many returns: identity, memory and place

8/12/2019 Many Returns: Identity, Memory and Place

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many returns

selected works on

memory, identity and place


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Opposite:9September2012,Melbourne-Anactualcofeecup readingwithYunusAkin,aTurkishmigrantcurrentlyliving inAustralia.Thereadingwasrecordedandusedasaudio for a video work that was presented in Sile, Turkey.

The arst 2013

I acknowledge those individuals who have provided support, ethusiasm and encouragement throughout this journey. Among

them I am especially grateful to Dr Geo Hogg, Dr Maggie McCormick, Anthony McInneny and to all my collaborators, arsts,

colleagues, and friends who shared their insights and experiences througout the duraon of my study.

Special acknowledgment is due to two exceponal women in my life; Julia Bilecki who remains an inspiraon, helping me to keep

all things in perspecve and to my mother Linda Manalo for her grounding power, good will and love.

Photography

Riza Manalo: all photographs

except the following

Giordano Biondi: page 96

Jason Edwards: pages 22 - 25

Cover image: Pascal Huynh


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The Visitor - 2013 | Outdoor Video Projecon | Mechanics

Instute - MoreArt Public Art Show | 5:00 mins looped


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Contents

Introduction p. 6Abstract Research QuestionContext

Methodology

Outcomes

Chapter one Artist Background, p. 8Approach and Inspiration

Chapter two Memory p. 21Where should the birds y after the last sky?The Arrival

The Shade of Glade

Many Returns

The Sea is Present

Chapter three Identity p. 39The Afghan Mens Shed

Unveiling the Veil

The Visitor

Chapter four Place p. 63Traverse

VACUI

Conclusion p. 106List of Readings p. 108About the Artist p. 110


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Introduction

Movement is not just the experience of shiing from place to place, it is also linked to our ability to imagine the

alternave. The dream of a beer life and the nightmares of loss are both expressed by the metaphor of the journey. It

is not only life narrave but the very spirit of our me which seems to be haunted by the metaphor.

Nikos Papastergiadis, The Turbulence of Migraton

Abstract

Many Returns is a series of works addressing experiences related to migraon and mobility,

cultural displacement and the co - existence of cultural idenes in a place. It focuses on

relaonal transivity, using various mediums to create new meanings through conversaon,

interacon and collaboraon. The work is an exploraon of process and narrave that involves

dialogue with diverse groups of people focusing on shis, transion and the condions of living

between polaries of culture, geography and the nature of intersal realies.

Research Questions

Whatistheimportanceofcollaboratonandcollectveproductoninthedevelopmentofnewsocial meanings in contemporary art and culture?

Canatme-basedwork connect andengage viewers andparcipants in theproducton andtransmission of meanings across the public sphere?

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ContextAt present, globalizaon has presented new direcons of movement and ideas that confront

paerns of exchange between arsts and communies across the globe. The aim of the

research is to understand the role of an arst as a mediator to explore and convey new forms

of representaon by incorporang the use of various media formats based on empirical

research amongst individuals living transnaonal lives.

Methodology

Conducted Research Contextual, Theorecal and Cultural Studies Practce - Led Research

Visual and Textual Documentaon

Critcal and Refectve Practce

Community Parcipaon and Facilitaon

Conducted Technical Research and Experiments Studio pracce

Producon of works using various media formats

Outcomes

My research project is a series of works that explore the metaphors and the daily paerns that

create imagisc experience of the physical, visceral and the underlying subjecvity experienced

through the body, in transion and shi and the nature of the intersal realies.


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Chapter oneArtist Background,

Approach and Inspiration

My art pracce connues to integrate various forms

of digital media to explore the issues of isolaon and

migraon across borders. I was born in the Philippines

and received my Bachelor of Fine Arts in Painng from

the University of the Philippines. My early body of work

explored quesons of identy through the modes of

painng, site-specifc installaon and video.

I also use my lifes experience as a reference in my

work. Having had to constantly move during my

childhood I also worked on a series of compositons

which were both autobiographical and also a

commentary on the nomadic existence of many

Filipinos as a result of social condions in the

Philippines.

