No country: Contemporary Art for South and Southeast Asia]]> Regionalism]]> Geopolitics]]> Migration]]> Diaspora]]> Cultural Heritage]]> No Country: Contemporary Art for South and Southeast Asia is part of the Guggenheim UBS MAP Global Art Initiative which was launched in April 2012, a multi-year collaboration that charts contemporary art practice in three geographic regions—South and Southeast Asia, Latin America, and the Middle East and North Africa—and encompasses curatorial residencies, international touring exhibitions, audience-driven education programming, and acquisitions for the Guggenheim’s permanent collection.

Curated by June Yap, No Country at NTU Centre for Contemporary Art Singapore brought the artworks back to the Southeast Asia region from which many of the artists hail and called for an even closer examination of regional cultural representations and relations. This return suggests the possibility of a renewed understanding through a process of mutual rediscovery that transcends physical and political borders. The exhibition in Singapore also marked the debut of two works from the Guggenheim UBS MAP Purchase Fund not previously shown as part of No Country: Loss by Sheela Gowda and Morning Glory by Sopheap Pich.]]>
June Yap]]> Sheela Gowda]]> Sopheap Pich]]> Amar Kanwar]]> Arin Dwihartanto Sunaryo]]> Bani Abidi]]> Navin Rawanchaikul]]> Norberto Roldan]]> Poklong Anading]]> Reza Afisina]]> Shilpa Gupta]]> Tang Da Wu]]> Tayeba Begum Lipi]]> The Otolith Group]]> Tran Luong]]> Tuan Andrew Nguyen]]> Vincent Leong]]> Sculpture]]> Painting]]> Mixed Media]]> Installation]]> Photography]]> Southeast Asia]]>
Non-Aligned]]> Race]]> Decolonialism]]> Archival Practice]]> Geopolitics]]> Displacement]]> Regionalism]]> Diaspora]]> Non-Aligned in the press! Read Stephanie Bailey’s article in Ocula and Object Lessons Space‘s interview with Dr Karin Oen, the Centre’s Deputy Director of Curatorial Programmes.

The Unfinished Conversation (2012), John Akomfrah (United Kingdom), Two Meetings and a Funeral (2017), Naeem Mohaiemen (Bangladesh/United States), Nucleus of the Great Union (2017), The Otolith Group (United Kingdom)

The British Empire spanned from Asia to Australia to Africa to America to the Caribbean. The various colonial territories gained their sovereignty and independence at different times, in processes of decolonization that played out in the histories of nations, but also determined the lives of individuals. Non-Aligned brings together three moving-image works by artists, filmmakers, and writers that inquire into the challenging transition periods from colonial rule to the independence of nations.

The presented works apply archival material in different ways. The focus spans from the work and personal histories of intellectuals who experienced these unprecedented circumstances first-hand, including Jamaican-born British theorist Stuart Hall (1932-2014) and African American novelist Richard Wright (1908-1960), to the history of political organization around the Non-Aligned Movement. This process of examining the interconnected stories of place, identity, and the conscious assertion of difference from established Western narratives, is also embedded in the personal histories of the artists.

The Non-Aligned Movement was formally established in 1961 on principles such as world peace and cooperation, human rights, anti-racism, respect, disarmament, non-aggression, and justice. At the height of the Cold War, a large group of African, Asian, and Latin American countries navigating post-colonial constellations attempted a diversion from the two major powers—the United States and the Soviet Union—forming what is to date the largest grouping of states worldwide, after the United Nations. The non-aligned nations, which Singapore joined in 1970, wished to secure independence and territorial sovereignty, and fight against imperialism, domination, and foreign interference.

This history is at the core of Two Meetings and a Funeral (2017), a feature-length three-channel video installation by Naeem Mohaiemen. It explores Bangladesh’s historical pivot from the socialist perspective of the 1973 Non-Aligned Movement meeting in Algeria to the emergence of a petrodollar-funded Islamic perspective at the 1974 Organisation of Islamic Countries meeting in Lahore. Recounted by Algerian publisher Samia Zennadi, Bangladeshi politician Zonayed Saki, and Indian historian Vijay Prashad, Mohaiemen’s film considers the erosion of the idea of “Third World” as a political space that was to open the potential for decoloniality and socialism, while articulating the internal contradictions behind its unfortunate failure.

In the video essay Nucleus of the Great Union (2017), The Otolith Group traces Richard Wright on his first trip to Africa in 1953. Travelling the Gold Coast for 10 weeks, he witnessed political campaigns for independence in West Africa, yet feeling alienation at his first encounter with the continent. For this film, The Otolith Group reconciled excerpts from Wright’s book Black Power: A Record of Reactions in a Land of Pathos (1954) with a selection of the over 1,500 previously unpublished photographs the writer took on his journey. Wright’s initially intended book including both text and photos was inadequately published without images. Through this work, The Otolith Group finally honors Wright’s initial aim of seeing image and text as one single narration.

