Timothy Murray
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Timothy Murray is director of the Society for the Humanities, curator of the Rose Goldsen Archive of New Media Art and professor of Comparative Literature and English at Cornell University.
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Theatrical Fields: Critical Strategies in Performance, Film, and Video
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NTU CCA Singapore’s first publication, this reader stages conversations between theatre and visual arts, theoretical discourse and artistic practice juxtaposing artists and theoreticians who share a communal interest in theatricality as a critical strategy to address questions of ideology, gender, power relations. The reader includes writings by Antonin Artaud, Mikhail Bakhtin, Ute Meta Bauer, Bertolt Brecht, Giuliana Bruno, Jacques Derrida, Regis Durand, Josette Féral, Jean-François Lyotard, Eva Meyer, Timothy Murray, Katharina Sykora, and Marina Warner, documentation of the exhibition Theatrical Fields, Bildmuseet, Umea (2013) and NTU CCA Singapore (2014) presenting the works of Judith Barry, Marcel Dzama, Stan Douglas, Marie-Louise Ekman, Eva Meyer and Eran Schaerf, Isaac Julien, Joan Jonas, Constanze Ruhm, and Ulrike Ottinger.
König Books
2016
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English
978-981-11-0362-9
978-9-81110-362-9
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Book Launch and Screening – <em>Theatrical Fields: Critical Strategies in Performance, Film, and Video </em>
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<div class="event_single_dates text__research">24 Sep 2016, Sat 7:00pm - 10:00pm</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br /><p>Introduction by editors: Ute Meta Bauer, NTU CCA Founding Director and Anca Rujoiu, NTU CCA Singapore Manager, Publication</p>
<p>Followed by screening of <em>Johanna d’Arc of Mongolia</em>, Ulrike Ottinger, Germany 1989, 165mins. Coproduction with Popular-Film GmbH, Leinfelden in cooperation with ZDF, Mainz, and LaSept, Paris.</p>
<p>A limited amount of publications will be available for sale.</p>
<br />NTU CCA Singapore is pleased to launch its very first publication <i>Theatrical Fields Critical Strategies in Performance, Film, and Video</i>. The reader is published by NTU CCA Singapore, König Books, London, and Bildmuseet, Umeå. Edited by Ute Meta Bauer and Anca Rujoiu with the editorial project under the management of Leah Whitman-Salkin, the publication has been elegantly designed by Sam de Groot. <br /><br />Based on an exhibition of the same name, <i>Theatrical Fields</i> presents seminal texts and newly commissioned essays that explore theatricality as a critical strategy in performance, film, and video. The reader stages conversations between theatre and visual arts, theoretical discourse and artistic practice juxtaposing artists and theoreticians from different generations and backgrounds who share a communal interest in the theatricality as a methodology to address questions of ideology, gender, power relations. <br /><br />The reader includes seminal texts from Antonin Artaud, Mikhail Bakhtin, Ute Meta Bauer, Bertolt Brecht, Jacques Derrida, Regis Durand, Josette Féral, Jean-François Lyotard; commissioned essays from Giuliana Bruno, Eva Meyer, Timothy Murray, Katharina Sykora, Marina Warner, documentation of the exhibition <i>Theatrical Fields</i> curated by Ute Meta Bauer with Anca Rujoiu at Bildmuseet, Umea (2013) and itinerated at NTU CCA Singapore (2014) in a different configuration, excerpts of conversations between artists and curators. Artists involved in the project include: Judith Barry, Marcel Dzama, Stan Douglas, Marie-Louise Ekman, Eva Meyer and Eran Schaerf, Isaac Julien, Joan Jonas, Constanze Ruhm, Ulrike Ottinger. <br /><br />The launch of the reader is accompanied by a screening of the German filmmaker Ulrike Ottinger’s <i>Johanna d’Arc of Mongolia</i>, This epic adventure film traces a fantastical encounter between two worlds on a Trans-Siberian railway addressing the complexities of cross-cultural encounters. Combining linear and nonlinear narrative, <i>Johanna d’Arc of Mongolia</i> illustrates Ottinger’s appropriation of theatrical strategies in the cinematic, such as eccentric costumes, lush mise-en-scènes, exaggerated acting.
