| 1. |
- Björgvinsson, Erling, 1969, et al.
(author)
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Migration: Editorial Introduction
- 2020
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In: PARSE Journal. - 2002-0953. ; :10
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Journal article (other academic/artistic)abstract
- The PARSE journal issue on Migration inquires into the embodied, affective, performative, material, visual, and spatial politics of cross-border human mobilities, through arts/design as well as migration scholars. The journal issue is an encounter between artist and migration scholars as we believe that both address and struggle with a crisis of representation when it comes to migration, which should not be confused with over-simplified discourse regarding a “crisis” of borders and migration.
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| 2. |
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| 3. |
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| 4. |
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Migration
- 2020
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In: PARSE Journal. ; Spring:10
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Other publication (other academic/artistic)abstract
- The PARSE journal issue on Migration inquires into the embodied, affective, performative, material, visual, and spatial politics of cross-border human mobilities, through arts/design as well as migration scholars. The journal issue is an encounter between artist and migration scholars as we believe that both address and struggle with a crisis of representation when it comes to migration, which should not be confused with over-simplified discourse regarding a “crisis” of borders and migration. We believe that both fields can have a vital role to play in counter-narrating and counter-visualizing dominant discourses and forms of representation of migration.
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| 5. |
- Ng, Sonja, et al.
(author)
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Lecture by Tintin Wulia: Behind the (Art) Scene Series
- 2021
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In: Behind the (Art) Scene Mini Zoom Series. - New York : The Richard and Dolly Maass Gallery, School of Art+Design, Purchase College, State University of New York.
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Other publication (other academic/artistic)abstract
- What is it like to run an independent art space? What about being a curator or an educator in a museum? Or an artist who continues creating project through a pandemic? The Richard and Dolly Maass Gallery in the School of Art+Design is pleased to present Behind the (Art) Scene, a mini lecture series that takes an inside-look into the various parts of the globalized art scene. Join us as we meet with professionals and artists from around the world to discuss their backgrounds and careers, special projects they’ve worked on, and their perspectives on working in the art field today.
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| 6. |
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| 7. |
- Tetzlaff, Andrew, et al.
(author)
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Tintin Wulia: Secrets
- 2023
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In: Melbourne, RMIT Gallery, 5 Dec 2023 - 27 Jan 2024.
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Artistic work (other academic/artistic)abstract
- Tintin Wulia is an Indonesian Australian artist whose work reflects on globalisation and geopolitics and uses personal stories to unpick and lay them bare. For over 20 years she has researched the histories that have been told by the world’s dominant narrators, scrutinising their blindspots and systemic inequities and retelling them from nonconforming perspectives. Wulia’s recounting brings the past powerfully into the present and centres it on the voices of the periphery. Her works decode, reinterpret and represent history, orienting us to the current global situation in an effort to help collectively navigate towards a more socially just future.
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| 8. |
- Veal, Asha Iman, et al.
(author)
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RAISIN episode 7 – 4 December 2021
- 2021
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In: Lumpen Radio.
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Other publication (other academic/artistic)abstract
- This is a radio program complementing the exhibition RAISIN, Vol. 1. (2021), part of Chicago Architecture Biennial. Episode 7 features Kyle Bellucci Johanson and Tintin Wulia, investigating identity, place, and unwelcome. RAISIN is inspired by a radical Black woman playwright that found her excellent work embraced as an enduring artistic format that encourages dialogues on inequity and justice in cities across the world. The late Lorraine Hansberry’s narrative serves as the RAISIN inspiration, as well as a departure point for exploring a multiplicity of experiences and conversations. Produced by RAISIN curator Asha Iman Veal.
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| 9. |
- Winataputri, B, et al.
