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Mary Otis Stevens. The i Press Series
14 Feb 2020, Fri - 16 Aug 2020, Sun

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Mary Otis Stevens (b.1928) is a pioneering American architect. Her architectural designs, along with the founding of i Press (1968-1978), an important publisher of books on architecture, urbanism, and social space, were linked to her ability to radically re-envision space and relationships. In the context of the Cold War and American political activism in the 1960s, her work, which were often in collaboration with her partner, fellow architect and i Press co-founder Thomas McNulty, revealed her foundational training in philosophy and her commitment to de-centralising hierarchies. Revisiting her work more than fifty years later, the themes of active citizen participation in government, integrated planning, and genuine risk-taking to make substantial change in people’s lives remain relevant and crucial means of incorporating a social context into the practice of architecture. On view is Mary’s sensitivity to variations, large and small, visible in her work as a publisher as well as her drawings and architectural designs. This research presentation also explores The Ideal Communist City, an i Press publication by Alexei Gutnov et al. from 1970 that offers a deep dive into a utopian proposition that “the new city is a world belonging to all and to each.”

In order to help introduce the i Press series on the human environment to a wide audience, NTU CCA Singapore, with series editors Ute Meta Bauer (Founding Director, NTU CCA and Professor, NTU ADM), James Graham (Director of Publications, Columbia University GSAPP), and Pelin Tan (2019-2020 Keith Haring Fellow in Art and Activism, Bard College), is currently working with i Press and Mary Otis Stevens to republish several original i Press books with revisions and commentary by contemporary theorists and practitioners.

Mary Otis Stevens. The i Press Series is curated by Dr Karin Oen, Deputy Director, Curatorial Programmes, NTU CCA Singapore

Chapter 8 of another i Press publication, World of Variation (1970), by Mary Otis Stevens and Thomas F. McNulty, titled “Mass Movement and Hesitations”, is available online here.

Download the brochure here.

 

Image: Mary Otis Stevens, early concept model for the Lincoln House, architecture expressed as wave motion, 1965.

 

Online Screening: First conference of Non-Aligned Movement, 1961
4 Aug 2020, Tue - 16 Aug 2020, Sun

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Register here to receive the password to view the film.

 

 

Archive footage from the first conference of the 1961 Non-Aligned Movement, otherwise known as the Belgrade Conference, presenting historical events from the meeting. The inaugural conference was initiated by three key figures: Josip Broz Tito, President of Yugoslavia; Gamal Abdel Nasser, President of Egypt; and Jawaharlal Nehru, First Prime Minister of India. Attended by 25 countries from Asia, Africa, and Latin America, the conference is a direct response to the division of sphere of influence settled between the major world forces after WWII and the Cold War, enabling members to independently formulate their own position in international politics.

 

Introduction by Vladmir Seput

 


We have expanded the scope of our educational programming to include online film screenings in an effort to make our programmes more accessible and reach our audiences beyond the walls of our Centre, in light of the limitations on onsite screening at the Centre.

Selected films from our film programme Third Way / After Bandung, curated by Mark Nash and Vladimir Seput, and originally intended to be screened on-site in parallel with the exhibition Non-Aligned, are being made available to be streamed on our website for limited periods of time. Third Way signifies the third force that emerged during the Cold War, as a diversion from the United States and Soviet Union, and After Bandung refers to the period after the 1955 Asian-African Conference, also known as the Bandung Conference. This was the period of rising decolonisation after World War II, with nations declaring their own independence and defending their own positions from colonial powers.

To learn more about this programme’s original scope and sequence, please click here. CCA gratefully acknowledges the collaboration of the curators, filmmakers, and distributors in making this transition to an online film programme possible during the global COVID-19 crisis.

 

Image: First conference of Non-Aligned Movement, 1961, film still, 1972. Courtesy the artist.

Workshop: Discovering Histories, Designing Stories by artist Robert Zhao Renhui and filmmaker Andre Quek
22 Aug 2020, Sat 02:00 PM - 05:00 PM

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How can physical traces of the past help us visualise new narratives? This workshop begins with a nature trail by artist Robert Zhao Renhui through the secondary forest surrounding Gillman Barracks. Unearth the history of the Queen’s Own Hill from a plantation to military barracks, and to its current status as a visual arts precinct. Be inspired to create visual narratives about the area under the guidance of filmmaker Andre Quek. Learn basic principles of film language and visual storytelling, composition, and production design, and bring home your very own beatboard.

Workshop fee: $12
Register via Peatix: historiesandstories.peatix.com

 

BIOGRAPHIES

Andre Quek (Singapore) is a filmmaker who specialises in 2D hand-drawn animation. Quek graduated with honours from the School of Art, Design and Media, Nanyang Technological University (2014), and co-founded Finding Pictures in 2018, an animation studio in Singapore. He draws inspiration from all walks of life, believing that abstracting the details of reality enlivens his animations. Quek’s film Princess has been screened at over 50 international film festivals, winning multiple awards for best animation short film, including Best Animation Award at the National Youth Film Awards (NYFA) 2015, and Gold award in the Crowbar Awards 2015. He has since focused on directing commercial shorts and produced Automatonomy (2017) that won Best Animation at NYFA 2019.

