1
10
34
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Constanze Ruhm, X Characters / RE(hers)AL (2003/4). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Constanze Ruhm, X Characters / RE(hers)AL (2003/4). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Constanze Ruhm, X Characters / RE(hers)AL (2003/4). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Eva Meyer and Eran Schaerf, She might belong to you (2007), She might (combination #1) (2007/14). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Eva Meyer and Eran Schaerf, She might belong to you (2007), She might (combination #1) (2007/14). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Eva Meyer and Eran Schaerf, She might belong to you (2007), She might (combination #1) (2007/14). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Theatrical Fields, 22 August – 2 November 2014, Exhibition View.
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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
NTU Centre for Contemporary Art Singapore; Theatrical Fields, 22 August – 2 November 2014, Exhibition View.
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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
Theatrical Fields, 22 August – 2 November 2014, Installation view: Isaac Julien, Vagabondia (2000). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Isaac Julien, Vagabondia (2000). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Isaac Julien, Vagabondia (2000). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Theatrical Fields, 22 August – 2 November 2014, Installation view: Joan Jonas, Lines in the Sand (2002). Courtesy NTU Centre for Contemporary Art Singapore.
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Theatrical Fields, 22 August – 2 November 2014, Installation view: Judith Barry, Voice off (1999). Courtesy of NTU Centre for Contemporary Art Singapore.
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Theatrical Fields, 22 August – 2 November 2014, Installation view: Judith Barry, Voice off (1999). Courtesy of NTU Centre for Contemporary Art Singapore.
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Theatrical Fields, 22 August – 2 November 2014, Installation view: Judith Barry, Voice off (1999). Courtesy of NTU Centre for Contemporary Art Singapore.
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Theatrical Fields, 22 August – 2 November 2014, Installation view: Judith Barry, Voice off (1999). Courtesy of NTU Centre for Contemporary Art Singapore.
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Theatrical Fields, 22 August – 2 November 2014, Installation view: Judith Barry, Voice off (1999). Courtesy of NTU Centre for Contemporary Art Singapore.
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Theatrical Fields, 22 August – 2 November 2014, Installation view: Stan Douglas, Suspiria (2003). Courtesy NTU Centre for Contemporary Art Singapore.
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Theatrical Fields, 22 August – 2 November 2014, Installation view: Stan Douglas, Suspiria (2003). Courtesy NTU Centre for Contemporary Art Singapore.
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Exhibitions
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NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Theatrical Fields introduces theatricality as a critical strategy in performance, film and video.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2014-08-22
Exhibition End Date
2014-11-02
Collaboration
No
Commissioned Work
No
Related Countries
None
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
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Title
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<i>Theatrical Fields</i>
Subject
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Embodiment
Experiential
Theatre
Ritual
Description
An account of the resource
<i>Theatrical Fields</i> introduces theatricality as a critical strategy in performance, film and video. This exhibition presents six video installations shown for the first time in Southeast Asia: <i>Voice off</i> by Judith Barry (USA),<i> Suspiria</i> by Stan Douglas (Canada), <i>Lines in the Sand<i> by Joan Jonas (USA), </i>Vagabondia</i> by Isaac Julien (UK), <i>She Might Belong to You</i> by Eva Meyer & Eran Schaerf (Germany / Israel), <i>X Characters Re(hers)AL</i> by Constanze Ruhm (Austria). Situated in juxtaposition, the works generate temporal spaces for experimental action, creating unfamiliar proximities and encounters. <br /><br /><i>Theatrical Fields</i> was curated by Ute Meta Bauer (Founding Director) with Anca Rujoiu (Curator for Exhibitions), and was first presented and commissioned by the Bildmuseet, Umea in Sweden (2013). <br /><br />As a collaboration, Bildmuseet Umea and NTU Centre for Contemporary Art Singapore will publish a catalogue including keynotes from the symposium and additional commissioned essays.
Contributor
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Judith Barry
Stan Douglas
Joan Jonas
Isaac Julien
Eva Meyer
Eran Schaerf
Constanze Ruhm
Ute Meta Bauer
Anca Rujoiu
Coverage
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Europe
Medium
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Video
Multimedia Installation
Object
Performance
-
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c69de94ea6d0a3bd67c6c0130b7e73e0
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Title
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Contributors
Contributor
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First Name
Zarina
Surname or Business Name
Muhammad
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
2019, 2022
Birthplace
Singapore
Occupation
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Artist
Biographical Text
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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
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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
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Title
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Zarina Muhammad
Subject
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Ritual
History
Mythology
Contributor
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Zarina Muhammad
Coverage
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Southeast Asia
-
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00113c1d22f2c14a0f7eb5086a4f69d7
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Text
Critical strategies in performance, film and video
Nanyang Technological University
�22 AUG – 2 NOV 2014
Critical strategies in performance, film and video
Judith Barry
Stan Douglas
Joan Jonas
Isaac Julien
Eva Meyer & Eran Schaerf
Constanze Ruhm
Curated by
Ute Meta Bauer with Anca Rujoiu
�INTRODUCTION
juxtaposition, the works generate temporal
spaces for experimental action, creating
unfamiliar proximities and encounters.
Theatrical Fields evokes a deep-rooted
intertwinement of the concepts of
“theory” and “theatre”. The two terms
share etymological roots, as both derive
from the Greek word “thea”, which
means “to see”. Beyond the theatre, the
concept of theatricality also points to
introduces theatricality as a critical
the constructedness of everyday life.
strategy in performance, film and
Theatrical forms make visible how our
video. This exhibition presents six video
realities are often staged, and also the
installations shown for the first time in
ways in which our histories are constructed
Southeast Asia: Voice off by Judith Barry
and performed. The artists in this
(USA), Suspiria by Stan Douglas (Canada),
exhibition make use of various theatrical
Lines in the Sand by Joan Jonas (USA),
elements—from “script” to “play”, from
Vagabondia by Isaac Julien (UK), She Might “choreography” to “character”, from
Belong to You by Eva Meyer & Eran Schaerf “protagonist” to “voice” —to question and
(Germany / Israel), X Characters Re(hers)
re-vision society’s existing conventions,
AL by Constanze Ruhm (Austria). Situated in repetitions and rituals. The politics of
02
the theatrical, and also the theatricality
of politics configure a compelling space
that offers room for manoeuvre, and also
a retreat into a temporary exile of the
imaginary.
A series of public programmes, including a
symposium, will further explore the notion
and potential of theatricality as a critical
tool in contemporary art and culture.
Theatrical Fields is curated by Ute Meta
Bauer (CCA Founding Director) with Anca
Rujoiu (CCA Curator, Exhibitions), and was
first presented and commissioned by the
Bildmuseet, Umea in Sweden (2013).
In 2015, a catalogue including the keynotes
from the symposium and additional
commissioned essays will be published
collaboratively by the Bildmuseet Umea and
the Centre for Contemporary Art Singapore.
Assistant Exhibitions
Syaheedah Iskandar
Exhibition Design
Helen Oja
Technical Executive
Isrudy Shaik
Curatorial Interns
Bernice Ong and Kenneth Loe
Exhibition Construction
Design 18
Exhibition Installation
Art Factory LLP
Graphic Design
HJGHER
Media Relations
Regina Chan
International Media Consultant
Denhart v. Harling
Acknowledgements
Bildmuseet, Umea, Sweden; TheatreWorks,
Singapore; School of the Arts Singapore (SOTA);
Singapore Teachers’ Academy for the Arts (STAR);
Artists’ assistants: Tom Cullen, David Dempewolf,
Ofri Lapid, Brodie Smith, Tom Roscher; Anna
Ebner (Kerstin Engholm Gallery); Khim Ong; Lee
Weng Choy; the artists and the speakers.
03
�CURATORIAL STATEMENT
Theatrical Fields
—Critical strategies
in performance, film
and video
Theatrical Fields brings together
paradigmatic works by seminal artists who
exerted a strong influence on contemporary
art and its theoretical discourse. With a
focus on video installations, Theatrical
Fields presents single and multichannel
projects, where the participating artists
navigate between art, film, theatre and
dance. Situated in juxtaposition, the works
generate temporal spaces for experimental
action, creating unfamiliar proximities
and encounters. Shifting the role of
the viewer into that of an acteur who is
encouraged to enter these staged spaces,
the works and their settings foreground the
theatrical and the performative as fields of
transformative processes. The way in which
the protagonists in all the works perform,
move, speak, sing and interact with the
constructed interiors makes visible that it
is precisely this amalgam of acteurs and
interiors which produces other spaces.1
Theatrical Fields introduces theatricality
as a political methodology to deconstruct
linear ascriptions, and reconfigure them
in nuanced positions of diversity. Such
political intentions are present in French
playwright Molière’s critique of authority, in
the tradition of Italian Commedia dell’arte,
in the use of the absurd in theatre works
by Jarry, Artaud, Genet, and Beckett, in
the surrealism of Cocteau, in Nathalie
Sarraute’s deconstructions of character
and plot, in Peter Weiss’s “play within a
04
play” Marat/Sade, and in the more popular
didactic musical plays of Bertolt Brecht and
Kurt Weill.
