1
10
11
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
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
Residencies OPEN: Stories of Khayalan Island, Part 2: Map to Khayalan Island – Interactive event by James Jack
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/491902702">https://vimeo.com/491902702</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
491902702
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies OPEN: Stories of Khayalan Island, Part 2: Map to Khayalan Island – Interactive event by James Jack
Description
An account of the resource
20 Mar 2015, Fri 7:00pm - 11:00pm NTU CCA Singapore, Block 38 Malan Road, Studio #01-05 <br /><br />The artist invites participants to trace the outline of an island in their imagination. By drawing the borders of each coastline in time, islands that are at risk of being lost are reclaimed through imagination. This event will consist of voices from Khayalan Island based on the search in progress. The evening will be moderated by Seng Yu Jin (Senior Curator, National Gallery Singapore) and readers will include Steve Dixon (President, LASALLE College of the Arts), Chand Chandramohan (Artist-in-Residence, The Artists Village, Pulau Ubin) and artist James Jack.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-03-20
Contributor
An entity responsible for making contributions to the resource
James Jack
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
Oceans & Seas
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 #2
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/493613759">https://vimeo.com/493613759</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
493613759
Duration
Length of time involved (seconds, minutes, hours, days, class periods, etc.)
02:34:30
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 #2
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 <br /><br />25 Jan 2018, Thu Talanoa Session #4: The Oceans as Commons
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
Ute Meta Bauer
Roko Josefa Cinavilkeba
Paul Feigelfeld
Jakob Fenger
Andrew Foran
James Jack
Taholo Kami
Kristy H.A. Kang
Hervé Raimana Lallemant-Moe
Maureen Penjueli
Valérie Portefaix
Filipa Ramos
Markus Reymann
Matthew Schneider-Mayerson
Jennifer Teo
Jegan Vincent de Paul
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
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Exploring the ways in which artistic practices reflect on social and ecological phenomena, James Jack will reference one of his curatorial projects, Play with Nature, Played by Nature (2013), an exhibition and series of conversations that looked at creative practices as a way to reinvigorate our consciousness of cycles occurring in the aftermath of the 2011 earthquake and tsunami off the Pacific coast of Tohoku, Japan.
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
Programme Series
Exhibition (de)Tour
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
Exhibition (de)Tour by artist James Jack (United States/Singapore)
Description
An account of the resource
<span>7 Feb 2018, Wed 07:30 PM - 09:00 PM</span><br /><br />Exploring the ways in which artistic practices reflect on social and ecological phenomena, <b>James Jack</b> will reference one of his curatorial projects, <i>Play with Nature, Played by Nature</i> (2013), an exhibition and series of conversations that looked at creative practices as a way to reinvigorate our consciousness of cycles occurring in the aftermath of the 2011 earthquake and tsunami off the Pacific coast of Tohoku, Japan. Jack will also share his artistic research process for Sea Birth (2017), which takes as its starting point the spirits in the sea off the Okinawa coast for a re-imagination of the links between fragments from a turbulent past. In addition, having been a guest for Convening #3—a collaboration between NTU CCA Singapore and TBA21–Academy The Current held in January 2018—Jack will pursue, in an open dialogue format, questions regarding ancient knowledge and alternative imaginaries found in the Pacific that arose during this gathering.<br /><br />A public programme of <em>The Oceanic</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-02-07
Contributor
An entity responsible for making contributions to the resource
James Jack
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
Nature
-
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
The artist invites participants to trace the outline of an island in their imagination. By drawing the borders of each coastline in time, islands that are at risk of being lost are reclaimed through imagination.
Programme Type
Talk and Lecture
Programme Series
OPEN Studios
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies OPEN: James Jack, Stories of Khayalan Island, Part 2: Map to Khayalan Island, an interactive event
Description
An account of the resource
<div class="event_single_dates text__residencies">20 Mar 2015, Fri 7:00pm - 11:00pm</div>
<div class="event_single_venue">Block 38 Malan Road, Studio #01-05</div>
<br />The artist invites participants to trace the outline of an island in their imagination. By drawing the borders of each coastline in time, islands that are at risk of being lost are reclaimed through imagination. This event will consist of voices from Khayalan Island based on the search in progress. The evening will be moderated by Seng Yu Jin (Senior Curator, National Gallery Singapore) and readers will include Steve Dixon (President, LASALLE College of the Arts), Chand Chandramohan (Artist-in-Residence, The Artists Village, Pulau Ubin) and artist James Jack.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-03-20
Contributor
An entity responsible for making contributions to the resource
Seng Yu Jin
Steve Dixon
Chand Chandramohan
James Jack
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
Oceans & Seas
-
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
Alongside images and objects from the search for Khalayan Island, diverse voices presenting oral histories and fictional narratives will be heard.
