<i>Engaging Perspectives: New Art from Singapore</i>
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Curated by Eugene Tan, <i>Engaging Perspectives: New Art From Singapore</i> 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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ang+Song+Nian">Ang Song Nian</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Mike+Chang"> Mike Chang</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Frayn+Yong">Frayn Yong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Jasper+Yu"> Jasper Yu</a>
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<i>Exhibit 101</i>: Li Ran and Gary Ross Pastrana
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Unfolding over two months, Artists-in-Residence <b>Li Ran</b> and <b>Gary Ross Pastrana</b> will develop projects for The Lab, NTU CCA Singapore’s space for experimentation, which are speculations on how an image is created and deconstructed. <br /><br />Gary Ross Pastrana’s <i>An ASEAN Exhibition 1</i> creates an artistic gesture around the idea of Southeast Asia as a reference with no visual referent. The artist engaged DSM Solutions, a young Singaporean creative collective, to stage a “Contemporary Southeast Asia Art Exhibition-Themed Event” and prototype props that could stand in for Southeast Asian artworks. In this manner, the artist has effectively outsourced the sometimes-problematic task of representing Southeast Asia, an implied obligation of artists invited to regionally themed group exhibitions within the region. <br /><br />Li Ran presents a new project <i>Waiting for the Fog to Drift Away</i>, a collaboration with Singapore Management University (SMU), Assistant Professor Rowan Wang, a specialist in overall planning science. Li Ran will conduct interviews to gain planning advice from Wang in an attempt to define the most successful trajectory for the life of an artist as a business enterprise, estimating production levels and peaks and troughs in key life moments.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Li+Ran">Li Ran</a>
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<i>Four Practices</i>: Artist Resource Platform
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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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Haegue+Yang">Haegue Yang</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Zac+Langdon-Pole">Zac Langdon-Pole</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Zul+Mahmod">Zul Mahmod</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Dennis+Tan">Dennis Tan</a>
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<i>Ghosts and Spectres – Shadows of History</i>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Fiction">Fiction</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mythology">Mythology</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Politics">Politics</a>
<i>Ghosts and Spectres — Shadows of History</i> features video installations and films by <b>Apichatpong Weerasethakul</b> (Thailand), <b>Ho Tzu Nyen</b> (Singapore), <b>Nguyen Trinh Thi</b> (Vietnam), and <b>Park Chan-kyong</b> (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. <br /><br />Embedded in the vernacular, ghosts, myths, and rituals present systems of knowledge that enable the expression of unknown worlds. <i>Ghosts and Spectres — Shadows of History</i> 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. <br /><br />In parallel, The Lab, NTU CCA Singapore’s platform for research in-progress, will be featuring projects by <b>siren eun young jung</b> (South Korea) and <b>Choy Ka Fai</b> (Singapore/Germany), both recent NTU CCA Singapore artists-in-residence. While jung focuses on <i>Yeoseong Gukgeuk</i>, a vanishing form of traditional Korean theatre featuring only female performers, Choy brings up his long-time research into <i>Butoh</i> dance, also called “dance of darkness,” and looks at its evolution and influence through one of the <i>Butoh</i> founders, Tatsumi Hijikata. <br /><br />Ghosts and Spectres—Shadows of History is curated by <b>Ute Meta Bauer</b>, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, NTU, and <b>Khim Ong</b>, Deputy Director, Curatorial Programmes.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Apichatpong+Weerasethakul">Apichatpong Weerasethakul</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ho+Tzu+Nyen">Ho Tzu Nyen</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nguyen+Trinh+Thi">Nguyen Trinh Thi</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=siren+eun+young+jung">siren eun young jung</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Choy+Ka+Fai">Choy Ka Fai</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ute+Meta+Bauer">Ute Meta Bauer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Khim+Ong+">Khim Ong </a>
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<i>Incomplete Urbanism: Attempts of Critical Spatial Practice</i>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Public+Sphere">Public Sphere</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Regionalism">Regionalism</a>
