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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
Lacey aims to research current approaches to publishing and copyright in the Southeast Asian region with a specific focus on the printing history of Cambodia, looking in particular at bootlegged publications, the flouting of copyright laws, and the histories of digital piracy.
Cycle
Cycle 4 (2017 – 2018)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
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
Sonya Lacey
Description
An account of the resource
During the residency, Lacey will develop <i>One divides into two</i>, a project which derives its title from a Maoist slogan from the 1960s. The project expands the artist’s investigations into non-western print histories and is backgrounded by her ongoing interest in the differing physical forms of public communication across various broadcasting platforms. Lacey aims to research current approaches to publishing and copyright in the Southeast Asian region with a specific focus on the printing history of Cambodia, looking in particular at bootlegged publications, the flouting of copyright laws, and the histories of digital piracy.
Date
A point or period of time associated with an event in the lifecycle of the resource
4 September – 31 October 2017
Contributor
An entity responsible for making contributions to the resource
Sonya Lacey
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
Performance
Subject
The topic of the resource
Artistic Research
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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, Bridget Reweti intends to continue her long-term research on Ra’iatea navigator Tupaia.
Cycle
Cycle 6 (2019 – 2020)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
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
Bridget Reweti
Description
An account of the resource
During the residency, Bridget Reweti intends to continue her long-term research on Ra’iatea navigator Tupaia. A leading arioi (high priest), skilled star navigator, and diplomat conversant in Māori, Tupaia joined Lieutenant James Cook’s first voyage across the Pacific in 1769, on board of the research vessel HMS Endeavour, and aided the navigation to Aotearoa New Zealand. Tupaia died, whilst en route to Britain, in Batavia (today’s Jakarta) in 1770 and was laid to rest in an unmarked grave on Pulau Damar Besar, an island off the coast of Java. Though relegated to a minor role in the Endeavour’s log books, Tupaia is remembered differently by Pacific communities. Still today, oral histories shared by fishers and voyagers across the ocean frame him as a highly influential figure. By accessing archival records and oral histories, Reweti will attempt to shed light on the reasons why Pulau Damar Besar was chosen as Tupaia’s final resting place.
Date
A point or period of time associated with an event in the lifecycle of the resource
3 July – 27 September 2019
Contributor
An entity responsible for making contributions to the resource
Bridget Reweti
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
Medium
The material or physical carrier of the resource.
Writing/Text
Subject
The topic of the resource
History
Indigenous Knowledge
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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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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
What is Deep Sea Mining? addresses both knowledge of the deep sea and ocean governance, but also efforts to defend a sustained ocean literacy beyond the United Nations’ “blue economy” at a time when the deep ocean, its species, and its resources remain largely unmapped and understudied.
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
2019-11-02
Exhibition End Date
2020-02-08
Collaboration
Yes
Commissioned Work
No
Related Countries
Papua New Guinea
Fiji
Tonga
New Zealand
Japan
Portugal
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>What is deep sea mining?</i>
Subject
The topic of the resource
Environmental Crisis
Oceans & Seas
Extractivism
Nature
Postcolonialism
Description
An account of the resource
By <b>inhabitants</b> in collaboration with <b>Margarida Mendes</b> <br /><br />Deep sea mining is a new frontier of resource extraction located on the ocean seabed. It is set to begin in the next few years, as the technology is currently under development. Mining companies are, at present, leasing areas for exploitation in national and international waters in order to assess the potential to extract minerals and metals such as manganese, cobalt, gold, copper, iron, and other rare earth elements. The main geological sites targeted are areas rich in polymetallic nodules, seamounts, and hydrothermal vents; areas typically found where tectonic plates meet. The areas to be mined could cover parts of the Mid-Atlantic Ridge and the Clarion Clipperton Zone in the Pacific Ocean in international waters, and national waters off the islands of Papua New Guinea, Fiji, Tonga, New Zealand, Japan, and the Portuguese archipelago of the Azores. Assessment of the impact on deep sea ecosystems is underway, though their cumulative effects remain difficult to comprehend given the unprecedented variety and expanse of the mining sites targeted. At the same time, local and indigenous communities living in these regions are not being adequately consulted. <br /><br />The prospects of this form of mining re-actualise a colonial, frontier mentality and are redefining extractivist economies for the twenty-first century. <i>What is Deep Sea Mining?</i> addresses both knowledge of the deep sea and ocean governance, but also efforts to defend a sustained ocean literacy beyond the United Nations’ “blue economy” at a time when the deep ocean, its species, and its resources remain largely unmapped and understudied. <br /><br />Episode 1, <i>Tools for Ocean Literacy</i>, is historical and geographical introduction to deep sea mining, playing with Charles and Ray Eames’ 1977 film Powers of Ten. <br /><br />Episode 2, <i>Deep Frontiers</i>, tells a story about knowledge of the seabed and its alien life, written by anthropologist Stefan Helmreich. <br /><br />Episode 3, <i>The Azore Case</i>, focuses on the Portuguese Azores nine island archipelago, following European Union plans to mine in the region, based on a series of interviews with marine biologists and politicians conducted in the islands. <br /><br />Episode 4, <i>A Glossary on Mining</i>, offers a brief glossary of terms that can be used to better tackle the issue of mining reserves and monopolies on land, which in turn may lead to the potential threat of deep sea mining. <br /><br />Episode 5,<i> The Papua New Guinea Case</i>, addresses the plans to mine off the coast of Papua New Guinea as well as the long activist struggle by local communities across the Pacific against deep sea mining. Episode 5 will be premiered at NTU CCA Singapore, simultaneously in the Lab space and online on social media and the websites of NTU CCA Singapore’s website, the funding and partner institution TBA21 – Academy’s website, and inhabitants-tv.