Programme Type
Talk and Lecture
Programme Series
OPEN Studios
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies Insights: James Jack, Stories of Khayalan Island, Part 1: KHAYALAN ISLAND, a reading
Description
An account of the resource
<div class="event_single_dates text__residencies">18 Mar 2015, Wed 7:30pm - 9:00pm<br />Studios, Block 38 Malan Road #01-05</div>
<br />This event is part of a voyage to Khayalan Island, an island that is rumored to have disappeared from the Singapore Harbour in the early 19th century. Alongside images and objects from the search for the island, diverse voices presenting oral histories and fictional narratives will be heard. <i>Stories of Khayalan Island</i> is a research project of NTU CCA Singapore Artist-in-Residence, James Jack which looks at shifting definitions of place.<br /><br /><span>This event will consist of voices from Khayalan Island based on the search in progress. The evening will be moderated by </span>Seng Yu Jin<span> (Senior Curator, National Gallery Singapore) and readers will include </span>Steve Dixon<span> (President, LASALLE College of the Arts), </span>Chand Chandramohan<span> (Artist-in-Residence, The Artists Village, Pulau Ubin) and artist James Jack.</span>
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-03-18
Contributor
An entity responsible for making contributions to the resource
James Jack
Seng Yu Jin
Steve Dixon
Chand Chandramohan
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
History
Coexistence
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
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)
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
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Place.Labour.Capital.
Subject
The topic of the resource
Institutional Critique
Geopolitics
Urbanism
Description
An account of the resource
Place.Labour.Capital., published by NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) and Mousse Publishing, connects cultural production and artistic research to broader political and social concerns, engaging readers with contemporary debates in Southeast Asia and beyond.<br /><br />The title of the book refers to the framework employed at NTU CCA Singapore in its first cycle of activities, from 2013 to March 2017, which took Singapore, the world’s second-largest trading port and the economic epicentre of Southeast Asia, as a point of departure to investigate the notion of place, the intersection between locality and the global, labour, and flows of capital.<br /><br />Unfolding across four broad sections of “The Making of an Institution,” “The Geopolitical and the Biophysical,” “Incidental Scripts,” and “Incomplete Urbanism,” this publication reads as an exhibition. Drawing connections across disciplines and merging theory with practice, Place.Labour.Capital. weaves together a constellation of different bodies of materials from essays, poetry, and fiction to artworks and documentation of the Centre’s past exhibitions.<br /><br />Richly illustrated, the publication brings together the voices of more than 80 contributors, from former Research Fellows such as Tony Godfrey (Philippines), Regina (Maria) Möller (Germany), T. K. Sabapathy (Singapore), Yvonne Spielmann (Germany), to former Artists-in-Residence including Tiffany Chung (Vietnam/United States), Amanda Heng (Singapore), Shooshie Sulaiman (Malaysia), Lee Wen (Singapore), and Yee I-Lann (Malaysia). Other contributions include those from the Centre’s exhibitions and public programmes such as artists, academics, and curators including Amar Kanwar (India), Lee Weng Choy (Malaysia), David Teh (Australia/Singapore), and June Yap (Singapore).<br /><br />This extensive publication “reminds us that institution building remains enormously significant as a means of opening up new spaces, claims, communities, dialogues, publics, and trajectories for critical artistic practice.” (Felicity D. Scott, Associate Professor Graduate School of Architecture, Planning and Preservation, Columbia University, New York)<br /><br />“Drawing together stories, voices, and thinking by leading artists and academics, Place.Labour.Capital. traces the invention of a remarkable model of an institution. The publication is an inspiration and a valuable tool to anyone trying to find ways of building releveant arts institutions for the future.” (Sally Tallant, Director, Liverpool Biennial)<br /><br />Place.Labour.Capital. takes a reflective look the art institution, and serves as a means to review the parameters of its own position in the present globalised art world and knowledge-production economies. <br /><br />The visual concept of the book was conceived by renowned Singapore design firm H55.
Publisher
An entity responsible for making the resource available
Mousse Publishing
Date
A point or period of time associated with an event in the lifecycle of the resource
2018
Contributor
An entity responsible for making contributions to the resource
Mousse Publishing
H55
Koh Nguang How
Paul Tan
Eugene Tan
T. K. Sabapathy
Khim Ong
Fareed Armaly
Jesko Fezer
Julian "Togar" Abraham
Post-Museum
Kray Chen
Vera Mey
Amanda Heng
Yan Jun
Lee Wen
Marc Glöde
Jeremy Sharma
Heman Chong
Shooshie Sulaiman
Mona Vătămanu
Florin Tudor
Hilde Van Gelder
UuDam Tran Nguyen
James Jack
Jegan Vincent de Paul
Dennis Tan
Erika Tan
Regina (Maria) Möller
Hamra Abbas
Mercedes Vicente
Bo Wang
Ho Rui An
Stefano Harney
Arjuna Neuman
Bani Haykal
Tiffany Chung
Amar Kanwar
Helena Varkkey
Nikos Papastergiadis
Saleh Husein
Sam Durant
June Yap
Roslisham "Ise" Ismail
Shubigi Rao
Guo-Liang Tan
Tamara Weber
Loo Zihan
Zac Langdon-Pole
Trinh T. Minh-ha
Jompet Kuswidananto
Otty Widasari
Yvonne Spielmann
Mark Nash
Arin Rungjang
Filipa Ramos
Yason Banal
Kenneth Dean
Yee I-Lann
Alex Mawimbi
anGie seah
Alexandra Murray-Leslie
Andrew Johnston
Zulkifle Mahmod
Newell Harry
Jason Wee
Anocha Suwichakornpong
Shirley Surya
Sissel Tolaas
Tan Pin Pin
SHIMURAbros
Etienne Turpin
Li Ran
Gary-Ross Pastrana
Yvonne P. Doderer
Matthew Mazzotta
Art Labor
Xu Tan
Weixin Chong
Pratchaya Phinthong
Marc Glode
Mona Vatamanu
Regina Moller
Format
The file format, physical medium, or dimensions of the resource
Publication
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
978-981-11-3843-0
978-88-6749-308-1
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
Access Rights
Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies.