(author)
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Episode 16: Tintin Wulia – Embracing process and trusting the journey
- 2023
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In: Talking Contemporary Podcast. ; :Episode 16
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Other publication (other academic/artistic)abstract
- In this episode, Bianca Winataputri sat down with Indonesian-Australian artist and researcher Tintin Wulia. Tintin wore many hats over the course of her artmaking journey. Before becoming an artist, she was previously trained as a musician, composer, and architect. Tintin’s journey in making art had many unexpected turns, but she has always been guided by her passion for learning and embracing the process wherever it may take her. We spoke about stories from her childhood, uncovering her family history and the disappearance of her grandfather, her journey from composing music to making her very first artwork, and what art means to her in a constantly changing world.
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| 10. |
- Wulia, Tintin, 1972
(author)
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855 Kilograms of Homes in Another State
- 2019
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In: Melbourne, RMIT Gallery, 2019.
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Artistic work (other academic/artistic)abstract
- The drawings on these four bales of cardboard waste’s surfaces were made during the cardboard waste’s previous incarnation as ‘weekend houses’ of different groups of Overseas Filipino Workers – most of them transnational mothers – in Central, Hong Kong.
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| 11. |
- Wulia, Tintin, 1972, et al.
(author)
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A Thousand and One Martian Nights Screening with Tintin Wulia
- 2021
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In: Asia Art Archive in America.
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Other publication (other academic/artistic)abstract
- A screening and talk with the artist Tintin Wulia on her 2017 video work "A Thousand and One Martian Nights", part of her ongoing research into the Indonesian mass killings of 1965-66 and their reverberations over time. Taking as a point of departure an internment camp on Mars, the film presents a series of stories told in the year 2165 by the survivors of political turmoil that took place one hundred years before. These stories are adapted from the artist’s and actors’ own experiences and memories and are interwoven with NASA footage documenting interplanetary research in 1965. Moderated by Karen Strassler and presented by Jane DeBevoise.
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| 12. |
- Wulia, Tintin, 1972
(author)
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Absence in Substantia: Frequency
- 2023
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In: Jakarta, Baik Art, 10 Jan - 24 Feb 2024.
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Artistic work (other academic/artistic)abstract
- Absence in Substantia developed through analyses of data within what I came to call the Protocols of Killings archive. This archive, declassified in 2018, contains the once-classified cables that passed through the US Embassy in Jakarta spanning the years 1964-1968. It’s a wide-ranging record of communications during the critical period surrounding the 1965-66 Indonesian mass killings. When I started analysing the archive, I found 798 documents titled “Withdrawal Notice.” These are placeholders of documents that are considered still sensitive, and so they were retracted during the official evaluation that precedes declassification. So they’re sort of the secrets that are made even more secrets, even more restricted. This is where I extend on Walters’ logic: instead of seeing the closure as a problem, I focus on this disclosure-generated closure as potential. I also bring in my personal experiences of liminal death, and political scientist Oliver Kearns’s work on the absence left by drone strikes. Kearns argues that “A political response to covert strikes must go beyond 'filling in' absences and address how absence gains meaning in implicit ways.” From these withdrawal notices, I extracted dates referring to the original documents, to output frequency and density graphs of these retractions over time. The resulting bird's eye views show a pattern that peaks around the first date of the killings, 1 October 1965, which you can see as the pinkish-red thread cutting vertically on this work. Here I co-opt the act of closure into disclosure. I know this cooptation quite well. My grandfather’s liminal death left an unfilled lacuna, a particular hole right in the heart of my family, so to say. But we knew that there is no point filling this hole with anything else, because without this hole in its heart, my family’s heart is never whole. In other words, this wholeness that fully considers the hole is exactly why absence can be of substance. I think of this as a method of resistance—this Absence in Substantia. Absence in Substantia: Frequency, is showing the frequency graph on one of its two sides. Another work in the pair, showing the density graph, is being displayed in my other solo exhibition at RMIT Gallery in Melbourne, Australia. The other side of these works suggests the magnitude of the documents retracted from the archive, like an eruption of secrets from a document shredder, like the remains of something that’s destroyed with a pronounced presence.
