Knowledge Production]]> Carlos Quijon, Jr.]]> Southeast Asia]]> Asia]]> Knowledge Production]]> Chloe Chu]]> Asia]]> History]]> Knowledge Production]]> Europe]]> Fiction]]> Cultural Production]]> Knowledge Production]]> Session 1: Speaking Nearby
Chaired by Dr Erika Balsom (Canada/United Kingdom), Reader, Film Studies, King’s College London (KCL)

Speakers:
Prof Chris Berry (United Kingdom), Professor, Film Studies, KCL
Dr Nicolas Helm-Grovas (Spain/United Kingdom), Lecturer, Film Studies Education, KCL

Respondent:
Dr Daniel Mann (Israel/United Kingdom), Leverhulme Early Career Fellow, KCL


This session will explore historical and contextual approaches to films and writings of Trinh T. Minh-ha, putting her work into dialogue with questions of intercultural cinema, the critique of documentary naturalism, and the relationship between film theory and film practice. In particular, speakers will think through how notions of “speaking nearby” and “speaking about” may serve as a lens through which to open broader considerations of the aesthetics, ethics, and politics of Trinh’s cross-disciplinary work.]]>
Erik Balsom]]> Chris Berry]]> Nicolas Helm-Grovas]]> Daniel Mann]]> Video]]> Southeast Asia]]>
Session 2: Filmic Interferences]]> Cultural Production]]> Knowledge Production]]> Fiction]]>
Speakers:
Tan Pin Pin (Singapore), film director
Nguyên Trinh Thi (Vietnam), artist and filmmaker

Respondent:
Dr David Teh (Australia/Singapore), Department of English Language and Literature, National University of Singapore

Filmic Interferences is a panel that will highlight the aspect of filmmaking from the perspective of contemporary filmmakers. It will address the changing role of categories like “documentary” and the increasing interferences that challenge these ideas. The presentations will take a closer look at the impact of forms and strategies from experimental film and discuss the impact on other filmic discourses such as visual anthropology, feminism or intercultural cinema. By taking the films of Trinh T. Minh-ha as a resonating point, the panel will investigate how these debates have created a development that has changed how we think through the filmic medium, how we think about film, and about filmic representation. Apart from aspects that are very closely related to the ideas of fact, fiction and narration, another focus will be directed towards the general frames of perception and discussion of film.]]>
Marc Glöde]]> Marc Glode]]> Tan Pin Pin]]> Nguyên Trinh Thi]]> Nguyen Trinh Thi]]> David Teh]]> Video]]> Southeast Asia]]>
Session 3: Performing the Documents]]> Artistic Research]]> Cultural Production]]> Knowledge Production]]>
Speakers:
Dr Philippa Lovatt (Scotland), Lecturer, Film Studies and Co-Director, Centre for Screen Studies, University of St Andrews
Rosalia Namsai Engchuan (Germany/Thailand), anthropologist and filmmaker

Respondent:
Silke Schmickl (Germany/Hong Kong), Curator

This panel attempts to define documents and performativity in filmmaking in terms of its methods, artistic processes and cultural political significance. To perform the documents means to take action to reveal their inner logic of cultural representation. Through the consideration of documents in relation to poetics, participation and activism it shows the way how colonial truth and knowledge are being constructed and how diasporic histories are experienced. Films become not only cultural-political texts, but also visual and acoustic apparatuses in making aware one’s origins and destinies.]]>
Ella Raidel]]> Philippa Lovatt]]> Rosalia Namsai Engchuan]]> Silke Schmickl]]> Video]]> Southeast Asia]]>
Knowledge Production]]> 31 Jan 2017, Tue 07:00 PM - 08:30 PM
Research Centre & Office, Block 6 Lock Road

This is a reading group that aims to generate conversations on both the contemporary art scene and the practice of publishing and writing about art. We will be reading frieze #183 the Nov/Dec 2016 issue this session, so join us for a lively discussion!

Initiated in New York City for the Public School by Orit Gat & Clara Halpern, a parallel version of this reading group is currently organised in New York, at Triangle and in London, at PEER.

