Premier Screening: Tuesday 11 October, 7:00pm-8:30pm
The screening will be followed by a conversation between the artist Tekla Aslanishvili, artistic-scientific collaborator Dr. Evelina Gambino and Assistant Professor Dr. Marc Gloede, School of Art, Design and Media, NTU, Singapore.
The welcome will be given by Ute Meta Bauer, Professor, School of Art, Design and Media, and Founding Director, NTU Centre for Contemporary Art Singapore, and Dr. Karin Oen, Senior Lecturer and Head of Department, Art History, NTU School of Humanities.
A State in a State is the result of Aslanishvili winning the Han Nefkens Foundation – Fundació Antoni Tàpies Video Art Production Grant 2020, in collaboration with Jameel Art Centre, Dubai; the Museum of Contemporary Art and Design in Manila; NTU CCA Singapore and WIELS, Brussels. The Award appraises the work of emerging artists aged 40 and under, who live in West or Central Asia and have established a solid trajectory but not yet received recognition by international art institutions.
Aslanishvili was selected by an international jury, including NTU CCA Singapore’s Founding Director Ute Meta Bauer and former Deputy Director of Curatorial Programmes, Dr Karin Oen, for her body of meticulously researched work and her commitment to exploring a specific geopolitical context, whilst connecting to a wider discourse on the impact of extractivist economies on a planetary scale.
Revolving around the scenes of delay and waiting that constitute cargo mobility, the film reads the optimistic narratives about the New Silk Road against the grain. It observes how the iron foundation of connectivity can be used as a weapon of exclusion and geopolitical sabotage. Dotting the same lines, other forms of sabotage are deployed by workers to disrupt the political violence. Looking at historic and current practices of resistance, A State in a State explores the potential of railroads for building a different, infrastructural consciousness, and the lasting transnational kinship among the people who live and work around them
The film is developed in artistic-scientific collaboration with Dr. Evelina Gambino, Margaret Tyler Research Fellow in Geography at Girton College, University of Cambridge.
Research & Script: Tekla Aslanishvili / Evelina Gambino
Music: Ani Zakareishvili / Nika Pasuri
Cinematography: Nikoloz Tabukashvili / Tekla Aslanishvili
Typography: Dato Simonia
Editing: Tekla Aslanishvili
Sound: Viktor Bone / Irakli Shonia
Color: Sally Shamas
A State in a State will be also presented at the Fundació Antoni Tàpies in Barcelona from October 8th till November 27th.
]]>11 Oct 2022, Tue – 6 Nov 2022, Sun
The Screening Room, Block 38 Malan Road, #01-06
12 pm – 7pm, every day except Monday
Film starts every hour
Premier Screening: Tuesday 11 October, 7:00pm-8:30pm
The screening will be followed by a conversation between the artist Tekla Aslanishvili, artistic-scientific collaborator Dr. Evelina Gambino and Assistant Professor Dr. Marc Gloede, School of Art, Design and Media, NTU, Singapore.
The welcome will be given by Ute Meta Bauer, Professor, School of Art, Design and Media, and Founding Director, NTU Centre for Contemporary Art Singapore, and Dr. Karin Oen, Senior Lecturer and Head of Department, Art History, NTU School of Humanities.
A State in a State is the result of Aslanishvili winning the Han Nefkens Foundation – Fundació Antoni Tàpies Video Art Production Grant 2020, in collaboration with Jameel Art Centre, Dubai; the Museum of Contemporary Art and Design in Manila; NTU CCA Singapore and WIELS, Brussels. The Award appraises the work of emerging artists aged 40 and under, who live in West or Central Asia and have established a solid trajectory but not yet received recognition by international art institutions.
Aslanishvili was selected by an international jury, including NTU CCA Singapore’s Founding Director Ute Meta Bauer and former Deputy Director of Curatorial Programmes, Dr Karin Oen, for her body of meticulously researched work and her commitment to exploring a specific geopolitical context, whilst connecting to a wider discourse on the impact of extractivist economies on a planetary scale.
Revolving around the scenes of delay and waiting that constitute cargo mobility, the film reads the optimistic narratives about the New Silk Road against the grain. It observes how the iron foundation of connectivity can be used as a weapon of exclusion and geopolitical sabotage. Dotting the same lines, other forms of sabotage are deployed by workers to disrupt the political violence. Looking at historic and current practices of resistance, A State in a State explores the potential of railroads for building a different, infrastructural consciousness, and the lasting transnational kinship among the people who live and work around them
The film is developed in artistic-scientific collaboration with Dr. Evelina Gambino, Margaret Tyler Research Fellow in Geography at Girton College, University of Cambridge.