Robert Zhao Renhui (Singapore) is a multidisciplinary artist and the founder of the Institute of Critical Zoologists. Persistently twisting reality and fiction, his artistic practice addresses the human relationship with nature, challenging accepted parameters of objectivity and scientific modes of classifications. Zhao received his Bachelor’s and Master’s degree in Photography from Camberwell College of Arts and London College of Communication respectively. He has exhibited in solo shows and biennales internationally. He was awarded the Young Artist Award by the National Arts Council in 2010. He was named as a finalist for the Benesse Prize 2019, and the Hugo Boss Asia Art Award 2017.

This is an education programme of the exhibition Non-Aligned.

Image: Courtesy Robert Zhao.

 

Note: NTU CCA Singapore is closely monitoring the COVID-19 situation while adhering to government advisories. This includes limiting the number of workshop participants, and conducting temperature screenings as well as contact tracing and safe-distancing measures. We seek your understanding and cooperation in ensuring the safety of our staff and visitors.

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22 Aug 2020, Sat - 18 Oct 2020, Sun

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The situation with Covid-19 has changed not just the way we work, but also the way we live and socialise. Given the context of this current situation, <!DOCTYPE work> seeks to chart out the process of exhibition-making while reflecting between oscillating environments of analogue and digital. This is a curatorial project by recent graduates of NTU CCA Singapore and NTU ADM’s MA programme in Museum Studies and Curatorial Practices – Leon Tan, Shireen Marican and Tian Lim, recipients of the inaugural Platform Projects Curatorial Award.

Reading Corner, Non-Aligned
4 Apr 2020, Sat - 27 Sep 2020, Sun

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Accompanying this exhibition is a library of over 50 books on postcolonialism, decoloniality, the history of the Cold War, the Non-Aligned Movement, archiving, as well as theory of the moving image and publications on and by John Akomfrah, Naeem Mohaiemen, and The Otolith Group. Authors include Frantz Fanon, Stuart Hall, and Richard Wright, as well as Kodwo Eshun, Rosalind C. Morris, Bojana Piškur and Gayatri Chakravorty Spivak, among many others.

In light of COVID-19, we have removed the reading corner for the safety of our visitors. We have selected texts on, or in conversation with, some of them to be used for online reading groups. These additional texts including articles by Vijay Prashad and Elspeth Probyn, and book chapters by Adil Johan and S.R. Joey Long. To view the list of readings, please click here.

 

Bibliography

 

Akomfrah, John, Nicholas Logsdail, Nora M Alter, and T. J Demos. 2016.John Akomfrah. London: Lisson Gallery. 

Allen, John, Peter Braham, Paul Geoffrey Lewis, and Stuart Hall. 2005.Political And Economic Forms Of Modernity: Understanding Modern Societies, Book II. Cambridge: Polity Press. 

Anderson, Benedict. 1991.Imagined Communities: Reflections On The Origin And Spread Of Nationalism. London: Verso Books. 

Arnold, Guy. 2010.The A To Z Of The Non-Aligned Movement And Third World. Lanham: Scarecrow Press. 

Banerjee, Sukanya, Aims McGuinness, and Steven C McKay. 2012.New Routes For Diaspora Studies. Bloomington: Indiana University Press. 

Brah, Avtar. 1996.Cartographies Of Diaspora: Contesting Identities. London: Routledge. 

Braziel, Jana Evans, and Anita Mannur. 2010.Theorizing Diaspora: A Reader. Malden, MA: Blackwell Publishing. 

Bocock, Robert, Kenneth Thompson, and Stuart Hall. 2007.Social And Cultural Forms Of Modernity: Understanding Modern Societies, Book III. Cambridge: Polity Press/Open University. 

Boskovska, Nada, Natasha Miskovic, and Harald Fischer-Tine. 2014.Non-Aligned Movement And The Cold War: Delhi – Bandung – Belgrade. New York: Taylor & Francis Inc. 

CésaireAimé. 1972.Discourse On Colonialism. New York: Monthly Review Press. 

Connell, Raewyn. 2007.Selected Type: Paperback Quantity: $26.00 ADD TO CART Southern Theory: Social Science And The Global Dynamics Of Knowledge. Cambridge: Polity. 

EshunKodwo, and Anjalika Sagar. 2007.The Ghosts Of Songs: The Film Art Of The Black Audio Film Collective, 1982 – 1998. Liverpool: Liverpool University Press. 

EshunKodwoAnjalika Sagar, Martin Clark, Steinar Sekkingstad, and The Otolith Group. 2015.The Otolith Group: World 3. Bergen: Bergen Kunsthall/Casco. 

Frankopan, Peter. 2016.The Silk Roads: A New History Of The World. Bloomsbury: Knopf Doubleday Publishing Group. 

Gaddis, John Lewis. 2007.The Cold War. New York: Penguin Books. 

Gandhi, Leela. 1998.Postcolonial Theory: A Critical Introduction. Columbia: Columbia University Press. 

