Daily Screenings: Johanna d’Arc of Mongolia by Ulrike Ottinger, artist and filmmaker (Germany)
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Feminism">Feminism</a>
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<div class="event_single_dates text__exhibitions">27 May 2017, Sat - 13 Aug 2017, Sun 01:00 PM - 04:00 PM<br />27 May 2017, Sat - 13 Aug 2017, Sun 04:00 PM - 07:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /><em>Johanna d’Arc of Mongolia</em><span> (1989), starring Badema, Lydia Billiet, Inés Sastre, and Delphine Seyrig, is Ottinger’s only feature fiction film shot in East Asia. Staged in the legendary Trans-Siberian Railroad, the film starts by introducing four different Western women, each representing a story from different epochs, and who meet on this train. A group of Mongolian female warriors kidnap them, and the story unfolds amidst multiple cultural misunderstandings. The intersection of the fictional and the documentary arises from the encounter with the foreign, which intervenes unpredictably and filled with humour along the plot.</span><br /><br /><span>The entire film is a homage to the way nomadic cultures leave their mark along the travelled paths, and embraces the migration of culture. Different kinds of narration are explored within this feature, emphasising cultural relations, similarities and contrasts, as well as how misunderstandings can be productive.</span><br /><br /><em>Johanna d’Arc of Mongolia</em><span> is part of the daily screenings of </span><span>Ulrike Ottinger: <em>China. The Arts – The People, Photographs </em><em>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>Exile Shanghai</em><span>.<br /><br /></span>A public programme of <span><em>Ulrike Ottinger:</em> <em>China. The Arts – The People, Photographs </em><em>and Films from the 1980s and 1990s</em></span><span>.</span></div>
27 May - 13 August 2017
<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>
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Expanding Filmic Spaces – Modifications in the Perception of Filmic Spatiality: Workshop and Screening by Dr Marc Glöde, Visiting Research Fellow
<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>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Technology">Technology</a>
<div class="event_single_dates text__research">22 Apr 2016, Fri 7:30pm - 9:00pm<br />23 Apr 2016, Sat 1:00pm - 4:00pm</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br />When Sheldon Renan and Gene Youngblood at the end of the 1960s coined the term <i>Expanded Cinema</i>, they were interested in a revision of the cinematic conventions. Addressing specifically questions concerning the spaces of film (the imaginary spaces, the depicted spaces, as well as the architectural environments) made clear what kind of impact the cinematic apparatus had on our ways of watching films. Artists and critics began to critically approach the environment and technology of the filmic experience and ask how this assemblage was influencing our perception and our ways of thinking. <br /><br />The screening and workshop <i>Expanding Cinematic Spaces</i> by Visiting Research Fellow Marc Glöde will take a closer look at this development – its historic implications as well as its relevance for today. It will combine some outstanding artistic film works with remarkable examples that offered different spatial experiences. <br />
22 - 23 April 2016
<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=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>
Film Programme with introduction by Inge Godelaine (Belgium)
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nature">Nature</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Architecture">Architecture</a>
<div class="event_single_dates text__exhibitions">2 Mar 2019, Sat 04:00 PM - 06:30 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /><span>Filmmaker </span><strong>Inge Godelaine </strong><span>(Belgium) will introduce her films and be available for Q&A.</span></div>
<br /><p><strong>Margaret Tait</strong>, <em>Garden Pieces</em>, 1998, 11 min 30 sec</p>
<p>Filmmaker-poet Margaret Tait’s last film <em>Garden Pieces </em>is a triptych of “film-poems” composed around the theme of the garden. Garden Pieces is a vibrant, experimental film that utilises live action shots and hand-painted elements to draw upon the wanderings of daily life and the search for fleeting moments of presence, dropping a myopic intensification of experience in favour of an exuberant engagement with the world.<br /><br /></p>
<p><strong>Uriel Orlow</strong>, <em>The Crown Against Mafavuke</em>, 2016, 18 min 45 sec</p>
<p>The Crown Against Mafavuke is based on a South African trial from 1940. Mafavuke Ngcobo was a traditional herbalist who was accused by the local white medical establishment of “untraditional behaviour.” The film explores the ideological and commercial confrontation between two different yet intertwining medicinal traditions and their uses of plants, with slippages across gender and race that further questions notions of purity and origination. The re-imagined court case is filmed at the Palace of Justice in Pretoria, where the Rivonia trial was held that sent Mandela and his fellow accused to the Robben Island prison.<br /><br /></p>
<p><strong>Jef Cornelis</strong><em>, Kunst Als Kritiek. Wanneer is Kunst Wel Kritiek? 4. Wanneer de Kunstenaar in alle Ernst Speelt. (Art as Criticism. When is Art Criticism? 4. When the artist is in all seriousness.)</em>, 1973, 4 min 47 sec</p>
<p>This film is part of a series of short sketches thematically focusing on the question, “When is Art Criticism?” developed for the BRT (Belgian Radio and Television) broadcast network. For this fourth episode, it proposes an answer: “When the artist is toying around in all seriousness.” It highlights the Belgian artist Jef Geys, whose approach is best described by the phrase “Many a true word is spoken in jest.” In Geys’s statement, framed as a public announcement, the artist uses the programme’s broadcasting time as a publicity stunt, revealing the mechanisms of the medium of television. In a lengthy word of thanks, the extensive media bureaucracy is stripped of its front, mentioning the relative cost of the programme and the broadcasting time.</p>
<p>Part of the BRT television series “Openbaar Kunstbezit” (“Public Art Heritage”). A second version was adapted for the NOS, a Dutch radio and television broadcast network.<br /><br /></p>
<p><strong>Inge Godelaine, </strong><em>7 x Jef Geys</em>, 2014, 27 min</p>
<p><em>7 x Jef Geys</em>is a documentary film by independent filmmaker Inge Godelaine, who worked for many years with Geys.</p>
<p>The film interviews seven people who each have a different relationship with the artist—Yves Gevaert, Mia Dammen, Hugo Criekemans, Greta Meert, curator Dirk Snauwaert, daughter Nina Geys, and Joris Note—creating a unique portrait of the artist through the people who knew him.<br /><br /></p>
<p><strong>Inge Godelaine<em>, </em></strong><em>Villa Wintermans</em>, 2009, 50 min</p>
<p>Inge Godelaine travelled to São Paulo 18 years after Jef Geys created his architectural intervention Villa Wintermans for the 1991 São Paulo Biennale. Replicating a Flemish modernist villa of the cigar manufacturer Wintermans from Balen that was later used as a school, Villa Wintermans was one of the most complex public projects Geys completed. In this film, Godelaine searches for the remnants of the Villa which have vanished or rotted away, and interviews some of the schoolchildren then about their experience with the donated building. The documentary is an echo of a forgotten artistic deed, and the eventual disappearance of art and architecture.</p>
<br />A public programme of Jef Geys<em> Quadra Medicinale Singapore</em>.
