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National Gallery Singapore presents
Painting with Light: Festival of International Films on Art
In Jackson Heights by Frederick Wiseman

By Frederick Wiseman

Jackson Heights in Queens, New York City, is one of the most ethnically and culturally diverse neighbourhoods in the United States. There are immigrants from every country in South and Central America, as well as large communities from Pakistan, Bangladesh, India, Afghanistan, Thailand, Nepal and Tibet. Some are citizens, some have green cards, some are undocumented. Together, they speak 167 languages and represent the new wave of immigrants to the United States.

Veteran director Frederick Wiseman quietly observes the residents as they go about their daily lives at their businesses, community centres, religious institutions and street festivals. In doing so, he captures their struggle to uphold traditions from their countries of origin while adapting to American ways and values. The social and economic issues that they face in their efforts for assimilation, integration and inclusivity parallel those of their counterparts in other major cities around the world. As with all his films, Wiseman adopts a direct cinema approach to documenting life in Jackson Heights, painting a broad and complex portrait of contemporary life.

In Jackson Heights has been screened in prestigious festivals worldwide including the Venice Film Festival (2015), Toronto International Film Festival (2015), Busan International Film Festival (2015) and Copenhagen International Documentary Festival (2015). It garnered the New York Film Critics Circle Award for Best Non-Fiction Film (2015).

Start Sales Date

Early Bird Sale
13 Sep 2018, 9am - 28 Sep 2018, 12am

Other Channels:
13 Sep 2018, 10am - 27 Sep 2018, 8pm

Public Sales
28 Sep 2018, 12am

Other Channels:
28 Sep 2018, 10am


In English, Spanish and Arabic with English subtitles




Approximately 189 minutes

Promoter Name

Rating / Age Limit

  • Rating: M18 (Some mature content)
  • No admission for infants in arms.
  • Admission is subject to tickets and valid IDs produced at the entrance.

Photography / Video Recording Rules

  • No flash photography or videography is permitted in the galleries.
  • Still photography (no flash) for non-commercial use is permitted.
  • Photography may not be permitted in the special exhibition galleries.
  • Use of selfie sticks and tripods is also not permitted in the galleries.

Additional Info

  • No food and drink (including bottled water) is permitted in the galleries.
  • Tickets are only valid on the stipulated date, and for one entry.
  • Tickets cannot be refunded, sold or exchanged, and are void if altered.
  • Concession tickets are only valid for visitors who meet the concessionary requirements.

Through All SISTIC Channels
S$8.00 per ticket for Early Bird Adult
S$8.00 per ticket for Early Bird Senior (with valid ID)
S$8.00 per ticket for Early Bird Student (with valid student pass)
S$8.00 per ticket for Early Bird NSF (with valid 11B card)
[Applicable from 13 Sep 2018 till 27 Sep 2018]

Frederick Wiseman (b. 1930) has directed over 40 documentaries since 1967 that explore the human experience in a wide variety of contemporary social institutions. His first film, Titicut Follies (1967) saw him venturing inside a Massachusetts hospital for the criminally insane. Since then, his subjects have included a ballet company in New York and National Gallery London. He received the IFDA Living Legend Award in 2009, the Golden Lion for Career Achievement in 2014 and the Academy Honorary Award in 2016.


