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Media Release Singapore Art Museum Reveals Singapore
Media Release Singapore Art Museum Reveals Singapore Biennale 2016 Artists and Artwork Highlights ‘An Atlas of Mirrors’ Explained Through 9 Curatorial Sub-Themes Singapore, 22 September 2016 – The Singapore Art Museum (SAM) today revealed a list of 62 artists and art collectives and selected artwork highlights of the Singapore Biennale 2016 (SB2016), one of Asia’s most exciting contemporary visual art exhibitions. Titled An Atlas of Mirrors, SB2016 draws 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 will present 60 artworks that respond to An Atlas of Mirrors, including 49 newly commissioned and adapted artworks. The SB2016 artworks, spanning various mediums, will be clustered around nine sub-themes and presented across seven venues – Singapore Art Museum and SAM at 8Q, Asian Civilisations Museum, de Suantio Gallery at SMU, National Museum of Singapore, Stamford Green, and Peranakan Museum. The full artist list can be found in Annex A. SB2016 Artists In addition to the 30 artists already announced, SB2016 will include Chou Shih Hsiung, Debbie Ding, Faizal Hamdan, Abeer Gupta, Subodh Gupta, Gregory Halili, Agan Harahap, Kentaro Hiroki, Htein Lin, Jiao Xingtao, Sanjay Kak, Marine Ky, H.H. Lim, Lim Soo Ngee, Made Djirna, Made Wianta, Perception3, Niranjan Rajah, S. Chandrasekaran, Sharmiza Abu Hassan, Nilima Sheikh, Praneet Soi, Adeela Suleman, Melati Suryodarmo, Nobuaki Takekawa, Jack Tan, Tan Zi Hao, Ryan Villamael, Wen Pulin, Xiao Lu, Zang Honghua, and Zulkifle Mahmod. SB2016 artists are from 18 countries and territories in Southeast Asia, South Asia and East Asia. -
Download SB2016 Exhibition Guide
ORGANISED BY COMMISSIONED BY SUPPORTED BY SINGAPORE SINGAPORE BIENNALE 2016 BIENNALE 2016 ARTISTS AHMAD FUAD OSMAN 59 KENTARO HIROKI 21, 49 SHARMIZA ABU HASSAN 27 MALAYSIA THAILAND/JAPAN MALAYSIA MARTHA ATIENZA 31 HTEIN LIN 46 DO HO SUH 28 PHILIPPINES/NETHERLANDS MYANMAR SOUTH KOREA/UNITED STATES/ UNITED KINGDOM AZIZAN PAIMAN 41 JIAO XINGTAO 59 MALAYSIA CHINA ADEELA SULEMAN 49 PAKISTAN RATHIN BARMAN 51 SAKARIN KRUE-ON 61 INDIA THAILAND MELATI SURYODARMO 23 INDONESIA HEMALI BHUTA 26 MARINE KY 57 SEA OF INDIA CAMBODIA/FRANCE EDDY SUSANTO 25 JAPAN INDONESIA SOUTH KOREA JAPAN BUI CONG KHANH 50 PHASAO LAO 35 VIETNAM TCHEU SIONG NOBUAKI TAKEKAWA 48 LAOS JAPAN YELLOW SEA DAVID CHAN 54 CHINA SINGAPORE H.H. LIM 21 JACK TAN 47 MALAYSIA/ITALY SINGAPORE/UNITED KINGDOM CHIA CHUYIA 41 MALAYSIA/SWEDEN LIM SOO NGEE 20 MELISSA TAN 42 PAKISTAN SINGAPORE SINGAPORE CHOU SHIH HSIUNG 29 TAIWAN MADE DJIRNA 27 TAN ZI HAO 28 EAST INDONESIA MALAYSIA CHINA SEA ADE DARMAWAN 48 TAIWAN BANGLADESH INDONESIA MADE WIANTA 25 TITARUBI 34 HONG KONG INDONESIA INDONESIA DENG GUOYUAN 34 INDIA TROPIC OF CANCER MYANMAR CHINA MAP OFFICE 23 TUN WIN AUNG & WAH NU 32 LAOS HONG KONG/FRANCE MYANMAR DEBBIE DING 55 SINGAPORE/UNITED KINGDOM MUNEM WASIF 42 RYAN VILLAMAEL 36 BANGLADESH PHILIPPINES 3 PAGE THAILAND PHILIPPINES PATRICIA PEREZ EUSTAQUIO 22 PHILIPPINE SEA PHILIPPINES PHUONG LINH NGUYEN 33 WEN PULIN 43 VIETNAM BAY VIETNAM ZANG HONGHUA OF SOUTH BENGAL FAIZAL HAMDAN 47 CHINA CAMBODIA CHINA SEA BRUNEI NI YOUYU 30 CHINA WITNESS TO PARADISE 2016: 44 ANDAMAN DEX FERNANDEZ 26 NILIMA SHEIKH, PRANEET SOI, SRI LANKA SEA PHILIPPINES PERCEPTION3 55 ABEER GUPTA & SANJAY KAK SINGAPORE INDIA MALAYSIA BRUNEI FYEROOL DARMA 33 SINGAPORE PALA POTHUPITIYE 24 XIAO LU 20 SRI LANKA CHINA SINGAPORE SUBODH GUPTA 54 INDIA QIU ZHIJIE 29 PANNAPHAN YODMANEE 31 EQUATOR CHINA THAILAND GREGORY HALILI 30 PHILIPPINES NIRANJAN RAJAH 50 HARUMI YUKUTAKE 22 MALAYSIA/CANADA JAPAN HAN SAI POR 37 SINGAPORE ARAYA RASDJARMREARNSOOK 36 ZULKIFLE MAHMOD 24 INDONESIA JAVA FLORES SEA SEA THAILAND SINGAPORE AGAN HARAHAP 32 INDONESIA S. -
