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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
Installation shots of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the Centre for Contemporary Art Singapore, a national research centre of the Nanyang Technological University (NTU), May 10, 2014 – July 20, 2014.
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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
Installation shots of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the Centre for Contemporary Art Singapore, a national research centre of the Nanyang Technological University (NTU), May 10, 2014 – July 20, 2014.
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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
Installation shot of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the NTU Centre for Contemporary Art Singapore, May 10, 2014 – July 20, 2014. Courtesy of Solomon R. Guggenheim Museum, New York, and NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Installation shots of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the Centre for Contemporary Art Singapore, a national research centre of the Nanyang Technological University (NTU), May 10, 2014 – July 20, 2014.
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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
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014, Reza Afisina, What . . ., 2001. Color video, with sound, 11 min., edition 3/3. Installation view. 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
Installation shots of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the Centre for Contemporary Art Singapore, a national research centre of the Nanyang Technological University (NTU), May 10, 2014 – July 20, 2014.
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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
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014,Amar Kanwar, The Trilogy: A Season Outside (1997), 1997–2003. Color video, with sound, 30 min., edition 5/6. Installation view. 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
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014,Amar Kanwar, The Trilogy: A Season Outside (1997), 1997–2003. Color video, with sound, 30 min., edition 5/6. Installation view. 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
Installation shot of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the NTU Centre for Contemporary Art Singapore, May 10, 2014 – July 20, 2014. Courtesy of Solomon R. Guggenheim Museum, New York, and NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014, Sopheap Pich, Morning Glory, 2011. Rattan, bamboo, wire, plywood, and steel, 17 feet 6 inches x 103 inches x 74 inches (533.4 x 261.6 x 188 cm). Installation view. 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
Installation shot of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the NTU Centre for Contemporary Art Singapore, May 10, 2014 – July 20, 2014. Courtesy of Solomon R. Guggenheim Museum, New York, and NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014, Bani Abidi, The Boy Who Got Tired of Posing, 2006. Installation view. 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
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014, Tang Da Wu, Our Children, 2012. Galvanized steel, glass, and milk. Installation view. 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
Installation shot of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the NTU Centre for Contemporary Art Singapore, May 10, 2014 – July 20, 2014. Courtesy of Solomon R. Guggenheim Museum, New York, and NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
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
No Country: Contemporary Art for South and Southeast Asia is part of a multi-year collaboration that charts contemporary art practice in South and Southeast Asia, Latin America, and the Middle East and North Africa.
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2014-05-10
Exhibition End Date
2014-07-20
Collaboration
Yes
Commissioned Work
No
Related Countries
Thailand
Philippines
Indonesia
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Exhibition Mode
Exhibition
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>No country: Contemporary Art for South and Southeast Asia</i>
Subject
The topic of the resource
Regionalism
Geopolitics
Migration
Diaspora
Cultural Heritage
Description
An account of the resource
<i>No Country: Contemporary Art for South and Southeast Asia</i> 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. <br /><br />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 <i>No Country: Loss</i> by Sheela Gowda and <i>Morning Glory</i> by Sopheap Pich.
Contributor
An entity responsible for making contributions to the resource
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
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
Medium
The material or physical carrier of the resource.
Sculpture
Painting
Mixed Media
Installation
Photography
-
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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
John Akomfrah, The Unfinished Conversation, 2012. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
John Akomfrah, The Unfinished Conversation, 2012. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
John Akomfrah, The Unfinished Conversation, 2012. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
John Akomfrah, The Unfinished Conversation, 2012. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
John Akomfrah, The Unfinished Conversation, 2012. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Naeem Mohaiemen, Two Meetings and a Funeral, 2017. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Naeem Mohaiemen, Two Meetings and a Funeral, 2017. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Naeem Mohaiemen, Two Meetings and a Funeral, 2017. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Naeem Mohaiemen, Two Meetings and a Funeral, 2017. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Naeem Mohaiemen, Two Meetings and a Funeral, 2017. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Otolith Group, Nucleus of the Great Union, 2017. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Otolith Group, Nucleus of the Great Union, 2017. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Otolith Group, Nucleus of the Great Union, 2017. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Otolith Group, Nucleus of the Great Union, 2017. Non-Aligned (2020), NTU Centre for Contemporary Art Singapore.
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Title
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Exhibitions
Description
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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
Amplifying and celebrating defining voices and intertwining personal lives with political movements, Non-Aligned examines the new possibilities for progressive social movements but also the struggles that define the post-WWII period.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2020-04-04
Exhibition End Date
2020-09-27
Collaboration
No
Commissioned Work
No
Related Countries
Bangladesh
United States
United Kingdom
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Place.Labour.Capital.
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Title
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<i>Non-Aligned</i>
Subject
The topic of the resource
Race
Decolonialism
Archival Practice
Geopolitics
Displacement
Regionalism
Diaspora
Description
An account of the resource
<i>Non-Aligned</i> in the press! Read Stephanie Bailey’s article in <u>Ocula</u> and <u>Object Lessons Space</u>‘s interview with Dr Karin Oen, the Centre’s Deputy Director of Curatorial Programmes. <br /><br /><b><i>The Unfinished Conversation</i></b> (2012), <b>John Akomfrah</b> (United Kingdom), <b><i>Two Meetings and a Funeral</i></b> (2017), <b>Naeem Mohaiemen</b> (Bangladesh/United States), <b><i>Nucleus of the Great Union</i></b> (2017), <b>The Otolith Group</b> (United Kingdom) <br /><br />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. <i>Non-Aligned</i> 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. <br /><br />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. <br /><br />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. <br /><br />This history is at the core of <b><i>Two Meetings and a Funeral</i></b> (2017), a feature-length three-channel video installation by <b>Naeem Mohaiemen</b>. 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. <br /><br />In the video essay <b><i>Nucleus of the Great Union</i></b> (2017), <b>The Otolith Group</b> 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 <i>Black Power: A Record of Reactions in a Land of Pathos</i> (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. <br /><br /><b><i>The Unfinished Conversation</i></b> (2012) is an in-depth inquiry by filmmaker <b>John Akomfrah</b> 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. <br /><br />Amplifying and celebrating defining voices and intertwining personal lives with political movements, the featured works in <i>Non-Aligned</i> examine not only the new possibilities for progressive social and independence movements but also the inherent struggles that define the post-WWII period. <br /><br /><i>Non-Aligned</i> is curated by <b>Ute Meta Bauer</b>, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, NTU. <br /><br /><b>FILM PROGRAMME: THIRD WAY / AFTER BANDUNG</b> <br />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. <br /><br />Co-curated by writer and curator <b>Mark Nash</b> and film researcher <b>Vladimir Seput</b>. <br /><br /><b>READING CORNER</b> <br />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. <br /><br />In light of COVID-19, we have removed the reading corner for the safety of our visitors. <br /><br />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. <br /><br /><b>ACTIVITY CARDS</b> <br />Designed for young audiences aged 13 and above, the <i>Non-Aligned</i> 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.
