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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
The Lab
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
Mary Otis Stevens. The i Press Series presents the work of pioneering American architect and thinker Mary Otis Stevens through her architectural designs and books on architecture, urbanism, and social space.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2020-02-14
Exhibition End Date
2020-08-16
Collaboration
No
Commissioned Work
No
Related Countries
United States
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>Mary Otis Stevens. The i Press Series</i>
Subject
The topic of the resource
Public Sphere
Urbanism
Geopolitics
Activism
Politics
Description
An account of the resource
<b>Mary Otis Stevens</b> (b.1928) is a pioneering American architect. Her architectural designs, along with the founding of i Press (1968-1978), an important publisher of books on architecture, urbanism, and social space, were linked to her ability to radically re-envision space and relationships. In the context of the Cold War and American political activism in the 1960s, her work, which were often in collaboration with her partner, fellow architect and i Press co-founder Thomas McNulty, revealed her foundational training in philosophy and her commitment to de-centralising hierarchies. Revisiting her work more than fifty years later, the themes of active citizen participation in government, integrated planning, and genuine risk-taking to make substantial change in people’s lives remain relevant and crucial means of incorporating a social context into the practice of architecture. On view is Mary’s sensitivity to variations, large and small, visible in her work as a publisher as well as her drawings and architectural designs. This research presentation also explores <i>The Ideal Communist City</i>, an i Press publication by Alexei Gutnov et al. from 1970 that offers a deep dive into a utopian proposition that “the new city is a world belonging to all and to each.” <br /><br />In order to help introduce the <i>i Press series on the human environment</i> to a wide audience, NTU CCA Singapore, with series editors Ute Meta Bauer (Founding Director, NTU CCA and Professor, NTU ADM), James Graham (Director of Publications, Columbia University GSAPP), and Pelin Tan (2019-2020 Keith Haring Fellow in Art and Activism, Bard College), is currently working with i Press and Mary Otis Stevens to republish several original i Press books with revisions and commentary by contemporary theorists and practitioners. <br /><br /><i>Mary Otis Stevens. The i Press Series</i> is curated by Dr Karin Oen, Deputy Director, Curatorial Programmes, NTU CCA Singapore
Contributor
An entity responsible for making contributions to the resource
Mary Otis Stevens
Karin Oen
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
North America
Medium
The material or physical carrier of the resource.
Print
-
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PDF Text
Text
THE LAB
14 FEBRUARY – 14 JUNE 2020
MARY OTIS STEVENS.
THE i PRESS SERIES
�MARY OTIS STEVENS.
THE i PRESS SERIES�
Mary Otis Stevens is a pioneering American architect based in Cambridge,
Massachusetts. Both in partnership with Thomas F. McNulty and later with Design
Guild, Stevens linked architectural projects to her civic involvements and to a radical
re-envisioning of spatial/social relationships in various media. This presentation
showcases her sketches, drawings, and designs that provide insight into concepts and
visualisations around people, space, cities, and society. In the context of the Cold War
and American political activism of the 1960s, Stevens’ work reflects her background
in philosophy and her commitment to de-centralise hierarchies. The themes of active
citizen participation in government, integrated planning, and genuine risk-taking
to make substantial change in people’s lives remain relevant and a crucial means of
incorporating a social context into the practice of architecture and other activities
affecting human wellbeing for each and for all.
This research presentation links to her role as a co-founder of i Press, an influential
publisher of books on architecture and urban theory. It also connects to NTU CCA
Singapore’s ongoing inquiry into urbanism after the Bandung Conference of 1955,
including the work of Singaporean Architects William S.W. Lim (b. 1932) and
Datuk Seri Lim Chong Keat (b. 1930), a contemporary of Mary Otis Stevens at MIT.
Lim’s books Cities for People: Reflections of a Southeast Asian Architect (1990) and
Incomplete Urbanism: A Critical Urban Strategy for Emerging Economies (2012) have
been explored at NTU CCA Singapore in multiple ways, including the exhibition
Incomplete Urbanism: Attempts of Critical Spatial Practice (2016), CITIES FOR PEOPLE
NTU CCA Ideas Fest 2016/2017, and the recently published book The Impossibility
of Mapping (Urban Asia) (2020).
Thomas F. McNulty and Mary Otis Stevens at
the Lincoln House, Massachusetts, 1965.
Stevens and McNulty founded i Press in 1968 in association with the New York
Publisher George Braziller. Between 1969 and 1974 they published five books in the
i Press series on the human environment (see page 2) Each book used architecture
and urban design as tools to explore alternatives to dysfunctional social and cultural
practices—and their underlying assumptions in societies then dominant—as well as
applying these concepts to those emerging. Writing about i Press in 1974, Stevens
reflected that, “Although the authors and i Press itself have tended toward a planning
and architectural orientation, this background has not necessarily narrowed the
contents or perspectives of either. It has, however, provided a point of departure
for visualising how urban and industrial processes affect and indeed radically shape
and alter the lives of most people in most societies today.” 1
Acknowledgements:
We would like to thank Mary Otis Stevens and the
MIT Museum Architecture and Design Collections
for their kind collaboration and support.
All images (except pages 4 and 5):
Courtesy of the artist and MIT Museum Architecture
and Design Collections.
1
�THE i PRESS SERIES ON
THE HUMAN ENVIRONMENT
NTU CCA Singapore’s
presentation in The
Lab presents a deep
dive into two of the
i Press titles: World
of Variation and The
Ideal Communist City.
Thinking about how
these books and their
content can best be
presented to new
audiences, they are
offered in multiple
formats—original, enlarged, and digital. The Ideal Communist City offers a way of
thinking about mobility, access and equity, and social interaction in neighbourhood
planning, in direct response to suburban development and its focus on private spaces
for family life. World of Variation explores the concept of variation as a fundamental
component of life and design. In Stevens’ words, “Only by variation can there be
change. Only through contrast can one measure, appraise, and relate.” 2
1969
The Ideal Communist City
English language translation of Idee per la Citta Communista (il Saggiatore,
Milano 1968) of urban concepts by architects and planners at the University of
Moscow proposing that “the new city is a world belonging to all and to each”
and “how life in the future might be in an industrial society anywhere on earth“,
Preface by Giancarlo De Carlo.
1970
World of Variation
Conceptual concepts for sustainable humanistic environments by Mary Otis Stevens
AIA and Thomas F. McNulty. “The authors of World of Variation explore this
problem of growth and order using an architectural imagery that reflects the new
social and social and visual scales of peoples’ involvement with society.”
1972
Towards a Non-Oppressive Environment
By Alexander Tzonis, it “interweaves several movements of our time:
the anthropological, linguistic, urban planning, and radical dissent…” The essay
is devoted to the description of the impact of the concepts of oppression on the
formation of theories of architecture and the emergence of a new approach
to the creation of the man-made environment.”
