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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
The Vitrine
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
Loose Leaves offers a foray into hand-embroidered silk panels and recordings of Arabic poems recited by modern-day Saudi women to confront issues of silencing, and gendered divisions of space in the cultural fabric of the Middle East.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Vitrine
Exhibition Start Date
2020-11-01
Exhibition End Date
2021-01-03
Collaboration
No
Commissioned Work
No
Related Countries
Saudi Arabia
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>Loose Leaves. Process, materials, sounds from Listen to my words</i> by Dana Awartani
Subject
The topic of the resource
Feminism
Indigenous Knowledge
Tradition
Materiality
Description
An account of the resource
By disclosing rarely-seen preparatory drawings, sketches, and embroidery tests from the artist’s archive, <i>Loose Leaves</i> offers an intimate foray into the process of making <i>Listen to my words</i> (2018). An immersive installation by Dana Awartani, <i>Listen to my words<i> combines hand-embroidered silk panels and recordings of Arabic poems recited by modern-day Saudi women to confront issues of silencing, invisibility, and gendered divisions of space deeply entrenched in the cultural fabric of the Middle East. <br /><br />Drawn from the significant but scarcely documented tradition of female poets in the Arab world from the pre-Islamic era to the 12th century, the poems selected by the artist express feelings of love, yearning, and pride. They relay modes of awareness, stances of resistance, and acts of empowerment often centred on the female body. <br /><br />The distinct visual language articulated by the geometric patterns—bearers of sacred values in Islamic culture—references the ornamental motifs found on <i>jali</i> (or <i>mashrabiya</i>), lattice screens used in traditional Islamic architecture to control the circulation of air and light as well as to shield women from the male gaze. <br /><br />Presented alongside the original audio recording, <i>Loose Leaves</i> layers a selection of preparatory studies in the enclosed space of The Vitrine to provide a glimpse of the subtle negotiations that inform Awartani’s creative journey across different techniques and materials. </i></i>
Contributor
An entity responsible for making contributions to the resource
Dana Awartani
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Africa
Medium
The material or physical carrier of the resource.
Installation
-
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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
Trinh T. Minh-ha, A Tale of Love, 1995. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Trinh T. Minh-ha, Forgetting Vietnam, 2015. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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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
Trinh T. Minh-ha, Forgetting Vietnam, 2015. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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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
Trinh T. Minh-ha, Forgetting Vietnam, 2015. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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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
Trinh T. Minh-ha, The Fourth Dimension, 2001. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
A name given to the resource
Trinh T. Minh-ha, The Fourth Dimension, 2001. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha, Night Passage, 2004. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha. Films. Installation view (2020–21), NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Trinh T. Minh-ha. Films. Installation view (2020–21), NTU Centre for Contemporary Art Singapore.
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Trinh T. Minh-ha. Films. Installation view (2020–21), NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Title
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Trinh T. Minh-ha. Films. Installation view (2020–21), NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Title
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Trinh T. Minh-ha. Films. Installation view (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha, Shoot for the Contents, 1991. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Title
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Trinh T. Minh-ha, Shoot for the Contents, 1991. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha, Shoot for the Contents, 1991. Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Trinh T. Minh-ha, What about China? (Part I of II), 2020–21, Trinh T. Minh-ha. Films. (2020–21), NTU Centre for Contemporary Art Singapore.
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Trinh T. Minh-ha. Films. Wall text(2020–21), NTU Centre for Contemporary Art Singapore.
