Introduction by Vladimir Seput to Joris Ivens' <em>Indonesia Calling</em>, 1946
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2020
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Introduction by Vladimir Seput on Želimir Žilnik Films
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Two early films of Želimir Žilnik are presented as part of the Non-Aligned exhibition which took place at the NTU Centre for Contemporary Art Singapore from 4 April - 21 June 2020.<br /><br />1. <em>Early Works (Rani Radovi)</em>, Želimir Žilnik, 1969<br />35 mm transferred to digital file, b&w, sound, 58 min<br />19 - 31 May 2020<br /><br />Winner of the Golden Berlin Bear Award at the 19th Berlin International Film Festival, <em>Early Works (Ravi Radovi)</em> recounts the story of youths who took part in the student demonstrations of June 1968 in Belgrade. Three young men and a girl, Yugoslava, set out to defy the petit-bourgeois routine of everyday life. Wanting to change the world and inspired by the writings of the young Karl Marx, they go to the country to persuade the peasants to fight for emancipation. They eventually get arrested. Frustrated at the failed revolution, the three young men decided to kill Yugoslava. They shoot her, cover her with party flag and burn her body. The smoke rising into the sky is the only thing that remains of the intended revolution.<br /><br />2. <em>Black Film (Cri Film), </em>Želimir Žilnik, 1971<br />16 mm transferred to digital file, b&w, sound, 14 min<br />19 - 31 May 2020<br /><br />The film chronicles Žilnik picking up a group of homeless men from the streets of Novi Sad and taking them to his home. Žilnik carries along a film camera to witness his efforts to "solve the problem of the homeless," while the group of homeless men enjoy themselves in his house. He speaks to social workers, members of the general public, and even engages with the policemen. However, they turn a blind eye to the "problem" at hand.
2020
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English
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<em>Non-Aligned</em> Film Programme: <em>Third Way / After Bandung</em>
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<p>This film programme was originally intended to be screened on-site in parallel with the exhibition <b><i>Non-Aligned</i></b>. During Singapore’s Circuit-Breaker period, selected films were available to be streamed on our website for limited periods of time, even after the Centre re-opened to the public on 27 June 2020. As of 18 August 2020, the Film Programme is being screened exclusively on site in the Single Screen, with limited capacity and physical distancing measures in place. NTU CCA Singapore gratefully acknowledges the collaboration of the curators, filmmakers, and distributors in making online screening possible during the global COVID-19 crisis.</p>
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<p>This programme features films that engage post-colonial processes covering different moments and geopolitical contexts. The Asian-African Conference in 1955, known as the Bandung Conference, amidst the complex processes of decolonization, established self-determination, non-aggression, and equality as part of the core values that then formed the Non-Aligned Movement. This history is unpacked and contextualised through this series of screenings.</p>
<p>Co-curated by writer and curator<span> </span><strong>Mark Nash</strong><span> </span>and film researcher <strong>Vladimir Seput</strong>.</p>
<p>Screening on loop during opening hours.</p>
<p><strong>Joris Ivens,<span> </span><em>Indonesia Calling,<span> </span></em>1946 <br /></strong>35mm transferred to digital file, b&w, sound, 22 min</p>
<p>This film shows the role trade union seaman and waterside workers in Sydney played in Indonesia’s independence struggle after World War II. Comprising different nationalities and races, they united together to prevent the departure of Indonesia-bound Dutch ships that carried weapons meant to bring the Indonesian National Revolution to a halt. The film seeks to distil aspects of the historical context of the events depicted in the film and gives insight to the major re-alignments in the relationship between Australia and Indonesia.</p>
<p>4 – 16 August 2020 (On loop in The Single Screen and also available online) <br /><strong>First conference of Non-Aligned Movement, 1961<br /></strong>Archive footage, colour, sound, 10 min 51 sec</p>
