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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Animali Domestici, Bangkok Opportunistic Ecologies, 2019, printed synthetic fabric canvas, embroidery, 300 x 300 cm. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Hito Steyerl, Liquidity, Inc., 2014, video, colour, sound, 30 min 19 sec, and architectural environment. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Hito Steyerl, Liquidity, Inc., 2014, video, colour, sound, 30 min 19 sec, and architectural environment. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Hito Steyerl, Liquidity, Inc., 2014, video, colour, sound, 30 min 19 sec, and architectural environment. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ines Doujak, Ghostpopulations, 2016-19, collages of historical prints from early 20th century from botanical wall charts and medical books, 120 x 87 cm, 120 x 90 cm, 150 x 119 cm, 75 x 70 cm, 80 x 93 cm. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Irene Agrivina, Soya C(o)u(l)ture, 2014, mixed media installation, dimensions variable. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Jae Rhim Lee, Coeio – Imfinity Burial Suit, 2016, The Forever Spot Pet Shroud, 2016, both handcrafted garment, mushrooms, microorganisms, dimensions variable. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Lucy + Jorge Orta, OrtaWater – Portable Water Fountain, 2005, steel structure, water drum, rubber wheels, OrtaWater life jacket, copper tube, bucket, taps, 31 OrtaWater bottles, 180 x 190 x 50cm. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Lucy + Jorge Orta, OrtaWater – M.I.U. Study, 2007, steel, mirror, diverse textile, 3 bivouacs, 4 wheels, 115 x 85 x 45cm. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Marjetica Potrč, The Basket Weaver Weaves Difference, 2016, with fibre basket, 19 x 25 cm. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Nicholas Mangan, Termite Economies (detail), 2018, 3D printed plaster, dirt, synthetic polymer paint, plywood, painted mild steel, fluorescent bay lights, 2 Sony Trinitron monitors, archival and recorded footage (continuous loop), four-channel surround sound of termite warning signals, dimensions variable. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Nicholas Mangan, Termite Economies (detail), 2018, 3D printed plaster, dirt, synthetic polymer paint, plywood, painted mild steel, fluorescent bay lights, 2 Sony Trinitron monitors, archival and recorded footage (continuous loop), four-channel surround sound of termite warning signals, dimensions variable. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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Title
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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Title
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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Title
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, outdoor view.
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Title
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Pierre Huyghe, Untitled (Human Mask), 2014, film, colour, stereo, sound, 2:66, 19 min. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Title
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Pierre Huyghe, Untitled (Human Mask), 2014, film, colour, stereo, sound, 2:66, 19 min. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Title
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Exhibitions
Description
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NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
The Posthuman City considers the possibilities of a conscious sharing of resources, and a respectful and mindful coexistence between humans and other species.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2019-11-23
Exhibition End Date
2020-03-15
Collaboration
No
Commissioned Work
No
Related Countries
Australia
Thailand
Japan
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
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Title
A name given to the resource
<i>The Posthuman City. Climates. Habitats. Environments</i>
Subject
The topic of the resource
Posthumanism
Sustainability
Coexistence
Biodiversity
Ecology
Technology
Climate Crisis
Description
An account of the resource
Currently, more than half of the world’s human population lives in urban areas. Urban growth poses challenges to the various city dwellers, and creates material demands that cause lasting damage to the wider environment. The climate crisis is already announcing threatening scenarios particularly for coastal regions and megacities located at coastlines. Global urbanisation and the exploitation of resources happen on the expense of human and other species alike. <i>The Posthuman City</i> features artists who propose a shift in perspective. <br /><br />Taking NTU CCA Singapore’s overarching research topic <i>Climates.Habitats.Environments.