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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
During the residency, she will focus on mapping old and new ways to tell stories of unresolved memories, fragmented cosmologies, shapeshifting translations, and haunted histories.
Cycle
Cycle 6 (2019 – 2020)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
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
Zarina Muhammad
Description
An account of the resource
For the past decade, Zarina Muhammad has embarked on a multidisciplinary research that explores magico-religious belief systems, ritual practices, and sacred sites. The various embodiments of her work, which engage broader contexts of myth-making, ritual magic, gender-based archetypes, and spirits of resistance, frame the cultural biographies of objects and the region’s provisional relationship to mysticism and the immaterial against the dynamics of global modernity. Her research project for the residency takes the trans-local figures of the penunggu (tutelary spirit) and the tuan/puan tanah (Lord of the Land) as points of departure to reconsider notions of territoriality and spectrality against the social production of rationality. During the residency, she will focus on mapping old and new ways to tell stories of unresolved memories, fragmented cosmologies, shapeshifting translations, and haunted histories.
Date
A point or period of time associated with an event in the lifecycle of the resource
1 April – 27 September 2019
Contributor
An entity responsible for making contributions to the resource
Zarina Muhammad
Medium
The material or physical carrier of the resource.
Film
Object
Performance
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
Ritual
History
Mythology
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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
Zarina
Surname or Business Name
Muhammad
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
2019, 2022
Birthplace
Singapore
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
Zarina Muhammad (b. 1982, Singapore) is an artist, educator, and writer whose practice is deeply entwined with a critical re-examination of ethnographic literature and historiographic accounts about Southeast Asia. Recent exhibitions include the President‚ Young Talents 2018, Singapore Art Museum, and <i>Stories We Tell to Scare Ourselves With</i>, MOCA, Taipei, Taiwan (2019). Incarnations of her lecture performances have been presented at Indonesia Contemporary Art Network, Yogyakarta (2018); Objectifs Centre for Photography and Film (2017); and LASALLE‚ Institute of Contemporary Arts Singapore (2018, 2016).
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
Filmmaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Birth Date
1982
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
Zarina Muhammad
Subject
The topic of the resource
Ritual
History
Mythology
Contributor
An entity responsible for making contributions to the resource
Zarina Muhammad
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
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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
Branching out from previous collaborative research on spiritual mapping, Zachary Chan will spend his residency developing maps and diagrams as a way of building an archive of the charismatic evangelical movement in Singapore.
Cycle
Cycle 9 (2022 - 2023)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
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
Zachary Chan
Subject
The topic of the resource
Artistic Research
Mythology
Supernatural
Description
An account of the resource
<p style="font-weight:400;"><span>Branching out from previous collaborative research on spiritual mapping, Zachary Chan will spend his residency developing maps and diagrams as a way of building an archive of the charismatic evangelical movement in Singapore. </span></p>
<p style="font-weight:400;"><span>Using ideas of spiritual mapping, where ‘territorial demons’ of a geographical location are identified, the artist intends to chart the history of the charismatic movement in Singapore beginning from the first recorded instance of glossolalia to current Christian eschatologies. In the process of charting such histories through maps and diagrams, conceptualisations of the ‘territorial spirits of the land’, the dichotomy between the demon/demonised, and the understanding of material spaces through such a lens will be dissected. Using self-portraiture alongside map-making, the research grounded in discourses of spiritual warfare will serve as a form of autoethnography. Through image-making, the artist hopes to formalise the research into frameworks that will structure his development within performative expressions, installations, the moving image, and sound. </span></p>
Contributor
An entity responsible for making contributions to the resource
Zachary Chan
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
Date
A point or period of time associated with an event in the lifecycle of the resource
2 September 2022 - 31 January 2023
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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
Zac Langdon-Pole’s projects often take their point of departure in social structures of representation and organisation in order to question how and for whom such structures are posed.
Cycle
Cycle 3 (2016 – 2017)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Germany
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
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
Zac Langdon-Pole
Description
An account of the resource
Zac Langdon-Pole’s projects often take their point of departure in social structures of representation and organisation in order to question how and for whom such structures are posed. His current research relates specifically to the regions of Southeast Asia and the South West Pacific, and is centred on the mythology and historical cultural exchange of the so called ‘birds of paradise’ from Papua New Guinea. His interest lies in how within procedures of cultural exchange the loss of, or transposing and translating of information can itself be a process of formation. Two ideas that are currently helping to inform his research are Walter Benjamin’s notion of ‘the wish image’ that stands at the intersection of materialism and mythology and Peter Mason’s explanation of the process of ‘exotification’, in his book Infelicities. This is the idea that the exotic is not something that exists prior to its ‘discovery’ but rather is formed in the very act of discovery itself.
Date
A point or period of time associated with an event in the lifecycle of the resource
8 March – 29 April 2016
Contributor
An entity responsible for making contributions to the resource
Zac Langdon-Pole
Medium
The material or physical carrier of the resource.