2019-03-02
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Inge+Godelaine+">Inge Godelaine </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Margaret+Tait">Margaret Tait</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Uriel+Orlow">Uriel Orlow</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jef+Cornelis">Jef Cornelis</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>
Film programme: Liquid Traces–Visions
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Oceans+%26+Seas">Oceans & Seas</a>
<div class="event_single_dates text__exhibitions">3 Feb 2018, Sat 12:00 PM - 04:00 PM<br />4 Feb 2018, Sun 12:00 PM - 06:30 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /><p>What do we look at when we look at the ocean? From where do we look at when we look at the ocean? What shapes the visions of the sea, what are the sources of our personal and collective imaginaries, the references for our impressions, desires, and fears in relation to the sea?</p>
<p>During the past two years, a dispersed community of artists, thinkers, writers, and researchers was summoned, assembled, and brought together by curator Ute Meta Bauer on a set of three expeditions on board of the Dardanella, TBA21-Academy’s research vessel, which was travelling across various locations in the Pacific Ocean.</p>
<p>These expeditions were deeply cinematic experiences. In itself the boat was both a real and figurative site of projection: at once a privileged place from where to observe the ocean, the life forms, transactions, and infrastructures it hosts, and at the same time a vessel that embodied the tropes of the expedition, voyage, and exploration that were being performed.<br /><br />Further pursuing the production and sourcing of images of the ocean and all that surrounds it—from its infrastructure, to the politics and cultures of extraction and management, to the observation of its social and natural landscapes—the selection of films of <em>Liquid Traces—visions</em> (a title borrowed from Charles Heller and Lorenzo Pezzani’s film <em>Liquid Traces: The Left-to-Die Boat</em> <em>Case</em> film) followed the collective agency of Ute Meta Bauer’s Dardanella expeditions. The films presented were chosen by the 12 participants of the expeditions.</p>
<p>The selection of films has been arranged around two programmes, the first focuses on poetic, dreamlike approaches and the second on documentarist portraits of more concrete scenarios and realities. Together, they interrogate the cinematic references that shape our dreamscapes and they offer glimpses of what sort of moving images inform the common gazes of the expeditions participants, their discourses and encounters.</p>
<h4><strong>PROGRAMME 1</strong></h4>
<p><strong>Saturday, 3 February 2018, 12.00 – 4.00pm<em><br /></em></strong><strong><em>Proteus</em></strong><em>,</em> David Lebrun, 2004, video, 60 min</p>
<p><em>Proteus</em> is an animated documentary film that depicts a 19<sup>th</sup>-century understanding of the sea with a particular emphasis on the life and work of German biologist and naturalist Ernst Haeckel (1834–1919). Haeckel was a promoter of Darwinism in Germany who discovered, described, drew and named thousands of new species, namely an extensive number of underwater creatures.</p>
<p>The key to Haeckel’s vision was a tiny undersea organism called <em>radiolaria</em>, one of the earliest forms of life. Haeckel discovered, described, classified and painted four thousand species of these one-celled creatures. In their intricate geometric skeletons, Haeckel saw all the future possibilities of organic and created form.<em> Proteus</em> explores the metamorphoses of the <em>radiolarian</em> and celebrates their beauty and seemingly infinite variety in animation sequences based on Haeckel’s graphic work. <em>Proteus</em> weaves a tapestry of poetry and myth, biology and oceanography, scientific history and spiritual biography.<br /><br /></p>
<p><strong><em>Marsa Abu Galawa (Careless Reef Part 4)</em></strong>, Gerard Holthuis, 35mm film transferred to digital file, 2004, 13 min</p>
<p><em>Marsa Abu Galawa (Careless Reef Part 4)</em> is a psychedelic, mind-altering, rhythmic sequence of images of the underwater world shot in the Red Sea and pacing at the soundtrack of Egyptian shaabi singer Abdel Basset Hamouda. The structure of the film is based on flicker films, in which the whole unconscious experience of the flux of images is more important than the single shots. <em>Marsa Abu Galawa</em> is the fourth part of the “Careless Reef” series, four short films made by Gerard Holthuis, which deal with the underwater world.<br /><br /></p>
<p><strong><em>Million Dollars Point</em></strong><em>, </em>Camille Henrot, video, 2011, 5 min 35 sec</p>
<p>Courtesy the artist and kamel mennour, Paris.</p>
<p><em>Million Dollars Point </em>is the name of a dive site on Santo Island, Vanuatu—a lagoon that became an underwater cemetery for hundreds of tanks and canons abandoned by the North American army after the Second World War. The site was named after the amount offered by the local islanders to buy out this war debris. <em>Million Dollars Point </em>juxtaposes the images of this submarine battlefield with footage of a local music video showing a French moustached man dancing and singing on a Pacific beach, flanked by Polynesian girls wearing typical costumes. The choreography of the young women seems to respond the images of engulfed weapons, they hide their faces as a refusal to see and they mimic waves, which recall the borderline between the surface and the sea bottom.<br /><br /></p>
<p><strong><em>Limits to Growth</em></strong>, Nicholas Mangan, HD video, 2017, 8 min 55 sec</p>
<p>“<em>Limits to Growth</em> begins by staging a comparison between two virtual monetary currencies: the cryptocurrency Bitcoin and Rai, the Yapese currency. While bitcoins are virtual and in a sense immaterial, Rai are made of stone and are often very large and heavy. Bitcoins are mined by computers solving complex algorithms, often collectively, working in a blockchain. In order to “mine” Bitcoins, vast quantities of energy are consumed by the computers processing the algorithms as they labour to verify and record transactions. Processor farms must labour continuously to keep the network alive. Although Bitcoin’s medium of exchange is virtual, it remains, like Rai, bound to the physical world. (…) My interest in Bitcoin was piqued by the use of terminology such as “mining” and “workers.” Trawling through various online forums, I found someone in Australia who was actually mining bitcoin, despite the fact that the country’s high electricity costs render it unprofitable. I came across a discussion taking place within a remote community in Western Australia that was established by a mining company to service an actual mine. As is common practice, the company provided free housing and electricity to workers, as well as much needed air-conditioning in the hot climate. In the online thread, a worker from the mine suggested that a Bitcoin rig could be set up at his company-<span>funded housing in order to take advantage of this free electricity and cooling. This physical mine could indirectly provide the climate for profitable virtual mining in Australia. This situation of a parasitical economy and how the potential overlay of the physical and the dematerialised might function in relation to resource extraction was of particular interest. </span><em>Limits to Growth</em><span> includes an underwater video of a Rai stone lying on the bottom of the Miil Channel off the northwest coast of Yap. The sound of a human breathing through a scuba apparatus is taken directly from the video.”</span><br /><br /></p>
