Behind the Scenes: artist Carlos Casas and composer Phill Niblock
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<div class="event_single_dates text__exhibitions">23 Oct 2018, Tue 07:30 PM - 09:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br />Artist <b>Carlos Casas</b> together with eminent composer and filmmaker <b>Phill Niblock</b> will discuss their approaches to film, video, and soundscapes. Sharing their experience of collaborating on <i>Avalanche</i>—the project on view in <i>Stagings. Soundings. Readings. Free Jazz II</i>—Casas and Niblock will expand on notions of improvisation and site-specificity. <br /><br />The work <i>Avalanche</i> documents Hichigh, a village in Tajikistan and one of the highest located villages in the world. With each iteration and presentation, the work will change according to the context and space it’s being presented.<br /><br /><span>A public programme of </span><em>Stagings. Soundings. Readings. Free Jazz II.</em>
2018-10-23
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Carlos+Casas">Carlos Casas</a>
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Screenings: Movement of People Working (1973–85) and T H I R (1992) by Phill Niblock
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<div class="event_single_dates text__exhibitions">21 Oct 2018, Sun 12:00 PM - 07:00 PM</div>
<div class="event_single_venue">The Exhibition Hall, Block 43 Malan Road</div>
<br /><span>Live diffusion by Phill Niblock</span><br /><span>6.00 – 7.00pm</span><br /><br /><strong>Movement of People Working</strong><br /><i>Movement of People Working</i> is a series of films by Phill Niblock that portray human labour in its most elementary form—construction work, harvesting, planting and fishing, physical exertion, with the help of basic tools. The films are scenes of people in nonindustrialised communities, doing continually repeated movements of manual labour, while their faces are often kept outside the frame. They pre-announce the contradictions and paradoxes of globalisation. Made between 1973–1991, it was filmed in locations including Peru, Mexico, Brazil, Hungary, Portugal, China, and Japan. <br /><br /><b>T H I R</b> <br /><i>T H I R</i> (1992) is taken from <i>Ten Hundred Inch Radii</i>, the fourth and final instalment in his <i>Environments</i> series that started in 1968. From 1968 to 1972, Phill Niblock presented four distinct intermedia projects, titled <i>Environments I, II, III, and IV,</i> (some in multiple versions) within various venues in New York City. <i>T H I R</i> was from a performance event that incorporated over two hours of original 16mm nature footage from the Adirondack Mountains of northern New York State. This is a seminal work that incorporates a combination of multi-screen film projection, dance, 35mm colour slides, and original music (generally from tape or occasionally performed live). With <i>T H I R</i>, Niblock repeatedly experimented with the relationships, interactions, and hierarchies of seemingly discrete art forms in order to encourage intermedial encounters that were flexible, unstable, and structurally open.
2018-10-21
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=North+America">North America</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=South+America">South America</a>
Avalanche XIV by Carlos Casas with special guests composer Phill Niblock and musician Brian O’Reilly
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<div class="event_single_dates text__exhibitions">20 Oct 2018, Sat 12:00 PM - 07:00 PM</div>
<div class="event_single_venue">The Exhibition Hall, Block 43 Malan Road</div>
<i><br />Avalanche</i> is an audio-visual environment and installation that documents the life in Hichigh, one of the highest inhabited villages in the Pamirs, a region in Central Asia known as the “roof of the world.” Working from the starting point of the local cosmogony, traditions, and its music, <i>Avalanche</i> is a multiformat work and expanded ethnographic research based on the human ecology and richness of the region. One of the most remote regions of the planet, the Pamirs are as mysterious as fascinating, home of some of the most rich and archaic traditions, considered the nest and origin of most of the monotheistic beliefs, and the perfect site for understanding our spiritual journey as humans. Avalanche is also a study on cinematic time and the human ecology of isolated communities. A meditation about the unstoppable “avalanche” of civilisation, about the elusiveness of time and the dusk of a village and endurance and resilience of its inhabitants and traditions. <br /><br /><i>Avalanche</i> is a long-term commitment and Singapore’s iteration is developed site-specifically for the Centre and presented as a live-editing and live-soundtrack environment, featuring special collaborations with <b>Phill Niblock</b>and musicians from Singapore.<br /><br /><span>A public programme of </span>Stagings. Soundings. Readings. Free Jazz II.