In order to help introduce the i Press series on the human environment to a wide
audience, NTU CCA Singapore, with series editors Ute Meta Bauer (Founding
Director, NTU CCA Singapore and Professor, NTU ADM), James D. Graham
(Director of Publications, Columbia University GSAPP), and Pelin Tan (2019-2020
Keith Haring Fellow in Art and Activism, Bard College), is currently working with
i Press and Mary Otis Stevens to republish several original i Press books with
revisions and commentary by contemporary theorists and practitioners.
1972
Playing Urban Games
A critique by Martin Kuenzlan, an “architect-urbanist from Berlin investigates
planning in highly developed capitalist societies, especially the United States, whose
cities have become scenes of physical chaos, class and race struggles, in short urban
massacres…” The book concludes with the social changes that must occur in the
planning profession as well as in society at large before either can be truly rational
and human.”
The past half century has demonstrated that the knowledges of ecologically based
societies are invaluable amidst the climate crisis and the global struggle for survival.
Many of the themes and proposals in the five published books—and those on the
original list of the i Press series on the human environment—are even more pertinent
today. Revisiting i Press fifty years later is therefore not just a project to examine
the rare out-of-print books, but a chance to re-examine the issues, architectural
concepts, and urban arguments presented by the authors and introduce them into
the discussion and contemporary debates on planning sustainable architecture
and urban development on local, national, and global scales.
1973
From Tipi to Skyscraper: A History of Women in Architecture
By Doris Cole, a critical review of the role of women in architecture, “Even the
heritage that pioneer women passed down to their female descendants was forsaken
as women were slowly cut off fromtheir men and from the public life of their
communities. The American women’s gain in comforts and leisure must be
measured against their loss of status as well as by the dulling of their pioneer spirit.”
1
2
3
2
Mary Otis Stevens, Unpublished manuscript, 12 September 1974, typescript,
MIT Museum Architecture and Design Collections.
Mary Otis Stevens, “Notes on the Theme of Variation” (unpublished manuscript,
24 November 1969), typescript, MIT Museum Architecture and Design Collections.
�Mary Otis Stevens, The i Press Series, 14 February – 26 April 2020,
NTU Centre for Contemporary Art Singapore, The Lab, installation view.
4
�With the collapse circa 1970 of the
Modern Movement, which had never
rooted in the American society, Stevens
began her search for vernacular origins
of American architecture. She was
fortunate to receive two successive
Fellowships from the National
Endowment for the Arts (1975-1978)
to continue her pursuit. That led
to Stevens teaching part time at the
Boston Architectural Center founded
in 1899 with the mission to provide
professional instruction for students
and others interested in the practice
of architecture or the allied arts,
“especially those whose employment
might interfere with such education
in day schools and universities.” As
a faculty and Board member Stevens
helped the BAC obtain accreditation.
It is now the degree granting Boston
Architectural College.
MIT Museum calls Mary Otis Stevens “one of the most important female
architects in the Northeast during the 1960s and 1970s.” Stevens graduated
from Smith College in 1949 with a degree in philosophy. Beginning in her
undergraduate years she was active in the civil rights movement, presaging
a lifelong commitment to social, political, and civic activism. Stevens entered
the architecture programme at MIT in 1953, graduating with an SBArch in
1956. Influences at MIT included Alvar Aalto, Eero Saarinen, Kevin Lynch,
and Buckminster Fuller, who was also a family friend. Stevens worked
for The Architects’ Collaborative (TAC) before launching a practice with
MIT faculty member Thomas F. McNulty (1919-1984) in 1957.
Stevens and McNulty practiced together until
1974 and were most known for the Lincoln
House—the communal concrete and glass
curvilinear house they designed for their own
family in Lincoln, Massachusetts, a rural suburb
of Boston. It won international attention.
Above: Aerial view of the
Lincoln House, Massachusetts.
Right: Mary Otis Stevens,
The internal structure of things,
drawing, 10 February 1961.
Right above: Mary Otis Stevens,
The Enclave, mixed media.
Mary Otis Stevens, together
with colleagues and students
in the Boston area, established
Design Guild (1973-1992), a
multi-disciplinary collaborative
committed to sustainable and
socially responsible developments.
Its mission statement—“to
preserve the past while building
new, and to build new what
will be worth preserving in the
future”—guided its professional
teams and daily operations
selecting projects, most in the
public domain, that were process
as opposed to product oriented.
�NTU CENTRE FOR CONTEMPORARY ART
SINGAPORE�
NTU CCA SINGAPORE STAFF
Professor Ute Meta Bauer, Founding Director, NTU CCA Singapore
and Professor, School of Art, Design and Media, NTU
EXHIBITIONS & RESIDENCIES
A member of the Boston Society of Architects since 1973, Stevens served on its Board,
co-founding Architects for Social Responsibility (ASR) to promote sustainable architecture
and planning. In association with other professional societies, ASR sponsored public
educational programmes on environmental issues, organised design charrettes dealing
with the adaptive re-use of demobilised military bases like Fort Devens, and similar
public facilities. ASR published handbooks on sustainable architectural practice and urban
planning for professionals that were widely distributed by the BSA to other AIA chapters
and the interested public.
This research presentation in The Lab is organised by NTU CCA Singapore and curated by Karin
Oen, Deputy Director, Curatorial Programmes, in collaboration with Ute Meta Bauer, Founding
Director, NTU CCA Singapore, and Professor, NTU ADM; Mary Otis Stevens; Gary Van Zante
and Jennifer Tran, MIT Museum Architecture and Design Collections. All images courtesy Mary
Otis Stevens and MIT Museum.
Above:
Mary Otis Stevens,
Cultural Collage,
mixed media.
Right:
Mary Otis Stevens,
Establishing a new
nucleus, drawing.
Dr Karin Oen, Deputy Director, Curatorial Programmes
Dr Anna Lovecchio, Curator, Residencies
Magdalena Magiera, Curator, Outreach & Education
Ana Sophie Salazar, Assistant Curator, Exhibitions
Frankie Fang, Assistant Manager, Production
Isrudy Shaik, Senior Executive, Production
Ilya Katrinnada Binte Zubaidi, Curatorial Assistant, Outreach & Education
Seet Yun Teng, Curatorial Assistant, Residencies
Susan Htoo, Young Professional Trainee, Residencies
Nurshafiqah Zainudin, Young Professional Trainee, Exhibitions
Arabelle Zhuang, Young Professional Trainee, Exhibitions
Jolene Lau, Intern, Production
RESEARCH & EDUCATION
Soh Kay Min, Executive, Conference, Workshops & Archive
Kong Yin Ying, Young Professional Trainee, Research
OPERATIONS & STRATEGIC DEVELOPMENT
Peter Lin, Deputy Director, Operations & Strategic Development
Jasmaine Cheong, Assistant Director, Operations & Human Resource
Jillian Kwan, Assistant Director, Development
Joyce Lee, Manager, Finance
Cheryl Ho, Manager, Communications
Perla Espiel, Special Project Assistant
Iris Tan, Senior Executive, Administration & Finance
Louis Tan, Executive, Operations
Ong Xue Min, Young Professional Trainee, Communications
Annette DeSouza, Young Professional Trainee, Communications & Development
�ABOUT NTU CENTRE FOR CONTEMPORARY ART SINGAPORE
A leading international art institution, NTU CCA Singapore is a platform, host,
and partner creating and driven by dynamic thinking in its three-fold constellation:
Exhibitions; Residencies Programme; Research and Academic Education.
