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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 The conference Climate Crisis and Cultural Loss marks the midway point of the titular three-year research project led by curator and educator Prof Ute Meta Bauer. Combining scientific findings with cultural and artistic practices, the project is a transdisciplinary effort to move beyond the perception of the science of climate change as the only place from which to address the planet’s most pressing problem, attempting to dig deeper and surface longer-term, more imperceptible, and difficult-to-quantify perspectives of cultural loss. Programme Type Conference and Symposium Audience Professional Graduate/Post-Graduate General Location Onsite (CCA) Offsite Online Onsite (NTU) Offsite Collaboration Yes Commissioned Work 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 Conference: Climate Crisis and Cultural Loss Subject The topic of the resource Climate Crisis Environmental Crisis Description An account of the resource Thursday, 13 July 2023 6.00 – 8.30pm The Arts House, Screening Room 1 Old Parliament Lane, Singapore 179429 Friday, 14 July 2023 9.30am – 4.30pm NTU School of Art, Design, and Media 81 Nanyang Dr, Singapore 637458 The conference Climate Crisis and Cultural Loss marks the midway point of the titular three-year research project led by Principal Investigator Professor Ute Meta Bauer (Founding Director, NTU Centre for Contemporary Art Singapore and Professor, School of Art, Design, and Media, Nanyang Technological University) and Co-Principal Investigator Associate Professor Yun Sang-Ho (joint appointment at Asian School of the Environment and School of Electric and Electronic Engineering, and Director, Remote Sensing Lab, Earth Observatory of Singapore, Nanyang Technological University). Combining scientific with cultural and artistic inquiries, and forms of knowledge, the project is a transdisciplinary effort to move beyond the formats of climate science research. The aim is to engage difficult-to-quantify perspectives of cultural loss. How has the slow erosion of diverse, multicultural, and more-than-human ways of living over time have been impacted by climate change, and what are the longer-term consequences on habitats? Can we begin again with culture, to induce a necessary paradigm shift in the way we think about and respond to the climate crisis? The common task at hand is to understand this intrinsically and deeply interwoven relationship between climate and culture. Starting with the acknowledgement of ancestral connections between the environment and its peoples, the conference opens with two public keynotes by the esteemed anthropologist Prof Cynthia Chou and erudite writer, curator, and policy analyst Marian Pastor Roces. On the second day, artists and filmmakers, community and cultural workers, environmental historians, radar scientists, and legal experts, come together in a full-day programme at NTU School of Art, Design, and Media, of presentations, panels, screenings, and conversations across themes of archipelagic autonomy, the socio-politics of extreme weather, environmental memory and cultural traces, in recognition of the climate crisis as a total field of research. SPEAKERS Prof Nabil Ahmed (Bangladesh/Norway), Prof Ute Meta Bauer (Germany/Singapore), Dr Guigone Camus (France), Dr Kristy H.A. Kang (United States), Dr Hervé Raimana Lallemant-Moe (French Polynesia), Armin Linke (Germany/Italy), Viviane Obed (Vanuatu), Lisa Rave (United Kingdom/Germany), Firdaus Sani (Singapore), Dr Fiona Williamson (United Kingdom/Singapore), Dr Yun Sang-Ho (United States/Singapore) REGISTRATION Click here for registration to attend public keynotes on Thursday, 13 July 2023. The conference programme on Friday, 14 July 2023, is closed-door/by invitation only. The full programme schedule can be accessed <a href="https://ntuccasingapore.omeka.net/items/show/4633">here</a>. Please contact us at <a href="mailto:ntuccaresearch@ntu.edu.sg">ntuccaresearch@ntu.edu.sg</a> for further enquiries. ACKNOWLEDGEMENTS This event is supported by the Ministry of Education Academic Research Fund Tier 2 project “Climate Crisis and Cultural Loss” (2021–2024), led by Principal Investigator Prof Ute Meta Bauer and Co-Principal Investigator Dr Yun Sang-Ho. Date A point or period of time associated with an event in the lifecycle of the resource 13 - 14 July 2023 Contributor An entity responsible for making contributions to the resource Ute Meta Bauer Yun Sang-Ho Cynthia Chou Marian Pastor Roces Nabil Ahmed Guigone Camus Kristy H.A. Kang Hervé Raimana Lallemant-Moe Armin Linke Viviane Obed Lisa Rave Firdaus Sani Fiona Williamson 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 Asia Oceania https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/f3bda06fbd0c6e2d8c9c7eea7f7ef0f0.pdf?Expires=1792627200&Signature=NxT2Du%7EiT74T8Kv3WumahqvopxeXLo33PgSJm3fjLMuT%7E3hf8xSESqv4YLZhb%7ElLOozm78GCpZB9eQzRfCSyP0YnmrRcAk8oO5Vo8K7YAKtTRucAJjG6l4G8q4eyLkTj28JulA3vs%7EeX1PBpgBVrIN6cqCtKjjvAxSkkCIkTxm%7Ex2Q1TDBnuZWvF41hbB0pZKTbINLBIXSsPrIf%7EaESMagIUa4bF99EZXFqdFTPyTp-3jzfruPF2KG0z0OuaDmsRRtsRkg0edMIQTM4qmxcFjJZQ9O0Luk1vb%7Epues2kCzPZz5DcfqWhQQP9cACPg7QM4PVI-6QCK0iwb-3vdTLhfw__&Key-Pair-Id=K6UGZS9ZTDSZM a97a66ffc01307590cabc5e1fc2b7448 PDF Text Text CONFERENCE: CLIMATE CRISIS AND CULTURAL LOSS FULL PROGRAMME Updated as of 11 July 2023 Thursday, 13 July 2023 6.00 – 8.30pm The Arts House, Screening Room 1 Old Parliament Lane, Singapore 179429 Friday, 14 July 2023 9.30am – 4.30pm NTU School of Art, Design, and Media ARTB1-02A/02B 81 Nanyang Dr, Singapore 637458 The conference Climate Crisis and Cultural Loss marks the midway point of the titular three-year research project led by Principal Investigator Professor Ute Meta Bauer (Founding Director, NTU Centre for Contemporary Art Singapore and Professor, School of Art, Design, and Media, Nanyang Technological University) and Co-Principal Investigator Associate Professor Yun Sang-Ho (joint appointment at Asian School of the Environment and School of Electric and Electronic Engineering, and Director, Remote Sensing Lab, Earth Observatory of Singapore, Nanyang Technological University). Combining scientific with cultural and artistic inquiries, and forms of knowledge, the project is a transdisciplinary effort to move beyond the formats of climate science research. The aim is to engage difficult-to-quantify perspectives of cultural loss. How has the slow erosion of diverse, multicultural, and more-than-human ways of living over time have been impacted by climate change, and what are the longer-term consequences on habitats? Can we begin again with culture, to induce a necessary paradigm shift in the way we think about and respond to the climate crisis? The common task at hand is to understand this intrinsically and deeply interwoven relationship between climate and culture. Starting with the acknowledgement of ancestral connections between the environment and its peoples, the conference opens with two public keynotes by the esteemed anthropologist Prof Cynthia Chou and erudite writer, curator, and policy analyst Marian Pastor Roces. On the second day, artists and filmmakers, community and cultural workers, environmental historians, radar scientists, and legal experts, come together in a full-day programme at NTU School of Art, Design, and Media, of presentations, panels, screenings, and conversations across themes of archipelagic autonomy, the socio-politics of extreme weather, environmental memory and cultural traces, in recognition of the climate crisis as a total field of research. Page 1 of 10 �SCHEDULE Thursday, 13 July 2023 6.00 – 8.30pm Venue: The Arts House, Screening Room 1 Old Parliament Lane, Singapore 179429 6.00 – 6.30pm Registration 6.30 – 6.45pm Welcome Address Prof Joseph Liow, Dean, College of Humanities, Arts, and Social Sciences, Nanyang Technological University 6.50 – 7.30pm Keynote: Climate Crisis, Cultural Loss and People of the Sea Prof Cynthia Chou, Director, Center for Asian and Pacific Studies, C. Maxwell & Elizabeth M. Stanley Family Chair of Asian Studies, and Professor of Anthropology, University of Iowa 7.30 – 8.10pm Keynote: Vanuá: community as ecology as challenge to law Marian Pastor Roces, Founder and President, TAO Inc, curator, critic, policy analyst 8.10 – 8.30pm Discussion / Q&A Moderated by Prof Ute Meta Bauer, Founding Director, NTU Centre for Contemporary Art Singapore and Professor, School of Art, Design, and Media, Nanyang Technological University Friday, 14 July 2023 9.30am – 4.30pm Venue: NTU School of Art, Design and Media, ARTB1-02A/02B 81 Nanyang Dr, Singapore 637458 9.30 – 10.00am Coffee & Registration 10.00 – 10.15am Welcome & Introduction Prof Ute Meta Bauer and Dr Yun Sang-Ho, Director, Remote Sensing Lab, Earth Observatory of Singapore, and Associate Professor, Asian School of the Environment and School of Electric and Electronic Engineering, Nanyang Technological University SESSION I: SOCIOPOLITICS OF EXTREME WEATHER 10.15 – 11.15am Panel: Cyclone Pam Page 2 of 10 �Viviane Obed, General Manager, Further Arts, and Dr Yun Sang-Ho, moderated by Prof Nabil Ahmed, Professor (Visual Interventions), Trondheim Academy of Fine Art, Norwegian University of Science and Technology 11.15 – 11.45am Presentation: Climate Justice and Disaster: A Case Study of Singapore’s 1954 Floods Dr Fiona Williamson, Associate Professor (Environmental History), College of Integrative Studies, Singapore Management University 11.45am – 12.00pm Session I: Q&A from the Floor 12.00 – 1.30pm Lunch break SESSION II: CULTURAL TRACES, ENVIRONMENTAL MEMORY 1.30 – 2.30pm Panel: Archipelagic Autonomy, Indigeneity, and Reclamation Dr Hervé Raimana Lallemant-Moe, Governance and Insular Development Research Team, University of French Polynesia, and Centre of International Law, University of Lyon, and Firdaus Sani, Founder, Orang Laut SG, moderated by Prof Ute Meta Bauer 2.30 – 3.00pm Presentation: Masi Mapping Project – A Proposal for Visualising the Migration and Evolution of Cultural Heritage Practices in Fiji Dr Kristy H.A. Kang, Associate Professor (Urban Media Art and Design), Herberger Institute for Design and the Arts, Arizona State University 3.00 – 4.00pm Screening & Conversation: Tambu Guigone Camus, anthropologist, Armin Linke and Lisa Rave, both artists and filmmakers 4.00 – 4.15pm Session II: Q&A from the Floor 4.15 – 4.30pm Closing Remarks Prof Ute Meta Bauer and Dr Yun Sang-Ho Page 3 of 10 �PROGRAMME KEYNOTE: CLIMATE CRISIS, CULTURAL LOSS, AND PEOPLE OF THE SEA Thursday, 13 July 2023, 6.50 – 7.30pm Prof Cynthia Chou Much has been discussed about greening the urban environment in deliberations about critical ways to fight climate change. However, the marine environment and seas — and more importantly, the people living in it — are often forgotten. Southeast Asia is a region steeped in long-established maritime traditions, and sea nomadism has prevailed within its waters for centuries. As the world’s largest archipelagic country, Indonesia serves as a relevant study on how the climate crisis would bear cultural losses too. With a focus on the Indonesian Riau-Lingga archipelago where the sea nomads known as the Orang Suku Laut (tribal people of the sea) have lived for centuries, Chou’s keynote raises thought-provoking issues concerning their life and living spaces. KEYNOTE: VANUÁ: COMMUNITY AS ECOLOGY AS CHALLENGE TO LAW Thursday, 13 July 2023, 7.30 – 8.10pm Marian Pastor Roces Roces takes up the word vanuá — widespread throughout the Austronesian-speaking world from the northern tip of the Philippines, Batanes, to Vanuatu — to open up legal terrain for transitional justice in postmodernity. In the Ivatan language of Batanes, vanuá is a concept built on the exclusive use of an unseen, underwater channel between land and open sea, by a group of fishers and their families. Its use is protected by ritual, even today, centuries after Christianisation. Vanuá is hence an eco-systemic concept of community, that furthermore exists within animism’s grasp of the divine. It is precisely the non-Anthropocentric order of things sundered by both “development” and romanticised notions of savage knowledge. No legal infrastructure exists for transitional justice. PANEL: CYCLONE PAM Friday, 14 July 2023, 10.15 – 11.15am Viviane Obed and Dr Yun Sang-Ho, moderated by Prof Nabil Ahmed Levelling between the disparate realms of remote sensing and ground-truth, this panel takes the impacts of Cyclone Pam (2015) on Port Vila, Vanuatu, as a case study to discuss how different types of disaster response work together to support communities vulnerable to extreme weather events. Obed presents a first-hand account of how the Vanuatu-based non-governmental organisation Further Arts, where she serves as General Manager and whose headquarters suffered heavy damage during the cyclone, responded to the disaster, while Yun offers insights into how satellite imagery of tree damage in Port Vila due to the cyclone aided in immediate and post-disaster relief efforts. The panel concludes with a conversation between Obed and Yun, moderated by Ahmed. PRESENTATION: CLIMATE JUSTICE AND DISASTER: A CASE STUDY OF SINGAPORE’S 1954 FLOODS Friday, 14 July 2023, 11.15 – 11.45am Dr Fiona Williamson Taking as a central premise the claim that all disasters occur in political space, this paper considers how communities become vulnerable due to prevailing political exigencies yet, shows how the popular voice often finds a way to be heard. Based on a case study of a severe flooding episode that took place in Singapore in late 1954, this paper explores two interrelated aspects of post-disaster justice. First, it will explore why certain communities were vulnerable and the options available to Page 4 of 10 �these marginalized communities for self-help and governmental aid post-disaster. Second, it considers the role of politics and politicians in creating and using disasters as a political platform. It argues that the moral claim of leading community members to political space was enhanced by the intense peaks of social disruption created by disaster, leading them to access the same political arenas from which they were formally excluded. Overall, it reveals how the study of historical disasters offers hindsight into the dynamics of a nature-induced severe event, potentially revealing insight into better understanding risk, vulnerability, and redress today. PANEL: ARCHIPELAGIC AUTONOMY, INDIGENEITY, AND RECLAMATION Friday, 14 July 2023, 1.30 – 2.30pm Dr Hervé Raimana Lallemant-Moe and Firdaus Sani, moderated by Prof Ute Meta Bauer This panel brings together the perspectives of two different archipelagic constitutions: Singapore and French Polynesia. While both share similarities in being coastal states and former colonies, they differ in their present makeup of indigenous populace and environmental memory. While LallemantMoe shows how in French Polynesia, traditional socio-cultural practices such as rāhui and tapu have been re-established as contemporary legal responses to the climate crisis to unexpected results, Sani shares how the historical separation of the indigenous Orang Pulau islanders from their land and waters through forced resettlement, has erased the environmental memory of the community in Singapore, the cultural traces of which are now difficult to locate and remember. PRESENTATION: MASI MAPPING PROJECT – A PROPOSAL FOR VISUALISING THE MIGRATION AND EVOLUTION OF CULTURAL HERITAGE PRACTICES IN FIJI Friday, 14 July 2023, 2.30 – 3.00pm Dr Kristy H.A. Kang Masi, also known as tapa or bark cloth, is a ceremonial craft and form of cultural heritage traditionally produced by the women of Fiji and peoples of the Pacific. Used to mark every aspect of Fijian traditional life from birth to death, the practice of bark cloth making is ancient and passed down through generations of artist-practitioners. The abstract patterns stencilled on the masi are a language that can be seen as a form of mapping the cultural history and migration patterns of the peoples of Fiji and the Pacific. Masi patterns show where specific bark cloth are made. The 19th century marked the height of production in terms of regional complexity and distinctiveness in design and many of the richest museum collections created during the colonial period date from this period. Currently, due to the impacts of climate change and other factors, the creation of masi has been reduced to less than half among the islands producing this work. Even so, masi making continues today as contemporary art and craft practice in the Pacific and elsewhere including in the Fijian diaspora. This presentation will share the research developed for “Masi Mapping Project”, a practice-based research proposal visualising the migration and environmental change impacting this cultural practice in Fiji and its diaspora. SCREENING AND CONVERSATION: TAMBU Friday, 14 July 2023, 3.00 – 4.00pm Guigone Camus, Armin Linke and Lisa Rave The screening and conversation begin with a 45-minute film combining video footage filmed by Linke and Rave with written fieldnotes by anthropologist Guigone Camus, that were gathered on a 10-day journey together in the Lau group, Fiji, during the TBA—21 residency The Current onboard the Dardanella in the summer of 2017. The expedition was organised by Ute Meta Bauer to study the customary concept of tambu (taboo) as applied to marine biodiversity protection in a time of climate change and globalisation; to try to understand the social, symbolic, and economic connections Page 5 of 10 �between Fijian people, their seascape, and marine resources, and the change of the environment intertwined with and affecting local culture. The film brings together what had been seen, felt, understood and misunderstood in this brief time. It was made for the islanders of the Lau group — as a trace of their participation, conversations, landscapes and heritage in 2017 — and as a reflexive object which situates itself between contemplation and reflexive auto-criticism. SPEAKERS’ BIOGRAPHIES Prof Nabil Ahmed Professor (Visual Interventions), Trondheim Academy of Fine Arts Norwegian University of Science and Technology (NTNU) Nabil Ahmed is a researcher and writer working at the intersection of spatial practice visual culture and environmental humanities. He runs INTERPRT (http://interprt.org/), a research and design studio dedicated to environmental justice advocacy. The transdisciplinary collective works with civil society organizations, lawyers, scientists, NGOs, and journalists worldwide. INTERPRT’s work has been recently exhibited at Biennale Warszawa, Museum of Modern Art Warsaw and Beirut Arts Centre. He has written for Third Text, Routledge, Candide: Journal for Architectural Knowledge, Documenta, Sternberg Press, MIT Press and Scientific Reports among others. He completed a doctorate in Research Architecture at Goldsmiths, University of London where he has a long-term research affiliation with Forensic Architecture. Ahmed was a fellow at the TBA21- Academy The Current expedition to French Polynesia, and participated in The Oceanic (2017/18) at NTU CCA Singapore. Dr Guigone Camus Anthropologist and Research Engineer (Science Data), CEA-DRF Saclay French National Centre for Scientific Research Dr Guigone Camus is currently a pluridisciplinary researcher. Her field of expertise covers the Pacific area, specifically Kiribati. As an anthropologist, she is involved in research projects related to the effects of global warming on oceans and on the livelihood of island communities. As an engineer, she works on institutional scientific data policies and management. As a consultant she also works on environmental impacts of oil and gas activities on deep ocean biodiversity. Prof Ute Meta Bauer Professor, School of Art, Design, and Media Founding Director, NTU Centre for Contemporary Art Singapore Nanyang Technological University (NTU) Ute Meta Bauer is an educator and curator in the field of contemporary art. Since 2013, she has been Founding Director of NTU Centre for Contemporary Art Singapore and Professor in the School of Art, Design, and Media at Nanyang Technological University, where she co-chairs the Master in Museum Studies and Curatorial Practices. Between 2015–2018, she was expedition leader of TBA21Academy The Current (Papua New Guinea, French Polynesia, and Fiji). At the centre, she introduced the overarching research field Climates. Habitats. Environments. which included curatorial projects such as The Oceanic (2017/18), Tarek Atoui, The Ground: From the Land to the Sea (2018), Trees of Life: Knowledge in Material (2018), Jef Geys — Quadra Medicinale Singapore (2018/19), The Posthuman City: Climates. Habitats. Environments. (2019/20). Related to this, she has also published and co-edited The Impossibility of Mapping (Urban Asia) published by World Scientific (2020), Culture City. Culture Scape. co-published with Mapletree Investments (2021), Climates. Habitats. Environments. co-published with The MIT Press (2022), and a monograph Joan Jonas: Moving of the Land (2022) published by Walther König, Köln. Bauer also oversees the Ministry of Education Page 6 of 10 �Academic Research Fund (MOE AcRF) Tier 1 Environmentally-Engaged Artistic Practices in South, Southeast Asia, and the Pacific project. Prof Cynthia Chou Director, Center for Asian