2016-09-24
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ute+Meta+Bauer">Ute Meta Bauer</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Antonin+Artaud">Antonin Artaud</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mikhail+Bakhtin">Mikhail Bakhtin</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bertolt+Brecht">Bertolt Brecht</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jacques+Derrida">Jacques Derrida</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Regis+Durand">Regis Durand</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Josette+F%C3%A9ral">Josette Féral</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Josette+Feral">Josette Feral</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jean-Fran%C3%A7ois+Lyotard">Jean-François Lyotard</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jean-Francois+Lyotard">Jean-Francois Lyotard</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Giuliana+Bruno">Giuliana Bruno</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Eva+Meyer">Eva Meyer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Timothy+Murray">Timothy Murray</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Katharina+Sykora">Katharina Sykora</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marina+Warner">Marina Warner</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Judith+Barry">Judith Barry</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marcel+Dzama">Marcel Dzama</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marie-Louise+Ekman">Marie-Louise Ekman</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Eran+Schaerf">Eran Schaerf</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=North+America">North America</a>
Alignments from the Archive
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Geopolitics">Geopolitics</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Decolonialism">Decolonialism</a>
In this period of solidarity, the Centre brings forth a collection of archival videos, featuring lectures, conversations, and discussions that relate to themes of decolonisation, legacies of colonialism, and post-war independence movements explored in the exhibition Non-Aligned.<br /><br /><p><strong><i>#1: Mise-en-Scéne and Misalignments: Resetting the Postcolonial Stage</i></strong></p>
<p>While the Cold War raged on in the years following 1945, in the spaces between East and West, smaller theatres of war were emerging throughout the postcolonial world. This collection highlights moments of mise-en-scène that reset a global stage framed by colonial axes of power, featuring thinkers and artists such as<span class="apple-converted-space"> </span>Isaac Julien, Mark Nash, Stefano Harney, Škart,<span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span>Bojana Piškur.</p>
<p><strong><em>Paradise Lost: </em>Lecture: Postcolonial critique today – Stefano Harney</strong><br />7 March 2014</p>
<p>Referencing the works of Zarina Bhimji and Trinh T. Minh-ha in the exhibition<em>Paradise Lost</em>, Dr Stefano Harney investigates the renewed power of postcolonial critique today. By returning to the great thinkers of the “colonial situation” and its aftermath, Harney re-evaluates the proposition that globalisation has erased “old ideas of the lines between coloniser and colonised.”</p>
<p><strong><em>Theatrical Fields: </em>Special Brunch and Screening Session with Isaac Julien and Mark Nash</strong><br />26 October 2014</p>
<p>Dr Mark Nash and Isaac Julien discuss theatricality as criticality through<span class="apple-converted-space"> </span><em>Vagabondia</em><span class="apple-converted-space"> </span>(2000), Julien’s seven-minute film for<span class="apple-converted-space"> </span><em>Theatrical Fields</em>, in which the figure of the vagabond is used to explore how the Sir John Soane’s Museum collection has benefitted from colonisation. Julien’s<span class="apple-converted-space"> </span><em>Playtime</em><span class="apple-converted-space"> </span>(2014), a part-documentary part-fiction exploration of global capital, plays following their conversation.<br /><br /></p>
<p><strong>Residencies Insights: Non-Aligned Movement: New Spaces of Liberty, New Lines of Alliance, New Modes of Creativity</strong><br />22 November 2017</p>
<p>Belgrade-based collective<span class="apple-converted-space"> </span>Škart<span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span>Bojana Piškur<span class="apple-converted-space"> </span>situate the Non-Aligned Movement’s ideas, ideals, and principles in the present and apply them to exhibition-making and cultural exchange. Looking beyond the complex history of the Non-Aligned Movement, they map out possible prototypes for institutions, networks, and politics within art and culture today.</p>
<p><strong>#2: <em>Phantasms and Futurities: Decolonial Propositions </em></strong></p>