Available for browsing onsite at NTU CCA Singapore physical archive. Contact ntuccareseach@ntu.edu.sg to make an appointment.
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PDF Text
Text
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resources
Corporate Resource
Collateral and other print or digital materials for corporate development or marketing purposes. Examples include quarterlies and residency inserts, Chinese New Year cards, exhibition reports, fact sheets, news clippings, etc.
Short Description
The Making Of An Institution A Public Report
Corporate Resource Type
Reports
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>The Making Of An Institution</i> A Public Report
Description
An account of the resource
<i>The Making Of An Institution</i> Programme Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
11 February - 7 May 2017
Contributor
An entity responsible for making contributions to the resource
åbäke
Hamra Abbas
Rodolfo Andaur
Diana Campbell Betancourt
Dinu Bodiciu
Kray Chen
Chris Chong Chan Fui
Heman Chong
Renée Staal
Weixin Chong
Choy Ka Fai
Ann Demeester
Rosemary Forde
Marc Glöde
Yuko Hasegawa
Bani Haykal
Bahbak Hashemi-Nezhad
Maria Hlavajova
Ho Rui An
James Jack
siren eun young jung
Christoph Knoth
Koh Nguang How
Wilfried Kuehn
Bastien von Lehsten
Li Ran
Loo Zihan
Zulkifle Mahmod
Ato Malinda
Alice Miceli
Laura Miotto
Regina Möller
Arjuna Neuman
UuDam Tran Nguyen
Nikos Papastergiadis
Jegan Vincent de Paul
Emily Pethick
Thao-Nguyen Phan
Souliya Phoumivong
Ana Prvački
Arin Rungjang
anGie seah
Jeremy Sharma
SHIMURAbros
Alec Steadman
Sanne Oorthuizen
Anocha Suwichakornpong
Erika Tan
Guo-Liang Tan
Tan Pin Pin
Philip Tinari
John Tirman
Mona Vătămanu
Florin Tudor
Bo Wang
Farah Wardani
Tamara Weber
Jason Wee
Otty Widasari
abake
Marc Glode
Regina Moller
Mona Vatamanu
Ana Prvacki
Format
The file format, physical medium, or dimensions of the resource
Guide
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Artistic Research
Curatorial Practice
Institutional Critique
Knowledge Production
Creator
An entity primarily responsible for making the resource
NTU CCA Singapore
Language
A language of the resource
English
-
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PDF Text
Text
EXHIBITION
THE MAKING OF
A N INSTITUTION
A PUBLIC R EPORT
1 1 Fe b r u a r y — 7 M ay 2 01 7
cca_makinginstitution_exhibit-guide_RZ.indd 1
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�NO TE S FROM
TH E CUR AT OR S
An institution is a living entity: it grows, develops, and goes through cycles of
change and transformation. Part of a larger political, social and cultural environment, an institution does not evolve in full isolation; on the contrary it is
shaped by forces and actors that contribute to its making — staff, artists, stakeholders, multiple publics, and an increasing virtual audience.
The NTU Centre for Contemporary Art (NTU CCA Singapore), a national research
centre, was established by the Nanyang Technological University (NTU) with a
grant from the Economic Development Board, Singapore. NTU CCA Singapore
officially opened its doors in October 2013 at Gillman Barracks, a former military
site built by the British in the 1930s. The Centre’s start-up phase was overseen by
NTU ’s School of Art, Design and Media (ADM) and its first exhibition Engaging
Perspectives, opened in January 2013 in the designated Artist-in-Residence
studios. The exhibition was curated by Eugene Tan, who also masterminded
Gillman Barracks as Singapore’s first international arts precinct.
NTU CCA Singapore embodies the complexity of a contemporary art institution
in times of knowledge economies, a globally expanded art world, and institutional building in Southeast Asia. The Centre’s inaugural programme, conceived by
its small newly appointed start-up team, was titled Free Jazz and addressed the
foundational question “What can this institution be?” through improvisation and
free play. Three years later, new questions are to be raised: What is the role of the
NTU CCA Singapore within its local, regional, and global cultural landscape?
How does such an institution contribute to a wider understanding of knowledge
production? What are the criteria to evaluate its achievements, impact, and outreach?
Since its inauguration, the NTU CCA Singapore has developed with a fast pace
surpassing expectations. This rapid growth is reflected in all institutional components, from programming to facilities and staff. As an institution the Centre
literally started from scratch: an empty exhibition hall, a small team that worked
from a temporary, improvised office. The Centre’s infrastructure was shaped
hand in hand with its programming, they became inseparable from each other.
The exhibition space was reconfigured in March 2015 into The Exhibition Hall,
The Lab, The Single Screen, The Vitrine, by artist and writer Fareed Armaly.
