<p class="event_single_title">Art Day Out at Gillman Barracks, Saturday 25 July</p>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Artistic+Research">Artistic Research</a>
<span>25 Jul 2015, Sat 11:00am - 9:00pm</span><br /><br />For this special day event at Gillman Barracks, NTU CCA Singapore has put together a line-up of programmes encompassing open studios, film screenings and performances.<br /><br />Residencies: <em>OPEN</em><br /><p>NTU CCA Singapore, <em>Studios</em>, Block 37 & 38 Malan Road, 11.00am – 3.00pm</p>
<p>Featuring Artists-in-Residence, <strong>Yason Banal</strong> (The Philippines), <strong>Bani Haykal</strong> (Singapore), <strong>Amanda Heng</strong> (Singapore), <strong>Alex Murray-Leslie</strong> (Australia), <strong>Gary Ross Pastrana</strong> (The Philippines), <strong>Jeremy Sharma</strong> (Singapore), <strong>Shooshie Sulaiman</strong> (Malaysia) and <strong>Erika Tan</strong> (Singapore).</p>
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<p>For this special day event at Gillman Barracks, NTU CCA Singapore has put together a line-up of programmes encompassing open studios, film screenings and performances. For full details of Art Day Out, visit <a href="http://www.gillmanbarracks.com/">www.gillmanbarracks.com.</a></p>
<p><strong>Residencies: <em>OPEN</em></strong><br />NTU CCA Singapore, <em>Studios</em>, Block 37 & 38 Malan Road, 11.00am – 3.00pm</p>
<p>Featuring Artists-in-Residence, Yason Banal (The Philippines), Bani Haykal (Singapore), Amanda Heng (Singapore), Alex Murray-Leslie (Australia), Gary Ross Pastrana (The Philippines), Jeremy Sharma (Singapore), Shooshie Sulaiman (Malaysia) and Erika Tan (Singapore).</p>
<p><strong>Artist Resource Platform</strong><br /><em>The Seminar Room</em>, Block 43 Malan Road, 11.00am – 9.00pm</p>
<p>Highlights include selected documentation from NTU CCA Singapore’s residencies.</p>
<p><strong>Film Screenings in collaboration with the Asian Film Archive</strong><br /><em>The Single Screen</em>, Block 43 Malan Road</p>
<p><em>Punggok Rindukan Bulan</em> (This Longing) by Azharr Rudin (Malaysia), 12.30pm – 2.30pm<br /><em>Return to Burma</em> by Midi Z (Myanmar/Taiwan), 7.30pm – 9.00pm</p>
<p><strong>Erika Tan, Halimah-the-Empire-Exhibition-weaver-who-died-whilst-performing-her-craft</strong><br /><em>The Lab</em>, Block 43 Malan Road, 3.00pm – 4.30pm</p>
<p>Live “broadcast” debate</p>
<p><em><strong>Special Project: Faculty of Listening</strong></em>, Bani Haykal – Performance #2<br />Block 38 Malan Road, #01-07, 5.00 – 7.00pm</p>
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2015-07-25
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Yason+Banal">Yason Banal</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bani+Haykal">Bani Haykal</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Amanda+Heng">Amanda Heng</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Alex+Murray+Leslie">Alex Murray Leslie</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Gary+Ross+Pastrana">Gary Ross Pastrana</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jeremy+Sharma">Jeremy Sharma</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Shooshie+Sulaiman">Shooshie Sulaiman</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Erika+Tan">Erika Tan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asian+Film+Archive">Asian Film Archive</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<p class="event_single_title">Curator as X: the in between moments, Lecture and Screening by Li Zhenhua (China), in conversation with Dr. Marc Glöde (Germany)</p>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Curatorial+Practice">Curatorial Practice</a>
<div class="event_single_dates text__research">1 Apr 2016, Fri 7:30pm - 9:00pm</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br />Assuming that a curator can be the artist, collector, writer and producer at the same time, one poses questions like why and what do we curate when we curate? Curator Li Zhenhua considers curating a temporary position in the arts, bringing together different approaches to artists’ works providing new points of entry through different forms of inquiry and research. The lecture and screening will be followed by a conversation between Li Zhenhua and NTU CCA Singapore Visiting Research Fellow Dr. Marc Glöde.
