads strung on a chandelier-like structure lie suspended
from the middle of the ceiling, creating shadows that move all over the walls.
The soundtrack includes songs by the Norwegian Sami joik artist Ánde
Somby, and music by Jason Moran, while fragments of ghost stories sourced
from the oral tradition of Cape Breton in Nova Scotia, the artist’s longtime
summer home, are part of a continuous narrative linking one room to the next.
These spoken fragments function partly as a reference to what remains. Jonas
states, “We are haunted, the rooms are haunted.”
The simple screen stages installed by Jonas in the exhibition echo the
structure used for the recording of the children’s performances. Crystalshaped wooden benches resembling giant chalk sticks invite us to sit and
watch. An extensive series of drawings—of bees and fish, objects used in the
videos, vitrines containing masks, notes, and other personal items of the
artist—expand her installation to an immersive cosmos of which we become
part when we enter the show. Kites created by a traditional Japanese kite
maker in Kitakyushu, and beautifully colored by Jonas, remind us of a time full
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of playful outdoor festivities. The customized light created by Jan Kroeze,
renowned lighting designer and a longtime friend of the artist, suffuses the
space with the magic of moonlight.
They Come to Us without a Word evolved out of Jonas’s earlier work
Reanimation, which was partly inspired by the writings of the Icelandic author
and Nobel Laureate Halldór Laxness and his poetic portrayal of the natural
world. Herself an accomplished writer, Jonas often takes inspiration from the
writings of other artists. “Although the idea of my work involves the question
of how the world is
so rapidly and radically changing, I do not address the
subject directly or didactically,” says Jonas. “Rather, the ideas are implied
poetically through sound, lighting, and the juxtaposition of images of children,
animals, and landscape.”
Jonas was first presented at the NTU CCA Singapore in 2014 with the video
installation Lines in the Sand, featured in the exhibition Theatrical Fields.
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4
7
3
1
6
They Come to Us
without a Word
1
Bees
2
Fish
3
Mirror
4
Wind
5
Homeroom
6
2
Joan Jonas Study Room
7
They Come to Us
without a Word II
Video documentation of
the performance
5
�Curatorial Remarks
They Come to Us without a Word, the project Joan Jonas created for the U.S.
Pavilion at the 56th Venice Biennale in 2015, sums up six decades of work and
a lifetime of experience. A pioneer in her early practice and experimentation,
Jonas was inspired by her artist friends, the second-wave feminist movement,
and SoHo, the neighborhood in New York City where she has lived and worked
since the late 1960s.
When she arrived, SoHo was teeming with artists, who occupied raw loft
spaces in still-active warehouses and used the abandoned piers on the
Hudson River as open-air “studios.” Lofts offered space away from
conservative museum politics and were home to small theaters and other arts
entities. At venues and organizations such as the Living Theatre, Saint Mark’s
Church in the Bowery, the Wooster Group, La MaMa, the Merce Cunningham
Dance Company, the Black Gate Theatre, Anthology Film Archives, and
Franklin Furnace, artists exchanged ideas and developed work with each
other and for each other. SoHo’s lofts and streets served as playgrounds for
artistic experimentation.
Although trained in art history and sculpture, Jonas developed her
practice as a performer and video artist at a time when New York’s art scene
was embarking on new ventures, including Beat poetry, Minimalist music,
modern dance, experimental theater, happenings, performance, installation,
and Land Art, most of which took place outside the confines of traditional art
institutions and galleries. It was a time of artistic exploration and access to a
brand-new medium: video. This new technology, in which a portable, batteryoperated Portapak camera provided thirty minutes of uninterrupted
videotaping, not only allowed artists to document artistic actions, but served
as an immediate mirror, a space of reflection, a tool of interaction. Video
became a “mediatic” dialogue partner for artists, and Joan Jonas was one of
the first to take advantage of it in its many iterations.
Finding this new art form compelling, the Castelli-Sonnabend Gallery in
SoHo began to produce and exhibit videos by artists including Jonas, and the
dealer Howard Wise closed his gallery on West Fifty-Seventh Street to found
6
Electronic Arts Intermix (EAI), a not-for-profit organization that rents video
productions to schools and art institutions for educational purposes. For
many years, ordering tapes through EAI or the Video Data Bank at the School
of the Art Institute of Chicago provided the opportunity to see Jonas’s
important video works, which continue to influence younger artists today.
Cape Breton Island, Nova Scotia, off the eastern coast of Canada and
hours from the nearest airport, is Jonas’s summer home. Joined by artist
friends and their children and, of course, her dogs (Sappho, then Zina, and
now the poodle Ozu), and without the everyday interruptions of urban New
York, Jonas finds the time required to let ideas flow. She spends productive
weeks in a small house by the ocean, in surroundings that serve as her
“canvas,” where she creates and records scenes and sketches for many of her
pieces. Other places and cultures Jonas has discovered on her many journeys
also find their way into her performances, videos, and spatial displays: rituals,
iconic objects, mirrors, masks, and things that cast shadows or make noise
are all sources of inspiration. The novels she reads often serve as points of
departure, as do the props she finds or makes, crafted objects and wood
sticks as well as artist’s materials—paper, chalk, and ink.
For Jonas, Cape Breton and SoHo are like yin and yang. They are the
two main sites where she translates what she has read, sensed, and thought
into her own artistic vocabulary. They are the places where her new pieces
take form.
They Come to Us without a Word was developed, in part, in Cape Breton,
where fishermen’s stories are still told. During fall and winter 2014/2015,
Jonas used a studio in Westbeth, New York for a weekly series of workshops,
where she created and recorded several of her friends’ children in playful
performances that were later screened in the exhibition. Fragments of earlier
videos are interwoven with new ones, this time narrated by (ghost) stories
from the past told in Cape Breton. Kitakyushu, a former industrial town on
Japan’s southern island, Kyushu, is where Jonas created the blue-ink fish
drawings, with their many curious shapes, and the intensely colored kites of
bamboo and Japanese paper were made by a local kite maker. A school of
fish, a fleet of kites, bees dancing, shadows cast on mirrors by blinking glass
7
�crystals on a chandelier-like circular construction—all remind us of a time
when each image, each movement and object, recalled its own history
and meaning.
They Come to Us without a Word embodies the artist’s concerns about
the condition of the world we inhabit. Jonas suggests that humans should
more carefully share their ecosystem with other creatures. We tend to forget
that bees, fish, and other animals are facing extinction, and that we must
care for the elements—the air, water, wind, and fire—that provide all of us
with what we need to live. They Come to Us without a Word is a ghostlike
reminder, like shadows of a past that might haunt our future, that we don’t pay
attention to. They Come to Us without a Word is a mature work by a senior
artist, a masterpiece.
Ute Meta Bauer, Founding Director NTU CCA Singapore and Co-curator of
They Come to Us without a Word
Joan Jonas and her dog Ozu. Photo by Moira Ricci.
Artist and Curator Biographies
Joan Jonas (b. 1936, New York, United States) is a world-renowned artist
whose work encompasses a wide range of media including video, performance,
installation, sound, text, and sculpture. Trained in art history and sculpture,
Jonas was a central figure in the performance art movement of the late 1960s,
and her experiments and productions in the late 1960s and early 1970s
continue to be crucial to the development of many contemporary art genres,
from performance and video to conceptual art and theater. Since 1968, her
practice has explored ways of seeing, the rhythms of rituals, and the authority of
objects and gestures.
Jonas is a New York native and she continues to live and work in New York
City. She received a B.A. in Art History from Mount Holyoke College, studied
sculpture at the School of the Museum of Fine Arts, Boston, and in 1965
received an M.F.A. in Sculpture from Columbia University, New York. Jonas, a
prolific and influential educator, has taught at many art institutions in Europe
and the United States. Having joined the Massachusetts Institute of Technology
8
9
�(MIT) in 1998, she is currently Professor Emerita in the MIT Program in Art,
Culture, and Technology within the School of Architecture and Planning.
The recipient of numerous honors and awards, Jonas is the only artist to
have been invited to participate at documenta in Kassel, Germany, six times
since 1972. Her most recent solo exhibitions include those at Malmö Konsthall,
Sweden (2015/2016); Hangar Bicocca, Milan, Italy (2014/2015); Centre for
Contemporary Art, Kitakyushu Project Gallery, Japan (2014); Kulturhuset
Stadsteatern, Stockholm, Sweden (2013); Proyecto Paralelo, Mexico (2013);
Contemporary Arts Museum, Houston, USA (2013); Bergen Kunsthall,
Norway (2011); and the Museum of Modern Art, New York, USA (2010). She
also has had major retrospectives at the Queens Museum of Art, New York,
USA (2004); Galerie der Stadt Stuttgart, Germany (2001) and the Stedelijk
Museum, Amsterdam (1994).
Ute Meta Bauer, Co-curator of the U.S. Pavilion for
the 56th Venice Biennale.
Since 2013, Bauer has served as Founding Director of the NTU Centre for
Contemporary Art Singapore and as a Professor at NTU’s School of Art,
Design, and Media. Prior to this, she was Dean of Fine Art at the Royal College
of Art, London; Associate Professor at MIT, Cambridge; and Founding
Director of MIT’s Program in Art, Culture, and Technology (ACT). She also
served as Founding Director of the Office for Contemporary Art (OCA), Oslo;
was Artistic Director of the 3rd berlin biennale for contemporary art; and was
a co-curator of Documenta11, Kassel, Germany. Recent curatorial projects at
the NTU CCA Singapore include Paradise Lost, Theatrical Fields, Yang
Fudong: Incidental Scripts, Simryn Gill: Hugging the Shore and Tomás
Saraceno: Arachnid Orchestra. Jam Sessions.
Paul C. Ha, Commissioner and Co-curator of the U.S. Pavilion for
the 56th Venice Biennale.
Ha is the Director of the MIT List Visual Arts Center, and has more than 25
years of professional experience in art and museum administration,
fundraising, curating, and teaching. Since joining the LVAC in 2011, Ha has
founded the exhibition program List Projects, which commissions emerging
artists to create site-specific installations at the museum. As the inaugural
Director of the CAM/Contemporary Art Museum St. Louis from 2002 to 2011,
he developed new programming that expanded the museum’s audiences both
locally and internationally, raised more than $40 million for the institution,
established a $5 million endowment—the museum’s first—and positioned
CAM as a leader in the contemporary art field. Ha has curated and worked
with over 100 artists in solo and group exhibitions, and many artists received
their first major museum exhibitions under his leadership at the List Center
and the Contemporary Art Museum St. Louis, as well as during his time as
Director at White Columns gallery in New York, and Deputy Director of
Programs and External Affairs at Yale University Art Gallery.
About Venice Biennale and the U.S. Pavilion
The Venice Biennale dates to 1895, when the first International Art Exhibition
was organized, and is one of the most important international biennials and
cultural institutions in the world. In 2015, the 56th Venice Biennale attracted
more than 500,000 visitors.
The United States Pavilion at the Venice Biennale, a building in the
neoclassical style, opened on May 4, 1930. Since 1986, the U.S. Pavilion has
been owned by the Solomon R. Guggenheim Foundation and managed by the
Peggy Guggenheim Collection in Venice, which works closely with the
Department of State and exhibition curators to install and maintain all official
U.S. exhibitions presented in the pavilion.
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�They Come to Us without a Word II
Video documentation of the performance at the
Teatro Piccolo Arsenale, Venice
July 20, 21, and 22, 2015
Alongside the exhibition at the NTU CCA Singapore, there will be a screening
of a documentation of the performance They Come to Us without a Word II.
The performance was created for the 56th Venice Biennale and presented at
the Teatro Piccolo Arsenale over three days, in conjunction with Joan Jonas’s
U.S. Pavilion installation in the Giardini. The performance involved newly
composed music by Jonas’s long-time collaborator, the American jazz pianist
and composer Jason Moran, who played the live accompaniment for the
Venice performances joined by folk singer Kate Fenner. For the first time,
Jonas performed live together with the children with whom she worked, and
who were featured in the videos shown in the U.S. Pavilion.
They Come to Us without a Word II investigates movement, space, and time
in relation to sound and the projected image. The performance at Teatro Piccolo
Arsenale was the world premiere of the piece, and this is the first presentation of
the video documentation since it was performed live at the Venice Biennale.
Joan Jonas: They Come to Us without a Word
Publication
The MIT List Visual Arts Center, Gregory R. Miller & Co., and Hatje Cantz
Verlag published an extensive catalogue for They Come to Us without a Word
in June 2015. Edited by Jane Farver and designed by Miko McGinty in close
collaboration with Joan Jonas, the publication features an extensive series of
images selected by Jonas, including production stills from the videos
projected in the U.S. Pavilion installation, drawings, and related photographs,
as well as images of the installation itself. The book includes Jonas’s poetic
notes on her process and major new essays by Ann Reynolds and Marina
Warner, as well as an interview with Jonas conducted by Ingrid Schaffner.
In addition, Gregory R. Miller & Co. published In the Shadow a Shadow:
The Work of Joan Jonas in 2015, the first comprehensive monograph of
Jonas’s work, edited by Joan Simon.
Education and Public Programs
NTU CCA Singapore provides an array of opportunities for different audiences
to engage with the exhibition. The public program is conceived as an
extension of the exhibition, developing themes that will resonate in different
fields. Comprising of Behind the Scenes, Conversations, Exhibition (de)Tours,
Screenings and Workshops, the public program brings together different
approaches to, and points of view on, the artist’s work. Behind the
Scenes provides a rare insight into the technical complexities of exhibitionmaking, and presents the chance to learn how to put together a show from
invited professionals. Our Exhibition (de)Tours, structured as a series of
presentations, are conceived as opportunities to engage with practitioners
from different fields and with different perspectives on the artist’s work.
