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Translation and Intercultural Education Isabel Pascua
Document generated on 10/01/2021 8:19 a.m. Meta Journal des traducteurs Translators' Journal Translation and Intercultural Education Isabel Pascua Traduction pour les enfants Article abstract Translation for children This paper deals with translated Canadian multicultural literature written for Volume 48, Number 1-2, May 2003 children and its reception in an intercultural education context in Spanish schools. In the first part of the paper I will introduce intercultural education. In URI: https://id.erudit.org/iderudit/006974ar the second part, I will examine the role of the translator working in a DOI: https://doi.org/10.7202/006974ar multicultural environment where texts are written in one language (English) in one country (Canada), then translated into another language (Spanish) and published in Spain. I will also look at the reception of these translations as well See table of contents as the strategies translators should use to maintain the otherness of the original texts. Publisher(s) Les Presses de l'Université de Montréal ISSN 0026-0452 (print) 1492-1421 (digital) Explore this journal Cite this article Pascua, I. (2003). Translation and Intercultural Education. Meta, 48(1-2), 276–284. https://doi.org/10.7202/006974ar Tous droits réservés © Les Presses de l'Université de Montréal, 2003 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. -
Exhibition Guide
ArTScience MuSeuM™ PreSenTS ceLeBrATinG SinGAPOre’S cOnTeMPOrArY ArT Exhibition GuidE Detail, And We Were Like Those Who Dreamed, Donna Ong Open 10am to 7pm daily | www.MarinaBaySands.com/ArtScienceMuseum Facebook.com/ArtScienceMuseum | Twitter.com/ArtSciMuseum WELCOME TO PRUDENTIAL SINGAPORE EYE Angela Chong Angela chong is an installation artist who Prudential Singapore Eye presents a with great conceptual confidence. uses light, sound, narrative and interactive comprehensive survey of Singapore’s Works range across media including media to blur the line between fiction and contemporary art scene through the painting, installation and photography. reality. She has shown work in Amsterdam Light Festival in the netherlands; Vivid works of some of the country’s most The line-up includes a number of Festival in Sydney; 100 Points of Light Festival innovative artists. The exhibiting artists who are gaining an international in Melbourne; cP international Biennale in artists were chosen from over 110 following, to artists who are just Jakarta, indonesia, and iLight Marina Bay in submissions and represent a selection beginning to be known. Like all the other Singapore. of the best contemporary art in Prudential Eye exhibitions, Prudential 3D Tic-Tac-Toe is an interactive light sculpture Singapore. Prudential Singapore Eye is Singapore Eye aims to bring to light which allows multiple players of all ages to the first major exhibition in a year of a new and exciting contemporary art play Tic-Tac-Toe with one another. cultural celebrations of the nation’s 50th scene and foster greater appreciation of anniversary. Singapore’s visual art scene both locally and internationally. 3D Tic-Tac-Toe, 2014 The works of the exhibiting artists demonstrate versatility, with many of the artists working experimentally Jeremy Sharma Jeremy Sharma works primarily as a conceptual painter. -
Associate Artistic Director, Theatreworks, Singapore Associate Artist, the Substation, Singapore
Associate Artistic Director, Theatreworks, Singapore Associate Artist, The Substation, Singapore vertical submarine is an art collective from Singapore that consists of Joshua Yang, Justin Loke and Fiona Koh (in order of seniority). According to them, they write, draw and paint a bit but eat, drink and sleep a lot. Their works include installations, drawings and paintings which involve text, storytelling and an acquired sense of humour. In 2010, they laid siege to the Singapore Art Museum and displayed medieval instruments of torture including a fully functional guillotine. They have completed projects in Spain, Taiwan, Hong Kong, Korea, The Philippines, Mexico City, Australia and Germany. Collectively they have won several awards including the Credit Suisse Artist Residency Award 2009, The President’s Young Talents Award 2009 and the Singapore Art Show Judges’ Choice 2005. They have recently completed a residency at Gertrude Contemporary in Melbourne. MERITS 2009 President’s Young Talents 2009 Credit Suisse Art Residency Award 2005 Singapore Art Show 2005: New works, Judge’s Choice 2004 1st Prize - Windows @ Wisma competition, Wisma Atria creative windows display PROJECTS 2011 Incendiary Texts, Richard Koh Fine Art, Kuala Lumpur, Malaysia Dust: A Recollection, Theatreworks, Singapore Asia: Looking South, Arndt Contemporary Art, Berlin, Germany Postcards from Earth, Objectifs – Center for Photography and Filmmaking, Singapore Open Studios, Gertrude Contemporary, Melbourne, Australia Art Stage 2011, Marina Bay Sands, Singapore 2010 How -
