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## Popup
### Body
htmlText_4040E211_6469_FECC_41D2_2CD1B9CFEA55.html = A collection of short films by v-artivist
2011 - 2017
Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Description of Films
[Screen A] Devouring People and Philosophy of Urban Construction: Saving and Profiting negotiate the expropriation of land. The two films offer creative narratives through combing animation, documentary images, interviews and voice-over analyses.
[Screen B] Angry I Am is part of the " Five Elements of the Old District" series. The project is a community art project of v-artivist from 2013 to 2016. This series attempts to explore the residents’ affections towards the old district. The film Angry I Am was created by v-artivist and May, a former resident of Lee Tung Street. Chak Nei Lo Mui I: How to Preserve Community Networks? is the first episode of the series "Chak Nei Lo Mei”, in which v-artivist and residents of the Old Urban Renewal Concern Groups analyze the URA's urban renewal policy in front of the camera and discuss how to protect the spatial rights of the grassroots.
About v-artivist
Founded in 2007, v-artivist is a non-profit organization devoted to documentary filmmaking which prioritize concerns for the society, as well as the popularization of visual media among grassroots population. The group offers critique of the urban space and forms grassroots network through documentaries. V-artivist has participated in the major resistance movement against the urban renewal projects in Hong Kong including that in Lee Tung Street, Choi Yuen Village, Sham Shui Po/Cheung Sha Wan, To Kwa Wan, and Kowloon City.
In the Exhibition
Short films are screened including Devouring People, Philosophy of Urban Construction: Saving and Profiting, Angry I Am, Chak Nei Lo Mui I: How to Preserve Community Networks?
A collection of short films by v-artivist
2011 - 2017
Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Description of Films
[Screen A] Devouring People and Philosophy of Urban Construction: Saving and Profiting negotiate the expropriation of land. The two films offer creative narratives through combing animation, documentary images, interviews and voice-over analyses.
[Screen B] Angry I Am is part of the " Five Elements of the Old District" series. The project is a community art project of v-artivist from 2013 to 2016. This series attempts to explore the residents’ affections towards the old district. The film Angry I Am was created by v-artivist and May, a former resident of Lee Tung Street. Chak Nei Lo Mui I: How to Preserve Community Networks? is the first episode of the series "Chak Nei Lo Mei”, in which v-artivist and residents of the Old Urban Renewal Concern Groups analyze the URA's urban renewal policy in front of the camera and discuss how to protect the spatial rights of the grassroots.
About v-artivist
Founded in 2007, v-artivist is a non-profit organization devoted to documentary filmmaking which prioritize concerns for the society, as well as the popularization of visual media among grassroots population. The group offers critique of the urban space and forms grassroots network through documentaries. V-artivist has participated in the major resistance movement against the urban renewal projects in Hong Kong including that in Lee Tung Street, Choi Yuen Village, Sham Shui Po/Cheung Sha Wan, To Kwa Wan, and Kowloon City.
In the Exhibition
Short films are screened including Devouring People, Philosophy of Urban Construction: Saving and Profiting, Angry I Am, Chak Nei Lo Mui I: How to Preserve Community Networks?
A collection of short films by v-artivist
2011 - 2017
Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Description of Films
[Screen A] Devouring People and Philosophy of Urban Construction: Saving and Profiting negotiate the expropriation of land. The two films offer creative narratives through combing animation, documentary images, interviews and voice-over analyses.
[Screen B] Angry I Am is part of the " Five Elements of the Old District" series. The project is a community art project of v-artivist from 2013 to 2016. This series attempts to explore the residents’ affections towards the old district. The film Angry I Am was created by v-artivist and May, a former resident of Lee Tung Street. Chak Nei Lo Mui I: How to Preserve Community Networks? is the first episode of the series "Chak Nei Lo Mei”, in which v-artivist and residents of the Old Urban Renewal Concern Groups analyze the URA's urban renewal policy in front of the camera and discuss how to protect the spatial rights of the grassroots.
About v-artivist
Founded in 2007, v-artivist is a non-profit organization devoted to documentary filmmaking which prioritize concerns for the society, as well as the popularization of visual media among grassroots population. The group offers critique of the urban space and forms grassroots network through documentaries. V-artivist has participated in the major resistance movement against the urban renewal projects in Hong Kong including that in Lee Tung Street, Choi Yuen Village, Sham Shui Po/Cheung Sha Wan, To Kwa Wan, and Kowloon City.
In the Exhibition
Short films are screened including Devouring People, Philosophy of Urban Construction: Saving and Profiting, Angry I Am, Chak Nei Lo Mui I: How to Preserve Community Networks?
A collection of short films by v-artivist
2011 - 2017
Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Description of Films
[Screen A] Devouring People and Philosophy of Urban Construction: Saving and Profiting negotiate the expropriation of land. The two films offer creative narratives through combing animation, documentary images, interviews and voice-over analyses.
[Screen B] Angry I Am is part of the " Five Elements of the Old District" series. The project is a community art project of v-artivist from 2013 to 2016. This series attempts to explore the residents’ affections towards the old district. The film Angry I Am was created by v-artivist and May, a former resident of Lee Tung Street. Chak Nei Lo Mui I: How to Preserve Community Networks? is the first episode of the series "Chak Nei Lo Mei”, in which v-artivist and residents of the Old Urban Renewal Concern Groups analyze the URA's urban renewal policy in front of the camera and discuss how to protect the spatial rights of the grassroots.
About v-artivist
Founded in 2007, v-artivist is a non-profit organization devoted to documentary filmmaking which prioritize concerns for the society, as well as the popularization of visual media among grassroots population. The group offers critique of the urban space and forms grassroots network through documentaries. V-artivist has participated in the major resistance movement against the urban renewal projects in Hong Kong including that in Lee Tung Street, Choi Yuen Village, Sham Shui Po/Cheung Sha Wan, To Kwa Wan, and Kowloon City.
In the Exhibition
Short films are screened including Devouring People, Philosophy of Urban Construction: Saving and Profiting, Angry I Am, Chak Nei Lo Mui I: How to Preserve Community Networks?
Amplifying the Voices of Young Indigenous Women
Initiated by Freedom Film Network
2018-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
FFN’s project Amplifying the Voices of Young Indigenous Women is a collaboration with young indigenous women from various tribes in Malaysia together with partners, JKOASM (Jaringan Kampung Orang Asli Semananjung Malaysia – an indigenous community-based organisation), and EMPOWER (a women’s rights organisation).
About Freedom Film Network
Freedom Film Network is a non-governmental human rights organisation based in Malaysia, which believes in the powerful effect and use of film to highlight important issues and to inspire social change.
In the Exhibition
The video presents the starting points and aims of the project, behind-the-scenes excerpts of a training and film production camp, outcomes achieved by the young women and how their stories have been included in the mainstream narratives.
The backdrop illustrates the participatory and creative production process used by Freedom Film Network and its partners to build the skills of young indigenous women to produce a series of short films.
.
Amplifying the Voices of Young Indigenous Women
Initiated by Freedom Film Network
2018-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
FFN’s project Amplifying the Voices of Young Indigenous Women is a collaboration with young indigenous women from various tribes in Malaysia together with partners, JKOASM (Jaringan Kampung Orang Asli Semananjung Malaysia – an indigenous community-based organisation), and EMPOWER (a women’s rights organisation).
About Freedom Film Network
Freedom Film Network is a non-governmental human rights organisation based in Malaysia, which believes in the powerful effect and use of film to highlight important issues and to inspire social change.
In the Exhibition
The video presents the starting points and aims of the project, behind-the-scenes excerpts of a training and film production camp, outcomes achieved by the young women and how their stories have been included in the mainstream narratives.
The backdrop illustrates the participatory and creative production process used by Freedom Film Network and its partners to build the skills of young indigenous women to produce a series of short films.
.
Amplifying the Voices of Young Indigenous Women
Initiated by Freedom Film Network
2018-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
FFN’s project Amplifying the Voices of Young Indigenous Women is a collaboration with young indigenous women from various tribes in Malaysia together with partners, JKOASM (Jaringan Kampung Orang Asli Semananjung Malaysia – an indigenous community-based organisation), and EMPOWER (a women’s rights organisation).
About Freedom Film Network
Freedom Film Network is a non-governmental human rights organisation based in Malaysia, which believes in the powerful effect and use of film to highlight important issues and to inspire social change.
In the Exhibition
The video presents the starting points and aims of the project, behind-the-scenes excerpts of a training and film production camp, outcomes achieved by the young women and how their stories have been included in the mainstream narratives.
The backdrop illustrates the participatory and creative production process used by Freedom Film Network and its partners to build the skills of young indigenous women to produce a series of short films.
.
Amplifying the Voices of Young Indigenous Women
Initiated by Freedom Film Network
2018-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
FFN’s project Amplifying the Voices of Young Indigenous Women is a collaboration with young indigenous women from various tribes in Malaysia together with partners, JKOASM (Jaringan Kampung Orang Asli Semananjung Malaysia – an indigenous community-based organisation), and EMPOWER (a women’s rights organisation).
About Freedom Film Network
Freedom Film Network is a non-governmental human rights organisation based in Malaysia, which believes in the powerful effect and use of film to highlight important issues and to inspire social change.
In the Exhibition
The video presents the starting points and aims of the project, behind-the-scenes excerpts of a training and film production camp, outcomes achieved by the young women and how their stories have been included in the mainstream narratives.
The backdrop illustrates the participatory and creative production process used by Freedom Film Network and its partners to build the skills of young indigenous women to produce a series of short films.
.
Amplifying the Voices of Young Indigenous Women
Initiated by Freedom Film Network
2018-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
FFN’s project Amplifying the Voices of Young Indigenous Women is a collaboration with young indigenous women from various tribes in Malaysia together with partners, JKOASM (Jaringan Kampung Orang Asli Semananjung Malaysia – an indigenous community-based organisation), and EMPOWER (a women’s rights organisation).
About Freedom Film Network
Freedom Film Network is a non-governmental human rights organisation based in Malaysia, which believes in the powerful effect and use of film to highlight important issues and to inspire social change.
In the Exhibition
The video presents the starting points and aims of the project, behind-the-scenes excerpts of a training and film production camp, outcomes achieved by the young women and how their stories have been included in the mainstream narratives.
The backdrop illustrates the participatory and creative production process used by Freedom Film Network and its partners to build the skills of young indigenous women to produce a series of short films.
.
Amplifying the Voices of Young Indigenous Women
Initiated by Freedom Film Network
2018-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
FFN’s project Amplifying the Voices of Young Indigenous Women is a collaboration with young indigenous women from various tribes in Malaysia together with partners, JKOASM (Jaringan Kampung Orang Asli Semananjung Malaysia – an indigenous community-based organisation), and EMPOWER (a women’s rights organisation).
About Freedom Film Network
Freedom Film Network is a non-governmental human rights organisation based in Malaysia, which believes in the powerful effect and use of film to highlight important issues and to inspire social change.
In the Exhibition
The video presents the starting points and aims of the project, behind-the-scenes excerpts of a training and film production camp, outcomes achieved by the young women and how their stories have been included in the mainstream narratives.
The backdrop illustrates the participatory and creative production process used by Freedom Film Network and its partners to build the skills of young indigenous women to produce a series of short films.
Amplifying the Voices of Young Indigenous Women
Initiated by Freedom Film Network
2018-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
FFN’s project Amplifying the Voices of Young Indigenous Women is a collaboration with young indigenous women from various tribes in Malaysia together with partners, JKOASM (Jaringan Kampung Orang Asli Semananjung Malaysia – an indigenous community-based organisation), and EMPOWER (a women’s rights organisation).
About Freedom Film Network
Freedom Film Network is a non-governmental human rights organisation based in Malaysia, which believes in the powerful effect and use of film to highlight important issues and to inspire social change.
In the Exhibition
The video presents the starting points and aims of the project, behind-the-scenes excerpts of a training and film production camp, outcomes achieved by the young women and how their stories have been included in the mainstream narratives.
The backdrop illustrates the participatory and creative production process used by Freedom Film Network and its partners to build the skills of young indigenous women to produce a series of short films.
Amplifying the Voices of Young Indigenous Women
Initiated by Freedom Film Network
2018-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
FFN’s project Amplifying the Voices of Young Indigenous Women is a collaboration with young indigenous women from various tribes in Malaysia together with partners, JKOASM (Jaringan Kampung Orang Asli Semananjung Malaysia – an indigenous community-based organisation), and EMPOWER (a women’s rights organisation).
About Freedom Film Network
Freedom Film Network is a non-governmental human rights organisation based in Malaysia, which believes in the powerful effect and use of film to highlight important issues and to inspire social change.
In the Exhibition
The video presents the starting points and aims of the project, behind-the-scenes excerpts of a training and film production camp, outcomes achieved by the young women and how their stories have been included in the mainstream narratives.
The backdrop illustrates the participatory and creative production process used by Freedom Film Network and its partners to build the skills of young indigenous women to produce a series of short films.
Amplifying the Voices of Young Indigenous Women
Initiated by Freedom Film Network
2018-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
FFN’s project Amplifying the Voices of Young Indigenous Women is a collaboration with young indigenous women from various tribes in Malaysia together with partners, JKOASM (Jaringan Kampung Orang Asli Semananjung Malaysia – an indigenous community-based organisation), and EMPOWER (a women’s rights organisation).
About Freedom Film Network
Freedom Film Network is a non-governmental human rights organisation based in Malaysia, which believes in the powerful effect and use of film to highlight important issues and to inspire social change.
In the Exhibition
The video presents the starting points and aims of the project, behind-the-scenes excerpts of a training and film production camp, outcomes achieved by the young women and how their stories have been included in the mainstream narratives.
The backdrop illustrates the participatory and creative production process used by Freedom Film Network and its partners to build the skills of young indigenous women to produce a series of short films.
Amplifying the Voices of Young Indigenous Women
Initiated by Freedom Film Network
2018-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
FFN’s project Amplifying the Voices of Young Indigenous Women is a collaboration with young indigenous women from various tribes in Malaysia together with partners, JKOASM (Jaringan Kampung Orang Asli Semananjung Malaysia – an indigenous community-based organisation), and EMPOWER (a women’s rights organisation).
About Freedom Film Network
Freedom Film Network is a non-governmental human rights organisation based in Malaysia, which believes in the powerful effect and use of film to highlight important issues and to inspire social change.
In the Exhibition
The video presents the starting points and aims of the project, behind-the-scenes excerpts of a training and film production camp, outcomes achieved by the young women and how their stories have been included in the mainstream narratives.
The backdrop illustrates the participatory and creative production process used by Freedom Film Network and its partners to build the skills of young indigenous women to produce a series of short films.
An archive of v-artivist’s work
2001-2018
Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Description
An archive of documentary and socially engaged projects produced by v-artivist in collaboration with local community related to the urban renewal struggles in Hong Kong from 2001 to 2018, published in the format of DVD and print. It demonstrates how v-artivist’s practice visualizes the history of urban spatial movements, bottom-up community building endeavors, as well as the alliance between these movements rooted in multiple old neighbourhoods of the city.
About v-artivist
Founded in 2007, v-artivist is a non-profit organization devoted to documentary filmmaking which prioritize concerns for the society, as well as the popularization of visual media among grassroots population. The group offers critique of the urban space and forms grassroots network through documentaries. V-artivist has participated in the major resistance movement against the urban renewal projects in Hong Kong including that in Lee Tung Street, Choi Yuen Village, Sham Shui Po/Cheung Sha Wan, To Kwa Wan, and Kowloon City.
In the Exhibition
A boxed set of DVDs of 6 documentaries: Home Where The Yellow Banners Fly (2001-2005), The Street, The Way (2002-2013), People in Deep Distress & Walk on! Shun Ning Road! (2007-2012), The Pier The Other Shore (2007-2009), Graham Women (2008); and a book on v-artivist (1st edition in 2018).
An archive of v-artivist’s work
2001-2018
Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Description
An archive of documentary and socially engaged projects produced by v-artivist in collaboration with local community related to the urban renewal struggles in Hong Kong from 2001 to 2018, published in the format of DVD and print. It demonstrates how v-artivist’s practice visualizes the history of urban spatial movements, bottom-up community building endeavors, as well as the alliance between these movements rooted in multiple old neighbourhoods of the city.
About v-artivist
Founded in 2007, v-artivist is a non-profit organization devoted to documentary filmmaking which prioritize concerns for the society, as well as the popularization of visual media among grassroots population. The group offers critique of the urban space and forms grassroots network through documentaries. V-artivist has participated in the major resistance movement against the urban renewal projects in Hong Kong including that in Lee Tung Street, Choi Yuen Village, Sham Shui Po/Cheung Sha Wan, To Kwa Wan, and Kowloon City.
In the Exhibition
A boxed set of DVDs of 6 documentaries: Home Where The Yellow Banners Fly (2001-2005), The Street, The Way (2002-2013), People in Deep Distress & Walk on! Shun Ning Road! (2007-2012), The Pier The Other Shore (2007-2009), Graham Women (2008); and a book on v-artivist (1st edition in 2018).
An archive of v-artivist’s work
2001-2018
Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Description
An archive of documentary and socially engaged projects produced by v-artivist in collaboration with local community related to the urban renewal struggles in Hong Kong from 2001 to 2018, published in the format of DVD and print. It demonstrates how v-artivist’s practice visualizes the history of urban spatial movements, bottom-up community building endeavors, as well as the alliance between these movements rooted in multiple old neighbourhoods of the city.
About v-artivist
Founded in 2007, v-artivist is a non-profit organization devoted to documentary filmmaking which prioritize concerns for the society, as well as the popularization of visual media among grassroots population. The group offers critique of the urban space and forms grassroots network through documentaries. V-artivist has participated in the major resistance movement against the urban renewal projects in Hong Kong including that in Lee Tung Street, Choi Yuen Village, Sham Shui Po/Cheung Sha Wan, To Kwa Wan, and Kowloon City.
In the Exhibition
A boxed set of DVDs of 6 documentaries: Home Where The Yellow Banners Fly (2001-2005), The Street, The Way (2002-2013), People in Deep Distress & Walk on! Shun Ning Road! (2007-2012), The Pier The Other Shore (2007-2009), Graham Women (2008); and a book on v-artivist (1st edition in 2018).
An archive of v-artivist’s work
2001-2018
Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Description
An archive of documentary and socially engaged projects produced by v-artivist in collaboration with local community related to the urban renewal struggles in Hong Kong from 2001 to 2018, published in the format of DVD and print. It demonstrates how v-artivist’s practice visualizes the history of urban spatial movements, bottom-up community building endeavors, as well as the alliance between these movements rooted in multiple old neighbourhoods of the city.
About v-artivist
Founded in 2007, v-artivist is a non-profit organization devoted to documentary filmmaking which prioritize concerns for the society, as well as the popularization of visual media among grassroots population. The group offers critique of the urban space and forms grassroots network through documentaries. V-artivist has participated in the major resistance movement against the urban renewal projects in Hong Kong including that in Lee Tung Street, Choi Yuen Village, Sham Shui Po/Cheung Sha Wan, To Kwa Wan, and Kowloon City.
In the Exhibition
A boxed set of DVDs of 6 documentaries: Home Where The Yellow Banners Fly (2001-2005), The Street, The Way (2002-2013), People in Deep Distress & Walk on! Shun Ning Road! (2007-2012), The Pier The Other Shore (2007-2009), Graham Women (2008); and a book on v-artivist (1st edition in 2018).
An archive of v-artivist’s work
2001-2018
Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Description
An archive of documentary and socially engaged projects produced by v-artivist in collaboration with local community related to the urban renewal struggles in Hong Kong from 2001 to 2018, published in the format of DVD and print. It demonstrates how v-artivist’s practice visualizes the history of urban spatial movements, bottom-up community building endeavors, as well as the alliance between these movements rooted in multiple old neighbourhoods of the city.
About v-artivist
Founded in 2007, v-artivist is a non-profit organization devoted to documentary filmmaking which prioritize concerns for the society, as well as the popularization of visual media among grassroots population. The group offers critique of the urban space and forms grassroots network through documentaries. V-artivist has participated in the major resistance movement against the urban renewal projects in Hong Kong including that in Lee Tung Street, Choi Yuen Village, Sham Shui Po/Cheung Sha Wan, To Kwa Wan, and Kowloon City.
In the Exhibition
A boxed set of DVDs of 6 documentaries: Home Where The Yellow Banners Fly (2001-2005), The Street, The Way (2002-2013), People in Deep Distress & Walk on! Shun Ning Road! (2007-2012), The Pier The Other Shore (2007-2009), Graham Women (2008); and a book on v-artivist (1st edition in 2018).
An archive of v-artivist’s work
2001-2018
Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Description
An archive of documentary and socially engaged projects produced by v-artivist in collaboration with local community related to the urban renewal struggles in Hong Kong from 2001 to 2018, published in the format of DVD and print. It demonstrates how v-artivist’s practice visualizes the history of urban spatial movements, bottom-up community building endeavors, as well as the alliance between these movements rooted in multiple old neighbourhoods of the city.
