1
10
9
-
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
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Performances celebrating NTU CCA Singapore's 5th anniversary
Programme Type
Performance
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
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
Late Night at NTU CCA Singapore
Subject
The topic of the resource
Performance
Description
An account of the resource
27 Oct 2018, Sat 10:00 PM - 12:00 AM <br />Block 43 Malan Road<br /><br /><div><strong>NTU CCA SINGAPORE 5th ANNIVERSARY CELEBRATION</strong></div>
<div> </div>
<div>10.00 – 11.00pm</div>
<div><strong>Improvisation</strong> by artist <strong>Ming Wong</strong> (Singapore/Germany)</div>
<div>The Single Screen, Block 43 Malan Road</div>
<div> </div>
<div class="_1mf _1mj"><span>Taking the theme of the celebration, <em>Free Jazz</em>, literally, Ming Wong will create an improvised performance during the five-year anniversary party of NTU CCA Singapore. Highly influenced by cinema, Wong’s work unravels ideas of “authenticity,” “originality,” and the “other,” with reference to the act of human performativity. He explores how culture, gender, and identity are constructed, reproduced, and circulated, forming politics of representation.</span></div>
<br /><div>11.00pm – 12.00am</div>
<div><strong><em>Avalanche XIV </em></strong>(2009–ongoing) by artist <strong>Carlos Casas</strong> (Spain/France) and guests <strong>George Chua </strong>and <strong>Cheryl Ong</strong> (both Singapore)</div>
<div>The Exhibition Hall, Block 43 Malan Road</div>
<div> </div>
<div>For this special occasion, Carlos Casas invited musicians George Chua and Cheryl Ong to respond to his site-specific installation through a live-editing and sound situation.</div>
<div> <br /><span>Part of </span><em>Stagings. Soundings. Readings. Free Jazz II</em></div>
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-10-28
Contributor
An entity responsible for making contributions to the resource
Ming Wong
Carlos Casas
George Chua
Cheryl Ong
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
-
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
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
Avalanche XIV – Performance by artist Carlos Casas & guests George Chua and Cheryl Ong
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/499057236">https://vimeo.com/499057236</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
499057236
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
Avalanche XIV – Performance by artist Carlos Casas & guests George Chua and Cheryl Ong
Description
An account of the resource
27 Oct 2018, Sat 11.00pm – 12.00am <br /><br />For this special occasion, Carlos Casas invited musicians George Chua and Cheryl Ong to respond to his site-specific installation through a live-editing and sound situation. <br /><br />A public programme of <em>Stagings. Soundings. Readings. Free Jazz II</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-10-27
Contributor
An entity responsible for making contributions to the resource
Carlos Casas
George Chua
Cheryl Ong
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Performance
Format
The file format, physical medium, or dimensions of the resource
Video
-
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
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Performance
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Short Description
Free Jazz III. Sound. Walks. offers the curatorial proposition that collectivity and communality can be explored through art experiences that draw on the long histories of sound and walking, offering concrete ways to connect with nature, technology, and each other during times of social distancing.
Audience
General
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>Free Jazz III. Sound. Walks.</i>
Description
An account of the resource
<i>Free Jazz III. Sound. Walks.</i> offers the curatorial proposition that collectivity and communality can be explored through art experiences that draw on the long histories of sound and walking, offering concrete ways to connect with nature, technology, and each other during times of social distancing. Dematerialized, asynchronous, and participatory, these artworks each reflect how our current collective negotiations between physical and online realms need not be seen as binary opposites, but as opportunities for rethinking social interaction through our senses. <br /><br />We invite you bring your headphones and your walking shoes to experience the artworks of Free Jazz III. Sound. Walks. <br /><br /><i>Free Jazz III. Sound. Walks. </i>is curated by Magdalena Magiera (Germany/Singapore), NTU CCA Singapore Curator, Education and Outreach, and Dr Karin Oen (United States/Singapore), NTU CCA Singapore Deputy Director, Curatorial Programmes.
Date
A point or period of time associated with an event in the lifecycle of the resource
22 January - 28 March 2021
Contributor
An entity responsible for making contributions to the resource
Tini Aliman
Arahmaiani
Jimmy Ong
Christa Donner
Andrew S. Yang
bani haykal
Lee Weng Choy
Diana Lelonek
Denim Szram
Cheryl Ong
Ana Prvački
Joyce Bee Tuan Koh
Galina Mihaleva
Reetu Sattar
anGie seah
Vivian Wang
Magdalena Magiera
Karin Oen
Subject
The topic of the resource
Experiential
Nature
Technology
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
-
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
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Performance
Collaboration
No
Commissioned Work
Yes
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Short Description
#soundcards is an attempt to build an exchange of sonic memories and audio time-stamps like a postcard but by utilizing sound instead of visuality as a key medium.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Online
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
Cheryl Ong <i>#soundcards</i>, 2021 Commissioned by NTU CCA Singapore
Description
An account of the resource
Activations: <br /><br />Friday, 1 January – Friday, 26 March 2021 (every Tuesday and Friday) On Instagram <br /><br />In this current state where borders are closed and physical gatherings not recommended, social media and emailing have turned into a tool for us to communicate and interface with each other. #soundcards is an attempt to build an exchange of sonic memories and audio time-stamps like a postcard but by utilizing sound instead of visuality as a key medium. Will this interaction using a different sensibility change the way we perceive places and spaces?
Date
A point or period of time associated with an event in the lifecycle of the resource
1 January - 26 March 2021
Contributor
An entity responsible for making contributions to the resource
Cheryl Ong
Subject
The topic of the resource
Experiential
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
-
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
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
This series of performative situations are conceptualised as an open invitation for other invited performers to use the exhibition space as an experimental platform.
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Programme Type
Performance
Audience
General
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
Carte Blanche #3: Tini Aliman, Dharma, Sudarshan Chandra Kumar, Cheryl Ong, Zai Tang, Wu Jun Han, and Yuen Chee Wai
Description
An account of the resource
<span>Saturday, 23 June 2018, 6.00 – 7.00pm</span><br /><span>The Exhibition Hall, Block 43 Malan Road</span><br /><br />Derived from the sonic exchanges that will take place throughout the course of the exhibition between Tarek Atoui’s guest hosts—Vivian Wang, Mark Wong, and Yuen Chee Wai—this series of performative situations are conceptualised as an open invitation for other invited performers to use the exhibition space as an experimental platform. Each of the evenings will be the result of an exchange between the performers and the three guest hosts.<br /><br />A public programme of <em>Tarek Atoui The Ground: From the Land to the Sea</em>.<br /><br />Part of <em>Art Day Out! x The School Holidays Edition 2018 </em>at Gillman Barracks.
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-06-23
Contributor
An entity responsible for making contributions to the resource
Tini Aliman
Dharma
Sudarshan Chandra Kumar
Cheryl Ong
Zai Tang
Wu Jun Han
Yuen Chee Wai
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Performance
-
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
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
This series of performative situations are conceptualised as an open invitation for other invited performers to use the exhibition space as an experimental platform.
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Programme Type
Performance
Audience
General
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
Carte Blanche #2: Tini Aliman, Cheryl Ong, The Analog Girl, and Vivian Wang
Description
An account of the resource
<span>Friday, 1 June 2018, 7.30 – 9.00pm</span><br /><span>The Exhibition Hall, Block 43 Malan Road</span><br /><br />Derived from the sonic exchanges that will take place throughout the course of the exhibition between Tarek Atoui’s guest hosts—Vivian Wang, Mark Wong, and Yuen Chee Wai—this series of performative situations are conceptualised as an open invitation for other invited performers to use the exhibition space as an experimental platform. Each of the evenings will be the result of an exchange between the performers and the three guest hosts.<br /><br />A public programme of <em>Tarek Atoui The Ground: From the Land to the Sea</em>. <br /><br />Part of<em> Art Day Out! x The School Holidays Edition 2018 </em>at Gillman Barracks.
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-06-01
Contributor
An entity responsible for making contributions to the resource
Tini Aliman
Cheryl Ong
The Analog Girl
Vivian Wang
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Performance
-
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031c9e4dce991fd8189d2f786a89b02e
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
Free Jazz III. Sound. Walks., October 2 2020 – March 31 2021, Courtesy NTU CCA Singapore.
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0a6429fb42a5a4c96f75984710b2669c
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
Ana Prvački in collaboration with Joyce Bee Tuan Koh, Galina Mihaleva, Mouthful (masked duet), 2021, installation, performance, and sound work.
Commissioned by NTU CCA Singapore for Free Jazz III. Sound. Walks. Courtesy NTU CCA Singapore.
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46e833602d80a449925937d5c8f2faca
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
Ana Prvački in collaboration with Joyce Bee Tuan Koh, Galina Mihaleva, Mouthful (masked duet), 2021, installation, performance, and sound work.
Commissioned by NTU CCA Singapore for Free Jazz III. Sound. Walks. Courtesy NTU CCA Singapore.
