To Bring the World into the World at InterAccess Electronic Media Centre

Wed Oct 24, 2012 - 7:00 pm - Sat Nov 17, 2012 - 8:00 pm @ InterAccess Electronic Media Centre
3_Film-Still from Utama - Every Name in History is I- 2003- 23 mins- DVD_small.jpg

Opening Reception: Wednesday, October 24, 7 to10 p.m., InterAccess Electronic Media Arts Centre

To Bring the World into the World presents the practices of artist collectives, institutions and individual artists working across the South East Asia region and China with a special focus on video, its archiving processes, its presentation, preservation and distribution, as well as its use as a medium to reveal neglected histories, different realities and missing contact points.

Biljana Ciric works as an independent curator based in Shanghai. Her recent exhibitions include Institution for the Future presented in Asia Triennale Manchester and Taking the Stage OVER, one year ongoing project related to live based art.
She has been recently nominated for ICI Independent Vision Curatorial Award.

List of Works

Vandy Rattana (Cambodia)
The Bomb Ponds
Video Installation

There is a Khmer proverb that says: you can hear something a thousand times and not know it, yet if you see it with your eyes just once, you know. -Vandy Rattana

In October 2009 photographer Vandy Rattana traveled to the ten Cambodian provinces most severely bombed by the U.S military during the Vietnam War. The goal of this journey was to reopen dialogue with local villagers about this traumatic history and document the scarred landscape, as it exists today.

Between 1964 and 1975 the US military dropped 2,756,941 tons of explosives across Cambodia. This figure -five times the generally accepted number- was not acknowledged until 2000 when Bill Clinton traveled to Vietnam and quietly released previously classified Air Force data on American bombings in former Indochina. Dissatisfied with the level of documentation produced on the subject, Vandy has created a series of landscape photographs testifying to the existence of the craters created by the bombings, known today as the “bomb ponds.” These photographs are accompanied by a film in which villagers were asked to describe their memories of the bombings or their present relationship to the history symbolized by the craters. The resultant work is being exhibited for the first time in the United States at The Center for Curatorial Studies at Bard College, with the hope that the audience will reconsider this historical thread and the extent of America’s actions during the Vietnam War.

Artist Bio:
Born in Phnom Penh in 1980, Vandy Rattana has been photographing his native Cambodia with a devotion to creating documents that elucidate the hidden realities of contemporary Cambodian existence while creating a more comprehensive historical record for future Cambodians as well as international audiences. As a founding member of the artist collective Stiev Selepak (Art Rebels), Vandy opened Phnom Penh’s first artist-run exhibition space, SaSa Gallery, in 2009.
Rattans participated in number of international exhibitions including 6th Asia Pacific Triennial, 2011 Asia Triennial Manchester, 2012 Kassel Documenta among others.

Vincent Leong
12.07.03: The Anti-Corruption Avengers

Part A:
Video shot on a mobile phone camera
03:03 mins

12.07.03, purportedly a salvaged video from the office of a collective called Anti-Corruption Avengers (ACA) - another of Vincent's personas - is an indirect but obvious reference to the (real) Anti-Corruption Agency and recent 'Nude Squat Video' scandal involving Malaysian police. The original video that sparked off the controversy was shot from a mobile phone camera; The Anti Corruption Avengers appropriates the same technology but documents a faked act of bribery instead. The purposeful disjuncture between the original spoken exchanges and the on-screen subtitles are not only “lost in translation”, but this disjuncture also exposes the hypocrisy of law enforcers and the corruption of written laws, often elevated as ideals.
(Excerpt from The Fake Show's curatorial text by Carmen Nge and Wong Hoy Cheong)

Part B:
Special contribution to Exhibition by Vincent Leong

12.07.03: The Anti-Corruption Avengers was first exhibited in The Fake Show, held in Kuala Lumpur, Malaysia, early 2006; an exhibition addressing the various issues surrounding the subject of fakes and fakery in this country; from political to social issues, from designer objects to fine arts.
Since YouTube was launched a year before that, the appeal to upload it online was almost unquestionable. The following year, as YouTube started positioning itself as new, more democratic, channel for mass media, the traditional media began to pick up on this video. Police investigations on the authenticity of this video, as well as public debate on the issue of traffic corruption ensued.
In the past six years, with the ubiquity of cameras, more viral videos have appeared on the local daily news. Videos with political motives, videos displaying an alternative view of the country, or videos made for the sole objective of entertainment. Its casual mode of production may suggest of the authenticity of the actions in front of the camera. The duration of each video is limited not by the digital medium it records on to, but by its ability to contain its viewer’s attention.

