Call for Applications – CIMAM Travel Grants, Singapore | C-E-A
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Laura Huertas Millán CV Education 2017 Phd, ENS Rue D'ulm, Beaux
Laura Huertas Millán CV b. in 1983, Bogotá, Colombia. Lives and works in Paris, France. [email protected] tel: + 33 (0) 667783951 www.laurahuertasmillan.com Education 2017 PhD, ENS rue d’Ulm, Beaux-Arts de Paris (SACRe program), Paris, France. 2014 Visiting fellow, Sensory Ethnography Lab, Harvard University, Cambridge, USA. 2012 Master´s degree, Le Fresnoy (summa cum laude), Tourcoing, France. 2009 MFA (summa cum laude), Beaux-Arts de Paris, France. Awards / Grants / Residences 2018 Research Grant, Centre national des arts plastiques, Paris, France Emerging Artist Award, Fontanals Art Foundation (CIFO), Miami, USA. Best Direction Prize, Pardo di domani competition, Locarno Film Festival, Switzerland. Best Film Tenderfilm Award, Tenderpixel, London, England. Best experimental film, Bogoshorts, Colombia. Shortlisted, Future Generation Art Prize, PinchuckArtCenter, Kiev, Ukraine. 2017 Best Film, National Competition, MIDBO, Bogota, Colombia. Grand Prix, Biennale de la Jeune Création Européenne (BJC), Montrouge, France. Best short film, Fronteira Film Festival, Goiânia, Brazil. Conseil départemental des Hauts-de-Seine Prize, Salon de Montrouge, France. 2016 Jury´s mention, Grand Prix international competition, Doclisboa, Lisboa, Portugal. Jury´s mention, Grand Prix French competition, FIDMarseille, Marseille, France. PhD Research Grant, PSL, Université Paris Sciences et Lettres, France. Production Grant, Film Study Center, Harvard University, Cambridge, MA, USA. Post-production Grant, cinéma 93-CNC, France. Nominee, Rolex Mentor and Protégé initiative (Cinema), New York, USA. 2015 Residency, Fundación Arquetopia, Oaxaca, Mexico. Film Development Grant, Fondo Cinematográfico Colombiano, Bogota, Colombia. Production Grant, Film Study Center, Harvard University, Cambridge, MA, USA. 2014 Jury´s mention, Bienal de la Imagen en movimiento, Buenos Aires, Argentina. PhD Research Grant, PSL, Université Paris Sciences et Lettres, France. -
Equator Symposium 2014 the One and the Many: Ethics and Aesthetics in Practice in 21St Century Democracy
EQUATOR SYMPOSIUM 2014 THE ONE AND THE MANY: ETHICS AND AESTHETICS IN PRACTICE IN 21ST CENTURY DEMOCRACY 17 - 18 November 2014 SEKOLAH PASCASARJANA GEDUNG LENGKUNG (5TH FLOOR) GADJAH MADA UNIVERSITY, YOGYAKARTA 4 FOREWORD Yustina Neni Director, Yogyakarta Biennale Foundation Will we be left behind by the world if we take a little longer to drink a cup of tea? Why must we know everything, if knowing you and your friends already makes me feel like I’m chasing the clock? I need a cup of tea made from much more than just a tea- bag that looks like the pads I use when I’m menstruating. A young man from America has indeed discovered a fast and enjoyable way for us to get to know each other, greet each other and speak to our friends. But are there not times when we really want to look at someone and face them, when we’re falling in love or when we’re giving up hope? Or when I want you to tell me off, and give me a recipe to dry my palms, which are always sweaty when we shake hands? The young American has now exceeded the Finlandian jargon of “Connecting People,” which once accompanied the pleasure of drinking tea, over 15 years ago. The Almighty Lord lives in the shadow of speed. After Steve Jobs moved into His apartments, I imagine He and Mr Jobs opening a new training-course for young angels. Not all the young angels are happy with their Lord’s idea. Two or three angels who are enjoying their tea say “Lord, we don’t want to do a course with Mr Jobs. -
Tiffany Chung: Scratching the Walls of Memory