A national research centre for contemporary art of Nanyang Technological University,
the Centre focuses on Spaces of the Curatorial. It brings forth innovative and
experimental forms of emergent artistic and curatorial practices that intersect the
present and histories of contemporary art embedded in social-political spheres with
other fields of knowledge.
NTU CCA SINGAPORE
VISITOR INFORMATION �
EXHIBITION HOURS
EXHIBITIONS
Tuesday – Sunday, 12.00 – 7.00pm
Closed on Mondays
Open on Public Holidays
(except Mondays)
Block 43 Malan Road, Singapore 109443
Tel +65 6339 6503
ntu.ccasingapore.org
ntu.ccasingapore
NTUCCASingapore
Blocks 37 and 38 Malan Road,
Singapore 109452 and 109441
RESEARCH CENTRE AND OFFICE
Block 6 Lock Road, #01-09/10,
Singapore 108934 | Tel +65 6460 0300
Enquiries:
ntuccaevents@ntu.edu.sg
School/ Group Tours:
ntuccaeducation@ntu.edu.sg
A RESEARCH CENTRE OF
LOCATED AT
© NTU Centre for Contemporary Art Singapore
Printed April 2020 by First Printers
Cover: Mary Otis Stevens, Hesitations, model.
FREE ADMISSION
RESIDENCIES STUDIOS
�
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
Mary Otis Stevens. The i Press Series Exhibition Brochure
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
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>Mary Otis Stevens. The i Press Series</i> Exhibition Brochure
Description
An account of the resource
<i>Mary Otis Stevens. The i Press Series</i> Exhibition Brochure
Date
A point or period of time associated with an event in the lifecycle of the resource
2020-02-14
Contributor
An entity responsible for making contributions to the resource
Mary Otis Stevens
Karin Oen
Format
The file format, physical medium, or dimensions of the resource
Brochure
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
North America
-
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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
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Free Jazz III. Sound. Walks., October 2 2020 – March 31 2021, Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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Ana Prvački in collaboration with Joyce Bee Tuan Koh, Galina Mihaleva, Mouthful (masked duet), 2021, installation, performance, and sound work.
Commissioned by NTU CCA Singapore for Free Jazz III. Sound. Walks. Courtesy NTU CCA 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
Ana Prvački in collaboration with Joyce Bee Tuan Koh, Galina Mihaleva, Mouthful (masked duet), 2021, installation, performance, and sound work.
Commissioned by NTU CCA Singapore for Free Jazz III. Sound. Walks. Courtesy NTU CCA Singapore.
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aab4d0d078661b9d642c3b951af1f492
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
Free Jazz III. Sound. Walks., October 2 2020 – March 31 2021, Courtesy NTU CCA 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
Collaborative and experimental by nature, Free Jazz III builds upon its past iterations by activating and challenging common understandings of exhibition-making and the use of space. Sound walks. Machines listen. We are living through unusual times.
Exhibition Mode
Festival
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
The Vitrine
Single Screen
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Online
Exhibition Start Date
2020-10-02
Exhibition End Date
2021-03-31
Collaboration
Yes
Commissioned Work
No
Related Countries
Singapore
Bangladesh
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
<em>Free Jazz III. Sound. Walks.</em>
Description
An account of the resource
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<p>Collaborative and experimental by nature, <em>Free Jazz III </em>builds upon its past iterations by activating and challenging common understandings of exhibition-making and the use of space. Sound walks. Machines listen. We are living through unusual times. </p>
<p>As the NTU Centre for Contemporary Art Singapore approaches a major transformation away from a permanent exhibition space in early 2021, <em>Free Jazz III</em> continues to explore the possibilities of an international research centre for contemporary art, featuring many artists who have been part of NTU CCA Singapore’s exhibitions, residencies, and programs since 2013, when the Centre presented <em>Free Jazz</em> as its inaugural event. The project began as a form of inquiry and an active tool to generate new possibilities for conceptualizing and programming an art institution. <em>Free Jazz III </em>convenes diverse projects united by themes of adaptation via masterful improvisation, trans-mediatic pivots, and the conscious renegotiation of our relationships to nature, technology, and each other. The disparate components of <em>Free Jazz III </em>explore the elements of dissonance, resistance, and innovation embedded in its musical namesake and the ability for sound and art to transcend physical and social distance. Embracing sound and walking as two powerful ways to overcome distance and bring people together, <em>Free Jazz III </em>comprises projects that can take place in non-gallery spaces, independently, asynchronously, or in purposeful syncopation with the present moment, reflecting on the past and looking forward to the future. </p>
<p>Admission to all programmes and events is free.</p>
<p><strong><span><a href="http://ntu.ccasingapore.org/events/sound-walks/"><em>Sound. Walks.</em></a></span><br />January–March 2021 (On-site and online)</strong></p>
<p>Reflecting on the loss of physicality through increased virtual interactions as well as many histories of sound and walking, artists address common life and communality in times of social distancing. In this series of performative explorations of sound, music, and community building, reflections take the form of soundwalks, sonic wayfinding and other physical and aural experiences, offering multiple ways for the public to actively witness, listen and participate, both remotely and on-site. Soundwalks by <strong>Tini Aliman</strong> (Singapore), <strong>Christa Donner</strong> and <strong>Andrew S Yang</strong> (United States), and <strong>Diana Lelonek </strong>(Poland) and <strong>Denim Szram</strong> (Poland/Switzerland) are propelled by sonic outputs of nature. Storytelling, correspondence, and the impossibility of direct communication factor into projects by <strong>Cheryl Ong</strong> (Singapore), <strong>Ana Prvački</strong> (Romania/Germany) in collaboration with <strong>Joyce Bee Tuan Koh</strong> (Singapore) and <strong>Galina Mihaleva </strong>(Bulgaria/Singapore), and <strong>Vivian Wang</strong> (Singapore/Switzerland). Sound, history, culture, and space overlap and intertwine in works by <strong>Arahmaiani </strong>(Indonesia) and <strong>Jimmy Ong</strong> (Singapore),<strong> bani haykal</strong> (Singapore) and <strong>Lee Weng Choy </strong>(Malaysia),<strong> Reetu Sattar</strong> (Bangladesh), and<strong> anGie Seah</strong> (Singapore).</p>