<p><strong><em>Nauru – Notes from a Cretaceous World</em></strong>, Nicholas Mangan, HD Video, 2010, 14 min 50 sec<br />Courtesy the artist; Sutton Gallery, Melbourne; Hopkinson Mossman, Auckland; and LABOR, Mexico City.</p>
<p>“I wanted to look at this moment in human history within a much longer period of time. I wanted to place human agency within the contours of a deeper time frame and an evolving ecosystem that doesn’t place humans as the primary organism.”</p>
<p>—Nicholas Mangan</p>
<p><em>Nauru</em> – <em>Notes from a Cretaceous World </em>is a video essay that contrasts the ancient geological history of the Pacific nation of Nauru with the country’s more recent political and economic situation. Historically, Nauru’s coral limestone rocky landscape has been rich in phosphate—a valuable mineral which, in Nauru, is the product of a mixture of decomposed marine life and guano deposits compressed over millions of years. In the 1920s, the British Phosphate Commission initiated industrial strip-mining of Nauru’s ancient coral landscape, selling the phosphate mineral off to Australia, the United Kingdom and New Zealand, where it was processed into a superphosphate fertiliser used to enrich agricultural soil.<br /><span>Over the coming decades, the Nauruan government allowed mining to occur at such intensity that, by 1977, the tiny island nation of Nauru had become the second-richest nation per capita after Saudi Arabia. That year, as a sign of its wealth, Nauru built the then-tallest sky scraper in Melbourne. Called Nauru House, it was crudely dubbed “Bird Shit Tower” by many Australians. By the turn of the millennium, as phosphate levels became depleted, the Nauruan government began to default on numerous major international loans and declared bankruptcy. At this time, the Australian government initiated its so-called </span><em>Pacific Solution</em><span> (2001–07) policy, and later </span><em>Operation Sovereign Borders</em><span> (2013–ongoing), in which it paid the financially desperate Nauru to house asylum seekers attempting to arrive in Australia by boat.</span><br /><br /></p>
<p><strong><em>Drawing Restraint 9</em></strong>, Matthew Barney, video, 2005, 135 min</p>
<p><em>Drawing Restraint 9</em> comprises the presented feature-length film, alongside large-scale sculptures, photographs, drawings and books. The “Drawing Restraint” series consists of 19 numbered components and related materials. Some episodes are videos, others sculptural installations or drawings.</p>
<p><em>Drawing Restraint 9</em> is a love story set in Nisshin Maru, a Japanese whaling vessel making its annual journey to Antarctica. The histories and traditions of Shinto religion, Japanese tea ceremony, whaling, and global forms of fuel extraction are intertwined in this non-narrative, monumental epic. Two actions unfold simultaneously on the vessel: one on deck and one beneath it. The narrative on deck involves the process of casting a 25-ton petroleum jelly sculpture that rivals the scale of a whale. Below deck, the two characters participate as guests in a tea ceremony, where they are formally engaged after arriving on the ship as strangers. As the film progresses, the guests go through an emotional and physical transformation slowly transfiguring from land mammals into sea mammals, as they fall in love. The petroleum jelly sculpture simultaneously passes through changing states, from warm to cool, and from the architectural back to the primordial. The dual narratives, the sculptural and the romantic, come to reflect one another until they merge into one.<br /><br /></p>
<p><strong><em>AXIS – Anatomy of space</em></strong>, Good Company Arts / Daniel Belton, video, 2017, 6 min</p>
<p>“With the same evolutionary effect that was followed by the ancient Greeks in their search for beauty, <em>AXIS</em> offers a resonating, lyrical space. Dancers are seen travelling through apertures tensioned with the happening of projected light. Their choreography establishes a circuitry of luminosity. Like a great celestial dynamo, the screen environment transmits oscillating shafts of digital dance and sound—illuminating song cycles in a cosmic choreography of light. We are each made up of photons.<br />Photons are particles of light. Light is inspiration. Every space has an “anatomy.” <em>AXIS</em> creates a new search with the human figure in space, as projected film and processed sound performance combine. Nothing is in stasis.”</p>
<p>—Good Company Arts</p>
<p>Note: This single-channel version of <em>AXIS </em>was created from parts of the original full-length work of 38 minutes made for 360º full-dome cinema.<br /><br /></p>
<p>Programme 2</p>
<p><strong>Sunday, 4 February 2018, 12.00 – 6.30pm</strong></p>
<p><strong><em>Trobriand Cricket: An Indigenous Response to Colonialism</em></strong>, Gary Kildea and Jerry Leach, 1976, 54 min</p>
<p>Anthropologist and filmmaker Jean Rouch described <em>Trobriand Cricket </em>as “a wonderful film, perhaps one of the greatest anthropological films of recent time”<br />(<em>Film Quarterly</em>, 1978).</p>
<p>A key reference of ethnographic cinema, <em>Trobriand Cricket </em>depicts the transformations introduced by the inhabitants of the Trobriand Islands in Papua New Guinea to the British version of cricket, a game that was introduced to Trobriand by a British Methodist missionary in the early 20th century as a way to replace violent tribal warfare with Western sportsmanship.</p>
<p>The film shows how the islanders responded to a British colonial imposition by appropriating and transforming the game into an expression of tribal rivalry, mock warfare, community interchange, eroticised dancing and chanting, and unruly fun.<br /><br /></p>