<b><i>Incomplete Urbanism: Attempts of Critical Spatial Practice</i></b> 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 <i>Incomplete Urbanism: A Critical Urban Strategy for Emerging Economies</i> (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. <br /><br />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”, <i>Incomplete Urbanism</i> is a direct response to his critical ideas – a space is generated to encourage participation and agency. <br /><br />Lim’s key ideas will be explored by commissioned projects from several contributors, including <b>Dr Marc Glöde</b> (Germany/Singapore), film curator, Visiting Scholar, School of Art, Design (ADM) and Media, Nanyang Technological University (NTU), Singapore; <b>Laura Miotto </b>(Italy/Singapore), Associate Professor, NTU ADM; <b>Shirley Surya</b> (Indonesia/Hong Kong), Associate Curator for Design and Architecture, M+, Hong Kong and NTU CCA Singapore Visiting Research Fellows; <b>Dr Etienne Turpin</b> (Canada/Indonesia), Research Scientist, Urban Risk Lab, Massachusetts Institute of Technology, United States; and <b>Sissel Tolaas</b> (Norway/Germany), smell researcher and artist. <br /><br /><i>Incomplete Urbanism</i> seeks to present a dynamic space to engage urban issues, through discussions, debates, a programme on classic Singapore films, workshops and other collective efforts.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ute+Meta+Bauer">Ute Meta Bauer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Khim+Ong">Khim Ong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Magdalena+Magiera">Magdalena Magiera</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<i>No country: Contemporary Art for South and Southeast Asia</i>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Diaspora">Diaspora</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Cultural+Heritage">Cultural Heritage</a>
<i>No Country: Contemporary Art for South and Southeast Asia</i> 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. <br /><br />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 <i>No Country: Loss</i> by Sheela Gowda and <i>Morning Glory</i> by Sopheap Pich.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=June+Yap">June Yap</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sheela+Gowda">Sheela Gowda</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sopheap+Pich">Sopheap Pich</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Amar+Kanwar">Amar Kanwar</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Arin+Dwihartanto+Sunaryo">Arin Dwihartanto Sunaryo</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bani+Abidi">Bani Abidi</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Navin+Rawanchaikul">Navin Rawanchaikul</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Norberto+Roldan">Norberto Roldan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Poklong+Anading">Poklong Anading</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Reza+Afisina">Reza Afisina</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Shilpa+Gupta">Shilpa Gupta</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tang+Da+Wu">Tang Da Wu</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tayeba+Begum+Lipi">Tayeba Begum Lipi</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=The+Otolith+Group">The Otolith Group</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tran+Luong">Tran Luong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tuan+Andrew+Nguyen">Tuan Andrew Nguyen</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Vincent+Leong">Vincent Leong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<i>Non-Aligned</i>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Race">Race</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Decolonialism">Decolonialism</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Archival+Practice">Archival Practice</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Geopolitics">Geopolitics</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Displacement">Displacement</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Regionalism">Regionalism</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Diaspora">Diaspora</a>
<i>Non-Aligned</i> in the press! Read Stephanie Bailey’s article in <u>Ocula</u> and <u>Object Lessons Space</u>‘s interview with Dr Karin Oen, the Centre’s Deputy Director of Curatorial Programmes. <br /><br /><b><i>The Unfinished Conversation</i></b> (2012), <b>John Akomfrah</b> (United Kingdom), <b><i>Two Meetings and a Funeral</i></b> (2017), <b>Naeem Mohaiemen</b> (Bangladesh/United States), <b><i>Nucleus of the Great Union</i></b> (2017), <b>The Otolith Group</b> (United Kingdom) <br /><br />The British Empire spanned from Asia to Australia to Africa to America to the Caribbean. The various colonial territories gained their sovereignty and independence at different times, in processes of decolonization that played out in the histories of nations, but also determined the lives of individuals. <i>Non-Aligned</i> brings together three moving-image works by artists, filmmakers, and writers that inquire into the challenging