Installation
Object
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
Mythology
History
-
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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
Zac
Surname or Business Name
Langdon-Pole
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
2016/2018/2019
Birth Date
1988
Birthplace
New Zealand
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
Zac Langdon-Pole’s work is underpinned by questions of belonging, translation, and identification. He has worked in a variety of media, including sculpture, performance, photography, film, textiles, poetry, installation, and using the work of other artists, to explore processes of montage, transposition, travelling, reinterpretation, collaboration, and appropriation. He is the latest recipient of the BMW Art Journey Prize (2018), was awarded the Ars Viva Prize for Visual Arts in Germany (2017), and received the Charlotte Prinz Stipendium in Darmstadt (2016). Langdon-Pole completed a BFA (Hons) at Elam School of Fine Arts, Auckland (2010) and at the Städelschule, Staatliche Hochschule für Bildende Künste, Frankfurt (2016). Recent exhibitions include scions, Kunsthalle Darmstadt (2018); <i>Ars Viva</i>, S.M.A.K., Ghent (2018), and Kunstverein Munich (2017–18); Discoveries, Art Basel Hong Kong 2018 (presented by Michael Lett Gallery); <i>emic etic</i>, Between Bridges, Berlin (2018); <i>Trappings</i>, Station Gallery, Melbourne (2017); La Biennale de Montréal (2016–17); and <i>Oratory Index</i>, Michael Lett Gallery, Auckland (2016). <span>Between March and April 2016, Langdon-Pole was Artist-in-Residence at NTU CCA Singapore, where he developed further his work <em>My body ...</em> (Brendan Pole) (2015), a text based upon the memory of a poem that was only ever conveyed orally to the artist’s mother by her brother shortly before he died of AIDS complications.</span>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Germany
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
Artist Research Platform
Contributor Type
Artist-in-Residence
Artist
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Place.Labour.Capital.
Affiliation
Company, organization, or institution name
NTU CCA 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
Zac Langdon-Pole
Subject
The topic of the resource
Ecology
Mythology
History
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
Oceania
Description
An account of the resource
Through the processes of montage and collaboration, Zac Langdon-Pole seeks out meeting points and the discord of history, mythology, and subjecthood.
Contributor
An entity responsible for making contributions to the resource
Zac Langdon-Pole
-
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
Welcome Address by Ute Meta Bauer and Keynote Lecture – "The Art of Uncertainty" by Dr May Adadol Ingawanij
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/487131184">https://vimeo.com/487131184</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
487131184
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
Welcome Address by Ute Meta Bauer and Keynote Lecture – "The Art of Uncertainty" by Dr May Adadol Ingawanij
Description
An account of the resource
28 Oct 2017, Sat <br /><br />On the occasion of the exhibition <em>Ghost and Spectres – Shadows of History</em> curated by Professor Ute Meta Bauer and Khim Ong, and the 4th anniversary of NTU CCA Singapore <br /><br />10.00 – 10.10am Welcome address by Ute Meta Bauer, Founding Director, NTU CCA Singapore and Professor, School of Art, Design and Media (ADM) <br /><br />10.10 – 11.10am Keynote Lecture: “The Art of Uncertainty” Dr May Adadol Ingawanij, curator and moving image theorist, University of Westminster, London<br /><br />Focusing on artists' cinema and moving image installations in Southeast Asia, the keynote lecture addresses the relationship between contemporary moving image aesthetics, historical invocation, and the politics of enunciation. Dr Ingawanij will expamnd on how weveryday life, conflicts, violence, and historical erasures specific to places in Southeast Asia are sources of inspiration and motivation for many artists.
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-10-28
Contributor
An entity responsible for making contributions to the resource
May Adadol Ingawanij
Ute Meta Bauer
Subject
The topic of the resource
Supernatural
Mythology
Ritual
History
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
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
-
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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
During his residency, UuDam Tran Nguyen will work on Time Boomerang, a long-term project started in 2013 that explores the lasting influence of colonialism.
Cycle
Cycle 3 (2016 – 2017)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Vietnam
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
UuDam Tran Nguyen
Description
An account of the resource
“Have formerly colonised countries become colonising countries learning from their own past? To what extent does the colonial past still affect our actions and mind-sets?” During his residency, UuDam Tran Nguyen will work on <i>Time Boomerang</i>, a long-term project started in 2013 that explores the lasting influence of colonialism. As a Vietnamese artist whose life has been defined by diasporic experiences, he frames his relation to history from a personal perspective. Articulated in eight phases, this ambitious project has a global scope and moves along a dizzying timeline of 250 millions years. The first phase, titled <i>Phase 1. The Real Distance of Things Measured: The Cast of the Hands and Its Five Fingertips</i>, revolves around the idea of measurement and has been presented at the Bildmuseet Museum of Contemporary Art, Umeå, Sweden, (2015). <br /><br />UuDam Tran Nguyen’s multidisciplinary practice spans across different mediums often combining sophisticated technological devices with materials such as clay, rubber, wood, and fabrics.