Delegates Guide
Delegates Guide 15–20 March, 2019 Cultural Partners Supported by Friends of Qumra Media Partners Cover: ‘Six Months and One Day’, directed by Yassine Ouahrani 1 QUMRA DELEGATES GUIDE Qumra Programming Team 5 Qumra Masters 7 Master Class Moderators 13 Qumra Project Delegates 15 Industry Delegates 63 QUMRA PROGRAMMING TEAM Fatma Al Remaihi CEO, Doha Film Institute Director, Qumra Aya Al-Blouchi Quay Chu Anthea Devotta Mayar Hamdan Qumra Master Classes Development Qumra Industry Senior Qumra Shorts Coordinator Senior Coordinator Executive Coordinator Development Assistant Youth Programmes Senior Film Workshops & Labs Coordinator Senior Coordinator Elia Suleiman Artistic Advisor, Doha Film Institute Yassmine Hammoudi Karem Kamel Maryam Essa Al Khulaifi Meriem Mesraoua Qumra Industry Qumra Talks Senior Qumra Pass Senior Grants Senior Coordinator Coordinator Coordinator Coordinator Film Programming Senior QFF Programme Manager Hanaa Issa Coordinator Animation Producer Director of Strategy and Development Deputy Director, Qumra Vanessa Paradis Majid Al-Remaihi Nina Rodriguez Alanoud Al Saiari Grants Coordinator Film Programming Qumra Industry Senior Qumra Pass Coordinator Assistant Coordinator Film Workshops & Labs Coordinator Wesam Said Rawda Al-Thani Jana Wehbe Ania Wojtowicz Grants Coordinator Film Programming Qumra Industry Senior Qumra Shorts Coordinator Assistant Coordinator Film Workshops & Labs Senior Coordinator Khalil Benkirane Ali Khechen Jovan Marjanović Head of Grants Qumra Industry Industry Advisor Manager Film Training Senior Manager 4 5 Qumra Masters Eugenio Caballero Kiyoshi Kurosawa In 2015 and 2016 he worked on the film ‘A at Cannes in 2003, ‘Doppelganger’ (2002), Monster Calls’, directed by J.A. Bayona, ‘Loft’ (2005), and ‘Retribution’ (2006), which earning him a Goya on his third nomination screened at that year’s Venice Film Festival. -
Rithy Panh” Arranging with the Notice Numbers *Note
Bophana Audiovisual Resource Center Archives Department Collection of “Rithy Panh” Arranging with the notice numbers *Note: You cannot click the title to entry the Bophana Center database due to the Center using intranet. All right reserved by Bophana Center Archive Image Title Versions Date Collection Duration Type Reference Cambodia : between war and peace French, Khmer 1992 Rithy Panh RPA_VI_000296 01:05:15 Bophana : a cambodian tragedy French, English, Khmer 1996 Rithy Panh RPA_VI_000297 00:59:00 Spotlights on a massacre: 10 films against 100 million antipersonnel land French, English, Khmer, Deutsch/ Allemande 1997 Rithy Panh RPA_VI_000298 00:04:47 mines 1 Archive Image Title Versions Date Collection Duration Type Reference S21: The Khmer Rouge Death Machine French, English, Khmer 2002 Rithy Panh RPA_VI_000299 01:40:52 The land of the wandering souls French, English, Khmer 1999 Rithy Panh RPA_VI_000300 01:42:41 Let the boat break its back, Let the junk French, French 2000 Rithy Panh RPA_VI_000870 