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aab4d0d078661b9d642c3b951af1f492
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
Free Jazz III. Sound. Walks., October 2 2020 – March 31 2021, Courtesy NTU CCA Singapore.
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
Collaborative and experimental by nature, Free Jazz III builds upon its past iterations by activating and challenging common understandings of exhibition-making and the use of space. Sound walks. Machines listen. We are living through unusual times.
Exhibition Mode
Festival
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
The Vitrine
Single Screen
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Online
Exhibition Start Date
2020-10-02
Exhibition End Date
2021-03-31
Collaboration
Yes
Commissioned Work
No
Related Countries
Singapore
Bangladesh
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
<em>Free Jazz III. Sound. Walks.</em>
Description
An account of the resource
<div class="page" title="Page 10">
<div class="section">
<div class="layoutArea">
<div class="column">
<p>Collaborative and experimental by nature, <em>Free Jazz III </em>builds upon its past iterations by activating and challenging common understandings of exhibition-making and the use of space. Sound walks. Machines listen. We are living through unusual times. </p>
<p>As the NTU Centre for Contemporary Art Singapore approaches a major transformation away from a permanent exhibition space in early 2021, <em>Free Jazz III</em> continues to explore the possibilities of an international research centre for contemporary art, featuring many artists who have been part of NTU CCA Singapore’s exhibitions, residencies, and programs since 2013, when the Centre presented <em>Free Jazz</em> as its inaugural event. The project began as a form of inquiry and an active tool to generate new possibilities for conceptualizing and programming an art institution. <em>Free Jazz III </em>convenes diverse projects united by themes of adaptation via masterful improvisation, trans-mediatic pivots, and the conscious renegotiation of our relationships to nature, technology, and each other. The disparate components of <em>Free Jazz III </em>explore the elements of dissonance, resistance, and innovation embedded in its musical namesake and the ability for sound and art to transcend physical and social distance. Embracing sound and walking as two powerful ways to overcome distance and bring people together, <em>Free Jazz III </em>comprises projects that can take place in non-gallery spaces, independently, asynchronously, or in purposeful syncopation with the present moment, reflecting on the past and looking forward to the future. </p>
<p>Admission to all programmes and events is free.</p>
<p><strong><span><a href="http://ntu.ccasingapore.org/events/sound-walks/"><em>Sound. Walks.</em></a></span><br />January–March 2021 (On-site and online)</strong></p>
<p>Reflecting on the loss of physicality through increased virtual interactions as well as many histories of sound and walking, artists address common life and communality in times of social distancing. In this series of performative explorations of sound, music, and community building, reflections take the form of soundwalks, sonic wayfinding and other physical and aural experiences, offering multiple ways for the public to actively witness, listen and participate, both remotely and on-site. Soundwalks by <strong>Tini Aliman</strong> (Singapore), <strong>Christa Donner</strong> and <strong>Andrew S Yang</strong> (United States), and <strong>Diana Lelonek </strong>(Poland) and <strong>Denim Szram</strong> (Poland/Switzerland) are propelled by sonic outputs of nature. Storytelling, correspondence, and the impossibility of direct communication factor into projects by <strong>Cheryl Ong</strong> (Singapore), <strong>Ana Prvački</strong> (Romania/Germany) in collaboration with <strong>Joyce Bee Tuan Koh</strong> (Singapore) and <strong>Galina Mihaleva </strong>(Bulgaria/Singapore), and <strong>Vivian Wang</strong> (Singapore/Switzerland). Sound, history, culture, and space overlap and intertwine in works by <strong>Arahmaiani </strong>(Indonesia) and <strong>Jimmy Ong</strong> (Singapore),<strong> bani haykal</strong> (Singapore) and <strong>Lee Weng Choy </strong>(Malaysia),<strong> Reetu Sattar</strong> (Bangladesh), and<strong> anGie Seah</strong> (Singapore).</p>
<p><em>Free Jazz III. Sound. Walks. </em>is curated by <strong>Magdalena Magiera</strong> (Germany/Singapore), NTU CCA Singapore Curator, Education and Outreach, and <strong>Dr Karin Oen</strong> (United States/Singapore), NTU CCA Singapore Deputy Director, Curatorial Programmes</p>
<p><strong><span><a href="http://ntu.ccasingapore.org/events/under-the-skin/"><em>Under the Skin</em></a><br /></span>1 December 2020 – 31 January 2021 (Online)</strong></p>
<p>World premiere and special performance<br />1 December 2020, 7pm SGT</p>
<p>This trio of performative works by artists <strong>George Chua </strong>(Singapore), <strong>Nina Djekić </strong>(Slovenia/Singapore/Netherlands), and <strong>Noor Effendy Ibrahim </strong>(Singapore) engages with sound, bodily movements, and performance. These new pieces are cinematically translated into the medium of video by filmmaker <strong>Russell Morton</strong> (Singapore) and viewed online, acknowledging the curatorial premise that, “the pandemic has pushed us into a space of dramatic convergence—where a deep tech, hyper-connected future collides with social political unrest,” in both the work itself and the medium in which it is presented.</p>
<p><em>Under the Skin</em> is curated for <em>Free Jazz III </em>by artist <strong>Cheong Kah Kit </strong>(Singapore) as part of <a href="https://www.novelwaysofbeing.sg/"><em>Proposals for Novel Ways of Being</em></a>, a united response to the changes brought about by COVID-19 hosted by twelve Singapore arts institutions, initiated by the National Gallery Singapore and Singapore Art Museum.</p>
<p><strong>Partner programmes:</strong></p>
<p><strong><span><a href="https://machinelistening.exposed/curriculum/"><em>Machine Listening, a curriculum</em></a></span><br />From October 2020 (Online)</strong></p>
<p>Expanded collaborations and explorations of curatorial spaces also took form in support of <em>Machine Listening, a curriculum</em> instigated by Melbourne-based <strong>Liquid Architecture</strong>. This evolving online resource, comprising existing and newly commissioned writing, interviews, music and artworks is a new investigation and experiment in collective learning around the emergent field of machine listening. It premiered with three online sessions open to all as part of <span><a href="https://www.unsound.pl/en/intermission"><em>Unsound 2020: Intermission</em></a></span>, an experimental sound festival in Krakow, Poland. NTU CCA Singapore and Liquid Architecture will convene another collaborative online session open to the public in early 2021.</p>
<p><em>Machine Listening, a curriculum </em>is curated by <strong>Sean Dockray</strong>, <strong>Dr James Parker</strong>, and <strong>Joel Stern </strong>(all Australia).</p>
<p>Visit the evolving<span> </span><span><a href="https://machinelistening.exposed/curriculum/">open source curriculum</a></span><span> </span>and the recorded Unsound sessions:</p>
<p><span><a href="https://www.youtube.com/watch?v=ddnvR7IGpes">(Against) the coming world of listening machines</a></span><br /><span><a href="https://www.youtube.com/watch?v=aM5SVoMBnKI&t=2935s">Lessons in How (Not) to be Heard</a></span><br /><span><a href="https://www.youtube.com/watch?v=vuNmI9Xdgpo&t=7795s">Listening with the Pandemic</a></span></p>
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<p><span><em><strong>Sollum</strong><strong> Swaramum<br /></strong></em></span><strong>26 February 2021, 7.30 – 9.00pm</strong><strong><br />On-Site at Blk 43 Malan Road</strong></p>
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<p>Presented in collaboration with The Arts House’s Poetry with Music series, the 4th edition of<span> </span><em>Sollum Swaramum</em>, brings together musicians <strong>Ramesh Krishnan</strong>,<span> </span><strong>Mohamed Noor</strong><span> </span>and<span> </span><strong>Munir Alsagoff</strong><span> </span>in exploration of the synergies between music and text, with devised and improvised texts based on the work of Tamil literary stalwarts<span> </span><strong>P Krishnan</strong>,<span> </span><strong>Ma Ilangkannnan</strong><span> </span>and<span> </span><strong>Rama Kannabiran</strong>. These newly devised texts are written by<span> </span><strong>Harini V</strong>,<span> </span><strong>Ashwinii Selvarai</strong><span> </span>and<span> </span><strong>Bharathi Moorthiappan</strong>, performed by<span> </span><strong>Sivakumar Palakrishnan</strong>, and art direction by<span> </span><strong>Laura Miotto</strong>.</p>
<p>Curated by Magdalena Magiera, Curator, Outreach and Education, and Dr. Karin Oen, Deputy Director, Curatorial Programmes, NTU CCA Singapore. </p>
<p><em>Free Jazz III. Sound. Walks.</em><span> </span>presented in partnership with Proposals for Novel Ways of Being, The Arts House, Liquid Architecture, as part of Singapore Art week, supported by National Arts Council.</p>
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Contributor
An entity responsible for making contributions to the resource
Tini Aliman
Christa Donner
Andrew S Yang
Diana Lelonek
Denim Szram
Cheryl Ong
Ana Prvački
Joyce Bee Tuan Koh
Galina Mihaleva
Vivian Wang
Arahmaiani
Jimmy Ong
bani haykal
Lee Weng Choy
Reetu Sattar
anGie Seah
Magdalena Magiera
Karin Oen
George Chua
Nina Djekić
Russell Morton
Noor Effendy Ibrahim
Cheong Kah Kit
Liquid Architecture
Ramesh Krishnan
Laura Miotto
Mohamed Noor
Harini V
Ashwinii Selvarai
Bharathi Moorthiappan
Sivakumar Palakrishnan
Munir Alsagoff
Nanthiyni Aravindan
Sean Dockray
James Parker
Joel Stern
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Performance
Body
Nature
-
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/ddbf6e9fe48d766a9c8f576e45e68757.pdf?Expires=1712793600&Signature=TTNNC4gleWY4FRfhSBXt%7E3IqdaMEg5qF28QpJ-KDfkzJ9IUFN5BRWHVdgchKqyDYNTk3vLwkIylpk4z4RLT%7EGHSAqNXnVtFSK7Tdts8lyMEcvx5p3ZIUcVao6QusgtkhSMfsxRpC4B8OqDEeKccSBVlKkSwL1y5wlNFKeWm5tEeasWzOQRn5FSkHbIQ3AI6lCXURP1lD482YGdg-hvqOFzo5C7Az7n1BO4Y76OHMdv7PHK1goD0L374vOSzb3pxPVlpOw-71oA0eSxdB%7EJgaoeveuwim9Iujsk6CyrN8KbReGW4BG3juiWosZUCkWAG6wur7BKE-6e0X%7E2nNlTLnqA__&Key-Pair-Id=K6UGZS9ZTDSZM
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Exhibition
24 March—24 June 2018
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�Tarek Atoui
THE GROUND: FROM
THE LAND
TO THE SEA
NOTES FROM THE CURATORS
NTU CCA Singapore is pleased to present
the first solo exhibition in Southeast Asia
by sound artist and composer 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 preexisting projects, others newly collected
and produced.