Together with The Seminar Room, The Artist-in-Residence Studios, The Office
and Public Resource Centre, NTU CCA Singapore’s physical spaces not only
2
THE MAKING OF AN INSTITUTION
cca_makinginstitution_exhibit-guide_RZ.indd 2
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�represent its curatorial environment, but also reflect the variety of the Centre’s
programmes. Following its focus on Spaces of the Curatorial, the Centre connects exhibitions, residencies, public programmes with academic education and
publishing. This constellation of curatorial formats and spaces shape the Centre’s
identity and its holistic approach to knowledge production, while its academic
mandate is closely intertwined with the NTU ’s School of Art, Media and Design.
Nowadays the role of a contemporary art institution is not limited to the presentation of art: it feeds off and nurtures the cultural ecosystem it belongs to through
a complex series of actions that often reside in the realm of the immaterial. As an
art institution emerging from a university environment, NTU CCA Singapore
places at the core of its mission a strong commitment to research in the field of
contemporary art. Many activities and processes carried within the institution
remain less known to a wider audience and don’t reach an immediate level of
public visibility. The Residencies Programme that launched its first cycle of international Artists-in-Residence in June 2014 is defined by its research focus. In
seven studios, the Centre hosts every year around 20 Artists-in-Residence from
Singapore, Southeast Asia, wider Asia, and other parts of the world. NTU CCA
Singapore also provides residencies to curators and writers aiming to facilitate
exchanges and fostering dialogues within and beyond the region. The Centre’s
guests benefit from its facilities, curatorial support andaffiliation with the University,
as well as from its connections in the region and its global network. The main distinctive benefit of The Residencies Programme is perhaps the space and time
that the Centre provides to pursue ideas and research without the pressuring
expectation of a tangible outcome. In times where intensive productions and
tight deadlines reached both the art world and academia, a research-focused
residency is a rare and valuable opportunity. But it is also a risky endeavor for an
institution since nurturing research does not lead to immediate, tangible results.
It is a long-term process whose outcomes cannot be easily determined beforehand
nor evaluated shortly afterwards.
Our commitment to research is formalised through our connection to the
University. Established under NTU ’s College of Humanities, Art and Social
Science (CoHASS), the Centre’s academic programmes are part of NTU ADM and
currently offer a Master of Art (M A ) and a Doctor of Philosophy (PhD) with a focus on Spaces of the Curatorial. The research-oriented MA & PhD programmes of
NTU ADM provide students with the opportunity to pursue research in dis
ciplines such as Museum Studies & Cultural Heritage, Curatorial Practice,
Exhibition Design, and most recently in Art in Public Space & Critical Spatial
Practice. The Centre’s Visiting Research Fellows contribute to the aforementioned
areas of inquiry.
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�The wider public from Singapore and abroad might be more familiar with the
Centre’s exhibition programme that features four large-scale exhibitions a year
either focusing on a long-term project of an individual artist or on a thematic, often interdisciplinary exhibition. One of the defining aspects of our approach to
exhibition-making is the spatial display. With each show, the reconfiguration of
the exhibition space has been driven by a strong curatorial understanding of
the exhibition as a complex spatial experience. Another distinctive curatorial
approach to exhibition-making is reflected in the public programme. During the
first years, the NTU CCA Singapore developed different formats of programming that approach the exhibition as a working tool. Such public programming
formats include Exhibition (de)Tours, Stagings, and Behind the Scenes that
approach the presented works and each distinctive display as an open-ended
discourse whose questions and concerns are relevant across other disciplines.
Geographers, scientists, anthropologists, historians, and experts from other
fields have been invited in different occasions to interpret the exhibition from
their perspective. Such interdisciplinary encounters grounded our efforts
to place contemporary art as a method of inquiry in the field of knowledge production.
The symbiosis between the programmes of research, residencies, and exhibitions
developed organically over time and many of the Artists-in-Residence share
communal interests and lines of investigation with the artists or topics featured
in the Centre’s exhibitions. The current NTU CCA Singapore’s overarching curatorial narrative, Place.Labour.Capital . emerged in response to these overlap of
interests rather than predetermining them. Reflections on the dynamic relation
between topography, labour migration, and global capital served as entry point
to connect cultural production with a world in flux. Such inquiry is placed within the context of the wider region of Southeast Asia subjected to fast changes and
rapid growth, but also to the inequalities of capital distribution.
In this moment of institutional self-reflection, we look back at our organisation
through the same lens of Place.Labour.Capital . Part of larger national agenda of
cultural development and knowledge economy, an art institution is a producer of
capital, an employer, and a provider of labour. Part of a larger geographical and
cultural environment, an institution is subjected to the conditions and contingencies of the place in which it situates itself. The effort of The Making of an
Institution is to “evaluate” the institution in all its aspects in the attempt to make
visible what usually stays behind the scenes.
The Making of an Institution captures different moments in the development of
the Centre connecting artistic projects, discursive manifestations, and the insti-
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�tutional apparatus in a seamless display. It looks back into its recent past in order
to shape its near future. Challenging the format of an exhibition, this curatorial
collaboration creates a communal space where projects and research explorations
by the Centre’s Artists-, Curators-in-Residence, and Research Fellows coexist
with a discursive public programme of talks, screenings, performances, and
workshops.