Contributor
An entity responsible for making contributions to the resource
John Akomfrah
Naeem Mohaiemen
The Otolith Group
Mark Nash
Vladimir Seput
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
South America
Asia
Africa
Medium
The material or physical carrier of the resource.
Film
-
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Dublin Core
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Title
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Contributors
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Surname or Business Name
The Otolith Group
Years Affiliated
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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
2014/2020
Birthplace
United Kingdom
Occupation
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Artist
Biographical Text
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The Otolith Group is an award-winning artist-led collective founded by Anjalika Sagar and Kodwo Eshun in 2002. Their moving image, audio works, performances, and installations are characterised by an engagement with the legacies and potentialities of diasporic futurisms that explore modes of temporal anomalies, anthropic inversions, and synthetic alienation. Their work is driven by extensive research into the histories of science fiction and the legacies of transnationalism. Recent solo exhibitions include Xenogenesis, Van Abbe Museum, Eindhoven (2019); Reconstruction of Story 2, National Museum of Modern and Contemporary Art, Korea (2018); In the Year of the Quiet Sun, CASCO, Utrecht (2014); Novaya Zemlya, Museu Serralves, Porto (2014); and Medium Earth, REDCAT, Los Angeles (2013). They have participated in exhibitions at Haus der Kulturen der Welt, Berlin (2019); Carnegie International, 57th Edition (2018); Kochi-Muziris Biennale, (2018); Rubin Museum of Art, New York (2018); Villa Empain - Fondation Boghossian, Brussels (2017); Sharjah Biennial 13, (2017); Gwangju Biennale (2016); and Institute of Contemporary Art, Philadelphia (2015).
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
United Kingdom
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Artist
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
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The Otolith Group
Subject
The topic of the resource
Race
Decolonialism
Geopolitics
Diaspora
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Africa
Asia
Europe
Contributor
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The Otolith Group
Otolith Group
-
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PDF Text
Text
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Dublin Core
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Title
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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
No country: Contemporary Art for South and Southeast Asia Exhibition Guide
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
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<i>No country: Contemporary Art for South and Southeast Asia</i> Exhibition Guide
Description
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<i>No country: Contemporary Art for South and Southeast Asia</i> Exhibition Guide
Date
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2014-05-10
Contributor
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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
Format
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Guide
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Regionalism
Geopolitics
Migration
Diaspora
-
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PDF Text
Text
NON-ALIGNED
EXHIBITION
4 APRIL –
2 1 JUNE 2020
JOHN AKOMFRAH
NAEEM MOHAIEMEN
THE OTOLITH GROUP
�THE UNFINISHED CONVERSATION TWO MEETINGS AND A FUNERAL
JOHN AKOMFRAH
NAEEM MOHAIEMEN
NUCLEUS OF THE GREAT UNION
THE OTOLITH GROUP
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.
NOTES FROM THE CURATOR
I would like to thank the artists for the sustained conversations that we have shared over the years, including with the film
scholar and curator Mark Nash. I thank him and Vladimir Seput, who put together the screening programme titled
Third Way / After Bandung. I also thank the contributing filmmakers who generously provided us with access to their works.
I would also like to thank colleagues and all the individuals who will contribute to discuss these topics with our audiences.
Non-Aligned brings together three moving-image works by artists, filmmakers, and writers that inquire into the challenging
transition periods from British colonial rule to the independence of nations. The various colonial territories, spanning from
Asia to Australia, from Africa to America to the Caribbean, gained their sovereignty and independence at different times.
These processes of decolonisation played out in the histories of nations, but also determined the lives of individuals.
I also take the opportunity to acknowledge the work of peer institutions that continue to share agency in the effort of critically
engaging with the complexities of history and necessary revisions. I’m particularly grateful for the exhibition Undefined
Territories: Perspectives on Colonial Legacies (2019) at MACBA; Southern Constellations: The Poetics of the Non-Aligned at the
Museum of Contemporary Art Metelkova, Ljubljana, in 2019; Haus der Kulturen der Welt that presented Parapolitics:
Cultural Freedom and the Cold War (2017) and The Black Atlantic (2004); documenta 14 (2017) and all the institutions that
co-commissioned Two Meetings and a Funeral; and the 2012 Liverpool Biennale that premiered The Unfinished Conversation.
Amplifying and celebrating outstanding voices that engage in the inherent struggles that define the post-WWII period,
Non-Aligned reflects on a period of new departures for progressive movements that paved the way for post-colonial politics.
This process of examining the interconnected stories of place, identity, and the conscious assertion of difference from
established Western narratives contributes to the still ongoing effort towards complete decolonisation.
The featured artists apply archival material in different ways, presenting documents, photos, and footage collected by
individuals, as well as tracing historic events and sites. This includes the personal histories and the work 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), and the history of political organisation 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.
In memory of Stuart Hall, and a year after the untimely passing of our Centre’s International Advisory Board member
Okwui Enwezor, it is imperative to keep these efforts alive in order to commemorate the calls for change by so many
across time and geographies.
Ute Meta Bauer, Founding Director, NTU CCA Singapore,
and Professor, School of Art, Design and Media, NTU
and Ana Sophie Salazar, Assistant Curator, Exhibitions
1
Cover: Naeem Mohaiemen, Two Meetings and a Funeral, film still, 2017.
Courtesy the artist and Experimenter, Kolkata.
�THE UNFINISHED CONVERSATION
JOHN AKOMFRAH
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, educator, and activist 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, oppression, and slavery, and became an influential figure of the British New Left—a movement
that grew out of Marxism but that featured an expanded focus on civil rights and labour organisation—having been the first
editor-in-chief of the political academic journal New Left Review from 1960 to 1962.