TIFFANY CHUNG scratching the walls of memory scratching the walls of memory TIFFANY CHUNG FOReWORD TYLeR ROLLINS It is with great pleasure that we welcome back Tiffany Chung for her second solo exhibition at Tyler Rollins Fine Art. In the two years since her last show with us, Play (2008), she has been very active on the international scene, participating in exhibitions on four continents. In 2009, she was featured in So Close Yet So Far Away: Incheon International Women Artists’ Biennale in Incheon, South Korea; A Starting Point: Intrude 36 – Dynamics of Change and Growth at Zendai MoMA, Shanghai; and in group shows in Hong Kong, Kuala Lumpur, and Milan. So far in 2010, her work has been shown in Ascending Dragon: Contemporary Vietnamese Arts at the Armory Center for the Arts in Pasadena, California; The River Project at the Campbelltown Arts Centre in Sydney, Australia; and in a solo exhibition in Berlin. She has been selected to participate in the Singapore Biennale in 2011. For her current exhibition, scratching the walls of memory, Chung presents a new body of work inspired by maps of urban regions, featuring embroidery and appliqué works on canvas. Chung has long been fascinated with maps, not only for their graphic possibilities but also for what they say about our relation to the past and our visions of the future. Over the past few years, she has produced an ongoing series of works on paper based on urban planning maps that evoke the utopian visions and often harsh dislocations of our rapidly developing world. -
An Atlas of Mirrors” Marks the Fifth Edition of the Singapore Biennale
Media Release Singapore Art Museum Announces Singapore Biennale 2016 Title “An Atlas of Mirrors” marks the Fifth Edition of the Singapore Biennale Singapore, 16 March 2016 - The Singapore Art Museum (SAM) today unveiled the title for the fifth edition of the Singapore Biennale - An Atlas of Mirrors. Through this title, Singapore Biennale 2016 (SB2016) will explore curatorial and artistic themes that pivot on Southeast Asia, but also encompass East and South Asia. Taking place from 27 October 2016 to 26 February 2017, the four-month long international contemporary art exhibition is organised by SAM and commissioned by the National Arts Council of Singapore. SB2016 will feature several site-specific and commissioned contemporary works never seen before on the biennale circuit. SB2016 Title - An Atlas of Mirrors For centuries, atlases and mirrors have been instrumental in humankind’s exploration of the world as we navigate and map our journeys into the unknown. While the atlas helps to chart paths of discovery, the mirror offers reflections and perspectives which can be, at times, skewed and distorted. Bringing together the atlas and mirror as an imagined new ‘device’ creates possibilities for unexpected ways of thinking and seeing. An Atlas of Mirrors will draw on diverse artistic viewpoints that trace the migratory and intertwining relationships within the region, and reflect on shared histories and current realities with East and South Asia. SB2016 examines the challenges of the region’s contemporary conditions, and positions Southeast Asia as the vantage point from which the world can be pictured anew. The full curatorial statement can be found in Annex A. -
Download Press Release
JUNE 18 — SEPTEMBER 25, 2022 Kassel Press Release Kassel, March 18, 2021 LUMBUNG CALLING—A SERIES OF CONVERSATIONS MARKING THE START OF DOCUMENTA FIFTEEN’S PUBLIC PROGRAM Image: Iswanto Hartono, ruangrupa, 2021 Starting on Saturday, April 3, 2021, the seven-part conversation series lumbung calling launches documenta fifteen’s Public Program, activated under the title Meydan. Each edition of the series is dedicated to one of the lumbung values: Local Anchor, Humor, Generosity, Independence, Transparency, Sufficiency, and Regeneration. The format dives deeper into the background of the artistic concept for documenta fifteen and illuminates the idea of lumbung from many different angles. Through conversations with a variety of guests, lumbung calling will explore the rich meaning of lumbung across multiple disciplines, points of view, and contexts within an artistic framing. The invited protagonists have faced major challenges and initiated true revolutions on various scales: academics, cultural activists, independent Press Contact: researchers, organic farmers, fishermen, and festival organizers, among others. Karoline Köber Acting Head of lumbung calling will take place on the first Saturday of every month over seven sessions, Communications and from April to October 2021. The conversation series will begin digitally through Marketing documenta fifteen’s website and its social media channels YouTube and Facebook. T +49 561 70727-4023 [email protected] 1 JUNE 18 — SEPTEMBER 25, 2022 Kassel As soon as the restrictions around the COVID-19 pandemic allow, lumbung calling will shift to a hybrid format and eventually take place as a physical event in Kassel. lumbung as a set of values and a cosmology With its unique shapes and styles, lumbung is an easily recognizable building in Indonesia, similar to a barn. -
