1
10
9
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Dublin Core
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Title
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Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
This eight hour long documentary film is divided into 38 stations and depicts the daily life of the Darkhad and Sojon Urinjanghai nomads, as well as their ceremonies such as weddings, festivals and shamanistic practices.
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Screening: Taiga. A Journey to Northern Mongolia by Ulrike Ottinger, artist and filmmaker (Germany)
Subject
The topic of the resource
The Geocultural
Indigenous Knowledge
Tradition
Description
An account of the resource
<div class="event_single_dates text__exhibitions">24 Jun 2017, Sat 12:00 PM - 8:30 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br />This eight hour long documentary film is divided into 38 stations and depicts the daily life of the Darkhad and Sojon Urinjanghai nomads, as well as their ceremonies such as weddings, festivals and shamanistic practices.<br /><p>Ottinger portrays particular characters, sometimes with their families, and documents gatherings, offerings, songs, dances, professions. The camera dwells on the different moments, mostly rendering the scene in real time and conveying a sense of being there. As we accompany the nomads preparing to move to their winter camp, or visit the children on their first day of school, we get familiar not only with the startling landscapes, but most importantly with the way of living of these nomadic peoples, their relationship to each other, to the animals, and to the land.</p>
<p>This screening is specially arranged to provide the opportunity for the audience to experience the work as a full film instead of the divided version installed in the exhibition space.</p>
<p>Presented on the occasion of <em>Art Day Out x School Holidays</em> at Gillman Barracks.</p>
A public programme of <em>Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s</em>.</div>
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-06-24
Contributor
An entity responsible for making contributions to the resource
Ulrike Ottinger
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
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Divided in three parts, the film depicts everyday life in Beijing, Sichuan, and Yunnan, being highly sensitive to detail and allowing the viewer to follow Ottinger’s journey almost without commentary.
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
China
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Screening: China. The Arts – The People by Ulrike Ottinger, artist and filmmaker (Germany)
Subject
The topic of the resource
Ways of Seeing
Modernity
Description
An account of the resource
<div class="event_single_dates text__exhibitions">10 Jun 2017, Sat 02:00 PM - 06:30 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br />In this four-and-a-half-hour documentary or filmic travelogue, Ulrike Ottinger imparts new ways of seeing a foreign culture. Divided in three parts, the film depicts everyday life in Beijing, Sichuan, and Yunnan, being highly sensitive to detail and allowing the viewer to follow Ottinger’s journey almost without commentary.<br /><p>This screening is specially arranged to provide the opportunity for the audience to experience the work as a full film instead of the divided version installed in the exhibition space.</p>
This screening is a public programme of <em>Ulrike Ottinger: China.The Arts – The People, Photographs and Films from the 1980s and 1990s</em>.</div>
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-06-10
Contributor
An entity responsible for making contributions to the resource
Ulrike Ottinger
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
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
The film is a homage to the way nomadic cultures leave their mark along the travelled paths, and embraces the migration of culture. Different kinds of narration are explored within this feature, emphasising cultural relations, similarities and contrasts, as well as how misunderstandings can be productive.
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
A name given to the resource
Daily Screenings: Johanna d’Arc of Mongolia by Ulrike Ottinger, artist and filmmaker (Germany)
Subject
The topic of the resource
Feminism
Migration
Description
An account of the resource
<div class="event_single_dates text__exhibitions">27 May 2017, Sat - 13 Aug 2017, Sun 01:00 PM - 04:00 PM<br />27 May 2017, Sat - 13 Aug 2017, Sun 04:00 PM - 07:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /><em>Johanna d’Arc of Mongolia</em><span> (1989), starring Badema, Lydia Billiet, Inés Sastre, and Delphine Seyrig, is Ottinger’s only feature fiction film shot in East Asia. Staged in the legendary Trans-Siberian Railroad, the film starts by introducing four different Western women, each representing a story from different epochs, and who meet on this train. A group of Mongolian female warriors kidnap them, and the story unfolds amidst multiple cultural misunderstandings. The intersection of the fictional and the documentary arises from the encounter with the foreign, which intervenes unpredictably and filled with humour along the plot.</span><br /><br /><span>The entire film is a homage to the way nomadic cultures leave their mark along the travelled paths, and embraces the migration of culture. Different kinds of narration are explored within this feature, emphasising cultural relations, similarities and contrasts, as well as how misunderstandings can be productive.</span><br /><br /><em>Johanna d’Arc of Mongolia</em><span> is part of the daily screenings of </span><span>Ulrike Ottinger: <em>China. The Arts – The People, Photographs </em><em>and Films from the 1980s and 1990s</em></span><span>. It is presented at The Single Screen on every other day, alternating with </span><em>Exile Shanghai</em><span>.<br /><br /></span>A public programme of <span><em>Ulrike Ottinger:</em> <em>China. The Arts – The People, Photographs </em><em>and Films from the 1980s and 1990s</em></span><span>.</span></div>
Date
A point or period of time associated with an event in the lifecycle of the resource
27 May - 13 August 2017
Contributor
An entity responsible for making contributions to the resource
Ulrike Ottinger
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
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Exile Shanghai (1997) tells the stories of six German, Austrian, and Russian Jews that intersect while exiled in Shanghai. Through narratives, photographs, documents, and music and images of the contemporary city, the film is a real-life epic with significant historical value.
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Daily Screenings: Exile Shanghai by Ulrike Ottinger, artist and filmmaker (Germany)
Subject
The topic of the resource
Migration
Diaspora
History
Description
An account of the resource
27 May 2017, Sat - 13 Aug 2017, Sun 01:00 PM - 06:00 PM The Single Screen, Block 43 Malan Road <br /><br /><em>Exile Shanghai</em><span> (1997) tells the stories of six German, Austrian, and Russian Jews that intersect while exiled in Shanghai. Through narratives, photographs, documents, and music and images of the contemporary city, the film is a real-life epic with significant historical value. Albeit the film focuses on the life of Jewish refugees, it stresses at the same time the very condition of the exiled, preserving their culture in midst of another.</span><br /><br /><span>Visually, the interconnectedness of different histories and people is emphasised by the diversity of cultural influences. This moment of openness of Shanghai created a whole cosmos within the city. Presented through the lens of the exiled, its tone is nonetheless optimistic, converted through the enthusiasm of the characters.</span><br /><br /><em>Exile Shanghai</em><span> is part of the daily screenings of </span><span><em>Ulrike Ottinger:</em> <em>China. The Arts – The People, Photographs and Films from the 1980s and 1990s</em></span><span>. It is presented at The Single Screen on every other day, alternating with </span><em>Johanna d’Arc of Mongolia</em><span>.<br /><br /></span>A public programme of <span><em>Ulrike Ottinger:</em> <em>China. The Arts – The People, Photographs and Films from the 1980s and 1990s</em></span><span>.</span>
Date
A point or period of time associated with an event in the lifecycle of the resource
27 May - 13 August 2017
Contributor
An entity responsible for making contributions to the resource
Ulrike Ottinger
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
-
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024595baf492f50638d6b6235a82eb29
Dublin Core
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Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Ulrike
Surname or Business Name
Ottinger
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2017
Birth Date
1942
Birthplace
Germany
Occupation
Professional title or identity
Artist
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
Ulrike Ottinger (b. 1942) grew up in Constance, Germany, where she opened her own studio at an early age. From 1962 until 1968, she lived and worked as an artist in Paris, where she exhibited at the Salon de la Jeune Peinture and elsewhere. She studied etching techniques at the studio of Johnny Friedlaender and attended lectures at the Sorbonne on art history, religious studies, and ethnology with Claude Lévi-Strauss, Louis Althusser, and Pierre Bourdieu. In 1966, she wrote her first screenplay, entitled <em>The Mongolian Double Drawer</em>. <br /><br />After returning to West Germany, she founded the filmclub visuell in Constance in 1969, as well as the galeriepress gallery and press, presenting Wolf Vostell and David Hockney, among others. With Tabea Blumenschein, she realised her first film in 1972–73, <em>Laocoon & Sons</em>, which had its premiere at Arsenal Berlin. She moved to Berlin in 1973 where she filmed the happening documentation <em>Berlinfever – Wolf Vostell</em>. After The Enchantment of the Blue Sailors (1975) with Valeska Gert, came the female pirate film <em>Madame X</em> (1977), a coproduction with the ZDF television network. The film was a sensation and prompted substantial controversy. <br /><br />Ottinger’s “Berlin trilogy” began with <em>Ticket of No Return </em>(1979), followed by <em>Freak Orlando</em> (1981) and <em>Dorian Gray in the Mirror of the Yellow Press</em> (1984). Collaborating on the films were Delphine Seyrig, Magdalena Montezuma, Veruschka von Lehndorff, Eddie Constantine, and Kurt Raab, as well as the composer Peer Raben. In the short film <em>Usinimage</em> (1987), she revisited imagery derived from industrial wastelands and alienated urban landscapes.