<p><strong><em>The</em></strong> <strong><em>Shark Callers of Kontu</em></strong>, Dennis O’Rourke, 16mm transferred to video, 1982, 54 min</p>
<p>From 1974 to 1979, Dennis O’Rourke lived in Papua New Guinea, where he taught documentary filmmaking. Made during his stay there,<em> The Shark Callers of Kontu</em> depicts the ancient tradition of ‘sharkcalling’ in the village of Kontu, on the west coast of New Ireland. The documentation of Kontu inhabitants’ traditional way of shark hunting, in which sharks are called and killed by hand, is combined with a portrait of their lives and environment, presented both from still images commented by O’Rourke and interviews with the local population. The film explores the changes to cultural values and traditional customs wrought by colonisation, alcohol, commerce, and Christianity.<br /><br /></p>
<p><strong><em>The People’s Elect – Pouvanaa te Metua</em></strong>, Marie-Hélène Villierme, HDCam PAL, 2012, 90 min</p>
<p>In the late 1940s, the French Establishments in Oceania (now French Polynesia), saw the dawn of a local political era. In 1949, Pouvanaa a Oopa (1895–1977) became the first Tahitian to serve in the French Chamber of Deputies. Pouvanaa was also the charismatic leader of the country’s first political party, the RDPT (Democratic Rally of the Tahitian People). A supporter of the independence of Tahiti, he strongly opposed the French colonial administration and the French nuclear testing in the Tuamotu Archipelago during the 1960s. Sentenced to prison and exile in metropolitan France, Pouvanaa only returned to French Polynesia in 1968. Combining archival materials, found footage, newsreels and interviews, <em>The People’s Elect </em>offers a vivid portrait of this important figure of French Polynesian political life.<br /><br /></p>
<p><strong><em>Liquid Traces: The Left-to-Die Boat</em></strong><strong> <em>Case</em></strong>, Forensic Oceanography (Charles Heller and Lorenzo Pezzani), video, 2014, 17 min</p>
<p>“<em>Liquid Traces</em> offers a synthesis of our reconstruction of the events of what is known as the “left-to-die boat” case, in which 72 passengers who left the Libyan coast heading in the direction of the island of Lampedusa on board a small rubber boat were left to drift for 14 days in NATO’s maritime surveillance area, despite several distress signals relaying their location, as well as repeated interactions, including at least one military helicopter visit and an encounter with a military ship. As a result, only 9 people survived.</p>
<p>In producing this reconstruction, our research has used against the grain the “sensorium of the sea”—the multiple remote sensing devices used to record and read the sea’s depth and surface. Contrary to the vision of the sea as a non-signifying space in which any event immediately dissolves into moving currents, with our investigation we demonstrated that traces are indeed left in water, and that by reading them carefully the sea itself can be turned into a witness for interrogation.</p>
<p>As a time-based media, the animation also gives form to the Mediterranean’s differential rhythms of mobility that have emerged through the progressive restriction of legal means of access to the EU for certain categories of people and the simultaneous acceleration of the flows of goods and capital.”</p>
<p><strong><em>Neytal Diary</em></strong>, Ravi Agarwal, HD video, 2016, 38 min</p>
<p><em>Neytal Diary</em> was shot over one year off the coast of Tamilnadu in South India. It derives from artist and environmental activist Ravi Agarwal’s ongoing work with a fishing community near the town of Pondicherry, which seeks to examine the ecological understandings and conflicts from the perspective of its inhabitants. The texts of the film are extracts from a diary (<em>Ambient Seas</em>, published in 2016) kept by Agarwal over the years, and contain his reflections on the complex ecological, cultural, and political underpinnings of the fishermen’s lives and their absence from the dominant global debates on the Anthropocene and climate change.<br /><br /></p>
<p><strong><em>One Belt, One Road: Documentary – Episode One: Common Fate</em></strong>, video, 2016, 55 min </p>
<p><em>One Belt, One Road: Documentary – Episode One: Common Fate</em> focuses on “One Belt, One Road” or the “Belt and Road Initiative,” a development strategy and framework proposed by Chinese paramount leader Xi Jinping. This strategy focuses on connectivity and cooperation among countries and primarily between the People’s Republic of China and the rest of Eurasia, consisting of two main components: the land-based “Silk Road Economic Belt” and oceangoing “Maritime Silk Road.”</p>
<p>The strategy underlines China’s push to take a bigger role in global affairs, and its need for priority capacity cooperation in areas such as steel manufacturing.<br /><br /></p>
<p><strong><em>Matthew Barney: No Restraint</em></strong>, Alison Chernick, video, 2006, 72 min</p>
<p><em>Matthew Barney: No Restraint</em> documents artist Matthew Barney and his then partner, collaborator, and singer-songwriter Björk, as they film <em>Drawing Restraint 9</em>.</p>
<p>Selection of films made by TBA21–Academy’s participants to Ute Meta Bauer’s The Current three expeditions to the South Pacific: Nabil Ahmed, Atif Akin, Laura Anderson Barbata, Newell Harry, Stefanie Hessler, Dr Kristy H. A. Kang, Dr PerMagnus Lindborg, Armin Linke, Filipa Ramos, Lisa Rave, and Jegan Vincent de Paul.<br /><br />A public programme of <em>The Oceanic</em>.</p>
</div>
3 - 4 February 2018
<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=Nabil+Ahmed">Nabil Ahmed</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Atif+Akin">Atif Akin</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Laura+Anderson+Barbata">Laura Anderson Barbata</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Newell+Harry">Newell Harry</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Stefanie+Hessler">Stefanie Hessler</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kristy+H.+A.+Kang">Kristy H. A. Kang</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=PerMagnus+Lindborg">PerMagnus Lindborg</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Armin+Linke">Armin Linke</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Filipa+Ramos">Filipa Ramos</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lisa+Rave">Lisa Rave</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jegan+Vincent+de+Paul">Jegan Vincent de Paul</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Oceania">Oceania</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>
Film Programme: Resonating Structures
