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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
The artist aims to excavate influences and discrepancies between different colonial legacies and forms of resistance.
Cycle
Cycle 6 (2019 – 2020)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Taiwan
China
Singapore
Malaysia
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
Chang Wen-Hsuan
Description
An account of the resource
Intrigued by the power tensions embedded in historical narratives, during the residency Chang Wen-Hsuan will further her research on two different projects. Drawing comparisons between the conflicting relationship of the Taiwanese Communist Party, Japan, and China in Taiwan, and the Malayan Communist Party, Japan, and the United Kingdom in Singapore, the artist aims to excavate influences and discrepancies between different colonial legacies and forms of resistance. In parallel, she will also expand Writing FACTory, a roaming platform for writing and publishing that produces discourse, research, and printed matters as a space for artistic and political practice. This latter project, first launched in Taiwan in 2018, performs a critical examination of how writings are framed, shared, and circulated in today’s digital age. Chang will further develop it in the context of Singapore through library research and interviews conducted with independent local publishers, artists, and artist book fair organisers.
Date
A point or period of time associated with an event in the lifecycle of the resource
5 July – 27 September 2019
Contributor
An entity responsible for making contributions to the resource
Chang Wen-Hsuan
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
Video
Subject
The topic of the resource
History
Politics
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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 Vitrine
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
This exhibition investigates movements and migrations of nature and culture in Southeast Asia and beyond. It explores competing claims to nature and culture that resound along the former Malaysian railway tracks at Tanglin Halt.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Vitrine
Exhibition Start Date
2017-06-24
Exhibition End Date
2017-10-02
Collaboration
No
Commissioned Work
No
Related Countries
Malaysia
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
<i>The Migrant Ecologies Project</i> by Lucy Davis
Subject
The topic of the resource
Biodiversity
Nature
Materiality
Description
An account of the resource
The mixed-media selection presented in The Vitrine stems from <i>Railtrack Songmaps</i>, a project exploring competing claims to nature and culture that resound along the former Malaysian railway tracks at Tanglin Halt. For at least five decades, birds, nature lovers, songbird clubs, tree shrines, kampung gardeners and foragers have roosted and seeded themselves along the tracks, nurturing a tangled patch of urban wild that is currently undergoing redevelopment. The particular constellation of elements on display – photographs, Malay pantuns, embroidery on paper, and delicate airborne assemblages of images, cut-outs and coconut sticks – weave in and out of memories of Lim Kim Seng, who together with his brother Lim Kim Chua, joined the Nature Society of Singapore (NSS) as teenager. Both are now senior members of the NSS Bird Group. Kim Seng assisted The Migrant Ecologies Project in the identification of 105 bird species around Tanglin Halt. In an accompanying soundtrack he recalls how an early encounter with a kingfisher first drew him into a bird zone. <br /><br />The Migrant Ecologies Project was founded in 2010 by artist, art writer, and educator Lucy Davis. Investigating movements and migrations of nature and culture in Southeast Asia and beyond, the project unfolds through collaborations with sound artists, photographers, scientists, and designers. <br /><br />Lucy Davis has been an Artist-in-Residence at NTU CCA Singapore from April to June 2017.
Contributor
An entity responsible for making contributions to the resource
Lucy Davis
Lim Kim Seng
Lim Kim Chua
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
Mixed Media
-
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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
Campur, Tolak, Kali, Bahagi, Sama Dengan (Add, Subtract, Multiply, Divide, Equals) is a solo project by late and cherished artist Roslisham Ismail aka Ise.
