Engaging Perspectives: New Art from Singapore]]> Spaces of the Curatorial]]> History]]> Urbanism]]> Engaging Perspectives: New Art From Singapore present works that engage with multifaceted perspectives about Singapore by a generation of artists born in the 1980s and currently working in Singapore. The nine artists and collectives, who are at differing stages of their careers from emerging artists to those who have exhibited internationally will examine the diverse but related ways in which they engage with the everyday. Their works explore the physical structures as as the invisible structures and networks that govern our everyday lives, the relationship of our increasingly urbanised environments to nature, as well as the systems of meaning making through the creation of images and signs that exists in our society. The exhibition aims to provide new perspectives about the everyday within the context of Singapore, and how this engagement with the everyday is also invariably an engagement with global perspectives.]]> Ang Song Nian]]> Black Baroque Committee]]> Mike Chang]]> Nah Yong En]]> Bruce Quek]]> Singapore Psychogeographical Society]]> Frayn Yong]]> Jasper Yu]]> Zhao Renhui]]> Eugene Tan]]> Installation]]> Multimedia Installation]]> Photography]]> Sculpture]]> Southeast Asia]]> CITIES FOR PEOPLE NTU CCA Ideas Fest 2016/7]]> Knowledge Production]]> Public Sphere]]> Urbanism]]> Ecology]]> Spaces of the Curatorial]]> Architecture]]> Environmental Crisis]]> CITIES FOR PEOPLE is the pilot edition of the annual NTU CCA Ideas Fest, a platform to catalyse critical exchange of ideas and encourage thinking “out of the box”. It is a bottom-up approach linking the artistic and academic community with grassroots initiatives. This pilot edition expands artistic interventions and engages contemporary issues such as air, water, food, environment, and social interaction in connection to artistic and cultural fields, academic research, and design applications.

The 10-day programme, coinciding with Singapore Art Week 2017 and Art After Dark at Gillman Barracks, comprises a conglomerate of performances, public installations, participatory projects and social experiment, urban farming initiatives, public dialogues, and a variety of workshops. It cumulates in a three-day summit that brings together a prominent group of architects, theorists, researchers, curators, and community groups to discuss and exchange ideas about urbanism, modes of exchange, critical spatial practice, and to envision a future city. CITIES FOR PEOPLE offers a platform to contemplate the possibilities for our shared space, reformulate our demands accordingly, and project solutions and desires for the future.

CITIES FOR PEOPLE, borrowing the title from a book by eminent Singapore architect William S. W. Lim published in 1990, expands on some of the ideas Lim developed, particularly in relation to tropical environments and recycling, as well as his call for a humanistic architecture. Organised on the occasion of the exhibition Incomplete Urbanism: Attempts at Critical Spatial Practice, this event is an invitation to share and engage in cooperative projects and collective experiences that critically reflect on current challenges in urban and social development.]]>
Ute Meta Bauer]]> Khim Ong]]> indieguerillas]]> Lulu Lutfi Labibi]]> Ari Wulu]]> Lucy + Jorge Orta]]> Foodscape Collective]]> Marjetica Potrč]]> Laura Anderson Barbata]]> Brooklyn Jumbies]]> Misso Russell Keith]]> Post-Museum]]> Xu Tan]]> Edible Garden City]]> Michelle Lai]]> Dan Susman]]> Victoria Marshall]]> Performance]]> Sound]]> Installation]]> Southeast Asia]]>
Stagings. Soundings. Readings. Free Jazz II]]> Body]]> Performance]]> Identity]]> Institutional Critique]]> Stagings. Soundings. Readings. Free Jazz II reviews the performative format that marked NTU CCA Singapore’s inauguration in 2013. Free Jazz 2013 was a series of talks and performances where participants of various disciplines were invited to imagine and envision a new institution and its potential. On its five-year anniversary, the Centre continues advocating for free spaces, celebrating the practice of improvisation, as well as of collective and performative approaches. Discussing ethical values with an expanded sense of community, territorial, and environmental concerns, Stagings. Soundings. Readings. employs an open, multidisciplinary structure that challenges traditional modes of presentation and re-presentation through a range of artistic practices and formats.