Singapore Biennale 2019: Every Step in The
Media Release Singapore Biennale 2019: Every Step In The Right Direction Opens Across Multiple Sites in Singapore on 22 November 2019 77 artists and collectives reflect on contemporary life and the human endeavour for change 20 Nov 2019 - Singapore Biennale 2019 (SB2019) returns for its sixth edition, with 77 artists and art collectives from 36 countries and territories. Titled Every Step in the Right Direction, the international contemporary art exhibition invites the public to engage with the act of artistic exploration, drawing on the importance of making choices and taking steps to consider the conditions of contemporary life and the human endeavour for change. Commissioned by the National Arts Council and organised by SAM, the Singapore Biennale will run from 22 November 2019 until 22 March 2020 across 11 venues in the city. With a strong focus on Southeast Asia, the sixth edition welcomes over 150 works across a breadth of diverse mediums including film, installation, sound art and performance, as well as new commissions and works that have never been presented in contemporary art biennales and exhibitions internationally. SB2019’s opening weekend will feature programmes for the public, including artist performances, curator and artist tours and talks. Organised by Singapore Art Museum | Commissioned by National Arts Council, Singapore Supported by the Ministry of Culture, Community and Youth 61 Stamford Road, #02-02, Stamford Court, Singapore 178892 . www.singaporeartmuseum.sg 1 Singapore Biennale 2019: Every Step in the Right Direction refers to the ethical imperative for both artists and audiences to make choices and take steps to reflect on the conditions of contemporary life. -
2016-17 Year-In-Review
Table of Contents YIR 2016/17 / - Message from the President 4 Cutting Edge 6 Awards 16 Highlights 30 Industry 38 Community 46 Alumni 52 The LASALLE Show 2017 62 Convocation 2016 82 ICA Singapore 88 Benefactors of the College 97 LASALLE Board and Management 98 Year in Review 2016/17 Among this year’s numerous memorable events was world-renowned designer Karim Rashid’s inspiring Public Lecture; two cutting-edge Singapore Biennale 2016 Affiliate exhibitions, the group show The World Precedes the Eye and Boedi Widjaja’s Black—Hut; and performances celebrating the strong historic links between Ireland and Singapore, in partnership with the Ireland Funds Singapore. LASALLE’s second collaboration with the Singapore International Festival of the Arts was an exceptional performance devised by our students and the legendary Bill T Jones/Arnie Zane Dance Company, which brought much critical acclaim, and a tear to the eye. Important new collaborations LASALLE’s continual aspiration to At the same time, LASALLE has with industry and government evolve and excel is also evident in a increased its number of SkillsFuture organisations included WritersLab, new academic structure. We have reduced approved short courses for the public in partnership with the Info- the number of Faculties from five and continued to deepen community communications Media Development to three, creating eight new Schools engagement. High profile community Authority. This ten-week project within them; and introduced a new activities included a magnificent supported eight budding local cross-institutional position of Dean of series of giant murals and projections professional screenwriters to Teaching, Learning and Research. -
MEDIA RELEASE the Collectors Show Returns with New, Rarely-Seen
MEDIA RELEASE For Immediate Release The Collectors Show returns with new, rarely-seen treasures from private collections 22 January 2013, Singapore – The Singapore Art Museum (SAM) & Credit Suisse are proud to present the third edition of The Collectors Show, one of the most anticipated exhibitions on Singapore’s arts calendar. Independently curated and organised by SAM, and sponsored by Credit Suisse as part of its Innovation in Art series, the exhibition draws from important private collections to present 23 contemporary masterpieces from the Asia-Pacific region. This exceptional exhibition series draws entirely from the private collections of individuals, art foundations, private museums and other organizations, offering museum-goers a unique glimpse into spectacular artworks normally held behind closed doors. The Collectors Show reflects the impact of museum-curated exhibitions in helping visitors find new ways to look at contemporary art. The theme of each exhibition connects the