Gilroy, Paul. 2002.The Black Atlantic. Cambridge (Massachusetts): Harvard University Press. 

Fanon, Frantz. 1994.A Dying Colonialism. New York: Grove Press. 

Fanon, Frantz. 1968.Black Skin, White Masks. New York: Grove Press. 

Hall, Stuart, and Bill Schwarz. 2018. Familiar Stranger. London: Penguin. 

Hall, Stuart, and Bram Gieben. 1992.The Formations Of Modernity: Understanding Modern Societies An Introduction Book 1. Cambridge: Polity. 

Hall, Stuart, David Held, and Tony McGrew. 1992.Modernity And Its Futures: Understanding Modern Societies, Book IV. Cambridge: Polity Press. 

Hall, Stuart, David Morley, and Kuan-Hsing Chen. 1996.Stuart Hall: Critical Dialogues In Cultural Studies. London: Routledge. 

Hall, Stuart, Jennifer Daryl Slack, and Lawrence Grossberg. 2016.Cultural Studies 1983: A Theoretical History. Durham: Duke University Press Books. 

Harney, Stefano, and Fred Moten. 2013.The Undercommons: Fugitive Planning & Black Study. London: Minor Compositions. 

Hine, Darlene Clark, and Jacqueline McLeod. 2001. Crossing Boundaries: Comparative History Of Black People In Diaspora. Bloomington: Indiana University Press. 

Hofstede, Geert, Gert Jan Hofstede, and Michael Minkov. 2010.Cultures And Organizations. New York: McGraw-Hill. 

Ivakhiv, Adrian J. 2013.Ecologies Of The Moving Image: Cinema, Affect, Nature. Waterloo, Ontario: Wilfrid Laurier University Press. 

Kim, Jihoon. 2018.Between Film, Video, And The Digital: Hybrid Moving Images In The Post-Media Age. New York: Bloomsbury Academic. 

McLeod, John. 2000.Beginning Postcolonialism. Manchester: Manchester University Press. 

Mignolo, Walter, and Catherine E Walsh. 2018.On Decoloniality: Concepts, Analytics, Praxis. Durham: Duke University Press. 

Mohaiemen, Naeem, and Fabian Schöneich. 2014.Prisoners Of Shothik Itihash. Basel: Kunsthalle Basel. 

Morris, Rosalind C. 2010.Can The Subaltern Speak?. New York: Columbia University Press. Morton, Stephen. 2008.Gayatri Spivak: Ethics, Subalternity And The Critique Of Postcolonial Reason. Cambridge: Polity. 

Pagden, Anthony Robin. 2003.Peoples And Empires: A Short History Of European Migration, Exploration And Conquest, From Greece To The Present (Modern Library Chronicles). New York: The Modern Library. 

PiškurBojana. 2019.Southern Constellations: The Poetics Of The Non-Aligned. Ljubljana: Moderna Galerija. 

Potter, William C, and Gaukhar Mukhatzhanova. 2012.Nuclear Politics And The Non-Aligned Movement: Principles Vs Pragmatism. London: Routledge. 

Reddy, Movindri. 2018.Social Movements And The Indian Diaspora. London: Routledge. 

Roberts, Brian Russell, and Keith Foulcher. 2016.Indonesian Notebook: A Sourcebook On Richard Wright And The Bandung Conference. Durham: Duke University Press. 

Robinson, Kathryn May, and John F McCarthy. 2016.Land And Development In Indonesia: Searching For The People’s Sovereignty. Singapore: ISEAS – Yusof Ishak Institute. 

Said, Edward W. 1994.Culture And Imperialism. New York: Vintage. 

Said, Edward W. 2003.Orientalism. London: Penguin. 

Said, Edward W. 2000.Out Of Place: A Memoir. New York: Vintage Books. 

Safran, William, Ajaya Sahoo, and Brij V. Lal. 2013.Transnational Migrations: The Indian Diaspora. New Delhi: Routledge. 

Service, Robert. 2015.The End Of The Cold War: 1985-1991. London: Pan Macmillan. 

Smith, Linda Tuhiwai. 2012.Decolonizing Methodologies: Research And Indigenous Peoples. London: ZED Books. 

Spivak, Gayatri Chakravorty. 2003.A Critique Of Postcolonialism Reason: Toward A History Of The Vanishing Present. Cambridge, Mass.: Harvard University Press. 

Wane, Njoki Nathani, and Kimberly L. Todd. 2018.Decolonial Pedagogy: Examining Sites Of Resistance, Resurgence, And Renewal. London: Palgrave Macmillan. 

Westad, Odd Arne. 2018.The Cold War: A World History. London: Penguin Books Ltd. 

Wright, Michelle M. 2005.Becoming Black: Creating Identity In The African Diaspora. Durham: Duke University Press. 

Wright, Richard. 2016.Native Son. London: Vintage Classics. 

Wright, Richard. 2020.Black Boy. New York: HarperCollins Publishers, Inc. 

Wright, Richard, Gunnar Myrdal, and Amritjit Singh. 1995.The Color Curtain: A Report On The Bandung Conference. Jackson: University Press of Mississippi.

