Brisbane- and Gothenburg-based Tintin Wulia (b. 1972, Denpasar) has exhibited in major international exhibitions such as Istanbul Biennale (2005), Yokohama Triennale (2005), Jakarta Biennale (2009), Moscow Biennale (2011), Gwangju Biennale (2012), Asia Pacific Triennale (2012), Sharjah Biennale (2013) and Jogja Biennale (2013). In 2017 she represents Indonesia in the 57th Venice Biennale with her solo project 1001 Martian Homes.
Her work is part of public and private collections including in the Van Abbemuseum, Singapore Art Museum, Queensland Art Gallery/Gallery of Modern Art and He Xiangning Art Museum.
Tintin Wulia is a Smithsonian Artist Research Fellow 2018 with the Walter Reed Biosystematics Unit, National Museum of Natural History, Smithsonian Institution. She is also a recipient of Australia Council for the Arts’ Creative Australia Fellowship 2014-2016. Her project Trade/Trace/Transit (since 2014) is initially supported by Australia Council for the Arts’ New Work – Mid Career grant.
She holds a Postdoctoral Fellowship in design, crafts and society with a focus on migration (working with HDK/Academy of Design and Crafts, School of Global Studies, Centre on Global Migration) at the University of Gothenburg (2018-2020).
“Drawing on her own experiences of living between Denpasar, Jakarta and Melbourne, Tintin Wulia works with themes of migration and belonging, expressed through humorous videos, installations and interactive games.”
Queensland Art Gallery/Gallery of Modern Art, 2012
Change this to anything
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Click me“Eeny Meeny Money Moe is the best kind of art – thought-provoking without sanctimony, with a competitive twist. Tintin Wulia’s work forces a participant to use a claw machine, like the kind you find in the shopping centres, to try to scoop up a passport. The eventual frustration echoes the stress of long journeys, border crossings and bureaucracy.”
The Sydney Morning Herald, 2012
“Australian-based Indonesian artist Tintin Wulia dubs herself “the most international artist in the universe”. Her work frequently plays with the paraphernalia of belonging and travel in the modern world, using passports and maps to ask questions about citizenship and identity.”
Global Art Initiative, Guggenheim UBS MAP, 2016
“Right before I left the gallery, I decided to try Lure claw machine. On my third attempt, I won a passport. For a dollar, I had become a part of an installation.”
Time Out Hong Kong, 2009
“(I)n a refreshing antidote to the champagne and glitterati, one of the most prominent exhibits at this year’s edition is Tintin Wulia’s grand-scale Five Tonnes of Homes and Other Understories.”
Agence France-Presse, 2016
“Tintin Wulia’s way of working goes beyond her nationality(;) in fact she works around the concept of nation and national boundaries itself.”
Naima Morelli, 2014
“At the core of Wulia’s practice is a reflection on how global borders determine the movement of refugees, which has become on of the 21st century’s most pressing problems.”
Art Asia Pacific, 2015
elephant dream.
I just had an elephant dream. Did you know that most elephants are genetically modified for warfare? They’re genetically modified to fly. Not that they actually can’t fly, they’re just naturally too scared to fly. Their ears are naturally fit to fly, it’s just most of them are too afraid of flying.
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