<p>From a global stage reset in <em>Mise-en-Scéne and Misalignments</em>, this collection rescripts the linear trajectories of colonial pasts and postcolonial presents, towards the realisation of decolonised futures. Prof Timothy Murray noted in his keynote lecture that “the theatrical script always opens to the arrival of the future; they are contingent and dependent upon futurity”. Artists, performers, and curators, such as Zarina Muhammad and Brigitte van der Sande enact and identify heterotopias — spatial alterities or counter-sites wherein alternative realities are constructed — that rewrite these politicised narratives through explorations of mythmaking and science fiction.<br /><br /></p>
<p><strong><em>Theatrical Fields: </em>Symposium: <em>Screening Theatrical Phantasms: Toward an Uncertain Futurity</em></strong><br />Keynote Lecture by Prof Timothy Murray<br />23 August 2014</p>
<p>This talk addresses the fascination of artworks in our previous exhibition <em>Theatrical Fields</em> in 2014, which introduces theatricality as a critical strategy in performance, film and video. In providing a brief theoretical overview of “the politics of theatricality,” Murray will reflect on the exhibition’s screenic re-possession of cinematic characters, buried stories, and influential texts in ways that challenge the historical groundings of theatricality in the ethnocentric certainty of culture and law. <br /><br /></p>
<p><strong>Lecture Performance: <em>Flowers from our Bloodlines </em>by Zarina Muhammad, artist; Stefania Rossett, choreographer; Vivian Wang pianist; Eric Lee, artist; and Tini Aliman, sound artist</strong><br />22 September 2017</p>
<p>Drawing from concepts of the demonised and desired body, gender-based archetypes, and mythmaking, this lecture performance invokes family histories and revokes the lineages of colonisation in Southeast Asia. Intergenerational and cross-cultural exchanges, facilitated by storytelling, rituals, gestures, and embodied movement, are explored through the rites of the Wolf Spider and the Harimau Jadian (Were-Tiger), and their multiple translations and adaptations.<br /><br /></p>
<p><strong>Residencies Insights: <em>Speculations on other futures </em>by Brigitte van der Sande, former Curator-in-Residence</strong><br />6 December 2018</p>
<p>Brigitte van der Sande explores how science fiction is used to envision alternative futures and critique existing power structures while shunning censorship, within countries where continuous change is the status quo because of war or political instability. Her long-term project Other Futures, “a multidisciplinary online and offline platform for thinkers and builders of other futures”, features non-Western science fiction makers and thinkers.</p>
<p><strong>#3: <em>Tidalectic Topographies, Counter Cartographies </em></strong></p>
<p>Extending the exploration of counter-sites from <em>Phantasms and Futurities</em>, this collection carries postcolonial inquiry from landlocked cartographies to liquid liminalities. Reflecting on shifting geopolitical, sociocultural, ethnoreligious, and environmental rhythms that ripple throughout the global hydrosphere, artists, curators, and scholars including Ade Darmawan, Shubigi Rao, Melati Suryodarmo, Prof Philippe Pirotte, Tita Salina, Irwan Ahmett, Dr Cresantia Frances Koya Vaka’uta, and Dr Cynthia Chou introduce a tidalectic worldview – in the tradition of Barbadian poet and historian Kamau Brathwaite – as a way of troubling territorial borders that became embedded during the post-Cold War wave of nationalist independence movements.<br /><br /></p>
<p><strong>In Conversation Part I: <em>Arus Balik w</em>ith artists Ade Darmawan, Shubigi Rao, and Melati Suryodarmo, Moderated by curator Philippe Pirotte</strong><br />23 March 2019</p>
<p>This panel discussion focuses on the Indonesian epic <em>Arus Balik</em> (1995) – loosely translated to mean “turn of the tide” – by revolutionary writer Pramoedya Ananta Toer, which served as the starting point for the eponymous exhibition <em>Arus Balik – from below the wind to above the wind and back again</em>(2019). Three of the participating artists – Ade Darmawan, Shubigi Rao, and Melati Suryodarmo – join exhibition curator Philippe Pirotte in a discussion on Pramoedya’s body of work, its influence and legacy, as well as notions of censorship and the forbidden book.<br /><br /></p>
<p><strong>Performance: <em>A Tumbling Inch </em>by Former Artists-in-Residence Irwan Ahmett and Tita Salina</strong><br />11 June 2019</p>
<p><em>A Tumbling Inch</em> is a performative action by Jakarta-based artists Irwan Ahmett and Tita Salina, which crystallised in the hydrospheric spatiality between Batam, the Indonesian island closest to Singapore, and the undulating maritime borders between the two countries. The work revolves around a nostalgic longing for the Lion City. Following the free movement of sea waves across the Straits of Malacca, the performance addresses archipelagic histories and the impact of global economic development.<br /><br /></p>
<p><strong>The Current </strong><em><strong>Convening #3 Tabu / Tapu – Who Owns the Ocean?</strong><br /></em><strong><em>Rights of Cultures, Rights of Nature: Case Studies </em>by Dr Cresantia Frances Koya Vaka’uta, Director, Oceania Centre for Arts, and Dr Cynthia Chou, Professor, Department of Anthropology, University of Iowa<br /></strong>27 January 2018</p>