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Lost In Transion, Mate! - 2010 | 15 minutes - A site

specic video documentary about female internaonal

students from diverse backgrounds sharing their views

about transion into a new culture.

My move to Melbourne has shifed my art pracce to Community

Cultural Development, which focused on working creavely with

communies on their own ground, and issues, through cultural

pracce and expression. I worked for ve years as a Community

Arts Ocer with dierent migrant and refugee groups in building

leadership, capacity and skills using dierent art forms. I was

inspired by the strength and resilience of these people, who facedthe dicules of adapng to a new country and culture with

courage, creavity and humor. During that me, I ulized

Parcipatory Video (PV) as a tool to encourage the community to

be drivers of change by creang videos that can help them express

their needs and hopes from their own perspecve. As a PV

praconer and a facilitator my goal was to help give a voice and a

face to those who are not being heard or seen. I was able to share

my knowledge and skills to the community by facilitang

workshops in video producon, digital storytelling and

documentary techniques so that they can make their own flms.

Most of my work in Australia has been dedicated to providing

dierent arsc plaorms to communies in a contemporary form

and refecve way. My desire to promote cultural diversity within

my pracce is very much visible in my work. Through those

projects I learned to explore new ways in creang my works and

develop new grounds to engage the viewer in an interacve way.

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Talk You Me - 2011 | 10 minutes - A video projecon and installaon of newly

arrived asylum seekers living in Broadmeadows Victoria.

When language is lost and new meanings sought, English becomes the second

language and our human language is revived in an experimentaon of

movement, lyrics, rhythm and stories.12


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PARTICIPATIONusually takes place in group situaons is based on a

diferenaon between producers and recipients, is interested in

the parcipaon of the laer, and turns over a substanal poron

of the work to them either at the point of concepon or in the

further course of the work.

COLLABORATIONtakes the audience to designated co-producers

and an implicit part of the piece usually over an extended period of

tme.

My process of collaboraton is based on conversatonal exchange

and interacon. It explores the dynamics of dierences while leng

go of personal boundaries and embracing a consensual vision to

create a body of work that reects the mainstream culture.

The projects unexpected outcomes ofen assist to mediate

meanings, negotaton of perspectves, commonalites and

diferences. The dialogical approach in the process expandsunderstanding, knowledge and trust within and outside the group;

the exchange of personal narraves propels the creaon of art

drawn from life.

My role as an arst is to reveal reality in my work. I believe truth

must be in art and it has to portray the contradicons, experiences

and conicts of social life in the same way as these appear in the

mind and life of actual human beings. My focus is to reveal the truth

of the human condion and to integrate art in real life context

through the exploraon of process and narrave that involves

dialogue and collaboraon with other arsts and diverse groups of

people to address issues that arise from experiences related tomigraon, cultural displacement and the co - existence of cultural

identtes in a place.

In my work I draw on my training in visual arts as well as self -

taught invesgaons of lm, photography, video and audio. My

works employ many types of material and disciplines. With my

installaons I share an understanding of sociopolical subtexts that

is imbedded in consciousness, body and place. As an arst working

on specic sites, my methods of making oen serve as an invocaon

of memory, identy and belonging in a place. The combinaon of

conceptual ideas, materials, collecve narraves and labor is crucial

in my work.

My arsc pracce is related to the emphasis of me, material and

process in relaon to the experience of the body. I worked on the

premise that we are in constant transion it is the in - between

spaces we inhabit that is the focus of my research. I am interested

in the relaonship between body and transional spaces. How a

space thru memory can create moments of similaries from the

past to construct an imagined state in the present.


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Twilight (UK) 2005 I 5 minutes -Twilight is the fourth lm in the Civic Life series in which desperate opmists look into the hopes and fears of the disparate communies

upon which they turn their lens. Shot on a boat on the Tyne against the spectacular backdrop of the seven Tyne Bridges, Twilight is an

inmate exploraon of the ebb and ow of life involving 5 residents from Tyneside.