Date
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15 November – 30 December 2016
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UuDam Tran Nguyen
Coverage
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Southeast Asia
Medium
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Performance
Photography
Subject
The topic of the resource
Mythology
-
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bcffccdc2a7f1658170b5fd2ba0652d4
Dublin Core
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Title
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Contributors
Contributor
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First Name
UuDam Tran
Surname or Business Name
Nguyen
Years Affiliated
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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
2016
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Artist
Co-founder of XEM
Biographical Text
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UuDam Tran Nguyen is an artist and co-founder of the experimental art magazine <i>XEM</i>. His practice explores the role and impact of human progress on rural and urban spaces. Between November and December 2016, Nguyen was Artist-in-Residence at NTU CCA Singapore. During his residency, Nguyen continued working on his long-term project <i>Time Boomerang</i> (2013– ongoing), which explores the lasting influence of colonialism. Articulated in eight phases, the project has a global scope with the artist attempting to reach and leave traces across all the continents.
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Vietnam
Public Resource Centre Affiliation
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None
Artist Research Platform
Contributor Type
Artist-in-Residence
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Birth Date
1971
Birthplace
Vietnam
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
UuDam Tran Nguyen
Subject
The topic of the resource
Mythology
Postcolonialism
Description
An account of the resource
UuDam Tran Nguyen is an artist and co-founder of the experimental art magazine XEM.
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
UuDam Tran Nguyen
-
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/86d64c91261af66fe1142e540eb03567.pdf?Expires=1712793600&Signature=jEZZmd8TPP8kPeETn-VFaBilcFNRrdkyu3E-j1dLx36ZD2fFw9pLUASp3pKJw9N3CWoyIgNisfzn3mQ5AH%7Ed0gkHISJby3-AbHIo1atQuAm3Gp2YPCvHWEeKHWeBkFunFgTuBVtQW2aN0VnrAfKnvt4mSFP-C99XHI4aDujvAH2WEvdI1JjWSVNa4xE5SOq%7ETRE6qLIiDSAIbGLsO0Gr0dfNk2y8beCVR9pLiwB7dZ9EzmchUQ%7Eu8JMPSWtgiUdfuNjGQ0wVU4G9e5xPQD6DNm0Yzk5IXPPy3gm0z8XwxbSUn9Xmdgs2GoSSD96oYcFQmlbt8f9pNcOdQGf8YcAwHQ__&Key-Pair-Id=K6UGZS9ZTDSZM
5d59c9d2a239ad14dda809255632eba8
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Text
AiRCAST#2
RUSSELL MORTON
Anna Lovecchio: Welcome to AiRCAST. AiRCAST takes us inside the Residencies
Studios of NTU Centre for Contemporary Art Singapore, located right at the edge
of a lush tropical forest in Gillman Barracks. On this podcast, we broadcast the
inner lives of our Artists-in-Residence entering their studios during their residency
and inviting them to share about ideas, materials, processes, influences and
research methodologies behind their practice. I’m Anna Lovecchio. I’m a curator
and assistant director for programmes at NTU CCA Singapore and I am your host
for today.
Russell Morton, Residencies OPEN, 18 September 2021. Courtesy NTU CCA Singapore.
In this episode, we’re going to venture into the mysterious and mobile mindscape
of our Artist-in-Residence, Russell Morton who is deeply immersed in his most
ambitious project to date: his first feature film. We will find out where the vision
for the film comes from and what it takes to pull off such an endeavour. But
before we start, a few words to introduce him. Russell Morton is a Singaporean
artist and filmmaker whose work often features Southeast Asian folkloric
figures and esoteric rituals, enmeshing mythological narratives and existentialist
concerns. His short films have minimum narrative developments and rather than
being centred on the plot, they are driven by the spellbinding physicality of the
characters, the engrossing lavishness of the visuals, and the evocative power
of the soundtrack. Beyond his individual practice, Russell is also a household
name in the local independent film scene having borrowed his arresting
cinematography to many other Singaporean artists of his generation, such as Yeo
Siew Hua, Kent Chan, and Ang Song-Ming.
Anna Lovecchio: Hey Russell, thank you for being here. How are you today?
Russell Morton: Hello. Very good. Very happy to be here. Thank you for having me.
�Anna Lovecchio: So let’s kick off by talking about your background. Being an
artist is one of the most difficult jobs, in my opinion. There are countless variables
involved in this career choice which are largely beyond anyone’s control. So I’m
always curious to find out how artists become artists, if that happens because
of an early vocation or through formal education, or by dint of some pivotal
encounter. What is your story?