01:34:06 break open The Tan's Family French, Khmer 1995 Rithy Panh RPA_VI_000871 00:31:56 [Rice People] French, English, Khmer, Deutsch/ Allemande, Italian 1994 Rithy Panh RPA_VI_001607 02:04:33 Site 2 French, English, Khmer 1989 Rithy Panh RPA_VI_001191 01:31:21 2 Archive Image Title Versions Date Collection Duration Type Reference The Burnt Theatre French, English, Khmer 2005 Rithy Panh RPA_VI_001231 01:23:20 Paper cannot wrap up embers French, English, Khmer 2006 Rithy Panh RPA_VI_001437 01:27:03 The people of Angkor French, English, -
Locating Vietnamese Contemporary Art Scene
Locating Vietnamese contemporary art scene An ethnographic Hong-Ngoc TRIEU attempt from afar TRI14437741 Abstract. Initially, as a student majored in Design Cultures, I was intrigued in Vietnam precisely because I barely knew anything about the art history of my country. Having exposed to the studies of Design Cultures and Histories, I set out to fnd how Vietnamese art history is chronicled by putting it in a complex relationship with the sociocultural and political background. Identifying and locating art from a place like Vietnam that rarely fgures in art history cannot be done overnight as I am thousand miles away from the happenings. This essay, thus, is my humble attempt to look at Vietnam’s contemporary art scene through an afar-ethnographic approach mainly by fexible design methods such as interview, survey, case study, discourse analysis and participant observation. Given how little experience in the real-world research and history learning that I possess, my fndings are based on personal analysis, percep-on and hence, do not necessarily reflect other’s views on the same topic. Entrance to contemporary art scene: tracing the Vietnamese art history In order to investigate the Vietnamese reform in 1986, where restriction on contemporary art scene, I am essentially artistic creativity were steadily relaxed asking the question of how it is and hence allowed artist greater freedom constructed and perceived within the art of expression and facilitating exposure to community and the stream of Vietnamese contemporary trends in both Asian and history of art. While world contemporary Western art. However, unlike the world art had started and risen to prominence contemporary art with its rich outline of since the 1950s - 1960s, its Vietnamese artistic movements in term of quantity, counterpart only came into existence in the diversity and quality, Vietnamese latter decades of the twentieth century; contemporary art scene has barely seen therefore, it is relatively new to the public. -
RU Newsletter June 2019
Like Tweet Pin +1 in JUNE INCOMING RU RESIDENTS RU is pleased to announce this month’s residency cohort of US-based artists: Arghavan Khosravi (MA ) and Serge Serum (LA), both selected for residencies focused on discrimination and marginalization issues. This program made possible with funding from NEA/Artworks and NYC Cultural Affairs. We also welcome incoming artists Takayuki Matsuo (NYC/Japan) and Sebastien Berger (Germany). RU JUNE PUBLIC PROGRAMS -June 1, 4-7pm at Chashama Midtown, COCOONS, open studio with Eduardo Navarro, discover the prolific production of this Panamean artist and a unique site-specific installation; -June 8, 12-5pm at Equity Gallery, RU Exhibition Closing: Dynamis, with Rashwan Abdelbaki, Chantal Feitosa, Kyung-jin Kim, Cansu