Situated within a complex and contemporary understanding of the Centre’s current overarching research topic CLIMATES. HABITATS. ENVIRONMENTS., the featured works link theory and practice, emphasising collectiveness. Today, the planet is witnessing a moment of unprecedented loss of biodiversity, habitat destruction, and cultural transformations. In the face of such agitated times juxtaposed with advanced communicative tools, contemporary social and environmental issues require responses from a collective body, through establishing processes of instigation, negotiation, and collaboration.

Can we learn from what we see as opposed to being merely seduced by images, becoming active participants instead of only passive observers? Stagings. Soundings. Readings. is an enactment between the artists and the audience. The invited artists engage with a less prescribed environment, reflecting on history, collective action, and human interaction.

Located outside the Centre, Maria Loboda‘s sculptural installation is grounded in historical narratives as a reminder that things can change and be taken down overnight, especially by the invisible mechanisms of power. In the Centre’s foyer, Tyler Coburn addresses forms of labour and examines the notion of writing in the 21st century by engaging with complexities of our legal, technological, and geopolitical networks, while Heman Chong analyses motifs of exchange and its boundaries, embracing the space of inter-human connections.

Unfolding in the exhibition space, Cally Spooner brings to Singapore an exercise in building new vocabulary and knowledge through bodily means. Using the space as a laboratory, the work investigates new ways of organising and working together. Alexandra Pirici’s choreography explores the possibility of collectively assembling memories of human and non-human presence on the planet. Carlos Casas presents his long-term multi-format ethnographic research based on the human ecology and richness of one of the world’s highest inhabited villages, Hichigh, located in the Pamir mountain range in Tajikistan. Together with composer Phill Niblock, they will create an audio-visual experience, traversing landscape, soundscape, and contemporary music that changes with every iteration.

In response to the five-year anniversary and by taking the topic of its celebration Free Jazz literally, Ming Wong will stage an improvisational performance. Similarly, Boris Nieslony (Germany), Co-founder of the artist collective Black Market International, will engage with pioneering Singaporean artist Lee Wen with a discussion and performance.

Further probing conventional formats, the accompanying programmes include readings by curator Anca Rujoiu (Romania/Singapore) and poets Peter Sipeli and 1angrynative (both Fiji), as well as Behind the Scenes conversations with contributing artists. In The Single Screen, works by Anton Ginzburg (Russia/United States), Mariana Silva (Portugal/United States), Luke Fowler (United Kingdom), Justin Shoulder and Bhenji Ra (both Philippines/Australia), and others, will add a filmic perspective to the dialogue.

This multitude of celebratory events instigates an active engagement with the now, following a conscious desire to become truly present.

Curated by Ute Meta Bauer, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, Nanyang Technological University, and Magdalena Magiera, Curator, Outreach and Education, NTU CCA Singapore.]]>
Heman Chong]]> Maria Loboda]]> Cally Spooner]]> Maggie Segale]]> Jesper List Thomsen]]> Tyler Coburn]]> Richard Roe]]> Carlos Casas]]> Phill Niblock]]> Ming Wong]]> Alexandra Pirici]]> Ying Cai]]> Weixin Chong]]> Chloe Chotrani]]> Nina Djekic]]> Farid Fairuz]]> Adam Lau]]> Je Leung]]> Loo Zihan]]> Yue Ru Ma]]> Hanna Mikosch]]> Yulin Ng]]> Rachel Nip]]> Isabel Phua]]> Jamil Schulze]]> Performance]]> Sound]]> Installation]]> Asia]]>
The Disappearance]]> Experiential]]> Embodiment]]> Spaces of the Curatorial]]> The Disappearance situates itself in the architectural setting of a previous exhibition Paradise Lost. It works with what is left out: the traces of the show in the space; its echoes in our memory, The Disappearance conceals and reveals: what has happened before and what will follow. Subject to operations of installation and de-installation, an exhibition space if continuously edited: we erase one text to inscribe another. The Disappearance acknowledges the inherent changes into an exhibition space and its continuous rewriting. What happens after an exhibition is over? What we remember? How we remember?