Russell Morton: Yes, my story… Thank you. Thank you for that question. I
started out in film school. I went to LaSalle College of the Arts where I learned
the formal qualities of filmmaking, structure, lighting… But in my third year, I
had an encounter with a Singaporean video artist, Ho Tzu Nyen. He was doing
a course in my school about experimental filmmaking. And this was really my
first introduction to video art, to this new way of telling stories. I was very moved
by this. I thought it was, for lack of a better word, a “punk” way of making films.
So yeah, this sparked curiosity in me in a new way. When I graduated from the
LaSalle I went to work with him and we worked on a few projects together. I
was the editor for a project called Pythagoras. I was in the art department for his
Venice Biennale piece, The Cloud of Unknowing [2011]. We worked together on
many projects after that and, during this time, I came to know quite intimately the
process of art making. At least, the real execution of the craft itself. It’s something
I suppose I also do in my films. Something I apply to my films. In my films, you
know, I’m the cinematographer and I’m the editor, I’m the writer, I’m the director.
I have this skill sets which I’ve learned while working with him. So when I went
to do my postgraduate degree in London, I made my first art film there. And
after I made it, I couldn’t help but seeing references, or at least an inspiration
that was very closely connected to working with Tzu Nyen. I saw a lot of these
connections. At a point of time it bothered me that I was seeing these close
references and I reached out to him about it. I have his email reply that I’d like to
share with you. I wrote to him and he replied with this email. This is an excerpt,
he said: “About similarities and repetitions, I have undergone my fair share of
questions and thinking about that. My conclusion is that one should not bother
about it at all. The most important thing is to make works that you feel happy
about. First of all, every work is like a bridge to another work. It’s like a continuous
passage. So the work itself is not the object, just the means to go somewhere.
Secondly, every work comes from somewhere else, from another work perhaps.
This is the silent dialogue of all artworks. A poet becomes a poet only after he has
read a poem that has moved him before.”
Anna Lovecchio: That’s really beautiful. And that became the title of your work,
right?
Russell Morton: Yes, I was really moved by this. It encouraged me to continue
making works to celebrate the references in my work not to hide behind it. I
named the video that I made after a line in the email, The Silent Dialogue of All
Artworks. Fast forward 12 years and here I am.
Anna Lovecchio: Oh, that’s such a nice story. It’s always interesting to hear about
the influences that artists exert on each other and how this creates new works.
What you described, I think, it’s a very common anxiety felt by young authors
and artists. There is this famous book by Harold Bloom, that I think Tzu Nyen is
probably implicitly referencing in his answer. It’s called The Anxiety of Influence
[1973]. There he addresses this psychological struggle felt by young authors
and the position of Bloom is to say that influence is, simply, inescapable. And
that there’s no original poem. He is talking about literary theories, mostly. And
it’s something that, you know, it’s a very organic process and there’s no original
artwork that comes with no connections with what came before the work itself.
So yeah, it’s great that you’re now more comfortable with this, acknowledging
what’s feeding you, nurturing your imagination.
Russell Morton: Yeah. And it really reinvigorated this confidence of where I get
my ideas from, and not shy away from it.
Anna Lovecchio: I think that we’re going to talk a lot about influences in the
rest of the conversation because this new work you’re creating is clearly being
influenced by many events, either personal or historical. During the residency,
we had the privilege of seeing you at work on your first feature film. For us it has
been incredibly exciting to see the clusters of research materials slowly take over
the space of the studio. Can you share where you’re at right now and what is the
timeline of this project?
Russell Morton: I’m still very early on in the project, I’m still developing the
script. This will be my first feature film. Until now, I’ve made only shorts. I’m
right now writing the first draft [of the script] and I am doing some film labs.
And I’m doing one with the Film Development Council of the Philippines. Then,
later on in November, I’ll do one lab with the Berlinale Talents Tokyo. I’m really
�taking the time to do the research, which is how I spent my CCA residency really
developing a script, getting feedback, getting criticised. And really honing the
plot and narrative of the film. So this year, I will concentrate on this. Next year
I will continue this process and at the same time find the financing strategy of
the project. Then, hopefully in 2023, although my producer thinks is more likely
2024, we start principal photography. So, yeah, one thing I’m also starting to feel
is the stamina that is needed for executing a project like this, you know. it’s such
a long process and just to keep yourself occupied and have this drive to keep on
following this vision, now it’s sounding like three, four years in the making.
Anna Lovecchio: You need a lot of us strong will and focus and, yeah, it’s a very
long timeline. If we can zoom in a bit more on the research you’ve been doing
so far, one major inspiration of this film is a gruesome event that happened in
1963, just two years before Singapore’s independence. On the small island of
Pulau Senang, a few miles south from mainland Singapore, something went
awfully wrong. And the early 60s were, indeed, a turbulent time in this part of the
world. The winds of decolonization were sweeping the region and the arduous
process of building national identities had been set in motion. In Singapore, the
people’s Action Party, which has been ruling the country until today, had won
its first election in 1959, and it was quenching with an iron fist the voices of the
opposition, arresting left-wing political leaders and unionists. Across the sea in
January 1963, Sukarno declared Konfrontasi to oppose the nascent Federation of
Malaysia opening up a period of violent tensions in the region. But against such
a thick backdrop of political turmoil and social unrest, the historical episode you
singled out is an event that is instead, quite literally, insular. What happened in
Pulau Senang?