Produced from hundreds of hours of archival material, Akomfrah’s film weaves across documentation of historical events
—including the post-World War II migration of nearly half a million Caribbean people to Britain, a group known as the
Windrush generation—together with home videos and photographs from personal moments in Hall’s life. In doing so,
Akomfrah has created a form of storytelling that illustrates Hall’s description of identity as a “matter of becoming” or an
“ever unfinished conversation.” The film’s narrative ends in the late 1960s, but includes recent interviews with Hall
before he died in 2014, echoing his reflection on identity as belonging “to the future as well as to the past.”
The Unfinished Conversation was made over a period of three and a half years, during which Akomfrah worked closely
with Hall. The soundtrack is made up of jazz and gospel music, as well as readings from a wide range of authors, including
William Blake, Charles Dickens, Virginia Woolf, and Mervyn Peake. The use of different footage and multiple screens
portray how identity is formed as part of a collision of history, culture, and politics. Identity is presented as a conjunction
of the outside and the inside, where individual subjectivities are formed in both real and fictive spaces.
John Akomfrah, The Unfinished Conversation, film stills, 2012.
Copyright Smoking Dogs Films. Courtesy Smoking Dogs Films and Lisson Gallery.
�John Akomfrah, The Unfinished Conversation, film stills, 2012.
Copyright Smoking Dogs Films. Courtesy Smoking Dogs Films and Lisson Gallery.
�TWO MEETINGS AND A FUNERAL
NAEEM MOHAIEMEN
The Non-Aligned Movement’s 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. Mohaiemen’s project is centred on Bangladesh’s hesitant, contradictory
navigation of these two historic meetings and is set against the backdrop of its struggle for United Nations recognition.
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. “The Third World
was not a place, but a project,” according to the book The Darker Nations (2007). This was meant to be a utopian alliance
where the Global South would reconfigure planetary leadership, ending Euro-American dominance. NAM, spanning Asia,
Africa, Latin America, and the Middle East, attempted to navigate a “third way.”
Travelling through archival film material, the residues of transnational architecture (Niemeyer, Moretti, Le Corbusier)
in New York, Algiers, and Dhaka, and footage with key leaders, such as Muammar Gaddafi, Yasser Arafat, Indira Gandhi,
Fidel Castro, or Sheikh Mujibur Rahman, the film looks at the limitations of decolonisation movements that neglected
to liberate their own leadership.
Naeem Mohaiemen, Two Meetings and a Funeral, film stills, 2017.
Courtesy the artist and Experimenter, Kolkata.
�Naeem Mohaiemen, Two Meetings and a Funeral, film stills, 2017.
Courtesy the artist and Experimenter, Kolkata.
�NUCLEUS OF THE GREAT UNION
THE OTOLITH GROUP
In the video essay Nucleus of the Great Union (2017), The Otolith Group traces the African American novelist Richard Wright’s
first trip to Africa in 1953. Travelling the Gold Coast (present-day Ghana) for 10 weeks, he witnessed political campaigns for
independence in West Africa, yet felt alienation at his first encounter with the continent. Living as an expatriate in Paris at
the time, Wright had long expressed a wish to travel to Africa, the origin of the Black diaspora and a site of intense political
struggle in the early 1950s. In the spring of 1953, his travel plans were set into motion by the success of the African nationalist
movement in the Gold Coast led by the charismatic politician Kwame Nkrumah. In spite of his high hopes for this voyage,
however, Wright deemed his trip a failure in the end, writing in his journal, “Africa! Where are you! Are you a myth?
I seek you and cannot find you. I am in despair.”
A selection of over 1,500 of Wright’s unpublished photographs from the Gold Coast appear throughout Nucleus of the Great
Union in various forms: individually, in contact prints, and in a digitally rendered spiral with captions derived from Wright’s
notes and correspondence with Nkrumah. Collaborating with award-winning writer and historian Saidiya Hartman, whose
voice-over quotes from her book, Lose Your Mother: A Journey Along the Atlantic Slave Route (2006), The Otolith Group tallies
Wright’s disappointment at having failed to discover the keys to racial solidarity in Africa with the ongoing need for a politics
of Black internationalism.
The Otolith Group, Nucleus of the Great Union, film still, 2017.
Courtesy the artists and LUX, London.
Wright initially intended his book Black Power: A Record of Reactions in a Land of Pathos (1954) to include both text and the
photos taken with his professional-grade camera, but this request was rejected by his publisher. The negatives and paper prints
of this still unseen photographic archive are now housed in the Special Collections at the Beinecke Library in Yale University,
United States; several hundred have recently been digitised. Through this work, The Otolith Group finally honours Wright’s
initial aim of seeing image and text as one single narration.
�The Otolith Group, Nucleus of the Great Union, film stills, 2017.
Courtesy the artists and LUX, London.
�ARTWORKS AND BIOGRAPHIES
The Unfinished Conversation, 2012
John Akomfrah
Three-screen video installation,
7.1 sound, 45 min 48 sec
Courtesy Smoking Dogs Films
and Lisson Gallery.
Commissioned by Autograph ABP, United
Kingdom. Produced by Lina Gopaul and David
Lawson, Smoking Dogs Films, in collaboration
with Professor Stuart Hall. Executive producer
Mark Sealy, Director, Autograph ABP. Funded
by Grants For Arts, Arts Council England and
supported by the Bluecoat, New Art Exchange,
Nottingham; the W.E.B. Du Bois Institute
for African and African American Research,
Harvard University, United States; Royal
College Inspire Programme, United Kingdom;
and Smoking Dogs Films Production. With
kind support from NAXOS Books, The Open
University, BBC, Time/Image, and Getty Images.
John Akomfrah (United Kingdom) is a highly
respected artist and filmmaker of Ghanaian
descent, living and working in London. His
works are characterised by their investigations
into memory, postcolonialism, temporality, and
aesthetics, often exploring the experiences
of migrant diasporas globally. He combines
text, music, and archival documents to shift
debates on politics, media, and conventional
historic narratives. Akomfrah was a founding
member of the influential Black Audio Film
Collective, which started in London in 1982
alongside the artists David Lawson and Lina
Gopaul, who he still collaborates with today.