Inspiration

I have been inspired by dierent arsts working from a range of disciplines to communicate new arsc

possibilies. The arsts I have come across during my research worked mostly with moving image andinstallaon. Their work explores the relaonship of community, identy and place. I was drawn to their process,

materials and approach on experienal and temporal public artworks.

Civic Life is an assembly of intriguing and highly disncve short lms from Brish directors Chrisne Molloy and

Joe Lawlor. Since 2003, the pair have worked on a series of short lms made in negoaon with local residents

and community groups and exploring the relaonship these communies have to their immediate environments.

This special presentaon fnds the eight flms edited together without tles or credits; the resulng uncertainty,

as to when one lms ends and another begins, serves to draw out and intensify the overlapping themes of

identy and place, belonging, hope, loss, and new beginnings.

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Tiong Bahru (Singapore, UK) 2010 | 20 minutes -Following three people of dierent ages over the

course of one aernoon as they reach a crucial

decision in their lives, Tiong Bahru is a lyrical and

thoughul short lm that explores ideas of

belonging, place and family. Filmed on beautful

35mm cinemascope in the hawker centre and

market of the heritage estate of Tiong Bahru in

Singapore, Tiong Bahrufeatures a cast of over 150

volunteers from Singapore.

Leisure Centre (Ireland, UK) 2005 | 17minutes -

Leisure Centre was flmed in September 2005 in the

new, only partly opened, leisure centre situated on

Main Street, Ballymun and it follows a young man

through the rooms and down the corridors of the

building where he works as he struggles to come to

terms with his new role as a father. It is his partner,

the mother of his child, who helps him to open his

eyes and imagine a beer future for him and his

young family.

Joy (UK) 2008 |9 minutes -Joyis a story about a 17-year-old girl, Joy, who

has gone missing. The police stage a

reconstrucon of Joy's last known movements in

a local park. But by the me the reconstrucon isended it is clear that what we are watching is

more than a reconstrucon of a teenager's last

movements but rather a meditaon on the

fragility of youth.


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The Tijuana Projecton 2001

Public projecon at the Centro Cultural de Tijuana, Mexico

(as part of In-Site 2000)

Krzysztof Wodiczko

Courtesy Gallery Lelong, New York

Krzysztof Wodiczko creates large-scale slide

and video projectons of politcally-charged

images on architectural faades and

monuments worldwide. By appropriang

public buildings and monuments as backdrops

for projectons, Wodiczko focuses aenton on

ways in which architecture and monuments

refect collecve memory and history. In 1996,

he added sound and moon to the

projecons, and began to collaborate with

communites around chosen projecton

sitesgiving voice to the concerns ofheretofore marginalized and silent cizens

who live in the monuments shadows.

Projecng images of community members

hands, faces, or enre bodies onto

architectural faades, and combining those

images with voiced tesmonies, Wodiczko

disrupts our tradional understanding of the

funcons of public space and architecture. He

challenges the silent, stark monumentality of

buildings, acvang them in an examinaon of

noons of human rights, democracy, and

truths about the violence, alienaon, andinhumanity that underlie countless aspects of

social interacon in present-day society.


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Passage, Color video and sound installaon,

11 min., 30 sec. , editon 5/6, dimensions variable, 2001

Shirin Neshats visually compelling lms explore the culture of Islam, especially the

condion of women in that world, where they have more power than is oen

assumed. By quesoning sexual polics, Neshat reveals something of the

collecve condion, its rituals, conicts, and emoons. In Passage, a group of men

carry a body wrapped in white cloth across a beach; in the distance, a group of

women veiled in black chadors dig a grave with their hands, while a child arranges

a circle of stones. These minimal, enigmac scenes, set to a haunng score by

Philip Glass, were lmed in the Moroccan coastal town of Essaouira. The locaon,

where Neshat has worked before, is similar in character to the landscape of Iran:

as Neshats work becomes beer known in the West, she is increasingly uneasy

about returning. But geography is almost secondary to the flm. Inspired by the

Israeli-Palesnian conict, specically the televised images of bodies held alo

during funeral processions, Passage may be Neshats most mely and aecng

flm.


