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- 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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- 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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- Wulia, Tintin, 1972
(author)
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Make Your Own Passport (2014)
- 2022
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In: Sweden, Vetenskapsfestivalen, 4-6 May 2022.
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Artistic work (other academic/artistic)
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- Wulia, Tintin, 1972
(author)
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Making Worlds with Things: Aesthetic Cosmopolitanism, Performance, and Iconic Objects from the Border.
- 2022
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In: Migrating Minds: Theories and Practices of Cultural Cosmopolitanism. - : Routledge. - 9780367701123 ; , s. 192-204
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Book chapter (peer-reviewed)abstract
- Cosmopolitanism, imagination, and the border are inseparable. This is the notion that propels me in this chapter, where I elaborate on aesthetic cosmopolitanism. The border – a space in between – is not unlike the stoa where the ancient Stoics' discussions took place. Not surprisingly, then, as a space, integral in imagining the world as a whole, the border is significant for theorists of both critical cosmopolitanism and critical geopolitics. These theorists are also consonant in pointing out how pervasive borders are in everyday life. Regardless of this pervasiveness, however, the geopolitical border is still generally imagined as a distant frontier – a line at the edges of the territorial horizon – as distant as the cosmos as it is understood popularly. This is where my contribution lies: through an artistic methodology of working with things, I aim to cultivate critical cosmopolitanism by bringing the imagination of the border into everyday life and consciousness.
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- Wulia, Tintin, 1972
(author)
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Swarm Drones and the Protocols of Killings: engaging civil societies in conversations on warfare
- 2022
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In: Drones, Governance and Civil Society in Southeast Asia | Panel at EUROSEAS 2022.
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Conference paper (other academic/artistic)abstract
- How can we politically employ the aesthetic imaginary of drones beyond its novelty as a new technology of the future? Most drone art deals with the fascination of its aesthetics in terms of image-making potentials and the unprecedented threats of its militaristic functions (e.g., Danchev 2016, Paglen 2012, Bridle 2012). Challenging this trope, in this lecture-performance I question the image of drones as unprecedented machines for distant killings. I argue that the futuristic imaginary of the drones is akin to critical geopolitics scholar John Agnew’s ‘territorial trap’ (1994). Like the border imaginary obscuring our vision of the complexity of cross-territorial international relationship, the futuristic drones imaginary obscures our cross-temporal and cross-historical perspectives. Hence, following a materiality framework (Homqvist 2013, Walters 2014), I propose to revisit significant past and historical cases to demystify drones’ distant killings. One of these is a Southeast Asian case, one of the largest, least discussed, and most unresolved political massacres in the world: the Indonesian mass killings of 1965-66 (Kim 2002, Skretteberg 2015). While little is publicly known about the militaristic swarm drones’ technologies currently in development, recently declassified US foreign office archives that show major democracies’ involvements in the Indonesian killings may provide insights into distant killings. They may show patterns of group dynamics that could resemble the communication and decision chain protocols of militaristic swarm drones, a future technology of distant killings. This is the rationale of the artistic research project Protocols of Killings: 1965, distance, and the ethics of future warfare (Swedish Research Council funded, 2021-23). Through embodied participatory performances of group dynamics patterns from these archives, the project aims to shed light on how new findings on the Indonesian mass killings 1965-66 can engage civil societies in conversations on the ethics of future warfare.
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- Wulia, Tintin, 1972
(author)
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The Shore
- 2022
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In: Röhsska Museet konsthantverksdagar: Materiality and Migration.
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Other publication (other academic/artistic)
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