In revisiting its own process of institutional building, NTU CCA Singapore
appropriates the format and language of a “public report”. The use of a public
report format is a reflection on the evaluation process to which any institution
is subjected, but also on the responsibility it carries towards its many publics
including the funders. While this format is conventionally employed to deliver
an official written narrative, the Centre’s report unfolds in the exhibition space
through the languages of the performative, the discursive, and the archival.
The Making of an Institution is divided into four main sections. The first section,
Reason to Exist: The Director’s Review, focuses on institutions that place research
at the core of their identity. Invited directors of research-oriented institutions
will closely examine the vision, mission, and operative model of their respective
organization in a series of talks aimed at deepening our understanding of the
changing role of contemporary art institutions. Ownership, Development, and
Aspirations stresses the importance of a wide network of expertise and collaborative exchange in shaping the development of an institution by creating a public
panel with members of the NTU CCA Singapore’s International Advisory Board.
The section dedicated to Artistic Research frames the material and immaterial
aspects that constitute contemporary art practices. It takes over the Centre’s
physical Spaces of the Curatorial — The Exhibition Hall, The Single Screen, The
Lab, and The Vitrine — juxtaposing artworks and research projects by NTU CCA
Singapore’s Artists-, Curators-in-Residence and Research Fellows alongside a
series of talks, screenings, studio sessions, and performances. In addition, it
provides access throughout the duration of the exhibition to the Centre’s Artist
Resource Platform. Finally, the fourth session, titled Communication and
Mediation, explores the production of an institution’s identity through visual
communication and spatial practices in a series of workshops and presentations
with contributions by architects and designers who work in this particular field.
A chronology of events incorporating various institutional materials traces the
Centre’s history of curatorial programmes since its establishment. The Making
of an Institution takes place within the traces of NTU CCA Singapore’s pre ious
v
exhibition Incomplete Urbanism : Attempts of Critical Spatial Practice (October
2016 — January 2017) that will serve as a display platform, but also as a form of
exhibition documentation that becomes part of the institutional public report.
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�Within this framework, we will produce a publication gathering the voices of all
the artists, curators, researchers, and academics who have contributed to the
making of this institution.
In this moment of reflection and evaluation, we take the opportunity to acknowledge and express gratitude towards the wide net of people and organisations,
public and private, that contributed to the Centre’s achievements in its founding
phase. Entrusted with the establishment of the Centre, we wouldn’t have been
able to undertake this challenging journey without the constant support of our
stakeholders, NTU CCA Singapore’s staff, artists, collaborators, and our loyal
audience.
Ute Meta Bauer, Founding Director
Anna Lovecchio, Curator, Residencies
Anca Rujoiu, Manager, Publications and previous Curator, Exhibitions
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�NTU CCA Singapore’s staff, opening of Amar Kanwar, The Sovereign Forest, in collaboration
with Sudhir Pattnaik/Samadrusti and Sherna Dastur, 29 July — 9 October 2016.
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�Danné Ojeda, Basic Object Of Knowledge [ B .O.O. K . ]: The Contemporary Book And
Its Model , recipient of the R E D D OT DESIGN AWA R D : COMUNIC ATION DESIGN 2015;
presented during NTU CCA Singapore’s Publishing as Expanded Form,
Singapore Art Book Fair, 13 — 16 November 2014, The Exhibition Hall.
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�R E A S ON T O E X I S T:
THE DIR ECTOR’S
R EVI EW
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�What is the role of a contemporary art institution today? This series of talks
brings together directors and founders of organisations that adopt critical and
innovative strategies to advance the development of contemporary art practices
and discourses. Combining different activities and experimenting with a variety of programmes, these institutions stretch the concept of artistic practise beyond the conventional parameters of exhibition making placing the production
of knowledge at the core of their identity. Through a critical reading of the vision
and mission of their own institution, the guest speakers will reflect upon the
“reason to exist” and the “modes of existence” of the institution in a specific social context and will discuss current challenges and future developments.
TA L K S
The Exhibition Hall
Emily Pethick
Wednesday
15 February 2017
7.30 — 9.00 pm
Since 2008, Emily Pethick (United Kingdom) has been Director of The Showroom,
London, United Kingdom, a contemporary art space committed to collaborative
and process-driven approaches to cultural production within its locality and beyond. She was previously Director of Casco, Off ice for Art, Design and Theory,
Utrecht, Netherlands (2005—2008). Pethick has contributed to several catalogues and magazines, such as Artforum, Frieze, Afterall, and The Exhibitionist,
and edited numerous publications including Wendelien van Olden borgh ’s
monograph Amateur (2016) and Cluster: Dialectionary (with Binna Choi, Maria
Lind, and Natasa Petresin-Bachelez, 2014). Pethick is a jury member for the
2017 Turner Prize.
Diana Campbell
Betancourt
Wednesday
8 March 2017
7.30 — 9.00 pm
(United States/Philippines/Bangladesh) is currently Artistic Director of Samdani
Art Foundation and Chief Curator of Dhaka Art Summit, Dhaka, Bangladesh,
a major research and exhibition platform for art in South Asia. In addition,
Betancourt is Artistic Director of Bellas Artes Projects, Bagac, Philippines. She
has collaborated with sculpture parks such as the Yorkshire Sculpture Park,
Wakef ield, United Kingdom; deCordova Sculpture Park, Lincoln, United States;
and Wånas Konst, Knislinge, Sweden, on commissions of Indian sculpture.