In search for a theoretical position,
Theatrical Fields explores ephemeral
practices that resist appropriation and
operate through a process of formation,
transformation and dissolution. Following
French theory from Deleuze’s notion of
agencement2 or assemblage and from
Foucault’s dispositif3, Theatrical Fields
evokes the desire to let not only one’s body,
but also one’s mind wander in directions
that have yet to be explored. The politics
of the theatrical, and also the theatricality
of politics configure a compelling space
that offers room for manoeuvre, and
also a retreat into a temporary exile of
the imaginary.
Theatrical Fields seizes the potential of the
theatrical as an analytical and critical tool
to undermine hegemonic representations
of the real. As German philosopher Martin
Heidegger brought up for discussion in
his essay Science and Reflection,4 theory
is a theatrical process: “the word theory
stems from the Greek verb theorein […]
The verb theorein grew out of two root
words theatricality and horao. Theatricality
is the outward look, the aspect, in which
something shows itself—the outward
appearance in which it offers itself […]
The second root word in theorein, horao,
means: to look at something attentively,
to look it over, to view it closely. Thus it
follows that theorein is then horao, to look
attentively on the outward appearance
wherein what presences becomes visible
and, through such sight—seeing—to linger
with it.”
The works and films presented in the
exhibition and screening programme,
employ different methods and various
approaches, yet they all bring into play
the theatrical to question and re-vision
society’s existing scripts and histories.
By isolating characters that embody
paradigmatic roles in scripts, Stan
Douglas’s Suspiria and Constanze Ruhm’s
X Characters/ RE(hers)AL generate new
narratives and hybrid identities, so called
“ghosts” that escaped their ascribed
narratives. In Lines of Sand, Joan Jonas’s
Helen of Egypt wanders through space
and time, hence shaping a non-linear
narrative that eludes any historical and
gender fixation. The protagonist in Eran
Schaerf and Eva Meyer’s film She Might
Belong to You embodies the complexity
of a construct that positions a character
as an accumulation of layers resisting
straightforward interpretation. Blurring
boundaries between fiction and real, the
theatrical produces a space for disclosures.
In Judith Barry’s Voice off the mental and
physical space collide only to reveal one’s
inner fears and anxieties; whereas in Isaac
Julien’s Vagabondia the repressed history
of colonialism comes to life through the
vagabond wanderings of imagination. In its
staged appropriations, the performativity
of reality becomes more obvious.
The temporary migration into an imagined
space of the theatrical, the carnivalesque,
which cannot be possessed as outside of
so-called reality—a space that neither
belongs to anyone nor can be appropriated
—offers an open and therefore negotiable
space. And this imagined in-between space
of the theatrical can be used to reconfigure
another performance of reality through the
practice of theatre and theory.
Ute Meta Bauer, 2013
Notes
1
Michel Foucault: Of Other Spaces. Reprinted in Nicholas
Mirzoeff, ed.: The Visual Culture Reader. Taylor & Francis,
Inc, 1998.
2
Gilles Deleuze and Felix Guattari: A Thousand Plateaus:
Capitalism and Schizophrenia. Translated by Brian
Massumi, University of Minnesota Press, 1987.
3
Michel Foucault: The Confession of the Flesh (1977)
interview in Power/Knowledge: Selected Interviews and
Other Writings. Edited by Colin Gordon, Vintage, 1980.
4
Martin Heidegger: The Question Concerning Technology
and Other Essays. Translated by William Lovitt, New York,
Harper & Row, 1977.
05
�Judith Barry
Voice off (1999)
Installation, two channel video
projection, colour, sound, 15 mins.
Each of the two space stages a different experience of the
voice. On one side, a dreamlike sequence unfolds,
The work of artist and writer Judith Barry
spans across several disciplines: architecture,
film/video, performance, installation,
sculpture, photography and new media.
Through this rich variety of media, Barry
explores complex relationships between
issues of public address, representation, and
popular culture.
Judith Barry, film still from Voice off (1999). Courtesy of the artist and Rosamund Felsen Gallery, Los Angeles and Galerie Karin Sachs, Munich
06
Barry has shown internationally in numerous
exhibitions including: the 3rd Berlin Biennale
(2004), Sao Paolo Biennale (1994), the Venice
representing the personal, intimate and interior encounters
that one might have with the voice, with your own voice
or with other voices. These are overheard bits of speech,
interior monologues, snatches of songs; the sort of thing you
catch while moving through everyday life which both possess
you and which you try to hold on to or give yourself over to.
On the other side of the screen, a man tries to work in his
office, but he is continuously disturbed by the sounds that
he hears. He demonstrates, from a different perspective,
how, through the act of involuntarily hearing, one can also
be possessed, even haunted by a voice.
Biennales of Art and of Architecture, and the
Whitney Biennale (1987). Recent exhibitions
include: Take It Or Leave It at Hammer Museum,
Los Angeles (2014); Americana, Perez Miami
Art Museum, Miami, (2014), The Content of
Form, Generali Foundation, Vienna (2013);
Critical Episodes, MACBA, Barcelona (2013);
This will have been: Art, Love & Politics in the
1980’s, ICA, Boston (2013); The Deconstructive
Impulse, Contemporary A rt Museum, Houston
(2012); and dOCUMENTA 13, Kassel (2012). She
was awarded the Frederick Kiesler Prize for
Architecture and the Arts (2000), Best Pavilion
at the Cairo Biennale (2001), and a Guggenheim
Fellowship (2011) among others. Public Fantasy,
a collection of Barry’s essays, was published by
the ICA in London (1991).
Judith Barry was born in Columbus, Ohio, USA,
in 1954. She lives and works in New York City,
and is currently Director/Professor of the MFA
in Visual Arts at the Art Institute of Boston at
Lesley University.
07
ARTISTS AND WORKS
This two channel video and sound installation explores how
the voice might be represented visually. Projected on either
side of the shared wall this work explores ideas intrinsic
to what the voice is, in terms of possession and loss. The
viewer is exposed to two metaphoric narratives that unfold
simultaneously on the double-sided screen/wall that divides
the gallery into two identical rooms. Invited to pass through
the projection, the viewer becomes an integral component
of the installation.
�Stan Douglas
Suspiria (2003)
Installation, single channel video projection,
stereo sound. Stories recomposed and music
remixed in virtually infinite variations.
Stan Douglas, film stills from Suspiria (2002). Courtesy of the artist
08
Photographer and filmmaker Stan Douglas
has, since the late 1980’s, examined complex
intersections of narrative, fact and fiction,
while scrutinising the constructs of the
media he employs and their influence on our
understanding of reality. His interest in the
social implementation of Western ideas of
progress, particularly utopian philosophies,
is located in their often divisive political and
economic effects. Douglas’s work is often
characterized by extensive research and an
interrogation of the structural possibilities
of film and video, in concert with intricately
developed narratives.
‘ghosts’ also point to two obsolete technologies of North
American film and television history that are used and
deconstructed by Douglas, namely, Technicolor (Argento’s
Suspiria was one of the last films made in the West using
this process) and NTSC (the North American colour
television standard). The scenes appear in a random rotation
generated by computer programming, the number of
possible permutations ensuring that, most likely, visitors will
never see the same sequence repeat.
Douglas was recently awarded the Scotiabank
Photography Award (2013) and the Infinity
Award by the International Center of
Photography, New York (2012). His work has
been the subject of numerous solo and
group exhibitions at prominent institutions
worldwide, including Haus der Kunst,
Munich (2014); Minneapolis Institute of Arts,
Minnesota (2012); MOCA, Los Angeles (2012);
the Power Plant, Toronto (2011); the Solomon
R. Guggenheim Museum, New York (2010);
International Center of Photography, New York
(2008); Staatsgalerie and Württembergischer
Kunstverein, Stuttgart (2007); documenta 11, 10,
9 (2002, 1997, 1992) and three Venice Biennales
(1990, 2000, 2005).
Stan Douglas was born in Vancouver, Canada
in 1960, where he lives and work. He is faculty
member of the Graduate Studies in Art MFA
Programme, Art Center College of Design,
Pasadena, USA.
09
ARTISTS AND WORKS
Titled after Dario Argento’s classic horror film of 1977, the
piece was produced for Documenta11 (2002). With Suspiria,
the artist turns explicitly to a few historical moments
of utopian aspiration. The artist interlaces figures and
scenarios drawn from the Brothers Grimm, whose fairy-tales
helped popularised the idea of the German nation-state,
with Marx’s ‘spectres’ of Communism. Douglas’s ghosts are
shadows of futures that never came to pass: neither the
economic and social redemption promised by modernism
nor the end to alienation foretold by Communism. The
�Joan Jonas
ARTISTS AND WORKS
Lines in the Sand (2002)
Multi-media installation: various props, 3 video elements
Lines in the Sand, colour, sound, 23mins 45secs;
Drawings, colour, sound, 16mins;
Pillow Talk, colour, sound, 37mins 15secs.