Screenings and Conversations provide new points of entry for members of
the public to engage with the exhibited work, revealing thematic
correspondences with artists in different media. Workshops are a special
form of inquiry and research through art. Consisting of conversation,
activities, and presentations, the workshop aims to discuss different aspects
of projects closely related to the exhibition.
All programs take place at NTU Centre for Contemporary Art Singapore, Block 43
Malan Road, Gillman Barracks.
Free admission to all programs.
For updates on the public program, check the NTU CCA Singapore website
ntu.ccasingapore.org and Facebook page facebook.com/ntu.ccasingapore
Friday, 15 January 2016, 7.30–9.00 p.m.
In Conversation with artist Joan Jonas together with Ute Meta Bauer,
Founding Director, NTU CCA Singapore and Anna Daneri, Curator-inResidence, NTU CCA Singapore, curator and co-Founder
of Peephole, Milan, Italy
Performance and video pioneer Joan Jonas will discuss the process of
creating the exhibition They Come to Us without a Word with co-curator
Ute Meta Bauer and production manager Anna Daneri.
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�Tuesday, 19 January 2016, 1.00–3.00 p.m.
Behind the Scenes with Jan Kroeze, lighting designer, New York, United States
A world-renowned lighting designer and director of photography, Jan Kroeze
works across the lighting spectrum in fashion, music, performance art,
theater, and television. Focusing on Joan Jonas’s site-specific installation, he
will talk about the way light influences our experience and perception as well
as our emotional relationship to what we see. Kroeze will elaborate on the
lights he created exclusively for They Come to Us without a Word.
Wednesday, 10 February 2016, 7.30–9.00 p.m.
Exhibition (de)Tour with Filipa Ramos, Curator-in-Residence, NTU CCA
Singapore, curator, London, United Kingdom
Joan Jonas’s work is inhabited by a multitude of human and non-human
creatures, which traverse her drawings, videos, and performances in a
plurality of gestures and configurations. Assembled in idiosyncratic, nonnarrative manners, these animal selves propose new temporal conventions
and ways of being in the world. Ramos’s Exhibition (de)Tour will be a journey
across the creatures Joan Jonas summons and collaborates with through
her work.
Saturday, 23 January 2016, 11.00 a.m.–1.00 p.m.
Behind the Scenes, curatorial tour with Anna Daneri
Anna Daneri has worked with Joan Jonas on several occasions in the past,
and was the production manager for the presentation of They Come to Us
without a Word at the U.S. Pavilion during the 56th Venice Biennale. Her tour
will provide a deeper understanding of Jonas’s way of working and share
insights into how the artist developed the different elements of her exhibition.
Saturday, 30 January 2016, 10.00 a.m.–12.00 p.m.
Workshop for teachers with Kelly Reedy, artist and educator, Singapore
This workshop was developed in collaboration with Kelly Reedy, a former
lecturer at the National Institute of Education, who specializes in teaching
how museums and galleries can be used to enhance student learning through
visual arts. It was created to engage educators in contemporary art and
artistic practices, highlighting the educational aspects of each section of this
exhibition in order to better prepare for visits with their classes.
To sign up for this workshop, please email NTUCCAeducation@ntu.edu.sg
14
Friday, 12 February 2016, 7.30–10.00 p.m.
Screening of Night Fishing by Park Chan-kyong, artist and filmmaker &
Park Chan-wook, filmmaker, Seoul, South Korea
South Korea, 2011, 33 min, Korean with English subtitles
and
Manshin: Ten Thousand Spirits by Park Chan-kyong
South Korea, 2013, 104 min, Korean with English subtitles
In Night Fishing a man casually sets up for a fishing trip at the water’s edge.
Evening comes and a tug on his line presents him with the body of a woman.
While he tries to disentangle himself from the fishing lines, she comes alive.
The scene changes and the woman is now a shaman priestess in a funeral
ritual for a man who drowned in a river. He speaks through her to his relatives,
asking for forgiveness.
Manshin: Ten Thousand Spirits is a documentary telling the story of a
woman who—shunned for being possessed by spirits as a girl and oppressed
for following superstitions as an adult—grew up to be Korea’s greatest
shaman, and is now honored as a national treasure.
15
�Saturday, 13 February 2016, 1.00–4.00 p.m.
Workshop and Screening of selected films by Park Chan-kyong
Selected works are chosen and discussed which engage with topics of the
spiritual aspects of nature.
Wednesday, 17 February 2016, 7.30–10.00 p.m.
Exhibition (de)Tour with Yasser Mattar, behavioral scientist and
paranormalist, Singapore
Take a journey through Singapore’s paranormal activity with an interactive
seminar illustrating the scientific logic and methodology that paranormal
investigators use in their research. The night concludes with a spooky tour
followed by a live investigation at Labrador Park, where paranormal
phenomena have been reported.
Friday, 26 February 2016, 7.30–9.00 p.m.
Screening of More than Honey by Markus Imhoof, artist and filmmaker,
Zurich, Switzerland
Switzerland, Germany, Austria, 2012, 95 min, German, Swiss German,
English, Mandarin
In Markus Imhoof’s documentary, beekeepers, scientists, and others discuss
the world’s declining bee population and what it may mean for modern society.
Fifty years ago, Einstein had already insisted on the symbiotic relationship
binding these pollen gatherers to mankind: “If bees were to disappear from
the globe,” he predicted, “mankind would only have four years left to live.”
Wednesday, 2 March 2016, 7.30–9.00 p.m.
Exhibition (de)Tour with John Ascher, Assistant Professor, Department
of Biological Science, National University of Singapore
Ascher will explore the mysterious world of bees, from cloak-and-dagger
cuckoos, night raptors, and origami masons, to flesh-eating vultures. This talk
will introduce a spectacular range of unfamiliar morphologies and behaviours
as well as bee pollinators and explain how discoveries from research
expeditions reveal their secrets. Specimens of many of these incredible bees
will be available for viewing.
Friday, 18 March 2016, 7.30–10.00 p.m.
Screening of works selected by Mark Nash, curator, writer, Visiting
Associate Professor at NTU CCA Singapore and the School of Art, Design
and Media, Nanyang Technological University, Singapore
Lives of Performers, Yvonne Rainer, USA, 1972, 90 min, English
Wind, Joan Jonas, USA, 1968, 5:37 min, Silent
Duet, Joan Jonas, USA, 1968, 4:25 min, English
Lives of Performers, the first feature film by the choreographer and cofounder of the Judson Dance Theater Yvonne Rainer explores the overlapping
and at times, disjunctive languages of cinema and performance. Developed
from a dance performance choreographed by Rainer, it plays with generic
conventions of melodrama to explore the dilemmas of women struggling to
define themselves in relation to masculine scripts.
Wind is a 1968 performance film. Cutting between snowy fields and a raw
seashore, Jonas focuses on a group of performers moving through a
windswept landscape. The 16mm film—silent, black and white, jerky, and
sped-up—evokes early cinema, while its content locates it in the spare
minimalism of the late 1960s.
Duet is a classic early video performance. In this seminal exploration of the
phenomenology of video as a mirror and as “reality,” Jonas, face-to-face
with her own recorded image, performs a duet with herself.
16
17
�Back of p.18: faces gatefold
Saturday, 19 March 2016, 1.00–4.00 p.m.
Workshop and Screening of selected films by Mark Nash
GATEFOLD START LEFT
Mark Nash will discuss selected works chosen from a period of intense
experimentation with the new medium of video art. In their early works
Richard Foreman, Terry Fox, and Martha Rosler explore quasi-didactic
scenarios similar to those Jonas has employed in works including They Come
to Us without a Word. They all share a minimalist aesthetic dictated by the
limitations of the technology, in camera edits or rough mixes being the only
ways to transition within the standard 30 minute recording tape.
Wednesday, 30 March 2016, 7.30–9.00 p.m.
Exhibition (de)Tour with Professor Kenneth Dean, Head of Chinese
Studies Department, National University of Singapore
Kenneth Dean will confront questions like “What happens in the afterlife?”
“Do ghosts get bored and lonely?” and “Can we plan what happens to our
spirits when we die?” In the course of the Exhibition (de)Tour, Dean will
elaborate on how Chinese religion deals with ghosts through rituals
and traditions.
18
Joan Jonas, They Come to Us without a Word, 2015. Production Still. Courtesy of the artist.
�GATEFOLD INTERIOR LEFT
VELLUM PAGES
INSERTED INSIDE
DOUBLE GATEFOLD
Joan Jonas, They Come to Us without a Word, 2013–2015. Fish drawings (pigmented-inkjet
exhibition copies). Courtesy of the artist.
GATEFOLD INTERIOR RIGHT
Joan Jonas, They Come to Us without a Word, 2015. Production still. Courtesy of the artist.
�GATEFOLD END
Public Program Contributors
John Ascher is an assistant professor at the Department of Biological
Sciences of the National University of Singapore whose research focuses on
the taxonomy, distribution, ecology, and conservation of bees and wasps. He
is also a Research Associate of the Lee Kong Chian Museum of Biodiversity
Research and of the American Museum of Natural History. He received his
Ph.D. in Entomology from Cornell University in 2004. In 2005, he initiated
digitization of label data for bee specimens using web-based software, a
project later expanded to include more than ten collections.
Anna Daneri is co-founder and adjunct curator of Peep-Hole, collaborator
with Fondazione Meru (for which she initiated the Meru Art*Science Award),
and editor of Peep-Hole Sheet. In 2015 she was the production manager for
They Come to Us without a Word by Joan Jonas for the U.S. Pavilion at the
56th Venice Biennale. She has worked on international exhibitions including
Food (Geneva, 2012), The Mediterranean Approach (Venice/Marseille/Sao
Paolo, 2011), The Inadequate (project by Dora Garcìa for the 54th Venice
Biennale), Collateral (Milan/Sao Paolo, 2008), Joan Jonas - My Theater
(Trento, 2007). She collaborated with Art for the World (1996-2013) and with
Fondazione Antonio Ratti (1995-2010), and was professor of Contemporary
Art Phenomenology at the Accademia Carrara di Belle Arti in Bergamo
(2003–2007).
Professor Kenneth Dean is the head of Chinese Studies department at the
National University of Singapore. His research interests include Chinese
religions, temples, and Daoist studies. He received his B.A. in Chinese Studies
from Brown University and Ph.D. in Asian Studies from Stanford University
and has taught at McGill University, where he was Director of the Centre for
East Asian Research. Dean has been published widely and is the author of
numerous books on Daoism and Chinese religions. He has produced a
documentary, Bored in Heaven (2010), about ritual celebrations around
Chinese New Year in Southeast China.
Joan Jonas, They Come to Us without a Word, 2015. Production still. Courtesy of the artist.
39
�Jan Kroeze is a lighting designer and director of photography. He conceived
and created custom lighting for They Come to Us without a Word and They
Come to Us without a Word II during the 56th Venice Biennale. Kroeze has
worked previously with Joan Jonas for Volcano Saga (1989), and designed the
lighting for Philippe Parreno’s Anywhere, Anywhere Out of the World, Palais
de Tokyo (2013) and Merce Cunningham’s Locale (1978), as well as numerous
theater productions on and off Broadway. Artists with whom Kroeze has
collaborated include Laurie Anderson, Philip Glass, Red Grooms, Marc
Jacobs, Joan Jonas, Christian Lacroix, Karl Lagerfeld, Nam June Paik, Judy
Pfaff, Kanye West, and Robert Wilson.
Dr. Yasser Mattar is a paranormalist and behavioral scientist and as such
he has recently authored Workplace Warfare: How to Survive Incompetent
Colleagues, Horrible Bosses & Organizational Theatrics, a book on
commonplace, but nonetheless nasty, office politics. As one of the Singapore
Paranormal Investigators, he has enquired into many paranormal phenomena,
including Thai black magic, parallel dimensions, and abandoned buildings.
He conducted numerous talks and tours for organizations including Kaplan,
National University of Singapore, and School of the Arts Singapore.
Dr. Mark Nash is an independent curator and writer, and, until recently,
Professor and Head of Department, Curating Contemporary Art at the Royal
College of Art, London. Currently he is at NTU CCA Singapore and the School
of Art, Design and Media, Nanyang Technological University as Visiting
Associate Professor. Nash was Director of Fine Art Research at Central Saint
Martins and has been a senior lecturer in Film History and Theory at the
University of East London, and visiting lecturer at the Whitney Museum
Independent Study Program and the M.A. in Film Curating at Birkbeck,
University of London.
(2013), Anyang Paradise City (2011), Night Fishing (2011, co-directed with
Park Chan-wook), Radiance (2010), Sindoan (2008), Flying (2005), Power
Passage (2004), and Sets (2000). He has won various prizes including Hermès
Korea Misulsang (2004), Golden Bear Prize for short films at the Berlin
International Film Festival (2011) and Best Korean Film of the Jeonju
Internation Film Festival (2011).
Filipa Ramos is Editor in Chief of art-agenda and a lecturer in the
Experimental Film M.A. program of Kingston University, and in the M.Res. Art:
Moving Image of Central Saint Martins, both in London. Ramos is co-curator
of Vdrome, a program of screenings of films by visual artists and filmmakers.
In the past she was Associate Editor of Manifesta Journal, curator of the
Research Section of dOCUMENTA (13), and coordinator of The Most Beautiful
Kunsthalle in the World project at the Fondazione Antonio Ratti. She is the
co-author of the book Lost and Found – Crisis of Memory (2009) and is
working on a reader of writings on animals to be published in fall 2016.
