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A recipient and producer of knowledge, NTU CCA Singapore’s publishing activities contribute to its holistic approach, expanding the connections across the Centre’s exhibitions, residencies, public programming, and academic education.
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Place.Labour.Capital.
Climates. Habitats. Environments.
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Place.Labour.Capital.
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Place.Labour.Capital.
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Institutional Critique
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Place.Labour.Capital., published by NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) and Mousse Publishing, connects cultural production and artistic research to broader political and social concerns, engaging readers with contemporary debates in Southeast Asia and beyond.<br /><br />The title of the book refers to the framework employed at NTU CCA Singapore in its first cycle of activities, from 2013 to March 2017, which took Singapore, the world’s second-largest trading port and the economic epicentre of Southeast Asia, as a point of departure to investigate the notion of place, the intersection between locality and the global, labour, and flows of capital.<br /><br />Unfolding across four broad sections of “The Making of an Institution,” “The Geopolitical and the Biophysical,” “Incidental Scripts,” and “Incomplete Urbanism,” this publication reads as an exhibition. Drawing connections across disciplines and merging theory with practice, Place.Labour.Capital. weaves together a constellation of different bodies of materials from essays, poetry, and fiction to artworks and documentation of the Centre’s past exhibitions.<br /><br />Richly illustrated, the publication brings together the voices of more than 80 contributors, from former Research Fellows such as Tony Godfrey (Philippines), Regina (Maria) Möller (Germany), T. K. Sabapathy (Singapore), Yvonne Spielmann (Germany), to former Artists-in-Residence including Tiffany Chung (Vietnam/United States), Amanda Heng (Singapore), Shooshie Sulaiman (Malaysia), Lee Wen (Singapore), and Yee I-Lann (Malaysia). Other contributions include those from the Centre’s exhibitions and public programmes such as artists, academics, and curators including Amar Kanwar (India), Lee Weng Choy (Malaysia), David Teh (Australia/Singapore), and June Yap (Singapore).<br /><br />This extensive publication “reminds us that institution building remains enormously significant as a means of opening up new spaces, claims, communities, dialogues, publics, and trajectories for critical artistic practice.” (Felicity D. Scott, Associate Professor Graduate School of Architecture, Planning and Preservation, Columbia University, New York)<br /><br />“Drawing together stories, voices, and thinking by leading artists and academics, Place.Labour.Capital. traces the invention of a remarkable model of an institution. The publication is an inspiration and a valuable tool to anyone trying to find ways of building releveant arts institutions for the future.” (Sally Tallant, Director, Liverpool Biennial)<br /><br />Place.Labour.Capital. takes a reflective look the art institution, and serves as a means to review the parameters of its own position in the present globalised art world and knowledge-production economies. <br /><br />The visual concept of the book was conceived by renowned Singapore design firm H55.
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Mousse Publishing
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2018
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Mousse Publishing
H55
Koh Nguang How
Paul Tan
Eugene Tan
T. K. Sabapathy
Khim Ong
Fareed Armaly
Jesko Fezer
Julian "Togar" Abraham
Post-Museum
Kray Chen
Vera Mey
Amanda Heng
Yan Jun
Lee Wen
Marc Glöde
Jeremy Sharma
Heman Chong
Shooshie Sulaiman
Mona Vătămanu
Florin Tudor
Hilde Van Gelder
UuDam Tran Nguyen
James Jack
Jegan Vincent de Paul
Dennis Tan
Erika Tan
Regina (Maria) Möller
Hamra Abbas
Mercedes Vicente
Bo Wang
Ho Rui An
Stefano Harney
Arjuna Neuman
Bani Haykal
Tiffany Chung
Amar Kanwar
Helena Varkkey
Nikos Papastergiadis
Saleh Husein
Sam Durant
June Yap
Roslisham "Ise" Ismail
Shubigi Rao
Guo-Liang Tan
Tamara Weber
Loo Zihan
Zac Langdon-Pole
Trinh T. Minh-ha
Jompet Kuswidananto
Otty Widasari
Yvonne Spielmann
Mark Nash
Arin Rungjang
Filipa Ramos
Yason Banal
Kenneth Dean
Yee I-Lann
Alex Mawimbi
anGie seah
Alexandra Murray-Leslie
Andrew Johnston
Zulkifle Mahmod
Newell Harry
Jason Wee
Anocha Suwichakornpong
Shirley Surya
Sissel Tolaas
Tan Pin Pin
SHIMURAbros
Etienne Turpin
Li Ran
Gary-Ross Pastrana
Yvonne P. Doderer
Matthew Mazzotta
Art Labor
Xu Tan
Weixin Chong
Pratchaya Phinthong
Marc Glode
Mona Vatamanu
Regina Moller
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Publication
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English
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978-981-11-3843-0
978-88-6749-308-1
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Asia
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Available for browsing onsite at NTU CCA Singapore physical archive. Contact ntuccareseach@ntu.edu.sg to make an appointment.
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PDF Text
Text
1
Trinh T. Minh-ha.
Films. Exhibition
17 October 2020 –
28 February 2021
�2
Trinh T. Minh-ha, Forgetting Vietnam, 2015, film still.
Trinh T. Minh-ha, Forgetting Vietnam, 2015, film still.
3
�4
NOTES FROM THE CURATOR
“The making of each film transforms the way I see myself and the world. Once I start engaging in
the process of making a film or in any artistic excursion, I am also embarking upon a journey whose
point of arrival is unknown to me.”
—Trinh T. Minh-ha
Trinh T. Minh-ha. Films. is the first institutional exhibition of
filmmaker, music composer, writer, anthropologist, feminist,
and postcolonial theorist Trinh T. Minh-ha in Asia. The spatial
configuration of five small-scale movie theatres, one next to the
other in our Exhibition Hall, evokes Trinh’s exhibition at the
Secession, Vienna, in 2001. In each theatre we present a film, shot
in different parts of Asia over a quarter of a century: Forgetting
Vietnam (2015), Night Passage (2004), The Fourth Dimension
(2001), A Tale of Love (1995), and Shoot for the Contents (1991).
Trinh does not see herself as an Asian filmmaker, yet she deeply
engages with Asia’s colonial, postcolonial, and the imperial histories
of Vietnam, Japan, and China. In each of Trinh’s cinematic work,
she questions different aspects of filmmaking and investigates the
way we perceive, see, and listen, pushing frontiers of cultures,
genres, disciplines, and realms.
Creating unique physical and temporal spaces to be inhabited
between and across her films constitutes an alternate mode of
viewing a cinematic narrative initially produced by Trinh for a
single screen. The spatial proximity of one film to another, each
Trinh T. Minh-ha, Night Passage, 2004, film still.
unfolding a specific context and history in time, invites the viewer
to wander from one theatre to the next, and the different layers
of Trinh’s oeuvre, from the visual to the sonic to voice, begin to
oscillate and interrelate. The conjoining of historical time and
narrative of each film within the same time-space frame, that of
the exhibition, reveals unexpected connecting threads. Another
juxtaposition, both across and within each featured film, is Trinh’s
deliberate integration of footage filmed through the years, shifting
in aspect ratio, image quality, or colour palette. Also, the journey
of each film from one format to another, from celluloid to video,
from analogue to digital, brings to the fore the inherent history and
materiality of moving image.
At the Centre’s Single Screen is Trinh’s most recent production,
What about China? (Part I of II, 2020–21), initiated by NTU CCA
Singapore and co-commissioned with Rockbund Art Museum
(RAM), Shanghai. At the core of the film is the notion of harmony,
which has played an important role in the lives of Chinese people
Cover: Trinh T. Minh-ha, A Tale of Love, 1995, film stills.
�6
since ancient times, summing up three main relations: harmony
with society; harmony with nature; and harmony with oneself.
Born in Hanoi, Vietnam, Trinh grew up in Ho Chi Minh City
where she studied music. Her environment, background and
identity are, however, multiple and transnational. In 1970, she
left Ho Chi Minh City for the United States, where she graduated
in music and French literature. She has studied, taught, and lived
in a range of countries and cultures, including the United States,
France, the Philippines, Senegal, Japan and Korea. It was in
Senegal where she got involved in cultural theory and cinema. She
shot her first two films in Africa: Reassemblage (1982), and Naked
Spaces—Living is Round (1985). Combining ethnographic and
documentary elements with the personal and the subjective makes
Trinh’s practice and her experimental approach so distinctive.
