| 1. |
- 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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| 2. |
- Wulia, Tintin, 1972
(author)
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Memory is Frail (and Truth Brittle)
- 2019
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In: Tintin Wulia: Memory is Frail (and Truth Brittle), Milani Gallery, Brisbane, Australia, 29 November – 21 December 2019.
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Artistic work (other academic/artistic)abstract
- Memory is Frail (and Truth Brittle) is an exploded graphic novel, a suite of 115 drawings of charcoal and graphite on cotton papers investigating the notion of seeing to believe and form reality, and the brittleness of truth constructed from memory.
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| 3. |
- Wulia, Tintin, 1972
(author)
-
Some Memory Prevails
- 2019
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In: Brisbane, Milani Gallery, 2019.
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Artistic work (other academic/artistic)abstract
- Some Memory Prevails is a material contemplation of the fragmented reality of inherited memory that are transferred intergenerationally between migrated and marginalised bodies. The work began as a reflection on Blackiston, Silva & Weiss’s 2008 experiment on memory retention across pupal-to-adulthood metamorphosis in Lepidoptera.
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| 4. |
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| 5. |
- Wulia, Tintin, 1972
(author)
-
Things-in-common and the Aesthetic Reassembling of Identities
- 2019
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In: "Chinese-Indonesians: Identities and Histories" conference. 1-3 October 2019. Monash Herb Feith Indonesian Engagement Centre, Monash University, Melbourne, Australia.
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Conference paper (other academic/artistic)abstract
- While art's capacity for social change has been widely discussed, the mechanisms of this change are rarely examined in details. This paper offers a conceptual analysis of one such mechanism. In particular, it describes a mechanism occurring in art practices, through “things-in-common” as social agents, by focusing on concepts of identity and the social as assemblages. Practical case examples of things-in-common – drawn from the author’s art projects relating to migration and identities since 2008 – are analysed through concepts in cultural studies, posthumanist feminism, and STS/Science and Technology Studies including Actor-Network Theory. This analysis demonstrates how things-in-common facilitate an "aesthetic reassembling" of identities, which can serve as a building block of social change.
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