Commissioned by Documenta11 (2002) and further exploring
Jonas’s interest in working cross-culturally, the multimedia
installation piece Lines in the Sand takes as source material
two works by the poet H.D. (Hilda Doolittle, a patient
of Sigmund Freud prior to World War II): Helen in Egypt
(1955) and Tribute to Freud (1944). In H.D.’s poem, based on
classical texts, as well as in Jonas’s work, the epic Trojan
War was not fought for an unfaithful Helen, but for less
prosaic reasons such as control over commercial routes and
access to the Black Sea. Narrated by Jonas, Lines in the Sand
transposes H.D.’s re-working of the story of Helen of Troy to
present-day Las Vegas, with the Luxor Hotel as a key
Performance and video art pioneer Joan
Jonas has had a far-reaching influence on
artists, students, art theorists, art historians
and curators. Since the 1960s, Jonas has
transcended genres and merged elements of
dance, modern theatre and the conventions
of Japanese Noh and Kabuki theatre into
performance and video art. In the 1980’s,
Jonas began developing her emblematic,
personal grammar of gesture, ritual and
sound into intricate, multi-textual works
that exhibit a sophisticated layering of
nonlinear narrative forms with performance,
theatricality, and electronic manipulations of
space, time and image.
10
motif. Simultaneous narratives alternate; one fragmented
(Helen in Egypt) and another in its entirety (Pillow Talk),
from the ancient Irish epic poem The Tain, in which an
Irish king and queen discuss who has the most possessions
as a manifestation of the domestic and trivial origins of
discussions about property. The artist creates a collage of
scenes on the psychological and political power of Helen,
representing Helen as an ancient metaphor for property and
a justification of all the Trojan wars to come. Juxtaposing
images, texts and gestures, through an interlocking series of
tableaux and stage sets, the artist creates an elusive, nonlinear narrative that eschews any historical fixation.
Jonas’s work has been widely exhibited and
presented six times at documenta (2012, 2002,
1987, 1982, 1977, 1972). Most recently her work
was exhibited at the CCA Kitakyushu Project
Gallery; Kulturhuset City Theatre, Stockholm;
the Museum of Modern Art, New York; MACBA,
Barcelona; the Venice Bienniale; Performa,
New York; the Sao Paolo Biennale; the Incheon
Women Biennale and the Yokohama Triennale.
In 2009, the Solomon R. Guggenheim Museum
honoured Jonas with a Lifetime Achievement
Award for her extraordinary contribution to
the field of contemporary art. Joan Jonas will
represent the United States at the 56th Venice
Biennale International Art Exhibition (2015).
Joan Jonas was born in New York City, USA,
in 1936, where she now lives and works. As an
academic, Jonas has taught at numerous art
schools and universities around the world,
including the Royal College of Art, London;
Rijksakademie van Beeldende Kunsten,
Amsterdam; CCA Kitakyushu; Kunstakademie
Stuttgart; and, between 2000 and 2014 she
served as professor at the MIT Visual Art
Program and the Program in Art, Culture and
Technology, Cambridge.
Joan Jonas, Lines in the Sand (2002). Photo: Werner Maschmann. Courtesy of the artist
11
�Isaac Julien
ARTISTS AND WORKS
Vagabondia (2000)
Two screen projection, 16mm film, digital transfer,
colour, sound, choreography by Javier De Frutos, 7mins.
Filmed in the house-turned-museum of the British architect
and art collector, Sir John Soane, Vagabondia is a film
in which curating meets choreography. A black female
conservator imagines the buried stories and the hidden
histories within the museum’s cornucopia of the works
that Soane plundered on the ‘Grand Tour’; she sees ghosts
of 18th-century Black London, a dancing vagabond figure
among them. Filmed with fluid camera movements and a
sensuous attention to lighting and camera work, Julien
Artist and filmmaker Isaac Julien draws upon
different artistic disciplines to create a poetic
visual language. His multi-screen installations
express fractured narratives that explore
memory and desire.
Julien was a founding member of the Sankofa
Film and Video Collective, one of the few
film and video workshops set up in the UK
in the 1980s to engage in a new politics of
representation. He was nominated for the
Turner Prize in 2001 for his film installations
Long Road to Mazatlán (1999) and Vagabondia
(2000). Julien has earned numerous awards,
12
makes of the museum a world of shadows, mirrors and
frames-within-frames, where the statues also dream and the
vagabond spirit of colonialism’s repressed memory comes
dancing, jerkily, back to life. In Vagabondia, the museum’s
mirrored display is transferred into a double screen
projection producing precisely the museum’s visual effects.
Museum and cinema intersect, merging the virtual with the
physical.
including the Special Teddy for Derek (a
documentary on on the English film director
Derek Jarman), Berlin International Film
Festival, Berlin (2008); an Honorary Fellow,
University of the Arts, London (2008); the
grand jury’s prize at the Kunstfilm Biennale,
Cologne, for Baltimore (2003); the Frameline
Lifetime Achievement Award (2002); and the
McDermott Award, MIT, Cambridge (2001). His
work has been shown internationally, most
recently in solo exhibitions at SESC Pompeia,
São Paolo (2012), Milwaukee Art Museum,
Milwaukee (2012); ICA, Boston (2011) and group
exhibitions at The National Museum of Modern
Art, Kyoto (2013) and the Palais de Tokyo,
Paris (2012). He participated in the 3rd Berlin
Biennale (2004) and Documenta11 (2002). His
work Ten Thousand Waves, featuring actress
Maggie Cheung, most recently was shown at
MoMA, New York (2013).
Born in London, United Kingdom, in 1960,
Julien lives and works in London. He is
currently Professor of Media Art at Staatliche
Hochschule für Gestaltung, Karlsruhe, and is
also a faculty member at the Whitney Museum
of American Art’s Independent Study Program,
New York.
Isaac Julien, Vagabondia (2000). Installation view, the Turner Prize (2001), Tate Britain, London. Courtesy of the artist and Victoria Miro Gallery, London
13
�Constanze Ruhm
X Characters / RE(hers)AL (2003/4)
Installation: posters series, website, single channel film,
colour, sound, 74mins.
Constanze Ruhm is an artist, filmmaker and
author whose artistic practice focuses on the
relation of cinema, new media and theatrical
forms, and investigates questions of female
identity and representation.
Constanze Ruhm, X Characters / RE(hers)AL (2003/4). Installation view 3rd Berlin Bienniale (2004). Courtesy of the artist
14
Ruhm’s works have been shown at international
exhibitions, as well as at film festivals, including:
Internationale Filmfestspiele / Forum Expanded
| Living Archive, Kunstwerke, Berlin, Germany
sleepwalkers, androids, phantasms, prostitutes and murder
victims start to establish relationships and new forms of
behaviour in order to connect the gaps in their scripts along
the lines of a speculative orientation towards an unknown
future. These voices emerge and shape in contradistinction
to their original roles and along the contemporary notion of
merging scripts between film, theatre, chat and back again,
into a hybrid variety of media identities.
(2013); Internationale Filmfestspiele, Berlin,
Germany (2010 and 2011); The 5th International
Video Art Biennial, Center for Contemporary
Art, Tel Aviv, Israel (2012); Tel Aviv Film Festival
(2010); The University Art Gallery / Room Gallery,
University of California, Irvine (2010); Extracity,
Antwerp (2008); Museo de la Reina Sofia, Madrid
(2008); Generali Foundation, Vienna (2006),
and 3rd Berlin Bienniale (2004). In 1995 Ruhm
represented Austria at the Venice Biennale
along with Peter Sandbichler. Ruhm also
curates exhibitions, realises publications,
and both organises and contributes to
international symposia.
Constanze Ruhm was born in Vienna, Austria
in 1965. She lives and works in Vienna and Berlin.
Since 2006, she is Professor for Art and Media
at the Academy of Fine Arts, Vienna.
15
ARTISTS AND WORKS
X Characters: RE(hers)AL releases seven female characters
from seven different movies — each an icon from the history
of modernist cinema — and joins them together as a gang of
fellow travellers, stuck in the boarding area of an airport.
Diverted from and out of their historical context, the seven
characters begin to find their bearings in a liminal situation,
or rather, a crossroads disguised as a holding pattern.
Routes intersect and new patterns emerge as these
�Eva Meyer and Eran Schaerf
ARTISTS AND WORKS
She Might Belong to You (2007)
Single channel film, colour, Sound by Peter Steckroth,
37mins.
Produced for Sculpture Projects Münster, She Might Belong
to You uses films of different genres and from different times
that play out in or against backdrops of Münster. A female
‘memory activist’ puts together an ambivalent cinematic
memory of the city. Marked by three women from three films
— Inge Deitert in Alle Jahre wieder (Every Year Again) (1967,
directed by Ulrich Schamoni), Käthe Brahms in Desperate
Journey (1942, directed by Raoul Walsh), and Luise Gumprich
in Zwischen Hoffen und Bangen (Between Hope and Fear)
(2003, directed by Markus Schröder and based on private
footage from 1937-1939) — she activates a memory that is
neither psychological nor collective. She Might Belong to You
unravels as it unfolds, precariously connecting inside and
outside, before and after, that which is one’s own and that
which is of others.