Over four decades, as an artist and writer, she has developed a
multi-layered theoretical, visual, and poetic language as a way to
engage the complexity of the implicit politics that regulate images
of cultural difference and the production of discourse. Viewers are
able to encounter her practice as a writer through Trinh T. Minhha. Writings., two reading platforms displaying her books, along
the passageway connecting the five theatres.
In The Lab, Why are they so afraid of a lotus? showcases a yearlong research season on Trinh’s multifaceted practice, conceived
by CCA Wattis Institute for Contemporary Arts (Wattis),
San Francisco. The convening, Mother Always Has a Mother,
presented by the Centre, Wattis, and RAM, connects the various
institutions that joined this long-term conversation on Trinh’s
practice. Curated by NTU film faculty, Speaking / Thinking
Nearby, an online film programme, juxtaposes films by Trinh
with those of other filmmakers, historical and contemporary,
and addresses the complicatedness of engaging cultural heritage,
identity, and roles of language, voice, and translation. “Speaking
and thinking nearby” points to the existence of a narrator and the
subjectivity and fictionality inherent in documentary films. This
programme ends with “There is no such thing as documentary” 1,
a conference that brings together filmmakers, film historians,
and curators to question the politics embedded in presentation
and representation, perception, context, and the spatial.
I express my heartfelt gratitude to Trinh T. Minh-ha for the
commitment and time she has generously dedicated to this multiyear endeavour. I would also like to thank the members of our
trans-institutional partnership, Kim Nguyen, Curator and Head
of Programmes, Wattis; Larys Frogier, Director, and Billy Tang,
Senior Curator, RAM; and Hans D. Christ and Iris Dressler,
Directors of Württembergischer Kunstverein Stuttgart.
I further thank the Secession, Dr Annette Südbeck, for
providing us with the architectural plans of Trinh’s 2001
exhibition.
1
The conference title is derived from Trinh T. Minh-ha’s text “Documentary Is/Not a Name”,
October, 52 (Spring, 1990): 76–98.
7
My thanks go to NTU Associate Professor Laura Miotto for her
spatial consultancy; NTU Assistant Professors Dr Marc Glöde and
Dr Ella Raidel for curating the film programme and co-convening
“There is no such thing as documentary”; Dr Erika Balsom, King’s
College London, for chairing the conference with us; and the
NTU Centre for Liberal Arts and Social Sciences for supporting
this collaboration.
We are immensely grateful to the U.S. Embassy Singapore for their
generous support of this exhibition.
exhibition, Paradise Lost (2014), alongside works by Zarina Bhimji
and Fiona Tan. Come March 2021, as life goes, the curtain of our
Exhibition Hall closes with Trinh.
I take this opportunity to thank NTU CCA Singapore’s entire
team, present and past, for the seven years and 55 exhibitions.
Ute Meta Bauer, Founding Director, NTU CCA Singapore,
and Professor, NTU School of Art, Design and Media
Trinh T. Minh-ha. Films. is NTU CCA Singapore’s final presentation
in its current exhibition space, coinciding with the Centre’s seventh
anniversary. Her film Surname Viet Given Name Nam (1989) was
presented as a video installation in the Centre’s inaugural group
Trinh T. Minh-ha, Shoot for the Contents, 1991, film still.
�8
BEFORE, BESIDE, BEYOND
Artist Statement
Reality is more maddening, more strangely manipulative than fiction.
To realise this is to recognise the naivety of a development of a
cinematic technology that promotes increasing unmediated access
to reality.
No real under the fake
No frame without framing
Whenever it erupts
Intruding into symbolic reality
The real remains in permanent dislocation
In the tuning in with the forces of a life event, a form is attained
only to manifest the formless. While raising questions about
the social and political dimension of form, a work at odds with
classifications such as documentary, fiction, or experimental film
art, also explicitly explores its fluid relation to infinity within the
finite. To use an image, it’s not only the shape or the flowers and
fruits of a plant that matter, it’s the sap that runs through it.
Form in its radical sense should address the formless as it
ultimately refers to the processes of life and death. Affirming form
is recognising the important contribution of each vibrant life
as a continual creative process. All the while, letting form go is
acknowledging our own mortality—or the necessity to work with
the limits of every instance of form.
9
On the surface of silence
So they both said
Thoreau and Cage
Reality is wilder, weirder than fiction
Merely adding up facts leads not to truth
For the resilient question never fails to rebound
“What really happened?”
In these times of ending and returning decolonial struggles,
postmodern recovery, “green sustainability”, and global pandemic
resilience (to use some trendy terms), artists working in third
intervals, at the margins of mainstream productivity would have to
be at once very primitive and very cultured—awkwardly, efficiently
“low” and competently, unfittingly “high”; shuttling effortlessly
between the avant- and arrière-garde; and thriving in the fissures
of categories. Socially marginalised groups could, accordingly, be
both provocatively high-tech and defiantly vernacular.
Coupled with the advent of new technology and of social media,
the phenomenon of massive migration and refugeeism has
substantially changed our sense of identity and stability, of home,
family, community, and nation. What seem to pertain to our
era are the countercultural feel for both continual displacement in
interconnectedness and the sensibility for the fragile, the ephemeral,
the marginal, the small, the portable, and the mobile in our everyday.
In ancient African and Asian “arts,” if composition, legibility, or
resemblance never really constitutes the criteria for true artistic
work, it is mainly because rather than abiding by the old pair of
Hear not then
For sound is vibration
Trinh T. Minh-ha on set of A Tale of Love, 1995, with crew. Courtesy the artist.
form or content, emphasis is laid on the “breath” that animates
a work and brings it to life. In my practice, such a work remains
attentive to its own “nature,” to the movement of its unseen
undercurrents, and to its continual processes of formation and
de-formation. Highly attuned to moments of transition and to
the transience of visible realities, it threads its way in the seen,
the unseen, the barely seen, and is free to move between genres,
between the photographic realism of mainstream films, the antirepresentative materiality of experimental films, and the antiphotographic of virtual reality.
Of sounds and sound effects
They’re mere bubbles
When reality starts speaking to us differently, it leads, in my work,
to what I called an elsewhere within here: a between that breaks
with a here and a there, and with the prevailing systems of binary
oppositions. Films and installations are made to induce in the
viewers a state where “they see sounds and hear images” and to let
the world come to them with each step taken. They are conceived
so as to shift our perception of reality and to experience soundimages as immersed in the whole of our body. This is aesthetics’
radical force. Otherwise, without an awareness of its inter-social
and existential dimension, aesthetics remains largely conventional
and normative.
A dimension of one’s consciousness in being, politics permeates
our everyday, which is said to be most difficult to discover because
it is what we are, ordinarily. The everyday escapes; it allows
no hold; it is where the familiar could show itself to be most
surprising. Rather than merely speaking of production of images
or of meaning, working with an ear and eye for the empty field
of potentials and possibilities allows one to approach image and
�10
sound making as a net of under- and crosscurrents—a manifesting
of forces.
Art could then be the force that enables change and keeps history
alive, while the poetics of the creative everyday could be both a
dimension of political consciousness and a transformative mode
of history. Of relevance to our Age of migration is a film and art
practice in which form is fully lived so as to feel the vitality of no
form. Such a practice resists consumption in its most intimate
needs, and remains a challenge for many programmers and curators
to work with.
What one sees in an image is a manifestation of
how one sees it.
Whether one is conscious of it or not, rhythm, for example, marks
one’s experience of film. A commentary, a dialogue in film is first
viewed and felt as a rhythm, a sound, and a colour before it takes
on a meaning. So in conceiving an image, a shot, or a sequence,
one is above all working with rhythm. Rhythm is what determines
nonverbally the quality of a relationship. It should convey a
multiplicity of experiences between what is seen, heard, and felt;
experiences in which neither the word is ruled by the image, nor the
image by the word; and hence experiences which can continually
shift one’s ground in one’s perception of people and events. Rhythm
is the base from which a work is created and undone. It defines
both social and sensual relationships. In the dance of hear and see,
silence and sound, stillness and movement, the hearing eye and the
speaking ear are constantly at play, and form and formless are the
two facets of a single process—or of life and death.