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Trinh T. Minh-ha, Surname Viet Given Name Nam,

1989, 16mm flm, 108min, stlls.

Courtesy Moongif Films

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The lm is composed of newsreel and archival footage as well as printed

informaon. The lm features interviews with ve contemporary Vietnamese

women. Surname Viet Given Name Nam allows the pracce of interviews to enter

into the play of the true and the false, and the real and the staged. Trinh T.

Minh-ha by showing both the staged and the "real" interviews it demarcates the

dierences of the two which addresses the invisibility of the polics of interviews,

and further relaons of representaons. The lm asks the viewer to consider

issues such as plural identy, the fcons inherent in documentary techniques, and

lm as translaon. Trinh T. Minh-ha is a lmmaker, writer, composer and professor.

She is an independent lmmaker and feminist, post-colonial theorist. She teaches

courses that focus on gender polics as related to cultural polics, post-coloniality,

contemporary crical theory and the arts. She has been making lms for over

thirty years and may be best known for her lms Reassemblage, made in 1982,

and Surname Viet Given Name Nam, made in 1985.


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the event of thread, December 5, 2012 - January 6, 2013,

Park Avenue Armory, NYC, photos courtesy of Ann Hamilton Studio

Ann Hamilton is a visual arst internaonally

recognized for the sensory surrounds of her

large-scale mul-media installaons. Using

me as process and material, her methods of

making serve as an invocaton of place, ofcollecve voice, of communies past and of

labor present. Noted for a dense accumulaon

of materials, her ephemeral environments

create immersive experiences that poecally

respond to the architectural presence and

social history of their sites. Whether inhabing

a building four stories high or conned to the

surface of a thimble, the genesis of Hamilton's

art extends outwards from the primary

projecons of the hand and mouth. Her

aenon to the uering of a sound or the

shaping of a word with the hand placeslanguage and text at the tacle and

metaphoric center of her installaons. To enter

their liminality is to be drawn equally into the

sensory and linguistc capacites of

comprehension that construct our facules of

memory, reason and imaginaton.


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Where should the birds fy aer the last sky? - 2012

Live Performance, Installaon and Sound

Dandenong Winter Arts Fesval Nocturnal IDuraton 2 hours

Where should the birds fy

after the last sky?

The mobility and transitory elements of the car

presented a sense of not arriving of being suspended

in me and exisng in an in-between space.

The work was experienced at parcular moments in

me and the relaonship to it constantly in transion

an energec exchange that took place from space to

body and the interacve parcipaon of the general

public. Working in these spontaneous situaons evoked

a sense of not-knowing, creang a percepon of

immediacy and aliveness with the surroundings, and

opening up to surprises in improvisaon.

To me, these transional spaces carried a social

message the displacement impacng individuals in

the current global context. The idea ed in with the

noon of a car as a container of stories like the body

as a vessel of lived experiences and memories, pulling

stories out like delving into a subconscious state,

looking for these dormant memories and bringing them

to consciousness.

In this project, I used a motor vehicle as my space to

present the work. The interior of the car was lled with

twigs and scks, newspapers, canned goods, orangesand loaves of bread woven together like a nest. The

twigs and objects created a wall to obstruct the viewer

from seeing what was happening inside the space. The

viewers were able to interact with the work by using

torches to experience the live performance inside the

car.

I invited dance arst Janee Hoe to respond to the

work. We both used the internal space of the car as a

smulus to shape the performance piece. The

performers body in the space represented the

subjects-on-hold, frozen, in transion between lives andcountries. The fear of being viewed by the public was

expressed thru movement and repeve gestures that

suggested paranoia.

I installed a video camera inside the car to capture the

public interacon and live performance in the space.

The audio and video documentaon was presented in a

solo exhibion at a gallery.

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The Arrival - 2013 | Video Installaon and Sound|

The Substaon Gallery | 5:00 mins looped

The Arrival

The Arrival is a dialogue between body and space that represents the

subject-on-hold, frozen, in transion between lives and places. The dark

long periods of stasis in the work suggest the condion of unresolved

trauma that when triggered would create and manifest dissociaon,

confusion and anxiety. The space inside the car was used as a smulus

to shape the performance piece.