She Might (combination #1) (2007/2014)
Clothing pieces, photographs, plywood support,
installation variable
Production clothing pieces: Lisa D.
Installation layout: Ofri Lapid
She Might (combination #1) is a display of three combinations
of the multi-piece costume Meyer and Schaerf designed for
the protagonist of their film She Might Belong to You (2007).
In the film the costume is combined anew in each scene.
The patterns were derived from the costumes of three films
— Alle Jahre wieder (Schamoni), Desperate Journey (Walsh)
and Zwischen Hoffen und Bangen (Markus Schröder) — which
enabled an ever changing combinatorial costume that allows
the protagonist to wander between concepts of time and
gender. The colours of the fabrics used are informed by
the interior design of the Münster City Theatre that served
as the film’s location. Drawing on the relationship between
dressing and architecture, this colour concept points to
clothing as means of assimilation between the subject and
their surroundings.
Eva Meyer and Eran Schaerf, film still from She Might Belong To You (2007). Courtesy of the artists
16
17
�Eva Meyer and Eran Schaerf
Eva Meyer and Eran Schaerf, film still from She Might Belong To You (2007). Courtesy of the artists
18
Their most recent films include: Pro Testing,
(2010); Mein Gedächtnis beobachtet mich,
(Ambulante Documentary Film Festival, Mexico,
2008); She Might Belong to You, (Sculpture
Projects Muenster, 2007); Flashforward,
(Intermedium, Munich, 2004); Europe from
Afar, (4th International Biennale for Film and
Architecture, Graz, 2001); Record: I Love You,
(Ver Bailar, CAAC Sevilla, 1999); Documentary
Credit, (Rotterdam Film Festival, 1998).
Eva Meyer was born 1950 in Freiburg, Germany;
Eran Schaerf was born 1962 in Tel Aviv-Jaffa,
Israel, and live and work in Berlin, Germany.
They have taught at various universities and art
schools in Europe and the USA, and currently
are faculty members of the Zurich University
of the Arts.
Liska, 2009), Frei und indirekt (2010), Zählen
und Erzählen. Für eine Semiotik des Weiblichen,
Wien/Berlin (1983, reprint 2013).
Eran Schaerf’s multidisciplinary work
focuses on the architecture of narration. He
has exhibited in group-exhibitions such as
Venice Bienniale (2011), Fake or Feint (2008),
Territories (2003), Manifesta (1998), Listener’s
Voice, Brussels (2001), DOCUMENTA IX (1992).
Among his publications are: fm-scenario –
where palms stand – mask –delay, London
(2012), Blue Key, Cologne (2002), Listener’s
Voice, Brussels (2001), Re-enactment, NewYork (1996).
Eva Meyer is the author of various works of
cinematic thinking including What Does the
Veil Know? (ed. in collaboration with Vivian
19
ARTISTS AND WORKS
Writer and filmmaker Eva Meyer and artist
and filmmaker Eran Schaerf have collaborated
since 1997. They investigate locations, language
and narratives in order to propose alternative
structures of time and space for the self and
the other(s). They are especially interested in
the way processes and completely divergent,
unrelated stimuli can contribute to the
meaning of an event. Their solidarity with
their subjects may lead to a certain bias,
but their documentary fiction is never pure
or distanced; it is alternately funny, poetic
or surprising.
�PUBLIC PROGRAMMES
Symposium
Keynotes
Sat 23 August 10.30 am – 4.00 pm
The symposium takes place at TheatreWorks, 72-13 Mohamed Sultan Road, Singapore, 239007
10.30 am
Welcome Note
Ute Meta Bauer, CCA Founding Director
10.40 – 11.00 am Introduction to Theatrical Fields Anca Rujoiu, CCA Curator, Exhibitions
11.00 – 12.00 am Roundtable discussion
12.00 – 1.00pm
Lunch Break*
1.00 – 2.00 pm
Screening Theatrical Phantasms:
Toward an Uncertain Futurity
Life or Theatre? Events so far…
Eva Meyer and Eran Schaerf, Artists in conversation with Ute Meta Bauer
and Katarina Pierre, Director of Bildmuseet
Moderator: Ong Keng Sen, Festival Director of Singapore International
Festival of Arts (SIFA)
2.15 – 3.15 pm
3.30 – 4.00 pm Q+A
*Lunch will be provided by CCA.
20
Keynote, Timothy Murray, Professor of Comparative Literature
and English at Cornell University
Keynote, Eva Meyer, Artist, Writer and Filmmaker
Eva Meyer
Life or Theatre? Events so far…
“Events so far… This phrase promises
continuity. In our daily serial lives we expect
a recap of previous episodes to help us
find our way into the story. Yet in claiming
to control a plot and its characters by
specifying their time, place and identity,
this phrase turns out to be a manifestation
of seriality itself: the only thing certain is
that the narrative elements will reappear.
It is then a matter of the theatricality of
their reappearance whether or not they
disengage from representation and its
narrative, and enter a free and indirect
relation between life and theatre. “
Dr. Eva Meyer is a writer and filmmaker
based in Berlin. She currently teaches at
Zurich University of the Arts. Together with
Eran Schaerf, she is the film director of
She Might Belong to You in Theatrical Fields.
Timothy Murray
Screening Theatrical Phantasms:
Toward an Uncertain Futurity
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-possession 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 the
digital orientations of ‘future cinemas’
or through the too sudden arrival of
futurity via the vexing uncertainties of the
anthropocoene and global collapse?”
Timothy Murray is Director of the Society
for the Humanities, Curator of the Rose
Goldsen Archive of New Media Art,
Professor of Comparative Literature and
English at Cornell University, and CoDirector of the Cornell/East China Normal
University Center for Comparative Culture.
He is editor of Mimesis, Masochism & Mime:
The Politics of Theatricality in Contemporary
French Thought (Michigan, 1997), and is the
author of several publications including
Digital Baroque: New Media Art and
Cinematic Folds (Minnesota 2008); Drama
Trauma: Specters of Race and Sexuality in
Performance, Video, Art (Routledge, 1997);
and Like a Film: Ideological Fantasy on
Screen, Camera, and Canvas (Routledge,
1993). Murray has taught at the School of
Criticism and Theory and BK Winter School;
Ewha Womans University in Seoul, and has
lectured widely, most recently at Tunghai
University in Tawain; East China Normal
University, Shanghai; Chinese University of
Hong Kong; Sorbonne, Paris, and Nanyang
Technological University, Singapore.
21
�PUBLIC PROGRAMMES
Roundtable Discussion
Ute Meta Bauer is curator and since 2013
Founding Director of CCA – Centre for
Contemporary Art Singapore. She was
Dean of Fine Art at the Royal College
of Art, London (2012/2013); Associate
Professor at the MIT, Cambridge, MA and
Founding Director of ACT, MIT’s Program
in Art, Culture, and Technology (2009–
2012); Founding Director of the Office for
Contemporary Art (OCA), Oslo (2002-2005);
Co-Director of the World Biennial Forum
No. 1, Gwangju (2012); Artistic Director of
the 3rd Berlin Biennale for Contemporary
Art (2004) and Co-Curator of Documenta11
(2001–2002). Recent publications include:
Intellectual Birdhouse. Artistic Practice as
Research (co-edited with F. Dombois, M.
Schwab, C. Mareis, 2012), World Biennale
Forum No 1 – Shifting Gravity (co-edited
with Hou Hanru, 2013). In 2015 she will
co-curate the US Pavilion for the 56th
Venice Bienniale International Art Exhibition
with Paul Ha, MIT List Visual Art Centre,
featuring Joan Jonas.
Katarina Pierre is director of Bildmuseet,
Umea, Sweden. Since 1995, she has
worked at Bildmuseet as a curator and was
instrumental to the internationalization
of the museum’s programme. Umea’s
University museum is a centre for
22
Public Programmes
contemporary art and visual culture and
was 2014 one of the top candidates for the
Council of Europe Museum Prize as well
as for the Swedish award Museum of the
Year. In 2014 Bildmuseet received a Special
Commendation from the European Museum
of the Year Jury.
Ong Keng Sen is festival director of the
new Singapore International Festival of Arts
(SIFA) and artistic director of TheatreWorks
Singapore (on-leave). He is a well-known
performance director and has actively
contributed to the evolution of plural
Asian aesthetics, as well as the subsequent
transglobalisation of these aesthetics in
contemporary arts. His work has been
presented in many cities worldwide. His
latest work is a Michael Nyman opera,
Facing Goya. He founded and curated the
In-Transit festival for the Haus der Kulteren
der Welt in Berlin from 2001-3. He has
taught in many universities including Das
Arts, UCLA, the University of Amsterdam
and the National University of Singapore.
He is also the founder of Arts Network Asia.
A Fulbright Scholar, Keng Sen was awarded
the prestigious Fukuoka Prize 2010 for his
work in Asian contemporary performance.
Anca Rujoiu is a Romanian curator currently
based in Singapore. She is a curator at
CCA - Centre for Contemporary Art
Singapore and co-director of FormContent,
a curatorial initiative in London. Previously,
she coordinated the public programme of
the School of Fine Art at the Royal College
of Art (UK). With FormContent she explored
various exhibition models and challenged
the relationship between artist/curator
often overlapping their roles in the process.