To be real, one needs to go before, beside, beyond the “real”.
Trinh T. Minh-ha
BIOGRAPHY
Trinh T. Minh-ha (b. 1952, Hanoi, Vietnam) is Professor of Gender
& Women’s Studies and of Rhetoric at the University of California
(UC), Berkeley, and an award-winning artist and filmmaker. She
grew up in South Vietnam during the Vietnam War and pursued
her education at the National Conservatory of Music and Theater
in Ho Chi Minh City. In 1970, she migrated to the United States
where she obtained a Master of Arts in French Literature, a Master
Photos of Trinh T. Minh-ha. Courtesy the artist.
11
of Music, and a doctorate in French and Francophone Literatures
at the University of Illinois, Urbana-Champaign. She embarked on
a career as an educator and has taught in diverse disciplines which
brought her to the National Conservatory of Music in Dakar,
Senegal.
Trinh’s eight feature-length films have been honoured in over
sixty retrospectives and surveys at film festivals around the world.
She has also participated in biennales across the globe including
Documenta11, Kassel (2002), and most recently at Manifesta
13, Marseille (2020). Her cinematic oeuvre includes large-scale
installations such as Forgetting Vietnam at The Asia Culture Center,
Gwangju for its inauguration (2015–2018); Old Land New Waters,
commissioned for the opening of Okinawa Prefectural Museum
and Art Museum (2007) and exhibited anew in 2009; and L’Autre
marche (The Other Walk) in collaboration with photographer
Jean-Paul Bourdier for the inauguration of musée du quai Branly Jacques Chirac (2006–2009).
As a prolific writer, Trinh has authored nine books, with an
additional seven in collaboration with others, and over 160 articles
and book chapters on cinema, cultural politics, feminism, and the
art. She is also the recipient of numerous awards, including a threeyear Toban Faculty Fellowship, funded by UC Berkeley, Arts &
Humanities, Andrew W. Mellon Foundation and Toban Family,
United States (2016–2019).
�FORGETTING VIETNAM, 2015
Digital, colour, sound, 90 min.
12
NIGHT PASSAGE, 2004
Digital, colour, sound, 98 min.
Made in commemoration of the 40th anniversary of the end of the
Vietnam War, Forgetting Vietnam is framed by two ancient myths,
one concerning land, and the other, water. Together, they suggest
the multi-dimensional roles of these two elements in Vietnam, once
called “the land of ten thousand springs”. A dialogue between the
two unfolds, featuring picturesque landscapes, religious rituals,
cultural traditions, and scenes of everyday life with a focus on
ordinary women, shot between 1995 and 2012.
Resisting the binary opposites of remembering and forgetting,
Trinh engages both instead, suggesting that there are always
multiple entries into the film’s narration. In place of the spoken
voice, text comprising evocative questions and quotations appear
and dissolve throughout the film. At one point, a quote by
Vietnamese contemporary writer Pham Thi Hoài reads: ”To really
forget, we must fully know what we want to forget”. In addition
to insights of witnesses to the war, and snippets of conversations
about the State and the Communist Party, the historical, cultural,
and social memory of the war is brought to remembrance through
traditional Vietnamese folk music and pre-1975-era ballads.
Inspired by Miyazawa Kenji’s novel Milky Way Railroad (1927)
in which a train takes a boy and his companion on a journey
through the Milky Way to heaven, Night Passage takes a female
immigrant and her two companions on a spiritual journey centred
on friendship and loss. Appearing within a series of vistas that
moves like a speeding strip of celluloid film, rhythmic image
sequences reveal the hopes and memories of the three passengers
as they experience new encounters during their train ride. As a
mode of transportation, the train provides the means of access to
new discoveries and possibilities.
In this film, Trinh’s second in the digital format, specific filmic
gestures of lighting, colours, sound, silence, and resonances, as well
as a distinct choreography of camera and body movements, are
used to depict the transformation of time. It is through this passage
of time between fact and fiction, life and death, where one finds
magic and the freedom to dream. In an interview by Dr Alison
Rowley, Reader in Cultural Theory, in 2013, Trinh summarises:
“Life is not explicable when it is lived intensely, with magical
freshness. What I kept of Miyazawa in Night Passage were spirit,
structural forces, and field of action.”
�THE FOURTH DIMENSION, 2001
14
Digital, colour, sound, 87 min.
A TALE OF LOVE, 1995
35mm film transferred to digital, colour, sound, 108 min.
Set in Japan and similarly framed by a journey on a train, The Fourth
Dimension examines the spiritual world—a fourth dimension,
through its culture. The fourth dimension refers also to cinematic
time itself, highlighting the unseen in our everyday reality, and
pointing to our own spirituality. In exploring the role of rituals in
ordinary, everyday life, Trinh juxtaposes modernity with tradition,
using it as a creative tool to question how meanings are assigned
to imagery and categories. Two main characters—the train and the
drum—the film’s guiding rhythms, are drawn from Trinh’s own
experience as a Visiting Professor in Tokyo in 1998.
Veering away from the sophistication of rehearsed, seamless
panning, Trinh used a handheld camera for shooting; embracing
the hesitation of movement, and allowing the audience to follow
her steps in the process of filming. In doing so, she highlights
the unexpected found in intervals between each scene, following
French philosopher Gilles Deleuze’s theory of the time-image,
in which the film unfolds over time. As her first digital film, it
uses special video effects to composite a multi-layered montage of
images, text and sound, creating an experience of time and speed
in stillness, that evokes a new way of seeing.
A Tale of Love is an allegorical retelling of 19th-century Vietnamese
national poem Tale of Kieu (1820). The female protagonist, Kiều,
is seen as a personification of Vietnam, who has suffered from
continued invasion and foreign domination. She speaks of the
condition of many immigrant women and more, particularly to
those of the Vietnamese diaspora in the United States.
With the camera following the characters throughout the film,
moving from performed reality, memory, and dream, the thread
of voyeurism runs through the film, forming its narrative.
Offering intimacy to the viewer while at the same time evoking
a sense of discomfort, voyeurism is also played out provocatively
through the photographer. Experimenting with forms of lighting,
scenography, camera movements, script, sound, and “acting” itself,
Trinh draws connections between sensuality, voyeurism, identity,
and consumption, bringing to the fore, the fictionality inherent
in love. This fictionality is further intensified by varying musical
textures as well as the film’s tonality, with the use of primary
colours yellow, blue, red.
15
�SHOOT FOR THE CONTENTS, 1991
16
16mm film transferred to digital, colour, sound, 101 min.
WHAT ABOUT CHINA? (Part I of II), 2020–21
Digital, colour, sound, 58 min.
In Shoot for the Contents, Trinh examines the culture and identity
of China from her situated position, both as an outsider and
intimate neighbour to China, with a desire to transform her
own consciousness of the country, at the same time, allowing
her to dive deeper into the heritage of Vietnamese culture. The
film opens with two women playing a Chinese guessing game,
to which the title refers, followed by a dialogue between them
that incorporates sayings of Mao, Confucius, and other classical
Chinese philosophers.
Engaging with rural life, storytelling, calligraphy, and Chinese
musical and operatic traditions interwoven throughout the film
with interviews with cultural workers on topics ranging from
independent filmmaking to gender and class inequality, Trinh
creates a layered composition of multivocal reflections on the
shifting culture and politics of China.
Drawing from footages shot mostly in 1993–1994 in Eastern
and Southern China, specifically the provinces of Anhui, Hubei,
Zhejiang, Fujian and Guanxi—all linked in common lore to
the remote origins of Chinese civilisation—What about China?
(part I of II was edited for this exhibition) takes the notion of
harmony in China as a site of creative manifestation. As a core
value of governance, it has been used by the Chinese leadership
to promote societal balance, and to pursue social development
and co-existence. Featured in a wide and inclusive sense in the
context of this film, “harmony” involves not only the way music
fundamentally defines reality, or the way space takes shape and
structures daily life, but also the dynamic agents in the ongoing
process of safeguarding the “roundness” of a world of social justice
and equity.
Offering a journey into the wealth of China’s traditional
architecture, for example, the multistoried Hakka roundhouses
amd Ganlan dwellings, while exploring the hinterlands of self
and other in their encounter, the film addresses the process of
“harmonising” rural China, due to the country’s Great Uprooting.
