Diaspora]]> Migration]]> History]]> 12 May 2017, Fri 07:30 PM - 09:00 PM
Studio #01-06, Block 38 Malan Road

Which motivations lie behind an artist’s practice? How does an artist determine his field of inquiry? Grounded on surveys, travels, oral histories, and archives, Artist-in-Residence Hu Yun excavates historical narratives to produce works that subtly merge the factual and the imaginary. During the residency, Hu researched the waves of emigration that took place in the early 20th century retracing the routes that led artists from China to Singapore prompting the development of the Nanyang style. Drawing connections between the research undertook in Singapore and a project commissioned by Villa Vassilieff, Paris, France, Hu Yun will reflect upon his deep-seated interest in the dawn of modernity and in patterns of mobility and contamination. He will also speak about his collaboration with Singapore artist and researcher Koh Nguang How who will be an active participant to the talk contributing his own comments.

The talk will take place in the artist’s studio.]]>
Hu Yun ]]> Koh Nguang How]]> Southeast Asia]]>
Diaspora]]> Labour]]> 24 Jun 2017, Sat 03:30 PM - 05:00 PM
Studio #01-07, Block 38 Malan Road

Lately, the work of Geraldine Kang has been revolving around issues related to the livelihood, social status, and representation of male migrant workers in Singapore, more specifically those employed as conservancy cleaners, and those on Special Pass. Focusing her research on the labour force and personal narratives that lie behind the ever-changing Singaporean cityscape, the artist finds herself negotiating a complex set of challenges about communication, trust, and the ethical tensions embedded in the production of visibility. In the talk, Kang will discuss her projects and reflect upon her approach to photography as a tool to question identities and problematise our relationship to certain subjects.]]>
Geraldine Kang ]]> Southeast Asia]]>
Geopolitics]]> Diaspora]]> 6 Oct 2017, Fri 07:30 PM - 09:00 PM
The Single Screen, Block 43 Malan Road

Huai Mo Village
, Thailand, 2012, 8 min 20 sec
Ruins of the intelligence bureau, Thailand, 2015, 13 min 30 sec
White Building – Sva Pul, Kong Nay, Sisters, Rooftop, Cambodia, 2016, 18 min

The artist will be present.

Chia-Wei Hsu’s ten-year long engagement with the moving image and the forgotten stories of the Cold War 
in Southeast Asia resulted in a complex body of works which address major historical events through the lens of minor narratives, often embedded in remote locations, that weave together reality and fiction, myth and history. Delving into the history of the Huai
Mo Village in northern Thailand, the artist collaborates with soldiers and children to trace the story of the exiled Chinese soldiers who settled at the Thai-Myanmar border and were never able to return home. In Cambodia, the artist looks at the White Building in Phnom Penh to reference the violent history of repression during the Khmer Rouge occupation, where 90 percent of performance artists were executed. After liberation, the surviving artists were assigned accommodation in the White Building. In the wake of its upcoming demolition, Hsu invited four second- generation performing groups to engage with the White Building, their former home.

This Screening is part of the public programme of Ghosts and Spectres – Shadows of History, as well as Archifest 2017: Building Agency.]]>
Chia-Wei Hsu]]> Southeast Asia]]> Asia]]>
They Beat Your Father: Arin Rungjang in conversation with Dr June Yap]]> Diaspora]]> Migration]]> Arin Rungjang]]> June Yap]]> Southeast Asia]]> Europe]]> NTU CCA Ideas Fest 2020: Lecture by Emeka Ogboh on food diasporas

]]>
Sustainability]]> Diaspora]]>
Building upon the NTU CCA Singapore’s research theme Climates. Habitats. Environments. and IdeasCity’s exploration of the role of art and culture beyond the walls of the museum, IdeasCity Singapore’s residency and public program will examine the urgency of solidarity structures in negating climate change and its impact on Southeast Asia and communities worldwide.]]>
Emeka Ogboh]]> Southeast Asia]]>
Identity]]> History]]> Diaspora]]> Migration]]>
Co-presented by NTU CCA Singapore, the CCA Wattis Institute for Contemporary Arts, and Rockbund Art Museum, this convening builds upon the idea of a multiplicity of storytellers and intergenerational, intercultural linkages in art, activism, stories, and histories. A two-part programme, the first segment involves a conversation between artists Hồng-Ân Trương and Ranu Mukherjee (both United States), reflecting on the Wattis’ year-long research season on the practice of Trinh T. Minh-ha. The conversation will close by screening video artworks by Ranu Mukherjee, 0rphan drift, and Genevieve Quick (United States), then the convening flows into a panel discussion with short presentations by Jungmin Choi (Korea), Eunsong Kim (United States), Green Zeng (Singapore) and Billy Tang (United Kingdom/China), exploring intergenerational dialogues, transnational and diasporic identities, and activism in creative practice and public life.