<p>Archive footage from the first conference of the 1961 Non-Aligned Movement,<em> </em>otherwise known as the Belgrade Conference, presenting historical events from the meeting. The inaugural conference was initiated by three key figures: Josip Broz Tito, President of Yugoslavia; Gamal Abdel Nasser, President of Egypt; and Jawaharlal Nehru, First Prime Minister of India. Attended by 25 countries from Asia, Africa, and Latin America, the conference is a direct response to the division of sphere of influence settled between the major world forces after WWII and the Cold War, enabling members to independently formulate their own position in international politics.</p>
<p>18 – 23 August 2020 (On loop in The Single Screen)<br /><strong>Ousmane Sembène,<span> </span><em>Borom Sarret</em>, 1963<br /></strong>35mm transferred to digital file, b&w, sound, 18 min</p>
<p><em>Borom Sarret</em>, considered to be the first African film by a black African, is a portrayal of poverty and inequality in postcolonial Africa. It follows the daily life of a Dakar “borom sarret”, or cart driver in Wolof (a language of Senegal), who is constantly being taken advantage of by others. Feeling hopeless about his situation, he compares modern life to that of a working slave, imprisoned in a cycle of poverty. </p>
<p>Restored in 2013 by The Film Foundation’s World Cinema Project in association with Institut National de l’Audiovisuel and the Sembène Estate. Restoration work was carried out at Laboratoires Éclair and Cineteca di Bologna/L’Immagine Ritrovata laboratory. Restoration funding provided by Doha Film Institute. </p>
<p><strong>Mikhail Kalatozov,<span> </span><em>I am Cuba (Soy Cuba)</em>, 1964<br /></strong>35mm transferred to digital file, b&w, sound, 141 min</p>
<p>Narrated by Raquel Ravuelta, a seminal figure in Cuban theatre, film, television and radio, as “The Voice of Cuba,”<span> </span><i>I am Cuba</i> follows four stories of Cubans during the Cuban Revolution. Maria works at a Havana nightclub; Pedro is a tenant farmer; Enrique, a young university student, is part of the intellectual resistance; and Mariano is a peasant who joins the rebel army. The script was co-authored by the Cuban novelist Enrique Pineda Barnet and the Soviet poet Yevgeny Yevtushenko.</p>
<p>25 – 30 August 2020 (Every hour in The Single Screen)<br /><strong>Ousmane Sembène,<span> </span><em>Black Girl (La noire de… ),<span> </span></em>1966 <br /></strong>35mm transferred to digital file, b&w, sound, 60 min</p>
<p>The film chronicles Senegal’s first years of independence by following a young ambitious woman, Diouana, who moves to the French Riviera with a bureaucrat and his wife who return to France after working in Dakar. Originally hired as the family nanny, she becomes enslaved as a maid in France. A human drama and a radical political statement, <em>Black Girl</em> critiques the enduring colonial mind-set of a supposedly postcolonial world. <em>Black Girl</em> was Ousmane Semb<strong>è</strong>ne’s first feature film and the first black African feature film which screened at Cannes. It alsowon the Prix Jean Vigo and top prize at the Carthage Film Festival. </p>
<p>Celebrating the 30th Anniversary of The Film Foundation. <br />Restored by Cineteca di Bologna/ L’Immagine Ritrovata laboratory, in association with the Sembène Estate, Institut National de l’Audiovisuel, INA, Eclair laboratories and the Centre National de Cinématographie. Restoration funded by The Film Foundation’s World Cinema Project. </p>
<p>1 – 6 September 2020 (12pm, 1.45pm, 3.30pm, 5.15pm in The Single Screen)<br /><strong>Tomás Gutiérrez Alea,<span> </span><em>Memories of Underdevelopment,<span> </span></em>1968<br /></strong>35mm transferred to digital file, b&w, sound, 97 min</p>
<p>The film’s narrative, based on the novel <em>Inconsolable Memories</em> by Edmundo Desnoes, is presented through the lens of Sergio, a wealthy bourgeois aspiring writer, during the aftermath of the Bay of Pigs Invasion. His family decides to retreat to Miami during the turmoil of social changes. The film is interspersed with real-life documentary footage of protest and political events in which Sergio’s life and personal relationship unfolds. As the threat of foreign invasion looms over Sergio, his desire for companionship also intensifies. </p>
<p>Restored by the Cineteca di Bologna at L’ Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematograficos (ICAIC). Restoration funded by the George Lucas Family Foundation and The Film Foundation’s World Cinema Project.</p>
<p>8 – 20 September 2020 (12pm, 1.30pm, 3pm, 4.30pm, 5.45pm in The Single Screen)<br /><strong>Želimir Žilnik,<span> </span><em>Early Works (Rani Radovi)</em>, 1969<br /></strong>35mm transferred to digital file, b&w, sound, 58 min</p>