It seeks to engage the viewer further by asking: What exactly is
disappearing? And how?
Situated in the realm between ancient wisdom, avant-garde
experiment, and popular folk acumen, the film features
a multiplicity of voices and narratives embedded in a rhythmic
conversation between the still image and the moving image. Songs,
music, poetry, memoir, history, and theory woven in this cinematic
tapestry, work to enrich rather than illustrate the visuals, to
diversify rather than homogenise the narrative space. By effecting
experiences of transience through an aesthetic of disappearance,
Trinh creates a work that is interrogative and reflexive by nature;
one that exposes the naivety of a cinematic technology and ideology
that claims increasing unmediated access to reality.
�WHAT ABOUT CHINA? (Part I of II)
Credits
TRINH T. MINH-HA. WRITINGS.
TRINH T. MINH-HA. FILMS.
17 October 2020 – 28 February 2021
NTU CCA Singapore
Production
Directed, written and edited by Trinh Minh-ha
Produced by Jean-Paul Bourdier
Co-produced by Ute Meta Bauer and Larys Frogier
Cinematography by Trinh T. Minh-ha (video) and
Jean-Paul Bourdier (still photography)
Music
Wu Wei on sheng, erhu, lusheng, xun, malouqin, bawu,
and voice with Ulrich Moritz on percussion
Haina Jin on guqin and violin
Music editing and sound design by Trinh T. Minh-ha
Books by Trinh T. Minh-ha
Lovecidal: Walking with the Disappeared, 2016
D-passage: The Digital Way, 2013
Elsewhere, Within Here: Immigration, Refugeeism
and the Boundary Event, 2011
The Digital Film Event, 2005
When the Moon Waxes Red. Representation, Gender
and Cultural Politics, 2005
Cinema Interval, 1999
Framer Framed: Film Scripts and Interviews, 1992
Woman, Native, Other: Writing Postcoloniality
and Feminism, 1989
Curator
Ute Meta Bauer
Voices
Xiaolu Guo
Xiao Yue Shan
Yi Zhong
Trinh T. Minh-ha
Research
Jean-Paul Bourdier: architectural research and filming locations
with Hui Zou for field work assistance
Folk Singers
Cao Xiyun 曹羲匀
Liz Liu (with Ming Bo)
Qin E 秦萼
With special thanks to The Toban Family Faculty Fellowship,
University of California, Berkeley, Arts and Humanities, California.
Exhibition Design Consultancy
Laura Miotto, Associate Professor, NTU ADM
Construction and Technical Installation
SPACElogic
Collaterals
mono.studio
Supported by
U.S. Embassy Singapore
Co-commissioned by
NTU CCA Singapore
Rockbund Art Museum
Incantation, singing
Huan Cheng (Anny)
Assistant Curator
Tian Lim
All films and film stills courtesy the artist, except What about China?,
courtesy Moongift Films.
15
�16
TRINH T. MINH-HA. FILMS.
17 October 2020 – 28 February 2021
NTU Centre For Contemporary Art Singapore
The Exhibition Hall
1. The Fourth Dimension, 2001
2. Shoot for the Contents, 1991
3. A Tale of Love, 1995
4. Night Passage, 2004
5. Forgetting Vietnam, 2015
6. Trinh T. Minh-ha. Writings.
The Single Screen
7. What about China? (Part I of II), 2020–21
The Lab
8. Research presentation:
Why are they so afraid of a lotus?
CCA Wattis Institute for Contemporary Arts
5
17
TRINH T. MINH-HA
7 March – 22 April 2001
Secession, Vienna
7
8
6
4
3
2
1
Exhibition layout, NTU CCA Singapore, Block 43
Exhibition architecture by Adolf Krischanitz. Courtesy Secession, Vienna.
Trinh T. Minh-ha, 2001, Secession, Vienna, installation view. © Pez Hejduk.
A Tale of Love, 1995
Naked Spaces—Living is Round, 1985
Reassemblage, 1982
Shoot for the Contents, 1991
Surname Viet Given Name Nam, 1989
The Secession, in 2001, for the first time, featured Trinh’s
films as an exhibition installation in an institution. In its main
hall, Austrian architect Adolf Krischanitz created five spaces as
screening rooms surrounding a central square area. Viewers could
access these theatres through black heavy drapes that operated
as separators, invited to see the films while resting on elevated
platforms or chairs.
�The Lab
WHY ARE THEY SO AFRAID OF A LOTUS?
24 October 2020 – 10 January 2021
18
Saturday, 17 October 2020
10.00 – 11:30am
In Conversation:
Trinh T. Minh-ha. Films.
with Trinh T. Minh Ha and
Ute Meta Bauer
Following an excerpt of What about
China? (Part I of II, 2020–21), her newest
film, Trinh will read from her film script.
This point of departure will bring Trinh’s
multivocal practice in conversation with
the curatorial and spatial concept of this
exhibition.
Tuesday, 27 October 2020
5:30 – 7.00pm
Reading Group:
Good Immigrant, Bad Immigrant
with Billy Tang
Thursday, 29 October 2020
7.00 – 8.30pm
In Conversation:
Speaking/Thinking Nearby
with Dr Marc Glöde and Dr Ella Raidel
Presented in collaboration with RAM
Special attention in the accompanying
film programme has been given to Trinh’s
approach of the withdrawal from the usual
pattern of the documentary with regard to
authenticity, representation, observation,
or the creation of sentiments in favour
of non-linear storytelling in which the
documentary appears as a performance.
This conversation will focus on key aspects
in Trinh’s work, and their correlation to the
films selected for the programme.
the West as the authoritative subject of feminist knowledge?
Expanding the discursive orbit of these questions, the presentation
features projects by artists Hồng-Ân Trương and Genevieve Quick,
among others.
Inspired by the commentary and writings
of novelist Viet Thanh Nguyen, this
reading group explores the overlapping
concepts related to immigration and
transnationalism. Moving between
reportage, criticism, and fiction, it will
explore how the framing of good or bad
immigrants is intimately tied to questions
of belonging, otherness, identity, and
empathy. It draws on the archetypal
literary figure of the antihero to challenge
underlying prejudices, and locate counterimages embodying a more fluid way of
identifying with transnational experiences
around the world.
Conceived by Kim Nguyen (Canada/United States), Curator and Head of
Programmes, Wattis
Billy Tang (United Kingdom/China) is Senior
Curator, RAM.
Trinh T. Minh-ha is on our mind, September 2019 –
July 2020, CCA Wattis Institute for Contemporary Arts,
San Francisco. Photo by Diego Villalobos.
“Speaking nearby” to the exhibition Trinh T. Minh-ha. Films.,
this research presentation showcases CCA Wattis Institute for
Contemporary Arts’ (Wattis) year-long research season on Trinh’s
multifaceted practice as a filmmaker, writer and theorist. What
does the promise of “speaking nearby” rather than “speaking about”
look like today? What are the politics of hospitality? What are
the problematics of “post-feminism,” and how do we challenge
19
PUBLIC PROGRAMMES
Dr Marc Glöde (Germany/Singapore) is Assistant
Professor, NTU ADM
Dr Ella Raidel (Austria/Singapore) is Assistant
Professor, NTU ADM, and WKWSCI
�20
Tuesdays, 10 and 24 November 2020,
8 and 22 December 2020,
2 and 16 February 2021
5:30 – 7.00pm
Reading Group:
Dislocating/Locating Southeast Asia/
Trinh T. Minh-ha
with Nurul Huda Rashid and Phoebe Pua
This reading group takes ideas central to
Trinh T. Minh-Ha’s writing as points of
access to raise questions about the imagined
histories, geographies, and communities
of Southeast Asia. Over six sessions, the
group will discuss themes of storytelling,
feminism, and identities, and explore
terms such as “third world,” “nusantara,”
“woman,” and “native” with an eye towards
interpreting them as acts and articulations
of counter-narrative.
Nurul Huda Rashid (Singapore) is a visual artist
and writer.
Phoebe Pua (Singapore) is a film scholar.
Saturday, 21 November 2020
2.00 – 5.00pm
Workshop:
The Filmic Soundtrack
by Lim Ting Li
Registration: thefilmicsoundtrack.peatix.com
Explore the art of movie soundtracks
with Lim as she breaks down the layers
of audio behind film sequences, showing
you how dialogue, foley, ambience, and
sound effects add to the action. Then,
apply these principles and create your
own soundscape for a film scene.