Tiffany Chung
TIFFANY CHUNG TIFFANY CHUNG FINDING GALÁPAGOS: fish, pigs, youngsters, old folks, men, women and the Black Canals (not in any particular order) Land of Ahhs (projection), 2009 and Sign-Sites-Sight-Sighs, 2009 p. 2: Find Yourself Here, 2009 Artificial Paradises or Home — Where? Tiffany Chung’s productions lead to utopia/dystopia by Ulrike Münter Where everything is planned, there is no room for life. Tiffany Chung’s multimedia works — ranging from drawings and staged pho- tographs to installations, and performances — send the observer on an emotional rollercoaster ride. The pastels that dominate her palette, the floral patterns, cloud-like shapes and soft materials seem invitingly cosy at first glance, but a closer look often reveals that Chung’s artificial paradises are sterile and deceptive. In Chung’s most recent films, this critical basic tenor has been replaced by melan- choly introspection. The exhibition Finding Galápagos: fish, pigs, youngsters, old folks, men, women and the Black Canals (not in any particular order) (2009) traces the artist’s journey along this route. Born in Vietnam, Tiffany Chung immigrated to California with her family 30 years ago. She returned to Vietnam in 2000, and has since visited Japan, Thailand, Korea and China for numerous Künstliche Paradiese oder Heimat – Wo? Tiffany Chungs Inszenierungen führen nach Utopia/Dystopia von Ulrike Münter Wo es keinen Zufall mehr gibt, ist das Leben ausgehaucht. Tiffany Chungs multimediale Arbeiten stürzen den Betrachter in ein Wechselbad der Gefühle. Ob inszenierte Fotografie, Zeichnung, Rauminstallation oder Performance; die von Pastelltönen dominierte Farbpalette, florale Muster, Wolkenformen und weiche Materialien wirken zunächst einla- dend heimelig. -
Analysis of Institut Ruangrupa's Alternative Art Education During
AESCIART: International Conference on Aesthetics and the Sciences of Art 28 September 2020 Analysis of Institut Ruangrupa’s Alternative Art Education During 2015-2018 Bhakti Tanza Lutfi, Agung Hujatnika, Irma Darmajanti Visual Art Master Program, Faculty of Art and Design, Institut Teknologi Bandung bhaktitanzalutfi@gmail.com Abstract Since 2000, ruangrupa (Jakarta-based art collective) has had an alternative art information distribution (alternative of the formal art education). "ey offer values which arise from collective processes such as mutual sharing. "e establishment of Institut Ruangrupa in 2015-2018 focused on the topic of art education through discursive and collaborative arts practices. "e collaboration carried out with Dewan Kesenian Jakarta at the Jakarta Biennale 2015 produced a program called ‘Maju Kena Mundur Kena Academy’. "is paper will analyze the method of the Institut Ruangrupa’s alternative art education which utilize a joint network with Arts Collaboratory (an art organization consisted of more than 20 organizations from Africa, Asia, Latin America and the Middle East). "e purpose of this research is to provide a detailed description of the background and methods of ruangrupa’s alternative art education. "is research built upon the theory of collaborative learning initiated by John Dewey, a learning concept that place community as the center. Ruangrupa through dynamic education styles exercise collaborative artistic projects with already established national and international connections and resources. In conclusion, the art education practice of Institut Ruangrupa by placing collectivism as the main idea, utilizing communication network relationships and collaborative work that is oriented towards problem solving, is able to become one of the alternative methods in an effort to reformulate the practice of art education, especially in Indonesia. -
Tiffany Chung CV USA Rev. 3:14:18