Alignments from the Archive
4 Apr 2020, Sat - 27 Sep 2020, Sun

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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.

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#1: Mise-en-Scéne and Misalignments: Resetting the Postcolonial Stage

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 Isaac Julien, Mark Nash, Stefano Harney, Škart, and Bojana Piškur.

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Paradise Lost: Lecture: Postcolonial critique today – Stefano Harney
7 March 2014

Referencing the works of Zarina Bhimji and Trinh T. Minh-ha in the exhibitionParadise Lost, 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.”

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Theatrical Fields: Special Brunch and Screening Session with Isaac Julien and Mark Nash
26 October 2014

Dr Mark Nash and Isaac Julien discuss theatricality as criticality through Vagabondia (2000), Julien’s seven-minute film for Theatrical Fields, 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 Playtime (2014), a part-documentary part-fiction exploration of global capital, plays following their conversation.

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Residencies Insights: Non-Aligned Movement: New Spaces of Liberty, New Lines of Alliance, New Modes of Creativity
22 November 2017

Belgrade-based collective Škart and Bojana Piškur 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.

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#2: Phantasms and Futurities: Decolonial Propositions

From a global stage reset in Mise-en-Scéne and Misalignments, 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.

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Theatrical Fields: Symposium: Screening Theatrical Phantasms: Toward an Uncertain Futurity
Keynote Lecture by Prof Timothy Murray
23 August 2014

This talk addresses the fascination of artworks in our previous exhibition Theatrical Fields 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. 

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Lecture Performance: Flowers from our Bloodlines by Zarina Muhammad, artist; Stefania Rossett, choreographer; Vivian Wang pianist; Eric Lee, artist; and Tini Aliman, sound artist
22 September 2017

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.

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Residencies Insights: Speculations on other futures by Brigitte van der Sande, former Curator-in-Residence
6 December 2018

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.

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#3: Tidalectic Topographies, Counter Cartographies  

Extending the exploration of counter-sites from Phantasms and Futurities, 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.

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In Conversation Part I: Arus Balik with artists Ade Darmawan, Shubigi Rao, and Melati Suryodarmo, Moderated by curator Philippe Pirotte
23 March 2019

This panel discussion focuses on the Indonesian epic Arus Balik (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 Arus Balik – from below the wind to above the wind and back again (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.

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Performance: A Tumbling Inch by Former Artists-in-Residence Irwan Ahmett and Tita Salina
11 June 2019

A Tumbling Inch 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.

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The Current Convening #3 Tabu / Tapu – Who Owns the Ocean?
Rights of Cultures, Rights of Nature: Case Studies by Dr Cresantia Frances Koya Vaka’uta, Director, Oceania Centre for Arts, and Dr Cynthia Chou, Professor, Department of Anthropology, University of Iowa
27 January 2018

Rights of Cultures, RIghts of Nature features case studies that position oceanic spaces as charged relational spaces. Dr Cresantia Frances Koya Vaka’uta’s exposition on tabu/tapu – 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 Orang Suku Laut 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.

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#4: Summoning Spectres: Historiography as Hauntology

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.

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Symposium: Ghosts and Spectres – Shadows of History
In the Interest of Time by Dr June Yap, Director of Curatorial Programmes and Publications, Singapore Art Museum

28 October 2017

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.”

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Residencies Insights: Two Worlds, Four Spirits by Sung Tieu, Former Artist-in-Residence

3 December 2019

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 — Memory Dispute (2017), Coral Sea As Rolling Thunder (2017), Remote Viewing (2017) and Loveless (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.

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Behind the Scenes: On Alfonso Ossorio’s Angry Christ mural by artists Amy Lien and Enzo Camacho 

1 December 2018

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, Angry Christ. 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 Angry Christ 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.

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Online Resource for Reading Groups, Non-Aligned
4 Apr 2020, Sat - 27 Sep 2020, Sun

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Accompanying this exhibition is a library of over 50 books on postcolonialism, decoloniality, the history of the Cold War, the Non-Aligned Movement, archiving, as well as theory of the moving image and publications on and by John Akomfrah, Naeem Mohaiemen, and The Otolith Group. Authors include Frantz Fanon, Stuart Hall, and Richard Wright, as well as Kodwo Eshun, Rosalind C. Morris, Bojana Piškur and Gayatri Chakravorty Spivak, among many others.

In light of COVID-19, we have removed the reading corner for the safety of our visitors. To view the bibliography, please click here.

We have selected texts on, or in conversation with, some of them to be used for online reading groups. These additional texts including articles by Vijay Prashad and Elspeth Probyn, and book chapters by Adil Johan and S.R. Joey Long.

