----- Forwarded by Asha Weinstein/SJSU on 03/10/2004 10:20 AM -----
>Upcoming Berkeley Art Museum Gallery Talk, on March 18, featuring
>Professor Ananya Roy and anthropologist Aihwa Ong. The program is in
>conjunction with the UC Berkeley Art Museum's MATRIX exhibition of
>Malaysian photographs by artist Simryn Gill.
>THU MAR 18 2004, 6:00
>Gallery Talk, Aihwa Ong, Ananya Roy, Heidi Zuckerman Jacobson
>Visual analysis increasingly provides a critical framework for the social
>sciences. In a public conversation held in the MATRIX Gallery,
>anthropologist Aihwa Ong and urbanist Ananya Roy, with curator Heidi
>Zuckerman Jacobson, will consider how Simryn Gill's photographs provoke
>cross-regional discussion about "here" and "elsewhere," and the shifting
>meanings of place and time.
>Aihwa Ong served as chair of the Center for Southeast Asian Studies at UC
>Berkeley (1991-2001) and received a MacArthur Foundation Fellowship to
>study citizenship in globalizing Asian cities. Her books include Buddha
>Hiding: Refugees, Citizenship, and the New America (2003). Ananya Roy
>teaches comparative urban studies with an emphasis on the time-space
>geographies of South Asia and North America. She is the author of City
>Requiem, Calcutta: Gender and the Politics of Poverty (2003). Both Ong
>Roy have conducted fieldwork in Malaysia, the site of Gill's recent
>SIMRYN GILL / MATRIX 210: STANDING STILL
>SUN FEB 8 2004 - SUN APR 4 2004
>Simryn Gill often begins her photographic projects by posing a question.
>For Standing Still, an ongoing series of more than 110 photographs that
>premieres in the MATRIX Program, Gill queried whether a group of
>photographs could "hold within them, and between them, that unsettling
>quality of a sort of hesitation in time, stilled time. Time standing
>still." Gill, who is based in Sydney, Australia, was born and raised in
>Malaysia. The images were taken on return trips between 2000 and 2003
>while working on other series, including Dalam, an impressive collection
>of 258 photographs capturing the interiors of individual Malaysian homes
>in what becomes a survey of social, economic, and religious diversity.
>Standing Still combines the peculiarities of location and Gill's
>to record a passing moment, creating what she calls "a place in time."
>"I was struck by the growing number of rather ambitious development
>projects which were simply being abandoned before completion, and were
>slowly starting to crumble back into the damp and humid landscape. These
>remains were often just shells of what would have become large shopping
>centers or apartment blocks or private mansions or even mini towns. The
>economic crash changed these fantasies of ultra-modernity, as it were,
>into lonely ruins. From the future to the past without a present.
>"I started looking at these strange decaying giants in relation to the
>older abandoned buildings that seem to punctuate the towns and the
>countryside in Malaysia. It's hard to know why they have been left to
>Sometimes it's because they have a bad history, like being used during
>war by the Japanese for the kinds of activities that can make places
>inconsolably haunted; sometimes it's because of family disputes about
>inheritance and the like, but often they are left and allowed to fall
>apart simply because they are old.
>"It occurred to me, then, standing between abandoned old structures that
>had once supported life and rotting new ones that had not even been
>completed, that I was looking at a very particular moment. A place in
>time, where, one might say, the past lies in ruins, unkempt and untended,
>and the future also somehow has been abandoned and has started to
>No way forward, no way back."