and Pacific Studies C. Maxwell & Elizabeth M. Stanley Family Chair of Asian Studies Professor of Anthropology University of Iowa Cynthia Chou is Director of the Center for Asian and Pacific Studies, C. Maxwell and Elizabeth M. Stanley Family Chair of Asian Studies and Professor of Anthropology at the University of Iowa, United States. She is a cultural anthropologist whose primary research has centered on a longitudinal ethnographic study on sea nomadism, and in particular, on the Orang Suku Laut (tribal people of sea people) in Indonesia. Three main themes that have oriented her research thus far are: representations of what it means to be “indigenous”; space, place and identity; and humanenvironment interaction. Her publications include The Orang Suku Laut of Riau, Indonesia: The Inalienable Gift of Territory (2010) and Indonesian Sea Nomads: Money, Magic and Fear of the Orang Suku Laut of Riau (2003). She received her bachelor’s and M.Soc.Sc. degrees from the National University of Singapore and PhD in Social Anthropology from the University of Cambridge, United Kingdom. In 2011, she was awarded the degree of dr.phil. by the University of Copenhagen, Denmark in recognition of her contributions to the study of the Orang Suku Laut. Chou presented a case study as part of The Current Convening #3 – Tabu/Tapu Who owns the Ocean? (2018) at NTU CCA Singapore. Dr Kristy H.A. Kang Associate Professor (Urban Media Art and Design), Herberger Institute for Design and the Arts Arizona State University Dr. Kristy H.A. Kang is a practice-based researcher whose work navigates the triangulation of place, geographies, and cultural memory. She is Associate Professor at the School of Arts, Media, and Engineering at Arizona State University. Her research interests combine urban and ethnic studies, mapping, and emerging media arts to visualize cultural histories of cities and communities. Her works have been presented at the Gwangju Design Biennale; NTU Centre for Contemporary Art Singapore; the Getty Research Institute; the Center for Art and Media, Karlsruhe; and the Jewish Museum, Berlin, among others and received the Jury Award for New Forms at the Sundance Online Festival. Her publications include “We Are Here: City Signs and Maps in Ethnic Placemaking” coauthored with Annette M. Kim for the Journal of the American Planning Association (2022), a book chapter for the Routledge Companion to Media and the City “’City Stories’: Digital Placemaking and Public History in Singapore” (2022), and “Interfaces and Intentionalities: Adjacent Practices of Urban Media Art in Singapore” published in a special issue on Urban Interfaces in Leonardo Electronic Almanac (2019). Kang was a fellow at the TBA21- Academy The Current expedition to Fiji and the Lau Island Group, and participated in The Oceanic (2017/18) at NTU CCA Singapore. Dr Hervé Raimana Lallemant-Moe Public Law PhD Governance and Insular Development Unit, University of French Polynesia Centre for International Law, University of Lyon Hervé Raimana Lallemant-Moe is a member of the Governance and Insular Development Research Team (GDI – University of French Polynesia) and the Centre of International Law (CDI – University of Lyon III). His research focuses mainly on international environmental law and the legal effects of climate change in Oceania. Lallemant-Moe is teaching law at the University of French Polynesia, where he is an alumnus. He also graduated from the University of Western Brittany (France) and the Page 7 of 10 �University of South Pacific (Fiji-Vanuatu). Lallemant-Moe is currently working at the Polynesian Competition Authority as the Head of the President department. Lallement-Moe presented a case study as part of The Current Convening #3 – Tabu/Tapu Who owns the Ocean? (2018) at NTU CCA Singapore. Viviane Obed General Manager Further Arts Vanuatu Viviane Obed is a cultural and community development worker currently serving as General Manager of the Port Vila-based charitable association Further Arts in Vanuatu. She is a strong advocate for cultural, gender, youth, environmental, and human rights, and takes the lead in making sure there is always space and voice for such issues to be heard in all aspects of development. Her work over the last 25 years developing roadmaps and models of community of support have been adopted as long-term frameworks by the various organisations with which she has worked, such as the Vanuatu Cultural Center, Habitat for Humanity Vanuatu, the Vanuatu Association of Non-Government, and Care International Vanuatu. Through practices of deep listening and prioritising local voices and cultural knowledge, including traditional, consensus-based governance, and deliberative processes, she actively addresses the availability of support to local artists to sustain their creative practices during and after disasters. Further Arts has used this approach to strengthen the leadership capacity of local residents and to empower them to play a central role in developing relevant solutions to the climate crisis and cultural loss. Armin Linke Photographer and filmmaker Professor, ISIA, Urbino Armin Linke is an award-winning photographer and filmmaker combining a range of contemporary image processing technologies to blur the border between fiction and reality. Currently Linke is guest professor at ISIA, Urbino (IT) and artist in residence at the KHI Kunsthistorisches Institut in Florenz. Previously, he has held positions across various academic and research institutes: guest Professor at the IUAV Arts and Design University in Venice, Professor for Photography at the Karlsruhe University for Arts and Design, and research affiliate at the MIT Visual Arts Program. In his practice, Linke indagates the formation—so called Gestaltung—of the natural, technological and urban environment in which we are living. Armin Linke´s oeuvre—photographs and films—function as tools to become aware of the different design strategies. Through working with his own archive, as well as with other media archives, Linke challenges the conventions of photographic practice, whereby the questions of how photography is installed and displayed become increasingly important. In a collective approach with other artists, as well as with curators, designers, architects, historians, philosophers and scientists, the narratives of his works expand on the level of multiple discourse. Recent exhibitions and projects include: Earth Indices. Processing the Anthropocene by Giulia Bruno and Armin Linke (2022), Blind Sensorium: Visual Anthropology (2021), and Prospecting Ocean (2019). Linke was a fellow at the TBA21- Academy The Current expedition (Papua New Guinea, French Polynesia, and Fiji), and participated in The Oceanic (2017/18) at NTU CCA Singapore. Lisa Rave Artist, filmmaker, photographer Lisa Rave is an artist, filmmaker, and photographer. In her work, she often explores issues surrounding postcolonialism, and history’s repeating patterns in the complex interplay of culture, economy, and ecology, as well as natural phenomena. Rave studied experimental film at the University of the Arts Berlin and photography at Bard College, New York. She was a fellow artist at Page 8 of 10 �the Akademie Schloss Solitude in Stuttgart in 2014. Some of her recent exhibitions and screenings include Lofoten International Art Festival (2017); Arsenal Kino Berlin (2017); Glasmoog Cologne (2017); Thyssen-Bornemisza Art Contemporary–Augarten (2017); Württembergischer Kunstverein (2016); 3rd Istanbul Design Biennial (2016); FLORA ars+natura, Bogota (2015), Meulensteen Gallery, New York (2014); Kunstverein Wiesbaden (2013); Chisenhale Gallery, London (2012); Neuer Berliner Kunstverein (2011); and Haus der Kulturen der Welt, Berlin (2011). Rave was a fellow at the TBA21Academy The Current expedition to Fiji and the Lau Island Group, and participated in The Oceanic (2017/18) at NTU CCA Singapore. Marian Pastor Roces Independent curator, cultural critic and policy analyst Founder and President, TAOINC Marian Pastor Roces is an independent curator, cultural critic, and policy analyst working out of her base in Manila, Philippines. She founded and leads TAOINC, a corporation that curates the establishment of museums and develops exhibitions, parks, and publications. TAOINC recently accomplished the creation of the online museum 21AM for the Cultural Center of the Philippines, for which Roces supervised the creation of a new Accession Record System with a decolonizing trajectory. Her current project is a museum to cross cultural understanding in an island province that recently moved past a 50-year sectarian war. Published internationally, Roces’ critical writing has addressed, notably, the biennale form (in Over Here, MIT Press 2007, and The Biennale Reader, Bergen Kunsthall and Hatje Cantz 2010); museology (in House of Glass, ISEAS Singapore 2001); dispersed cultural material (in What to Let Go?, Para Site – in press 2023); and art and activism (in Monumental Shadows, Jameel Arts Center Dubai, 2023). Gathering: Political Writing on Art and Culture, an anthology of 45 years of writing, was published in 2019 by the Museum of Contemporary Art and Design (Manila) and Art Asia Pacific (Hong Kong). She is co-editor of the website, Mapping Philippine Material Culture Overseas, SOAS, University of London, which negotiates with museums globally for online open access as a form of digital repatriation. Her interest in social justice issues in relation to artmaking during the climate crisis is informed by work with human rights advocates and the peace process. Recently, she authored the essay “Fû Yabing Masalon Dulo, Ikat Dyer, and the Theoretical Weight of Endurance” published in Climates. Habitats. Environments. (The MIT Press, 2022) edited by Prof Ute Meta Bauer, and is keynote speaker at the conference series Climate Futures organised by NTU Centre for Contemporary Art Singapore and Konnect ASEAN. Firdaus Sani Founder Orang Laut SG Firdaus Sani is a fourth-generation Orang Laut/Pulau descendant. His maternal grandparents used to live in Pulau Semakau, until 1977. While growing up, Firdaus visited Pulau Semakau, where he learnt his grandparents' traditions and ways of life. In 2020, Firdaus started Orang Laut SG (@oranglautsg) to retell the stories of Pulau Semakau. He shares his family's cooking which is lovingly home-cooked by Mdm Noorani, who has honed her ancestors' original cooking methods and recipes. Firdaus advocates for indigenous voices and believes this should be included in Singapore’s mainstream education. Firdaus has shared his learnings of sustainability on TedxYouth@Singapore and showcased his works at the Singapore Writers’ Festival, Esplanade and Singapore Art Week. Dr Fiona Williamson Associate Professor (Environmental History), College of Integrative Studies Singapore Management University (SMU) Page 9 of 10 �Fiona Williamson is Associate Professor in Environmental History at the College of Integrative Studies, Singapore Management University. She is interested in the dynamics of human-environmentclimate intersections, seeking to understand their interrelationship. Looking at colonial Asia, especially, Singapore, Hong Kong, and Malaysia, she has studied historic disasters as a way of understanding this nexus. She also researches the history of climate and extreme events and weather science, much of which is currently in the process of becoming a new monograph on weather and meteorology in colonial Malaya. Dr Yun Sang-Ho Director, Remote Sensing Lab, Earth Observatory of Singapore Associate Professor, Asian School of the Environment and School of Electric and Electronic Engineering Nanyang Technological University Singapore (NTU) Sang-Ho Yun is the Director of the Earth Observatory of Singapore – Remote Sensing Lab (EOS-RS) and Associate Professor of the Asian School of the Environment (ASE) and the School of Electric and Electronic Engineering (EEE) at Nanyang Technological University (NTU) in Singapore. To date, he has supported over 150 major disaster response efforts globally. Prior to joining NTU in 2021, he was a geophysicist and radar scientist at NASA’s Jet Propulsion Laboratory (JPL) for 14 years. Sang-Ho received the 2023 NASA Honor Award for “Proactive development of a world-leading, disaster damage-mapping system supplying vital data to a broad range of disaster assessment and relief agencies worldwide”. He was the recipient of the 2018 NASA Exceptional Public Achievement Medal and the 2014 NASA Exceptional Early Career Medal for innovative use of satellite Synthetic Aperture Radar (SAR) data in support of rapid post-disaster response. He also received JPL’s Voyager Award in 2015 and Mariner Award in 2012 for his outstanding achievements in humanitarian assistance using satellite observations. Prior to his work at NASA JPL, Sang-Ho was a postdoctoral fellow at the US Geological Survey in Menlo Park, California. He received his PhD in geophysics and MS in electrical engineering from Stanford University in California and his BS in earth system science from Seoul National University in Korea. Page 10 of 10 � 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 Programme Resource Collateral and other print or digital materials pertaining to residency programmes. Examples include residency brochures, postcards, etc. 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 Climate Crisis and Cultural Loss Conference Schedule Subject The topic of the resource Climate Crisis Environmental Crisis Description An account of the resource Conference schedule Date A point or period of time associated with an event in the lifecycle of the resource 13 - 14 July 2023 Contributor An entity responsible for making contributions to the resource Ute Meta Bauer Cynthia Chou Marian Pastor Roces Soh Kay Min Ng Mei Jia Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Asia Oceania https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/28912e76d7e7712a650a19c0525fb0d9.jpg?Expires=1792627200&Signature=mDiavW3HQDa9dl9Uu2L409R4GnYAXKO0pt-Eguyi4Q3auaZdiey4gzKrKImKwTNpXN9-rvQEozBuba2PPeiesu-qRQkuZ6%7EpJ%7E6gjyxT2lAUdTVPDe0t1A1jdRGHLv-mjFo7sCQ0u4Fc2ER40qkbXOPqU69tylVI4Th6ooPk3jt5W098z1dqvIBFfpGUP%7EpRJQxLOUfV7A7qwf0dqvdj1DBYpcIdql0yDq3c4I7dX0wrcALBGzsbFlv%7EqcboNVoP%7EEP0My10IMsJkAKz8wKWHyRY%7EbIWhJxsfjh98vMWyF4UXQcyudsCq9pLDmi1b4zfA0PhXJd13fjUfyTLZdkvVg__&Key-Pair-Id=K6UGZS9ZTDSZM 65202c767f8d063f9b760326e155f844 https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/b5bbfcd55fc753c7a0f6181073ce4a83.jpg?Expires=1792627200&Signature=IYYkWKVvwxMGYn34s9FAI6ydJGGQe3zIX5aq2NIkv4vpGoeht64N8zs%7EC%7Eq-%7Et15J-7Y6x%7EfA39sy0UAuxYFC-017BXhPJwX%7EDGlUPf0xTQYLk6ljzcEu50TGlzpSwblnEESwaFzHP%7EpS%7EgnzOciuEOFH9zg5Pz%7Ey0%7EVj%7Ef8s9J7DHGEqjwY2gwNDBRKCrs8oxIDtrxbHzCfITZrTXk2DcE0gzSoaUpwfYCjA2FgotTLs0ZHTDlnhHGaCM74L2jC7L78eYB6HOAJf9NFpAbYQM2uNQ%7EblqXvUhzdsxKegQMPFtl85TiCZQ7BvVhCMied9w9RcZNy8mcvCyibjsaAdg__&Key-Pair-Id=K6UGZS9ZTDSZM 485a31257ab6ebab13f3e7038633d4c0 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 Publications Description An account of the resource A recipient and producer of knowledge, NTU CCA Singapore’s publishing activities contribute to its holistic approach, expanding the connections across the Centre’s exhibitions, residencies, public programming, and academic education. Research Publication A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Based on DMCI Text type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/Text) Short Description Drawing on the rich cultural heritage and trajectories of the Asia Pacific and beyond, the exhibitions, works of art, and essays in Climates.Habitats.Environments. transcend disciplinary boundaries and linear histories to affirm the role of cultural production in the fight for environmental and social justice. Availability Electronic (eBook) Print Print Public Resource Centre Affiliation Artist Research Platform Library Video Resource Platform None Library 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 Climates.Habitats.Environments. Subject The topic of the resource Climate Crisis Cultural Production Description An account of the resource Published by NTU CCA Singapore and The MIT Press, 2022 Edited by Ute Meta Bauer Design by mono.studio Printed by DZA Druckerei zu Altenburg GmbH © 2022 the artists, the authors, NTU Centre for Contemporary Art Singapore, Nanyang Technological University ISBN: 978-0-262-04681-7 Distributed by The MIT Press Copies are available for sale at NTU CCA Singapore and through MIT Press S$80/US$60 Modeling the curatorial as a method for uniting cultural production and science, Climates. Habitats. Environments. weaves together image and text to address the global climate crisis. Through exhibitions, artworks, and essays, artists and writers transcend disciplinary boundaries and linear histories to bring their knowledge and experience to bear on the fight for environmental justice. In doing so, they draw on the rich cultural heritage of the Asia-Pacific, in conversation with international discourse, to demonstrate transdisciplinary solution-seeking. Experimental in form as well as in method, Climates. Habitats. Environments. features an inventive book design by mono.studio that puts word and image on equal footing, offering a multiplicity of media, interpretations, and manifestations of interdisciplinary research. For example, botanist Matthew Hall draws on Ovid's Metamorphoses to discuss human-plant interpenetration; curator and writer Venus Lau considers how spectrality consumes—and is consumed—in animation and film, literature, music, and cuisine; and critical theorist and filmmaker Elizabeth Povinelli proposes “Water Sense” as a geontological approach to “the question of our connected and differentiated existence,” informed by the “ancestral catastrophe of colonialism.” Artists excavate the natural and cultural DNA of indigo, lacquer, rattan, and mulberry; works at the intersection of art, design, and architecture explore “The Posthuman City”; an ongoing research project investigates the ecological urgencies of Pacific archipelagos. The works of art, the projects, and the majority of the texts featured in the book were commissioned by NTU Centre for Contemporary Art Singapore. Publisher An entity responsible for making the resource available NTU CCA Singapore The MIT Press Contributor An entity responsible for making contributions to the resource Ute Meta Bauer Anna Lovecchio Michael Marder Kong Yin Ying Marian Pastor Roces Ravi Agarwal Donna J. Haraway Matthew Hall Nikos Papastergiadis Donna J. Haraway David Pledger Dan Koh Tan Zi Hao May Adadol Ingawanij Michael M. J. Fischer Venus Lau Elizabeth A. Povinelli Cynthia Chou Nina Oeghoede Philippe Pirotte Epeli Hau'ofa Nabil Ahmed Édouard Glissant Tania Roy Alfian Sa'at Jake Atienza Kenneth Dean Faizah Zakaria Stefanie Hessler Huang Jui-mao Anna Källén Philippa Lovatt Laura Miotto Rob Nixon Khim Ong Markus Reymann Dirk Snauwaert Matariki Williams Irene Agrivina Nabil Ahmed Irwan Ahmett Tita Salina Atif Akin Animali Domestici Apichatpong Weerasethakul Martha Atienza Tarek Atoui Laura Anderson Barbata Rosella Biscotti Guigone Camus Choy Ka Fai Roko Josefa Cinavilakeba Sean Connelly Ade Darmawan Lucy Davis Ines Doujak Jef Geys Tue Greenfort Newell Harry Ho Tzu Nyen Chia-Wei Hsu Pierre Huyghe ila inhabitants The Institute of Critical Zoologists Kristy H. A. Kang Susanne Kriemann Zac Langdon-Pole Jae Rhim Lee Liang Shaoji PerMagnus Lindborg Armin Linke Nicholas Mangan Alice Miceli Manish Nai Nguyễn Trinh Thi Phi Phi Oanh Lucy + Jorge Orta Park Chan-kyong Sophia Pich Marjetica Potrč Shubigi Rao Lisa Rave Lucy Raven Bridget Reweti Hito Steyerl Melati Suryodarmo Tanatchai Bandasak Sung Tieu Jegan Vincent de Paul Wu Mali Vivian Xu Yeo Siew Hua Zarina Muhammad Edouard Glissant Anna Kallen Nguyen Trinh Thi Marjetica Potrc mono.studio Format The file format, physical medium, or dimensions of the resource Publication Language A language of the resource English 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 Asia Date A point or period of time associated with an event in the lifecycle of the resource 2022 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 The Current Convening #3, Day 2 Session 1 – Case Studies by Dr Cresantia Frances Koya Vaka’uta and Dr Cynthia Chou Video Embedded video or link to video hosted outside of Omeka <a href="https://vimeo.com/423452178">https://vimeo.com/423452178</a> Video ID Platform ID number for video hosted online (e.g., Vimeo) 423452178 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 01:12:53 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 The Current Convening #3, Day 2 Session 1 – Case Studies by Dr Cresantia Frances Koya Vaka’uta and Dr Cynthia Chou Description An account of the resource The Current Convening #3: Tabu/Tapu – Who Owns the Ocean? Rights of Cultures, Rights of Nature: Case Studies by Dr Cresantia Frances Koya Vaka’uta and Dr Cynthia Chou Saturday 27 January 2018, The Single Screen Speakers: Dr Cresantia Frances Koya Vaka’uta (Fiji), Director, Oceania Centre for Arts, Culture and Pacific Studies & Pacific Heritage Hub, UNESCO Faculty of Arts, Law and Education, The University of the South Pacific, Fiji Dr Cynthia Chou (Singapore/United States), Professor, Department of Anthropology, College of Liberal Arts & Sciences, University of Iowa, United States Date A point or period of time associated