 

Reading list:

Abraham, Itty, “From Bandung to NAM: Non-alignment and Indian Foreign Policy, 1947-65”, Commonwealth & Comparative Politics, 46, no.2 (2008): 195-219. [Free download available upon account registration]

Akomfrah, John, “The Partisan’s Prophecy: Handsworth Songs and Its Silent Partners”, in Stuart Hall: Conversations, Projects, and Legacies, Julian Henriques, David Morley, and Vana Goblot. (Cambridge: The MIT Press, 2017): 185–203. https://muse.jhu.edu/chapter/2060422

Bhambra, Gurminder K, “Postcolonial and Decolonial Dialogues”, Postcolonial Studies 17, no.2 (2014): 115-121. https://doi.org/10.1080/13688790.2014.966414

Bogues, Anthony, and Akomfrah, John, “The Black Intellectual in the African Diaspora”, Callaloo 40, no.1 (2017): 81–90. doi:10.1353/cal.2017.0054

Johan, Adil, “Decolonising Motifs,” in Cosmopolitan Intimacies: Malay Film Music of the Independence Era (Singapore: National University of Singapore Press, 2018): 41–92. http://www.jstor.com/stable/j.ctv7h0tcd.8

Long, S.R. Joey, “Bringing the International and Transnational Back In: Singapore, Decolonization, and the Cold War,” in Singapore in Global History, ed. Derek Heng and Syed Muhd Khairuddin (Amsterdam: Amsterdam University Press, 2011): 205–223. https://library.oapen.org/bitstream/id/2adedfa2-d277-4dfe-bdfe-f1ef072c5898/381653.pdf

Nash, Mark, and Julien, Isaac. “Frantz Fanon as Film” in Screen Theory Culture. (Basingstoke, Hampshire: Palgrave Macmillan, 2008): 185-196. [Download PDF file]

Parashar, Swati “Feminism and Postcolonialism: (En)gendering Encounters”, Postcolonial Studies 19, no.4 (2016): 371–377. https://doi.org/10.1080/13688790.2016.1317388

Paulson, Steve. “Critical Intimacy: Interview with Gayatri Chakravorty Spivak”, Qualitative Research Journal 18, no.2 (2018): 89–93. https://doi.org/10.1108/QRJ-D-17-00058

Piškur, Bojana, “Southern Constellations: Other Histories, Other Modernities” in Southern Constellations: Poetics of the Non-Aligned, Bojana Piškur, Zdenka Badovinac, Chương-Đài Võ, Samia Zennadi, Teja Merhar, and Anej Korsika (Ljubljana: Moderna Galerija, 2019): 9–21. [Download PDF file]

Prashad, Vijay, “Naeem Mohaiemen’s Tragic History of the 1907s Left”, Afterall: A Journal of Art, Context and Enquiry 47 (2019): 59–66. https://afterall.org/journal/issue.47/naeem-mohaiemen-s-tragic-history-of-the-1970s-left

Probyn, Elspeth, “A Feminist Love Letter to Stuart Hall; or What Feminist Cultural Studies Needs to Remember”, Cultural Studies Review 22, no.1 (2016): 294–301, https://doi.org/10.5130/csr.v22i1.4919

Roberts, Brian Russell, and Foulcher, Keith, eds., “Gelanggang’s ‘A Conversation with Richard Wright’ (1955)” in Indonesian Notebook: A Conversation with Richard Wright (Durham: Duke University Press, 2016): 95–105. https://read.dukeupress.edu/books/book/2275/chapter/370904/Gelanggang-s-A-Conversation-with-Richard-Wright

Wilson-Goldie, Kaelen, “Shifting Ground: On Stories and Archives in the Work of Naeem Mohaiemen”, Afterall: A Journal of Art, Context and Enquiry 47 (2019): 67–75. https://www.afterall.org/journal/issue.47/shifting-ground-on-stories-and-archives-in-the-work-of-naeem-mohaiemen

“A Conversation with Stuart Hall”, The Journal of the International Institute 7 no.1 (1999), http://hdl.handle.net/2027/spo.4750978.0007.107

Film Programme: Third Way / After Bandung
7 Apr 2020, Tue - 27 Sep 2020, Sun

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This film programme is originally intended to be screened on-site in parallel with the exhibition Non-Aligned. Selected films are being made available to be streamed on our website for limited periods of time. Scroll down for dates and details of both of our online and onsite screenings. NTU CCA Singapore gratefully acknowledges the collaboration of the curators, filmmakers, and distributors in making online screening possible during the global COVID-19 crisis.

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This programme features films that engage post-colonial processes covering different moments and geopolitical contexts. The Asian-African Conference in 1955, known as the Bandung Conference, amidst the complex processes of decolonization, established self-determination, non-aggression, and equality as part of the core values that then formed the Non-Aligned Movement. This history is unpacked and contextualised through this series of screenings.

Co-curated by writer and curator Mark Nash and film researcher Vladimir Seput.

Screening on loop during opening hours.

 

Joris Ivens, Indonesia Calling, 1946 
35mm transferred to digital file, b&w, sound, 22 min

This film shows the role trade union seaman and waterside workers in Sydney played in Indonesia’s independence struggle after World War II. Comprising different nationalities and races, they united together to prevent the departure of Indonesia-bound Dutch ships that carried weapons meant to bring the Indonesian National Revolution to a halt. The film seeks to distil aspects of the historical context of the events depicted in the film and gives insight to the major re-alignments in the relationship between Australia and Indonesia.

Screening is over, but click here to watch the introductory video by Vladimir Seput.