Curated by Anca Rujoiu (Curator for Exhibitions) and Vera Mey (Curator for Residencies), The Disappearance is conceived as a durational event unfolding over two days including a continuous series of manifestations from live performances to film screenings.]]>
Anca Rujoiu]]> Vera May]]> Cyprien Gaillard]]> Malak Helmy]]> Sonya Lacey]]> Manuel Pelmus]]> Laure Prouvost]]> Shubigi Rao]]> Nigel Rolfe]]> Marie Shannon]]> Diego Tonus]]> Mona Vătămanu & Florin Tudor]]> Erin Gleeson]]> Planting Rice]]> David Teh]]> Performance]]> Film]]> Asia]]>
No country: Contemporary Art for South and Southeast Asia]]> Regionalism]]> Geopolitics]]> Migration]]> Diaspora]]> Cultural Heritage]]> No Country: Contemporary Art for South and Southeast Asia is part of the Guggenheim UBS MAP Global Art Initiative which was launched in April 2012, a multi-year collaboration that charts contemporary art practice in three geographic regions—South and Southeast Asia, Latin America, and the Middle East and North Africa—and encompasses curatorial residencies, international touring exhibitions, audience-driven education programming, and acquisitions for the Guggenheim’s permanent collection.

Curated by June Yap, No Country at NTU Centre for Contemporary Art Singapore brought the artworks back to the Southeast Asia region from which many of the artists hail and called for an even closer examination of regional cultural representations and relations. This return suggests the possibility of a renewed understanding through a process of mutual rediscovery that transcends physical and political borders. The exhibition in Singapore also marked the debut of two works from the Guggenheim UBS MAP Purchase Fund not previously shown as part of No Country: Loss by Sheela Gowda and Morning Glory by Sopheap Pich.]]>
June Yap]]> Sheela Gowda]]> Sopheap Pich]]> Amar Kanwar]]> Arin Dwihartanto Sunaryo]]> Bani Abidi]]> Navin Rawanchaikul]]> Norberto Roldan]]> Poklong Anading]]> Reza Afisina]]> Shilpa Gupta]]> Tang Da Wu]]> Tayeba Begum Lipi]]> The Otolith Group]]> Tran Luong]]> Tuan Andrew Nguyen]]> Vincent Leong]]> Sculpture]]> Painting]]> Mixed Media]]> Installation]]> Photography]]> Southeast Asia]]>
Arachnid Orchestra. Jam Sessions]]> Posthumanism]]> Sustainability]]> Coexistence]]> Biodiversity]]> Ecology]]> Technology]]>
Arachnid Orchestra. Jam Sessions at NTU CCA Singapore is a new production by Tomás Saraceno commissioned by the centre that brings his long-term research on spider webs into the realm of sound. The artist uses spider webs as musical instruments embodying the incredible structural properties of the spider’s silk, but also the spider’s sophisticated mode of communication through vibrations.

Arachnid Orchestra. Jam Sessions is a pioneering investigation by Saraceno and his studio in Berlin that involves a range of collaborators from various universities and disciplines. The exhibition space is turned into an interactive sound and visual installation, a process-driven laboratory for experimentation that pushes the boundaries of interspecies communication.

As an extension of the exhibition, a dedicated website (www.arachnidorchestra.org) will operate as a research platform and playful hypertext of musical tuning.]]>
Tomás Saraceno]]> Ute Meta Bauer]]> Anca Rujoiu]]> Astonishing Secrets of Spiders - Human Wisdom is Way Behind]]> Multimedia Installation]]> Sound]]> Southeast Asia]]>
Incomplete Urbanism: Attempts of Critical Spatial Practice]]> Urbanism]]> Capitalism]]> Globalisation]]> Public Sphere]]> Regionalism]]> Incomplete Urbanism: Attempts of Critical Spatial Practice is an open-ended exhibition that serves as a laboratory of ideas, exploring the indeterminacy and changeability of urban living. Borrowing its title from eminent Singaporean architect William S.W. Lim’s book Incomplete Urbanism: A Critical Urban Strategy for Emerging Economies (2012), this multifaceted project takes Lim’s practice and the initiatives of the Asian Urban Lab that he started with colleagues in 2003, as a point of departure. It presents various researches into the spatial, cultural and social aspects of city life according to the publications Lim was involved with.

Acknowledging Lim’s contributions as a prolific urban theorist and catalyst of ideas, whose vision asks that we reconsider the traditions of Asian architecture for the “contemporary vernacular”, Incomplete Urbanism is a direct response to his critical ideas – a space is generated to encourage participation and agency.