About v-artivist
Founded in 2007, v-artivist is a non-profit organization devoted to documentary filmmaking which prioritize concerns for the society, as well as the popularization of visual media among grassroots population. The group offers critique of the urban space and forms grassroots network through documentaries. V-artivist has participated in the major resistance movement against the urban renewal projects in Hong Kong including that in Lee Tung Street, Choi Yuen Village, Sham Shui Po/Cheung Sha Wan, To Kwa Wan, and Kowloon City.
In the Exhibition
A boxed set of DVDs of 6 documentaries: Home Where The Yellow Banners Fly (2001-2005), The Street, The Way (2002-2013), People in Deep Distress & Walk on! Shun Ning Road! (2007-2012), The Pier The Other Shore (2007-2009), Graham Women (2008); and a book on v-artivist (1st edition in 2018).
Art Forever! / Nghệ thuật vạn tuế!
Site specific performance installation of votive objects made from colour paper, papier-mâché and cardboard
By Laurent Serpe, Nguyễn Đức Đạt
2020
Huế, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Inspired from the widely seen worshipping and votive offerings in Huế - the old citadel city in Central Vietnam, the artwork raises the issue of the afterlife as well as post-art criticism. Being part of the vanished Republic of Vietnam, Huế contains in itself thick layers of hidden history including the cruel battle in 1968 known as Mậu Thân Massacre or Tết Offensive that resulted in thousands of unjust deaths. Preserving many traditions related to those kinds of incidents, a fear of another world and a belief in wandering vengeful spirits is entrenched in the local culture. The market for the dead offered everything except art supplies as reflected from the live life. Within two weeks, an artist studio was built from colour paper, papier-mâché and cardboard. The artists specified that the votive objects must be real as they should be truly needed in another world. Thinking in English, the title ‘Art Forever!’ is a tease on what comes after ‘Art Now’. Though in Vietnamese, the title mimics a common slogan praising for the longivity of the only politcal party in the country. All of these offerings were set up for a week and burnt on the ground of Hue College of Arts at the art week finissage. Before burning them, the artists and friends brought in fruits, flowers and burnt the incense for worshipping.
About the artists
Laurent Serpe is a half-Vietnamese half-Belgian architect whose practice merges the boundaries between architecture and visual arts. Over a decade, Serpe is engaged with participatory urbanism, organic and eco architecture across Europe. However, his curiosity about the mother’s homeland has led him to Việt Nam where the architect has been dedicating himself to the country’s independent art scene since 2017.
In collaboration with artist Nguyễn Đức Đạt, he produced Art Forever! as a performance installation containing votive objects made of cardboard and paper.
Nguyễn Đức Đạt (1979) is a multimedia artist, currently living and working in Đà Lạt – the central highland city in Vietnam. He is a member of Sao La Collective and one of the co-founders of the art bar Cù Rú in Ho Chi Minh City and Đà Lạt. Recently, he is honoured to be invited by Nhà Sàn Collective as a curator and art director of the artist collective.
In the Exhibition
Installation of votive objects made from cardboard.
Art Forever! / Nghệ thuật vạn tuế!
Site specific performance installation of votive objects made from colour paper, papier-mâché and cardboard
By Laurent Serpe, Nguyễn Đức Đạt
2020
Huế, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Inspired from the widely seen worshipping and votive offerings in Huế - the old citadel city in Central Vietnam, the artwork raises the issue of the afterlife as well as post-art criticism. Being part of the vanished Republic of Vietnam, Huế contains in itself thick layers of hidden history including the cruel battle in 1968 known as Mậu Thân Massacre or Tết Offensive that resulted in thousands of unjust deaths. Preserving many traditions related to those kinds of incidents, a fear of another world and a belief in wandering vengeful spirits is entrenched in the local culture. The market for the dead offered everything except art supplies as reflected from the live life. Within two weeks, an artist studio was built from colour paper, papier-mâché and cardboard. The artists specified that the votive objects must be real as they should be truly needed in another world. Thinking in English, the title ‘Art Forever!’ is a tease on what comes after ‘Art Now’. Though in Vietnamese, the title mimics a common slogan praising for the longivity of the only politcal party in the country. All of these offerings were set up for a week and burnt on the ground of Hue College of Arts at the art week finissage. Before burning them, the artists and friends brought in fruits, flowers and burnt the incense for worshipping.
About the artists
Laurent Serpe is a half-Vietnamese half-Belgian architect whose practice merges the boundaries between architecture and visual arts. Over a decade, Serpe is engaged with participatory urbanism, organic and eco architecture across Europe. However, his curiosity about the mother’s homeland has led him to Việt Nam where the architect has been dedicating himself to the country’s independent art scene since 2017.
In collaboration with artist Nguyễn Đức Đạt, he produced Art Forever! as a performance installation containing votive objects made of cardboard and paper.
Nguyễn Đức Đạt (1979) is a multimedia artist, currently living and working in Đà Lạt – the central highland city in Vietnam. He is a member of Sao La Collective and one of the co-founders of the art bar Cù Rú in Ho Chi Minh City and Đà Lạt. Recently, he is honoured to be invited by Nhà Sàn Collective as a curator and art director of the artist collective.
In the Exhibition
Installation of votive objects made from cardboard.
Art Forever! / Nghệ thuật vạn tuế!
Site specific performance installation of votive objects made from colour paper, papier-mâché and cardboard
By Laurent Serpe, Nguyễn Đức Đạt
2020
Huế, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Inspired from the widely seen worshipping and votive offerings in Huế - the old citadel city in Central Vietnam, the artwork raises the issue of the afterlife as well as post-art criticism. Being part of the vanished Republic of Vietnam, Huế contains in itself thick layers of hidden history including the cruel battle in 1968 known as Mậu Thân Massacre or Tết Offensive that resulted in thousands of unjust deaths. Preserving many traditions related to those kinds of incidents, a fear of another world and a belief in wandering vengeful spirits is entrenched in the local culture. The market for the dead offered everything except art supplies as reflected from the live life. Within two weeks, an artist studio was built from colour paper, papier-mâché and cardboard. The artists specified that the votive objects must be real as they should be truly needed in another world. Thinking in English, the title ‘Art Forever!’ is a tease on what comes after ‘Art Now’. Though in Vietnamese, the title mimics a common slogan praising for the longivity of the only politcal party in the country. All of these offerings were set up for a week and burnt on the ground of Hue College of Arts at the art week finissage. Before burning them, the artists and friends brought in fruits, flowers and burnt the incense for worshipping.
About the artists
Laurent Serpe is a half-Vietnamese half-Belgian architect whose practice merges the boundaries between architecture and visual arts. Over a decade, Serpe is engaged with participatory urbanism, organic and eco architecture across Europe. However, his curiosity about the mother’s homeland has led him to Việt Nam where the architect has been dedicating himself to the country’s independent art scene since 2017.
In collaboration with artist Nguyễn Đức Đạt, he produced Art Forever! as a performance installation containing votive objects made of cardboard and paper.
Nguyễn Đức Đạt (1979) is a multimedia artist, currently living and working in Đà Lạt – the central highland city in Vietnam. He is a member of Sao La Collective and one of the co-founders of the art bar Cù Rú in Ho Chi Minh City and Đà Lạt. Recently, he is honoured to be invited by Nhà Sàn Collective as a curator and art director of the artist collective.
In the Exhibition
Installation of votive objects made from cardboard.
Art Forever! / Nghệ thuật vạn tuế!
Site specific performance installation of votive objects made from colour paper, papier-mâché and cardboard
By Laurent Serpe, Nguyễn Đức Đạt
2020
Huế, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Inspired from the widely seen worshipping and votive offerings in Huế - the old citadel city in Central Vietnam, the artwork raises the issue of the afterlife as well as post-art criticism. Being part of the vanished Republic of Vietnam, Huế contains in itself thick layers of hidden history including the cruel battle in 1968 known as Mậu Thân Massacre or Tết Offensive that resulted in thousands of unjust deaths. Preserving many traditions related to those kinds of incidents, a fear of another world and a belief in wandering vengeful spirits is entrenched in the local culture. The market for the dead offered everything except art supplies as reflected from the live life. Within two weeks, an artist studio was built from colour paper, papier-mâché and cardboard. The artists specified that the votive objects must be real as they should be truly needed in another world. Thinking in English, the title ‘Art Forever!’ is a tease on what comes after ‘Art Now’. Though in Vietnamese, the title mimics a common slogan praising for the longivity of the only politcal party in the country. All of these offerings were set up for a week and burnt on the ground of Hue College of Arts at the art week finissage. Before burning them, the artists and friends brought in fruits, flowers and burnt the incense for worshipping.
About the artists
Laurent Serpe is a half-Vietnamese half-Belgian architect whose practice merges the boundaries between architecture and visual arts. Over a decade, Serpe is engaged with participatory urbanism, organic and eco architecture across Europe. However, his curiosity about the mother’s homeland has led him to Việt Nam where the architect has been dedicating himself to the country’s independent art scene since 2017.
In collaboration with artist Nguyễn Đức Đạt, he produced Art Forever! as a performance installation containing votive objects made of cardboard and paper.
Nguyễn Đức Đạt (1979) is a multimedia artist, currently living and working in Đà Lạt – the central highland city in Vietnam. He is a member of Sao La Collective and one of the co-founders of the art bar Cù Rú in Ho Chi Minh City and Đà Lạt. Recently, he is honoured to be invited by Nhà Sàn Collective as a curator and art director of the artist collective.
In the Exhibition
Installation of votive objects made from cardboard.
Art Forever! / Nghệ thuật vạn tuế!
Site specific performance installation of votive objects made from colour paper, papier-mâché and cardboard
By Laurent Serpe, Nguyễn Đức Đạt
2020
Huế, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Inspired from the widely seen worshipping and votive offerings in Huế - the old citadel city in Central Vietnam, the artwork raises the issue of the afterlife as well as post-art criticism. Being part of the vanished Republic of Vietnam, Huế contains in itself thick layers of hidden history including the cruel battle in 1968 known as Mậu Thân Massacre or Tết Offensive that resulted in thousands of unjust deaths. Preserving many traditions related to those kinds of incidents, a fear of another world and a belief in wandering vengeful spirits is entrenched in the local culture. The market for the dead offered everything except art supplies as reflected from the live life. Within two weeks, an artist studio was built from colour paper, papier-mâché and cardboard. The artists specified that the votive objects must be real as they should be truly needed in another world. Thinking in English, the title ‘Art Forever!’ is a tease on what comes after ‘Art Now’. Though in Vietnamese, the title mimics a common slogan praising for the longivity of the only politcal party in the country. All of these offerings were set up for a week and burnt on the ground of Hue College of Arts at the art week finissage. Before burning them, the artists and friends brought in fruits, flowers and burnt the incense for worshipping.
About the artists
Laurent Serpe is a half-Vietnamese half-Belgian architect whose practice merges the boundaries between architecture and visual arts. Over a decade, Serpe is engaged with participatory urbanism, organic and eco architecture across Europe. However, his curiosity about the mother’s homeland has led him to Việt Nam where the architect has been dedicating himself to the country’s independent art scene since 2017.
In collaboration with artist Nguyễn Đức Đạt, he produced Art Forever! as a performance installation containing votive objects made of cardboard and paper.
Nguyễn Đức Đạt (1979) is a multimedia artist, currently living and working in Đà Lạt – the central highland city in Vietnam. He is a member of Sao La Collective and one of the co-founders of the art bar Cù Rú in Ho Chi Minh City and Đà Lạt. Recently, he is honoured to be invited by Nhà Sàn Collective as a curator and art director of the artist collective.
In the Exhibition
Installation of votive objects made from cardboard.
Art Forever! / Nghệ thuật vạn tuế!
Site specific performance installation of votive objects made from colour paper, papier-mâché and cardboard
By Laurent Serpe, Nguyễn Đức Đạt
2020
Huế, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Inspired from the widely seen worshipping and votive offerings in Huế - the old citadel city in Central Vietnam, the artwork raises the issue of the afterlife as well as post-art criticism. Being part of the vanished Republic of Vietnam, Huế contains in itself thick layers of hidden history including the cruel battle in 1968 known as Mậu Thân Massacre or Tết Offensive that resulted in thousands of unjust deaths. Preserving many traditions related to those kinds of incidents, a fear of another world and a belief in wandering vengeful spirits is entrenched in the local culture. The market for the dead offered everything except art supplies as reflected from the live life. Within two weeks, an artist studio was built from colour paper, papier-mâché and cardboard. The artists specified that the votive objects must be real as they should be truly needed in another world. Thinking in English, the title ‘Art Forever!’ is a tease on what comes after ‘Art Now’. Though in Vietnamese, the title mimics a common slogan praising for the longivity of the only politcal party in the country. All of these offerings were set up for a week and burnt on the ground of Hue College of Arts at the art week finissage. Before burning them, the artists and friends brought in fruits, flowers and burnt the incense for worshipping.
About the artists
Laurent Serpe is a half-Vietnamese half-Belgian architect whose practice merges the boundaries between architecture and visual arts. Over a decade, Serpe is engaged with participatory urbanism, organic and eco architecture across Europe. However, his curiosity about the mother’s homeland has led him to Việt Nam where the architect has been dedicating himself to the country’s independent art scene since 2017.
In collaboration with artist Nguyễn Đức Đạt, he produced Art Forever! as a performance installation containing votive objects made of cardboard and paper.
Nguyễn Đức Đạt (1979) is a multimedia artist, currently living and working in Đà Lạt – the central highland city in Vietnam. He is a member of Sao La Collective and one of the co-founders of the art bar Cù Rú in Ho Chi Minh City and Đà Lạt. Recently, he is honoured to be invited by Nhà Sàn Collective as a curator and art director of the artist collective.
In the Exhibition
Installation of votive objects made from cardboard.
Art Forever! / Nghệ thuật vạn tuế!
Site specific performance installation of votive objects made from colour paper, papier-mâché and cardboard
By Laurent Serpe, Nguyễn Đức Đạt
2020
Huế, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Inspired from the widely seen worshipping and votive offerings in Huế - the old citadel city in Central Vietnam, the artwork raises the issue of the afterlife as well as post-art criticism. Being part of the vanished Republic of Vietnam, Huế contains in itself thick layers of hidden history including the cruel battle in 1968 known as Mậu Thân Massacre or Tết Offensive that resulted in thousands of unjust deaths. Preserving many traditions related to those kinds of incidents, a fear of another world and a belief in wandering vengeful spirits is entrenched in the local culture. The market for the dead offered everything except art supplies as reflected from the live life. Within two weeks, an artist studio was built from colour paper, papier-mâché and cardboard. The artists specified that the votive objects must be real as they should be truly needed in another world. Thinking in English, the title ‘Art Forever!’ is a tease on what comes after ‘Art Now’. Though in Vietnamese, the title mimics a common slogan praising for the longivity of the only politcal party in the country. All of these offerings were set up for a week and burnt on the ground of Hue College of Arts at the art week finissage. Before burning them, the artists and friends brought in fruits, flowers and burnt the incense for worshipping.
About the artists
Laurent Serpe is a half-Vietnamese half-Belgian architect whose practice merges the boundaries between architecture and visual arts. Over a decade, Serpe is engaged with participatory urbanism, organic and eco architecture across Europe. However, his curiosity about the mother’s homeland has led him to Việt Nam where the architect has been dedicating himself to the country’s independent art scene since 2017.
In collaboration with artist Nguyễn Đức Đạt, he produced Art Forever! as a performance installation containing votive objects made of cardboard and paper.
Nguyễn Đức Đạt (1979) is a multimedia artist, currently living and working in Đà Lạt – the central highland city in Vietnam. He is a member of Sao La Collective and one of the co-founders of the art bar Cù Rú in Ho Chi Minh City and Đà Lạt. Recently, he is honoured to be invited by Nhà Sàn Collective as a curator and art director of the artist collective.
In the Exhibition
Installation of votive objects made from cardboard.
Art Forever! / Nghệ thuật vạn tuế!
Site specific performance installation of votive objects made from colour paper, papier-mâché and cardboard
By Laurent Serpe, Nguyễn Đức Đạt
2020
Huế, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Inspired from the widely seen worshipping and votive offerings in Huế - the old citadel city in Central Vietnam, the artwork raises the issue of the afterlife as well as post-art criticism. Being part of the vanished Republic of Vietnam, Huế contains in itself thick layers of hidden history including the cruel battle in 1968 known as Mậu Thân Massacre or Tết Offensive that resulted in thousands of unjust deaths. Preserving many traditions related to those kinds of incidents, a fear of another world and a belief in wandering vengeful spirits is entrenched in the local culture. The market for the dead offered everything except art supplies as reflected from the live life. Within two weeks, an artist studio was built from colour paper, papier-mâché and cardboard. The artists specified that the votive objects must be real as they should be truly needed in another world. Thinking in English, the title ‘Art Forever!’ is a tease on what comes after ‘Art Now’. Though in Vietnamese, the title mimics a common slogan praising for the longivity of the only politcal party in the country. All of these offerings were set up for a week and burnt on the ground of Hue College of Arts at the art week finissage. Before burning them, the artists and friends brought in fruits, flowers and burnt the incense for worshipping.
About the artists
Laurent Serpe is a half-Vietnamese half-Belgian architect whose practice merges the boundaries between architecture and visual arts. Over a decade, Serpe is engaged with participatory urbanism, organic and eco architecture across Europe. However, his curiosity about the mother’s homeland has led him to Việt Nam where the architect has been dedicating himself to the country’s independent art scene since 2017.
In collaboration with artist Nguyễn Đức Đạt, he produced Art Forever! as a performance installation containing votive objects made of cardboard and paper.
Nguyễn Đức Đạt (1979) is a multimedia artist, currently living and working in Đà Lạt – the central highland city in Vietnam. He is a member of Sao La Collective and one of the co-founders of the art bar Cù Rú in Ho Chi Minh City and Đà Lạt. Recently, he is honoured to be invited by Nhà Sàn Collective as a curator and art director of the artist collective.
In the Exhibition
Installation of votive objects made from cardboard.
Bakureh Project
Initiated by Gubuak Kopi
2018
Solok, West Sumatra, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Bakureh Project explores the cultural value of the local “gotong royong” (joint) cooking. Although gotong royong is a nationwide concept, “Bakureh” looks into the local specificities of passing on knowledge and organising cooking together. Professionals and community members document the variety of food and dishes, related activities, philosophies, and values.
About Gubuak Kopi
The Gubuak Kopi collective is a non-profit cultural studies and development organisation that has been gradually developing since 2011. Gubuak Kopi translates to “Coffee Hut,” a space to meet, spend time together, chat, and discuss. It started with a group of artist friends, who collected information on local traditions. Today, Gubuak Kopi runs various projects documenting local traditions rooted in agriculture. The collective organises collaborations with professionals (artists, writers, and researchers) and citizens. Gubuak Kopi also developed local media and archiving systems and invites artists for residencies to work with the data collected.
In the Exhibition
The book of Bakureh Project is on display for visitors to read.
Bakureh Project
Initiated by Gubuak Kopi
2018
Solok, West Sumatra, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Bakureh Project explores the cultural value of the local “gotong royong” (joint) cooking. Although gotong royong is a nationwide concept, “Bakureh” looks into the local specificities of passing on knowledge and organising cooking together. Professionals and community members document the variety of food and dishes, related activities, philosophies, and values.
About Gubuak Kopi
The Gubuak Kopi collective is a non-profit cultural studies and development organisation that has been gradually developing since 2011. Gubuak Kopi translates to “Coffee Hut,” a space to meet, spend time together, chat, and discuss. It started with a group of artist friends, who collected information on local traditions. Today, Gubuak Kopi runs various projects documenting local traditions rooted in agriculture. The collective organises collaborations with professionals (artists, writers, and researchers) and citizens. Gubuak Kopi also developed local media and archiving systems and invites artists for residencies to work with the data collected.
In the Exhibition
The book of Bakureh Project is on display for visitors to read.
Bakureh Project
Initiated by Gubuak Kopi
2018
Solok, West Sumatra, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Bakureh Project explores the cultural value of the local “gotong royong” (joint) cooking. Although gotong royong is a nationwide concept, “Bakureh” looks into the local specificities of passing on knowledge and organising cooking together. Professionals and community members document the variety of food and dishes, related activities, philosophies, and values.
About Gubuak Kopi
The Gubuak Kopi collective is a non-profit cultural studies and development organisation that has been gradually developing since 2011. Gubuak Kopi translates to “Coffee Hut,” a space to meet, spend time together, chat, and discuss. It started with a group of artist friends, who collected information on local traditions. Today, Gubuak Kopi runs various projects documenting local traditions rooted in agriculture. The collective organises collaborations with professionals (artists, writers, and researchers) and citizens. Gubuak Kopi also developed local media and archiving systems and invites artists for residencies to work with the data collected.
In the Exhibition
The book of Bakureh Project is on display for visitors to read.