disparate pieces of art together in a thoughtful way, linking the art to our larger contemporary society and culture. Titled ‘Weight of History’, this year’s Collectors Show examines how artists engage with and evaluate local traditions and culture, displaying interconnected relationships between past and present in our increasingly globalised societies. Through the eyes of contemporary artists, Weight of History aims to raise questions about what defines history and how personal accounts of the past are just as valuable as official depictions of historical events, and why the past is still relevant to contemporary art making in Asia. Artists presented in the show hail from across the Asia-Pacific region, including China, Japan, Korea, India, Pakistan, Singapore, Malaysia, Thailand, Philippines, Australia, as well as Tibet and Taiwan. -
ANNEX a Complete List of Featured Artists and a I Light Marina Bay 2012 9 March – 1 April Marina Bay Featured Artists And
i Light Marina Bay 2012 9 March – 1 April Marina Bay ANNEX A Complete List of Featured Artists and Art Installations No Artist Gender Born Country of Birth Base 1 Aleksandra Stratimirovic * F 1968 Yugoslavia Sweden Andrew Daly F 1986 Australia Australia 2 Katherine Fife M 1990 Australia Australia 3 Angela Chong* F 1977 Singapore Singapore 4 Be Takerng Pattanopas* M 1965 Thailand Bangkok 5 BIBI M 1964 France France 6 Cornelia Erdmann* F 1976 Germany Hong Kong 7 Craig Walsh M 1966 Australia Australia 8 Dev Harlan M 1978 USA USA 9 Edwin Tan* M 1981 Singapore Singapore Groupe LAPS 10 Thomas Veyssiere (Director) M 1971 France France Hexogon Solution* 11 M 1976 Singapore Singapore Adrian Goh (Team Leader) 12 Li Hui M 1977 China China Light Collective* 13 Martin Lupton M 1969 UK UK Sharon Stammers F 1971 UK UK France, 14 Marine Ky* F 1966 Cambodia Cambodia, Australia Martin Bevz M 1986 Australia Australia 15 Kathryn Clifton F 1985 Australia Australia OCUBO* 16 Nuno Maya M 1978 Portugal Portugal Carolle Pumelle F 1964 Democratic Republic of Portugal Congo 17 Olivia d’Aboville* F 1986 Philippines Philippines 18 Olivia Lee* F 1985 Singapore Singapore 19 Ryf Zaini* M 1980 Singapore Singapore 20 Shinya Okuda M - Japan Singapore 21 StoryBox M 1975 New Zealand New Zealand Singapore Student 22 Showcase 1: - - - Singapore LASALLE College of the Arts 23 Singapore Student - - - Singapore Organised by Festival Direction by Held in i Light Marina Bay 2012 9 March – 1 April Marina Bay Showcase 2: School of the Arts Singapore 24 Takahiro Matsuo M 1979 Japan -
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. -
World, the Interdisciplinary Arts and the Community: an Interview with the Artistic Director of the Substation – a Home for the Arts
The ‘Real’ World, the Interdisciplinary Arts and the Community: An Interview with the Artistic Director of The Substation – A Home for the Arts Noor Effendy Ibrahim, interviewed by C. J. W.-L. Wee What would you say are the present central goals of the historically first independent Singapore art centre, The Substation – A Home for the Arts? I have been Artistic Director of The Substation since February 2010. The key goal is clear: to continue and develop the legacy of this centre1 through artistic strategies and methods that are sensitive to and aware of the current and immediate cultural, political and economic contexts that exist. The Substation aims to provide a rigorous and safe space for the development and research into art practices that have a primarily interdisciplinary orientation – in short, the aim is to be a venue where dialogues occur and artistic curation and creation can transpire. It is apparent, though, that the physical infrastructure of The Substation is ageing, and that sufficient funding is also another key concern. So, a major issue is the re-thinking of how to make the available resources within The Substation itself good enough such that challenging artwork is possible, and so that the imagination of the larger arts community – the larger public, government agencies and possible funders – can be fired up to comprehend our commitment to interdisciplinary arts creation at The Substation, whatever the limitations and constraints of the moment. A particular challenge that we are face today lies in the education, the nurturing and the sustaining of critically informed and engaged audiences who will not be fearful of the artistic experimentation and exploration that form the backbone of interdisciplinary practice. -
Stirring a Fine Brew