The Ground: From the Land to the Sea
comprises two layers of auditory experiences
that interact with the spatial and sonic
qualities of NTU CCA Singapore’s exhibition
hall, as well as with each other, merging
into a single composition. Enveloping the
main exhibition space are 12 speakers that
play the sounds of underwater environments
as well as human and industrial activities
in harbours such as Athens and Abu
Dhabi, recorded for the project I/E (2015–
ongoing). As part of the presentation in
Singapore, Atoui recorded, together with
composer and sound artist Éric La Casa,
different situations at local harbours and
waterfronts, extending the existing collection.
The origin of music can be argued to
have stemmed from sounds and rhythms
that occur in nature. For millions of years,
different species have communicated as
well as navigated their environment
through sound and vibrations, including
some early human species who are
believed to have used sound and voice
(pre-language) as a tool for social
interaction and as community identifier.
1
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
above 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 self-made
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 humans, 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.
At the centre of the exhibition space is
the second layer of his composition played
by an orchestra of musical/sound devices
developed from Atoui’s past projects
including The Ground (2013–ongoing), The
Reverse Collection (2014–16), and WITHIN
(2012–13). The Reverse Collection took the
sounds of ethnic musical instruments from
the Dahlem Museum in Berlin as a starting
point for investigating the instrumentality
of musical devices and the performing body
by reversing the order in which instruments
are usually created. The project comprises
of three chapters: The Dahlem Sessions,
The Reverse Sessions, and The Reverse
Collection. For the first chapter, Atoui invited
musicians trained in improvisation to
play and record the sounds of the historical
musical instruments at the Dahlem
Museum’s ethnomusicology department.
He then composed scores for these same
instruments and subsequently performed
�them live as his contribution to the 8th berlin
biennale for contemporary art (2014). The
recordings from these live performances
were then used in The Reverse Sessions,
where, without providing any context or
information of the original instruments,
instrument makers were invited to design
and build musical devices that replicated
these sounds. The final chapter brought
together these newly created musical
instruments stemming from The Reverse
Sessions in a spatial installation. In various
iterations of their display, musicians
from all over the world were invited by
Atoui to improvise with this new set of
instruments, and audio recordings of these
sessions were gathered and shared
amongst participating musicians for further
experimentation. The Motorised Bow 2 (2016),
created with Leo Maurel, and The Spin
(2015), created with Wang Ping and
Wu Lou, both part of The Reverse Sessions,
are presented in the current exhibition.
Another musical device featured here
is The Trichord, which was produced for
WITHIN. With this instrument, the artist
“tackles the ways in which deafness can
influence our understanding of sound
performance, its space, and instrumentation.”
Together with acoustic instrument makers,
speaker designers, software engineers,
composers, and deaf and hearing-impaired
people, Atoui designed and crafted new
instruments, which expand the notion
of hearing, beyond aurality. Continuing
with his explorations, Atoui embarked on
The Ground project, from which most
of the instruments displayed in the current
exhibition are part of. Resulting from the
artist’s five-year-long observation of nature
in the Pearl River Delta in China, instruments
developed for The Ground were first
presented at Mirrored Gardens, a project
space in Guangzhou, in 2017. Made in
collaboration with innovative luthiers,
craftsmen, and electronic engineers, these
instruments, both analogue and electronic,
2
are conceptually grounded with and inspired
by agricultural and human processes. In
Healing Soil / Compost (2017), created
with Daniel Arraya, electronic sound input
is transformed through degradation and
decomposition by the “Sun” knob, and
feedback (delayed time) is controlled by
the “Clock” knob. Similarly, in The Wooden
Drone (2017), created with Arraya, a
sequencer and rhythm generator is inspired
by techniques of building traditional brick
walls, which requires the skilful alignment
of bricks of different dimensions. Other
instruments like The Noise Print (2017),
created with Arraya, draw from perception
of sonic phenomena such as noise, or
are derived from the tactile quality of organic
materials as in The Spin Library (2017),
created with Wu Lou, which is a collection
of ceramic records (or discs) with textures
and surfaces inspired by patterns found
in nature. Each record calls upon a listening
experience of their sonic quality that can
be extracted either through playing them
on a turntable or manually with contact
microphones and other objects. For
The Ground: From the Land to the Sea,
this ensemble of instruments is enriched
with new additions, such as a set of
19 porcelain and ceramic discs, on which
traditional Arab rhythms are engraved,
and a customised record player that
rotates at irregular speeds, never reading
a disc the same way twice.
Core to Atoui’s practice is his strong
interest in collective and collaborative
processes of exploring instrumentation and
methods of production and improvisation.
As a key process that will take place over
the course of the exhibition, The Ground:
From the Land to the Sea will host an exchange
programme (refer to p.5) that continues
this collaborative approach. For this, Atoui
engaged local and international sound
artists and composers who are invited
to appropriate his composition, intervening
in its space. Atoui worked with acclaimed
sound artists and musicians Vivian Wang
and Yuen Chee Wai, as well as music
curator Mark Wong, who will each, in their
function as hosts, invite other sound
practitioners to inhabit the installation. This
fluid and open way of working, integral to
Atoui’s ever-evolving practice, expands and
injects other influences into his body of
works, in search of new ideas, gestures,
and experiences across his diverse projects.
Through his unique practice, Atoui creates
what has been referred to as “auditory
scenes” where conceptual constructions of
sounds and their perception, improvisation,
and performance, as well as the technology
of sound can be collectively explored,
revealing unexpected results. A resource
room at the back of the exhibition space will
show documentation of past performances
and processes providing a glimpse into
how these instruments were made and
performed on.
The Ground: From the Land to the Sea
by Tarek Atoui follows Tomás Saraceno’s
Arachnid Orchestra. Jam Sessions (2015), which
also dealt with sonic interactions. Both
exhibitions of Saraceno and Atoui are
part of NTU CCA Singapore’s continuing
investigation into the conditions of
CLIMATES. HABITATS. ENVIRONMENTS.,
exploring, in these projects, the
soundscape of our environment, in what
can be understood as an attempt to
communicate between nature, culture,
materials, and beings of all species.
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.
3
�ABOUT THE ARTIST
TAREK ATOUI (Lebanon/France) is an
artist and electroacoustic composer who
navigates between the vocabularies and
aesthetics of the visual arts, performing arts,
and music, redefining contemporary
composition and sound production. Atoui
studied contemporary and electronic music
at the French National Conservatory of
Reims. He engineers complex and inventive
instruments as well as arranges and curates
interventions, concerts, performances, and
workshops. His practice often develops
from extensive research into music history
and instrumentation, revolving around
large-scale, collaborative performances that
explore new methods of production.
Atoui’s performances, which are mostly
improvised, are grounded in a meticulous
investigation of sound archives and
collections. Education and social connection
are also integral aspects of Atoui’s projects
as seen, for instance, in his sustained
exploration of the ways in which hearingimpaired people experience and perceive
sound. Using custom-built electronic
instruments and computers, Atoui references
current social and political realities, revealing
music and new technologies as powerful
components of expression and identity.