<p><em>Rights of Cultures, RIghts of Nature</em> features case studies that position oceanic spaces as charged relational spaces. Dr Cresantia Frances Koya Vaka’uta’s exposition on <em>tabu/tapu </em>– the Fijian indigenous practice of taboo – outlines the relationality between environment and peoples, complicated by histories of colonial extractivism and the globalising project of cultural and environmental commodification. Dr Cynthia Chou brings these relationalities closer to home with a study of the <em>Orang Suku Laut</em> of the Riau archipelago. The practices of oceanic indigenous communities presented explore how a tidalectic way of living can inform modes of engagement with the hydrosphere, challenge conceptions of land-based embeddedness, and contribute to a vision of fluid futures.<br /><br /></p>
<p><strong>#4: <em>Summoning Spectres: Historiography as Hauntology</em></strong></p>
<p>This month’s curated selection of NTU CCA Singapore’s past programmes draws on Jacques Derrida’s concept of hauntology – the return or persistence of elements from the past manifesting as ghosts and apparitions. – Summoning Spectres: Historiography as Hauntology speaks to the remnants of personal and collective cultural memory incompletely erased by imperial and colonial violence. These traces of erasure remain inscribed in post-Cold War regional histories and embedded in their lexicon and legacy. Using historiography as a method of inquiry, this playlist showcases the ways in which curator Dr June Yap, artists Sung Tieu, Amy Lien, and Enzo Camacho approach the subjectivation of colonial spectres through their practices, to surface historical narratives of oppression and to summon the ghosts of lost futures.<br /><br /></p>
<p><strong>Symposium: Ghosts and Spectres – Shadows of History</strong><br /><strong><em>In the Interest of Time </em>by Dr June Yap, Director of Curatorial Programmes and Publications, Singapore Art Museum</strong></p>
<p>28 October 2017</p>
<p>Through a survey of historiographical works by artists Nguyen Trinh Thi and Ho Tzu Nyen, Dr June Yap addresses how cinematic works engage their medium specificity in a play of historical phantoms and repressed collective memories. These works contribute to a broader artistic tradition involving the subjectivation of histories, which is at its heart a process of self-determination: “in subjectivation there is constitution — the constitution of the self and or an identity… as a rising, as produced or perpetuated… as temporal, as arising from relations, as produced in a struggle”. As Yap aptly phrases, “in temporal consciousness, an identity is arrived.”<br /><br /></p>
<p><strong>Residencies Insights: <em>Two Worlds, Four Spirits</em> by Sung Tieu, Former Artist-in-Residence</strong></p>
<p>3 December 2019</p>
<p>Central to the artistic practice of Sung Tieu is a personal experience of migration from Vietnam to Germany, which impels her to address Post-Cold War histories and the multiple negotiations that underpin a diasporic identity haunted by the spectres of French colonialism in Vietnam and Cold War military violence during the American-Vietnam wars. In this talk, the artist discusses recent projects — <em>Memory Dispute</em> (2017), <em>Coral Sea As Rolling Thunder</em> (2017), <em>Remote Viewing</em> (2017) and <em>Loveless</em>(2019) — which variously employ text, performance, installation, moving image, and sound to convey a sense of dislocation while offering deliberate interventions into canonical readings of history.</p>
<p><strong>Behind the Scenes: On Alfonso Ossorio’s <em>Angry Christ</em> mural by artists Amy Lien and Enzo Camacho </strong></p>
<p>1 December 2018</p>
<p>In this talk, collaborating artists Amy Lien and Enzo Camacho present their research on the Filipino-American modernist painter, Alfonso Ossorio (1916–1990), focusing on his 1950 mural, <em>Angry Christ</em>. For the artists, this mural, located in the province of Negros Occidental, the “sugar bowl of the Philippines”, is a “multivalent cipher”. When it is decoded, spectres of sixteenth century Spanish colonial violence — from the accorded name “Negros” to enforced religious, economic, and environmental functions — and the ghosts of indigenous people who were displaced or exterminated materialise. Lien and Camacho question whether the <em>Angry Christ</em> can be “radically reprogrammed” from the specific and highly privileged subjectivity of Ossorio, its maker, and the Ossorio family’s sugar dynasty, its commissioning patron.</p>
4 April - 27 September 2020
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Isaac+Julien">Isaac Julien</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Philippe+Pirotte">Philippe Pirotte</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Tita+Salina"> Tita Salina</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Irwan+Ahmett">Irwan Ahmett</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Cresantia+Frances+Koya+Vaka%E2%80%99uta">Cresantia Frances Koya Vaka’uta</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Cynthia+Chou">Cynthia Chou</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Amy+Lien">Amy Lien</a>
