Para sekutu yang tidak bisa berkata tidak - Revision history

Wikihyphen at 09:34, 11 March 2026

2026-03-11T09:34:55Z

← Older revision		Revision as of 09:34, 11 March 2026
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	==The exhibitions==		==The exhibitions==

	===The gift===		===[[The gift]]===

	August 20-November 7, 2021, at the National Gallery Singapore		August 20-November 7, 2021, at the National Gallery Singapore
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	The exhibition drew upon the project’s broader themes of interwoven histories, performed narratives and embodiment. Exemplified by Korean American artist Nam June Paik’s first meeting with German artist Joseph Beuys and the powerful feeling of being deeply moved by each other, SAM’s exhibition focuses on the nature of relations, affinities and influences, wherein history, geography and identity are observed as manifestations of such entanglement.		The exhibition drew upon the project’s broader themes of interwoven histories, performed narratives and embodiment. Exemplified by Korean American artist Nam June Paik’s first meeting with German artist Joseph Beuys and the powerful feeling of being deeply moved by each other, SAM’s exhibition focuses on the nature of relations, affinities and influences, wherein history, geography and identity are observed as manifestations of such entanglement.

	===Nation, narration, narcosis===		===[[Nation, narration, narcosis]]===

	November 28, 2021-July 3, 2022, at Hamburger Bahnhof – Museum für Gegenwart - Berlin		November 28, 2021-July 3, 2022, at Hamburger Bahnhof – Museum für Gegenwart - Berlin
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	“ERRATA”, in general, can be found as inserted sheets or papers within books or printed media, indicating the correction of errors of written texts. ERRATA in this exhibition context serves as a metaphor for MAIIAM Contemporary Art Museum's collection as a manifestation of errata to Thai modern and contemporary art history. It’s not only about correction to and critique of the grand narrative of national centric art history, but offers alternative perspectives of small narratives to counter and contest constructed historiography in the regional and global social and geopolitical context.		“ERRATA”, in general, can be found as inserted sheets or papers within books or printed media, indicating the correction of errors of written texts. ERRATA in this exhibition context serves as a metaphor for MAIIAM Contemporary Art Museum's collection as a manifestation of errata to Thai modern and contemporary art history. It’s not only about correction to and critique of the grand narrative of national centric art history, but offers alternative perspectives of small narratives to counter and contest constructed historiography in the regional and global social and geopolitical context.

	===Para sekutu yang tidak bisa berkata tidak===		=== Para sekutu yang tidak bisa berkata tidak===

	January 27-March 14, 2022, at Galeri Nasional Indonesia, Jakarta		January 27-March 14, 2022, at Galeri Nasional Indonesia, Jakarta

	Departing from the "Jakarta-Paris 1959-1960" (1992) and the "Non-Aligned Countries Contemporary Art Exhibition" (1995) that carved a chapter in the collection of the Galeri Nasional Indonesia, this exhibition investigates relationships amongst artists, their practices and their allegiances, regardless of their nationalities and supposed political identities.		Departing from the "Jakarta-Paris 1959-1960" (1992) and the "Non-Aligned Countries Contemporary Art Exhibition" (1995) that carved a chapter in the collection of the Galeri Nasional Indonesia, this exhibition investigates relationships amongst artists, their practices and their allegiances, regardless of their nationalities and supposed political identities.

GraceSamboh at 10:03, 19 September 2025

2025-09-19T10:03:10Z

← Older revision		Revision as of 10:03, 19 September 2025
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	===Para sekutu yang tidak bisa berkata tidak===		===Para sekutu yang tidak bisa berkata tidak===

	~~aaa~~		January 27-March 14, 2022, at Galeri Nasional Indonesia, Jakarta

			Departing from the "Jakarta-Paris 1959-1960" (1992) and the "Non-Aligned Countries Contemporary Art Exhibition" (1995) that carved a chapter in the collection of the Galeri Nasional Indonesia, this exhibition investigates relationships amongst artists, their practices and their allegiances, regardless of their nationalities and supposed political identities.