GBA4 | GBAFOCUS Friday, June 5, 2020 HONG KONG EDITION | CHINA DAILY Art the HKbox art galleries are open for Out of business again. Tai Kwun Contemporary is back with two new art exhibitions — including one on the timely theme of confinement. Chitralekha Basu reports. Ho Tzu Nyen’s Earth is a spectacular video installation, paying homage to a range of Jun Nguyen Hatsushiba’s video offers a surreal take classical European Renaissance paintings. Now on show at Tai Kwun Contemporary. on the plight of the Vietnamese boat people. ittingly, one of the two exhibitions as photo display boxes. of St James’ e ective and awkward. launched to mark the reopening of The steel cages contain a set of Settlement, a There are more pieces in the show Tai Kwun Contemporary on May 25 four photographs taken by Thai art- charity that helps underscoring the complicated, potential- explores the idea of being boxed in. ist Pratchaya Phinthong. At first rehabilitate people ly-unsettling nature of cultural encoun- FMuch of humanity has experienced the feeling glance the images could be mis- with special needs ters. Ming Wong’s three-channel video, of being sequestered in their own unique ways taken for glimpses of the sky, taken — wove the other one In Love for the Mood, tweaks a scene in the last few months, since the outbreak from inside a cave or dormant vol- using yarns dyed in the from Hong Kong director Wong Kar-wai’s of the novel coronavirus. My Body Holds Its cano. They are in fact chunks of mete- most vivid shades of blue, classic fi lm, In the Mood for Love. -
Heman Chong in Conversation with Lee Ambrozy
The Social Architecture of “Situations”: Heman Chong in Conversation with Lee Ambrozy Luca Lenglet, Soft Corners, 2014, sculpture, in The Part in the Story Where A Part Becomes A Part of Something Else, as part of Moderation(s), Witte de With Center for Contemporary Art, Rotterdam. Photo: Aad Hoogendoorn. eman Chong is an artist whose work dissolves boundaries among literature and the performing and visual arts. As the chief Harchitect of the Moderation(s) project, he expanded his role to include that of institutional curator, employing a range of collaborative methodologies to investigate new ways of refreshing modes of production. In this conversation, through dialogue with Moderation(s) participant and art historian Lee Ambrozy, Heman Chong elaborates on the strategies this multi-platform project employed to expand what contemporary art production can be. He elaborates on the goals and methodologies embedded within the project, revealing how Singaporean art collectives of the 1990s, Contact Improvisation, and graphic design inspired the program for Moderation(s). The collaborative frameworks that emerged over twenty-four months in Moderation(s) revealed the fragility of epistemological hierarchies within the art world and the permeable boundaries between the roles that have come to be established with it. The resulting situations expanded and blurred the roles of the participants, and, similarly, migration between two geographically and culturally divergent centres—Witte de With in Rotterdam and Spring Workshop in Hong Kong—lent Moderation(s) an ephemeral character that eluded conventional definition. Heman Chong’s remarks below demonstrate how artists’ roles have adapted to overlapping cultural contexts and shifting geographies. -
About the Artist Avita Jinhong Guo Was Born in 1988 in Golmud
About the Artist Avita Jinhong Guo Avita Jinhong Guo was born in 1988 in Golmud, Tibetan plateau. Grew up in Qinghai and Russia. She received her BA degree of Oil Painting Department in Ilya Repin State Academic of Fine Arts. In 2012, she was offered scholarship for MA Fine Art degree in University Arts of London, she graduated from Central Saint Martins College of Arts and Design in 2015. In 2017, she paused her Mphi/PhD of Material and Visual Culture of Anthropology in University College of London. She was one of the chef- editors in feminism magazine HYSTERIA from 2015 to 2017, meanwhile she established the performance research group ‘White Torture’ with performance artist Bjork Grue Lidin and active often in east London underground art scene. In 2017 and 2018, she had experimental personal projects showed in 305 Space. Her current works pay attention on the collapse in between personal inner land and realistic political society, the changes of the political filed and personal position in the modernity at large, the changes of the poetic moments in between inner mind and outer cracks. From 2019, she started to re-paint again and trying to explore the relationship between painting and her formal video installation experiments. Ho Rui An Ho Rui An was born in 1990 in Singapore. He is an artist and writer working in the intersections of contemporary art, cinema, performance and theory. Working primarily across the mediums of lecture, essay and film, he probes into the shifting relations between image and power, focusing on the ways by which images are produced, circulate and disappear within contexts of globalism and governance.