He has had numerous solo exhibitions including
ICA Boston (2019); New Museum, New
York (2018); Nasher Museum of Art, Duke
University, Durham (2018); SFMOMA, San
Francisco (2018); Barbican, London (2017);
Nikolaj Kunsthal, Copenhagen (2016); and Tate
Britain, London (2013-14). He has participated
in the Ghana Pavilion, 58th and 56th Venice
Biennale (2019 and 2015); Prospect 4, New
Orleans (2017); La Triennale di Milano (2017);
Museum of Modern Art, New York (2017);
SeMA, Seoul (2014); Sharjah Biennial 11 (2013);
Liverpool Biennial (2012); and Taipei Biennial
(2012). He was awarded the Artes Mundi Prize
in 2017.
Two Meetings and a Funeral, 2017
Naeem Mohaiemen
Three-channel digital video installation,
5.1 sound, 89 min
Edition 5 of 5. Courtesy the artist and
Experimenter, Kolkata.
Commissioned by documenta 14, Germany.
Co-commissioned by Sharjah Art Foundation,
United Arab Emirates and Ford Foundation
(Just Films), United States. Supported by
Bengal Foundation, Bangladesh; Tensta
Konstshall, Sweden; and Arts Council, United
Kingdom. Additional support by Tate Films,
United Kingdom and Experimenter, India.
10
11
Naeem Mohaiemen (Bangladesh/United
States) was born in London and grew up in
Dhaka. In his works, he uses film, installation,
and essays to research socialist utopias and
incomplete decolonisation. Despite underscoring the left’s historic errors, a hope for a
future global left is always a basis for the work.
Mohaiemen is author of Midnight’s Third
Child (Nokta, 2020) and Prisoners of Shothik
Itihash (Kunsthalle Basel, 2014); co-editor (with
Eszter Szakacs) of Solidarity Must be Defended
(Tranzit, 2020); and co-editor (with Lorenzo
Fusi) of System Error: War is a Force that Gives
us Meaning (Sylvana, 2007). Solo exhibitions
include Tripoli Banchal, Bengal Foundation,
Dhaka (2020); There is no Last Man, Museum
of Modern Art (PS1), New York (2017); and
My Mobile Weighs a Ton, Gallery Chitrak,
Dhaka (2008). Group exhibitions include Chobi
Mela (2019, 2017, 2009); Lahore Biennial
(2018); documenta 14 (2017); Venice Biennale
(2015); and Kochi-Muziris Biennale (2014).
Mohaiemen has worked in activist collectives
in New York (Gulf Labor Coalition, Visible
Collective, 3rd i South Asian Film, South Asia
Solidarity Network) and Dhaka (Drishtipat,
Alal O Dulal). He was nominated for the
2018 Turner Prize, London, and is a 2020-21
postdoctoral fellow at Columbia University,
New York.
Nucleus of the Great Union, 2017
The Otolith Group
HD video, colour, sound, 32 min 35 sec
Courtesy the artists and LUX, London.
Commissioned by Haus der Kulturen der Welt,
Berlin.
The Otolith Group (United Kingdom)
is an award-winning artist-led collective
founded by Anjalika Sagar and Kodwo
Eshun in 2002. Their moving image, audio
works, performances, and installations
are characterised by an engagement with
the legacies and potentialities of diasporic
futurisms that explore modes of temporal
anomalies, anthropic inversions, and synthetic
alienation. Their work is driven by extensive
research into the histories of science fiction
and the legacies of transnationalism. Recent
solo exhibitions include Xenogenesis, Van Abbe
Museum, Eindhoven (2019); Reconstruction
of Story 2, National Museum of Modern and
Contemporary Art, Korea (2018); In the Year of
the Quiet Sun, CASCO, Utrecht (2014); Novaya
Zemlya, Museu Serralves, Porto (2014); and
Medium Earth, REDCAT, Los Angeles (2013).
They have participated in exhibitions at Haus
der Kulturen der Welt, Berlin (2019); Carnegie
International, 57th Edition (2018); KochiMuziris Biennale, (2018); Rubin Museum
of Art, New York (2018); Villa Empain
- Fondation Boghossian, Brussels (2017);
Sharjah Biennial 13, (2017); Gwangju Biennale
(2016); and Institute of Contemporary Art,
Philadelphia (2015).
�FILM PROGRAMME
THIRD WAY / AFTER BANDUNG
14 – 19 April 2020
First conference of Non-Aligned
Movement, 1961
21 – 26 April 2020
Borom Sarret,
Ousmane Sembène, 1963
28 April – 3 May 2020
I am Cuba (Soy Cuba),
Mikhail Kalatozov, 1964
5 – 10 May 2020
Black Girl (La noire de... ),
Ousmane Sembène, 1966
Archive footage from the first
conference of the 1961 Non-Aligned
Movement, otherwise known as the
Belgrade Conference, presenting
historical events from the meeting.
The inaugural conference was initiated
by three key figures: Josip Broz Tito,
President of Yugoslavia; Gamal
Abdel Nasser, President of Egypt; and
Jawaharlal Nehru, First Prime Minister
of India. Attended by 25 countries
from Asia, Africa, and Latin America,
the conference is a direct response to
the division of spheres of influence
settled between the major world forces
after World War II and the Cold War,
enabling members to independently
formulate their own position in
international politics.
Borom Sarret is often considered the
first film ever made in Africa by
a black African. The stark masterpiece
chronicles a day in the life of a Dakar
cart driver. The frustrating day of this
“borom sarret” (a Wolof expression
for cart driver), where he encounters
an unfortunate array of characters,
leaves him cheated out of his wages and
deprived of his cart. In this powerful
evocative film with urban details and a
socially critical voice, Sembène conveys
the toll of natural loss, poverty, and
the stain of the European colonisation
of Africa.
I am Cuba follows four short stories
outlining the sufferings of Cubans
during the Cuban Revolution. Maria,
a young woman working at a Havana
night club catering to rich Americans
who is forced to entertain and sleep
with tourists for money; Pedro, a tenant
farmer whose sugarcane fields are taken
from him after the landowner decides to
sell the plot to an American company;
Enrique, a young revolutionary and
university student who is part of the
intellectual resistance; and Mariano,
a peasant who is moved to take up
arms and join the rebel army after a
government bomb kills his son. The
film is narrated by Raquel Revuelta,
carrying the story to its conclusion:
the triumph of the revolution.
The film follows Senegal’s first years
of independence through a young
ambitious woman, Diouana. She secures
a job as a maid with a French couple
working in Dakar. Seduced by the
apparent kindness of her employers, she
accepts their offer to follow the family
to the French Cote d’Azur. In France,
she finds herself imprisoned, being
denied any time off and treated like
an object. A harrowing human drama
as well as a radical political statement,
critiquing the colonial mindset of a
supposedly postcolonial world. Black
Girl is the first black African feature
film which screened at Cannes and won
the Prix Jean Vigo and top prize at the
Carthage Film Festival.