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Architecture">Architecture</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Design">Design</a>
<div class="event_single_dates text__exhibitions">18 Jul 2019, Thu - 17 Nov 2019, Sun 12:00 PM - 07:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /><span>In the early 1970s, Siah Armajani’s experimentation with computer-based graphics paved the way not only for a new aesthetic field, but also expanded his artistic practice to new territories. Taking his film work on the exploration of structures and lines using computer graphics as a point of departure, this film series expands into a presentation of films by other filmmakers/ artists in a similar theme of “line structure” and three others of Armajani’s tropes of interests: bridges, houses, and gardens. Just as Armajani’s </span><em>Dictionary for Building</em><span> (1974–75) deconstructs the typology of domestic architecture, these films explore new meanings of functional, social, and visual concepts of architecture and space.</span><br /><strong><em><br />Event</em></strong><strong>, 1970</strong><br /><p>Computer-generated 16mm film transferred to digital file, b&w, silent, 6 min 41 sec.<br />Collection Walker Art Center, Minneapolis, Gift of the artist, 2015.</p>
<p><strong><em>To Perceive 10,000 Different Squares in 6 Minutes and 55 Seconds</em></strong><strong>, 1970 <br /></strong>Computer-generated 16mm film transferred to digital file, b&w, silent, 7 min 37 sec.<br />Collection Walker Art Center, Minneapolis, Gift of the artist, 2015.</p>
<p><strong><em>Before/After</em></strong><strong>, 1970<br /></strong>Computer-generated 16mm film transferred to digital file, b&w, silent, 1 min 50 sec.<br />Collection Walker Art Center, Minneapolis, Gift of the artist, 2015.</p>
<p><strong><em>Inside/Outside</em></strong><strong>, 1970<br /></strong>Computer-generated 16mm film transferred to digital file, b&w, silent, 1 min 40 sec.<br />Collection Walker Art Center, Minneapolis, Gift of the artist, 2015.</p>
<p><strong><em>Rotating Line</em></strong><strong>, 1970<br /></strong>Computer-generated 16mm film transferred to digital file, b&w, silent, 1 min 26 sec.<br />Collection Walker Art Center, Minneapolis, Gift of the artist, 2015.</p>
<p><strong><em>Line</em></strong><strong>, 1970<br /></strong>Computer-generated 16mm film transferred to digital file, b&w, silent, 1 min 16 sec.<br />Courtesy of the artist and Rossi & Rossi, Hong Kong.</p>
<p>Since the 1960s, Siah Armajani has explored the use of technology as a medium as well as in the intersection of art with science. In 1970, he produced a series of experimental films using a computer capable of printing on 16mm celluloid at the Hybrid Computer Laboratory, University of Minnesota. In these films he generated moving lines and shapes using mathematical formulae and computer programming to create the illusion of three-dimensional space and time on one-dimensional surfaces that ultimately point to the functionalism of space, a consistent thread in Armajani’s work.<br /><br /><strong><em>Event </em></strong><span>is an explicit example of such a connection as it brings together the notions of architecture’s social space through texts, equations, and diagrams. </span><strong><em>To Perceive 10,000 Different Squares in 6 Minutes and 55 Seconds </em></strong><span>presents ten thousand squares, each in a single frame in descending order of size; with the illusion of a single square hovering in space.</span><em><strong>Before/After </strong></em><span>suggests spatial and temporal ambiguity, depicted by two synchronised animated representations of movements over time. </span><strong><em>Inside/Outside </em></strong><span>explores the function of boundaries and the concept of closed and open systems in a space. </span><strong><em>Rotating Line </em></strong><span>illustrates the blurring of dimensional states within a space through the transition of a single point into a line that subsequently appears to rotate in and out of the screen. In </span><strong><em>Line</em></strong><span>, Armajani reflects upon the inadequacy of painting and sculpture in expressing ideas through the most basic aesthetic form.</span><br /><br /><span>These six films will be played on loop during opening hours from 18 July to 17 November, 2019. During this time, a presentation of films by other filmmakers/ artists, grouped according to the themes </span><strong>Line Structure</strong><span>, </span><strong>Bridges</strong><span>, </span><strong>Houses</strong><span>, and </span><strong>Gardens</strong><span>, will also be shown in conjunction with Siah Armajani’s films.<br /><br />A public programme of <em>Siah Armajani: Spaces for the Public. Spaces for Democracy</em>.</span></p>
</div>
18 July - 17 November 2019
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Siah+Armajani">Siah Armajani</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>
Film Programme: Resonating Structures (Gardens)
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nature">Nature</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Design">Design</a>
<div class="event_single_dates text__exhibitions">5 Nov 2019, Tue - 17 Nov 2019, Sun</div>
<div class="event_single_venue">
<p><strong>Marie Menken,</strong> <strong><em>Glimpse of the Garden<br /></em></strong>United States 1957</p>
<p>16mm film transferred to digital file, colour, sound, 5 min</p>
<p><em>Glimpse of the Garden </em>is an experimental film that transports its audiences to a garden, with the chirping of birds forming its soundtrack. It gives a glimpse of the vastness of the landscape which includes a lake, while also showing pure visuals of flowers and plants filmed through a powerful magnifying glass. At most times, the pace is fast, with shots appearing to be taken randomly or from a flying insect’s perspective. In 1958, the film won an award at the Exposition Universelle et Internationale at Brussels. In 2007, the film was nominated for the National Film Registry by the Library of Congress in Washington.</p>
<p>This film screening is part of the <em>Film Programme: Resonating Structures</em>, which features six of Siah Armajani’s computer-generated short films from the 1970s.<br /><br />A public programme of <em>Siah Armajani: Spaces for the Public. Spaces for Democracy</em>.</p>
</div>
5 - 17 November 2019
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marie+Menken">Marie Menken</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>
Film Programme: Resonating Structures (Houses)
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Architecture">Architecture</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Design">Design</a>
<div class="page--main">
