TRINH T. MINH-HA—FILMS, the artist’s first institutional exhibition in Asia and the final presentation at NTU CCA Singapore’s current space, is on view through the end of the month.
Featuring six of her films—Forgetting Vietnam (2015), Night Passage (2004), The FourthDimension (2001), A Tale of Love(1995), Shoot for the Contents (1991), and the new work What about China?(Part I of II, 2020–21)—the show is complemented by the adjoining exhibition Trinh T. Minh-ha—Writings.
TRINH T. MINH-HA—FILMS is curated by Ute Meta Bauer. See link below for details.
As images from the civil rights era migrated in the American visual lexicon, some becoming icons… a shift also happened in the aesthetic understanding of what images do and how they function. American society has been saturated with images since the post-Second World War period, and artists growing up at that time were some of the first to turn a critical eye to the production of images and cast doubt on their narrative function…
Black artists understood that though Black people may be the subject of many images throughout U.S. history, those captured by and circulated within those images gave little or no consent. In addition, the Black body and its visual reception have been so predetermined by stereotype that their presentation may undermine even good intentions. — Naomi Beckwith*
See MEETING WORLDS—ON OKWUI ENWEZOR’S WORK, an online conversation featuring UteMeta Bauer (the founding director of the NTU Centre for Contemporary Art Singapore), Franklin Sirmans (the director of the Pérez ArtMuseum in Miami), Terry Smith (a professor of Contemporary Art History and Theory at the University of Pittsburgh), and Octavio Zaya, an independent art critic and curator. New Museum director MassimilianoGioni moderated the January 21 talk.
*Naomi Beckwith, “My Soul Looks Back in Wonder,” in Grief and Grievance: Art andMourning in America (New York: New Museum; London: Phaidon, 2020), 182.