Korkmaz, and Angélica Maria Millán Lozano; curated by RU alum Luciana Solano and hosted by Equity Gallery. -June 13, 1pm at RU, Meet Over Lunch: Queer Forever! and the contemporary art scene in Vietnam, by visiting Hanoi-based artist and curator Nguyễn Quốc Thành, co-founding member of the Nha San Collective (NSC). In conversation with Bartek Remisko; -June 19, 1pm at RU, Meet Over Lunch: RU artist Gabriella Ciancimino presents her mural project Smell in Dialect and the key role of community engagement for Smell in Dialect, commissioned by NYC Health + Hospitals/Kings County for the pediatric unit; -June 29, 1pm-5pm, RU Exhibition: RU Argentinian artist and muralist Joaquin Zavaleta unveils a site-specific mural commissioned by the City Reliquary Community Museum in Williamsburg, Brooklyn. DONATE TO RU OTHER NEWS Artists nominations for upcoming residencies: Selected through the Open Call: International Residencies for Saudi-based Artists, Ahaad Alamoudi will spend two months at RU this Fall with support from ATHR, a contemporary art project space and gallery in central Jeddah whose new cultural exchange scheme with international artists and curators is part of its commitment to promoting cultural dialogue between Saudi Arabia and the rest of the world. -
La Parole Filmée in Rithy Panh's the Missing Picture
MEDIATION AND REMEDIATION: LA PAROLE FILMÉE IN RITHY PANH’S THE MISSING PICTURE (L’IMAGE MANQUANTE) Leshu Torchin The Missing Picture, where any production of memory can both preserve and veil lives. In L’image manquante (The Missing Picture, 2013), Rithy video footage, and painted clay figurines in stunningly Panh continues his exploration of the Cambodian genocide crafted—often multimedia—dioramas, the documentary in a manner that is both harrowing and lyrical, carrying on integrates Panh’s personal story with ruminations on media- the innovations he brought to his earlier films on the subject. tion, trauma, and history. Furthermore, the film reaches Combining Khmer Rouge propaganda films, contemporary beyond individual narrative and reflection, functioning as cinematic witness as it counters silences, fills historical gaps, Film Quarterly, Vol. 68, Number 1, pp. 32–41, ISSN 0015-1386, electronic ISSN 1533-8630. and provides a testimony that is polyphonic and collective. © 2014 by The Regents of the University of California. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through Through his deployment of clips from his earlier films, the University of California Press’s Rights and Permissions website, http://www. Panh creates a sedimented text, suggestive of a past that ucpressjournals.com/reprintinfo.asp. DOI: 10.1525/FQ.2014.68.1.32. refuses to remain passed and of the magnitude of history, 32 FALL 2014 where any production of memory can both preserve and veil Rouge leaders to trial. Kaing Guek Eav, the commander of the lives of others. the S-21 prison, who was a subject of Panh’s film Duch, le Panh begins his story with the words, “In the middle of maître des forges de l’enfer (Duch, Master of the Forges of life, childhood returns,” as a camera bobs in the crashing Hell, 2011), was sentenced in 2010. -
Auto- Genocide in Western Museum Culture and the Missing Picture