Lim Ting Li (Singapore) is an award-winning
sound designer. She was conferred the National
Arts Council’s Young Artist Award in 2018 and
is currently the Director of Sound at Mocha Chai
Laboratories.
Saturday, 12 December 2020
10.00am – 1.00pm
A Convening:
Mother Always Has a Mother
Presented in collaboration with Wattis and RAM
In “Grandma’s Story,” the last chapter of
Woman, Native, Other (1989), Trinh T.
Minh-ha writes that, “The story depends
upon every one of us to come into being.
It needs us all, needs our remembering,
understanding, and creating what we have
heard together to keep on coming into
being.” This convening builds upon this
idea of a multiplicity of storytellers and
intergenerational, intercultural linkages in
art, activism, stories, and histories.
21
Session 1: 10:00 – 11:15am
In Conversation:
with Hồng-Ân Trương and
Ranu Mukherjee,
moderated by Kim Nguyen
Screenings
by Genevieve Quick and
Ranu Mukherjee
Hồng-Ân Trương (United States) is an artist and
Associate Professor of Art, and Director of Graduate
Studies in the MFA Program at the University of
North Carolina at Chapel Hill, North Carolina.
Ranu Mukherjee (United States) is an artist and
Associate Professor in Fine Art and Film at the
California College of the Arts, San Francisco.
Kim Nguyen (Canada/United States) is Curator
and Head of Programs, Wattis.
Genevieve Quick (United States) is an artist and
arts writer.
Session 2: 11:15am – 1.00pm
Panel:
The Welling Up and the Very Coursing
of Water: On the Transnational, the
Transgenerational, and the Diasporic
with Eunsong Kim, Jungmin Choi,
Green Zeng and Billy Tang,
moderated by Kim Nguyen and
Dr Karin Oen
Eunsong Kim (United States) is Assistant Professor
of English and Cultures, Societies and Global Studies
at Northeastern University, Boston.
Jungmin Choi (Korea) is a campaigner and
nonviolence trainer at World Without War, Seoul.
Green Zeng (Singapore) is an artist and filmmaker,
and Artist-in-Residence at NTU CCA Singapore
from April 2020 to January 2021.
Dr Karin Oen (United States/Singapore)
is Deputy Director, Curatorial Programmes,
NTU CCA Singapore.
Tuesday, 12 January 2021
7.00 – 8.30pm
Exhibition (de)Tour:
The Life of Memory: Xiaolu Guo on her
writing and filmmaking
by Xiaolu Guo
Co-presented with NTU School of Humanities
and the Asia Creative Writing Programme
In Trinh T. Minh-ha’s newest work What
About China? (Part I of II), Guo reads from
her memoir Nine Continents: A Memoir In
and Out of China (2017) as a voice-over.
Reflecting on her childhood, her early
career in the Beijing art world, and her
current life in Europe, aspects of which
are chronicled in her films and novels as
well as her memoir, this (de)Tour focuses
on the relationship between memories
and art practice.
Xiaolu Guo (China/United Kingdom) is a
novelist, essayist and filmmaker. She is currently
a Visiting Professor at Columbia University in
New York. Her most recent novel is A Lover’s
Discourse (2020).
�22
The exhibition Trinh T. Minh-ha. Films. is part of an in-depth
inquiry into the multi-layered practice of Trinh T. Minh-ha as a
filmmaker, writer, music composer, and educator, that generated
a multi-year (2019–2022) research and programme partnership
between NTU CCA Singapore, Wattis, RAM, and WKV. What
originally started as conversations between the Centre and each
of these institutions more than a year ago, in the meantime led
to discussions across these institutions, not only in the area of
research, but also involving education and outreach.
This transnational, multi-institutional partnership across three
continents, sharing research, co-commissioning new work
and exploring new ways of outreach, creates a larger discursive
space and exchange of artistic practices and cultural knowledge,
demonstrating the possibilities of collaborative efforts beyond this
pandemic-driven global crisis.
Liaison, NTU CCA Singapore
Dr Karin Oen, Deputy Director, Curatorial Programmes
Magdalena Magiera, Curator, Outreach & Education
Soh Kay Min, Executive, Conference, Workshops & Archive
Trinh T. Minh-ha, What about China? (Part I of II), 2020–21, film still.
23
TRANS-INSTITUTIONAL PARTNERSHIP
CCA Wattis Institute for Contemporary Arts (Wattis) is a
non-profit exhibition venue and research institute dedicated to
contemporary art and ideas. Part of California College of the Arts
in San Francisco, it operates as a laboratory for testing the future
of contemporary art through public exhibitions, public programs,
and in-depth research.
wattis.org
Rockbund Art Museum (RAM), located in Shanghai, is
developing an oceanic vision of contemporary art, aiming to
explore the importance of seas and archipelagos across Asia in order
to unfold richer perspectives into today’s challenges, practices and
networks within the art world. Its curatorial approach incorporates
alternative learning programmes and para-performative formats.
rockbundartmuseum.org
With a program exploring new and unusual forms of presentation,
conveyance, and participation, Württembergischer Kunstverein
Stuttgart (WKV) is conceived as a place for the open, and also
controversial, investigation of the manifold methods and practices
found in contemporary art.
wkv-stuttgart.de
�24
SPEAKING / THINKING NEARBY
Online Film Programme
17 October 2020 – 28 February 2021
25
Film still courtesy Heidrun Holzfeind and Sixpackfilm.
Trinh T. Minh-ha’s approach to film has addressed a wide field
of discussions—ranging from the ethics of representation in
ethnographic film, to aspects of migration, debates on global
socio-political developments, and different layers of feminist
discourse. Her films are investigations into the question of the
voice as well as the relationship between the visible and audible.
This programme presents a selection of films that echo some
of these discussions negotiated by Trinh in her filmic works as
well as her writings, and create a dialogue with other filmmakers
and scholars.
Co-curated by Assistant Professors, Dr Marc Glöde (Germany/Singapore),
NTU ADM, and Dr Ella Raidel (Austria/Singapore), NTU ADM,
and WKWSCI
Film still © Kimi Takesue.
Film still courtesy Trinh T. Minh-ha.
1 – 14 November 2020
the time is now. (I+II), Heidrun Holzfeind, 2019
15 – 28 November 2020
Heaven’s Crossroad, Kimi Takesue, 2002
Video, colour, sound, 35 min
29 November – 10 December 2020
Naked Spaces—Living is Round, Trinh T. Minh-ha, 1985
16mm transferred to digital file, colour, sound, 135 min
Holzfeind is interested in architectural and social utopias that
create an alternative living. She documents the shamanistic rituals
of the Japanese improvisation/noise duo IRO, Toshio and Shizuko
Orimo, in what they call “Punk Kagura”—in reference to Kagura,
a ritual dance tradition and music for the gods. Holzfeind uses a
visual language that adapts their mystical rituals: breaks in image;
the colour and narrative corresponding with the soundscape; the
modernist architecture of Takamasa Yosizaka; and the surrounding
nature in which the duo performs a choreography for healing our
damaged planet. The urgency is underlined in the title the time
is now.
What does it mean to “look” cross-culturally? This film follows
up on this question by creating a visual journey through
Vietnam. Instead of following the established patterns of the
classic documentary, Takesue creates an experimental experience
that challenges the audience and invites us to reflect on what it
means to “truly see another culture”. Within this beautiful visual
travelogue, questions of desire, projection, and communication
begin to appear, that are embedded in this idea of the cross-cultural
encounter.
Six West African countries (Mauritania, Mali, Burkina Faso,
Togo, Benin, and Senegal) stand in the centre of this film. The
work explores the life in the rural environments of these countries
by taking a closer look at the everyday. With its nonlinear
structure, the film steps away from the classical traditions of
the documentary/ethnography tradition and offers a sensuous
approach. It is a poetic journey to the African continent in which
the interaction of the encountered people or the spaces in which
they are living becomes relevant.
Colour, sound, 48 min
Heidrun Holzfeind (Austria/Germany), an artist and filmmaker, explores the
interrelations between history and identity, individual histories and political
narratives of the present.
Kimi Takesue (United States) is an award-winning filmmaker and recipient
of the Guggenheim and Rockefeller Fellowships in Film.