Russell Morton: Before I begin, I have a clip here that I’d like to play and share
with you. It’s a clip from the National Archives that I found, commissioned by the
Ministry of Culture for Singapore. Let me play this clip for you here.
Anna Lovecchio: Thank you.
[Audio excerpt from Island of Hope, National Archives Website, Record date
1960s, https://www.nas.gov.sg/archivesonline/audiovisual_records/recorddetails/46b4445e-1164-11e3-83d5-0050568939ad]
Russell Morton’s studio, Residencies OPEN, 18 September 2021. Courtesy NTU CCA Singapore.
Russell Morton: So this is a clip from a film called Island of Hope. It is publicly
available in the National Archives website. It’s a video that positions the event of
Pulau Senang as a form of utopian dream.
So what happened in 1960 [is that] they initiated an idea for a penal Island. When
the prisoners arrived there, the island was barren. It was just a jungle. And the
prisoners were made to build the whole place up with their own hands. This was
also an idea for reform and rehabilitation: that through hard work and labour,
reform could happen. It was experimental, in a way, because there were no walls.
There were no watchtowers. The prison guards there weren’t armed, although
they were advised to be armed but the commanding officer at the time didn’t
want to have this sort of image. So after a while, this this place became a proper
civilization. There was running water, there was electricity, there were roads, there
were buildings. And then three years after this experiment took place, a riot broke
out. Within they say like 40 minutes, they tore down and destroyed everything
that they’ve built within three years. Three offices died in this process, one of
them, the commanding officer, Daniel Dutton, quite brutally so. He was found
with only his feet because they were covered in his boots and the rest of his body
was burnt. Very gruesome, dark, social unrest. Later on, everybody was arrested.
�Later, 59 [of the prisoners] were charged with rioting, while 18 were charged with
murder, and then sentenced to the death penalty. I believe it’s the largest death
sentence set in Singapore since then.
Anna Lovecchio: What specific aspects of this event resonate most with you?
And how do you plan to weave them into the fabric of the film?
Russell Morton: This film, as it stands now, is not a documentary of the event.
I’m inspired by this event. I will take some themes from this event into my film.
Specifically the theme of guilt and trauma. The idea of crime and punishment.
Punishment as a sort of rite of passage to overcome guilt. I’m thinking of the
mental prison that comes with guilt, the psychological mental prison, also the
metaphorical prison, and also the actual physical prison itself.
Anna Lovecchio: That’s very fascinating… Whether personal circumstances
matter or not in the appreciation of an artwork, is very much open to question.
Some people argue that artworks are autonomous entities that fly high and above
the specific conditions of their creation, while other people maintain that context
and biographical underpinnings are crucial to the full understanding of a work
of art. I’m not exactly sure where you stand here, especially with regards to this
project, which is very much tied to personal circumstances of your own life. And
here I’m thinking of the fact that you grew up next to Changi Prison, watching
prisoners going about their lives.
Russell Morton: Yes, one of the surprising things I discovered during the open
studios at NTU CCA. A lot of Singaporeans came to the studio and did not have
any recollection or idea that these riots actually happened or that this island even
exists. But for me, it was a story that my dad told me, one of the many stories
that he told me growing up, and I thought it was a big social unrest story in
Singapore’s history. We know about the Maria Hertogh riots, the racial riots, and
I thought this was one of those riot stories that Singaporeans would know. There
is no intentional “covering up”, you know, the story is very publicly available.
There have been theatre plays about this. There’s also a CNA documentary on this
island. But it’s just not on the radar of Singaporeans. It’s just something I knew.
And I thought everyone else knew as well.
Anna Lovecchio: And maybe in a few years, when the film is out…
Russell Morton: It will become popular culture.
Russell Morton: Yeah, so my father was a prison warden. I had the privilege
actually to live in the prison quarters, within the prison compounds. I would
see the Changi Prison walls as I walked in and out to school or whatnot, and
so that environment was a very big part of my childhood growing up. I think
my relationship with prisoners would differ from people who didn’t have this
experience. I would see prisoners every day. They would be the groundskeepers
of the quarters. They’d be the gardeners, the painters, the cleaners. I saw them in
this very, I think, human level. And this relationship wasn’t distant from me at all.
So I really think I tapped into my personal history for this project. Fellini would say
“All art is autobiographical. The pearl is the oyster’s autobiography”.
Russell Morton’s Artist Talk, Residencies OPEN, 18 September 2021. Courtesy NTU CCA Singapore.