Kelly Reedy has worked in Singapore for over 18 years as an artist and
educator. Her mixed media paintings, prints and installations reflect her keen
interest in the ancient techniques still used in Asian traditional arts as well as
the rich symbolism embedded in its mythologies. She has exhibited her
artwork internationally in Paris, Chicago, and Berlin, as well as locally at the
Jendela Visual Arts Space, Esplanade, the Singapore Tyler Print Institute, and
Alliance Française. Engaged in museum education for more than a decade,
she has developed educational resources for the National Gallery Singapore
and trained teachers at the National Institute of Education, specializing in
visual arts education in museums and galleries.
Park Chan-kyong is an artist and filmmaker based in Seoul, South Korea.
His subjects have extended from the Cold War to traditional Korean religious
culture, from “media-oriented memory” to “regional utopian imaginations.”
He has produced media based works such as Manshin: Ten Thousand Spirits
40
41
�42
Joan Jonas, They Come to Us without a Word, 2015. Production still. Courtesy of the artist.
43
�Joan Jonas
They Come to Us without a Word
22 January–3 April 2016
NTU Centre for Contemporary Art Singapore
The exhibition is a collaboration with the MIT List Visual Arts Center, Massachusetts
Institute of Technology, Cambridge, United States and was commissioned and first
produced for the United States Pavilion, 56th Venice Biennale.
Production Team Singapore
curator Ute Meta Bauer
production manager Anna Daneri
project manager Julie Hyun
exhibition consultant Josie Browne
lighting designer Jan Kroeze
video/sound installing Eidotech: Mathias Taupitz
technical installation Art Factory LLP
exhibition construction Kingsmen Exhibits
art handling Helutrans
assistants props and object construction Tay Yinying,
Joanna Lim, Ethrisha Liaw,
public program Magdalena Magiera
exhibition collaterals The Press Room
exhibition brochure Miko McGinty
proofreading Ben Eastham
Lenders Singapore
Joan Jonas
Gavin Brown’s Enterprise
Electronic Arts Intermix
Films Boutique
FINECUT
Moho Film
Zeitgeist Films
44
United States Pavilion - 56th Venice Biennale, Italy
9 May–22 November 2015
Commissioner and Co-Curator: Paul C. Ha, Director of the MIT List Visual Arts Center
Co-Curator Ute Meta Bauer, Founding Director of the NTU Centre for Contemporary
Art Singapore
Production Team Venice
production manager Anna Daneri
production assistant Elena Mazzi
installing team Attitudine Forma: Roberto Dipasquale, Director; Francesco Boerio,
Mattia Dipasquale, Roberto Cannata, Elisa Strinna
sound consultant Mattia Biadene
lighting designer Jan Kroeze
video/sound installing Eidotech: Bela Letto, Mathias Taupitz
logistics coordinator Jill Weinreich
u.s. pavilion project manager at the peggy guggenheim collection
Chiara Barbieri
architectural consultant Th&Ma architettura
photography Moira Ricci
mirrors Ongaro & Fuga, Murano, Venice; Salviati, Murano, Venice;
Alexander Rosenberg
kites Center for Contemporary Art, CCA Kitakyushu, Japan
curtain The Fabric Workshop and Museum, Philadelphia
exhibition copies of drawings Ediprima: Michele Lombardelli
trees Legambiente; Parco della Certosa, Isola della Certosa, Venice
and at MIT List Visual Arts Center
director Paul C. Ha
assistant director David Freilach
special projects manager Susie Allen
gallery manager Tim Llyold
public relations, marketing and social media coordinator Mark Linga
registrar and collection coordinator Alison Hatcher
administrative assistant Barbra Pine
administrative assistant Betsy Willett
mit arts communications manager Leah Talatinian
preparator John Osorio-Buck
45
�Joan Jonas Studio
Jin Jung
David Sherman
Meredith Walker
Video Production Team
video backdrops Joan Jonas
westbeth studio camera Greenhouse Media: Aaron Igler
video assistants, preproduction, new york David Dempewolf,
David Sherman
production assistants Jin Jung, SketchUp files, plans, and costumes;
Meredith Walker, props and object construction; Amos Turner, archivist
editor and project advisor Sekeena Gavagan
editors, video elements David Sherman, Joan Jonas
production stills David Sherman
performers
Westbeth Studio, New York, 2015: Zora Casebere, Noah Delorme, Lila Gavagan,
Jonas Moran, Malcolm Moran,
Willa Schwabsky
Cape Breton, 1990 to present: Sadie Bills, Ragani Haas, Katie Kehoe, Eva Jean
Mustard, Margaret Mustard, Moira Peters, Joan Jonas
Dog hoop, 1998: Eric Moskowitz and Zina Shadows, 2007: Artists in residence at
the Fondazione Antonio Ratti, Como, Italy
soundtrack David Sherman, Joan Jonas
musical fragments Jason Moran
songs Ánde Somby
music for grass Mattia Biadene
readings Joan Jonas, Adam Pendleton, Charles Ruas
sound mix Waterland Studio, Venice: Cristiano Verardo
They Come to Us without a Word II
video documentation Joan Jonas, 2015
performers
Teatro Piccolo Arsenale, 2015:
Joan Jonas with Noah Delorme, Lila Gavagan, Jin Jung, Elena Mazzi,
Jonas Moran, Malcolm Moran, Ozu
Jason Moran, Piano and accordion
Kate Fenner, Singer
voices Joan Jonas, Jan Kroeze
46
Acknowledgments
They Come to Us without a Word was first produced for the U.S. Pavilion of
the 56th Venice Biennale by the MIT List Visual Arts Center. Co-curated by
Paul C. Ha, Director of the MIT List Visual Arts Center and Ute Meta Bauer,
Founding Director of the NTU Centre for Contemporary Art Singapore. The
exhibition in Venice and its production was generously supported by U.S.
Department of State, Cynthia and John Reed, the Helen Frankenthaler
Foundation, and the Massachusetts Institute of Technology. Additional major
support was provided by the Council for the Arts at MIT, Toby Devan Lewis,
VIA Art Fund, Agnes Gund, Lambent Foundation.
This exhibition has been organized by the NTU Centre for Contemporary Art
Singapore, Nanyang Technological University with support by the Economic
Development Board, Singapore. Additional support has also been provided by
the U.S. Embassy Singapore.
The NTU CCA Singapore would like to express our gratitude to the
U.S. Embassy Singapore:
The Honorable Kirk W. Wagar, U.S. Ambassador to Singapore;
Nicholas J.C. Snyder, Counselor for Public Affairs; Melinda Page, Cultural
Affairs Coordinator and Rachael Lille Moore, Media Coordinator from the
U.S. Embassy Singapore.
The NTU CCA Singapore would also like to thank Joan Jonas Studio, New
York; the MIT List Visual Arts Centre, Cambridge; Miko McGinty, Rita Jules,
Claire Bidwell, New York; CCA Kitakyushu, DHC/ART Foundation for
Contemporary Art, Montreal; Emily Bates, Gavin Brown’s Enterprise, New
York; Sekeena Gavagan, New York; Anca Rujoiu, Singapore; Joan Simon, Los
Angeles; Michael Tay and Talenia Phua Gajardo, Singapore.
47
�NTU Centre for Contemporary Art Singapore Staff
NTU CCA Singapore Governing Council
Professor Ute Meta Bauer, founding director
Professor Freddy Boey, co-chair,
deputy president and provost, nanyang technological university (ntu)
Thien Kwee Eng, co-chair,
assistant managing director, cg consumer singapore economic
development board (edb)
Exhibitions & Residencies
Syaheedah Iskandar, curatorial assistant, exhibitions
Shona Findlay, curatorial assistant, residencies
Isrudy Shaik, executive, exhibitions
Lynda Tay, young professional trainee, exhibitions
Chu Hao Pei, young professional trainee, exhibitions
Corine Chan, young professional trainee, residencies
Research & Education
Magdalena Magiera, curator, outreach & education
Cheong Kah Kit, manager, research
Samantha Leong, executive, conference, workshops & archive
Lee Chang Ming, young professional trainee, research & education
Operations & Strategic Development
Philip Francis, deputy director,
operations and strategic development
Jasmaine Cheong, assistant director, operations & hr
Nor Jumaiyah, assistant director, communications & development
Kimberly Shen, manager, communications
Mary Loo, manager, finance
Vijayalakshmi Balankrishnan, special projects assistant
Lee Yan Yun, executive, finance & administration
Amelia Chong, young professional trainee, communications & development
Tong Shi Hui, young professional trainee, operations
48
Professor Alan Chan Kam-Leung, dean, college of humanities, arts,
& social
sciences, ntu
Professor Dorrit Vibeke Sorensen, chair, school of art, design and
media, ntu
Associate Professor Kwok Kian Woon, associate provost, student life, ntu
Kow Ree Na, director, lifestyle, edb
Dr. Eugene Tan, director, national gallery singapore
Paul Tan, deputy ceo, national arts council
NTU CCA Singapore International Advisory Board
Professor Nikos Papastergiadis, chair,
school of culture and communication, university of melbourne, australia
Ann DeMeester, director, frans hals museum, the netherlands
Chris Dercon, director, tate modern, united kingdom
Hou Hanru, artistic director, maxxi national museum of 21st-century
arts, italy
Yuko Hasegawa, chief curator, museum of contemporary art, tokyo
(mot), japan
Professor Sarat Maharaj, visual art & knowledge systems, lund
university, sweden
Philip Tinari, director, ullens center for contemporary art (ucca), china
Dr. John Tirman, executive director and principal research scientist, center
for international studies, massachusetts institute of technology (mit),
united states
49
�NTU Centre for Contemporary Art Singapore
Giving to NTU Centre for Contemporary Art Singapore
Located in Gillman Barracks, the NTU CCA Singapore is a national research
center of Nanyang Technological University and is supported by a grant from
the Economic Development Board, Singapore. The Centre is unique in its
threefold constellation of exhibitions, residencies, and academic research
and education. The NTU CCA Singapore positions itself as a space for
critical discourse and encourages new ways of thinking about Spaces of
the Curatorial in Southeast Asia and beyond. As a research center, it aims
to provide visiting researchers and curators a comprehensive study on the
contemporary art ecosystem in Singapore and the region. The Centre’s
dynamic public program serves to engage with various audiences through
lectures, workshops, open studios, film screenings and Exhibition (de)Tours.
Your generous contributions support NTU CCA Singapore’s internationallyacclaimed, research driven exhibitions, residencies and extensive educational
programs that benefit the community and the region. As a non-profit institution,
your support is crucial in the continuation of our unique programming that
enables NTU CCA Singapore to contribute to the local art scene and the
development of regional and international art infrastructures.
Since the Centre’s inauguration in October 2013, the NTU CCA Singapore
has presented several high-profile, first-to-launch exhibitions of leading
artists, making it one of the first spaces in the region to present international
exhibitions of such a scale. The Centre’s residencies program is dedicated to
facilitate the production of knowledge and research, engaging and connecting
artists, curators and researchers from Singapore, Southeast Asia and beyond,
and across various disciplines. The Centre’s seven studios support the artistic
process in the most direct way—by giving the time and locale to be fully
engaged, and the access to an interesting and immersive context to further
the space for developing ideas.
For more information on how to donate to NTU CCA Singapore,
visit www.ntu.ccasingapore.org/support.
50
Your contribution to the NTU CCA Singapore will enjoy a 250% tax deduction
in 2016. In addition, the Cultural Matching Fund, an initiative by the Ministry
of Culture, Community and Youth (MCCY) Singapore will enable us to seek
dollar-for-dollar matching of your cash donations.
51
��NTU Centre for Contemporary Art Singapore
Exhibitions:
Block 43 Malan Road, Gillman Barracks,
Singapore 109443
Office & Research Centre:
Block 6 Lock Road, #01-09/10, Gillman
Barracks, Singapore 108934
Residencies Studios:
Blocks 37 & 38 Malan Road, Gillman
Barracks, Singapore 109452 & 109441
Office: +65 6460 0300
Exhibitions: +65 6339 6503
Email: ntuccaevents@ntu.edu.sg
For updates on exhibitions
and programs
www.ntu.ccasingapore.org
www.facebook.com/ntu.ccasingapore
Instagram: @ntu_ccasingapore
Exhibition hours:
Tue–Sun 12–7 PM
Fri 12–9 PM
Mon Closed
Open on Public Holidays.
Free Admission to exhibitions,
public programs and tours.
Gillman Barracks Art & History Tours:
These free docent-led tours by Friends
of the Museum will uncover Gillman
Barracks’ rich history and introduce
its galleries and include a visit to
NTU CCA Singapore.
Tours run from Fridays to Sundays,
at varied timings. Please register at
www.gillmanbarracks.com/tours
In memory of Jane Farver (1947–2015)
For enquiries on Education Programs
and School Tours, please email
ntuccaexhibitions@ntu.edu.sg
Located at
Edited by NTU Centre for Contemporary Art Singapore. Printed January 2016.
Previous spread: Joan Jonas, installation view of They Come to Us without a Word, U.S. Pavilion,
56th Venice Biennale, 2015. Photo by Moira Ricci.
55
�In collaboration with:
Supported by:
�
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
Exhibition Resource
Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc.
Short Description
Joan Jonas: They Come to Us Without a Word Exhibition Guide
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
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Joan Jonas: <i>They Come to Us Without a Word</i> Exhibition Guide
Description
An account of the resource
Joan Jonas: <i>They Come to Us Without a Word</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2016-01-22
Contributor
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Paul C. Ha
Ute Meta Bauer
Joan Jonas
Format
The file format, physical medium, or dimensions of the resource
Guide
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
-
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PDF Text
Text
Critical strategies in performance, film and video
Nanyang Technological University
�22 AUG – 2 NOV 2014
Critical strategies in performance, film and video
Judith Barry
Stan Douglas
Joan Jonas
Isaac Julien
Eva Meyer & Eran Schaerf
Constanze Ruhm
Curated by
Ute Meta Bauer with Anca Rujoiu
�INTRODUCTION
juxtaposition, the works generate temporal
spaces for experimental action, creating
unfamiliar proximities and encounters.