Lim’s key ideas will be explored by commissioned projects from several contributors, including Dr Marc Glöde (Germany/Singapore), film curator, Visiting Scholar, School of Art, Design (ADM) and Media, Nanyang Technological University (NTU), Singapore; Laura Miotto (Italy/Singapore), Associate Professor, NTU ADM; Shirley Surya (Indonesia/Hong Kong), Associate Curator for Design and Architecture, M+, Hong Kong and NTU CCA Singapore Visiting Research Fellows; Dr Etienne Turpin (Canada/Indonesia), Research Scientist, Urban Risk Lab, Massachusetts Institute of Technology, United States; and Sissel Tolaas (Norway/Germany), smell researcher and artist.

Incomplete Urbanism seeks to present a dynamic space to engage urban issues, through discussions, debates, a programme on classic Singapore films, workshops and other collective efforts.]]>
Ute Meta Bauer]]> Khim Ong]]> Magdalena Magiera]]> Installation]]> Film]]> Print]]> Video]]> Asia]]> Southeast Asia]]>
The Making Of An Institution]]> Knowledge Production]]> Cultural Production]]> Institutional Critique]]> Artistic Research]]> The Making of an Institution captures different moments in the development of the NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) connecting artistic projects, discursive manifestations, and the institutional apparatus in a seamless display. It looks back into its young past in order to shape its future. Challenging the format of an exhibition, The Making of an Institution creates a communal space where projects and research explorations by the Centre’s Artists-, Curators-in- Residence, and Research Fellows coexist with ongoing series of talks, screenings, performances, and workshops. The project engages the Centre’s main pillars–Exhibitions, Residencies, Research and Academic Education – bringing to a close the overarching curatorial narrative Place.Labour.Capital. that served as a framework for its activities since 2013.

Established in 2013, the Centre embodies the complexity of a contemporary art institution in times of knowledge economy and global art. The role of a contemporary art institution should not be limited to the presentation of art. It feeds off and nurtures the cultural ecosystem it belongs to through a complex series of actions that often reside in the realm of the immaterial. The Centre’s inaugural programme Free Jazz addressed the foundational question “What can this institution be?” highlighting the skill of improvisation and free play. Three years later, different questions are to be raised: What could the role of the NTU CCA Singapore be for the years to come within a fast changing local, regional, and global cultural landscape? What are the criteria to evaluate its achievements and impact?

In revisiting its own process of institutional building, NTU CCA Singapore appropriates the format and language of a “public report”. While a public report is conventionally employed to deliver an official written narrative, the Centre’s report unfolds in the exhibition space through the languages of the performative, the discursive, and the archival.

“It’s amazing how far we were able to come in just three years,” said Ute Meta Bauer, Founding Director, NTU CCA Singapore. “The Making of an Institution is a celebration of the international community we have built, including scholars, artists, and the public. Now it is time for us to reflect and analyse our achievements before the exciting next steps ahead.”

The Making of an Institution is divided into four sections borrowed from the structure of a public report: Reason to Exist: The Director’s Review; Ownership, Development, and Aspirations; Artistic Research; and Communication and Mediation. The first section, Reason to Exist: The Director’s Review maps out a network of institutions, like NTU CCA Singapore, that place research at the core of their identity. Each guest director will closely examine the vision, mission, and operative model of her respective organisation in a series of talks aimed at deepening our understanding of the changing role of contemporary cultural institutions. Ownership, Development, and Aspirations is a public panel with several members of the NTU CCA Singapore’s International Advisory Board and its stakeholders representatives that stresses the importance of feedback and exchange among peers especially in the development phase of an institution. The section dedicated to Artistic Research frames the material and immaterial aspects that constitute contemporary art practices. It takes over the Centre’s physical Spaces of the Curatorial—The Exhibition Hall, The Single Screen, The Lab, and The Vitrine—juxtaposing artworks and research projects by NTU CCA Singapore’s Artists-, Curators-in- Residence, and Research Fellows alongside various formats of public programming. Finally, Communication and Mediation explores the production of an institution’s identity through visual communication and spatial practices. Through workshops and presentations, artists, architects, and designers will discuss how they create diverse visual and spatial identities for art institutions.

