11th Asia Pacific Triennial of Contemporary Art

These ideas are further explored by three programs surveying the directorial careers of remarkable cinematic voices: emerging Indonesian filmmaker Kamila Andini, Academy Award winning Japanese filmmaker Ryusuke Hamaguchi, and senior Taiwanese–Malaysian filmmaker Tsai Ming-liang. While distinct in their individual approaches, all three directors question the past, present and future within broader cultural, historical and personal narratives. Their modes of presentation also interrogate the fluidity of the cinematic medium itself, with their practices exploring works as diverse as gallery-led art installations and online streaming series. Asia Pacific Triennial Cinema also delivers a series of events accompanying these screening programs. Providing a rare opportunity for Australian audiences to hear directly from the filmmakers themselves, Kamila Andini, Tsai Ming-liang and Ryusuke Hamaguchi’s producer Satoshi Takada discuss their work at the Australian Cinémathèque through an In Conversation series. Asia Pacific Triennial Cinema also presents a display of Tsai Ming-liang’s single-channel video installation works, and an event in which composer–musician Eiko Ishibashi performs her audiovisual work Gift 2023 that evolved from conversations between the composer and filmmaker Ryusuke Hamaguchi, with whom Ishibashi previously worked on the soundtrack for Drive My Car 2021. AMANDASLACK-SMITH Bringing together moving-image works from across the region, the programs comprising Asia Pacific Triennial Cinema screen throughout the Triennial in the Gallery of Modern Art’s Australian Cinémathèque. Presented across five distinct programs, the films collectively consider how the passage of time is perceived and altered through the lens of individual experience and personal histories. The first of two thematic programs, ‘Future Visions’ showcases the works of moving-image artists and filmmakers who reflect on the current state of technology, society and cultural identity through the genre of science fiction. Entwining elements of cultural traditions and knowledge with new technologies, many of the selected films explore the slippery space of non-linear time across past, present and future, through the motifs of magical realism and time travel. Ideas of ancestral memory, society, culture and tradition are also unpacked in ‘Children of Independence: The Rise of Central Asian Cinema’. In the second of the thematic programs, the effects of the past on the present are writ large, spotlighting current concerns by emerging filmmakers from Kazakhstan, Kyrgyzstan, Tajikistan and Uzbekistan. These countries gained independence from the Soviet Union in 1991 and the resulting shifts in rule have subsequently offered opportunities for many filmmakers to begin probing previously taboo subjects. In ‘Children of Independence’, the films address corruption, political and religious conservativism, the treatment of women and the influence of rapid cultural, economic and political change on personal and community connections. ASIAPACIFIC TRIENNIALCINEMA Production still from Delivery Dancer's Sphere 2022 / Director: Ayoung Kim / Digital, colour, stereo, 25 minutes, South Korea, Korean (English subtitles) / Image courtesy: Oyster Films Production still from Hiruk-Pikuk Si Al-Kisah ( The Science of Fictions ) (detail) 2019 / Director: Yosep Anggi Noen / Digital, colour and black and white, stereo, 106 minutes, Indonesia, Malaysia, France, Indonesian (English subtitles) / Image courtesy: Rediance Films CINEMA 220 — 221 ASIAPACIFICTRIENNIAL