Search Results for: momo film co

Foster greater empathy and awareness about the diversity of human experiences with these illustrative children’s books. With the aim of empowering the community to tell their own stories, these were inspired by true accounts of Duchenne Muscular Dystrophy survivor Shalom Lim and Spinal Muscular Atrophy advocate Sherry Toh, illustrated by autistic artists Muhd Noh and Aaron Yap.

Loud Little Mermaids

The children stare at Aurora, adults look awkwardly away. She feels like a fish in an aquarium, isolated from others. Until she meets someone just like her, someone who shows her it is possible to live independently, to be a part of their world.
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From learning the alphabet through fruits and vegetables, to practising counting with animals and identifying emotions, teaching your little one can be fun with these packs of flash cards!

ARTDIS (Singapore) Ltd, formerly known as Very Special Arts Singapore, is a leading non- profit organisation dedicated to creating learning and livelihood opportunities for persons with disabilities in the arts.

Started in 1993 by Ambassador-at-Large Professor Tommy Koh, ART:DIS organises art programmes, projects, collaborations, exhibitions and performances for persons with disabilities to reach for excellence and be relevant in the future. ART:DIS further establishes pathways in the arts for persons with disabilities to express themselves, gain confidence and be part of a community.
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From learning the alphabet through fruits and vegetables, to practising counting with animals and identifying emotions, teaching your little one can be fun with these packs of flash cards!

ARTDIS (Singapore) Ltd, formerly known as Very Special Arts Singapore, is a leading non- profit organisation dedicated to creating learning and livelihood opportunities for persons with disabilities in the arts.

Started in 1993 by Ambassador-at-Large Professor Tommy Koh, ART:DIS organises art programmes, projects, collaborations, exhibitions and performances for persons with disabilities to reach for excellence and be relevant in the future. ART:DIS further establishes pathways in the arts for persons with disabilities to express themselves, gain confidence and be part of a community.
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From learning the alphabet through fruits and vegetables, to practising counting with animals and identifying emotions, teaching your little one can be fun with these packs of flash cards!

ARTDIS (Singapore) Ltd, formerly known as Very Special Arts Singapore, is a leading non- profit organisation dedicated to creating learning and livelihood opportunities for persons with disabilities in the arts.

Started in 1993 by Ambassador-at-Large Professor Tommy Koh, ART:DIS organises art programmes, projects, collaborations, exhibitions and performances for persons with disabilities to reach for excellence and be relevant in the future. ART:DIS further establishes pathways in the arts for persons with disabilities to express themselves, gain confidence and be part of a community.
Read More

From learning the alphabet through fruits and vegetables, to practising counting with animals and identifying emotions, teaching your little one can be fun with these packs of flash cards!

ARTDIS (Singapore) Ltd, formerly known as Very Special Arts Singapore, is a leading non- profit organisation dedicated to creating learning and livelihood opportunities for persons with disabilities in the arts.

Started in 1993 by Ambassador-at-Large Professor Tommy Koh, ART:DIS organises art programmes, projects, collaborations, exhibitions and performances for persons with disabilities to reach for excellence and be relevant in the future. ART:DIS further establishes pathways in the arts for persons with disabilities to express themselves, gain confidence and be part of a community.
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How can we see beyond the form? How do we hold room for instability and expansion? How can a gaze be an act of care?

Singmoolsung (Minsoo Bae and Anonymous Collaborator) presents a photo-research enquiry into the queer gaze and an archive of queer life drawing circle Singapore.

Departing from queer phenomenology as the grounding literature, this project posits the queer gaze as a kind of unseeing: extrasensory, beyond the material form, incomplete and sprawling.
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Zero Waste notebooks are named that way because they have no cover, which means there are no other materials in the making of the book, making it convenient to recycle and 100% recyclable.

A flexible book that works great as a to-go idea notebook for sketches or rough scribbles.

About OFFCUT

OFFCUT is an initiative by Allegro Print to reduce paper waste and repurpose waste paper from our print production process. Excess space within a print job is utilised to minimise actual offcuts in production, creating our own stationery designs. Inevitable paper waste is repurposed into refreshed stationery.

Through its own retail space, the ‘Paper Thrift Store’, OFFCUT is able to inspire and demonstrate that repurposed products can be affordable and thoughtfully designed without compromising quality. 😊 ♻️
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In her photobook “Nihilartikel”, Australia-based Poland-born artist Izabela Pluta combines aerial drone footage, darkroom prints of obscure or out-of-print oceanic maps and stills taken from underwater video footage shot in the seas around Malta and Japan. Through her use of various perspectives, techniques, formats and media, Pluta interrogates central questions of photography, such as the meaning and importance of truth and authenticity, and the difficulties involved in representation. The titular term of the “nihilartikel”, a German word for intentional errors made to identify plagiarism of maps, encyclopedias or musical scores, provides the thematic subtext for the work, while the sensual inspiration for the series comes from the artist’s own experience of disorientation and loss of perspective while deep-water diving in the Pacific Ocean off the coast of Japan. Though highly conceptual in nature, Pluta’s images possess a fascination and beauty beyond the purely cerebral.

