On AiR with Irfan Kasban
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<span>Wrapping up our On AiR series for Cycle 10, we visit Artist-in-Residence Irfan Kasban in his residency studio that he affectionately calls ���� �� �����������.</span><br /><span>He shares about the feelings of burnout that led him to his current inquiry into performance as ritual healing, and ponders upon the potential of his studio as a welcoming space that alleviates the pressures of daily life for its visitors. Irfan also opens up about the different community programmes he’s hosted such as ������� ������ and ���� ����� ���� ����.</span>
2023
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English
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Saroot Supasuthivech
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Saroot Supasuthivech
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<strong>17 March - 12 June 2023</strong><br /><strong>Artist-in-Residence at Künstlerhaus Bethanien (Berlin)</strong><br /><br /><em><em> “I am honoured to have been chosen for the SEA AiR programme and I am grateful to be part of the residency programme at Künstlerhaus Bethanien in Berlin. I am excited to explore different cultures and perspectives by researching and interviewing local people. During my stay in Berlin, I hope to learn more about the lives of Thai immigrants, their stories and beliefs, as well as to gain a deeper understanding of the cultural diversity, local histories and storytelling practices in Germany. I hope to contribute something meaningful through my artwork.”<br /></em></em>
<p>Drawing from oral histories and unwritten memories, the works of Saroot Supasuthivech unearth the multiplicity of narratives embedded in specific locations. His installations often combine moving image and sound to conjure the affective aura of a site and bring forth its intangible socio-historical stratifications. Using photogrammetry techniques, he turns 2D images into 3D models as a way of to blur the lines between the real and the mythical. His latest video installation, River Kwai: This Memorial Service Was Held in the Memory of the Deceased (2022), was featured in the Discoveries Section at Art Basel Hong Kong 2022.</p>
<p>For his residency at Künstlerhaus Bethanien, Saroot Supasuthivech will research the encounters of cultures, faiths and rituals among immigrant communities and local inhabitants. He is especially interested in the spiritual beliefs and ceremonial traditions by which humans ritualise the moment of death. With a focus on the historical impact of immigration on funerary practices across different regional and religious contexts, the artist will survey specific burial sites and rituals in Germany and Thailand looking at how foreign communities enact their funerary traditions abroad.</p>
<p>Major sites of interest for his research are the Protestant Cemetery in Bangkok and the Kurpark (Spa Park) in Bad Homburg, the only town outside of Thailand that features two Sala Thai (open pavilions). The Sala were gifted to the city of Bad Homburg by King Chulalongkorn of Siam (1853 to 1910) as a token of gratitude after the monarch’s illness was healed in the spa town in 1907. From the materials gathered through field trips, interviews and archival research, the artist plans to develop a video installation that will convey the mystical structures of those sites as well as the spiritual intersections engendered by global migrations.</p>
17 March - 12 June 2023
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Saroot+Supasuthivech">Saroot Supasuthivech</a>
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Shahmen Suku
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Shahmen+Suku">Shahmen Suku</a>
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Shahmen Suku
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ritual">Ritual</a>
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Building upon his long-standing engagement with performative storytelling, Shahmen Suku will spend his residency researching Failures, Deaths, and the ceremonies that surround them in his family histories. Building upon his long-standing engagement with performative storytelling, Shahmen Suku will spend his residency researching Failures, Deaths, and the ceremonies that surround them in his family histories. Having previously explored different aspects of the rich Tamil cultural traditions of his maternal lineage via the alter ego Radha, the artist now intends to let go of his persona and directly confront the conflicting and multipolar narratives of his family history which include economic struggles, heated arguments, health issues, and prolonged disagreements. The artist’s in-depth journey into the complex and fraught interpersonal relations that have shaped his emotional upbringing will entail the collection of oral histories from family members, fieldtrips to temples and cemeteries, and archival research into his family’s records, recipes, photographs, and films.