GraceSamboh at 10:02, 19 September 2025

2025-09-19T10:02:11Z

@@ Line 1: / Line 1: @@
 ==Collecting entanglements and embodied histories==
-This was a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum, initiated by the [https://www.goethe.de/prj/ceh/en/index.html Goethe-Institut].
+This was a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum, initiated by the [https://www.goethe.de/prj/ceh/en/index.html Goethe-Institut]. It aimed to trace stories, counter-histories, and absent histories whose spirits populate the present and seek new narratives, "Collecting entanglements and embodied histories" explores the question of how these interwoven histories within nation-building processes, individual identity formation, and their embodiment are reflected in artistic works and their exhibition histories.
-It aimed to trace stories, counter-histories, and absent histories whose spirits populate the present and seek new narratives, "Collecting entanglements and embodied histories" explores the question of how these interwoven histories within nation-building processes, individual identity formation, and their embodiment are reflected in artistic works and their exhibition histories.
+From 2017 to 2022, the members of the curatorial team have been sharing their investigations into their respective collections, expanding their research towards each other’s collections, and interrogating each other’s gazes. This dialogue will be followed by four different exhibitions in Chiang Mai, Jakarta, Singapore, and Berlin. These exhibitions are jointly conceived by the curatorial team consisting of '''Anna-Catharina Gebbers''', '''[[Grace Samboh]]''', '''Gridthiya Gaweewong''', '''June Yap'''. In each chapter the nature of the exhibitions were altered, shape-shifted and specifically responded to each site and context with works from the collections of each chapter’s exhibiting institution. Loans from the respective other collections fostered the dialogue of shared knowledge and shared collections concerning shared and entangled histories. There were also film programs, performances, seminars, workshops, and publications conducted in conjunction with each of the site-specific exhibitions.
-From 2017 to 2022, the members of the curatorial team have been sharing their investigations into their respective collections, expanding their research towards each other’s collections, and interrogating each other’s gazes. This dialogue will be followed by four different exhibitions in Chiang Mai, Jakarta, Singapore, and Berlin. These exhibitions are jointly conceived by the curatorial team consisting of '''Anna-Catharina Gebbers''', '''[[Grace Samboh]]''', '''Gridthiya Gaweewong''', '''June Yap'''. In each chapter the nature of the exhibitions were altered, shape-shifted and specifically responded to each site and context with works from the collections of each chapter’s exhibiting institution. Loans from the respective other collections fostered the dialogue of shared knowledge and shared collections concerning shared and entangled histories. There were also film programs, performances, seminars, workshops, and publications conducted in conjunction with each of the site-specific exhibitions.
+August 20-November 7, 2021, at the National Gallery Singapore

GraceSamboh at 09:47, 19 September 2025

2025-09-19T09:47:07Z

← Older revision		Revision as of 09:47, 19 September 2025
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	==Collecting entanglements and embodied histories==		==Collecting entanglements and embodied histories==

	This was a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum, initiated by the [https://www.~~synchronizefestival~~.~~com~~/~~tickets\|~~Goethe-Institut].		This was a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum, initiated by the [https://www.goethe.de/prj/ceh/en/index.html Goethe-Institut].

	It aimed to trace stories, counter-histories, and absent histories whose spirits populate the present and seek new narratives, "Collecting entanglements and embodied histories" explores the question of how these interwoven histories within nation-building processes, individual identity formation, and their embodiment are reflected in artistic works and their exhibition histories.		It aimed to trace stories, counter-histories, and absent histories whose spirits populate the present and seek new narratives, "Collecting entanglements and embodied histories" explores the question of how these interwoven histories within nation-building processes, individual identity formation, and their embodiment are reflected in artistic works and their exhibition histories.

	From 2017 to 2022, the members of the curatorial team have been sharing their investigations into their respective collections, expanding their research towards each other’s collections, and interrogating each other’s gazes. This dialogue will be followed by four different exhibitions in Chiang Mai, Jakarta, Singapore, and Berlin. These exhibitions are jointly conceived by the curatorial team consisting of '''Anna-Catharina Gebbers''', '''[[Grace Samboh]]''', '''Gridthiya Gaweewong''', '''June Yap'''. In each chapter the nature of the exhibitions were altered, shape-shifted and specifically responded to each site and context with works from the collections of each chapter’s exhibiting institution. Loans from the respective other collections fostered the dialogue of shared knowledge and shared collections concerning shared and entangled histories. There were also film programs, performances, seminars, workshops, and publications conducted in conjunction with each of the site-specific exhibitions.		From 2017 to 2022, the members of the curatorial team have been sharing their investigations into their respective collections, expanding their research towards each other’s collections, and interrogating each other’s gazes. This dialogue will be followed by four different exhibitions in Chiang Mai, Jakarta, Singapore, and Berlin. These exhibitions are jointly conceived by the curatorial team consisting of '''Anna-Catharina Gebbers''', '''[[Grace Samboh]]''', '''Gridthiya Gaweewong''', '''June Yap'''. In each chapter the nature of the exhibitions were altered, shape-shifted and specifically responded to each site and context with works from the collections of each chapter’s exhibiting institution. Loans from the respective other collections fostered the dialogue of shared knowledge and shared collections concerning shared and entangled histories. There were also film programs, performances, seminars, workshops, and publications conducted in conjunction with each of the site-specific exhibitions.