Bakureh Project
Initiated by Gubuak Kopi
2018
Solok, West Sumatra, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Bakureh Project explores the cultural value of the local “gotong royong” (joint) cooking. Although gotong royong is a nationwide concept, “Bakureh” looks into the local specificities of passing on knowledge and organising cooking together. Professionals and community members document the variety of food and dishes, related activities, philosophies, and values.
About Gubuak Kopi
The Gubuak Kopi collective is a non-profit cultural studies and development organisation that has been gradually developing since 2011. Gubuak Kopi translates to “Coffee Hut,” a space to meet, spend time together, chat, and discuss. It started with a group of artist friends, who collected information on local traditions. Today, Gubuak Kopi runs various projects documenting local traditions rooted in agriculture. The collective organises collaborations with professionals (artists, writers, and researchers) and citizens. Gubuak Kopi also developed local media and archiving systems and invites artists for residencies to work with the data collected.
In the Exhibition
The book of Bakureh Project is on display for visitors to read.
Bakureh Project
Initiated by Gubuak Kopi
2018
Solok, West Sumatra, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Bakureh Project explores the cultural value of the local “gotong royong” (joint) cooking. Although gotong royong is a nationwide concept, “Bakureh” looks into the local specificities of passing on knowledge and organising cooking together. Professionals and community members document the variety of food and dishes, related activities, philosophies, and values.
About Gubuak Kopi
The Gubuak Kopi collective is a non-profit cultural studies and development organisation that has been gradually developing since 2011. Gubuak Kopi translates to “Coffee Hut,” a space to meet, spend time together, chat, and discuss. It started with a group of artist friends, who collected information on local traditions. Today, Gubuak Kopi runs various projects documenting local traditions rooted in agriculture. The collective organises collaborations with professionals (artists, writers, and researchers) and citizens. Gubuak Kopi also developed local media and archiving systems and invites artists for residencies to work with the data collected.
In the Exhibition
The book of Bakureh Project is on display for visitors to read.
Bakureh Project
Initiated by Gubuak Kopi
2018
Solok, West Sumatra, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Bakureh Project explores the cultural value of the local “gotong royong” (joint) cooking. Although gotong royong is a nationwide concept, “Bakureh” looks into the local specificities of passing on knowledge and organising cooking together. Professionals and community members document the variety of food and dishes, related activities, philosophies, and values.
About Gubuak Kopi
The Gubuak Kopi collective is a non-profit cultural studies and development organisation that has been gradually developing since 2011. Gubuak Kopi translates to “Coffee Hut,” a space to meet, spend time together, chat, and discuss. It started with a group of artist friends, who collected information on local traditions. Today, Gubuak Kopi runs various projects documenting local traditions rooted in agriculture. The collective organises collaborations with professionals (artists, writers, and researchers) and citizens. Gubuak Kopi also developed local media and archiving systems and invites artists for residencies to work with the data collected.
In the Exhibition
The book of Bakureh Project is on display for visitors to read.
Bakureh Project
Initiated by Gubuak Kopi
2018
Solok, West Sumatra, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Bakureh Project explores the cultural value of the local “gotong royong” (joint) cooking. Although gotong royong is a nationwide concept, “Bakureh” looks into the local specificities of passing on knowledge and organising cooking together. Professionals and community members document the variety of food and dishes, related activities, philosophies, and values.
About Gubuak Kopi
The Gubuak Kopi collective is a non-profit cultural studies and development organisation that has been gradually developing since 2011. Gubuak Kopi translates to “Coffee Hut,” a space to meet, spend time together, chat, and discuss. It started with a group of artist friends, who collected information on local traditions. Today, Gubuak Kopi runs various projects documenting local traditions rooted in agriculture. The collective organises collaborations with professionals (artists, writers, and researchers) and citizens. Gubuak Kopi also developed local media and archiving systems and invites artists for residencies to work with the data collected.
In the Exhibition
The book of Bakureh Project is on display for visitors to read.
Bakureh Project
Initiated by Gubuak Kopi
2018
Solok, West Sumatra, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Bakureh Project explores the cultural value of the local “gotong royong” (joint) cooking. Although gotong royong is a nationwide concept, “Bakureh” looks into the local specificities of passing on knowledge and organising cooking together. Professionals and community members document the variety of food and dishes, related activities, philosophies, and values.
About Gubuak Kopi
The Gubuak Kopi collective is a non-profit cultural studies and development organisation that has been gradually developing since 2011. Gubuak Kopi translates to “Coffee Hut,” a space to meet, spend time together, chat, and discuss. It started with a group of artist friends, who collected information on local traditions. Today, Gubuak Kopi runs various projects documenting local traditions rooted in agriculture. The collective organises collaborations with professionals (artists, writers, and researchers) and citizens. Gubuak Kopi also developed local media and archiving systems and invites artists for residencies to work with the data collected.
In the Exhibition
The book of Bakureh Project is on display for visitors to read.
Bakureh Project
Initiated by Gubuak Kopi
2018
Solok, West Sumatra, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Bakureh Project explores the cultural value of the local “gotong royong” (joint) cooking. Although gotong royong is a nationwide concept, “Bakureh” looks into the local specificities of passing on knowledge and organising cooking together. Professionals and community members document the variety of food and dishes, related activities, philosophies, and values.
About Gubuak Kopi
The Gubuak Kopi collective is a non-profit cultural studies and development organisation that has been gradually developing since 2011. Gubuak Kopi translates to “Coffee Hut,” a space to meet, spend time together, chat, and discuss. It started with a group of artist friends, who collected information on local traditions. Today, Gubuak Kopi runs various projects documenting local traditions rooted in agriculture. The collective organises collaborations with professionals (artists, writers, and researchers) and citizens. Gubuak Kopi also developed local media and archiving systems and invites artists for residencies to work with the data collected.
In the Exhibition
The book of Bakureh Project is on display for visitors to read.
Bakureh Project
Initiated by Gubuak Kopi
2018
Solok, West Sumatra, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Bakureh Project explores the cultural value of the local “gotong royong” (joint) cooking. Although gotong royong is a nationwide concept, “Bakureh” looks into the local specificities of passing on knowledge and organising cooking together. Professionals and community members document the variety of food and dishes, related activities, philosophies, and values.
About Gubuak Kopi
The Gubuak Kopi collective is a non-profit cultural studies and development organisation that has been gradually developing since 2011. Gubuak Kopi translates to “Coffee Hut,” a space to meet, spend time together, chat, and discuss. It started with a group of artist friends, who collected information on local traditions. Today, Gubuak Kopi runs various projects documenting local traditions rooted in agriculture. The collective organises collaborations with professionals (artists, writers, and researchers) and citizens. Gubuak Kopi also developed local media and archiving systems and invites artists for residencies to work with the data collected.
In the Exhibition
The book of Bakureh Project is on display for visitors to read.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Chiang Mai Social Installation (CMSI)
Initiated by Uthit Atimana and friends
1992-2002
Chiang Mai, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
Chiang Mai Social Installation (CMSI) was a decade-long project which started under the title “Art Festival: Temples & Cemeteries” in 1992 at the places it named. CMSI organizes activities concerning “human relations” to participate and facilitate the creation of a more balanced culture in the context of free market, capitalist contemporary society. CMSI is a project that forms a counterweight to stimulate “cultural activities”, and to cooperate with humility in the hope that contemporary society will develop towards a mixed cultural activities/ capitalist society.
About Uthit Atimana
As an artist and also a lecturer at the Faculty of Fine Arts of Chiang Mai University, Uthit Atimana and his friends aimed to primarily solve the problems of the education system through CMSI.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
E-Lerng Project
Initiated by Nawarat Waewployngam and friends
since 2007
Bangkok, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
E-Lerng Project is an ongoing community-based project founded in 2007 by artist Nawarat Waewployngam. E-lerng today is about creating opportunities for the young to continue their activities in this age-old land of Nanglerng for the greater good. But more than this, it creates opportunities for community members, many of whom, for generations, have only been the passive audience, to become creators of their own content – to tell their own stories. Without this opportunity, these stories might fall through the cracks, disappearing as the storytellers grow old or as change arrives unexpectedly.
About Nawarat Waewployngam
A young artist who grew up in Nang Lerng community, Bangkok. Along with her friends, Nawarat wants to improve the life of people in the neighborhood (urban community) by integrating different branches of knowledge to create practical and sustainable community development projects covering every aspect of life.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archives of the project are on display, including catalogue, photobook and films.
Festival Film Bahari
Initiated by Cinema Cirebon
Since 2018
Cirebon, Java, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Festival Film Bahari is both a producer and supporter of short films as well as an organiser of public screenings. The films are produced in intergenerational settings and focus on coastal life. Bahari translates to “nautical.” The productions also serve as media training for youth and students. People from the fishing villages contribute to the content of the films and participate as protagonists. These films are then featured at the festival, alongside an (inter)national film selection (young filmmakers), which is organised through the submission platform FreeFilmWay. The first festival screening was held in 2017.
About Cinema Cirebon
The collective Cinema Cirebon started its first short film workshops with young people on maritime issues in 2016. In 2017 the collective initiated the Festival Film Bahari. In addition to the festival, the collective organises workshops, skill training, and screenings on various other topics, including gender and diversity.
In the Exhibition
Short films are screened including Darip, Elo Pukek, Petani Garam Terakhir (The Last Salt Farmer).
Festival Film Bahari
Initiated by Cinema Cirebon
Since 2018
Cirebon, Java, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Festival Film Bahari is both a producer and supporter of short films as well as an organiser of public screenings. The films are produced in intergenerational settings and focus on coastal life. Bahari translates to “nautical.” The productions also serve as media training for youth and students. People from the fishing villages contribute to the content of the films and participate as protagonists. These films are then featured at the festival, alongside an (inter)national film selection (young filmmakers), which is organised through the submission platform FreeFilmWay. The first festival screening was held in 2017.
About Cinema Cirebon
The collective Cinema Cirebon started its first short film workshops with young people on maritime issues in 2016. In 2017 the collective initiated the Festival Film Bahari. In addition to the festival, the collective organises workshops, skill training, and screenings on various other topics, including gender and diversity.
In the Exhibition
Short films are screened including Darip, Elo Pukek, Petani Garam Terakhir (The Last Salt Farmer).
Festival Film Bahari
Initiated by Cinema Cirebon
Since 2018
Cirebon, Java, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Festival Film Bahari is both a producer and supporter of short films as well as an organiser of public screenings. The films are produced in intergenerational settings and focus on coastal life. Bahari translates to “nautical.” The productions also serve as media training for youth and students. People from the fishing villages contribute to the content of the films and participate as protagonists. These films are then featured at the festival, alongside an (inter)national film selection (young filmmakers), which is organised through the submission platform FreeFilmWay. The first festival screening was held in 2017.
About Cinema Cirebon
The collective Cinema Cirebon started its first short film workshops with young people on maritime issues in 2016. In 2017 the collective initiated the Festival Film Bahari. In addition to the festival, the collective organises workshops, skill training, and screenings on various other topics, including gender and diversity.
In the Exhibition
Short films are screened including Darip, Elo Pukek, Petani Garam Terakhir (The Last Salt Farmer).
Festival Film Bahari
Initiated by Cinema Cirebon
Since 2018
Cirebon, Java, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Festival Film Bahari is both a producer and supporter of short films as well as an organiser of public screenings. The films are produced in intergenerational settings and focus on coastal life. Bahari translates to “nautical.” The productions also serve as media training for youth and students. People from the fishing villages contribute to the content of the films and participate as protagonists. These films are then featured at the festival, alongside an (inter)national film selection (young filmmakers), which is organised through the submission platform FreeFilmWay. The first festival screening was held in 2017.
About Cinema Cirebon
The collective Cinema Cirebon started its first short film workshops with young people on maritime issues in 2016. In 2017 the collective initiated the Festival Film Bahari. In addition to the festival, the collective organises workshops, skill training, and screenings on various other topics, including gender and diversity.
In the Exhibition
Short films are screened including Darip, Elo Pukek, Petani Garam Terakhir (The Last Salt Farmer).
Festival Film Bahari
Initiated by Cinema Cirebon
Since 2018
Cirebon, Java, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Festival Film Bahari is both a producer and supporter of short films as well as an organiser of public screenings. The films are produced in intergenerational settings and focus on coastal life. Bahari translates to “nautical.” The productions also serve as media training for youth and students. People from the fishing villages contribute to the content of the films and participate as protagonists. These films are then featured at the festival, alongside an (inter)national film selection (young filmmakers), which is organised through the submission platform FreeFilmWay. The first festival screening was held in 2017.
About Cinema Cirebon
The collective Cinema Cirebon started its first short film workshops with young people on maritime issues in 2016. In 2017 the collective initiated the Festival Film Bahari. In addition to the festival, the collective organises workshops, skill training, and screenings on various other topics, including gender and diversity.
In the Exhibition
Short films are screened including Darip, Elo Pukek, Petani Garam Terakhir (The Last Salt Farmer).
Festival Film Bahari
Initiated by Cinema Cirebon
Since 2018
Cirebon, Java, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Festival Film Bahari is both a producer and supporter of short films as well as an organiser of public screenings. The films are produced in intergenerational settings and focus on coastal life. Bahari translates to “nautical.” The productions also serve as media training for youth and students. People from the fishing villages contribute to the content of the films and participate as protagonists. These films are then featured at the festival, alongside an (inter)national film selection (young filmmakers), which is organised through the submission platform FreeFilmWay. The first festival screening was held in 2017.
About Cinema Cirebon
The collective Cinema Cirebon started its first short film workshops with young people on maritime issues in 2016. In 2017 the collective initiated the Festival Film Bahari. In addition to the festival, the collective organises workshops, skill training, and screenings on various other topics, including gender and diversity.
In the Exhibition
Short films are screened including Darip, Elo Pukek, Petani Garam Terakhir (The Last Salt Farmer).
Festival Film Bahari
Initiated by Cinema Cirebon
Since 2018
Cirebon, Java, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Festival Film Bahari is both a producer and supporter of short films as well as an organiser of public screenings. The films are produced in intergenerational settings and focus on coastal life. Bahari translates to “nautical.” The productions also serve as media training for youth and students. People from the fishing villages contribute to the content of the films and participate as protagonists. These films are then featured at the festival, alongside an (inter)national film selection (young filmmakers), which is organised through the submission platform FreeFilmWay. The first festival screening was held in 2017.
About Cinema Cirebon
The collective Cinema Cirebon started its first short film workshops with young people on maritime issues in 2016. In 2017 the collective initiated the Festival Film Bahari. In addition to the festival, the collective organises workshops, skill training, and screenings on various other topics, including gender and diversity.
In the Exhibition
Short films are screened including Darip, Elo Pukek, Petani Garam Terakhir (The Last Salt Farmer).
Festival Film Bahari
Initiated by Cinema Cirebon
Since 2018
Cirebon, Java, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Festival Film Bahari is both a producer and supporter of short films as well as an organiser of public screenings. The films are produced in intergenerational settings and focus on coastal life. Bahari translates to “nautical.” The productions also serve as media training for youth and students. People from the fishing villages contribute to the content of the films and participate as protagonists. These films are then featured at the festival, alongside an (inter)national film selection (young filmmakers), which is organised through the submission platform FreeFilmWay. The first festival screening was held in 2017.
About Cinema Cirebon
The collective Cinema Cirebon started its first short film workshops with young people on maritime issues in 2016. In 2017 the collective initiated the Festival Film Bahari. In addition to the festival, the collective organises workshops, skill training, and screenings on various other topics, including gender and diversity.
In the Exhibition
Short films are screened including Darip, Elo Pukek, Petani Garam Terakhir (The Last Salt Farmer).
Festival Film Bahari
Initiated by Cinema Cirebon
Since 2018
Cirebon, Java, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Festival Film Bahari is both a producer and supporter of short films as well as an organiser of public screenings. The films are produced in intergenerational settings and focus on coastal life. Bahari translates to “nautical.” The productions also serve as media training for youth and students. People from the fishing villages contribute to the content of the films and participate as protagonists. These films are then featured at the festival, alongside an (inter)national film selection (young filmmakers), which is organised through the submission platform FreeFilmWay. The first festival screening was held in 2017.
About Cinema Cirebon
The collective Cinema Cirebon started its first short film workshops with young people on maritime issues in 2016. In 2017 the collective initiated the Festival Film Bahari. In addition to the festival, the collective organises workshops, skill training, and screenings on various other topics, including gender and diversity.
In the Exhibition
Short films are screened including Darip, Elo Pukek, Petani Garam Terakhir (The Last Salt Farmer).
Festival Film Bahari
Initiated by Cinema Cirebon
Since 2018
Cirebon, Java, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
The Festival Film Bahari is both a producer and supporter of short films as well as an organiser of public screenings. The films are produced in intergenerational settings and focus on coastal life. Bahari translates to “nautical.” The productions also serve as media training for youth and students. People from the fishing villages contribute to the content of the films and participate as protagonists. These films are then featured at the festival, alongside an (inter)national film selection (young filmmakers), which is organised through the submission platform FreeFilmWay. The first festival screening was held in 2017.
About Cinema Cirebon
The collective Cinema Cirebon started its first short film workshops with young people on maritime issues in 2016. In 2017 the collective initiated the Festival Film Bahari. In addition to the festival, the collective organises workshops, skill training, and screenings on various other topics, including gender and diversity.
In the Exhibition
Short films are screened including Darip, Elo Pukek, Petani Garam Terakhir (The Last Salt Farmer).
Giant Puppet Project
Co-founded by Jig Cochrane, Stuart Cochlin and Sasha Constable
Presently co-directed by Stuart Cochlin and Oun Savann
Since 2007
Siem Reap/Battambang, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Established in 2007, Giant Puppet Project is an annual program which consists of an educational component and a public engagement aspect, with a clear social mission. In each edition, the project involves hundreds of children and young adults from local schools and those from disadvantaged background in a three-weeks workshop to create large-scale puppets, with the facilitation support from artists and art students from Phare Ponleu Selpak art school in Battambang. The program culminates in a spectacular evening parade of illuminating puppets through the city streets.
About Jig Cochrane
Cochrane runs an arts organisation called Jigantics that specializes in large scale event decor worldwide.
About Stuart Cochlin
Cochlin is a British architect based in Siem Reap since 2007. He started his directorship with the Giant Puppet Project since 2009.
About Oun Savann
Graduated from Phare Ponleu Selpak, Oun is an artist, curator, organizer and art teacher. He joined Giant Puppet Project as Project Manager in 2008, then joined co-directorship with Cochlin in 2022.
About Sasha Constable
Constable is a British artist and sculptor. Between 2000-2018, she lived and worked in Cambodia, where she was actively engaged in various art projects.
In the Exhibition
Original sketches of puppets, photos of workshops, posters, video documentations as well as other archival materials.
Giant Puppet Project
Co-founded by Jig Cochrane, Stuart Cochlin and Sasha Constable
Presently co-directed by Stuart Cochlin and Oun Savann
Since 2007
Siem Reap/Battambang, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Established in 2007, Giant Puppet Project is an annual program which consists of an educational component and a public engagement aspect, with a clear social mission. In each edition, the project involves hundreds of children and young adults from local schools and those from disadvantaged background in a three-weeks workshop to create large-scale puppets, with the facilitation support from artists and art students from Phare Ponleu Selpak art school in Battambang. The program culminates in a spectacular evening parade of illuminating puppets through the city streets.
About Jig Cochrane
Cochrane runs an arts organisation called Jigantics that specializes in large scale event decor worldwide.
About Stuart Cochlin
Cochlin is a British architect based in Siem Reap since 2007. He started his directorship with the Giant Puppet Project since 2009.
About Oun Savann
Graduated from Phare Ponleu Selpak, Oun is an artist, curator, organizer and art teacher. He joined Giant Puppet Project as Project Manager in 2008, then joined co-directorship with Cochlin in 2022.
About Sasha Constable
Constable is a British artist and sculptor. Between 2000-2018, she lived and worked in Cambodia, where she was actively engaged in various art projects.
In the Exhibition
Original sketches of puppets, photos of workshops, posters, video documentations as well as other archival materials.
Giant Puppet Project
Co-founded by Jig Cochrane, Stuart Cochlin and Sasha Constable
Presently co-directed by Stuart Cochlin and Oun Savann
Since 2007
Siem Reap/Battambang, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Established in 2007, Giant Puppet Project is an annual program which consists of an educational component and a public engagement aspect, with a clear social mission. In each edition, the project involves hundreds of children and young adults from local schools and those from disadvantaged background in a three-weeks workshop to create large-scale puppets, with the facilitation support from artists and art students from Phare Ponleu Selpak art school in Battambang. The program culminates in a spectacular evening parade of illuminating puppets through the city streets.
About Jig Cochrane
Cochrane runs an arts organisation called Jigantics that specializes in large scale event decor worldwide.
About Stuart Cochlin
Cochlin is a British architect based in Siem Reap since 2007. He started his directorship with the Giant Puppet Project since 2009.
