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Dublin Core
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Title
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Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Silke
Surname or Business Name
Schmickl
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
2017/2021
Affiliation
Company, organization, or institution name
M+ Museum
Birthplace
Germany
Occupation
Professional title or identity
Lead Curator
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
Silke Schmickl (Germany/Hong Kong) was previously curator at the National Gallery Singapore, the Institute of Contemporary Arts Singapore, a researcher at the German Art History Center in Paris and the co-founding director of Lowave, a Paris/Singapore based curatorial platform and publishing house for artists’ moving images. She has initiated and directed numerous art and film projects dedicated to emerging art scenes in the Middle East, Africa, India, Turkey and Singapore. Recent exhibitions at the National Gallery include include <i>Minimalism: Light. Space. Object, Rirkrit Tiravanija: untitled 2018 (the infinite dimensions of smallness) and Haegue Yang: Forum for Drone Speech – Singapore Simulations</i>.
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Hong Kong
Singapore
France
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Place.Labour.Capital.
Contributor Type
Speaker
Dublin Core
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Title
A name given to the resource
Silke Schmickl
Subject
The topic of the resource
Spaces of the Curatorial
Fiction
Performance
Contributor
An entity responsible for making contributions to the resource
Silke Schmickl
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
Asia
Middle East
Africa
-
Dublin Core
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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.
Short Description
Join the panel of artists for an open conversation about image and meaning making in contemporary art practice.
Programme Type
Discussion - Conversation
Programme Series
In Conversation
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Education
No
Dublin Core
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<p class="event_single_title">In Conversation with artist Ang Song Nian (Singapore), artist Chua Chye Teck (Singapore), and artist and filmmaker Sherman Ong (Singapore/Malaysia). Moderated by Silke Schmickl (Germany/Singapore), Curator, National Gallery Singapore</p>
Description
An account of the resource
<div class="event_single_dates text__exhibitions">19 Jul 2017, Wed 07:30 PM - 09:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br />Fiction or reality, images produce their own narratives and temporal connections and are open to many interpretations infused with the personal experiences of individual viewers. Working with photography sound, and video, different practices consider and question everyday life, and intersect with memory and notions of displacement and self. Join the panel of artists for an open conversation about image and meaning making in contemporary art practice.<br /><br />A public programme of <em>Ulrike Ottinger: China. The Arts –The People, Photographs and Films from the 1980s and 1990s.</em>
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-07-19
Contributor
An entity responsible for making contributions to the resource
Ang Song Nian
Chua Chye Teck
Sherman Ong
Silke Schmickl
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
Audience
A class of entity for whom the resource is intended or useful.
General
Subject
The topic of the resource
Fiction
Identity
Displacement
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
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.
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 <em>documentary</em>”
Subject
The topic of the resource
History
Identity
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
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
This panel attempts to define documents and performativity in filmmaking in terms of its methods, artistic processes and cultural political significance.
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/527102365">https://vimeo.com/527102365</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
527102365
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 3: Performing the Documents
Description
An account of the resource
Session 3: Performing the Documents Chaired by Dr Ella Raidel (Austria/Singapore), Assistant Professor, Nanyang Technological University, School of Art, Design and Media and Wee Kim Wee School of Communication and Information<br /><br />Speakers:<br />Dr Philippa Lovatt (Scotland), Lecturer, Film Studies and Co-Director, Centre for Screen Studies, University of St Andrews<br />Rosalia Namsai Engchuan (Germany/Thailand), anthropologist and filmmaker<br /><br />Respondent:<br />Silke Schmickl (Germany/Hong Kong), Curator<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.
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
Ella Raidel
Philippa Lovatt
Rosalia Namsai Engchuan
Silke Schmickl
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Artistic Research
Cultural Production
Knowledge 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
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Taking place on the closing weekend of Ghosts and Spectres – Shadows of History, the screening of selected films and videos by artists from Asia will expand on the discussion of moving image as an apparatus for capturing and propagating narratives. Through the notion of “ghost” and “spectres”, the programme entails discussions that take the exhibition as a point of departure, referencing mythologies, folklore, traditions, politics, and other prevalent themes portrayed in the artworks.
