Art Radar Asia interviews FCP artist couple, Tun Win Aung and Wah Nu – find out more in the Impact of FCP 2013!
*Programme schedule is subjected to change, stay tuned to this space for the latest updates
All events are by invitation only, click here to RSVP.
SUPERINTENSE is a marathon of personal strategies of creativity in the urban context, and is a hallmark of the FCP. All the FCP artists will have one hour each to present their work to a public audience. A projector, a microphone, an audience – the same conditions are given to each artist. They are invited to share their practice, past work, present work, future work. It can take the form of a conversation, a demonstration, a lecture-performance, a film, a DJ session, a workshop. The artists articulate their practice, communicating an insight to the myriad ways of inhabiting, dissolving, thinking, making, living, destroying, rejuvenating. An actor, an audience, a shared space. Take a cigarette pause on the run!
The Flying Circus Project 2013 opens in Singapore with the context of a new Myanmar
Director: Wen Hui
Length of Film: 75min
Synopsis – Listening to Third Grandmother’s Stories is about the meeting Hui had with her 83-year-old great aunt Su Mei Lin. This ‘third grandmother’ experienced the social upheavals of the past century first hand. Her well-heeled background turned out to be a great burden under the Communist regime, which forced her to comply with its strict collectivist norms. Wen Hui moved in the opposite direction as the authorities slowly relaxed their grip on the reigns of Communist power. Together, the two women reconstruct the turbulent recent history of women in China.
Durational Performance (From 7.00pm):
Film Screening (From 7.30pm):
A Durational Performance by Julie Tolentino
Drawing on Greek and philosophical contemplation of ecstasy/extasis, HONEY explores the exposures between the self and Other(s), or rather, a ‘being outside-of-itself’ like a turning out of the inside of the self.
The HONEY performance stages this inversion through a contemplation of the gut-the pink hidden flesh, and as wounds and words often unexpressed or suppressed–as the honey activates a simultaneous opening and shutting off of the throat. the self and Other(s), or rather, a ‘being outside-of-itself’ like a turning out of the inside of the self.
The HONEY performance stages this inversion through a contemplation of the gut-the pink hidden flesh, and as wounds and words often unexpressed or suppressed–as the honey activates a simultaneous opening and shutting off of the throat.
HONEY is a transparent installation involving two people and a consistent flow of golden drops of honey between them. Slow, repetitive, and weighted, this work is constructed as a movement performance: specifically, a duet.
Tolentino is the receiver, endure-r, memory collector, and signifier of death–her mouth open in the shape of the last kiss, the ‘O’ of death. Illuminating the productiveness and destructiveness of the ecstatic state, she swallows, filling and spilling, her ‘O’ of ecstasy enhanced by the drawn out ‘O’ emitted from the multiple hand-recorders offering Chevela Vargas’ “Soledad” lyrics, to which she moves, records, erases.
*NOTE: in this section, participants are invited to take part as the artist’s “partner”
The partner/performer, Stosh Fila, is overseer, activator and participant. As the designer of the droplet’s shape, intensity, speed, and velocity–the one who squeezes, advances, and withdraws—Fila’s movement expressively and delicately recapitulates each swallow.
The pouring, manipulation, receipt, and flow into a throaty swallow enact a resistance and persistence, composing a duet that evokes the excessive sweetness of drowning and the aesthetic perversity
of ‘le petit mort’ alongside the viewer’s distanced and sticky association.
In this sense, HONEY invokes the mouth, memory, hidden texts, fluids and boundaries – recurrent themes in Tolentino’s body of work.
Duration ranges from one to five hours.
UNTITLED (WIND) – Video on Loop
UNTITLED (WIND) 16665 Mulholland Drive is a visual and dance performance for camera. Inspired by the internality and resistance of Eve Kosofsky Sedgwick’s A Dialogue on Love, the sense of inside-ness in Clarice Lispector’s Hour of the Star, and the rampant wind of the lower California desert, the piece engages a continued observance of age, temporality, disintegration and loss. Tracking the body’s negotiations of a large piece of found plastic, the performance as a whole explores ways of creating, interacting with, and capturing an image beyond standard strategies of documentation. Choreography emerges not only in relation to these contextual constraints, but also through the different capacities and tendencies of the bodies that perform it. Movement derives from direct observation of the urban leftover–fragments of plastic captured on objects–as well as from obstructions, suffocation, urgency, immersion, isolation, and noise. This work resulted in 1000 digital photographs.