</i> as point of departure, the exhibition <i>The Posthuman City</i> considers the possibilities of a conscious sharing of resources, and a respectful and mindful coexistence between humans and other species. Through imaginative propositions at the intersection of art, design, and architecture, the selected artists engage questions addressing issues of sustainability, water scarcity, invisible communities, nature as a form of culture, and suggest the implementation of lived indigenous knowledges. Examining the urban fabric in its condition as a habitat for a diversity of life forms, the featured works range from installations to time-based media. <br /><br />Stressing the vital importance of clean water and the challenges of its scarcity around the world, the artist and design duo Lucy + Jorge Orta have developed a long-term project on water collection, purification, and distribution. <i>OrtaWater</i> focuses on the general issues surrounding clean water and the privatisation and corporate control effecting access to it. Starting from a rigorous analysis of this crucial resource through visual and textual research and collaborative workshops with engineers, Lucy + Jorge Orta create sculptures, large-scale installations, and public artworks, that are both artefacts and functional design. One angle of their research—low-cost water purification devices enabling filthy water to be pumped and filtered directly from local sources—is translated into <i>Portable Water Fountain</i> (2005) and <i>Mobile Intervention Unit</i> (2007). These devices have been used to purify and distribute water from the Venice’s Canal Grande (2005) and the Huang Pu River in Shanghai (2012), among others, and now from the creek that runs through Gillman Barracks. <br /><br />Similarly combating water pollution, Irene Agrivina’s <i>Soya C(o)u(l)ture</i> is a mixed media installation that demonstrates how to transform wastewater from tofu and tempeh production into usable biomaterials, such as fuel, fertiliser, and leather-like fabrics. <i>Soya C(o)u(l)ture</i> was developed in collaboration with XXLab, an all-female transdisciplinary collective that Agrivina co-founded. Usually, large amounts of wastewater pollute the water in the rivers surrounding the plants, which in turn causes cholera and skin and bowel diseases in humans. <i>Soya C(o)u(l)ture</i> intends to divert this wastewater from tofu factories and put it in a homegrown starter culture medium to create useful products. A biological process using various bacteria and cell cultures, for instance <i>Acetobacter xylinum</i>, generates alternative energy sources, foodstuffs, and biological material. This process creates cellulose sheets that can either be used for consumption—<i>nata de coco</i>, a variant made of coconut water, is a popular snack food—or further processed (pressed, dried, enhanced with colouring and coating) to make clothing and craft materials. This biological procedure can be reproduced in any household using normal kitchen utensils in combination with open-source software and simple hardware. In this way, the project could provide women in poverty-stricken regions with opportunities to increase their income. <br /><br />Indigenous peoples of various territories around the world, with deep historical and cultural ties to their land, have preserved sustainable ways of living that respect the limits of the planet’s resources. The artist and architect Marjetica Potrč’s <i>Earth Drawings</i> refer to these unique indigenous cosmogonies and their essential knowledges, based on research done over the past 15 years, centred on indigenous communities, such as the Asháninkas (in the Brazilian state of Acre in Amazonia), the Aboriginal (in Australian), and the Sami (in northern Norway), The <i>Earth Drawings</i>, a series on paper, point to the growing alliances between indigenous groups and bottom-up initiatives in the effort to ensure a more resilient future, beyond the social and economic agreement of the neoliberal order. Potrč stresses that the world’s diverse societies, taken together, form an intelligent organism: when necessary, they self-generate new models of existence and coexistence—a precondition for human resilience on Earth. Sharing life experiences is, after all, a basic human condition. Coexistence on Earth requires new foundations that foreground collective ownership of the land and a socially-conscious individualism. <br /><br />Planetary coexistence of species acknowledges the presence and agency of diverse forms of intelligence. The artist Nicholas Mangan is inspired by termites and their capacity to build sophisticated and dynamic architectures that provide a model for decentralised social and economic organisation. The starting point of <i>Termite Economies (Phase 1)</i> was the anecdote that Australia’s Commonwealth Scientific and Industrial Research Organisation (CSIRO) researched termite behaviour in the hope that the insects might one day lead humans to gold deposits; a proposal to exploit the natural activity of termite colonies for economic gain. Mangan, on the contrary, proposes that the termites’ way of living in colonies might suggest other complex and global-scale systems for people to live and work together, better regulating and metabolising human consumption, production, and digestion. <i>Termite Economies</i> combines footage Mangan filmed on locations in Western Australia, alongside archival video and table-mounted sculptures, to speculate on the use of termites as miners and ruminating on how capitalism puts nature to work. The 3D-printed models reference existing infrastructures, for instance an underground tunnelling system for Tindals Mining Centre, a gold mine in Western Australia. The idea was to produce a 1:100 scale model to train termites. <br /><br />In <i>Bangkok Opportunistic Ecologies</i>, the design practice Animali Domestici studied the urbanity of Bangkok from a non-anthropocentric perspective, focusing on the presence of pythons. Mapping the city through a snake’s experience, the resulting tapestry puts multiple beings of different species at the centre, displacing the human from its exceptionalism. The graphic realisation is freely inspired by the representation techniques, colour palettes, and composition of Thai traditional mural paintings. Their work process translates research and statistics on the Thai capital into multiple encapsulated narratives, including such elements as sewerage, canals, water