The two videos are symbolic pairs, working together to create diferent

abstract moments and open-ended narraves.

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The Shade of Glade

The willow branches were stacked and

hanged inverted from the ceiling creang

a dense environment that acvely

reshaped the space and engaged the

viewer. The obstructed space became a

single whole creatng an amorphous

environment where the material took

over, representng a physical and

psychological landscape. The texture of

the material became the structure of

thoughts and emoon, binding andreconciling past experiences and invenng

future ones.

The installaon can be compared to a

performance, as the process was visible

and connected to acon. I envisioned the

characteriscs of the willow and the

moving image to take over the space, and

hold an acve and passive role over the

enre site.

The Shade of Glade - 2013 | Installaon and Video

Fort Delta Gallery | 4:20 mins looped


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Many Returns - 2012 | Video and Performance | 15:15 mins looped | In collaboraon with dance arst Janee HoeSite: Abandoned Nursing Home, Preston Victoria

Many Returns

The work is an exploraon of memory, identy and the paradoxical

experience of human pleasure and distress when arriving to a new

place. The impact of displacement creates a feeling of uncertainty

combined with unfamiliar images and objects that captures

isolaon and eventual adaptaon.

This ephemeral performance explores the metaphors and the daily

paerns that create imagisc experience of the physical, visceral

and the underlying subjecvity experienced through the body, in

transion and shi and the nature of the intersal realies.


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The Sea is Present - 2013 | Video Installaon | Museo Italiano

4:15 mins looped |Site: Tuz Golu Salt Lake, Turkey

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The Sea is Present

The work emphasises the act of walking to reveal the layers of cultural and historical imprints in the

place. The images of the feet overlapping unfold and locate the past in the space of the present. The

layered movement in the video highlights the visible and the invisible paths created by human

presence. The work is a journey through walking; it unveils traces of memories, connecons and

passages to evoke the nature of intersal realies.


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I have lived away from my sweet homeland for the past seven years.

Honestly I really miss my dear Kabul. I miss the cool breeze of the

spring and the fresh air around.

I miss Paghman picnics. I miss Afghan special bread. I miss my friends.

I miss the congeson of the city

Here in Australia everything is great but for some reason I dont

recognize these things here.

I really miss my homeland but cant return.

I wish I had wings and fy now to my country.

I wish I had wings and fy now to my country.

Away from home and homeless.

From a story teller

Chapter threeIdenty can be dened as the sense that people make of themselves

through their subjecve feelings based on their everyday experiences

and wider social relatons.

P. Knox & S. Marston, Human Geography

Identity

The Afghan Mens Shed

The Afghan Mens Shed was a project in collaboraon with

the Afghan Mens Collecve. The men parcipated in

several workshops to discussed issues and write leers to

the world and their families in Afghanistan. The leers were

a plea from the heart; it expressed their joys, sorrows,

hopes and fears about being an Afghan male in todays

world. Words and phrases from these leers, combined

with the element of light formed the walls, oors, ceiling of

a self-constructed metaphoric space. It represented

fragmented memories of me and place as they described

their struggles with personal and cultural idenes.

I collaborated with the men to conceive and realise the

mens shed. Upon the culminaon of the build, the shed

was installed at Federaon Square as part of the Light in

Winter Fesval, inving women and children to join them.

The public outcome was a live projecon, installaon and

performance in which the public parcipated.


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The Visitor - 2013 | Video Installaon | Counihan Gallery

and Coburg Library | 5:00 mins looped

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The Visitor

This work is a dialogue between body and movement

to explore culture-specic gestures as a form of

greeng to communicate recognion, friendship and

reverence in the space. The physical gestures are aform of welcome where each movement conveys a

variety of dierent acons and thoughts; it is

composed of a small wave of the hand, large

movements incorporang the enre body or simply a

state of being, a posture or a stance. The video is a

symphony of non-verbal expressions that illustrate

the mulcultural nature of gesture.


