Key facts

Output components

Lav Diaz: Journeys exhibition: gallery installation of a rotating programme of six films of extended duration by Diaz, film theatrical screening, conversation series, symposium, January 27 – March 12, 2017

Journal article, ‘Exhibiting Lav Diaz’s long films: Currencies of circulation and dialectics of spectatorship,’ in Aniki: Portuguese Journal of the Moving Image, special issue on “long duration”, vol 4, no 2, 2017, pp411– 433

Journal article, ‘Long walk to life: The films of Lav Diaz,’ Afterall Journal, autumn/winter 2015, pp102 –115

Roles

Researcher, lead curator, coordinator, writer

Venues 

London Gallery West, and Regent Street Cinema, University of Westminster

Collaborators 

Lav Diaz (artist), Hazel Oracio (facilitator), Michael Mazière (London Gallery West curator), Julian Ross (project co-curator), George Clark (project co-curator), Aviva Leeman (London Gallery West producer), Asian Film Archive (film lending), Second Run (film lending), Films Boutique (distributor). Screening at Regent Street Cinema organised in partnership with film streaming platform MUBI, and in collaboration with the Austrian Film Archive

Funding

British Academy International Partnership and Mobility Scheme, ‘Comparing experimental cinemas’, with Shai Heredia (Srishti Institute of Art, Design and Technology), 2013, £10,000 (reference number PM130146)

University of Westminster, Strategic Research Fund, Long Films in the Gallery, 2017, £8,000 (competitive award, reference number HM114430)

CreatorsIngawanij, M.A.
Description

Lav Diaz: Journeys (2017) deploys the university arts spaces (London Gallery West, Regent Street Cinema), as differentiated from film festival or highly commercial film venues, to adapt the migratory model of exhibiting radical films and artists’ moving image. Ingawanij and collaborators created a hybrid space, a pop-up cinema and Southeast Asian curatorial space, to present Diaz’s works, accompanied by public programmes and an archival theatrical presentation. Underpinning the curatorial method is an understanding of histories and practices of artistic and participatory agency in contexts of fragile and at-risk arts infrastructure, and attentiveness to the legacy of artistic and cultural vanguardism in the Philippines. Ingawanij’s curation also draws inspiration from Southeast Asian genealogies of performative practices, informality as curatorial praxis, and spectatorial participation and experience. Her first article explores the aesthetic and political forms of Diaz’s long films. The second analyses the vexed exhibition history of Diaz’s long films, critically highlighting the tensions shaped by the persistence of the western modernist paradigm of art film spectatorship in advocating the value of global contemporary art or radical films, especially through the idea of “slow cinema”. The project generated multiple insights into the values and potentiality of Diaz’s films: ambiguities of anticolonial nationalist legacies in contemporary artistic praxis; sociality of durational forms and spectatorial labour routed through specific regional and/or national genealogies; porosity of film curation and participatory spectatorship.

Portfolio itemsLav Diaz: Journeys
Exhibiting Lav Diaz's Long Films: Currencies of Circulation and Dialectics of Spectatorship
Long Walk to Life: the Films of Lav Diaz
Year2017
PublisherUniversity of Westminster
Web address (URL)https://www.westminster.ac.uk/news-and-events/events/lav-diaz-journeys
KeywordsLav Diaz, curation, spectatorship, world cinema
CREAM Portfolio
FunderStrategic Research Fund, University of Westminster
Digital Object Identifier (DOI)https://doi.org/10.34737/qvw88

Portfolio items

Lav Diaz: Journeys
Ingawanij, M.A. 2017. Lav Diaz: Journeys .

Exhibiting Lav Diaz's Long Films: Currencies of Circulation and Dialectics of Spectatorship
Ingawanij, M.A. 2017. Exhibiting Lav Diaz's Long Films: Currencies of Circulation and Dialectics of Spectatorship. Aniki: Portuguese Journal of the Moving Image . 4 (2), pp. 411-433. https://doi.org/10.14591/aniki.v4n2.327

Long Walk to Life: the Films of Lav Diaz
Ingawanij, M.A. 2015. Long Walk to Life: the Films of Lav Diaz . Afterall . 40.

Related outputs

Legacies
Ingawanij, M.A. 2022. Legacies . Artspace Aotearoa 02 Sep - 22 Oct 2022

Vivre après la catastrophe
Ingawanij, M.A. 2022. Vivre après la catastrophe . in: Maury, Corinne and Zuchuat, Olivier (ed.) Lav Diaz: Faire Face post-éditions. pp. 149-173

Art and Communication: A Regional Genealogy
Ingawanij, M.A. 2022. Art and Communication: A Regional Genealogy . in: Ute Meta Bauer (ed.) Climates. Habitats. Environments. MIT Press.