In 2012, Atoui launched Serpentine
Gallery’s Memory Marathon event in London
with a five-hour performance that blended
influences of traditional Arabic music with
contemporary genres including electronic
and hip-hop. He was co-artistic director
of the Bergen Assembly 2016, a triennial
in Norway. Recent projects have taken
place at the Tate Modern, London (2016);
Fondation Louis Vuitton, Bois de Boulogne
(2015); Bonniers Konsthall, Stockholm
(2013); and Norbergenfestival (2013).
Selected exhibitions include Art or Sound,
Fondazione Prada, Ca’ Corner della Regina,
Venice (2014); WITHIN, 11th Sharjah
Biennial (2013); Metastable Circuit, la Lutherie
4
and Dimis Reconnected, dOCUMENTA 13,
Kassel (2012). His work has been part of
biennials including the Marrakech Biennale
(2016); 8th berlin biennial for contemporary
art (2014); 9th Mercosul Biennial, Porto
Alegre (2013); and the 9th Sharjah Biennial
(2009). As co-artistic director of the STEIM
Studios, Amsterdam (2008), Atoui released
his first solo album in the Mort Aux Vaches
series for the label Staalplaat (Amsterdam/
Berlin; 2006–07). His pioneering youth
workshop, Empty Cans, has been presented
in Egypt, France, Holland, Lebanon, and
the United States, as part of his Museum
as Hub residency at the New Museum in
New York.
HOST AND GUEST
MUSICIANS
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.
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
SCHEDULE
26—30 March
VIVIAN WANG
28 April—1 May
TINI ALIMAN
2—5 May
WU JUN HAN
19—22 May
CHERYL ONG
31 May—3 June
ZAI TANG
4—7 June
BANI HAYKAL
5
7—10 April
DARREN NG
10—13 May
THE ANALOG GIRL
ÉRIC LA CASA (France) has worked in
the field of sound creation since the early
1990s through recording, record production,
installation, radio, and various types of
written publications. Through his aesthetic
of capturing sound, his work fits equally
into the fields of sound art and music,
offering an interesting critical approach
to the practice of sound landscape, and
questioning our listening methods and
schemes. He has recently examined the
sound dimension of public spaces and
the places in which we spend our private
and domestic lives in the context of the
project entitled Habiter, and the relation
between waiting and listening in L’attente.
La Casa collaborated with Tarek Atoui
on recording the harbour of Abu Dhabi
in 2017 and of Singapore in 2018 for the
I/E project.
2—5 April
YUEN CHEE
WAI
13—17 April
URIEL
BARTHÉLÉMI
ABOUT THE
COLLABORATOR
24 March—
24 June 2018
13—16 June
DHARMA
19—22 June
SUDARSHAN
CHANDRA KUMAR
�PUBLIC
AND EDUCATION
PROGRAMMES
ACTIVATIONS
developing as a haunted percussion solo,
but not exclusively using percussion
instruments. This process engages in
a discussion between the instruments,
the venue, and the audience, creating
a situation that questions the performer’s
choices as well as the exhibition itself.
URIEL BARTHÉLÉMI (France), p.12
FRI, 23 MARCH 2018
8.00—9.00PM
Opening Performance by artist
TAREK ATOUI
FRI, 4 MAY 2018
7.30—9.00PM
Carte Blanche #1
Featuring musicians Bani Haykal,
Wu Jun Han, Dharma
Atoui will launch his presentation at NTU
CCA Singapore with a performance using
FRI, 1 JUNE 2018
the instruments and sounds of the exhibition.
7.30—9.00PM
A multifaceted and dynamic process,
Atoui’s improvisations draw from his
Carte Blanche #2
extensive experimentation with innovative
Featuring musicians Tini Aliman, Cheryl
devices as well as long-term investigation
Ong, The Analog Girl, Vivian Wang
into specific sound archives.
TAREK ATOUI (Lebanon/France), p.4
TUE, 17 APRIL 2018
7.30—9.00PM
Performance: In Resonance With… by
drummer and electroacoustic composer
URIEL BARTHÉLÉMI
Part of the Voilah! French Festival Singapore
by Institut Français Singapore
SAT, 23 JUNE 2018
6.00—8.00PM
Carte Blanche #3
Featuring musicians Tini Aliman, Dharma,
Sudarshan Chandra Kumar, Cheryl Ong,
Zai Tang, Wu Jun Han, Yuen Chee Wai
Part of Art Day Out! x The School Holidays
at Gillman Barracks
Derived from the sonic exchanges that
will take place throughout the course of the
Invited to create a music performance with exhibition between the hosts Vivian Wang,
Atoui’s instrument collection, Barthélémi will Mark Wong, and Yuen Chee Wai and their
guests, this series of performative situations
use the acoustic possibilities of the room
to explore different resonating frequencies. are conceptualised as an open invitation
for the performers to use the exhibition space
Taking the shape of a deambulation, the
performance will have a particular breathing as an experimental platform.
rhythm, which will be defined in the
Refer to p.5 for information of the exchange periods
days preceding the concert. Space and
and guests, and to p.12–13 for biographies.
soundscapes will be intimately linked
to the performer’s gestures and intentions,
6
TALKS & LECTURES
SAT, 24 MARCH 2018
3.00—4.30PM
Behind the Scenes: Artist TAREK ATOUI
in conversation with HU FANG, CoFounder and Artistic Director of Vitamin
Creative Space, Guangzhou
Atoui and Hu Fang will elaborate on
The Ground project and their long-term
observations and research into agricultural
practices and the history of music and
instrumentation in the Pearl River Delta.
They will also discuss how a new narrative
is created with Atoui’s piece at NTU CCA
Singapore, when instruments created from
their research meet with recordings the
artist has been collecting from harbours
around the world.
TAREK ATOUI (Lebanon/France), p.4
HU FANG (China) is a fiction writer and co-founder
of Vitamin Creative Space in Guangzhou, China.
His recent books include Towards a Non-intentional
Space (Koenig Books, 2016) and Dear Navigator
(Sternberg Press, 2014). Towards a Non-intentional
Space reflects upon the research and thinking
process of developing Mirrored Gardens, a project
space that seeks to merge its rural environment
to contemporary art practices. He contributes
regularly to international art magazines including
ArtReview Asia and e-flux journal.
WED, 25 APRIL 2018
7.30—9.00PM
Ever since sound entered the space of art, it
has been plotting its escape by JOEL STERN,
Artistic Director of Liquid Architecture
equally slippery. Attempts to define it always
seem delimited and constraining, insufficient
when set against the infinite horizon of the
sonic imaginary. Sound is materially and
conceptually resistant—it always contains
too much. So, against this sense of “too
much sound,” what specialist modes of
listening could be deployed? In response
to sonic abundance, how can we learn
to hear “more,” to “over-hear?” This talk
departs from these questions, addressing
recent works by artists and theorists
working with sound to propose a series
of strategies for listening experimentally—
to sound in itself, but also, and more
importantly, to the complex and profuse
relations it engenders.
JOEL STERN (Australia) is a curator, researcher,
and sound artist, concerned with theories and
practices of sound and listening. He is the Artistic
Co-Director of Liquid Architecture, a leading
Australian organisation that stages encounters
and creates spaces for sonic experience and
critical reflection on systems of sonic affect, at the
intersection of contemporary art and experimental
music. Stern is part of OtherFilm, an artist collective
driven by a central curiosity about the limits of
the moving image. He has initiated the experimental
residency Instrument Builders Project in 2013.
Stern is a PhD candidate in Curatorial Practice at
Monash Art, Design and Architecture, where he
teaches Sound (in the Space of Art).
WED, 9 MAY 2018
7.30—9.00PM
Voicing the Other by VIBEKE SØRENSEN,
Professor and Chair, School of Art, Design
and Media, NTU
Today, with malleable digital media, sound
can be translated into and across a
wide range of sense-based media forms,
blending boundaries. Sound can be
visualised and images become sounds,
Materially, sound is difficult to contain. It
leaks through walls, resounds in unruly ways, temperature becomes colour, and more.
The electromagnetic spectrum contains
is audible where it should be not. This
excessiveness, or “noisiness,” is a fundamental waves and data that our perceptual system
did not evolve to perceive, but we can now
quality of sound. Conceptually, sound is
7
�listen to. New technologies give us access
to realities we did not know existed, and
more than that, the ability to perceive in new
ways other realities so as to gain deeper
understanding of, and empathy, for others.
In this talk, Professor Sørensen gives insight
into these new technologies and what
they mean for human auditory perception.
Professor VIBEKE SØRENSEN (Denmark/United
States/Singapore) is a professor, artist, and
composer working in digital multimedia and computer
animation, interactive architectural installation, and
visual-music performance. Spanning four decades,
her work in experimental new media has been
published and exhibited worldwide. Sørensen has
collaborated with scientists and engineers in
developing new technologies, including at the San
Diego Supercomputer Center, the California
Institute of Technology, the University of Southern
California, and Princeton University. She is a 2001
Rockefeller Foundation Fellow in Film/Video/
Multimedia, and was a consultant for Disney and
the Jet Propulsion Laboratory/NASA. Her research
has been supported by the United States National
Science Foundation, the USC Annenberg Center
for Communication, the USC Zumberge Fund for
Innovation in Research, and Intel Corporation.