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I worked with Yumi Umiumare, a performer and

choreographer to develop a dance piece based on theresearch material that I gathered. She used body

movement to express authenc and culture specifc

gestures using one hand, two hands, hand and other

body parts, body and facial gestures.

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This outdoor video projecon was commissioned by

City of Moreland as part of 2013 MoreART Public Art

Show. The large-scale video projecton was

presented at Mechanics Instute while

screen-based format was presented at Counihan

Gallery and Coburg Library.

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Place is a poron of geographical space. Somemes dened as territories of meaning...

Arild Holt-Jensen, Geography, History and Concepts

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Chapter fourPlaceThe name of Sile was derived from genus of labiatae

which is a seasonal phanerogam known as marjoram

colloquially. Within the scope of Siles historical

background that goes back to B.C. 7th Century;

Phrygian, Roman, Byzantne, Seljuk and Ooman

Empires were involved.

This district had been called as Binye due to

setled indigenous race was known as

Binler(Thrace-origin community). Turks had been

seled on that region during Oomans. During 1350

Orhan Bey period, they seled on to outskirts of Sile

and in 1450Yildirim Beyazit period, to central of the

county. Names given to quarters in central of Sile are

names of Yildirim Beyazits raiders.

Sile had been governed by Otoman Empire for 500

years and although was lef to Brish by 1918-Treaty

of Mondros, again was le to Turks aer War of

Independence on date of October 7, 1922. With the

proclamaon of the republic, Sile had become a

municipality and took its place in history as a tourisc

town with its natural and cultural properes and

closeness to Istanbul.

populaton 32447the area 790 km2the number of villages 57the length of the coast 60 km


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The key site and producon studio

is located on the M/S Maltepe, a

decommissioned Bosphorus ferry,

anchored at the breakwater,

sheltering Siles fshing eet.

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I was inspired by the eet of shing boats, objects and materials found around the area and the

daily lives and movement of the local people of the seaside town of Sile.


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TraverseThe research centres on relaonal transivity, using various mediums,

concepts and images to create new meanings and representaons

through conversaon, interacon and collaboraon. The work is an

exploraon of process and narrave that involves parcipaon and

dialogue with diverse groups of people that relates to experiences

aached to identy, memory and site.


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A series of works that reect the transional nature of the sea. The sea as a site of cultural roots, historical

memories and routes; a metaphor for me, distance and change.

Project One - Narraves

100 postcards, with an image of the Tasman Sea were handed out to the locals to create interacon and

parcipaon resulng in conversaons. The postcards generated stories and narraves that related to

memories of the sea.


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People and Places

These postcards were installed in fshing boats at the pier

located in Levent Birben Caddesi. Other locaons included

abandoned buildings, local establishments like restaurants,bakeries, cofee shops in Uskudar Caddesi, which is the main

street of Sile.


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Project Two - Kara Deniz

The stories from the postcards were transcribed in

Turkish onto the old anchor of the M/S Maltepe ship.

The right side of the anchor tells the story of a sisters

mourning of her brothers drowning in the black sea while

the le tells a story of love, passion, freedom and life,

the wrien words in the middle tells a tale about the

power and mystery of the sea. The red wool yarn

represents the life that ows through the veins of the

people who live and work around Siles coastal township.


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The sea always reminds me of my childhood, it is the best way of cleansing

the soul, it will always be with me through my life, present and the future.

Deniz Bayau

Sile, Turkey - Oct., 2012


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VACUI - 2013 | Salt Installaon in Collaboraon with Giordano Biondi | Mildura Palimpsest Biennale # 9

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Palimpsest means a parchment which has been partly erased and re-inscribed,

it evokes the marks made by human selement on the land, the passage of

me, presence and absence, and the web of inter-dependence uning the

natural and the cultural, the material and the immaterial.