swamps, and rain water “cracked” pipes—typical spots used by snakes, according to fire department experts—, as well as folkloric cultural practices like the numerology and superstitions connected to the shape and location of the animals. <br /><br />In <i>Untitled (Human Mask)</i>, the artist Pierre Huyghe films a monkey, Fuku-chan, who in real life has a work permit as a “waitress” in a traditional sake house in Tokyo. In the film, the animal is wearing a dress and a wig, as well as a white, human-like mask created by Huyghe. Made of resin, the mask is inspired by traditional Japanese Noh theatre masks, where only the main actor wears a mask, meant to show the essential traits of the character. The film’s first images are drone shots of a devastated landscape, that of Fukushima in 2011, after the earthquake-triggered tsunami caused the meltdown of three nuclear plant reactors. It then shifts to an empty restaurant and house, where we follow Fuku-chan moving around in the dark. Fuku-chan is seen acting, and seems to be waiting, shaking her leg, looking at her nails, playing with her hair. A cat appears, and we see close-ups of insects and cockroaches. Raising questions about the essence of human nature and of non-human forms of intelligence and communication, the work points at the prevailing relationship of domination between humans and other species. <br /><br /><i>Ghostpopulations</i>, a series of collages by the artist Ines Doujak, combines ill human bodies with flora and fauna, transforming drawings from 19th-century medical textbooks into provocative assemblages that investigate desperation as an economic force. Doujak points out that entire populations uproot and flee in the direction of the faintest glimmer of hope, only to find themselves in the worst of predicaments: abandoned and deported, sold, abused or stigmatised forever, circulating as extremely cheap and disposable commodities. While she is giving visibility to such marginalised, abused, and displaced populations, these collages draw a dystopian mirage, reminding us of the pending threat of pandemic illnesses. <br /><br />Death, from a post-humanist perspective, is not only inevitable and part of life, but is an event that is already in our past. The artist and entrepreneur Jae Rhim Lee developed a burial suit as an environmentally-conscious alternative to conventional funerary processes, shifting the negative narratives around death. The presented <em>Infinity Burial Suit</em>, a handcrafted garment that is worn by the deceased, is completely biodegradable, and co-created with zero waste fashion designer Daniel Silverstein. In addition, the Forever Spot Pet Shroud is featured, also consisting of a built in biomix of mushrooms and other microorganisms that together do three things: aid in decomposition, work to neutralise toxins found in dead bodies, and transfer nutrients to plant life, enriching the earth and fostering new life. Highlighting the importance of decompiculture—the cultivation of waste-decomposing organisms—, this project also suggests a strong link between human resistance to mortality and climate change denial. She advocates for a post-mortem responsibility towards the natural world and a direct engagement with our own mortality, making funerals new beginnings instead of endpoints, becoming more emotionally and socially accessible. <br /><br />A parable on economic crashes, financial trading, mixed martial arts, and general contemporary culture, artist and writer Hito Steyerl’s large-scale architectural environment features <em>Liquidity Inc.</em>, a single-screen projection that uses water and liquidity as guiding tropes. Opening with the quote “be water, my friend” by martial arts legend and actor Bruce Lee, the film comments on the circulation of digital images, big data, information, financial assets, labour, and weather systems. The installation consists of a double-sided projection screen in front of a blue, wave-like ramp, where the viewers find themselves in “troubled water.” Steyerl merges CGI and green screen scenes with an assortment of embedded videos, swipes, clips, scrolls, and pop-up windows, that include the story of Jacob Wood, a former financial analyst who lost his job during the 2008 economic recession and decided to turn his mixed martial arts hobby into a new career. The intricate mesh of late capitalism structures needs to be hijacked in order to allow space for new ecological and sustainable policies that value people and life over profit. <br /><br /><em>The Posthuman City</em>, through artistic propositions, intends to open a discussion about the imbalanced relationship between an anthropocentric thinking that puts the human at the centre, and the fact that the urban environment is a habitat for many life forms. In her book <em>The Posthuman </em>(2013), Rosi Braidotti calls for resilience, stating that “sustainability does assume faith in a future, and also a sense of responsibility for ‘passing on’ to future generations a world that is liveable and worth living in. A present that endures is a sustainable model of the future.” <br /><br />Curated by <b>Ute Meta Bauer</b>, Professor, NTU ADM, and Founding Director, NTU CCA Singapore, and <b>Laura Miotto</b>, Associate Professor, NTU ADM <br /><br />The accompanying public programmes include seminars addressing techno-optimism and eco-hacktivism on <b>23 November 2019</b>, and biodiver-city and urban futurism on <b>18 January 2020</b>, deepening the discussion around posthumanism and the urban condition. <br /><br />From <b>15 – 23 February 2020</b>, the second edition of <b>NTU CCA Ideas Fest</b> takes place, guest curated by <b>IdeasCity</b>, New Museum, New York.