Anna Lovecchio: Okay, so now I know where you stand! Also, the Pulau Senang
events, did you find out about them from your dad? It seems that this story is not
really well known in Singapore today.
�Anna Lovecchio: Yes, exactly. This idea for the film predates the outbreak of
the pandemic. And it seems to me that you are envisioning this story as a kind
of universal metaphor for a certain existential condition of lingering in a state of
entrapment, as you said, between crime and punishment, dealing with one’s own
ghosts. But I was also thinking that the story of a character who finds himself
stranded in the middle of the sea with nowhere to go, will probably gain a wider
emotional resonance now that all of us have experienced first-hand— because of
the pandemic—a state of captivity and the impossibility to go anywhere. So what
I’m trying to say, I guess, is that the story you’re capturing in your film is, to some
extent, no longer a figment of your imagination but it has become a collective
real-life experience that many people will be able to relate to subjectively. Have
you thought about this? That the pandemic might trigger a deeper connection
between the spectator and the story of the film and add new emotional layers to
the perception of the work?
across Southeast Asia and is now disappearing. Can you expand on the role
kelong will play in the spatial and symbolic economy of your film?
Russell Morton: The kelongs are like another kind of prison for me. The man is
trapped there. There are no boats tied to it. In my film, this kelong also exists in
this water void. There’s nowhere that he can go. He’s trapped there. He also exists
in this place that is not quite land, it’s not quite a water. It’s this in-between space,
like purgatory. And also, there’s the aesthetics of the kelong, these stilts. At least,
the kelongs back in the 60s, or earlier than that, were built on stilts. And these
stilts looked like fences. And I did some site visits to a kelong just off Punggol
Marina. And when I arrived there, everything was almost like a time capsule,
everything there was from another time. And I like this idea that the kelong
becomes some sort of like time capsule.
Russell Morton: Yeah, that’s a very good observation because it’s something I
didn’t realise when I was making this film. Like you said, it’s an idea that I had that
predates this whole lockdown episode that we’re having now. It reminds me of
when Robert Eggers released The Lighthouse [2019], which is a reference for me.
He also released it just before the pandemic lockdown. And he also had this idea
of being trapped on this island. And a lot of people resonated with it, it came out
at the right time. Maybe when this film is finally released in 2024, or 2025, a new
conversation will happen. Maybe all of us will be living on kelongs because sea
levels have risen. And this film would resonate on this new big human event.
Anna Lovecchio: Yeah, my guess is that everybody’s going to say: “Russell did
this film during the pandemic, he was inspired by the pandemic”. Now, we are
recording a historical statement that no, the idea came before. It all started before
the pandemic.
[Recording from Russell Morton’s site visit to a kelong in Singapore. Courtesy the
artist.]
Russell Morton: You heard it here first!
Anna Lovecchio: It’s great that you mentioned the kelong because that was
going to be my next prompt for you. For this project, you are looking very closely
at kelong, a type of vernacular architecture that used to be rather ubiquitous
Expired Super 8Mm Footage Of Life On A Kelong In Singapore Waters, 2021, Film Stills. Courtesy of
The Artist.
Anna Lovecchio: And just before, you made the joke about all of us living in
kelongs in a few years when the sea level will rise and we will be living an aquatic
life.
Russell Morton: Yeah, that’d be quite nice, I can imagine.
Anna Lovecchio: So you’re going ahead with the work. So far, several of your
short films have mobilised folkloric myths, local lore, and magic rituals and it
looks like this new work will be no exception.
�Tell us more about your fascination with otherworldly epistemologies. What does
the supernatural contribute to your understanding of the world?
Russell Morton: My previous works have some sort of interpretation of folklore,
or regional folklore. These are stories that I encountered, most of them, orally.
Then I try to reinterpret them and archive them with my own understanding, and
my own way, and my own lens as filmmaker, as an artist. I think, for this film, the
genre of horror is a nice parallel to the horrific events that happened during that
riot. I think it’s an appropriate response. And also in Malayan folklore, a lot of these
creatures, they’ve become these creatures and monsters because they’re cursed
for some sort of wrongdoing that they’ve done as humans. So they have to live
their life continually as these new creatures of the night. It becomes some sort
of life sentence, you know, his new form of punishment which I thought is a nice
metaphor to interpret further prison life.
[Audio excerpt from Russell Morton, Saudade, 2020. Music by Syafii Ghazali.
Courtesy the artist]
Anna Lovecchio: A couple of times in our previous conversations, you described
this new film as post-horror. Do you want to make an attempt at sketching a
definition of post-horror in relation to this project?