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Title
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Exhibitions
Description
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
Trinh T. Minh-ha. Films. explores the ethics of representation in ethnographic film, debates on global socio-political developments, and different layers of feminist discourse.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2020-10-07
Exhibition End Date
2021-02-28
Collaboration
Yes
Commissioned Work
No
Related Countries
Vietnam
Japan
United States
China
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
Dublin Core
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Title
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<i>Trinh T. Minh-ha. Films</i>
Subject
The topic of the resource
Race
Feminism
Technology
Diaspora
Capitalism
Displacement
Description
An account of the resource
<i>“The making of each film transforms the way I see myself and the world. Once I start engaging in the process of making a film or in any artistic excursion, I am also embarking upon a journey whose point of arrival is unknown to me.”—Trinh T. Minh-ha</i> <br /><br />Trinh T. Minh-ha. Films. is the first institutional exhibition of filmmaker, music composer, writer, anthropologist, feminist and postcolonial theorist Trinh T. Minh-ha in Asia, presented in an exhibition format. Five of her films—<b>Forgetting Vietnam</b> (2015), <b>Night Passage</b> (2004), <b><i>The Fourth Dimension</i></b> (2001), <b><i>A Tale of Love</i></b> (1995) and <b><i>Shoot for the Contents</i></b> (1991), filmed over a quarter of a century, in different parts of Asia—are simultaneously on view in five small-scale movie theatres in The Exhibition Hall. As the viewer wanders from one theatre to the next, the proximity of the films enables their narratives to interrelate. This spatial configuration took its point of departure from Trinh’s exhibition at the Secession, Vienna, in 2001. <br /><br /><b><i>Forgetting Vietnam</i></b>, framed by two ancient Vietnamese myths, was made in commemoration of the 40th anniversary of the end of the Vietnam war, touching on the memory of trauma. <b><i>Night Passage</i></b>, inspired by Miyazawa Kenji’s novel <b><i>Milky Way Railroad</i></b> (1927), narrates the spiritual journey of a young female immigrant and her two companions, into a world of in-between realities. Shot in Japan, <b><i>The Fourth Dimension</i></b> is Trinh’s first digital film. Using special video effects to composite images and sound in multiple layers, this film is an exploration of time through rituals of religion and culture, new technology and everyday reality. <b><i>A Tale of Love</i></b> is a retelling of 19th-century Vietnamese poem <b><i>The Tale of Kiều</i></b> (1820), through a modern-day Vietnamese immigrant in the United States. In this film, Trinh experiments with various cinematic techniques and elements. <b><i>Shoot for the Contents</i></b>, an excursion into allegories, explores cultural and political shifts in China, as refracted by the June Fourth incident in Beijing. <br /><br />Presented in the Centre’s Single Screen from 31 October 2020 is Trinh’s newest cinematic work, <b><i>What about China?</i></b> (Part I of II, 2020–21). Initiated by NTU CCA Singapore, and co-commissioned with Rockbund Art Museum (RAM), Shanghai, the film takes the notion of harmony in China as a site of creative manifestation, and draws from footage shot in 1993 and 1994, in Eastern and Southern China, specifically from provinces Anhui, Hubei, Zhejiang, Fujian and Guangxi—linked to the remote origins of Chinese civilisation. <br /><br />Through <b><i>Trinh T. Minh-ha. Writings.</i></b>, a display of Trinh’s books on reading platforms along the passageway connecting the five theatres in The Exhibition Hall, as well as Why are they so afraid of a lotus?, presented in The Lab by CCA Wattis Institute for Contemporary Arts (Wattis), San Francisco, that showcases its year-long research season on her multifaceted practice, viewers are able to encounter her extensive writing that is core to her practice. <br /><br />Trinh’s early films, <b><i>Surname Viet Given Name Nam</i></b> (1989), <b><i>Naked Spaces—Living is Round</i></b> (1985), and <b><i>Reassemblage</i></b> (1982), are part of an online film programme, <b><i>Speaking / Thinking Nearby</i></b>. Other films selected echo strands of discussions in Trinh’s layered practice, ranging from ethics of representation, to aspects of migration, global socio-politics, and feminism. <br /><br />Besides the film programme Speaking / Thinking Nearby, other public programmes include Mother Always Has a Mother, an online convening presented by the Centre, Wattis, and RAM, and “There is no such thing as documentary”, a conference that brings together filmmakers, film historians, and curators to question the politics embedded in presentation and representation, perception, context, and the spatial. <br /><br />This is NTU CCA Singapore’s final presentation