Her recent project with FormContent,
It’s Moving from I to It unfolded as a
performative script within a nomadic
structure testing formats of production
and distribution.
Fri 29 August Lecture Ming Wong, Artist
7.30 – 9.00 pm
Fri 5 September Exhibition Tour Miguel Escobar, Theatre Researcher
7.30 – 9.00 pm
Fri 12 September Exhibition Tour Petrus Liu, Associate Professor
7.30 – 9.00 pm for Humanities at Yale-NUS College, Singapore
Fri 26 September Artist’s Talk Judith Barry, Artist
7.30 – 9.00 pm
Fri 10 October
Exhibition Tour
Stefano Harney & Tonika Sealy,
7.30 – 9.00 pm Ground Provisions Collective
Fri 24 October Artist’s Talk* Isaac Julien, Artist
7.00 – 8.30 pm
*This lecture takes place at School of the Arts
Singapore (SOTA)
Sun 26 October
Special Brunch and Screening Session
Isaac Julien, Artist & Mark Nash, Curator
11.00 – 1.00 pm in conversation
Fri 31 October Exhibition Tour Hendrik Folkerts, Curator, Stedelijk Museum,
7.30 – 9.00 pm Amsterdam
Partner Acknowledgements
TheatreWorks and School of the Arts Singapore (SOTA)
23
�PUBLIC PROGRAMMES
As a response to Theatrical Fields, Ming
Wong will introduce his research on the
Cantonese cinema history in Hong Kong,
looking at how the arrival of Cinema
influenced traditional Cantonese opera.
Ming Wong is a Singapore-born, Berlin
based artist who creates digital media
installations informed by the history
of cinema, to explore the relationship
between language, identity and
performance. He deliberately ‘mis-casts’
himself or others in re-interpretations
of classic film scenes, often playing
multiple roles in foreign languages.
He represented Singapore at the
53rd Venice Biennale, 2009, gaining
critical acclaim for his presentation
Life of Imitation, which won a Special
Mention. Wong has also exhibited at the
Biennales of Lyon (2013), Liverpool (2012),
Singapore (2011), Sydney (2010), Gwangju
(2010), Jakarta (2009) and at numerous
international art institutions.
Miguel Escobar’s presentation will
focus on the contemporary Javanese
Wayang Kulit Shadow Puppetry and
radical re-elaborations forms of this
performance tradition.
Miguel Escobar is a translator, web
24
programmer and theatre researcher who
has lived in Mexico, The Netherlands,
Singapore and Indonesia. He is
fascinated by the intersections between
cultural heritage, digital media and
interculturalism. He is currently a PhD
candidate at the National University
of Singapore.
Entitled Normative Genders and
the Prose of the World, Petrus Liu’s
exhibition tour will address theatricality
as a political strategy to challenge
gender boundaries. Liu will offer some
reflections on the relation between
“acting” in the theatrical sense and the
political sense of “making a difference”
for people who self-identify as queer.
The talk will address various theories of
gender performativity from Judith Butler
to contemporary critical appropriations.
Petrus Liu is Associate Professor of
Humanities and Head of Literature
Studies at Yale-NUS College in Singapore.
He is the author of Stateless Subjects:
Chinese Martial Arts Fiction and
Postcolonial History (Cornell, 2011)
and Queer Marxism in China (Duke,
forthcoming).
Judith Barry (for more information on
the artist see page 07)
The talk by Stefano Harney and Tonika
Sealy relates directly to the ethos of
their collective, Ground Provisions, which
curates events around art as a political
form ‘from below,’ with particular
reference to the carnival traditions. They
will address the dialectic of regulation
and improvisation in connection to
Singapore and any city seeking status as
an art capital.
Ground Provisions Collective,
Stefano Harney and Tonika Sealy
Stefano Harney teaches ethics at
Singapore Management University. Most
recently, he co-authored with Fred
Moten The Undercommons: fugitive
planning and black study. He is a member
of the freethought curatorial collective,
and founder of the School for Study, a
collective of university researchers.
Tonika Maria Sealy is a founding partners
of Ground Provisions, a collective based
in the Caribbean and working globally
to produce art, education, and social
change. She is currently the Artistic
Coordinator for the African, Caribbean,
and Pacific Cultural Festival. Sealey holds
degrees from Manchester University (UK)
and Hult International Business School
(Shanghai).
Isaac Julien (for more information on the
artist see page 12)
Mark Nash will be in conversation with
Isaac Julien addressing the artist’s work
in Theatrical Fields, but also more recent
productions such as Playtime.
Mark Nash is an independent curator
and writer and, until recently, Professor
and Head of Department of Curating
Contemporary Art at the Royal College of
Art London. He collaborated with Okwui
Enwezor on The Short Century (2002), and
worked with Enwezor and Ute Meta Bauer
on Documenta11 (2002). Subsequently,
he joined Bauer as curator of film for
the 3rd Berlin Biennial of Contemporary
Art (2004). He has extensively curated
and written on artists who work with the
moving image – including Experiments
with Truth (Fabric Workshop and Museum,
Philadelphia 2004-05) and One Sixth of
the Earth, ecologies of image at ZKM,
Karlsruhe and MUSAC Leon, an exhibition
that continued to explore the artistic
legacy of the formerly socialist countries.
The topic he first explored in Reimagining
October at Calvert 22 (2009), co-curated
with Isaac Julien.
Hendrik Folkerts’s talk will focus on
the performance and exhibition series
Stage It! at the Stedelijk Museum
especially its second installment (2013)
which explored the relationship between
theatricality and visual art performance,
and the last edition (2014) addressing
the use of the (theatrical) script and
score in performance.
Hendrik Folkerts is Curator for public
programme since 2010 at the Stedelijk
Museum in Amsterdam. He studied Art
History at the University of Amsterdam,
specializing in contemporary art
and theory, feminist practices and
contemporary curatorial practices.
Folkerts curated the public program of
The Temporary Stedelijk at the Stedelijk
Museum, a special interim program that
was presented 2010/2011, as well as
Temporary Stedelijk 3: Stedelijk @ (TS3)
2011/2012.
25
�GLOSSARY
CARNIVAL
In a study dedicated to the work of the French
writer Rabelais, the Russian philosopher Mikhail Bakhtin conducted
an in-depth investigation of the format, imagery and specific language
of the carnival feast. Bakhtin asserts that the carnival operated in
opposition to the official culture as a double world whose existence
can be traced even in the earliest stages of our cultural development.
The carnival marks a suspension of all established orders and norms.
It is a “bodily participation in the potentiality of another world”, a
deviation from the everyday that subjects reality to its own laws
to the extent that there is no life outside the carnival. It produces
an idiosyncratic type of communication and imagery that escapes
the official daily restrictions. Unlike formal culture, the carnival is
a celebration of equality where hierarchical ranks, privileges and
prohibitions are abolished. The carnival is a communal performance,
an inclusive process that makes no distinction between actors and
spectators; everyone participates in the carnival, the carnivalistic/
esque laughter is addressed to everyone and shared by all. For Bakhtin,
carnival sits on the border between life and art: “In reality, it is life
itself, but shaped according to a certain pattern of play.”
COSTUME
“Items of clothing have quite specific connotations
but these can easily be changed, extended, or inverted with a change
in the wearer and or situation. Costume then occupies a complex
position in the theatre’s semiotic systems.” (Helen Gilbert and Joanne
Tompkins). As soon as it appears on the stage, clothing turns into
costume. In traditional approaches, the use of costume was limited
to a visual presentation of a character or idea through physical
appearance. With the stage developments of the twentieth century,
however, costume has shifted from simple character identification
towards an autonomous and aesthetic function. Costume is linked to
the body; it is always more than an ornament. It can serve the body
by adapting to the actor’s gestures, movements and attitudes or it
26
restricts the body by subjecting it to the weight of material and form.
Still the use of costume is not confined only to the theatrical context:
“so soon as clothes are anything more than a mere device of decency
or a protection against the weather they inevitably assume a dramatic
quality of some kind”, observes the English art historian James Laver.
In origin, he asserts, all clothes are, in fact, theatrical costumes. The
history of the theatrical costume goes back to the early stages of
humankind. The gesture of the primitive man putting on clothes
bears itself a dramatic value.
CHOREOGRAPHY “There is a choreographical presence in all acting,
in all the movement on the stage. Choreography has to do as much
as with the actors movement on the stage, the pace or rhythm of
the performance and the synchronization of word and gesture, as
with the arrangements of the actors on the stage. The staging does
not reproduce movements and behaviour from day life as is. They
are stylized, rendered harmonious or ‘readable’, co-ordinated for the
spectator’s gaze, worked and repeated until this staging is, so to speak,
choreographed. ”(Patrice Pavis)
F
or Brecht, “a theatre where everything depends on the ‘gest’
cannot do without choreography”, a ‘gest’ being a stylized motion,
expression or tone of voice that encapsulates and reveals the worldview
of a given character and through its repetition comes to embody the
“social relationships prevailing between people of a given period”.