The public report will culminate into a book planned for publication in mid-2017, gathering the voices of all the artists, curators, researchers, and academics who have contributed to this first phase of the Centre. The Making of an Institution is curated by Ute Meta Bauer, Founding Director, Anna Lovecchio, Curator, Residencies, and Anca Rujoiu, Manager, Publications.]]>
åbäke]]> Hamra Abbas]]> Rodolfo Andaur]]> Diana Campbell Betancourt]]> Dinu Bodiciu]]> Kray Chen]]> Chris Chong Chan Fui]]> Heman Chong]]> Renée Staal]]> Weixin Chong]]> Choy Ka Fai]]> Ann Demeester]]> Rosemary Forde]]> Marc Glöde]]> Yuko Hasegawa]]> Bani Haykal]]> Bahbak Hashemi-Nezhad]]> Maria Hlavajova]]> Ho Rui An]]> James Jack]]> siren eun young jung]]> Christoph Knoth]]> Koh Nguang How]]> Wilfried Kuehn]]> Bastian von Lehsten]]> Li Ran]]> Loo Zihan]]> Zulkifle Mahmod]]> Ato Malinda]]> Alice Miceli]]> Laura Miotto]]> Regina Möller]]> Arjuna Neuman]]> UuDam Tran Nguyen]]> Nikos Papastergiadis]]> Jegan Vincent de Paul]]> Emily Pethick]]> Thao-Nguyen Phan]]> Souliya Phoumivong]]> Ana Prvački]]> Arin Rungjang]]> anGie seah]]> Jeremy Sharma]]> SHIMURAbros]]> Alec Steadman]]> Sanne Oorthuizen]]> Anocha Suwichakornpong]]> Erika Tan]]> Guo-Liang Tan]]> Tan Pin Pin]]> Philip Tinari]]> John Tirman]]> Mona Vătămanu]]> Florin Tudor]]> Bo Wang]]> Farah Wardani]]> Tamara Weber]]> Jason Wee]]> Otty Widasari]]> abake]]> Reee Staal]]> Marc Glode]]> Regina Moller]]> Ana Prvacki]]> Installation]]> Film]]> Print]]> Video]]> Southeast Asia]]>
Ghosts and Spectres – Shadows of History]]> Archival Practice]]> Fiction]]> Supernatural]]> Mythology]]> Politics]]> Ghosts and Spectres — Shadows of History features video installations and films by Apichatpong Weerasethakul (Thailand), Ho Tzu Nyen (Singapore), Nguyen Trinh Thi (Vietnam), and Park Chan-kyong (South Korea). The artists’ research into their own cultural and historical backgrounds gain shape through allegories that re-evaluate the social and political reforms in Post-War and Cold-War Asia. The cinematic works in the exhibition combine fact and fiction. They not only allude to rarely discussed subject-matters but also raise crucial questions about power and authority, construction of narratives, repression of identities, and collective trauma.

Embedded in the vernacular, ghosts, myths, and rituals present systems of knowledge that enable the expression of unknown worlds. Ghosts and Spectres — Shadows of History brings to light clouded histories at times not officially recounted but those that remain a lingering presence in collective memories through local mythologies, ghostly figures, and traditions. The works create their own language and systems of reference, reflecting current efforts of exposing written historical accounts and contemporary situations that subvert mainstream narratives.

In parallel, The Lab, NTU CCA Singapore’s platform for research in-progress, will be featuring projects by siren eun young jung (South Korea) and Choy Ka Fai (Singapore/Germany), both recent NTU CCA Singapore artists-in-residence. While jung focuses on Yeoseong Gukgeuk, a vanishing form of traditional Korean theatre featuring only female performers, Choy brings up his long-time research into Butoh dance, also called “dance of darkness,” and looks at its evolution and influence through one of the Butoh founders, Tatsumi Hijikata.

Ghosts and Spectres—Shadows of History is curated by Ute Meta Bauer, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, NTU, and Khim Ong, Deputy Director, Curatorial Programmes.]]>
Apichatpong Weerasethakul]]> Ho Tzu Nyen]]> Nguyen Trinh Thi]]> Park Chan-kyong]]> siren eun young jung]]> Choy Ka Fai]]> Ute Meta Bauer]]> Khim Ong ]]> Video]]> Multimedia Installation]]> Film]]> Southeast Asia]]> Asia]]>
Tarek Atoui The Ground: From the Land to the Sea]]> Performance]]> Body]]> Materiality]]> Nature]]> Tarek Atoui, conceived as a composition that unfolds in space with its unique sound library and instruments. It is the first large-scale exhibition that Atoui has created through interweaving objects, instruments, and recordings, some borrowed from pre-existing projects, others newly collected and produced.