National Gallery Singapore presents Painting with Light: Festival of International Films on Art Motherland by Ramona S. Diaz
MOTHERLANDBy Ramona S. Diaz Motherland takes us into the heart of the busiest maternity hospital in one of the poorest and most populous countries—the Philippines. Dr. Jose Fabella Memorial Hospital in Manila is a refuge for expectant mothers surviving below the poverty line, most of whom cannot afford contraception or the $60 delivery fee. It administers as many as 100 deliveries a day and treats sick infants at highly subsidised rates.Director Ramona Diaz employs an absorbingly intimate, vérité approach in documenting the daily routines of the hospital—nurses taming the chaos of emergency arrivals, mothers recovering in beds with double or triple occupancy, parents providing “Kangaroo Mother Care” to premature babies. Once these become familiar, the individual stories emerge. The film follows three women—Lea, Lerma and Aira—over the course of their stay, amidst many others who forge fleeting but profound relationships with other mothers, nurses and social workers. Motherland testifies to the warmth, generosity and fortitude of those who live on the margins of society, and those who sustain them.Motherland won the Editing Award for World Cinema – Documentary at the Sundance Film Festival (2017) and the Viktor Award at the Munich International Documentary Festival (2017). Brillante Mendoza is the film’s Executive Producer.
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THE TAILOR / CÔ BA SÀI GÒNBy Tran Buu Loc and Kay NguyenWhat if The Devil Wears Prada were set in Vietnam? The Tailor, a romantic comedy that spans more than 40 years from 1969 to 2017, takes place in the vibrant fashion world of Saigon. Its leading character is the ao dai, the traditional Vietnamese dress.Nhu Y is the impetuous young heiress to Thanh Nu, the most prestigious fashion house in Saigon, established by nine generations of ao dai couturiers. Nhu Y is vocal about her contempt for the ao dai, considering it a relic from a bygone era. She rebels against and her family and refuses to learn the traditional craft. However, a magical twist takes Nhu Y on a humbling journey of self-discovery.  She realises the extraordinary value of her heritage and races against time to save the family business with the creation of a modern ao dai. The Tailor is a heart-warming tale that celebrates the enduring beauty of Vietnamese artistry and vitality of contemporary Vietnamese commercial cinema.The Tailor premiered at Busan International Film Festival in 2017. In 2018, it won Best Feature Film at the Vietnamese Golden Kite Awards and was screened at the Gothenburg Film Festival.
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BONTOC EULOGYBy Marlon FuentesBontoc Eulogy spotlights the haunting story of indigenous Filipinos who were brought to the United States to be “live exhibits” at the St. Louis World’s Fair in 1904. Director Marlon Fuentes draws on live and found footage to piece together the story of his great-grandfather Markod, a warrior of the Bontoc Igorot tribe who was amongst the “live exhibits” at the Fair’s Philippine Village and never returned.Those who associate the famous fair with Judy Garland, clanging trolleys and the sweet melodies of MGM’s musical Meet Me in St. Louis will find that the film offers an antithetical, disturbing view. The Fair was the site of the world's largest-ever "ethnological display rack," exhibiting hundreds of so-called primitive men and women from all over the globe with, and in contrast to, the achievements of Western civilization. In the search for his ancestry, Fuentes provokes a critical look at the dominant Western practice of representing native cultures through an anthropological lens. But Fuentes also encourages the viewers to turn this critical gaze onto the film itself—by constructing a narrative from archival images, propaganda films and dramatic recreations, Bontoc Eulogy prompts us to think about how we perceive and represent history. Bontoc Eulogy won the Silver Medal at the San Francisco Film Festival (1996) and received an Honourable Mention at the Ann Arbor Film Festival (1996). It has been screened all over the world, such as at the Yamagata International Documentary Film Festival (1997), Cinéma du Réel, (2008) and the Centre Pompidou (2008). Most recently, it was exhibited at the Venice Architecture Biennale (2018) as part of the Philippine Pavilion.
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National Gallery Singapore presents Painting with Light: Festival of International Films on Art Arcadia by Paul Wright