�26
27
Film still courtesy Women Make Movies.
Film still courtesy Trinh T. Minh-ha.
Film still courtesy Reel Suspects.
Film still courtesy Trinh T. Minh-ha.
11 – 24 December 2020
A Song of Ceylon, Laleen Jayamanne, 1985
25 December 2020 – 5 January 2021
Surname Viet Given Name Nam, Trinh T. Minh-ha, 1989
6 – 19 January 2021
Nervous Translation, Shireen Seno, 2018
20 – 31 January 2021
Reassemblage, Trinh T. Minh-ha, 1982
This film is an intense study of the body, gender, and the multiple
aspects of colonialism. It addresses theatrical conventions by
recreating classic film stills and presenting the body in striking
tableaux. A remarkable film on which Trinh T Minh-Ha, in
Discourse (1989), commented: “The anthropological text is
performed both like a musical score and a theatrical ritual….The
film engages the viewer in the cinematic body as spectacle…”.
This film is Trinh’s complex deep dive into the difficulties of
translation, as well as themes of exile or dislocation. By using
historic material, dance, printed texts, folk poetry, and combining
it with anecdotal narratives, she examines the status of Vietnamese
women since the Vietnam War, as well as the status of images
as evidence. It is a complex approach that invites the audience to
reflect on the modes of perception and encourages a profound
critique of audio-visual strategies.
This film follows the inner voice and play of an eight-year-old girl
who cooks perfect miniature dishes, mimicking the world of adults.
The perception of the child is translated through fragmentation
and sounds that are written into words, such as the ring of the
telephone, and the sound of the aircon, all forming together, an
orchestra of the everyday. Waiting, boredom, and dead time pave
the temporality of her imagination, while she listens to cassette
tapes recorded by her father, a migrant worker in Saudi Arabia.
The personal phantasmagoric vision encounters the political
dimension echoing the times of the People Power Revolution in
the Philippines.
With her remarkable and widely discussed first film, Trinh brings
the conventions of the documentary to our attention and asks
how films in the field of documentary and ethnographic tradition
have consecutively established a power to manipulate the way in
which we perceive different cultures. By gathering filmic means
and techniques that reject the traditional narrative forms, Trinh
constantly alerts us to our own process of perception, furthermore
reminding us that watching a movie is not a passive, but an active
process.
16mm film, colour, sound, 51 min
Laleen Jayamanne (Sri Lanka/Australia) is a filmmaker and Professor of
Cinema Studies at the Power Department of Fine Arts at the University of
Sydney, Australia.
16mm film transferred to digital, colour, sound, 108 min
Colour, sound, 90 min
Shireen Seno (Japan/Philippines) studied architecture and cinema at the
University of Toronto before relocating to Manila. Her work addresses memory,
history and image-making, often in relation to the idea of home.
16mm film transferred to digital, colour, sound, 40 min
�28
Film still courtesy Icarus Films.
Film still © Kimi Takesue.
1 – 14 February 2021
The Human Pyramid, Jean Rouch, 1961
15 – 28 February 2021
95 and 6 to Go, Kimi Takesue, 2016
At the Lycée Français of Abidjan, Ivory Coast, Rouch worked with
students there who willingly enacted a story about the arrival of a
new white girl, Nadine, and her effect on the interactions of and
interracial relationships between the white colonial French and
Black African classmates, all non-actors. Fomenting a dramatic
situation instead of repeating one, Rouch extended the experiments
he had undertaken in Chronicle of a Summer, including having
on-camera student participants view rushes of the film midway
through the story. The docu-drama shows how working together
to make the film changes their attitude towards each other.
—Icarus Film
While visiting her grandfather, a recent widower in his 90s in
Hawai’i, Takesue begins to follow his everyday routines. When he
shows interest in his granddaughter’s stalled romantic screenplay,
an interesting discussion about her work, family, memories, and
identity unfolds. Shot over six years, this film shows how personal
aspects intertwine with a critical reflection of the documentary
genre.
DCP, colour, sound, 93 min
Jean Rouch (France), ethnographer-turned-filmmaker, was the father of
modern cinéma vérité together with his collaborator, Edgar Morin. Their
work has had great influence on French New Wave filmmakers.
Digital, colour, sound, 85 min
29
“THERE IS NO SUCH THING AS DOCUMENTARY”
Conference
Friday and Saturday, 26 – 27 February 2021
This four-part conference brings together
scholars and practitioners across filmic,
anthropological and curatorial disciplines,
addressing notions of multivocality,
performativity, and truth in fiction,
through Trinh T. Minh-ha’s practice as a
filmmaker and theorist.
As Trinh wrote: “There is no such thing
as documentary… The words will not
ring true.” Both a response and homage
to Trinh’s provocation, and at once a
close but also an opening, the conference
extends multiple threads of inquiry
beyond the ontological frames presented
in Trinh’s films, to further explore the
theoretical parallels and proximities
between arrangement and composition,
territorialisation and deterritorisalisation,
that underscore Trinh’s cinematic works.
Friday, 26 February 2021
4.00 – 8.00pm
Session 1: Speaking Nearby
chaired by Dr Erika Balsom
(United Kingdom), Senior Lecturer,
Film Studies, KCL
Keynote lecture by Dr Erika Balsom
Saturday, 27 February 2021
1:30 – 8.00pm
Session 2: Reverberations — Spatialising
the Temporal, the Sonic, and the Pictorial
chaired by Ute Meta Bauer (Germany/
Singapore), Founding Director, NTU CCA
Singapore, and Professor, NTU ADM
Session 3: Performing the Documents
chaired by Dr Ella Raidel (Austria/
Singapore), Assistant Professor, NTU
ADM, and WKWSCI
Session 4: Filmic Interferences
chaired by Dr Marc Glöde (Germany/
Singapore), Assistant Professor, NTU ADM
Speakers include:
Professor Chris Berry (United Kingdom),
Professor of Film Studies, KCL
Iris Dressler (Germany), Director, WKV
Rosalia Namsai Engchuan (Germany/
Thailand), social anthropologist and
filmmaker
Larys Frogier (France/China),
Director, RAM
Dr Nicholas Helm-Grovas (United
Kingdom), Lecturer in Film Studies
Education, KCL
Dr Philippa Lovatt (United Kingdom),
Lecturer in Film Studies, University of
St Andrews
Dr Karin Oen (United States/Singapore),
Deputy Director, Curatorial Programmes,
NTU CCA Singapore
Tan Pin Pin (Singapore), film director
Presented in collaboration with King’s College
London (KCL)
Supported by
�30
31
NTU CCA SINGAPORE PUBLICATIONS
Culture City. Culture Scape. (Forthcoming 2021)
Edited by Ute Meta Bauer, Sophie Goltz, and Khim Ong.
Climates. Habitats. Environments. (Forthcoming 2021)
Edited by Ute Meta Bauer.
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)
The Impossibility of Mapping (Urban Asia)
NTU CCA Singapore and World Scientific Publishing, 2020.
Edited by Ute Meta Bauer, Khim Ong, and Roger Nelson.
SouthEastAsia: Spaces of the Curatorial
Jahresring 63. Sternberg Press, 2016.
Edited by Ute Meta Bauer and Brigitte Oetker.
Thao Nguyên Phan: Voyages de Rhodes
Artist’s Book Series. NTU CCA Singapore, 2018.
Edited by Ute Meta Bauer and Anca Rujoiu.
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.
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
Audio Publication. NTU CCA Singapore, 2017.
Edited by Ute Meta Bauer and Anca Rujoiu.
Publications are available for purchase at Block 43, Malan Road, S109443.
For online purchase and delivery, please email ntuccaresearch@ntu.edu.sg
Trinh T. Minh-ha, What about China? (Part I of II), 2020–21, film still.
�33
NTU CENTRE FOR
CONTEMPORARY ART SINGAPORE
SPACES OF THE CURATORIAL
WE NEED YOU!
SHARED ACADEMIC PROGRAMMES
WITH THE SCHOOL OF
ART, DESIGN AND MEDIA, NTU
ABOUT THE SCHOOL OF
ART, DESIGN AND MEDIA, NTU
ABOUT NANYANG
TECHNOLOGICAL UNIVERSITY
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.