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Germany
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.
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
Ulrike Ottinger
Subject
The topic of the resource
Identity
Displacement
Urbanism
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
Contributor
An entity responsible for making contributions to the resource
Ulrike Ottinger
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
The artist will share her experience travelling through China, as well as reflect on the different topics raised by her work, such as the intersection of documentary and fiction and notions of culture and cultural difference.
Programme Type
Talk and Lecture
Programme Series
Behind the Scenes
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<p class="event_single_title">Behind the Scenes with artist Ulrike Ottinger (Germany), Professor Ute Meta Bauer, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design, and Media (ADM), NTU, and Sophie Goltz, Deputy Director, Research and Academic Education, NTU CCA Singapore, and Assistant Professor, NTU ADM</p>
Description
An account of the resource
<div class="event_single_dates text__exhibitions">24 May 2017, Wed 07:30 PM - 09:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /></div>
A “behind the scenes” discussion with the acclaimed artist Ulrike Ottinger on her practice as photographer and filmmaker. The artist will share her experience travelling through China, as well as reflect on the different topics raised by her work, such as the intersection of documentary and fiction and notions of culture and cultural difference. <br /><br />A public programme of <em>Ulrike Ottinger: China. The Arts – The People: Photographs and Films from the 1980s and 1990s.</em>
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-05-24
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Sophie Goltz
Ulrike Ottinger
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
Subject
The topic of the resource
Ways of Seeing
Cultural Production
-
Dublin Core
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Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Based on an exhibition of the same name, Theatrical Fields presents seminal texts and newly commissioned essays that explore theatricality as a critical strategy in performance, film, and video.
Related Countries
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Programme Type
Book Launch
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Book Launch and Screening – <em>Theatrical Fields: Critical Strategies in Performance, Film, and Video </em>
Description
An account of the resource
<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.
Date
A point or period of time associated with an event in the lifecycle of the resource
2016-09-24
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Ulrike Ottinger
Anca Rujoiu
Antonin Artaud
Mikhail Bakhtin
Bertolt Brecht
Jacques Derrida
Régis Durand
Regis Durand
Josette Féral
Josette Feral
Jean-François Lyotard
Jean-Francois Lyotard
Giuliana Bruno
Eva Meyer
Timothy Murray
Katharina Sykora
Marina Warner
Judith Barry
Marcel Dzama
Stan Douglas
Marie-Louise Ekman
Eran Schaerf
Isaac Julien
Joan Jonas
Constanze Ruhm
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
Europe
North America
Subject
The topic of the resource
Theatre
Performance
-
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c19957942ca85b6f14236a022f90cbc1
PDF Text
Text
�NO
HE
T
S FROM T
E
CURATOR
R
R
S
S
S
S
S
The exhibition China. The Arts – The People, Photographs and Films from the 1980s and 1990s
by the award-winning filmmaker and artist Ulrike Ottinger is the first large-scale exhibition
of her work in Asia. The selection of artworks focuses on the artist’s research and travels in
China and Mongolia during the 1980s and 1990s, comprising four films and more than one
hundred photographs, shown for the first time in its epic dimension as an exhibition.
The extraordinary filmic and photographic oeuvre created during several journeys
in various parts of China and Mongolia between 1985 and 1997, present Ottinger’s
exceptional practice as a filmmaker who produces both fiction and documentary films.
Fighting for permission to travel and film in communist China, Ottinger’s interest in Asia
also broke with the Cold War stereotype of that time. Her inimitable universe comprising
various provinces of old China is filled with rich imagery and history of each region,
paying close attention to the presence of local details. Her committed approach renders
a practice that reaches far beyond its described territory.
Cover: Frühlingsfest bei minus 20 Grad
(Spring festival at minus 20 degrees), 1985.
Context: China. The Arts – The People, Beijing.
Left: Broadway in Hongkew, 1996.
Context: Exile Shanghai, China.
1
�2
Over one hundred photographs have been selected specifically for this show from
Ottinger’s vast photographic archive. Her practice as photographer is often concurrent to
the shooting of the films, nevertheless it is the first time that a large body of photographic
work is juxtaposed with her films in a lavish spatial design. The presented photographs
were taken while Ottinger was shooting the four films on view: China. The Arts – The People
(1985), Johanna d’Arc of Mongolia (1989), Taiga. A Journey to Northern Mongolia (1992),
and Exile Shanghai (1997).
The photographs unfold along the artist’s recurring leitmotifs, such as cooking and eating,
dressing up and performing, objects on display in markets and storefront windows, or
portraits of people in their everyday life in the communities and cultures she visited. This
curiosity for people and their habitats unfolds as well in her documentary films. Ottinger
is at the same time a hunter and a gatherer. In her films, she follows traces and observes,
while with the photographs she builds collections. Both feed her imagination as a story-teller.
China. The Arts – The People (1985), the eponymous four-and-a-half-hour long journey,
depicts daily life in various Chinese cultures and geographies such as Beijing (February
1985), Sichuan Province (March 1985), and Yunnan Province (March 1985). Presented
in a three-screen installation, it resembles a carousel of people, rites, habits, and customs,
where life becomes a stage.
�Left: Marmordekor im Innenhof eines Landhauses
(Marble ornament in courtyard of country house), 1985.
Context: China. The Arts – The People, Yunnan.
Below: Bauchladen-Fotografen auf dem Süchbaatar Platz
(Streetvendor-photographer at the Süchbaatar Square), 1991.
Context: Taiga, Ulaanbaatar, Mongolia.
The documentary Taiga. A Journey to Northern Mongolia (1992) is presented on multiple
monitors throughout the exhibition space, like stations of a long expedition. Over eight
hours in its entirety, it records the traditional daily life and ceremonies of nomadic peoples
from the Darkhad mountain valley to the Sojon Urinjanghai in northern Mongolia.
The film captures with reimarkable palate the extraordinary physical and geographical
conditions of life in Mongolia, while depicting the outstanding beauty inherent to their
crafts and costumes.
Johanna d’Arc of Mongolia (1989), the fiction film presented in this exhibition, is running
in The Single Screen, the cinematic space of the Centre. It tells the story of four eccentric
Western women travelling on the Trans-Siberian Railroad, who are kidnapped by female
warriors on horses. The film stages the fiction within the vast landscapes of Mongolia,
where the fantastical narrative is punctuated by the encounters between the passengers,
who as protagonists each represent a culture on its own, and an imagined Mongolian
society. The boundary between fiction and reality, and vice versa, is blurred.
3
�Exile Shanghai (1997), also shown in The Single Screen, is a film that narrates the life
stories of Jewish exiles intersecting in Shanghai, the last open port city for Europeans Jews
escaping the Nazi regime. In this film, Ottinger researched this community by observing
the painstaking processes of daily practice that preserve the illusion of a life-world created
on foreign land.
In her documentaries, Ottinger observes habits and customs with an attentive and panning
camera, taking delight in all details and allowing the viewer to embark with her without
adding any kind of commentary or voice-over. Ottinger has travelled extensively to many
places in Asia, including China, Mongolia, Korea, and the Northern Islands of Japan.
In her journeys, she actively seeks sites and structures that different cultures have built
for collective rituals, often in isolated locations. Driven by this fascination, the artist
uncovers extraordinariness in these hidden places of difficult access, producing images that
alternate between documentary and recorded spectacle. Her immense cinematographic and
photographic archive opens up the relationship between the traditional anchored in myths
and religion and the casualness of the contemporary. As the artist would say, “the old in
the new as well as the new in the old”.
4
Both, films and photographs, are for Ottinger analogue media “to create the possibilities
to reflect relationships between reality and fiction, between nature and art”. The images
evade categorisation as either filtered documentation or constructed composition; they are
both. Through Ottinger’s gaze, the photographed subject becomes a performer of its own.
Although her “travelogues” might be uncommented, Ottinger’s distinctive and reflected
passion for people and their habitats will always shine through.