<div class="event_single_dates text__exhibitions">24 Sep 2019, Tue - 3 Nov 2019, Sun</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
</div>
<div class="sidebar page--sidebar"><strong><br />SCHEDULE</strong></div>
<div class="page--main">
<div>
<p>24 September – 6 October 2019: Ant Farm, <em>Inflatables Illustrated</em>, 1971–2003</p>
<p>8 October – 20 October 2019: Dan Graham, <em>Pavilions Compilation</em>, 2014</p>
<p>22 October – 3 November 2019: Carsten Nicolai, <em>Future Past Perfect Pt. 2 (Cité Radieuse),2007</em></p>
<p><strong>FILM SYNOPSIS</strong></p>
<p>24 September – 6 October 2019</p>
<p><strong>Ant Farm, </strong><strong><em>Inflatables Illustrated<br /></em></strong>United States, 1971–2003</p>
<p>B&w and colour, sound, 21 min 20 sec</p>
<p>As a critique of consumerism and reaction to Brutalist architecture, Ant Farm created a utopian, inflatable architecture that was participatory and communal, cheap, and easy to transport and assemble. It had been used to host festivals, conferences, or installed as university campuses. Without a fixed structure, these inflatables challenged the notions of a building as well as the reliance on expert knowledge of architects. The film, which brings its audience through the steps of making a small inflatable using basic materials found in a kitchen, is an example of “open source,” in which concepts are made accessible to the public.</p>
<p><strong>SCHEDULE</strong></p>
<p>24 September – 6 October 2019: Ant Farm, <em>Inflatables Illustrated</em>, 1971–2003</p>
<p>8 October – 20 October 2019: Dan Graham, <em>Pavilions Compilation</em>, 2014</p>
<p>22 October – 3 November 2019: Carsten Nicolai, <em>Future Past Perfect Pt. 2 (Cité Radieuse),2007</em></p>
<p> </p>
<p><strong>FILM SYNOPSIS</strong></p>
<p>24 September – 6 October 2019</p>
<p><strong>Ant Farm, </strong><strong><em>Inflatables Illustrated<br /></em></strong>United States, 1971–2003</p>
<p>B&w and colour, sound, 21 min 20 sec</p>
<p>As a critique of consumerism and reaction to Brutalist architecture, Ant Farm created a utopian, inflatable architecture that was participatory and communal, cheap, and easy to transport and assemble. It had been used to host festivals, conferences, or installed as university campuses. Without a fixed structure, these inflatables challenged the notions of a building as well as the reliance on expert knowledge of architects. The film, which brings its audience through the steps of making a small inflatable using basic materials found in a kitchen, is an example of “open source,” in which concepts are made accessible to the public.</p>
<p>8 October – 20 October 2019</p>
<p><strong>Dan Graham, <em>Pavilions Compilation<br /></em></strong>United States, 2014</p>
<p>Colour, sound, 31 min</p>
<p>This film surveys Dan Graham’s series of sculptures Pavilions, created since the late 1970s, with documentary footage of the works in different cities. Created on a human scale out of glass or mirror, they serve as instruments of perception as viewers become both the object of spectacle as well as the subject or spectator of themselves reflected in the glass walls. Representing a hybrid between a quasi-functional space and an installation, art and architecture, public and private realms, the sculptures reflect Graham’s investigation into the social phenomenology and performativity of the viewer with the art object.<br /><br /></p>
<p>22 October – 3 November 2019</p>
<p><strong>Carsten Nicolai,<em> Future Past Perfect Pt. 2 (Cité Radieuse)<br /></em></strong>Germany, 2007</p>
<p>Digital film line, colour, sound, 7 min 43 sec.</p>
<p><span>Shot at Le Corbusier’s Unité d’Habitation (built in 1952) in Marseille, a classic example of Brutalist architecture, the film focuses first on the exterior of the building followed by its interior before ending at its rooftop. Twice, the film’s calm atmosphere is disrupted by a rapid, flashing sequence, achieving a cinematic effect while engineering the elements of time, space, and social relations.<br /><br />This film screening is part of the <em>Film Programme: Resonating Structures</em>, which features six of Siah Armajani’s computer-generated short films from the 1970s. <br /><br /></span>A public programme of <em>Siah Armajani: Spaces for the Public. Spaces for Democracy</em>.</p>
</div>
</div>
24 September - 3 November 2019
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ant+Farm">Ant Farm</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Dan+Graham">Dan Graham</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Carsten+Nicolai">Carsten Nicolai</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>
<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>
Film Programme: Resonating Structures (Line Structures)
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Architecture">Architecture</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Design">Design</a>
<span><span>23 Jul 2019, Tue - 4 Aug 2019, Sun 12:00 PM - 07:00 PM<br /><br /></span></span>
<p><strong><em>Micro-Cosmos 1–4, </em></strong>Stan VanDerBeek, United States, 1983</p>
<p>Colour, sound, 15 min</p>
<p>This is a series of four short computer-animated works, in which the image of an orb is transformed into a pulsating, energetic evocation of life forces.</p>
<span>This film screening is part of the <em>Film Programme: Resonating Structures</em>, which features six of Siah Armajani’s computer-generated short films from the 1970s.<br /><br />A public programme of <em>Siah Armajani: Spaces for the Public. Spaces for Democracy</em>.</span>
23 July - 4 August 2019
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Stan+VanDerBeek">Stan VanDerBeek</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>
Film Programme: The Posthuman City
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Posthumanism">Posthumanism</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Urbanism">Urbanism</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Climate+Crisis">Climate Crisis</a>
<div class="event_single_dates text__exhibitions">26 Nov 2019, Tue - 9 Feb 2020, Sun</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /><p>This film programme accompanies the exhibition, <i>The Posthuman City. Climates. Habitats. Environments.</i> It involves a selection of 11 artists’ films that expand on the exhibition’s topics, as well as two sci-fi classics.</p>
<p>Screening on loop during opening hours.<br /><br /></p>
<p>26 November – 1 December 2019<br /><strong>Mierle Laderman Ukeles, <em>Waste Flow</em>, 1984<br /></strong>Video, colour, 58 minutes</p>
<p><em>Waste Flow </em>is one of two videos chronicling Ukeles’s ground-breaking performance <em>Touch Sanitation </em>(1978–80), in which she shook hands with over 8,500 New York City Sanitation workers to appreciate and destigmatise their labour. The film portrays a large grid of coloured photographic prints, and sundry text-based archival materials depicting the performance work.</p>