Betancourt is also responsible for developing the Samdani Art Foundation collection.
Farah Wardani
Wednesday
15 March, 2017
7.30 — 9 pm
(Indonesia/Singapore) is currently Assistant Director of the Resource Centre at
the National Gallery Singapore. She was previously Director of the Indonesian
Visual Art Archive (ICA A ), Yogyakarta, Indonesia, a centre for digital archive
and documentation of Indonesian art, as well as a platform for research. Wardani
has also been active as a teacher, writer, and curator. Her curatorial work encompasses collaborations with art spaces such as Cemeti Art House, Yogyakarta and
ruangrupa, Jakarta, Indonesia. She also served as artistic director of Biennale
Jogja XII Equator #2, Indonesia (2013).
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�Maria Hlavajova
Wednesday
22 March 2017
7.30 — 9.00 pm
(Slovakia/Netherlands) is Artistic Director of BA K , basis voor actuele kunst,
Utrecht, Netherlands, an institution that advocates for the critical role of art in
society through various programmes of education, exhibitions, and publishing.
Hlavajova is also initiator and artistic director of FOR MER WEST, an eight-year
long transnational research, education, exhibition, and publication project organised and coordinated by BA K . She regularly contributes to numerous critical
readers, catalogues, and magazines internationally. In addition, Hlavajova is
co-founder of tranzit, a network established in 2002 that supports contemporary
art practices and exchanges in Austria, Czech Republic, Hungary, Slovakia, and
Romania. She serves on the Advisory Board of Bergen Assembly, Norway.
Sanne Oorthuizen
and Alec Steadman
Wednesday
12 April 2017
7.30 — 9 pm
Sanne Oorthuizen (Netherlands/Indonesia) is a curator, editor, translator, feminist, daughter, educator and partner. She is Co-Chief Curator at Cemeti — Institute
for Art and Society, Yogyakarta, Indonesia where she is currently working with
Alec Steadman on Maintenance Works, a year-long project in which they envision alternative futures for Cemeti. Previously she was Curator at Casco-Off ice
for Art, Design and Theory in Utrecht, Netherlands (2012—2016), curatorial
team member for the SONSBEEK Triennial, Arnhem, Netherlands (2015—2016,
with ruangrupa).
Alec Steadman (United Kingdom/Indonesia) is a curator and researcher. He is
currently Co-Chief Curator at Cemeti — Institute for Art and Society, Yogyakarta.
Previously he occupied various roles including: Curator, Arts Catalyst, London,
United Kingdom (2015—2016); Exhibition Studies Research Fellow, Asia Art
Archive, Hong Kong (2015); Artistic Director, Contemporary Image Collective,
Cairo, Eg y pt (2013—2014); Curator in Residence, Fondazione Sandretto Re
Rebaudengo, Turin, Italy (2013), and Head of Exhibitions, Zoo Art Enterprises,
London, United Kingdom (2005—2010).
1 The Geopolitical and the Biophysical: A Structured Conversation on Art and
Southeast Asia in Context, Part II, 18 June 2016, The Single Screen.
2 Halimah-the-Empire-Exhibition-weaver-who-died-whilst-performing-her-craft,
14 July — 2 August 2015, Erika Tan, Artist-in-Residence, The Lab.
3 NTU CCA Singapore Public Resource Centre.
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�1
2
3
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�OWN E R S H I P,
D E V E L O P M E N T, A N D
A SPI R ATIONS
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�Who owns a public institution? How does an institution balance the different
sets of expectations held by its various stakeholders? What is the role of an international advisory board and how does it contribute to the institution’s development within a global perspective? Shifting the top-down operational model, can
an institution learn from artists and incorporate artistic methodologies into its
own structure? To address such questions, this session brings together several
members of the NTU CCA Singapore’s International Advisory Board into a public discussion moderated by Founding Director Ute Meta Bauer. The conversation will be ushered in by Words , They, Wrote, (2015—ongoing), a performance
by Artist-in-Residence Heman Chong. Utilising words written or spoken by several artists, the performance generates a moment of introspection opening up a
space for the artists’ thoughts on their own lives and works.
PE R F OR M A NC E A ND P UBL IC DI S CUS SION
Saturday
25 February 2017
3.00 — 6.00 pm
The Single Screen
Ute Meta Bauer
(Germany/Singapore) is the Founding Director of the NTU CCA Singapore and
Professor at School of Art, Design and Media, Nanyang Technological University
(NTU), Singapore and was prior Associate Professor (2005—2012) at the Massachusetts
Institute of Technology (MIT ), Cambridge, United States, where she served as
Founding Director of the MIT Program in Art, Culture, and Technology. Bauer
was Co-Curator for Documenta11 (2001—2002), Artistic Director for the 3rd
berlin biennale for contemporary art (2004), and the Founding Director of the
Off ice for Contemporary Art Norway (2002—2005). She recently co-curated
with MIT List Centre for Visual Art Director Paul Ha the US Pavilion at the 56th
Venice Biennale (2015), Italy, presenting eminent artist Joan Jonas, and developed the concept for Cities for People (2017), the pilot edition of an annual NTU
CCA Ideas Fest. She co-edited with Brigitte Oetker Southeast Asia Spaces of the
Curatorial (2016) published by Sternberg Press.