The public programme that accompanies the exhibition extends the artist’s journey through
other narratives, such as (de)Tours by historians, a re-narration by a choreographer in
a dance piece, and other films portraying China of the past and of now. The exhibition
China. The Arts – The People, Photographs and Films from the 1980s and 1990s captures
a particular time, looking back at an artist’s archive of an era that is still not fully
acknowledged.
Professor Ute Meta Bauer
Founding Director, NTU CCA Singapore,
and Professor, ADM, NTU
Khim Ong
Deputy Director, Exhibitions, Residencies, and Public
Programmes, NTU CCA Singapore
Apotheke zur Allgemeinen Nächstenliebe
(Pharmacy Common Charity), 1985.
Context: China. The Arts – The People, Beijing.
�5
China. The Arts – The People
Ulrike Ottinger, 1985, 16mm, colour, sound, 270 min
Presented as three-screen installation, Bluray, The Exhibition Hall
China. The Arts – The People (1985) is the first in a series of long documentary films that
brought Ottinger to embark on long and often complicated travels through various parts of
Asia. This film takes us on a journey to three Chinese provinces, while also exploring the
relationship between moving image and still life. Beijing (February 1985), Sichuan Province
(March 1985), and Yunnan Province (March 1985), the film’s three “acts”, are each divided
into several “stations”. In the first, Ottinger documents the capital and many of its landmarks
during Spring Festival, as well as the daily life on streets and shops. One place is the pharmacy
“Common Charity”, and at another station we meet the film director Ling Zifeng. In the
Sichuan chapter, Ottinger attends the Lantern Festival in Chengdu, as well as a Chinese
opera, and visits a bamboo factory before ascending to a Tao mountain monastery. In the
final chapter, one of the visited minority groups are the Sani people in the Stone Forest.
In this four-and-a-half-hour travelogue, Ottinger imparts new ways of seeing a foreign
culture, turning into a collector of images rather than being just a visitor. Although not visible
on the screen, the viewer soon gets to realise that the filmmaker is often acknowledged as a
foreigner with a camera by curious passers-by. When making the film, Ottinger was influenced by Chinese nature painting and the use of the scroll, which demands a different way of
viewing (and filming): rolling out the scroll and focusing on the details, seeing it part by part.
�6
Taiga. A Journey to Northern Mongolia
Ulrike Ottinger, 1992, 16mm, colour, sound, 501 min
Presented on five monitors, DVD, The Exhibition Hall
Ottinger returned to Mongolia to shoot this over eight hours long documentary film after
her fiction film Johanna d’Arc of Mongolia (1989). Divided into 38 stations, it depicts the
daily life of the Darkhad and Sojon Urinjanghai nomads, as well as their ceremonies such
as weddings, festivals, and shamanistic practices.
Ottinger portrays particular characters, sometimes with their families, documents gatherings,
offerings, songs, dances, professions. The camera dwells on the different moments, mostly
rendering the scene in real time and conveying a sense of being there. As we accompany
the nomads preparing to move to their winter camp, or visit the children on their first day
of school, we get familiar not only with the startling landscapes, but most importantly with
the way of living of these nomadic peoples, their relationship to each other, to the
animals, and to the land.
Above: Die Jurten der alten Schamanin Süren und ihrer Tochter
Bajar (The yurts of Süren, the old shaman, and her daughter
Bajar), 1991. Context: Taiga, Ulaanbaatar, Mongolia.
Special projection in The Single Screen
24 June 2017, 12.00 – 8.30pm
Right: An der Wehrgrabenbrücke (At the moat bridge), Kung
Opera, 1985. Context: China. The Arts – The People, Sichuan.
�Photographs
Ulrike Ottinger, China and Mongolia, 1985 – 1997
24 Gelatin silver prints, 20 x 30 cm, unframed
7 Gelatin silver prints 30 x 40 cm, unframed
57 colour prints, 52 x 77 cm, framed
17 colour prints, 82 x 122 cm, framed
Presented in The Exhibition Hall
Over one hundred photographs were selected from Ulrike Ottinger’s vast archive, which
might be lesser known than her films. Taken during her travels in China and Mongolia,
they belong to her practice as photographer that predates her work as filmmaker.
Arranged following particular but loose leitmotifs, these show Ottinger’s interest in ways
of living, food, markets, the everyday, as well as collective rituals. Each photo is a story in
itself—be it in a detail of an ornament, a certain colour, the arrangements of a specific local
dish, or the encounters of people in the street—together they tell of everyday life in Beijing
or Shanghai, or of the rural lands of Southern China or Northern Mongolia. Neither artistic
nor reportage photography in their approach, they mirror the gaze of the filmmaker and
uncover how she gradually builds her subject matters.
7
�Exile Shanghai and Johanna d’Arc of Mongolia
presented in The Single Screen on alternating days.
For exact dates and times visit www.ntu.ccasingapore.org
Exile Shanghai
Ulrike Ottinger, 1997, 16mm, colour, sound, 275 min
Digital projection, The Single Screen
Exile Shanghai (1997) tells the stories of six German, Austrian, and Russian Jews that
intersect while exiled in Shanghai. Through narratives, photographs, documents, and music
and images of the contemporary city, the film is a real-life epic with significant historical
value. Albeit the film focuses on the life of Jewish refugees, it stresses at the same time the
very condition of the exiled, preserving their culture in midst of another.
Visually, the interconnectedness of different histories and people is emphasised by the
diversity of cultural influences. This moment of openness of Shanghai created a whole
cosmos within the city. Presented through the lens of the exiled, its tone is nonetheless
optimistic, conveyed through the enthusiasm of the characters.
8
�9
Johanna d’Arc of Mongolia
Ulrike Ottinger, 1989, 35mm, colour, sound, 165 min
Digital projection, The Single Screen
The film, starring Badema, Lydia Billiet, Inés Sastre, and Delphine Seyrig, is Ottinger’s only
feature fiction film shot in East Asia. Staged in the legendary Trans-Siberian Railroad, the
film starts by introducing four different Western women, each representing a story from
different epochs, and who meet on this train. A group of Mongolian female warriors kidnap
them, and the story unfolds amidst multiple cultural misunderstandings. The intersection
of the fictional and the documentary arises from the encounter with the foreign, which
intervenes unpredictably and filled with humour along the plot.
The entire film is a homage to the way nomadic cultures leave their mark along the travelled
paths, and embraces the migration of culture. Different kinds of narration are explored
within this feature, emphasising cultural relations, similarities and contrasts, as well as how
misunderstandings can be productive.
Above: Johanna d’Arc of Mongolia, 1989, film still.
Left: Regen (Rain), 1996.
Context: Exile Shanghai, China.
�BI
GR APHY
O
ER
10
I
NG
U
R IKE OTT
L
Ulrike Ottinger (b. 1942) grew up in Constance, Germany, where she opened her own
studio at an early age. From 1962 until 1968, she lived and worked as an artist in Paris, where
she exhibited at the Salon de la Jeune Peinture and elsewhere. She studied etching techniques
at the studio of Johnny Friedlaender and attended lectures at the Sorbonne on art history,
religious studies, and ethnology with Claude Lévi-Strauss, Louis Althusser, and Pierre
Bourdieu. In 1966, she wrote her first screenplay, entitled The Mongolian Double Drawer.
Drawer
After returning to West Germany, she founded the filmclub visuell in Constance in 1969, as
well as the galeriepress gallery and press, presenting Wolf Vostell and David Hockney, among
others. With Tabea Blumenschein, she realised her first film in 1972–73, Laocoon & Sons,
which had its premiere at Arsenal Berlin. She moved to Berlin in 1973 where she filmed the
happening documentation Berlinfever – Wolf Vostell. After The Enchantment of the Blue Sailors
(1975) with Valeska Gert, came the female pirate film Madame X (1977), a coproduction with
the ZDF television network. The film was a sensation and prompted substantial controversy.
Ottinger’s “Berlin trilogy” began with Ticket of No Return (1979), followed by Freak Orlando
(1981) and Dorian Gray in the Mirror of the Yellow Press (1984). Collaborating on the films
were Delphine Seyrig, Magdalena Montezuma, Veruschka von Lehndorff, Eddie Constantine,
and Kurt Raab, as well as the composer Peer Raben. In the short film Usinimage (1987), she
revisited imagery derived from industrial wastelands and alienated urban landscapes.