CHARACTER
In theatre, the character assumes the features and
voice of the actor. The emergence of the term began as only a mask or
the role played by the actor, persona, and not the character outlined
by the dramatist. The actor and character were completely detached to
the point that gestures and words were completely separated. Western
traditional theatre reversed this relation leading to a symbiosis
between actor and character. The approach to a character followed
numerous shifts from the character development towards naturalism
with the expectation that a character is an imitation of reality to the
effacement of the character in the symbolist drama. Antonin Artaud
and Bertold Brech, two major figures of the avant-garde theatre
proposed a radical separation of actors from characters. In Brecht,
for instance, the actor distances him/herself from the character
through a moment of critical reflection in which the actors address
spectators directly about the constructedness of a character. This
moment of rupture makes visible the mechanisms of representation
and undermines any potential identification of the audience with a
character. In light of these experimentations engendering a fear of the
death of the Character, Pavis proposes that “the character is not dead;
it has merely become polymorphous and difficult to pin down; its only
hope for survival.”
DRAMATURGY
“The goal of dramaturgy is to resolve the antipathy
between the intellectual and the practical in theatre, fusing the two
into an organic whole,” mentioned playwright, and dramaturg Leon
Katz. In its broadest sense, dramaturgy could be defined as the art of
composition of plays, the study of how meaning might be generated
in drama and performance. Dramaturgy gives an understanding of
how the unity of the work is created and an analysis of what a work
can be. It can be understood as an attribute (the dramatic structure
and production elements of a particular playwright or play), a role
(a person who helps fuse a myriad of visions and intentions of key
players together in a compelling manner) or a function (seeking to
enrich the work through questioning received models of production).
Classical dramaturgy made a distinction between the internal
elements that constitute the dramatic text of a play and its external
structure that is related to the performance of the play, showing less
concern with the realisation of the play on the stage. Contemporary
theory and practice tends to give equal importance to all elements that
contribute to the overall architecture of a play and conceive of a play a
set of relationships and interactions woven together in different ways.
Writers such as Mike Pearson and Michael Shanks propose dramaturgy as a ‘cultural assembly’:“Dramaturgy, as cultural assemblage, works
equally with settings, people, bodies, things, texts, histories, voices,
architectures. In these connective networks, that are dramaturgical, it
is usual to consider things and people as separate, their conjunction
considered after their distinction. We proposed instead the inseparability of people, things, values.”
EXPOSITION
“In the exposition, the playwright provides the
information required to evaluate the dramatic situation and to
understand the action to be presented. In classical dramaturgy, the
exposition (or protasis) tends to be concentrated at the beginning
of the play in the first act or opening scenes, and that is often to
be found in a narrative or ‘naïve’ exchange of information. In the
extreme case of analytical drama, which does not show the conflict
but rather presupposes it before proceeding to analyse its causes, the
entire text becomes an extended exposition.” (Patrice Pavis)
MASK-PERSONA The creation of masks can be considered as the first
attempt by ancient man to give shape to his/her innermost
visualisations and torments to surmount fear and regain security. The
masks used in religious rituals allowed a community to transgress
the ordinary and instill a symbolic dimension in the everyday. The
production of masks was a conscious effort and a result of collective
will. In order for a mask to be effective, it needed to be recognised
as such by all members of the community. Masking carries with
it a double notion of hiding and transforming identity. The Swiss
psychiatrist Carl Jung used persona – the Latin term for mask – to
27
�GLOSSARY
refer to our way of adjusting to the world. Likewise, the persona is
the mask that protects us not only from the other people behind the
masks, but also from our real self. According to American dance
critic Walter Sorell “theatricality in everyday life is close to the
idea of wearing a mask because of the private-public opposition, as
if we always put on a mask in public, as if we are always authentic
in the private. But we have seen that we are never free from acting
and performing, and that authenticity is a concept not applicable to
behaviour, it is destructive for the psyche and problematic for identity.”
RITUAL
Ritual in general, as defined by scholars Helen
Gilbert and Joanne Tompkins who work in the field of postcolonial drama and performance theory, comprises of a series/
routine of presentational acts (showing, telling, dancing, etc.) that
often incorporate the representational (imitation, impersonation),
and sometimes manifestational acts (usually through a spiritual
dimension) which transcend both; acts that are believed to be real
and not fictional, even if aspects of play are incorporated into the
ritual. They are performed by ‘knowledgeable human agents’ (priests,
diviners) and is always efficacious for the community and enacted for
a particular audience. Secular rituals, while not specifically religious,
invoke concepts such as the state, community and tradition while a
ritual conducted in private, such as an individual’s grooming routine,
bears significance as a means of defining oneself in relation to society.
According to French sociologist Émile Durkheim “Everything changes when a ceremony takes place (…) Once the individuals are gathered
together, a sort of electricity is generated from their closeness and
quickly launches them into an extraordinary height of exaltation (…)
Probably because a collective emotion cannot be expressed collectively
without some order that permits harmony and unison of movement,
[their] gestures and cries tend to fall into rhythm and regularity and
from there into songs and dances.”
28
PLAY
“We might call it a free activity standing quite
consciously outside ‘ordinary life’ as being ‘not serious,’ but at the
same time absorbing the player intensely and utterly.” asserted the
Dutch cultural theorist, Johan Huizinga. In performance studies, play
is recognised as the potency of uncertainty, one that emphasises on
innovation and creativity. ‘Play’ according to the French philosopher
Jacques Derrida relates to the play of elements within a paradigmatic
structure which makes impossible a single holistic meaning. The
term was used by Derrida to suggest certain looseness found within
structures of processes of signification, but also the type of amusement
associated with playfulness. Play in both senses invites those processes
of internal or self-reflexive critique that Derrida has practiced as
‘Deconstruction’. ‘Play’ refers to the impossibility of seeking a single
unified meaning in any given context, thus resulting in an acceptance
of the ambiguities and contradictions of human activities.
PROTAGONIST
“The term protagonist derives from the Greek
protos (first) and agon (struggle), meaning ‘first contestant’. The term
used to designate the leading actor in a Greek tragedy. By extension,
protagonist came to refer to the main character in a tragedy as well
as to the main actor. A character in opposition or in conflict with the
protagonist as character was thus the antagonist. In modern usage,
‘protagonist’ is used to refer to the central character in a play, the one
at the centre of the conflicts, and frequently the hero.” (Patrice Pavis)
STAGE
“In the theatre, in the cinema, in traditional
literature”, says Roland Barthes “things are always seen from
somewhere”. And when it comes to theatre what is at stake is thinking
and calculating about “the place of things as they are observed.” A
stage, continues Barthes, is the result of an act of cutting out, it is
a mode of representation: it frames a segment of the real in order
to depict it. In the traditional understanding, stage is an organized
arrangement of shapes and objects, colour and materials, filled
with signs and symbols, with the goal to convince the spectator
that the universe created is real. However avant-garde experiments
undermined the pictorial tradition of stage and explored various
approaches to the point where stage design and performance became
inseparable or enabled the actors and audience to share the same
space. In his writings, Antonin Artaud advocated that the action
should be decentralised, coming from all directions and breaking
any tangible barriers between actors and spectators: “We intend to
do away with stage and auditorium, replacing them with a kind of
single undivided locale without any partitions of any kind and this
will become the very scene of the action. […] The action will unfold,
extending its trajectory from floor to floor, from place to place, with
sudden outbursts flaring up in different spots like conflagrations.”
French playwright Simone Benmussa, in restaging and subverting the
conventions of a patriarchal theatre, associates the stage with dreams: “
Stage is the reflecting surface of a dream, of a deferred dream, it is the
meeting place of the desires… (that) create around them a nebulous
zone which allows the spectator to divine the other”
MISE-EN-SCÈNE The term staging or mise-en-scène concerns all
the resources of stage performance from décor to lighting, music
and acting. In a broad sense, staging is the act of transposing the
writing of the text into scenic performance experienced by the
spectators. Staging implies the subordination of each element as to
form a complete, organic structure. The mise-en-scène is significant
for Patrice Pavis for it is able to produce a work that generates its own
values and connections instead of representing an individual author/
director’s intention’s while for Antonin Artaud it is the language
of theatre, a complete aesthetic experience where music, props,
movement, gestures come together freeing the performance from the
domination of speech means: “This archetypal theatre language will
be formed around staging not simply viewed as one degree
of refraction of the script on stage, but as a starting point for
theatrical creation.”
THEATRE
“Theatre deals with the imaginary. In other words,
it makes use of a technique of constructing space, allowing subjects
to settle there: first the construction of physical space, and then
of psychological space.”(Josette Féral). The French philosopher,
Jean-Francois Lyotard called for an energetic theatre, a theatre not
of meanings, signs, but of intensities, forces - where the “gesture
of a clinched fist no longer represents the pain produced by a
toothache”, but it stands on its own. Theatre is no longer conceived
as a representational system; on the contrary it is grounded on
nihilism, on the impossibility of substitution. Replacement
functions as an act of displacement, a continuous move in various,
and often arbitrary directions. The phenomenological approach
by playwright and dramatic theorist Bert O. States sees theatre’s
primary accomplishment as not to represent the world but to be part
of it, to effect a ‘transaction between consciousness and the thickness
of existence’. Theatre is a place for the affirmative thinking of the
inherent process of alienation (as a Marxist category). Not in the
sense that it hints to a loss of origins, to the impossibility of return to
a specific source, but as a producer of a state of indifference towards
what is exchanged in the capitalist flow. Indifference makes possible
a non-hierarchical and discontinuous circulation that abolishes the
relationship between illusion and truth, outside and inside, cause and
effect, signifier and signified.