<p><span lang="en-gb">Winner of the Golden Berlin Bear Award at the 19<sup>th</sup><span class="apple-converted-space"> </span>Berlin International Film Festival,<span class="apple-converted-space"> </span><i>Early Works (Ravi Radovi) </i>focuses on the June 1968 student demonstrations in Belgrade, as well as the<span class="apple-converted-space"> </span></span><span lang="en">Soviet invasion of Czechoslovakia in the same year. Both incidents happened<span class="apple-converted-space"> </span></span><span lang="en-gb">against an international backdrop of student protests, political movements and anti-colonial struggles<span class="apple-converted-space"> </span>around<span class="apple-converted-space"> </span>the world. In the film, three young men and a girl called Yugoslava attempt to start a revolution in the countryside after being inspired by the early writings by Karl Marx, but are unsuccessful.</span></p>
<p>8 – 20 September 2020<strong> </strong>(In The Single Screen)<br /><strong>Želimir Žilnik,<span> </span><em>Shorts: Black Film (Cri Film)</em>, 1971</strong><br />16 mm transferred to digital file, b&w, sound, 14 min</p>
<p><span lang="en">An example of the Yugoslav Black Wave, the film movement in Yugoslavia in the 1960s to 1970s,<span class="apple-converted-space"> </span></span><i><span lang="en-gb">Shorts: Black Film (Cri Film)</span></i><span class="apple-converted-space"><span lang="en-gb"> </span></span><span lang="en-gb">is a spontaneous effort by Žilnik to highlight socio-political issues. In the wee hours, he approaches six homeless men<span class="apple-converted-space"> </span>on the streets of Novi Sad.<span class="apple-converted-space"> </span>Žilnik<span class="apple-converted-space"> </span>interviews them and allows them to sleep over at his home. Over the next few days, he speaks to members of the public, social workers,<span class="apple-converted-space"> </span>and the police, but nobody is able to offer any solutions.</span> </p>
<p><strong>Karpo Godina,<em><span> </span>Litany of Happy People (Zdravi ljudi za razonodu)</em>, 1971</strong> <br />35mm transferred to digital file, colour, sound, 15 min</p>
<p>The <em>Litany of Happy People </em>is a song-film about the diverse group of people living harmoniously in rural Vojvodina, an autonomous province of Serbia known for its multi-cultural and multi-ethnic identity. The film presents families with multi-ethnic backgrounds, standing in front of their seemingly similar but colourful rural houses. The film won numerous awards at short film festivals.</p>
<p><strong>Karpo Godina,<em> About Art of Love or a Film with 14441 Frames (O ljubavnim veštinama ili film sa 14441 kvadratom)</em>, 1972</strong> <br />Colour, sound, 10 min</p>
<p>This film presents an almost journalistic report of the female textile workers and male military soldiers in the Macedonian village of Stip. Interwoven with military footage and shots of the village, the alternating scenes present the two groups in proximity, while being completely isolated. The film went through a thorough restoration process in 2016 and was shown at the 30th edition of Il Cinema Ritrovato in Bologna, Italy. </p>
<p>22 – 27 September 2020 (12pm, 1.30pm, 3pm, 4.30pm, 5.45pm in The Single Screen)<br /><strong>Isaac Julien,<span> </span><em>Frantz Fanon: Black Skin White Mask</em>, 1995<br /></strong>35mm transferred to digital file, colour, sound, 70 min</p>
<p>This film interrogates the life and work of Frantz Fanon, a highly influential anti-colonial writer, civil rights activist, and psychoanalytic theorist from Martinique. The docudrama is interspersed with archival footage of Fanon as well as interviews with family members and colleagues. Reflecting on the black body and its representations, the film is rooted in the black arts movement in Britain and North America.</p>
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7 April — 27 September 2020
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mark+Nash">Mark Nash</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Vladimir+Seput">Vladimir Seput</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
Online Screening: First conference of Non-Aligned Movement, 1961
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Archive footage from the first conference of the 1961 Non-Aligned Movement, otherwise known as the Belgrade Conference, presenting historical events from the meeting. The inaugural conference was initiated by three key figures: Josip Broz Tito, President of Yugoslavia; Gamal Abdel Nasser, President of Egypt; and Jawaharlal Nehru, First Prime Minister of India. Attended by 25 countries from Asia, Africa, and Latin America, the conference is a direct response to the division of sphere of influence settled between the major world forces after WWII and the Cold War, enabling members to independently formulate their own position in international politics.<br /><br /><span>Introduction by Vladimir Seput</span>