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
Yes
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Screening Series: Unruly Shadows: Artist Films and Videos on Challenging Spheres
Subject
The topic of the resource
Supernatural
Ritual
Tradition
Description
An account of the resource
<div class="event_single_dates text__exhibitions">18 Nov 2017, Sat 12:00 PM - 07:30 PM<br />19 Nov 2017, Sun 12:00 PM - 07:00 PM</div>
<div class="event_single_venue">The Seminar Room, Block 43 Malan Road<br /><br /><span>Taking place on the closing weekend of </span><em>Ghosts and Spectres – Shadows of History</em><span><span>, the screening of selected films and videos by artists from Asia will expand on the discussion of moving image as an apparatus for capturing and propagating narratives. Through the notion of “ghost” and “spectres”, the programme entails discussions that take the exhibition as a point of departure, referencing mythologies, folklore, traditions, politics, and other prevalent themes portrayed in the artworks. It looks into the strategies employed by artists in visualising and imagining socio-political minefields. Due to the spectrum of collective experiences in a wider Asia, the film programme presents alternate visions of the exhibition, surfacing the undercurrents that permeate geopolitical entanglements. These anxieties present ways of approaching other logics of generational understanding, temporal localities, and regional variations as artists embark on translations of the past into contemporary imaginings. Confronting the unruliness of memory, the film programme draws parallels between history and the moving image: as moments that, in their unfolding, haunt us again and again.<br /><br />The two-day event is divided into four themes: “Film and Cinema as Ghost”, “Acting and Re-enacting”, “Histories Turning Ghosts”, and “Rituals”. The screening programme will consist of works by <strong>Ayisha Abraham </strong>(India),<strong> akumassa </strong>(Indonesia),<strong> Phuttiphong Aroonpheng </strong>(Thailand),<strong> Martha Atienza </strong>(Philippines),<strong> Ashish Avikunthak </strong>(India),<strong> Chien-Chi Chang </strong>(Taiwan/Austria),<strong> Tiane Doan na Champassak </strong>and<strong> Jean Dubrel </strong>(France),<strong> Köken Ergun </strong>(Turkey),<strong> Bayu Prihantoro Filemon</strong> (Indonesia),<strong> Hikaru Fujii </strong>(Japan),<strong> Hao Jingban </strong>(China),<strong> Ho Tzu Nyen </strong>(Singapore),<strong> Daniel Hui</strong> (Singapore),<strong> Ing K </strong>(Thailand),<strong> Meiro Koizumi </strong>(Japan),<strong> Soni Kum </strong>(Korea/Japan),<strong> Lee Kai Chung </strong>(Hong Kong),<strong> K. M. Madhusudhanan </strong>(India),<strong> Nguyen Trinh Thi </strong>(Vietnam),<strong> Vandy Rattana </strong>(Cambodia/Taiwan),<strong> Taiki Sakpisit </strong>(Japan),<strong> Chulayarnnon Siriphol </strong>(Thailand),<strong> Angela Su </strong>(Hong Kong),<strong> Tan Pin Pin </strong>(Singapore),<strong> Erika Tan </strong>(Singapore/UK),<strong> John Torres </strong>(Philippines),<strong> </strong>and<strong>Otty Widasari </strong>(Indonesia). Scheduled screening will be accompanied by introductions, talks, and discussions between a group of Singapore-based curators and researchers, addressing the complexities embedded in the selected works. Speakers include <strong>Dr Marc Glöde</strong>, film scholar and Assistant Professor, School of Art, Design and Media, NTU; <strong>Fang-Tze Hsu</strong>, independent researcher and curator; <strong>Qinyi Lim</strong>, Curator, National Gallery Singapore; <strong>Sam I-Shan</strong>, Curator of Visual Arts, Esplanade; and <strong>Silke Schmickl</strong>, Curator, National Gallery Singapore.<br /><br /></span></span>