The films of Ulrike Ottinger have received numerous awards, including the Audience Jury
Prize in Montréal and the Bundesfilmpreis (Visual Design) for Johanna D’Arc of Mongolia,
�Ottinger has worked in photography throughout her career as an artist. With her
photographs, created largely in parallel with the film works, she has identified her own
visual points of emphasis. She furthermore produced operas, several theatre plays, and
radio dramas. Her work has received numerous awards and has been included in major
art exhibitions, such as the Documenta (2002 and 2017), Berlin Biennale (2004 and 2010),
Shanghai Biennale (2008), and the Gwangju Biennale (2014), among others. Her solo
exhibitions have been, among other places, at the Kunst-Werke Berlin (2001), Witte de
With Center for Contemporary Art (2004) in Rotterdam, and the Museo Reina Sofia
(2004) in Madrid. Her artist’s book Bildarchive (2005) collects a selection of photographs
from 1975 through 2005. In her artist’s book Floating Food, published in 2011, Ottinger
created a comprehensive collage from four decades of her artistic production. Other major
monographies include Ulrike Ottinger: N.B.K. Ausstellungen Band 11 (2011), Ulrike Ottinger
(2012), and Ulrike Ottinger: World Images (2013).
In 2010, Ottinger was honoured with the Order of Merit of the Federal Republic of
Germany and in 2011, she was awarded the Hannah-Höch-Prize for her creative work.
11
Photo: courtesy Studio Ulrike Ottinger
and the German Film Critics Award for the documentary films China The Arts – The People
and Prater (2008). Her works have been shown at the world’s most important film festivals
and appreciated in multiple retrospectives, including at the Cinémathèque française (1982)
in Paris and at the Museum of Modern Art (2000) in New York. Ottinger has also worked
as a director of theater and opera. Her productions have included the 2000 premiere of
Elfriede Jelinek’s The Farewell at the Berliner Ensemble.
�12
�Wednesday, 24 May 2017
7.30 – 9.00pm
Behind the Scenes with artist Ulrike
Ottinger (Germany), Professor Ute
Meta Bauer, and Sophie Goltz
R A M ME
G
S
Acclaimed artist Ulrike Ottinger will speak
of her practice as filmmaker and photographer engaging both with documentary
and fiction, of how she decides where to
travel, and the process of making her films.
She will share her experiences travelling
and filming through various parts of China
and Mongolia in the eighties and nineties,
as well as reflect on the different topics
raised in her work, such as culture and
cultural difference.
RO
Ulrike Ottinger – Refer to biography on page 10
PU
PU
PU
PU
PU
PU
PUBLI
C
P
Free admission to all programmes
unless otherwise stated.
Professor Ute Meta Bauer (Germany/Singapore)
is the Founding Director of the NTU CCA Singapore,
and Professor at the School of Art, Design and Media,
NTU, and was prior Associate Professor (2005-2012)
at the Massachusetts Institute of Technology, United
States, where she served as the Founding Director of
the MIT Programme in Art, Culture, and Technology.
Bauer was Co-Curator for Documenta11 (2001-2002),
Artistic Director for the 3rd berlin biennale for
contemporary art (2004), and the Founding Director
of the Office for Contemporary Art Norway (2002-05).
She recently co-curated with MIT List Centre for
Visual Art Director Paul Ha the US Pavilion at the
56th Venice Biennale (2015) presenting eminent
artist Joan Jonas.
All programmes take place at NTU CCA Singapore,
Block 43 Malan Road, Gillman Barracks.
Schedule subject to changes. For updates on the
programmes, please visit the NTU CCA Singapore
website (www.ntu.ccasingapore.org) and Facebook
page (www.facebook.com/ntu.ccasingapore).
Above: An der Strecke Chengdu
(At the Chengdu railroad line), 1985.
Context: China. The Arts – The People, China.
Below: Speisewagen Strecke Chengdu – Kunming
(Restaurant car at the Chengdu – Kunming railroad line),
1985. Context: China. The Arts – The People, China.
Sophie Goltz (Germany/Singapore) is Deputy
Director, Research and Academic Programmes at
NTU CCA Singapore, and Assistant Professor at the
School of Art, Design and Media, NTU. Goltz was
Stadtkuratorin (City Curator) Hamburg (2013-2016),
and worked as Curator and Head of Communications
and Public Programme at the Neuer Berliner Kunstverein (2008-2013), becoming Senior Curator in
2014. Goltz worked as art educator for various international exhibitions, including Documenta 11 and 12
(2002, 2007), 3rd berlin biennale for contemporary
art (2004), and Project Migration (2004-06). She has
taught at the University of Arts Vienna, the Technical
University Berlin, and the University of Arts BerlinWeißensee, and writes regularly for publications,
including Texte zur Kunst, art agenda, and springerin.
Kunst
13
�Friday, 2 June 2017
7.00 – 7.30pm
Curator-led Exhibition Tour
by Ana Sophie Salazar
Ana Sophie Salazar (Portugal/Singapore) is
Assistant Curator for Exhibitions at NTU CCA
Singapore. She holds an MA in Curatorial Practice
from the School of Visual Arts in New York City.
Since 2013, Ana Sophie is part of Frame Colectivo,
an art and architecture collective in Lisbon dedicated
to temporary occupations of urban public space with
cultural programming and collective construction,
where she is co-curator of the Pátio Ambulante
project. She has previously worked with various
institutions such as the Whitney Museum of
American Art and Artists Space, New York.
Friday, 2 June 2017
7.30 – 9.00pm
Screening:
Beijing Taxi, Miao Wang, 2010, 78 min
14
Beijing Taxi is a timely, uncensored
and richly cinematic portrait of China’s
ancient capital as it undergoes a profound
transformation. The film takes an intimate
and compelling look at the lives of three
cab drivers as they confront modern issues
and changing values against the backdrop
of the 2008 Summer Olympic Games.
Through their daily struggles infused
with humour and quiet determination,
Beijing Taxi reveals the complexity
and contradictions of China’s shifting
paradigm.
Selected by Dr Marc Glöde – Refer to biography
on page 19
Miao Wang (China) is the award-winning filmmaker
of critically-acclaimed documentaries Beijing Taxi and
Yellow Ox Mountain, which have screened at over 70
international festivals and institutions such as SXSW,
and the Guggenheim Museum, with US theatrical
release, and broadcast nationwide. Wang just world
premiered her sophomore feature-doc Maineland at
SXSW 2017 and took home a Special Jury Award
for Excellence in Observational Cinema. Wang is a
recipient of grants and fellowship from the Sundance
Institute, the Jerome Foundation, New York State
Council on the Arts, the Tribeca Film Institute,
Tribeca All Access, IFP, and Women Make Movies.
She has a BA in Economics from the University
of Chicago, and a MFA in Design and Film from
Parsons, New York.
Saturday, 10 June 2017
2.00 – 6.30pm
Screening:
China. The Arts – The People,
Ulrike Ottinger, 1985, 270 min
In this four-and-a-half-hour documentary
or filmic travelogue, Ulrike Ottinger
imparts new ways of seeing a foreign
culture. Divided in three parts, the film
depicts everyday life in Beijing, Sichuan,
and Yunnan, being highly sensitive to
detail and allowing the viewer to follow
Ottinger’s journey almost without
commentary.
Ulrike Ottinger – Refer to biography on page 10
�Public Programme on the occasion of
Art Day Out x School Holidays
at Gillman Barracks
5.00 – 5.30pm
Curator-led Exhibition Tour
by Syaheedah Iskandar
Saturday, 24 June 2017
12.00 – 8.30pm
Screening:
Taiga. A Journey to Northern Mongolia ,
Ulrike Ottinger, 1992, 510 min
Syaheedah Iskandar (Singapore) is Curatorial
Assistant, Outreach & Education at NTU CCA
Singapore. Prior she was Curatorial Assistant for
Exhibitions. She graduated with a BA (Hons) in Arts
Management under LASALLE College of the Arts,
Singapore. Recent curatorial projects include ROOTS
(2012), Bring it to LIFE (2015) in The Lab, NTU CCA
Singapore, and If Home was a word for Illusion (2016),
Singapore. In 2016, she participated in the Gwangju
Biennale International Curator Course, South Korea.
This over eight-hour-long documentary
records the traditional daily life and
ceremonies of nomadic peoples from the
Darkhad mountain valley to the Sojon
Urinjanghai in northern Mongolia.