with an event in the lifecycle of the resource 2018-01-27 Contributor An entity responsible for making contributions to the resource Cresantia Frances Koya Vaka'uta Cynthia Chou Subject The topic of the resource Nature Oceans & Seas Climate Crisis Environmental Crisis Format The file format, physical medium, or dimensions of the resource Video Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Oceania 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 The Current Convening #3: Talanoa Session #1 Video Embedded video or link to video hosted outside of Omeka <a href="https://vimeo.com/493254833">https://vimeo.com/493254833</a> Video ID Platform ID number for video hosted online (e.g., Vimeo) 493254833 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 The Current Convening #3: Talanoa Session #1 Description An account of the resource The Current Convening #3 Tabu / Tapu – Who Owns the Ocean? A collaboration with TBA21–Academy Part of Singapore Art Week 2018 25 Jan 2018, Talanoa Session #1: Ownership of Cultures, Images and Sound Production Date A point or period of time associated with an event in the lifecycle of the resource 2018-01-25 Contributor An entity responsible for making contributions to the resource Laura Anderson Barbata Ute Meta Bauer Barney Broomfield Guigone Camus Cynthia Chou Taholo Kami Cresantia (Frances) Koya Vaka'uta Emily Chua Hui Ching Bjorn Christiansen Roko Josefa Cinavilkeba Paul Feigelfeld Andrew Foran Newell Harry Stefanie Hessler Ho Rui An Armin Linke Rasmus Nielsen Lucy Orta Valérie Portefaix Lisa Rave Markus Reymann Joey Tau Kiven Strohm Jennifer Teo Woon Tien Wei Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Southeast Asia Oceania Subject The topic of the resource Oceans & Seas Environmental Crisis Sustainability Format The file format, physical medium, or dimensions of the resource Video Language A language of the resource English 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 The Current Convening #3: Talanoa Session #4 Video Embedded video or link to video hosted outside of Omeka <a href="https://vimeo.com/493277577">https://vimeo.com/493277577</a> Video ID Platform ID number for video hosted online (e.g., Vimeo) 493277577 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 The Current Convening #3: Talanoa Session #4 Description An account of the resource The Current Convening #3 Tabu / Tapu – Who Owns the Ocean? A collaboration with TBA21–Academy Part of Singapore Art Week 2018 25 Jan 2018, Thu Talanoa Session #4: Traditional Knowledge and its Potential Date A point or period of time associated with an event in the lifecycle of the resource 2018-01-25 Contributor An entity responsible for making contributions to the resource Laura Anderson Barbata Cynthia Chou Guigone Camus Newell Harry Emily Chua Hui Ching Paul Feigelfeld Steffanie Hessler Roko Josefa Cinavilkeba Taholo Kami Kristy H. A. Kang Cresantia (Frances) Koya Vaka'uta Hervé Raimana Lallemant-Moe PerMagnus Lindborg Jegan Vincent de Paul Jennifer Teo Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Southeast Asia Oceania Subject The topic of the resource Oceans & Seas Environmental Crisis Sustainability Indigenous Knowledge Format The file format, physical medium, or dimensions of the resource Video Language A language of the resource English 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 In this period of solidarity, the Centre brings forth a collection of archival videos on decolonisation and the legacies of colonialism, and post-war independence movements. Programme Type Screening Location Onsite (CCA) Offsite Online Online Collaboration No Commissioned Work No Education No Theme Place.Labour.Capital. Climates. Habitats. Environments. None Place.Labour.Capital. Climates. Habitats. Environments. 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 Alignments from the Archive Description An account of the resource In this period of solidarity, the Centre brings forth a collection of archival videos, featuring lectures, conversations, and discussions that relate to themes of decolonisation, legacies of colonialism, and post-war independence movements explored in the exhibition Non-Aligned. #1: Mise-en-Scéne and Misalignments: Resetting the Postcolonial Stage While the Cold War raged on in the years following 1945, in the spaces between East and West, smaller theatres of war were emerging throughout the postcolonial world. This collection highlights moments of mise-en-scène that reset a global stage framed by colonial axes of power, featuring thinkers and artists such as Isaac Julien, Mark Nash, Stefano Harney, Škart, and Bojana Piškur. Paradise Lost: Lecture: Postcolonial critique today – Stefano Harney 7 March 2014 Referencing the works of Zarina Bhimji and Trinh T. Minh-ha in the exhibitionParadise Lost, Dr Stefano Harney investigates the renewed power of postcolonial critique today. By returning to the great thinkers of the “colonial situation” and its aftermath, Harney re-evaluates the proposition that globalisation has erased “old ideas of the lines between coloniser and colonised.” Theatrical Fields: Special Brunch and Screening Session with Isaac Julien and Mark Nash 26 October 2014 Dr Mark Nash and Isaac Julien discuss theatricality as criticality through Vagabondia (2000), Julien’s seven-minute film for Theatrical Fields, in which the figure of the vagabond is used to explore how the Sir John Soane’s Museum collection has benefitted from colonisation. Julien’s Playtime (2014), a part-documentary part-fiction exploration of global capital, plays following their conversation. Residencies Insights: Non-Aligned Movement: New Spaces of Liberty, New Lines of Alliance, New Modes of Creativity 22 November 2017 Belgrade-based collective Škart and Bojana Piškur situate the Non-Aligned Movement’s ideas, ideals, and principles in the present and apply them to exhibition-making and cultural exchange. Looking beyond the complex history of the Non-Aligned Movement, they map out possible prototypes for institutions, networks, and politics within art and culture today. #2: Phantasms and Futurities: Decolonial Propositions From a global stage reset in Mise-en-Scéne and Misalignments, this collection rescripts the linear trajectories of colonial pasts and postcolonial presents, towards the realisation of decolonised futures. Prof Timothy Murray noted in his keynote lecture that “the theatrical script always opens to the arrival of the future; they are contingent and dependent upon futurity”. Artists, performers, and curators, such as Zarina Muhammad and Brigitte van der Sande enact and identify heterotopias — spatial alterities or counter-sites wherein alternative realities are constructed — that rewrite these politicised narratives through explorations of mythmaking and science fiction. Theatrical Fields: Symposium: Screening Theatrical Phantasms: Toward an Uncertain Futurity Keynote Lecture by Prof Timothy Murray 23 August 2014 This talk addresses the fascination of artworks in our previous exhibition Theatrical Fields in 2014, which introduces theatricality as a critical strategy in performance, film and video. In providing a brief theoretical overview of “the politics of theatricality,” Murray will reflect on the exhibition’s screenic re-possession of cinematic characters, buried stories, and influential texts in ways that challenge the historical groundings of theatricality in the ethnocentric certainty of culture and law. Lecture Performance: Flowers from our Bloodlines by Zarina Muhammad, artist; Stefania Rossett, choreographer; Vivian Wang pianist; Eric Lee, artist; and Tini Aliman, sound artist 22 September 2017 Drawing from concepts of the demonised and desired body, gender-based archetypes, and mythmaking, this lecture performance invokes family histories and revokes the lineages of colonisation in Southeast Asia. Intergenerational and cross-cultural exchanges, facilitated by storytelling, rituals, gestures, and embodied movement, are explored through the rites of the Wolf Spider and the Harimau Jadian (Were-Tiger), and their multiple translations and adaptations. Residencies Insights: Speculations on other futures by Brigitte van der Sande, former Curator-in-Residence 6 December 2018 Brigitte van der Sande explores how science fiction is used to envision alternative futures and critique existing power structures while shunning censorship, within countries where continuous change is the status quo because of war or political instability. Her long-term project Other Futures, “a multidisciplinary online and offline platform for thinkers and builders of other futures”, features non-Western science fiction makers and thinkers. #3: Tidalectic Topographies, Counter Cartographies Extending the exploration of counter-sites from Phantasms and Futurities, this collection carries postcolonial inquiry from landlocked cartographies to liquid liminalities. Reflecting on shifting geopolitical, sociocultural, ethnoreligious, and environmental rhythms that ripple throughout the global hydrosphere, artists, curators, and scholars including Ade Darmawan, Shubigi Rao, Melati Suryodarmo, Prof Philippe Pirotte, Tita Salina, Irwan Ahmett, Dr Cresantia Frances Koya Vaka’uta, and Dr Cynthia Chou introduce a tidalectic worldview – in the tradition of Barbadian poet and historian Kamau Brathwaite – as a way of troubling territorial borders that became embedded during the post-Cold War wave of nationalist independence movements. In Conversation Part I: Arus Balik with artists Ade Darmawan, Shubigi Rao, and Melati Suryodarmo, Moderated by curator Philippe Pirotte 23 March 2019 This panel discussion focuses on the Indonesian epic Arus Balik (1995) – loosely translated to mean “turn of the tide” – by revolutionary writer Pramoedya Ananta Toer, which served as the starting point for the eponymous exhibition Arus Balik – from below the wind to above the wind and back again(2019). Three of the participating artists – Ade Darmawan, Shubigi Rao, and Melati Suryodarmo – join exhibition curator Philippe Pirotte in a discussion on Pramoedya’s body of work, its influence and legacy, as well as notions of censorship and the forbidden book. Performance: A Tumbling Inch by Former Artists-in-Residence Irwan Ahmett and Tita Salina 11 June 2019 A Tumbling Inch is a performative action by Jakarta-based artists Irwan Ahmett and Tita Salina, which crystallised in the hydrospheric spatiality between Batam, the Indonesian island closest to Singapore, and the undulating maritime borders between the two countries. The work revolves around a nostalgic longing for the Lion City. Following the free movement of sea waves across the Straits of Malacca, the performance addresses archipelagic histories and the impact of global economic development. The Current Convening #3 Tabu / Tapu – Who Owns the Ocean? Rights of Cultures, Rights of Nature: Case Studies by Dr Cresantia Frances Koya Vaka’uta, Director, Oceania Centre for Arts, and Dr Cynthia Chou, Professor, Department of Anthropology, University of Iowa 27 January 2018 Rights of Cultures, RIghts of Nature features case studies that position oceanic spaces as charged relational spaces. Dr Cresantia Frances Koya Vaka’uta’s exposition on tabu/tapu – the Fijian indigenous practice of taboo – outlines the relationality between environment and peoples, complicated by histories of colonial extractivism and the globalising project of cultural and environmental commodification. Dr Cynthia Chou brings these relationalities closer to home with a study of the Orang Suku Laut of the Riau archipelago. The practices of oceanic indigenous communities presented explore how a tidalectic way of living can inform modes of engagement with the hydrosphere, challenge conceptions of land-based embeddedness, and contribute to a vision of fluid futures. #4: Summoning Spectres: Historiography as Hauntology This month’s curated selection of NTU CCA Singapore’s past programmes draws on Jacques Derrida’s concept of hauntology – the return or persistence of elements from the past manifesting as ghosts and apparitions. – Summoning Spectres: Historiography as Hauntology speaks to the remnants of personal and collective cultural memory incompletely erased by imperial and colonial violence. These traces of erasure remain inscribed in post-Cold War regional histories and embedded in their lexicon and legacy. Using historiography as a method of inquiry, this playlist showcases the ways in which curator Dr June Yap, artists Sung Tieu, Amy Lien, and Enzo Camacho approach the subjectivation of colonial spectres through their practices, to surface historical narratives of oppression and to summon the ghosts of lost futures. Symposium: Ghosts and Spectres – Shadows of History In the Interest of Time by Dr June Yap, Director of Curatorial Programmes and Publications, Singapore Art Museum 28 October 2017 Through a survey of historiographical works by artists Nguyen Trinh Thi and Ho Tzu Nyen, Dr June Yap addresses how cinematic works engage their medium specificity in a play of historical phantoms and repressed collective memories. These works contribute to a broader artistic tradition involving the subjectivation of histories, which is at its heart a process of self-determination: “in subjectivation there is constitution — the constitution of the self and or an identity… as a rising, as produced or perpetuated… as temporal, as arising from relations, as produced in a struggle”. As Yap aptly phrases, “in temporal consciousness, an identity is arrived.” Residencies Insights: Two Worlds, Four Spirits by Sung Tieu, Former Artist-in-Residence 3 December 2019 Central to the artistic practice of Sung Tieu is a personal experience of migration from Vietnam to Germany, which impels her to address Post-Cold War histories and the multiple negotiations that underpin a diasporic identity haunted by the spectres of French colonialism in Vietnam and Cold War military violence during the American-Vietnam wars. In this talk, the artist discusses recent projects — Memory Dispute (2017), Coral Sea As Rolling Thunder (2017), Remote Viewing (2017) and Loveless(2019) — which variously employ text, performance, installation, moving image, and sound to convey a sense of dislocation while offering deliberate interventions into canonical readings of history. Behind the Scenes: On Alfonso Ossorio’s Angry Christ mural by artists Amy Lien and Enzo Camacho 1 December 2018 In this talk, collaborating artists Amy Lien and Enzo Camacho present their research on the Filipino-American modernist painter, Alfonso Ossorio (1916–1990), focusing on his 1950 mural, Angry Christ. For the artists, this mural, located in the province of Negros Occidental, the “sugar bowl of the Philippines”, is a “multivalent cipher”. When it is decoded, spectres of sixteenth century Spanish colonial violence — from the accorded name “Negros” to enforced religious, economic, and environmental functions — and the ghosts of indigenous people who were displaced or exterminated materialise. Lien and Camacho question whether the Angry Christ can be “radically reprogrammed” from the specific and highly privileged subjectivity of Ossorio, its maker, and the Ossorio family’s sugar dynasty, its commissioning patron. Date A point or period of time associated with an event in the lifecycle of the resource 4 April - 27 September 2020 Contributor An entity responsible for making contributions to the resource Isaac Julien Mark Nash Stefano Harney Škart Bojana Piškur Timothy Murray Zarina Muhammad Stefania Rossett Vivian Wang Eric Lee Tini Aliman Brigitte van der Sande Ade Darmawan Shubigi Rao Melati Suryodarmo Philippe Pirotte Tita Salina Irwan Ahmett Cresantia Frances Koya Vaka’uta Cynthia Chou June Yap Sung Tieu Amy Lien Enzo Camacho 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 Geopolitics Decolonialism Identifier An unambiguous reference to the resource within a given context <a href="https://vimeo.com/showcase/7098739">Alignments from the Archive video collection</a> 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 Convening #3 marks the culmination of inquiries on the vessel Dardanella to the Pacific archipelagos of Trobriand Islands in Papua New Guinea; the Tuamotus in French Polynesia; and the Lau Island Group in Fiji. 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 Talk and Lecture 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 The Current Convening #3 Tabu/Tapu – Who Owns the Ocean? A collaboration with TBA21-Academy Day 2 Session 1 Introduction and case studies presentations Description An account of the resource Sat 27 Jan 2018, 2.00 - 3.15 pm The Single Screen, Blk 43 Malan Rd Coinciding with NTU CCA Singapore’s current exhibition The Oceanic, featuring contributions by TBA21–Academy The Current Fellows from the first cycle of expeditions (2015–17), Convening #3 marks the culmination of inquiries on the vessel Dardanella to the Pacific archipelagos of Trobriand Islands in Papua New Guinea; the Tuamotus in French Polynesia; and the Lau Island Group in Fiji. 2.00pm Introduction <div class="page" title="Page 4"> <div class="section"> <div class="layoutArea"> <div class="column"> 2.15pm Case Study by Dr Cresantia Frances Koya Vaka’uta (Fiji), Director, Oceania Centre for Arts, Culture and Pacific Studies & Pacific Heritage Hub, UNESCO Faculty of Arts, Law and Education, The University of the South Pacific, Fiji IS ANYTHING SACRED ANYMORE? Unpacking the Significance of Tapu/Tabu in Contemporary Oceania: Case Study by Dr Cresentia Frances Koya Vaka'uta What is tapu or tabu in contemporary contexts of Oceania? This paper unpacks our understandings of tapu/tabu as sanctity or sacred vessels and spaces including the human body, objects, and physical places or sites. Related concepts of mana (spiritual forces, energy, power), and relational spaces will also be examined. Cultural and contemporary examples of sacred space will be provided to enable a deeper understanding of how these indigenous ideas may be used to enhance participatory research undertakings and provide a deeper understanding of indigenous communities in context. 2.45pm Case Study by Dr Cynthia Chou (Singapore/United States), Professor, Department of Anthropology, College of Liberal Arts & Sciences, University of Iowa, United States <div class="page" title="Page 4"> <div class="section"> <div class="layoutArea"> <div class="column"> <div class="page" title="Page 4"> <div class="section"> <div class="layoutArea"> <div class="column"> The Orang Suku Laut of Riau, Indonesia: The Spirit that Resides in Things and People Case Study by Dr Cynthia Chou Living afloat the oceans of Southeat Asia are various groups of sea nomads. One such group comprises the Orang Suku Laut, literally "Tibal People of the Sea" who are well-known in the region's history as the "orang asli" (indigenous people) of a vast maritime world known as the "Alam Melayu." Complex items exists in their communities exits within their communities. They range from items with inherent meanings and the spirit of the person, to those whose meanings and values undergo redefinition as they circulate through different domains of exchange within and beyond their communities. Boundaries have been set up to determine the ways in which these different types of things may circulate as they bear and impact one's identity and well-being. </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 2018-01-27 Contributor An entity responsible for making contributions to the resource TBA21–Academy Cresantia Frances Koya Vaka’uta Cynthia Chou Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Asia Oceania Subject The topic of the resource Climate Crisis Oceans & Seas https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/1bd8e7b7b6da97f55e84493ae1b0874a.pdf?Expires=1792627200&Signature=BrqQAYIA1XWAnVL7TPmSwXLyAv9sCVP9%7EyNOB5NUjUyW-FoweHBwxjlmljOsFeYeS5TEQJBik5WGr17n7QHPwhVbTnmr8gc45Zzzd1zMXG5pAxaLfbnYDb%7E9Zffs-nB7A4jPtrloYzacBPhvqQJTqeOMsF6UUG6ml8ZbkYeWzsQ77OsI5PFySm5RnglnjEf%7EMYOZaWg%7EIF25mE6S2qpcggV1-o4aJit5wbzL-u6Y0DfUk6lKMkC09vC03K9Th6Igw8zXtIkrtAYuim3Wplol7Bj%7EJurbQz2TJz4HHwvHVwnlVQQGiM0rs4bVyueoaLmeZJefFMkH8fXv5LFYc0ZvKw__&Key-Pair-Id=K6UGZS9ZTDSZM c4c2992c933c05c56f89f70f260d458e PDF Text Text THE CURRENT CONVENING #3 – TABU / TAPU Who owns the ocean? 