4 - 16 August 2020
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Online Screening: Karpo Godina, About Art of Love or a Film with 14441 Frames (O ljubavnim veštinama ili film sa 14441 kvadratom), 1972
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Labour">Labour</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Politics">Politics</a>
This film presents an almost journalistic report of the female textile workers and male military soldiers in the Macedonian village of Stip. Interwoven with military footage and shots of the village, the alternating scenes present the two groups in proximity, while being completely isolated. The film went through a thorough restoration process in 2016 and was shown at the 30th edition of Il Cinema Ritrovato in Bologna, Italy.<br /><br />Introduction by Vladimir Seput.
24 - 29 July 2020V
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Karpo+Godina">Karpo Godina</a>
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Online Screening: Joris Ivens, Indonesia Calling, 1946
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Labour">Labour</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Decolonialism">Decolonialism</a>
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This film shows the role trade union seaman and waterside workers in Sydney played in Indonesia’s independence struggle after World War II. Comprising different nationalities and races, they united together to prevent the departure of Indonesia-bound Dutch ships that carried weapons meant to bring the Indonesian National Revolution to a halt. The film seeks to distil aspects of the historical context of the events depicted in the film and gives insight to the major re-alignments in the relationship between Australia and Indonesia.<br /><br />Introduction by Vladimir Seput.
10 - 15 July 2020
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Joris+Ivens">Joris Ivens</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Vladimir+Seput">Vladimir Seput</a>
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<i>Non-Aligned</i> Exhibition Guide
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Decolonialism">Decolonialism</a>
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<i>Non-Aligned</i> Exhibition Guide
2020-04-04
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=John+Akomfrah">John Akomfrah</a>
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Vladimir Seput
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<i>Non-Aligned</i>
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<i>Non-Aligned</i> in the press! Read Stephanie Bailey’s article in <u>Ocula</u> and <u>Object Lessons Space</u>‘s interview with Dr Karin Oen, the Centre’s Deputy Director of Curatorial Programmes. <br /><br /><b><i>The Unfinished Conversation</i></b> (2012), <b>John Akomfrah</b> (United Kingdom), <b><i>Two Meetings and a Funeral</i></b> (2017), <b>Naeem Mohaiemen</b> (Bangladesh/United States), <b><i>Nucleus of the Great Union</i></b> (2017), <b>The Otolith Group</b> (United Kingdom) <br /><br />The British Empire spanned from Asia to Australia to Africa to America to the Caribbean. The various colonial territories gained their sovereignty and independence at different times, in processes of decolonization that played out in the histories of nations, but also determined the lives of individuals. <i>Non-Aligned</i> brings together three moving-image works by artists, filmmakers, and writers that inquire into the challenging transition periods from colonial rule to the independence of nations. <br /><br />The presented works apply archival material in different ways. The focus spans from the work and personal histories of intellectuals who experienced these unprecedented circumstances first-hand, including Jamaican-born British theorist Stuart Hall (1932-2014) and African American novelist Richard Wright (1908-1960), to the history of political organization around the Non-Aligned Movement. This process of examining the interconnected stories of place, identity, and the conscious assertion of difference from established Western narratives, is also embedded in the personal histories of the artists. <br /><br />The Non-Aligned Movement was formally established in 1961 on principles such as world peace and cooperation, human rights, anti-racism, respect, disarmament, non-aggression, and justice. At the height of the Cold War, a large group of African, Asian, and Latin American countries navigating post-colonial constellations attempted a diversion from the two major powers—the United States and the Soviet Union—forming what is to date the largest grouping of states worldwide, after the United Nations. The