2016-04-01
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Li+Zhenhua">Li Zhenhua</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marc+Gl%C3%B6de">Marc Glöde</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marc+Glode">Marc Glode</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
<p class="event_single_title">Residencies Insights: Video Trilogy (2004-2006)<i>,</i> Screening and Q&A by Artist-in-Residence, Haegue Yang (South Korea)</p>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Fiction">Fiction</a>
<div class="event_single_dates text__residencies">6 Apr 2016, Wed 7:30pm - 9:00pm</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br />Compared to the abstract language and referential contexts behind Artist-in-Residence Haegue Yang’s installative sculptures, her video works reveal a directly narrative approach. Consisting of diaristic video essays of seemingly insignificant city scenes, <i>Video Trilogy: Unfolding Places (2004), Restrained Courage (2004) and Squandering Negative Spaces</i> (2006) contemplates upon sentiments of solitude and vulnerability. While the intimate yet incongruous voice-over monologue unfolds episodes of failed interactions and observations of everyday life, Video Trilogy evokes a deeply intimate sense of place, where the artist binds together the mundane and the poetic through the artists’ subtle interventions such as displaced origami and autonomous manifestations of light. The screening will be followed by a Q&A with the artist.
2016-04-06
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Haegue+Yang">Haegue Yang</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
<p class="event_single_title">Screening of selected films by Mark Nash, curator, writer, Visiting Associate Professor at NTU CCA Singapore and the School of Art, Design and Media Nanyang Technological University (United Kingdom/Singapore)</p>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Performance">Performance</a>
<div class="event_single_dates text__research">18 Mar 2016, Fri 7:30pm - 10:00pm</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<p><span style="text-decoration:underline;"><em><br />Lives of Performers </em>by Yvonne Rainer, USA, 1972, 90 min, English</span><br /><em>Lives of Performers</em>, the first feature film by the choreographer and co-founder of the Judson Dance Theater Yvonne Rainer, explores the overlapping and at times, disjunctive languages of cinema and performance. Developed from a dance performance choreographed by Rainer, it plays with generic conventions of melodrama to explore the dilemmas of women struggling to define themselves in relation to masculinist scripts.</p>
<p><span style="text-decoration:underline;"><em>Wind</em>, Joan Jonas, USA, 1968, 5.37 min, Silent</span><br /><em>Wind</em> is a 1968 performance film. Cutting between snowy fields and a raw seashore, Jonas focuses on a group of performers moving through a windswept landscape. The 16mm film — silent, black and white, jerky, and sped-up — evokes early cinema, while its content locates it in the spare minimalism of the late 1960s.</p>
<p><span><span style="text-decoration:underline;"><em>Duet</em>, Joan Jonas, USA, 1968, 4.25 min. English</span><br /></span><em>Duet</em> is a classic early video performance. In this seminal exploration of the phenomenology of video as a mirror and as “reality,” Jonas, face-to-face with her own recorded image, performs a duet with herself.</p>
<span>This screening is part of the Education and Public Programme of </span>Joan Jonas: <em>They Come to Us without a Word</em>.
2016-03-18
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mark+Nash+">Mark Nash </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=North+America">North America</a>
<span>NTU CCA Ideas Fest 2020: Lecture Screenings by </span><strong>Kunlé Adeyemi</strong><span>, </span><strong>Eleena Jamil</strong><span>, and </span><strong>Bouchra Khalili</strong><span> on the poetics of migration</span>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Migration">Migration</a>
NTU Centre for Contemporary Art Singapore and the New Museum are pleased to announce participants and collaborators for the second edition of the NTU CCA Ideas Fest, IdeasCity Singapore, guest-curated by IdeasCity, taking place in Singapore and across Southeast Asia from February 15 to 22, 2020. <br /><br />Building upon the NTU CCA Singapore’s research theme Climates. Habitats. Environments. and IdeasCity’s exploration of the role of art and culture beyond the walls of the museum, IdeasCity Singapore’s residency and public program will examine the urgency of solidarity structures in negating climate change and its impact on Southeast Asia and communities worldwide.