10.00 – 11.00am
In Conversation: Hồng-Ân Trương (United States) and Ranu Mukherjee (United States), moderated by Kim Nguyen (Canada/United States)

11.00 – 11.20am
Video Art Screenings: Home and the World (2015) and Dear Future (2020) by Ranu Mukherjee(United States), IF AI / AIBOHPORTSUALC (2020) by 0rphan drift (Ranu Mukherjee and Maggie Roberts), and Planet Celadon: Operation Completed (2020) by Genevieve Quick (United States)

11.30am – 1.00pm
Panel Discussion: The Welling Up and the Very Coursing of Water: On the Transnational, the Transgenerational, and the Diasporic
Moderators: Kim Nguyen and Dr Karin Oen (United States/Singapore)
Panelists: Jungmin Choi (Korea), Eunsong Kim (Korea/United States), and Green Zeng (Singapore)
Respondent: Billy Tang (United Kingdom/China)

]]>
Hồng-Ân Trương]]> Ranu Mukherjee]]> Kim Nguyen]]> Genevieve Quick]]> Karin Oen]]> Eunsong Kim]]> Jungmin Choi ]]> Green Zeng]]> Billy Tang ]]> Hong-An Truong]]> Asia]]>
Diaspora]]> Identity]]>
Books by Trinh T. Minh-ha

Trinh, T. Minh-ha. Cinema Interval. New York and London: Routledge, 1999.
Trinh, T. Minh-ha. D-passage: The Digital Way. Durham: Duke University Press, 2013.
Trinh, T. Minh-ha. Elsewhere, Within Here: Immigration, Refugeeism and the Boundary Event. New York and London: Routledge, 2011.
Trinh, T. Minh-ha. Framer Framed: Film Scripts and Interviews. New York and London: Routledge, 1992.
Trinh, T. Minh-ha. Lovecidal: Walking with the Disappeared. New York: Fordham University Press, 2016.
Trinh, T. Minh-ha. The Digital Film Event. New York and London: Routledge, 2005.
Trinh, T. Minh-ha. When the Moon Waxes Red. Representation, Gender and Cultural Politics. New York and London: Routledge, 1991.
Trinh, T. Minh-ha. Woman, Native, Other: Writing Postcoloniality and Feminism. Bloomington: Indiana University Press, 1989.

Books by other authors

Dissanayake, Wimal. Rethinking Third Cinema. New York: Taylor & Francis Ltd, 2003.
Ferguson, Russell, Martha Gever, Trinh T. Minh-Ha and Cornel West. Out There: Marginalisation and Contemporary Culture. Cambridge: The MIT Press Ltd, 1992.
Foster, Gwendolyn Audrey. Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity. Carbondale: Southern Illinois University, 1997.
Guo, Xiaolu. Nine Continents: A Memoir In and Out of China. New York: Grove Press, 2017.
Kaplan, F. and E. Ann. Feminism and Film. Oxford: Oxford University Press, 2000.
Lorde, Audre. Sister Outsider: essays and speeches. Berkeley: Crossing Press, 2014.
Pines, Jim, and Willemen, Paul. Questions of third cinema. London: BFI Pub, 1989.
Rhomberg, Kathrin, ed. Trinh T. Minh-Ha / Secession. Vienna: Association of Visual Artists Vienna Secession, 2001.