Divided into 38 stations, the film portrays
ceremonies such as weddings, festivals,
and shamanistic practices, as well as
gatherings, offerings, songs, dances, or
professions. The viewer becomes familiar
with this community’s relationship to each
other, to the animals, and to the land.
Ulrike Ottinger – Refer to biography on page 10
3.00 – 3.30pm
Curator-led Exhibition Tour
in Mandarin by Khim Ong
Khim Ong (Singapore) is Deputy Director,
Exhibitions, Residencies & Public Programmes,
NTU CCA Singapore. Prior, she worked as
independent curator and held curatorial positions
at the Institute of Contemporary Arts Singapore,
LASALLE, and Osage Gallery, Hong Kong. She
was Manager, Sector Development (Visual Arts)
at the National Arts Council during which she
contributed to conceptualising NTU CCA Singapore.
She co-curated with Founding Director Ute Meta
Bauer the exhibitions Incomplete Urbanism: Attempts
of Critical Spatial Practice (2016), Amar Kanwar: The
Sovereign Forest (2016) and Yang Fudong: Incidental
Scripts (2014). Selected curatorial projects include the
Southeast Asia Platform, Art Stage Singapore (2015),
and Landscape Memories, Louis Vuitton Espace,
Singapore (2013).
Wednesday, 5 July 2017
7.30 – 9.00pm
(de)Tour
with historian Dr Els van Dongen
What can be glimpsed from Ulrike
Ottinger’s images of China in the
transitional period following the Cultural
Revolution? Dr van Dongen will discuss
the images through the lens of the
changing economic, social, and cultural
fabric of 1980s and 1990s China. Apart
from reflecting on what we can gain from
placing the images in their historical
context, the presentation will also explore
various other layers of the relation between
art and history.
Els van Dongen (Belgium/Singapore) is Assistant
Professor, School of Humanities and Social Sciences,
NTU. As a historian of modern and contemporary
China, she is primarily concerned with Chinese
intellectuals, both as state and society actors, and
the production, circulation, and organization of
knowledge within the broader context of Chinese
engagements with modernity in a transnational
setting. Prior to joining NTU, she studied and conducted research in Belgium (University of Leuven),
the Netherlands (Leiden University), China (Central
China Normal University and Peking University),
and the USA (Boston University). She completed a
Ph.D. in Chinese Studies at Leiden University with the
support of the Netherlands Organization for Scientific
Research (NWO) and the Fulbright Foundation.
15
�Friday, 7 July 2017
7.00 – 7.30pm
Curator-led Exhibition Tour
in Mandarin by Khim Ong
Khim Ong – Refer to biography on page 15
Friday, 7 July 2017
7.30 – 9.00pm
Screening:
Shoot for the Contents,
Trinh T. Minh-ha, 1991, 102 min
16
Reflecting on Mao’s famous saying, “Let a
hundred flowers blossom and a hundred
schools of thought contend”, Trinh T.
Minh-ha’s film—whose title refers in part
to a Chinese guessing game—is a unique
excursion into the maze of allegorical
naming and storytelling in China. The
film ponders questions of power and
change, politics and culture, as refracted
by Tiananmen Square events. It offers
at the same time an inquiry into the
creative process of filmmaking, intricately
layering Chinese popular songs and
classical music, the sayings of Mao and
Confucius, women’s voices and the words
of artists, philosophers, and other cultural
workers. Exploring colour, rhythm, and
the changing relationship between ear and
eye, this meditative documentary realises
on screen the shifts of interpretation in
contemporary Chinese culture and politics.
Trinh T. Minh-ha (Vietnam/United States) is
a filmmaker, writer, composer and Professor of
Rhetoric and of Gender & Women’s Studies at
the University of California, Berkeley. Her work
includes numerous books, such as Lovecidal. Walking
with The Disappeared (2016), D-Passage. The Digital
Way (2013), Elsewhere, Within Here (2011); eight
feature-length films including Forgetting Vietnam
(2015), Night Passage (2004), and The Fourth Dimension
(2001) and Surname Viet Given Name Nam (1989). Her
work has been recipient of many awards, including
the Wild Dreamer Lifetime Achievement Award at
the Subversive Festival, Zagreb, Croatia, 2014; the
Lifetime Achievement Award from Women’s Caucus
for Art, 2012; and the 2006 Trailblazers Award
at the MIPDoc (International Documentary Film
Event) in Cannes, France. Trinh T. Minh-ha’s work
was featured in NTU CCA Singapore’s inaugural
exhibition Paradise Lost (2014).
Friday, 14 July 2017
7.30 – 9.00pm
Stagings:
Shaman/Peasants – Dance of the
Barefoot Guardians by Arts Fission
This performance responds to Ulrike
Ottinger’s penchant to making films and
documentaries based on everyday life and
in diverse settings, from urban to rural
environments. The title Shaman/Peasants
alludes to the two factors related to the rise
of communism in early 20th century China.
The Chinese Communists built their
revolutionary momentum with the support
of the “Peasants” and later sealed their
faith with the Land Reform Movement
that changed the destiny of old China
forever. “Shaman” is the intermediate
between the deep-seated connection of
human and land which bred myths and
beliefs among the people. The dance will
encompass incongruous motifs that aim to
build conflict by pitching bizarre characters
against a repressive, conformative ensemble,
with abstract figures referenced through
contemporary interpretation.
Commissioned by NTU CCA Singapore
and co-produced with Arts Fission.
For ticketing information visit
ntu.ccasingapore.org.
As the longest incorporated contemporary dance
company in Singapore since 1994, Arts Fission has
gathered a diverse and ground-breaking dance-
�making track record. Under the artistic direction of
Cultural Medallion Recipient Angela Liong, Arts
Fission has evolved into a dynamic hybrid that creates
works relevant to people and everyday life. Many of
the works are influenced by Asian cultures, aesthetics,
and heritage. The company often finds its creative
impetus on topical themes like rapid urban changes
that affect irretrievable cultural and environmental
losses. Arts Fission’s dance works are collaborative
in nature, having included working with composers
and musicians, visual and new media artists, designers
and film makers. The company has presented works
regionally and internationally.
Sherman Ong (Malaysia/Singapore) is a filmmaker,
photographer, and visual artist. His practice has
always centred on the human condition and our
relationships with others within the larger milieu.
Ong has premiered works in art biennales, major
film festivals and museums around the world,
including Venice, Singapore and Jakarta Biennales,
Mori Art Museum Tokyo, Fukuoka Asian Art
Museum, Martin-Gropius-Bau Berlin, Centre
Pompidou Paris, Institute of Contemporary Arts
London, Noorderlicht Photo Festival, Rotterdam
International Film Festival, Queensland Art Gallery,
and Vilnius Contemporary Art Centre, Lithuania.
He is a founding member of 13 Little Pictures, a film
collective based in Singapore.
Wednesday, 19 July 2017
7.30 – 9.00pm
In Conversation
Artists Chua Chye Teck, Sherman Ong,
and Ang Song Nian; moderated by
curator Silke Schmickl
Ang Song Nian (Singapore) is Lecturer, School
of Art, Design and Media, NTU. He is an artist
working with photographic documentation and
installation. Intrigued by the relationship of human
interventions and invasions on landscapes, he examines the elements of the human psyche that are
easily overlooked or discarded in society’s measures of
success and progress. Recent solo exhibitions include
Hanging Heavy On My Eyes (2017), As They Grow Older
And Wiser (2016), and A Tree With Too Many Branches
(2014). His work has been awarded the Winner for
Photography in the Noise Singapore 2012, selected
for eCrea Award (Spain, 2010), and Association
of Photographers Awards (UK, 2010). Song Nian
received his Bachelor’s and Master’s degrees in
Photography from Camberwell College of Arts and
the London College of Communication respectively.
Fiction or reality, images produce their
own narratives and temporal connections
and are open to many interpretations
infused with the personal experiences
of individual viewers. Working with
photography, sound, and video, different
practices consider and question everyday
life, and intersect with memory and
notions of displacement and the self. Join
the panel of artists for an open conversation about image and meaning making
in contemporary art practice.
Chua Chye Teck (Singapore) has been an artist
for almost 20 years. Growing up in a family of
carpenters, he has always had an affinity with wood
and the three-dimensional form, which pushed him
to challenge himself in working with photography as
a medium instead. Beyond Wilderness is a culmination
of a decade in photography, where he has explored
different ways of presenting his views on found
objects, spaces, and nature. Both sculpture and
photography have their respective technicalities, and
moving forward, Chye Teck is keen to go back to
sculpture, following an urge to focus on creating from
scratch rather than reacting to a given scenario.