ARCADIABy Paul Wright “Once upon a time, in the heart of the British countryside, there lived a fair maiden who, try as she might, could not fit into the world around her […] and was told that the answers to all her problems lay within the land around her.” Director Paul Wright draws from a century of audio-visual archives to construct an extraordinary film essay on the British people’s complex and ever-shifting relationship to the land.  Arcadia begins with a voiceover recounting the tale of “a fair maiden” whose search for answers takes the viewer through imagery that characterises the four seasons, which gives the film its structure. The film employs this allegory to illustrate how the British people’s intimate connection with nature—and with each other—have gradually disintegrated: Spring’s pastoral idylls pass into Summer’s village fêtes from Britain’s pagan past, before leading to Autumn’s mechanised depletion of the land and Winter’s political extremism and death.Arcadia sets a blend of footage from the BFI National Archive, regional archives and British films like Winstanley (1975) to an original score that weaves together new compositions by Portishead’s Adrian Utley and Goldfrapp’s Will Gregory, with Anne Briggs’ folk songs and sounds from nature. The result is a hypnotic experience; visceral cinema that invokes the magic and madness of rural Britain. With this look back at history, Arcadia reminds us that we may yet find a way to (re)write the future.Arcadia was part of the official selection at the BFI London Film Festival (2017) and the Glasgow Film Festival (2018).
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National Gallery Singapore - General Admission
National Gallery Singapore is a new visual arts institution which oversees the largest public collection of modern art in Singapore and Southeast Asia. The Gallery is housed in two national monuments—former Supreme Court and City Hall—that have been beautifully restored and transformed into this exciting venue in the heart of the Civic District.Reflecting Singapore’s unique heritage and geographical location, the Gallery will feature Singapore and Southeast Asian art in its long-term and special exhibitions. It will also work with leading museums worldwide to co-present Southeast Asian art in a wider context, positioning Singapore as a regional and international hub for the visual arts. DBS Gallery presents Siapa Nama Kamu?:  Art in Singapore since the 19th Century "Siapa Nama Kamu?" means "What is your name?" The inaugural exhibition of the DBS Singapore Gallery poses this question, inviting visitors to consider how art may relate to issues of self and community, and what it means to look at Singapore through its art.Drawing on close to 400 works, it explores the influences and practices that have shaped and transformed Singapore art. Each artwork provides insights into why and how an artist responded to his surroundings and circumstances. Taken as a whole, the wide range of artworks reflects the complexities involved in telling this extensive story. UOB Southeast Asia Gallery presents Between Declarations and Dreams: Art of Southeast Asia since the 19th Century If one thing characterises Southeast Asia, it is change. A meeting point for major civilisations, religions and colonial powers, it has experienced a tumultuous social and political history, marked by a complex relationship between local traditions and influences from the West.Between Declarations and Dreams looks at Southeast Asian art’s continuous encounter with the new, and how artists negotiated meaning and expression as they grappled with change. A powerful exhibition, it displays close to 400 artworks, as well as rare books and artefacts.
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National Gallery Singapore presents Painting with Light: Festival of International Films on Art Double bill: Glimpse by Artur Żmijewski & Central Airport THF by Karim Aïnouz
DOUBLE BILL: GLIMPSE by Artur Żmijewski & CENTRAL AIRPORT THF by Karim Aïnouz How do you view a refugee? Two visual artists call attention to the politics of seeing.GLIMPSEBy Artur ŻmijewskiGlimpse is a single-channel video shot at four refugee camps in Germany and France: Berlin Tempelhof Airport, the “Jungle" in Calais, Grande Synthe camp near Dunkirk, and a makeshift site in Paris. This short is reminiscent of ethnographic films from the past that held their subjects at a distance to survey and define their Otherness. Inevitably, these films often become a gaze at abjection.Director Artur Żmijewski alludes to these films by drawing on their stylistic traits. For Glimpse, he filmed in black-and-white with a 16mm analogue camera, did not use sound, and focused on physical attributes and living conditions. In this way, Żmijewski forces us to confront the way we see today’s