ONLINE RESOURCES:

Van Dienderen, An. “Indirect Flow through Passages: Trinh T. Minh-ha’s Art Practice.” Afterall: A Journal of Art, Context and Inquiry 23 (Spring 2010): 90–97.  [Free access upon registration]

Duong, Lan, and Lila Sharif. “Displaced Subjects: Revolution, Film, and Women in Viet Nam and Palestine.” Verge: Studies in Global Asias 6, no. 1 (Spring 2020): 168–97. [Free access upon registration]

Trinh, T. Minh-ha. “Forgetting Vietnam: Trinh T. Minh-ha with Lucie Kim-Chi Mercier.” By Lucie Kim-Chi Mercier. Radical Philosophy 2.03 (December 2018): 78–89. [Access PDF]

Fuser, Marina. “Nomadism in the Cinema of Trinh T. Minh-ha.” PhD diss., University of Sussex, 2019. [Access PDF

Trinh, T. Minh-ha. “Shifting the Borders of the Other: An Interview with Trinh T. Minh-ha.” By Marina Grzinic. Telepolis. August 12, 1988. [View here]

Hill, Michael. “Abandoned to Difference: Identity, Opposition and Trinh T. Minh-ha’s Reassemblage.” Surfaces 3, no. 2 (1993): 1–29. https://doi.org/10.7202/1065095ar. [Access PDF]

Lawson, Jacqueline. “Gender and the War: Men, Women and Vietnam.” Vietnam Generation 1, no.3, Article 1 (1989). [Access PDF

Trinh, T. Minh-ha. “Documentary Is/Not a Name.” October 52 (Spring 1990): 76–98. doi:10.2307/778886. [Access PDF]

Trinh, T. Minh-ha. “Not You/Like You: Post-colonial Women and the Interlocking Questions of Identity and Difference.” Inscriptions 3 (1988): 71–77. [Access PDF

Trinh, T. Minh-ha. “The Totalizing Quest of Meaning.” Theorizing Documentary 1 (1993): 90–107. [Access PDF

Trinh, T. Minh-ha. “Trinh T. Minh-ha with Benjamin Schultz-Figueroa and Patricia Alvarez.” By Benjamin Schultz-Figueroa and Patricia Alvarez. The Brooklyn Rail. October, 2016. [View here

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]]> Trinh T. Minh-ha]]> Asia]]> Southeast Asia]]> North America]]>
Diaspora]]> Identity]]>
While visiting her grandfather, a recent widower in his 90s in Hawai’i, Takesue begins to follow his everyday routines. When he shows interest in his granddaughter’s stalled romantic screenplay, an interesting discussion about her work, family, memories, and identity unfolds. Shot over six years, this film shows how personal aspects intertwine with a critical reflection of the documentary genre.

Kimi Takesue (United States) is an award-winning filmmaker and recipient of the Guggenheim and Rockefeller Fellowships in Film. www.kimitakesue.com]]>
Ella Raidel]]> Kimi Takasue]]> Video]]> Asia]]> North America]]>
Artistic Research]]> History]]> Diaspora]]> Migration]]>
Which motivations lie behind an artist’s practice? How does an artist determine his field of inquiry? Grounded on surveys, travels, oral histories, and archives, Artist-in-Residence Hu Yun excavates historical narratives to produce works that subtly merge the factual and the imaginary. During the residency, Hu researched the waves of emigration that took place in the early 20th century retracing the routes that led artists from China to Singapore prompting the development of the Nanyang style. Drawing connections between the research undertook in Singapore and a project commissioned by Villa Vassilieff, Paris, France, Hu Yun will reflect upon his deep-seated interest in the dawn of modernity and in patterns of mobility and contamination. He will also speak about his collaboration with Singapore artist and researcher Koh Nguang How who will be an active participant to the talk contributing his own comments.]]>
Hu Yun]]> Koh Nguang How]]> Video]]> Southeast Asia]]>
Displacement]]> Diaspora]]> Migration]]>
In this conversation, Wei Leng Tay and Dr Fang Tze Hsu will discuss how they think about and work with representation in their respective practice. Wei Leng will touch upon past works, such as you think it over slowly, slowly choose… (2018) and The first chapter it begins with the horses (2017-18), and the new works she is developing during the residency, while Fang Tze will expand upon her ongoing research on Taiwanese photo and video artist Kao Chung-li and Okinawan photographer Toyomitsu Higa. Intertwining the points of view of an artist and a researcher/curator, they will challenge each other to reflect upon issues of representation and the subjective entanglements embedded in the process of image-making.]]>
Wei Leng Tay]]> Fang-Tze Hsu]]> Anna Lovecchio]]> Video]]> Asia]]>