Preposterous Relations: The Tableaux of Araya Rasdjarmrearnsook
Ingawanij, M.A. Forthcoming. Preposterous Relations: The Tableaux of Araya Rasdjarmrearnsook . in: Nagib, Lucia and Solomon, Stefan (ed.) The Moving Form of Film: Historicising the Medium through other Media Oxford University Press.

Cinematic Animism and Contemporary Southeast Asian Artists’ Moving Image Practices
Ingawanij, M.A. 2021. Cinematic Animism and Contemporary Southeast Asian Artists’ Moving Image Practices. Screen. 62 (4), pp. 549-558. https://doi.org/10.1093/screen/hjab056

Philippine Noir: The Cinema of Lav Diaz
Ingawanij, M.A. 2021. Philippine Noir: The Cinema of Lav Diaz . New Left Review. 130.

Stories of Animistic Cinema
Ingawanij, M.A. 2021. Stories of Animistic Cinema . Antennae: The Journal of Nature in Visual Culture. 54 (Summer 1), pp. 84-103.

Ghost Cinema for a Damaged World
Ingawanij, M.A. 2020. Ghost Cinema for a Damaged World. in: Burmester, M. (ed.) Korakrit Arunanondchai & Alex Gvojic: No History in a Room Filled with People with Funny Names 5 Serralves Foundation-Museum of Contemporary Art Fundaçâo de Serralves. pp. 49-57

Animistic Apparatus screening programme: Landscape of Spirits
Ingawanij, M.A. 2019. Animistic Apparatus screening programme: Landscape of Spirits . Berwick Film and Media Arts Festival 19 - 22 Sep 2019

Animistic Apparatus @ Berwick Film and Media Arts Festival
Ingawanij, M.A. 2019. Animistic Apparatus @ Berwick Film and Media Arts Festival . Berwick Film and Media Arts Festival 19 - 22 Sep 2019

Animistic Apparatus screening programmes: Mud, Drones and Spirits; Between the Living and the Dead
Ingawanij, M.A. 2019. Animistic Apparatus screening programmes: Mud, Drones and Spirits; Between the Living and the Dead. Berwick Film and Media Arts Festival 19 - 22 Sep 2019

Animistic Apparatus: Screening
Ingawanij, M.A. 2019. Animistic Apparatus: Screening . Berwick Film and Media Arts Festival 19 - 22 Sep 2019

Animistic Apparatus
Ingawanij, M.A. 2019. Animistic Apparatus. University of Westminster. https://doi.org/10.34737/qy152

Comedy of Entanglement: The Karrabing Film Collective
Ingawanij, M.A. 2019. Comedy of Entanglement: The Karrabing Film Collective . Afterall . 48, pp. 26-37. https://doi.org/10.1086/706125

Making Line and Medium
Ingawanij, M.A. 2019. Making Line and Medium . Southeast of Now: Directions in Contemporary and Modern Art in Asia. 3 (1). https://doi.org/10.1353/sen.2019.0001

Aesthetics of Potentiality: Nguyen Trinh Thi's Essay Films
Ingawanij, M.A. 2019. Aesthetics of Potentiality: Nguyen Trinh Thi's Essay Films . in: Reynolds, L. (ed.) Women Artists, Feminism and the Moving Image Bloomsbury Academic. pp. 151-164

Art's Potentiality Revisited: Araya Rasdjarmrearnsook's Late Style and Chiang Mai Social Installation
Ingawanij, M.A. 2018. Art's Potentiality Revisited: Araya Rasdjarmrearnsook's Late Style and Chiang Mai Social Installation. in: Teh, David and Morris, David (ed.) Artist-to-Artist: Independent Art Festivals in Chiang Mai 1992-98 London Afterall Books in association with Asia Art Archive and the Center for Curatorial Studies, Bard College. pp. 252-263

Itinerant Cinematic Practices In and Around Thailand During the Cold War
Ingawanij, M.A. 2018. Itinerant Cinematic Practices In and Around Thailand During the Cold War. Southeast of Now: Directions in Contemporary and Modern Art in Asia. 2 (1), pp. 9-41. https://doi.org/10.1353/sen.2018.0001

Forces and Volumes
Ingawanij, M.A. 2017. Forces and Volumes .