MON, 21 MAY 2018
7.30—9.00PM
To Listen is To Play—how sound technology
has shaped experimental practices of music
by musician and curator DJ SNIFF (Takuro
Mizuta Lippit)
This lecture looks at the practice of noise
and experimental music through the act of
listening with and by technology. A historical
account of how technology has introduced
ideas of resonance, amplification, and noise
into the practice of music, as well as how
contemporary practices of experimentalism
in Asia have allowed to break away from
institutionalised Western notions of
music, leading towards an inclusiveness
of listening and community building.
8
DJ SNIFF (Takuro Mizuta Lippit) (United States/
Japan) is Co-Director of Ensembles Asia/ Asian
Music Network, musician, and curator in the field of
experimental electronic arts and improvised music.
He builds upon a distinct practice that combines
DJing, instrument design, and free improvisation.
He has performed internationally at various venues
and festivals, having released 12 DJ mixes and
4 albums, which include collaborations with Evan
Parker, Otomo Yoshihide, Martin Tetreault, and Paul
Hubweber. As Artistic Director of STEIM (2007–12)
in Amsterdam, he curated and produced largescale international festivals and award-winning art
works. From 2012 to 2017, he was Visiting Assistant
Professor at the School of Creative Media—City
University of Hong Kong. Lippit was also one
of the invited musicians hosted at the Mirrored
Gardens in Guangzhou during the presentation of
Tarek Atoui’s The Ground project in 2017.
WORKSHOPS
SAT AND SUN, 19 AND 20 MAY
10.00AM—5.00PM
DIY Contact Mic and Amplifier with
DJ SNIFF (Takuro Mizuta Lippit) and
YUEN CHEE WAI
Developed for participants aged 13
and above.
A two-day workshop to build personalised
noise instruments using op-amps and
contact microphones. On the first day,
participants will learn the basics about
experimental noise and improvisational
music through building an amplifier circuit
and contact microphone, followed by
building custom-made acoustic noise
boxes on the second day. The workshop will
conclude with an acoustic experiment by
performing on one’s self-made noise boxes.
Participants will be asked to cover the
material cost for this workshop.
DJ SNIFF (Takuro Mizuta Lippit) (United States/
Japan), p.8
YUEN CHEE WAI (Singapore), p.12
SAT, 23 JUNE 2018
2.00—6.00PM
Making Sense by artist and illustrator
TAN ZI XI
Part of Art Day Out! x The School Holidays
at Gillman Barracks
Developed for participants aged 13
and above.
Participants are invited to meditate on the
sounds from the exhibition The Ground:
From the Land to the Sea composed by artist
9
and musician Tarek Atoui. The workshop
will explore several aspects of image making,
from abstract to narrative, engaging closely
with the idea of developing stories that
sounds could tell. The participants will
visually translate these sonorities through the
question “What does something intangible
like a sound look like?”
TAN ZI XI (Singapore) is an artist and illustrator.
She has worked on numerous projects with graphic
designers, fashion labels, and museums. Her most
recent achievement is a prestigious Gold from
the Singapore Creative Circle Awards 2015 for her
animation piece dododo, commissioned by UNTITLED
Japan. She was also awarded the “New Talent
of Year 2010” at the London International Creative
Competition for her seminal series Ten Years of Work
for Every Minute on Stage. Tan has been exhibited
in the Singapore Art Museum in 2016, where
she created Plastic Ocean, a work that challenges
the public to reflect on the sheer enormity of waste
we generate excessively.
�CALENDAR
TALKS & LECTURES
Wed
9 May
7.30—9.00pm
Voicing the Other by Professor
Vibeke Sørensen (Denmark/
United States/Singapore),
Chair, NTU ADM
GUEST MUSICIANS
10—13 May
The Analog Girl (Singapore)
WORKSHOPS
Sat / Sun
19 and 20 May
10.00am—5.00pm
DIY Contact Mic and Amplifier
with DJ Sniff (Takuro Mizuta
Lippit) and Yuen Chee Wai
TALKS & LECTURES
Mon
21 May
7.30—9.00pm
To Listen is To Play—how sound
technology has shaped experimental
practices of music by musician and
curator DJ Sniff (Takuro Mizuta
Lippit) (United States/Japan)
GUEST MUSICIANS
19—22 May
Cheryl Ong (Singapore)
GUEST MUSICIANS
31 May—3 June
Zai Tang (Singapore)
ACTIVATIONS
Fri
1 June
7.30—9.00pm
Carte Blanche #2
Tini Aliman, Cheryl Ong,
The Analog Girl, Vivian Wang
GUEST MUSICIANS
4—7 June
Bani Haykal (Singapore)
GUEST MUSICIANS
13—16 June
Dharma (Singapore)
GUEST MUSICIANS
19—22 June
Sudarshan Chandra Kumar
(Malaysia)
WORKSHOPS
Sat
23 June
2.00—6.00pm
Making Sense by artist and
illustrator Tan Zi Xi (Singapore)
On the occasion of Gillman
Barracks Art Day Out! x The
School Holidays
ACTIVATIONS
Sat
23 June
6.00—8.00pm
Carte Blanche #3
Tini Aliman, Dharma, Sudarshan
Chandra Kumar, Cheryl Ong, Zai
Tang, Wu Jun Han, Yuen Chee Wai
24 MARCH —
24 JUNE 2018
ACTIVATIONS
Fri
23 March
8.00—9.00pm
Opening Performance by artist
Tarek Atoui (Lebanon/France)
TALKS & LECTURES
Sat
24 March
3.00—4.30pm
Behind the Scenes: Artist Tarek
Atoui (Lebanon/France) in
conversation with Hu Fang
(China), Co-founder and Artistic
Director of Vitamin Creative
Space, Guangzhou
GUEST MUSICIANS
26—30 March
Vivian Wang (Singapore)
GUEST MUSICIANS
2—5 April
Yuen Chee Wai (Singapore)
GUEST MUSICIANS
7—10 April
Darren Ng (Singapore)
GUEST MUSICIANS
13—17 April
Uriel Barthélémi (France)
ACTIVATIONS
Tue
17 April
7.30—9.00pm
Performance In Resonance With...
by drummer and electroacoustic
composer Uriel Barthélémi
TALKS & LECTURES
25 April
7.30—9.00pm
Ever since sound entered the space
of art, it has been plotting its escape
by Joel Stern (Australia), Artistic
Director of Liquid Architecture
Wed
GUEST MUSICIANS
28 April—1 May
Tini Aliman (Singapore)
GUEST MUSICIANS
2—5 May
Wu Jun Han (Singapore)
ACTIVATIONS
Fri
4 May
7.30—9.00pm
Carte Blanche #1
Bani Haykal, Wu Jun Han, Dharma
�on experimental music in Singapore
and Southeast Asia. Since then,
Ujikaji has been a key driver
of the experimental music scene
in Singapore, releasing albums
by artists such as Awk Wah, Pan
Gu, Yuen Chee Wai, Yan Jun,
and Marco Fusinato, organising
regular nights of improvised and
experimental music, as well as
programming large-scale gigs at
Singapore: Inside Out, ArtScience
Late, and Singapore Night Festival.
for Angkat, a production from
Teater Ekamatra’s Artist Residency
Programme, which was nominated
Best Sound Design for Life!
Theatre Awards 2018. Aliman
has also designed sound for
short films and collaborative
lecture-performances. Apart from
being the head honcho of the
music collective The Diarists,
she is interested in bio-music,
botanical histories, and the sonic
life of plants.
YUEN CHEE WAI (Singapore)
is a musician, artist, designer, and
curator. Often inspired by ideas
drawn from philosophical and
literary texts as well as the filmic
eye and photographic lens, Yuen’s
work in improvised music reflects
on memory and loss, invisibility and
indeterminacy. In 2008, together
with Otomo Yoshihide (Japan),
Ryu Hankil (South Korea), and Yan
Jun (China), he formed FEN (Far
East Network), a music unit focusing
on the multifaceted networks and
collaborations between musicians
and artists in Asian countries.
Since its inception in 2014, Yuen is
part of Ensembles Asia as Project
Director for Asian Music Network,
to which he co-curates the annual
Asian Meeting Festival (AMF).