About Oun Savann
Graduated from Phare Ponleu Selpak, Oun is an artist, curator, organizer and art teacher. He joined Giant Puppet Project as Project Manager in 2008, then joined co-directorship with Cochlin in 2022.
About Sasha Constable
Constable is a British artist and sculptor. Between 2000-2018, she lived and worked in Cambodia, where she was actively engaged in various art projects.
In the Exhibition
Original sketches of puppets, photos of workshops, posters, video documentations as well as other archival materials.
Giant Puppet Project
Co-founded by Jig Cochrane, Stuart Cochlin and Sasha Constable
Presently co-directed by Stuart Cochlin and Oun Savann
Since 2007
Siem Reap/Battambang, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Established in 2007, Giant Puppet Project is an annual program which consists of an educational component and a public engagement aspect, with a clear social mission. In each edition, the project involves hundreds of children and young adults from local schools and those from disadvantaged background in a three-weeks workshop to create large-scale puppets, with the facilitation support from artists and art students from Phare Ponleu Selpak art school in Battambang. The program culminates in a spectacular evening parade of illuminating puppets through the city streets.
About Jig Cochrane
Cochrane runs an arts organisation called Jigantics that specializes in large scale event decor worldwide.
About Stuart Cochlin
Cochlin is a British architect based in Siem Reap since 2007. He started his directorship with the Giant Puppet Project since 2009.
About Oun Savann
Graduated from Phare Ponleu Selpak, Oun is an artist, curator, organizer and art teacher. He joined Giant Puppet Project as Project Manager in 2008, then joined co-directorship with Cochlin in 2022.
About Sasha Constable
Constable is a British artist and sculptor. Between 2000-2018, she lived and worked in Cambodia, where she was actively engaged in various art projects.
In the Exhibition
Original sketches of puppets, photos of workshops, posters, video documentations as well as other archival materials.
Giant Puppet Project
Co-founded by Jig Cochrane, Stuart Cochlin and Sasha Constable
Presently co-directed by Stuart Cochlin and Oun Savann
Since 2007
Siem Reap/Battambang, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Established in 2007, Giant Puppet Project is an annual program which consists of an educational component and a public engagement aspect, with a clear social mission. In each edition, the project involves hundreds of children and young adults from local schools and those from disadvantaged background in a three-weeks workshop to create large-scale puppets, with the facilitation support from artists and art students from Phare Ponleu Selpak art school in Battambang. The program culminates in a spectacular evening parade of illuminating puppets through the city streets.
About Jig Cochrane
Cochrane runs an arts organisation called Jigantics that specializes in large scale event decor worldwide.
About Stuart Cochlin
Cochlin is a British architect based in Siem Reap since 2007. He started his directorship with the Giant Puppet Project since 2009.
About Oun Savann
Graduated from Phare Ponleu Selpak, Oun is an artist, curator, organizer and art teacher. He joined Giant Puppet Project as Project Manager in 2008, then joined co-directorship with Cochlin in 2022.
About Sasha Constable
Constable is a British artist and sculptor. Between 2000-2018, she lived and worked in Cambodia, where she was actively engaged in various art projects.
In the Exhibition
Original sketches of puppets, photos of workshops, posters, video documentations as well as other archival materials.
Giant Puppet Project
Co-founded by Jig Cochrane, Stuart Cochlin and Sasha Constable
Presently co-directed by Stuart Cochlin and Oun Savann
Since 2007
Siem Reap/Battambang, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Established in 2007, Giant Puppet Project is an annual program which consists of an educational component and a public engagement aspect, with a clear social mission. In each edition, the project involves hundreds of children and young adults from local schools and those from disadvantaged background in a three-weeks workshop to create large-scale puppets, with the facilitation support from artists and art students from Phare Ponleu Selpak art school in Battambang. The program culminates in a spectacular evening parade of illuminating puppets through the city streets.
About Jig Cochrane
Cochrane runs an arts organisation called Jigantics that specializes in large scale event decor worldwide.
About Stuart Cochlin
Cochlin is a British architect based in Siem Reap since 2007. He started his directorship with the Giant Puppet Project since 2009.
About Oun Savann
Graduated from Phare Ponleu Selpak, Oun is an artist, curator, organizer and art teacher. He joined Giant Puppet Project as Project Manager in 2008, then joined co-directorship with Cochlin in 2022.
About Sasha Constable
Constable is a British artist and sculptor. Between 2000-2018, she lived and worked in Cambodia, where she was actively engaged in various art projects.
In the Exhibition
Original sketches of puppets, photos of workshops, posters, video documentations as well as other archival materials.
Giant Puppet Project
Co-founded by Jig Cochrane, Stuart Cochlin and Sasha Constable
Presently co-directed by Stuart Cochlin and Oun Savann
Since 2007
Siem Reap/Battambang, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Established in 2007, Giant Puppet Project is an annual program which consists of an educational component and a public engagement aspect, with a clear social mission. In each edition, the project involves hundreds of children and young adults from local schools and those from disadvantaged background in a three-weeks workshop to create large-scale puppets, with the facilitation support from artists and art students from Phare Ponleu Selpak art school in Battambang. The program culminates in a spectacular evening parade of illuminating puppets through the city streets.
About Jig Cochrane
Cochrane runs an arts organisation called Jigantics that specializes in large scale event decor worldwide.
About Stuart Cochlin
Cochlin is a British architect based in Siem Reap since 2007. He started his directorship with the Giant Puppet Project since 2009.
About Oun Savann
Graduated from Phare Ponleu Selpak, Oun is an artist, curator, organizer and art teacher. He joined Giant Puppet Project as Project Manager in 2008, then joined co-directorship with Cochlin in 2022.
About Sasha Constable
Constable is a British artist and sculptor. Between 2000-2018, she lived and worked in Cambodia, where she was actively engaged in various art projects.
In the Exhibition
Original sketches of puppets, photos of workshops, posters, video documentations as well as other archival materials.
Giant Puppet Project
Co-founded by Jig Cochrane, Stuart Cochlin and Sasha Constable
Presently co-directed by Stuart Cochlin and Oun Savann
Since 2007
Siem Reap/Battambang, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Established in 2007, Giant Puppet Project is an annual program which consists of an educational component and a public engagement aspect, with a clear social mission. In each edition, the project involves hundreds of children and young adults from local schools and those from disadvantaged background in a three-weeks workshop to create large-scale puppets, with the facilitation support from artists and art students from Phare Ponleu Selpak art school in Battambang. The program culminates in a spectacular evening parade of illuminating puppets through the city streets.
About Jig Cochrane
Cochrane runs an arts organisation called Jigantics that specializes in large scale event decor worldwide.
About Stuart Cochlin
Cochlin is a British architect based in Siem Reap since 2007. He started his directorship with the Giant Puppet Project since 2009.
About Oun Savann
Graduated from Phare Ponleu Selpak, Oun is an artist, curator, organizer and art teacher. He joined Giant Puppet Project as Project Manager in 2008, then joined co-directorship with Cochlin in 2022.
About Sasha Constable
Constable is a British artist and sculptor. Between 2000-2018, she lived and worked in Cambodia, where she was actively engaged in various art projects.
In the Exhibition
Original sketches of puppets, photos of workshops, posters, video documentations as well as other archival materials.
Giant Puppet Project
Co-founded by Jig Cochrane, Stuart Cochlin and Sasha Constable
Presently co-directed by Stuart Cochlin and Oun Savann
Since 2007
Siem Reap/Battambang, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Established in 2007, Giant Puppet Project is an annual program which consists of an educational component and a public engagement aspect, with a clear social mission. In each edition, the project involves hundreds of children and young adults from local schools and those from disadvantaged background in a three-weeks workshop to create large-scale puppets, with the facilitation support from artists and art students from Phare Ponleu Selpak art school in Battambang. The program culminates in a spectacular evening parade of illuminating puppets through the city streets.
About Jig Cochrane
Cochrane runs an arts organisation called Jigantics that specializes in large scale event decor worldwide.
About Stuart Cochlin
Cochlin is a British architect based in Siem Reap since 2007. He started his directorship with the Giant Puppet Project since 2009.
About Oun Savann
Graduated from Phare Ponleu Selpak, Oun is an artist, curator, organizer and art teacher. He joined Giant Puppet Project as Project Manager in 2008, then joined co-directorship with Cochlin in 2022.
About Sasha Constable
Constable is a British artist and sculptor. Between 2000-2018, she lived and worked in Cambodia, where she was actively engaged in various art projects.
In the Exhibition
Original sketches of puppets, photos of workshops, posters, video documentations as well as other archival materials.
Giant Puppet Project
Co-founded by Jig Cochrane, Stuart Cochlin and Sasha Constable
Presently co-directed by Stuart Cochlin and Oun Savann
Since 2007
Siem Reap/Battambang, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Established in 2007, Giant Puppet Project is an annual program which consists of an educational component and a public engagement aspect, with a clear social mission. In each edition, the project involves hundreds of children and young adults from local schools and those from disadvantaged background in a three-weeks workshop to create large-scale puppets, with the facilitation support from artists and art students from Phare Ponleu Selpak art school in Battambang. The program culminates in a spectacular evening parade of illuminating puppets through the city streets.
About Jig Cochrane
Cochrane runs an arts organisation called Jigantics that specializes in large scale event decor worldwide.
About Stuart Cochlin
Cochlin is a British architect based in Siem Reap since 2007. He started his directorship with the Giant Puppet Project since 2009.
About Oun Savann
Graduated from Phare Ponleu Selpak, Oun is an artist, curator, organizer and art teacher. He joined Giant Puppet Project as Project Manager in 2008, then joined co-directorship with Cochlin in 2022.
About Sasha Constable
Constable is a British artist and sculptor. Between 2000-2018, she lived and worked in Cambodia, where she was actively engaged in various art projects.
In the Exhibition
Original sketches of puppets, photos of workshops, posters, video documentations as well as other archival materials.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Manifesto, Agenda, Summit
Initiated by Thanom Chapakdee and friends
Since 2018
Khonkaen, Thailand
[Case study selected by Dr Gridthiya Gaweewong]
Project Description
In 2018, the Khon Kaen Manifesto was held in an abandoned building in Khon Kaen, a major city in northeast Thailand. Since then, it has developed into a bi-annual artistic practice and activist movement with vibrant workshops around the Khong-Chee-Moon River basin, opening new art spaces in the process. These multi-platform projects grew gradually, organically and have evolved into the MANIFESTO·AGENDA·SUMMIT (MAS), empowering and encouraging people to take artistic action and create new aesthetics based on everyday life to tear down centralized concepts of art.
About Thanom Chapakdee
An art critic and curator, whose works focus on socio-political art.
In the Exhibition
A map on the window shows the locations that the project has taken place at. Archival materials of the project are on display on the table for visitors to access.
Memorama (music album) and What We Feel During an Earthquake (book)
Initiated by Forum Sudut Pandang
2019
Palu, Central Sulawesi, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
Following the natural disaster of 28 September 2018, the collective Forum Sudut Pandang organised creative projects as part of the post-disaster recovery process. The music album “Memorama” comprises six songs by local musicians that reflect the experiences of the earthquakes, processing the trauma and giving hope. The book entitled “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” comprises stories and illustrations, discussing the experiences of 423 children who survived the natural disaster.
About Forum Sudut Pandang
The Forum Sudut Pandang got started by a group of artist friends and students in 2016. Forum Sudut Pandang translates to “Point of View Forum.” They have held art exhibitions, workshops, and film screenings, and organised film production, music gigs, and community markets. In Palu, according to Taufiqurrahman, there are no art institutions, and thus activities from the Forum Sudut Pandang provide an important and much-needed gathering, sharing, and co-creation space for creatives, audiences, and visitors.
In the Exhibition
Audio of the album Memorama and the book “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” are on display.
Memorama (music album) and What We Feel During an Earthquake (book)
Initiated by Forum Sudut Pandang
2019
Palu, Central Sulawesi, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
Following the natural disaster of 28 September 2018, the collective Forum Sudut Pandang organised creative projects as part of the post-disaster recovery process. The music album “Memorama” comprises six songs by local musicians that reflect the experiences of the earthquakes, processing the trauma and giving hope. The book entitled “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” comprises stories and illustrations, discussing the experiences of 423 children who survived the natural disaster.
About Forum Sudut Pandang
The Forum Sudut Pandang got started by a group of artist friends and students in 2016. Forum Sudut Pandang translates to “Point of View Forum.” They have held art exhibitions, workshops, and film screenings, and organised film production, music gigs, and community markets. In Palu, according to Taufiqurrahman, there are no art institutions, and thus activities from the Forum Sudut Pandang provide an important and much-needed gathering, sharing, and co-creation space for creatives, audiences, and visitors.
In the Exhibition
Audio of the album Memorama and the book “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” are on display.
Memorama (music album) and What We Feel During an Earthquake (book)
Initiated by Forum Sudut Pandang
2019
Palu, Central Sulawesi, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
Following the natural disaster of 28 September 2018, the collective Forum Sudut Pandang organised creative projects as part of the post-disaster recovery process. The music album “Memorama” comprises six songs by local musicians that reflect the experiences of the earthquakes, processing the trauma and giving hope. The book entitled “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” comprises stories and illustrations, discussing the experiences of 423 children who survived the natural disaster.
About Forum Sudut Pandang
The Forum Sudut Pandang got started by a group of artist friends and students in 2016. Forum Sudut Pandang translates to “Point of View Forum.” They have held art exhibitions, workshops, and film screenings, and organised film production, music gigs, and community markets. In Palu, according to Taufiqurrahman, there are no art institutions, and thus activities from the Forum Sudut Pandang provide an important and much-needed gathering, sharing, and co-creation space for creatives, audiences, and visitors.
In the Exhibition
Audio of the album Memorama and the book “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” are on display.
Memorama (music album) and What We Feel During an Earthquake (book)
Initiated by Forum Sudut Pandang
2019
Palu, Central Sulawesi, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
Following the natural disaster of 28 September 2018, the collective Forum Sudut Pandang organised creative projects as part of the post-disaster recovery process. The music album “Memorama” comprises six songs by local musicians that reflect the experiences of the earthquakes, processing the trauma and giving hope. The book entitled “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” comprises stories and illustrations, discussing the experiences of 423 children who survived the natural disaster.
About Forum Sudut Pandang
The Forum Sudut Pandang got started by a group of artist friends and students in 2016. Forum Sudut Pandang translates to “Point of View Forum.” They have held art exhibitions, workshops, and film screenings, and organised film production, music gigs, and community markets. In Palu, according to Taufiqurrahman, there are no art institutions, and thus activities from the Forum Sudut Pandang provide an important and much-needed gathering, sharing, and co-creation space for creatives, audiences, and visitors.
In the Exhibition
Audio of the album Memorama and the book “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” are on display.
Memorama (music album) and What We Feel During an Earthquake (book)
Initiated by Forum Sudut Pandang
2019
Palu, Central Sulawesi, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
Following the natural disaster of 28 September 2018, the collective Forum Sudut Pandang organised creative projects as part of the post-disaster recovery process. The music album “Memorama” comprises six songs by local musicians that reflect the experiences of the earthquakes, processing the trauma and giving hope. The book entitled “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” comprises stories and illustrations, discussing the experiences of 423 children who survived the natural disaster.
About Forum Sudut Pandang
The Forum Sudut Pandang got started by a group of artist friends and students in 2016. Forum Sudut Pandang translates to “Point of View Forum.” They have held art exhibitions, workshops, and film screenings, and organised film production, music gigs, and community markets. In Palu, according to Taufiqurrahman, there are no art institutions, and thus activities from the Forum Sudut Pandang provide an important and much-needed gathering, sharing, and co-creation space for creatives, audiences, and visitors.
In the Exhibition
Audio of the album Memorama and the book “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” are on display.
Memorama (music album) and What We Feel During an Earthquake (book)
Initiated by Forum Sudut Pandang
2019
Palu, Central Sulawesi, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
Following the natural disaster of 28 September 2018, the collective Forum Sudut Pandang organised creative projects as part of the post-disaster recovery process. The music album “Memorama” comprises six songs by local musicians that reflect the experiences of the earthquakes, processing the trauma and giving hope. The book entitled “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” comprises stories and illustrations, discussing the experiences of 423 children who survived the natural disaster.
About Forum Sudut Pandang
The Forum Sudut Pandang got started by a group of artist friends and students in 2016. Forum Sudut Pandang translates to “Point of View Forum.” They have held art exhibitions, workshops, and film screenings, and organised film production, music gigs, and community markets. In Palu, according to Taufiqurrahman, there are no art institutions, and thus activities from the Forum Sudut Pandang provide an important and much-needed gathering, sharing, and co-creation space for creatives, audiences, and visitors.
In the Exhibition
Audio of the album Memorama and the book “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” are on display.
Memorama (music album) and What We Feel During an Earthquake (book)
Initiated by Forum Sudut Pandang
2019
Palu, Central Sulawesi, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
Following the natural disaster of 28 September 2018, the collective Forum Sudut Pandang organised creative projects as part of the post-disaster recovery process. The music album “Memorama” comprises six songs by local musicians that reflect the experiences of the earthquakes, processing the trauma and giving hope. The book entitled “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” comprises stories and illustrations, discussing the experiences of 423 children who survived the natural disaster.
About Forum Sudut Pandang
The Forum Sudut Pandang got started by a group of artist friends and students in 2016. Forum Sudut Pandang translates to “Point of View Forum.” They have held art exhibitions, workshops, and film screenings, and organised film production, music gigs, and community markets. In Palu, according to Taufiqurrahman, there are no art institutions, and thus activities from the Forum Sudut Pandang provide an important and much-needed gathering, sharing, and co-creation space for creatives, audiences, and visitors.
In the Exhibition
Audio of the album Memorama and the book “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” are on display.
Memorama (music album) and What We Feel During an Earthquake (book)
Initiated by Forum Sudut Pandang
2019
Palu, Central Sulawesi, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
Following the natural disaster of 28 September 2018, the collective Forum Sudut Pandang organised creative projects as part of the post-disaster recovery process. The music album “Memorama” comprises six songs by local musicians that reflect the experiences of the earthquakes, processing the trauma and giving hope. The book entitled “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” comprises stories and illustrations, discussing the experiences of 423 children who survived the natural disaster.
About Forum Sudut Pandang
The Forum Sudut Pandang got started by a group of artist friends and students in 2016. Forum Sudut Pandang translates to “Point of View Forum.” They have held art exhibitions, workshops, and film screenings, and organised film production, music gigs, and community markets. In Palu, according to Taufiqurrahman, there are no art institutions, and thus activities from the Forum Sudut Pandang provide an important and much-needed gathering, sharing, and co-creation space for creatives, audiences, and visitors.
In the Exhibition
Audio of the album Memorama and the book “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” are on display.
Memorama (music album) and What We Feel During an Earthquake (book)
Initiated by Forum Sudut Pandang
2019
Palu, Central Sulawesi, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
Following the natural disaster of 28 September 2018, the collective Forum Sudut Pandang organised creative projects as part of the post-disaster recovery process. The music album “Memorama” comprises six songs by local musicians that reflect the experiences of the earthquakes, processing the trauma and giving hope. The book entitled “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” comprises stories and illustrations, discussing the experiences of 423 children who survived the natural disaster.
About Forum Sudut Pandang
The Forum Sudut Pandang got started by a group of artist friends and students in 2016. Forum Sudut Pandang translates to “Point of View Forum.” They have held art exhibitions, workshops, and film screenings, and organised film production, music gigs, and community markets. In Palu, according to Taufiqurrahman, there are no art institutions, and thus activities from the Forum Sudut Pandang provide an important and much-needed gathering, sharing, and co-creation space for creatives, audiences, and visitors.
In the Exhibition
Audio of the album Memorama and the book “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” are on display.
Memorama (music album) and What We Feel During an Earthquake (book)
Initiated by Forum Sudut Pandang
2019
Palu, Central Sulawesi, Indonesia
[Case study selected by Ms Ika Yuliana and Prof Dominique Lämmli]
Project Description
Following the natural disaster of 28 September 2018, the collective Forum Sudut Pandang organised creative projects as part of the post-disaster recovery process. The music album “Memorama” comprises six songs by local musicians that reflect the experiences of the earthquakes, processing the trauma and giving hope. The book entitled “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” comprises stories and illustrations, discussing the experiences of 423 children who survived the natural disaster.
About Forum Sudut Pandang
The Forum Sudut Pandang got started by a group of artist friends and students in 2016. Forum Sudut Pandang translates to “Point of View Forum.” They have held art exhibitions, workshops, and film screenings, and organised film production, music gigs, and community markets. In Palu, according to Taufiqurrahman, there are no art institutions, and thus activities from the Forum Sudut Pandang provide an important and much-needed gathering, sharing, and co-creation space for creatives, audiences, and visitors.
In the Exhibition
Audio of the album Memorama and the book “What We Feel During an Earthquake/ Yang Kitorang Rasa Waktu Gempa” are on display.