2018-10-20
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Carlos+Casas">Carlos Casas</a>
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Screening Programme: Stagings. Soundings. Readings. Free Jazz II
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<div class="event_single_dates text__exhibitions">21 Sep 2018, Fri - 6 Nov 2018, Tue 12:00 PM - 07:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<p>Videos will be shown on a continuous loop during opening hours over the course of <em>Stagings. Soundings. Readings. Free Jazz II. </em></p>
<p><strong>21 – 30 September 2018<br /></strong>Mariana Silva,<em> Digital Specimens: Pointcloudfallout,</em> 2015, 10 min 35 sec</p>
<p>In <em>Digital Specimens: Pointcloudfallout</em> an offscreen dialogue, set in the near future, unfolds on the politics of scanning artefacts and monuments into 3-D. Amidst the consequences of climate change and war, the two characters discuss how digital copies unsettle repatriation claims and colonial tensions under the pretext of digital conservation.<br /><br /><strong>2 – 7 October 2018<br /></strong>Justin Shoulder and Bhenji Ra, <em>Deep Alamat</em>, 2014, 4 min</p>
<p><em>Deep Alamat</em> is a compelling narrative concerning two mythic figures, “OO” and “Beige Cantrell,” drawn from the artists’ collective imaginations. Shoulder’s OO is from his series of <em>Fantastic Creatures</em>that feature sculptural costumes and are animated in live performance, video, and photographic works. OO’s patterns are a form of Aposematism (warning colouration). OO performs a gestural dance drawing from animal signals and carnivalesque spectacle. Initially inspired by a one-hit-wonder pop star, Beige Cantrell derives from Ra’s obsession with digital failure, internet hype, software intelligence, and the online secondary experience. Ra’s understanding of movement, body control, and precision allows for his character to physically represent ideas of recognition software as he scans, detects, and aligns his body accordingly.</p>
<p><strong>9 – 14 October 2018<br /></strong>Anton Ginzburg, <em>Ultraviolet</em>, 2015, 25 min</p>
<p><em>Ultraviolet</em> explores the issues of perception and phenomenology at the intersection of nature and technology. The film is divided into three parts that correspond to the musical structure and composition. The film was conceived as an ongoing dialogue with its soundtrack composed by Michael Pisaro. The relationship between the cinematic image and the live sound is an experiment in a tradition of expanded cinema. It starts with very high frequencies in the first part, later working its way down into the guitar range. The film addresses the aura of representation through the video footage of various landscapes such as waterfalls, trees, and mountains, both in high- and low-res.<br /><br /><strong>16 – 21 October 2018<br /></strong><span>Vladimir Erofeev, </span><em>Pamir: Krysha mira</em><span> (Pamir: Roof of the World), 1927, 49 min (original: 71 min)</span><br /><span>Version with music by Carlos Casas</span><br /><br /></p>
<p><strong>23 – 28 October 2018<br /></strong>Phill Niblock, <em>The Magic Sun</em>, 1966, 60 min</p>
<p>Shot in 1966, while the Sun Ra Arkestra was still based in New York City (before relocating to Philadelphia in 1968), the composer and filmmaker Phill Niblock’s <em>The Magic Sun</em> is an obscure artefact of profound beauty. It features frenetic black-and-white footage of the band playing, and an incredible soundtrack. Its existence displays an often understated relationship between two contemporary iterations of the New York avant-garde. Considering the neglect that free jazz usually suffers in the face of its peer, the film could be considered important for that alone, being also a wonderful journey through sight and sound.<br /><br /></p>
<p><strong>30 October – 6 November 2018<br /></strong>Luke Fowler, <em>Country Grammar (with Sue Tompkins)</em>, 2017, 18 min 29 sec</p>
<p>The film begins with Tompkins performing at Chem19 Recording Studio. The camera films from a multitude of perspectives, employing rhythmic pans, tilts, and opaque or reflective screens. These distorted views, combined with non-synchronised images of the performer, depart from a 70s “direct cinema” approach to filming musicians. After the ritualistic opening section, the film widens its view to locations outside of the studio. The repetition of actions (picking books from a shelf, re-arranging the contents of a fridge) suggest a searching for a threshold between the filmed image and Tompkins’ own spoken word acts. Taking cues from the performers’ hypnotic yet concrete play with words, the film creates a metaphoric, symbiotic language, where an open-ended approach to montage transcends both reductive imagery and straight documentation.<br /><br />A public programme of <em>Stagings. Soundings. Readings. Free Jazz II.</em></p>
<p></p>
21 September - 6 November 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mariana+Silva">Mariana Silva</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=North+America">North America</a>
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Phill Niblock
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<i>Stagings. Soundings. Readings. Free Jazz II</i>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Institutional+Critique">Institutional Critique</a>