Exhibition Mode
Exhibition
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2021-01-16
Exhibition End Date
2021-03-07
Collaboration
Yes
Commissioned Work
No
Related Countries
Thailand
Malaysia
Indonesia
New Zealand
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
<i>Campur, Tolak, Kali, Bahagi, Sama Dengan</i> (Add, Subtract, Multiply, Divide, Equals) Solo Project by Roslisham Ismail aka Ise
Subject
The topic of the resource
Politics
Identity
Artistic Research
Description
An account of the resource
<i>Campur, Tolak, Kali, Bahagi, Sama Dengan</i> (Add, Subtract, Multiply, Divide, Equals) is a solo project by late and cherished artist Roslisham Ismail aka Ise. In 2016 during a short trip in Germany, Ise jotted down in his notebook the title of a much-contemplated solo project: <i>Campur, Tolak, Kali, Bahagi, Sama Dengan</i> (Add, Subtract, Multiply, Divide, Equals), to which he returned two years later when eventually, such an exhibition became possible in Kuala Lumpur. Ise saw in basic arithmetic operations and their specific properties, a reflection of his artistic process Actions are performed differently; the results could be the same. “Painters 100 years ago—” explains Ise in an interview “—also went to the market to buy vegetables and put them in a still life painting. For me it was the same. I went to the market and put the food on display. It’s just another way of working.” <br /><br />An exhibition that takes place a little more than one year since the artist’s passing rightfully carries deeper significance and responsibility. While this exhibition was not conceived as a survey of Ise’s broad practice, it is defined, as the title suggests, by a reflexive scope. Although produced four years apart, the two bodies of work that shape this project intimately interconnect. Seamlessly they capture Ise’s art-making process, his distinctive ways of navigating the world and embedding the serendipity of life and social encounters in artistic practice. <br /><br />Aimed to foster connections between artists and a new context, to provide much-needed time and space for reflection and encounters, artist-in-residence programmes represented an important catalyst in the development of Ise’s artistic practice. Their nature suit Ise’s method of working, social flair, endless curiosity and conceivably offered a means to take distance from a familiar environment and reflect on it from afar. A ramification of his residency project at Bangkok University Gallery, <i>Operation Bangkok</i> (2014) maps Ise’s encounters with the city and its inhabitants. From the abandoned New World Mall, Thieves’ Market, Crocodile Temple (Wat Chakrawat) to anti-government protests in Lumpini Park, to name a few, Ise guides us to places and events meaningful to those for whom Bangkok is home. We discover through Ise’s eyes and interactions, Bangkok as a living city rather than a tourist destination on the global market. <br /><br />Fictional characters have been recurrent in Ise’s drawings informed by the visual vernacular of comics. In 2018, he started a collaboration with the comic book artist Ibrahim Hamid (Pak Him), whose work Ise knew since primary school. In the vicissitudes of life, they first met at the hospital in Kota Bharu, where both were undergoing dialysis treatment. Ise commissioned Pak Him to execute, following his instructions and study drawings, a series of graphic novel illustrations. These comics, displayed in mobile lightboxes, employ strategies of self-narration situating Ise inside the story as protagonist. Checked for hours at Christchurch’s customs under the odd suspicion of being a “drug designer”; mugged in Barcelona at knifepoint; stopped by the police in Jakarta after Malaysia won a regional cup in a football match against Indonesia but backed by his peers, and so on, Ise revived his micro-narratives through a fictionalised persona and Pak Him’s craftsmanship. Portraying himself within a world with many others, friends and strangers alike, Ise affirmed his continuous interest in the virtues and intricacies of the social. <br /><br />The publication of this exhibition takes the format of a special issue of SentAp!, the magazine founded by curator Nur Hanim Khairuddin and Ise in 2005. Dedicated to Ise, this issue is designed by Yan; and it includes a welcome note by Ute Meta Bauer, a series of interviews by writer Tan Zi Hao with the curators Ark Fongsmut, Nur Hanim Khairuddin, and Russell Storer; an essay and a conversation with ruangrupa by curator Anca Rujoiu. <br /><br />Roslisham Ismail aka Ise’s solo project is realised in collaboration with Ise parkingproject Foundation with the support of A+ Works of Art and NTU Centre for Contemporary Art Singapore. The exhibition is presented in The Lab at NTU Centre for Contemporary Art Singapore between 16 January – 28 February 2021.
Contributor
An entity responsible for making contributions to the resource
Roslisham Ismail aka Ise
Ibrahim Hamid
Anca Rujoiu
Ise parkingproject Foundation
A+ Works of Art
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
Oceania
Medium
The material or physical carrier of the resource.