Silke Schmickl (Germany/Singapore) is a curator at
the National Gallery Singapore. She was previously
curator at the Institute of Contemporary Arts
Singapore, researcher at the German Art History
Center in Paris, and co-founding director of Lowave,
a Paris/Singapore based curatorial platform and
publishing house. She has initiated and directed
numerous art projects dedicated to emerging art
scenes in the Middle East, Africa, India, Turkey, and
Singapore, and has curated exhibitions in partnership
with museums and biennials in Singapore, Paris,
Guangzhou, Beirut, and Düsseldorf.
17
�Friday, 21 July 2017
7.30 – 9.00pm
(de)Tour
with curator Kan Shuyi
Curator Kan Shuyi will offer a museological
perspective towards looking at repositories
as potential meaning-bearers. Throughout
her artistic practice, Ulrike Ottinger has
accumulated a large collection of objects
and images, the latter including not only
photographs taken by her, but also
postcards, illustrations, iconographic
documents, etc. The pictures, when
released from the hoard to be assembled
and recombined, become active objects that
“perform” various appearances of realities.
Does a collection – or more precisely
a hoard of objects and images – create
meaning for its bearer or other audiences?
18
Friday, 4 August 2017
7.00 – 7.30pm
Curator-led Exhibition Tour
by Magdalena Magiera
Magdalena Magiera (Germany/Singapore) is
Curator, Outreach & Education at NTU CCA
Singapore. Prior, she worked for e-flux exhibitions
and public programs in New York City. She was
an independent curator, Managing Editor of
frieze d/e and editor of mono.kultur, a quarterly
interview magazine. She co-curated Based in Berlin
(2011) as well as exhibitions for The Building
and SPLACE in Berlin. Magiera was also project
manager of The Maybe Education and Other
Programs of dOCUMENTA(13), Kassel (2012), and
UNITEDNATIONSPLAZA, Berlin (2006-2008).
Kan Shuyi (Singapore) is curator of Chinese art at the
Asian Civilisations Museum (ACM). She received her
MA in History of Art and Archaeology of East Asia
from SOAS University of London, United Kingdom.
Since joining ACM in 2007, she has curated and cocurated several exhibitions at the Museum including
The Kangxi Emperor: Treasures from the Forbidden City
(2009), Terracotta Warriors: The First Emperor and His
Legacy (2011) as well as Secrets of the Fallen Pagoda:
Treasures from the Famen Temple and the Tang Court
(2014). Her latest exhibition is Joseon Korea: Court
Treasures and City Life (2017).
Friday, 28 July 2017
7.30 – 9.00pm
Stagings:
Shaman/Peasants – Dance of the
Barefoot Guardians by Arts Fission
Refer to details on page 16
For ticketing information visit
ntu.ccasingapore.org.
Friday, 4 August 2017
7.30 – 9.00pm
Screening:
Film TBC
Selected by Dr Marc Glöde – Refer to biography
on page 19
Friday, 11 August 2017
7.30 – 9.00pm
In Conversation
Film scholars Dr Marc Glöde
and Ben Slater
Ulrike Ottinger’s work translates a
powerful research into a portrait of the
world in images. These investigations,
in Ottinger’s case often referred as
travelogues, result in films that take time
to encounter. By exploring her films and
photographs, we are challenged to define
the meaning of “documentary”, “narration”,
or “experimental” anew. They take us on
a journey during which we get to know
foreign lands and cultures, and we are forced
to constantly renegotiate the understanding
of ourselves and the “other”. In this con-
�19
versation, Dr Marc Glöde and Ben Slater
will take a closer look at how Ottinger’s
practice continuously invites us to become
travellers and reformulate our discourses.
Dr Marc Glöde (Germany/Singapore) is Assistant
Professor, School of Art, Design and Media, NTU,
and a curator, critic, and film scholar. His work
focuses on the dynamics between the fields of art,
architecture, and film. He received his PhD from the
Free University of Berlin, and has taught at the FU
Berlin, Academy of Fine Arts Berlin, and ETH Zürich.
Curatorial projects include STILL/MOVING/STILL –
The History of Slide Projection in the Arts in Belgium,
his work for art berlin contemporary, (2010-2012),
(Re-)locating the Self, Hamburg, Filmic Reflections on
the Document, Bonn, and Tadeusz Kantor, Edinburgh/
Berlin. He was senior curator for Art Basel’s film
programme (2008-2014). Glöde is author of Farbige
Lichträume (2014), and co-editor of Synästhesie-Effekte
(2011) and Umwidmungen (2005). His writing has
been published in Fantom, Osmos, Texte zur Kunst,
Parkett, and Art in America.
Ben Slater (United Kingdom /Singapore) is Senior
Lecturer, School of Art, Design and Media, NTU,
and a writer, editor, and lecturer based in Singapore.
He is the author of Kinda Hot: The Making of Saint
Jack in Singapore (2006), 25: Histories and Stories of the
Singapore International Film Festival (2014), and his
critical writings have appeared in international film
publications including Screen International and Cahiers
du Cinema. He’s been script editor and consultant
on many short films and features, including Helen
(2008), Mister John (2013), and Here (2009). He wrote
the short film The Legend of the Impacts (2012), and
co-wrote the feature Camera (2014). He recently
edited a publication dedicated to interviews with
screenwriters in Asia, Nang Issue One: Screenwriting
(2016).
Above: Detail einer bemalten Truhe
(Detail of a painted chest), 1991.
Context: Taiga, Mongolia.
�School / Group Tours
U
O
20
REACH &
T
E
U
D
ATION
C
Free admission to all programmes
unless otherwise stated.
All programmes take place at NTU CCA Singapore,
Block 43 Malan Road, Gillman Barracks.
Schedule subject to changes. For updates on the
programmes, please visit the NTU CCA Singapore
website (www.ntu.ccasingapore.org) and Facebook
page (www.facebook.com/ntu.ccasingapore).
For enquiries and registration, email:
NTUCCAeducation@ntu.edu.sg
NTU CCA Singapore’s guided school tours
offer engaging discussions on art, provide
opportunities to hone observation skills,
and develop interpretative thinking. These
specially designed school tours give insight
into the exhibiting artists, their works, and
personal anecdotes, while at the same time,
introduce and elaborate on the key themes
of each exhibition.
Tours in Mandarin and Malay available
upon request.
Gillman Barracks Art & History Tours
These free docent-led tours by Friends
of the Museum will uncover Gillman
Barracks’ rich history and introduce its
galleries, including a visit to NTU CCA
Singapore. Please register in advance at
www.gillmanbarracks.com/tours.
Tuesday, 23 May 2017
3.00 – 6.00pm
Workshop for Students of Film,
Photography, Theatre, and Art
by artist and filmmaker Ulrike Ottinger
The workshop will use the artist’s
extensive screenplay of her film Johanna
d’Arc of Mongolia, consisting of a collage of
drawings, notes, monologues, photographs,
and images. Ulrike Ottinger will walk
participants through her practice based on
this sketchbook and speak about how she
prepares and starts working on a film. She
will provide background information on
her approach and way of structuring ideas,
as well as talk about aspects of production,
implementation, and execution.
Ulrike Ottinger – Refer to biography on page 10
�Saturday, 27 May 2017
10.00am – 1.00pm
Workshop for Teachers and Educators
led by artist and educator Kelly Reedy
This workshop focuses on the artist and
the works included in the exhibition
China. The Arts – The People by German
filmmaker and artist Ulrike Ottinger. It
provides the opportunity for educators to
explore how contemporary art addresses
issues and concerns of our times. The
workshop engages with artistic practices
and prepares for visits with students by
providing educational tools as entry points
to the exhibition, assisting educators in
identifying aspects of the exhibition that
are relevant to their students. It suggests
techniques for exploring both the visual
arts and other areas of daily encounters.
Kelly Reedy (United States/Singapore) has worked in
Singapore for over 18 years as an artist and educator.
She holds a BFA in Fine Art (University of Wisconsin,
1985), MA in Education (Hunter College, 1991),
MA in Art Therapy (LASALLE College of the Arts,
2017). She has exhibited her artworks internationally
in Paris, Chicago, and Berlin, as well as locally at the
Jendela Visual Arts Space, Esplanade, the Singapore
Tyler Print Institute, and Alliance Française. Reedy
has developed educational resources for the National
Gallery Singapore and trained teachers at the National
Institute of Education, specialising in visual arts
education in museums and galleries.