EYE WITNESS (2010)
Abigail Severance/Julie Tolentino
EYE WITNESS is a short video exploring the intimate art processes of and between a videomaker and a movement maker presented in three distinct sections.
In the first, Severance uses camera and her body as the moving frame to capture unpredictable live movement as witness and participant.
In the second section, both artists assign themselves specific parameters for the dialogue. They brainstorm verbally and visually, exploring conceptual and rhythmic intersections along the edges of fact and fiction. Tolentino’s self-induced simple task of moving the three-dimensional body within the boundaries of a straight line becomes an effort of concentration under the camera’s rigorous proximity and interrogation. Severance’s initially stark frame contains the body for as long as possible, but eventually surrenders to join the movement.
Finally, in “Evidence,” the final section, Tolentino offers an (initially) still image. Her naked body straddles spacial diagonals and begins to move, snaking backward on her hands and knees, balancing a cluster of Chinese medicine cups. The frame waits patiently for the promised evidence to approach, while time and movement twitch in and out of reality- giving way to an ethereal, electric sonic path that anticipates (and dreads) the arrival of the body.
Director: Tellervo Kalleinen & Oliver Kochta-Kalleinen
Length of Film: 64min
Synopsis – People in White -film reveals stories about mental health professionals – told and re-enacted by their client. Margreet receives electroshock treatment (ECT) for severe depression. As a side effect of the treatment she suffers from memory loss. She has been in therapy with the same psychoanalyst for 20 years. He knows more about Margreet than she remembers about herself. “He is my memory,” she says, and worries about him dying before her. Margreet is one of ten Dutch people who tell stories about their encounters with mental health-care professionals.
In People in White the dynamic between caregiver and care receiver is seen from the subjective viewpoint of people with mental illnesses. A central artistic device is re-enactment of key moments in the therapeutic process in which former patients play themselves as well as their doctors. Memories vary from beautiful, healing moments to the horrors of isolation and abuse.
Director: Wu Wenguang
Length of Film: 80min
Synopsis – Pulling from 12 years of footage, Wu Wenguang constructs an essay film on memory and self-knowledge that is at once a memorial to his deceased mother and an attempt to bring her back to life in order to assist his own process of healing.
(Admission at any time, preferably on the hour. Stay as long as you wish)
12pm: Sithu Zeya (Video Journalist)
1pm: Vuth Lyno (Visual Artist)
2pm: Fiona Koh & Joshua Yang (Visual Artists)
3pm: Tun Win Aung & Wah Nu (Visual and Video Artists)
4pm: Sonal Jain & Mriganka Madhukaillya (Visual Artists)
5pm: Maija Hirvanen (Choreographer)
6pm: Nge Lay (Visual Artist)
7pm: Julie Tolentino (Performance Artist)
8pm: Venuri Perera (Choreographer)
9pm: Lin Htet (Theatre Director)
10pm: Kaffe Matthews‘ presentation (Sound Artist)
10.30pm: Tellervo Kalleinen (Visual Artist, Filmmaker)
11.30pm: Brett Bailey (Theatre Director)
12.30am: Kaffe Matthews‘ performance (Sound Artist)
Look out for the Myanmar (Burma) films on Jan 20 in 72-13. These have yet to be screened outside of Myanmar: shorts from the 2013 Art For Freedom Film Festival, a selection of new films from the Wathann Film Festival as well as the classic Katipar Phanutsi Shwe Hti Saung (Wearing Velvet Slippers, Holding a Golden Umbrella). The last is by master film-maker Maung Wanna, it won the Academy Award in 1971 for best directing in Myanmar (Burma). He is survived by his son Okkar, another film maker whose film Next Drop of Rain will also be screened on Jan 20 and his daughter Wah Nu. Wah Nu, a visual artist, will speak on Jan 19 about the Art and Museum Project: Mingon Museum of Contemporary Art.
Director: Seng Mai
Length of Film: 12min
Synopsis – Students are playing a social game, which is made up of four questions. Outside the classroom, the real life also gets involved in the game.