Overcoming Hardship in Times of Crisis
Initiated by Parastoo Theatre
2020-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
Overcoming Hardship in Times of Crisis is Parastoo Theatre’s most recent play devised and performed between 2020-2021 as a response to a deepening crisis relating to increasing incidences of domestic violence among refugee communities in Malaysia during the Covid-19 pandemic crisis.
About Parastoo Theatre
According to UNHCR statistics in August 2021 there are approximately 2,610 Afghan refugees and asylum seekers living in Malaysia. Parastoo Theatre is a company set up in 2017 by Afghan writer and director Saleh Sepas which features Afghan refugees as performers. The company practices Theatre of the Oppressed (a form of interactive theatre developed by Augusto Boal), and uses this interactive form as a tool for both education and for dialogue.
In the Exhibition
The video documentary highlights the journey of Parastoo Theatre, an Afghan refugee theatre company set up in Malaysia in 2017 and its journey in using theatre to engage with Afghan and other refugee communities in Malaysia, and to highlight social challenges faced by these communities.
The backdrop illustrates the process/method used by Parastoo in their most recent post-pandemic play Overcoming Hardship in Times of Crisis 2020/21).
Overcoming Hardship in Times of Crisis
Initiated by Parastoo Theatre
2020-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
Overcoming Hardship in Times of Crisis is Parastoo Theatre’s most recent play devised and performed between 2020-2021 as a response to a deepening crisis relating to increasing incidences of domestic violence among refugee communities in Malaysia during the Covid-19 pandemic crisis.
About Parastoo Theatre
According to UNHCR statistics in August 2021 there are approximately 2,610 Afghan refugees and asylum seekers living in Malaysia. Parastoo Theatre is a company set up in 2017 by Afghan writer and director Saleh Sepas which features Afghan refugees as performers. The company practices Theatre of the Oppressed (a form of interactive theatre developed by Augusto Boal), and uses this interactive form as a tool for both education and for dialogue.
In the Exhibition
The video documentary highlights the journey of Parastoo Theatre, an Afghan refugee theatre company set up in Malaysia in 2017 and its journey in using theatre to engage with Afghan and other refugee communities in Malaysia, and to highlight social challenges faced by these communities.
The backdrop illustrates the process/method used by Parastoo in their most recent post-pandemic play Overcoming Hardship in Times of Crisis 2020/21).
Overcoming Hardship in Times of Crisis
Initiated by Parastoo Theatre
2020-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
Overcoming Hardship in Times of Crisis is Parastoo Theatre’s most recent play devised and performed between 2020-2021 as a response to a deepening crisis relating to increasing incidences of domestic violence among refugee communities in Malaysia during the Covid-19 pandemic crisis.
About Parastoo Theatre
According to UNHCR statistics in August 2021 there are approximately 2,610 Afghan refugees and asylum seekers living in Malaysia. Parastoo Theatre is a company set up in 2017 by Afghan writer and director Saleh Sepas which features Afghan refugees as performers. The company practices Theatre of the Oppressed (a form of interactive theatre developed by Augusto Boal), and uses this interactive form as a tool for both education and for dialogue.
In the Exhibition
The video documentary highlights the journey of Parastoo Theatre, an Afghan refugee theatre company set up in Malaysia in 2017 and its journey in using theatre to engage with Afghan and other refugee communities in Malaysia, and to highlight social challenges faced by these communities.
The backdrop illustrates the process/method used by Parastoo in their most recent post-pandemic play Overcoming Hardship in Times of Crisis 2020/21).
Overcoming Hardship in Times of Crisis
Initiated by Parastoo Theatre
2020-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
Overcoming Hardship in Times of Crisis is Parastoo Theatre’s most recent play devised and performed between 2020-2021 as a response to a deepening crisis relating to increasing incidences of domestic violence among refugee communities in Malaysia during the Covid-19 pandemic crisis.
About Parastoo Theatre
According to UNHCR statistics in August 2021 there are approximately 2,610 Afghan refugees and asylum seekers living in Malaysia. Parastoo Theatre is a company set up in 2017 by Afghan writer and director Saleh Sepas which features Afghan refugees as performers. The company practices Theatre of the Oppressed (a form of interactive theatre developed by Augusto Boal), and uses this interactive form as a tool for both education and for dialogue.
In the Exhibition
The video documentary highlights the journey of Parastoo Theatre, an Afghan refugee theatre company set up in Malaysia in 2017 and its journey in using theatre to engage with Afghan and other refugee communities in Malaysia, and to highlight social challenges faced by these communities.
The backdrop illustrates the process/method used by Parastoo in their most recent post-pandemic play Overcoming Hardship in Times of Crisis 2020/21).
Overcoming Hardship in Times of Crisis
Initiated by Parastoo Theatre
2020-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
Overcoming Hardship in Times of Crisis is Parastoo Theatre’s most recent play devised and performed between 2020-2021 as a response to a deepening crisis relating to increasing incidences of domestic violence among refugee communities in Malaysia during the Covid-19 pandemic crisis.
About Parastoo Theatre
According to UNHCR statistics in August 2021 there are approximately 2,610 Afghan refugees and asylum seekers living in Malaysia. Parastoo Theatre is a company set up in 2017 by Afghan writer and director Saleh Sepas which features Afghan refugees as performers. The company practices Theatre of the Oppressed (a form of interactive theatre developed by Augusto Boal), and uses this interactive form as a tool for both education and for dialogue.
In the Exhibition
The video documentary highlights the journey of Parastoo Theatre, an Afghan refugee theatre company set up in Malaysia in 2017 and its journey in using theatre to engage with Afghan and other refugee communities in Malaysia, and to highlight social challenges faced by these communities.
The backdrop illustrates the process/method used by Parastoo in their most recent post-pandemic play Overcoming Hardship in Times of Crisis 2020/21).
Overcoming Hardship in Times of Crisis
Initiated by Parastoo Theatre
2020-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
Overcoming Hardship in Times of Crisis is Parastoo Theatre’s most recent play devised and performed between 2020-2021 as a response to a deepening crisis relating to increasing incidences of domestic violence among refugee communities in Malaysia during the Covid-19 pandemic crisis.
About Parastoo Theatre
According to UNHCR statistics in August 2021 there are approximately 2,610 Afghan refugees and asylum seekers living in Malaysia. Parastoo Theatre is a company set up in 2017 by Afghan writer and director Saleh Sepas which features Afghan refugees as performers. The company practices Theatre of the Oppressed (a form of interactive theatre developed by Augusto Boal), and uses this interactive form as a tool for both education and for dialogue.
In the Exhibition
The video documentary highlights the journey of Parastoo Theatre, an Afghan refugee theatre company set up in Malaysia in 2017 and its journey in using theatre to engage with Afghan and other refugee communities in Malaysia, and to highlight social challenges faced by these communities.
The backdrop illustrates the process/method used by Parastoo in their most recent post-pandemic play Overcoming Hardship in Times of Crisis 2020/21).
Overcoming Hardship in Times of Crisis
Initiated by Parastoo Theatre
2020-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
Overcoming Hardship in Times of Crisis is Parastoo Theatre’s most recent play devised and performed between 2020-2021 as a response to a deepening crisis relating to increasing incidences of domestic violence among refugee communities in Malaysia during the Covid-19 pandemic crisis.
About Parastoo Theatre
According to UNHCR statistics in August 2021 there are approximately 2,610 Afghan refugees and asylum seekers living in Malaysia. Parastoo Theatre is a company set up in 2017 by Afghan writer and director Saleh Sepas which features Afghan refugees as performers. The company practices Theatre of the Oppressed (a form of interactive theatre developed by Augusto Boal), and uses this interactive form as a tool for both education and for dialogue.
In the Exhibition
The video documentary highlights the journey of Parastoo Theatre, an Afghan refugee theatre company set up in Malaysia in 2017 and its journey in using theatre to engage with Afghan and other refugee communities in Malaysia, and to highlight social challenges faced by these communities.
The backdrop illustrates the process/method used by Parastoo in their most recent post-pandemic play Overcoming Hardship in Times of Crisis 2020/21).
Overcoming Hardship in Times of Crisis
Initiated by Parastoo Theatre
2020-2021
Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
Overcoming Hardship in Times of Crisis is Parastoo Theatre’s most recent play devised and performed between 2020-2021 as a response to a deepening crisis relating to increasing incidences of domestic violence among refugee communities in Malaysia during the Covid-19 pandemic crisis.
About Parastoo Theatre
According to UNHCR statistics in August 2021 there are approximately 2,610 Afghan refugees and asylum seekers living in Malaysia. Parastoo Theatre is a company set up in 2017 by Afghan writer and director Saleh Sepas which features Afghan refugees as performers. The company practices Theatre of the Oppressed (a form of interactive theatre developed by Augusto Boal), and uses this interactive form as a tool for both education and for dialogue.
In the Exhibition
The video documentary highlights the journey of Parastoo Theatre, an Afghan refugee theatre company set up in Malaysia in 2017 and its journey in using theatre to engage with Afghan and other refugee communities in Malaysia, and to highlight social challenges faced by these communities.
The backdrop illustrates the process/method used by Parastoo in their most recent post-pandemic play Overcoming Hardship in Times of Crisis 2020/21).
Que Faire
Video installation by Nguyễn Trinh Thi
Cinematography: Jamie Maxtone-Graham.
2012
Hà Nội, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Artist statement: “Undressing as an act of thinking.” Que Faire is a sequel to Unsubtitled. The series includes Unsubtitled, Que Faire, and Solo for a Choir. “In this series, I explore possibilities for combining video installation with performance art, and for possibilities of preserving differences of individuals while creating a sense of collective experience. Thematically, I continue to study the issues and reflect on the history and development of the role and position of the artist in the Vietnamese society. These issues relate to Vietnam’s problems concerning censorship and artist freedom expression. This personal interest also had led me to work on a long-term film project about Nhan Van-Giai Pham – the suppressed literary movement of the 1950s and the only instance of widespread intellectual dissidence ever to occur in North Vietnam – and its legacy of dissent in Vietnamese art over the past five decades.”
About Nguyễn Trinh Thi
Nguyễn Trinh Thi is a Hanoi-based experimental filmmaker and moving image / media artist whose practice over the last 10 years has consistently engaged with the history and memory of Vietnam, with a great interest in finding innovative ways to connect cinema and the moving image with sound practices, performance and alternative forms of story-telling.
In the Exhibition
Projection on the wall.
Que Faire
Video installation by Nguyễn Trinh Thi
Cinematography: Jamie Maxtone-Graham.
2012
Hà Nội, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Artist statement: “Undressing as an act of thinking.” Que Faire is a sequel to Unsubtitled. The series includes Unsubtitled, Que Faire, and Solo for a Choir. “In this series, I explore possibilities for combining video installation with performance art, and for possibilities of preserving differences of individuals while creating a sense of collective experience. Thematically, I continue to study the issues and reflect on the history and development of the role and position of the artist in the Vietnamese society. These issues relate to Vietnam’s problems concerning censorship and artist freedom expression. This personal interest also had led me to work on a long-term film project about Nhan Van-Giai Pham – the suppressed literary movement of the 1950s and the only instance of widespread intellectual dissidence ever to occur in North Vietnam – and its legacy of dissent in Vietnamese art over the past five decades.”
About Nguyễn Trinh Thi
Nguyễn Trinh Thi is a Hanoi-based experimental filmmaker and moving image / media artist whose practice over the last 10 years has consistently engaged with the history and memory of Vietnam, with a great interest in finding innovative ways to connect cinema and the moving image with sound practices, performance and alternative forms of story-telling.
In the Exhibition
Projection on the wall.
Que Faire
Video installation by Nguyễn Trinh Thi
Cinematography: Jamie Maxtone-Graham.
2012
Hà Nội, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Artist statement: “Undressing as an act of thinking.” Que Faire is a sequel to Unsubtitled. The series includes Unsubtitled, Que Faire, and Solo for a Choir. “In this series, I explore possibilities for combining video installation with performance art, and for possibilities of preserving differences of individuals while creating a sense of collective experience. Thematically, I continue to study the issues and reflect on the history and development of the role and position of the artist in the Vietnamese society. These issues relate to Vietnam’s problems concerning censorship and artist freedom expression. This personal interest also had led me to work on a long-term film project about Nhan Van-Giai Pham – the suppressed literary movement of the 1950s and the only instance of widespread intellectual dissidence ever to occur in North Vietnam – and its legacy of dissent in Vietnamese art over the past five decades.”
About Nguyễn Trinh Thi
Nguyễn Trinh Thi is a Hanoi-based experimental filmmaker and moving image / media artist whose practice over the last 10 years has consistently engaged with the history and memory of Vietnam, with a great interest in finding innovative ways to connect cinema and the moving image with sound practices, performance and alternative forms of story-telling.
In the Exhibition
Projection on the wall.
Que Faire
Video installation by Nguyễn Trinh Thi
Cinematography: Jamie Maxtone-Graham.
2012
Hà Nội, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Artist statement: “Undressing as an act of thinking.” Que Faire is a sequel to Unsubtitled. The series includes Unsubtitled, Que Faire, and Solo for a Choir. “In this series, I explore possibilities for combining video installation with performance art, and for possibilities of preserving differences of individuals while creating a sense of collective experience. Thematically, I continue to study the issues and reflect on the history and development of the role and position of the artist in the Vietnamese society. These issues relate to Vietnam’s problems concerning censorship and artist freedom expression. This personal interest also had led me to work on a long-term film project about Nhan Van-Giai Pham – the suppressed literary movement of the 1950s and the only instance of widespread intellectual dissidence ever to occur in North Vietnam – and its legacy of dissent in Vietnamese art over the past five decades.”
About Nguyễn Trinh Thi
Nguyễn Trinh Thi is a Hanoi-based experimental filmmaker and moving image / media artist whose practice over the last 10 years has consistently engaged with the history and memory of Vietnam, with a great interest in finding innovative ways to connect cinema and the moving image with sound practices, performance and alternative forms of story-telling.
In the Exhibition
Projection on the wall.
Que Faire
Video installation by Nguyễn Trinh Thi
Cinematography: Jamie Maxtone-Graham.
2012
Hà Nội, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Artist statement: “Undressing as an act of thinking.” Que Faire is a sequel to Unsubtitled. The series includes Unsubtitled, Que Faire, and Solo for a Choir. “In this series, I explore possibilities for combining video installation with performance art, and for possibilities of preserving differences of individuals while creating a sense of collective experience. Thematically, I continue to study the issues and reflect on the history and development of the role and position of the artist in the Vietnamese society. These issues relate to Vietnam’s problems concerning censorship and artist freedom expression. This personal interest also had led me to work on a long-term film project about Nhan Van-Giai Pham – the suppressed literary movement of the 1950s and the only instance of widespread intellectual dissidence ever to occur in North Vietnam – and its legacy of dissent in Vietnamese art over the past five decades.”
About Nguyễn Trinh Thi
Nguyễn Trinh Thi is a Hanoi-based experimental filmmaker and moving image / media artist whose practice over the last 10 years has consistently engaged with the history and memory of Vietnam, with a great interest in finding innovative ways to connect cinema and the moving image with sound practices, performance and alternative forms of story-telling.
In the Exhibition
Projection on the wall.
Que Faire
Video installation by Nguyễn Trinh Thi
Cinematography: Jamie Maxtone-Graham.
2012
Hà Nội, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Artist statement: “Undressing as an act of thinking.” Que Faire is a sequel to Unsubtitled. The series includes Unsubtitled, Que Faire, and Solo for a Choir. “In this series, I explore possibilities for combining video installation with performance art, and for possibilities of preserving differences of individuals while creating a sense of collective experience. Thematically, I continue to study the issues and reflect on the history and development of the role and position of the artist in the Vietnamese society. These issues relate to Vietnam’s problems concerning censorship and artist freedom expression. This personal interest also had led me to work on a long-term film project about Nhan Van-Giai Pham – the suppressed literary movement of the 1950s and the only instance of widespread intellectual dissidence ever to occur in North Vietnam – and its legacy of dissent in Vietnamese art over the past five decades.”
About Nguyễn Trinh Thi
Nguyễn Trinh Thi is a Hanoi-based experimental filmmaker and moving image / media artist whose practice over the last 10 years has consistently engaged with the history and memory of Vietnam, with a great interest in finding innovative ways to connect cinema and the moving image with sound practices, performance and alternative forms of story-telling.
In the Exhibition
Projection on the wall.
Really Really Free Store
Initiated by Post-Museum
Since 2009
Singapore
[Case study selected by Dr Felicia Low]
Project Description
Really Really Free Store (RRFS) is an extension of the Really Really Free Market (RRFM) series. RRFS is a free store that occupies a floor area of 1 by 1 meter. Some of the items from previous RRFM sessions are shipped from Singapore to 'launch' the store. The public can gift their items and add an info tag to the item they are gifting (materials provided).
About RRFM, Post-Museum
Post-Museum is an independent cultural and social enterprise which aims to encourage and support a thinking, caring and pro-active community in Singapore.
Post-Museum has been organising Really Really Free Market series (RRFM) since February 2009 in Singapore. RRFM was inspired by the global Really Really Free Market social movement where non-hierarchical collectives of individuals form a temporary market based on an alternative gift economy where no money is used, but people offer goods and services.
In the Exhibition
The free store consists of gift items sent from Singapore to HK. Visitors can take and gift items within the 1m by 1m store space. Visitors can write information about the gifts on the Info cards. Visitors’ participation will contribute to an alternative gift economy where no money is used.
Really Really Free Store
Initiated by Post-Museum
Since 2009
Singapore
[Case study selected by Dr Felicia Low]
Project Description
Really Really Free Store (RRFS) is an extension of the Really Really Free Market (RRFM) series. RRFS is a free store that occupies a floor area of 1 by 1 meter. Some of the items from previous RRFM sessions are shipped from Singapore to 'launch' the store. The public can gift their items and add an info tag to the item they are gifting (materials provided).
About RRFM, Post-Museum
Post-Museum is an independent cultural and social enterprise which aims to encourage and support a thinking, caring and pro-active community in Singapore.
Post-Museum has been organising Really Really Free Market series (RRFM) since February 2009 in Singapore. RRFM was inspired by the global Really Really Free Market social movement where non-hierarchical collectives of individuals form a temporary market based on an alternative gift economy where no money is used, but people offer goods and services.
In the Exhibition
The free store consists of gift items sent from Singapore to HK. Visitors can take and gift items within the 1m by 1m store space. Visitors can write information about the gifts on the Info cards. Visitors’ participation will contribute to an alternative gift economy where no money is used.
Really Really Free Store
Initiated by Post-Museum
Since 2009
Singapore
[Case study selected by Dr Felicia Low]
Project Description
Really Really Free Store (RRFS) is an extension of the Really Really Free Market (RRFM) series. RRFS is a free store that occupies a floor area of 1 by 1 meter. Some of the items from previous RRFM sessions are shipped from Singapore to 'launch' the store. The public can gift their items and add an info tag to the item they are gifting (materials provided).
About RRFM, Post-Museum
Post-Museum is an independent cultural and social enterprise which aims to encourage and support a thinking, caring and pro-active community in Singapore.
Post-Museum has been organising Really Really Free Market series (RRFM) since February 2009 in Singapore. RRFM was inspired by the global Really Really Free Market social movement where non-hierarchical collectives of individuals form a temporary market based on an alternative gift economy where no money is used, but people offer goods and services.
In the Exhibition
The free store consists of gift items sent from Singapore to HK. Visitors can take and gift items within the 1m by 1m store space. Visitors can write information about the gifts on the Info cards. Visitors’ participation will contribute to an alternative gift economy where no money is used.
Really Really Free Store
Initiated by Post-Museum
Since 2009
Singapore
[Case study selected by Dr Felicia Low]
Project Description
Really Really Free Store (RRFS) is an extension of the Really Really Free Market (RRFM) series. RRFS is a free store that occupies a floor area of 1 by 1 meter. Some of the items from previous RRFM sessions are shipped from Singapore to 'launch' the store. The public can gift their items and add an info tag to the item they are gifting (materials provided).
About RRFM, Post-Museum
Post-Museum is an independent cultural and social enterprise which aims to encourage and support a thinking, caring and pro-active community in Singapore.
Post-Museum has been organising Really Really Free Market series (RRFM) since February 2009 in Singapore. RRFM was inspired by the global Really Really Free Market social movement where non-hierarchical collectives of individuals form a temporary market based on an alternative gift economy where no money is used, but people offer goods and services.
In the Exhibition
The free store consists of gift items sent from Singapore to HK. Visitors can take and gift items within the 1m by 1m store space. Visitors can write information about the gifts on the Info cards. Visitors’ participation will contribute to an alternative gift economy where no money is used.
Really Really Free Store
Initiated by Post-Museum
Since 2009
Singapore
[Case study selected by Dr Felicia Low]
Project Description
Really Really Free Store (RRFS) is an extension of the Really Really Free Market (RRFM) series. RRFS is a free store that occupies a floor area of 1 by 1 meter. Some of the items from previous RRFM sessions are shipped from Singapore to 'launch' the store. The public can gift their items and add an info tag to the item they are gifting (materials provided).