<p><em>Free Jazz III. Sound. Walks. </em>is curated by <strong>Magdalena Magiera</strong> (Germany/Singapore), NTU CCA Singapore Curator, Education and Outreach, and <strong>Dr Karin Oen</strong> (United States/Singapore), NTU CCA Singapore Deputy Director, Curatorial Programmes</p>
<p><strong><span><a href="http://ntu.ccasingapore.org/events/under-the-skin/"><em>Under the Skin</em></a><br /></span>1 December 2020 – 31 January 2021 (Online)</strong></p>
<p>World premiere and special performance<br />1 December 2020, 7pm SGT</p>
<p>This trio of performative works by artists <strong>George Chua </strong>(Singapore), <strong>Nina Djekić </strong>(Slovenia/Singapore/Netherlands), and <strong>Noor Effendy Ibrahim </strong>(Singapore) engages with sound, bodily movements, and performance. These new pieces are cinematically translated into the medium of video by filmmaker <strong>Russell Morton</strong> (Singapore) and viewed online, acknowledging the curatorial premise that, “the pandemic has pushed us into a space of dramatic convergence—where a deep tech, hyper-connected future collides with social political unrest,” in both the work itself and the medium in which it is presented.</p>
<p><em>Under the Skin</em> is curated for <em>Free Jazz III </em>by artist <strong>Cheong Kah Kit </strong>(Singapore) as part of <a href="https://www.novelwaysofbeing.sg/"><em>Proposals for Novel Ways of Being</em></a>, a united response to the changes brought about by COVID-19 hosted by twelve Singapore arts institutions, initiated by the National Gallery Singapore and Singapore Art Museum.</p>
<p><strong>Partner programmes:</strong></p>
<p><strong><span><a href="https://machinelistening.exposed/curriculum/"><em>Machine Listening, a curriculum</em></a></span><br />From October 2020 (Online)</strong></p>
<p>Expanded collaborations and explorations of curatorial spaces also took form in support of <em>Machine Listening, a curriculum</em> instigated by Melbourne-based <strong>Liquid Architecture</strong>. This evolving online resource, comprising existing and newly commissioned writing, interviews, music and artworks is a new investigation and experiment in collective learning around the emergent field of machine listening. It premiered with three online sessions open to all as part of <span><a href="https://www.unsound.pl/en/intermission"><em>Unsound 2020: Intermission</em></a></span>, an experimental sound festival in Krakow, Poland. NTU CCA Singapore and Liquid Architecture will convene another collaborative online session open to the public in early 2021.</p>
<p><em>Machine Listening, a curriculum </em>is curated by <strong>Sean Dockray</strong>, <strong>Dr James Parker</strong>, and <strong>Joel Stern </strong>(all Australia).</p>
<p>Visit the evolving<span> </span><span><a href="https://machinelistening.exposed/curriculum/">open source curriculum</a></span><span> </span>and the recorded Unsound sessions:</p>
<p><span><a href="https://www.youtube.com/watch?v=ddnvR7IGpes">(Against) the coming world of listening machines</a></span><br /><span><a href="https://www.youtube.com/watch?v=aM5SVoMBnKI&t=2935s">Lessons in How (Not) to be Heard</a></span><br /><span><a href="https://www.youtube.com/watch?v=vuNmI9Xdgpo&t=7795s">Listening with the Pandemic</a></span></p>
</div>
</div>
</div>
</div>
<p><span><em><strong>Sollum</strong><strong> Swaramum<br /></strong></em></span><strong>26 February 2021, 7.30 – 9.00pm</strong><strong><br />On-Site at Blk 43 Malan Road</strong></p>
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<p>Presented in collaboration with The Arts House’s Poetry with Music series, the 4th edition of<span> </span><em>Sollum Swaramum</em>, brings together musicians <strong>Ramesh Krishnan</strong>,<span> </span><strong>Mohamed Noor</strong><span> </span>and<span> </span><strong>Munir Alsagoff</strong><span> </span>in exploration of the synergies between music and text, with devised and improvised texts based on the work of Tamil literary stalwarts<span> </span><strong>P Krishnan</strong>,<span> </span><strong>Ma Ilangkannnan</strong><span> </span>and<span> </span><strong>Rama Kannabiran</strong>. These newly devised texts are written by<span> </span><strong>Harini V</strong>,<span> </span><strong>Ashwinii Selvarai</strong><span> </span>and<span> </span><strong>Bharathi Moorthiappan</strong>, performed by<span> </span><strong>Sivakumar Palakrishnan</strong>, and art direction by<span> </span><strong>Laura Miotto</strong>.</p>
<p>Curated by Magdalena Magiera, Curator, Outreach and Education, and Dr. Karin Oen, Deputy Director, Curatorial Programmes, NTU CCA Singapore. </p>
<p><em>Free Jazz III. Sound. Walks.</em><span> </span>presented in partnership with Proposals for Novel Ways of Being, The Arts House, Liquid Architecture, as part of Singapore Art week, supported by National Arts Council.</p>
</div>
</div>
</div>
</div>
Contributor
An entity responsible for making contributions to the resource
Tini Aliman
Christa Donner
Andrew S Yang
Diana Lelonek
Denim Szram
Cheryl Ong
Ana Prvački
Joyce Bee Tuan Koh
Galina Mihaleva
Vivian Wang
Arahmaiani
Jimmy Ong
bani haykal
Lee Weng Choy
Reetu Sattar
anGie Seah
Magdalena Magiera
Karin Oen
George Chua
Nina Djekić
Russell Morton
Noor Effendy Ibrahim
Cheong Kah Kit
Liquid Architecture
Ramesh Krishnan
Laura Miotto
Mohamed Noor
Harini V
Ashwinii Selvarai
Bharathi Moorthiappan
Sivakumar Palakrishnan
Munir Alsagoff
Nanthiyni Aravindan
Sean Dockray
James Parker
Joel Stern
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Performance
Body
Nature
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Environmental researchers Dr Serina Abdul Rahman and Dr Janelle Thompson will present their findings on floral and faunal marine communities, as well assustainable and ecological solutions.