Artist Bio:
Vincent Leong is an artist and pseudo-curator from Kuala Lumpur. A graduate from Goldsmiths' College, London, he is an iconoclast and saboteur who in works video, assemblage and site-specific installation, investigating social misconceptions within a larger cultural context. He participated in the Asian Cultural Content Creation Centre workshop in Gwangju, Korea, and was an artist-in-residence at Sculpture Square, Singapore, and Koganecho Bazaar, Yokohama. Recent participated group exhibitions include: Selamat Datang ke Malaysia, Gallery 4A Sydney; The Independence Project, Gallery Petronas, Kuala Lumpur and Gertrude Contemporary Art Space, Melbourne; CAIS: Contemporary Art in School, Stella Maris School, Kuala Lumpur; Some Rooms, Osage Gallery, Hong Kong and Singapore; and the 13th Jakarta Biennale. He also co-curated the exhibition GHOST of works by Roslisham Ismail @ Ise, and Colour, Shape, Quantity, Scale, of works by Liew Kwai Fei, both at 15 Jalan Mesui, Kuala Lumpur.

Ho Tzunyen
Utama – Every Name in History is I
Video, 23 mins

Utama - Every Name in History is I summons the specter of Sang Nila Utama – the forgotten pre-colonial founder of Singapore to haunt the official account of history dominant in the island state.
The film unfolds as a series of tableau vivants in which genealogy of Utama opens up to a series of subterranean connections and allegorical doublings through an unruly horde of mythical and historical characters such as Christopher Columbus, Vasco da Gama, Sir Stamford Raffles, Julius Cesar, Admiral Zheng He, Alexander the Great, King Solomon, and the Greek Goddess Diana.
Beginning with the local figure of Utama, the film ultimately becomes an interrogation of the notions of identity, history and truth.

Artist Bio:
Ho Tzunyen makes films, videos and theatrical performances. His work revolves around three key interests: historiography (Utama — Every Name in History is I, 2003 and 4 x 4: Episodes of Singapore Art, 2004); re-interpretation of philosophical and mystical texts (Zarathustra: A Film for Everyone and No One, 2009 and The Cloud of Unknowing, 2011); and reconfigurations of image and sound relationships (The Bohemian Rhapsody Project, 2006; NEWTON, 2009; EARTH, 2009). Recent one-person exhibitions of his work include MAM Project #16 at the Mori Art Museum (2012), the Singapore Pavilion at the 54th Venice Biennale (2011) and Earth at Artspace, Sydney (2011). His works have been shown at the 6th Asia-Pacific Triennial (2009); the Dojima River Biennale (2009); the 1st Singapore Biennale (2006); the 3rd Fukuoka Asian Art Triennale (2005); and the 26th Sao Paulo Biennale (2004). His theatrical experiments have been presented at Theater der Welt (2010), the KunstenFestivaldesArts (2006, 2008) and the Singapore Arts Festival (2006, 2008). His first feature film HERE premiered at the 41st Directors’ Fortnight, Cannes Film Festival (2009) and was presented at the 14th Pusan International Film Festival (2009) and his medium length film, EARTH, premiered at the 66th Venice International Film Festival (2009).

Camamoto (Takayuki Yamamoto, Japan and Hoang Duong Cam, Vietnam)
On Each Milestone
Video projection, 12:22 mins

It’s a journey to explore the country of one of Camamoto’s characters.
On one screen, it’s a half-fiction/half-reality road trip of Camamoto’s family, in which the Camamoto characters are continuously searching for something not obviously shown. The adventurous search continues through many interesting encounters along the road… Journey has a mixing of relaxing, humorous yet adventurous, mysterious atmosphere.
The second screed features a group of Raglai musicians playing and dancing for tourists, not only traditional but also popular international tunes. It is cheesy but original and strong. In history, Raglai people were slaves to Cham people of Kingdom of Champa, which was invaded by Nguyen Dynastry. Their music and instruments has been promoted as traditional but are often underappreciated in Vietnam.
At the ending scene, Camamoto’s family are watching a performance by that group of Raglai musicians, playing an almost unrecognizable version of Richard Wagner’s “Riding of the Valkyries” tune, which was famously used in the film, Apocalypse Now.

Artist Bio:
Camamoto is a collaborative project between two conceptual artists: Takayuki Yamamoto lives and works in Nagoya, Aichi, Japan and Hoang Duong Cam, lives and works in Ho Chi Minh City, Vietnam.