About RRFM, Post-Museum
Post-Museum is an independent cultural and social enterprise which aims to encourage and support a thinking, caring and pro-active community in Singapore.
Post-Museum has been organising Really Really Free Market series (RRFM) since February 2009 in Singapore. RRFM was inspired by the global Really Really Free Market social movement where non-hierarchical collectives of individuals form a temporary market based on an alternative gift economy where no money is used, but people offer goods and services.
In the Exhibition
The free store consists of gift items sent from Singapore to HK. Visitors can take and gift items within the 1m by 1m store space. Visitors can write information about the gifts on the Info cards. Visitors’ participation will contribute to an alternative gift economy where no money is used.
Really Really Free Store
Initiated by Post-Museum
Since 2009
Singapore
[Case study selected by Dr Felicia Low]
Project Description
Really Really Free Store (RRFS) is an extension of the Really Really Free Market (RRFM) series. RRFS is a free store that occupies a floor area of 1 by 1 meter. Some of the items from previous RRFM sessions are shipped from Singapore to 'launch' the store. The public can gift their items and add an info tag to the item they are gifting (materials provided).
About RRFM, Post-Museum
Post-Museum is an independent cultural and social enterprise which aims to encourage and support a thinking, caring and pro-active community in Singapore.
Post-Museum has been organising Really Really Free Market series (RRFM) since February 2009 in Singapore. RRFM was inspired by the global Really Really Free Market social movement where non-hierarchical collectives of individuals form a temporary market based on an alternative gift economy where no money is used, but people offer goods and services.
In the Exhibition
The free store consists of gift items sent from Singapore to HK. Visitors can take and gift items within the 1m by 1m store space. Visitors can write information about the gifts on the Info cards. Visitors’ participation will contribute to an alternative gift economy where no money is used.
Really Really Free Store
Initiated by Post-Museum
Since 2009
Singapore
[Case study selected by Dr Felicia Low]
Project Description
Really Really Free Store (RRFS) is an extension of the Really Really Free Market (RRFM) series. RRFS is a free store that occupies a floor area of 1 by 1 meter. Some of the items from previous RRFM sessions are shipped from Singapore to 'launch' the store. The public can gift their items and add an info tag to the item they are gifting (materials provided).
About RRFM, Post-Museum
Post-Museum is an independent cultural and social enterprise which aims to encourage and support a thinking, caring and pro-active community in Singapore.
Post-Museum has been organising Really Really Free Market series (RRFM) since February 2009 in Singapore. RRFM was inspired by the global Really Really Free Market social movement where non-hierarchical collectives of individuals form a temporary market based on an alternative gift economy where no money is used, but people offer goods and services.
In the Exhibition
The free store consists of gift items sent from Singapore to HK. Visitors can take and gift items within the 1m by 1m store space. Visitors can write information about the gifts on the Info cards. Visitors’ participation will contribute to an alternative gift economy where no money is used.
Really Really Free Store
Initiated by Post-Museum
Since 2009
Singapore
[Case study selected by Dr Felicia Low]
Project Description
Really Really Free Store (RRFS) is an extension of the Really Really Free Market (RRFM) series. RRFS is a free store that occupies a floor area of 1 by 1 meter. Some of the items from previous RRFM sessions are shipped from Singapore to 'launch' the store. The public can gift their items and add an info tag to the item they are gifting (materials provided).
About RRFM, Post-Museum
Post-Museum is an independent cultural and social enterprise which aims to encourage and support a thinking, caring and pro-active community in Singapore.
Post-Museum has been organising Really Really Free Market series (RRFM) since February 2009 in Singapore. RRFM was inspired by the global Really Really Free Market social movement where non-hierarchical collectives of individuals form a temporary market based on an alternative gift economy where no money is used, but people offer goods and services.
In the Exhibition
The free store consists of gift items sent from Singapore to HK. Visitors can take and gift items within the 1m by 1m store space. Visitors can write information about the gifts on the Info cards. Visitors’ participation will contribute to an alternative gift economy where no money is used.
Really Really Free Store
Initiated by Post-Museum
Since 2009
Singapore
[Case study selected by Dr Felicia Low]
Project Description
Really Really Free Store (RRFS) is an extension of the Really Really Free Market (RRFM) series. RRFS is a free store that occupies a floor area of 1 by 1 meter. Some of the items from previous RRFM sessions are shipped from Singapore to 'launch' the store. The public can gift their items and add an info tag to the item they are gifting (materials provided).
About RRFM, Post-Museum
Post-Museum is an independent cultural and social enterprise which aims to encourage and support a thinking, caring and pro-active community in Singapore.
Post-Museum has been organising Really Really Free Market series (RRFM) since February 2009 in Singapore. RRFM was inspired by the global Really Really Free Market social movement where non-hierarchical collectives of individuals form a temporary market based on an alternative gift economy where no money is used, but people offer goods and services.
In the Exhibition
The free store consists of gift items sent from Singapore to HK. Visitors can take and gift items within the 1m by 1m store space. Visitors can write information about the gifts on the Info cards. Visitors’ participation will contribute to an alternative gift economy where no money is used.
Really Really Free Store
Initiated by Post-Museum
Since 2009
Singapore
[Case study selected by Dr Felicia Low]
Project Description
Really Really Free Store (RRFS) is an extension of the Really Really Free Market (RRFM) series. RRFS is a free store that occupies a floor area of 1 by 1 meter. Some of the items from previous RRFM sessions are shipped from Singapore to 'launch' the store. The public can gift their items and add an info tag to the item they are gifting (materials provided).
About RRFM, Post-Museum
Post-Museum is an independent cultural and social enterprise which aims to encourage and support a thinking, caring and pro-active community in Singapore.
Post-Museum has been organising Really Really Free Market series (RRFM) since February 2009 in Singapore. RRFM was inspired by the global Really Really Free Market social movement where non-hierarchical collectives of individuals form a temporary market based on an alternative gift economy where no money is used, but people offer goods and services.
In the Exhibition
The free store consists of gift items sent from Singapore to HK. Visitors can take and gift items within the 1m by 1m store space. Visitors can write information about the gifts on the Info cards. Visitors’ participation will contribute to an alternative gift economy where no money is used.
Sa Sa Art Projects at the White Building
Initiated and co-run by Stiev Selapak Collective
2010-2017
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Sa Sa Art Projects is a long-running and active Cambodian-run art initiative and space in Phnom Penh. Its first chapter took place in the former modernist social housing complex known as the White Building, part of a 1960s post-independence public and cultural district. Before its demolition in 2017, the White Building was home to a vibrant community including generations of artists and everyday Cambodians. It was a micro city in itself with self-support facilities such as markets, restaurants, salons, repair shops, and entertainment venues. Sa Sa Art Projects engaged with White Building residents, artists, students and various local and regional collaborators through art projects and events that mobilized and transformed various communal spaces throughout the neighbourhood.
About Stiev Selapak
As a collective, Stiev Selapak aims to foster a community of artistic and creative experimentation through hosting residencies, developing collaborative projects, and providing critical art classes to students and young artists. Their objective has been to strengthen contemporary art community in Cambodia with an emphasis on learning together.
In the Exhibition
Photographic works by Khvay Samnang, Chhum Phanith, Pen Sereypagna, and Jason Tonio Woerner; 5 video documentations as well as other archival materials.
Sa Sa Art Projects at the White Building
Initiated and co-run by Stiev Selapak Collective
2010-2017
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Sa Sa Art Projects is a long-running and active Cambodian-run art initiative and space in Phnom Penh. Its first chapter took place in the former modernist social housing complex known as the White Building, part of a 1960s post-independence public and cultural district. Before its demolition in 2017, the White Building was home to a vibrant community including generations of artists and everyday Cambodians. It was a micro city in itself with self-support facilities such as markets, restaurants, salons, repair shops, and entertainment venues. Sa Sa Art Projects engaged with White Building residents, artists, students and various local and regional collaborators through art projects and events that mobilized and transformed various communal spaces throughout the neighbourhood.
About Stiev Selapak
As a collective, Stiev Selapak aims to foster a community of artistic and creative experimentation through hosting residencies, developing collaborative projects, and providing critical art classes to students and young artists. Their objective has been to strengthen contemporary art community in Cambodia with an emphasis on learning together.
In the Exhibition
Photographic works by Khvay Samnang, Chhum Phanith, Pen Sereypagna, and Jason Tonio Woerner; 5 video documentations as well as other archival materials.
Sa Sa Art Projects at the White Building
Initiated and co-run by Stiev Selapak Collective
2010-2017
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Sa Sa Art Projects is a long-running and active Cambodian-run art initiative and space in Phnom Penh. Its first chapter took place in the former modernist social housing complex known as the White Building, part of a 1960s post-independence public and cultural district. Before its demolition in 2017, the White Building was home to a vibrant community including generations of artists and everyday Cambodians. It was a micro city in itself with self-support facilities such as markets, restaurants, salons, repair shops, and entertainment venues. Sa Sa Art Projects engaged with White Building residents, artists, students and various local and regional collaborators through art projects and events that mobilized and transformed various communal spaces throughout the neighbourhood.
About Stiev Selapak
As a collective, Stiev Selapak aims to foster a community of artistic and creative experimentation through hosting residencies, developing collaborative projects, and providing critical art classes to students and young artists. Their objective has been to strengthen contemporary art community in Cambodia with an emphasis on learning together.
In the Exhibition
Photographic works by Khvay Samnang, Chhum Phanith, Pen Sereypagna, and Jason Tonio Woerner; 5 video documentations as well as other archival materials.
Sa Sa Art Projects at the White Building
Initiated and co-run by Stiev Selapak Collective
2010-2017
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Sa Sa Art Projects is a long-running and active Cambodian-run art initiative and space in Phnom Penh. Its first chapter took place in the former modernist social housing complex known as the White Building, part of a 1960s post-independence public and cultural district. Before its demolition in 2017, the White Building was home to a vibrant community including generations of artists and everyday Cambodians. It was a micro city in itself with self-support facilities such as markets, restaurants, salons, repair shops, and entertainment venues. Sa Sa Art Projects engaged with White Building residents, artists, students and various local and regional collaborators through art projects and events that mobilized and transformed various communal spaces throughout the neighbourhood.
About Stiev Selapak
As a collective, Stiev Selapak aims to foster a community of artistic and creative experimentation through hosting residencies, developing collaborative projects, and providing critical art classes to students and young artists. Their objective has been to strengthen contemporary art community in Cambodia with an emphasis on learning together.
In the Exhibition
Photographic works by Khvay Samnang, Chhum Phanith, Pen Sereypagna, and Jason Tonio Woerner; 5 video documentations as well as other archival materials.
Sa Sa Art Projects at the White Building
Initiated and co-run by Stiev Selapak Collective
2010-2017
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Sa Sa Art Projects is a long-running and active Cambodian-run art initiative and space in Phnom Penh. Its first chapter took place in the former modernist social housing complex known as the White Building, part of a 1960s post-independence public and cultural district. Before its demolition in 2017, the White Building was home to a vibrant community including generations of artists and everyday Cambodians. It was a micro city in itself with self-support facilities such as markets, restaurants, salons, repair shops, and entertainment venues. Sa Sa Art Projects engaged with White Building residents, artists, students and various local and regional collaborators through art projects and events that mobilized and transformed various communal spaces throughout the neighbourhood.
About Stiev Selapak
As a collective, Stiev Selapak aims to foster a community of artistic and creative experimentation through hosting residencies, developing collaborative projects, and providing critical art classes to students and young artists. Their objective has been to strengthen contemporary art community in Cambodia with an emphasis on learning together.
In the Exhibition
Photographic works by Khvay Samnang, Chhum Phanith, Pen Sereypagna, and Jason Tonio Woerner; 5 video documentations as well as other archival materials.
Sa Sa Art Projects at the White Building
Initiated and co-run by Stiev Selapak Collective
2010-2017
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Sa Sa Art Projects is a long-running and active Cambodian-run art initiative and space in Phnom Penh. Its first chapter took place in the former modernist social housing complex known as the White Building, part of a 1960s post-independence public and cultural district. Before its demolition in 2017, the White Building was home to a vibrant community including generations of artists and everyday Cambodians. It was a micro city in itself with self-support facilities such as markets, restaurants, salons, repair shops, and entertainment venues. Sa Sa Art Projects engaged with White Building residents, artists, students and various local and regional collaborators through art projects and events that mobilized and transformed various communal spaces throughout the neighbourhood.
About Stiev Selapak
As a collective, Stiev Selapak aims to foster a community of artistic and creative experimentation through hosting residencies, developing collaborative projects, and providing critical art classes to students and young artists. Their objective has been to strengthen contemporary art community in Cambodia with an emphasis on learning together.
In the Exhibition
Photographic works by Khvay Samnang, Chhum Phanith, Pen Sereypagna, and Jason Tonio Woerner; 5 video documentations as well as other archival materials.
Sa Sa Art Projects at the White Building
Initiated and co-run by Stiev Selapak Collective
2010-2017
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Sa Sa Art Projects is a long-running and active Cambodian-run art initiative and space in Phnom Penh. Its first chapter took place in the former modernist social housing complex known as the White Building, part of a 1960s post-independence public and cultural district. Before its demolition in 2017, the White Building was home to a vibrant community including generations of artists and everyday Cambodians. It was a micro city in itself with self-support facilities such as markets, restaurants, salons, repair shops, and entertainment venues. Sa Sa Art Projects engaged with White Building residents, artists, students and various local and regional collaborators through art projects and events that mobilized and transformed various communal spaces throughout the neighbourhood.
About Stiev Selapak
As a collective, Stiev Selapak aims to foster a community of artistic and creative experimentation through hosting residencies, developing collaborative projects, and providing critical art classes to students and young artists. Their objective has been to strengthen contemporary art community in Cambodia with an emphasis on learning together.
In the Exhibition
Photographic works by Khvay Samnang, Chhum Phanith, Pen Sereypagna, and Jason Tonio Woerner; 5 video documentations as well as other archival materials.
Sa Sa Art Projects at the White Building
Initiated and co-run by Stiev Selapak Collective
2010-2017
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Sa Sa Art Projects is a long-running and active Cambodian-run art initiative and space in Phnom Penh. Its first chapter took place in the former modernist social housing complex known as the White Building, part of a 1960s post-independence public and cultural district. Before its demolition in 2017, the White Building was home to a vibrant community including generations of artists and everyday Cambodians. It was a micro city in itself with self-support facilities such as markets, restaurants, salons, repair shops, and entertainment venues. Sa Sa Art Projects engaged with White Building residents, artists, students and various local and regional collaborators through art projects and events that mobilized and transformed various communal spaces throughout the neighbourhood.
About Stiev Selapak
As a collective, Stiev Selapak aims to foster a community of artistic and creative experimentation through hosting residencies, developing collaborative projects, and providing critical art classes to students and young artists. Their objective has been to strengthen contemporary art community in Cambodia with an emphasis on learning together.
In the Exhibition
Photographic works by Khvay Samnang, Chhum Phanith, Pen Sereypagna, and Jason Tonio Woerner; 5 video documentations as well as other archival materials.
Sa Sa Art Projects at the White Building
Initiated and co-run by Stiev Selapak Collective
2010-2017
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Sa Sa Art Projects is a long-running and active Cambodian-run art initiative and space in Phnom Penh. Its first chapter took place in the former modernist social housing complex known as the White Building, part of a 1960s post-independence public and cultural district. Before its demolition in 2017, the White Building was home to a vibrant community including generations of artists and everyday Cambodians. It was a micro city in itself with self-support facilities such as markets, restaurants, salons, repair shops, and entertainment venues. Sa Sa Art Projects engaged with White Building residents, artists, students and various local and regional collaborators through art projects and events that mobilized and transformed various communal spaces throughout the neighbourhood.
About Stiev Selapak
As a collective, Stiev Selapak aims to foster a community of artistic and creative experimentation through hosting residencies, developing collaborative projects, and providing critical art classes to students and young artists. Their objective has been to strengthen contemporary art community in Cambodia with an emphasis on learning together.
In the Exhibition
Photographic works by Khvay Samnang, Chhum Phanith, Pen Sereypagna, and Jason Tonio Woerner; 5 video documentations as well as other archival materials.
Sa Sa Art Projects at the White Building
Initiated and co-run by Stiev Selapak Collective
2010-2017
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Sa Sa Art Projects is a long-running and active Cambodian-run art initiative and space in Phnom Penh. Its first chapter took place in the former modernist social housing complex known as the White Building, part of a 1960s post-independence public and cultural district. Before its demolition in 2017, the White Building was home to a vibrant community including generations of artists and everyday Cambodians. It was a micro city in itself with self-support facilities such as markets, restaurants, salons, repair shops, and entertainment venues. Sa Sa Art Projects engaged with White Building residents, artists, students and various local and regional collaborators through art projects and events that mobilized and transformed various communal spaces throughout the neighbourhood.
About Stiev Selapak
As a collective, Stiev Selapak aims to foster a community of artistic and creative experimentation through hosting residencies, developing collaborative projects, and providing critical art classes to students and young artists. Their objective has been to strengthen contemporary art community in Cambodia with an emphasis on learning together.
In the Exhibition
Photographic works by Khvay Samnang, Chhum Phanith, Pen Sereypagna, and Jason Tonio Woerner; 5 video documentations as well as other archival materials.
The School Never Asked
Initiated by Felicia Low, story by Felicia Low and the Three, illustrated by Joy Ho, colours by Xiao Yan
2014
Singapore
[Case study selected by Dr Felicia Low]
Project Description
The School Never Asked is a comic book is available free online as a resource for other teenagers who are finding out about love and relationships. It contains true stories and advise about love and relationships, as told by three young women from a vocational educational stream, who were perceived to be less academically inclined. Each of these young women identified as heterosexual, bisexual and homosexual respectively.
About Felicia Low
Dr. Felicia Low, a graduate of Goldsmith’s College has been a practicing visual artist since 1999. Her projects have mostly been site-specific, performative and community-specific as she works collaboratively with different sectors of society. A Lee Kong Chian scholar of the National University of Singapore, Felicia obtained a PhD in Cultural Studies in Asia in 2015. Her research focused on the politics of participatory visual art practices with subaltern communities in Singapore. Felicia has also developed research and written a pedagogical guide on Person-centred Arts Practices with Communities.
In the Exhibition
Selected pages of the comic book are on display.
The School Never Asked
Initiated by Felicia Low, story by Felicia Low and the Three, illustrated by Joy Ho, colours by Xiao Yan
2014
Singapore
[Case study selected by Dr Felicia Low]
Project Description
The School Never Asked is a comic book is available free online as a resource for other teenagers who are finding out about love and relationships. It contains true stories and advise about love and relationships, as told by three young women from a vocational educational stream, who were perceived to be less academically inclined. Each of these young women identified as heterosexual, bisexual and homosexual respectively.
About Felicia Low
Dr. Felicia Low, a graduate of Goldsmith’s College has been a practicing visual artist since 1999. Her projects have mostly been site-specific, performative and community-specific as she works collaboratively with different sectors of society. A Lee Kong Chian scholar of the National University of Singapore, Felicia obtained a PhD in Cultural Studies in Asia in 2015. Her research focused on the politics of participatory visual art practices with subaltern communities in Singapore. Felicia has also developed research and written a pedagogical guide on Person-centred Arts Practices with Communities.
In the Exhibition
Selected pages of the comic book are on display.
The School Never Asked
Initiated by Felicia Low, story by Felicia Low and the Three, illustrated by Joy Ho, colours by Xiao Yan
2014
Singapore
[Case study selected by Dr Felicia Low]
Project Description
The School Never Asked is a comic book is available free online as a resource for other teenagers who are finding out about love and relationships. It contains true stories and advise about love and relationships, as told by three young women from a vocational educational stream, who were perceived to be less academically inclined. Each of these young women identified as heterosexual, bisexual and homosexual respectively.
About Felicia Low
Dr. Felicia Low, a graduate of Goldsmith’s College has been a practicing visual artist since 1999. Her projects have mostly been site-specific, performative and community-specific as she works collaboratively with different sectors of society. A Lee Kong Chian scholar of the National University of Singapore, Felicia obtained a PhD in Cultural Studies in Asia in 2015. Her research focused on the politics of participatory visual art practices with subaltern communities in Singapore. Felicia has also developed research and written a pedagogical guide on Person-centred Arts Practices with Communities.
In the Exhibition
Selected pages of the comic book are on display.
The School Never Asked
Initiated by Felicia Low, story by Felicia Low and the Three, illustrated by Joy Ho, colours by Xiao Yan
2014
Singapore
[Case study selected by Dr Felicia Low]
Project Description
The School Never Asked is a comic book is available free online as a resource for other teenagers who are finding out about love and relationships. It contains true stories and advise about love and relationships, as told by three young women from a vocational educational stream, who were perceived to be less academically inclined. Each of these young women identified as heterosexual, bisexual and homosexual respectively.