2020-02-22
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kunl%C3%A9+Adeyemi">Kunlé Adeyemi</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Eleena+Jamil">Eleena Jamil</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bouchra+Khalili">Bouchra Khalili</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
A Convening: Mother Always has a Mother
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Identity">Identity</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=History">History</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Diaspora">Diaspora</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Migration">Migration</a>
In “Grandma’s Story,” the last chapter of artist, filmmaker and theorist Trinh T. Minh-ha’s Woman, Native, Other (1989), she writes that, “The story depends upon every one of us to come into being. It needs us all, needs our remembering, understanding, and creating what we have heard together to keep on coming into being.” <br /><br />Co-presented by NTU CCA Singapore, the CCA Wattis Institute for Contemporary Arts, and Rockbund Art Museum, this convening builds upon the idea of a multiplicity of storytellers and intergenerational, intercultural linkages in art, activism, stories, and histories. A two-part programme, the first segment involves a conversation between artists Hồng-Ân Trương and Ranu Mukherjee (both United States), reflecting on the Wattis’ year-long research season on the practice of Trinh T. Minh-ha. The conversation will close by screening video artworks by Ranu Mukherjee, 0rphan drift, and Genevieve Quick (United States), then the convening flows into a panel discussion with short presentations by Jungmin Choi (Korea), Eunsong Kim (United States), Green Zeng (Singapore) and Billy Tang (United Kingdom/China), exploring intergenerational dialogues, transnational and diasporic identities, and activism in creative practice and public life.<br /><p>10.00 – 11.00am<br /><strong>In Conversation: Hồng-Ân Trương</strong> (United States) and <strong>Ranu Mukherjee</strong> (United States), moderated by <strong>Kim Nguyen</strong> (Canada/United States)</p>
<p>11.00 – 11.20am<br /><strong>Video Art Screenings: <em>Home and the World</em></strong> (2015) and <em><strong>Dear Future</strong></em> (2020) by <strong>Ranu Mukherjee</strong>(United States), <em><strong>IF AI / AIBOHPORTSUALC</strong></em> (2020) by <strong>0rphan drift</strong> (Ranu Mukherjee and Maggie Roberts), and <em><strong>Planet Celadon: Operation Completed</strong></em> (2020) by <strong>Genevieve Quick</strong> (United States)</p>
<p>11.30am – 1.00pm<br /><strong>Panel Discussion: </strong><em><strong>The Welling Up and the Very Coursing of Water: On the Transnational, the Transgenerational, and the Diasporic</strong></em><br />Moderators: <strong>Kim Nguyen </strong>and<strong> Dr Karin Oen</strong> (United States/Singapore)<br />Panelists: <strong>Jungmin Choi</strong> (Korea), <strong>Eunsong Kim</strong> (Korea/United States), and <strong>Green Zeng</strong> (Singapore)<br />Respondent: <strong>Billy Tang</strong> (United Kingdom/China)</p>
2020-12-12
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=H%E1%BB%93ng-%C3%82n+Tr%C6%B0%C6%A1ng">Hồng-Ân Trương</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ranu+Mukherjee">Ranu Mukherjee</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kim+Nguyen">Kim Nguyen</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Genevieve+Quick">Genevieve Quick</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Karin+Oen">Karin Oen</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Eunsong+Kim">Eunsong Kim</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jungmin+Choi+">Jungmin Choi </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Green+Zeng">Green Zeng</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Billy+Tang+">Billy Tang </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Hong-An+Truong">Hong-An Truong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
Alignments from the Archive
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Geopolitics">Geopolitics</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Decolonialism">Decolonialism</a>
In this period of solidarity, the Centre brings forth a collection of archival videos, featuring lectures, conversations, and discussions that relate to themes of decolonisation, legacies of colonialism, and post-war independence movements explored in the exhibition Non-Aligned.<br /><br /><p><strong><i>#1: Mise-en-Scéne and Misalignments: Resetting the Postcolonial Stage</i></strong></p>