Theatrical Fields evokes a deep-rooted
intertwinement of the concepts of
“theory” and “theatre”. The two terms
share etymological roots, as both derive
from the Greek word “thea”, which
means “to see”. Beyond the theatre, the
concept of theatricality also points to
introduces theatricality as a critical
the constructedness of everyday life.
strategy in performance, film and
Theatrical forms make visible how our
video. This exhibition presents six video
realities are often staged, and also the
installations shown for the first time in
ways in which our histories are constructed
Southeast Asia: Voice off by Judith Barry
and performed. The artists in this
(USA), Suspiria by Stan Douglas (Canada),
exhibition make use of various theatrical
Lines in the Sand by Joan Jonas (USA),
elements—from “script” to “play”, from
Vagabondia by Isaac Julien (UK), She Might “choreography” to “character”, from
Belong to You by Eva Meyer & Eran Schaerf “protagonist” to “voice” —to question and
(Germany / Israel), X Characters Re(hers)
re-vision society’s existing conventions,
AL by Constanze Ruhm (Austria). Situated in repetitions and rituals. The politics of
02
the theatrical, and also the theatricality
of politics configure a compelling space
that offers room for manoeuvre, and also
a retreat into a temporary exile of the
imaginary.
A series of public programmes, including a
symposium, will further explore the notion
and potential of theatricality as a critical
tool in contemporary art and culture.
Theatrical Fields is curated by Ute Meta
Bauer (CCA Founding Director) with Anca
Rujoiu (CCA Curator, Exhibitions), and was
first presented and commissioned by the
Bildmuseet, Umea in Sweden (2013).
In 2015, a catalogue including the keynotes
from the symposium and additional
commissioned essays will be published
collaboratively by the Bildmuseet Umea and
the Centre for Contemporary Art Singapore.
Assistant Exhibitions
Syaheedah Iskandar
Exhibition Design
Helen Oja
Technical Executive
Isrudy Shaik
Curatorial Interns
Bernice Ong and Kenneth Loe
Exhibition Construction
Design 18
Exhibition Installation
Art Factory LLP
Graphic Design
HJGHER
Media Relations
Regina Chan
International Media Consultant
Denhart v. Harling
Acknowledgements
Bildmuseet, Umea, Sweden; TheatreWorks,
Singapore; School of the Arts Singapore (SOTA);
Singapore Teachers’ Academy for the Arts (STAR);
Artists’ assistants: Tom Cullen, David Dempewolf,
Ofri Lapid, Brodie Smith, Tom Roscher; Anna
Ebner (Kerstin Engholm Gallery); Khim Ong; Lee
Weng Choy; the artists and the speakers.
03
�CURATORIAL STATEMENT
Theatrical Fields
—Critical strategies
in performance, film
and video
Theatrical Fields brings together
paradigmatic works by seminal artists who
exerted a strong influence on contemporary
art and its theoretical discourse. With a
focus on video installations, Theatrical
Fields presents single and multichannel
projects, where the participating artists
navigate between art, film, theatre and
dance. Situated in juxtaposition, the works
generate temporal spaces for experimental
action, creating unfamiliar proximities
and encounters. Shifting the role of
the viewer into that of an acteur who is
encouraged to enter these staged spaces,
the works and their settings foreground the
theatrical and the performative as fields of
transformative processes. The way in which
the protagonists in all the works perform,
move, speak, sing and interact with the
constructed interiors makes visible that it
is precisely this amalgam of acteurs and
interiors which produces other spaces.1
Theatrical Fields introduces theatricality
as a political methodology to deconstruct
linear ascriptions, and reconfigure them
in nuanced positions of diversity. Such
political intentions are present in French
playwright Molière’s critique of authority, in
the tradition of Italian Commedia dell’arte,
in the use of the absurd in theatre works
by Jarry, Artaud, Genet, and Beckett, in
the surrealism of Cocteau, in Nathalie
Sarraute’s deconstructions of character
and plot, in Peter Weiss’s “play within a
04
play” Marat/Sade, and in the more popular
didactic musical plays of Bertolt Brecht and
Kurt Weill.
In search for a theoretical position,
Theatrical Fields explores ephemeral
practices that resist appropriation and
operate through a process of formation,
transformation and dissolution. Following
French theory from Deleuze’s notion of
agencement2 or assemblage and from
Foucault’s dispositif3, Theatrical Fields
evokes the desire to let not only one’s body,
but also one’s mind wander in directions
that have yet to be explored. The politics
of the theatrical, and also the theatricality
of politics configure a compelling space
that offers room for manoeuvre, and
also a retreat into a temporary exile of
the imaginary.
Theatrical Fields seizes the potential of the
theatrical as an analytical and critical tool
to undermine hegemonic representations
of the real. As German philosopher Martin
Heidegger brought up for discussion in
his essay Science and Reflection,4 theory
is a theatrical process: “the word theory
stems from the Greek verb theorein […]
The verb theorein grew out of two root
words theatricality and horao. Theatricality
is the outward look, the aspect, in which
something shows itself—the outward
appearance in which it offers itself […]
The second root word in theorein, horao,
means: to look at something attentively,
to look it over, to view it closely. Thus it
follows that theorein is then horao, to look
attentively on the outward appearance
wherein what presences becomes visible
and, through such sight—seeing—to linger
with it.”
The works and films presented in the
exhibition and screening programme,
employ different methods and various
approaches, yet they all bring into play
the theatrical to question and re-vision
society’s existing scripts and histories.
By isolating characters that embody
paradigmatic roles in scripts, Stan
Douglas’s Suspiria and Constanze Ruhm’s
X Characters/ RE(hers)AL generate new
narratives and hybrid identities, so called
“ghosts” that escaped their ascribed
narratives. In Lines of Sand, Joan Jonas’s
Helen of Egypt wanders through space
and time, hence shaping a non-linear
narrative that eludes any historical and
gender fixation. The protagonist in Eran
Schaerf and Eva Meyer’s film She Might
Belong to You embodies the complexity
of a construct that positions a character
as an accumulation of layers resisting
straightforward interpretation. Blurring
boundaries between fiction and real, the
theatrical produces a space for disclosures.
In Judith Barry’s Voice off the mental and
physical space collide only to reveal one’s
inner fears and anxieties; whereas in Isaac
Julien’s Vagabondia the repressed history
of colonialism comes to life through the
vagabond wanderings of imagination. In its
staged appropriations, the performativity
of reality becomes more obvious.
The temporary migration into an imagined
space of the theatrical, the carnivalesque,
which cannot be possessed as outside of
so-called reality—a space that neither
belongs to anyone nor can be appropriated
—offers an open and therefore negotiable
space. And this imagined in-between space
of the theatrical can be used to reconfigure
another performance of reality through the
practice of theatre and theory.
Ute Meta Bauer, 2013
Notes
1
Michel Foucault: Of Other Spaces. Reprinted in Nicholas
Mirzoeff, ed.: The Visual Culture Reader. Taylor & Francis,
Inc, 1998.
2
Gilles Deleuze and Felix Guattari: A Thousand Plateaus:
Capitalism and Schizophrenia. Translated by Brian
Massumi, University of Minnesota Press, 1987.
3
Michel Foucault: The Confession of the Flesh (1977)
interview in Power/Knowledge: Selected Interviews and
Other Writings. Edited by Colin Gordon, Vintage, 1980.
4
Martin Heidegger: The Question Concerning Technology
and Other Essays. Translated by William Lovitt, New York,
Harper & Row, 1977.
05
�Judith Barry
Voice off (1999)
Installation, two channel video
projection, colour, sound, 15 mins.
Each of the two space stages a different experience of the
voice. On one side, a dreamlike sequence unfolds,
The work of artist and writer Judith Barry
spans across several disciplines: architecture,
film/video, performance, installation,
sculpture, photography and new media.
Through this rich variety of media, Barry
explores complex relationships between
issues of public address, representation, and
popular culture.
Judith Barry, film still from Voice off (1999). Courtesy of the artist and Rosamund Felsen Gallery, Los Angeles and Galerie Karin Sachs, Munich
06
Barry has shown internationally in numerous
exhibitions including: the 3rd Berlin Biennale
(2004), Sao Paolo Biennale (1994), the Venice
representing the personal, intimate and interior encounters
that one might have with the voice, with your own voice
or with other voices. These are overheard bits of speech,
interior monologues, snatches of songs; the sort of thing you
catch while moving through everyday life which both possess
you and which you try to hold on to or give yourself over to.
On the other side of the screen, a man tries to work in his
office, but he is continuously disturbed by the sounds that
he hears. He demonstrates, from a different perspective,
how, through the act of involuntarily hearing, one can also
be possessed, even haunted by a voice.
Biennales of Art and of Architecture, and the
Whitney Biennale (1987). Recent exhibitions
include: Take It Or Leave It at Hammer Museum,
Los Angeles (2014); Americana, Perez Miami
Art Museum, Miami, (2014), The Content of
Form, Generali Foundation, Vienna (2013);
Critical Episodes, MACBA, Barcelona (2013);
This will have been: Art, Love & Politics in the
1980’s, ICA, Boston (2013); The Deconstructive
Impulse, Contemporary A rt Museum, Houston
(2012); and dOCUMENTA 13, Kassel (2012). She
was awarded the Frederick Kiesler Prize for
Architecture and the Arts (2000), Best Pavilion
at the Cairo Biennale (2001), and a Guggenheim
Fellowship (2011) among others. Public Fantasy,
a collection of Barry’s essays, was published by
the ICA in London (1991).
Judith Barry was born in Columbus, Ohio, USA,
in 1954. She lives and works in New York City,
and is currently Director/Professor of the MFA
in Visual Arts at the Art Institute of Boston at
Lesley University.
07
ARTISTS AND WORKS
This two channel video and sound installation explores how
the voice might be represented visually. Projected on either
side of the shared wall this work explores ideas intrinsic
to what the voice is, in terms of possession and loss. The
viewer is exposed to two metaphoric narratives that unfold
simultaneously on the double-sided screen/wall that divides
the gallery into two identical rooms. Invited to pass through
the projection, the viewer becomes an integral component
of the installation.
�Stan Douglas
Suspiria (2003)
Installation, single channel video projection,
stereo sound. Stories recomposed and music
remixed in virtually infinite variations.
Stan Douglas, film stills from Suspiria (2002). Courtesy of the artist
08
Photographer and filmmaker Stan Douglas
has, since the late 1980’s, examined complex
intersections of narrative, fact and fiction,
while scrutinising the constructs of the
media he employs and their influence on our
understanding of reality. His interest in the
social implementation of Western ideas of
progress, particularly utopian philosophies,
is located in their often divisive political and
economic effects. Douglas’s work is often
characterized by extensive research and an
interrogation of the structural possibilities
of film and video, in concert with intricately
developed narratives.
‘ghosts’ also point to two obsolete technologies of North
American film and television history that are used and
deconstructed by Douglas, namely, Technicolor (Argento’s
Suspiria was one of the last films made in the West using
this process) and NTSC (the North American colour
television standard). The scenes appear in a random rotation
generated by computer programming, the number of
possible permutations ensuring that, most likely, visitors will
never see the same sequence repeat.
Douglas was recently awarded the Scotiabank
Photography Award (2013) and the Infinity
Award by the International Center of
Photography, New York (2012). His work has
been the subject of numerous solo and
group exhibitions at prominent institutions
worldwide, including Haus der Kunst,
Munich (2014); Minneapolis Institute of Arts,
Minnesota (2012); MOCA, Los Angeles (2012);
the Power Plant, Toronto (2011); the Solomon
R. Guggenheim Museum, New York (2010);
International Center of Photography, New York
(2008); Staatsgalerie and Württembergischer
Kunstverein, Stuttgart (2007); documenta 11, 10,
9 (2002, 1997, 1992) and three Venice Biennales
(1990, 2000, 2005).
Stan Douglas was born in Vancouver, Canada
in 1960, where he lives and work. He is faculty
member of the Graduate Studies in Art MFA
Programme, Art Center College of Design,
Pasadena, USA.
09
ARTISTS AND WORKS
Titled after Dario Argento’s classic horror film of 1977, the
piece was produced for Documenta11 (2002). With Suspiria,
the artist turns explicitly to a few historical moments
of utopian aspiration. The artist interlaces figures and
scenarios drawn from the Brothers Grimm, whose fairy-tales
helped popularised the idea of the German nation-state,
with Marx’s ‘spectres’ of Communism. Douglas’s ghosts are
shadows of futures that never came to pass: neither the
economic and social redemption promised by modernism
nor the end to alienation foretold by Communism. The
�Joan Jonas
ARTISTS AND WORKS
Lines in the Sand (2002)
Multi-media installation: various props, 3 video elements
Lines in the Sand, colour, sound, 23mins 45secs;
Drawings, colour, sound, 16mins;
Pillow Talk, colour, sound, 37mins 15secs.