refugees, and tests the boundaries of what is and is not acceptable.Courtesy of the artist, Galerie Peter Kilchmann, Zurich and Foksal Gallery Foundation, WarsawCENTRAL AIRPORT THF / ZENTRALFLUGHAFEN THFBy Karim AïnouzBerlin Tempelhof Airport opened in 1923. Once the main aviation hub for Germany, it later became a Nazi military base, and then the supply centre for Allied sectors during the Berlin Blockade. Today its massive hangars are used as one of Germany's largest emergency shelters for asylum seekers like Syrian student Ibrahim Al Hussein and Iraqi physiotherapist Qutaiba Nafea, whose personal stories direct this documentary. Along with thousands of others, they have adapted to a life-in-waiting filled with German language lessons, medical checks, and interviews with social services.Director Karim Aïnouz’ sensitive compositions and long takes—visual poetry—surface the beauty of the historic airport’s architecture and the humanity of its inhabitants. This presents another way of seeing that contrasts with the tendency of reducing refugees to quick statistics, especially in policy-making. But even though an elderly refugee describes the airport as “heaven,” many residents must struggle with homesickness, post-traumatic stress disorder and fear of deportation. It is the hope of attaining residency and a fresh start that sustains them.
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National Gallery Singapore presents Painting with Light: Festival of International Films on Art Their Remaining Journey by John Clang
THEIR REMAINING JOURNEYBy John ClangTheir Remaining Journey weaves together three different stories: a theatre actress meets an untimely death and awaits reincarnation while her soul is trapped with an unknown family in Singapore; a yoga instructor travels to New York, unable to escape from the memory of a dead-end relationship; and a Singapore immigrant in Taiwan desperately tries to muster the courage to tell his wife of his illness and remorse. Connected through their loneliness, the protagonists attempt to negotiate personal loss and displacement.This debut feature by acclaimed Singaporean visual artist, John Clang, exhibits the same sensitivity to everyday moments demonstrated in his award-winning photographic works. Quietly insistent, the camera enters the intimate worlds of his characters, portraying their private consternation from being in between states. At the same time, these beautifully shot black-and-white portraits tell of an existence that transcends time and space, life and death.Their Remaining Journey had its world premiere at the International Film Festival Rotterdam (2018) and garnered a nomination for the Bright Future Award.The programme on Sat 13 Oct, 4.30 pm includes a post-screening dialogue with director John Clang, producer Elin Tew and director of photography Lavender Chang.
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IN ART WE TRUSTBy Benoît RosselWhat makes an artist? In Art We Trust examines the figure of the artist in the 21st century, painting a portrait of a fascinating vocation that is considered sacrosanct by some and mocked by others.The profession is as complex as the individuals within it. In Art We Trust provides an intimate and truthful portrayal of artmaking by capturing a diverse group of visual artists at different stages in their practice. Director Benoît Rossel quietly films them in their working environments, observing the subtleties of their processes, ambitions, self-doubts, convictions, and compromises, often with a touch of ironic humour. As a result, the film is directed by the trajectory of the artists’ sharing and radiates honesty, making it a playful and moving allegory of the artist in contemporary society.Artists featured in the film (in order of appearance): Lawrence Weiner, Gregory Forstner, Guy Sherwin, Luc Andrié, Dennis Adams, Olivier Masmonteil, Benoît Maire, Liam Gillick, Julie Mehretu, Laurent Grasso, Ayako David Kawauchi, Esther Ferrer, Valérie Jouve, John Armleder, Géraldine Bize, Miguel Meneses, Nastassia Cougoulat, Nathalie Perrin, Mathieu Mercier, Bridget PolkIn Art We Trust competed at International Festival of Films on Art (2017) in Montreal, CPH:DOX (2017) and Visions du Reel (2017).
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National Gallery Singapore presents Painting with Light: Festival of International Films on Art Double bill: The Great Theatre by Slawomir Batyra & state-theatre #5 BEIRUT by Daniel Kötter and Constanze Fischbeck