29
�THEORY and THEATRICALITY
GLOSSARY
VOICE
Nothing is closer to us than our voice. The voice
embodies pure presence; it is the counter-point of a mediated
experience: “I do not even have to speak to you, as long as I hear
myself. I do not even have to speak: I can sing, scream, mutter, speak
to myself in silence.” (Régis Durand). The sign of pure auto-affection,
the voice is self-sufficient, in its manifestation it doesn’t borrow from
outside itself. Elusive and passing, the voice does not leave any trace or
anything one could hold on to. As an expansion of the body the voice
gives expression to our fantasies and desires. Barthes speaks of “the
grain of the voice” in theatre as anterior to expression, an “erotic mix
30
of timbre and language”. It follows fantasy’s regressive journey to a
point of origins that of “first men”, asserts Durand before they became
enslaved by words, when they were “entirely immersed in the sense,
buffeted by passion, buried in the body”.
THEATRE OF THE WORLD and THEATRE STATE
“All the world’s a stage, and all the men and women merely
players: they have their exits and their entrances; and one man
in his time plays many parts, his acts being seven ages. (William
Shakespeare) The relationship between acting and society has been
explored since antiquity, finding new resonance in the last century.
Theatre theorist Josette Féral speaks of the ‘invisible theatre’ where she
suggests, given the right “perceptual dynamics”, of seeing and being
seen, theatrical mimesis can ‘happen’ anywhere or anytime. In the
last half century, the study of theatrical, symbolic and performative
elements of state power have been a subject of much scrutiny, with
American anthropologist Clifford Geertz’s work on the infusion of
theatre into life in Bali shaping the theorising of culture and political
science, the essential idea being that “the dramaturgy of power (is
not) external to its workings’. A parallel could be drawn with Artaud’s
own encounter with Balinese theatre revolutionising his own practice
before going on to influence much of Western theatre. Extending on
Geertz’s framework, political theorists Julia C. Strauss and Donald
B. Cruise O’ Brien, when conceiving of the politics of performance
via inflecting and the mirroring of theatrical terms in society, look at
staged ceremonies as a form of ritual, street demonstrations as theatre
and dramatic speech designed to engage the emotions as individual
performances, and how these modes of performance all require a
stage/platform, an audience and deal with some concerns akin to
those of theatre.
Artaud, Antonin.
(1993) The Theatre and its Double: Essays.
Montreuil; London: Calder.
Bakhtin, M. M. (Mikhail Mikhaĭlovich).
(1984) Rabelais and his World. Bloomington,
Ind.: Indiana University Press.
Barthes, Roland.
(1997) Image, Music, Text. New York: Hill
and Wang.
E. Durkheim.
(1995) The Elementary Forms of Religious Life.
New York: Free Press.
Kennedy, Dennis.
(2010) The Oxford Companion to Theatre and
Performance. Oxford; New York: Oxford
University Press.
Laver, James.
(1982) Costume and Fashions : a concise
History. London : Thames and Hudson.
Mirzoeff, Nicholas (ed.)
(2013), The Visual Culture Reader. London :
Routledge.
Murray, Timothy (ed.)
(1997), Mimesis, Masochism, and Mime :
the Politics of Theatricality in Contemporary
French Thought. Ann Arbor: University of
Michigan Press.
Pavis, Patrice.
(1998) Dictionary of the Theatre: Terms,
Concepts, and Analysis. Toronto : University
of Toronto Press.
Payne, Michael (ed.)
(1996), A Dictionary of Cultural and Critical
Theory. Oxford [England]; Cambridge, Mass:
Blackwell Publishers.
Puchner, Martin.
(2002) The Theater in Modernist Thought. In:
New Literary History, Vol. 33, No. 3, The
Book as Character, Composition, Criticism,
and Creation. [Online] pp. 521-532.
Turner, Cathy and Behrndt, Synne K.
(2008) Dramaturgy and Performance.
Basingstoke: Palgrave Macmillan.
Sorell, Walter.
(1973) The other Face: the Mask in the Art.
London : Thames and Hudson
Gilbert, Helen and Tompkins, Joanne.
(1996) Post-Colonial Drama: Theory, Practice,
Politics. London ; New York : Routledge.
Brecht, Bertolt.
(1949) A Short Organum for the Theatre.
[Online]
Cardullo, Bert. (ed.)
(1995) What is Dramaturgy? Bern;
Switzerland : Peter Lang.
Bial, Henry (ed.)
(2007) The Performance Studies Reader.
London ; New York : Routledge.
MacDonald, Erik.
(1993) Theater at the Margins: Text and the
Post-Structured Stage. Ann Arbor : University
of Michigan Press.
Pavis, Patrice.
(2012) Contemporary Mise en Scène: Staging
Theatre Today. London ; New York : Routledge.
Fortier, Mark.
(2002) Theory/Theatre: An Introduction.
London ; New York : Routledge.
Potolsky, Matthew.
(2006) Mimesis. London ; New York :
Routledge.
Rae, Paul.
(2004) “10/12”: When Singapore Became
the Bali of the 21st Century? In: focas: Forum
On Contemporary Art & Society, No. 5,
‘Second Front’. Singapore: Substation [Online]
pp. 218-255.
Geertz, Clifford.
(1980) Negara: The Theatre State in
Nineteenth-Century Bali. Princeton, N.J. :
Princeton University Press
Strauss, Julia C. and Cruise O’Brien, Donal B.
(2007) Staging Politics: Power and
Performance in Asia and Africa. London ;
New York : I.B. Tauris
31
LIST OF SOURCES/GLOSSARY
The theoretical reflection
shares a related etymology with theatrical spectatorship. Theatre
has evolved from the Greek word theatron that stands for a ‘place for
viewing’ whereas theory derives from theorein meaning to ‘gaze upon’.
Thea - the sense of ‘sight’ - is central to both theatre production and
theoretical investigation; Performance theoretician Herbert Blau once
said “Theatre is theory, or a shadow of it… In the act of seeing, there
is already theory,” the two meet in the act of contemplation. From
Plato to Hegel, from Nietzsche to Deleuze, there is a theoretical
tradition of thought manifested in strong fascination with theatre
and theatricality. One could even speak about a theatrical turn of
philosophy from the end of the nineteenth-century throughout the
twentieth-century of indicated for instance by the appropriation
of theatrical concepts such as ‘performance’, ‘performativity’,
‘theatricality’ by critical theory. Although this interaction remained
in a state of conflictual entanglement, theatrical theory and history
of theatre operated in close relationship and influenced each other to
the point that they cannot be conceived independently. The so-called
‘anti-theatrical prejudice’ rooted in Plato’s criticism was in fact a
rejection of the theatrical apparatus of representation which was later
on dismissed by the avant-garde theatre itself through the works of
Jarry, Artaud, Beckett and others.
�Centre for Contemporary Art Singapore
The Centre for Contemporary Art Singapore
(CCA) is a research centre of Nanyang
Technological University, developed with
support from the Economic Development
Board, Singapore. Located in Gillman Barracks
alongside a cluster of international galleries,
the CCA takes a holistic approach towards art
and culture, intertwining its various platforms:
exhibitions, research and residencies.
CCA GOVERNING COUNCIL
CCA STAFF
Co-Chairs
Professor Freddy Boey, Deputy President and Provost,
Nanyang Technological University (NTU)
Ms. Thien Kwee Eng, Assistant Managing Director (CG Consumer),
Singapore, Economic Development Board (EDB)
Professor Ute Meta Bauer, Founding Director
Michelle Goh, Deputy Director, Operations,
Development & Planning
Jasmaine Cheong, Assistant Director, Operations & HR
Mary Loo, Manager, Finance
Sheila Tham, Executive, Operations & HR
Anca Rujoiu, Curator, Exhibitions
Vera Mey, Curator, Residencies
Syaheedah Iskander, Assistant, Exhibitions
Shona Findlay, Assistant Residencies
Isrudy Shaik, Executive, Exhibitions & IT
Samantha Leong, Young Professional Trainee, Research
Kenneth Loe, Bernice Ong, Melvin Tan and Samantha
Yap, Curating Lab Interns
Members
Professor Alan Chan Kam-Leung, Dean,
College of Humanities, Arts & Social Sciences, NTU
Professor Dorrit Vibeke Sorensen, Chair,
School of Art, Design and Media, NTU
Associate Professor Kwok Kian Woon,
Associate Provost (Student Life), Presidents’ Office, NTU
Ms. Kow Ree Na, Director (Lifestyle), EDB
Dr. Eugene Tan, Director, National Gallery Singapore
Mr. Paul Tan, Deputy Chief Executive, National Arts Council
�LOCATION
Centre for Contemporary Art Singapore
CCA Exhibitions, Block 43, Malan Road, Singapore 109443
CCA Offices & Research Centre, Block 6, Lock Road, Singapore 108934
CCA Studios, Block 37 & 38, Malan Road, Singapore 109443
HOURS
CCA EXHIBITIONS
Free admission
Tue-Sun 12–7 pm
Fri
12–9 pm
Mon Closed
TOURS
We offer docent-led tours for groups and schools. All groups larger than
ten individuals and all school groups must make a reservation.