Research & Script: Tekla Aslanishvili / Evelina Gambino
Music: Ani Zakareishvili / Nika Pasuri
Cinematography: Nikoloz Tabukashvili / Tekla Aslanishvili
Typography: Dato Simonia
Editing: Tekla Aslanishvili
Sound: Viktor Bone / Irakli Shonia
Color: Sally Shamas
A State in a State will be also presented at the Fundació Antoni Tàpies in Barcelona from October 8th till November 27th.
The documentary film Three Sisters tells the story of Ying (10 years old), Zhen (6 years old) and Fen (4 years old) who live alone and in extreme poverty in the high mountains of the Yunnan region. The father works in the town a few hundred kilometers away and the mother has left long ago. The little girls spend their days working in the fields or wandering in the village. Through Wang’s compassionate eye, the daily struggle of the villagers is captured, testifying to the inequality and unfairness present in the midst of the country’s economic boom.
This screening is part of the public programme of Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s.
The documentary film Three Sisters tells the story of Ying (10 years old), Zhen (6 years old) and Fen (4 years old) who live alone and in extreme poverty in the high mountains of the Yunnan region. The father works in the town a few hundred kilometers away and the mother has left long ago. The little girls spend their days working in the fields or wandering in the village. Through Wang’s compassionate eye, the daily struggle of the villagers is captured, testifying to the inequality and unfairness present in the midst of the country’s economic boom.
This screening is part of the public programme of Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s.
Reflecting on Mao’s famous saying, “Let a hundred flowers blossom and a hundred schools of thought contend”, Trinh T. Minh-ha’s film—whose title refers in part to a Chinese guessing game—is a unique excursion into the maze of allegorical naming and storytelling in China. The film ponders questions of power and change, politics and culture, as refracted by Tiananmen Square events. It offers at the same time an inquiry into the creative process of filmmaking, intricately layering Chinese popular songs and classical music, the sayings of Mao and Confucius, women’s voices and the words of artists, philosophers, and other cultural workers. Video images emulate the gestures of calligraphy and contrast with film footage of rural China and stylised interviews. Like traditional Chinese opera, Trinh’s film unfolds through “bold omissions and minute depictions” to render “the real in the illusory and the illusory in the real.” Exploring color, rhythm and the changing relationship between ear and eye, this meditative documentary realises on screen the shifts of interpretation in contemporary Chinese culture and politics.
This Screening is part of the public programme of Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s.
Reflecting on Mao’s famous saying, “Let a hundred flowers blossom and a hundred schools of thought contend”, Trinh T. Minh-ha’s film—whose title refers in part to a Chinese guessing game—is a unique excursion into the maze of allegorical naming and storytelling in China. The film ponders questions of power and change, politics and culture, as refracted by Tiananmen Square events. It offers at the same time an inquiry into the creative process of filmmaking, intricately layering Chinese popular songs and classical music, the sayings of Mao and Confucius, women’s voices and the words of artists, philosophers, and other cultural workers. Video images emulate the gestures of calligraphy and contrast with film footage of rural China and stylised interviews. Like traditional Chinese opera, Trinh’s film unfolds through “bold omissions and minute depictions” to render “the real in the illusory and the illusory in the real.” Exploring color, rhythm and the changing relationship between ear and eye, this meditative documentary realises on screen the shifts of interpretation in contemporary Chinese culture and politics.
This Screening is part of the public programme of Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s.
Ottinger portrays particular characters, sometimes with their families, and documents gatherings, offerings, songs, dances, professions. The camera dwells on the different moments, mostly rendering the scene in real time and conveying a sense of being there. As we accompany the nomads preparing to move to their winter camp, or visit the children on their first day of school, we get familiar not only with the startling landscapes, but most importantly with the way of living of these nomadic peoples, their relationship to each other, to the animals, and to the land.
This screening is specially arranged to provide the opportunity for the audience to experience the work as a full film instead of the divided version installed in the exhibition space.
Presented on the occasion of Art Day Out x School Holidays at Gillman Barracks.
A public programme of Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s.Ottinger portrays particular characters, sometimes with their families, and documents gatherings, offerings, songs, dances, professions. The camera dwells on the different moments, mostly rendering the scene in real time and conveying a sense of being there. As we accompany the nomads preparing to move to their winter camp, or visit the children on their first day of school, we get familiar not only with the startling landscapes, but most importantly with the way of living of these nomadic peoples, their relationship to each other, to the animals, and to the land.
