Animistic Apparatus.
This multicomponent output comprises: Ingawanij’s curatorial research leading to the exhibition Animistic Apparatus at Berwick Film & Media Arts Festival (2019); a single-authored journal article; eight co-curated screening programmes. Animistic Apparatus places Southeast Asian moving image works, such as those of Apichatpong Weerasethakul, Lav Diaz, Lucy Davis, Nguyen Trinh Thi, Chris Chong and Korakrit Arunanondchai, in constellation with regional itinerant film projection rituals performed as offerings addressed to powerful spirits. Through curatorial and publication activities, the project develops a speculative method for conceptualising the regional, cinematic, enunciative and relational characteristics of Southeast Asian artists’ moving image. See Portfolio Booklet for documentation of research dimensions.
- Submitting institution
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The University of Westminster
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- qy152
- Type
- T - Other
- DOI
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- Location
- Animistic Apparatus exhibition curated by Ingawanij at the 15th Berwick Film & Media Arts Festival, Berwick-upon-Tweed, September 19 – 22, 2019. Further details in portfolio.
- Brief description of type
- Other: Multicomponent
- Open access status
- Out of scope for open access requirements
- Month
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- Year
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- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- Yes
- COVID-19 affected output statement
- Ingawanij was invited to publish her article component of the output ‘Stories of Animistic Cinema’ in Antennae: The Journal of Nature in Visual Culture. This special issue, Uncontainable Nature: Southeast Asian Visual Cultures, is edited by Davis, Taylor, and Chua. As evidenced in the letter and original publication timeline included in this portfolio, the issue was originally scheduled for publication in Autumn 2020. But the editorial process for the issue as a whole was disrupted by COVID-19, necessitating the publication to be rescheduled to Summer 2021. This output component is the pre-dissemination, author-accepted version accepted for publication in July 2020.
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Ingawanij won the British Academy Mid-career Fellowship to study Southeast Asian artists’ moving image within a de-westernised framework attentive to regional genealogies of medial and ritual forms. At BFMAF, Ingawanij and collaborators enacted the exhibition form as provocation: What if contemporary film exhibitions were reimagined as if they were rituals offered and addressed to nonhuman beings? The exhibition presented works by Davis, Weerasethakul, Diaz, Chong, and Tanatchai Bandasak as site- based installations and film projection ritual, staged as an encounter between the artists’ works and the open-air sites and spaces of historical sedimentation of Berwick-upon-Tweed. Ingawanij’s creative non-fiction article, on cinema as animistic medium routed through Southeast Asia, draws on her curation of the field learning, artistic research and rehearsal event taking place in northeast Thailand involving artists, curators, anthropologists and researchers, and an itinerant film projection troupe. The co-curated screening programmes explore aesthetics of animism in artists’ moving image.
The project conceptualises Southeast Asian artists’ moving image as an animistic medium of enworlding and expression, and as a temporally heterogenous aesthetics whose mode of enunciation implies an ecological conception of human sociality with, and precarious relations to, powerful historical and cosmological forces in more-than-human worlds.
- Author contribution statement
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- Non-English
- No
- English abstract
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