 

4 – 16 August 2020 (On loop in The Single Screen and also available online
First conference of Non-Aligned Movement, 1961
Archive footage, colour, sound, 10 min 51 sec

Archive footage from the first conference of the 1961 Non-Aligned Movement, otherwise known as the Belgrade Conference, presenting historical events from the meeting. The inaugural conference was initiated by three key figures: Josip Broz Tito, President of Yugoslavia; Gamal Abdel Nasser, President of Egypt; and Jawaharlal Nehru, First Prime Minister of India. Attended by 25 countries from Asia, Africa, and Latin America, the conference is a direct response to the division of sphere of influence settled between the major world forces after WWII and the Cold War, enabling members to independently formulate their own position in international politics.

Please click here for more information on the online screening and to watch the introductory video by Vladimir Seput.

 

18 – 23 August 2020 (On loop in The Single Screen)
Ousmane Sembène, Borom Sarret, 1963
35mm transferred to digital file, b&w, sound, 18 min

Borom Sarret, considered to be the first African film by a black African, is a portrayal of poverty and inequality in postcolonial Africa. It follows the daily life of a Dakar “borom sarret”, or cart driver in Wolof (a language of Senegal), who is constantly being taken advantage of by others. Feeling hopeless about his situation, he compares modern life to that of a working slave, imprisoned in a cycle of poverty.  

Restored in 2013 by The Film Foundation’s World Cinema Project in association with Institut National de l’Audiovisuel and the Sembène Estate. Restoration work was carried out at Laboratoires Éclair and Cineteca di Bologna/L’Immagine Ritrovata laboratory. Restoration funding provided by Doha Film Institute. 

 

Mikhail Kalatozov, I am Cuba (Soy Cuba), 1964
35mm transferred to digital file, b&w, sound, 141 min

Narrated by Raquel Ravuelta, a seminal figure in Cuban theatre, film, television and radio, as “The Voice of Cuba,” I am Cuba follows four stories of Cubans during the Cuban Revolution. Maria works at a Havana nightclub; Pedro is a tenant farmer; Enrique, a young university student, is part of the intellectual resistance; and Mariano is a peasant who joins the rebel army. The script was co-authored by the Cuban novelist Enrique Pineda Barnet and the Soviet poet Yevgeny Yevtushenko.

Screening is over.

 

25 – 30 August 2020 (Every hour in The Single Screen)
Ousmane Sembène, Black Girl (La noire de… ), 1966 
35mm transferred to digital file, b&w, sound, 60 min

The film chronicles Senegal’s first years of independence by following a young ambitious woman, Diouana, who moves to the French Riviera with a bureaucrat and his wife who return to France after working in Dakar. Originally hired as the family nanny, she becomes enslaved as a maid in France. A human drama and a radical political statement, Black Girl critiques the enduring colonial mind-set of a supposedly postcolonial world. Black Girl was Ousmane Sembène’s first feature film and the first black African feature film which screened at Cannes. It alsowon the Prix Jean Vigo and top prize at the Carthage Film Festival. 

Celebrating the 30th Anniversary of The Film Foundation. 
Restored by Cineteca di Bologna/ L’Immagine Ritrovata laboratory, in association with the Sembène Estate, Institut National de l’Audiovisuel, INA, Eclair laboratories and the Centre National de Cinématographie. Restoration funded by The Film Foundation’s World Cinema Project. 

 

1 – 6 September 2020 (12pm, 1.45pm, 3.30pm, 5.15pm in The Single Screen)
Tomás Gutiérrez Alea, Memories of Underdevelopment, 1968
35mm transferred to digital file, b&w, sound, 97 min

The film’s narrative, based on the novel Inconsolable Memories by Edmundo Desnoes, is presented through the lens of Sergio, a wealthy bourgeois aspiring writer, during the aftermath of the Bay of Pigs Invasion. His family decides to retreat to Miami during the turmoil of social changes. The film is interspersed with real-life documentary footage of protest and political events in which Sergio’s life and personal relationship unfolds. As the threat of foreign invasion looms over Sergio, his desire for companionship also intensifies. 

Restored by the Cineteca di Bologna at L’ Immagine Ritrovata laboratory in association with Instituto Cubano del Arte e Industria Cinematograficos (ICAIC). Restoration funded by the George Lucas Family Foundation and The Film Foundation’s World Cinema Project.

 

8 – 20 September 2020 (12pm, 1.30pm, 3pm, 4.30pm, 5.45pm in The Single Screen)
Želimir Žilnik, Early Works (Rani Radovi), 1969
35mm transferred to digital file, b&w, sound, 58 min

Winner of the Golden Berlin Bear Award at the 19th Berlin International Film Festival, Early Works (Ravi Radovi) focuses on the June 1968 student demonstrations in Belgrade, as well as the Soviet invasion of Czechoslovakia in the same year. Both incidents happened against an international backdrop of student protests, political movements and anti-colonial struggles around the world. In the film, three young men and a girl called Yugoslava attempt to start a revolution in the countryside after being inspired by the early writings by Karl Marx, but are unsuccessful.