<h3>SCHEDULE</h3>
<p>Saturday, 18 November 2017, 12.00 – 7.30pm<strong> </strong></p>
<p><strong><span>Film and Cinema as Ghost</span><br /><u><br /></u>Short films, </strong><strong>12.00 – 1.15pm<br /></strong><em>Straight 8</em>, Ayisha Abrahams, India, 2005, 17 min<br /><em>Imaginati</em>, akumassa, Indonesia, 2013, 13 min<br /><em>A Presentation By Proxy</em>, Erika Tan, UK, 2014, 21 min<br /><em>Horor Satu Menit / One Minute Horror</em>, Otty Widasari, Indonesia, 2005, 1 min<br /><em>Mesures et Démesures</em>, Angela Su, Hong Kong, 2015, 6 min<br /><em>History is a Silent Film</em>, K. M. Madhusudhanan, India, 2007, 17 min</p>
<p><strong>Conversation, 1.15 – 1.35pm<br /></strong></p>
<p><strong>Feature film: 1.35 – 3.00pm</strong><span><strong><br /></strong></span><em>People Power Bombshell: The Diary of Vietnam Rose 89’</em>, John Torres, Philippines, 2016, 89 min</p>
<p><strong><br /><span>Acting and Re-enacting</span><br /></strong></p>
<p><strong>Short films, 3.00 – 4.15pm<br /></strong><em>4×4 — Episodes of Singapore Art: Episode 3 — Tang Da Wu, The Most Radical Art Gesture</em>, Ho Tzu Nyen, Singapore, 2005, 23 min<br /><i>On the Origin of Fear</i>, Bayu Prihantoro Filemon, Indonesia, 2016, 12 min<br /><em>The History of Riots (The DJ)</em>, Lee Kai Chung, Hong Kong, 2013, 7 min<br /><em>The Educational System of an Empire</em>, Hikaru Fujiii, Japan, 2016, 21 min<br /><em>Portrait of a Young Samurai</em>, Meiro Koizumi, Japan, 2009, 10 min</p>
<p><strong>Conversation, 4.15 – 4.35pm</strong></p>
<p><strong>Feature film, 4.35 – 7.30pm</strong><br /><em>Shakespeare Must Die</em>, Ing K, Thailand, 2012, 176 min<br /><br /></p>
<p>Sunday, 19 November 2017, 12.00 – 7.00pm</p>
<p><span><strong>Histories Turning Ghosts</strong></span></p>
<p><strong>Short films, 12.00 – 1.25pm<br /></strong><em>The Impossibility of Knowing</em>, Tan Pin Pin, Singapore, 2010, 12 min<br /><em>A Brief History of Memory</em>, Chulayarnnon Siriphol, Thailand, 2010, 14 min<br /><em>The War That Never Was</em>, Chien-Chi Chang, Taiwan/Austria, 2017, 16 min<br /><em>Landscape Series #1</em>, Nguyen Trinh Thi, Vietnam, 2013, 5 min<br /><em>Monologue</em>, Vandy Rattana, Cambodia, 2015, 20 min<br /><em>A Ripe Volcano</em>, Taiki Sakpisit, Thailand, 2011, 16 min<br /><em>Sukati / A Tale of Heaven</em>, Phuttiphong Aroonpheng, Thailand, 2010, 6 min</p>
<p><strong>Conversation, 1.25 – 1.45pm</strong></p>
<p><strong>Feature film, 1.45 – 3.30pm</strong><br /><i>Snakeskin</i>, Daniel Hui, Singapore/Portugal, 2014, 105 min</p>
<span></span>
<p><strong><span>Rituals</span></strong></p>
<p><strong>Short films, 3.30 – 5.25pm<br /></strong><em>Anito</em>, Martha Atienza, Philippines, 2012, 8 min<br /><em>Vakratunda Swaha</em>, Ashish Avikunthak, India, 2010, 21 min<br /><em>Off Takes</em>, Hao Jingban, China, 2016, 22 min<br /><em>Ashura</em>, Köken Ergun, Turkey, 2013, 25 min<br /><em>Naptwe, the feast of the spirits</em>, Tiane Doan na Champassak and Jean Dubrel, France, 2012, 31 min<br /><em>Spring Comes Winter After</em>, Nguyen Trinh Thi, Vietnam, 2008, 5 min</p>
<p><strong>Conversation, 5.25 – 5.45pm</strong></p>
<p><strong>Feature film, 5.45 – 7.00pm</strong><br /><em>Foreign Sky</em>, Soni Kum, Korea/Japan, 2005, 70 min<br /><br />A public programme of <em>Ghosts and Spectrres – Shadows of History</em>.</p>
</div>
Date
A point or period of time associated with an event in the lifecycle of the resource
18 -19 November 2017
Contributor
An entity responsible for making contributions to the resource
Marc Glöde
Marc Glode
Fang-Tze Hsu
Qinyi Lim
Sam I-Shan
Silke Schmickl
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
Asia
Europe
Middle East