Programme Type
Conference and Symposium
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Audience
General
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Presentation and Conversation: Eco-Hacktivism with Irene Agrivina, artist; inhabitants, artists; Dr Serina Abdul Rahman, Visiting Fellow, ISEAS-Yusof Ishak Institute, Singapore; and Janelle Thompson, Associate Professor, Asian School of the Environment, NTU; moderated by Dr Karin Oen, Deputy Director, Curatorial Programmes, NTU CCA Singapore
Description
An account of the resource
<div class="event_single_dates text__exhibitions">23 Nov 2019, Sat 02:00 PM - 07:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br />With practices at the intersection of art and activism, Irene Agrivina and inhabitants will share more about their works, on view in the Exhibition Hall and the Lab respectively. While Agrivina teaches local women communities in Indonesia how to transform wastewater into valuable goods, inhabitants informs a wider public about the threats of seabed mining. Environmental researchers Dr Serina Abdul Rahman and Dr Janelle Thompson will present their findings on floral and faunal marine communities, as well as sustainable and ecological solutions regarding natural resources.<br /><br />Part of Symposium: Techno-Optimism and Eco-Hacktivism
Date
A point or period of time associated with an event in the lifecycle of the resource
2019-11-23
Contributor
An entity responsible for making contributions to the resource
Serina Abdul Rahman
Janelle Thompson
Karin Oen
Irene Agrivina
inhabitants
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Activism
Nature
Oceans & Seas
Sustainability
-
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
This convening builds upon the idea of a multiplicity of storytellers and intergenerational, intercultural linkages in art, activism, stories, and histories.
Programme Type
Discussion - Panel
Screening
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
Yes
Commissioned Work
No
Related Countries
Singapore
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Audience
General
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A Convening: Mother Always has a Mother
Description
An account of the resource
In “Grandma’s Story,” the last chapter of artist, filmmaker and theorist Trinh T. Minh-ha’s Woman, Native, Other (1989), she writes that, “The story depends upon every one of us to come into being. It needs us all, needs our remembering, understanding, and creating what we have heard together to keep on coming into being.” <br /><br />Co-presented by NTU CCA Singapore, the CCA Wattis Institute for Contemporary Arts, and Rockbund Art Museum, this convening builds upon the idea of a multiplicity of storytellers and intergenerational, intercultural linkages in art, activism, stories, and histories. A two-part programme, the first segment involves a conversation between artists Hồng-Ân Trương and Ranu Mukherjee (both United States), reflecting on the Wattis’ year-long research season on the practice of Trinh T. Minh-ha. The conversation will close by screening video artworks by Ranu Mukherjee, 0rphan drift, and Genevieve Quick (United States), then the convening flows into a panel discussion with short presentations by Jungmin Choi (Korea), Eunsong Kim (United States), Green Zeng (Singapore) and Billy Tang (United Kingdom/China), exploring intergenerational dialogues, transnational and diasporic identities, and activism in creative practice and public life.<br /><p>10.00 – 11.00am<br /><strong>In Conversation: Hồng-Ân Trương</strong> (United States) and <strong>Ranu Mukherjee</strong> (United States), moderated by <strong>Kim Nguyen</strong> (Canada/United States)</p>
<p>11.00 – 11.20am<br /><strong>Video Art Screenings: <em>Home and the World</em></strong> (2015) and <em><strong>Dear Future</strong></em> (2020) by <strong>Ranu Mukherjee</strong>(United States), <em><strong>IF AI / AIBOHPORTSUALC</strong></em> (2020) by <strong>0rphan drift</strong> (Ranu Mukherjee and Maggie Roberts), and <em><strong>Planet Celadon: Operation Completed</strong></em> (2020) by <strong>Genevieve Quick</strong> (United States)</p>
<p>11.30am – 1.00pm<br /><strong>Panel Discussion: </strong><em><strong>The Welling Up and the Very Coursing of Water: On the Transnational, the Transgenerational, and the Diasporic</strong></em><br />Moderators: <strong>Kim Nguyen </strong>and<strong> Dr Karin Oen</strong> (United States/Singapore)<br />Panelists: <strong>Jungmin Choi</strong> (Korea), <strong>Eunsong Kim</strong> (Korea/United States), and <strong>Green Zeng</strong> (Singapore)<br />Respondent: <strong>Billy Tang</strong> (United Kingdom/China)</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2020-12-12
Contributor
An entity responsible for making contributions to the resource
Hồng-Ân Trương
Ranu Mukherjee
Kim Nguyen
Genevieve Quick
Karin Oen
Eunsong Kim
Jungmin Choi
Green Zeng
Billy Tang
Hong-An Truong
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
Subject
The topic of the resource
Identity
History
Diaspora
Migration
-
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Dublin Core
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Title
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Contributors
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First Name
Karin
Surname or Business Name
Oen
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
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2019 - 2022
Affiliation
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NTU Centre for Contemporary Art Singapore
Nanyang Technological University (NTU), Singapore
Birthplace
United States
Occupation
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Deputy Director, Curatorial Programmes
Senior Lecturer and Head of Department, Art History
Biographical Text
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<span>Karin G. Oen was Deputy Director, Curatorial Programmes, at the NTU Centre for Contemporary Art Singapore from 2019 - 2021. She received her PhD in the History, Theory, and Criticism of Art and Architecture from MIT. A global modernist, she has recently focused on curatorial projects that explore transmediatic, transcultural, and transhistorical discourse. Oen is the curator of the forthcoming exhibition, </span><i>teamLab: Continuity</i><span>, at the </span>Asian Art Museum of San Francisco<span>, where she was a curator from 2015-2019. She is currently Senior Lecturer and Head of Department, Art History at Nanyang Technological University.</span>
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United States
Singapore
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Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
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Course Facilitator
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
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Karin Oen
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Southeast Asia
Contributor
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Karin Oen
-
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Title
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Programmes
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Programme Type
Conference and Symposium
Audience
Graduate/Post-Graduate
Programme Series
None
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
Yes
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
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Conference: “There is no such thing as <em>documentary</em>”
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History
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Description
An account of the resource
<p>As the concluding programme of the exhibition<span> </span><em>Trinh T. Minh-ha. Films</em>. (17 October 2020 – 28 February 2021) at NTU CCA Singapore, this four-part conference brings together scholars and practitioners across filmic, anthropological and curatorial disciplines, addressing notions of multivocality, performativity, and truth in fiction, through Trinh’s practice as a filmmaker and theorist.</p>
<p>As Trinh wrote: “There is no such thing as<span> </span><em>documentary</em>…The words will not ring true.” Both a response and homage to Trinh’s provocation, and at once a close but also an opening, the conference extends multiple threads of inquiry beyond the ontological frames presented in Trinh’s films, to further explore the theoretical parallels and proximities between arrangement and composition, territorialisation and deterritorisalisation, that underscore Trinh’s cinematic works.</p>