Contributor
An entity responsible for making contributions to the resource
Irene Agrivina
Animali Domestici
Ines Doujak
Pierre Huyghe
Jae Rhim Lee
Lucy + Jorge Orta
Nicholas Mangan
Marjetica Potrč
Hito Steyerl
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Video
Multimedia Installation
Film
Painting
Sculpture
Object
Installation
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Lab
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
The Institute of Critical Zoologists has been researching the escalating chain of events brought about by the human presence on Christmas Island gathering a varied collection of research materials that merge factual and fictional elements.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2018-03-03
Exhibition End Date
2018-04-29
Collaboration
No
Commissioned Work
No
Related Countries
Australia
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>The Institute of Critical Zoologists </em>by Robert Zhao Renhui
Subject
The topic of the resource
Ecosystems
Biodiversity
Geopolitics
Mythology
Nature
Postcolonialism
Description
An account of the resource
Since the establishment of the first human settlements in the late 19th century, the ecosystem of Christmas Island—a small volcanic outcrop in the Indian Ocean which was transferred from Singapore to Australia in 1958—underwent dramatic changes. Along with human settlers, several non-indigenous species alighted on the island disrupting the endemic biodiversity that had thrived undisturbed thanks to geographical remoteness and almost nil human interference. The accidental introduction of invasive species severely impacted a fragile ecosystem, imperilling the island’s wildlife and causing the extinction of a number of native species. As a result, extreme biocontrol strategies are currently being undertaken in an attempt to restore the island’s biodiversity. <br /><br />In the past two years, The Institute of Critical Zoologists has been researching the escalating chain of events brought about by the human presence on Christmas Island gathering a varied collection of research materials that merge factual and fictional elements. By surveying the impact of human beings on an endemic habitat, Final Report of the Christmas Island Expert Working Group maps out lines of invasion and retreat, it investigates dynamics of connectedness and isolation triggering reflections on states of vulnerability and conditions of survival in the age of globalisation. <br /><br />Curated by Anna Lovecchio, Curator, Residencies
Contributor
An entity responsible for making contributions to the resource
Robert Zhao Renhui
Robert Zhao
Anna Lovecchio
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Medium
The material or physical carrier of the resource.
Photography
Date
A point or period of time associated with an event in the lifecycle of the resource
3 March - 29 April 2018
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
Alex Murray-Leslie is part of Chicks on Speed, a multidisciplinary art group and pioneers in the cross pollination of Pop Music, Performance Art, Fashion and New Media.
Cycle
Cycle 2 (2015 – 2016)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Australia
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Alex Murray Leslie
Description
An account of the resource
Alex Murray-Leslie is part of Chicks on Speed, a multidisciplinary art group and pioneers in the cross pollination of Pop Music, Performance Art, Fashion and New Media. Murray-Leslie will research into computational footwear in live art <i>The BipedShoe Project</i>, acoustic shoe tools for performance), through the production of new knowledge via experimental research and new collaborations with local Singaporean arts practitioners, curators and academics. She will integrate her experiences while in residence into a new body of performative work around the BipedShoes, which is at the core of her ongoing research into <i>Objectinstruments</i> and their effects on dramaturgie in artformances (live art performances).
Date
A point or period of time associated with an event in the lifecycle of the resource
9 May – 7 August 2015
Contributor
An entity responsible for making contributions to the resource
Alex Murray Leslie
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Sound
Performance
Subject
The topic of the resource
Performance
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
During the residency, North will be conducting photographic investigations on the ways in which local plant species manage to adapt to Singapore’s constantly changing built environment.