4 September 2023 - 31 January 2024
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Shahmen+Suku">Shahmen Suku</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Adeline Kueh
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ritual">Ritual</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=History">History</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tradition">Tradition</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sustainability">Sustainability</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Adeline+Kueh">Adeline Kueh</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Residencies Studio Sessions: in effigy, Workshop by Kin Chui (Singapore), Artist-in-Residence
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=History">History</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tradition">Tradition</a>
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<span><span>12 Sep 2020, Sat 04:00 PM - 07:00 PM<br /><br /></span></span>
<p>Developed in the wake of <span><em>alon</em><em>g </em><em>waves of gravity –a solidar </em><em>y of holes</em></span>, this participatory workshop further explores Artist-in-Residence Kin Chui’s interests in the histories, ideologies, and cultural contexts of monuments as well as their purchase on collective memory. Scheduled during Hungry Ghost Festival, the workshop is a hands-on session of “monument making” which takes its cue from the traditional rituals of the seventh lunar month when bamboo and rice paper effigies are burnt to appease wandering spirits. By building ephemeral structures inspired by existing and/or imaginary monuments and consigning them to a speculative afterlife, workshop participants will embark on a journey where symbols and shared ideals are transformed and regenerated.</p>
<p>The workshop is free and by registration only. Available spaces are limited.</p>
<p>In order to register, please go to <span><a href="https://in-effigy.peatix.com/">https://in-effigy.peatix.com/</a></span></p>
2020-09-12
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kin+Chui">Kin Chui</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Screening Series: Unruly Shadows: Artist Films and Videos on Challenging Spheres
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Supernatural">Supernatural</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ritual">Ritual</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tradition">Tradition</a>
<div class="event_single_dates text__exhibitions">18 Nov 2017, Sat 12:00 PM - 07:30 PM<br />19 Nov 2017, Sun 12:00 PM - 07:00 PM</div>
<div class="event_single_venue">The Seminar Room, Block 43 Malan Road<br /><br /><span>Taking place on the closing weekend of </span><em>Ghosts and Spectres – Shadows of History</em><span><span>, the screening of selected films and videos by artists from Asia will expand on the discussion of moving image as an apparatus for capturing and propagating narratives. Through the notion of “ghost” and “spectres”, the programme entails discussions that take the exhibition as a point of departure, referencing mythologies, folklore, traditions, politics, and other prevalent themes portrayed in the artworks. It looks into the strategies employed by artists in visualising and imagining socio-political minefields. Due to the spectrum of collective experiences in a wider Asia, the film programme presents alternate visions of the exhibition, surfacing the undercurrents that permeate geopolitical entanglements. These anxieties present ways of approaching other logics of generational understanding, temporal localities, and regional variations as artists embark on translations of the past into contemporary imaginings. Confronting the unruliness of memory, the film programme draws parallels between history and the moving image: as moments that, in their unfolding, haunt us again and again.<br /><br />The two-day event is divided into four themes: “Film and Cinema as Ghost”, “Acting and Re-enacting”, “Histories Turning Ghosts”, and “Rituals”. The screening programme will consist of works by <strong>Ayisha Abraham </strong>(India),<strong> akumassa </strong>(Indonesia),<strong> Phuttiphong Aroonpheng </strong>(Thailand),<strong> Martha Atienza </strong>(Philippines),<strong> Ashish Avikunthak </strong>(India),<strong> Chien-Chi Chang </strong>(Taiwan/Austria),<strong> Tiane Doan na Champassak </strong>and<strong> Jean Dubrel </strong>(France),<strong> Köken Ergun </strong>(Turkey),<strong> Bayu Prihantoro Filemon</strong> (Indonesia),<strong> Hikaru Fujii </strong>(Japan),<strong> Hao Jingban </strong>(China),<strong> Ho Tzu Nyen </strong>(Singapore),<strong> Daniel