<p>While the Cold War raged on in the years following 1945, in the spaces between East and West, smaller theatres of war were emerging throughout the postcolonial world. This collection highlights moments of mise-en-scène that reset a global stage framed by colonial axes of power, featuring thinkers and artists such as<span class="apple-converted-space"> </span>Isaac Julien, Mark Nash, Stefano Harney, Škart,<span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span>Bojana Piškur.</p>
<p><strong><em>Paradise Lost: </em>Lecture: Postcolonial critique today – Stefano Harney</strong><br />7 March 2014</p>
<p>Referencing the works of Zarina Bhimji and Trinh T. Minh-ha in the exhibition<em>Paradise Lost</em>, Dr Stefano Harney investigates the renewed power of postcolonial critique today. By returning to the great thinkers of the “colonial situation” and its aftermath, Harney re-evaluates the proposition that globalisation has erased “old ideas of the lines between coloniser and colonised.”</p>
<p><strong><em>Theatrical Fields: </em>Special Brunch and Screening Session with Isaac Julien and Mark Nash</strong><br />26 October 2014</p>
<p>Dr Mark Nash and Isaac Julien discuss theatricality as criticality through<span class="apple-converted-space"> </span><em>Vagabondia</em><span class="apple-converted-space"> </span>(2000), Julien’s seven-minute film for<span class="apple-converted-space"> </span><em>Theatrical Fields</em>, in which the figure of the vagabond is used to explore how the Sir John Soane’s Museum collection has benefitted from colonisation. Julien’s<span class="apple-converted-space"> </span><em>Playtime</em><span class="apple-converted-space"> </span>(2014), a part-documentary part-fiction exploration of global capital, plays following their conversation.<br /><br /></p>
<p><strong>Residencies Insights: Non-Aligned Movement: New Spaces of Liberty, New Lines of Alliance, New Modes of Creativity</strong><br />22 November 2017</p>
<p>Belgrade-based collective<span class="apple-converted-space"> </span>Škart<span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span>Bojana Piškur<span class="apple-converted-space"> </span>situate the Non-Aligned Movement’s ideas, ideals, and principles in the present and apply them to exhibition-making and cultural exchange. Looking beyond the complex history of the Non-Aligned Movement, they map out possible prototypes for institutions, networks, and politics within art and culture today.</p>
<p><strong>#2: <em>Phantasms and Futurities: Decolonial Propositions </em></strong></p>
<p>From a global stage reset in <em>Mise-en-Scéne and Misalignments</em>, this collection rescripts the linear trajectories of colonial pasts and postcolonial presents, towards the realisation of decolonised futures. Prof Timothy Murray noted in his keynote lecture that “the theatrical script always opens to the arrival of the future; they are contingent and dependent upon futurity”. Artists, performers, and curators, such as Zarina Muhammad and Brigitte van der Sande enact and identify heterotopias — spatial alterities or counter-sites wherein alternative realities are constructed — that rewrite these politicised narratives through explorations of mythmaking and science fiction.<br /><br /></p>
<p><strong><em>Theatrical Fields: </em>Symposium: <em>Screening Theatrical Phantasms: Toward an Uncertain Futurity</em></strong><br />Keynote Lecture by Prof Timothy Murray<br />23 August 2014</p>
<p>This talk addresses the fascination of artworks in our previous exhibition <em>Theatrical Fields</em> in 2014, which introduces theatricality as a critical strategy in performance, film and video. 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 ways that challenge the historical groundings of theatricality in the ethnocentric certainty of culture and law. <br /><br /></p>
<p><strong>Lecture Performance: <em>Flowers from our Bloodlines </em>by Zarina Muhammad, artist; Stefania Rossett, choreographer; Vivian Wang pianist; Eric Lee, artist; and Tini Aliman, sound artist</strong><br />22 September 2017</p>