<p>Co-organised by Dr Erika Balsom (Canada/United Kingdom), Prof Ute Meta Bauer (Germany/Singapore), Dr Marc Glöde(Germany/Singapore), and Dr Ella Raidel (Austria/Singapore)</p>
<p>Presented in collaboration with King’s College London</p>
<p>Supported by NTU Centre for Liberal Arts and Social Sciences<br /><br /></p>
<p><strong>PROGRAMME SCHEDULE</strong></p>
<p> </p>
<p><strong>Friday, 26 February 2021, 4.00 – 7.00pm (SGT)</strong></p>
<p><strong>Session 1:<span> </span><em>Speaking Nearby<br /></em>Chaired by Dr Erika Balsom (Canada/United Kingdom), Reader, Film Studies, King’s College London (KCL)</strong><br /><br /><br /></p>
<p>This session will explore historical and contextual approaches to films and writings of Trinh T. Minh-ha, putting her work into dialogue with questions of intercultural cinema, the critique of documentary naturalism, and the relationship between film theory and film practice. In particular, speakers will think through how notions of “speaking nearby” and “speaking about” may serve as a lens through which to open broader considerations of the aesthetics, ethics, and politics of Trinh’s cross-disciplinary work.</p>
<p> </p>
<p>4.00 – 4.10pm Introduction</p>
<p>4.10 – 4.25pm Welcome address by<span> </span><strong>Prof Ute Meta Bauer<br /></strong></p>
<p>4.25 – 5.15pm <span> </span><strong>Keynote Lecture:<span> </span><em>Is there still no such thing as documentary?</em></strong><span> </span>by<span> </span><strong>Dr Erika Balsom</strong></p>
<p>Some thirty years ago, Trinh wrote, “There is no such thing as documentary… The words will not ring true.” This presentation will explore the context and meaning of this declaration. With reference to Trinh’s <em>What About China? </em>(Part I of II, 2020–2021) and other recent works of experimental nonfiction, it will question how this notion resonates today, some thirty years after its original formulation. </p>
<p>5.15 – 5.45pm Break</p>
<p>5.45 – 6.15pm <span> </span><strong>Presentation:<span> </span><em>What about Foreigners? Or, How Far Away is Nearby?</em><em> </em></strong><strong><em>Notes about Harmony, Trinh T. Minh-ha’s What About China? </em></strong><strong><em>and </em></strong><strong><em>Michelangelo<span> </span></em></strong><strong><em>Antonioni’s<span> </span></em></strong><strong><em>Chung Kuo, Cina<span> </span></em></strong>by<span> </span><strong>Prof Chris Berry</strong><span> </span>(United Kingdom), Professor, Film Studies, KCL</p>
<p>This presentation draws on the juxtapositions between Trinh’s focus on harmony in<span> </span><em>What About China?<span> </span></em>(Part I of II, 2020–2021) and Michelangelo Antonioni’s very un-harmonious experiences with his 1972 film<span> </span><em>Chung Kuo, Cina</em>, which was denounced by the Chinese government that had invited him to film in the country. The maintenance of a “harmonious society” (和谐社会) is an ancient Chinese ideal, much cited by the Chinese Communist Party in the twenty-first century. Was Antonioni’s film lacking in aesthetic harmony? Was Antonioni’s behaviour un-harmonious? Is Trinh’s famous “speaking alongside” a harmonious mode of filmmaking? What are some of the different ideas about harmony and the treatment of foreigners that might inform our understanding of these films?</p>
<p>6.15 – 6.45pm <span> </span><strong>Presentation:<span> </span><em>‘About’ theory. About.<span> </span></em></strong>by<span> </span><strong>Dr Nicolas Helm-Grovas<span> </span></strong>(Spain/United Kingdom), Lecturer, Film Studies, Education, KCL</p>
<p>‘About the cinema. About. The words will not ring true.’ In “Documentary Is/Not a Name,” Trinh asks: “How is one to cope with a “film theory” that can never theorise “about” film, but only with concepts that film raises in relation to concepts of other practices?” Whereas film theory is frequently understood as a form of metalanguage—as a systematic, explanatory, conceptual and/or speculative discourse that speaks<span> </span><em>about</em><span> </span>an object discourse, film—here it is precisely the relation of ‘aboutness’ that is criticised. This talk unpacks this objection to ‘aboutness’, arguing that it has both a political or ethical dimension, drawing on a Foucauldian critique of the disciplinary nature of speaking<span> </span><em>about</em>, closely tied to Trinh’s critique of historic forms of documentary representation; and a conceptual or discursive dimension, based on a Barthesian critique of the distinction between science and literature from the standpoint of ‘writing’. Destabilising distinctions between theoretical discourse and artistic discourse, films and writing, theory and practice, what does this critique mean for the practice of film theory, and for the designation of certain films, including Trinh’s, as ‘theoretical’?</p>
<p>6.45 – 7.00pm Response by<span> </span><strong>Dr Daniel Mann</strong><span> </span>(Israel/United Kingdom), Leverhulme Early Career Fellow, KCL<br /><br /></p>
<p><strong>Saturday, 27 February 2021, 1.30 – 7.00pm (SGT)</strong></p>
<p><strong>Session 2:<span> </span><em>Filmic Interferences<br /></em>Chaired by Dr Marc Glöde (Germany/Singapore), Assistant Professor, NTU School of Art, Design and Media</strong><br /><br /><br /></p>
<p><em>Filmic Interferences</em> is a panel that will highlight the aspect of filmmaking from the perspective of contemporary filmmakers. It will address the changing role of categories like “documentary” and the increasing interferences that challenge these ideas. The presentations will take a closer look at the impact of forms and strategies from experimental film and discuss the impact on other filmic discourses such as visual anthropology, feminism or intercultural cinema. By taking the films of Trinh T. Minh-ha as a resonating point, the panel will investigate how these debates have created a development that has changed how we think through the filmic medium, how we think about film, and about filmic representation. Apart from aspects that are very closely related to the ideas of fact, fiction and narration, another focus will be directed towards the general frames of perception and discussion of film. </p>
<p> </p>
<p>1.30 – 2.00pm Welcome</p>
<p>2.00 – 2.15pm Introduction by<span> </span><strong>Dr Marc Glöde</strong></p>
<p>2.15 – 2.45pm <span> </span><strong>Presentation:<span> </span><em>Framing the Frame<span> </span></em></strong>by<span> </span><strong>Tan Pin Pin</strong><span> </span>(Singapore), film director</p>
<p>In this presentation, Tan will speak about her film practice that now spans over twenty years. She will address the relationship between documentary and experimental film-making in her own work and how some of her filmic topics have oscillated between these fields. Apart from this journey through the formal and thematic aspects of her films, the presentation will delve into how specific institutional frames have created very different dynamics that have an impact on the general perception of the work. These raise the question: how do the works function in the different contexts, for example of the university, the museum, the cinema, or the festival, in society at large?</p>
<p>2.45 – 3.15pm <strong>Presentation:<span> </span><em>Stories and Histories<span> </span></em></strong>by<span> </span><strong>Nguyễn Trinh Thi</strong><span> </span>(Vietnam), artist and filmmaker</p>
<p>In this talk, Nguyễn will share her thoughts about her own filmic practice, addressing aspects of how the process of filmmaking connects with the process of remembering and critical reflection. Her work is always an engagement with socio-cultural environments and never shies away from a critical confrontation—either in relation to surrounding obstacles of society or in relation to the filmic form itself. She addresses these issues in her practice often by combining original footage gathered through extensive field research and found footage which complicates the distinctions between video art and documentary filmmaking. The outcomes of these meticulous compositions are always complex and multilayered renderings of Vietnam’s past and the continuing reverberations of historical events in the present. By highlighting some of these aspects in her works Nguyễn will offer a deeper insight into how this practice asks for alternative methods of accessing unwritten histories. </p>
<p>3.15 – 3.30pm Response by<span> </span><strong>Dr David Teh</strong><span> </span>(Australia/Singapore), Associate Professor, Department of English Language and Literature, NUS</p>