<i>Stagings. Soundings. Readings. Free Jazz II</i> reviews the performative format that marked NTU CCA Singapore’s inauguration in 2013. <i>Free Jazz</i> 2013 was a series of talks and performances where participants of various disciplines were invited to imagine and envision a new institution and its potential. On its five-year anniversary, the Centre continues advocating for free spaces, celebrating the practice of improvisation, as well as of collective and performative approaches. Discussing ethical values with an expanded sense of community, territorial, and environmental concerns, <i>Stagings. Soundings. Readings.</i> employs an open, multidisciplinary structure that challenges traditional modes of presentation and re-presentation through a range of artistic practices and formats. <br /><br />Situated within a complex and contemporary understanding of the Centre’s current overarching research topic CLIMATES. HABITATS. ENVIRONMENTS., the featured works link theory and practice, emphasising collectiveness. Today, the planet is witnessing a moment of unprecedented loss of biodiversity, habitat destruction, and cultural transformations. In the face of such agitated times juxtaposed with advanced communicative tools, contemporary social and environmental issues require responses from a collective body, through establishing processes of instigation, negotiation, and collaboration. <br /><br />Can we learn from what we see as opposed to being merely seduced by images, becoming active participants instead of only passive observers? <i>Stagings. Soundings. Readings.</i> is an enactment between the artists and the audience. The invited artists engage with a less prescribed environment, reflecting on history, collective action, and human interaction. <br /><br />Located outside the Centre, <b>Maria Loboda</b>‘s sculptural installation is grounded in historical narratives as a reminder that things can change and be taken down overnight, especially by the invisible mechanisms of power. In the Centre’s foyer, <b>Tyler Coburn</b> addresses forms of labour and examines the notion of writing in the 21st century by engaging with complexities of our legal, technological, and geopolitical networks, while <b>Heman Chong</b> analyses motifs of exchange and its boundaries, embracing the space of inter-human connections. <br /><br />Unfolding in the exhibition space, <b>Cally Spooner</b> brings to Singapore an exercise in building new vocabulary and knowledge through bodily means. Using the space as a laboratory, the work investigates new ways of organising and working together. <b>Alexandra Pirici</b>’s choreography explores the possibility of collectively assembling memories of human and non-human presence on the planet. <b>Carlos Casas</b> presents his long-term multi-format ethnographic research based on the human ecology and richness of one of the world’s highest inhabited villages, Hichigh, located in the Pamir mountain range in Tajikistan. Together with composer <b>Phill Niblock</b>, they will create an audio-visual experience, traversing landscape, soundscape, and contemporary music that changes with every iteration. <br /><br />In response to the five-year anniversary and by taking the topic of its celebration <i>Free Jazz</i> literally, <b>Ming Wong</b> will stage an improvisational performance. Similarly, <b>Boris Nieslony</b> (Germany), Co-founder of the artist collective Black Market International, will engage with pioneering Singaporean artist <b>Lee Wen</b> with a discussion and performance. <br /><br />Further probing conventional formats, the accompanying programmes include readings by curator <b>Anca Rujoiu</b> (Romania/Singapore) and poets <b>Peter Sipeli</b> and <b>1angrynative</b> (both Fiji), as well as Behind the Scenes conversations with contributing artists. In The Single Screen, works by <b>Anton Ginzburg</b> (Russia/United States), <b>Mariana Silva</b> (Portugal/United States), <b>Luke Fowler</b> (United Kingdom), <b><b><b>Justin Shoulder </b></b></b>and <b><b><b>Bhenji Ra </b></b></b>(both Philippines/Australia), and others, will add a filmic perspective to the dialogue. <br /><br />This multitude of celebratory events instigates an active engagement with the now, following a conscious desire to become truly present. <br /><br />Curated by <strong>Ute Meta Bauer</strong>, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, Nanyang Technological University, and <strong>Magdalena Magiera</strong>, Curator, Outreach and Education, NTU CCA Singapore.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Heman+Chong">Heman Chong</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tyler+Coburn">Tyler Coburn</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Richard+Roe">Richard Roe</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Carlos+Casas">Carlos Casas</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Phill+Niblock">Phill Niblock</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Alexandra+Pirici">Alexandra Pirici</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Weixin+Chong"> Weixin Chong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Chloe+Chotrani"> Chloe Chotrani</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nina+Djekic">Nina Djekic</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Farid+Fairuz">Farid Fairuz</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Adam+Lau">Adam Lau</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Je+Leung">Je Leung</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Loo+Zihan">Loo Zihan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Yue+Ru+Ma">Yue Ru Ma</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Hanna+Mikosch">Hanna Mikosch</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Yulin+Ng">Yulin Ng</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Rachel+Nip">Rachel Nip</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Isabel+Phua">Isabel Phua</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>