<p>Drawing from concepts of the demonised and desired body, gender-based archetypes, and mythmaking, this lecture performance invokes family histories and revokes the lineages of colonisation in Southeast Asia. Intergenerational and cross-cultural exchanges, facilitated by storytelling, rituals, gestures, and embodied movement, are explored through the rites of the Wolf Spider and the Harimau Jadian (Were-Tiger), and their multiple translations and adaptations.<br /><br /></p>
<p><strong>Residencies Insights: <em>Speculations on other futures </em>by Brigitte van der Sande, former Curator-in-Residence</strong><br />6 December 2018</p>
<p>Brigitte van der Sande explores how science fiction is used to envision alternative futures and critique existing power structures while shunning censorship, within countries where continuous change is the status quo because of war or political instability. Her long-term project Other Futures, “a multidisciplinary online and offline platform for thinkers and builders of other futures”, features non-Western science fiction makers and thinkers.</p>
<p><strong>#3: <em>Tidalectic Topographies, Counter Cartographies </em></strong></p>
<p>Extending the exploration of counter-sites from <em>Phantasms and Futurities</em>, this collection carries postcolonial inquiry from landlocked cartographies to liquid liminalities. Reflecting on shifting geopolitical, sociocultural, ethnoreligious, and environmental rhythms that ripple throughout the global hydrosphere, artists, curators, and scholars including Ade Darmawan, Shubigi Rao, Melati Suryodarmo, Prof Philippe Pirotte, Tita Salina, Irwan Ahmett, Dr Cresantia Frances Koya Vaka’uta, and Dr Cynthia Chou introduce a tidalectic worldview – in the tradition of Barbadian poet and historian Kamau Brathwaite – as a way of troubling territorial borders that became embedded during the post-Cold War wave of nationalist independence movements.<br /><br /></p>
<p><strong>In Conversation Part I: <em>Arus Balik w</em>ith artists Ade Darmawan, Shubigi Rao, and Melati Suryodarmo, Moderated by curator Philippe Pirotte</strong><br />23 March 2019</p>
<p>This panel discussion focuses on the Indonesian epic <em>Arus Balik</em> (1995) – loosely translated to mean “turn of the tide” – by revolutionary writer Pramoedya Ananta Toer, which served as the starting point for the eponymous exhibition <em>Arus Balik – from below the wind to above the wind and back again</em>(2019). Three of the participating artists – Ade Darmawan, Shubigi Rao, and Melati Suryodarmo – join exhibition curator Philippe Pirotte in a discussion on Pramoedya’s body of work, its influence and legacy, as well as notions of censorship and the forbidden book.<br /><br /></p>
<p><strong>Performance: <em>A Tumbling Inch </em>by Former Artists-in-Residence Irwan Ahmett and Tita Salina</strong><br />11 June 2019</p>
<p><em>A Tumbling Inch</em> is a performative action by Jakarta-based artists Irwan Ahmett and Tita Salina, which crystallised in the hydrospheric spatiality between Batam, the Indonesian island closest to Singapore, and the undulating maritime borders between the two countries. The work revolves around a nostalgic longing for the Lion City. Following the free movement of sea waves across the Straits of Malacca, the performance addresses archipelagic histories and the impact of global economic development.<br /><br /></p>
<p><strong>The Current </strong><em><strong>Convening #3 Tabu / Tapu – Who Owns the Ocean?</strong><br /></em><strong><em>Rights of Cultures, Rights of Nature: Case Studies </em>by Dr Cresantia Frances Koya Vaka’uta, Director, Oceania Centre for Arts, and Dr Cynthia Chou, Professor, Department of Anthropology, University of Iowa<br /></strong>27 January 2018</p>
<p><em>Rights of Cultures, RIghts of Nature</em> features case studies that position oceanic spaces as charged relational spaces. Dr Cresantia Frances Koya Vaka’uta’s exposition on <em>tabu/tapu </em>– the Fijian indigenous practice of taboo – outlines the relationality between environment and peoples, complicated by histories of colonial extractivism and the globalising project of cultural and environmental commodification. Dr Cynthia Chou brings these relationalities closer to home with a study of the <em>Orang Suku Laut</em> of the Riau archipelago. The practices of oceanic indigenous communities presented explore how a tidalectic way of living can inform modes of engagement with the hydrosphere, challenge conceptions of land-based embeddedness, and contribute to a vision of fluid futures.<br /><br /></p>