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| 13. |
- Wulia, Tintin, 1972
(author)
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Aesthetic resistance: publicness, potentiality, and plexus
- 2023
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In: Journal of Political Power. - 2158-379X .- 2158-3803. ; 16:2
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Journal article (peer-reviewed)abstract
- This paper explicates the concept of aesthetic resistance (AR) and its connection to sociopolitical change, drawing from resistance studies’ frameworks. Combining semi-structured and integrative reviews of literature on resistance in art and aesthetics across the humanities and social sciences, the paper performs a thematic analysis to identify patterns in AR’s definitions, modes and domains, attributes, and transformative variables. These are synthesized in terms of the evolving resistance studies’ frameworks and an understanding of aesthetics as relating to the sensorium, ultimately revealing three interlocking issues: (1) publicness, (2) potentiality, and (3) plexus. These AR-specific issues contribute to the categorization of resistance, its identification, and the tracing of its network en route to change.
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| 14. |
- Wulia, Tintin, 1972
(author)
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Almost Indestructible
- 2023
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In: Artlink. - 0727-1239. ; 43:1, s. 42-48
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Journal article (peer-reviewed)abstract
- This essay is based on my lecture-performance on materiality and migration, presented at the Röhsska Museum, Gothenburg, in 2022. I connect mosquitoes and living with my grandfather’s disappearance, weaving Rachel Carson’s The Edge of the Sea, the borders and the persistence of colonialism, US eradication of both malaria and communism, the environmental movement, and – extending Laurent Berlant's slow death– my micrography work-in-progress on liminal death.
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| 15. |
- Wulia, Tintin, 1972, et al.
(author)
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Art, Aesthetics and Activism
- 2022
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In: Equator Symposium - Online Series "Kuat Akar Kuat Tanah", 29 Nov 2022.
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Other publication (other academic/artistic)
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| 16. |
- Wulia, Tintin, 1972
(author)
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Boundary Objects, Things-in-common, and Future Hybridity
- 2021
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In: Nordic Science and Technology Studies Conference 2021: STS and the future as a matter of collective concern.
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Conference paper (other academic/artistic)abstract
- Scholarship on boundary objects has grown significantly since Susan Leigh Star set its conceptual foundation in motion, in 1988. This paper will contribute through a survey of Star’s boundary objects’ connection with other concepts of objects and things, specifically as discussed in Judy Attfield’s Wild Things, Jane Bennett’s Vibrant Matter, and Sara Ahmed’s Happy Objects. Through several case studies taken from the author’s empirical artistic research – including a public art intervention and mobile ethnography of cardboard waste in Hong Kong, Trade/Trace/Transit (2014-16), and the workshop-performance Make Your Own Passport (2014) – the paper will discuss several arguments on: (1) how objects’ identity – like that of humans’ and cyborgs’, to follow both Stuart Hall and Donna Haraway – keeps mutating, (2) how these mutations take place as objects travel through associations within different assemblages, and (3) how these mutations take place spatially and temporally. The author will also introduce a phase of this identity mutation, namely where/when a boundary object – which allows connection even without agreement – becomes a ‘thing-in-common’, where/when the object mutates to become something in commonality between participants. It will then discuss these things-in-common’s potentials in cultivating cultural hybridity through being humans’ companions into the future.
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| 17. |
- Wulia, Tintin, 1972
(author)
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Context—after Kawara's Title, 1965
- 2024
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In: Jakarta, Baik Art, 10 Jan - 24 Feb 2024.