DOUBLE BILL: THE GREAT THEATRE by Slawomir Batyra & STATE-THEATRE #5 BEIRUT by Daniel Kötter and Constanze FischbeckThis double bill explores the connection between theatre and state, and how action may be possible in the heart of their respective public arenas—the stage and the city centre. It leads us to consider how unseen members are in fact the actors who create these spaces.1. THE GREAT THEATRE / WIELKI TEATRBy Slawomir BatyraThe Great Theatre offers a reverent gaze at the unseen players behind the staging of Giacomo Puccini’s Madama Butterfly at the Grand Theatre - Polish National Opera in Warsaw, the largest theatre in the world. Instead of focusing on the performance, the film’s entire focus is on the theatre’s production crew: costumers, carpenters, musicians, janitors, without whom the show cannot go on. Director Batyra uses the allegory of theatrum mundi—the idea that the world is a stage with characters directed by a divine author—to present those who work offstage as keepers of fate, and central to the Theatre’s greatness.2. STATE-THEATRE #5 BEIRUTBy Daniel Kötter and Constanze FischbeckSix Beirutis accompany the camera on its one-hour tour across Beirut Central District, the historical and geographical centre of the capital, as well as the financial and administrative hub of Lebanon. One by one, these off-camera narrators—architect Rani Al Rajji, Solidere urban planner Amira Solh, theatre director Antoine Moultaka, artist Nesrine Khodr, real estate advisor Karim Makarem, and architect Maxime Hourani—guide the viewer through various zones surrounding the now- abandoned city centre, Martyrs’ Square. As the tour progresses, it becomes clear that the city’s architecture reflects a segregated society without a commons. Civil War ruins adjoin a vibrant neighbourhood, and the luxury shopping district is situated next to wasteland. However, as each local guide ascribes his or her own set of meanings to spaces along the way, they appropriate them, and collectively create a narrative of the city. Directors Daniel Kötter and Constanze Fischbeck mirrors this process in the film form by incorporating these multiple perspectives in one take. What results from this careful choreography is a documentary that provides a common space—or stage—for these six guides to share in the mythmaking of Beirut and Lebanon.This programme includes a post-screening dialogue with Daniel Kötter, director of state-theatre #5 BEIRUT.
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APPROVED FOR ADOPTIONBy Jung and Laurent BoileauJung is a comic artist. While his Belgian identification card lists his age as close to 44 years, Jung sees himself as five years younger: he regards his “real” birth date as the day that a Korean policeman found him wandering the streets of Seoul alone. He was eventually adopted by a Belgian family and is now part of the Korean diaspora, one of 200,000 Koreans who were abandoned in the Korean War and sent away from their motherland to new homes around the world.Approved for Adoption documents the now-adult Jung’s first trip back to South Korea, where he is compelled to relive childhood memories of growing up in a foreign country as an adoptee of a different ethnicity. These memories are presented through home videos and animated vignettes made from his drawings. This return to his birth country—and his past—surfaces unresolved emotions, and Jung grapples with accepting himself through his art.Approved for Adoption clinched the Audience Award at the Annecy International Animated Film Festival (2012), the Grand Prize for Animation at the Japan Media Arts Festival (2013) as well as the Grand Prix and Audience Award at the Animafest Zagreb (2013).
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National Gallery Singapore presents Painting with Light: Festival of International Films on Art In the Steps of Trisha Brown by Marie-Hélène Rebois
IN THE STEPS OF TRISHA BROWN / DANS LES PAS DE TRISHA BROWNBY MARIE-HÉLÈNE REBOISTrisha Brown is one of the most influential choreographers of the post-modern era. She transformed modern dance through her experimentation with movement and a new language that resists standard notation. In 2013, the Paris Opera Ballet restaged Glacial Decoy (1979), the seminal work that Brown produced in collaboration with visual artist Robert Rauschenberg, who created its costumes and slide projections. In the Steps of Trisha Brown takes us behind the scenes to the rehearsal studios where this new generation of dancers are endeavouring to grasp the principles of her practice under the mentorship of Lisa Kraus, former dancer with the Trisha Brown Dance Company, and Carolyn Lucas, co-artistic director of the Company.Rehearsal sequences are punctuated with archival footage of Brown in action, video excerpts of the original production, and her iconic early works such as Man Walking Down the Side of a Building (1970) and Roof Piece (1971). As the lessons progress, the dancers are