Tintin Wulia


Enheten för konsthantverk och fri konst
Kristinelundsgatan 6-8
Box 131
40530 Göteborg

Om Tintin Wulia

Dr Tintin Wulia is a Senior Researcher at HDK-Valand/Academy of Art and Design, and a Principal Investigator for:

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Wulia is an artist/researcher and research group leader with a twenty-four-year international track record.

Wulia's research stems out of conceptual and empirical engagement with the complexities of borders. She sees the world as an interconnected system – not a borderless world, but a world where entities interface with one another contiguously. Her works with video, sound, paintings, drawings, dance, text, installation, performance, public interventions, and quantitative methods mostly aim to tease out and activate these interconnections. Hence, they are often processual, interactive, and participatory. Wulia joined the University of Gothenburg in 2018, with a Postdoctoral Fellowship 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 (2018-2020). She is a recipient of the highly competitive ERC Starting Grant 2021 for her project Things for Politics’ Sake: Aesthetic Objects and Social Change.

Her works have been shown in major exhibitions including Chicago Architecture Biennale (2021), Sharjah Biennale (2013), Asia Pacific Triennale (2012), Gwangju Biennale (2012), Moscow Biennale (2011), Jakarta Biennale (2009), and Istanbul Biennale (2005), 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. Wulia 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 and research 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, deaths during mosquitoes' larval and pupal emergence (which she calls liminal death), and wartime specimen collection.

Wulia is a co-founder of the transnational relay/research collective 1965 Setiap Hari; an initiator and member of the Make Your Own Passport network at the Centre on Global Migration, University of Gothenburg; member of the research group Power, Resistance and Social Change at the School of Global Studies, University of Gothenburg; and a project interlocutor for an SNF-funded research project led by Prof Patricia Spyer, Images, (In)visibilities, and Work on Appearances at the Graduate Institute (IHEID).

As an artist Wulia is represented by Baik Art, Jakarta, and Milani Gallery, Brisbane.

Research areas and interests

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

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

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

[Profile photo courtesy of David Ramsey and Van Every/Smith Galleries of Davidson College, NC, USA]