<p>3.30 – 3.45pm Break</p>
<p> </p>
<p><strong>Session 3:<span> </span><em>Performing the Documents<br /></em></strong><strong>Chaired by Dr Ella Raidel (Austria/Singapore), Assistant Professor, NTU ADM and WKWSCI</strong><br /><br />This panel attempts to define documents and performativity in filmmaking in terms of its methods, artistic processes and cultural political significance. To perform the documents means to take action to reveal their inner logic of cultural representation. Through the consideration of documents in relation to poetics, participation and activism it shows the way how colonial truth and knowledge are being constructed and how diasporic histories are experienced. Films become not only cultural-political texts, but also visual and acoustic apparatuses in making aware one’s origins and destinies.</p>
<p> </p>
<p>3.45 – 4.00pm Introduction by<span> </span><strong>Dr Ella Raidel</strong></p>
<p>4.00 – 4.30pm <span> </span><strong>Presentation:<span> </span><em>The Acoustics of the Archipelagic Imagination in<span> </span></em></strong><strong><em>Southeast Asian Artists’<span> </span></em></strong><strong><em>Film,<span> </span></em></strong><strong>Dr Philippa Lovatt</strong><span> </span>(Scotland), Lecturer, Film Studies, and Co-Director, Centre for Screen Cultures, University of St Andrews</p>
<p>How do we conceptualize films in relation? As we seek to trace the connections and affinities we see, hear, and feel across a regional cinema, what kinds of alternative cartographies (affective, aesthetic, cultural, or industrial) emerge? How do we think through and with the aesthetic practices of artists and filmmakers in a way that enables us to avoid both re-inscribing arbitrary lines across territories and disavowing the specific historic and lived conditions of the nation? Drawing from Trinh T. Minh-ha’s writing on the acoustic experience of diaspora and Édouard Glissant on the poetics of relation, this talk will focus on Nguyễn Trinh Thi’s<span> </span><em>Everyday</em><em>’</em><em>s the Seventies<span> </span></em>(2018) and Shireen Seno’s<span> </span><em>Nervous Translation </em>(2017), and will reflect on how we might consider regionality through the acoustic, affective, and emotional cartographies depicted in these works, both of which explore experiences of migration in and out of the region during the 1970s and 1980s. </p>
<p>4.30 – 5.00pm <span> </span><strong>Presentation:<span> </span><em>Performative Documentary Practices<span> </span></em></strong><strong><em>from<span> </span></em></strong><strong><em>The Epistemological South<span> </span></em></strong>by<span> </span><strong>Rosalia Namsai Engchuan</strong><span> </span>(Germany/Thailand), anthropologist and filmmaker</p>
<p>In a world where everything and nothing has changed¾in a state of ongoing coloniality of knowledge production in the aftermath of epistemicide¾this talk acts as a space to valorise and explore artistic epistemologies as openings towards other futures. Contemplating the echoes of Trinh’s seminal provocation of documentary’s indexicality with truth, the talk proposes a shift in the focus of research from<span> </span><em>objects</em><span> </span><em>of art</em><span> </span>towards<span> </span><em>artistic processes</em>, through an ethnographic exploration of the processual, dialogical, social, and material nature of knowledge formation. Drawing from her own artistic practice as well as ongoing conversations with the artists Korakrit Arunanondchai, Stephanie Comilang and Cahyo Prayogo, Rosalia Namsai Engchuan’s presentation responds to Boaventura de Sousa Santos’ call for<span> </span><em>epistemologies of the South</em>, unfolding other ways of learning and knowing, that performatively transcend modernity’s temporally-conceived, institutionalised, and normative divisions of (official) knowledge formation inherited from the colonial order.</p>
<p>5.00 – 5.15pm Response by<span> </span><strong>Silke Schmick</strong>l (Germany/Hong Kong), Curator</p>
<p>5.15 – 5.30pm Break<br /><br /><strong>Session 4:<span> </span><em>Reverberations—Spatialising the Temporal, the Sonic, and the Pictorial<br /></em></strong><strong>Chaired by Prof Ute Meta Bauer (Germany/Singapore), Professor, NTU ADM and Founding Director, NTU CCA Singapore</strong><br /><br /></p>
<p>Reverberation: the prolonging of a sound, a continuing effect. Taking the exhibition<span> </span><em>Trinh T. Minh-ha. Films.</em><span> </span>as its starting point, this panel session discusses the spatio-temporal resonances of Trinh’s cinematic works when curated in an exhibition setting. The panel also explores collaborative curatorial practices, expanding into the realms of research, programming, and production, and how the Trans-Institutional Partnership among NTU CCA Singapore, Rockbund Art Museum, Würtembergischer Kunstverein Stuttgart, and the CCA Wattis Institute for Contemporary Arts enables ongoing reverberations of support for an artist’s work across borders and time while allowing for distinction and differentiation based on each organisation’s context and approach.</p>
<p> </p>
<p>5.30 – 5.45pm Introduction by<span> </span><strong>Prof Ute Meta Bauer</strong></p>
<p>5.45 – 6.15pm <strong> Presentation:<span> </span><em>Textures<span> </span></em></strong>by<span> </span><strong>Larys Frogier</strong><span> </span>(France/China), Director, Rockbund Art Museum</p>
<p>Frogier’s presentation is a sincere engagement to go along with the work of Trinh T. Minh-ha, being fully available to unfold multiple relations to in/visibility, opacity, sound/silence, time, displacement and locality. Rather than identifying Trinh as a filmmaker, theoretician, poet, musician, Frogier suggests that it is worthwhile to return to a simple question: how do the textures that surface through image, text and sound making in Trinh’s work make us come alive as people, institutions, and political subjects? How about considering poetry, music, cinema, and theory not only as artistic, intellectual or academic disciplines, but as fundamental acts of life? It further explores the possibilities of curating Trinh’s work as an art institution, sometimes in extremely challenging ideological contexts, in order to develop a vision that, instead of a display or programme, has more to do with the subtle but deep distillation of soul, intuition, and movement.</p>
<p>6.15 – 6.45pm <span> </span><strong>Presentation:<span> </span><em>Loops and Entries: Performing Film in Exhibition Formats<span> </span></em></strong>by<span> </span><strong>Iris Dressler</strong><span> </span>(Germany), Co-director, Württembergischer Kunstverein Stuttgart</p>
<p>Since the 1990s, Iris Dressler and Hans D. Christ have been working in close collaboration with diverse artists on different models of presenting film in the exhibition space. The loop as a mode of repetition and shifting, in particular the shifting of entry points and thus of narrative orders, plays a central role, as well as aspects of the choreography of movement, light, and sound, experiments with the juxtaposition of extreme divergent sizes or with open and closed spaces. Dressler will present a selection of these approaches in her talk.</p>
<p>6.45 – 7.00pm Response by<span> </span><strong>Dr Karin Oen</strong><span> </span>(United States/Singapore), Deputy Director, Curatorial Programmes, NTU CCA Singapore<br /><br /></p>
<p></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
26 February – 27 February 2021
Contributor
An entity responsible for making contributions to the resource
Erika Balsom
Ute Meta Bauer
Marc Glöde
Marc Glode
Ella Raidel
King’s College London
NTU Centre for Liberal Arts and Social Sciences
Chris Berry
Iris Dressler
Rosalia Namsai Engchuan
Larys Frogier
Nicolas Helm-Grovas
Philippa Lovatt
Daniel Mann
Nguyễn Trinh Thi
Nguyen Trinh Thi
Karin Oen
Silke Schmickl
Tan Pin Pin
David Teh
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
North America
Europe
Africa
-
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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Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Performance
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Short Description
Free Jazz III. Sound. Walks. offers the curatorial proposition that collectivity and communality can be explored through art experiences that draw on the long histories of sound and walking, offering concrete ways to connect with nature, technology, and each other during times of social distancing.