Photographic and cinematic appropriation of atrocity images from Cambodia: auto- genocide in Western museum culture and The Missing Picture KEITH B WAGNER University College London, United Kingdom MICHAEL A UNGER Sogang University, Seoul, republic of Korea A B S T R A C T As a harrowing sub-discipline of English and Comparative Literature, Trauma Studies is in need of geographical expansion beyond its moorings in European genocides of the 20th century. In this article, the authors chart the institutional and cinematic appropriation of atrocity images in relation to the Khmer Rouge’s auto-genocide from 1975–1979 in Cambodia. They analyse the cultural and scholarly value of these images in conjunction with genocide studies to reveal principles often overlooked, taken for granted, or pushed to the periphery in photography studies and film studies. Through grim appropriations of archival or news footage to more experimental approaches in documentary, such as the use of dioramas, the authors examine the commercial and artistic articulations of trauma, reconciliation and testimony in two case studies: The Museum of Modern Art (MoMA) exhibition Photographs from S-21: 1975–1979 (1997) and Pithy Panh’s documentary The Missing Picture (2013). The authors first focus on the relatively obscure scholarship devoted to contextualizing images from international genocides outside the Euro-American canon for genocide study in order to build their critical formulations; they go on to explore whether these atrocity-themed still and moving images are capable of defying aspects of commodification and sensationalism to instead convey positive notions of commemoration and memory. Finally, their contribution to this debate regarding the merit of appropriating atrocity imagery is viewed from two perspectives: ‘commodified witnessing’ (a negative descriptor for the MoMA exhibition) and ‘commemorative witnessing’ (a positive term for the Cambodian film). -
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. -
TUAN MAMI (B.1981, Vietnam)
YEO WORKSHOP Gillman Barracks 1 SG + 65 6734 5168 [email protected] Lock Road Singapore www.yeoworkshop.com 108 932 TUAN MAMI (b.1981, Vietnam) EDUCATION 2002–2006 Hanoi Fine Art University 2000–2002 Graphic Design, Hanoi Open University SOLO EXHIBITIONS 2018 ‘In One’s Breath-Nothing Stands Still_No.3’, The Factory Contemporary Arts Centre, Ho Chi Minh City, Vietnam 2017 ‘In One’s Breath-Nothing Stands Still_No.2’, Framer Framed, Rotterdam, Netherlands ‘In One’s Breath-Nothing Stands Still’, Heritage Space, Hanoi, Vietnam 2016 ‘Hunt the Hunters’, Snail Night, Amsterdam, Netherlands 2013 ‘Physicality’, Nha San Collective, Hanoi, Vietnam ‘Protest Against the Void’, Defibrillator Performance Art Gallery, Chicago, United States ‘24 Hours Tension’, PØST, Los Angeles, United States 2011 ‘Celebration of our moment and farewell party’, Halle 6, Munich, Germany ‘What’s mom waiting for?’, Hooyong Performing Arts Centre, Gangwon-do, South Korea 2010 ‘22398 steps- 35 hours- 45 square meters- 35 Chinese's Ink litters’, Organhaus Art Space, Chongqing, China 2009 ‘The Cover 4’, Yunart Gallery, Kunming, China 2007 ‘growing up’, Performance, Ryllega Gallery, Hanoi, Vietnam GROUP EXHIBITIONS 2017 ‘Asia in the Mirror’, Medo Art Space, Vienna, Austria ‘ADAM ’, Taipei Culture Foundation, Taiwan ‘21c Democracy’, Hooyong Performing Arts Centre, Gangwon-do, South Korea ‘Replay’, Flamingo Art in The Forest, Vinh Phuc, Vietnam YEO WORKSHOP Gillman Barracks 1 SG + 65 6734 5168 [email protected] Lock Road Singapore www.yeoworkshop.com 108 932 2016 ‘Krísis’, -