transition periods from colonial rule to the independence of nations. <br /><br />The presented works apply archival material in different ways. The focus spans from the work and personal histories of intellectuals who experienced these unprecedented circumstances first-hand, including Jamaican-born British theorist Stuart Hall (1932-2014) and African American novelist Richard Wright (1908-1960), to the history of political organization around the Non-Aligned Movement. This process of examining the interconnected stories of place, identity, and the conscious assertion of difference from established Western narratives, is also embedded in the personal histories of the artists. <br /><br />The Non-Aligned Movement was formally established in 1961 on principles such as world peace and cooperation, human rights, anti-racism, respect, disarmament, non-aggression, and justice. At the height of the Cold War, a large group of African, Asian, and Latin American countries navigating post-colonial constellations attempted a diversion from the two major powers—the United States and the Soviet Union—forming what is to date the largest grouping of states worldwide, after the United Nations. The non-aligned nations, which Singapore joined in 1970, wished to secure independence and territorial sovereignty, and fight against imperialism, domination, and foreign interference. <br /><br />This history is at the core of <b><i>Two Meetings and a Funeral</i></b> (2017), a feature-length three-channel video installation by <b>Naeem Mohaiemen</b>. It explores Bangladesh’s historical pivot from the socialist perspective of the 1973 Non-Aligned Movement meeting in Algeria to the emergence of a petrodollar-funded Islamic perspective at the 1974 Organisation of Islamic Countries meeting in Lahore. Recounted by Algerian publisher Samia Zennadi, Bangladeshi politician Zonayed Saki, and Indian historian Vijay Prashad, Mohaiemen’s film considers the erosion of the idea of “Third World” as a political space that was to open the potential for decoloniality and socialism, while articulating the internal contradictions behind its unfortunate failure. <br /><br />In the video essay <b><i>Nucleus of the Great Union</i></b> (2017), <b>The Otolith Group</b> traces Richard Wright on his first trip to Africa in 1953. Travelling the Gold Coast for 10 weeks, he witnessed political campaigns for independence in West Africa, yet feeling alienation at his first encounter with the continent. For this film, The Otolith Group reconciled excerpts from Wright’s book <i>Black Power: A Record of Reactions in a Land of Pathos</i> (1954) with a selection of the over 1,500 previously unpublished photographs the writer took on his journey. Wright’s initially intended book including both text and photos was inadequately published without images. Through this work, The Otolith Group finally honors Wright’s initial aim of seeing image and text as one single narration. <br /><br /><b><i>The Unfinished Conversation</i></b> (2012) is an in-depth inquiry by filmmaker <b>John Akomfrah</b> into the personal archive of audio interviews and television recordings of the influential theorist and educator Stuart Hall. The multi-screen film installation unfolds as a layered journey through the paradigm-changing work of the late intellectual, regarded as a key founder of cultural studies, who triangulated gender, race, and class. Hall was particularly invested in black identity linked to the history of colonialism and slavery. <br /><br />Amplifying and celebrating defining voices and intertwining personal lives with political movements, the featured works in <i>Non-Aligned</i> examine not only the new possibilities for progressive social and independence movements but also the inherent struggles that define the post-WWII period. <br /><br /><i>Non-Aligned</i> is curated by <b>Ute Meta Bauer</b>, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, NTU. <br /><br /><b>FILM PROGRAMME: THIRD WAY / AFTER BANDUNG</b> <br />This programme features films that engage post-colonial processes covering different moments and geopolitical contexts. The Asian-African Conference in 1955, known as the Bandung Conference, amidst the complex processes of decolonization, established self-determination, non-aggression, and equality as part of the core values that then formed the Non-Aligned Movement. This history is unpacked and contextualised through this series of screenings. <br /><br />Co-curated by writer and curator <b>Mark Nash</b> and film researcher <b>Vladimir Seput</b>. <br /><br /><b>READING CORNER</b> <br />Accompanying this exhibition is a library of over 50 books on postcolonialism, decoloniality, the history of the Cold War, the Non-Aligned Movement, archiving, as well as theory of the moving image and publications on and by John Akomfrah, Naeem Mohaiemen, and The Otolith Group. Authors include Frantz Fanon, Stuart Hall, and Richard Wright, as well as Kodwo Eshun, Rosalind C. Morris, Bojana Piškur and Gayatri Chakravorty Spivak, among many others. <br /><br />In light of COVID-19, we have removed the reading corner for the safety of our visitors. <br /><br />We have selected texts on, or in conversation with, some of them to be used for online reading groups. These additional texts including articles by Vijay Prashad and Elspeth Probyn, and book chapters by Adil Johan and S.R. Joey Long. <br /><br /><b>ACTIVITY CARDS</b> <br />Designed for young audiences aged 13 and above, the <i>Non-Aligned</i> activity cards explore several core themes of the exhibition through thoughtful reflection questions and engaging activities. While the Centre strongly encourages audiences to experience the artworks in person, the cards may also be used independently at home or in the classroom.