Commissioned by Documenta11 (2002) and further exploring
Jonas’s interest in working cross-culturally, the multimedia
installation piece Lines in the Sand takes as source material
two works by the poet H.D. (Hilda Doolittle, a patient
of Sigmund Freud prior to World War II): Helen in Egypt
(1955) and Tribute to Freud (1944). In H.D.’s poem, based on
classical texts, as well as in Jonas’s work, the epic Trojan
War was not fought for an unfaithful Helen, but for less
prosaic reasons such as control over commercial routes and
access to the Black Sea. Narrated by Jonas, Lines in the Sand
transposes H.D.’s re-working of the story of Helen of Troy to
present-day Las Vegas, with the Luxor Hotel as a key
Performance and video art pioneer Joan
Jonas has had a far-reaching influence on
artists, students, art theorists, art historians
and curators. Since the 1960s, Jonas has
transcended genres and merged elements of
dance, modern theatre and the conventions
of Japanese Noh and Kabuki theatre into
performance and video art. In the 1980’s,
Jonas began developing her emblematic,
personal grammar of gesture, ritual and
sound into intricate, multi-textual works
that exhibit a sophisticated layering of
nonlinear narrative forms with performance,
theatricality, and electronic manipulations of
space, time and image.
10
motif. Simultaneous narratives alternate; one fragmented
(Helen in Egypt) and another in its entirety (Pillow Talk),
from the ancient Irish epic poem The Tain, in which an
Irish king and queen discuss who has the most possessions
as a manifestation of the domestic and trivial origins of
discussions about property. The artist creates a collage of
scenes on the psychological and political power of Helen,
representing Helen as an ancient metaphor for property and
a justification of all the Trojan wars to come. Juxtaposing
images, texts and gestures, through an interlocking series of
tableaux and stage sets, the artist creates an elusive, nonlinear narrative that eschews any historical fixation.
Jonas’s work has been widely exhibited and
presented six times at documenta (2012, 2002,
1987, 1982, 1977, 1972). Most recently her work
was exhibited at the CCA Kitakyushu Project
Gallery; Kulturhuset City Theatre, Stockholm;
the Museum of Modern Art, New York; MACBA,
Barcelona; the Venice Bienniale; Performa,
New York; the Sao Paolo Biennale; the Incheon
Women Biennale and the Yokohama Triennale.
In 2009, the Solomon R. Guggenheim Museum
honoured Jonas with a Lifetime Achievement
Award for her extraordinary contribution to
the field of contemporary art. Joan Jonas will
represent the United States at the 56th Venice
Biennale International Art Exhibition (2015).
Joan Jonas was born in New York City, USA,
in 1936, where she now lives and works. As an
academic, Jonas has taught at numerous art
schools and universities around the world,
including the Royal College of Art, London;
Rijksakademie van Beeldende Kunsten,
Amsterdam; CCA Kitakyushu; Kunstakademie
Stuttgart; and, between 2000 and 2014 she
served as professor at the MIT Visual Art
Program and the Program in Art, Culture and
Technology, Cambridge.
Joan Jonas, Lines in the Sand (2002). Photo: Werner Maschmann. Courtesy of the artist
11
�Isaac Julien
ARTISTS AND WORKS
Vagabondia (2000)
Two screen projection, 16mm film, digital transfer,
colour, sound, choreography by Javier De Frutos, 7mins.
Filmed in the house-turned-museum of the British architect
and art collector, Sir John Soane, Vagabondia is a film
in which curating meets choreography. A black female
conservator imagines the buried stories and the hidden
histories within the museum’s cornucopia of the works
that Soane plundered on the ‘Grand Tour’; she sees ghosts
of 18th-century Black London, a dancing vagabond figure
among them. Filmed with fluid camera movements and a
sensuous attention to lighting and camera work, Julien
Artist and filmmaker Isaac Julien draws upon
different artistic disciplines to create a poetic
visual language. His multi-screen installations
express fractured narratives that explore
memory and desire.
Julien was a founding member of the Sankofa
Film and Video Collective, one of the few
film and video workshops set up in the UK
in the 1980s to engage in a new politics of
representation. He was nominated for the
Turner Prize in 2001 for his film installations
Long Road to Mazatlán (1999) and Vagabondia
(2000). Julien has earned numerous awards,
12
makes of the museum a world of shadows, mirrors and
frames-within-frames, where the statues also dream and the
vagabond spirit of colonialism’s repressed memory comes
dancing, jerkily, back to life. In Vagabondia, the museum’s
mirrored display is transferred into a double screen
projection producing precisely the museum’s visual effects.
Museum and cinema intersect, merging the virtual with the
physical.
including the Special Teddy for Derek (a
documentary on on the English film director
Derek Jarman), Berlin International Film
Festival, Berlin (2008); an Honorary Fellow,
University of the Arts, London (2008); the
grand jury’s prize at the Kunstfilm Biennale,
Cologne, for Baltimore (2003); the Frameline
Lifetime Achievement Award (2002); and the
McDermott Award, MIT, Cambridge (2001). His
work has been shown internationally, most
recently in solo exhibitions at SESC Pompeia,
São Paolo (2012), Milwaukee Art Museum,
Milwaukee (2012); ICA, Boston (2011) and group
exhibitions at The National Museum of Modern
Art, Kyoto (2013) and the Palais de Tokyo,
Paris (2012). He participated in the 3rd Berlin
Biennale (2004) and Documenta11 (2002). His
work Ten Thousand Waves, featuring actress
Maggie Cheung, most recently was shown at
MoMA, New York (2013).
Born in London, United Kingdom, in 1960,
Julien lives and works in London. He is
currently Professor of Media Art at Staatliche
Hochschule für Gestaltung, Karlsruhe, and is
also a faculty member at the Whitney Museum
of American Art’s Independent Study Program,
New York.
Isaac Julien, Vagabondia (2000). Installation view, the Turner Prize (2001), Tate Britain, London. Courtesy of the artist and Victoria Miro Gallery, London
13
�Constanze Ruhm
X Characters / RE(hers)AL (2003/4)
Installation: posters series, website, single channel film,
colour, sound, 74mins.
Constanze Ruhm is an artist, filmmaker and
author whose artistic practice focuses on the
relation of cinema, new media and theatrical
forms, and investigates questions of female
identity and representation.
Constanze Ruhm, X Characters / RE(hers)AL (2003/4). Installation view 3rd Berlin Bienniale (2004). Courtesy of the artist
14
Ruhm’s works have been shown at international
exhibitions, as well as at film festivals, including:
Internationale Filmfestspiele / Forum Expanded
| Living Archive, Kunstwerke, Berlin, Germany
sleepwalkers, androids, phantasms, prostitutes and murder
victims start to establish relationships and new forms of
behaviour in order to connect the gaps in their scripts along
the lines of a speculative orientation towards an unknown
future. These voices emerge and shape in contradistinction
to their original roles and along the contemporary notion of
merging scripts between film, theatre, chat and back again,
into a hybrid variety of media identities.
(2013); Internationale Filmfestspiele, Berlin,
Germany (2010 and 2011); The 5th International
Video Art Biennial, Center for Contemporary
Art, Tel Aviv, Israel (2012); Tel Aviv Film Festival
(2010); The University Art Gallery / Room Gallery,
University of California, Irvine (2010); Extracity,
Antwerp (2008); Museo de la Reina Sofia, Madrid
(2008); Generali Foundation, Vienna (2006),
and 3rd Berlin Bienniale (2004). In 1995 Ruhm
represented Austria at the Venice Biennale
along with Peter Sandbichler. Ruhm also
curates exhibitions, realises publications,
and both organises and contributes to
international symposia.
Constanze Ruhm was born in Vienna, Austria
in 1965. She lives and works in Vienna and Berlin.
Since 2006, she is Professor for Art and Media
at the Academy of Fine Arts, Vienna.
15
ARTISTS AND WORKS
X Characters: RE(hers)AL releases seven female characters
from seven different movies — each an icon from the history
of modernist cinema — and joins them together as a gang of
fellow travellers, stuck in the boarding area of an airport.
Diverted from and out of their historical context, the seven
characters begin to find their bearings in a liminal situation,
or rather, a crossroads disguised as a holding pattern.
Routes intersect and new patterns emerge as these
�Eva Meyer and Eran Schaerf
ARTISTS AND WORKS
She Might Belong to You (2007)
Single channel film, colour, Sound by Peter Steckroth,
37mins.
Produced for Sculpture Projects Münster, She Might Belong
to You uses films of different genres and from different times
that play out in or against backdrops of Münster. A female
‘memory activist’ puts together an ambivalent cinematic
memory of the city. Marked by three women from three films
— Inge Deitert in Alle Jahre wieder (Every Year Again) (1967,
directed by Ulrich Schamoni), Käthe Brahms in Desperate
Journey (1942, directed by Raoul Walsh), and Luise Gumprich
in Zwischen Hoffen und Bangen (Between Hope and Fear)
(2003, directed by Markus Schröder and based on private
footage from 1937-1939) — she activates a memory that is
neither psychological nor collective. She Might Belong to You
unravels as it unfolds, precariously connecting inside and
outside, before and after, that which is one’s own and that
which is of others.
She Might (combination #1) (2007/2014)
Clothing pieces, photographs, plywood support,
installation variable
Production clothing pieces: Lisa D.
Installation layout: Ofri Lapid
She Might (combination #1) is a display of three combinations
of the multi-piece costume Meyer and Schaerf designed for
the protagonist of their film She Might Belong to You (2007).
In the film the costume is combined anew in each scene.
The patterns were derived from the costumes of three films
— Alle Jahre wieder (Schamoni), Desperate Journey (Walsh)
and Zwischen Hoffen und Bangen (Markus Schröder) — which
enabled an ever changing combinatorial costume that allows
the protagonist to wander between concepts of time and
gender. The colours of the fabrics used are informed by
the interior design of the Münster City Theatre that served
as the film’s location. Drawing on the relationship between
dressing and architecture, this colour concept points to
clothing as means of assimilation between the subject and
their surroundings.
Eva Meyer and Eran Schaerf, film still from She Might Belong To You (2007). Courtesy of the artists
16
17
�Eva Meyer and Eran Schaerf
Eva Meyer and Eran Schaerf, film still from She Might Belong To You (2007). Courtesy of the artists
18
Their most recent films include: Pro Testing,
(2010); Mein Gedächtnis beobachtet mich,
(Ambulante Documentary Film Festival, Mexico,
2008); She Might Belong to You, (Sculpture
Projects Muenster, 2007); Flashforward,
(Intermedium, Munich, 2004); Europe from
Afar, (4th International Biennale for Film and
Architecture, Graz, 2001); Record: I Love You,
(Ver Bailar, CAAC Sevilla, 1999); Documentary
Credit, (Rotterdam Film Festival, 1998).
Eva Meyer was born 1950 in Freiburg, Germany;
Eran Schaerf was born 1962 in Tel Aviv-Jaffa,
Israel, and live and work in Berlin, Germany.
They have taught at various universities and art
schools in Europe and the USA, and currently
are faculty members of the Zurich University
of the Arts.
Liska, 2009), Frei und indirekt (2010), Zählen
und Erzählen. Für eine Semiotik des Weiblichen,
Wien/Berlin (1983, reprint 2013).
Eran Schaerf’s multidisciplinary work
focuses on the architecture of narration. He
has exhibited in group-exhibitions such as
Venice Bienniale (2011), Fake or Feint (2008),
Territories (2003), Manifesta (1998), Listener’s
Voice, Brussels (2001), DOCUMENTA IX (1992).
Among his publications are: fm-scenario –
where palms stand – mask –delay, London
(2012), Blue Key, Cologne (2002), Listener’s
Voice, Brussels (2001), Re-enactment, NewYork (1996).
Eva Meyer is the author of various works of
cinematic thinking including What Does the
Veil Know? (ed. in collaboration with Vivian
19
ARTISTS AND WORKS
Writer and filmmaker Eva Meyer and artist
and filmmaker Eran Schaerf have collaborated
since 1997. They investigate locations, language
and narratives in order to propose alternative
structures of time and space for the self and
the other(s). They are especially interested in
the way processes and completely divergent,
unrelated stimuli can contribute to the
meaning of an event. Their solidarity with
their subjects may lead to a certain bias,
but their documentary fiction is never pure
or distanced; it is alternately funny, poetic
or surprising.
�PUBLIC PROGRAMMES
Symposium
Keynotes
Sat 23 August 10.30 am – 4.00 pm
The symposium takes place at TheatreWorks, 72-13 Mohamed Sultan Road, Singapore, 239007
10.30 am
Welcome Note
Ute Meta Bauer, CCA Founding Director
10.40 – 11.00 am Introduction to Theatrical Fields Anca Rujoiu, CCA Curator, Exhibitions
11.00 – 12.00 am Roundtable discussion
12.00 – 1.00pm
Lunch Break*
1.00 – 2.00 pm
Screening Theatrical Phantasms:
Toward an Uncertain Futurity
Life or Theatre? Events so far…
Eva Meyer and Eran Schaerf, Artists in conversation with Ute Meta Bauer
and Katarina Pierre, Director of Bildmuseet
Moderator: Ong Keng Sen, Festival Director of Singapore International
Festival of Arts (SIFA)
2.15 – 3.15 pm
3.30 – 4.00 pm Q+A
*Lunch will be provided by CCA.
20
Keynote, Timothy Murray, Professor of Comparative Literature
and English at Cornell University
Keynote, Eva Meyer, Artist, Writer and Filmmaker
Eva Meyer
Life or Theatre? Events so far…
“Events so far… This phrase promises
continuity. In our daily serial lives we expect
a recap of previous episodes to help us
find our way into the story. Yet in claiming
to control a plot and its characters by
specifying their time, place and identity,
this phrase turns out to be a manifestation
of seriality itself: the only thing certain is
that the narrative elements will reappear.
It is then a matter of the theatricality of
their reappearance whether or not they
disengage from representation and its
narrative, and enter a free and indirect
relation between life and theatre. “
Dr. Eva Meyer is a writer and filmmaker
based in Berlin. She currently teaches at
Zurich University of the Arts. Together with
Eran Schaerf, she is the film director of
She Might Belong to You in Theatrical Fields.