About Frieze

frieze magazine was set up in 1991 and is the leading magazine of contemporary art and culture. frieze includes essays, reviews and columns by today’s most forward-thinking writers, artists and curators.]]>
Frieze magazine]]> NTU CCA Singapore ]]> https://www.frieze.com]]> Europe]]> North America]]>
Knowledge Production]]> 27 Feb 2017, Mon 07:00 PM - 09:00 PM
Office & Research Centre, Block 6 Lock Road

Contemporaray Art Magazines: A Critical Writing
is a reading group that aims to generate conversations on both the contemporary art scene and the practice of publishing and writing about art. Each session is focused on a single issue of an art magazine. We will be reading e-flux journal this session, so join us for a lively discussion!

Initiated in New York City for the Public School by Orit Gat & Clara Halpern, a parallel version of this reading group is currently organised in New York, at Triangle and in London, at PEER.

About e-flux journal

Launched in 2008, e-flux journal is a monthly art publication featuring essays and contributions by some of the most engaged artists and thinkers working today. The journal is available online, in PDF format, and in print through a network of distributors.]]>
e-flux journal]]> NTU CCA Singapore ]]> https://www.e-flux.com/journal/]]> North America]]>
Knowledge Production]]> 3 Apr 2017, Mon 07:00 PM - 08:30 PM
Office & Research Centre, Block 6 Lock Road

This is a reading group that aims to generate conversations on both the contemporary art scene and the practice of publishing and writing about art. We will be reading 4Columns this session, so join us for a lively discussion!

About 4Columns

4Columns is a website of arts criticism aimed at a general audience. Its title refers, quite literally, to what you’ll find there each week: four new columns, each with a distinctive voice and perspective. Together, they offer a complex and compelling view of contemporary culture, from film to literature to performance to the visual arts.

“To justify its existence,” Charles Baudelaire said of criticism, it “should be partial, impassioned, and political, that is to say, written from an exclusive point of view that opens up the widest horizons.” Following Baudelaire’s lead, 4Columns treats criticism as a literary genre in its own right—one in which singular passions ignite public discourse. The criticism it publishes functions as a conversational gambit, a piece of fan mail from the most exacting of admirers, maybe even a breakup note.

4Columns's mainstay is the thousand-word review—a length that both enables critical reflection and demands writerly rigor. Centered, but not moored, in the New York scene, 4Columns reflects the cosmopolitanism of today’s culture through the sensibilities of a similarly diverse group of contributors. The site’s flexible, modular framework supports a multiplicity of styles, approaches, and ideas. It, further, maintains meaningful distinctions between artistic disciplines while accommodating the hybrid nature of much contemporary practice.

Launched at a moment when the Internet is increasingly the dominant outlet for critics and criticism, 4Columns exploits the resources of online technology but avoids one of the blogosphere’s most prevalent shortcomings: the poor payment of writers. 4Columns nurtures excellence by compensating its contributors fairly. It also counters the web’s information overload and tendency to foster hyperspecialization by focusing on four well-chosen works a week, bringing together writing on varied cultural forms within a single venue. Combining sophisticated analysis with broad accessibility, 4Columns insists on art’s capacity to serve as something shared, even—perhaps especially—when it is the object of criticism.]]>
4Columns Magazine]]> NTU CCA Singapore]]> https://4columns.org]]> North America]]>
Knowledge Production]]> 18 May 2017, Thu 07:00 PM - 08:30 PM
Office & Research Centre, Block 6 Lock Road

This is a reading group that aims to generate conversations on both the contemporary art scene and the practice of publishing and writing about art. We will be reading Art Review Asia, Spring 2017 this session, so join us for a lively discussion!

About ArtReview Asia, Spring 2017

Refusing to forget – Anselm Franke on ritual, spirits and ghosts in the work of Ho Tzu Nyen and Hsu Chia-Wei; Theaster Gates on activism; the uncanny sculpture of Zhang Ruyi; Patricia Perez Eustaquio’s waste aesthetic, and more!

Founded in 1949, ArtReview is one of the world’s leading international contemporary art magazines, dedicated to expanding contemporary art’s audience and reach. We believe that art plays a vital role in inspiring a richer, more profound understanding of human experience, culture and society today. Aimed at both a specialist and a general audience, the ArtReview and its sister publication ArtReview Asia feature a mixture of criticism, reviews, reportage and specially commissioned artworks, and offers the most established, in-depth and intimate portrait of international contemporary art in all its shapes and forms.]]>
ArtReview Asia]]> NTU CCA Singapore ]]> https://artreview.com/author/artreview-asia/]]> Asia]]>