“It makes sense that Pluta’s photographs are often displayed in spatial installations that cannot be grasped from a single frontal perspective. They require a physical experience, an embodied relating-to, in which one perceives oneself amid the work, rather than just in front of it. The resulting loss of a fixed location is painful and beguilingly beautiful at the same time, almost like diving – an experience that, once had, begs to be repeated. One wants to return to Pluta’s images over again.”
― from Ramona Heinlein’s afterword “The Uncertainty of Location”
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We have few things that travel continents with us as familial practises. We have recipes and textiles, crocheted doilies and Majok beads, and we have photo albums. Some faces in our photographs are drawn over with a marker, some cut out entirely. Some photos are much, much older than me, others were printed from an iPhone. Photos are gestures, examples of culture in flux. – Atong Atem

Surat is the first photobook by South Sudanese / Australian artist Atong Atem and the second in the PHOTO Editions series, co-published by Photo Australia and Perimeter Editions.

Commissioned by Photo Australia for PHOTO 2022 International Festival of Photography, Surat (which translates from Sudanese Arabic as ‘snapshots’) is a homage to family photos and the characters within them. Working on the series throughout 2021, Atem revisited her family photo albums, which span decades and continents, restaging and reimagining the scenes and players they depict. The resulting book is a series of performances as self portraits, documenting the act of photographing and being photographed, framing and being framed. It is a performative depiction of photography, utilising the repetition of dressing, sitting, posing, changing, testing, adjusting and capturing that is so often implicit in the medium.

But beyond this, Surat is a celebration of the visual language of family photographs and photography as an extension of our oral traditions. ‘We sing songs to tell history and we dress up and sit for photographs to mythologise our histories,’ says Atem. This body of work honours the Dinka tradition of record-keeping and archiving as an intimate cultural practice.

For Atem, the book is also about movement, both geographic and historic. As she explains, ‘It’s about South Sudan, so-called Australia and everywhere else in between that I’ve rested my head to dream about my people – or rather, the depictions of people I don’t know but am connected to through photographs.’

Featuring an essay by Atem’s father, former South Sudanese Deputy Minister of Information and journalist Atem Yaak Atem, Surat will be launched at the PHOTO 2022 Photobook Weekend (21-22 May 2022).

Featured in British Journal of Photography

About Atong Atem

Atong Atem is a South Sudanese artist and writer from Bor living in Narrm, Melbourne.
She primarily works with photography and video.
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Very little about the photobooth experience has changed since its inception in the early twentieth century. There is a particular charm to its inherent simplicity and repetition. The framing is fixed, as is the lighting, backdrop, and time between photographs. Only we, the subject, are the ones that change.

Co-published by Perimeter Editions and the Centre for Contemporary Photography, Auto-Photo: A Life in Portraits tells the story of Alan Adler, a man who is likely the most photographed person in Australia, and is also perhaps the oldest and longest-serving photobooth technician in the world.

For more than fifty years, Adler maintained a suite of photobooths across Melbourne/Naarm – most notably, at a site near Flinders Street Station – and would undertake weekly testing and servicing on each photobooth across his network. To ensure the focus, flash, and print quality were all up to standard at the end of each service, Adler would take a seat in the booth and produce a test strip of photographs. Through these weekly tests, Adler produced an archive of thousands upon thousands of photographs. While his decades-long operation has contributed to the photography of over a million people, these self-portraits are the only surviving record of Adler’s life’s work – a tangible document of his role in maintaining the photobooth tradition. The images that appear in Auto-Photo, which span from the 1970s to the 2010s, give us clues about the person who inhabits them, along with the passing of time. Adler’s gappy grin, comedic expressions, and pet cats intermingle with shifting fashions, retro colour film tints, and an increasing crinkling around the eyes.

In 2018, with the booth at Flinders Street Station facing imminent closure, Christopher Sutherland and Jessie Norman – whose operation later became known as Metro-Auto-Photo – began working with Adler to generate interest in his work and to successfully save his photobooth. Now in his nineties, Adler has since sold his photobooths to Metro-Auto-Photo, who have compiled this publication with the CCP and Perimeter to illuminate Adler, his unique collection, and his impact on Australia’s photography history.

Auto-Photo: A Life in Portraits, which will be launched ahead of a major exhibition in 2025, features texts by Patrick Pound, Catlin Langford, and Daniel Boetker-Smith, along with an interview with Alan Adler, Jessie Norman, and Christopher Sutherland. This book is an ode to a man who, by sustaining the production of photographs, actively lives through them.
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