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Artistic work (other academic/artistic)abstract
- Context - after Kawara's Title, 1965 is the second in a series where I develop on one of On Kawara's earliest surviving conceptual works, Title (1965), which decisively marked his entrance to conceptual art, leaving his figurative period behind. Kawara's earlier works depict gory scenes profoundly affected by the US bombings of Hiroshima and Nagasaki. Like Kawara, I am deeply – although distantly – affected by US violence. Contrary to the sudden impactful bombings in Kawara’s case, the violence I experienced was slow, far-reaching, and long-lasting, crossing generations since 1965. This is why my first experience of Title (On Kawara, 1965) was so unsettling: Kawara must have known, I thought, that 1965 was not "ONE THING" (Wulia 2019, p.10). In Subtext - after Kawara's Title, 1965 (2019), the first work of this series, I exploded the three canvases of Title into 65 canvases of various sizes through rigorous research into the techniques and material that Kawara applied into this work as part of the BAIK ART Residency at Davidson College and a Smithsonian Artist Research Fellowship in Washington DC. I also investigated the subdued themes in Kawara's Title, including a text he arguably self-censored, "RED CHINA" (Woo, 2010). Context results from a further investigation in my Swedish Research Council-funded research project, Protocols of Killings: 1965, distance, and the ethics of future warfare (2021-23), bringing in the context of the 30,000-page declassified archives of Jakarta US Embassy, 1964-68, surrounding the Indonesian mass killings of 1965-66. In Context - after Kawara's Title, 1965, I expand on my recent finding, namely the pattern of Withdrawal Notices I found across these 30,000-page archives. My analysis on the withdrawal of these 798 documents from the declassified archives shows the highest density around 1 October 1965, the date of the first killings that became the trigger event. This suggests that these withdrawn documents are the crème-de-la-crème of US's secrets surrounding the Indonesian 1965-66 mass killings. Context - after Kawara's Title, 1965 is an installation of 65 paintings of dates picked by diverse individuals, chosen from a list of dates corresponding to the withdrawn documents, hence linking two events: a personal memory, and a reality withheld for the sake of state-sanctioned history.
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| 18. |
- Wulia, Tintin, 1972
(author)
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December
- 2021
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In: Chicago, 6018North, 4th Chicago Architecture Biennial, 17 Sep - 18 Dec 2021.
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Artistic work (other academic/artistic)abstract
- "December" is a three-part narrative 3-channel video installation with 6-channel sound, surrounding my grandfather’s forced disappearance on 18 December 1965, in Bali, Indonesia. The work is part of the Swedish Research Council-funded artistic research project "Protocols of Killings: 1965, distance, and the ethics of future warfare", and develops on the idea of continuity of history, territory, and technology. it brings together political and personal materials by visually contextualising my grandfather's forced disappearance within the 30,000-page of declassified archives of the Jakarta US Embassy between 1964 and 1968. These archives, released by the National Security Archives, document inter-embassy communication surrounding the Indonesian mass killings of 1965-66 – aided and abetted by the world's leading democracies – and the establishment of the Suharto government in Indonesia. "December" incorporates archival documents dated December, September, and May – three different months during the killings that are personally significant to me. These are, respectively, the month my grandfather was forcefully disappeared, the month when the pretext of the killings took place, and the month it became possible for my father’s family to gather again after being separated for safety reasons. I work these out with animated drawings, sounds, and fragments from my childhood family stories, while contemplating spatial and temporal distance. The reference on the continuity of audiovisual technologies – from slide projection to stop-motion animated frames that made up a film, and to the capability of video to mimic these – is a reminder of the continuity of history. This in turn refers to the project's argument that drone warfare as a futuristic war is not unprecedented.
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| 19. |
- Wulia, Tintin, 1972
(author)
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December (2021)
- 2022
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In: Chicago, Museum of Contemporary Photography, 3 Mar - 26 Jun 2022.
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Artistic work (other academic/artistic)abstract
- "December" is a three-part narrative 3-channel video installation with 6-channel sound, surrounding my grandfather’s forced disappearance on 18 December 1965, in Bali, Indonesia. The work is part of the Swedish Research Council-funded artistic research project "Protocols of Killings: 1965, distance, and the ethics of future warfare", and develops on the idea of continuity of history, territory, and technology. it brings together political and personal materials by visually contextualising my grandfather's forced disappearance within the 30,000-page of declassified archives of the Jakarta US Embassy between 1964 and 1968. These archives, released by the National Security Archives, document inter-embassy communication surrounding the Indonesian mass killings of 1965-66 – aided and abetted by the world's leading democracies – and the establishment of the Suharto government in Indonesia. "December" incorporates archival documents dated December, September, and May – three different months during the killings that are personally significant to me. These are, respectively, the month my grandfather was forcefully disappeared, the month when the pretext of the killings took place, and the month it became possible for my father’s family to gather again after being separated for safety reasons. I work these out with animated drawings, sounds, and fragments from my childhood family stories, while contemplating spatial and temporal distance. The reference on the continuity of audiovisual technologies – from slide projection to stop-motion animated frames that made up a film, and to the capability of video to mimic these – is a reminder of the continuity of history. This in turn refers to the project's argument that drone warfare as a futuristic war is not unprecedented.
