I take stories from around and inside ourselves, and retell them to you with sights, sounds, tactility, space, time and your own perception of things.
Born 1972 in Denpasar, Bali, Indonesia, Tintin Wulia was originally trained as a composer (BMus Film Scoring, Berklee College of Music, USA, 1997) and architect (BEng Architecture, Universitas Katolik Parahyangan, Indonesia, 1998). She grew up in her family-run music school and started performing her own composition at the age of 8. Her first job in high school was as a music teacher, a job she kept alongside her studies and other freelancing like video editing, composing for TV/film and advocacy for critical thinking through film. She also facilitated short workshop series, mostly in documentary filmmaking and animation, until early 2000s when she started to travel too much.
Introduced to digital video during a multimedia employment in 1995, Tintin started making her own short films in 2000. These short films earned her national and international awards, as well as screenings in significant international festivals including the 11th New York Underground Film Festival (2004) and International Film Festival Rotterdam (2005 and 2009). Several were acquired for broadcast by SBS television Australia (2001 to 2003), as well as curated into major international exhibitions including the inaugural OK.Video: Jakarta International Video Festival (2003), the 9th Istanbul Biennale (2005) and 2nd Yokohama Triennale (2005).
Tintin’s exploration into other mediums like interactive installation and participatory performance progresses along with, amongst others, her contribution in Theatreworks’ play Diaspora (Esplanade Concert Hall, Singapore, 2006 and Edinburgh Festival, UK, 2009), her museum presentation Plug In #21 (Van Abbemuseum, Netherlands, 2007), her solo shows Invasion (Motive Gallery, Netherlands, 2008) and Deconstruction of a Wall (Ark Galerie, Indonesia, 2010), her residencies at Cemeti Art House, Indonesia (2008), Khoj Bihar International Workshop, India (2009), ZKM/Centre for Art and Media, Germany (2010) as part of the show The Global Contemporary: Art Worlds after 1989 and Sharjah Art Foundation (forthcoming, 2013). She has also been selected for major exhibitions such as the 13th Jakarta Biennale (2009), 4th Moscow Biennale (2010), 9th Gwangju Biennale (2011), 7th Asia Pacific Triennial (2012), 11th Sharjah Biennale (2013) and 12th Jogja Biennale (forthcoming, 2013). Her works are part of private and public collections in Asia, Australia, Europe and America including at the Van Abbemuseum (Netherlands), Singapore Art Museum (Singapore) and Queensland Art Gallery/Gallery of Modern Art (Australia). She is represented by Osage Gallery, Hong Kong.
Through her works, initially fueled by her experiences growing up as a ‘Chinese’ minority having to keep a family secret in a post-1965 Indonesia and her exposure to the riots during the fall of Soeharto in 1998, Tintin playfully reflects on the human condition of the geopolitical border within the imbalanced and unfinished processes of globalisation. Like her career, her works often metamorphose through different mediums. Some, for example, begin as a watercolour mural, a video projection or an installation made of perishable materials, then altered through a participatory performance ending up as a distinct object-based installation with video. Process is inherent in Tintin’s methodology, thus her frequent use of video, in which she delves into the medium’s two-sided potentials of being artistically manipulatable and being a tool for impartial documentation. Manifesting her fascination with chance and accident, Tintin sets up game-performances that activate aleatoric processes to highlight the agency of the individuals in the arbitrariness of the border. In these aleatoric game-performances, the unpredictable individuality of her audience becomes an important aspect that randomises the process. This is the subject matter of her practice-led PhD (Art, RMIT University, Australia, 2013, under examination).
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