Timothy Murray
Screening Theatrical Phantasms:
Toward an Uncertain Futurity
This talk will reflect on the fascination
of artworks in Theatrical Fields with the
phantasmatic past. In providing a brief
theoretical overview of “the politics of
theatricality,” Murray will reflect on the
exhibition’s screenic re-possession of
cinematic characters, buried stories, and
influential texts in a way that challenges
the historical groundings of theatricality
in the ethnocentric certainty of culture
and law. “What happens to the relation
of mnemonic past and theatrical present
when the screen functions as the field of
phantasms that are liberated by artistic
intervention from the certainties of their
mythological, historical, and cinematic
pasts?” This emphasis on artistic retellings
in the present of weighty phantasms from
the historical past will then lead to further
reflection on their bearing on the future.
“What might it mean that prior utopian
aspirations might now be recast as the
unsettlings of uncertain futurity? Might
the contemporary re-theatricalization of
the screen provide a historically distinct
approach to futurity? Or might futurity
already be in our grasp either through the
digital orientations of ‘future cinemas’
or through the too sudden arrival of
futurity via the vexing uncertainties of the
anthropocoene and global collapse?”
Timothy Murray is Director of the Society
for the Humanities, Curator of the Rose
Goldsen Archive of New Media Art,
Professor of Comparative Literature and
English at Cornell University, and CoDirector of the Cornell/East China Normal
University Center for Comparative Culture.
He is editor of Mimesis, Masochism & Mime:
The Politics of Theatricality in Contemporary
French Thought (Michigan, 1997), and is the
author of several publications including
Digital Baroque: New Media Art and
Cinematic Folds (Minnesota 2008); Drama
Trauma: Specters of Race and Sexuality in
Performance, Video, Art (Routledge, 1997);
and Like a Film: Ideological Fantasy on
Screen, Camera, and Canvas (Routledge,
1993). Murray has taught at the School of
Criticism and Theory and BK Winter School;
Ewha Womans University in Seoul, and has
lectured widely, most recently at Tunghai
University in Tawain; East China Normal
University, Shanghai; Chinese University of
Hong Kong; Sorbonne, Paris, and Nanyang
Technological University, Singapore.
21
�PUBLIC PROGRAMMES
Roundtable Discussion
Ute Meta Bauer is curator and since 2013
Founding Director of CCA – Centre for
Contemporary Art Singapore. She was
Dean of Fine Art at the Royal College
of Art, London (2012/2013); Associate
Professor at the MIT, Cambridge, MA and
Founding Director of ACT, MIT’s Program
in Art, Culture, and Technology (2009–
2012); Founding Director of the Office for
Contemporary Art (OCA), Oslo (2002-2005);
Co-Director of the World Biennial Forum
No. 1, Gwangju (2012); Artistic Director of
the 3rd Berlin Biennale for Contemporary
Art (2004) and Co-Curator of Documenta11
(2001–2002). Recent publications include:
Intellectual Birdhouse. Artistic Practice as
Research (co-edited with F. Dombois, M.
Schwab, C. Mareis, 2012), World Biennale
Forum No 1 – Shifting Gravity (co-edited
with Hou Hanru, 2013). In 2015 she will
co-curate the US Pavilion for the 56th
Venice Bienniale International Art Exhibition
with Paul Ha, MIT List Visual Art Centre,
featuring Joan Jonas.
Katarina Pierre is director of Bildmuseet,
Umea, Sweden. Since 1995, she has
worked at Bildmuseet as a curator and was
instrumental to the internationalization
of the museum’s programme. Umea’s
University museum is a centre for
22
Public Programmes
contemporary art and visual culture and
was 2014 one of the top candidates for the
Council of Europe Museum Prize as well
as for the Swedish award Museum of the
Year. In 2014 Bildmuseet received a Special
Commendation from the European Museum
of the Year Jury.
Ong Keng Sen is festival director of the
new Singapore International Festival of Arts
(SIFA) and artistic director of TheatreWorks
Singapore (on-leave). He is a well-known
performance director and has actively
contributed to the evolution of plural
Asian aesthetics, as well as the subsequent
transglobalisation of these aesthetics in
contemporary arts. His work has been
presented in many cities worldwide. His
latest work is a Michael Nyman opera,
Facing Goya. He founded and curated the
In-Transit festival for the Haus der Kulteren
der Welt in Berlin from 2001-3. He has
taught in many universities including Das
Arts, UCLA, the University of Amsterdam
and the National University of Singapore.
He is also the founder of Arts Network Asia.
A Fulbright Scholar, Keng Sen was awarded
the prestigious Fukuoka Prize 2010 for his
work in Asian contemporary performance.
Anca Rujoiu is a Romanian curator currently
based in Singapore. She is a curator at
CCA - Centre for Contemporary Art
Singapore and co-director of FormContent,
a curatorial initiative in London. Previously,
she coordinated the public programme of
the School of Fine Art at the Royal College
of Art (UK). With FormContent she explored
various exhibition models and challenged
the relationship between artist/curator
often overlapping their roles in the process.
Her recent project with FormContent,
It’s Moving from I to It unfolded as a
performative script within a nomadic
structure testing formats of production
and distribution.
Fri 29 August Lecture Ming Wong, Artist
7.30 – 9.00 pm
Fri 5 September Exhibition Tour Miguel Escobar, Theatre Researcher
7.30 – 9.00 pm
Fri 12 September Exhibition Tour Petrus Liu, Associate Professor
7.30 – 9.00 pm for Humanities at Yale-NUS College, Singapore
Fri 26 September Artist’s Talk Judith Barry, Artist
7.30 – 9.00 pm
Fri 10 October
Exhibition Tour
Stefano Harney & Tonika Sealy,
7.30 – 9.00 pm Ground Provisions Collective
Fri 24 October Artist’s Talk* Isaac Julien, Artist
7.00 – 8.30 pm
*This lecture takes place at School of the Arts
Singapore (SOTA)
Sun 26 October
Special Brunch and Screening Session
Isaac Julien, Artist & Mark Nash, Curator
11.00 – 1.00 pm in conversation
Fri 31 October Exhibition Tour Hendrik Folkerts, Curator, Stedelijk Museum,
7.30 – 9.00 pm Amsterdam
Partner Acknowledgements
TheatreWorks and School of the Arts Singapore (SOTA)
23
�PUBLIC PROGRAMMES
As a response to Theatrical Fields, Ming
Wong will introduce his research on the
Cantonese cinema history in Hong Kong,
looking at how the arrival of Cinema
influenced traditional Cantonese opera.
Ming Wong is a Singapore-born, Berlin
based artist who creates digital media
installations informed by the history
of cinema, to explore the relationship
between language, identity and
performance. He deliberately ‘mis-casts’
himself or others in re-interpretations
of classic film scenes, often playing
multiple roles in foreign languages.
He represented Singapore at the
53rd Venice Biennale, 2009, gaining
critical acclaim for his presentation
Life of Imitation, which won a Special
Mention. Wong has also exhibited at the
Biennales of Lyon (2013), Liverpool (2012),
Singapore (2011), Sydney (2010), Gwangju
(2010), Jakarta (2009) and at numerous
international art institutions.
Miguel Escobar’s presentation will
focus on the contemporary Javanese
Wayang Kulit Shadow Puppetry and
radical re-elaborations forms of this
performance tradition.
Miguel Escobar is a translator, web
24
programmer and theatre researcher who
has lived in Mexico, The Netherlands,
Singapore and Indonesia. He is
fascinated by the intersections between
cultural heritage, digital media and
interculturalism. He is currently a PhD
candidate at the National University
of Singapore.
Entitled Normative Genders and
the Prose of the World, Petrus Liu’s
exhibition tour will address theatricality
as a political strategy to challenge
gender boundaries. Liu will offer some
reflections on the relation between
“acting” in the theatrical sense and the
political sense of “making a difference”
for people who self-identify as queer.
The talk will address various theories of
gender performativity from Judith Butler
to contemporary critical appropriations.
Petrus Liu is Associate Professor of
Humanities and Head of Literature
Studies at Yale-NUS College in Singapore.
He is the author of Stateless Subjects:
Chinese Martial Arts Fiction and
Postcolonial History (Cornell, 2011)
and Queer Marxism in China (Duke,
forthcoming).
Judith Barry (for more information on
the artist see page 07)
The talk by Stefano Harney and Tonika
Sealy relates directly to the ethos of
their collective, Ground Provisions, which
curates events around art as a political
form ‘from below,’ with particular
reference to the carnival traditions. They
will address the dialectic of regulation
and improvisation in connection to
Singapore and any city seeking status as
an art capital.
Ground Provisions Collective,
Stefano Harney and Tonika Sealy
Stefano Harney teaches ethics at
Singapore Management University. Most
recently, he co-authored with Fred
Moten The Undercommons: fugitive
planning and black study. He is a member
of the freethought curatorial collective,
and founder of the School for Study, a
collective of university researchers.
Tonika Maria Sealy is a founding partners
of Ground Provisions, a collective based
in the Caribbean and working globally
to produce art, education, and social
change. She is currently the Artistic
Coordinator for the African, Caribbean,
and Pacific Cultural Festival. Sealey holds
degrees from Manchester University (UK)
and Hult International Business School
(Shanghai).
Isaac Julien (for more information on the
artist see page 12)
Mark Nash will be in conversation with
Isaac Julien addressing the artist’s work
in Theatrical Fields, but also more recent
productions such as Playtime.
Mark Nash is an independent curator
and writer and, until recently, Professor
and Head of Department of Curating
Contemporary Art at the Royal College of
Art London. He collaborated with Okwui
Enwezor on The Short Century (2002), and
worked with Enwezor and Ute Meta Bauer
on Documenta11 (2002). Subsequently,
he joined Bauer as curator of film for
the 3rd Berlin Biennial of Contemporary
Art (2004). He has extensively curated
and written on artists who work with the
moving image – including Experiments
with Truth (Fabric Workshop and Museum,
Philadelphia 2004-05) and One Sixth of
the Earth, ecologies of image at ZKM,
Karlsruhe and MUSAC Leon, an exhibition
that continued to explore the artistic
legacy of the formerly socialist countries.
The topic he first explored in Reimagining
October at Calvert 22 (2009), co-curated
with Isaac Julien.
Hendrik Folkerts’s talk will focus on
the performance and exhibition series
Stage It! at the Stedelijk Museum
especially its second installment (2013)
which explored the relationship between
theatricality and visual art performance,
and the last edition (2014) addressing
the use of the (theatrical) script and
score in performance.
Hendrik Folkerts is Curator for public
programme since 2010 at the Stedelijk
Museum in Amsterdam. He studied Art
History at the University of Amsterdam,
specializing in contemporary art
and theory, feminist practices and
contemporary curatorial practices.
Folkerts curated the public program of
The Temporary Stedelijk at the Stedelijk
Museum, a special interim program that
was presented 2010/2011, as well as
Temporary Stedelijk 3: Stedelijk @ (TS3)
2011/2012.
25
�GLOSSARY
CARNIVAL
In a study dedicated to the work of the French
writer Rabelais, the Russian philosopher Mikhail Bakhtin conducted
an in-depth investigation of the format, imagery and specific language
of the carnival feast. Bakhtin asserts that the carnival operated in
opposition to the official culture as a double world whose existence
can be traced even in the earliest stages of our cultural development.
The carnival marks a suspension of all established orders and norms.
It is a “bodily participation in the potentiality of another world”, a
deviation from the everyday that subjects reality to its own laws
to the extent that there is no life outside the carnival. It produces
an idiosyncratic type of communication and imagery that escapes
the official daily restrictions. Unlike formal culture, the carnival is
a celebration of equality where hierarchical ranks, privileges and
prohibitions are abolished. The carnival is a communal performance,
an inclusive process that makes no distinction between actors and
spectators; everyone participates in the carnival, the carnivalistic/
esque laughter is addressed to everyone and shared by all. For Bakhtin,
carnival sits on the border between life and art: “In reality, it is life
itself, but shaped according to a certain pattern of play.”
COSTUME
“Items of clothing have quite specific connotations
but these can easily be changed, extended, or inverted with a change
in the wearer and or situation. Costume then occupies a complex
position in the theatre’s semiotic systems.” (Helen Gilbert and Joanne
Tompkins). As soon as it appears on the stage, clothing turns into
costume. In traditional approaches, the use of costume was limited
to a visual presentation of a character or idea through physical
appearance. With the stage developments of the twentieth century,
however, costume has shifted from simple character identification
towards an autonomous and aesthetic function. Costume is linked to
the body; it is always more than an ornament. It can serve the body
by adapting to the actor’s gestures, movements and attitudes or it
26
restricts the body by subjecting it to the weight of material and form.
Still the use of costume is not confined only to the theatrical context:
“so soon as clothes are anything more than a mere device of decency
or a protection against the weather they inevitably assume a dramatic
quality of some kind”, observes the English art historian James Laver.
In origin, he asserts, all clothes are, in fact, theatrical costumes. The
history of the theatrical costume goes back to the early stages of
humankind. The gesture of the primitive man putting on clothes
bears itself a dramatic value.
CHOREOGRAPHY “There is a choreographical presence in all acting,
in all the movement on the stage. Choreography has to do as much
as with the actors movement on the stage, the pace or rhythm of
the performance and the synchronization of word and gesture, as
with the arrangements of the actors on the stage. The staging does
not reproduce movements and behaviour from day life as is. They
are stylized, rendered harmonious or ‘readable’, co-ordinated for the
spectator’s gaze, worked and repeated until this staging is, so to speak,
choreographed. ”(Patrice Pavis)
F
or Brecht, “a theatre where everything depends on the ‘gest’
cannot do without choreography”, a ‘gest’ being a stylized motion,
expression or tone of voice that encapsulates and reveals the worldview
of a given character and through its repetition comes to embody the
“social relationships prevailing between people of a given period”.