Watch introductory video by Vladimir Seput (coming in late August)

 

8 – 20 September 2020 (In The Single Screen)
Želimir Žilnik, Shorts: Black Film (Cri Film), 1971
16 mm transferred to digital file, b&w, sound, 14 min

An example of the Yugoslav Black Wave, the film movement in Yugoslavia in the 1960s to 1970s, Shorts: Black Film (Cri Film) is a spontaneous effort by Žilnik to highlight socio-political issues. In the wee hours, he approaches six homeless men on the streets of Novi Sad. Žilnik interviews them and allows them to sleep over at his home. Over the next few days, he speaks to members of the public, social workers, and the police, but nobody is able to offer any solutions.

Watch introductory video by Vladimir Seput (coming in late August)

 

Karpo Godina, Litany of Happy People (Zdravi ljudi za razonodu), 1971 
35mm transferred to digital file, colour, sound, 15 min

The Litany of Happy People is a song-film about the diverse group of people living harmoniously in rural Vojvodina, an autonomous province of Serbia known for its multi-cultural and multi-ethnic identity. The film presents families with multi-ethnic backgrounds, standing in front of their seemingly similar but colourful rural houses. The film won numerous awards at short film festivals.

Screening is over, but click here to watch the introductory video by Vladimir Seput.

 

Karpo Godina, About Art of Love or a Film with 14441 Frames (O ljubavnim veštinama ili film sa 14441 kvadratom), 1972 
Colour, sound, 10 min

This film presents an almost journalistic report of the female textile workers and male military soldiers in the Macedonian village of Stip. Interwoven with military footage and shots of the village, the alternating scenes present the two groups in proximity, while being completely isolated.  The film went through a thorough restoration process in 2016 and was shown at the 30th edition of Il Cinema Ritrovato in Bologna, Italy.

Screening is over, but click here to watch the introductory video by Vladimir Seput.

 

22 – 27 September 2020 (12pm, 1.30pm, 3pm, 4.30pm, 5.45pm in The Single Screen)
Isaac Julien, Frantz Fanon: Black Skin White Mask, 1995
35mm transferred to digital file, colour, sound, 70 min

This film interrogates the life and work of Frantz Fanon, a highly influential anti-colonial writer, civil rights activist, and psychoanalytic theorist from Martinique. The docudrama is interspersed with archival footage of Fanon as well as interviews with family members and colleagues. Reflecting on the black body and its representations, the film is rooted in the black arts movement in Britain and North America.

 

 

Image: Production still from Želimir Žilnik, Early Works (Rani Radovi), 1969, 35mm transferred to digital file, b&w, sound, 58 min. Courtesy Andrej Popovic.

Residencies Recorded #1: Ideas that are lying around
26 Jun 2020, Fri - 27 Sep 2020, Sun

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In this series, the Centre looks back at the Residencies Programme’s archives of talks, conversations, and performances to periodically highlight select events that take on particular resonance with the present times.

Watch Residencies Recorded #2: Seeding Spaces here.

#1 Ideas that are lying around

In Corona Virus Capitalism – And How to Beat it, Canadian scholar and activist Naomi Klein invokes Milton Friedman’s insight into the connection between crises and change to expand our sense of the possible. In the economist’s words: “Only a crisis—actual or perceived—produces real change. When that crisis occurs, the actions that are taken depend on the ideas that are lying around.” If crises can be magnets for radical change, which ideas should be rehashed as we build our future? Ideas that are lying around reminds us that proposals to operate differently are already there. In these three talks, previous Curators-in-Residence Maria Hlavajova, Anthony Huberman, and Nataša Petrešin-Bachelez distinctly question conventional parameters of exhibition-making and advance propositions for news modes of existence for art institutions. 

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The Making of an Institution – Reason to Exist: The Director’s Review. Instituting Otherwise, talk by Maria Hlavajova (Slovakia/Netherlands), Curator-in-Residence
22 March 2017

Drawing upon the practice of BAK, basis voor actuele kunst in Utrecht (Netherlands), Curator-in-Residence Maria Hlavajova discusses the notion of “instituting otherwise”. Dedicated to thinking aboutwith, and through art at the intersection of research and social action, she addresses the long-term strategies of BAK aimed to collectively confront the urgencies that define our contemporary. 

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Residencies Insights: Against Efficiency, lecture by Anthony Huberman (Switzerland/United States), Curator-in-Residence
31 Jan 2018 

In this talk, Curator-in-Residence Anthony Huberman reflects upon the criteria of efficiency and fast-paced consumption that inform most of contemporary art production and proposes institutional approaches that favour small scale, slowing-down and, perhaps, even inefficiency, in order to complicate an understanding of the world where only efficiency and productivity are rewarded.

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Residencies Insights: On the Necessity of Transforming One’s Practice, curator talk by Nataša Petrešin-Bachelez (Slovenia/France), Curator-in-Residence
27 Feb 2019 

In the context of her latest project, Contour Biennale 9: Coltan as Cotton (2019), Curator-in-Residence Nataša Petrešin-Bachelez discusses the necessity to slow down one’s way of working and being, to imagine new ecologies of care as a continuous practice of support, and to open up institutional borders to render them more palpable, audible, sentient, soft, porous and, most of all, decolonial and anti-patriarchal. 