About Felicia Low
Dr. Felicia Low, a graduate of Goldsmith’s College has been a practicing visual artist since 1999. Her projects have mostly been site-specific, performative and community-specific as she works collaboratively with different sectors of society. A Lee Kong Chian scholar of the National University of Singapore, Felicia obtained a PhD in Cultural Studies in Asia in 2015. Her research focused on the politics of participatory visual art practices with subaltern communities in Singapore. Felicia has also developed research and written a pedagogical guide on Person-centred Arts Practices with Communities.
In the Exhibition
Selected pages of the comic book are on display.
The School Never Asked
Initiated by Felicia Low, story by Felicia Low and the Three, illustrated by Joy Ho, colours by Xiao Yan
2014
Singapore
[Case study selected by Dr Felicia Low]
Project Description
The School Never Asked is a comic book is available free online as a resource for other teenagers who are finding out about love and relationships. It contains true stories and advise about love and relationships, as told by three young women from a vocational educational stream, who were perceived to be less academically inclined. Each of these young women identified as heterosexual, bisexual and homosexual respectively.
About Felicia Low
Dr. Felicia Low, a graduate of Goldsmith’s College has been a practicing visual artist since 1999. Her projects have mostly been site-specific, performative and community-specific as she works collaboratively with different sectors of society. A Lee Kong Chian scholar of the National University of Singapore, Felicia obtained a PhD in Cultural Studies in Asia in 2015. Her research focused on the politics of participatory visual art practices with subaltern communities in Singapore. Felicia has also developed research and written a pedagogical guide on Person-centred Arts Practices with Communities.
In the Exhibition
Selected pages of the comic book are on display.
The School Never Asked
Initiated by Felicia Low, story by Felicia Low and the Three, illustrated by Joy Ho, colours by Xiao Yan
2014
Singapore
[Case study selected by Dr Felicia Low]
Project Description
The School Never Asked is a comic book is available free online as a resource for other teenagers who are finding out about love and relationships. It contains true stories and advise about love and relationships, as told by three young women from a vocational educational stream, who were perceived to be less academically inclined. Each of these young women identified as heterosexual, bisexual and homosexual respectively.
About Felicia Low
Dr. Felicia Low, a graduate of Goldsmith’s College has been a practicing visual artist since 1999. Her projects have mostly been site-specific, performative and community-specific as she works collaboratively with different sectors of society. A Lee Kong Chian scholar of the National University of Singapore, Felicia obtained a PhD in Cultural Studies in Asia in 2015. Her research focused on the politics of participatory visual art practices with subaltern communities in Singapore. Felicia has also developed research and written a pedagogical guide on Person-centred Arts Practices with Communities.
In the Exhibition
Selected pages of the comic book are on display.
The School Never Asked
Initiated by Felicia Low, story by Felicia Low and the Three, illustrated by Joy Ho, colours by Xiao Yan
2014
Singapore
[Case study selected by Dr Felicia Low]
Project Description
The School Never Asked is a comic book is available free online as a resource for other teenagers who are finding out about love and relationships. It contains true stories and advise about love and relationships, as told by three young women from a vocational educational stream, who were perceived to be less academically inclined. Each of these young women identified as heterosexual, bisexual and homosexual respectively.
About Felicia Low
Dr. Felicia Low, a graduate of Goldsmith’s College has been a practicing visual artist since 1999. Her projects have mostly been site-specific, performative and community-specific as she works collaboratively with different sectors of society. A Lee Kong Chian scholar of the National University of Singapore, Felicia obtained a PhD in Cultural Studies in Asia in 2015. Her research focused on the politics of participatory visual art practices with subaltern communities in Singapore. Felicia has also developed research and written a pedagogical guide on Person-centred Arts Practices with Communities.
In the Exhibition
Selected pages of the comic book are on display.
The School Never Asked
Initiated by Felicia Low, story by Felicia Low and the Three, illustrated by Joy Ho, colours by Xiao Yan
2014
Singapore
[Case study selected by Dr Felicia Low]
Project Description
The School Never Asked is a comic book is available free online as a resource for other teenagers who are finding out about love and relationships. It contains true stories and advise about love and relationships, as told by three young women from a vocational educational stream, who were perceived to be less academically inclined. Each of these young women identified as heterosexual, bisexual and homosexual respectively.
About Felicia Low
Dr. Felicia Low, a graduate of Goldsmith’s College has been a practicing visual artist since 1999. Her projects have mostly been site-specific, performative and community-specific as she works collaboratively with different sectors of society. A Lee Kong Chian scholar of the National University of Singapore, Felicia obtained a PhD in Cultural Studies in Asia in 2015. Her research focused on the politics of participatory visual art practices with subaltern communities in Singapore. Felicia has also developed research and written a pedagogical guide on Person-centred Arts Practices with Communities.
In the Exhibition
Selected pages of the comic book are on display.
The School Never Asked
Initiated by Felicia Low, story by Felicia Low and the Three, illustrated by Joy Ho, colours by Xiao Yan
2014
Singapore
[Case study selected by Dr Felicia Low]
Project Description
The School Never Asked is a comic book is available free online as a resource for other teenagers who are finding out about love and relationships. It contains true stories and advise about love and relationships, as told by three young women from a vocational educational stream, who were perceived to be less academically inclined. Each of these young women identified as heterosexual, bisexual and homosexual respectively.
About Felicia Low
Dr. Felicia Low, a graduate of Goldsmith’s College has been a practicing visual artist since 1999. Her projects have mostly been site-specific, performative and community-specific as she works collaboratively with different sectors of society. A Lee Kong Chian scholar of the National University of Singapore, Felicia obtained a PhD in Cultural Studies in Asia in 2015. Her research focused on the politics of participatory visual art practices with subaltern communities in Singapore. Felicia has also developed research and written a pedagogical guide on Person-centred Arts Practices with Communities.
In the Exhibition
Selected pages of the comic book are on display.
The School Never Asked
Initiated by Felicia Low, story by Felicia Low and the Three, illustrated by Joy Ho, colours by Xiao Yan
2014
Singapore
[Case study selected by Dr Felicia Low]
Project Description
The School Never Asked is a comic book is available free online as a resource for other teenagers who are finding out about love and relationships. It contains true stories and advise about love and relationships, as told by three young women from a vocational educational stream, who were perceived to be less academically inclined. Each of these young women identified as heterosexual, bisexual and homosexual respectively.
About Felicia Low
Dr. Felicia Low, a graduate of Goldsmith’s College has been a practicing visual artist since 1999. Her projects have mostly been site-specific, performative and community-specific as she works collaboratively with different sectors of society. A Lee Kong Chian scholar of the National University of Singapore, Felicia obtained a PhD in Cultural Studies in Asia in 2015. Her research focused on the politics of participatory visual art practices with subaltern communities in Singapore. Felicia has also developed research and written a pedagogical guide on Person-centred Arts Practices with Communities.
In the Exhibition
Selected pages of the comic book are on display.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Visual Arts Open
Organized by LinDa Saphan and Sopheap Pich
2005
Phnom Penh, Cambodia
[Case study selected by Mr Vuth Lyno]
Project Description
Phnom Penh’s first contemporary art festival, Visual Arts Open introduced 19 Cambodian and Cambodian diaspora artists across generations who worked and lived in Cambodia. The purpose of the festival was to “to bring to the public the best of Cambodian contemporary art and to create a sense of community among artists across different media.” Running over three weeks, the festival presented 8 exhibitions, talks and tour, which took place in various venues across the city including art galleries, restaurants, bars and shops. Visual Arts Open set a precedent of a locally-informed model of contemporary art festival as opposed to the global biennale format.
About LinDa Saphan
Born in Cambodia, grew up in Canada and graduated in France, Saphan is an artist and sociologist. She is presently Associate Professor of Sociology at College of Mount Saint Vincent, New York.
About Sopheap Pich
Pich is a renowned Contemporary artist from Cambodia. Born in Cambodia, he grew up and studied art in the US, then returned to Cambodia in 2002.
In the Exhibition
Artworks by LinDa Saphan, Suos Sodavy, Mak Remissa; archival materials of the festival and a video documentation.
Woodstock in Spring: An Arts Festival Among the Ruins
Initiated by artists and villagers
5-6 February, 2011
Choi Yuen Village, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
About
The festival was held on 5-6 February 2011 as the last major festive celebration at Choi Yuen Village before its imminent demolition for the construction of the Shek Kong Stabling Sidings and Emergency Rescue Station for the Hong Kong section of the Guangzhou-Shenzhen-Hong Kong Express Rail Link (XRL). It was initiated by a group of local activists, art practitioners, and cultural critics who had been involved in the Anti-XRL movements. The event transformed the village from a space of political struggle to one of festivity, temporarily restoring the everyday life orders for the villagers.
In the Exhibition
Archival materials of the festival are on display including posters by Au Wahyan, map poster by Susan Chan, DVDs of documentaries made by v-artivist, as well as photo documentation by an anonymous participant.
Woodstock in Spring: An Arts Festival Among the Ruins
Initiated by artists and villagers
5-6 February, 2011
Choi Yuen Village, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
About
The festival was held on 5-6 February 2011 as the last major festive celebration at Choi Yuen Village before its imminent demolition for the construction of the Shek Kong Stabling Sidings and Emergency Rescue Station for the Hong Kong section of the Guangzhou-Shenzhen-Hong Kong Express Rail Link (XRL). It was initiated by a group of local activists, art practitioners, and cultural critics who had been involved in the Anti-XRL movements. The event transformed the village from a space of political struggle to one of festivity, temporarily restoring the everyday life orders for the villagers.
In the Exhibition
Archival materials of the festival are on display including posters by Au Wahyan, map poster by Susan Chan, DVDs of documentaries made by v-artivist, as well as photo documentation by an anonymous participant.
Woodstock in Spring: An Arts Festival Among the Ruins
Initiated by artists and villagers
5-6 February, 2011
Choi Yuen Village, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
About
The festival was held on 5-6 February 2011 as the last major festive celebration at Choi Yuen Village before its imminent demolition for the construction of the Shek Kong Stabling Sidings and Emergency Rescue Station for the Hong Kong section of the Guangzhou-Shenzhen-Hong Kong Express Rail Link (XRL). It was initiated by a group of local activists, art practitioners, and cultural critics who had been involved in the Anti-XRL movements. The event transformed the village from a space of political struggle to one of festivity, temporarily restoring the everyday life orders for the villagers.
In the Exhibition
Archival materials of the festival are on display including posters by Au Wahyan, map poster by Susan Chan, DVDs of documentaries made by v-artivist, as well as photo documentation by an anonymous participant.
Woodstock in Spring: An Arts Festival Among the Ruins
Initiated by artists and villagers
5-6 February, 2011
Choi Yuen Village, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
About
The festival was held on 5-6 February 2011 as the last major festive celebration at Choi Yuen Village before its imminent demolition for the construction of the Shek Kong Stabling Sidings and Emergency Rescue Station for the Hong Kong section of the Guangzhou-Shenzhen-Hong Kong Express Rail Link (XRL). It was initiated by a group of local activists, art practitioners, and cultural critics who had been involved in the Anti-XRL movements. The event transformed the village from a space of political struggle to one of festivity, temporarily restoring the everyday life orders for the villagers.
In the Exhibition
Archival materials of the festival are on display including posters by Au Wahyan, map poster by Susan Chan, DVDs of documentaries made by v-artivist, as well as photo documentation by an anonymous participant.
Woodstock in Spring: An Arts Festival Among the Ruins
Initiated by artists and villagers
5-6 February, 2011
Choi Yuen Village, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
About
The festival was held on 5-6 February 2011 as the last major festive celebration at Choi Yuen Village before its imminent demolition for the construction of the Shek Kong Stabling Sidings and Emergency Rescue Station for the Hong Kong section of the Guangzhou-Shenzhen-Hong Kong Express Rail Link (XRL). It was initiated by a group of local activists, art practitioners, and cultural critics who had been involved in the Anti-XRL movements. The event transformed the village from a space of political struggle to one of festivity, temporarily restoring the everyday life orders for the villagers.
In the Exhibition
Archival materials of the festival are on display including posters by Au Wahyan, map poster by Susan Chan, DVDs of documentaries made by v-artivist, as well as photo documentation by an anonymous participant.
Woodstock in Spring: An Arts Festival Among the Ruins
Initiated by artists and villagers
5-6 February, 2011
Choi Yuen Village, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
About
The festival was held on 5-6 February 2011 as the last major festive celebration at Choi Yuen Village before its imminent demolition for the construction of the Shek Kong Stabling Sidings and Emergency Rescue Station for the Hong Kong section of the Guangzhou-Shenzhen-Hong Kong Express Rail Link (XRL). It was initiated by a group of local activists, art practitioners, and cultural critics who had been involved in the Anti-XRL movements. The event transformed the village from a space of political struggle to one of festivity, temporarily restoring the everyday life orders for the villagers.
In the Exhibition
Archival materials of the festival are on display including posters by Au Wahyan, map poster by Susan Chan, DVDs of documentaries made by v-artivist, as well as photo documentation by an anonymous participant.
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition
Initiated by Yau Ma Tei Self-Rescue community ‘chat’ group
April 6 – May 25, 2012
Yau Ma Tei, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Project Description
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition is self-help initiative to offer suggestion to neighborhood community of Yau Ma Tei and beyond to resist against the pro-development urbanization that had long been prevailing in Hong Kong. In addition to the exhibits, a survey was conducted to understand the residents’ self-help tactics.
About Yau Ma Tei Self-Rescue community ‘chat’ group (地區自救傾計會)
‘Chat’ group (傾計會) is similar to regular ‘artist talk’, inviting artists to share with the public about their thoughts on the community. The objective was to exchange conversations and stimulate thoughts instead of solving pragmatic issues.
In the Exhibition
Banners and archival materials of the Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition are on display.
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition
Initiated by Yau Ma Tei Self-Rescue community ‘chat’ group
April 6 – May 25, 2012
Yau Ma Tei, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Project Description
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition is self-help initiative to offer suggestion to neighborhood community of Yau Ma Tei and beyond to resist against the pro-development urbanization that had long been prevailing in Hong Kong. In addition to the exhibits, a survey was conducted to understand the residents’ self-help tactics.
About Yau Ma Tei Self-Rescue community ‘chat’ group (地區自救傾計會)
‘Chat’ group (傾計會) is similar to regular ‘artist talk’, inviting artists to share with the public about their thoughts on the community. The objective was to exchange conversations and stimulate thoughts instead of solving pragmatic issues.
In the Exhibition
Banners and archival materials of the Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition are on display.
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition
Initiated by Yau Ma Tei Self-Rescue community ‘chat’ group
April 6 – May 25, 2012
Yau Ma Tei, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Project Description
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition is self-help initiative to offer suggestion to neighborhood community of Yau Ma Tei and beyond to resist against the pro-development urbanization that had long been prevailing in Hong Kong. In addition to the exhibits, a survey was conducted to understand the residents’ self-help tactics.
About Yau Ma Tei Self-Rescue community ‘chat’ group (地區自救傾計會)
‘Chat’ group (傾計會) is similar to regular ‘artist talk’, inviting artists to share with the public about their thoughts on the community. The objective was to exchange conversations and stimulate thoughts instead of solving pragmatic issues.
In the Exhibition
Banners and archival materials of the Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition are on display.
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition
Initiated by Yau Ma Tei Self-Rescue community ‘chat’ group
April 6 – May 25, 2012
Yau Ma Tei, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Project Description
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition is self-help initiative to offer suggestion to neighborhood community of Yau Ma Tei and beyond to resist against the pro-development urbanization that had long been prevailing in Hong Kong. In addition to the exhibits, a survey was conducted to understand the residents’ self-help tactics.
About Yau Ma Tei Self-Rescue community ‘chat’ group (地區自救傾計會)
‘Chat’ group (傾計會) is similar to regular ‘artist talk’, inviting artists to share with the public about their thoughts on the community. The objective was to exchange conversations and stimulate thoughts instead of solving pragmatic issues.
In the Exhibition
Banners and archival materials of the Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition are on display.
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition
Initiated by Yau Ma Tei Self-Rescue community ‘chat’ group
April 6 – May 25, 2012
Yau Ma Tei, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Project Description
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition is self-help initiative to offer suggestion to neighborhood community of Yau Ma Tei and beyond to resist against the pro-development urbanization that had long been prevailing in Hong Kong. In addition to the exhibits, a survey was conducted to understand the residents’ self-help tactics.
About Yau Ma Tei Self-Rescue community ‘chat’ group (地區自救傾計會)
‘Chat’ group (傾計會) is similar to regular ‘artist talk’, inviting artists to share with the public about their thoughts on the community. The objective was to exchange conversations and stimulate thoughts instead of solving pragmatic issues.
In the Exhibition
Banners and archival materials of the Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition are on display.
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition
Initiated by Yau Ma Tei Self-Rescue community ‘chat’ group
April 6 – May 25, 2012
Yau Ma Tei, Hong Kong SAR
[Case study selected by Ms Liu Mankun]
Project Description
Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition is self-help initiative to offer suggestion to neighborhood community of Yau Ma Tei and beyond to resist against the pro-development urbanization that had long been prevailing in Hong Kong. In addition to the exhibits, a survey was conducted to understand the residents’ self-help tactics.
About Yau Ma Tei Self-Rescue community ‘chat’ group (地區自救傾計會)
‘Chat’ group (傾計會) is similar to regular ‘artist talk’, inviting artists to share with the public about their thoughts on the community. The objective was to exchange conversations and stimulate thoughts instead of solving pragmatic issues.
In the Exhibition
Banners and archival materials of the Yau Ma Tei Self-Rescue Project & Demonstrative Exhibition are on display.
myBALIKpulau
Initiated by Arts-ED
2005-2010
Penang, Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
myBalikPulau is a heritage and cultural education programme carried out by Arts ED between 2005-2010 in the agricultural district of Balik Pulau. The project targeted children aged 11 – 16 years from 5 different schools in the district. The project was focused on strengthening the young people’s sense of place and cultural identity as the district faced a problem of youth outmigration and disenchantment with rural living and livelihood.
About Arts-ED
Arts-ED is a non-profit organisation in Penang, Malaysia that provides innovative community-based arts and culture education for young people in both rural and urban geographies in the state of Penang. It also conducts training for community-based cultural workers and advocates for cultural sustainability.
In the Exhibition
The video documentation provides an overview of the myBALIKpulau project with an emphasis on the first iteration of the project that used photography as a medium. The video highlights the artists rationale for using photography, some of the outputs and the impact of the project on participants and community.
The backdrop illustrates the process/approach used in the project with young residents to help them reconnect with the history and cultural assets of their locality.
myBALIKpulau
Initiated by Arts-ED
2005-2010
Penang, Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
myBalikPulau is a heritage and cultural education programme carried out by Arts ED between 2005-2010 in the agricultural district of Balik Pulau. The project targeted children aged 11 – 16 years from 5 different schools in the district. The project was focused on strengthening the young people’s sense of place and cultural identity as the district faced a problem of youth outmigration and disenchantment with rural living and livelihood.
About Arts-ED
Arts-ED is a non-profit organisation in Penang, Malaysia that provides innovative community-based arts and culture education for young people in both rural and urban geographies in the state of Penang. It also conducts training for community-based cultural workers and advocates for cultural sustainability.
In the Exhibition
The video documentation provides an overview of the myBALIKpulau project with an emphasis on the first iteration of the project that used photography as a medium. The video highlights the artists rationale for using photography, some of the outputs and the impact of the project on participants and community.
The backdrop illustrates the process/approach used in the project with young residents to help them reconnect with the history and cultural assets of their locality.
myBALIKpulau
Initiated by Arts-ED
2005-2010
Penang, Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
myBalikPulau is a heritage and cultural education programme carried out by Arts ED between 2005-2010 in the agricultural district of Balik Pulau. The project targeted children aged 11 – 16 years from 5 different schools in the district. The project was focused on strengthening the young people’s sense of place and cultural identity as the district faced a problem of youth outmigration and disenchantment with rural living and livelihood.
About Arts-ED
Arts-ED is a non-profit organisation in Penang, Malaysia that provides innovative community-based arts and culture education for young people in both rural and urban geographies in the state of Penang. It also conducts training for community-based cultural workers and advocates for cultural sustainability.
In the Exhibition
The video documentation provides an overview of the myBALIKpulau project with an emphasis on the first iteration of the project that used photography as a medium. The video highlights the artists rationale for using photography, some of the outputs and the impact of the project on participants and community.
The backdrop illustrates the process/approach used in the project with young residents to help them reconnect with the history and cultural assets of their locality.
myBALIKpulau
Initiated by Arts-ED
2005-2010
Penang, Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
myBalikPulau is a heritage and cultural education programme carried out by Arts ED between 2005-2010 in the agricultural district of Balik Pulau. The project targeted children aged 11 – 16 years from 5 different schools in the district. The project was focused on strengthening the young people’s sense of place and cultural identity as the district faced a problem of youth outmigration and disenchantment with rural living and livelihood.