Russell Morton: It’s very early at this stage to say what this film will become. You
know, it could very well be a slapstick comedy! But I think I am working towards
this idea of horror. And there is a new wave of horror films that critics are defining
as post-horror. In my understanding, horror traditionally comes from external
forces. From monsters, from the environment, from vampires, or murderers on
the loose, or a great white shark trying to eat you. These are all external forces
that are trying to get to you. Post-horror comes from the inside, is something
internal, like guilt, trauma, fear, things that are hard to visualise, or film, or put into
pictures. But you can feel it, you can sense it. So the film has this atmosphere, this
sense of horror. And yeah, it’s fear that you can feel but cannot really see. This is
my understanding. I think I am trying to direct my film into this ‘genre box’.
Anna Lovecchio: And this makes me think of an essay that was published in our
CCA book – Place. Labour. Capital. The essay is titled They Come to Us without a
Sound, Reflections on the Chinese Underworld and it’s written by Kenneth Dean,
a professor from the Department of Chinese Studies at the National University
of Singapore. And he makes an interesting observation about Singapore’s
relationship with horror. Let me read you what he writes. So first of all, he makes
a general remark saying that Singapore is one of “the main producers and
consumers of ghost stories in the world”, which is quite an impressive statement.
And, then he goes on asking: “What does all this mean here? Is Singapore a
haunted battleground, continuously reliving its historical trauma of the Japanese
occupation? Have the effects of endless urban development lead to a sense of
permanent deterritorialisation? Does the need for thrills indicate that you can only
feel alive when you are scared to death? Or does the ghastliness of the everyday
drive people into an embrace of horror?” What are your thoughts about this?
Would you agree that Singapore has a special relation to horror and that there is
something ghastly about the everyday here?
Russell Morton: I think it’s exactly what I’m trying to do with this film: using
horror as a genre to parallel horrific events, historical events of our past. Not
necessarily the Japanese occupation, but another dark history of Singapore. Not
necessarily Singapore, but Southeast Asia in general, we have been masters of
Saudade, 2020, Film Still. Courtesy of the Artist.
�horror. We’ve created sub-genres. Well, maybe East Asia, not Southeast Asia!
There’s J-horror which is now a sub-genre, which is Japanese horror. There’s
Thai horror, also a genre on its own. Horror films have been really a big part of
Singapore and Malaysia’s film history as well from the P. Ramlee times of the
Sumpah Orang Minyak, the Orang Minyak stories and the Pontianak films. I think
we always had this history of fascination with horror films. An observation I’ve
made during my time in the lab that I’m doing now, where we are filmmakers
from all over the world, and one of the criticisms that I’ve got on my script so
far was that they couldn’t really pinpoint the horror, although I find it very scary
already. I’m learning that people from different parts of the world have different
thresholds of what horror is.
Anna Lovecchio: So this has got to trigger more reflections for you.
Russell Morton: Yeah, I think so. Something to think about.
Anna Lovecchio: As we’re speaking about horror, I think we cannot not talk about
sound. And please correct me if I’m wrong but I believe that no horror film can
be made without a soundtrack. Horror just cannot be silent. Images alone do not
have that power to change our heartbeat, music can do that. And so soundtracks
are an invisible but incredibly strong directorial gesture in filmmaking as they
condition the emotional response of the viewer. And I don’t know if you had the
chance to listen to this but a couple of months ago, Nusasonic Radio published
an episode about music and film in Singapore, which is really a good one. In that
episode, Tan Pin Pin talks about her Singapore Gaga [2005]. And she says that for
her it’s very hard to put music into her films because music tells the viewer what
to think, how to feel. And she does not want to exert that kind of power on the
spectator. And of course, she’s talking about documentary filmmaking, from the
point of view of a documentary filmmaker. In your filmic practice, which is not
documentary, sound and music are, on the contrary, very important. You certainly
do not shy away from augmenting your visuals with the sound. And you’ve been
researching a lot of music for this film already. What have you been listening to?
Russell Morton: A very fun part of my research is trying to find music for the film.
And there is a saying in the filmmaking circle that 70% of film is sound. You can
watch a film with bad visuals. But you can’t watch a film with bad sound. For my
film, music not just an accompanying element in my film, it is a major plot point.
Those prisoners in Pulau Senang, they were artists, they were musicians. And one
of my favourite discoveries during research was a clip from a radio show featuring
the prisoners in a band. They were performing the song Bengawan Solo. And they
did it for a charitable cause, to build the National Theatre. They were very talented
and they performed beautifully.
One of the discoveries also is how they used music in the riot itself. After they
burned the whole place to the ground, a small group of them gathered by a tree
near the beach. They took out guitars, they sang songs, they danced, they ate
cake, using music during this time of revolt, you know. That scene, when I read it,
it just read so cinematically. Something that I want to capture in the film, in some
way. I am looking at old films, also. I found this Japanese propaganda film Marai
no Tora, which means “Tiger of Malaya”, made in 1943 by Koga Masato. It’s about
a real life character. His name was Tani Yutaka, he was a Japanese spy. And in the
film, he was depicted as some sort of Robin Hood character. He would steal from
the rich and give to the poor. There’s a scene in the film where he has just robbed
a rich British family’s house and with his gang, they were called the Harimau gang
or the ‘tiger gang’, they are huddling in the forest over a campfire.