Audience
General
Dublin Core
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Title
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<i>Free Jazz III. Sound. Walks.</i>
Description
An account of the resource
<i>Free Jazz III. Sound. Walks.</i> offers the curatorial proposition that collectivity and communality can be explored through art experiences that draw on the long histories of sound and walking, offering concrete ways to connect with nature, technology, and each other during times of social distancing. Dematerialized, asynchronous, and participatory, these artworks each reflect how our current collective negotiations between physical and online realms need not be seen as binary opposites, but as opportunities for rethinking social interaction through our senses. <br /><br />We invite you bring your headphones and your walking shoes to experience the artworks of Free Jazz III. Sound. Walks. <br /><br /><i>Free Jazz III. Sound. Walks. </i>is curated by Magdalena Magiera (Germany/Singapore), NTU CCA Singapore Curator, Education and Outreach, and Dr Karin Oen (United States/Singapore), NTU CCA Singapore Deputy Director, Curatorial Programmes.
Date
A point or period of time associated with an event in the lifecycle of the resource
22 January - 28 March 2021
Contributor
An entity responsible for making contributions to the resource
Tini Aliman
Arahmaiani
Jimmy Ong
Christa Donner
Andrew S. Yang
bani haykal
Lee Weng Choy
Diana Lelonek
Denim Szram
Cheryl Ong
Ana Prvački
Joyce Bee Tuan Koh
Galina Mihaleva
Reetu Sattar
anGie seah
Vivian Wang
Magdalena Magiera
Karin Oen
Subject
The topic of the resource
Experiential
Nature
Technology
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
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Title
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Videos
Video
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Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
Taking the exhibition Trinh T. Minh-ha. Films. as its starting point, this panel session discusses the spatio-temporal resonances of Trinh’s cinematic works when curated in an exhibition setting.
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/527103205">https://vimeo.com/527103205</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
527103205
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
Conference: "There is no such thing as documentary"<br />Session 4: Reverberations—Spatialising the Temporal, the Sonic, and the Pictorial
Description
An account of the resource
Session 4: Reverberations—Spatialising the Temporal, the Sonic, and the Pictorial Chaired by Prof Ute Meta Bauer (Germany/Singapore), Professor, Nanyang Technological University, School of Art, Design and Media and Founding Director, NTU Centre for Contemporary Art Singapore <br /><br />Speakers:<br />Larys Frogier (France/China), Director, Rockbund Art Museum<br />Iris Dressler (Germany), Co-Director, Württembergischer Kunstverein Stuttgart<br /><br />Respondent:<br />Dr Karin Oen (United States/Singapore), Deputy Director, Curatorial Programmes, NTU Centre for Contemporary Art Singapore<br /><br />Reverberation: the prolonging of a sound, a continuing effect. Taking the exhibition Trinh T. Minh-ha. Films. as its starting point, this panel session discusses the spatio-temporal resonances of Trinh’s cinematic works when curated in an exhibition setting. The panel also explores collaborative curatorial practices, expanding into the realms of research, programming, and production, and how the Trans-Institutional Partnership among NTU CCA Singapore, Rockbund Art Museum, Würtembergischer Kunstverein Stuttgart, and the CCA Wattis Institute for Contemporary Arts enables ongoing reverberations of support for an artist’s work across borders and time while allowing for distinction and differentiation based on each organisation’s context and approach.
Date
A point or period of time associated with an event in the lifecycle of the resource
2021-02-27
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Larys Frogier
Iris Dressler
Karin Oen
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Curatorial Practice
Artistic Research
Cultural Production
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
Xiaolu Guo reads from her memoir Nine Continents: A Memoir In and Out of China (2017) as a voice-over. Reflecting on her childhood, her early career in the Beijing art world, and her current life in Europe.
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/503382449">https://vimeo.com/503382449</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
503382449
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
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Title
A name given to the resource
Exhibition (de)Tour: The Life of Memory: Xiaolu Guo on her writing and filmmaking
Description
An account of the resource
In Trinh T. Minh-ha’s newest work What About China? (Part I of II, 2020–2021), Xiaolu Guo reads from her memoir Nine Continents: A Memoir In and Out of China (2017) as a voice-over. Reflecting on her childhood, her early career in the Beijing art world, and her current life in Europe, aspects of which are chronicled in her films and novels as well as in her memoir, this (de)Tour focuses on the relationship between memories and art practice. <br /><br />Guo’s presentation will be followed by a conversation between her, Ute Meta Bauer, Founding Director, NTU CCA Singapore and Professor, NTU School of Art, Design and Media, and Dr Sim Wai Chew, Associate Professor, NTU School of Humanities. <br /><br />Co-presented with NTU School of Humanities and the Asia Creative Writing Programme
Date
A point or period of time associated with an event in the lifecycle of the resource
2021-01-12
Contributor
An entity responsible for making contributions to the resource
Xiaolu Guo
Ute Meta Bauer
Karin Oen
Sim Wai Chew
Coverage
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Asia
Europe
Subject
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Identity
Displacement
Migration
Fiction
Format
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Video
Language
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English