in its current exhibition space, its opening coinciding with the Centre’s seventh anniversary. By the end of this exhibition, the Centre would have hosted 55 exhibitions since its inception in 2013, inaugurated by the show Paradise Lost (2014), featuring works by Trinh T. Minh-ha alongside those of Zarina Bhimji and Fiona Tan. <br /><br />Trinh T. Minh-ha (Vietnam/United States) is Professor of Gender & Women’s Studies and of Rhetoric at the University of California, Berkeley, and an award-winning artist and filmmaker. She grew up in South Vietnam during the Vietnam War and pursued her education at the National Conservatory of Music and Theater in Ho Chi Minh City. In 1970, she migrated to the United States where she continued her studies in music composition, ethnomusicology, and French literature at the University of Illinois, Urbana-Champaign. She embarked on a career as an educator and has taught in diverse disciplines which brought her to the National Conservatory of Music in Dakar, Senegal, where she shot her first film, Reassemblage. Trinh’s cinematic oeuvre has been featured in numerous exhibitions and film festivals. She has participated in biennales across the globe including Documenta11, Kassel (2002), and most recently at Manifesta 13, Marseille (2020). A prolific writer, she has authored nine books. <br /><br />Trinh T. Minh-ha. Films. is curated by Ute Meta Bauer (Germany/Singapore), Founding Director, NTU CCA Singapore, and Professor, NTU ADM. <br /><br />This project focuses on the multi-layered practice of Trinh T. Minh-ha as a filmmaker, writer, music composer and educator, generating a multi-year (2019–2022) research and programme partnership between NTU CCA Singapore, RAM, Wattis, and the Württembergischer Kunstverein Stuttgart.
Contributor
An entity responsible for making contributions to the resource
Trinh T. Minh-ha
Ute Meta Bauer
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Medium
The material or physical carrier of the resource.
Film
-
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Dublin Core
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
The Lab
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
“Speaking nearby” to the exhibition Trinh T. Minh-ha. Films., this research presentation showcases the Wattis Institute’s year-long research season on Trinh’s multifaceted practice as a filmmaker, writer and theorist.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2020-10-24
Exhibition End Date
2021-01-10
Collaboration
Yes
Commissioned Work
No
Related Countries
United States
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>Why are they so afraid of a lotus?</i>
Subject
The topic of the resource
Feminism
Identity
Politics
Description
An account of the resource
“Speaking nearby” to the exhibition <i>Trinh T. Minh-ha. Films.,</i> this research presentation showcases the Wattis Institute’s year-long research season on Trinh’s multifaceted practice as a filmmaker, writer and theorist. What does the promise of “speaking nearby” rather than “speaking about” look like today? What are the politics of hospitality? What are the problematics of “post-feminism,” and how do we challenge the West as the authoritative subject of feminist knowledge? Expanding the discursive orbit of these questions, the presentation features projects by artists <b>Hồng-Ân Trương </b>(US) and <b>Genevieve Quick</b> (US), and is accompanied by the online convening <i>Mother Always Has a Mother</i>, a result of the ongoing research collaboration between NTU CCA Singapore, Rockbund Art Museum (Shanghai), and the Wattis Institute. <br /><br />Conceived by <b>Kim Nguyen</b> (Canada/United States), Curator and Head of Programs, CCA Wattis Institute for Contemporary Arts (Wattis), San Francisco.
Contributor
An entity responsible for making contributions to the resource
Hồng-Ân Trương
Genevieve Quick
Kim Nguyen
Rockbund Art Museum
CCA Wattis Institute for Contemporary Arts
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
North America
Medium
The material or physical carrier of the resource.
Video
Installation
Print
-
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
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
A Convening: Mother Always Has a Mother (Online)
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/492411417">https://vimeo.com/492411417</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
492411417
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A Convening: Mother Always Has a Mother (Online)
Description
An account of the resource
In "Grandma's Story," the last chapter of <em>Women, Native, Other </em>(1989), Trinh T. Minh-ha writes that, "The story depends upon every one of us to come into being. It needs us all, needs our remembering, understanding, and creating what we have heard together to keep coming into being." This convening builds upon this idea of a multiplicity of storytellers and intergenerational, intercultural linkages in art, activism, stories, and histories.