<p>3 – 8 December 2019<br /><strong>De Rijke/De Rooij, <em>Bantar Gebang</em>, 2000<br /></strong>35mm film, colour, sound, 10 min</p>
<p>This film consists of a single static view of a shanty town built on a vast rubbish dump near Jakarta, Indonesia. It begins in semidarkness before dawn, to broad daylight, and ends with the light shifting from dreamy twilight to daybreak. The entrance to the walled shanty town is framed in the centre, where roads intersect with people walking along them. The structure of the image is revealed and sobering even, as the viewer observes its details and actions in the changing light.<br /><br /></p>
<p>10 – 15 December 2019<br /><strong>Lucy Walker, <em>Waste Land</em>, 2010<br /></strong>Colour, sound, 99 min</p>
<p>This feature documentary follows Vik Muniz, a Brazilian artist and photographer, on an emotional journey from Jardim Gramacho, the world’s largest landfill on the outskirts of Rio de Janeiro, to the heights of international art stardom. Muniz collaborates with “catadores,” pickers of recyclable materials who live on the landfill, to create photographic images of themselves out of garbage. The process portrays their plight; at the same time, the resulting work highlights their dignity, the transformative power of art, and the beauty of the human spirit.<br /><br /></p>
<p>17 – 22 December 2019<br /><strong>Tejal Shah, <em>Between the Waves</em>, 2012<br /></strong>HD Video, colour and b&w, multi-channel sound</p>
<p>Five-channel video installation, adapted to two-channel (back-to-back loop)<br />Channel I, <em>A Fable in Five Chapters</em>, 26 min 15 sec<br />Channel II, <em>Landfill Dance</em>, 5 min<br />Channel III, <em>Animation</em>, 1 min 40 sec<br />Channel IV, <em>Moon Burning</em>, 26 min 15 sec<br />Channel V, <em>Morse Code</em>, 26 min 15 sec<em> </em><br /><br /><em>Between the Waves </em>portrays personal/political metaphors—embodiments of the queer, eco-sexual, inter-special, technological, spiritual, and scientific—within sensual, poetic, heterotopic landscapes. Neither bourgeois or asexual, the subjects can be read as assertively political in their local context, where freedom of speech and creative expression often face serious censorship. The immersive environments they are in represent spaces of refuge or expulsion, while their activities feel both archaic and futuristic, filled with urgency and agency. Multiple historic and mythological references are woven and problematised within the video. <em>A Fable in Five Chapters </em>touches on the ecological importance and parthenogenetic nature of corals and reef fish; <em>Landfill Dance </em>explores the potency of the geological, social, and cultural histories embedded in a landfill; <em>Animation </em>and <em>Morse Code </em>move between low-tech animation to the use of iPhone Morse code application; and <em>Moon Burning </em>highlights the cyclic nature of existence and impermanence, and the fluid entities of things and beings. <br /><br /></p>
<p>One-time screening<br />Thursday, 19 December 2019, 7.30pm<br /><strong>Fritz Lang, <em>Metropolis</em>, 1927<br /></strong>B&w, sound, 2h 30 min</p>
<p>This German expressionist science-fiction drama film presents a futuristic utopian city that exists above a grim underground world populated by exploited workers who runs the machinery that keeps the utopian world above functioning. Freder, the son of the city’s master is intrigued by a young woman named Maria, who brings a group of workers’ children to the city and eventually learns about their living conditions. Freder seeks to be a mediator between the separating classes and this puts him in conflict with his authoritative father. This quickly culminates into a revolution that spells disaster for those involved.<br /><br /></p>
<p>24 – 29 December 2019<br /><strong>Ursula Biemann, <em>Deep Weather</em>, 2013<br /></strong>Video essay, colour, sound, 9 min</p>
<p>This video draws a connection between the relentless reach for fossil resources and the impact on broad indigenous populations in remote parts of the world. Water and oil form the undercurrents of all narrations as they are activating profound change in the planetary ecology. The work documents communities living in the Deltas of the Global South that are building protective mud embankments by hand without any mechanic help. In Bangladesh, such measures are taken when large parts of the country become submerged and water is declared a territory of citizenship for populations forced to live on water.<br /><br /></p>
<p>One-time screening<br />Thursday, 26 December 2019, 7.30pm<br /><strong>Ridley Scott, <em>Blade Runner</em>, 1982<br /></strong>Colour, sound, 117 min</p>
<p>In the year 2019, Rick Deckard, a <em>Blade Runner</em> and law enforcer, is forced out of retirement to hunt down and kill four illegally bio-engineered humans known as <em>replicants </em>before they kill more people. These <em>replicants </em>are androids that look virtually identical to human beings. They are designed with superior strength and higher intelligence but feel no emotions. Centred on the theme of humanity, the film examines the effects of technology on the environment and society; where other forms of natural life no longer exists and the future is depicted as both high-tech and hopeful in some places but decayed in others.<br /><br /></p>
<p>31 December 2019 – 5 January 2020<br /><strong>Jan Peter Hammer, <em>Tilikum</em>, 2013<br /></strong>HD-video, colour, sound, 45 min</p>
<p>The film charts the entangled history of behaviourism, neuroscience, animal training, interspecies affection, and English-speaking dolphins. Its narrative starts on 25 February 2010 with a 911 call. Seconds after having completed a live performance at SeaWorld Orlando, Florida, a trainer Dawn Brancheau was dragged underwater, drowned and dismembered by Tilikum, a bull orca. He was Tilikum’s third victim. The film reveals details about the entertainment-industrial complex which SeaWorld is a part of, and the connections between the earliest oceanic leisure centres and Cold War military research, from Hammer’s research on the incident.<br /><br /></p>
<p>7 – 12 January 2020<br /><strong>Jonathas de Andrade, <em>O Peixe</em> [The Fish], 2016<br /></strong>16mm film transferred to 2K video, sound, colour, 37 minutes</p>