Drawing
Installation
-
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a5b14d538e71ae7169c0a5f745f4021f
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 Haze: An Inquiry brings together people from different disciplines in a focus group that takes the haze situation in Southeast Asia as the main topic for investigation.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2016-08-12
Exhibition End Date
2016-10-23
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Indonesia
Malaysia
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
<i>The Haze: An Inquiry</i>, Ongoing Research Project
Subject
The topic of the resource
Climate Crisis
Coexistence
Geopolitics
Capitalism
Ecology
Labour
Politics
Description
An account of the resource
This ongoing research project is inspired by Amar Kanwar’s <i>The Sovereign Forest</i>. Referencing Kanwar’s artistic approach, <i>The Haze: An Inquiry</i> brought together people from different disciplines in a focus group that takes the haze situation in Southeast Asia as the main topic for investigation. <br /><br />How do we bridge the gap from the banal to the sensual, the tactical and visceral? What steps of inquiry leads us from the scientific to the notion of immediacy? How do we define abstract terms such as “crime” – Is the haze a crime? What is a crime against society? Different perspectives are offered in this process by participants from diverse backgrounds, including a research scientist, theatre director, community leader, writer, tech consultant, co-founder of a hackerspace, activist, designer and curator, geographer, architect, and postgraduate student. <br /><br />A core group of specialists from varied fields of law, natural and social sciences, literature, art and architecture, media and theatre, is brought together in a series of workshops and discussions to explore the haze situation as an environmental, human, and legal challenge, given its transnational impact. The aim is to create a collection of “evidence” and to investigate the potential of the haze to be considered a “crime”. This collecting which include factual information and data, compilation of ancestral knowledge, media clippings, commentaries, unrecorded oral knowledge, as well as writings, photographs, and films will be gathered in the space amidst working notes of the core group. Using these “evidences”, participants will uncover social and environmental impacts beyond the haze, and deliberate on questions of social justice, corporate environmental responsibilities, agronomy cultures in industrial developments, amongst others. Each participant brings to the discussion individual responses that stem from their respective interests and disciplines. This research platform aims to assemble a diversity of viewpoints to provoke alternative ways of looking at and talking with a wider public about contemporary situations of urgency. <br /><br />In addition to the series of closed and public workshops, discussions, and presentations participants in the core group is engaged in, they are also encouraged to invite guests who will make further inquiries into the “evidences” in The Lab and to look into collaborative working methods of shared agency.
Contributor
An entity responsible for making contributions to the resource
Amar Kanwar
Ute Meta Bauer
Magdalena Magiera
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.
Print
Video
-
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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
Ade Darmawan, Tuban, 2019, multimedia installation. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA 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
Shubigi Rao, Traduttore, traditore, 2019, mixed media on paper, 50 x 70 cm. Back: Zac Langdon-Pole, Paradise Blueprint, 2017, wallpaper. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA 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
Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, foyer view. Courtesy NTU CCA 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
ila, bekas, 2019, in collaboration with Kin Chui, video projection, stereo, 12 min. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA 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
Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA 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
Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA 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
Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA 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
Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA 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
Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA 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
Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA 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
Shubigi Rao, Pulp: A Short Biography of the Banished Book, 2016–18, 5 photographic prints, 60 x 85 cm each. Back: Zac Langdon-Pole, Paradise Blueprint, 2017, wallpaper. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA 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 Raven, Debris flow erosion series, 2019, wet cement on sand, approx. 225 x 133 cm each. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA 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
Melati Suryodarmo, Dancing Under the Black Sky, 2019, four-channel video, 5 min. Back: Zac Langdon-Pole, Paradise Blueprint, 2017, wallpaper. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA 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
Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, opening view. Courtesy NTU CCA 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
Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA 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
Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA 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
Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA 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
Zac Langdon-Pole, Passport (Argonauta) (viii), 2018, paper nautilus shell, Campo del Cielo meteorite (iron; coarse octahedrite, landsite: Chaco / Santiago del Estero, Argentina), 9.4 x 3.1 x 5.3 cm. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Title
A name given to the resource
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
Arus Balik re-imagines the histories and politics of transitory processes like, colonisation and decolonisation, or shifts in maritime power for people and ports below (e.g. South China Sea) and above (e.g. Indian Ocean) the wind.