Date
A point or period of time associated with an event in the lifecycle of the resource
2020-12-12
Contributor
An entity responsible for making contributions to the resource
Eunsong Kim
Jungmin Choi
Kim Nguyen
Karin Oen
Green Zeng
Hong-An Truong
Hồng-Ân Trương
Ranu Mukherjee
Billy Tang
Ute Meta Bauer
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Activism
Feminism
Displacement
Identity
Fiction
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
-
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
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
Action Sheroes, Heroes, Theyroes. Resonate #NeverAskForIt – Presentation by Jasmeen Patheja
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/489727087">https://vimeo.com/489727087</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
489727087
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Action Sheroes, Heroes, Theyroes. Resonate #NeverAskForIt – Presentation by Jasmeen Patheja
Description
An account of the resource
Art, Urban Change, and the Public Sphere: Public Art Education Summit <br /><br />Friday, 18 October 2019, Venue: The Single Screen, Block 43 Malan Road <br /><br />10.15am Action Sheroes, Heroes, Theyroes. Resonate #NeverAskForIt, Presentation by Jasmeen Patheja (India), Founder, Blank Noise
Date
A point or period of time associated with an event in the lifecycle of the resource
2019-10-18
Contributor
An entity responsible for making contributions to the resource
Jasmeen Patheja
Subject
The topic of the resource
Public Sphere
Public Art
Feminism
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
-
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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
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Amanda
Surname or Business Name
Heng
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
2015/2019
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
<span>Amanda Heng (b. 1951, Singapore) is an interdisciplinary artist interested in the clash of eastern and western values, traditions and gender roles in the context of a multi-cultural and fast-changing society of Singapore. In recent works, Heng's focus has been on the issues of history, memory, communication and human relationships in urban conditions. She often works collaboratively with people of different cultural backgrounds, and from within and outside art circles. As a a Cultural Medallion recipient in 2010, she had also been involved in the founding of two artist initiatives in Singapore, The Artists' Village in 1988, and WITAS (Women In the Arts Singapore) in 1999. Heng has been part of the 3rd Asia-Pacific Triennial of Contemporary Art (1999), the 7th Havana Biennial (200), the 1st Fukuoka Asian Art Triennial (1999); the inaugural Singapore Biennale (2006), She was featured in the Singapore Contemporary Artists Series presented by the Singapore Art Museum in a solo exhibition entitled <i>Speak To Me, Walk With Me</i> in 2011. A book in the same title was also launched at the opening of the exhibition. Heng currently practices full-time and supervises MA students in LASALLE College of the Arts.</span>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Singapore
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
Artist Research Platform
Contributor Type
Artist-in-Residence
Speaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Affiliation
Company, organization, or institution name
NTU CCA Singapore
Birth Date
1951
Birthplace
Singapore
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
Amanda Heng
Subject
The topic of the resource
Feminism
Embodiment
Performance
Description
An account of the resource
Amanda Heng is an artist. With an interest in the clash of Eastern and Western values, traditions, and gender roles in the context of a multicultural and fast-changing society of Singapore, her work embraces different media.
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Contributor
An entity responsible for making contributions to the resource
Amanda Heng
-
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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
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
Amanda Heng has championed the representation of women within exhibitions in Singapore through examining notions of the female body through her performances, her work with WITAS (Women in the Arts Singapore) and through various artists’ initiatives in the early 1990s.
Cycle
Cycle 2 (2015 – 2016)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
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
Amanda Heng
Description
An account of the resource
Amanda Heng has championed the representation of women within exhibitions in Singapore through examining notions of the female body through her performances, her work with WITAS (Women in the Arts Singapore) and through various artists’ initiatives in the early 1990s.Heng's recent work is focused on the issues of history, memory, communication and human relationships in urban conditions.
Date
A point or period of time associated with an event in the lifecycle of the resource
1 April – 30 September 2015
Contributor
An entity responsible for making contributions to the resource
Amanda Heng
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Performance
Subject
The topic of the resource
Activism
Feminism
Performance
-
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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
TIMUR MERAH PROJECT I, THE EMBRACE OF MY MOTHERLAND, 5 PANELS PAINTINGS (90X400 CM) AND TURMERIC POWDER TEXT, 2019. Courtesy the artist.