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| 20. |
- Wulia, Tintin, 1972
(author)
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Dos Cachuchas
- 2018
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In: The Hague, Nest, 2018.
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Artistic work (other academic/artistic)abstract
- In Dos Cachuchas, dance is seen as a language, with its political implication on identity and belonging. If dance is a language, how does translation of a dance between bodies compare with migration?
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| 21. |
- Wulia, Tintin, 1972, et al.
(author)
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Film Screening and Debate: "A Thousand and One Martian Nights"
- 2021
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In: Albert Hirschmann Centre on Democracy: Geneva Democracy Week (Image App project).
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Other publication (other academic/artistic)abstract
- This event is based on the screening of artist/researcher Tintin Wulia’s film “A Thousand and One Martian Nights” – originally part of a telematic installation with surveillance cameras, interconnecting two places simultaneously. The film weaves together a series of stories about the aftermath of a political turmoil taking place in the year 2065 that led to an internment camp on Mars, discussed by the survivors and their children’s generation a hundred years later in 2165. The stories are adapted from the artists’ and actors’ own personal experience and memoirs of the mass killings of 1965-66. These were large-scale, military-sponsored killings and civil unrest that targeted Communist Party of Indonesia (PKI) party members, Communist sympathisers and leftists, including ethnic Chinese. An 500,000 people were killed and thousands more were imprisoned without having been formally charged with a crime or tried. Among these about 12,000 men were sent to a notorious prison camp on Buru Island. Interspersing footage from the US space program’s Mars mission, the film alludes to the Cold War context of the killings and imprisonments, which were supported by the United States and other Western democracies. The film screening will be followed by a panel discussion on the political, social and cultural implications of the genocide. This event will be a hybrid event, with some panelists joining virtually.
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| 22. |
- Wulia, Tintin, 1972
(author)
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How things-in-common hold us together : How Things Hold Us Together: Averted Vision, Field Practice, and the Stakeholding of Things-in-Common
- 2021
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In: Antennae: the Journal of Nature in Visual Culture. - 1756-9575. ; 2:Summer 2021, s. 31-48
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Journal article (peer-reviewed)abstract
- How can things make us work together? A thing can be a common thing – or "boundary object" as Star and Griesemer calls it – amongst different actors. A "thing-in-common" – which I introduce here – is a deliberately political boundary object that brings actors face-to-face with each other via aesthetics. Through examining my public art interventions since 2014, including within the econo-political ecology of Hong Kong's informal cardboard waste (OCC) trade route, I will conceptualise "stakeholding", "field practice", and "averted vision" in tracing things with Urry's mobile ethnography. These are methodological concepts for cooperating with common things, to stimulate their eclosion into things-in-common.
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| 23. |
- Wulia, Tintin, 1972, et al.
(author)
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Ingatkah Saat Itu – featuring Dialita Choir : Remember When
- 2021
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In: Living 1965: Creative Practices and the Future of 1965 Indonesia.