Part of Art Day Out x School Holidays at
Gillman Barracks
Saturday, 24 June 2017
10.00am – 5.00pm
Workshop for Kids
The Wunder Tribe by artist anGie seah
Organised for children aged 7 to 12, the
idea of “Wunder” serves as starting point.
By exploring some of the diverse cultures
within and around Singapore, the artist
and the participants will think about how
tales are told and invent new personas
and characters associated flying, fight good
causes, feed the hungry, and… to be somebody
wonderful. Focusing on stories the region
has to tell and the images that those stories
summon, ways of sharing experiences,
visions, and emotions will be analysed,
by reinventing “ritualistic” actions and
creating personalised objects.
anGie seah (Singapore) is a multidisciplinary artist
traversing drawing, installation, performance,
and sound to respond to human condition in
relation to the social environment. She received
an education bursary from National Arts Council
(NAC), Singapore, and the culture scholarship from
the Goethe Institute, Berlin. Since 1997, she has
participated in art festivals and residencies, exhibited
in Les Halles de Schaerbeek, Belgium; ZKM Center
for Art and Media Karlsruhe, Germany; NIPAF,
Japan; Southeast Asia Art Exchange, Myanmar;
Singapore Biennale 2013; Uppsala Art Museum,
Sweden; and the Bangkok Art and Culture Centre,
and initiated art projects and participatory workshops
in Singapore, supported by the NAC, Esplanade –
Theatres by the Bay, and People’s Association.
Friday, 14 July 2017
5.00 – 6.30pm
Friday, 28 July 2017
5.00 – 6.30pm
Special iterations of Stagings for schools.
Stagings:
Shaman/Peasants – Dance of the
Barefoot Guardians by Arts Fission
Refer to details on page 16
For ticketing information visit
ntu.ccasingapore.org.
Overleaf: Steinsortierer im Flussbett des Ming-Flusses
(Stone sorters at the riverbed of the Ming River), 1985.
Context: China. The Arts – The People, Sichuan.
21
���Ulrike Ottinger
CHINA. THE ARTS – THE PEOPLE
Photographs and Films from the 1980s and 1990s
27 May – 13 August 2017
NTU CCA Singapore
Curators:
Professor Ute Meta Bauer
Khim Ong
Assistant Curator:
Ana Sophie Salazar
24
Public Programmes:
Khim Ong
Magdalena Magiera
Communications:
Kayla Dryden, Associate
Design Consultants:
Laura Miotto, Associate Professor,
ADM, NTU
Regina (Maria) Möller, Visiting Scholar,
ADM, NTU
Lead Invigilator:
Divaagar
Project Management:
Isrudy Shaik
Yom Bo Sung
All images courtesy of the artist.
Exhibition Construction and
Technical Installation:
Auxilio Studio
Conservation:
The Conservation Studio
Art Handling:
Rhema Events & Art Services Pte Ltd
Exhibition collaterals:
mono.studio
Acknowledgements:
Studio Ulrike Ottinger: Melanie Martin
and Reinhild Feldhaus; German Embassy
Singapore: Ambassador Michael Witter and
Cristine Zametzer; Han-Song Hiltmann,
Sophie Goltz, Dr Marc Glöde, Geraldine
Peck, Sant Ruengjaruwatana, segeband.pr
Supported by:
�NTU CENTRE FOR CONTEMPORARY ART SINGAPORE
Located in Gillman Barracks, the NTU CCA Singapore is a national research centre
of Nanyang Technological University and is supported by a grant from the Economic
Development Board, Singapore. The Centre is unique in its threefold constellation
of exhibitions, residencies, research and academic education, engaging in knowledge
production and dissemination. NTU CCA Singapore positions itself as a space for critical
discourse and encourages new ways of thinking about Spaces of the Curatorial in Southeast
Asia and beyond. The Centre’s dynamic public programmes serve to engage with various
audiences through lectures, workshops, open studios, film screenings, Exhibition (de)Tours,
and Stagings. As a research centre, it aims to provide visiting researchers and curators
a comprehensive study on the contemporary art ecosystem in Singapore and the region.
Since the Centre’s inauguration in October 2013, it has featured leading artists for the first
time in Southeast Asia, making it one of the spaces in the region to present exhibitions
of international scale. NTU CCA Singapore’s curatorial programme embraces artistic
production in all its diverse media with a commitment to critical debates in and through
visual culture. The Centre’s residencies programme is dedicated to facilitate the production
of knowledge and research by engaging and connecting artists, curators, and researchers of
various disciplines from around the world. Its seven studios support the artistic process in
the most direct way: they provide artists with the time and locale to pursue their research
based practice and grant them access to an interesting and immersive context to further the
development of new ideas. The Centre’s Artist Resource Platform contains visual material
and audio recordings of talks from over 90 Singapore based artists, NTU CCA Singapore’s
Artists-in-Residence, and independent art spaces in Singapore. This archive provides local
and visiting curators, scholars, and writers, as well as an interested public, a point of entry
to contemporary artistic practice.
GIVING TO NTU CCA SINGAPORE
The NTU CCA Singapore is a non-profit institution that takes great pride in presenting
internationally-acclaimed, research driven exhibitions, residencies and extensive
educational programmes. Your contribution regardless of amount, will go a long way
in enabling us to play an active role within the local art scene, and contribute to the
development of regional and international art infrastructures.
Your contribution to NTU CCA Singapore matters, and if you are a taxpayer to Singapore,
your donation will enjoy a 250% tax deduction in 2017.
We believe that what we do here at the NTU CCA Singapore makes a positive and tangible
difference through art and we hope that you will support us in achieving our aspirations.
For more information on how to donate to NTU CCA Singapore,
visit ntu.ccasingapore.org/support.
25
�NTU CCA SINGAPORE STAFF
Professor Ute Meta Bauer, Founding Director, NTU CCA Singapore,
and Professor, School of Art, Design, and Media, NTU
EXHIBITIONS & RESIDENCIES
Khim Ong, Deputy Director, Exhibitions, Residencies & Public Programmes
Dr Anna Lovecchio, Curator, Residencies
Magdalena Magiera, Curator, Outreach & Education
Ana Sophie Salazar, Assistant Curator, Exhibitions
Syaheedah Iskandar, Curatorial Assistant, Outreach & Education
Lynda Tay, Curatorial Assistant, Residencies
Isrudy Shaik, Executive, Exhibitions
Jamie Koh, Young Professional Trainee, Exhibitions
Amrit Dhillon, Young Professional Trainee, Residencies
Benedict Yom Bo Sung, Intern, Exhibitions
RESEARCH & EDUCATION
26
Sophie Goltz, Deputy Director, Research & Academic Programmes,
and Assistant Professor, School of Art, Design, and Media, NTU
Cheong Kah Kit, Manager, Research
Anca Rujoiu, Manager, Publications
Samantha Leong, Executive, Conference, Workshops & Archive
OPERATIONS & STRATEGIC DEVELOPMENT
Philip Francis, Deputy Director, Operations & Strategic Development
Jasmaine Cheong, Assistant Director, Operations & HR
Yao Jing Wei, Manager, Finance
Vijayalakshmi Balankrishnan, Special Projects Assistant
Lee Yan Yun, Executive, Administration & Finance
Louis Tan, Executive, Operations
Sylvia Tsai, Manager, Communications
Justin Lai, Young Professional Trainee, Communications & Development
�NTU CCA SINGAPORE GOVERNING COUNCIL
Co-Chairs
Professor Alan Chan Kam-Leung, Dean, College of Humanities,
Arts and Social Sciences, NTU
Paul Tan, Deputy Chief Executive Officer, National Arts Council (NAC)
Professor Dorrit Vibeke Sorensen, Chair, School of Art, Design and Media, NTU
Professor Kwok Kian Woon, Associate Provost (Student Life), President’s Office, NTU
Dr Eugene Tan, Director, National Gallery Singapore
Low Eng Teong, Director, Sector Development (Visual Arts), NAC
Ng Wen Xu, Director, Lifestyle Programme Office & HR Organisation Development,
Economic Development Board Singapore (EDB)
NTU CCA SINGAPORE INTERNATIONAL ADVISORY BOARD
Chair
Professor Nikos Papastergiadis, Director, Research Unit in Public Cultures, and
Professor, School of Culture and Communication, The University of Melbourne, Australia
Ann DeMeester, Director, Frans Hals Museum, The Netherlands
Chris Dercon, Director, Volksbühne, Berlin, Germany
Hou Hanru, Artistic Director, MAXXI National Museum of 21st-Century Arts, Rome, Italy
Professor Yuko Hasegawa, Artistic Director, Museum of Contemporary Art Tokyo
(MOT), and Professor, Department of Arts Studies & Curatorial Practice,
Graduate School of Global Arts, Tokyo University of the Arts, Japan
Professor Sarat Maharaj, Head Supervisor of Doctoral Candidates and Professor of
Visual Art and Knowledge Systems, Malmö Art Academy, Lund University, Sweden
Philip Tinari, Director, Ullens Center for Contemporary Art (UCCA), Beijing, China
Dr John Tirman, Executive Director and Principal Research Scientist, Center for International Studies, Massachusetts Institute of Technology (MIT), Cambridge, United States
27
�EXHIBITION PLAN
Photographs (1985-1997)
China: The Arts –
The People (1985)
Johanna d’Arc of Mongolia (1985)
Exile Shanghai (1997)
Taiga. A Journey
to Northern
Mongolia (1992)
*The films are screened on
alternate days.