Hui</strong> (Singapore),<strong> Ing K </strong>(Thailand),<strong> Meiro Koizumi </strong>(Japan),<strong> Soni Kum </strong>(Korea/Japan),<strong> Lee Kai Chung </strong>(Hong Kong),<strong> K. M. Madhusudhanan </strong>(India),<strong> Nguyen Trinh Thi </strong>(Vietnam),<strong> Vandy Rattana </strong>(Cambodia/Taiwan),<strong> Taiki Sakpisit </strong>(Japan),<strong> Chulayarnnon Siriphol </strong>(Thailand),<strong> Angela Su </strong>(Hong Kong),<strong> Tan Pin Pin </strong>(Singapore),<strong> Erika Tan </strong>(Singapore/UK),<strong> John Torres </strong>(Philippines),<strong> </strong>and<strong>Otty Widasari </strong>(Indonesia). Scheduled screening will be accompanied by introductions, talks, and discussions between a group of Singapore-based curators and researchers, addressing the complexities embedded in the selected works. Speakers include <strong>Dr Marc Glöde</strong>, film scholar and Assistant Professor, School of Art, Design and Media, NTU; <strong>Fang-Tze Hsu</strong>, independent researcher and curator; <strong>Qinyi Lim</strong>, Curator, National Gallery Singapore; <strong>Sam I-Shan</strong>, Curator of Visual Arts, Esplanade; and <strong>Silke Schmickl</strong>, Curator, National Gallery Singapore.<br /><br /></span></span>
<h3>SCHEDULE</h3>
<p>Saturday, 18 November 2017, 12.00 – 7.30pm<strong> </strong></p>
<p><strong><span>Film and Cinema as Ghost</span><br /><u><br /></u>Short films, </strong><strong>12.00 – 1.15pm<br /></strong><em>Straight 8</em>, Ayisha Abrahams, India, 2005, 17 min<br /><em>Imaginati</em>, akumassa, Indonesia, 2013, 13 min<br /><em>A Presentation By Proxy</em>, Erika Tan, UK, 2014, 21 min<br /><em>Horor Satu Menit / One Minute Horror</em>, Otty Widasari, Indonesia, 2005, 1 min<br /><em>Mesures et Démesures</em>, Angela Su, Hong Kong, 2015, 6 min<br /><em>History is a Silent Film</em>, K. M. Madhusudhanan, India, 2007, 17 min</p>
<p><strong>Conversation, 1.15 – 1.35pm<br /></strong></p>
<p><strong>Feature film: 1.35 – 3.00pm</strong><span><strong><br /></strong></span><em>People Power Bombshell: The Diary of Vietnam Rose 89’</em>, John Torres, Philippines, 2016, 89 min</p>
<p><strong><br /><span>Acting and Re-enacting</span><br /></strong></p>
<p><strong>Short films, 3.00 – 4.15pm<br /></strong><em>4×4 — Episodes of Singapore Art: Episode 3 — Tang Da Wu, The Most Radical Art Gesture</em>, Ho Tzu Nyen, Singapore, 2005, 23 min<br /><i>On the Origin of Fear</i>, Bayu Prihantoro Filemon, Indonesia, 2016, 12 min<br /><em>The History of Riots (The DJ)</em>, Lee Kai Chung, Hong Kong, 2013, 7 min<br /><em>The Educational System of an Empire</em>, Hikaru Fujiii, Japan, 2016, 21 min<br /><em>Portrait of a Young Samurai</em>, Meiro Koizumi, Japan, 2009, 10 min</p>
<p><strong>Conversation, 4.15 – 4.35pm</strong></p>
<p><strong>Feature film, 4.35 – 7.30pm</strong><br /><em>Shakespeare Must Die</em>, Ing K, Thailand, 2012, 176 min<br /><br /></p>
<p>Sunday, 19 November 2017, 12.00 – 7.00pm</p>
<p><span><strong>Histories Turning Ghosts</strong></span></p>
<p><strong>Short films, 12.00 – 1.25pm<br /></strong><em>The Impossibility of Knowing</em>, Tan Pin Pin, Singapore, 2010, 12 min<br /><em>A Brief History of Memory</em>, Chulayarnnon Siriphol, Thailand, 2010, 14 min<br /><em>The War That Never Was</em>, Chien-Chi Chang, Taiwan/Austria, 2017, 16 min<br /><em>Landscape Series #1</em>, Nguyen Trinh Thi, Vietnam, 2013, 5 min<br /><em>Monologue</em>, Vandy Rattana, Cambodia, 2015, 20 min<br /><em>A Ripe Volcano</em>, Taiki Sakpisit, Thailand, 2011, 16 min<br /><em>Sukati / A Tale of Heaven</em>, Phuttiphong Aroonpheng, Thailand, 2010, 6 min</p>
<p><strong>Conversation, 1.25 – 1.45pm</strong></p>
<p><strong>Feature film, 1.45 – 3.30pm</strong><br /><i>Snakeskin</i>, Daniel Hui, Singapore/Portugal, 2014, 105 min</p>
<span></span>
<p><strong><span>Rituals</span></strong></p>
<p><strong>Short films, 3.30 – 5.25pm<br /></strong><em>Anito</em>, Martha Atienza, Philippines, 2012, 8 min<br /><em>Vakratunda Swaha</em>, Ashish Avikunthak, India, 2010, 21 min<br /><em>Off Takes</em>, Hao Jingban, China, 2016, 22 min<br /><em>Ashura</em>, Köken Ergun, Turkey, 2013, 25 min<br /><em>Naptwe, the feast of the spirits</em>, Tiane Doan na Champassak and Jean Dubrel, France, 2012, 31 min<br /><em>Spring Comes Winter After</em>, Nguyen Trinh Thi, Vietnam, 2008, 5 min</p>
<p><strong>Conversation, 5.25 – 5.45pm</strong></p>
<p><strong>Feature film, 5.45 – 7.00pm</strong><br /><em>Foreign Sky</em>, Soni Kum, Korea/Japan, 2005, 70 min<br /><br />A public programme of <em>Ghosts and Spectrres – Shadows of History</em>.</p>
</div>