About Arts-ED
Arts-ED is a non-profit organisation in Penang, Malaysia that provides innovative community-based arts and culture education for young people in both rural and urban geographies in the state of Penang. It also conducts training for community-based cultural workers and advocates for cultural sustainability.
In the Exhibition
The video documentation provides an overview of the myBALIKpulau project with an emphasis on the first iteration of the project that used photography as a medium. The video highlights the artists rationale for using photography, some of the outputs and the impact of the project on participants and community.
The backdrop illustrates the process/approach used in the project with young residents to help them reconnect with the history and cultural assets of their locality.
myBALIKpulau
Initiated by Arts-ED
2005-2010
Penang, Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
myBalikPulau is a heritage and cultural education programme carried out by Arts ED between 2005-2010 in the agricultural district of Balik Pulau. The project targeted children aged 11 – 16 years from 5 different schools in the district. The project was focused on strengthening the young people’s sense of place and cultural identity as the district faced a problem of youth outmigration and disenchantment with rural living and livelihood.
About Arts-ED
Arts-ED is a non-profit organisation in Penang, Malaysia that provides innovative community-based arts and culture education for young people in both rural and urban geographies in the state of Penang. It also conducts training for community-based cultural workers and advocates for cultural sustainability.
In the Exhibition
The video documentation provides an overview of the myBALIKpulau project with an emphasis on the first iteration of the project that used photography as a medium. The video highlights the artists rationale for using photography, some of the outputs and the impact of the project on participants and community.
The backdrop illustrates the process/approach used in the project with young residents to help them reconnect with the history and cultural assets of their locality.
myBALIKpulau
Initiated by Arts-ED
2005-2010
Penang, Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
myBalikPulau is a heritage and cultural education programme carried out by Arts ED between 2005-2010 in the agricultural district of Balik Pulau. The project targeted children aged 11 – 16 years from 5 different schools in the district. The project was focused on strengthening the young people’s sense of place and cultural identity as the district faced a problem of youth outmigration and disenchantment with rural living and livelihood.
About Arts-ED
Arts-ED is a non-profit organisation in Penang, Malaysia that provides innovative community-based arts and culture education for young people in both rural and urban geographies in the state of Penang. It also conducts training for community-based cultural workers and advocates for cultural sustainability.
In the Exhibition
The video documentation provides an overview of the myBALIKpulau project with an emphasis on the first iteration of the project that used photography as a medium. The video highlights the artists rationale for using photography, some of the outputs and the impact of the project on participants and community.
The backdrop illustrates the process/approach used in the project with young residents to help them reconnect with the history and cultural assets of their locality.
myBALIKpulau
Initiated by Arts-ED
2005-2010
Penang, Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
myBalikPulau is a heritage and cultural education programme carried out by Arts ED between 2005-2010 in the agricultural district of Balik Pulau. The project targeted children aged 11 – 16 years from 5 different schools in the district. The project was focused on strengthening the young people’s sense of place and cultural identity as the district faced a problem of youth outmigration and disenchantment with rural living and livelihood.
About Arts-ED
Arts-ED is a non-profit organisation in Penang, Malaysia that provides innovative community-based arts and culture education for young people in both rural and urban geographies in the state of Penang. It also conducts training for community-based cultural workers and advocates for cultural sustainability.
In the Exhibition
The video documentation provides an overview of the myBALIKpulau project with an emphasis on the first iteration of the project that used photography as a medium. The video highlights the artists rationale for using photography, some of the outputs and the impact of the project on participants and community.
The backdrop illustrates the process/approach used in the project with young residents to help them reconnect with the history and cultural assets of their locality.
myBALIKpulau
Initiated by Arts-ED
2005-2010
Penang, Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
myBalikPulau is a heritage and cultural education programme carried out by Arts ED between 2005-2010 in the agricultural district of Balik Pulau. The project targeted children aged 11 – 16 years from 5 different schools in the district. The project was focused on strengthening the young people’s sense of place and cultural identity as the district faced a problem of youth outmigration and disenchantment with rural living and livelihood.
About Arts-ED
Arts-ED is a non-profit organisation in Penang, Malaysia that provides innovative community-based arts and culture education for young people in both rural and urban geographies in the state of Penang. It also conducts training for community-based cultural workers and advocates for cultural sustainability.
In the Exhibition
The video documentation provides an overview of the myBALIKpulau project with an emphasis on the first iteration of the project that used photography as a medium. The video highlights the artists rationale for using photography, some of the outputs and the impact of the project on participants and community.
The backdrop illustrates the process/approach used in the project with young residents to help them reconnect with the history and cultural assets of their locality.
myBALIKpulau
Initiated by Arts-ED
2005-2010
Penang, Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
myBalikPulau is a heritage and cultural education programme carried out by Arts ED between 2005-2010 in the agricultural district of Balik Pulau. The project targeted children aged 11 – 16 years from 5 different schools in the district. The project was focused on strengthening the young people’s sense of place and cultural identity as the district faced a problem of youth outmigration and disenchantment with rural living and livelihood.
About Arts-ED
Arts-ED is a non-profit organisation in Penang, Malaysia that provides innovative community-based arts and culture education for young people in both rural and urban geographies in the state of Penang. It also conducts training for community-based cultural workers and advocates for cultural sustainability.
In the Exhibition
The video documentation provides an overview of the myBALIKpulau project with an emphasis on the first iteration of the project that used photography as a medium. The video highlights the artists rationale for using photography, some of the outputs and the impact of the project on participants and community.
The backdrop illustrates the process/approach used in the project with young residents to help them reconnect with the history and cultural assets of their locality.
myBALIKpulau
Initiated by Arts-ED
2005-2010
Penang, Malaysia
[Case study selected by Ms Janet Pillai]
Project Description
myBalikPulau is a heritage and cultural education programme carried out by Arts ED between 2005-2010 in the agricultural district of Balik Pulau. The project targeted children aged 11 – 16 years from 5 different schools in the district. The project was focused on strengthening the young people’s sense of place and cultural identity as the district faced a problem of youth outmigration and disenchantment with rural living and livelihood.
About Arts-ED
Arts-ED is a non-profit organisation in Penang, Malaysia that provides innovative community-based arts and culture education for young people in both rural and urban geographies in the state of Penang. It also conducts training for community-based cultural workers and advocates for cultural sustainability.
In the Exhibition
The video documentation provides an overview of the myBALIKpulau project with an emphasis on the first iteration of the project that used photography as a medium. The video highlights the artists rationale for using photography, some of the outputs and the impact of the project on participants and community.
The backdrop illustrates the process/approach used in the project with young residents to help them reconnect with the history and cultural assets of their locality.
Âm Sáng
Mixed media installation work by Nguyễn Huy An
2019
Hồ Chí Minh city, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Invented by the artist, Âm Sáng literally means ‘yin light’ that suggests a female and spiritual world. Excerpting from the project two artworks: Tóc and Chân dung Hồ Nguyệt, the artist aims to focus on the condensation of femininity that dimly mirrors the patriarchal society. Referred to two renowned actresses playing lifelong prominent roles in Vietnamese traditional operas, the artworks reveal a double reality: a reality of life, and a reality of theatre.
Tóc means ‘hair’ is an invisible artwork narrating an unsuccessful journey of the artist in searching for the legendary long hair of the traditional opera actress – Thuý Ngần who devoted her life to chèo, a Vietnamese traditional opera, by keeping her hair long for her life opera Kim Nham. The opera story is about a woman named Xuý Vân, who pretends to be insane so she can be freed from her marriage to be with the man she loves. However, her lover abandons her after their plan succeeded, which led Xuý Vân to a real insaneness.
About Nguyễn Huy An
Nguyễn Huy An (1982) is a painter, performance, and conceptual artist, born and based in Hà Nội, Việt Nam. Huy An’s practice is known for transforming mundane things into minimal poetic artworks that carry memories and histories of the sites involved, particularly in northern Việt Nam.
Huy An is a co-founder of the performance art collective The Appendix Group (Phụ Lục) since 2010. The group has attended in a number of performance art festivals in Việt Nam, Singapore, China, Poland, and Germany.
In the Exhibition
An invisible object accompanied by an audio file; a makeup mirror made from plastic and glass.
Âm Sáng
Mixed media installation work by Nguyễn Huy An
2019
Hồ Chí Minh city, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Invented by the artist, Âm Sáng literally means ‘yin light’ that suggests a female and spiritual world. Excerpting from the project two artworks: Tóc and Chân dung Hồ Nguyệt, the artist aims to focus on the condensation of femininity that dimly mirrors the patriarchal society. Referred to two renowned actresses playing lifelong prominent roles in Vietnamese traditional operas, the artworks reveal a double reality: a reality of life, and a reality of theatre.
Tóc means ‘hair’ is an invisible artwork narrating an unsuccessful journey of the artist in searching for the legendary long hair of the traditional opera actress – Thuý Ngần who devoted her life to chèo, a Vietnamese traditional opera, by keeping her hair long for her life opera Kim Nham. The opera story is about a woman named Xuý Vân, who pretends to be insane so she can be freed from her marriage to be with the man she loves. However, her lover abandons her after their plan succeeded, which led Xuý Vân to a real insaneness.
About Nguyễn Huy An
Nguyễn Huy An (1982) is a painter, performance, and conceptual artist, born and based in Hà Nội, Việt Nam. Huy An’s practice is known for transforming mundane things into minimal poetic artworks that carry memories and histories of the sites involved, particularly in northern Việt Nam.
Huy An is a co-founder of the performance art collective The Appendix Group (Phụ Lục) since 2010. The group has attended in a number of performance art festivals in Việt Nam, Singapore, China, Poland, and Germany.
In the Exhibition
An invisible object accompanied by an audio file; a makeup mirror made from plastic and glass.
Âm Sáng
Mixed media installation work by Nguyễn Huy An
2019
Hồ Chí Minh city, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Invented by the artist, Âm Sáng literally means ‘yin light’ that suggests a female and spiritual world. Excerpting from the project two artworks: Tóc and Chân dung Hồ Nguyệt, the artist aims to focus on the condensation of femininity that dimly mirrors the patriarchal society. Referred to two renowned actresses playing lifelong prominent roles in Vietnamese traditional operas, the artworks reveal a double reality: a reality of life, and a reality of theatre.
Tóc means ‘hair’ is an invisible artwork narrating an unsuccessful journey of the artist in searching for the legendary long hair of the traditional opera actress – Thuý Ngần who devoted her life to chèo, a Vietnamese traditional opera, by keeping her hair long for her life opera Kim Nham. The opera story is about a woman named Xuý Vân, who pretends to be insane so she can be freed from her marriage to be with the man she loves. However, her lover abandons her after their plan succeeded, which led Xuý Vân to a real insaneness.
About Nguyễn Huy An
Nguyễn Huy An (1982) is a painter, performance, and conceptual artist, born and based in Hà Nội, Việt Nam. Huy An’s practice is known for transforming mundane things into minimal poetic artworks that carry memories and histories of the sites involved, particularly in northern Việt Nam.
Huy An is a co-founder of the performance art collective The Appendix Group (Phụ Lục) since 2010. The group has attended in a number of performance art festivals in Việt Nam, Singapore, China, Poland, and Germany.
In the Exhibition
An invisible object accompanied by an audio file; a makeup mirror made from plastic and glass.
Âm Sáng
Mixed media installation work by Nguyễn Huy An
2019
Hồ Chí Minh city, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Invented by the artist, Âm Sáng literally means ‘yin light’ that suggests a female and spiritual world. Excerpting from the project two artworks: Tóc and Chân dung Hồ Nguyệt, the artist aims to focus on the condensation of femininity that dimly mirrors the patriarchal society. Referred to two renowned actresses playing lifelong prominent roles in Vietnamese traditional operas, the artworks reveal a double reality: a reality of life, and a reality of theatre.
Tóc means ‘hair’ is an invisible artwork narrating an unsuccessful journey of the artist in searching for the legendary long hair of the traditional opera actress – Thuý Ngần who devoted her life to chèo, a Vietnamese traditional opera, by keeping her hair long for her life opera Kim Nham. The opera story is about a woman named Xuý Vân, who pretends to be insane so she can be freed from her marriage to be with the man she loves. However, her lover abandons her after their plan succeeded, which led Xuý Vân to a real insaneness.
About Nguyễn Huy An
Nguyễn Huy An (1982) is a painter, performance, and conceptual artist, born and based in Hà Nội, Việt Nam. Huy An’s practice is known for transforming mundane things into minimal poetic artworks that carry memories and histories of the sites involved, particularly in northern Việt Nam.
Huy An is a co-founder of the performance art collective The Appendix Group (Phụ Lục) since 2010. The group has attended in a number of performance art festivals in Việt Nam, Singapore, China, Poland, and Germany.
In the Exhibition
An invisible object accompanied by an audio file; a makeup mirror made from plastic and glass.
Âm Sáng
Mixed media installation work by Nguyễn Huy An
2019
Hồ Chí Minh city, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Invented by the artist, Âm Sáng literally means ‘yin light’ that suggests a female and spiritual world. Excerpting from the project two artworks: Tóc and Chân dung Hồ Nguyệt, the artist aims to focus on the condensation of femininity that dimly mirrors the patriarchal society. Referred to two renowned actresses playing lifelong prominent roles in Vietnamese traditional operas, the artworks reveal a double reality: a reality of life, and a reality of theatre.
Tóc means ‘hair’ is an invisible artwork narrating an unsuccessful journey of the artist in searching for the legendary long hair of the traditional opera actress – Thuý Ngần who devoted her life to chèo, a Vietnamese traditional opera, by keeping her hair long for her life opera Kim Nham. The opera story is about a woman named Xuý Vân, who pretends to be insane so she can be freed from her marriage to be with the man she loves. However, her lover abandons her after their plan succeeded, which led Xuý Vân to a real insaneness.
About Nguyễn Huy An
Nguyễn Huy An (1982) is a painter, performance, and conceptual artist, born and based in Hà Nội, Việt Nam. Huy An’s practice is known for transforming mundane things into minimal poetic artworks that carry memories and histories of the sites involved, particularly in northern Việt Nam.
Huy An is a co-founder of the performance art collective The Appendix Group (Phụ Lục) since 2010. The group has attended in a number of performance art festivals in Việt Nam, Singapore, China, Poland, and Germany.
In the Exhibition
An invisible object accompanied by an audio file; a makeup mirror made from plastic and glass.
Âm Sáng
Mixed media installation work by Nguyễn Huy An
2019
Hồ Chí Minh city, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Invented by the artist, Âm Sáng literally means ‘yin light’ that suggests a female and spiritual world. Excerpting from the project two artworks: Tóc and Chân dung Hồ Nguyệt, the artist aims to focus on the condensation of femininity that dimly mirrors the patriarchal society. Referred to two renowned actresses playing lifelong prominent roles in Vietnamese traditional operas, the artworks reveal a double reality: a reality of life, and a reality of theatre.
Tóc means ‘hair’ is an invisible artwork narrating an unsuccessful journey of the artist in searching for the legendary long hair of the traditional opera actress – Thuý Ngần who devoted her life to chèo, a Vietnamese traditional opera, by keeping her hair long for her life opera Kim Nham. The opera story is about a woman named Xuý Vân, who pretends to be insane so she can be freed from her marriage to be with the man she loves. However, her lover abandons her after their plan succeeded, which led Xuý Vân to a real insaneness.
About Nguyễn Huy An
Nguyễn Huy An (1982) is a painter, performance, and conceptual artist, born and based in Hà Nội, Việt Nam. Huy An’s practice is known for transforming mundane things into minimal poetic artworks that carry memories and histories of the sites involved, particularly in northern Việt Nam.
Huy An is a co-founder of the performance art collective The Appendix Group (Phụ Lục) since 2010. The group has attended in a number of performance art festivals in Việt Nam, Singapore, China, Poland, and Germany.
In the Exhibition
An invisible object accompanied by an audio file; a makeup mirror made from plastic and glass.
Âm Sáng
Mixed media installation work by Nguyễn Huy An
2019
Hồ Chí Minh city, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Invented by the artist, Âm Sáng literally means ‘yin light’ that suggests a female and spiritual world. Excerpting from the project two artworks: Tóc and Chân dung Hồ Nguyệt, the artist aims to focus on the condensation of femininity that dimly mirrors the patriarchal society. Referred to two renowned actresses playing lifelong prominent roles in Vietnamese traditional operas, the artworks reveal a double reality: a reality of life, and a reality of theatre.
Tóc means ‘hair’ is an invisible artwork narrating an unsuccessful journey of the artist in searching for the legendary long hair of the traditional opera actress – Thuý Ngần who devoted her life to chèo, a Vietnamese traditional opera, by keeping her hair long for her life opera Kim Nham. The opera story is about a woman named Xuý Vân, who pretends to be insane so she can be freed from her marriage to be with the man she loves. However, her lover abandons her after their plan succeeded, which led Xuý Vân to a real insaneness.
About Nguyễn Huy An
Nguyễn Huy An (1982) is a painter, performance, and conceptual artist, born and based in Hà Nội, Việt Nam. Huy An’s practice is known for transforming mundane things into minimal poetic artworks that carry memories and histories of the sites involved, particularly in northern Việt Nam.
Huy An is a co-founder of the performance art collective The Appendix Group (Phụ Lục) since 2010. The group has attended in a number of performance art festivals in Việt Nam, Singapore, China, Poland, and Germany.
In the Exhibition
An invisible object accompanied by an audio file; a makeup mirror made from plastic and glass.
Âm Sáng
Mixed media installation work by Nguyễn Huy An
2019
Hồ Chí Minh city, Vietnam
[Case study selected by Ms Bùi Kim Đĩnh]
Project Description
Invented by the artist, Âm Sáng literally means ‘yin light’ that suggests a female and spiritual world. Excerpting from the project two artworks: Tóc and Chân dung Hồ Nguyệt, the artist aims to focus on the condensation of femininity that dimly mirrors the patriarchal society. Referred to two renowned actresses playing lifelong prominent roles in Vietnamese traditional operas, the artworks reveal a double reality: a reality of life, and a reality of theatre.
Tóc means ‘hair’ is an invisible artwork narrating an unsuccessful journey of the artist in searching for the legendary long hair of the traditional opera actress – Thuý Ngần who devoted her life to chèo, a Vietnamese traditional opera, by keeping her hair long for her life opera Kim Nham. The opera story is about a woman named Xuý Vân, who pretends to be insane so she can be freed from her marriage to be with the man she loves. However, her lover abandons her after their plan succeeded, which led Xuý Vân to a real insaneness.
About Nguyễn Huy An
Nguyễn Huy An (1982) is a painter, performance, and conceptual artist, born and based in Hà Nội, Việt Nam. Huy An’s practice is known for transforming mundane things into minimal poetic artworks that carry memories and histories of the sites involved, particularly in northern Việt Nam.
Huy An is a co-founder of the performance art collective The Appendix Group (Phụ Lục) since 2010. The group has attended in a number of performance art festivals in Việt Nam, Singapore, China, Poland, and Germany.
In the Exhibition
An invisible object accompanied by an audio file; a makeup mirror made from plastic and glass.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.
“To cherish and to hold” and “Wind Blankets”
Initiated by Shirley Soh
2018
Exhibited at Both Sides, Now 2018: Closer, Singapore
[Case study selected by Dr Felicia Low]
Project Description
As part of the Both Sides, Now festival 2018 edition Closer, in the Chong Pang community, senior residents were invited to participate in a sewing workshop inspired by the funeral blanket gifted to the family of the deceased and hung at Chinese wakes. Over 12 weeks, 8 female elderly participants came together and spent hours sharing what they thought of end of life issues and what they held dear of their life experience to share when they leave the world. Blankets were quilted with photographic images from their family albums, as a keepsake to be bequeathed to a loved one, while other blankets captured images of the makers imagining their last position before they pass on in this world.
About Shirley Soh
Shirley Soh is an artist, educator, and an erstwhile journalist. Interested in how individuals, community, the economy and environment interdependently connect in constantly shifting—and not often benign—ways, she has grown plants, worked with migrant workers and women prisoners, created a retail shop, sewn and cooked with local communities, and meditated for her artwork. She pursued her BA honours degree and MA at the National University of Singapore and obtained her BA Fine Art degree from LASALLE College of the Arts.
About Both Sides, Now
Both Sides, Now is a community engagement project about what it means to live well and leave well through the efficacy of arts and participatory workshops. On-going since 2013, this iteration, Closer, was held in the Chong Pang housing estate featuring visual arts, theatre performances, concerts and community workshops. Both Sides, Now is produced and presented by Artswok, an arts-based community development organisation and Dramabox, a socially-engaged theatre company.
In the Exhibition
“To cherish and to hold” blankets by artist-participants Ng Ah Yam and Tan Choon Hoey, as well as Wind Blankets by artist participants Tan Lu See and Tsang Sow Kuen are on display.