Archive footage, colour, sound,
10 min 51 sec
The Single Screen
7 April – 21 June 2020
Screening on loop during opening hours.
This programme features films that
engage postcolonial processes covering
different moments and geopolitical
contexts. The Asian-African Conference
in 1955, known as the Bandung
Conference, amidst the complex
processes of decolonisation, 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
7 – 12 April 2020
Indonesia Calling, Joris Ivens, 1946
35mm transferred to digital file, b&w,
sound, 22 min
The film gives a glimpse of the
immediate post-World War II Sydney,
where trade union seamen and
waterside workers refused to service
Dutch ships which contained arms and
ammunition, destined for Indonesia,
utilising them to bring the Indonesian
National Revolution to a halt. The film
seeks to distil aspects of the historical
context of the events depicted in the
film and gives insight to the major realignments in the relationship between
Australia and Indonesia.
35mm transferred to digital file, b&w,
sound, 18 min
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13
35mm transferred to digital file, b&w,
sound, 141 min
35mm transferred to digital file, b&w,
sound, 60 min
�12 – 17 May 2020
Memories of Underdevelopment,
Tomás Gutiérrez Alea, 1968
35mm transferred to digital file,
b&w, sound, 97 min
The film’s narrative is presented
through the lens of Sergio, a wealthy
bourgeois aspiring writer, during the
aftermath of the Bay of Pigs Invasion.
His family decides to retreat to Miami
during the turmoil of social changes.
The film is interspersed with real-life
documentary footage of protest and
political events in which Sergio’s life
and personal relationship unfolds. As
the threat of foreign invasion looms
over Sergio, his desire for companionship also intensifies.
19 – 31 May 2020
Early Works (Rani Radovi),
Želimir Žilnik, 1969
35mm transferred to digital file,
b&w, sound, 58 min
Winner of the Golden Berlin Bear
Award at the 19th Berlin International
Film Festival, Early Works (Ravi Radovi)
recounts a story of youths who took
part in the student demonstrations of
June 1968 in Belgrade. Three young
men and a girl, Yugoslava, set out to
defy the petit-bourgeois routine of
everyday life. Wanting to change the
world and inspired by the writings of
the young Karl Marx, they go to the
country to persuade the peasants to
fight for emancipation. They eventually
get arrested. Frustrated at the failed
revolution, the three young men decide
to kill Yugoslava. They shoot her, cover
her with the party flag and burn her
body. The smoke rising up into the sky
is the only thing that remains of the
intended revolution.
19 – 31 May 2020
Black Film (Cri Film),
Želimir Žilnik, 1971
2 – 7 June 2020
Litany of Happy People (Zdravi ljudi
za razonodu), Karpo Godina, 1971
16mm transferred to digital file, b&w,
sound, 14 min
35mm transferred to digital file, colour,
sound, 15 min
The film chronicles Žilnik picking up
a group of homeless men from the
streets of Novi Sad and taking them
to his home. Žilnik carries along a
film camera to witness his efforts to
“solve the problem of the homeless,”
while the group of homeless men enjoy
themselves in his house. He speaks to
social workers, members of the general
public, and even engages with the
policemen. However, they turn a blind
eye to the “problem” at hand.
The Litany of Happy People is a songfilm about the diverse group of people
living harmoniously in rural Vojvodina,
an autonomous province of Serbia
known for its multicultural and multiethnic identity. The film presents
families with multi-ethnic backgrounds,
standing in front of their seemingly
similar but colourful rural houses.
The film won numerous awards at short
film festivals.
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9 – 14 June 2020
About Art of Love or a Film with 14441
Frames (O ljubavnim veštinama ili film sa
14441 kvadratom), Karpo Godina, 1972
Colour, sound, 10 min
This film presents an almost journalistic
report of the female textile workers
and male military soldiers in the
Macedonian village of Stip. Interwoven
with military footage and shots of the
village, the alternating scenes present
the two groups in proximity, while
being completely isolated. The film
went through a thorough restoration
process in 2016 and was shown at the
30th edition of Il Cinema Ritrovato
in Bologna, Italy.
16 – 21 June 2020
Frantz Fanon: Black Skin White Mask,
Isaac Julien, 1995
35mm transferred to digital file,
colour, sound, 70 min
This film interrogates the life and work
of Frantz Fanon, a highly influential
anti-colonial writer, civil rights activist,
and psychoanalytic theorist from
Martinique. The docudrama is interspersed with archival footage of Fanon
as well as interviews with family members
and colleagues. Reflecting on the black
body and its representations, the film
is rooted in the black arts movement in
Britain and North America.
Admission is free.
A selection of films will be streamed
on vimeo.com/ntuccasingapore.
For more information and updates,
please visit ntu.ccasingapore.org
�BIOGRAPHIES
Filmmakers
Karpo Godina (Slovenia) is a prominent
filmmaker and cinematographer. He is an
essential figure and a pioneering member of the
Yugoslav Black Wave film movement of the
1960s and 1970s. His film career was launched
in the 1960s when he independently produced
8mm experimental shorts and numerous sociocritical films. His film Artificial Paradise was
screened at the 1990 Cannes Film Festival.
Tomás Gutiérrez Alea (Cuba) is a prominent
and highly celebrated Cuban film director. He
is an influential figure in shaping Cuba’s film
industry. Originally trained in law, he went on
to study filmmaking in Italy. His socially-driven
works expose the plight of the working class
and the Cuban revolution. He explored various
genres such as Neorealism, comedy, and
historical film to reflect on the lives and people
of Cuba.
Joris Ivens (Netherlands) was a documentary
filmmaker whose career spanned over 60
years. He filmed more than 50 international
documentaries that explored leftist social and
political concerns during the 20th century.
Named film commissioner in 1944 for the
Dutch East Indies, he later resigned in protest
over the Dutch’s resistance to decolonisation.
Among the notable films he has directed or
co-directed, there are A Tale of the Wind
(1988), The Spanish Earth (1937), and Far from
Vietnam (1967). In 1988, Ivens received the
Golden Lion Honorary Award at the Venice
Film Festival and in 1989, he was knighted
in the Order of the Dutch Lion.