<p><strong>#4: <em>Summoning Spectres: Historiography as Hauntology</em></strong></p>
<p>This month’s curated selection of NTU CCA Singapore’s past programmes draws on Jacques Derrida’s concept of hauntology – the return or persistence of elements from the past manifesting as ghosts and apparitions. – Summoning Spectres: Historiography as Hauntology speaks to the remnants of personal and collective cultural memory incompletely erased by imperial and colonial violence. These traces of erasure remain inscribed in post-Cold War regional histories and embedded in their lexicon and legacy. Using historiography as a method of inquiry, this playlist showcases the ways in which curator Dr June Yap, artists Sung Tieu, Amy Lien, and Enzo Camacho approach the subjectivation of colonial spectres through their practices, to surface historical narratives of oppression and to summon the ghosts of lost futures.<br /><br /></p>
<p><strong>Symposium: Ghosts and Spectres – Shadows of History</strong><br /><strong><em>In the Interest of Time </em>by Dr June Yap, Director of Curatorial Programmes and Publications, Singapore Art Museum</strong></p>
<p>28 October 2017</p>
<p>Through a survey of historiographical works by artists Nguyen Trinh Thi and Ho Tzu Nyen, Dr June Yap addresses how cinematic works engage their medium specificity in a play of historical phantoms and repressed collective memories. These works contribute to a broader artistic tradition involving the subjectivation of histories, which is at its heart a process of self-determination: “in subjectivation there is constitution — the constitution of the self and or an identity… as a rising, as produced or perpetuated… as temporal, as arising from relations, as produced in a struggle”. As Yap aptly phrases, “in temporal consciousness, an identity is arrived.”<br /><br /></p>
<p><strong>Residencies Insights: <em>Two Worlds, Four Spirits</em> by Sung Tieu, Former Artist-in-Residence</strong></p>
<p>3 December 2019</p>
<p>Central to the artistic practice of Sung Tieu is a personal experience of migration from Vietnam to Germany, which impels her to address Post-Cold War histories and the multiple negotiations that underpin a diasporic identity haunted by the spectres of French colonialism in Vietnam and Cold War military violence during the American-Vietnam wars. In this talk, the artist discusses recent projects — <em>Memory Dispute</em> (2017), <em>Coral Sea As Rolling Thunder</em> (2017), <em>Remote Viewing</em> (2017) and <em>Loveless</em>(2019) — which variously employ text, performance, installation, moving image, and sound to convey a sense of dislocation while offering deliberate interventions into canonical readings of history.</p>
<p><strong>Behind the Scenes: On Alfonso Ossorio’s <em>Angry Christ</em> mural by artists Amy Lien and Enzo Camacho </strong></p>
<p>1 December 2018</p>
<p>In this talk, collaborating artists Amy Lien and Enzo Camacho present their research on the Filipino-American modernist painter, Alfonso Ossorio (1916–1990), focusing on his 1950 mural, <em>Angry Christ</em>. For the artists, this mural, located in the province of Negros Occidental, the “sugar bowl of the Philippines”, is a “multivalent cipher”. When it is decoded, spectres of sixteenth century Spanish colonial violence — from the accorded name “Negros” to enforced religious, economic, and environmental functions — and the ghosts of indigenous people who were displaced or exterminated materialise. Lien and Camacho question whether the <em>Angry Christ</em> can be “radically reprogrammed” from the specific and highly privileged subjectivity of Ossorio, its maker, and the Ossorio family’s sugar dynasty, its commissioning patron.</p>
4 April - 27 September 2020
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Isaac+Julien">Isaac Julien</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mark+Nash">Mark Nash</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Stefano+Harney">Stefano Harney</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%C5%A0kart">Škart</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bojana+Pi%C5%A1kur">Bojana Piškur</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Timothy+Murray">Timothy Murray</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Zarina+Muhammad">Zarina Muhammad</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Stefania+Rossett">Stefania Rossett</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Vivian+Wang">Vivian