Russell Morton, Residencies OPEN, 18 September 2021. Courtesy NTU CCA Singapore.
�They were celebrating this new loot, which they got from the British. They started
burning the British flag, burning a Western woman’s dress. And they broke out in
a song, Rasa Sayang. A Japanese version of this song, but it was still the Malayan
folk song Rasa Sayang.
[Audio excerpt from Tani Yutaka, Marai no Tora, 1943 https://www.youtube.com/
watch?v=2lTigyqta_k]
They were celebrating. I found this very nice reference for what the prisoners
[in Pulau Senang] did on the day of the riot. I’ve also been listening to a lot of
music from the era and from the region as well, which I think I will incorporate
into my film.
Anna Lovecchio: That sounds awesome. Thank you so much for sharing about
your ideas and thoughts. I know it’s not easy to talk about a project that’s still in
the process of becoming so thank you for being so generous. One of the songs
you were playing a lot in the studio when I was coming to visit you, was very nice.
Shall we end on its notes? Do you want to play it again?
Russell Morton: Yes! It’s a really fun dance number. This is Siapa Dia, which
means Who is he?. It is by Zainab Majid, made in 1958. This mysterious name of
“Who is he?”, I think will play a big part in my film as well. Here it is.
[Audio excerpt from “Siapa Dia” by Zainab Majid,
https://www.youtube.com/watch?v=-gDHPP6K-mA]
Anna Lovecchio:You listened to AiRCAST, a podcast of NTU Centre for
Contemporary Art Singapore, a national research centre for contemporary art
of Nanyang Technological University. To find out more about our programmes,
visit our website at www.ntu.ccasingapore.org. You can sign up to our newsletter
or follow us on the major social media platforms. And of course, if you’d like to
hear the voices and thoughts of our next Artists-in-Residence, do subscribe to
this podcast. AiRCAST is produced by NTU CCA Singapore with the support of
National Arts Council Singapore. This episode featured Singaporean filmmaker
Russell Morton in conversation with myself, Anna Lovecchio. I am also the editor
of this podcast. Kristine Tan is the Programme Manager, Rudi Osman the Audio
Engineer. The opening and closing music compositions of this podcast were
created by Artist-in-Residence Tini Aliman with field recordings taken at different
times of the day in the beautiful forest around us.
This episode was recorded on September 27, 2021. Thank you for listening.
Russell Morton and Anna Lovecchio recording AiRCAST on 27 September
2021, Courtesy of NTU CCA Singapore.
�
Dublin Core
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Title
A name given to the resource
Resources
Programme Resource
Collateral and other print or digital materials pertaining to residency programmes. Examples include residency brochures, postcards, etc.
Short Description
Transcript of podcast with Artist-in-Residence, Russell Morton.
Programme Series
Residencies AiRCAST
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
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Transcript of Residencies AiRCAST Episode #2: Russell Morton
Subject
The topic of the resource
History
Mythology
Diaspora
Description
An account of the resource
In this episode, we venture into the mysterious and mobile mindscape of our Artist-in-Residence, Russell Morton. During the residency, Russell has been deeply immersed in the development of his most ambitious project to date, his first feature film. Find out how a grim, largely forgotten historical event and past personal experiences will contribute to shape the narrative and the ambience of the film. The artist also reveals how he managed to overcome ‘the anxiety of influence’ and expands on his fascination for Southeast Asian folklore, the psychological underpinnings of horror films, and the role music plays in his work.
Date
A point or period of time associated with an event in the lifecycle of the resource
2021-09-27
Contributor
An entity responsible for making contributions to the resource
Russell Morton
Anna Lovecchio
Kristine Tan
Arabelle Zhuang
Format
The file format, physical medium, or dimensions of the resource
Transcript
Language
A language of the resource
English
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
-
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
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Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
This talk will reflect on the fascination of artworks in Theatrical Fields 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.
Programme Type
Talk and Lecture
Audience
General
Location
Onsite (CCA)
Offsite
Online
Offsite
Collaboration
Yes
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
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Theatrical Fields Symposium – Screening Theatrical Phantasms: Toward an Uncertain Futurity, Keynote by Timothy Murray, Professor of Comparative Literature and English, Cornell University
Subject
The topic of the resource
Theatre
Fiction
Mythology
Ways of Seeing
Description
An account of the resource
23 Aug 2014, Sat 1:00 - 2:00pm <br />72-13 Mohamed Sultan Road, Singapore 239007<br /><br />This talk will reflect on the fascination of artworks in <em>Theatrical Fields</em> 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?"<br /><br />A public programme of <em>Theatical Fields: Critical strategies in performance, film and video</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-08-23
Contributor
An entity responsible for making contributions to the resource
Timothy Murray
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
Europe