GraceSamboh at 09:46, 19 September 2025

2025-09-19T09:46:13Z

← Older revision		Revision as of 09:46, 19 September 2025
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	==Collecting entanglements and embodied histories==		==Collecting entanglements and embodied histories==

	This was a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum, initiated by the Goethe-Institut.		This was a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum, initiated by the [https://www.synchronizefestival.com/tickets\|Goethe-Institut].

	It aimed to trace stories, counter-histories, and absent histories whose spirits populate the present and seek new narratives, "Collecting entanglements and embodied histories" explores the question of how these interwoven histories within nation-building processes, individual identity formation, and their embodiment are reflected in artistic works and their exhibition histories.		It aimed to trace stories, counter-histories, and absent histories whose spirits populate the present and seek new narratives, "Collecting entanglements and embodied histories" explores the question of how these interwoven histories within nation-building processes, individual identity formation, and their embodiment are reflected in artistic works and their exhibition histories.

	From 2017 to 2022, the members of the curatorial team have been sharing their investigations into their respective collections, expanding their research towards each other’s collections, and interrogating each other’s gazes. This dialogue will be followed by four different exhibitions in Chiang Mai, Jakarta, Singapore, and Berlin. These exhibitions are jointly conceived by the curatorial team consisting of '''Anna-Catharina Gebbers''', '''[[Grace Samboh]]''', '''Gridthiya Gaweewong''', '''June Yap'''. In each chapter the nature of the exhibitions were altered, shape-shifted and specifically responded to each site and context with works from the collections of each chapter’s exhibiting institution. Loans from the respective other collections fostered the dialogue of shared knowledge and shared collections concerning shared and entangled histories. There were also film programs, performances, seminars, workshops, and publications conducted in conjunction with each of the site-specific exhibitions.		From 2017 to 2022, the members of the curatorial team have been sharing their investigations into their respective collections, expanding their research towards each other’s collections, and interrogating each other’s gazes. This dialogue will be followed by four different exhibitions in Chiang Mai, Jakarta, Singapore, and Berlin. These exhibitions are jointly conceived by the curatorial team consisting of '''Anna-Catharina Gebbers''', '''[[Grace Samboh]]''', '''Gridthiya Gaweewong''', '''June Yap'''. In each chapter the nature of the exhibitions were altered, shape-shifted and specifically responded to each site and context with works from the collections of each chapter’s exhibiting institution. Loans from the respective other collections fostered the dialogue of shared knowledge and shared collections concerning shared and entangled histories. There were also film programs, performances, seminars, workshops, and publications conducted in conjunction with each of the site-specific exhibitions.

GraceSamboh: Created page with "==Collecting entanglements and embodied histories== This was a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum, initiated by the Goethe-Institut. It aimed to trace stories, counter-histories, and absent histories whose spirits populate the present and seek new narratives, "Collecting entanglements and embodied histories" explores the question of how..."

2025-09-19T09:43:36Z

Created page with "==Collecting entanglements and embodied histories== This was a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum, initiated by the Goethe-Institut. It aimed to trace stories, counter-histories, and absent histories whose spirits populate the present and seek new narratives, "Collecting entanglements and embodied histories" explores the question of how..."

New page

==Collecting entanglements and embodied histories==

This was a dialogue between the collections of Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Singapore Art Museum, initiated by the Goethe-Institut.

It aimed to trace stories, counter-histories, and absent histories whose spirits populate the present and seek new narratives, "Collecting entanglements and embodied histories" explores the question of how these interwoven histories within nation-building processes, individual identity formation, and their embodiment are reflected in artistic works and their exhibition histories.

From 2017 to 2022, the members of the curatorial team have been sharing their investigations into their respective collections, expanding their research towards each other’s collections, and interrogating each other’s gazes. This dialogue will be followed by four different exhibitions in Chiang Mai, Jakarta, Singapore, and Berlin. These exhibitions are jointly conceived by the curatorial team consisting of '''Anna-Catharina Gebbers''', '''[[Grace Samboh]]''', '''Gridthiya Gaweewong''', '''June Yap'''. In each chapter the nature of the exhibitions were altered, shape-shifted and specifically responded to each site and context with works from the collections of each chapter’s exhibiting institution. Loans from the respective other collections fostered the dialogue of shared knowledge and shared collections concerning shared and entangled histories. There were also film programs, performances, seminars, workshops, and publications conducted in conjunction with each of the site-specific exhibitions.