<p>The film adopts an aesthetic style typically employed in ethnographic films by anthropologists from the 1960s and 70s when recording the cultures and traditions they study. In a series of vignettes shot on 16 mm film, we witness what seems to be an intimate ritual—one actually invented by the artist—among fishermen in a coastal village in North-eastern Brazil. The camera captures individual fishermen as they catch and then tenderly hold their prey to their chest until it stops breathing. There lurks an understanding that this gesture disguises violence as benevolence and suggests a symmetry between the power that humans wield over other life forms.<br /><br /></p>
<p>14 – 19 January 2020<br /><strong>Fabrizio Terranova, <em>Donna Haraway: Story Telling for Earthly Survival</em>, 2016<br /></strong>Colour, sound, 81 min</p>
<p>Donna Haraway is a prominent scholar in the field of science and technology, a feminist, and a science-fiction enthusiast who works at building a bridge between science and fiction. She became known in the 1980s through her work on gender, identity, and technology, which broke with the prevailing trends and opened the door to a frank and cheerful trans-species feminism. Haraway is a gifted storyteller who paints a rebellious and hopeful universe teeming with creatures and futuristic trans-species, in an era of disasters. The filmmaker Fabrizio Terranova visited Donna Haraway at her home in Southern California, producing this rare, candid, intellectual portrait of a highly original thinker. <br /><br /></p>
<p>21 – 26 January 2020<br /><strong>Armin Linke, <em>Pulau-pulau kelapa sawit</em>, 2017<br /></strong>In collaboration with Giulia Bruno and Giuseppe Ielasi.<br />HD video, colour, sound, 95 min</p>
<p>With footage of oil palm plantations, active peat fires, and olive-related production sites in Java, Sumatra, and Kalimantan (Borneo), the film illustrates why the oil-farming business has grown so rapidly in Asia. Various stages of palm oil production are linked through provocative interviews with residents, activists, scientists, and government officials who express their often-conflicting views on the transformation of Indonesia into a palm oil nation. While the pace of production has positively impacted Indonesia’s GDP, the steep rise in demand for palm oil and its derivatives has dire consequences for Indonesia and its rainforests.<br /><br /></p>
<p>28 January – 2 February 2020<br /><strong>Liam Young, <em>Seoul City Machine</em>, 2019<br /></strong>Digital 3D film, sound, 7 min 41 sec</p>
<p><em>Seoul City Machine </em>is an abstract sequence of vignettes, fragments and moments of a city where machines and technology are now the dominant inhabitants. It portrays the urban landscape of tomorrow; a city in which all of the fears and wonders of emerging technologies have come true. An AI chatbot voices its own creation story through its City Operating System to the citizens it affectionately manages. Using contemporary Seoul as a visual backdrop, the present-day city is overlaid with cinematic visual effects to depict an autonomous world where drones fill the sky, cars are driverless, streets are draped in augmented reality, and everyone is connected to everything.<br /><br /></p>
<p>4 – 9 February 2020<br /><strong>Karlos Gil, <em>Uncanny Valley</em>, 2019</strong></p>
<p>The film is a dystopian sci-fi story that takes the replacement of waiters in Japanese restaurants by androids as its starting point. It explores complex existential problems due to the Uncanny Valley Hypothesis in the field of robotics: in which an android created too much in the image and likeness of a human faces rejection. The underlying themes of the video deal with the relationship between machines and humans based on the encounter between an android and its doppelgänger. Through this relationship and the implementation of Artificial Intelligence (AI) in everyday life, the film reflects the socio-economic paradigm effects by the technological transformation.</p>
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26 November 2019 - 9 February 2020
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mierle+Laderman+Ukeles">Mierle Laderman Ukeles</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jeroen+de+Rijke">Jeroen de Rijke</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Willem+de+Rooij">Willem de Rooij</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lucy+Walker">Lucy Walker</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tejal+Shah">Tejal Shah</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Fritz+Lang">Fritz Lang</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ursula+Biemann">Ursula Biemann</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ridley+Scott">Ridley Scott</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jan+Peter+Hammer">Jan Peter Hammer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jonathas+de+Andrade">Jonathas de Andrade</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Fabrizio+Terranova">Fabrizio Terranova</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Armin+Linke">Armin Linke</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Liam+Young">Liam Young</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Karlos+Gil">Karlos Gil</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=North+America">North America</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=South+America">South America</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>
Film Screening in collaboration with Asian Film Archive
<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>
<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=Displacement">Displacement</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Race">Race</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ritual">Ritual</a>
Thu 21 May 2015<br />Wed 3 Jun 2015 Block 43 Malan Road, The Single Screen <br /><br />Part I: DROUGHT – 92 mins | Colour | with English subtitles Language: Hindi, Indonesian, Italian, Tagalog, Mandarin, German<br /><br />Part II: FLOOD – 92 mins | Colour | with English subtitles Languages: Japanese, Korean, Mandarin, Thai, Indonesian, Malay, Hokkien <br /><br />NTU CCA Singapore will present a selection of films from the Asian Film Archive (AFA) with a focus on independent cinema from Southeast Asia. The launching session will feature the first part of Sherman Ong's film <em>Flooding in the Time of Drought (</em>Singapore, 2009). This docu-narrative fusion depicts the lives of foreign immigrants as they face an impending water crisis. Touching on issues as diverse as ethnic discrimination, ritual beliefs, World War II, and racial tensions in post-’97 riots Indonesia, the film explores how ingrained problems are transported along with migrant communities.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sherman+Ong">Sherman Ong</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>