25 – 27 January 2018 Part of Singapore Art Week 2018 Block 43 Malan Road Singapore 109443 �The Current Convening #3: Tapu / Tabu – Who owns the Ocean? marks the culmination of TBA21 –Academy The Current’s first cycle of expeditions. It brings together The Current Fellows; collaborators from Fiji and French Polynesia; thought leaders from diverse disciplines; and local researchers and policymakers. Through a series of talanoa sessions, case studies and short provocations, and performative interventions, Convening #3 shares with the public questions, ideas and proposals that arose from the three expeditions to Pacific archipelagos: Milne Bay Province, Papua New Guinea; the Tuamotus, French Polynesia; and the Lau Island Group, Fiji. Conceived by Markus Reymann, Director of TBA21–Academy; Stefanie Hessler, Curator of TBA21–Academy; and Professor Ute Meta Bauer, Founding Director of NTU CCA Singapore, and Expedition Leader of The Current’s first cycle. A collaboration between NTU CCA Singapore and TBA21 –Academy Free admission. For more information, please visit http://ntu.ccasingapore.org/events/convening-3/ With the additional support of Friday, 26 January 2018 Environmental governance and policy-making Saturday, 27 January 2018 Environment and cultural rights and actions 1.30 – 2.45pm Case Studies by Taholo Kami (Tonga/Fiji), Special Advisor, Pacific Partnerships and International Civil Society, COP23 Presidency Secretariat of the Fijian government Dr Hervé Raimana Lallemant-Moe (French Polynesia), Law Department, University of French Polynesia 11.00am – 1.00pm Discursive Brunch by Lucy + Jorge Orta (United Kingdom, Argentina/ France) in collaboration with restaurateur Ken Loon (Singapore), The Naked Finn 2.45 – 4.45pm Provocations by Atif Akin (Turkey/United States), artist, designer, and Associate Professor, Mason Gross School of the Arts, Rutgers University, United States Andrew Foran (Australia/Fiji), Head, Pacific Centre for Environmental Governance, IUCN Armin Linke (Italy/Germany), photographer and filmmaker Maureen Penjueli (Fiji), Coordinator, Pacific Network on Globalisation (PANG) Valerie Portefaix (France/Hong Kong), Director, MAP Office Lisa Rave (United Kingdom/Germany), artist and filmmaker Roko Josefa Cinavilkeba (Fiji), High Chief of the Yasayasamoala Island group Joey Tau (Fiji), media and campaign officer, PANG Jegan Vincent de Paul (Sri Lanka, Canada/Singapore), architect and artist, NTU ADM/CCA Singapore PhD candidate As part of Art After Dark 6.30 – 7.30pm Reception with Guest of Honour Masogos Zulkifli, Minister for the Environment and Water Resources of Singapore 9.00 – 10.00pm Sound performance by Tarek Atoui (Lebanon/France), musician, composer, and sound artist By registration only: https://peatix.com/event/340972 2.00 – 3.15pm Case Studies by Dr Cresantia Frances Koya Vaka’uta (Fiji), Director, Oceania Centre for Arts, Culture and Pacific Studies & Pacific Heritage Hub, UNESCO Faculty of Arts, Law and Education, The University of the South Pacific, Fiji Dr Cynthia Chou (Singapore/United States), Professor, Department of Anthropology, College of Liberal Arts & Sciences, University of Iowa, United States 3.15 – 5.15pm Provocations by Laura Anderson Barbata (Mexico/United States), artist Barney Broomfield (United States), filmmaker Dr Guigone Camus (France), anthropologist Newell Harry (Australia), artist Dr Kristy H. A. Kang (United States/Singapore), media artist, and Assistant Professor, School of Art, Design and Media, Nanyang Technological University, Singapore Dr PerMagnus Lindborg (Sweden/Singapore), composer, sound artist, and researcher Tuan Andrew Nguyen (Vietnam), artist Filipa Ramos (Portugal/United Kingdom), art writer, curator, and Editor-in-Chief, art-agenda SUPERFLEX (Denmark), artists �THE CURRENT CONVENING #3 – TABU / TAPU Who owns the ocean? 25 – 27 January 2018 Part of Singapore Art Week 2018 Block 43 Malan Road Singapore 109443 �The Current Convening #3: Tapu / Tabu – Who owns the Ocean? marks the culmination of TBA21 –Academy The Current’s first cycle of expeditions. It brings together The Current Fellows; collaborators from Fiji and French Polynesia; thought leaders from diverse disciplines; and local researchers and policymakers. Through a series of talanoa sessions, case studies and short provocations, and performative interventions, Convening #3 shares with the public questions, ideas and proposals that arose from the three expeditions to Pacific archipelagos: Milne Bay Province, Papua New Guinea; the Tuamotus, French Polynesia; and the Lau Island Group, Fiji. Conceived by Markus Reymann, Director of TBA21–Academy; Stefanie Hessler, Curator of TBA21–Academy; and Professor Ute Meta Bauer, Founding Director of NTU CCA Singapore, and Expedition Leader of The Current’s first cycle. A collaboration between NTU CCA Singapore and TBA21 –Academy Free admission. For more information, please visit http://ntu.ccasingapore.org/events/convening-3/ With the additional support of Friday, 26 January 2018 Environmental governance and policy-making Saturday, 27 January 2018 Environment and cultural rights and actions 1.30 – 2.45pm Case Studies by Taholo Kami (Tonga/Fiji), Special Advisor, Pacific Partnerships and International Civil Society, COP23 Presidency Secretariat of the Fijian government Dr Hervé Raimana Lallemant-Moe (French Polynesia), Law Department, University of French Polynesia 11.00am – 1.00pm Discursive Brunch by Lucy + Jorge Orta (United Kingdom, Argentina/ France) in collaboration with restaurateur Ken Loon (Singapore), The Naked Finn 2.45 – 4.45pm Provocations by Atif Akin (Turkey/United States), artist, designer, and Associate Professor, Mason Gross School of the Arts, Rutgers University, United States Andrew Foran (Australia/Fiji), Head, Pacific Centre for Environmental Governance, IUCN Armin Linke (Italy/Germany), photographer and filmmaker Maureen Penjueli (Fiji), Coordinator, Pacific Network on Globalisation (PANG) Valerie Portefaix (France/Hong Kong), Director, MAP Office Lisa Rave (United Kingdom/Germany), artist and filmmaker Roko Josefa Cinavilkeba (Fiji), High Chief of the Yasayasamoala Island group Joey Tau (Fiji), media and campaign officer, PANG Jegan Vincent de Paul (Sri Lanka, Canada/Singapore), architect and artist, NTU ADM/CCA Singapore PhD candidate As part of Art After Dark 6.30 – 7.30pm Reception with Guest of Honour Masogos Zulkifli, Minister for the Environment and Water Resources of Singapore 9.00 – 10.00pm Sound performance by Tarek Atoui (Lebanon/France), musician, composer, and sound artist By registration only: https://peatix.com/event/340972 2.00 – 3.15pm Case Studies by Dr Cresantia Frances Koya Vaka’uta (Fiji), Director, Oceania Centre for Arts, Culture and Pacific Studies & Pacific Heritage Hub, UNESCO Faculty of Arts, Law and Education, The University of the South Pacific, Fiji Dr Cynthia Chou (Singapore/United States), Professor, Department of Anthropology, College of Liberal Arts & Sciences, University of Iowa, United States 3.15 – 5.15pm Provocations by Laura Anderson Barbata (Mexico/United States), artist Barney Broomfield (United States), filmmaker Dr Guigone Camus (France), anthropologist Newell Harry (Australia), artist Dr Kristy H. A. Kang (United States/Singapore), media artist, and Assistant Professor, School of Art, Design and Media, Nanyang Technological University, Singapore Dr PerMagnus Lindborg (Sweden/Singapore), composer, sound artist, and researcher Tuan Andrew Nguyen (Vietnam), artist Filipa Ramos (Portugal/United Kingdom), art writer, curator, and Editor-in-Chief, art-agenda SUPERFLEX (Denmark), artists �THE CURRENT CONVENING #3 – TABU / TAPU Who owns the ocean? 25 – 27 January 2018 Part of Singapore Art Week 2018 Block 43 Malan Road Singapore 109443 �The Current Convening #3: Tapu / Tabu – Who owns the Ocean? marks the culmination of TBA21 –Academy The Current’s first cycle of expeditions. It brings together The Current Fellows; collaborators from Fiji and French Polynesia; thought leaders from diverse disciplines; and local researchers and policymakers. Through a series of talanoa sessions, case studies and short provocations, and performative interventions, Convening #3 shares with the public questions, ideas and proposals that arose from the three expeditions to Pacific archipelagos: Milne Bay Province, Papua New Guinea; the Tuamotus, French Polynesia; and the Lau Island Group, Fiji. Conceived by Markus Reymann, Director of TBA21–Academy; Stefanie Hessler, Curator of TBA21–Academy; and Professor Ute Meta Bauer, Founding Director of NTU CCA Singapore, and Expedition Leader of The Current’s first cycle. A collaboration between NTU CCA Singapore and TBA21 –Academy Free admission. For more information, please visit http://ntu.ccasingapore.org/events/convening-3/ With the additional support of Friday, 26 January 2018 Environmental governance and policy-making Saturday, 27 January 2018 Environment and cultural rights and actions 1.30 – 2.45pm Case Studies by Taholo Kami (Tonga/Fiji), Special Advisor, Pacific Partnerships and International Civil Society, COP23 Presidency Secretariat of the Fijian government Dr Hervé Raimana Lallemant-Moe (French Polynesia), Law Department, University of French Polynesia 11.00am – 1.00pm Discursive Brunch by Lucy + Jorge Orta (United Kingdom, Argentina/ France) in collaboration with restaurateur Ken Loon (Singapore), The Naked Finn 2.45 – 4.45pm Provocations by Atif Akin (Turkey/United States), artist, designer, and Associate Professor, Mason Gross School of the Arts, Rutgers University, United States Andrew Foran (Australia/Fiji), Head, Pacific Centre for Environmental Governance, IUCN Armin Linke (Italy/Germany), photographer and filmmaker Maureen Penjueli (Fiji), Coordinator, Pacific Network on Globalisation (PANG) Valerie Portefaix (France/Hong Kong), Director, MAP Office Lisa Rave (United Kingdom/Germany), artist and filmmaker Roko Josefa Cinavilkeba (Fiji), High Chief of the Yasayasamoala Island group Joey Tau (Fiji), media and campaign officer, PANG Jegan Vincent de Paul (Sri Lanka, Canada/Singapore), architect and artist, NTU ADM/CCA Singapore PhD candidate As part of Art After Dark 6.30 – 7.30pm Reception with Guest of Honour Masogos Zulkifli, Minister for the Environment and Water Resources of Singapore 9.00 – 10.00pm Sound performance by Tarek Atoui (Lebanon/France), musician, composer, and sound artist By registration only: https://peatix.com/event/340972 2.00 – 3.15pm Case Studies by Dr Cresantia Frances Koya Vaka’uta (Fiji), Director, Oceania Centre for Arts, Culture and Pacific Studies & Pacific Heritage Hub, UNESCO Faculty of Arts, Law and Education, The University of the South Pacific, Fiji Dr Cynthia Chou (Singapore/United States), Professor, Department of Anthropology, College of Liberal Arts & Sciences, University of Iowa, United States 3.15 – 5.15pm Provocations by Laura Anderson Barbata (Mexico/United States), artist Barney Broomfield (United States), filmmaker Dr Guigone Camus (France), anthropologist Newell Harry (Australia), artist Dr Kristy H. A. Kang (United States/Singapore), media artist, and Assistant Professor, School of Art, Design and Media, Nanyang Technological University, Singapore Dr PerMagnus Lindborg (Sweden/Singapore), composer, sound artist, and researcher Tuan Andrew Nguyen (Vietnam), artist Filipa Ramos (Portugal/United Kingdom), art writer, curator, and Editor-in-Chief, art-agenda SUPERFLEX (Denmark), artists �THE CURRENT CONVENING #3 – TABU / TAPU Who owns the ocean? 25 – 27 January 2018 Part of Singapore Art Week 2018 Block 43 Malan Road Singapore 109443 �The Current Convening #3: Tapu / Tabu – Who owns the Ocean? marks the culmination of TBA21 –Academy The Current’s first cycle of expeditions. It brings together The Current Fellows; collaborators from Fiji and French Polynesia; thought leaders from diverse disciplines; and local researchers and policymakers. Through a series of talanoa sessions, case studies and short provocations, and performative interventions, Convening #3 shares with the public questions, ideas and proposals that arose from the three expeditions to Pacific archipelagos: Milne Bay Province, Papua New Guinea; the Tuamotus, French Polynesia; and the Lau Island Group, Fiji. Conceived by Markus Reymann, Director of TBA21–Academy; Stefanie Hessler, Curator of TBA21–Academy; and Professor Ute Meta Bauer, Founding Director of NTU CCA Singapore, and Expedition Leader of The Current’s first cycle. A collaboration between NTU CCA Singapore and TBA21 –Academy Free admission. For more information, please visit http://ntu.ccasingapore.org/events/convening-3/ With the additional support of Friday, 26 January 2018 Environmental governance and policy-making Saturday, 27 January 2018 Environment and cultural rights and actions 1.30 – 2.45pm Case Studies by Taholo Kami (Tonga/Fiji), Special Advisor, Pacific Partnerships and International Civil Society, COP23 Presidency Secretariat of the Fijian government Dr Hervé Raimana Lallemant-Moe (French Polynesia), Law Department, University of French Polynesia 11.00am – 1.00pm Discursive Brunch by Lucy + Jorge Orta (United Kingdom, Argentina/ France) in collaboration with restaurateur Ken Loon (Singapore), The Naked Finn 2.45 – 4.45pm Provocations by Atif Akin (Turkey/United States), artist, designer, and Associate Professor, Mason Gross School of the Arts, Rutgers University, United States Andrew Foran (Australia/Fiji), Head, Pacific Centre for Environmental Governance, IUCN Armin Linke (Italy/Germany), photographer and filmmaker Maureen Penjueli (Fiji), Coordinator, Pacific Network on Globalisation (PANG) Valerie Portefaix (France/Hong Kong), Director, MAP Office Lisa Rave (United Kingdom/Germany), artist and filmmaker Roko Josefa Cinavilkeba (Fiji), High Chief of the Yasayasamoala Island group Joey Tau (Fiji), media and campaign officer, PANG Jegan Vincent de Paul (Sri Lanka, Canada/Singapore), architect and artist, NTU ADM/CCA Singapore PhD candidate As part of Art After Dark 6.30 – 7.30pm Reception with Guest of Honour Masogos Zulkifli, Minister for the Environment and Water Resources of Singapore 9.00 – 10.00pm Sound performance by Tarek Atoui (Lebanon/France), musician, composer, and sound artist By registration only: https://peatix.com/event/340972 2.00 – 3.15pm Case Studies by Dr Cresantia Frances Koya Vaka’uta (Fiji), Director, Oceania Centre for Arts, Culture and Pacific Studies & Pacific Heritage Hub, UNESCO Faculty of Arts, Law and Education, The University of the South Pacific, Fiji Dr Cynthia Chou (Singapore/United States), Professor, Department of Anthropology, College of Liberal Arts & Sciences, University of Iowa, United States 3.15 – 5.15pm Provocations by Laura Anderson Barbata (Mexico/United States), artist Barney Broomfield (United States), filmmaker Dr Guigone Camus (France), anthropologist Newell Harry (Australia), artist Dr Kristy H. A. Kang (United States/Singapore), media artist, and Assistant Professor, School of Art, Design and Media, Nanyang Technological University, Singapore Dr PerMagnus Lindborg (Sweden/Singapore), composer, sound artist, and researcher Tuan Andrew Nguyen (Vietnam), artist Filipa Ramos (Portugal/United Kingdom), art writer, curator, and Editor-in-Chief, art-agenda SUPERFLEX (Denmark), artists � 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 Programme Resource Collateral and other print or digital materials pertaining to residency programmes. Examples include residency brochures, postcards, etc. Short Description Through discursive events including talanoa discussions, case studies, workshops, as well as performative events, Convening #3 shares with a wider public the research and challenges generated through the format of such expeditions. Programme Series None 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 The Current Convening #3 Postcards Description An account of the resource The Current Convening #3 Tabu / Tapu – Who Owns the Ocean? marks the culmination of TBA21–Academy The Current’s first cycle of expeditions, bringing together The Current Fellows; thought leaders from diverse disciplines; local agencies and activist NGOs. Through discursive events including talanoa discussions, case studies, workshops, provocations, as well as performative events, Convening #3 shares with a wider public the research and challenges generated through the format of such expeditions. It focuses on the modalities of exchange, addresses environmental urgencies, raises questions regarding responsibilities and ownership, and discusses whether rights of nature can be equal to human rights. Environmental researchers, conservationists, anthropologists, and policymakers will share a platform that invites active and creative participation on how we can understand and effect the development to international law, policies, culture, and environmental education. Coinciding with NTU CCA Singapore’s current exhibition The Oceanic, featuring contributions by TBA21–Academy The Current Fellows from the first cycle of expeditions (2015–17), Convening #3 marks the culmination of inquiries on the vessel Dardanella to the Pacific archipelagos of Trobriand Islands in Papua New Guinea; the Tuamotus in French Polynesia; and the Lau Island Group in Fiji. Date A point or period of time associated with an event in the lifecycle of the resource 2018-01-25 Contributor An entity responsible for making contributions to the resource Atif Akin Laura Anderson Barbata Guigone Camus Newell Harry Kristy H. A. Kang PerMagnus Lindborg Armin Linke Filipa Ramos Lisa Rave Jegan Vincent de Paul Tarek Atoui Barney Broomfield Cynthia Chou Andrew Foran Taholo KamiCresantia (Frances) Koya Vaka’uta Hervé Raimana Lallemant-Moe Sandor Mulsow Rasmus Nielsen Lucy Orta Maureen Penjueli Roko Sau Joey Tau Markus Reymann Stefanie Hessler Ute Meta Bauer Format The file format, physical medium, or dimensions of the resource Postcard 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 https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/c87a9d516ac1889f038e04ef8925958e.pdf?Expires=1792627200&Signature=ewGOqDNrIj7VaWp5tfLjh5yYdNaTkBuWU8huCHVuBqxPqzeHGGepTiIpZiE0GGA2W8QavX4pWLse2-6pkEfyV-Fd76y0E2RT1MfQ%7EGru%7EqF%7ETKmrSCUl9XvrqurE3BLeaHaF%7EO36kqbwOK3%7E57npKkW4Kin9kWWDnUY7C3XhC65pzEINMO%7EeNA8AEKAx3KjqWhTgoFxl2HFTFC22uorcLOjvGG3H-9O7ZNw6r1OeBIMOd4fMFDQFFGk7gKT8CD6oQuFsGx1YXa3Wh%7EeDjaxohJkeppAh67E-kolwiH4GRhEO3DdsV-pTbr0tRqhEneDCaI2GRQ2tdyUaFLqjm5Ffkw__&Key-Pair-Id=K6UGZS9ZTDSZM 4de3fcdd7272a7f9876666cab393c27d PDF Text Text THE CURRENT CONVENING #3 – TABU / TAPU WHO OWNS THE OCEAN? 25 – 27 January 2018 �Christmas and Malden islands Potentially radioactive waste Missing information on the management of potentially radioactive technological waste 5908 2546 6625 2639 1524 5913 3 30 6716 Midway Technological waste (518GBq) Depth: 5487 m 7 containers 1272 6310 5058 1 152 3578 6917 6640 e ture Zon 9621 1 165 re Zone Molokai Fractu 1401 5359 6443 Mendocino Fracture Zone 1 Frac Clarion 2723 e ture Zon Polymetallic Nodules Clarion- Clippertone Zone Exploration area 2975 Frac Marray REPUBLIC OF KIRIBATI Population: 112,423 Pacific Ocean US: 1 atmospheric test Christmas Island US: 24 atmospheric tests / UK: 6 atmospheric tests Partial evacuation of local inhabitants 1/3 stayed on site. Environmental rehabilitation works153 1 commissioned by the Republic of Kiribati since 2004. Malden Island UK: 3 atmospheric tests Unsuitable for human habitation. Wildlife sanctuary. 1 187 Faralion Technological waste and "special" nuclear materials (536 500 GBq) 923 Depth: 900m- 1700m 47 500 containers 5509 Zone Fracture Clipperton 3918 8238 463 6377 2179 5638 Au Fandora Mine 2410 93 5733 San Diego 5529 Technological waste (5254 GBq) Depth: 1800m- 3600m 7529 containers 87 1 Au, Cu Imperial Metals Mine Au New Prosperity Mine Cu, Au Pebble Mine USA San Diego:1 underwater tests 5397 1884 Au, Cu Cananea Mine Polymetallic Nodules Clarion- Clippertone Zone Exploration area Au, Ag Dolores Mine 1670 Au Paredones Amarillos Mine 6038 5886 6242 157 1402 Cu, Ag, Zn, Pb Grupo Mine Au Cocula Mine Ridge Au, Ag San Jose del Progresso Mine Cocos Cu, Ag, Au, Pb, Zn Huehuetenango Mine Au, Ag, Pb, Zn El Escobal Mine Au Cerro Blanco Mine Au, Ag Bela Vista ge Au, Cu, Ag Zn, Ni Bribri Mine gie Rid Carne ch U Bayovar Mine Au, Ag, Cu, Zn Tambogrande Mine a Mine Au Cogema Mine 5615 Au Suarez Mine Au Dagua Mine Au, Ag, Cu, Pb, Zn Curipamba Mine Au Sona Mine Au, Cu Cerro Quema Mine Ba Chicomuselo Mine Sb, W San Ildefonso Mine Au Au Los Chocoyos Mine La Puya Mine Au, Ag El Dorado Mine Au Crusitas Mine Cu Comarca Mine Au, Ag, Cu Petaquilla Mine Au Farallones Mine Ni Cerro Matos Mine Au Au, Cu, U Tamesis Mine Dojura Mine Ag, Au Capulalpam Mine Ag Miner Plata Real Mine Inner Cover — INTERPRT, Unfolded Pacific Ring, 2016–ongoing, detail. Courtesy Nabil Ahmed. Au, Ag, Zn Guanajuato Mine 5357 Cover — Armin Linke, Nickel Ramu NiCo Basamuk Refinery, view from the Basamuk Communities gardens, Bismarck Sea, Alotau, Papua New Guinea, 2017, documentation. Courtesy the artist. 1574 5720 7370 �1 THE CURRENT CONVENING #3 – TABU / TAPU WHO OWNS THE OCEAN? 