TIFFANY CHUNG Vietnam/USA EDUCATION 2000 MFA in Studio Art, University of California, Santa Barbara, CA, USA. 1998 BFA in Photography, California State University, Long Beach, CA, USA. SOLO EXHIBITIONS / PUBLIC ART PROJECTS / PERFORMANCES 2018 Tiffany Chung: Vietnam, Past Is Prologue, Smithsonian American Museum, Washington, DC, USA. 2017 the unwanted population, Tyler Rollins Fine Art, New York, NY, USA. 2016 between the blank spaces of Hitachi Factories I read poetry interwoven with tales of the barbarians, famines and war sacrifices, Kenpoku Art 2016, Hitachi City Museum, Ibaraki, Japan. the unwanted population – Hong Kong chapter, part 1: flotsam and jetsam, Art Basel, Hong Kong. 2015 from the mountains to the valleys, from the deserts to the seas: journeys of historical uncertainty, CAMP/Center for Art on Migration Politics, Copenhagen, Denmark. finding one's shadow in ruins and rubble, Tyler Rollins Fine Art, New York, NY, USA. 2014 Tiffany Chung, Lieu-Commun, Toulouse, France. another day another world, mc2 Gallery, Milan, Italy. 2013 an archaeology project for future remembrance. Galerie Quynh – Downtown, Ho Chi Minh City, Vietnam. the Galápagos project: on the brink of our master plans. Galerie Quynh – Main Gallery, Ho Chi Minh City, Vietnam. Memories Constructed / Reconstructed, Site-specific installation at former Futaba Elementary School, organized by dB Dance Box, Kobe, Japan. 2012 TOMORROW ISN’T HERE, Tyler Rollins Fine Art, New York, NY, USA. 2011 Fukagawa Shokudo (Fukagawa Dining Room), exhibition/performance in collaboration with Off- Nibroll, Fukagawa Tokyo Modan Kan, Tokyo, Japan. 2010 scratching the walls of memory, Tyler Rollins Fine Art, New York, NY, USA. 2009 Finding Galápagos: Fish, Pigs, Youngsters, Old Folks, Men, Women and the Black Canals (Not In Any Particular Order), Galerie Christian Hosp, Berlin, Germany. -
The Roles and Responsibilities of Museums in Civil Society
CIMAM 2017 Annual Conference Proceedings The Roles and Responsibilities of Museums in Civil Society CIMAM 2017 Annual Conference Proceedings Singapore 10–12 November 2017 1 CIMAM 2017 Annual Conference Proceedings Day 1 3 Day 3 56 Friday 10 November Sunday 12 November National Gallery Singapore National Gallery Singapore Art And The City: From Local To Transnational? What Do Museums Collect, And How? Keynote 1 4 Keynote 3 57 Nikos Papastergiadis Donna De Salvo Director, Research Unit in Public Cultures, Deputy Director for International Initiatives and Professor, School of Culture and and Senior Curator, Whitney Museum of Communication, University of Melbourne, American Art, New York, USA Melbourne, Australia Perspective 7 69 Perspective 1 13 Adriano Pedrosa Ute Meta Bauer Artistic Director, São Paulo Museum of Art, Founding Director, NTU Centre for São Paulo, Brazil Contemporary Art Singapore, Singapore Perspective 8 75 Perspective 2 18 Tiffany Chung Chen Chieh-Jen Artist, Vietnam/USA Artist, Taiwan Perspective 9 81 Perspective 3 24 Suhanya Raffel Andrea Cusumano Executive Director, M+, Hong Kong Deputy Mayor for Culture of Palermo, Italy Speakers Biographies 86 Day 2 27 Colophon 90 Saturday 11 November National Gallery Singapore Re-Learning Southeast Asia Keynote 2 28 Patrick D. Flores Professor of Art Studies, University of the Philippines, Manila, Philippines Perspective 4 40 Ade Darmawan Artist, Curator and Director, ruangrupa, Jakarta, Indonesia Perspective 5 45 Gridthiya Gaweewong Artistic Director, Jim Thompson Art Center, Bangkok, Thailand Perspective 6 50 Post-Museum Jennifer Teo & Woon Tien Wei Artists, Singapore Note: Click on any of the items above to jump to the corresponding page. -
Ruangrupa 2000-2015
ruangrupa 2000-2015 “ruangrupa ingin melihat urban sebagai ruang yang, mau tidak mau, harus dihidupi sambil terus dikritisi dengan sama intensnya. Urban bukan penyakit, meski bopeng sana- sini, bukan pula dewa penolong, meski terus memikat datangnya pencari kerja dalam migrasi tahunan pasca-Lebaran. Mereka yang ingin membendung arus urbanisasi dengan menyuguhkan imaji tentang ‘kota yang rusak’ dan ‘desa yang tentram’ sebenarnya cuma bermain-main di taraf mitos, sama sekali tidak menyentuh realitas.” — Ronny Agustinus, dalam “Cold Beer Converstation,” Absolut Versus, ed. Ronny Agustinus, Ade Darmawan, Amanda Katherine Rath (ruangrupa, 2001). Kantor ruangrupa. Foto: Julia Sarisetiati 2 ruangrupa 2000-2015 ruangrupa 2000-2015 3 2000 ruangrupa Proyek seni ruang adalah organisasi seni SELAIN SEBAGAI ORGANISASI publik pertama rupa kontemporer yang DENGAN PROGRAM-PROGRAM ruangrupa dengan didirikan pada 2000 oleh PUBLIKNYA, dalam beberapa Taring Padi & Apotik sekelompok seniman kesempatan ruangrupa Komik (Jakarta). di Jakarta. Sebagai juga dikenal dan bertindak organisasi nirlaba yang sebagai sebuah kelompok bergiat mendorong seniman kolektif. Berikut kemajuan gagasan seni adalah pilihan dari rupa dalam konteks sejumlah proyek seni dan urban dan lingkup luas pameran, yang pernah kebudayaan melalui diikuti ruangrupa, baik pameran, festival, yang terwujud atas inisiatif laboratorium seni rupa, ruangrupa maupun sebagai lokakarya, penelitian, tanggapan atas undangan; serta penerbitan buku, beserta selipan kejadian- majalah, dan jurnal kejadian kecil penting lain. online. 