This screening is specially arranged to provide the opportunity for the audience to experience the work as a full film instead of the divided version installed in the exhibition space.
Presented on the occasion of Art Day Out x School Holidays at Gillman Barracks.
A public programme of Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s.This screening is specially arranged to provide the opportunity for the audience to experience the work as a full film instead of the divided version installed in the exhibition space.
This screening is a public programme of Ulrike Ottinger: China.The Arts – The People, Photographs and Films from the 1980s and 1990s.This screening is specially arranged to provide the opportunity for the audience to experience the work as a full film instead of the divided version installed in the exhibition space.
This screening is a public programme of Ulrike Ottinger: China.The Arts – The People, Photographs and Films from the 1980s and 1990s.This Screening is part of the public programme of Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s.
This Screening is part of the public programme of Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s.
Saturday, 18 November 2017, 12.00 – 7.30pm
Film and Cinema as Ghost
Short films, 12.00 – 1.15pm
Straight 8, Ayisha Abrahams, India, 2005, 17 min
Imaginati, akumassa, Indonesia, 2013, 13 min
A Presentation By Proxy, Erika Tan, UK, 2014, 21 min
Horor Satu Menit / One Minute Horror, Otty Widasari, Indonesia, 2005, 1 min
Mesures et Démesures, Angela Su, Hong Kong, 2015, 6 min
History is a Silent Film, K. M. Madhusudhanan, India, 2007, 17 min
Conversation, 1.15 – 1.35pm
Feature film: 1.35 – 3.00pm
People Power Bombshell: The Diary of Vietnam Rose 89’, John Torres, Philippines, 2016, 89 min
Acting and Re-enacting
Short films, 3.00 – 4.15pm
4×4 — Episodes of Singapore Art: Episode 3 — Tang Da Wu, The Most Radical Art Gesture, Ho Tzu Nyen, Singapore, 2005, 23 min
On the Origin of Fear, Bayu Prihantoro Filemon, Indonesia, 2016, 12 min
The History of Riots (The DJ), Lee Kai Chung, Hong Kong, 2013, 7 min
The Educational System of an Empire, Hikaru Fujiii, Japan, 2016, 21 min
Portrait of a Young Samurai, Meiro Koizumi, Japan, 2009, 10 min
Conversation, 4.15 – 4.35pm
Feature film, 4.35 – 7.30pm
Shakespeare Must Die, Ing K, Thailand, 2012, 176 min
Sunday, 19 November 2017, 12.00 – 7.00pm
Histories Turning Ghosts
Short films, 12.00 – 1.25pm
The Impossibility of Knowing, Tan Pin Pin, Singapore, 2010, 12 min
A Brief History of Memory, Chulayarnnon Siriphol, Thailand, 2010, 14 min
The War That Never Was, Chien-Chi Chang, Taiwan/Austria, 2017, 16 min
Landscape Series #1, Nguyen Trinh Thi, Vietnam, 2013, 5 min
Monologue, Vandy Rattana, Cambodia, 2015, 20 min
A Ripe Volcano, Taiki Sakpisit, Thailand, 2011, 16 min
Sukati / A Tale of Heaven, Phuttiphong Aroonpheng, Thailand, 2010, 6 min
Conversation, 1.25 – 1.45pm
Feature film, 1.45 – 3.30pm
Snakeskin, Daniel Hui, Singapore/Portugal, 2014, 105 min
Rituals
Short films, 3.30 – 5.25pm
Anito, Martha Atienza, Philippines, 2012, 8 min
Vakratunda Swaha, Ashish Avikunthak, India, 2010, 21 min
Off Takes, Hao Jingban, China, 2016, 22 min
Ashura, Köken Ergun, Turkey, 2013, 25 min
Naptwe, the feast of the spirits, Tiane Doan na Champassak and Jean Dubrel, France, 2012, 31 min
Spring Comes Winter After, Nguyen Trinh Thi, Vietnam, 2008, 5 min
Conversation, 5.25 – 5.45pm
Feature film, 5.45 – 7.00pm
Foreign Sky, Soni Kum, Korea/Japan, 2005, 70 min
A public programme of Ghosts and Spectrres – Shadows of History.