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
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With Singapore being a cosmopolitan
nation with Asian sensibilities, the School
of Art, Design and Media (ADM) seeks
to play a weighty role in transforming the
island state into a global media city. The
inter-disciplinary courses are designed to
mould creative individuals into outstanding
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school is equipped with exceptional handson studios, digital creation laboratories,
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A research-intensive public university,
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The MA in Museum Studies and Curatorial
Practices has been designed to prepare
graduates for professional positions in
the highly complex and diverse museum
landscape in South East Asia and the
ever-expanding field of Contemporary
Curating and Contemporary Art. This
requires specific knowledge, experience and
creativity going beyond the conventional.
Thus, this new study program places
great emphasis on addressing theoretical
and practical challenges working with
art historians, curators on historical and
contemporary art.
�34
NTU CCA SINGAPORE STAFF
Ute Meta Bauer, Founding Director, NTU CCA Singapore
and Professor, School of Art, Design and Media, NTU
CURATORIAL PROGRAMMES
Dr Karin Oen, Deputy Director, Curatorial Programmes
EXHIBITIONS
Tian Lim, Assistant Curator
Frankie Fang, Assistant Manager, Production
Isrudy Shaik, Senior Executive, Production
Zahra Abdul Aziz, Young Professional Trainee
RESEARCH & ACADEMIC PROGRAMMES
Soh Kay Min, Executive, Conference, Workshops & Archive
Kong Yin Ying, Publications Coordinator
Zhou Yi Jing, Project Coordinator, Digital Archive
Peter Lin, Deputy Director, Operations & Strategic Development
DEVELOPMENT
Jillian Kwan, Assistant Director
Sneha Chaudhury, Intern
COMMUNICATIONS
OUTREACH & EDUCATION
OPERATIONS, HUMAN RESOURCES, AND FINANCE
Magdalena Magiera, Curator
Ilya Katrinnada Binte Zubaidi, Curatorial Assistant
Jason Leung, Young Professional Trainee
NTU CCA SINGAPORE
INTERNATIONAL ADVISORY BOARD
CO-CHAIRS
Cheryl Ho, Manager
Ong Xue Min, Temporary Executive
Sage Lee, Young Professional Trainee
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Human Resources
Joyce Lee, Manager, Finance
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Perla Espiel, Special Project Assistant
Arabelle Zhuang, Temporary Executive, Operations
35
CHAIR
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)
OPERATIONS & STRATEGIC DEVELOPMENT
RESIDENCIES
Dr Anna Lovecchio, Curator
Seet Yun Teng, Curatorial Assistant
Clara Che Wei Peh, Young Professional Trainee
NTU CCA SINGAPORE
GOVERNING COUNCIL
Professor Nikos Papastergiadis, Director, Research Unit
in Public Cultures, and Professor, School of Culture and
Communication, The University of Melbourne, Australia
MEMBERS
MEMBERS
Tay Tong, Director, Sector Development, NAC
Professor Kwok Kian Woon, Associate Provost (Student Life),
President’s Office, NTU
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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, Collections and Programmes,
Singapore Art Museum
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
�Trinh T. Minh-ha, The Fourth Dimension, 2001, film still.
Trinh T. Minh-ha, The Fourth Dimension, 2001, film still.
�Trinh T. Minh-ha, The Fourth Dimension, 2001, film still.
Trinh T. Minh-ha, The Fourth Dimension, 2001, film still.
�40
VISITOR INFORMATION
Free admission
Exhibitions
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SUPPORTED BY
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LOCATED AT
© NTU Centre for Contemporary Art Singapore. Printed in October 2020 by First Printers.
Exhibition Hours
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Closed on Mondays
Open on Public Holidays including
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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
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
Trinh T. Minh-ha. Films Exhibition Guide
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>Trinh T. Minh-ha. Films</i> Exhibition Guide
Description
An account of the resource
<i>Trinh T. Minh-ha. Films</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2020-10-07
Contributor
An entity responsible for making contributions to the resource
Trinh T. Minh-ha
Ute Meta Bauer
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
-
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PDF Text
Text
COVER
BACK
�INSIDE COVER
�OPEN
�
Dublin Core
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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
Paradise Lost 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>Paradise Lost</i> Exhibition Guide
Description
An account of the resource
<i>Paradise Lost</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-01-18
Contributor
An entity responsible for making contributions to the resource
Trinh T. Minh-ha
Zarina Bhimji
Fiona Tan
Ute Meta Bauer
Format
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Guide
Coverage
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Asia
Subject
The topic of the resource
Migration
Globalisation
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Dublin Core
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Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
T. Minh-ha
Surname or Business Name
Trinh
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2014/2017/2018/2020/2021
Birthplace
Vietnam
Occupation
Professional title or identity
Artist
Professor of Gender & Women’s Studies and of Rhetoric
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
Trinh T. Minh-ha is Professor of Gender & Women’s Studies and of Rhetoric at the University of California, Berkeley, and an award-winning artist and filmmaker. She grew up in South Vietnam during the Vietnam War and pursued her education at the National Conservatory of Music and Theater in Ho Chi Minh City. In 1970, she migrated to the United States where she continued her studies in music composition, ethnomusicology, and French literature at the University of Illinois, Urbana-Champaign. She embarked on a career as an educator and has taught in diverse disciplines which brought her to the National Conservatory of Music in Dakar, Senegal, where she shot her first film, Reassemblage. Trinh’s cinematic oeuvre has been featured in numerous exhibitions and film festivals. She has participated in biennales across the globe including Documenta11, Kassel (2002), and most recently at Manifesta 13, Marseille (2020). A prolific writer, she has authored nine books. She is the author of several books including <i>Lovecidal: Walking with the Disappeared </i>(2016), <i>D-Passage: The Digital Way</i> (2013), and <i>Elsewhere, Within Here: Immigration, Refugeeism and the Boundary Event </i>(2011). Her film <i>Surname Viet Given Name Nam</i> (1989) was presented as an installation within NTU CCA Singapore’s inaugural exhibition <i>Paradise Lost </i>(2014).
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
United States
Vietnam
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Artist
Filmmaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
Affiliation
Company, organization, or institution name
University of California, Berkeley
Dublin Core
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Title
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Trinh T. Minh-ha
Subject
The topic of the resource
Feminism
Technology
Diaspora
Capitalism
Displacement
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
North America
Africa
Contributor
An entity responsible for making contributions to the resource
Trinh T. Minh-ha
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Dublin Core
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Title
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Trinh T. Minh-ha, A Tale of Love, 1995. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Trinh T. Minh-ha, Forgetting Vietnam, 2015. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Trinh T. Minh-ha, Forgetting Vietnam, 2015. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Trinh T. Minh-ha, Forgetting Vietnam, 2015. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Trinh T. Minh-ha, The Fourth Dimension, 2001. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Trinh T. Minh-ha, The Fourth Dimension, 2001. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Trinh T. Minh-ha, Night Passage, 2004. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Title
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Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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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
Trinh T. Minh-ha. Films. Installation view (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
A name given to the resource
Trinh T. Minh-ha. Films. Installation view (2020–21), NTU Centre for Contemporary Art Singapore.
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Trinh T. Minh-ha. Films. Installation view (2020–21), NTU Centre for Contemporary Art Singapore.