CHARACTER
In theatre, the character assumes the features and
voice of the actor. The emergence of the term began as only a mask or
the role played by the actor, persona, and not the character outlined
by the dramatist. The actor and character were completely detached to
the point that gestures and words were completely separated. Western
traditional theatre reversed this relation leading to a symbiosis
between actor and character. The approach to a character followed
numerous shifts from the character development towards naturalism
with the expectation that a character is an imitation of reality to the
effacement of the character in the symbolist drama. Antonin Artaud
and Bertold Brech, two major figures of the avant-garde theatre
proposed a radical separation of actors from characters. In Brecht,
for instance, the actor distances him/herself from the character
through a moment of critical reflection in which the actors address
spectators directly about the constructedness of a character. This
moment of rupture makes visible the mechanisms of representation
and undermines any potential identification of the audience with a
character. In light of these experimentations engendering a fear of the
death of the Character, Pavis proposes that “the character is not dead;
it has merely become polymorphous and difficult to pin down; its only
hope for survival.”
DRAMATURGY
“The goal of dramaturgy is to resolve the antipathy
between the intellectual and the practical in theatre, fusing the two
into an organic whole,” mentioned playwright, and dramaturg Leon
Katz. In its broadest sense, dramaturgy could be defined as the art of
composition of plays, the study of how meaning might be generated
in drama and performance. Dramaturgy gives an understanding of
how the unity of the work is created and an analysis of what a work
can be. It can be understood as an attribute (the dramatic structure
and production elements of a particular playwright or play), a role
(a person who helps fuse a myriad of visions and intentions of key
players together in a compelling manner) or a function (seeking to
enrich the work through questioning received models of production).
Classical dramaturgy made a distinction between the internal
elements that constitute the dramatic text of a play and its external
structure that is related to the performance of the play, showing less
concern with the realisation of the play on the stage. Contemporary
theory and practice tends to give equal importance to all elements that
contribute to the overall architecture of a play and conceive of a play a
set of relationships and interactions woven together in different ways.
Writers such as Mike Pearson and Michael Shanks propose dramaturgy as a ‘cultural assembly’:“Dramaturgy, as cultural assemblage, works
equally with settings, people, bodies, things, texts, histories, voices,
architectures. In these connective networks, that are dramaturgical, it
is usual to consider things and people as separate, their conjunction
considered after their distinction. We proposed instead the inseparability of people, things, values.”
EXPOSITION
“In the exposition, the playwright provides the
information required to evaluate the dramatic situation and to
understand the action to be presented. In classical dramaturgy, the
exposition (or protasis) tends to be concentrated at the beginning
of the play in the first act or opening scenes, and that is often to
be found in a narrative or ‘naïve’ exchange of information. In the
extreme case of analytical drama, which does not show the conflict
but rather presupposes it before proceeding to analyse its causes, the
entire text becomes an extended exposition.” (Patrice Pavis)
MASK-PERSONA The creation of masks can be considered as the first
attempt by ancient man to give shape to his/her innermost
visualisations and torments to surmount fear and regain security. The
masks used in religious rituals allowed a community to transgress
the ordinary and instill a symbolic dimension in the everyday. The
production of masks was a conscious effort and a result of collective
will. In order for a mask to be effective, it needed to be recognised
as such by all members of the community. Masking carries with
it a double notion of hiding and transforming identity. The Swiss
psychiatrist Carl Jung used persona – the Latin term for mask – to
27
�GLOSSARY
refer to our way of adjusting to the world. Likewise, the persona is
the mask that protects us not only from the other people behind the
masks, but also from our real self. According to American dance
critic Walter Sorell “theatricality in everyday life is close to the
idea of wearing a mask because of the private-public opposition, as
if we always put on a mask in public, as if we are always authentic
in the private. But we have seen that we are never free from acting
and performing, and that authenticity is a concept not applicable to
behaviour, it is destructive for the psyche and problematic for identity.”
RITUAL
Ritual in general, as defined by scholars Helen
Gilbert and Joanne Tompkins who work in the field of postcolonial drama and performance theory, comprises of a series/
routine of presentational acts (showing, telling, dancing, etc.) that
often incorporate the representational (imitation, impersonation),
and sometimes manifestational acts (usually through a spiritual
dimension) which transcend both; acts that are believed to be real
and not fictional, even if aspects of play are incorporated into the
ritual. They are performed by ‘knowledgeable human agents’ (priests,
diviners) and is always efficacious for the community and enacted for
a particular audience. Secular rituals, while not specifically religious,
invoke concepts such as the state, community and tradition while a
ritual conducted in private, such as an individual’s grooming routine,
bears significance as a means of defining oneself in relation to society.
According to French sociologist Émile Durkheim “Everything changes when a ceremony takes place (…) Once the individuals are gathered
together, a sort of electricity is generated from their closeness and
quickly launches them into an extraordinary height of exaltation (…)
Probably because a collective emotion cannot be expressed collectively
without some order that permits harmony and unison of movement,
[their] gestures and cries tend to fall into rhythm and regularity and
from there into songs and dances.”
28
PLAY
“We might call it a free activity standing quite
consciously outside ‘ordinary life’ as being ‘not serious,’ but at the
same time absorbing the player intensely and utterly.” asserted the
Dutch cultural theorist, Johan Huizinga. In performance studies, play
is recognised as the potency of uncertainty, one that emphasises on
innovation and creativity. ‘Play’ according to the French philosopher
Jacques Derrida relates to the play of elements within a paradigmatic
structure which makes impossible a single holistic meaning. The
term was used by Derrida to suggest certain looseness found within
structures of processes of signification, but also the type of amusement
associated with playfulness. Play in both senses invites those processes
of internal or self-reflexive critique that Derrida has practiced as
‘Deconstruction’. ‘Play’ refers to the impossibility of seeking a single
unified meaning in any given context, thus resulting in an acceptance
of the ambiguities and contradictions of human activities.
PROTAGONIST
“The term protagonist derives from the Greek
protos (first) and agon (struggle), meaning ‘first contestant’. The term
used to designate the leading actor in a Greek tragedy. By extension,
protagonist came to refer to the main character in a tragedy as well
as to the main actor. A character in opposition or in conflict with the
protagonist as character was thus the antagonist. In modern usage,
‘protagonist’ is used to refer to the central character in a play, the one
at the centre of the conflicts, and frequently the hero.” (Patrice Pavis)
STAGE
“In the theatre, in the cinema, in traditional
literature”, says Roland Barthes “things are always seen from
somewhere”. And when it comes to theatre what is at stake is thinking
and calculating about “the place of things as they are observed.” A
stage, continues Barthes, is the result of an act of cutting out, it is
a mode of representation: it frames a segment of the real in order
to depict it. In the traditional understanding, stage is an organized
arrangement of shapes and objects, colour and materials, filled
with signs and symbols, with the goal to convince the spectator
that the universe created is real. However avant-garde experiments
undermined the pictorial tradition of stage and explored various
approaches to the point where stage design and performance became
inseparable or enabled the actors and audience to share the same
space. In his writings, Antonin Artaud advocated that the action
should be decentralised, coming from all directions and breaking
any tangible barriers between actors and spectators: “We intend to
do away with stage and auditorium, replacing them with a kind of
single undivided locale without any partitions of any kind and this
will become the very scene of the action. […] The action will unfold,
extending its trajectory from floor to floor, from place to place, with
sudden outbursts flaring up in different spots like conflagrations.”
French playwright Simone Benmussa, in restaging and subverting the
conventions of a patriarchal theatre, associates the stage with dreams: “
Stage is the reflecting surface of a dream, of a deferred dream, it is the
meeting place of the desires… (that) create around them a nebulous
zone which allows the spectator to divine the other”
MISE-EN-SCÈNE The term staging or mise-en-scène concerns all
the resources of stage performance from décor to lighting, music
and acting. In a broad sense, staging is the act of transposing the
writing of the text into scenic performance experienced by the
spectators. Staging implies the subordination of each element as to
form a complete, organic structure. The mise-en-scène is significant
for Patrice Pavis for it is able to produce a work that generates its own
values and connections instead of representing an individual author/
director’s intention’s while for Antonin Artaud it is the language
of theatre, a complete aesthetic experience where music, props,
movement, gestures come together freeing the performance from the
domination of speech means: “This archetypal theatre language will
be formed around staging not simply viewed as one degree
of refraction of the script on stage, but as a starting point for
theatrical creation.”
THEATRE
“Theatre deals with the imaginary. In other words,
it makes use of a technique of constructing space, allowing subjects
to settle there: first the construction of physical space, and then
of psychological space.”(Josette Féral). The French philosopher,
Jean-Francois Lyotard called for an energetic theatre, a theatre not
of meanings, signs, but of intensities, forces - where the “gesture
of a clinched fist no longer represents the pain produced by a
toothache”, but it stands on its own. Theatre is no longer conceived
as a representational system; on the contrary it is grounded on
nihilism, on the impossibility of substitution. Replacement
functions as an act of displacement, a continuous move in various,
and often arbitrary directions. The phenomenological approach
by playwright and dramatic theorist Bert O. States sees theatre’s
primary accomplishment as not to represent the world but to be part
of it, to effect a ‘transaction between consciousness and the thickness
of existence’. Theatre is a place for the affirmative thinking of the
inherent process of alienation (as a Marxist category). Not in the
sense that it hints to a loss of origins, to the impossibility of return to
a specific source, but as a producer of a state of indifference towards
what is exchanged in the capitalist flow. Indifference makes possible
a non-hierarchical and discontinuous circulation that abolishes the
relationship between illusion and truth, outside and inside, cause and
effect, signifier and signified.
29
�THEORY and THEATRICALITY
GLOSSARY
VOICE
Nothing is closer to us than our voice. The voice
embodies pure presence; it is the counter-point of a mediated
experience: “I do not even have to speak to you, as long as I hear
myself. I do not even have to speak: I can sing, scream, mutter, speak
to myself in silence.” (Régis Durand). The sign of pure auto-affection,
the voice is self-sufficient, in its manifestation it doesn’t borrow from
outside itself. Elusive and passing, the voice does not leave any trace or
anything one could hold on to. As an expansion of the body the voice
gives expression to our fantasies and desires. Barthes speaks of “the
grain of the voice” in theatre as anterior to expression, an “erotic mix
30
of timbre and language”. It follows fantasy’s regressive journey to a
point of origins that of “first men”, asserts Durand before they became
enslaved by words, when they were “entirely immersed in the sense,
buffeted by passion, buried in the body”.
THEATRE OF THE WORLD and THEATRE STATE
“All the world’s a stage, and all the men and women merely
players: they have their exits and their entrances; and one man
in his time plays many parts, his acts being seven ages. (William
Shakespeare) The relationship between acting and society has been
explored since antiquity, finding new resonance in the last century.
Theatre theorist Josette Féral speaks of the ‘invisible theatre’ where she
suggests, given the right “perceptual dynamics”, of seeing and being
seen, theatrical mimesis can ‘happen’ anywhere or anytime. In the
last half century, the study of theatrical, symbolic and performative
elements of state power have been a subject of much scrutiny, with
American anthropologist Clifford Geertz’s work on the infusion of
theatre into life in Bali shaping the theorising of culture and political
science, the essential idea being that “the dramaturgy of power (is
not) external to its workings’. A parallel could be drawn with Artaud’s
own encounter with Balinese theatre revolutionising his own practice
before going on to influence much of Western theatre. Extending on
Geertz’s framework, political theorists Julia C. Strauss and Donald
B. Cruise O’ Brien, when conceiving of the politics of performance
via inflecting and the mirroring of theatrical terms in society, look at
staged ceremonies as a form of ritual, street demonstrations as theatre
and dramatic speech designed to engage the emotions as individual
performances, and how these modes of performance all require a
stage/platform, an audience and deal with some concerns akin to
those of theatre.
Artaud, Antonin.
(1993) The Theatre and its Double: Essays.
Montreuil; London: Calder.
Bakhtin, M. M. (Mikhail Mikhaĭlovich).
(1984) Rabelais and his World. Bloomington,
Ind.: Indiana University Press.
Barthes, Roland.
(1997) Image, Music, Text. New York: Hill
and Wang.
E. Durkheim.
(1995) The Elementary Forms of Religious Life.
New York: Free Press.
Kennedy, Dennis.
(2010) The Oxford Companion to Theatre and
Performance. Oxford; New York: Oxford
University Press.
Laver, James.
(1982) Costume and Fashions : a concise
History. London : Thames and Hudson.
Mirzoeff, Nicholas (ed.)
(2013), The Visual Culture Reader. London :
Routledge.
Murray, Timothy (ed.)
(1997), Mimesis, Masochism, and Mime :
the Politics of Theatricality in Contemporary
French Thought. Ann Arbor: University of
Michigan Press.
Pavis, Patrice.
(1998) Dictionary of the Theatre: Terms,
Concepts, and Analysis. Toronto : University
of Toronto Press.
Payne, Michael (ed.)
(1996), A Dictionary of Cultural and Critical
Theory. Oxford [England]; Cambridge, Mass:
Blackwell Publishers.
Puchner, Martin.
(2002) The Theater in Modernist Thought. In:
New Literary History, Vol. 33, No. 3, The
Book as Character, Composition, Criticism,
and Creation. [Online] pp. 521-532.
Turner, Cathy and Behrndt, Synne K.
(2008) Dramaturgy and Performance.
Basingstoke: Palgrave Macmillan.
Sorell, Walter.
(1973) The other Face: the Mask in the Art.
London : Thames and Hudson
Gilbert, Helen and Tompkins, Joanne.