Isaac Julien, CBE RA (United Kingdom) is a
distinguished filmmaker and installation artist,
and Professor, UC Santa Cruz. His multiscreen
film installations and photographs incorporate
different artistic disciplines to create a poetic
and unique visual language. Julien’s notable
documentary-drama, Looking for Langston (1989),
garnered him a cult following. His works have
shown in solo shows internationally, and he
has participated in various biennales. Most
recently, he received the Charles Wollaston
Award (2017) for most distinguished work at
the Royal Academy Summer Exhibition, and in
2018 he was made a Royal Academician. Julien
was awarded the title Commander of the Most
Excellent Order of the British Empire (CBE)
in the Queen’s birthday honours, 2017.
Mikhail Kalatozov (Russia) was a prominent
film director who largely contributed to both
Georgian and Russian cinema. He studied
economics before starting his extensive
filmmaking career in 1923. He had his solo
directorial debut in 1930 with the documentary
Salt for Svanetia and directed several propaganda
films during World War II. He also worked as
a cultural attaché at the Soviet Embassy in the
United States, and was later appointed Deputy
Film Minister of the Soviet Union. He is best
known for his World War II drama, The Cranes
Are Flying (1958), which won the Palm d’Or
at the 1958 Cannes Film Festival.
Ousmane Sembène (Senegal) was a
preeminent Senegalese film director and writer.
His writings observed the political scene in
Senegal where he wrote several volumes on
the developing national consciousness. In the
early 1960s, he turned to film and went to
study in Moscow. He is often called the “Father
of African Cinema,” a title befitting the first
African to make a film distributed outside of
Africa. His works examine the multiplicities of a
continent emerging from the colonial era, at grips
with the tensions of independence and modernity,
historicising Africa’s political and social transformation throughout the 20th century.
Želimir Žilnik (Serbia) is best known as
one of the major figures of the Yugoslav Black
Wave film movement of the 1960s and 1970s.
He is noted for his socially engaging style of
filmmaking and focus on contemporary issues—
social, political and economic assessments of
everyday life. His feature film Early Works
(Rani Radovi) won him a Golden Berlin Bear
Award at the 19th Berlin International Film
Festival. Not only has his work been included
in programmes of art galleries and museums
worldwide, he is also a mentor and executive
producer in many international workshops for
students in South-Eastern Europe. He is also
a visiting lecturer at film schools.
16
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Film programme guest curators
Mark Nash (United Kingdom/United States)
is a curator and writer, and Professor,
University of California Santa Cruz. He was
Head of Department Curating Contemporary
Art at the Royal College of Art London, and
prior Director of Fine Art Research at Central
St Martins. He was a senior lecturer in Film
History and Theory at the University of East
London, visiting lecturer at the Whitney
Museum Independent Study Program, and
visiting research fellow at the NTU CCA
Singapore (2015). He holds a PhD from
Middlesex University. Nash has written
extensively on artists’ work with the moving
image, having curated One Sixth of the Earth,
ecologies of image at ZKM, Karlsruhe and
MUSAC, Leon (2012-13) and Experiments
with Truth, Fabric Workshop and
Museum, Philadelphia (2004-5).
Vladimir Seput (Croatia/United Kingdom)
is a curator and researcher based in London.
He studied film in Zagreb and did postgraduate
research in film/video studies at University
Paris 8 (2013-14), where he wrote about
Mediterranean iconography in film and moving
image, and researched the cinematic aspects
of the sea as a place where politics, history,
and mythology intersect. He holds a Masters
in Film Curation from Birkbeck, University
of London (2017). For the last 10 years, he has
published on film and moving image art, and
translated and edited books on philosophy,
literary criticism, and contemporary art for
various publications in Croatia and the
United Kingdom.
�EXHIBITION (DE)TOUR
Thursday, 18 June 2020, 7.00 – 8.30pm
Exhibition (de)Tour: Nonlinear
Trajectories with Dr Itty Abraham,
Professor and Head, Department of
Southeast Asian Studies, NUS
Taking the dis-connections between
the three cinematic projects in the
exhibition as points of departure,
Professor Abraham will engage in a
critical conversation about the multiple
pasts of what is today called the Global
South. A historical overview of the
Bandung Conference and its links
to the Non-Aligned Movement, real
and imagined, will help contextualise
different Cold War trajectories
as structure and as possibility.
Dr Itty Abraham (United States/Singapore)
is Professor and Head of the Department
of Southeast Asian Studies at the National
University of Singapore (NUS). Earlier, he
was director of the South Asia Institute at the
University of Texas at Austin and program
director at the Social Science Research Council
(SSRC), New York. He was a Fulbright-Nehru
senior fellow in 2011 and has received research
grants from the US National Science Foundation,
Ford, Rockefeller, and MacArthur foundations,
among others. He has written about nuclear
power, criminal borderlands, foreign policy,
digital cultures, and postcolonial technoscience.
He is currently working on a book on refugees
and forced migration in Asia.
WORKSHOPS
Saturday, 16 May 2020, 2.00 – 4.00pm
Workshop: Personalising the Political
with writer Balli Kaur Jaswal
Registration: personalisethepolitical.peatix.com
How can we personalise the political?
What is the role of storytelling in
our understanding of current events?
Narrative writing can distil headlines
and issues to individual experience,
and remind us of our personal stake in
a world of multitudes. In this creative
writing workshop, participants will
draw from the global sociocultural
landscape to create fictions that illuminate the stories of individuals in the
context of wider events. Activities will
include guided writing exercises and
critical feedback sessions to deepen
our understanding of character, form,
tension, and resolution.
Saturday, 13 June 2020, 2.00 – 5.00pm
Workshop: Discovering Histories,
Designing Stories with artist Robert
Zhao and filmmaker Andre Quek
Registration: historiesandstories.peatix.com
How can physical traces of the past
help us visualise new narratives? This
workshop begins with a nature trail by
artist Robert Zhao through the secondary
forest surrounding Gillman Barracks.
Unearth the history of the Queen’s
Own Hill from a plantation to military
barracks, and to its current status as a
visual arts precinct. Be inspired to create
visual narratives about the area under
the guidance of filmmaker Andre Quek.
Learn basic principles of film language
and visual storytelling, composition,
and production design, and bring home
your very own beatboard.
Balli Kaur Jaswal (Singapore) is the author
of four novels, including Singapore Literature
Prize finalist Sugarbread, and the bestselling
Erotic Stories for Punjabi Widows, which was
a selection of Reese Witherspoon’s book club.