Fields: On Attachments and Unknowns
Ingawanij, M.A. and Erin Gleeson 2017. Fields: On Attachments and Unknowns.

Lav Diaz: Journeys
Ingawanij, M.A. 2017. Lav Diaz: Journeys .

Exhibiting Lav Diaz's Long Films: Currencies of Circulation and Dialectics of Spectatorship
Ingawanij, M.A. 2017. Exhibiting Lav Diaz's Long Films: Currencies of Circulation and Dialectics of Spectatorship. Aniki: Portuguese Journal of the Moving Image . 4 (2), pp. 411-433. https://doi.org/10.14591/aniki.v4n2.327

Southern Collectives screening programmes and discussion
Ingawanij, M.A. 2016. Southern Collectives screening programmes and discussion . Buenos Aires 29 Oct - 13 Nov 2016

Long Walk to Life: the Films of Lav Diaz
Ingawanij, M.A. 2015. Long Walk to Life: the Films of Lav Diaz . Afterall . 40.

Figures of Plebeian Modernity: Film Projection as Performance in Siam/Thailand
Ingawanij, M.A. 2014. Figures of Plebeian Modernity: Film Projection as Performance in Siam/Thailand. SEAP Bulletin . Fall, pp. 10-16.

Comparing Experimental Cinemas
Ingawanij, M.A. and Shai Heredia 2014. Comparing Experimental Cinemas.

Catalogue of the 6th Bangkok Experimental Film Festival: Raiding the Archives
Ingawanij, M.A., MacDonald, R.L. and Clark, G. Ingawanij, M.A. (ed.) 2013. Catalogue of the 6th Bangkok Experimental Film Festival: Raiding the Archives. Bangkok, Thailand Aan Publishing.

Animism and the performative realist cinema of Apichatpong Weerasethakul
Ingawanij, M.A. 2013. Animism and the performative realist cinema of Apichatpong Weerasethakul. in: Pick, A. and Narraway, G. (ed.) Screening nature: cinema beyond the human Oxford Berghahn Books.

Mother India in six voices: melodrama, voice performance, and Indian films in Siam
Ingawanij, M.A. 2012. Mother India in six voices: melodrama, voice performance, and Indian films in Siam. Bioscope: South Asian Screen Studies. 3 (2), pp. 99-121. https://doi.org/10.1177/097492761200300202

Blissfully whose? Jungle pleasures, ultra-modernist cinema and the cosmopolitan Thai auteur
Ingawanij, M.A. 2010. Blissfully whose? Jungle pleasures, ultra-modernist cinema and the cosmopolitan Thai auteur. in: Harrison, R.V. and Jackson, P.A. (ed.) The ambiguous allure of the West: traces of the colonial in Thailand Hing Kong Hong Kong University Press. pp. 119-134

Nang Nak: Thai bourgeois heritage cinema
Ingawanij, M.A. 2007. Nang Nak: Thai bourgeois heritage cinema. Inter-Asia Cultural Studies. 8 (2), pp. 180-193. https://doi.org/10.1080/14649370701295599

Hyperbolic heritage: bourgeois spectatorship and contemporary Thai cinema
Ingawanij, M.A. 2007. Hyperbolic heritage: bourgeois spectatorship and contemporary Thai cinema. PhD thesis University of London London Consortium

Un-Thai sakon: the scandal of teen cinema
Ingawanij, M.A. 2006. Un-Thai sakon: the scandal of teen cinema. South East Asia Research. 14 (2), pp. 147-177.

Blissfully whose? Jungle pleasures, ultra-modernist cinema and the cosmopolitan Thai auteur
Ingawanij, M.A. and MacDonald, R.L. 2006. Blissfully whose? Jungle pleasures, ultra-modernist cinema and the cosmopolitan Thai auteur. New Cinemas: Journal of Contemporary Film. 4 (1), pp. 37-54. https://doi.org/10.1386/ncin.4.1.37_1

Transistor and temporality: the rural as modern Thai cinema's pastoral
Ingawanij, M.A. 2006. Transistor and temporality: the rural as modern Thai cinema's pastoral. in: Fowler, C. and Helfield, G. (ed.) Representing the rural : space, place, and identity in films about the land Detroit Wayne State University Press. pp. 80-100

The value of an impoverished aesthetic: the iron ladies and its audiences
Ingawanij, M.A. and MacDonald, R.L. 2004. The value of an impoverished aesthetic: the iron ladies and its audiences. Spectator: University of Southern California Journal of Film and Television Criticism. 24 (2), pp. 73-81.

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