Contributor
An entity responsible for making contributions to the resource
inhabitants
Margarida Mendes
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
Asia
South America
Medium
The material or physical carrier of the resource.
Video
Multimedia 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 Ring of Fire (2014–ongoing) brings together for the first time the most significant works realised by Irwan Ahmett and Tita Salina since the inception of the project.
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
2019-04-13
Exhibition End Date
2019-06-11
Collaboration
No
Commissioned Work
No
Related Countries
Indonesia
New Zealand
Taiwan
South Korea
Japan
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 Ring of Fire (2014 – ongoing)</i> by Irwan Ahmett and Tita Salina
Subject
The topic of the resource
Geopolitics
Migration
Politics
Activism
Description
An account of the resource
Invisible to the human eye, geological kinships flow under the oceans and lay deep into the earth’s crust. When they manifest themselves, it is often in apocalyptic forms that disrupt existing ecosystems and the course of human life. In geography, The Ring of Fire denotes the volcanic belt and the collision zone of tectonic plates running around the edges of the Pacific Ocean, a deadly area where the majority of the world’s earthquakes and eruptions occur. For <b>Irwan Ahmett</b> and <b>Tita Salina</b>, this geologically unstable territory demarcates a field of artist inquiry. <br /><br />Since 2014, the Indonesian duo have embarked upon a journey that engages issues of social injustice, political struggles, colonial histories, and environmental crises encountered along erratic routes that stretch from Indonesia to New Zealand, from Taiwan and South Korea to Japan. <i>The Ring of Fire (2014–ongoing)</i> brings together for the first time the most significant works realised by the artists, either together or individually, since the inception of the project.
Contributor
An entity responsible for making contributions to the resource
Irwan Ahmett
Tita Salina
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
Oceania
Medium
The material or physical carrier of the resource.
Video
Print
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
Showcasing publications, audio and visual documentation, Four Practices provides an entry point in understanding the artists’ diverse body of works and the complexity of their practices.
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
2016-04-06
Exhibition End Date
2016-05-03
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
New Zealand
South Korea
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>Four Practices</i>: Artist Resource Platform
Subject
The topic of the resource
Artistic Research
Regionalism
Geopolitics
Description
An account of the resource
Unfolding over four weeks, the NTU CCA Singapore presents <i>Four Practices</i>, a display of resource material of current Artists-in-Residence. Showcasing publications, audio and visual documentation, <i>Four Practices</i> provides an entry point in understanding the artists’ diverse body of works and the complexity of their practices. <br /><br /><i>Four Practices</i> complements and expands on NTU CCA Singapore’s Artist Resource Platform, a growing collection of resource materials from more than 80 local and international artists, independent art spaces and NTU CCA Singapore’s Artists-in-Residence.
Contributor
An entity responsible for making contributions to the resource
Haegue Yang
Zac Langdon-Pole
Zul Mahmod
Dennis Tan
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
Asia
Medium
The material or physical carrier of the resource.
Print
Video
Photography
Sculpture
-
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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
Darcy Lange: Hard, however, and useful is the small, day-to-day work takes the video work of New Zealand artist, Darcy Lange (1946 – 2005) as the starting point for a complex discussion concerning the representation of labour.
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
2015-08-12
Exhibition End Date
2015-09-27
Collaboration
No
Commissioned Work
No
Related Countries
United Kingdom
New Zealand
Spain
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
Darcy Lange: <i>Hard, however, and useful is the small, day-to-day work</i>
Subject
The topic of the resource
Labour
Capitalism
Inequality
Politics
Description
An account of the resource
Integrated within NTU CCA Singapore’s overarching research framework PLACE.LABOUR.CAPITAL, The Lab will present Darcy Lange: <i>Hard, however, and useful is the small, day-to-day work</i>, taking the video work of New Zealand artist, <b>Darcy Lange</b> (1946 – 2005) as the starting point for a complex discussion concerning the representation of labour. During the 1970s, Lange developed a socially engaged video practice with remarkable studies of people at work that draw from documentary traditions as well as conceptual and structuralist video making. With his seminal style of real-time, unedited, without commentary, lengthy observations of workers that came to characterise his Work Studies series (1972 – 77), Lange aimed to “convey the image of work as work, as an occupation, as an activity, as creativity and as a time consumer”. <br /><br />Curated by guest curator, Mercedes Vicente.
Contributor
An entity responsible for making contributions to the resource
Darcy Lange
Mercedes Vicente
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
Medium
The material or physical carrier of the resource.
Video
Print