He is also a member of the
avant-rock band The Observatory,
with whom he plays guitar, synth,
and electronics. Both FEN and
MARK WONG (Singapore) has
The Observatory tour extensively,
been active in experimental
music, sonic arts and independent regularly performing in Europe,
North America, and Asia, including
music practice in the last decade,
playing multiple roles as organiser, at in MIMI Festival, Lausanne
Underground Music and Film
programmer, artist, curator, writer,
and label producer. Wong works in Festival, All Ears Festival, and
and with sound to devise listening Ftarri Festival.
strategies for new and intense
GUESTS
possibilities of being. His sound
compositions, site-specific works,
TINI ALIMAN (Singapore) is a
sound walks, sound objects,
and multi-channel installations have sound designer, artist, audio editor,
and field recordist. She was the
been exhibited at Singapore Art
sound designer for Geng Rebut
Museum, 8Q@SAM, Institute
Cabinet by Alfian Sa’at, part of
of Contemporary Arts Singapore,
W!ld Rice (2016), and Charged by
Jendela (Visual Arts Space), and
Chong Tze Chien, Singapore
Yavuz Gallery. In 2010, Wong
Theatre Festival (2011). Most
conceived Ujikaji as a music label
recently, she designed the sound
and event organiser with a focus
THE ANALOG GIRL (Singapore)
started out as a lo-fi bedroom
project using portable synthesisers
and cassette tape recorders,
having evolved into a universe of
dreamlike technicolour pop. She
creates and performs using a
myriad of illuminating electronic
instruments including the
Tenori-On, Monome, and Percussa
AudioCubes. Named by TIME
magazine as one of “5 Music Acts
To Watch” in 2008, The Analog
Girl has had audiences worldwide
plugged into her sound at a
spectrum of venues and festivals
including Nick Knight’s SHOWstudio
Revue in London; Worldtronics
Festival at the Haus der Kulturen
der Welt in Berlin; and Mosaic
Music Weekend at Esplanade –
Theatres on the Bay in Singapore.
BIOGRAPHIES
HOSTS
VIVIAN WANG (Singapore)
diverged from formal training as a
classical pianist when she started
avant-rock outfit The Observatory,
a group with more than 10 major
releases and the name behind
experimental music festival
Playfreely. A former TV writerpresenter and a film producer,
Wang has focused solely on sound
and performance since 2008.
Her main instruments are synth,
keyboard, voice, and percussion.
Wang has toured extensively
in Europe, United States, China,
Southeast Asia, and Japan. She
was active in musical outfits
ARCN TEMPL, Meddle and Snake
Blood Union, and composes and
performs for theatre and film. Past
works include Drift (Drama Box,
2008), The Spirits Play (TETC 2009),
Herstory (Drama Box, 2011), and
A True Calling (EX Theatre, 2011).
Recent works include composition
and voice narration for fiction
documentary The Human Crater
by Swiss collective U5, presented
at National University Singapore
Museum. Wang also performed
with poet Cyril Wong in response
to the work of Danh Vo at the
National Gallery Singapore.
12
URIEL BARTHÉLÉMI (France) is
a drummer, composer, and electroacoustic musician. He studied
at the conservatoires of Reims, La
Courneuve, Montreuil, and Ircam.
Since 2002, he has worked across
various fields such as dance,
marionettes, theatre, and visual
arts. Recent commissions include
Lafayette Anticipation; Césaré
– CNCM; Sacem/CDMC; and Al
Mamal Art Foundation. He has
performed at Biennale NEMO,
Paris (2017); Maerzmusik, Berlin
(2017); Serendipity arts festival,
Goa (2016); FIAC, Paris (2016);
Akademie der Künste der Welt,
Cologne (2016); Sharjah Biennial
12 and 11 (2015 and 2013); Festival
Croisements, Beijing (2014); Ruhr
Triennale, Essen (2013); Memory
Marathon, Serpentine Gallery,
London (2012); and Performa, New
York (2011). Barthélémi has been
nominated Shape Artist 2018.
DHARMA (Singapore) experiments
with electric guitar, incorporating
effects and objects together
with various extended techniques.
After seven albums with avant-rock
band The Observatory, Dharma’s
solo debut in 2013, Intergranular
Space, opened up new vistas for his
guitar work. He has been involved
in various experimental and
improvised music performances
most notably at the Asian Meeting
Festival 2016, which featured
notable Asian improvisers like
Otomo Yoshihide and Jojo
Hiroshige. His latest release is the
soundtrack to between pudukkottai
& singapore – poems by n rengarajan,
recorded in 2016.
BANI HAYKAL (Singapore) is an
artist, composer, and musician.
Haykal considers music (making/
process) as a metaphor for
cybernetics. His projects revolve
around interfacing and interaction
in feedback/feedforward
mechanisms. An artist-in-residence
at NTU CCA Singapore (2015),
he is a member of b-quartet
and Soundpainting ensemble Erik
Satay & The Kampong Arkestra.
Manifestations of his research
culminate into works of various
forms encompassing installation,
poetry, and performance. In his
capacity as a collaborator and
a soloist, Haykal has participated
in festivals including Wiener
Festwochen (Austria); Media/Art
Kitchen (Indonesia, Malaysia,
Philippines, and Japan); Liquid
Architecture; and Singapore
International Festival of Arts (both
Singapore); among others.
by the pseudonym sonicbrat,
and was invited to perform in
numerous prestigious international
festivals across Europe and Asia.
He has been Associate Sound
Artist and Music Composer for
The Finger Players since 2004,
is a co-founder of the design
collective INDEX, and is currently
an Associate Artist of Emergency
Stairs. Ng was conferred the
Young Artist Award (music;
multi-disciplinary practice) in 2012
by the National Arts Council.
CHERYL ONG (Singapore) is a
percussionist active in music
performance and education,
regularly performing with avantrock group The Observatory
and SA, a trio that uses traditional
Chinese instruments with modern
sensibilities. A recipient of the
National Arts Council Arts Bursary
(Overseas), Ong graduated from
the Central Conservatory of
Music, Beijing, with a degree in
Chinese Percussion. Though
classically trained, Ong consistently
struggles with the division of
classical and traditional music and
the limits of their roles. Tired of
being a mere technician, Ong has
gone on to explore improvisational
and experimental practices in
recent years, hunting down new
ideas and sounds.
album clinamina for His Hubris,
a duo by Sudarshan and Yong.
ZAI TANG (Singapore) experiments
with the abstraction and
visualisation of field recordings
from natural environments,
combining these sonorities with
drawing, animation, projection,
and performance to create
immersive and reflexive
experiences. Tang works
collaboratively within contemporary
dance, film, architecture, and
visual art installations. He presented
solo and collaborative work at
Singapore International Festival
of the Arts (2017); National Gallery
Singapore (2017); Esplanade’s
da:ns Festival (2016/2013); IFA
Gallery Berlin/ Stuttgart (2015);
the 56th and 52nd Venice Biennale
(2015 and 2007), in collaboration
Charles Lim and Tang Da Wu
respectively; Archifest Singapore
(2014); Saatchi Gallery, London
(2013); Institute of Contemporary
Arts Singapore (2014).
WU JUN HAN (Singapore) creates
and performs in the audio-visual,
and has a background in video
art. Through an interdisciplinary
approach to performance, he
explores the visceral, materiality,
vernacular practices, and the
future. For State of Motion 2018,
he presented a sound work in
SUDARSHAN CHANDRA KUMAR response to Shaw Brothers films
(Malaysia) has performed for the
1950–70s from Singapore. In
Asian Meeting Festival (Singapore); 2017, he presented Smokescreen
CHOPPA Music Fest (Singapore); at ArtScience Museum, in
Playfreely (Singapore); KLEX
collaboration with George Chua.
Festival (Malaysia); and Switch On He participated in the group
Festival (Malaysia). He participates show Fantasy Islands (2017) at
regularly in Serious Play Improv
Objectifs with a sound work
Lab (SPIL), a monthly experimental featuring cassette tape loops and
music series in Kuala Lumpur.
field recordings. He was an
Working with music for theatre, he artist-in-residence in Pulau Ubin,
is the music facilitator for Sekolah
organised by The Artists Village,
Main Wayang (2015–18), a children’s where he installed a makeshift
DARREN NG (Singapore) is a
sound artist and music composer. theatre workshop. Sudarshan
photography lab (2012).
also directed and scored music for
For the past two decades, he has
his musical The Propitiation of
sound designed and composed
music for over 250 arts productions, Fundamentals (2015). Together with
Yong Yandsen and Tey Beng Tze,
receiving multiple Straits Times
Life! Theatre Awards. Ng signed to he established LaoBan Records
in 2017, which released its first
record label Kitchen. Label, going
13
�Tarek Atoui
THE GROUND: FROM THE LAND
TO THE SEA
24 March—24 June 2018
NTU CCA Singapore
CURATORS
Professor Ute Meta Bauer
Khim Ong
ASSISTANT CURATOR
Ana Sophie Salazar
OUTREACH & EDUCATION
Magdalena Magiera
Syaheedah Iskandar
EXHIBITION PRODUCTION
Kiat Ng
Isrudy Shaik
EXHIBITION DESIGN CONSULTANT
Associate Professor
Laura Miotto, NTU ADM
LOGISTICS
Rhema Events & Arts Services
Lotus Fine Arts
CONSERVATION
The Conservation Studio
EXHIBITION CONSTRUCTION
Creative Bulb
TECHNICAL INSTALLATION
Luther Music
DESIGN OF VISUAL IDENTITY
.