Wang</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Eric+Lee">Eric Lee</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tini+Aliman">Tini Aliman</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Brigitte+van+der+Sande">Brigitte van der Sande</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ade+Darmawan">Ade Darmawan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Shubigi+Rao">Shubigi Rao</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Melati+Suryodarmo">Melati Suryodarmo</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Philippe+Pirotte">Philippe Pirotte</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Tita+Salina"> Tita Salina</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Irwan+Ahmett">Irwan Ahmett</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Cresantia+Frances+Koya+Vaka%E2%80%99uta">Cresantia Frances Koya Vaka’uta</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Cynthia+Chou">Cynthia Chou</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=June+Yap">June Yap</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sung+Tieu">Sung Tieu</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Amy+Lien">Amy Lien</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Enzo+Camacho">Enzo Camacho</a>
<a href="https://vimeo.com/showcase/7098739">Alignments from the Archive video collection</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Book Launch and Screening – <em>Theatrical Fields: Critical Strategies in Performance, Film, and Video </em>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Theatre">Theatre</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Performance">Performance</a>
<div class="event_single_dates text__research">24 Sep 2016, Sat 7:00pm - 10:00pm</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br /><p>Introduction by editors: Ute Meta Bauer, NTU CCA Founding Director and Anca Rujoiu, NTU CCA Singapore Manager, Publication</p>
<p>Followed by screening of <em>Johanna d’Arc of Mongolia</em>, Ulrike Ottinger, Germany 1989, 165mins. Coproduction with Popular-Film GmbH, Leinfelden in cooperation with ZDF, Mainz, and LaSept, Paris.</p>
<p>A limited amount of publications will be available for sale.</p>
<br />NTU CCA Singapore is pleased to launch its very first publication <i>Theatrical Fields Critical Strategies in Performance, Film, and Video</i>. The reader is published by NTU CCA Singapore, König Books, London, and Bildmuseet, Umeå. Edited by Ute Meta Bauer and Anca Rujoiu with the editorial project under the management of Leah Whitman-Salkin, the publication has been elegantly designed by Sam de Groot. <br /><br />Based on an exhibition of the same name, <i>Theatrical Fields</i> presents seminal texts and newly commissioned essays that explore theatricality as a critical strategy in performance, film, and video. The reader stages conversations between theatre and visual arts, theoretical discourse and artistic practice juxtaposing artists and theoreticians from different generations and backgrounds who share a communal interest in the theatricality as a methodology to address questions of ideology, gender, power relations. <br /><br />The reader includes seminal texts from Antonin Artaud, Mikhail Bakhtin, Ute Meta Bauer, Bertolt Brecht, Jacques Derrida, Regis Durand, Josette Féral, Jean-François Lyotard; commissioned essays from Giuliana Bruno, Eva Meyer, Timothy Murray, Katharina Sykora, Marina Warner, documentation of the exhibition <i>Theatrical Fields</i> curated by Ute Meta Bauer with Anca Rujoiu at Bildmuseet, Umea (2013) and itinerated at NTU CCA Singapore (2014) in a different configuration, excerpts of conversations between artists and curators. Artists involved in the project include: Judith Barry, Marcel Dzama, Stan Douglas, Marie-Louise Ekman, Eva Meyer and Eran Schaerf, Isaac Julien, Joan Jonas, Constanze Ruhm, Ulrike Ottinger. <br /><br />The launch of the reader is accompanied by a screening of the German filmmaker Ulrike Ottinger’s <i>Johanna d’Arc of Mongolia</i>, This epic adventure film traces a fantastical encounter between two worlds on a Trans-Siberian railway addressing the complexities of cross-cultural encounters. Combining linear and nonlinear narrative, <i>Johanna d’Arc of Mongolia</i> illustrates Ottinger’s appropriation of theatrical strategies in the cinematic, such as eccentric costumes, lush mise-en-scènes, exaggerated acting.
