User:Fleur Mulder/sandbox

= Tintin Wulia = Tintin Wulia (Depansar, November 23, 1973), born as Maria Clementine Wulia, is an Indonisian artist. She currently lives and works in Brisbane, Australia. Her artworks are socio-politically charged and often interactive and participatory. The modern, globalized world is a subject in her sculptures and installations. Her works are mostly based on her own experience in the geopolitics of borders. She uses a diverse range of mediums and materials for her installations, performances and interventions, including video, sound, drawing and surveillance cameras. She uses her art videos to give a critique on processes of mediation and media interactivity.

Early life, education
Wulia spent her childhood in Bali, Indonesia, she moved to study architecture in West Java. After that she went to the USA to study music. Then she went to Australia and obtained a docotral degree in visual art.

Works (selection)
Wulia’s interest in the contemporary politics of identity and belonging stems from her family’s background as Indonesians of Chinese ethnicity — an ethnic minority in Indonesia who experienced discrimination and persecution under Suharto’s authoritarian New Order regime (1965–98). Her grandfather was taken and likely killed during the 1965 “anti-communist purge,” and her family silenced and stigmatized in the ensuing decades. Wulia still carries an Indonesian passport for her international travels. This combined experience of dealing with the discriminations of both Indonesian and international citizenship is at the center of Wulia’s broader interest in the geopolitics of migration, borders and belonging.

A Thousand and One Martian Homes, 2017
Single-channel video projection, in two locations, with internetworked surveillance cameras.

A Thousand and One Martian Homes is a series of short stories, each 2 to 3 minutes in duration, about personal stories and family histories. The stories are about reaching out for human connection. They’ve been scripted as a collection of stories set in the year 2165, when humans have started living on mars. The topics of the stories range from how mars became habitable to how enslaved humans were forced to work on mars.

Under the Sun, 2017
Interactive, internetworked installation in two locations, each with a multiple-channel video. Stairway, door, peephole and surveillance camera.

Under the Sun is an installation with a stairway leading to a room on the floor above. On the walls next to the stairways videos are shown of human eyes, peeking out onto the stairs. At the second floor is a peephole on a locked door.Behind this you see a messy room with sketches, a sky map and miniature models of Not Alone.

2017

 * 1001 Martian Homes, Pavilion of Indonesia, 57th Art Exhibition, La Biennale di Vinezia, Italy.

2016

 * Fives Tonnes of Homes and Other Understories (part of Trade/Trace/Transit. 2014-2016), with Osage Gallery as part of Art Basel Encounters, Hong Kong.

2015

 * Untold Movements, 4A Centre for Contemporary Asian Art, Australia.

2010

 * Deconstruction of a Wall, Ark Galerie, Indonesia.

2008

 * Invasion, Motive Gallery, Netherlands.

2017

 * After Darkness Comes the light: Art in the Wake of History, Asia Society Museum, USA.
 * Green Room: Material Politics, Institute of Modern Art, Australia.
 * Beyond Boundaries: Globalization and Identity, Lichtenstein National Museum, Lichtenstein.

2016

 * World Stage, United Nations Habitat III Conference on Housing and Sustainable Development, Ecuador.
 * Más allá del sonido, Museo de la Universidad Nacional de Tres de Febrero, Argentina
 * Koneksi-Connectie: Rethinking Home, Nieuw Dakota, Netherlands.

2015

 * Global Imaginations, Museum de Lakenhal, Netherlands.
 * Whose Game Is It? Royal College of Art, UK.
 * Border Cultures: Part Three (security, surveillance), Art Gallery of Windsor, Canada.

2014

 * The Instrument Builders Project, National Gallery of Victoria, Australia.
 * Infinite Challenge, National Museum of Modern and Contemporary Art, Korea.
 * Concept Context Contestation: Art and the Collective in Southeast Asia, Bangkok Art and Culture Centre, Thailand.