25 – 27 January 2018 A collaboration between NTU CCA Singapore and TBA21–Academy Conceived by Ute Meta Bauer, Founding Director, NTU CCA Singapore; Markus Reymann, Director, TBA21–Academy; and Stefanie Hessler, Curator, TBA21–Academy On the occasion of The Oceanic, 9 December 2017 – 4 March 2018, NTU CCA Singapore �2 A VOYAGE INTO THE GEOPOLITICAL AND BIOPHYSICAL OF THE PACIFIC Initiated by TBA21–Academy, The Current is an ongoing research initiative focusing on pressing environmental, economic, and socio-political concerns. Its first cycle, on board of the research vessel Dardanella, brought us to remote archipelagos in Papua New Guinea (2015), French Polynesia (2016), and Fiji (2017). Each of these journeys into the complex waters of the South Pacific was guided by a theme informing the activities of the two-week long trips. The first expedition to Milne Bay Province (PNG) followed The Kula Ring, a ceremonial exchange system practised in the Trobriand Islands, with Convening #1 in Kingston, Jamaica. The second was titled Tuamotus – Distant Islands, tracing the consequences of 193 nuclear tests in French Polynesia, which informed Convening #2 in Kochi, India, joined by The Current Fellows as well as Cesar Garcia, who led a second expedition team to the Trobriand Islands. Lastly, the third expedition focused on the tradition of the tabu / tapu, practised for centuries in Fiji, where a community chief demarcates something as “sacred” or “forbidden.” After three years of collectively researching, while meandering through vast bodies of waters, transgressing the surface and exploring their depths, passing limestone formations, low-lying atolls, and volcanic islands, the first cycle is coming to a close with Convening #3 that explores the potentials and challenges of tabu. In Fijian communities, the concept of tabu extends to social, cultural, and environmental traditions. Throughout the Pacific, the creation of tabu areas has existed for a long period of time, including temporarily closing off areas to fishing as a mark of respect for the death of an important community member, to protect sacred sites, to affirm a village’s rights to a fishing ground, or as part of traditional ceremonies. While tabu has not always been motivated solely by environmental reasons, in the current global climate situation, it has become highly significant in marine conservation and resource management. The traditional concepts of rāhui and tabu have the potential of protecting oceanic habitats as an effective, contemporary alternative to existing legal frameworks. In this custom, a “resource,” such as the sea, is not understood in terms of rights of property, but based on rights of use in which an entire community partakes—both in the present and with a view to the future. �3 The expeditions engaged with large-scale human interventions in oceanic ecospheres, such as nuclear tests and mining, and, more recently, seabed mining. They not only created a connection to the histories of the diverse and rich cultures of Pacific Ocean archipelagos and their astonishing biodiversity, but also prompted exposure to the alarming environmental and economic threats. The issues around ecological urgencies, which affect the ocean and its littorals as a habitat for humans and a myriad of other species, raise crucial questions regarding sea governance and ownership. In which way can humanity create for itself a set of rules and societal agreements that respects the ocean as a shared habitat and resource? The Current allowed a diverse group of artists, filmmakers, composers, and researchers to embark on these inspiriting journeys and engage with local communities. Pacific Island societies have an intimate relationship with the environment—land and ocean are inseparable for them—as marine habitats provide irreplaceable resources for their societies. From the outset, the aim of The Current has been to foster exchange between disciplines, bringing together thinkers and practitioners, whose work was not necessarily engaged with the oceans before, to imagine new ways �4 to communicate, or even tackle, some of the pressing ecological issues of our time. On all three expeditions, we were graciously welcomed by diverse communities and met many individuals who have become close dialogue partners, collaborators, critics, and friends. This encountered generosity allowed us to gather a wealth of information, both physical and conceptual, as a result of this first cycle. Now that we are back on land, an unsettling sense of urgency is still resonating with us. But where do we go from here? What are we doing with this overwhelming amount of material? What are the ethical implications? And what about ownership? Convening #3 is an attempt to share and address these challenges and questions. To situate this gathering at the NTU CCA Singapore was a natural choice, not only is it the base of the expedition leader, but also because its geographical, political, and cultural history is closely linked to the sea. Its container port is the second busiest in the world, connecting the country to over 600 harbours in 123 other nations. Land use, coastal territories, and the design of “natural” habitats within a densely populated city-state give rise to important issues concerning our relationship to the environment. During this multi-day gathering, The Current Convening #3 applies various formats of exchange. Policy makers and educators from Oceania will present case studies that will be followed by short provocations pointing to the fluidity of fact and myth, resistance to climate migration, food security, the difficulty of an exchange without exploitation, or the curse of natural resources. Another case study will refer to the customs of the Orang Suku Laut, who continued their traditional ways of living, adjacent to high-tech Singapore. Talanoa is a traditional system of communal conversations. For a full day, The Current Fellows and collaborators from the Pacific will apply this format to discuss and exchange questions of ownership of cultures, images, and sound production, the oceans as resource, human interference in natural habitats, and the potential of traditional knowledge. �5 Convening #3 focuses on modalities of exchange, addresses environmental urgencies, raises questions regarding responsibilities and ownership, and discusses whether rights of nature can equal human rights. While travelling in Fiji, we discussed issues of marine protection, self-determination, community, and ownership with diverse communities, organisations, scholars, and activists. Before sailing to the Lau Islands, we spent a day at the Oceania Centre for Arts, Culture and Pacific Studies of the University of the South Pacific (USP)—one of two regional universities of the world, which is supported by 12 Pacific Island Countries—in Suva, Fiji, where we participated in a talanoa roundtable discussion sharing our research and were introduced to the practices and concerns of local artists, cultural workers, and activists. The Pacific Network on Globalisation (PANG), for instance, key in the resistance against deep-sea mining, generously shared information with us. The artist and poet Peter Sipeli and the educator for �6 sustainable development Dr Cresantia Frances Koya Vaka‘uta introduced us to contemporary Fijian arts and contemporary poetry, and the artist and curator Lingikoni Vaka’uta presented his work towards an indigenous art theory to us. Roko Josefa Cinavilkeba, High Chief of the Yasayasamoala Island Group, joined us for 10 days on the vessel Dardanella, and included us in the creation of a marine protected area on a reef between 2 islands in the Lau region, one of the first tapus established in the open ocean. In Fiji, we were also challenged with critical questions regarding our role, entering the local community as foreigners. We discussed what it means to partake in issues that affect Oceanian communities, the potential and responsibilities to research and gather information, and how to reciprocate and give back after being on the receiving end of generous gestures of sharing. Convening #3 coincides with the exhibition The Oceanic at the NTU CCA Singapore (9 December 2017 – 4 March 2018), in which artworks, films, and research of 12 The Current Fellows manifest. This gathering comes with the hope to share the questions that have arisen during the past three years with a wider audience, and envision the next steps that are necessary to develop a suitable response. Such a response can only come from a shared effort and a close dialogue between regions facing immediate threats and those involved in causing them. We have to address the existing barriers between “worlds.” Ute Meta Bauer, Founding Director, NTU CCA Singapore; Stefanie Hessler, Curator, TBA21–Academy; Markus Reymann, Director, TBA21–Academy �7 CONTRIBUTORS Atif Akin Laura Anderson Barbata Dr Guigone Camus Newell Harry Dr Kristy H. A. Kang Dr PerMagnus Lindborg Armin Linke Filipa Ramos Lisa Rave Jegan Vincent de Paul Markus Reymann Stefanie Hessler Professor Ute Meta Bauer Tarek Atoui Barney Broomfield Dr Cynthia Chou SUPERFLEX Andrew Foran Roko Josefa Cinavilkeba Taholo Kami Dr Cresantia Frances Koya Vaka‘uta Dr Hervé Raimana Lallemant-Moe Tuan Andrew Nguyen Lucy + Jorge Orta Maureen Penjueli Valérie Portefaix Joey Tau �8 TBA21–ACADEMY THE CURRENT TIMELINE OF THE FIRST CYCLE OF THREE EXPEDITIONS LED BY UTE META BAUER Expedition I The Kula Ring: Collective Body, Exchange, and Knowledge Milne Bay Province, Papua New Guinea 30 September – 9 October 2015 The Current Fellows 2015–16 Laura Anderson Barbata Tue Greenfort Newell Harry Armin Linke Jegan Vincent de Paul Convening #1: The Kula Ring Kingston, Jamaica 16 – 17 March 2016 Convened by Ute Meta Bauer, Francesca von Habsburg, and Markus Reymann �9 The Kula Ring A complex system of ritual exchange, the Kula Ring links hundreds of Massim clans and tribes, with their unique customs and cultures, as it is practised throughout the Louisiades, Trobriand, Amphett, Woodlark, and the d’Entrecasteaux Islands in the South Pacific. This historical ceremonial exchange structure, from a Western perspective first identified and studied by the Polish-British ethnographer Bronislaw Malinowski between 1915 and 1918, involves annual inter-island visits between trading partners who exchange treasured shell ornaments like necklaces (soulava) and armbands (mwali), or other artefacts like tapa cloths. Hereditary objects passing from generation to generation, the items acquire value through their provenance, and the acts of exchange can serve as means of acknowledgement, agreement, or peacekeeping amongst the different groups. The Current expedition to Papua New Guinea (2015) looked into the possibilities of gift economies between communities and cultures, exploring modalities of exchange. �10 Tuamotus – Distant Islands The Tuamotus, an island group in Tahiti, French Polynesia, was originally denominated Paumotus, meaning “Subservient Islands.” The name was later changed to Tuamotus, the Tahitian term for “Distant Islands.” The Current expedition from Tahiti and Moorea to atolls of the Tuamotus group (2016) considered the idea of remoteness from different angles, particularly in respect to the French government’s decision of executing nuclear weapons tests in these islands. Between 1966 and 1996, the atolls Moruroa and Fangataufa were the sites of 193 nuclear tests, despite being declared a biosphere reserve by UNESCO in 1977. The expedition coincided with the 50th anniversary of the first atomic weapons test on Moruroa, then a French colony in Polynesia, and discussed the neglected long-term and devastating impact of nuclear experiments in the Pacific on the population and the environment. �11 Expedition II Tuamotus – Distant Islands Tuamotu Archipelago, French Polynesia 28 June – 14 July 2016 The Current Fellows 2016 Dr Nabil Ahmed Atif Akin Dr PerMagnus Lindborg Armin Linke Filipa Ramos Convening #2: Tuamotus, Distant Islands Kochi, Kerala, India 13 – 15 December 2016 Convened by Ute Meta Bauer, Cesar Garcia, and Stefanie Hessler �12 Tabu / Tapu The third expedition (2017) of The Current’s first cycle focused on the tradition of the tabu / tapu, practised for centuries in Fiji, where a community chief delimits a place or an object as “sacred,” “forbidden,” or “demanding of respect,” detaching it from the “common.” In Fijian communities, the concept of tabu extends to social, cultural, and environmental traditions, as it can be applied to demonstrate respect for the death of an important community member, protect sacred sites, affirm the rights of a village, or as part of a ceremony. Throughout the Pacific, the creation of tabu areas has been a long-time practice, including temporarily closing off areas to fishing, even though not always motivated by environmental reasons. In today’s global climate situation, the potential of tabu for marine conservation and resource management has become highly significant. �13 Expedition III Tabu / Tapu Fiji and the Lau Island Group 9 – 23 July 2017 The Current Fellows 2017–18 Dr Guigone Camus Lisa Rave Dr Kristy H. A. Kang Armin Linke Roko Josefa Cinavilkeba Convening #3: Tabu / Tapu Singapore 25 – 27 January 2018 Convened by Ute Meta Bauer, Stefanie Hessler, and Markus Reymann �14 PROGRAMME – THE CURRENT CONVENING #3 – TABU / TAPU WHO OWNS THE OCEAN? Tapu and rāhui are related ancient Polynesian concepts. In a first sense, tapu is the state of a person, a thing, a place where mana (divine power) is present. In a second meaning, it signifies “forbidden to certain categories of persons in certain contexts.”   Rāhui generally refers to the ability of a chief to order a tapu on a specific place or a particular resource, for a limited period of time. — Dr Tamatoa Bambridge, 2014 �15 Wednesday, 24 January 2018 2.30 – 4.30pm | The Seminar Room Thursday, 25 January 2018 9.30am – 5.00pm Workshop: Fish Tales and Fish Tails Closed Talanoa Sessions by Filipa Ramos (Portugal/United Kingdom), art writer, curator, and Editor-in-Chief, art-agenda Ownership of Cultures, Images, and Sound Production Led by Dr Cresantia Frances Koya Vaka’uta, Armin Linke, and Ute Meta Bauer How do images lead to stories? And how do stories convey images? In this workshop, we will explore the stories that pictures of oceanic life and sites of environmental transformation tell, and the images that stories summon. Together, we will write and enact one and many stories, thinking about how tales are told, inventing new ways of combining memory with discovery and imagination, and discussing the ways in which we share experiences, visions, and emotions with others. Workshop for children aged 7 to 12 By registration only The Oceans as Commons Led by Andrew Foran, Taholo Kami, Dr Kristy H. A. Kang, and Markus Reymann Human Interferences in Natural and Traditional Habitats Led by Maureen Penjueli, Lisa Rave, and Joey Tau Traditional Knowledge and its Potential Led by Dr Guigone Camus, Roko Josefa Cinavilkeba, and Dr Hervé Raimana Lallemant-Moe “Talanoa is a generic term referring to a conversation, chat, sharing of ideas, and talking with someone. It is a term that is shared by Tongans, Samoans, and Fijians. Talanoa can be formal, as between chiefs and his or her people, and it can be informal, as between friends in a kava circle. Talanoa is also used for different purposes; to teach a skill, to share ideas, to preach, to resolve problems, to build and maintain relationships, and to gather information.” — The Kakala Research Framework by Seu’ula Johansson Fua, cited by Arieta Tegeilolo Talanoa Tora Rika (talanoa.com.au) �16 ENVIRONMENTAL GOVERNANCE AND POLICY-MAKING Friday, 26 January 2018 1.30 – 10.00pm 1.30pm | The Single Screen 6.30pm | Outside Block 43 Malan Road Introduction by Markus Reymann, Ute Meta Bauer, and Stefanie Hessler Welcome Addresses by Ute Meta Bauer, Markus Reymann, Professor Alan Chan, Dean, College of Humanities, Arts, & Social Sciences, NTU, and Minister Masagos Zulkifli, Minister for the Environment and Water Resources of Singapore 7.00pm Public Reception 8.00pm | The Single Screen 1.45pm Case Study by Taholo Kami (Tonga/Fiji), Special Advisor, Pacific Partnerships and International Civil Society, COP23 Presidency Secretariat of the Fijian government 2.15pm Case Study by Dr Hervé Raimana Lallemant-Moe (French Polynesia), Law Department, University of French Polynesia 2.45pm Short Provocations by Atif Akin (Turkey/United States), artist, designer, and Associate Professor, Mason Gross School of the Arts, Rutgers University, United States Roko Josefa Cinavilkeba (Fiji), High Chief of the Yasayasamoala Island Group Andrew Foran (Australia/Fiji), Head, Pacific Centre for Environmental Governance, IUCN Armin Linke (Italy/Germany), photographer and filmmaker Maureen Penjueli (Fiji), Coordinator, Pacific Network on Globalisation (PANG) Valérie Portefaix (France/Hong Kong), Director, MAP Office Joey Tau (Papua New Guinea/Fiji), media and campaign officer, PANG Jegan Vincent de Paul (Sri Lanka/ Canada), architect and artist, NTU ADM/ CCA Singapore PhD candidate Place.Labour.Capital. Publication Launch and Reception Published by NTU CCA Singapore and Mousse Publishing 9.00pm | Outside Block 43 Malan Road Sound Performance I/E – The Solo Sessions by Tarek Atoui (Lebanon/France), musician, composer, and sound artist �17 RIGHTS OF CULTURES, RIGHTS OF NATURE Saturday, 27 January 2018 11.00am – 6.00pm 11.00am | Outside Block 43 Malan Road Discursive Brunch 70 x 7 The Meal Act XLI (41) by Lucy + Jorge Orta, Studio Orta (United Kingdom/France, Argentina/ France) and restaurateur Ken Loon (Singapore), The Naked Finn By registration only 2.00pm | The Single Screen Introduction 2.15pm Case Study by Dr Cresantia Frances Koya Vaka‘uta (Fiji), Director, Oceania Centre for Arts, Culture and Pacific Studies & Pacific Heritage Hub, UNESCO Faculty of Arts, Law and Education, The University of the South Pacific, Fiji 2.45pm Case Study by Dr Cynthia Chou (Singapore/United States), Professor, Department of Anthropology, College of Liberal Arts & Sciences, University of Iowa, United States 3.15pm Short Provocations by Laura Anderson Barbata (Mexico/United States), artist Barney Broomfield (United Kingdom/United States), filmmaker Dr Guigone Camus (France), anthropologist Newell Harry (Australia), artist Dr Kristy H. A. Kang (United States/Singapore), media artist, and Assistant Professor, School of Art, Design and Media, Nanyang Technological University, Singapore Dr PerMagnus Lindborg (Sweden/Singapore), composer, sound artist, and researcher Tuan Andrew Nguyen (Vietnam), artist Filipa Ramos (Portugal/United Kingdom), art writer, curator, and Editor-in-Chief, art-agenda Lisa Rave (United Kingdom/Germany), artist and filmmaker SUPERFLEX (Denmark), artists 5.15pm Tidalectics: Imagining an Oceanic Worldview through Art and Science Publication Launch and Reception Published by MIT Press and TBA21–Academy �18 ENVIRONMENTAL GOVERNANCE AND POLICY-MAKING ABSTRACTS The Reconciliation of Law and Traditions in French Polynesia: The Case of Rāhui Case Study by Dr Hervé Raimana Lallemant-Moe On 5 October 2017, the law in French Polynesia, as per the new environment code, article LP. 2122-1, defines the the rāhui as “a land or marine space on which unwritten rules triggered by a resource management imperative, are applied in a traditional way.” Polynesian people always used rāhui in our islands, but it is the first time that local law explicitly recognises this mechanism as an official means to protect the environment. For many years, the principle was only to copy what was applied in more economically developed states, like France for example. This return of traditional ways into the French Polynesian legal system is surprising and we must ask ourselves if this is a new beginning for a more inclusive way of thinking local and international law to protect our environment. Morph, Mutant, Myth by Atif Akin “This is to state once again that the essence of the deserted island is imaginary and not actual, mythological and not geographical. At the same time, its destiny is subject to those human conditions that make mythology possible.” —Gilles Deleuze, Desert Island, 1953–1974 The modern world perceives a hard distinction between the supernatural and reality. In fact, in the case of Moruroa and Fangataufa, humanity mimicked nature, blurring this distinction. Myths build on events. They formulate answers to unknowns. The taboo in my work is scientific certainty. One should never lean into the comfort of scientific certainty, but instead move fluidly between the fact and the myth. Climate Migration: Fight and Flight by Andrew Foran The discussion about climate migration is a challenging one for Pacific Islanders, given their connection to the sea and the land, but they also understand it is a discussion that inevitably needs to be had. In 2013, Tuvalu’s Prime Minister Enele Sopoaga told the Warsaw climate summit: “We do not want to move. Such suggestions are offensive to the people of Tuvalu. Our lives and culture are based on our continued existence on the islands of Tuvalu. We will survive.” This tension between fight and flight will grow as the impacts of climate change grow. Situating and Affirming Indigenous Peoples’ Struggles within the Complex Power Dynamics of Nation States, Multinational Corporations, and International Banks over the Dominion of Oceanic Resources by Maureen Penjueli Regional and international policy documents relating to the overall governance of the Pacific Ocean recognise and celebrate the rich cultural heritage of the Pacific people and their custodianship of the ocean. Indigenous knowledge, kastom practices, or transport means such as vaka, waka, and canoes, are admired as innovative, ingenuous, and sustainable in their use of resources. This celebration of all things “indigenous” contrasts sharply with the response to indigenous peoples’ assert dominion over oceanic territory that contains seabed minerals. These guardians then become the subjects of human rights violations, as powerful outside forces gain interest in their territories. How can Papua New Guinea’s economic development be understood in relation to its costs on peoples and environments? �19 Famous are the Flowers by Valérie Portefaix The Belt, the Road, and the Curse by Jegan Vincent de Paul MAP Office’s ongoing research in Hawaii resulted in the complex filming of the film Famous are the Flowers. Documenting a transect of Kauai Island through an assemblage of drawings, texts and a video, the project reflects on the possibility of landscape as both artifact and artifice. It draws upon the achievement of Queen Emma and the experimental landscape she developed in Lawai