Tintin Wulia


The Crafts and Fine Art
Visiting address
Kristinelundsgatan 6-8
Postal address
Box 131
40530 Göteborg

About Tintin Wulia

Dr Tintin Wulia is currently Principal Investigator of Protocols of Killings: 1965, distance, and the ethics of future warfare (Swedish Research Council, 2021-2023). She received the prestigious ERC Starting Grant 2021 for her project Things for Politics’ Sake: Aesthetic Objects and Social Change (2023-28).

Wulia joined the University of Gothenburg in 2018 as a Postdoctoral Fellow in design, crafts and society with a focus on migration, working interdepartmentally with HDK-Valand and the School of Global Studies, at the Centre on Global Migration. As an internationally practicing artist/researcher Wulia has been examining the complexities of borders for more than two decades. She sees the world as an interconnected system – not a borderless world, but a world where entities interface with one another contiguously. Her works through video, sound, paintings, drawings, dance, texts, installation, performance, and public interventions mostly aim to tease out and activate these interconnections. Hence, they are often processual, interactive, and participatory.

Her works have been shown in major exhibitions including Istanbul Biennale (2005), Jakarta Biennale (2009), Moscow Biennale (2011), Gwangju Biennale (2012), Asia Pacific Triennale (2012), Sharjah Biennale (2013), and Chicago Architecture Biennale (2021) amongst others. They are also part of prominent private and public collections internationally, including in Stedelijk Van Abbemuseum, Singapore Art Museum, Queensland Art Gallery/Gallery of Modern Art, and He Xiangning Art Museum. She represented Indonesia with a solo pavilion at the 57th Venice Biennale (2017).

Prior to receiving her PhD in art (RMIT University, 2014), Wulia's practice branched out of her trainings as a film composer (BMus, Berklee College of Music, 1997) and architecture engineer (BEng, Universitas Katolik Parahyangan, 1998). Her Australia Council for the Arts Fellowship (2014-2016) extended her engagements in diverse public spaces, and in a mobile ethnography of urban materiality. She was a Transcultural Art Network artist-in-residence (2015) at the UCL Slade School of Fine Art, London, UK, a Jackman Goldwasser Residency artist (2016) at Hyde Park Art Center, Chicago, USA, and a Baik Residency artist (2019) at Davidson College, NC, USA, amongst other residencies. Her Smithsonian Artist Research Fellowship (2018) at the Walter Reed Biosystematics Unit, NMNH(SI), Washington DC, USA, explores mosquitoes and migration, liminal death (deaths during mosquitoes' larval and pupal emergence), and wartime specimen collection.

Wulia is a member of the editorial board of the AAG journal GeoHumanities; a peer assessor for Arts Queensland; initiator and member of the Make Your Own Passport network at the Centre on Global Migration, University of Gothenburg; co-founder of 1965 Setiap Hari; member of the research group Power, Resistance and Social Change at the School of Global Studies, University of Gothenburg; Resident Adjunct at the Griffith Centre for Social and Cultural Research; Honorary Research Associate at the UCL Slade School of Fine Art; Visiting Research Fellow at the School of Literature and Languages, University of Surrey; and an interlocutor for the project Images, (In)visibilities, and Work on Appearances at the Graduate Institute (IHEID).

Links to current web presence and publications

Research areas and interests

• materiality • socially engaged art • public art and participatory performance • critical play • migration and the border • aesthetic cosmopolitanism • critical geopolitics • human geography • resistance studies • mobile ethnography • political ecology • peace and development studies • science and technology studies • Indonesian studies

• motifs: passports | mosquitoes (and insects) | maps | death | geometry | cardboard waste | machines

• themes: inclusive citizenship | mobility | chance | iconic consciousness | the anthropocene | identity | Indonesia's Chineseness | Indonesia's 1965 | violence, distance, and accountability | warfare | secrecy | imagination and institution | imagination, memory, and the future