Takayuki Yamamoto
Born 1974 in Aichi, Japan. After obtained MA at Chelsea College of Art and Design in London, he has been active internationally. He is known for his projects that cynically portray the peculiarities of social systems and customs by which people are raised, through creative feelings that lie deep in conversations and games among children.

Hoang Duong Cam
Born 1974 in Hanoi, Vietnam. Graduated as a painter at Hanoi Fine Arts University in 1996, he is one of the most active contemporary artists in Vietnam today. His conceptual works usually pick one or many of the following mediums: painting, sculpture, installation, performance, video, and digital photography. He is internationally exhibited and deeply concerned to the human conditions, the relations that might existed between one’s inner and outside worlds.

Apichatpong Weerasethakul
Morakot (Emerald)
Single Channel Video Installation, 11 mins
In The Pilgrim Kamanita, a Buddhist novel written in 1906 by the Danish writer Karl Gjellerup, the protagonists are reborn as two stars and take centuries to recite their stories to each other, until they no longer exist.
Morakot is a derelict and defunct hotel in the heart of Bangkok that opened its doors in the 1980's: a time when Thailand shifted gears into accelerated economic industrialization and a time when Cambodians poured into Thai refugee camps after the invasion of Vietnamese forces. It was a hosting time. Later, when the East Asian financial crisis struck in 1997, these reveries collapsed.
Like Kamanita, the unchanged Morakot is a star burdened with (or fueled by) memories. Apichatpong collaborated with his three regular actors, who recounted their dreams, hometown life, bad moments, and love poems, to re-supply the hotel with new memories.
Artist Bio:
Apichatpong was born in Bangkok and grew up in Khon Kaen in north-eastern Thailand. He began making film and video shorts in 1994. He has also mounted exhibitions and installations in many countries. Often non-linear, with a strong sense of dislocation, his works deal with memory, subtly addressed personal politics and social issues. They have won him widespread international recognition and numerous festival prizes, including a Palme d’Or from the Cannes Film Festival. His latest work, Mekong Hotel, is a one-hour experimental documentary for Arte television. He currently lives and works in Chiang Mai, Thailand.

Na Yingyu
Our Homeland! Gone Just Like That
Video Installation

Our Homeland! Gone Just Like That was shot in the villages of the Jade Dragon Naxi Autonomous Prefecture of Lijiang, Yunnan, China from November 2006 to March 2007. The three main locations are Lashihai and Huangshan, both Naxi villages near the high and sandy Lijiang valley; and Tacheng, a grouping of Naxi villages in the forested mountains west of the first bend of the Golden Sand River (a section of the upper Yangtze River). The project materials started from 3220 minutes of HDV tape, 3000 digital photos, and millions of words of local historical materials.

In the end, it became 353 minutes of video, stills, and text. The postproduction ran from June 2007 to May 2009. The director builds the video starting with an interest based in mathematical topology - that is, the study of the qualities that are preserved despite deforming, twisting, tearing and stretching. The chapter structure is conceived of in the Zhang-Hui chapter structure of Chinese serial fiction, where the narrative is delivered as short chapters with informative chapter headings. Taking each of the 59 chapters as any topological section on a Möbius strip, the structures of any two chapters seem similar in their details, but are syntactically different. Chapters set up this way mutually focus and support each other as the way fibers do when bundled together. Farming, singing, propagation, fragmentary ethnic history, relationships between ethnicities, folk diplomacy, dancing, games, casual interviews, encounters while traveling, scenery, sacrifice, marriages & funerals, and craft production are all randomly presented.

For this specific presentation, the curator was invited to make a selection of the chapters and present it in the form of a new installation.

Artist Bio:
Na Yingyu was born in Yichun, Hei Long Jiang province, China. His recent projects include Na Yingyu: Our Homeland, Gone Just Like That, Location One, New York and Na Yingyu: Our Homeland, Gone Just Like That, Granoff Center, Brown University, Rhode Island. He currently lives and works in Beijing, China.


Ruangrupa was invited to curate their own presentation as part of exhibition reflecting on their own involvement in video art practice. Selection consists of archival material of ruangrupa’s practice related to Ok Video Festival they initiated in Indonesia.
Video selection presented consists of two compilations, 10 YEARS OF INDONESIAN VIDEO ART COMPILATION and OK VIDEO MILITIA 2007 COMPILATION

( for list of works pls see seperate file)

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