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=John+Akomfrah">John Akomfrah</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Naeem+Mohaiemen">Naeem Mohaiemen</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=The+Otolith+Group">The Otolith Group</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mark+Nash">Mark Nash</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Vladimir+Seput">Vladimir Seput</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=South+America">South America</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Africa">Africa</a>
<i>Paradise Lost</i>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Migration">Migration</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Globalisation">Globalisation</a>
<i>Paradise Lost</i> is NTU CCA Singapore’s inaugural exhibition, curated by Ute Meta Bauer (Founding Director) and Anca Rujoiu (Curator for Exhibitions). Conceived as a constellation of three artistic productions that together explore narratives of travel and migration, place and displacement, the personal intertwined with colonial history, <i>Paradise Lost</i> introduces an imaginary Asia — Asia as a space of projections and desires stemming from an experience of dislocation and asynchronicity. <br /><br />The exhibition juxtaposed trans-generational perspectives, bringing together three major installations of moving image: <i>Surname Viet Given Name Nam</i> (1989) by Trinh T. Minh-ha, <i>Yellow Patch</i> (2011) by Zarina Bhimji and <i>Disorient</i> (2009) by Fiona Tan. <br /><br />While all three artists are of Asian descent, their education and artistic practice unfolded in Europe and the U.S., gaining international exposure from there. Paradise Lost marked the first time these works were shown in Asia in an exhibition context.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Trinh+T.+Minh-ha">Trinh T. Minh-ha</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Zarina+Bhimji">Zarina Bhimji</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Fiona+Tan">Fiona Tan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ute+Meta+Bauer">Ute Meta Bauer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
<i>Speakers' Corner</i>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Politics">Politics</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Activism">Activism</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Archival+Practice">Archival Practice</a>
<i>Ready, Steady, Go</i> (2 — 8 August 2017)<br /><i>Incidental Scripts</i> (10 — 15 August 2017)<br /><i>Proximities and Encounters</i> (16 — 22 August 2017)<br /><i>Islanded</i> (23 — 31 August 2017) <br /><br /><i>Speakers’ Corner</i> is a selection of video documentations of former public events and related research materials from its archives. Here, the term “Speakers’ Corner” stands as a metaphor for public discourses created through the various programmes of NTU CCA Singapore. Outreach not only means to create discussions but also to find different languages, or to question under what premises we create our knowledge. Altogether this is what creates a public discourse or a “speakers’ corner” within an institution, which can be academic, literary, or performative. It opens up the possibility for encounters with the known and unknown, the expected and unexpected, as a form of its lively activities. <br /><br />NTU CCA Singapore’s public programmes reflect on our present world through culture and art. Unfolding over two months will be four chapters: <i>Islanded, Incidental Scripts, Proximities and Encounters, and Ready, Steady, Go</i>. Each chapter is related to an exhibition held at NTU CCA Singapore such as Incidental Scripts by Yang Fudong (2014) or SEA STATE by Charles Lim Yi Yong (2016), or to invited local and international Artists-in-Residence and their artistic research and practices like Heman Chong (2017) or Zac Langdon-Pole (2014). On a broader scheme, the events offer an expanded reading and understanding of the complexity and diversity of the contemporary art production of today and how it intersects with current developments in culture, society, and politics.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Yang+Fudong">Yang Fudong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Charles+Lim+Yi+Yong">Charles Lim Yi Yong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Heman+Chong">Heman Chong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Zac+Langdon-Pole">Zac Langdon-Pole</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<i>Stagings. Soundings. Readings. Free Jazz II</i>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Body">Body</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Performance">Performance</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Identity">Identity</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Institutional+Critique">Institutional Critique</a>