CONTACT
Singapore
Teachers’
Academy for
the Arts
Email ccaevents@ntu.edu.sg
CCA Offices
+65 66840998
CCA Exhibitions +65 63396503
Visit gillmanbarracks.com/cca to reserve a time slot.
For updates on exhibitions and public programmes, visit
www.gillmanbarracks.com/cca
Follow CCA on Facebook
www.facebook/CentreForContemporaryART
�
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
Resources
Exhibition Resource
Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc.
Short Description
Theatrical Fields Exhibition Guide
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>Theatrical Fields</i> Exhibition Guide
Description
An account of the resource
<i>Theatrical Fields</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-08-22
Contributor
An entity responsible for making contributions to the resource
Judith Barry
Stan Douglas
Joan Jonas
Isaac Julien
Eva Meyer
Eran Schaerf
Constanze Ruhm
Ute Meta Bauer
Anca Rujoiu
Format
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Guide
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Europe
Southeast Asia
North America
Subject
The topic of the resource
Embodiment
Experiential
Theatre
Ritual
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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
Intrigued by the fundamental elements of mutual respect and equal status that underlie practices of hospitality, Alecia Neo seeks to experiment with “acts of radical hospitality” to push forward a critical engagement with the culture of our time.
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
Alecia Neo
Description
An account of the resource
Intrigued by the fundamental elements of mutual respect and equal status that underlie practices of hospitality, Alecia Neo seeks to experiment with “acts of radical hospitality” to push forward a critical engagement with the culture of our time. Today, hospitality is mostly associated with the tourism industry and private etiquette but it can also be understood as a political practice whereby a community negotiates its identity and its relationship with “the others.” Engaging with diverse rituals of hospitality practiced in the region, the artist aims to understand how communities draw boundaries and connect with outsiders. During the residency, she will reach out to several individuals and groups and she will invite them to perform acts of sharing and exchange as a form of empowerment. Through observing and experimenting with these rituals, Neo aims to gain a better understanding of h ow hospitality may serve as a resource to establish forms of connectedness across different communities
Date
A point or period of time associated with an event in the lifecycle of the resource
1 October 2019 – 28 April 2020
Contributor
An entity responsible for making contributions to the resource
Alecia Neo
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Photography
Video
Subject
The topic of the resource
Ritual
Ecosystems
-
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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
While in residence, anGie seah will investigate this ineffable expression into a series of expressive notions; creating moments in curious site-specific rituals and making instructional tools and activities for uplifting purposes.
Cycle
Cycle 2 (2015 – 2016)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
anGie seah
Description
An account of the resource
While in residence, anGie seah will investigate this ineffable expression into a series of expressive notions; creating moments in curious site-specific rituals and making instructional tools and activities for uplifting purposes. Her research will focus on reflecting upon existential questions on the meaning of fear, death, loss and being human. Fascinated by the splendour of the everyday and against all the depressing and chaotic evidence to the contrary, Seah will investigate intrinsic values of living.
Date
A point or period of time associated with an event in the lifecycle of the resource
17 August – 18 December 2015
Contributor
An entity responsible for making contributions to the resource
anGie seah
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Drawing
Installation
Performance
Sound
Subject
The topic of the resource
Ritual
Performance
-
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908c7536d6eb235a8036141217881f2f
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
-
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
Holzfeind is interested in architectural and social utopias that create an alternative living. She documents the shamanistic rituals of the Japanese improvisation/noise duo IRO, Toshio and Shizuko Orimo, in what they call “Punk Kagura”—in reference to Kagura, a ritual dance tradition and music for the gods.
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/472062205">https://vimeo.com/472062205</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
472062205
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
Film Introduction: the time is now. (I+II) by Dr Ella Raidel<br /><br />Trinh T. Min-ha. Films.<br />Online Film Programme: Speaking/Thinking Nearby
Description
An account of the resource
1 – 14 November 2020 the time is now. (I+II), Heidrun Holzfeind, 2019 Colour, sound, 48 min Rating: PG <br /><br />Holzfeind is interested in architectural and social utopias that create an alternative living. She documents the shamanistic rituals of the Japanese improvisation/noise duo IRO, Toshio and Shizuko Orimo, in what they call “Punk Kagura”—in reference to Kagura, a ritual dance tradition and music for the gods. Holzfeind uses a visual language that adapts their mystical rituals: breaks in image; the colour and narrative corresponding with the soundscape; the modernist architecture of Takamasa Yosizaka; and the surrounding nature in which the duo performs a choreography for healing our damaged planet. The urgency is underlined in the title the time is now.
Date
A point or period of time associated with an event in the lifecycle of the resource
1 - 14 November 2020
Contributor
An entity responsible for making contributions to the resource
Heidrun Holzfeind
Ella Raidel
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
Subject
The topic of the resource
Ritual
Mythology
Performance
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
The last talk on Theatrical Fields is led by Ute Meta Bauer and Anca Rujoiu. This is an opportunity to for audiences to know more about the exhibition framework and the use of theatricality as an artistic and curatorial tool.
Programme Type
Talk and Lecture
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
Yes
Commissioned Work
No
Education
No
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
Curatorial Tour with Ute Meta Bauer and Anca Rujoiu
Description
An account of the resource
<span>31 Oct 2014, Fri 7:30pm - 9:00pm</span><br /><br />The last talk on <i>Theatrical Fields </i>is led by NTU CCA Founding Director Ute Meta Bauer and Curator of Exhibitions, Anca Rujoiu. This is an opportunity to for audiences to know more about the exhibition framework and the use of theatricality as an artistic and curatorial tool. The tour will be structured around a glossary of concepts such as ‘play’, ‘ritual’, ‘mask’, ‘choreography’ that stemmed out of the works in the exhibition.<br /><br />A public programme of <em>Theatrical 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
2014-10-31
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Anca Rujoiu
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Europe
Southeast Asia
Subject
The topic of the resource
Theatre
Ritual
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Screening
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Short Description
Screening of Night Fishing and Manshin: Ten Thousand Spirits
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
Screening of Night Fishing by Park Chan-kyong & Park Chan-wook and Manshin: Ten Thousand Spirits by Park Chan-Kyong (South Korea)
Description
An account of the resource
<div class="event_single_dates text__exhibitions">12 Feb 2016, Fri 7:30pm - 10:00pm</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<b><i><br /></i></b><i>Night Fishing</i>, 2011, 33 min, Korean with English subtitles <br />In Night Fishing a man casually sets up for a fishing trip at the water’s edge. Evening comes and a tug on his line presents him with the body of a woman. While he tries to disentangle himself from the fishing lines, she comes alive. The scene changes and the woman is now a shaman priestess in a funeral ritual for a man who drowned in a river. He speaks through her to his relatives, asking for forgiveness. <br /><br /><i>Manshin: Ten Thousand Spirits</i>, 2013, 104 min, Korean with English subtitles <br />Manshin: Ten Thousand Spirits is a documentary telling the story of a woman who — shunned for being possessed by spirits as a girl and oppressed for following superstitions as an adult — grew up to be Korea’s greatest shaman, and is now honoured as a national treasure. <br /><br />This screening is part of the Education and Public Programme of <em>Joan Jonas: They Come to Us without a Word.</em>
Date
A point or period of time associated with an event in the lifecycle of the resource
2016-02-12
Contributor
An entity responsible for making contributions to the resource
Park Chan-kyong
Park Chan-wook
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
Subject
The topic of the resource
Supernatural
Ritual
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
In the course of the (de)Tour, Dean will elaborate on how Chinese religion deals with ghosts through rituals and traditions.
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Programme Type
Talk and Lecture
Audience
General
Programme Series
Exhibition (de)Tour
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
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
Exhibition (de)Tour with Kenneth Dean, Head of Chinese Studies Department, National University of Singapore (United States/Singapore)
Description
An account of the resource
<div class="event_single_dates text__exhibitions">30 Mar 2016, Wed 7:30pm - 9:00pm</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br />Kenneth Dean will confront questions like “What happens in the afterlife?” “Do ghosts get bored and lonely?” and “Can we plan what happens to our spirits when we die?” In the course of the <i>(de)Tour</i>, Dean will elaborate on how Chinese religion deals with ghosts through rituals and traditions. <br /><br />This Exhibition (de)Tour is part of the Education and Public Programme of Joan Jonas: <i>They Come to Us without a Word</i>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2016-03-30
Contributor
An entity responsible for making contributions to the resource
Kenneth Dean
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
Subject
The topic of the resource
Ritual
Tradition
Supernatural