Goda Budvytyte
PROJECT IN THE LAB
ACKNOWLEDGEMENTS
FOR THE PRODUCTION COORDINATION
AND LOAN OF ARTWORKS
Vitamin Creative Space, Guangzhou
Gallery Chantal Crousel, Paris
Anne Becker, Studio Tarek Atoui, Paris
FOR FACILITATING THE SOUND RECORDINGS
AT THE SINGAPORE HARBOURS
Desmond Chong
PerMagnus Lindborg
Jevan Tan
Mapletree
Metazone.org
School of Art, Design and Media, NTU
Vopak Terminals Singapore
WITH THE ADDITIONAL SUPPORT OF
SUBJECTING THE ARCHIVE
5 MAY—17 JUNE 2018
The NTU CCA Singapore Artist Files, part
of the Centre’s Public Resource Platform,
are compiled to provide local and visiting
curators, scholars, and writers, as well
as an interested public, a point of entry to
the field of contemporary art. Conceived
as an evolving multimedia archive,
the Platform is not to be understood as
exhaustive or exclusive, but as a support
for a more comprehensive study on the
contemporary art ecosystem in Singapore
and the region. The Artist Files contain
material from Singapore-based artists as
well as from NTU CCA Singapore’s local
and international Artists-in-Residence.
With over 100 recorded public talks
and conducted interviews and innumerable
videos, books, and other materials,
the Platform demands to be regularly
reinterpreted in the form of a public
presentation. For this iteration, NTU CCA
Singapore’s Young Professional Trainees
will conceptualise a presentation in
the Centre’s research space The Lab.
PROJECT COORDINATOR
Cheong Kah Kit
YOUNG PROFESSIONAL TRAINEES
Ho Mun Yee, Research
Joey Sim, Residencies
Priscilla Toh, Communications
Olivia Wong, Exhibitions
Zhang Jing Chao, Outreach & Education
The Artist Resource Platform is available by
appointment throughout the year. For enquiries,
please contact ntuccaresearch@ntu.edu.sg
14
15
�NTU CENTRE FOR CONTEMPORARY
ART SINGAPORE
CLIMATES. HABITATS.
ENVIRONMENTS.
NTU CCA SINGAPORE
PUBLICATIONS
ARTISTS’ LIMITED EDITION
EVERYDAY ITEMS
Located in Gillman Barracks, the NTU CCA
Singapore is a national research centre
of Nanyang Technological University,
supported by a grant from the Economic
Development Board. Since its inauguration
in October 2013, the Centre links the
complexities of the contemporary art field
to other forms of knowledge production.
NTU CCA Singapore is unique in its
threefold constellation of research &
academic programmes, international
exhibitions and research-based residencies,
positioning itself as a space for critical
discourse. The Centre focuses on Spaces
of the Curatorial in Singapore, Southeast
Asia, and beyond, and engages in multilayered research topics, such as PLACE.
LABOUR.CAPITAL. (2014–17).
NTU CCA Singapore’s overarching
research topic CLIMATES. HABITATS.
ENVIRONMENTS. informs and connects the
Centre’s various activities activitities for
the next three years (2017–19). Changes in
the environment influence weather patterns
and these climatic shifts impact habitats,
and vice versa. Precarious conditions
of habitats are forcing migration of humans
and other species at a critical level. The
consequences of human intervention are
felt on a global scale, affecting geopolitical,
social, and cultural systems. The Centre
intends to discuss and understand these
realities through art and culture in dialogue
with other fields of knowledge.
The publishing activity emphasises the
holistic approach of the Centre by
expanding the connections across the
various departments to capture and deepen
the knowledge on contemporary art
linked to the Centre’s ongoing research
projects. The mobility and lasting nature
of publications allow the Centre to
disseminate its contributions to discourse
beyond its physical parameters.
NTU CCA Singapore launched a line of
artist editions designed by the Centre’s
previous Artists-in-Residence. Ranging from
scarves, beach towels, and tote bags to
umbrellas, raincoats, and notebooks, these
numbered editions are sometimes witty,
always thoughtful, and beautiful to behold.
Proceeds from sales go towards the
sustainability of the Centre’s residencies
programme. Participating artists include:
Hamra Abbas (Kuwait), Julian ‘Togar’
Abraham (Indonesia), Yason Banal
(Philippines), Heman Chong (Singapore),
Duto Hardono (Indonesia), Alex Mawimbi
(Kenya/Netherlands), Alex Murray-Leslie
(Australia/Spain), Arjuna Neuman (United
States), UuDam Nguyen (Vietnam), Ana
Pravcki (Serbia/United States), anGie
seah (Singapore), SHIMURAbros (Japan),
Tamara Weber (United States), and Jason
Wee (Singapore).
PLACE.LABOUR.CAPITAL. (Mousse
Publishing, distributed by NUS Press, 2018)
SouthEastAsia: Spaces of the Curatorial.
Jahresring 63 (Sternberg Press, 2017)
Becoming Palm, Simryn Gill and Michael
Taussig (Sternberg Press, 2017)
Tomás Saraceno: Arachnid Orchestra.
Jam Sessions (2017)
Theatrical Fields: Critical Strategies in
Performance, Film, and Video, in
collaboration with Bildmuseet Umeå
(König Books, 2016)
16
17
GIVING TO
NTU CCA SINGAPORE
Your contribution regardless of amount
will go a long way in supporting us to
maintain a significant role within the art
ecosystem of Singapore and the region.
Taxpayers to Singapore enjoy a 250%
tax deduction. For more information
on how to donate to NTU CCA Singapore,
visit ntu.ccasingapore.org/support.
�NTU CCA SINGAPORE
STAFF
UTE META BAUER, Founding Director, NTU CCA Singapore and Professor,
School of Art, Design and Media, NTU
EXHIBITIONS, RESIDENCIES & PRODUCTION
KHIM ONG, Deputy Director, Curatorial Programmes
Dr ANNA LOVECCHIO, Curator, Residencies
MAGDALENA MAGIERA, Curator, Outreach & Education
ANA SOPHIE SALAZAR, Assistant Curator, Exhibitions
NG SOON KIAT, Assistant Manager, Production
SYAHEEDAH ISKANDAR, Curatorial Assistant, Outreach & Education
LYNDA TAY, Curatorial Assistant, Residencies
ISRUDY SHAIK, Executive, Production
CHUA YONG KEE, Young Professional Trainee, Production
JOEY SIM, Young Professional Trainee, Residencies
OLIVIA WONG, Young Professional Trainee, Exhibitions
ZHANG JING CHAO, Young Professional Trainee, Outreach & Education
RESEARCH & EDUCATION
SOPHIE GOLTZ, Deputy Director, Research & Academic Programmes, and
Assistant Professor, School of Art, Design and Media, NTU
CHEONG KAH KIT, Manager, Research
SAMANTHA LEONG, Executive, Conference, Workshops & Archive
HO MUN YEE, Young Professional Trainee, Research
OPERATIONS & STRATEGIC DEVELOPMENT
PHILIP FRANCIS, Deputy Director, Operations & Strategic Development
JASMAINE CHEONG, Assistant Director, Operations & HR
SHIRLEY LOW, Head, Development
SYLVIA TSAI, Manager, Communications
YAO JING WEI, Manager, Finance
ANGIE ANG, Special Projects Assistant
IRIS TAN, Executive, Administration & Finance
LOUIS TAN, Executive, Operations
SAMUEL LEE, Young Professional Trainee, Communications
PRISCILLA TOH, Young Professional Trainee, Communications
18
NTU CCA SINGAPORE
GOVERNING COUNCIL
Co-Chairs
Professor ALAN CHAN KAM-LEUNG, Vice President, Alumni and Advancement and Dean,
College of Humanities, Arts and Social Sciences, NTU
PAUL TAN, Deputy Chief Executive Officer, National Arts Council (NAC)
Professor KWOK KIAN WOON, Associate Provost (Student Life), President’s Office, NTU
MIKE SAMSON, Managing Director/ Regional Head ASEAN, Leveraged and Structured Solutions,
Standard Chartered Bank
Professor DORRIT VIBEKE SØRENSEN Chair, School of Art, Design and Media, NTU
MICHAEL TAY, Group Managing Director, The Hour Glass Limited
LOW ENG TEONG, Assistant Chief Executive, Sector Development, NAC
NG WEN XU, Director, Lifestyle, Singapore Economic Development Board (EDB)
NTU CCA SINGAPORE
INTERNATIONAL ADVISORY BOARD
Chair
Professor NIKOS PAPASTERGIADIS, Director, Research Unit in Public Cultures, and Professor,
School of Culture and Communication, The University of Melbourne, Australia
DORYUN CHONG, Deputy Director and Chief Curator, M+, Hong Kong
CATHERINE DAVID, Deputy Director in charge of Research and Globalisation, MNAM/CCI,
Centre Pompidou, Paris, France
OKWUI ENWEZOR, Director, Haus der Kunst, Munich, Germany
Professor PATRICK FLORES, Department of Arts Studies, University of the Philippines and
Curator Jorge B. Vargas Museum, Manila, Philippines
RANJIT HOSKOTE, cultural theorist and independent curator, Bombay, India
Professor ASHLEY THOMPSON, Hiram W. Woodward Chair, Southeast Asian Art and Chair,
South East Asian Studies, SOAS University of London, United Kingdom
PHILIP TINARI, Director, Ullens Center for Contemporary Art (UCCA), Beijing, China
19
�Exhibitions
BLK 43
20
© NTU Centre for Contemporary Art Singapore.