(1996) Post-Colonial Drama: Theory, Practice,
Politics. London ; New York : Routledge.
Brecht, Bertolt.
(1949) A Short Organum for the Theatre.
[Online]
Cardullo, Bert. (ed.)
(1995) What is Dramaturgy? Bern;
Switzerland : Peter Lang.
Bial, Henry (ed.)
(2007) The Performance Studies Reader.
London ; New York : Routledge.
MacDonald, Erik.
(1993) Theater at the Margins: Text and the
Post-Structured Stage. Ann Arbor : University
of Michigan Press.
Pavis, Patrice.
(2012) Contemporary Mise en Scène: Staging
Theatre Today. London ; New York : Routledge.
Fortier, Mark.
(2002) Theory/Theatre: An Introduction.
London ; New York : Routledge.
Potolsky, Matthew.
(2006) Mimesis. London ; New York :
Routledge.
Rae, Paul.
(2004) “10/12”: When Singapore Became
the Bali of the 21st Century? In: focas: Forum
On Contemporary Art & Society, No. 5,
‘Second Front’. Singapore: Substation [Online]
pp. 218-255.
Geertz, Clifford.
(1980) Negara: The Theatre State in
Nineteenth-Century Bali. Princeton, N.J. :
Princeton University Press
Strauss, Julia C. and Cruise O’Brien, Donal B.
(2007) Staging Politics: Power and
Performance in Asia and Africa. London ;
New York : I.B. Tauris
31
LIST OF SOURCES/GLOSSARY
The theoretical reflection
shares a related etymology with theatrical spectatorship. Theatre
has evolved from the Greek word theatron that stands for a ‘place for
viewing’ whereas theory derives from theorein meaning to ‘gaze upon’.
Thea - the sense of ‘sight’ - is central to both theatre production and
theoretical investigation; Performance theoretician Herbert Blau once
said “Theatre is theory, or a shadow of it… In the act of seeing, there
is already theory,” the two meet in the act of contemplation. From
Plato to Hegel, from Nietzsche to Deleuze, there is a theoretical
tradition of thought manifested in strong fascination with theatre
and theatricality. One could even speak about a theatrical turn of
philosophy from the end of the nineteenth-century throughout the
twentieth-century of indicated for instance by the appropriation
of theatrical concepts such as ‘performance’, ‘performativity’,
‘theatricality’ by critical theory. Although this interaction remained
in a state of conflictual entanglement, theatrical theory and history
of theatre operated in close relationship and influenced each other to
the point that they cannot be conceived independently. The so-called
‘anti-theatrical prejudice’ rooted in Plato’s criticism was in fact a
rejection of the theatrical apparatus of representation which was later
on dismissed by the avant-garde theatre itself through the works of
Jarry, Artaud, Beckett and others.
�Centre for Contemporary Art Singapore
The Centre for Contemporary Art Singapore
(CCA) is a research centre of Nanyang
Technological University, developed with
support from the Economic Development
Board, Singapore. Located in Gillman Barracks
alongside a cluster of international galleries,
the CCA takes a holistic approach towards art
and culture, intertwining its various platforms:
exhibitions, research and residencies.
CCA GOVERNING COUNCIL
CCA STAFF
Co-Chairs
Professor Freddy Boey, Deputy President and Provost,
Nanyang Technological University (NTU)
Ms. Thien Kwee Eng, Assistant Managing Director (CG Consumer),
Singapore, Economic Development Board (EDB)
Professor Ute Meta Bauer, Founding Director
Michelle Goh, Deputy Director, Operations,
Development & Planning
Jasmaine Cheong, Assistant Director, Operations & HR
Mary Loo, Manager, Finance
Sheila Tham, Executive, Operations & HR
Anca Rujoiu, Curator, Exhibitions
Vera Mey, Curator, Residencies
Syaheedah Iskander, Assistant, Exhibitions
Shona Findlay, Assistant Residencies
Isrudy Shaik, Executive, Exhibitions & IT
Samantha Leong, Young Professional Trainee, Research
Kenneth Loe, Bernice Ong, Melvin Tan and Samantha
Yap, Curating Lab Interns
Members
Professor Alan Chan Kam-Leung, Dean,
College of Humanities, Arts & Social Sciences, NTU
Professor Dorrit Vibeke Sorensen, Chair,
School of Art, Design and Media, NTU
Associate Professor Kwok Kian Woon,
Associate Provost (Student Life), Presidents’ Office, NTU
Ms. Kow Ree Na, Director (Lifestyle), EDB
Dr. Eugene Tan, Director, National Gallery Singapore
Mr. Paul Tan, Deputy Chief Executive, National Arts Council
�LOCATION
Centre for Contemporary Art Singapore
CCA Exhibitions, Block 43, Malan Road, Singapore 109443
CCA Offices & Research Centre, Block 6, Lock Road, Singapore 108934
CCA Studios, Block 37 & 38, Malan Road, Singapore 109443
HOURS
CCA EXHIBITIONS
Free admission
Tue-Sun 12–7 pm
Fri
12–9 pm
Mon Closed
TOURS
We offer docent-led tours for groups and schools. All groups larger than
ten individuals and all school groups must make a reservation.
CONTACT
Singapore
Teachers’
Academy for
the Arts
Email ccaevents@ntu.edu.sg
CCA Offices
+65 66840998
CCA Exhibitions +65 63396503
Visit gillmanbarracks.com/cca to reserve a time slot.
For updates on exhibitions and public programmes, visit
www.gillmanbarracks.com/cca
Follow CCA on Facebook
www.facebook/CentreForContemporaryART
�
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
Exhibition Resource
Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc.
Short Description
Theatrical Fields Exhibition Guide
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
<i>Theatrical Fields</i> Exhibition Guide
Description
An account of the resource
<i>Theatrical Fields</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-08-22
Contributor
An entity responsible for making contributions to the resource
Judith Barry
Stan Douglas
Joan Jonas
Isaac Julien
Eva Meyer
Eran Schaerf
Constanze Ruhm
Ute Meta Bauer
Anca Rujoiu
Format
The file format, physical medium, or dimensions of the resource
Guide
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
Southeast Asia
North America
Subject
The topic of the resource
Embodiment
Experiential
Theatre
Ritual
-
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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
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Joan
Surname or Business Name
Jonas
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
2016
Birthplace
United States
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
Joan Jonas is one of the most significant video and performance artists and important female artists active in the 1960s and 1970s. She pioneered the use of the two genres in visual art and was influential also in other art forms. Incorporating different media, she presents multiple viewpoints and layers of material, texture, and meanings in her work to address current issues. In 1972, she began producing video works that were ground-breaking in emphasising the experience of the medium as a conceptual device and is known for merging various genres in her fragmented video narratives.
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
United States
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
Library
Contributor Type
Artist
Birth Date
1936
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
Joan Jonas
Subject
The topic of the resource
Experiential
Embodiment
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
North America
Contributor
An entity responsible for making contributions to the resource
Joan Jonas
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Bees (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, vitrine from Bees containing two masks (plaster cloth, wire, and Japanese watercolor), two stones, instructions for bee dance (marker on paper), one photocopy, two magnifying glasses, one dead bee, and one glass bee made by Vittorio Costantini.
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Fish (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, vitrine from Fish containing one mask (plaster cloth, wire, and Japanese watercolor), nine sea-urchin shells, one sand dollar, one dried seahorse, one drawing (pigmented- inkjet exhibition copy), three photocopies, two Japanese postcards(facsimilies), six pieces of white sea cora, and one glass sea sponge.
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Wind (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Wind (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, vitrine from Wind containing one found mas, one bird’s skull, one bird’s nest, four postcards, two photocopies, one miniature glass owl made by Virrorio Costantini, and two mirrored glass props made by Alexander Rosenberg.
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Homeroom (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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Dublin Core
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Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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Dublin Core
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Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, vitrine from Homeroom containing one found mask, two glass frogs made by Vittorio Costantini, one fossil, two found black-and-white photographs, two color photographs by Joan Jonas, one photocopy, one found card, and two hand mirrors.
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Dublin Core
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Title
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NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Mirror (2015).
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Dublin Core
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Title
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NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Mirror (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Mirror (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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Dublin Core
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Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
Dublin Core
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Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
They Come to Us without a Word is a video and performance by Joan Jonas, as his first large-scale exhibition in Singapore and Southeast Asia.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2016-01-22
Exhibition End Date
2016-04-03
Collaboration
No
Commissioned Work
No
Related Countries
None
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
A name given to the resource
Joan Jonas: <i>They Come to Us Without a Word</i>
Subject
The topic of the resource
Supernatural
Ecology
Ecosystems
Biodiversity
Coexistence
Environmental Crisis
Description
An account of the resource
The NTU Centre for Contemporary Art Singapore is honoured to present <i>They Come to Us without a Word</i>, video and performance pioneer Joan Jonas’ first large-scale exhibition in Singapore and Southeast Asia. <i>They Come to Us without a Word</i> was organised for the U.S. Pavilion of the 56th Venice Biennale by the MIT List Visual Arts Center and co-curated by Paul C. Ha, Director of the MIT List Visual Arts Center and Ute Meta Bauer, Founding Director of the NTU Centre for Contemporary Art Singapore. With this exhibition Jonas evokes the fragility of nature, using her own poetic language to address the irreversible impact of human interference on the environmental equilibrium of our planet. <br /><br /><u>Acknowledgements</u> <i>They Come to Us without a Word</i> was organised for the U.S. Pavilion of the 56th Venice Biennale by the MIT List Visual Arts Center and co-curated by Paul C. Ha, Director of the MIT List Visual Arts Center and Ute Meta Bauer, Founding Director of the NTU Centre for Contemporary Art Singapore. The exhibition was generously supported by U.S. Department of State, Cynthia and John Reed, the Helen Frankenthaler Foundation, and the Massachusetts Institute of Technology. Additional major support was provided by the Council for the Arts at MIT, Toby Devan Lewis, VIA Art Fund, Agnes Gund, Lambent Foundation. <br /><br />The exhibition in Singapore is organised by the NTU Centre for Contemporary Art Singapore, Nanyang Technological University with support by the Economic Development Board, Singapore. Additional support has also been provided by the U.S. Embassy Singapore.
Contributor
An entity responsible for making contributions to the resource
Paul C. Ha
Ute Meta Bauer
Joan Jonas
Medium
The material or physical carrier of the resource.
Film
Video
Multimedia Installation
Drawing
Mixed Media
Object
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
Europe
North America
-
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Constanze Ruhm, X Characters / RE(hers)AL (2003/4). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Constanze Ruhm, X Characters / RE(hers)AL (2003/4). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Constanze Ruhm, X Characters / RE(hers)AL (2003/4). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Eva Meyer and Eran Schaerf, She might belong to you (2007), She might (combination #1) (2007/14). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Eva Meyer and Eran Schaerf, She might belong to you (2007), She might (combination #1) (2007/14). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Eva Meyer and Eran Schaerf, She might belong to you (2007), She might (combination #1) (2007/14). Courtesy NTU Centre for Contemporary Art Singapore.
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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
NTU Centre for Contemporary Art Singapore; Theatrical Fields, 22 August – 2 November 2014, Exhibition View.
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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
NTU Centre for Contemporary Art Singapore; Theatrical Fields, 22 August – 2 November 2014, Exhibition View.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Isaac Julien, Vagabondia (2000). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Isaac Julien, Vagabondia (2000). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Isaac Julien, Vagabondia (2000). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Judith Barry, Voice off (1999). Courtesy of NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Judith Barry, Voice off (1999). Courtesy of NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Judith Barry, Voice off (1999). Courtesy of NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Judith Barry, Voice off (1999). Courtesy of NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Judith Barry, Voice off (1999). Courtesy of NTU Centre for Contemporary Art Singapore.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Stan Douglas, Suspiria (2003). Courtesy NTU Centre for Contemporary Art Singapore.
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abb780392d430bbe20a086b26bc9a198
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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Stan Douglas, Suspiria (2003). Courtesy NTU Centre for Contemporary Art Singapore.
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
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Theatrical Fields introduces theatricality as a critical strategy in performance, film and video.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2014-08-22
Exhibition End Date
2014-11-02
Collaboration
No
Commissioned Work
No
Related Countries
None
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
<i>Theatrical Fields</i>
Subject
The topic of the resource
Embodiment
Experiential
Theatre
Ritual
Description
An account of the resource
<i>Theatrical Fields</i> introduces theatricality as a critical strategy in performance, film and video. This exhibition presents six video installations shown for the first time in Southeast Asia: <i>Voice off</i> by Judith Barry (USA),<i> Suspiria</i> by Stan Douglas (Canada), <i>Lines in the Sand<i> by Joan Jonas (USA), </i>Vagabondia</i> by Isaac Julien (UK), <i>She Might Belong to You</i> by Eva Meyer & Eran Schaerf (Germany / Israel), <i>X Characters Re(hers)AL</i> by Constanze Ruhm (Austria). Situated in juxtaposition, the works generate temporal spaces for experimental action, creating unfamiliar proximities and encounters. <br /><br /><i>Theatrical Fields</i> was curated by Ute Meta Bauer (Founding Director) with Anca Rujoiu (Curator for Exhibitions), and was first presented and commissioned by the Bildmuseet, Umea in Sweden (2013). <br /><br />As a collaboration, Bildmuseet Umea and NTU Centre for Contemporary Art Singapore will publish a catalogue including keynotes from the symposium and additional commissioned essays.
Contributor
An entity responsible for making contributions to the resource
Judith Barry
Stan Douglas
Joan Jonas
Isaac Julien
Eva Meyer
Eran Schaerf
Constanze Ruhm
Ute Meta Bauer
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
Europe
Medium
The material or physical carrier of the resource.
Video
Multimedia Installation
Object
Performance