Bay, the traditional land division from mountain to ocean, the weight of memory and colonial history in Hawaii, the impact of Monsanto and other genetic farming industries on the land and water, etc. Papua New Guinea being both a large island and heavily resource-oriented, has become the central node of The Belt and Road Initiative’s South Pacific Line. Large-scale developments by Chinese firms are underway to transform both the country’s internal and coastal regions. A 1600 km road network worth US$3.5 billion by the China Railway Group and the Frieda River Project for mining copper and gold worth US$1.7 billion by PanAust, are but two of numerous major projects that are determining the economic and physical landscape of a twenty-first century Papua New Guinea. At the same time, a UN report has declared the country to be “cursed” with its own resources. How can PNG’s economic development be understood in relation to its costs on peoples and environments? The Ancient Nautilus vs Nautilus Inc. by Joey Tau The Nautilus is the only living fossil that has great significance to ancient practices. The main feature of the Nautilus is the large snaillike shell that is coiled upwards and lined with mother-of-pearl, with the shell growing larger on each spiral following the Golden Mean. This ratio is represented by the Greek letter phi, (with the decimal representation of 1.6180...), one of those mysterious natural numbers that seems to arise out of the basic structure of our cosmos. The Nautilus Minerals Inc., a Canadian company with the highest number of exploration licenses over vast amounts of ocean floor in the Pacific has taken a sacred symbol of ancient cultures and made it their public trade mark. �20 RIGHTS OF CULTURES, RIGHTS OF NATURE ABSTRACTS IS ANYTHING SACRED ANYMORE? Unpacking the Significance of Tapu/Tabu in Contemporary Oceania Case Study by Dr Cresantia Frances Koya Vaka‘uta What is tapu or tabu in contemporary contexts of Oceania? This paper unpacks our understandings of tapu/tabu as sanctity or sacred vessels and spaces including the human body, objects, and physical places or sites. Related concepts of mana (spiritual forces, energy, power), and relational spaces will also be examined. Cultural and contemporary examples of sacred spaces will be provided to enable a deeper understanding of how these indigenous ideas may be used to enhance participatory research undertakings and provide a deeper understanding of indigenous communities in context. The Orang Suku Laut of Riau, Indonesia: The Spirit that Resides in Things and People Case Study by Dr Cynthia Chou Living afloat the oceans of Southeast Asia are various groups of sea nomads. One such group comprises the Orang Suku Laut, literally “Tribal People of the Sea” who are well-known in the region’s history as the “orang asli” (indigenous people) of a vast maritime world known as the “Alam Melayu.” Complex items exists in their communities exits within their communities. They range from items with inherent meanings and the spirit of the person, to those whose meanings and values undergo redefinition as they circulate through different domains of exchange within and beyond their communities. Boundaries have been set up to determine the ways in which these different types of things may circulate as they bear and impact upon one’s identity and well-being. Must We See to Believe? by Laura Anderson Barbata How do we lobby for an ethical treatment of our ocean and for the communities that live in close relationship with it when they are out of the immediate line of sight of dominant cultures and, therefore, ignored? How do we convince governments and individuals to defend what they cannot see, and yet is so closely tied to global safety and health? As an artist, my work has focused on finding ways to visually communicate what, being in front of us, remains nonetheless unseen. My aim is to build reciprocal relationships to promote awareness that can benefit all parties. �21 Means of Exchange by Guigone Camus and Lisa Rave When researching, writing or working on, or even getting directly involved with traditional and locally-rooted concepts like the tapu as an artist, anthropologist, or as an international non-profit organisation or NGO, many questions arise. A concept widely understood as sacred, areas made taboo become places prohibited to any form of interference or exploitation. How can the tapu and areas prohibited to—nevertheless ongoing—interferences from the “outside” be understood in view of a continuation of colonial practices in the Pacific? In which way can interventions in the social economic structures and cultural practices of communities be read and consequences dealt with beyond the immediately visible? Could the communities that practise these traditions and sometimes choose to share them with visitors actually benefit from this exchange? Would an international adaptation of such traditional concepts be beneficial and what means of exchange can we develop together? Vernacular Mapping and Critical Cartography by Dr Kristy H. A. Kang What assumptions, cultural and otherwise, do we make in the process of mapping? Who and what do we overlook? How can we understand mapping from culturally specific and vernacular registers? Cartography can be critical when we imagine alternatives to mapmaking as an expression of power and privilege. By engaging in this process of critique, what new conceptual metaphors and models could be imagined to enrich our spatial understanding beyond the territorial and into the oceanic? Soundscape and Environmental Activism: Canaries in the Coalmine, Larvae on the Coral Reef by Dr PerMagnus Lindborg Research in the perception of the sonic environment, or “soundscape” as defined by R. Murray Schafer, has three historic roots: music composition, psychoacoustics, and activism. They often combine, as in the work of Bernie Krause. Sound can inform us about the general health of an environment. This applies to aquatic ecosystems, where fish and mammal vocalisations, in particular, are negatively influenced by human-introduced noise. �22 PERFORMATIVE INTERVENTIONS ABSTRACTS Discursive Brunch 70 x 7 The Meal Act XLI (41) by Lucy + Jorge Orta Sound Performance I/E – The Solo Sessions by Tarek Atoui This discursive brunch draws from the tradition of communal eating to create a platform to discuss issues related to the ocean, such as the entitlements of resources, food security, and ownership of Oceanic practices, materials, and images. Guided by the specially designed tablecloth, the guests will continue to examine the questions raised during the Convening’s talanoa sessions. This meal is developed in collaboration with restaurateur Ken Loon of Singapore’s The Naked Finn, who has locally sourced the ingredients, each of which will be related back to the wider conversation of Singapore’s food sources, its environment, and infrastructure. Since their first 70 x 7 The Meal in 2000, Lucy + Jorge Orta have presented over 40 variations of the project, having brought together tens of thousands of people from all walks of life. The I/E Project is an ongoing work consisting of recordings at major ports and harbours in the world. Since 2015, Atoui has recorded the activities, waters, and surroundings at Elefsina in Greece and the Mina Zayed port in Abu Dhabi. For this performance, each of these recordings will serve as a sound capsule functioning like a multi-channel playback machine as well as a small modular synthesiser. Using specific custom-built instruments, the artist will be playing with the sounds of these locations and morphing them with other electro-acoustic devices. The project will be augmented with recordings from Singapore’s waterfront and added to Atoui’s solo presentation at NTU CCA Singapore in March 2018 to create one of the main layers of the exhibition. �23 BIOGRAPHIES Ute Meta Bauer (Germany/Singapore) is the Founding Director of the NTU CCA Singapore, and Professor of NTU ADM. Previously she was Associate Professor in the Department of Architecture at MIT (Massachusetts Institute of Technology), Cambridge, where she also served as Founding Director of the MIT Program in Art, Culture, and Technology (2005-13). For more than three decades, she has worked as curator of exhibitions and presentations, connecting contemporary art, film, video, and sound through transdisciplinary formats. She publishes regularly on artistic and curatorial practice. Bauer is an expedition leader of TBA21 The Current since 2015 exploring the Pacific Archipelago and littorals that are most impacted by climate change and human interventions in their environments. Markus Reymann (Germany/United Kingdom) is the Director of TBA21–Academy. He joined TBA21 in 2011 and subsequently cofounded TBA21–Academy with TBA21 Foundation Chairwoman and Founder Francesca von Habsburg. As a central programming unit of TBA21, the Academy provides a moving platform of cultural production and interdisciplinary exchange. Since 2011, Reymann initiated and conducted numerous expeditions, each trip designed as a collaboration with invited artists, scientists, and thinkers eager to embark on oceanic explorations. The Academy commissions ambitious projects inspired by these unusual encounters. Stefanie Hessler (Germany/United Kingdom) is the curator of TBA21–Academy. Recent projects for TBA21–Academy include Tidalectics at TBA21–Augarten, Vienna; and Fishing for Islands co-curated with Chus Martínez and Markus Reymann at Hamburger Bahnhof, Berlin (2017). Hessler is the co-founder of the art space Andquestionmark in Stockholm (with Carsten Höller). Other recent curated projects include Sugar and Speed at the Museum of Modern Art in Recife, Brazil (2017); Winter Event – antifreeze at the Museum of Contemporary Art in Santiago, Chile and Flora in Bogotá, Colombia (2015/16); and the 8th Momentum Biennial in Moss, Norway (2015). Hessler regularly writes for art publications, such as ArtReview and Mousse Magazine, and edits books, such as Life Itself for the Moderna Museet. She edited the compendium Tidalectics: Imagining an Oceanic Worldview through Art and Science (published by MIT Press in February 2018). Atif Akin (Turkey/United States) is an artist and designer, and Associate Professor at Mason Gross School of the Arts at Rutgers University in New Jersey. Akin’s work examines science, nature, mobility, and politics through an (a)historical and contemporary lens. Through a series of activities made up of research, documentation, and design, his work considers transdisciplinary issues through a techno-scientific lens, in aesthetic and political contexts. In 2015, Akin received the apexart Franchise Program award in New York, organising the zine project and exhibition Apricots from Damascus, hosted by SALT, Istanbul. His ongoing long-term research-driven project on nuclear mobility and archaeology, Mutant Space, was presented at the 3rd Istanbul Design Biennial (2016). Tepoto Sud morph Moruroa was exhibited in Tidalectics, curated by Stefanie Hessler, at TBA21–Augarten in Vienna. Tarek Atoui (Lebanon/France) is an artist and electroacoustic composer working within the realm of sound performance. He studied contemporary and electronic music at the French National Conservatory of Reims. He �24 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 was co-artistic director of the 2016 Bergen Assembly, and his work has been presented worldwide, including at the Tate Modern, London (2016); Marrakech Biennale (2016); Fondation Louis Vuitton, Bois de Boulogne (2015); Fondazione Prada, Ca’ Corner della Regina, Venice (2014); 8th Berlin Biennial (2014); Within, Sharjah Biennial 11 (2013); 9th Mercosul Biennial, Porto Alegre (2013); Bonniers Konsthall, Stockholm (2013); Serpentine Gallery, London (2012); documenta 13, Kassel (2012); Salzburg Sommerszene Festival (2011); New Museum, New York (2010), and Manarat Saadiyat, Abu Dhabi (2009). Laura Anderson Barbata (Mexico/United States) is an artist who has since 1992 worked primarily in the social realm, initiating projects in the Amazon of Venezuela, Trinidad and Tobago, Mexico, Norway, and the United States. From 2010–15, she was a Professor at the Insituto Nacional de Bellas Artes. Her project The Repatriation of Julia Pastrana, initiated in 2004, resulted in the successful removal of the body of Julia Pastrana from the Schreiner Collection in Oslo to be repatriated and buried in Sinaloa, Mexico, Pastrana’s birth state. She is also known for her project Transcommunality (2001–ongoing) working with stilt walkers and artisans from Mexico, New York, and the Caribbean. This project has been presented at various venues, among them The Museum of Modern Art, New York; The Modern Museum Fort Worth Texas; BRIC Art House Brooklyn; Rutgers University, New Jersey; and the Museum of the City of Mexico. She was recipient of the Anonymous Was A Woman 2016 Award. In 2017, Anderson Barbata, together with The Brooklyn Jumbies, presented Ocean Blue(s) at NTU CCA Singapore, as part of CITIES FOR PEOPLE, the inaugural NTU CCA Ideas Fest. Barney Broomfield (United Kingdom/ United States) is a Sundance award-winning and Oscar-Shortlisted filmmaker and cinematographer. As a graduate of the London School of Economics, Broomfield’s career began with National Geographic in the United Kingdom which funded his first documentary film after university, Welcome to the Real World, a 12,000 mile motorbike journey from Kolkata, India to London, England undergone to raise money for an orphanage in India. Since then Broomfield has travelled extensively around the globe directing and shooting films for the industry’s top broadcasters including HBO, CNN, BBC, National Geographic, Discovery Channel, MTV, Sundance, Channel Four (UK), ITV, SKY, and PBS. Dr Guigone Camus (France) holds a PhD in Social Anthropology and Ethnology (EHESS), and since 2002 has lectured at l’Ecole du Louvre in Paris, l’Institut Catholique de Paris (IRCP), and the University of French Polynesia in Tahiti. Camus has worked on the social organisation of Kiribati, which is a small atoll country covering a large part of the Central Pacific. During two missions (2015 and 2017), she observed the I-Kiribati symbolic representations of Nature, their social organisation, and the kin ties between their cosmology and genealogies. In 2014, she published Tabiteuea Kiribati, a book dedicated to Tabiteuea Island (Hazan). As a Scientific Advisor of the Ocean and Climate Platform, she is committed to putting light on issues related to the consequences of global warming �25 on the preservation of biodiversity, and the livelihoods of the human societies living in small island countries, addressing physical and psychological security, food security, and migration. She also works on the pragmatic and emotional perception of climate change and on the political and social parameters influencing the protection of natural resources. Dr Cynthia Chou (Singapore/United States) is C. Maxwell and Elizabeth M. Stanley Family Chair Professor of Asian Studies and Professor of Anthropology at the University of Iowa, United States. She received her PhD in Social Anthropology at the University of Cambridge, United Kingdom in 1994. Dr Chou is internationally known for her pioneering study of the life and lifestyles, as well as identity and change, of the indigenous Malays in Southeast Asia. She was awarded in 2011 the highest Danish academic degree of dr phil by the University of Copenhagen, Denmark, in recognition of her work on the Orang Suku Laut (sea nomads). Her publications include The Orang Suku Laut of Riau, Indonesia: The Inalienable Gift of Territory (2010) and Indonesian Sea Nomads: Money, Magic, and Fear of the Orang Suku Laut of Riau (2003). Roko Josefa Cinavilakeba (Fiji) was the son of the then Roko Sau, or the paramount chief of Totoya in Lau. Roko Rusiate Sogotubu grew up in Totoya before moving to the city for further studies. After completing his tertiary studies at the Fiji Institute of Technology, now the Fiji National University, he worked as architectural draftsman before joining the Pacific Blue foundation team. Towards the end of the same year, he was formally installed to his traditional role as the paramount chief of Totoya, one of the acknowledged traditional leaders in the Lau Group. He is also an executive member and trustee of the Fiji Locally Managed Marine Area (FLMMA) and the vice chairman of the Lau Provincial Council. Andrew Foran (Australia/Fiji) is Head of the International Union for Conservation of Nature (IUCN) Pacific Centre for Environmental Governance, and is also the IUCN Regional Programme Coordinator (acting) for Oceania. He has worked in the sustainability field for over 15 years. Previously, Foran was the Chief Executive Officer of the Centre for Sustainability Leadership in Australia, and has also worked on sustainable supply chains and green product development and marketing with companies including BP, National Australia Bank, Qantas, Boeing, and Toyota. Before entering the environment sector, he was the founder and general manager of a successful aquaculture business supplying markets in Australia and Asia, and has a Master of Business Administration and a Graduate Diploma in Environmental Management and Planning. Foran currently volunteers as treasurer for the Fiji Surf Association, and as strategic advisor for the Pacific Environment and Climate Exchange. Newell Harry (Australia), of South African and Mauritian descent, has for over a decade drawn from an intimate web of recurring travels and connections across Oceania and the wider Asia-Pacific, to South Africa’s Western Cape Province, where the artist’s extended family continues to reside. From Pidgin and Creole languages to modes of exchange in the “gift economies” of the South Pacific, Harry’s interests often culminate in culturally “entangled” installations. Selected exhibitions include Tidalectics, Thyssen-Bornemisza Art Contemporary, Vienna (2017); Endless Circulation: Tarrawarra Biennial, Victoria (2016); the 56th Venice Biennale: All the �26 Worlds Futures (2015); Suspended Histories, Museum Van Loon, Amsterdam (2013); Rendez Vous 11 & 12, Institut d’Art Contemporain, Villebanne (2011), and South African National Gallery, Cape Town (2012); Untitled (12th Istanbul Biennial) (2011); the 17th Biennale of Sydney: The Beauty of Distance, Songs of Survival in a Precarious Age (2010); and the Adelaide Biennial of Australian Art: Before and After Science (2010). Harry was Artist-inResidence at NTU CCA Singapore in 2015. Tuan Andrew Nguyen (Vietnam) graduated in Fine Arts from the University of California, Irvine (1999) and received his MFA from The California Institute of the Arts (2004). His work investigates the body as site and as moment of resistance in public space, exploring the impact of mass media. Nguyen has exhibited at international exhibitions and film festivals, having works in the collection of the Queensland Art Gallery; Carre d’Art; the Museum of Modern Art; and the Solomon R. Guggenheim Museum. He is co-founder and board member of Sàn Art, an artistinitiated exhibition and educational space in Ho Chi Minh City. In 2006, he founded the art collective The Propeller Group, which has participated in numerous exhibitions including the New Museum Triennial (2012); Los Angeles Biennial (2012), New Orleans Triennial (2014), and the Venice Biennale (2015). Taholo Kami (Fiji) is serving the COP23 Presidency Secretariat as the Special Adviser for Pacific Partnerships and International Civil Society, where he is responsible for the creation of effective Pacific partnerships and the engagement of civil society. Previously, he has completed 10 years as head of the International Union for Conservation of Nature (IUCN) Oceania office, where he established a strong regional programme in conservation, sustainable development, and high-level policy frameworks. Dr Kristy H. A. Kang (United States/ Singapore) is a media artist and scholar whose work explores narratives of place and geographies of cultural memory. She holds a PhD in Media Arts and Practice from the University of Southern California (USC). She is Assistant Professor at NTU ADM, Singapore, and was previously Associate Director of the Spatial Analysis Laboratory at USC’s Sol Price School of Public Policy in Los Angeles. Her research interests combine urban and ethnic studies, mapping, animation, and digital media arts to visualise cultural histories of cities and communities. Kang was a founding member of the Labyrinth Project research initiative at USC, serving as researcher, project director, and designer on a range of collaborative projects since 1997. These works have been published and presented internationally at conferences and institutions including the Getty Research Institute, Los Angeles; the Center for Art and Media Karlsruhe; the Museum of Art at Seoul National University; and the Jewish Museum, Berlin. Dr Cresantia Frances Koya Vaka‘uta (Fiji) is the Director of the Oceania Centre for Arts, Culture and Pacific Studies & Pacific Heritage Hub, UNESCO Faculty of Arts, Law and Education at The University of the South Pacific, Fiji. She was previously a senior lecturer in Education at The University of the South Pacific. Her doctoral thesis explored Pacific understandings of ESD through an examination of Samoan and Tongan Heritage