<i>Stagings. Soundings. Readings. Free Jazz II</i> reviews the performative format that marked NTU CCA Singapore’s inauguration in 2013. <i>Free Jazz</i> 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, <i>Stagings. Soundings. Readings.</i> employs an open, multidisciplinary structure that challenges traditional modes of presentation and re-presentation through a range of artistic practices and formats. <br /><br />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. <br /><br />Can we learn from what we see as opposed to being merely seduced by images, becoming active participants instead of only passive observers? <i>Stagings. Soundings. Readings.</i> 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. <br /><br />Located outside the Centre, <b>Maria Loboda</b>‘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, <b>Tyler Coburn</b> 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 <b>Heman Chong</b> analyses motifs of exchange and its boundaries, embracing the space of inter-human connections. <br /><br />Unfolding in the exhibition space, <b>Cally Spooner</b> 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. <b>Alexandra Pirici</b>’s choreography explores the possibility of collectively assembling memories of human and non-human presence on the planet. <b>Carlos Casas</b> 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 <b>Phill Niblock</b>, they will create an audio-visual experience, traversing landscape, soundscape, and contemporary music that changes with every iteration. <br /><br />In response to the five-year anniversary and by taking the topic of its celebration <i>Free Jazz</i> literally, <b>Ming Wong</b> will stage an improvisational performance. Similarly, <b>Boris Nieslony</b> (Germany), Co-founder of the artist collective Black Market International, will engage with pioneering Singaporean artist <b>Lee Wen</b> with a discussion and performance. <br /><br />Further probing conventional formats, the accompanying programmes include readings by curator <b>Anca Rujoiu</b> (Romania/Singapore) and poets <b>Peter Sipeli</b> and <b>1angrynative</b> (both Fiji), as well as Behind the Scenes conversations with contributing artists. In The Single Screen, works by <b>Anton Ginzburg</b> (Russia/United States), <b>Mariana Silva</b> (Portugal/United States), <b>Luke Fowler</b> (United Kingdom), <b><b><b>Justin Shoulder </b></b></b>and <b><b><b>Bhenji Ra </b></b></b>(both Philippines/Australia), and others, will add a filmic perspective to the dialogue. <br /><br />This multitude of celebratory events instigates an active engagement with the now, following a conscious desire to become truly present. <br /><br />Curated by <strong>Ute Meta Bauer</strong>, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, Nanyang Technological University, and <strong>Magdalena Magiera</strong>, Curator, Outreach and Education, NTU CCA Singapore.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Heman+Chong">Heman Chong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Maria+Loboda">Maria Loboda</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Cally+Spooner">Cally Spooner</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Maggie+Segale">Maggie Segale</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jesper+List+Thomsen">Jesper List Thomsen</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tyler+Coburn">Tyler Coburn</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Richard+Roe">Richard Roe</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Carlos+Casas">Carlos Casas</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Phill+Niblock">Phill Niblock</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ming+Wong">Ming Wong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Alexandra+Pirici">Alexandra Pirici</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ying+Cai">Ying Cai</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Weixin+Chong"> Weixin Chong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Chloe+Chotrani"> Chloe Chotrani</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nina+Djekic">Nina Djekic</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Farid+Fairuz">Farid Fairuz</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Adam+Lau">Adam Lau</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Je+Leung">Je Leung</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Loo+Zihan">Loo Zihan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Yue+Ru+Ma">Yue Ru Ma</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Hanna+Mikosch">Hanna Mikosch</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Yulin+Ng">Yulin Ng</a>
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