Heman Chong
(Malaysia/Singapore) is an artist whose work is located at the intersection between image, performance, situations, and writing. His work continuously interrogates the functions and the production of narratives in our everyday lives.
Chong has presented solo exhibitions in institutions such as the Rockbund Art
Museum, Shanghai, China (2016); South London Gallery, United Kingdom (2015);
Art Sonje Center, Seoul, South Korea (2015); The Reading Room, Bangkok, Thailand
(2013). He has also participated in numerous international biennales including
the 20th Sydney Biennale, Australia (2016); 10th Gwangju Biennale, South Korea
(2014); Asia Pacif ic Triennale 7, Brisbane, Australia (2012); Performa 11, New
York, United States (2011); Manifesta 8, Spain (2010); and represented Singapore
at the 50th Venice Biennale, Italy (2003).
15
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�Ann Demeester
(Belgium/Netherlands) is currently the Director of Frans Hals Museum, Haarlem,
Netherlands. She was appointed Manager of Art and Urban Development for
Amsterdam City Council, co-curated the 10th Baltic Triennial, Vilnius, Lithuania
(2009) and was previously the Director of De Appel Arts Centre and W139,
Amsterdam, Netherlands. Demeester was part of the editorial team of the literary
journals, Yang, A Prior Magazine and F.R . David, and wrote catalogue texts on
the work of Luc Tuymans, Michael Borremans, Jennifer Tee, Richard Hawkins,
Mika Rottenberg and Bjarne Melgaard, amongst others. She is member of the
NTU CCA Singapore’s International Advisory Board.
Yuko Hasegawa
(Japan) is Chief Curator of the Museum of Contemporary Art, Tokyo, Japan and
Professor at the Tama Art University, Tokyo, Japan. Since 2008, Hasegawa has
been a member of the Asian Art Council at the Solomon R. Guggenheim Museum,
New York, United States. She is also currently Artistic Director of Inujima Art
House Project, Okayama, Japan. Past appointments includeFounding Artistic
Director, 21st Centur y Museum of Contemporar y Art, Kanazawa, Japan (1996—
2006); Curator of 11th Sharjah Biennial, United Arab Emirates (2013); co-curator
of 29th São Paulo Biennial, Brazil (2010); co-curator of the 4th Shanghai Biennale,
China (2002); and Artistic Director of the 7th International Istanbul Biennial,
Turkey (2001). She is member of the NTU CCA Singapore’s International Advisory
Board.
Nikos Papastergiadis
(Australia) is Director of the Research Unit in Public Cultures and Professor,
School of Culture and Communication, University of Melbourne, Australia. His
current research focuses on the investigation of the historical transformation of
contemporary art and cultural institutions by digital technolog y. He was coeditor of Third Text. He is a Fellow of the Australian Academy of the Humanities,
Canberra, Australia; Fellow of Cambridge Commonwealth Trust, Melbourne,
Australia; Member of Clare College, Cambridge, United Kingdom; Visiting Fellow,
University of Tasmania School of Art, Australia; Advisory Board Member to
University of South Australia School of Art and Architecture, Adelaide, Australia;
co-chair of the Greek Centre for Contemporary Culture, Melbourne, Australia,
and NTU CCA Singapore’s International Advisory Board.
Philip Tinari
(United States/China) is Director of Ullens Center for Contemporary Art,
Beijing, China, since 2011. He was founding editor of LEA P, contributing editor
of Artfor um, and Adjunct Professor, China Centra l Academy of Fine A r ts,
Beijing. Tinari was named Young Global Leader by the World Economic Forum
in 2015 and was selected for the Public Intellectuals Program of the National
Committee on U.S.-China Relations in 2016. He is currently a D.Phil. candidate
in Art History at the University of Oxford, United Kingdom. Tinary is member
of the NTU CCA Singapore’s International Advisory Board.
John Tirman
(United States) is the Executive Director and a Principal Research Scientist at
the Massachusetts Institute of Technology Center for International Studies,
Cambridge, United States. Tirman is author, co-author and editor, of 14 books
on international affairs, including, most recently, Dream Chasers: Immigration
and the American Backlash (2015) and The Deaths of Others: The Fate of Civilians
in America’s Wars (2011). Earlier work includes The Fallacy of Star Wars (1984),
the f irst important critique of strategic defense, and Spoils of War: The Human
Cost of America’s Arms Trade (1997). In addition, he has published more than 100
articles in periodicals such as the The Nation, Boston Globe, New York Times,
Washington Post, Esquire, Wall Street Journal, and Boston Review. He is also a
trustee of the Institute for War & Peace Reporting. Tirman is member of the
NTU CCA Singapore’s International Advisory Board.
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�Performance by OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom,
and Wu Jun Han), Free Jazz, 23 October 2013, The Exhibition Hall.
17
O WN E R S H I P, D E VE L O P M E N T, A N D A S P I R A T I O N S
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�Studio of Shooshie Sulaiman, Artist-in-Residence, Residencies Open: Art Day Out!, 25 July 2015.