Arts. Koya Vaka’uta’s research interests include Pacific island education, Pacific Island Arts, art as a social learning tool, Protest Poetry, Pacific �27 Research and Evaluation, Pacific indigenous research methodologies, and Education for Sustainability in the islands. A poet and artist, she is interested in the potential role that the arts can play in formal and non-formal education with reference to issues of resilience, sustainability, and crisis in the Pacific islands. Dr Hervé Raimana Lallemant-Moe (French Polynesia) is a member of the Governance and Insular Development Research Team (GDI - University of French Polynesia) and the Center of International Law (CDI - University of Lyon III). His research interests include environmental law, international law, and oversea communities’ legal issues, particularly for French Polynesia, and his specialty is climate change legal issues. Lallemant-Moe is teaching law at the University of French Polynesia, where he is an alumnus. He also graduated from the University of Western Brittany (France) and the University of South Pacific (Fiji). Lallemant-Moe is the assistant of Maina Sage, Member of the French National Assembly (French Parliament). He previously worked several years for the Polynesian Government and was a member of the High Council of French Polynesia, a group of legal experts who served as advisors to the President of the country. Dr PerMagnus Lindborg (Sweden/Singapore) is a composer, sound artist, and researcher. Lindborg studied piano and composition at the Norwegian Music Academy in Oslo, music computing at IRCAM in Paris, contemporary musicology at Université de Paris Sorbonne, and holds a PhD in sound perception and design in multimodal environments from the KTH Royal Institute of Technology in Stockholm (2015). Since 2005, Lindborg has taught at institutions in France and Singapore, most recently at NTU ADM. He has authored more than 100 media artworks and compositions presented worldwide, notably at Xuhui Art Museum, Shanghai (2017); Tonspur, Vienna (2016); National Gallery Singapore (2015); Onassis Centre, Athens (2014); World Stage Design, Cardiff (2013); Moderna Museet, Stockholm (2008); and Centre Pompidou, Paris (2003). He has published 33 peer-reviewed articles and papers in PLoS One, Leonardo, Applied Acoustics, and Applied Sciences, and book chapters for IRCAM-Delatour and Springer-LNCS, as well as numerous conference proceedings. He created the biannual Soundislands Festival (2013, 2015, and 2017). Armin Linke (Italy/Germany) is a photographer and filmmaker who combines a range of contemporary image-processing technologies in order to blur the borders between fiction and reality. He was Research Affiliate at MIT Visual Arts Program Cambridge, guest professor at the IUAV Arts and Design University in Venice, and professor for photography at the University for Arts and Design Karlsruhe. Linke analyses the formation, the gestaltung of our natural, technological, and urban environment, perceived as a diverse space of continuous interaction. His photographs and films function as tools to become aware of the different design strategies. Concerned with different possibilities of dealing with image archives and their respective manifestations, Linke works with his own archive, as well as with other media archives, challenging conventional practices, whereby the questions of how photography and film are installed and displayed become increasingly important. In a collective approach with artists, designers, architects, historians, and curators, narratives are procured on the level of multiple discourses. �28 Lucy + Jorge Orta’s (United Kingdom/ France, Argentina/France) collaborative practice focuses on social and ecological issues, employing a diversity of media to activate long-term bodies of work, structured in series: Refuge Wear / Body Architecture, portable minimum habitats bridging architecture and dress; HortiRecycling / 70 x 7 The Meal interrogate the local and global food chain and the ritual of community dining; OrtaWater / Clouds reflect on water scarcity and the problems arising from pollution and corporate control; Antarctica considers the effects of climate change on migration; and Amazonia explores interwoven ecosystems and their value to our natural environment. Maureen Penjueli (Fiji) is the Coordinator of the Pacific Network on Globalisation (PANG) based in Suva, Fiji. She has a vast experience working with a number of key regional organisations in the Pacific, including Greenpeace and the Foundation of the Peoples of the South Pacific International (FSPI). PANG is the region’s alternative voice in defending and promoting Pacific people’s right to economic self-determination, mobilising and advocating based on substantive research and analysis to challenge neoliberal development agendas in the region. Valérie Portefaix (France/Hong Kong) is Director of MAP Office, a multidisciplinary platform based in Hong Kong since 1996, co-founded with Laurent Gutierrez. The relation between bodies and territories is at the centre of its research-based artistic production. With 20 years of multifaceted navigations, publications, and exhibitions, MAP Office’s practice has evolved across multiple fields and disciplines, having recently developed a specific focus on islands and other liquid territories as a subject and object of study. Through these investigations, and after more than a decade of exploring the effects of globalisation and urbanisation in Hong Kong and China, MAP Office is investigating a new geography of archipelagos that characterise the transient and globalised environment of the Anthropocene age. MAP Office’s last cross-disciplinary research Our Ocean Guide was published in 2017 by Lightbox. Filipa Ramos (Portugal/United Kingdom) is a writer and editor, currently Editor-in-Chief of art-agenda, commissioning and publishing experimental and rigorous writing on art. She is a lecturer in art and moving image at the Experimental Film MA Programme of Kingston University, and at the MRes Art: Moving Image of Central Saint Martins/ University of the Arts, both in London, and works with the Master Programme of the Institut Kunst, Basel. She is co-founder and co-curator of Vdrome, and was previously Associate Editor of Manifesta Journal; contributed to documenta 13 (2012) and 14 (2017). Interested in the way art, and particularly time-based work, provides a site of encounter for humans and nonhumans, Ramos has written, lectured, and curated exhibitions and film programmes on the topic, having edited Animals (Whitechapel Gallery/ MIT Press, 2016). Ramos was a Writer-inResidence at NTU CCA Singapore in 2016. She has been a guest curator at several institutions and her writing has been published in several magazines and catalogues. Lisa Rave (United Kingdom/Germany) is an artist, filmmaker, and photographer. In her work, she often explores issues surrounding postcolonialism, and history’s repeating patterns in the complex interplay of culture, �29 economy, and ecology, as well as natural phenomena. Rave studied experimental film at the University of the Arts Berlin and photography at Bard College, New York. She was a fellow artist at the Akademie Schloss Solitude in Stuttgart in 2014. Some of her recent exhibitions and screenings include Lofoten International Art Festival (2017); Arsenal Kino Berlin (2017); Glasmoog Cologne (2017); Thyssen-Bornemisza Art Contemporary–Augarten (2017); Württembergischer Kunstverein (2016); 3rd Istanbul Design Biennial (2016); FLORA ars+natura, Bogota (2015), Meulensteen Gallery, New York (2014); Kunstverein Wiesbaden (2013); Chisenhale Gallery, London (2012); Neuer Berliner Kunstverein (2011); and Haus der Kulturen der Welt, Berlin (2011). SUPERFLEX (Denmark) was founded in 1993 by Jakob Fenger, Bjørnstjerne Christiansen, and Rasmus Nielsen. With a diverse and complex practice, SUPERFLEX challenges the role of the artist in contemporary society and explores the nature of globalisation and systems of power. SUPERFLEX has gained international recognition for projects and solo exhibitions around the world, including Kunsthalle Basel; the Mori Museum, Tokyo; Van AbbeMuseum, Eindhoven; South London Gallery; and the 21st Century Museum of Contemporary Art, Kanazawa. The group has participated in international biennials such as the Gwangju Biennale; Istanbul Biennial; São Paulo Biennial; Shanghai Biennial; and in the Utopia Station at the Venice Biennale. SUPERFLEX is represented in several art institutions, such as MoMA, New York; Hirshhorn Museum, Washington; Louisiana Museum of Modern Art, Copenhagen; The Hammer, Los Angeles; Kunsthaus Zurich; Museum Boijmans Van Beuningen, Rotterdam; and Colección Jumex, Mexico City. Joey Tau (Papua New Guinea/Fiji) is the Media and Extractives Campaigner with the Pacific Network on Globalisation (PANG) based in Suva, Fiji. Tau has a background in media, having worked in mainstream media in Papua New Guinea and the Pacific. PANG is the region’s alternative voice in defending and promoting Pacific people’s right to economic self-determination, mobilising and advocating based on substantive research and analysis to challenge neoliberal development agendas in the region. Jegan Vincent de Paul (Sri Lanka, Canada/ Singapore) is a PhD candidate at the NTU ADM and NTU CCA Singapore. His dissertation considers the role of researchbased artistic production in creating new understandings of contemporary geopolitical events; his thesis critically examines China’s Belt and Road Initiative and its impact on the ethnic conflicts of Burma, Pakistan, and Sri Lanka. Vincent de Paul has a Master of Architecture from the University of Toronto (2007) and completed his Master of Science in Visual Studies at the MIT Visual Arts Program (2009). He has worked as a researcher and designer with artists and cultural organisations, including Ai Weiwei (Beijing), LOT-EK (New York), and the MIT Museum (Boston). He was a research fellow and lecturer at the MIT Program in Art, Culture and Technology (2011–12), where he researched the intersection of energy and society, and taught courses on creative responses to conflict and crises. �30 Saturday and Sunday, 3 and 4 February 2018 Film Programme: Liquid Traces—Visions selected by writer Filipa Ramos together with The Current Fellows What do we look at when we look at the sea? What shapes the visions of the oceans? What are the sources of our personal and collective marine imaginaries, the references for our impressions, desires, and fears? During the past two years, a dispersed community of artists, thinkers, writers, and researchers was summoned, assembled, and brought together by curator Ute Meta Bauer on a set of three expeditions on board of the Dardanella, TBA21-Academy’s research vessel, which was travelling across the Pacific Ocean. These expeditions were deeply cinematic experiences. In itself the boat was simultaneously a real and figurative site of projection: at once a privileged place from where to observe the ocean, the life forms, transactions, and cultural expressions it hosted, and also a vessel that embodied the tropes of the expedition, voyage, and exploration that were being lived and performed within it. Further pursuing the production and sourcing of images of the ocean and all that surrounds it—its cultures, its infrastructures, the politics and cultures of extraction and management, the observation of its social and natural landscapes—the selection of films of Liquid Traces—Visions (a title borrowed from Charles Heller and Lorenzo Pezzani’s film Liquid Traces: The Left-to-Die Boat Case) followed the collective agency of Ute Meta Bauer’s Dardanella expeditions. The films presented were chosen by the 12 participants of the expeditions. The selection of films has been arranged around two distinct programmes. The first focuses on poetic, dreamlike experiments and approaches, and the second on documentarist portraits of more concrete scenarios and realities. Together, they interrogate the cinematic references that inform the common gazes of the expeditions participants, their discourses, points of view, and encounters. Selection made by participants to Ute Meta Bauer’s three expeditions to the South Pacific: Nabil Ahmed, Atif Akin, Laura Anderson Barbata, Newell Harry, Stefanie Hessler, Dr Kristy H. A. Kang, Dr PerMagnus Lindborg, Armin Linke, Filipa Ramos, Lisa Rave, and Jegan Vincent de Paul. �31 Saturday, 3 February 2018 12.00 – 4.00pm | The Single Screen Programme 1 Proteus, David Lebrun, video, 2004, 60 min Proteus is an animated documentary film that depicts a 19th-century understanding of the sea with a particular emphasis on the life and work of German biologist and naturalist Ernst Haeckel (1834–1919). Haeckel was a promoter of Darwinism in Germany who discovered, described, drew, and named thousands of new species, namely an extensive number of underwater creatures. The key to Haeckel’s vision was a tiny undersea organism called the radiolaria, one of the earliest forms of life. Haeckel discovered, described, classified, and painted four thousand species of these one-celled creatures. In their intricate geometric skeletons, Haeckel saw all the future possibilities of organic and created form. Proteus explores the metamorphoses of the radiolarian and celebrates their beauty and seemingly infinite variety in animation sequences based on Haeckel’s graphic work. Proteus weaves a tapestry of poetry and myth, biology and oceanography, scientific history and spiritual biography. Marsa Abu Galawa (Careless Reef Part 4), Gerard Holthuis, 35mm film transferred to digital file, 2004, 13 min Marsa Abu Galawa (Careless Reef Part 4) is a psychedelic, mind-altering, rhythmic sequence of images of the underwater world shot in the Red Sea and pacing at the soundtrack of Egyptian shaabi singer Abdel Basset Hamouda. The structure of the film is based on flicker films, in which the whole unconscious experience of the flux of images is more important than the single shots. Marsa Abu Galawa is the fourth part of the “Careless Reef” series, four short films made by Gerard Holthuis, which deal with the underwater world. Million Dollars Point, Camille Henrot, video, 2011, 5 min 35 sec Courtesy the artist and kamel mennour, Paris. Million Dollars Point is the name of a dive site on Santo Island, Vanuatu—a lagoon that became an underwater cemetery for hundreds of tanks and canons abandoned by the North American army after the Second World War. The site was named after the amount offered by the local islanders to buy out this war debris. Million Dollars Point juxtaposes the images of this submarine battlefield with footage of a local music video showing a French moustached man dancing and singing on a Pacific beach, flanked by Polynesian girls wearing typical costumes. The choreography of the young women seems to respond the images of engulfed weapons, they hide their faces as a refusal to see, and they mimic waves, which recall the borderline between the surface and the sea bottom. Limits to Growth, Nicholas Mangan, HD video, 2017, 8 min 55 sec Limits to Growth begins by staging a comparison of two virtual monetary currencies: the cryptocurrency Bitcoin, and the Yapese currency Rai. While bitcoins are virtual and in a sense immaterial, Rai are made of stone and are often very large and heavy. Bitcoins are mined by computers solving complex algorithms, often collectively, working in a blockchain. In order to “mine” Bitcoins, vast quantities of energy are consumed by the computers processing the algorithms as they labour to verify and record transactions. Processor farms must labour continuously to keep the network alive. Although Bitcoin’s medium of exchange is virtual, it remains, like Rai, bound to the physical world. (…) My interest in Bitcoin was piqued by the �32 use of terminology such as “mining” and “workers.” Trawling through various online forums, I found someone in Australia who was actually mining bitcoin, despite the fact that the country’s high electricity costs render it unprofitable. I came across a discussion taking place within a remote community in Western Australia that was established by a mining company to service an actual mine. As is common practice, the company provided free housing and electricity to workers, as well as much needed air-conditioning in the hot climate. In the online thread, a worker from the mine suggested that a Bitcoin rig could be set up at his company-funded housing in order to take advantage of this free electricity and cooling. This physical mine could indirectly provide the climate for profitable virtual mining in Australia. This situation of a parasitical economy and how the potential overlay of the physical and the dematerialised might function in relation to resource extraction was of particular interest. Limits to Growth includes an underwater video of a Rai stone lying on the bottom of the Miil Channel off the northwest coast of Yap. The sound of a human breathing through a scuba apparatus is taken directly from the video.” —Nicholas Mangan Nauru – Notes from a Cretaceous World, Nicholas Mangan, HD Video, 2010, 14 min 50 sec Courtesy the artist; Sutton Gallery, Melbourne; Hopkinson Mossman, Auckland; and LABOR, Mexico City. “I wanted to look at this moment in human history within a much longer period of time. I wanted to place human agency within the contours of a deeper time frame and an evolving ecosystem that doesn’t place humans as the primary organism.” —Nicholas Mangan Nauru – Notes from a Cretaceous World is a video essay that contrasts the ancient geological history of the Pacific nation of Nauru with the country’s more recent political and economic situation. Historically, Nauru’s coral limestone rocky landscape has been rich in phosphate— a valuable mineral which, in Nauru, is the product of a mixture of decomposed marine life and guano deposits compressed over millions of years. In the 1920s, the British Phosphate Commission initiated industrial strip-mining of Nauru’s ancient coral landscape, selling the phosphate mineral off to Australia, the United Kingdom, and New Zealand, where it was processed into a superphosphate fertiliser used to enrich agricultural soil. Over the coming decades, the Nauruan government allowed mining to occur at such intensity that, by 1977, the tiny island nation of Nauru had become the second-richest nation per capita after Saudi Arabia. That year, as a sign of its wealth, Nauru built the then-tallest sky scraper in Melbourne. Called Nauru House, it was crudely dubbed “Bird Shit Tower” by many Australians. By the turn of the millennium, as phosphate levels became depleted, the Nauruan government began to default on numerous major international loans and declared bankruptcy. At this time, the Australian government initiated its so-called Pacific Solution (2001–07) policy, and later Operation Sovereign Borders (2013–ongoing), in which it paid the financially desperate Nauru to house asylum seekers attempting to arrive in Australia by boat. Drawing Restraint 9, Matthew Barney, video, 2005, 135 min Drawing Restraint 9 comprises the presented feature-length film, alongside large-scale sculptures, photographs, drawings, and books. The “Drawing Restraint” series consists of 19 numbered components and related materials. Some episodes are videos, others sculptural installations or drawings. Drawing Restraint 9 is a love story set in Nisshin Maru, a Japanese whaling vessel making its annual journey to Antarctica. The histories and traditions of Shinto religion, Japanese tea ceremony, whaling, and global forms of fuel extraction are intertwined in this �33 non-narrative, monumental epic. Two actions unfold simultaneously on the vessel: one on deck and one beneath it. The narrative on deck involves the process of casting a 25-ton petroleum jelly sculpture that rivals the scale of a whale. Below deck, the two characters participate as guests in a tea ceremony, where they are formally engaged after arriving on the ship as strangers. As the film progresses, the guests go through an emotional and physical transformation slowly transfiguring from land mammals into sea mammals, as they fall in love. The petroleum jelly sculpture simultaneously passes through changing states, from warm to cool, and from the architectural back to the primordial. The dual narratives, the sculptural and the romantic, come to reflect one another until they merge into one. AXIS – Anatomy of Space, Good Company Arts / Daniel Belton, video, 2017, 6 min “With the same evolutionary effect as was followed by the ancient Greeks in their search for beauty, AXIS offers a resonating, lyrical space. Dancers are seen travelling through apertures tensioned with the happening of projected light. Their choreography establishes a circuitry of luminosity. Like a great celestial dynamo, the screen environment transmits oscillating shafts of digital dance and sound—illuminating song cycles in a cosmic choreography of light. We are each made up of photons. Photons are particles of light. Light is inspiration. Every space has an “anatomy.” AXIS creates a new search with the human figure in space, as projected film and processed sound performance combine. Nothing is in stasis.” —Good Company Arts Note: This single-channel version of AXIS was created from parts of the original full-length work of 