2006 2010 2011 2012 Pameran dan Proyek seni dan Pameran The Pameran, proyek seni, pameran keliling Singapore Fiction THE KUDA: “Rethinking Nordic Hanya Memberi dalam “OPEN The Untold Story Colonialism” Tak Harap Kembali HOUSE - Singapore of Indonesian (Faroe Island, (Galeri Soemardja, Biennale”, Underground Denmark). Bandung; Kedai National Museum Music in the 70s, Kebun, Yogyakarta; of Singapore “The 7th Asia ruangrupa pindah ke rumah kontrakan Galeri Nasional (Singapura). -
Yê´N Lê Espiritu Lan Duong Feminist Refugee Epistemology: Reading Displacement in Vietnamese and Syrian Refugee Art the Sever
Yê´ n Lê Espiritu Lan Duong Feminist Refugee Epistemology: Reading Displacement in Vietnamese and Syrian Refugee Art he severely burned Phan Thị Kim Phúc, screaming, arms flailing, run- T ning naked down a Vietnamese road after a napalm attack in 1972. The lifeless body of drowned toddler Alan Kurdi, lying facedown on a Turkish beach in 2015. These powerful iconic images, focusing relentlessly on the trauma and spectacle of war atrocities, freeze-frame the “victims” in time and space, prolonging their pain and agony in perpetuity. Intended to shock, visual images of “third-world” suffering in Western media—of the dead, wounded, starving—constitute generic decontextualized horrors that elicit pity and sympathy, not discernment and assessment. As Rey Chow (2006) has argued, Americans have increasingly come to know the world as a target: when wars break out, foreign areas and peoples briefly enter American mainstream public discourses, often via deeply disturbing images of suffering, as embodiments of (naturalized) violence, crisis, and disasters (Fernandes 2013, 193). The hyperfocus on suffering, and the outpouring of outrage and concern over dead and injured refugees, has become a sub- stitute for serious analysis of the geopolitical conditions that produced their displacement in the first instance. Constructed for Western consumption, these spectacular(ized) images render invisible and inaudible displaced peo- ple’s everyday and out-of-sight struggles as well as their triumphs as they manage war’s impact on their lives (Lubkemann 2008, 36; Hyndman 2010). In public representations, the contemporary figure of the displaced war victim is highly gendered: “the image is of helpless and superfluous women and children, dislocated and destitute; uprooted and unwanted” (Manchanda 2004, 4179). -
Socio-Political Criticism in Contemporary Indonesian Art
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2019 Socio-Political Criticism in Contemporary Indonesian Art Isabel Betsill SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Art and Design Commons, Art Practice Commons, Asian Studies Commons, Contemporary Art Commons, Graphic Communications Commons, Pacific Islands Languages and Societies Commons, Politics and Social Change Commons, Race, Ethnicity and Post-Colonial Studies Commons, Social Influence and Political Communication Commons, and the Sociology of Culture Commons Recommended Citation Betsill, Isabel, "Socio-Political Criticism in Contemporary Indonesian Art" (2019). Independent Study Project (ISP) Collection. 3167. https://digitalcollections.sit.edu/isp_collection/3167 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. SOCIO-POLITICAL CRITICISM IN CONTEMPORARY INDONESIAN ART Isabel Betsill Project Advisor: Dr. Sartini, UGM Sit Study Abroad Indonesia: Arts, Religion and Social Change Spring 2019 1 CONTEMPORARY INDONESIAN ART ABOUT THE COVER ART Agung Kurniawan. Very, Very Happy Victims. Painting, 1996 Image from the collection of National Heritage Board, Singapore Agung Kurniawan is a contemporary artist who has worked with everything from drawing and comics, to sculpture to performance art. Most critics would classify Kurniawan as an artist-activist as his art pieces frequently engages with issues such as political corruption and violence. The piece Very, Very happy victims is about how people in a fascist state are victims, but do not necessarily realize it because they are also happy.