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In The Vitrine:
Kin Chui
along waves of gravity –a solidar   y of holes
18 Jul 2020, Sat - 6 Sep 2020, Sun

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Envisioned in 1956 by Indonesian artist Iljas Hussein*, along waves of gravity –a solidar   y of holes was to be a monument to the short-lived Principal Liaison Centre (PLC) established in Singapore in 1926. Pivotal in the international surge of anti-colonial struggles, the PLC was a point of liaison between the 3rd International and the region and it was meant to serve as an organ for the amplification of the voices of the marginalised and the oppressed.

At the Asian-African Conference held in Bandung in 1955, Hussein was entrusted with the task of imagining a monument that encapsulated the spirit of the PLC. One year later, he presented the idea for along waves of gravity –a solidar   y of holes: a triangulation of holes strategically placed across the island that would gather and continuously echo the voices uttered into them. Inspired by theories of general relativity and topological properties of continuous deformation, Hussein’s design articulates, spatially as well as acoustically, an anti-monumentalist stance. Rather than asserting an univocal shape, the monument retreats into the ground as a series of interconnected and shapeshifting vessels which reverberate and transform sound waves throughout time. Hussein kept experimenting with these ideas until his death in 1989 but, due to its scale and technical complexity, his visionary project remained unbuilt. The surviving renderings and audio experiments of the unrealised monument are now displayed in The Vitrine.

* Iljas Hussein is a fictional artist conceived by Kin Chui. The name is one of the many aliases used by Tan Malaka (1897 –1949), an influential revolutionary thinker and fighter in the political struggles for Indonesia’s independence. Specifically, this alias was used to pen Malaka’s magnum opus Madilog (1943), the Indonesian acronym for Materialisme Dialektika Logika (Materialism Dialectics Logics).

 

The artistic practice of KIN CHUI (b. 1984, Singapore) inflects collaborative projects, performative interventions, and socially-oriented art initiatives with a sustained interest in emancipatory struggles. Recently, he had a solo exhibition, Station 13010, at Grey Projects, Singapore (2020) and was involved in group exhibitions such as In A Hard Place, Apply Soft Pressure (2018) and Unsettling Times (2017), both at Cemeti-Institute for Art and Society, Yogyakarta, Indonesia. He curated the exhibition Fantasy Islands, Objectifs, Singapore (2017). Chui is an active member of soft/WALL/studs, a Singapore-based collaborative project involving several artists, writers, film makers, art workers, and researchers. He periodically aspires to be a cat.

He is Artist-in-Residence at NTU CCA Singapore from April until September 2020.

 

Image: Kin Chui, along waves of gravity –a solidar   y of holes, 2020, 3D rendering. Courtesy the artist.

Residencies Recorded #2: Seeding Spaces
24 Jul 2020, Fri - 27 Sep 2020, Sun

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In this series, the Centre looks back at the Residencies Programme’s archives of talks, conversations, and performances to periodically highlight select events that take on particular resonance with the present times.

Watch Residencies Recorded #1: Ideas that are lying around here.

#2 Seeding Spaces

From extant buildings to the lack of arts infrastructure, reflections on the social roles of the built environment cut across these talks where artists address cultural spaces not just as containers but also as agents in the production of contemporary art and in the development of collective consciousness. Addressing different scenarios, the artists expound on the spatial contours of cultural life and their multiple oscillations between creation and recreation asking: How does the built environment shape ways of working, sharing, and being together? How can we reimagine the premises on which these spaces come to exist?

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Creatif Compleks – Artist talk by Michael Lee (Singapore), Artist-in-Residence
17 March 2018

Unravelling a series of intersecting reflections on the function of the artist’s studio within the arts ecology of a city, Michael Lee presents Creatif Compleks, a project developed during the residency for The Vitrine, the Centre’s smallest Space of the Curatorial. Through a diagrammatic reconfiguration of a hypothetical studio, the work takes a speculative leap into the utopian and the absurd, rendering visible the physical, psychological, and social factors layered in the most private and intimate environment of creative making.

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On Museums Made by Artists, Artist talk by Tun Win Aung (Myanmar)
30 July 2019

In this talk, artist Tun Win Aung highlights the challenges related to envisioning a contemporary art institution in the context of Myanmar. As he speaks about the creation of transient museums through collaborative processes and continuous conversations with local artists, Tun Win Aung recalls on his friendship and multiple artistic partnerships with the late Phyoe Kyi, a former Artist-in-Residence, focusing on the conception and development of The Museum Project.

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Residencies Insights: Models of Organisation. Images as Comrades, Film screening and discussion with Irina Botea Bucan and Jon Dean (Romania and United Kingdom), Artists-in-Residence
10 December 2019

Previous Artists-in-Residence, Irina Botea Bucan and Jon Dean, present past films and discuss their collaborative practice. Examining the formation of cultural spaces, the duo draws attention to the cumulative energies and community engagement that lie at the core of their long-term comparative research on the history, usage, and imagination of community centres as spaces for collective authorship of culture.

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