Director: Min Htin Ko Ko Gyi
Length of Film: 5min
Synopsis – Uninterruptedness is a “text film”, describing a genre of works in which filmmakers merge the textual, bringing about a kind of cinematic literature. I try to text as image in my experimental film.
Director: Khin Myanmar
Length of Film: 14min
Synopsis – “One man, About 20 orphans, One Big Dream”
Director: Lin Sun Oo
Length of Film: 2min
Synopsis – (Th)ink is a short film that explore a young man’s relationship between the perception of pain and his state of mind. The film follows his experience as he recollects his thoughts on getting a tattoo.
Director: Thet Zaw Win
Length of Film: 10min
Synopsis – This film takes a look at the life of U Kyaw, a man who runs a successful restaurant in Sanchuang, Yangon. It explores the scenes, thoughts and sacrifices of a working man.
Director: Maung Maung Tha Myint
Length of Film: 10min
Synopsis – This is about a guy waiting for a phone call from his boss in an 8th floor apartment with nothing for 3 days.
Director: Aung Nwai Myint
Length of Film: 28min
Synopsis – This is a true story of a Myanmar actor and an actress in the 1960s.
Director: Sai Kong Khan
Length of Film: 7min
Synopsis – An old man babysits his grandson. Granddad adores the little boy and lets him romp all over the place. But from time to time this can also be a pain in the ***.
Director(s): The Maw Naing & Pe Maung Same
Length of Film: 90min
Synopsis – In May 2008, a cyclone called Nargis raged for hours in Myanmar’s Ayeyarwaddy Delta, killing 140 000 people. Seven days after the storm, several young Burmese filmmakers made their way – carefully, since filming was banned by the government – to villages that had been utterly devastated, and met people who had lost everything to the cyclone. They recorded scenes that touched them to the core, moving through a world that appeared more surreal than real, where life and death seemed to coexist. Their images reflect their own feelings as much as those of the people they met; these emotions have been woven into a film that conveys what it means when natural disaster like Nargis changes forever, the lives of so many.
Length of Film: 10min
Synopsis – Mg and Khine have been a couple for 6 years. Since Khine was too ambitious, she got married to Mg after she had got PhD. Khine was 37 years old when she married her husband. The only reason which made the couple divorced turned up when Khine was pregnant with their very first child. Their unborn child was having “Trisomy 21” i.e. he would be born with intellectual impairment and physical abnormalities. Mg asked Khine to take an illegal abortion. Khine denied doing so. As a result, they divorced. Khine is still missing him. The fatherless child was brought up by her. Khine has a best friend called Hnin, a doctor who assisted her during childbirth. Now her son, Moe, is 9 years old attending at “La Belle Lia”, the only place where the children like her son can learn things.
One day, Hnin asked Khine to visit her house. They talked about Khine’s ex-husband there. Hnin told Khine that Mg was being fairly rich and successful in business, plus, there were rumours about his womanizing. It made Khine to miss him again and go back to the past. However, in reality, she only knows and thinks about her poor son and his future. That is not because she doesn’t miss or love her husband but because the situation she had faced, the environment she was once in were disgusting. When the two friends got to Khine’s house, Khine showed her son’s drawing to Hnin. All of a sudden, a few words written imprecisely under the drawing made them heartbreaking because Moe, the poor child suffering from Down’s syndrome, had been pining for his father and wrote “Daddy” under his drawing.
Director: Maung Wanna
Length of Film: 133min
Synopsis – The story of Dr. Kyi Thar (Myat Lay), who works at the intensive-care unit, Mental Health Hospital, Yangon, and the patient Ma Htar Htar (Myat Mon), an elder sister of a friend. They met for the very first time on his duty. Though the friend¹s family was from Mandalay, they came to Yangon, to Dr. Kyi Thar to take the medical treatment with great expectations. They were right as she was getting much better as time went by and in their relationship too. Both of them knew they were deeply in love, attached to each other without mentioning a thing. It was the patient, who tried to start a new beginning of their close relationship on the day they went out together. However, he severed relations with her against his will as he thought it was the best thing to do. He just tried to keep his morals as a doctor. But their separation left her with the feeling of deep hurt instead. She got worse when they met again after some time. The poor patient asked again her beloved doctor to go out together with a pat expression, “let¹s go out, anywhere!”.
Wearing Velvet Slippers, Holding a Golden Umbrella won Best Director of Myanmar academy award in 1971.