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Conference paper (other academic/artistic)abstract
- This Zoom-based workshop-performance takes the format of participatory collective storytelling. Participants in a Zoom room are invited to build a story by randomly assigning each other the turn to add the next sentence to the story. This iteration, part of the symposium "Living 1965: Creative Practices and the Future of 1965 Indonesia", 30 September 2021, features Dialita Choir, a choir of women survivors of the Indonesian mass killings of 1965-66, Jakarta, Indonesia, with the transnational collective working with digital social media to address the narratives surrounding the Indonesian mass killings 1965-66, 1965 Setiap Hari, as stage managers. The participatory performance was simultaneously interpreted by In Other Words, a collective of independent language and analytics professionals based in Jakarta, Indonesia. The session is presented by Tintin Wulia, moderated by Wulan Dirgantoro, staged managed by 1965 Setiap Hari, and simultaneously interpreted by In Other Words.
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| 24. |
- Wulia, Tintin, 1972
(author)
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Liminal Death
- 2023
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In: Melbourne, RMIT Gallery, 5 Dec 2023 - 27 Jan 2024.
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Artistic work (other academic/artistic)abstract
- During an Artistic Research Fellowship at the Smithsonian Institution in 2019 I learned from leading entomologists and mosquito specialists in the Walter Reed Biosystematics Unit, or WRBU, in Maryland. During my time there, while studying live mosquito specimens, I was captivated by what I began to call “liminal death.” These are deaths that happen during metamorphosis, right at the critical moment when the mosquito larvae emerge from their exoskeleton, moving across the border between two completely different habitats: water and air. This is such a fascinating process. It was almost like seeing the birth of a human baby except for a big difference: the mosquito is much more active in this process compared to a human baby. They step out of their larval exoskeleton and this needs to happen very quickly, because otherwise they risk drowning. So not all of them would make it. Some, like you can see in this specimen, would emerge head and wings first, but would never step out of their larval shell before it’s too late. So death here is a death in process, frozen in time, preserved in ethanol. This makes me think of my grandfather’s death. My grandfather was disappeared in 1965, and was never returned. So his death was underway and unfinished: his body was never found, so, in fear, my family preserved their hope - and was suspended by this hope – that he was still alive. We are aware that there is no hope that he was still alive, but in the sake of keeping hope in a sea of fear and hopelessness, we decided not to know, to preserve our hope. Talking about preservation: ethanol preserves specimens quite well, but may alter the specimens’ original appearance. Over time, ethanol can also evaporate, affecting the preservation of the specimens. This is another way to say that time heals: it does something to memory. Healing can be thought of as a sort of modification to one’s memory, reimagined in its relation to emotion. But still, my grandfather never really died. He has a liminal death.
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| 25. |
- Wulia, Tintin, 1972
(author)
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Liminal Death: Assemblage
- 2024
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In: Jakarta, Baik Art, 10 Jan - 24 Feb 2024.
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Artistic work (other academic/artistic)abstract
- In Liminal Death: Assemblage, I reflect on liminal death and its connection to fragmented narratives, which act as the building blocks of certain memories. What I call “Liminal death” are deaths that happen during metamorphosis, right at the critical moment when a mosquito larvae emerge from their exoskeleton. They are moving across the border between two completely different habitats: water and air. This is such a fascinating process. It was almost like seeing the birth of a human baby except for a big difference: the mosquito is much more active in this process compared to a human baby. They sort of step out of their larval exoskeleton and this needs to happen very quickly, because otherwise they risk drowning. So not all of them would make it, of course. Some, like you can see in this specimen, would emerge head and wings first, but would never step out of their larval shell before it’s too late. So death here is a death in process, frozen in time, preserved in ethanol. This makes me think of my grandfather’s death. My grandfather was disappeared in 1965 in Indonesia, and was never returned. So his death was underway and unfinished: his body was never found, so, in fear, my family preserved their hope - and was suspended by this hope – that he was still alive. We are aware that there is no hope that he was still alive, but in the sake of keeping hope in a sea of fear and hopelessness, we decided not to know, to preserve our hope. Talking about preservation: ethanol preserves specimens quite well, but may alter the specimens’ original appearance. Over time, ethanol can also evaporate, affecting the preservation of the specimens. This is another way to say that time heals: it does something to memory. Healing can be thought of as a sort of modification to one’s memory, reimagined in its relation to emotion. But still, my grandfather never really died. He has a liminal death.
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