Printed March 2018 by First Printers.
o
ad
Bus stop
Alexandria Road
Bus stop
R
ad
Entrance to
Gillman Barracks
ep
D
o
tR
Ro
M
Lo
ck
an
al
EMAIL
ntuccaevents@ntu.edu.sg
Singapore Teacher’s
Academy for the Arts
RESEARCH CENTRE AND OFFICE
Block 6 Lock Road, #01-09/10
Singapore 108934
+65 6460 0300
d
oa
ntu.ccasingapore.org
facebook.com/ntu.ccasingapore
Instagram: @ntu_ccasingapore
Twitter: @ntuccasingapore
RESIDENCIES STUDIOS
Blocks 37 and 38, Malan Road
Singapore 109452 and 109441
Research centre
& office, BLK 6
FREE ADMISSION TO
ALL PROGRAMMES
Pedestrian walkway
Malan Road
PUBLIC PROGRAMMES
Wednesday and Friday evenings
EXHIBITIONS
Block 43 Malan Road
Gillman Barracks
Singapore 109443
+65 6339 6503
Residencies studios
BLK 37 & 38
EXHIBITION HOURS
Tuesday—Sunday, 12.00 —7.00pm
Friday, 12.00—9.00pm
Closed on Mondays
Open on Public Holidays
(except on Mondays)
Labrador Park MRT
(Circle Line)
NTU CCA SINGAPORE
VISITOR INFORMATION
�TAREK ATOUI
Uriel Barthélémi
VIVIAN WANG
Tini Aliman
The Analog Girl
Cheryl Ong
MARK WONG
Dharma
Bani Haykal
Wu Jun Han
YUEN CHEE WAI
arren Ng
D
udarshan Chandra Kumar
S
ai Tang
Z
�
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
Resources
Exhibition Resource
Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc.
Short Description
Tarek Atoui The Ground: From the Land to the Sea Exhibition Guide
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>Tarek Atoui The Ground: From the Land to the Sea</i> Exhibition Guide
Description
An account of the resource
<i>Tarek Atoui The Ground: From the Land to the Sea</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-03-24
Contributor
An entity responsible for making contributions to the resource
Vivian Wang
Yuen Chee Wai
Mark Wong
Darren Ng
Uriel Barthélémi
Tini Aliman
Wu Junhan
The Analog Girl
Cheryl Ong
Zai Tang
Bani Haykal
Dharma
Sudarshan Chandra Kumar
Format
The file format, physical medium, or dimensions of the resource
Guide
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
Southeast Asia
-
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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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, NTU Centre for Contemporary Art Singapore, opening Performance by artist Tarek Atoui. 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, NTU Centre for Contemporary Art Singapore, opening Performance by artist Tarek Atoui. 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, NTU Centre for Contemporary Art Singapore, opening Performance by artist Tarek Atoui. 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, NTU Centre for Contemporary Art Singapore, opening Performance by artist Tarek Atoui. 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, NTU Centre for Contemporary Art Singapore, opening Performance by artist Tarek Atoui. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
A name given to the resource
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, NTU Centre for Contemporary Art Singapore, opening Performance by artist Tarek Atoui. 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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, NTU Centre for Contemporary Art Singapore, opening Performance by artist Tarek Atoui. Courtesy NTU CCA Singapore.
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/82ec3d22260f9ec5f0536001bc621ddf.jpg?Expires=1712793600&Signature=VNbQcfkN6uk7yzoIoJmjjB6GVigtLmBjF77%7EZaB5c%7EWi1XFnaQ%7EohY6uSwZsUrlHa2Ne2hdrcqWNiJReTZlbCkP7O0E5gQ17ZQtVUbribwa37yD1Yhcqrwi00Wycdaui4v83U0tqMq1bylfu7u0wBQVJhfxx7eJC1aCh1nWrebx3I9IxmGjCymgKuuQsgd3pFAlOOBGMSHDMdYrdWqCbKglISyHgIGHshCbY9Yq0%7EBKjP9fS-D-LwjVyoWb6GYIlrk-kLWxoRJWd9Ve7NXFu7RkK4mY5P70bM4cFjTVpxz2%7EmVEVo0kGfKQaEg5KWf2sffu0OjjqkJ8LNHioB8aPig__&Key-Pair-Id=K6UGZS9ZTDSZM
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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
Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, NTU Centre for Contemporary Art Singapore, opening Performance by artist Tarek Atoui. Courtesy NTU CCA Singapore.
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/4e6a1eae89e79d6ae70c466261d0d2b6.jpg?Expires=1712793600&Signature=p2UUE479kAYlrV%7EvJD5Z1gJBypuSSH8nfV6n%7EPQpDc1N5Hbu%7EwTkSWVQeq5hKLP2lXJnFqxUQ61eGYezG0M940yU40sZS9uL3p1TUl7N5xHnsuU%7E5zwX7oGfMABYlntsLVk97DFmi8fo4WKArdnRsvSHRPsecZsJWosFJYD8cNug9oCTw%7EztTEKfAvoMvXTxDHU-3ySdsdX5b1XShydsoWHVfsBTVjJAx7uDLfuFkRMHzkS8Gp51789lbtCGbsr-Hj-R9rlQBOfr%7EhXR96PJuNMGTQAojnCbZu1KLPdhAFOuhIO1RI%7ECJUzHGFBPPUtnUgBTPWE1gvF6kjsQa%7EBRYA__&Key-Pair-Id=K6UGZS9ZTDSZM
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Title
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Tarek Atoui, The Ground: From the Land to the Sea, 24 March – 24 June 2018, NTU Centre for Contemporary Art Singapore, outdoor view. Courtesy NTU CCA Singapore.
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
The Ground: From the Land to the Sea comprises two layers of auditory experiences that interact with each other, conceived as a composition that unfolds in space with its unique sound library and instruments.
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
2018-03-24
Exhibition End Date
2018-06-24
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
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>Tarek Atoui The Ground: From the Land to the Sea</i>
Subject
The topic of the resource
Performance
Body
Materiality
Nature
Description
An account of the resource
NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) is pleased to present the first solo exhibition in Southeast Asia by sound artist and composer <b>Tarek Atoui</b>, 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. <br /><br /><i>The Ground: From the Land to the Sea</i> 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>I/E</i> (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 <b>Éric La Casa</b>. <br /><br />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. <br /><br />Most of the instruments shown are part of <i>The Ground</i> 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 <i>The Reverse Collection</i> (2014–16) and <i>WITHIN</i> (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. <br /><br />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 <b>Vivian Wang</b> and <b>Yuen Chee Wai</b>, as well as music curator <b>Mark Wong</b>, who in turn will invite other musicians and sound artists to inhabit the installation throughout the course of the exhibition. <br /><br />The exhibition is curated by <b>Ute Meta Bauer</b>, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, Nanyang Technological University, and <b>Khim Ong</b>, 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. <br /><br /><b>Tarek Atoui</b> 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 <b>Vivian Wang</b> and <b>Yuen Chee Wai</b>, as well as music curator <b>Mark Wong</b>, 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. <br /><br />Schedule for upcoming Guest Musicians in the Exhibition Hall: <br /><br /><b>Vivian Wang</b> (Singapore): 26 – 30 March <br /><b>Yuen Chee Wai</b> (Singapore): 31 March – 3 April <br /><b>Darren Ng</b> (Singapore): 7 – 10 April <br /><b>Uriel Barthélémi</b> (France): 13 – 17 April <br /><b>Tini Aliman</b> (Singapore): 28 April – 1 May <br /><b>Wu Junhan</b> (Singapore): 2 – 5 May <br /><b>The Analog Girl</b> (Singapore): 10 – 13 May <br /><b>Cheryl Ong</b> (Singapore): 19 – 22 May <br /><b>Zai Tang</b> (Singapore): 31 May – 3 June <br /><b>Bani Haykal</b> (Singapore): 4 – 7 June <br /><b>Dharma</b> (Singapore): 13 – 16 June <br /><b>Sudarshan Chandra Kumar</b> (Malaysia): 19 – 22 June
Contributor
An entity responsible for making contributions to the resource
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
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
Southeast Asia
Medium
The material or physical carrier of the resource.
Multimedia Installation
Installation
Sound
Object