Cycle
Cycle 4 (2017 – 2018)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Australia
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Jamie North
Description
An account of the resource
During the residency, North will be conducting photographic investigations on the ways in which local plant species manage to adapt to Singapore’s constantly changing built environment. In alignment with his long-standing interest in the intersection between the natural and the artificial, North regards Singapore as a radical case study to observe the complex tensions brimming at the interface between nature and human-made structures. He will also focus on the inescapable cycles of decomposition and renewal that, accelerated by the high humidity of the tropical climate, blur the boundaries between the organic and the man-made.
Date
A point or period of time associated with an event in the lifecycle of the resource
1 November – 22 December 2017
Contributor
An entity responsible for making contributions to the resource
Jamie North
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Installation
Photography
Subject
The topic of the resource
Nature
-
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f1f8a24c7ab652040b606b7b8ba47f9d
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
Harry looks at the under represented connections between the Cape Malay of South Africa and the Straits Malay linking these two histories to interchanges on the Malay Peninsula.
Cycle
Cycle 1 (2014 – 2015)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Australia
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Newell Harry
Description
An account of the resource
Subjectively, Newell Harry’s interests and work touch on diverse fields from religion and language, to the postcolonial impacts of trade and globalisation. An itinerant wanderer, his work is largely formed through a complex web of intercultural engagements bridging Australia’s east coast, the Vanuatu archipelago, South Asia, and his extended family’s home in Cape Town. These interests often culminate in installations drawing together a combination of media, generally unrestricted by any singular approach or application. Whilst in Singapore as an NTU CCA Artist-in-Residence, Harry looks at the under represented connections between the Cape Malay of South Africa and the Straits Malay linking these two histories to interchanges on the Malay Peninsula.
Date
A point or period of time associated with an event in the lifecycle of the resource
16 February – 17 April 2015
Contributor
An entity responsible for making contributions to the resource
Newell Harry
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Globalisation
-
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3184548eced71170362a7fd489336d15
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
Rosemary Forde’s research looks at “curating as pedagogy” and explores the role of galleries within universities and art schools.
Cycle
Cycle 4 (2017 – 2018)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Australia
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Rosemary Forde
Description
An account of the resource
Rosemary Forde’s research looks at “curating as pedagogy” and explores the role of galleries within universities and art schools. For her doctoral dissertation in Curatorial Practice at Monash University, she developed <i>Art holds a high place in my life </i>
Damp: study of an artist at 21, an unconventional survey on the Australian artist group Damp which unfolded through a series of presentations within the context of the university art school in 2016. During her residency, Rosemary aims to expand her research focus investigating several university art galleries in Singapore.
Date
A point or period of time associated with an event in the lifecycle of the resource
18 April – 28 April 2017
Contributor
An entity responsible for making contributions to the resource
Rosemary Forde
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Oceania
Southeast Asia
Medium
The material or physical carrier of the resource.
Curating
Subject
The topic of the resource
Curatorial Practice
-
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f142aee9b7a855ad3d4d6359d7d1e641
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
McDowell aims to connect with local artists, curators, and educators to gain an awareness of the Singaporean arts communities.
Cycle
Cycle 1 (2014 – 2015)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Australia
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tara McDowell
Description
An account of the resource
Tara McDowell’s research interests include exhibition histories, contemporary curating, art institutions, feminist and queer spaces of sociability and production, alternative archives and forms of documentation, and historical and contemporary models. <br /><br />While in residency at NTU CCA Singapore, McDowell aims to connect with local artists, curators, and educators to gain an awareness of the Singaporean arts communities. She is especially keen to understand how curatorial education is being developed by institutions in Singapore, what the particular needs and desires are of participants in these conversations and how connections might be made with the Curatorial PhD programme she founded in Melbourne, Australia. She will conduct research on experimental education and artistic labour, two areas of her research interests and present a public lecture in progress on the latter topic, titled <i>Is the Post-Occupational Condition the New Post-Medium Condition?</i>
Date
A point or period of time associated with an event in the lifecycle of the resource
20 March – 26 March 2015
Contributor
An entity responsible for making contributions to the resource
Tara McDowell
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Curating
Subject
The topic of the resource
Cultural Production