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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
TIMUR MERAH PROJECT II : THE HARBOUR OF RESTLESS SPIRITS, 180 X 200 CM, INK AND ACRYLIC ON COW HIDE, 2019. Courtesy the artist.
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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
TIMUR MERAH PROJECT III : ODE TO THE SUN, INK AND ACRYLIC ON KAMASAN TRADITIONAL CANVAS, VARIABLE DIMENSTION, 2020. Courtesy the artist.
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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
TIMUR MERAH PROJECT VI : TIDINGS OF THE HEAVENS,
TIMUR MERAH PROJECT VI : INTO THE LAND OF BEAST-GOD,
TIMUR MERAH PROJECT VI : VALLEY OF ETERNAL FIRE,
ACRYLIC ON KAMASAN CANVAS, 155 X 145 CM, 2021. Courtesy the artist.
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
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
The residency allows Citra to deepen her understanding of the influence of Dutch colonial power onto the development of visual arts and culture in Bali.
Location
Onsite (CCA)
Offsite
Online
Offsite
Collaboration
Yes
Commissioned Work
Yes
Related Countries
Indonesia
Belgium
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
Citra Sasmita
Subject
The topic of the resource
Diaspora
Feminism
Identity
Indigenous Knowledge
Postcolonialism
Description
An account of the resource
<b><b>4 April - 1 July 2022<br />Artist-in-Residence at WIELS (Belgium, Brussels)<br /></b></b>
<p>In encountering Balinese cultural artifacts brought to European museums during the colonial period and examining the cultural diplomacy politics enacted by the colonizers, she aims to excavate pre-colonial Balinese culture and understand how the perspectives and aesthetic criteria formed under colonial rule persist until today. The artist is interested in developing a critical reading of the journey of colonial legacies into the present and in understanding how they still inform contemporary cultural consciousness.</p>
<p>By providing her with direct access to historical archives and museum collections, the residency will allow Citra to deepen her understanding of the influence of Dutch colonial power onto the development of visual arts and culture in Bali.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
4 April - 1 July 2022
Contributor
An entity responsible for making contributions to the resource
Citra Sasmita
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Europe
-
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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
Citra Sasmita
Description
An account of the resource
Press photo of Citra Sasmita
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
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Citra
Surname or Business Name
Sasmita
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
2022 - 2023
Birth Date
1990
Birthplace
Indonesia
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
<span>Citra Sasmita (b.1990, Indonesia) is concerned with unravelling the myths and misconceptions of Balinese art and culture. She is also deeply invested in questioning a woman’s place in social hierarchy and seeks to upend normative constructs of gender. Due to her interests and research around these themes of identity and agency, the artist’s oeuvre is often peppered with provocative themes that challenges the status quo, whether in its aesthetics or the messages that it conveys. Taking traditional elements, myths and iconography from ancient Balinese culture and literature, Sasmita departs from convention and traces the marginalised narrative of women in Balinese society. In her works, she endows her female figures with powerful agency, which reimagines the depiction of Balinese women against the backdrop of a patriarchal Indonesian society.<br /><br />Sasmita has been exhibited internationally at various institutions and biennales, including the Kathmandu Triennale 2021-2022, Nepal; Jogja National Museum, Yogyakarta; ParaSite Hong Kong; MACAN Museum, Jakarta; and Redbase Foundation, Yogyakarta. Her most recent solo exhibition, ‘Ode to the Sun’ was held at Yeo Workshop, Singapore in 2020. In the same year, Sasmita was commissioned by UOB Museum MACAN Jakarta to create ‘Tales of Nowhere’ for the Children Art Space; following her recognition as the Gold Winner UOB Painting of The Year in 2017.<br /></span>
Personal Website
Leave blank if not applicable
<a href="https://art.citrasasmita.com">https://art.citrasasmita.com</a>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Indonesia
Belgium
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Artist
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
Citra Sasmita
Subject
The topic of the resource
Diaspora
Feminism
Identity
Indigenous Knowledge
Contributor
An entity responsible for making contributions to the resource
Citra Sasmita
-
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
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: 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
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27 May - 13 August 2017
Contributor
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Ulrike Ottinger
Coverage
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Asia