| 1. |
- Ng, Sonja, et al.
(författare)
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Lecture by Tintin Wulia: Behind the (Art) Scene Series
- 2021
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Ingår i: 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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Annan publikation (övrigt vetenskapligt/konstnärligt)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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| 2. |
- Veal, Asha Iman, et al.
(författare)
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RAISIN episode 7 – 4 December 2021
- 2021
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Ingår i: Lumpen Radio.
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Annan publikation (övrigt vetenskapligt/konstnärligt)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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| 3. |
- Wulia, Tintin, 1972, et al.
(författare)
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A Thousand and One Martian Nights Screening with Tintin Wulia
- 2021
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Ingår i: Asia Art Archive in America.
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Annan publikation (övrigt vetenskapligt/konstnärligt)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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| 4. |
- Wulia, Tintin, 1972
(författare)
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Boundary Objects, Things-in-common, and Future Hybridity
- 2021
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Ingår i: Nordic Science and Technology Studies Conference 2021: STS and the future as a matter of collective concern.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)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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| 5. |
- Wulia, Tintin, 1972
(författare)
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December
- 2021
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Ingår i: Chicago, 6018North, 4th Chicago Architecture Biennial, 17 Sep - 18 Dec 2021.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)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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| 6. |
- Wulia, Tintin, 1972, et al.
(författare)
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Film Screening and Debate: "A Thousand and One Martian Nights"
- 2021
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Ingår i: Albert Hirschmann Centre on Democracy: Geneva Democracy Week (Image App project).
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Annan publikation (övrigt vetenskapligt/konstnärligt)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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| 7. |
- Wulia, Tintin, 1972
(författare)
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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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Ingår i: Antennae: the Journal of Nature in Visual Culture. - 1756-9575. ; 2:Summer 2021, s. 31-48
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Tidskriftsartikel (refereegranskat)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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| 8. |
- Wulia, Tintin, 1972, et al.
(författare)
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Ingatkah Saat Itu – featuring Dialita Choir : Remember When
- 2021
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Ingår i: Living 1965: Creative Practices and the Future of 1965 Indonesia.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)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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| 9. |
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| 10. |
- Wulia, Tintin, 1972
(författare)
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More than Useful: Aesthetics Objects and Social Change
- 2021
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Ingår i: RAISIN, 6018North at Chicago Architecture Biennial: The Available City. - Chicago : Chicago Architecture Biennial.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Artist/researcher Tintin Wulia discusses aesthetics, the public space, and social transformation – within the tangle of imagination, emotion, and sociopolitical institution. Moderated by RAISIN Curator Asha Iman Veal and SAIC Being a Woman of Color in the Arts Class Wulia urges seeing beyond the trope of usefulness in socially engaged art, to focus on the mechanisms of social change that are specifically aesthetic. Her argument is that imagination and emotion – two aesthetically-prone mental phenomena – have been entangled with the transformation of sociopolitical institutions for millennia. Citing results from her aesthetic fieldworks in urban public spaces during her Australia Council for the Arts Fellowship (2014-16), amongst others, Wulia discusses how the tangle of imagination, emotion, and sociopolitical institutions can especially pivot on aesthetic objects. Finally, she proposes an analytical method drawing mainly from sociology and artistic practice-based research, which includes repurposing Charles Tilly’s semantic grammar to analyse currently uncollated archives comprising three-decade worth of 900 socially engaged art projects globally.
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