18 -19 November 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marc+Gl%C3%B6de">Marc Glöde</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marc+Glode">Marc Glode</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Fang-Tze+Hsu">Fang-Tze Hsu</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Qinyi+Lim">Qinyi Lim</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sam+I-Shan">Sam I-Shan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Silke+Schmickl">Silke Schmickl</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Europe">Europe</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Middle+East">Middle East</a>
Screenings: <em>The Mad Masters</em>, Jean Rouch, France, and <em>Divine Horsemen: The Living Gods of Haiti</em>, Maya Deren, Ukraine/United States
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ritual">Ritual</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Race">Race</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Supernatural">Supernatural</a>
<div class="event_single_dates text__exhibitions">3 Nov 2017, Fri 07:30 PM - 09:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /><span>Introduction by </span><strong>Dr Marc Glöde</strong><span>, film scholar and Assistant Professor, School of Art, Design and Media (ADM), NTU</span><br /><br /><p><strong><em>The Mad Masters</em></strong><strong>, Jean Rouch, France, 1955, 36 min</strong></p>
<p>For Jean Rouch’s landmark film <em>The Mad Masters</em>, the French filmmaker himself coined the term “ethnofiction” due to the blending of both documentary and fictional aspects. Rouch takes his viewers to the city of Accra (West Africa) where he follows the Hauka movement and their religious and ritual proceedings, consisting of mimicry and dancing to become possessed by British Colonial administrators. The work caused a highly political debate since on one hand it was considered offensive to colonial authorities because of the Africans’ blatant attempts to mimic and mock the “white oppressors” and, on the other hand, African students, teachers, and directors found the film to perpetrate an “exotic racism” of the African people. An outstanding film that until today is one of the classics to be revisited and discussed.</p>
<strong><em>Divine Horsemen: The Living Gods of Haiti, </em></strong><strong>Maya Deren, United States, 1985, 52 min</strong><br /><br /><span>Between 1947 and 1951 the experimental filmmaker Maya Deren spent significant periods of time in Haiti to make a film about Voodoo rituals and rites. The material she shot was left unedited until after her death when it was assembled into the film </span><em>Divine Horsemen: The Living Gods of Haiti</em><span>. Deren’s work reveals the ongoing merging of art and ethnography, one of the legacies of Surrealism, also standing as an important cultural record of Haitian Voodoo—a religion based on West African beliefs and practices, combined with aspects of Roman Catholicism. The contrasting of Haitian dance with ‘non-Haitian elements’ in a series of dream-like sequences testifies to Deren’s Surrealist interest in alternative realities. Gradually, the focus shifted from dance to the complex nature of Haitian ceremonies, while celebrating Haiti for its hybrid culture as well as for its symbolic importance as the political site of a successful slave revolution, which resulted in Haiti becoming the first modern black republic.</span><br /><br /><span>These Screenings are part of the public programme of </span><em>Ghosts and Spectres – Shadows of History</em><span>.</span></div>
2017-11-03
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Film Screening in collaboration with Asian Film Archive
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Thu 21 May 2015<br />Wed 3 Jun 2015 Block 43 Malan Road, The Single Screen <br /><br />Part I: DROUGHT – 92 mins | Colour | with English subtitles Language: Hindi, Indonesian, Italian, Tagalog, Mandarin, German<br /><br />Part II: FLOOD – 92 mins | Colour | with English subtitles Languages: Japanese, Korean, Mandarin, Thai, Indonesian, Malay, Hokkien <br /><br />NTU CCA Singapore will present a selection of films from the Asian Film Archive (AFA) with a focus on independent cinema from Southeast Asia. The launching session will feature the first part of Sherman Ong's film <em>Flooding in the Time of Drought (</em>Singapore, 2009). This docu-narrative fusion depicts the lives of foreign immigrants as they face an impending water crisis. Touching on issues as diverse as ethnic discrimination, ritual beliefs, World War II, and racial tensions in post-’97 riots Indonesia, the film explores how ingrained problems are transported along with migrant communities.
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