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Trinh T. Minh-ha. Films. Installation view (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha. Films. Installation view (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha, Shoot for the Contents, 1991. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha, Shoot for the Contents, 1991. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha, Shoot for the Contents, 1991. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha, What about China? (Part I of II), 2020–21, Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha. Films. Wall text(2020–21), 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
Trinh T. Minh-ha. Films. explores the ethics of representation in ethnographic film, debates on global socio-political developments, and different layers of feminist discourse.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2020-10-07
Exhibition End Date
2021-02-28
Collaboration
Yes
Commissioned Work
No
Related Countries
Vietnam
Japan
United States
China
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
Dublin Core
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Title
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<i>Trinh T. Minh-ha. Films</i>
Subject
The topic of the resource
Race
Feminism
Technology
Diaspora
Capitalism
Displacement
Description
An account of the resource
<i>“The making of each film transforms the way I see myself and the world. Once I start engaging in the process of making a film or in any artistic excursion, I am also embarking upon a journey whose point of arrival is unknown to me.”—Trinh T. Minh-ha</i> <br /><br />Trinh T. Minh-ha. Films. is the first institutional exhibition of filmmaker, music composer, writer, anthropologist, feminist and postcolonial theorist Trinh T. Minh-ha in Asia, presented in an exhibition format. Five of her films—<b>Forgetting Vietnam</b> (2015), <b>Night Passage</b> (2004), <b><i>The Fourth Dimension</i></b> (2001), <b><i>A Tale of Love</i></b> (1995) and <b><i>Shoot for the Contents</i></b> (1991), filmed over a quarter of a century, in different parts of Asia—are simultaneously on view in five small-scale movie theatres in The Exhibition Hall. As the viewer wanders from one theatre to the next, the proximity of the films enables their narratives to interrelate. This spatial configuration took its point of departure from Trinh’s exhibition at the Secession, Vienna, in 2001. <br /><br /><b><i>Forgetting Vietnam</i></b>, framed by two ancient Vietnamese myths, was made in commemoration of the 40th anniversary of the end of the Vietnam war, touching on the memory of trauma. <b><i>Night Passage</i></b>, inspired by Miyazawa Kenji’s novel <b><i>Milky Way Railroad</i></b> (1927), narrates the spiritual journey of a young female immigrant and her two companions, into a world of in-between realities. Shot in Japan, <b><i>The Fourth Dimension</i></b> is Trinh’s first digital film. Using special video effects to composite images and sound in multiple layers, this film is an exploration of time through rituals of religion and culture, new technology and everyday reality. <b><i>A Tale of Love</i></b> is a retelling of 19th-century Vietnamese poem <b><i>The Tale of Kiều</i></b> (1820), through a modern-day Vietnamese immigrant in the United States. In this film, Trinh experiments with various cinematic techniques and elements. <b><i>Shoot for the Contents</i></b>, an excursion into allegories, explores cultural and political shifts in China, as refracted by the June Fourth incident in Beijing. <br /><br />Presented in the Centre’s Single Screen from 31 October 2020 is Trinh’s newest cinematic work, <b><i>What about China?</i></b> (Part I of II, 2020–21). Initiated by NTU CCA Singapore, and co-commissioned with Rockbund Art Museum (RAM), Shanghai, the film takes the notion of harmony in China as a site of creative manifestation, and draws from footage shot in 1993 and 1994, in Eastern and Southern China, specifically from provinces Anhui, Hubei, Zhejiang, Fujian and Guangxi—linked to the remote origins of Chinese civilisation. <br /><br />Through <b><i>Trinh T. Minh-ha. Writings.</i></b>, a display of Trinh’s books on reading platforms along the passageway connecting the five theatres in The Exhibition Hall, as well as Why are they so afraid of a lotus?, presented in The Lab by CCA Wattis Institute for Contemporary Arts (Wattis), San Francisco, that showcases its year-long research season on her multifaceted practice, viewers are able to encounter her extensive writing that is core to her practice. <br /><br />Trinh’s early films, <b><i>Surname Viet Given Name Nam</i></b> (1989), <b><i>Naked Spaces—Living is Round</i></b> (1985), and <b><i>Reassemblage</i></b> (1982), are part of an online film programme, <b><i>Speaking / Thinking Nearby</i></b>. Other films selected echo strands of discussions in Trinh’s layered practice, ranging from ethics of representation, to aspects of migration, global socio-politics, and feminism. <br /><br />Besides the film programme Speaking / Thinking Nearby, other public programmes include Mother Always Has a Mother, an online convening presented by the Centre, Wattis, and RAM, and “There is no such thing as documentary”, a conference that brings together filmmakers, film historians, and curators to question the politics embedded in presentation and representation, perception, context, and the spatial. <br /><br />This is NTU CCA Singapore’s final presentation in its current exhibition space, its opening coinciding with the Centre’s seventh anniversary. By the end of this exhibition, the Centre would have hosted 55 exhibitions since its inception in 2013, inaugurated by the show Paradise Lost (2014), featuring works by Trinh T. Minh-ha alongside those of Zarina Bhimji and Fiona Tan. <br /><br />Trinh T. Minh-ha (Vietnam/United States) is Professor of Gender & Women’s Studies and of Rhetoric at the University of California, Berkeley, and an award-winning artist and filmmaker. She grew up in South Vietnam during the Vietnam War and pursued her education at the National Conservatory of Music and Theater in Ho Chi Minh City. In 1970, she migrated to the United States where she continued her studies in music composition, ethnomusicology, and French literature at the University of Illinois, Urbana-Champaign. She embarked on a career as an educator and has taught in diverse disciplines which brought her to the National Conservatory of Music in Dakar, Senegal, where she shot her first film, Reassemblage. Trinh’s cinematic oeuvre has been featured in numerous exhibitions and film festivals. She has participated in biennales across the globe including Documenta11, Kassel (2002), and most recently at Manifesta 13, Marseille (2020). A prolific writer, she has authored nine books. <br /><br />Trinh T. Minh-ha. Films. is curated by Ute Meta Bauer (Germany/Singapore), Founding Director, NTU CCA Singapore, and Professor, NTU ADM. <br /><br />This project focuses on the multi-layered practice of Trinh T. Minh-ha as a filmmaker, writer, music composer and educator, generating a multi-year (2019–2022) research and programme partnership between NTU CCA Singapore, RAM, Wattis, and the Württembergischer Kunstverein Stuttgart.
Contributor
An entity responsible for making contributions to the resource
Trinh T. Minh-ha
Ute Meta Bauer
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
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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Paradise Lost, 18 January – 30 March 2014, Exhibition view.
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Dublin Core
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Title
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Paradise Lost, 18 January – 30 March 2014, Exhibition view.
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Title
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Paradise Lost, 18 January – 30 March 2014, Installation view: Zarini Bhimji, Yellow Patch (2011).
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Dublin Core
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A name given to the resource
Paradise Lost, 18 January – 30 March 2014, Installation view: Zarini Bhimji, Yellow Patch (2011).
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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
Paradise Lost, 18 January – 30 March 2014, Installation view: Fiona Tan, Disorient (2009).
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a8991ffc7312b8cc811d362a50272a83
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
Paradise Lost, 18 January – 30 March 2014, Installation view: Fiona Tan, Disorient (2009).
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b83713c1cafa3e5db55edd9d7e21a09f
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
Paradise Lost, 18 January – 30 March 2014, Installation view: Trinh T. Minh-ha, Surname Viet Given Name Nam (1989).
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0b7a57a8d3d23698d1d8bbbac9eff60a
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
Paradise Lost, 18 January – 30 March 2014, Installation view: Trinh T. Minh-ha, Surname Viet Given Name Nam (1989).
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.
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
2014-01-18
Exhibition End Date
2014-03-30
Collaboration
No
Commissioned Work
No
Short Description
Paradise Lost explores narratives of travel and migration, place and displacement, the personal intertwined with colonial history, and introduces an imaginary Asia as a space of projections and desires.
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Related Countries
China
Vietnam
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>Paradise Lost</i>
Description
An account of the resource
<i>Paradise Lost</i> is NTU CCA Singapore’s inaugural exhibition, curated by Ute Meta Bauer (Founding Director) and Anca Rujoiu (Curator for Exhibitions). Conceived as a constellation of three artistic productions that together explore narratives of travel and migration, place and displacement, the personal intertwined with colonial history, <i>Paradise Lost</i> introduces an imaginary Asia — Asia as a space of projections and desires stemming from an experience of dislocation and asynchronicity. <br /><br />The exhibition juxtaposed trans-generational perspectives, bringing together three major installations of moving image: <i>Surname Viet Given Name Nam</i> (1989) by Trinh T. Minh-ha, <i>Yellow Patch</i> (2011) by Zarina Bhimji and <i>Disorient</i> (2009) by Fiona Tan. <br /><br />While all three artists are of Asian descent, their education and artistic practice unfolded in Europe and the U.S., gaining international exposure from there. Paradise Lost marked the first time these works were shown in Asia in an exhibition context.
Contributor
An entity responsible for making contributions to the resource
Trinh T. Minh-ha
Zarina Bhimji
Fiona Tan
Ute Meta Bauer
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Medium
The material or physical carrier of the resource.
Film
Video
Multimedia Installation
Subject
The topic of the resource
Migration
Globalisation