forced to part with familiar principles of composition to achieve what Brown called a state of “pure movement.” They have to recalibrate their bodies to move in a different way—off-centre. This process soon reveals how radical her practice was in expanding perceptions of performance, and the enduring nature of her legacy.In the Steps of Trisha Brown was part of the official selection of films in the FID International Film Festival Marseille (2016), and won the Jury Prize at the Montréal International Festival of Films on Art (2017).This programme includes a post-screening dialogue with dance artist Susan Sentler (Lecturer, School of Dance & Theatre, LASALLE) on the principles of Trisha Brown’s practice that have inspired her own. She will also discuss LASALLE’s upcoming re-staging of the early works Leaning Duets I (1970), Sticks (1973) and Spanish Dance (1973), organised in conjunction with the Gallery’s exhibition Minimalism: Space. Light. Object (16 Nov 2018 – 14 Apr 2019).
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National Gallery Singapore presents Painting with Light: Festival of International Films on Art Double bill: Focus Iran by Nathalie Masduraud and Valérie Urréa & Hashti Tehran by Daniel Kötter
DOUBLE BILL:FOCUS IRAN by Nathalie Masduraud and Valérie Urréa & HASHTI TEHRAN by Daniel KötterThis double bill presents an alternative image of Iran, offering a glimpse of the country through the eyes of those at its margins. In Focus Iran, we meet photographers whose works complicate state narratives; in Hashti Tehran, we see how suburban communities can define the spaces they use and occupy.FOCUS IRANBy Nathalie Masduraud and Valérie UrréaIn the Islamic Republic of Iran, a young and daring photographic scene is presenting a new image of the country that is distinct from Western clichés. Leading photographers Solmaz Daryani, Gohar Dashti, Shadi Ghadirian, Abbas Kowsari, Tamineh Monzavi, and Newsha Tavakolian, as well as Anita Ghabian, one of Iran’s most famous photo-gallerists, open up about their artistic practices and personal experiences with censorship.Directors Nathalie Masduraud and Valérie Urréa travel across the country, from Tehran to Lake Urmia near the Azerbaijan border, documenting the artists at work in their studios, on location shoots and at exhibitions. Despite the constraints placed on artmaking in this highly patriarchal society, these artists have chosen to remain in Iran out of love for their profession and country, as well as a deep conviction to chronicle untold stories. They employ metaphor and humour in their work to offer quiet resistance and shed new light on Iran, a complex land torn between tradition and modernity.HASHTI TEHRANBy Daniel KötterThe hashti is the area behind the main door in traditional Iranian houses, where arrivals are received before being directed towards either the public courtyards or private quarters. In Hashti Tehran, director Daniel Kötter draws parallels between the hashti and the outskirts of Iran’s capital city of Tehran. He presents them as regulatory spaces that determine what is considered the centre or a periphery; urban or non-urban.This experimental documentary, produced in collaboration with locals Shadnaz Azizi, Kaveh Rashidzadeh, Amir Tehrani and Pouya Sepehr, examines the effects of urban planning on four very different suburbs outside Tehran: Tochal mountain in the north, the area around Lake Chitgar in the west, the Pardis Town housing project in the east, and the neighbourhood of Nafar Abad in the south. The views of the landscape and off-camera conversations reveal the conflict between the state-sanctioned capitalist drive for privatisation and urban development, and the community’s need for public spaces and natural environs. Hashti Tehran observes how spaces are defined through occupation by people—in this case, at the margins—and not by central administration.This programme includes a post-screening dialogue with Daniel Kötter, director of Hashti Tehran.
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National Gallery Singapore presents Painting with Light: Festival of International Films on Art The Graduation by Claire Simon
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National Gallery Singapore presents Painting with Light: Festival of International Films on Art Megalodemocrat: The Public Art of Rafael Lozano-Hemmer by Benjamin Duffield
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National Gallery Singapore - Family Art Workshop