28
IMAGE CREDITS FOLDOUT
Outside (starting after Visitor Info)
Inside (starting opposite)
Sänger Dawaadshij (Singer Dawaadshij), 1991.
Context: Taiga, Mongolia.
Die Essenspause der Fleischverkäufer (The lunch break of the
meat vendors), 1985. Context: China. The Arts – The People,
Sichuan.
Garküche auf dem Freien Markt (Cookshop at the informal
market), 1985. Context: China. The Arts – The People, Sichuan.
Stillleben (Still life), 1985.
Context: China. The Arts – The People, Yunnan.
Jurtenaltar (Yurt altar), 1991.
Context: Johanna d’Arc of Mongolia, Ulaan Uul, Mongolia.
Tsam Zeremonie im Grasland, Abt und Lamas vom Tempel Xili
Tu Zhao (Tsam ceremony in the grassland, abbot and lamas
from the Xili Tu Zhao Temple), 1988.
Context: Johanna d’Arc of Mongolia, Grassland, Mongolia.
Hafen Shanghai (Port of Shanghai), 1996.
Context: Exile Shanghai, China.
Jurtentür, Aufbau der Jurte am Bagchtara Gol (Yurt door,
construction of the yurt at Bagchtara Gol), 1996.
Context: Taiga, Mongolia.
Zuschauer im Garten des Himmelstempels
(Viewers in the Garden of the Temple of Heaven), 1985.
Context: China. The Arts – The People, Beijing.
Sträflinge bauen einen Damm an der Strecke Chengdu –
Kunming (Convicts build a dam at the Chengdu –
Kunming line), 1985. Context: China. The Arts – The People.
�Inside cover Pages: 149 mm w
Inside cover Pages: 149 mm w
All other Pages: 145 mm w each
���
Dublin Core
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Title
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Short Description
Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s Exhibition Guide
Theme
Place.Labour.Capital.
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<i>Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i> Exhibition Guide
Description
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<i>Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i> Exhibition Guide
Date
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2017-05-27
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Ulrike Ottinger
Ute Meta Bauer
Khim Ong
Format
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Guide
Coverage
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Asia
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Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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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
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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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
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
China. The Arts – The People, Photographs and Films from the 1980s and 1990s focuses on Ottinger’s research and travels in China and Mongolia during the 1980s and 1990s.
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
2017-05-27
Exhibition End Date
2017-08-13
Collaboration
No
Commissioned Work
No
Related Countries
China
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i>
Subject
The topic of the resource
Identity
Displacement
Regionalism
Archival Practice
Fiction
Politics
Race
Description
An account of the resource
The exhibition <i>China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i> by acclaimed filmmaker Ulrike Ottinger (b. 1942 in Constance, Germany) is the first large-scale exhibition by the award-winning filmmaker and artist in Asia. The selection of works focuses on Ottinger’s research and travels in China and Mongolia during the 1980s and 1990s, comprising four films and more than one hundred photographs. The photographs, created largely in parallel with the production of her films, will be unfolded along the artist’s leitmotifs. <br /><br />Starting with <i>China. The Arts – The People</i> (1985), the exhibition leads a journey through the cultures and geographies of China, while also exploring the relationship between moving image and still life. The three acts of the documentary are presented on a three-screen installation, documenting everyday life in Beijing (February 1985), Sichuan Province (March 1985), and Yunnan Province (March 1985). While meeting the film director Ling Zifeng in one chapter, a Bamboo factory is visited in another, and in parallel the Sani people, a minority group, show their habitat, the Stone Forest. <br /><br /><i>Taiga. A Journey to Northern Mongolia</i> (1992), a documentary over eight hours long that will be presented on multiple monitors throughout the exhibition space, looks into the everyday life of nomadic peoples in Mongolia. Furthermore, on view in the cinematic space of the Centre, The Single Screen, will be <i>Exile Shanghai</i> (1997), a film telling the six life stories of German, Austrian, and Russian Jews intersecting in Shanghai after their escape from Nazi Germany, as well as <i>Johanna d’Arc of Mongolia</i> (1989), Ottinger’s only feature fiction film presenting a cast starring Badema, Lydia Billiet, Inés Sastre, and Delphine Seyrig. <br /><br />From 1962 to 1968, Ulrike Ottinger was living as an independent artist in Paris, where at the University of Paris-Sorbonne she attended lectures on ethnography and religion of Claude Lévi-Strauss, Louis Althusser, and Pierre Bourdieu. Over the decades, she has created an extensive image archive, including films, photographs of her own as well as collections of postcards, magazine illustrations, and other iconographic documents from times and places worldwide. Driven by her curiosity for people and places, the artist’s images alternate between documentary insight and theatrical extravagance, presenting encounters with everyday realities at the intersection of the contemporary, the traditional, and the ritual. <br /><br />The extraordinary filmic and photographic oeuvre from China and Mongolia of the 1980s and 1990s prove her outstanding practice and beyond. Fighting for permission to travel and film in communist China, Ottinger’s interest in Asia also broke with the Cold War stereotype of that time. Her inimitable universe of provinces and regions of China is filled with rich imagery of various provinces in China and nomadic societies in Northern Mongolia and their history, paying attention to the presence of local details and reaching far beyond its described territory. <br /><br />The exhibition is accompanied by an intensive public programme, starting with a <i>Behind the Scenes</i> discussion with the artist on her practice as photographer and filmmaker. The programmed talks and screenings will reflect on the notion of the documentary, the intersection of documentary and fiction, and the potential that artistic production can have for anthropology, cultural studies, and history. <br /><br />Initially a painter, Ottinger came to filmmaking in the early 1970s. She furthermore produced operas, several theatre plays, and radio dramas. Her films have received numerous awards and have been shown at the world’s most important film festivals, as well as appreciated in multiple retrospectives, including Rio de Janeiro International Film Festival (2013), Centre Pompidou, Paris (2010), Museo Reina Sofia, Madrid (2004), The Museum of Modern Art, New York (2000), and Cinémathèque française, Paris (1982). Her work has been featured in major international exhibitions such as Documenta (2017, 2002), Gwangju Biennale (2014), Berlin Biennale (2010, 2004), and Shanghai Biennale (2008). Recent solo shows include, among others, Johanna Breede Photokunst, Berlin (2015, 2013), Sammlung Goetz, Munich (2012), Haus der Kulturen der Welt, Berlin (2011), Neuer Berliner Kunstverein, Berlin (2011), and Witte de With Center for Contemporary Art, Rotterdam (2004). Major monographs include Ulrike Ottinger: World Images (2013), <i>Ulrike Ottinger</i> (2012), <i>Ulrike Ottinger: N.B.K. Ausstellungen Band 11</i> (2011), Floating Food (2011), and <i>Image Archive</i> (2005). In 2011, she was awarded the Hannah Höch Prize for her creative work, and in 2010 honoured with the Order of Merit of the Federal Republic of Germany. <br /><br /><i>Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i> is curated by Ute Meta Bauer, Founding Director, and Khim Ong, Deputy Director, Exhibitions, Residencies and Public Programmes.
Contributor
An entity responsible for making contributions to the resource
Ulrike Ottinger
Ute Meta Bauer
Khim Ong
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.
Photography
Film