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              <text>Considered one of Cocteau’s masterpieces, Orpheus updates the myth of Orpheus and depicts a famous poet, scorned by the Left Bank youth, and his love for both his wife, Eurydice, and a mysterious princess.</text>
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                <text>Screening: &lt;em&gt;Orpheus&lt;/em&gt;, Jean Cocteau, France, 1950, 110 min</text>
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                <text>&lt;div class="event_single_dates text__exhibitions"&gt;29 Sep 2017, Fri 07:30 PM - 09:00 PM&lt;/div&gt;
&lt;div class="event_single_venue"&gt;The Single Screen, Block 43 Malan Road&lt;br /&gt;&lt;br /&gt;&lt;p&gt;Considered one of Cocteau’s masterpieces, &lt;em&gt;Orpheus&lt;/em&gt; updates the myth of Orpheus and depicts a famous poet, scorned by the Left Bank youth, and his love for both his wife, Eurydice, and a mysterious princess. Seeking inspiration, the poet follows the princess to the land of the dead, through Cocteau’s famous mirrored portal. Translating this Greek myth by adapting the story about love, death, and the underworld into a modern scenario allows Cocteau to resonate political questions concerning some younger historical events like war, oppression, and Nazism. This film is the central part of Cocteau’s &lt;em&gt;Orphic Trilogy&lt;/em&gt;, the other two being &lt;em&gt;The Blood of a Poet&lt;/em&gt; (1930) and &lt;em&gt;Testament of Orpheus&lt;/em&gt; (1960).&lt;/p&gt;
&lt;p&gt;This Screening is part of the public programme of &lt;em&gt;Ghosts and Spectres – Shadows of History.&lt;/em&gt;&lt;/p&gt;
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              <text>Park’s first full-length feature film, Anyang, Paradise City is a mix between documentary and fiction, inspired by a seldom-remembered incident during the Olympic Games in 1988, where 22 female workers were killed in a fire in Anyang. The glorious past of Anyang (a Buddhist term for “paradise”) allegedly includes the existence of a huge temple surrounded by the beautiful mountains and streams around 1000 years ago.</text>
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                <text>Screening: &lt;em&gt;Anyang, Paradise City&lt;/em&gt;, Park Chan-kyong, South Korea, 2010, 101 min</text>
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                <text>&lt;div class="event_single_dates text__exhibitions"&gt;8 Sep 2017, Fri 07:30 PM - 09:00 PM&lt;/div&gt;
&lt;div class="event_single_venue"&gt;The Single Screen, Block 43 Malan Road&lt;br /&gt;&lt;br /&gt;&lt;p&gt;Park’s first full-length feature film, &lt;em&gt;Anyang, Paradise City &lt;/em&gt;is a mix between documentary and fiction, inspired by a seldom-remembered incident during the Olympic Games in 1988, where 22 female workers were killed in a fire in Anyang. The glorious past of Anyang (a Buddhist term for “paradise”) allegedly includes the existence of a huge temple surrounded by the beautiful mountains and streams around 1000 years ago. Researching into Buddhism and the history of Anyang, Park follows the temple excavations and searches for the 500-year-old “grandma tree”. The film traces this  past through the natural landscape and alludes to the future through the city’s mayoral election. As if travelling between paradise and hell, the camera hunts, rests, and plays as if dancing with the cityscape, while layering narrative, history, contemporary life, landscape/ architecture, and politics.&lt;/p&gt;
&lt;p&gt;This Screening is part of the public programme of &lt;em&gt;Ghosts and Spectres – Shadows of History.&lt;/em&gt;&lt;/p&gt;
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              <text>Inspired by the commentary and writings of novelist Viet Thanh Nguyen, this reading group explores the overlapping concepts related to immigration and transnationalism.</text>
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              <text>Climates. Habitats. Environments.</text>
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                <text>Reading Group: &lt;em&gt;Good Immigrant, Bad Immigrant&lt;/em&gt; by Billy Tang, Senior Curator, Rockbound Art Museum</text>
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                <text>&lt;div class="event_single_dates text__exhibitions"&gt;27 Oct 2020, Tue 05:30 PM - 07:00 PM&lt;/div&gt;
&lt;div class="event_single_venue"&gt;Online&lt;br /&gt;&lt;br /&gt;&lt;p class="p1"&gt;This reading group session will be held on Zoom. Sign up &lt;a href="https://www.eventbrite.sg/e/reading-group-good-immigrant-bad-immigrant-by-billy-tang-tickets-125847863347"&gt;&lt;span&gt;&lt;strong&gt;here&lt;/strong&gt;&lt;/span&gt;&lt;/a&gt; to receive the link and password.&lt;/p&gt;
&lt;p&gt;Inspired by the commentary and writings of novelist Viet Thanh Nguyen, this reading group explores the overlapping concepts related to immigration and transnationalism. Moving between reportage, criticism and fiction, it will explore how the framing of good or bad immigrants is intimately tied to questions of belonging, otherness, identity, and empathy. It draws on the archetypal literary figure of the antihero to challenge underlying prejudices, and locate counter-images embodying a more fluid way of identifying with transnational experiences around the world.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;