Her debut novel Inheritance won the Sydney
Morning Herald’s Best Young Australian
Novelist award. A former writing fellow at the
University of East Anglia, she teaches creative
writing at Yale-NUS College. Jaswal’s nonfiction has appeared in the New York Times,
Cosmopolitan.com, Harper’s Bazaar India and
Salon.com, among other publications. Her latest
novel The Unlikely Adventures of the Shergill
Sisters was released internationally in 2019.
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Andre Quek (Singapore) is a filmmaker
who specialises in 2D hand-drawn animation.
Graduated with honours from the School of
Art, Design and Media, Nanyang Technological
University (2014), he co-founded Finding
Pictures in 2018, an animation studio in
Singapore. He draws inspiration from all walks
of life, believing that abstracting the details
of reality enlivens his animations. Quek’s film
Princess has been screened at over 50 international film festivals, winning multiple awards
for best animation short film, including Best
Animation Award at the National Youth Film
Awards (NYFA) 2015, and Gold award in the
Crowbar Awards 2015. He has since focused
on directing commercial shorts and produced
Automatonomy (2017) that won Best Animation
at NYFA 2019.
Robert Zhao Renhui (Singapore) is a multidisciplinary artist and the founder of the Institute
of Critical Zoologists. Persistently twisting
reality and fiction, his artistic practice addresses
the human relationship with nature, challenging
accepted parameters of objectivity and scientific
modes of classifications. Zhao received his
Bachelor’s and Master’s degree in Photography
from Camberwell College of Arts and London
College of Communication respectively. He has
exhibited in solo shows and biennales internationally. He was awarded the Young Artist
Award by the National Arts Council in 2010.
He was named as a finalist for the Benesse Prize
2019 and the Hugo Boss Asia Art Award 2017.
Workshop Fees: $12
READING CORNER
The exhibition is accompanied by
a library with over 50 books on
postcolonialism, decoloniality, the
history of the Cold War, the NonAligned Movement, archiving, as well
as theory of the moving image and
publications on and by John Akomfrah,
Naeem Mohaiemen, and members of
The Otolith Group. Authors include
Stuart Hall, Richard Wright, Frantz
Fanon, Aimé Césaire, as well as Leela
Gandhi, Paul Gilroy, Walter Mignolo,
Rosalind Morris, Stephen Morton,
Edward Said, and Gayatri Chakravorty
Spivak, among many others.
If you wish to organise reading groups
(capped at 8 pax) in the reading corner
during opening hours, please contact us
at ntuccaexhibition@ntu.edu.sg
�NON-ALIGNED
4 April – 21 June 2020
NTU CCA Singapore
Curator:
Ute Meta Bauer
Film Programme:
Mark Nash
Vladimir Seput
Deputy Director, Curatorial
Programmes:
Karin Oen
Assistant Curator:
Ana Sophie Salazar
Exhibition Design Consultancy:
Laura Miotto, Associate Professor,
NTU ADM
Education Programmes:
Magdalena Magiera
Ilya Katrinnada Binte Zubaidi
Exhibition Production:
Frankie Fang
Isrudy Shaik
Construction and Technical Installation:
SPACElogic
Collaterals:
mono.studio
Acknowledgements:
The exhibition is made possible
by generous loans from the artists;
Lisson Gallery; and LUX, London.
Special thank you to David Lawson,
Smoking Dogs Films.
The film programme is made possible
through the kindness of Cineteca di
Bologna; Filmske Novosti, Belgrade;
Isaac Julien Studio, London; Karpo
Godina, Ljubljana; Mr Bongo, London;
and Želimir Žilnik, Novi Sad.
Right: NTU CCA Singapore,
Block 43 Malan Road, Gillman Barracks, Singapore.
20
�NTU CCA SINGAPORE STAFF
Ute Meta Bauer, Founding Director, NTU CCA Singapore
and Professor, School of Art, Design and Media, NTU
EXHIBITIONS & RESIDENCIES
NTU CCA SINGAPORE
GOVERNING COUNCIL
NTU CCA SINGAPORE
INTERNATIONAL ADVISORY BOARD
RESEARCH & ACADEMIC PROGRAMMES
CO-CHAIRS
CHAIR
Soh Kay Min, Executive, Conference, Workshops & Archive
Kong Yin Ying, Young Professional Trainee, Research
Professor Joseph Liow, Dean, College of Humanities, Arts,
and Social Sciences, Nanyang Technological University (NTU)
Low Eng Teong, Deputy Chief Executive Officer, Sector
Development, National Arts Council (NAC)
Professor Nikos Papastergiadis, Director, Research Unit
in Public Cultures, and Professor, School of Culture and
Communication, The University of Melbourne, Australia
MEMBERS
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
OPERATIONS & STRATEGIC
DEVELOPMENT
MEMBERS
Tay Tong, Director, Sector Development, NAC
Professor Kwok Kian Woon, Associate Provost (Student Life),
President’s Office, NTU
Cindy Koh, Director, Consumer, Economic Development Board
Mike Samson, Managing Director, Regional Head,
Corporate Finance ASA & Regional Head, Leveraged and
Structured Solutions ASEAN
Professor Michael Walsh, Chair, School of Art, Design
and Media, NTU
Michael Tay, Group Managing Director, The Hour Glass Limited
Dr June Yap, Director, Curatorial, Programmes and
Publications, Singapore Art Museum
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
22
23
Antonia Carver, Director, Jameel Arts Centre, Dubai, UAE
Doryun Chong, Deputy Director and Chief Curator,
M+, Hong Kong
Catherine David, Deputy Director in charge of Research and
Globalisation, MNAM/CCI, Centre Pompidou, Paris, France
Professor Patrick Flores, Professor, Department of Art Studies,
University of the Philippines and Curator, Jorge B. Vargas
Museum, Manila, Philippines
Ranjit Hoskote, cultural theorist and independent curator,
Mumbai, India
Professor Ashley Thompson, Hiram W. Woodward
Chair of Southeast Asian Art, SOAS University of London,
United Kingdom
Philip Tinari, Director, UCCA Center for Contemporary Art,
Beijing, China
�ABOUT NANYANG TECHNOLOGICAL
UNIVERSITY, SINGAPORE
NTU CCA SINGAPORE
PUBLICATIONS
A research-intensive public
university, NTU has 33,000
undergraduate and postgraduate
students in the colleges of
Engineering, Business, Science, and
Humanities, Arts and Social Sciences,
and its Graduate College. NTU’s
campus is frequently listed among
the top 15 most beautiful university
campuses in the world and has 57
Green Mark-certified (equivalent to
LEED-certified) buildings. Besides
its 200-ha lush green, residential
campus in western Singapore, NTU
has a second campus in the heart of
Novena, Singapore’s medical district.