Helen Vivian, Mildura Palimpsest Curator

Site: Lake Ranfurly

Located near the juncon of the mighty Murray and Darling

Rivers, on the border of three states and inland to Lake Mungo

World Heritage site, Mildura is a powerful locaon with a

formidable history of engagement with the arts. Hugging the

rivers, vast blue horizons intersect with row upon row of vivid

green citrus and vines ruled into the red desert sands.


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VACUI - 2013 | Video Projecon| Mildura Palimpsest Biennale #9 | 4:00 mins looped

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VACUI II 2013

Video for projecton, sound, 3:21 min loop

In dialogue with the gliering of the salt and the concavity of the boat, is a cosmological sequence of gliering stars;

a close-up of the murky waters of Lake Ranfurly reveals unexpected plays of light. The scorching brightness of the sun

is gently rippled in the salty water, and broken into innumerable lile suns.


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Water, the nonexistent element in the rst part of the installaon appears dark and nearly

invisible in this video; along with salt and light it forms the triad of elements that determines the

landscape; elements that devour, evaporate and absorb each other and produce a harsh cycle of

light, solid and liquid. Within this universe, the human tries to ft in, diverng, digging or

damming his way into the cycle, perhaps unable to embrace it all but gazing at its components.

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The absence of water and the triumph of solidity

around the memory of it or the presence of it,

dark and slow, slowly evaporatng

through the force of miniature

galaxies, twinkling within it.


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Arsts are not only among the most mobile members of a

community, but they are oen outriders of the transformaons

between the local and the global

Nikos Papastergiadis, The Turbulence of Migraton


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List of Readings

Books

Bauman, Z 1998, Modernity and Ambivalence, Polity Press, Oxford.

------ 2000, Liquid Modernity, Polity Press, Cambridge.

Bourriaud, N 2002b, Relaonal Aesthecs, Les Presses du Reel, Dijon.

De Certeau, M 2011, The Practce of Everyday Life,University of California Press, Berkeley.

Deleuze, G 2005, Cinema 2: The Time image, Connuum Internaonal Publishing Group Ltd, London.

------ 1990, Mediators In: Negoaons, 1972 1990, Columbia University Press, New York.

Elwes, C 2005, Video Art: A Guided Tour, I.B. Taurus, London & New York.

Holt-Jensen, A 1999, Geography, History & Concepts, London: Sage Publicaons Limited.

Kester, G 2011, The One and the Many: Contemporary Collaborave Art in a Global Context, Duke University

Press, North Carolina.

Knox, P & Marston S 2004, Human Geography,Upper Saddle River NJ: Pearson Educaton, Inc.

Kwon, M 2004, One Place Afer AnotherMIT Press, Cambridge.

Meskimmon, M 2010, Contemporary Art and the Cosmopolitan Imaginaon: Polics, Ethics, Afect, Taylor &

Francis Ltd, London.

Ming-ha, T 2011, Elsewhere, Within Here, Abingdon: Routledge, New York.

Papastergiadis, N 2000, The Turbulence of Migraon: Globalizaon, Deterritorializaon and Hybridity,

Polity Press, Oxford.

------2012, Cosmopolitan and Culture, Polity Press, Oxford.

Tuan, YF 2001, Space and Place, University of Minnesota Press, Minneapolis.

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Online Resources

art21 2011, Public projecon at the Centro Cultural de Tijuana, Mexico (as part of In-Site 2000),viewed 19

September 2012, .

Hamilton A n.d., Video/Sound, viewed 15 September 2013,

.Neshat S 2001, Passage, (Color video and sound installaon, 11 min., 30 sec., edion 5/6, dimensions

variable),viewed 2 September 2012,

.

Park Avenue Armory 2013,ANN HAMILTON: the event of a thread,viewed 15 September 2013,

.

Trinh T. Minh-ha 1989, Surname Viet Given Name Nam, (16mm flm, 108min, stlls),Courtesy Moongif Films,

viewed 5 September 2012, .


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About the Artist

Riza Manalo's (b. Manila, Philippines) art pracce has been in the producon oftransitory public artworks that reect on shis, transions and the condion of

living between polaries of culture and geography, and the nature of intersal

realites.

many returns: identity, memory and place

Documents