The Unfinished Conversation (2012) is an in-depth inquiry by filmmaker John Akomfrah into the personal archive of audio interviews and television recordings of the influential theorist and educator Stuart Hall. The multi-screen film installation unfolds as a layered journey through the paradigm-changing work of the late intellectual, regarded as a key founder of cultural studies, who triangulated gender, race, and class. Hall was particularly invested in black identity linked to the history of colonialism and slavery.

Amplifying and celebrating defining voices and intertwining personal lives with political movements, the featured works in Non-Aligned examine not only the new possibilities for progressive social and independence movements but also the inherent struggles that define the post-WWII period.

Non-Aligned is curated by Ute Meta Bauer, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, NTU.

FILM PROGRAMME: THIRD WAY / AFTER BANDUNG
This programme features films that engage post-colonial processes covering different moments and geopolitical contexts. The Asian-African Conference in 1955, known as the Bandung Conference, amidst the complex processes of decolonization, established self-determination, non-aggression, and equality as part of the core values that then formed the Non-Aligned Movement. This history is unpacked and contextualised through this series of screenings.

Co-curated by writer and curator Mark Nash and film researcher Vladimir Seput.

READING CORNER
Accompanying this exhibition is a library of over 50 books on postcolonialism, decoloniality, the history of the Cold War, the Non-Aligned Movement, archiving, as well as theory of the moving image and publications on and by John Akomfrah, Naeem Mohaiemen, and The Otolith Group. Authors include Frantz Fanon, Stuart Hall, and Richard Wright, as well as Kodwo Eshun, Rosalind C. Morris, Bojana Piškur and Gayatri Chakravorty Spivak, among many others.

In light of COVID-19, we have removed the reading corner for the safety of our visitors.

We have selected texts on, or in conversation with, some of them to be used for online reading groups. These additional texts including articles by Vijay Prashad and Elspeth Probyn, and book chapters by Adil Johan and S.R. Joey Long.

ACTIVITY CARDS
Designed for young audiences aged 13 and above, the Non-Aligned activity cards explore several core themes of the exhibition through thoughtful reflection questions and engaging activities. While the Centre strongly encourages audiences to experience the artworks in person, the cards may also be used independently at home or in the classroom.]]>
John Akomfrah]]> Naeem Mohaiemen]]> The Otolith Group]]> Mark Nash]]> Vladimir Seput]]> Film]]> South America]]> Asia]]> Africa]]>
Race]]> Decolonialism]]> Geopolitics]]> Diaspora]]> The Otolith Group]]> Otolith Group]]> Africa]]> Asia]]> Europe]]> No country: Contemporary Art for South and Southeast Asia Exhibition Guide]]> Regionalism]]> Geopolitics]]> Migration]]> Diaspora]]> No country: Contemporary Art for South and Southeast Asia Exhibition Guide]]> June Yap]]> Sheela Gowda]]> Sopheap Pich]]> Amar Kanwar]]> Arin Dwihartanto Sunaryo]]> Bani Abidi]]> Navin Rawanchaikul]]> Norberto Roldan]]> Poklong Anading]]> Reza Afisina]]> Sheela Gowda]]> Shilpa Gupta]]> Sopheap Pich]]> Tang Da Wu]]> Tayeba Begum Lipi]]> The Otolith Group]]> Tran Luong]]> Tuan Andrew Nguyen]]> Vincent Leong]]> Guide]]> Southeast Asia]]> Non-Aligned Exhibition Guide]]> Decolonialism]]> Race]]> Regionalism]]> Geopolitics]]> Non-Aligned Exhibition Guide]]> John Akomfrah]]> Naeem Mohaiemen]]> The Otolith Group]]> Mark Nash]]> Vladimir Seput]]> Guide]]> South America]]> Asia]]> Africa]]> Identity]]> Cultural Heritage]]> The Geocultural]]> 21 Jun 2014, Sat 3:00pm - 5:30pm

A forum featuring The Otolith Group, Marian Pastor Roces, T. K. Sabapathy and June Yap.

The idea of “country” powerfully embodies notions of identity, belonging, community and genealogy. When viewers engage global contemporary art, there is often the reflex to locate the artist by ethnicity and geography. Today, many artists seem burdened, perhaps unduly, to represent their place in the world. An individual artist may always speak from a place, but must he or she always speak about it? While the title of the exhibition, No Country may appear as if to negate country and nation, the aim of the forum is not to make declarations but rather to raise questions for discussion and dialogue.

A public programme of No Country: Contemporary Art for South and Southeast Asia.]]>
The Otolith Group]]> Marian Pastor Roces]]> T. K. Sabapathy]]> June Yap]]> Southeast Asia]]> Asia]]>
Archival Practice]]> Fiction]]> Ways of Seeing]]> 24 Jun 2014, Tue 6:30pm - 9:00pm

British-born artists Kodwo Eshun and Anjalika Sagar of The Otolith Group speak about their films, installations and performances. They discuss their frequent reworking of archival and contemporary images and the way in which it straddles the border between truth and fiction, complicating divisions between poetry, history, the real, and the imagined. 

This is a public programme of No Country: Contemporary for South and Southeast Asia.]]>
The Otolith Group]]> Southeast Asia]]> Asia]]>