Culture City. Culture Space.
(Forthcoming 2020)
Edited by Ute Meta Bauer, Sophie Goltz,
and Khim Ong.
The Impossibility of Mapping (Urban Asia).
NTU CCA Singapore and World Scientific
Publishing, 2020. Edited by Ute Meta
Bauer, Khim Ong, and Roger Nelson.
Voyages de Rhodes.
Artist’s book by Phan Thảo Nguyên.
Commissioned and published by
NTU CCA Singapore, 2018.
Place.Labour.Capital.
NTU CCA Singapore and Mousse
Publishing, distributed by NUS Press, 2018.
Edited by Ute Meta Bauer and Anca Rujoiu.
Tomás Saraceno: Arachnid Orchestra.
Jam Sessions. NTU CCA Singapore, 2017.
Edited by Ute Meta Bauer and Anca Rujoiu.
NTU CENTRE FOR
CONTEMPORARY ART SINGAPORE
Theatrical Fields: Critical Strategies in
Performance, Film, and Video.
NTU CCA Singapore, König Books,
London, and Bildmuseet, Umeå, 2016.
Edited by Ute Meta Bauer and Anca Rujoiu.
SouthEastAsia: Spaces of the Curatorial.
Jahresring 63. Sternberg Press, 2016.
Edited by Ute Meta Bauer and
Brigitte Oetker.
Publications are available for purchase at our
store at Blk 43, Malan Road, S109443. If you
wish to have copies delivered to you please
contact us at ntuccaresearch@ntu.edu.sg
WE NEED YOU!
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.
Becoming Palm.
Simryn Gill and Michael Taussig. NTU
CCA Singapore and Sternberg Press, 2017.
Edited by Ute Meta Bauer and Anca Rujoiu.
(Out of print)
SPACES OF THE CURATORIAL
The Centre seeks to engage the potential
of “curating,” and its expanded field.
What are the infrastructures and modes
of presenting and discussing artistic and
cultural production in diverse cultural
settings and in particular throughout
Southeast Asia’s vastly changing societies?
NTU CCA Singapore’s exhibition spaces,
designed by artist and curator Fareed
Armaly, respond to this curatorial framework to unfold different juxtaposed formats.
Your support is integral to the Centre’s
ongoing success from presenting
internationally acclaimed, research-driven
exhibitions, to artist residencies and
extensive educational programmes!
Regardless of the amount, your contribution
goes a long way in supporting the development of local, regional and international
art scenes and our Centre. If you are a
taxpayer in Singapore, your donation is
not only eligible for a 250% tax deduction
for yourself but also qualifies for the
Cultural Matching Fund.
Pledge your support now to make a
positive and tangible difference through
art and education.
For enquiries, please contact
ntuccacomms@ntu.edu.sg
or scan here to donate
24
�VISITOR INFORMATION
Free admission
Enquiries:
ntuccaevents@ntu.edu.sg
School/ Group Tours
To schedule a tour, please email
ntuccaeducation@ntu.edu.sg
ntu.ccasingapore.org
ntu.ccasingapore
ntu_ccasingapore
Gillman Barracks Tours
For a tour, please register at
www.gillmanbarracks.com
or Friends of the Museums
at www.fom.sg
A RESEARCH CENTRE OF
LOCATED AT
Exhibitions
Block 43 Malan Road,
Singapore 109443
+65 6339 6503
Residencies Studios
Blocks 37 and 38 Malan Road,
Singapore 109452 and 109441
Research Centre and Office
Block 6 Lock Road, #01-09/10,
Singapore 108934
+65 6460 0300
In light of Covid-19, we are following the
advisories of the Ministry of Health and
implementing contact tracing, social distancing,
and other measures to ensure the safety of our
staff and visitors. For more information please
visit www.moh.gov.sg
© NTU Centre for Contemporary Art Singapore.
Printed in April 2020 by First Printers.
Exhibition Hours
Tue – Sun: 12.00 – 7.00pm
Closed on Mondays
Open on Public Holidays
�
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
Non-Aligned Exhibition Guide
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>Non-Aligned</i> Exhibition Guide
Description
An account of the resource
<i>Non-Aligned</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2020-04-04
Contributor
An entity responsible for making contributions to the resource
John Akomfrah
Naeem Mohaiemen
The Otolith Group
Mark Nash
Vladimir Seput
Format
The file format, physical medium, or dimensions of the resource
Guide
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
South America
Asia
Africa
Subject
The topic of the resource
Decolonialism
Race
Regionalism
Geopolitics
-
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
A forum featuring The Otolith Group, Marian Pastor Roces, T. K. Sabapathy and June Yap.
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Programme Type
Talk and Lecture
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Forum: The Attraction of Representation - The Otolith Group, Marian Pastor Roces, T.K. Sabapathy, June Yap
Description
An account of the resource
<span>21 Jun 2014, Sat 3:00pm - 5:30pm</span><br /><br />A forum featuring The Otolith Group, Marian Pastor Roces, T. K. Sabapathy and June Yap.<br /><br />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, <i>No Country</i> 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.<br /><br />A public programme of <em>No Country: Contemporary Art for South and Southeast Asia</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-06-21
Contributor
An entity responsible for making contributions to the resource
The Otolith Group
Marian Pastor Roces
T. K. Sabapathy
June Yap
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
Subject
The topic of the resource
Identity
Cultural Heritage
The Geocultural
-
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
<span lang="en-us">British born artists Kodwo Eshun and Anjalika Sagar of The Otolith Group speak about their films, installations and performances.</span>
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Programme Type
Talk and Lecture
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artists' Programme: The Otolith Group
Description
An account of the resource
<span>24 Jun 2014, Tue 6:30pm - 9:00pm</span><br /><p class="Body"><span lang="en-us">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. </span></p>
This is a public programme of <em>No Country: Contemporary for South and Southeast Asia</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-06-24
Contributor
An entity responsible for making contributions to the resource
The Otolith Group
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
Subject
The topic of the resource
Archival Practice
Fiction
Ways of Seeing