Netflix Ftkmf Discussion Guide
Page 2 ABOUT THIS GUIDE This guide is designed to assist screening organizers, teachers, and community leaders in facilitatng a pre- and post- screening discussion for First They Killed My Father, a feature flm directed by Angelina Jolie. The guide is intended for general audiences, and may also be used in high school or college courses, partcularly (but not exclusively) in Asian American Studies, ethnic studies, history, literature, politcal science, and global studies. The guide provides historical informaton about Cambodia and the contexts in which the flm’s narratves take place, details about the flm’s planning and producton, and instructonal tps and resources for teachers, presenters and facilitators. Perhaps most importantly, it outlines major themes and sample questons designed to stmulate discus- sion and refecton by audience members both in Cambodia and around the globe. A list of websites and other rele- vant resources is included at the end of the guide, for those who might want to further research the issues. It is our hope that the flm will inspire viewers to analyze and refect upon both the causes and consequences of war, and serve as a catalyst for discussion about how we might move away from confict and toward peace. This guide contains: ñ Background on Cambodia and the Khmer Rouge regime ñ Pre-screening and preparatory notes for facilitators ñ Post-screening discussion questons ñ Resources for the themes introduced in the flm TABLE OF CONTENTS Introducton ........................................................................................................................................... -
Stedelijk | Symposium Collecting Geographies: Global Programming and Museums of Modern Art March 13, 14 & 15 2014
STEDELIJK | SYMPOSIUM COLLECTING GEOGRAPHIES: GLOBAL PROGRAMMING AND MUSEUMS OF MODERN ART MARCH 13, 14 & 15 2014 CONFERENCE PROGRAM & INFO PRINCIPAL SPONSORS GLOBAL COLLABORATIONS: CONFERENCE PARTNERS: STEDELIJK | SYMPOSIUM GLOBAL COLLABORATIONS OPENING KEY-NOTE BY PAMELA M. LEE DAY 1: THURSDAY MARCH 13 LOCATION: STEDELIJK MUSEUM (Teijin Auditorium) REGISTRATION | ENTRANCE HALL STEDELIJK MUSEUM KEYNOTE LECTURES | TEIJIN AUDITORIUM WORKSHOP SESSIONS | STEDELIJK MUSEUM (Founders Room, Meeting Room A, Meeting Room B, Studio A, Studio B) REGISTRATION ENTRANCE HALL STEDELIJK MUSEUM TEIJIN AUDITORIUM 17:00 – 18:00 18: 00 – 19:00 19:30 – 20:30 Welcome by Jelle Bouwhuis Bouwhuis Key-note lecture Pamela M. Lee 20:30 – 21:30 Discussion with Representatives of the Collaborating Institutions Moderated Q&A by Margriet Schavemaker STEDELIJK | SYMPOSIUM REGISTRATION | ENTRANCE HALL STEDELIJK MUSEUM GLOBAL COLLABORATIONS KEYNOTE LECTURES | TEIJIN AUDITORIUM DAY 2: FRIDAY MARCH 14 WORKSHOP SESSIONS | STEDELIJK MUSEUM (Founders Room, LOCATION: STEDELIJK MUSEUM (Founders Room, Meeting Room A, Meeting Room B, Studio A, Studio B) Meeting Room A, Meeting Room B, Studio A, Studio B) EVENING PROGRAM | TROPENMUSEUM AMSTERDAM REGISTRATION EVENING PROGRAM AT AUDITORIUM FOUNDERSROOM MEETING ROOM A MEETING ROOM B STUDIO A STUDIO B SCHIPHOL HAL TEIJIN EXTERNAL LOCATION 10:00 – 11:00 Key-note 11:00 – 12:00 James Clifford 1.1 Pre- 2. Public vs. 5.1 National 9.1 12:00 – 13:00 Modernism Private Museum Narratives Museotopias (part 1) (part 1) (part 1) 13:00 – 14:00 LUNCH