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
2019-03-22
Exhibition End Date
2019-06-23
Collaboration
No
Commissioned Work
No
Related Countries
Indonesia
Malaysia
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
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Title
A name given to the resource
<i>Arus Balik: From below the wind to above the wind and back again</i>
Subject
The topic of the resource
Oceans & Seas
Ecology
The Anthropocene
Politics
Geopolitics
Archipelagic State
Description
An account of the resource
NTU Centre for Contemporary Art Singapore is pleased to present <i>Arus Balik – From below the wind to above the wind and back again</i>, an exhibition project that initiated from a conversation between Belgian curator <b>Philippe Pirotte</b> and Jakarta-based artist <b>Ade Darmawan</b>. Reconsidering Indonesian author Pramoedya Ananta Toer’s epic book <i>Arus Balik</i> (1995), which could be translated into English as a “turning of the tide,” the eponymous exhibition takes the novel as a starting point to reflect on perspectival shifts in geopolitical, cultural, social, religious, and natural spheres. <br /><br />In his fictional account, Pramoedya elaborates on the weakening of the maritime culture of Javanese kingdoms in the early 16th century, the progressive Islamisation, and the beginning of Portuguese occupation on parts of the now Malay and Indonesian peninsula and archipelago. Important is that Pramoeda’s reversal of perspective as a meta-geographical impulse is comparable to the notion of the “inverted telescope” Benedict Anderson advances in his seminal book <i>Spectre of Comparisons</i> (1998): as a non-Eurocentric method of comparison in which for example Portugal is viewed from the standpoint of Southeast Asia, as through an inverted telescope, which causes a kind of vertigo. Pramoedya suggests that the final decline of the Majapahit empire, and the “change from traditional independence to colonial possession,” was largely caused by the different Javanese kingdoms having gradually turned their backs to the sea. <br /><br />The participating artists expand on this prompt through installations, sculptures, films, performances, and texts, both existing works as well as new commissions. <b>Ade Darmawan</b> re-read <i>Arus Balik</i> with a special focus on how protagonists use natural resources, and will create a distilling dispositive with alkaline water from the straits, recalling that all the scrambling for the control of the archipelago was about the extraction of ore and goods. <b>ila</b> questions what it means to be Boyanese, Buginese, Minangkabau, or Javanese through encounters with Singapore residents now conflated as Malay. Their testimonies will be written on her body and wither, while exposed to salty water and weather on reclaimed areas of Singapore island. <i>Paradise Blueprint</i> (2017), a wallpaper designed by <b>Zac Langdon-Pole</b>, based on a cyanotype photogram of the removed legs of a so-called “Bird of Paradise,” addresses the history of cultural exchange and mythology surrounding the birds native to Papua New Guinea. <b>Lucy Raven</b> creates silk paintings or monoprints, made by imprint of sedimentation in erosion tables, as scrim backdrops she uses for a forthcoming film-production, called <i>Kongkreto</i>, inspired by the 1991 eruption of Mt Pinatubo in the Philippines that finally chased off the Americans from Clark Airbase. Book-aficionado, artist, and writer <b>Shubigi Rao</b> delves into the stories related to the difficult conditions, but also extraordinary examples of solidarity Pramoedya faced on prison island Buru while writing <i>Arus Balik</i>. A new video-installation by <b>Melati Suryodarmo</b>, <i>Dancing under the Black Sky</i> (2019), traces the history behind Reog performances, an art form of resistance and criticism of Ponorogo people of East Java towards Bhre Kertabhumi, a Majapahit king who slowly lost his authority in the 15th century, before Islam became a major force in Demak and controlled the coastal region of Java. <br /><br />The exhibition <i>Arus Balik</i> aims to imagine the implication of histories and politics in processes of transition, such as colonisation and decolonisation, or shifts in maritime power for people and ports below (the straits of Malacca, South China Sea, Java Sea, and further east) and above (the Indian Ocean and further West) the wind. Have the multiple colonisations in Southeast Asia alienated the people from the sea coast? Is it possible to attempt a return? The reversal of the colonial fact, the promise of reversal of a geo-political, -cultural, and social systems, initially embodied by the Bandung conference in 1955, caused Afro-American author Richard Wright to write that “it smacked of tidal waves, of natural forces.” <br /><br />The accompanying public programmes further investigate the topics raised, including a conversation on <b>Saturday, March 23</b>, around the book <i>Arus Balik</i> and the reception of Pramoedya Ananta Toer’s oeuvre. On <b>Saturday, May 25</b>, another conversation will focus on living with the sea and the history of the straits. <br /><br /><i>Arus Balik – From below the wind to above the wind and back again</i> is NTU CCA Singapore’s response and contribution to this year’s nation-wide bicentennial commemorations that reflect on Singapore’s history since the arrival of the British statesman Sir Stamford Raffles in 1819, considered the founder of modern Singapore. <br /><br />Guest curated by <b>Philippe Pirotte</b>, Rector, Staatliche Hochschule für Bildende Künste – Städelschule, and Director, Portikus, Frankfurt, and Visiting Professor (2018/19), MA Museum Studies and Curatorial Practices, School of Art, Design and Media, NTU.