2016-09-24
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ute+Meta+Bauer">Ute Meta Bauer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ulrike+Ottinger">Ulrike Ottinger</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Anca+Rujoiu">Anca Rujoiu</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Antonin+Artaud">Antonin Artaud</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mikhail+Bakhtin">Mikhail Bakhtin</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bertolt+Brecht">Bertolt Brecht</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jacques+Derrida">Jacques Derrida</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=R%C3%A9gis+Durand">Régis Durand</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Regis+Durand">Regis Durand</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Josette+F%C3%A9ral">Josette Féral</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Josette+Feral">Josette Feral</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jean-Fran%C3%A7ois+Lyotard">Jean-François Lyotard</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jean-Francois+Lyotard">Jean-Francois Lyotard</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Giuliana+Bruno">Giuliana Bruno</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Eva+Meyer">Eva Meyer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Timothy+Murray">Timothy Murray</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Katharina+Sykora">Katharina Sykora</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marina+Warner">Marina Warner</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Judith+Barry">Judith Barry</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marcel+Dzama">Marcel Dzama</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Stan+Douglas">Stan Douglas</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marie-Louise+Ekman">Marie-Louise Ekman</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Eran+Schaerf">Eran Schaerf</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Isaac+Julien">Isaac Julien</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Joan+Jonas">Joan Jonas</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Constanze+Ruhm">Constanze Ruhm</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Europe">Europe</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=North+America">North America</a>
Charles Stankievech: The Eye of Silence
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ways+of+Seeing">Ways of Seeing</a>
<p>Wednesday, 10<sup>th</sup> May 2023<br />The Screening Room, Block 38 Malan Road, #01-06<br />7:00pm – 8:30pm</p>
<p><em>The Eye of Silence</em><span> </span>is a newly commissioned video marshalling high atmospheric footage of the Albertan Badlands, the Utah Salt Flats, Icelandic and Japanese volcanoes, and a meteorite crater and cave paintings located within a region of the Namibian desert long closed off to visitors because of diamond mining. A field of stars becomes a point map of a lidar scan of a cave. At every polarity, the suggestion of a mystical inversion obtains, wherein a horizon or vanishing point unfolds to offer new vistas. An abyss, such as outer space, or some geological fissure, delivers a new world. Combining static camera, drone footage, and a mirrored screen, a churning mass of clouds, lava, and stone provides receptive viewers with ample grounds to project their own associations. Is that a face in the mist? In such moments, another antinomy is revealed—between subject and object; evidence and speculation.<em><span> </span>The Eye of Silence<span> </span></em>both depicts and implies metamorphosis on every level.<br /><br /><span>Mediating between stellar and subterranean motifs, fog, mist, clouds and smoke venting from a fresh lava flow spill across the screen. At times it softens tough terrain, while elsewhere stimulating a trance-like pareidolia, or roiling within volcanic craters. The visual dynamism of air recapitulates not only the ‘invention of the concept of atmosphere in the history of meteorology,’ but also the formation of the earth’s atmosphere back in deep geologic time—in a word, to </span><em>creation</em><span> itself. </span><em>The Eye of Silence</em><span> calls forth otherworldly experience from within the depths and heights of </span><em>this</em><span> world, at the same time cultivating an aesthetic disposition to receive them. <br /><br /></span>An introduction to the work will be given by the artist himself. The screening will be followed by a conversation between Charles Stankievech and Professor Ute Meta Bauer.</p>
<p><em>The Eye of Silence</em><span> </span>is a film by Charles Stankievech<br />Producer: Ala Roushan<br />Produced by The VEGA Foundation</p>
<p><span></span></p>
2023-05-10
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Charles+Stankievech">Charles Stankievech</a>
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Daily Screenings: Exile Shanghai by Ulrike Ottinger, artist and filmmaker (Germany)
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27 May 2017, Sat - 13 Aug 2017, Sun 01:00 PM - 06:00 PM The Single Screen, Block 43 Malan Road <br /><br /><em>Exile Shanghai</em><span> (1997) tells the stories of six German, Austrian, and Russian Jews that intersect while exiled in Shanghai. Through narratives, photographs, documents, and music and images of the contemporary city, the film is a real-life epic with significant historical value. Albeit the film focuses on the life of Jewish refugees, it stresses at the same time the very condition of the exiled, preserving their culture in midst of another.</span><br /><br /><span>Visually, the interconnectedness of different histories and people is emphasised by the diversity of cultural influences. This moment of openness of Shanghai created a whole cosmos within the city. Presented through the lens of the exiled, its tone is nonetheless optimistic, converted through the enthusiasm of the characters.</span><br /><br /><em>Exile Shanghai</em><span> is part of the daily screenings of </span><span><em>Ulrike Ottinger:</em> <em>China. The Arts – The People, Photographs and Films from the 1980s and 1990s</em></span><span>. It is presented at The Single Screen on every other day, alternating with </span><em>Johanna d’Arc of Mongolia</em><span>.<br /><br /></span>A public programme of <span><em>Ulrike Ottinger:</em> <em>China. The Arts – The People, Photographs and Films from the 1980s and 1990s</em></span><span>.</span>
27 May - 13 August 2017
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