The Ground: From the Land to the Sea comprises two layers of auditory experiences that interact with each other as well as with the spatial and sonic qualities of NTU CCA Singapore’s exhibition hall, merging them into a single composition. Enveloping the main exhibition space are a set of speakers that play the sounds of underwater environments as well as human and industrial activities in the harbours of Athens and Abu Dhabi, recorded for the project I/E (2015–ongoing). Building upon the sound collection, Atoui has, as part of this presentation in Singapore, recorded at local harbours and waterfronts, together with composer and sound artist Éric La Casa.

The recording process in Singapore took Atoui and La Casa to a range of waterfront sites and islands including the Jurong Fishery Port, Pulau Sebarok (an oil storage facility and refuelling port off the Southern coastline), on an oil tanker, and along the Singapore shores. During these trips, the duo picked out acoustic features of these environs, both underwater and on land, and captured them in their diverse forms—as vibrations, audible noise, and inaudible audio waves, etc.— using devices such as a recorder, a hydrophone, contact microphones, and selfmade omnidirectional microphones. Drawing reference to the emergence of acoustic ecology, which attempts to understand and analyse characteristics of sonic environments such as geological formations, organisms, and human interactions, Atoui’s auditory library is an artistic interpretation of the ecology of our times. Set within a “white cube,” the audience is transposed into an immersive audio-visual topography, becoming part of the installation.

Most of the instruments shown are part of The Ground project, the result of the artist’s five-year-long investigation of natural cycles in the Pearl River Delta, first presented at Mirrored Gardens, a project space in Guangzhou, China, in 2017. Also presented are instruments created for previous projects, such as The Reverse Collection (2014–16) and WITHIN (2012–13). This ensemble of unusual instruments is enriched with new additions, including a set of porcelain and ceramic discs, on which traditional Arabic rhythms are engraved, and a customised record player that rotates at irregular speeds, never reading a disc the same way twice.

At the core of Atoui’s practice lies an ongoing process of inviting composers, musicians, and artists to collaborate on his pieces in search of new ideas, gestures, and experiences. For the current exhibition, Atoui will engage with local and international musicians who will be invited to appropriate his composition and intervene in the exhibition space. He will work with acclaimed sound artists and musicians Vivian Wang and Yuen Chee Wai, as well as music curator Mark Wong, who in turn will invite other musicians and sound artists to inhabit the installation throughout the course of the exhibition.

The exhibition is curated by Ute Meta Bauer, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, Nanyang Technological University, and Khim Ong, Deputy Director, Curatorial Programmes, NTU CCA Singapore. Supported by Institut français, with the additional support of the Embassy of France in Singapore and Institut français Singapour.

Tarek Atoui has invited local and international musicians to engage with his exhibition and appropriate the installation for given periods of time. He worked with acclaimed sound artists and musicians Vivian Wang and Yuen Chee Wai, as well as music curator Mark Wong, who each will host three other musicians and sound artists. The guests will inhabit the exhibition and freely experiment with Atoui’s instruments throughout the course of the exhibition.

Schedule for upcoming Guest Musicians in the Exhibition Hall:

Vivian Wang (Singapore): 26 – 30 March
Yuen Chee Wai (Singapore): 31 March – 3 April
Darren Ng (Singapore): 7 – 10 April
Uriel Barthélémi (France): 13 – 17 April
Tini Aliman (Singapore): 28 April – 1 May
Wu Junhan (Singapore): 2 – 5 May
The Analog Girl (Singapore): 10 – 13 May
Cheryl Ong (Singapore): 19 – 22 May
Zai Tang (Singapore): 31 May – 3 June
Bani Haykal (Singapore): 4 – 7 June
Dharma (Singapore): 13 – 16 June
Sudarshan Chandra Kumar (Malaysia): 19 – 22 June]]>
Tarek Atoui]]> Yuen Chee Wai]]> Mark Wong]]> Vivian Wang]]> Darren Ng]]> Uriel Barthélémi]]> Tini Aliman]]> Wu Junhan]]> The Analog Girl]]> Cheryl Ong]]> Zai Tang]]> Bani Haykal]]> Dharma]]> Sudarshan Chandra Kumar]]> Ute Meta Bauer]]> Khim Ong]]> Multimedia Installation]]> Installation]]> Sound]]> Object]]> Asia]]> Southeast Asia]]>