38 minutes made for 360º full-dome cinema. Sunday, 4 February 2018 12.00 – 6.30pm | The Single Screen Programme 2 Trobriand Cricket: An Indigenous Response to Colonialism, Gary Kildea and Jerry Leach, 16mm film transferred to digital video, 1976, 54 min Anthropologist and filmmaker Jean Rouch described Trobriand Cricket as “a wonderful film, perhaps one of the greatest anthropological films of recent time.” (Film Quarterly, 1978). A key reference of ethnographic cinema, Trobriand Cricket depicts the transformations introduced by the inhabitants of the Trobriand Islands in Papua New Guinea to the British version of cricket, a game that was introduced to Trobriand by a British Methodist missionary in the early 20th century as a way to replace violent tribal warfare with Western sportsmanship. The film shows how the islanders responded to a British colonial imposition by appropriating and transforming the game into an expression of tribal rivalry, mock warfare, community interchange, eroticised dancing and chanting, and unruly fun. The Shark Callers of Kontu, Dennis O’Rourke, 16mm transferred to video, 1982, 54 min From 1974 to 1979, Dennis O’Rourke lived in Papua New Guinea, where he taught documentary filmmaking. The Shark Callers of Kontu depicts the ancient tradition of ‘sharkcalling’ in the village of Kontu, on the west coast of New Ireland. The documentation of Kontu inhabitants’ traditional way of shark hunting, in which sharks are called and killed by hand, is combined with a portrait of their lives and environment, presented both from still images commented by O’Rourke and interviews with the local population. The film explores the changes to cultural values and traditional customs wrought by colonisation, alcohol, commerce, and Christianity. �34 The People’s Elect – Pouvanaa te Metua, MarieHélène Villierme, HDCam PAL, 2012, 90 min In the late 1940s, the French Establishments of Oceania (now French Polynesia), saw the dawn of a local political era. In 1949, Pouvanaa a Oopa (1895–1977) became the first Tahitian to serve in the French Chamber of Deputies. Pouvanaa was also the charismatic leader of the country’s first political party, the RDPT (Democratic Rally of the Tahitian People). A supporter of the independence of Tahiti, he strongly opposed the French colonial administration and the French nuclear testing in the Tuamotu Archipelago during the 1960s. Sentenced to prison and exile in metropolitan France, Pouvanaa only returned to French Polynesia in 1968. Combining archival materials, found footage, newsreels, and interviews, The People’s Elect offers a vivid portrait of this important figure of French Polynesian political life. Liquid Traces: The Left-to-Die Boat Case, Forensic Oceanography (Charles Heller and Lorenzo Pezzani), video, 2014, 17 min “Liquid Traces offers a synthesis of our reconstruction of the events of what is known as the “left-to-die boat” case, in which 72 passengers who left the Libyan coast heading in the direction of the island of Lampedusa on board a small rubber boat were left to drift for 14 days in NATO’s maritime surveillance area, despite several distress signals relaying their location, as well as repeated interactions, including at least one military helicopter visit and an encounter with a military ship. As a result, only nine people survived. In producing this reconstruction, our research has used against the grain the “sensorium of the sea”—the multiple remote sensing devices used to record and read the sea’s depth and surface. Contrary to the vision of the sea as a non-signifying space in which any event immediately dissolves into moving currents, with our investigation we demonstrated that traces are indeed left in water, and that by reading them carefully the sea itself can be turned into a witness for interrogation.” —Charles Heller and Lorenzo Pezzani Neytal Diary, Ravi Agarwal, HD video, 2016, 38 min Neytal Diary was shot over one year off the coast of Tamilnadu in South India. It derives from artist and environmental activist Ravi Agarwal’s ongoing work with a fishing community near the town of Pondicherry, which seeks to examine the ecological understandings and conflicts from the perspective of its inhabitants. The texts of the film are extracts from a diary (Ambient Seas, published in 2016) kept by Agarwal over the years, and contain his reflections on the complex ecological, cultural, and political underpinnings of the fishermen’s lives and their absence from the dominant global debates on the Anthropocene and climate change. One Belt, One Road: Documentary – Episode One: Common Fate, video, 2016, 55 min One Belt, One Road: Documentary – Episode One: Common Fate focuses on “One Belt, One Road” or the “Belt and Road Initiative,” a development strategy and framework proposed by Chinese paramount leader Xi Jinping. This strategy focuses on connectivity and cooperation among countries and primarily between the People’s Republic of China and the rest of Eurasia, consisting of two main components: the land-based “Silk Road Economic Belt” and oceangoing “Maritime Silk Road.” The strategy underlines China’s push to take a bigger role in global affairs, and its need for priority capacity cooperation in areas such as steel manufacturing. Matthew Barney: No Restraint, Alison Chernick, video, 2006, 72 min Matthew Barney: No Restraint documents artist Matthew Barney and his then partner, collaborator, and singer-songwriter Björk, as they film Drawing Restraint 9. �35 Thursday, 1 March 2018 7.30 – 9.00pm | The Single Screen Friday, 2 March 2018 10.00am – 5.00pm | The Seminar Room Talk: INTERPRT: Spatial Investigation of Environmental Crimes by artist Dr Nabil Ahmed Workshop: Confronting Ecocide by artist Dr Nabil Ahmed INTERPRT is an interdisciplinary project on environmental justice in Oceania at the intersection of spatial practice, international law, and artistic research. The Pacific ring—a geological force field rising from the ocean floor—reorganises a fluid, geological imaginary of the region as a global commons. At this mineral frontier, environmental violence is spatially diffused and temporally protracted, requiring new methods of detection and reconstruction. This talk will present investigations on environmental crimes and new forums for ecocide law. Participants of the workshop are encouraged to attend the public talk by Nabil Ahmed on Thursday, 1 March 2018. Current international laws are inadequate to protect the oceans and the planet. A law against ecocide and the principle of universal jurisdiction are the missing factors that can address this problem. Criminal accountability for environmental and climate-related crimes also addresses wider issues of climate justice beyond economic remedies. The workshop, convened by INTERPRT, brings together leading practitioners from the field to examine emerging legal concepts and cases around ecocide, universal jurisdiction, and nature as a legal subject in a Pacific region context. Further Programmes on the occasion of The Oceanic 9 December 2017 – 4 March 2018 The Oceanic focuses on large-scale human interventions in the oceanic ecospheres. The 12 contributors to the exhibition are the fellows who participated in the first expedition cycle of TBA21–Academy The Current. Engaging with the long cultural histories of Pacific Ocean archipelagos and the environmental conditions they face today, the featured works and projects range from multi-screen projections with deep-ocean footage to an aquarium with live jellyfish, and from costumes inspired by local dances in Papua New Guinea to 3D animations of mutating atolls. �36 ACKNOWLEDGEMENTS TBA21–Academy would like to acknowledge and thank the many individuals who have generously lent their expertise and guidance throughout the past three years of the first cycle of The Current. Expedition Leader Ute Meta Bauer as well as Leong Min Yu Samantha, Magdalena Magiera, and the rest of the team at NTU CCA Singapore. Thanks are also due to Damian Christinger and Cesar Garcia for their contributions. Bruno Barrillot; Mamie Blue; Marc Collins; Neil Davies and Hinano Teavai-Murphy at the UC Berkeley Gump South Pacific Research Station in Moorea; Pascal Erhel Hatuuku; Maimiti Hunter; Hervé Raimana Lallemant-Moe; Bran Quinquis; Roland Oldham; Léonne Tauhiro; Sarah Vaki; Romain Vivier; and particularly Marie-Hélène Villierme in French Polynesia. Andrew Foran; Cresantia Frances Koya Vaka‘uta; Soli Middleby; Katy, Lynda, and Rob Miller of the Vatuvara Foundation; Charlotte Ramasima; Peter Sipeli; Lagi Tuibaba; Joey Tau and Maureen Penjueli of PANG; Elisapeci Tamanisau of the Ministry of iTaukei Affairs; and Josefa Cinavilakeba (Roko Sau) in Fiji. The crew of the Dardanella: Alejandro Aburto, Carol Ballinas, Yann Fuetren, Gilles Herant, Ryan Lombard, Brady MacDonald, Nicole Marshall, Pippa Palmer, Terry Pickard, Piot Rachalewski, and Therese Satherly. Barney Broomfield, Lauren Matic, and Clemens Prankl for the documentation of the journeys. Nigel Douglas, Christelle and Rodolphe Holler, Craig De Witt, Miano Huukena, Bona Kaimuko, and Humu Kaimuko for their guidance during our voyages. Kalani English, David Gruber, Patrick Heimbach, Carol Ivory, Taholo Kami, Susana Lei’ataua, Lelei Tui Samoa LeLaulu, Sandor Mulsow, Josef Penninger, Davor Vidas, and Linz Wilbur for the continuous support and stimulation. Laura Creed, Georg Eder, Jens Radke, and Marlene Rigler, who supported the Academy during its foundational phase. And last but not least to all of those who organised, contributed to, and supported the Convenings in Kingston, Jamaica; Kochi, India; and Singapore. �37 THE CURRENT CONVENING #3 A collaboration between NTU CCA Singapore and TBA21–Academy NTU CCA SINGAPORE TBA21–ACADEMY Professor Ute Meta Bauer Khim Ong Magdalena Magiera Samantha Leong Cheong Kah Kit Ana Sophie Salazar Syaheedah Iskandar Markus Reymann Stefanie Hessler Kat Davis Paul Feigelfeld Barbara Hörhan James White Allegra Shorto DESIGN COLLATERALS mono.studio PROJECT MANAGEMENT Magdalen Chua The images used throughout this brochure were taken from the first cycle of The Current expeditions. The designer was given the freedom to select from pool of images collectively complied during the expeditions. He made a selection based on content and visuality rather than the context and significance of the images. It is with the hope that such a collection of collective images and its presentation invites reflection on the questions and challenges surrounding image production, representation, context, and ownership. In support of Performative Interventions 70 x 7 The Meal Act XLI (41) I/E – The Solo Sessions With the additional support of �38 THYSSEN-BORNEMISZA ART CONTEMPORARY Founded in 2002 by Francesca von Habsburg in Vienna, Thyssen-Bornemisza Art Contemporary (TBA21) represents the fourth generation of the Thyssen family’s commitment to the arts. TBA21’s unique collection is the result of its ongoing commitment to commissioning and disseminating multidisciplinary art projects that defy traditional categorisation, including large-scale installations, sound compositions, endurance performances, and contemporary architecture. Since the foundation believes that art has the capacity to be a transformational force, it explores new modes of presentation that are intended to provoke and inspire change. TBA21–ACADEMY TBA21–Academy is the exploratory soul of Thyssen-Bornemisza Art Contemporary, and an itinerant site of cultural production and transdisciplinary research. Conceived by Markus Reymann as a moving platform on the oceans, it brings together artists, researchers, and other thinkers and practitioners from various fields concerned with today’s most urgent ecological, social, and economic issues. Through its expeditions on sea and land, the Academy seeks to reinvent the culture of exploration in the 21st century, while inciting knowledge creation, new modes of collaboration, and the co-production of solutions for the pressing environmental challenges of today. TBA21–Academy Second Home 68-80 Hanbury Street London E1 5JL United Kingdom tba21.org/academy Email: office@tba21.org �39 TBA21 STAFF NTU CCA SINGAPORE STAFF Francesca von Habsburg, Founder and Chairwoman Ute Meta Bauer, Founding Director, and Professor, NTU ADM TBA21–Academy Exhibition & Residencies Markus Reymann, Director Stefanie Hessler, Curator Kat Davis, Assistant Director Paul Feigelfeld, Data & Research Architect Maria Montero Sierra, Production Manager James White, Executive Assistant Allegra Shorto, Curatorial Assistant Khim Ong, Deputy Director, Curatorial Programmes Dr Anna Lovecchio, Curator, Residencies Magdalena Magiera, Curator, Outreach & Education Ana Sophie Salazar, Assistant Curator, Exhibitions Syaheedah Iskandar, Curatorial Assistant, Outreach & Education Lynda Tay, Curatorial Assistant, Residencies Ng Soon Kiat, Assistant Manager, Production Isrudy Shaik, Executive, Production Chua Yong Kee, Trainee, Production Jamie Koh, Trainee, Exhibitions Joey Sim, Trainee, Residencies Prunella Ong, Trainee, Outreach & Education TBA21 Programming Daniela Zyman, Chief Curator Boris Ondreička, Curator Frederike Sperling, Assistant Curator Beatrice Forchini, Curatorial Assistant Simone Sentall, Head of Collection Corina Korab, Registrar Collection & Exhibitions Andrea Hofinger, Registrar Collection & Loans Ulrike Janetzki, Archive Eva Ebersberger, Head of Publications Resnicow and Associates, International Press Research & Education Sophie Goltz, Deputy Director, Research & Academic Programmes, and Assistant Professor, NTU ADM Cheong Kah Kit, Manager, Research Anca Rujoiu, Manager, Publications Samantha Leong, Executive, Conference, Workshops & Archive Ho Mun Yee, Trainee, Research Operations & Strategic Development Philip Francis, Deputy Director, Operations & Strategic Development Jasmaine Cheong, Assistant Director, Operations & HR Shirley Low, Head, Development Yao Jing Wei, Manager, Finance Sylvia Tsai, Manager, Communications Angie Ang, Special Projects Assistant Louis Tan, Executive, Operations Samuel Lee, Trainee, Communications �40 NTU CENTRE FOR CONTEMPORARY ART SINGAPORE 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. The Centre is unique in its threefold constellation of research & academic programmes, international exhibitions, and residencies, positioning itself as a space for critical discourse and diverse forms of knowledge production. The Centre focuses on Spaces of the Curatorial in Singapore, Southeast Asia, and beyond, as well as engaging in multi-layered research topics. Since its inauguration in October 2013, the NTU CCA Singapore has developed into an influential platform encompassing research-based artistic practices of international scope, curatorial education, and public programmes to delve into the complexities of the contemporary art field. CLIMATES. HABITATS. ENVIRONMENTS. NTU CCA SINGAPORE VISITOR INFORMATION Exhibition Hours Tuesday – Sunday, 12.00 – 7.00pm Friday, 12.00 – 9.00pm Closed on Mondays Open on Public Holidays (except on Mondays) Free admission to all programmes ntu.ccasingapore.org facebook.com/ntu.ccasingapore Instagram: @ntu_ccasingapore Twitter: @ntuccasingapore Email: ntuccaevents@ntu.edu.sg Exhibitions Block 43 Malan Road, Gillman Barracks, Singapore 109443 +65 6339 6503 Residencies Studios Blocks 37 and 38, Malan Road Singapore 109452 and 109441 Research Centre and Office Block 6 Lock Road, #01-09/10, Singapore 108934 +65 6460 0300 © NTU Centre for Contemporary Art Singapore and TBA21–Academy. Printed January 2018 by First Printers. CLIMATES. HABITATS. ENVIRONMENTS. is NTU CCA Singapore’s overarching research topic which informs and connects the Centre’s various activities over a period of three years. 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 geo-political, social, and cultural systems. The Centre intends to discuss and understand these realities through art and culture in dialogue with other fields of knowledge. �Hawaii Depleted uranium Military sites: Pohakuloa Training Center and Schofield Barraks Scattered 744 ammunition shots recognized by the US Army in 2005 anf 2007 (more than 2000 shots known from other sources) 6938 Fractu re Zo ne North West Pacific Ocean Technological waste (8239 GBq) Depth: >3000 m 1068 containers or Syrvey 6950 Hawaii Technological waste (3.33 Gbq) 39 containers Depth: 3456 m 6470 2836 8129 2480 6031 6566 7333 Cook Is Compla populati by Chris Fangata atmosph 6501 7662 1750 6491 Samoa Radioactive waste 8053 3 7415 USA Amchitka: 3 underground tests Recognized radioactive leaks Significant Contamination "Wildlife refuge" Remediation 2001 to 2025 604 Johnston atoll 12 atmospheric test 12 6947 1370 8631 6536 North Mariana Radioactive waste 7151 6283 6727 Guam Radioactive waste 8167 6926 207 h nc 136 Tre an uti Ale 6445 Nautilus Deep Se 6607 6857 242 Rongelap Waste content: Plutonium, Cesium-137 from the "Bravo" test of 1 March 1954 Contaminated soils stored on an island Litigation between the people of Rongelap who refuses to return to its atoll and the American authorities. ril Ku 7153 am -K atka ch 6049 nch Tre 2018 1406 6588 6614 6261 1958 6909 22 MARSHALL ISLANDS Population : 52,993 Bikini atoll: 21 atmospheric tests / 1 underwater tests Failed decontamination. Atoll unsutable for human habitation Population currently displaced on the Kili atoll Enewetak atoll: 42 atmospheric tests / 2 underwater tests Partial rehabilitation Resettlement of the population since 1980 6587 Enewetak Radioactive waste contained in concrete dome Inhabited atoll Restrictions on local agricultural productions 44 4935 Bikini Contaminated military ships and vehicles abandoned in the lagoon 6941 6583 Jap an Cu Panguna Mine Tre nch Seafloor massive sulfide (SMS) Cu, Au, Ag, Zn Site: Solawara 1 2019 Cu Ashio Mine Depth: 1800m- 2800m Radioactive waste 3031 conteneurs (15078,9 GBq) Nautilus Minerals Deep Sea Mining Area Isu- Ogasawara Trench Ma na ria n Tre ch Okinawa Nuclear weapon of a rugged American aircraft South Korea Radioactive waste Depth: 2192 m 115 containers Au Woodlark Mine Sasebe Contaminated refrigerating liquid from a US submarine "Swordfish" Cu Ok Tedi Mine As Toroku Mine 2 9555 JAPAN Population: 127 million 2 atmospheric attacks on Hiroshima and Nagasaki, 1945 Cu, Au Grasberg Mine 7792 7351 8190 Fe Salsedo Mine Au, Cu Didipio Mine Au,Cu, Ag Padcal Mine Cu Marcopper Placer Dome Mine Ni Zambales Mine Au, Cu, Fe, Ni Marcventure Ni Shenzhou Mine Ni Mine San Roque Fe, Ni Mine Mrl Agata Mine Fe Ni McArthur Metalic San Roque Mine Mine Ni Pulot Sofronio Mine Ni Mindoro Mine Au Mt.Canatuan Mine Fe, rare metals, Ni Toronto Narra Mine Ni Ni Pujada- Hallmark Mine Cu, Au Fe Glencre Xsrata Tampakan PT Mikgro Metal Perdana Mine Mine �Part of Singapore Art Week 2018 Block 43 Malan Road Singapore 109443 � 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 Programme Resource Collateral and other print or digital materials pertaining to residency programmes. Examples include residency brochures, postcards, etc. Short Description Through discursive events including talanoa discussions, case studies, workshops, as well as performative events, Convening #3 shares with a wider public the research and challenges generated through the format of such expeditions. Programme Series None 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 The Current Convening #3 Programme Guides Description An account of the resource The Current Convening #3 Tabu / Tapu – Who Owns the Ocean? marks the culmination of TBA21–Academy The Current’s first cycle of expeditions, bringing together The Current Fellows; thought leaders from diverse disciplines; local agencies and activist NGOs. Through discursive events including talanoa discussions, case studies, workshops, provocations, as well as performative events, Convening #3 shares with a wider public the research and challenges generated through the format of such expeditions. It focuses on the modalities of exchange, addresses environmental urgencies, raises questions regarding responsibilities and ownership, and discusses whether rights of nature can be equal to human rights. Environmental researchers, conservationists, anthropologists, and policymakers will share a platform that invites active and creative participation on how we can understand and effect the development to international law, policies, culture, and environmental education. Coinciding with NTU CCA Singapore’s current exhibition The Oceanic, featuring contributions by TBA21–Academy The Current Fellows from the first cycle of expeditions (2015–17), Convening #3 marks the culmination of inquiries on the vessel Dardanella to the Pacific archipelagos of Trobriand Islands in Papua New Guinea; the Tuamotus in French Polynesia; and the Lau Island Group in Fiji. Date A point or period of time associated with an event in the lifecycle of the resource 2018-01-25 Contributor An entity responsible for making contributions to the resource Atif Akin Laura Anderson Barbata Guigone Camus Newell Harry Kristy H. A. Kang PerMagnus Lindborg Armin Linke Filipa Ramos Lisa Rave Jegan Vincent de Paul Tarek Atoui Barney Broomfield Cynthia Chou Andrew Foran Taholo KamiCresantia (Frances) Koya Vaka’uta Hervé Raimana Lallemant-Moe Sandor Mulsow Rasmus Nielsen Lucy Orta Maureen Penjueli Roko Sau Joey Tau Markus Reymann Stefanie Hessler Ute Meta Bauer 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