non-aligned nations, which Singapore joined in 1970, wished to secure independence and territorial sovereignty, and fight against imperialism, domination, and foreign interference. <br /><br />This history is at the core of <b><i>Two Meetings and a Funeral</i></b> (2017), a feature-length three-channel video installation by <b>Naeem Mohaiemen</b>. It explores Bangladesh’s historical pivot from the socialist perspective of the 1973 Non-Aligned Movement meeting in Algeria to the emergence of a petrodollar-funded Islamic perspective at the 1974 Organisation of Islamic Countries meeting in Lahore. Recounted by Algerian publisher Samia Zennadi, Bangladeshi politician Zonayed Saki, and Indian historian Vijay Prashad, Mohaiemen’s film considers the erosion of the idea of “Third World” as a political space that was to open the potential for decoloniality and socialism, while articulating the internal contradictions behind its unfortunate failure. <br /><br />In the video essay <b><i>Nucleus of the Great Union</i></b> (2017), <b>The Otolith Group</b> traces Richard Wright on his first trip to Africa in 1953. Travelling the Gold Coast for 10 weeks, he witnessed political campaigns for independence in West Africa, yet feeling alienation at his first encounter with the continent. For this film, The Otolith Group reconciled excerpts from Wright’s book <i>Black Power: A Record of Reactions in a Land of Pathos</i> (1954) with a selection of the over 1,500 previously unpublished photographs the writer took on his journey. Wright’s initially intended book including both text and photos was inadequately published without images. Through this work, The Otolith Group finally honors Wright’s initial aim of seeing image and text as one single narration. <br /><br /><b><i>The Unfinished Conversation</i></b> (2012) is an in-depth inquiry by filmmaker <b>John Akomfrah</b> into the personal archive of audio interviews and television recordings of the influential theorist and educator Stuart Hall. The multi-screen film installation unfolds as a layered journey through the paradigm-changing work of the late intellectual, regarded as a key founder of cultural studies, who triangulated gender, race, and class. Hall was particularly invested in black identity linked to the history of colonialism and slavery. <br /><br />Amplifying and celebrating defining voices and intertwining personal lives with political movements, the featured works in <i>Non-Aligned</i> examine not only the new possibilities for progressive social and independence movements but also the inherent struggles that define the post-WWII period. <br /><br /><i>Non-Aligned</i> is curated by <b>Ute Meta Bauer</b>, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, NTU. <br /><br /><b>FILM PROGRAMME: THIRD WAY / AFTER BANDUNG</b> <br />This programme features films that engage post-colonial processes covering different moments and geopolitical contexts. The Asian-African Conference in 1955, known as the Bandung Conference, amidst the complex processes of decolonization, established self-determination, non-aggression, and equality as part of the core values that then formed the Non-Aligned Movement. This history is unpacked and contextualised through this series of screenings. <br /><br />Co-curated by writer and curator <b>Mark Nash</b> and film researcher <b>Vladimir Seput</b>. <br /><br /><b>READING CORNER</b> <br />Accompanying this exhibition is a library of over 50 books on postcolonialism, decoloniality, the history of the Cold War, the Non-Aligned Movement, archiving, as well as theory of the moving image and publications on and by John Akomfrah, Naeem Mohaiemen, and The Otolith Group. Authors include Frantz Fanon, Stuart Hall, and Richard Wright, as well as Kodwo Eshun, Rosalind C. Morris, Bojana Piškur and Gayatri Chakravorty Spivak, among many others. <br /><br />In light of COVID-19, we have removed the reading corner for the safety of our visitors. <br /><br />We have selected texts on, or in conversation with, some of them to be used for online reading groups. These additional texts including articles by Vijay Prashad and Elspeth Probyn, and book chapters by Adil Johan and S.R. Joey Long. <br /><br /><b>ACTIVITY CARDS</b> <br />Designed for young audiences aged 13 and above, the <i>Non-Aligned</i> activity cards explore several core themes of the exhibition through thoughtful reflection questions and engaging activities. While the Centre strongly encourages audiences to experience the artworks in person, the cards may also be used independently at home or in the classroom.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=John+Akomfrah">John Akomfrah</a>
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