Family Art Workshop: Bold BrushstrokesSat 13 Oct | 1.30–3pm | City Hall Wing, Level 1, Keppel Centre for Art Education | $20 per adult-child pair or $30 per adult-child trio, Book| Ages 7 and above Explore legendary artist Wu Guanzhong’s art that fuses the traditional medium of Chinese ink with modern brushstrokes. Then create your own innovative ink masterpiece under the guidance of an experienced Gallery facilitator.Family Art Workshop: The Art of ShapesSat 10 Nov | 1.30–3pm | City Hall Wing, Level 1, Keppel Centre for Art Education | $20 per adult-child pair or $30 per adult-child trio, Book now | Ages 7 and above Be inspired by abstract works of art that Singapore artists created and make your own abstract sculpture or painting under the guidance of an experienced Gallery facilitator.
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National Gallery Singapore presents Painting with Light: Festival of International Films on Art Louvre City by Nicolas Philibert
LOUVRE CITY / LA VILLE LOUVREBy Nicolas PhilibertWhat does the Louvre Museum look like without its thousands of daily visitors? In late 1988, the Museum was closed for refurbishment, I.M. Pei’s now-iconic glass pyramid was still being built, and the world’s largest art institution was at the beginning of a colossal transformation birthed by French President François Mitterrand’s Grand Louvre plan. Louvre City takes us into the heart of this historic period.  Director Nicolas Philibert was originally authorised to only record Charles Le Brun’s massive canvases being taken out of the reserves, but filmed at the museum for five months on a hunch that something momentous was about to happen.Shot on Super 16 film without commentary, Louvre City recalls the silent “city symphony” films of the 1920s, which chronicled the life of the urban dweller from daybreak to nightfall. Similarly, this film depicts the Museum as its own city-state, and the daily lives of its employees—rather than its artworks—are the focus of the film. What is usually off-limits to visitors is made visible: miles of underground passages and chambers containing countless treasures, curators arguing over the painting selection, and cleaners wiping down the display case housing the Mona Lisa. In describing his approach, director Nicolas Philibert said “(he) filmed the people in the Louvre the way you might film a ballet.” The result is a masterpiece that transfigures the seemingly mundane work of museum employees into a captivating story.Louvre City won Best Documentary at the Prix Europa (1990) and the Intermedia Award at Cinéma du Réel (1990).The programme includes a post-screening dialogue with Ong Zhen Min (Deputy Director, Artwork & Exhibition Management, National Gallery Singapore) on contemporary practices in collections management, with a focus on the processes adopted by the Gallery.
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National Gallery Singapore presents Painting with Light: Festival of International Films on Art The Seen and Unseen by Kamila Andini
THE SEEN AND UNSEEN / SEKALA NISKALABy Kamila AndiniTen-year old Tantri is reluctant to approach her twin brother Tantra as he lies in hospital, gravely ill. Instead, she finds herself waking up nightly in surreal dream states that allow her to resume playing and talking with her brother. Tantri expresses her unspoken grief through the Balinese arts of dance, song and shadow-play, and bids farewell to her dying brother.The Seen and Unseen references the Balinese philosophy of sekala niskala, which posits that the universe extends beyond the material realm to the supernatural. This holistic view is prevalent in many Southeast Asian cultures. Such duality is clear from the outset of the film: male-female buncing twins are “a symbol of balance” according to Tantra’s nurse, and are believed to have a profound union. Director Kamila Andini further visualises this in hauntingly beautiful sequences that alternate between day and night, and physical and spiritual worlds. Soon, it is no longer clear or important to know where one ends and the other begins.The Seen and Unseen was part of the official selection at the Toronto International Film Festival and Busan International Film Festival in 2017. It won the Best Youth Feature Film at the Asia Pacific Screen Awards (2017) and the Grand Prix of the Generation Kplus International Jury for the Best Film at Berlinale (2018).The programme on Sat 6 Oct, 2pm is followed by the Special Focus public forum on death and spirituality in Southeast Asia, with director Kamila Andini as part of the film panel. Patrons who have purchased tickets to this screening are guaranteed seats at the forum. Online reservation for limited forum-only seats is available on the Gallery website.
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Event Date
Sat, 27 Oct 2018


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Standard : S$10.00

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