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<a href="https://vimeo.com/showcase/7098739">Alignments from the Archive video collection</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Theatrical Fields: Symposium — Keynote Lecture by Prof Timothy Murray
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Supernatural">Supernatural</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Theatre">Theatre</a>
Keynote Lecture: Screening theatrical phantasms: Toward an uncertain futurity <br /><br />Speaker: Timothy Murray<br /><br /><span>This talk addresses the fascination of artworks in our previous exhibition </span><em>Theatrical Fields</em><span> in 2014, which introduces theatricality as a critical strategy in performance, film and video. In providing a brief theoretical overview of “the politics of theatricality,” Murray will reflect on the exhibition’s screenic re-possession of cinematic characters, buried stories, and influential texts in ways that challenge the historical groundings of theatricality in the ethnocentric certainty of culture and law. </span>
2014-08-23
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Timothy+Murray">Timothy Murray</a>
English
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Europe">Europe</a>
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Symposium: Theatrical Fields
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Theatre">Theatre</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ways+of+Seeing">Ways of Seeing</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Performance">Performance</a>
23 Aug 2014, Sat 10:30am - 4:00pm <br />TheatreWorks, 72-13 Mohamed Sultan Road, Singapore 239007 <br /><br />10.30 am - Welcome Note: Ute Meta Bauer<br /><br />10.40 - 11:00 am - Introduction to Theatrical Fields: Anca Rujoiu, CCA Curations, Exhbitions<br /><br />11.00 am - 12.00 pm - Roundtable Discussion: Eva Meyer and Eran Schaerf, Artists in conversation with Ute Meta Bauer and Katarina Pierre, Director of Bildmuseet<br />Moderator: Ong Keng Sen, Festival Director of Singapore International Festival of Arts (SIFA)<br /><br />12.00 -1.00 pm - Lunch Break<br /><br />1.00 - 2.00 pm - Screening Theatrical Phantasms: Toward an Uncertain Futurity, Keynote, Timothy Murray, Professor of Comparative Literature and English at Cornell University<br /><br />2.15 - 3.15 pm - Life or Theatre? Events so far...Keynote, Eva Meyer, Artist, Writer and Filmmaker<br /><br />3.30 - 4.00 pm Q+A<br /><br />The symposium is a public programme of <em>Theatrical Fields: Critical strategies in performance, film and video</em>.
2014-08-23
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ute+Meta+Bauer">Ute Meta Bauer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Anca+Rujoiu">Anca Rujoiu</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Katarina+Pierre">Katarina Pierre</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Timothy+Murray">Timothy Murray</a>
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Theatrical Fields Symposium – Screening Theatrical Phantasms: Toward an Uncertain Futurity, Keynote by Timothy Murray, Professor of Comparative Literature and English, Cornell University
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Theatre">Theatre</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Fiction">Fiction</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mythology">Mythology</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ways+of+Seeing">Ways of Seeing</a>
23 Aug 2014, Sat 1:00 - 2:00pm <br />72-13 Mohamed Sultan Road, Singapore 239007<br /><br />This talk will reflect on the fascination of artworks in <em>Theatrical Fields</em> with the phantasmatic past. In providing a brief theoretical overview of "the politics of theatricality," Murray will reflect on the exhibition's screenic re-possesion of cinematic characters, buried stories, and influential texts in a way that challenges the historical groundings of theatricality in the ethnocentric certainty of culture and law. "What happens to the relation of mnemonic past and theatrical present when the screen functions as the field of phantasms that are liberated by artistic intervention from the certainties of their mythological, historical, and cinematic pasts?" This emphasis on artistic retellings in the present of weighty phantasms from the historical past will then lead to further reflection on their bearing on the future. "What might it mean that prior utopian aspirations might now be recast as the unsettlings of uncertain futurity? Might the contemporary re-theatricalization of the screen provide a historically distinct approach to futurity? Or might futurity already be in our grasp either through digital orientations of 'future cinemas' or through the sudden arrival of futurity via the vexing uncertainties of the anthroprocene and global collapse?"<br /><br />A public programme of <em>Theatical Fields: Critical strategies in performance, film and video</em>.
2014-08-23
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Timothy+Murray">Timothy Murray</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=North+America">North America</a>
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