Contributor
An entity responsible for making contributions to the resource
Ade Darmawan
ila
Zac Langdon-Pole
Lucy Raven
Shubigi Rao
Melati Surydarmo
Philippe Pirotte
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
Film
Multimedia Installation
Drawing
Photography
Mixed Media
-
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Description
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[Test Description]
Source
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[Test Source]
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view
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Title
A name given to the resource
Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Standing Still (2000 - 2003).
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Title
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NTU Centre for Contemporary Art Singapore; Allan Sekula: Fish Story, to be continued, 3 July – 27 September 2015, Exhibition 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
Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Standing Still (2000 - 2003).
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Dublin Core
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Title
A name given to the resource
Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Dalam (2001).
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Dublin Core
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Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Dalam (2001).
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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
Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Dalam (2001).
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Dublin Core
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Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Dalam (2001).
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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
Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Dalam (2001).
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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
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Dalam (2001)
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Dublin Core
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Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Dalam (2001)
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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
Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Dalam (2001).
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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
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, May 2006 (2006).
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Dublin Core
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Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, May 2006 (2006).
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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
Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, May (2006).
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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
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, May 2006 (2006).
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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
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, May 2006 (2006).
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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
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, May 2006 (2006).
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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
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, May 2006 (2006).
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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
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, May 2006 (2006).
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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
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, 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
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, 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
Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Like Leaves (2015).
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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
NTU Centre for Contemporary Art Singapore; Simryn Gill: Hugging The Shore, 27 March – 14 June 2015, Installation view: Simryn Gill, Like Leaves (2015).
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
Exhibitions
Description
An account of the resource
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
Simryn Gill’s first major solo exhibition in Southeast Asia brings together a series of works that reveal the artist’s specific attitude towards how we produce meaning and make a place for ourselves in the world.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2015-03-27
Exhibition End Date
2015-06-14
Collaboration
No
Commissioned Work
No
Related Countries
Malaysia
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
Simryn Gill: <i>Hugging the Shore</i>
Subject
The topic of the resource
Archival Practice
Materiality
Description
An account of the resource
Simryn Gill’s first major solo exhibition in Southeast Asia brings together a series of works that reveal the artist’s specific attitude towards how we produce meaning and make a place for ourselves in the world. NTU CCA Singapore will present three photographic series: <i>Standing Still</i> (2000- 03), <i>Dalam</i> (2001), <i>May 2006</i> (2006), and a new work, <i>Like Leaves (Syzygium grandis)</i> (2015). Much of Simryn Gill’s work results from a process of sifting through and documenting her immediate surroundings creating quiet and at the same time commanding work marked by history, culture, the passage of time, and the poetry of daily life. <br /><br />Curated by Ute Meta Bauer, Founding Director and Anca Rujoiu, Curator, Exhibitions.
Contributor
An entity responsible for making contributions to the resource
Simryn Gill
Ute Meta Bauer
Anca Rujoiu
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.
Photography