Saturday, 18 November 2017, 12.00 – 7.30pm
Film and Cinema as Ghost
Short films, 12.00 – 1.15pm
Straight 8, Ayisha Abrahams, India, 2005, 17 min
Imaginati, akumassa, Indonesia, 2013, 13 min
A Presentation By Proxy, Erika Tan, UK, 2014, 21 min
Horor Satu Menit / One Minute Horror, Otty Widasari, Indonesia, 2005, 1 min
Mesures et Démesures, Angela Su, Hong Kong, 2015, 6 min
History is a Silent Film, K. M. Madhusudhanan, India, 2007, 17 min
Conversation, 1.15 – 1.35pm
Feature film: 1.35 – 3.00pm
People Power Bombshell: The Diary of Vietnam Rose 89’, John Torres, Philippines, 2016, 89 min
Acting and Re-enacting
Short films, 3.00 – 4.15pm
4×4 — Episodes of Singapore Art: Episode 3 — Tang Da Wu, The Most Radical Art Gesture, Ho Tzu Nyen, Singapore, 2005, 23 min
On the Origin of Fear, Bayu Prihantoro Filemon, Indonesia, 2016, 12 min
The History of Riots (The DJ), Lee Kai Chung, Hong Kong, 2013, 7 min
The Educational System of an Empire, Hikaru Fujiii, Japan, 2016, 21 min
Portrait of a Young Samurai, Meiro Koizumi, Japan, 2009, 10 min
Conversation, 4.15 – 4.35pm
Feature film, 4.35 – 7.30pm
Shakespeare Must Die, Ing K, Thailand, 2012, 176 min
Sunday, 19 November 2017, 12.00 – 7.00pm
Histories Turning Ghosts
Short films, 12.00 – 1.25pm
The Impossibility of Knowing, Tan Pin Pin, Singapore, 2010, 12 min
A Brief History of Memory, Chulayarnnon Siriphol, Thailand, 2010, 14 min
The War That Never Was, Chien-Chi Chang, Taiwan/Austria, 2017, 16 min
Landscape Series #1, Nguyen Trinh Thi, Vietnam, 2013, 5 min
Monologue, Vandy Rattana, Cambodia, 2015, 20 min
A Ripe Volcano, Taiki Sakpisit, Thailand, 2011, 16 min
Sukati / A Tale of Heaven, Phuttiphong Aroonpheng, Thailand, 2010, 6 min
Conversation, 1.25 – 1.45pm
Feature film, 1.45 – 3.30pm
Snakeskin, Daniel Hui, Singapore/Portugal, 2014, 105 min
Rituals
Short films, 3.30 – 5.25pm
Anito, Martha Atienza, Philippines, 2012, 8 min
Vakratunda Swaha, Ashish Avikunthak, India, 2010, 21 min
Off Takes, Hao Jingban, China, 2016, 22 min
Ashura, Köken Ergun, Turkey, 2013, 25 min
Naptwe, the feast of the spirits, Tiane Doan na Champassak and Jean Dubrel, France, 2012, 31 min
Spring Comes Winter After, Nguyen Trinh Thi, Vietnam, 2008, 5 min
Conversation, 5.25 – 5.45pm
Feature film, 5.45 – 7.00pm
Foreign Sky, Soni Kum, Korea/Japan, 2005, 70 min
A public programme of Ghosts and Spectrres – Shadows of History.
The Mad Masters, Jean Rouch, France, 1955, 36 min
For Jean Rouch’s landmark film The Mad Masters, the French filmmaker himself coined the term “ethnofiction” due to the blending of both documentary and fictional aspects. Rouch takes his viewers to the city of Accra (West Africa) where he follows the Hauka movement and their religious and ritual proceedings, consisting of mimicry and dancing to become possessed by British Colonial administrators. The work caused a highly political debate since on one hand it was considered offensive to colonial authorities because of the Africans’ blatant attempts to mimic and mock the “white oppressors” and, on the other hand, African students, teachers, and directors found the film to perpetrate an “exotic racism” of the African people. An outstanding film that until today is one of the classics to be revisited and discussed.
Divine Horsemen: The Living Gods of Haiti, Maya Deren, United States, 1985, 52 minThe Mad Masters, Jean Rouch, France, 1955, 36 min
For Jean Rouch’s landmark film The Mad Masters, the French filmmaker himself coined the term “ethnofiction” due to the blending of both documentary and fictional aspects. Rouch takes his viewers to the city of Accra (West Africa) where he follows the Hauka movement and their religious and ritual proceedings, consisting of mimicry and dancing to become possessed by British Colonial administrators. The work caused a highly political debate since on one hand it was considered offensive to colonial authorities because of the Africans’ blatant attempts to mimic and mock the “white oppressors” and, on the other hand, African students, teachers, and directors found the film to perpetrate an “exotic racism” of the African people. An outstanding film that until today is one of the classics to be revisited and discussed.
Divine Horsemen: The Living Gods of Haiti, Maya Deren, United States, 1985, 52 min