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              <text>&lt;span&gt;For over twenty-five years, &lt;/span&gt;Verena Tay&lt;span&gt; has acted, directed and written for local English-language theatre in Singapore, working for companies such as The Necessary Stage, ACTION Theatre, TheatreWorks and Practice Theatre. A storyteller and a presentation skills and creative writing teacher, she has written plays and short stories, as well as edited twelve short story anthologies. Possessing Masters degrees in English Literature, Voice Studies and Creative Writing, she is currently pursuing PhD studies in Creative Writing at Swansea University. &lt;/span&gt;</text>
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                <text>23 Aug 2014, Sat 1:00 - 2:00pm &lt;br /&gt;72-13 Mohamed Sultan Road, Singapore 239007&lt;br /&gt;&lt;br /&gt;This talk will reflect on the fascination of artworks in &lt;em&gt;Theatrical Fields&lt;/em&gt; with the phantasmatic past. In providing a brief theoretical overview of "the politics of theatricality," Murray will reflect on the exhibition's screenic re-possesion of cinematic characters, buried stories, and influential texts in a way that challenges the historical groundings of theatricality in the ethnocentric certainty of culture and law. "What happens to the relation of mnemonic past and theatrical present when the screen functions as the field of phantasms that are liberated by artistic intervention from the certainties of their mythological, historical, and cinematic pasts?" This emphasis on artistic retellings in the present of weighty phantasms from the historical past will then lead to further reflection on their bearing on the future. "What might it mean that prior utopian aspirations might now be recast as the unsettlings of uncertain futurity? Might the contemporary re-theatricalization of the screen provide a historically distinct approach to futurity? Or might futurity already be in our grasp either through digital orientations of 'future cinemas' or through the sudden arrival of futurity via the vexing uncertainties of the anthroprocene and global collapse?"&lt;br /&gt;&lt;br /&gt;A public programme of &lt;em&gt;Theatical Fields: Critical strategies in performance, film and video&lt;/em&gt;.</text>
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&#13;
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              <text>&lt;p&gt;Stanya Kahn (b. 1968) is an interdisciplinary artist working primarily in video with a practice that includes drawing, sound, writing, performance, and sculpture/installation. Humor, pathos, and the uncanny emerge as central modes in a hybrid media practice that seeks to re-work relationships between fiction and document, the real and the hyper-real, and narrative time and the synchronic time of impulse. In a long-term investigation of how rhetoric gains and loses power, Kahn’s projects often situate language in the foreground of works that are dialectically driven by the demands of the body. Recent solo exhibitions include shows at the New Museum, New York, USA; Susanne Vielmetter Los Angeles Projects, Marlborough Chelsea, New York, USA; Weiss Berlin, Berlin, Germany; and Cornerhouse, Manchester, UK.&lt;/p&gt;
&lt;p&gt;Kahn is also a 2012 Guggenheim Fellow in Film/Video. Select group exhibitions include the Hammer Museum, Los Angeles, USA; the New Museum, New York, USA; Museum of Contemporary Art, San Diego, USA; Fernley Astrup, Oslo, Norway; and The California Biennial, California, USA. Her collaborative work with Harry Dodge has shown at Elizabeth Dee Gallery, New York, USA; the Whitney Biennial 2008, New York, USA; &lt;span&gt; &lt;/span&gt;Sundance Film Festival, Utah, USA; Museum of Contemporary Art, Los Angeles, USA; Museum of Modern Art, New York, USA; and ZKM, Karlsrüh, Germany, among others. She was a contributing writer and actor in feature film &lt;em&gt;By Hook or By Crook&lt;/em&gt;. Her writings and drawings appear in multiple publications including &lt;em&gt;Die Laughing&lt;/em&gt; (2nd Cannons), &lt;em&gt;Moving Image&lt;/em&gt; (MIT Press), &lt;em&gt;It's Cool, I'm Good&lt;/em&gt; (Cornerhouse), and &lt;em&gt;Abstract Video&lt;/em&gt; (UC Press).&lt;/p&gt;</text>
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&lt;p&gt;&lt;span&gt;Blk 38 Malan Road, The Single Screen&lt;br /&gt;&lt;/span&gt;2020, HD video, colour, sound, 15 min 37 sec&lt;br /&gt;&lt;br /&gt;&lt;span&gt;Realised in collaboration with local residents, the first experimental video of the collective Rice Brewing Sisters Club weaves together oral histories, folk tales, poems, and agricultural wisdom harvested in Deokgeo-ri, a small rural community in the north-eastern region of Gangwon (South Korea). The work is structured in seven short chapters, with each chapter featuring enactments where villagers, sacred trees, and ritual objects perform simple choreographies to illustrate stories and practices of coexistence and interrelatedness between humans, the natural environment, and an otherworld teeming with spiritual entities. Imbued with a playful and whimsical sense of the communal, &lt;/span&gt;&lt;span&gt;Cheopcheopdamdam Iyagigeuk / Mountain Storytellers, Storytelling Mountains: A Tale Theatre &lt;/span&gt;&lt;span&gt;첩첩담담 疊疊談談 이야기극 &lt;/span&gt;&lt;span&gt;offers an insight into alternative worldviews made of sustainable practices and ecological belief systems.&lt;/span&gt;&lt;/p&gt;
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