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�A RTISTIC
R ESE A RCH
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�What is artistic research? Which are the material and immaterial aspects that
constitute contemporary art practices? How can we challenge conventional hierarchies and rethink the value judgments of what remains in the realm of the invisible, unspoken, unproduced? Bringing to the fore the research-driven nature
of the NTU CCA Singapore and its holistic approach to cultural production, this
section presents a selection of artworks, working processes, and research projects
developed by the Centre’s former Artists-in-Residence and its Research Fellows
together with a series of talks, discussions, screenings, and performances by
current Artists- and Curators-in-Residence aimed to further our understanding of
the process of artistic research. In addition, the Centre’s Artist Resource Platform
will be accessible to the public in The Exhibition Hall throughout the duration of
the public report.
The presentation of the artists’ works unfolds within, but is not limited to, the
Centre’s Spaces of the Curatorial — The Exhibition Hall, The Lab, The Single
Screen, and The Vitrine — pouring out into some less frequently used spaces,
such as the foyer and the rear room in the exhibition area.
Since 2013, the Centre’s Residencies Programme has hosted over 60 local, regional, and international artists providing them with a concentrated period of
time and a studio space to focus on the development of their practice away from
the pressure of deadlines and production requirements. The artists have responded to the research-based approach of the residency in different ways. Some
have taken this opportunity to delve more deeply into an existing project. Some
have embarked on context-specific investigations exploring the social, political,
and historical specificities of Singapore. Others have expanded their current
perspectives experimenting with topics and materials outside their habitual
practice. Within this open, not-outcome driven framework, it also happened that
artworks were created. Featuring artworks together with research materials and
visual traces of projects and works-in-progress, this section creates a constellation of elements that revolve around the concept of artistic research to further our
understanding of its processual nature, multiple stages, and diverse patterns of
development. In The Single Screen, a film programme brings together a diversity
of works realized by the Artists-in-Residence selected by Visiting Scholar Marc
Glöde to provide a better insight into their practice.
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�R E SE A RCH PROJEC T S
The Exhibition Hall
The Foyer
The Vitrine
Hamra Abbas
Place. Labour. Capital .
2016
(b. 1976, Kuwait)
Lives and works between
Boston, United States and
Lakhore, Pakistan
Artist-in-Residence:
4 May — 5 June 2015
ink on silk, dry mount
28 x 22 cm
Kray Chen
Critical Fengshui
(Fengshui Studio)
2016
(b. 1987, Singapore)
Lives and works in
Singapore
Artist-in-Residence:
18 April — 12 August 2016
video, projection, colour
and sound
2 min
Critical Fengshui
(Gillman Barracks)
2017
video, projection, colour
and sound
10 min
22
In the research during her residency, Hamra Abbas
learnt the courtly Chinese painting style of Gongbi, a
meticulous and realist painting technique usually executed on raw silk. The subjects in her painting are based
on photographic documentation of people (chefs, waiters,
etc.) she met and conversed with in the Singaporean
neighbourhood Little India. Set up as a colony by Indians
who came to Singapore as prisoners of the British Raj
in the early 1800s as well as by other labourers, Little
India became home to many who chose to remain in
Singapore. Abbas’ s portraits of these workers is a commentary on the history of labour mobility. By appropriating courtly Chinese techniques to address the story of
Indian migration, she reveals the complex intertwining
of histories, class, race, and culture that defines contemporary postcolonial spaces.
Kray Chen developed a Fengshui survey of his residency studio and the larger Gillman Barracks precinct,
with the aim to enliven and invigorate a crucial site of
art that it is struggling to meet the initial expectations
to establish itself as a vibrant cultural hub. Fengshui,
the art of living harmoniously with the surrounding environment, is a common practice in Singapore as a way
to extend one’s fortune. It utilises geomantic surveys
that map the flow of metaphysical and mystical energies within and around an architectural space. In the
context of NTU CCA Singapore’s reflection on the process of its own making, this project addresses the nonphysical forces that inhabit the infrastructure and the
psyche, the “hardwares” and the “softwares”, raising a
broader question about the status of art in Singapore.
THE MAKING OF AN INSTITUTION
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�Heman Chong
The Library of Unread Books
2016 — ongoing
(b. 1977, Malaysia)
Lives and works in
Singapore
Artist-in-Residence:
19 September 2016 —
24 February 2017
donated unread books
A History of Amnesia
2016
acrylic paint on canvas
61 x 46 x 3,5 cm
Weixin Chong
Beige Dreams
2017
(b. 1988, Singapore)
Lives and works in
Singapore
Artist-in-Residence:
3 August —
30 November 2015
fabric, aluminum,
mixed media
dimensions variable
Bani Haykal
sketches of violence
2015
(b. 1985, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
10 September —
31 December 2014
audio, stereo
5 min 33 sec
Ho Rui An
2020x3
2016
(b. 1990, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
5 September 2016 —
31 January 2017
80 digital images
transferred to 35mm slides,
documentation materials
23
As part of his residency, Heman Chong and his collaborator Renée Staal embarked on a ten-year project, The
Library of Unread Books — a members-only reference
library made up of donated books that are unread by
their previous owners. The price for a lifetime membership to the library is the donation of a single unread
book. Through the gradual accumulation of unread
volumes, The Library of Unread Books benef its from a
collective gesture and traces the shifting perimeters of
unwanted knowledge. For the duration of his residency,
The Library was open to the public every Friday, from
noon to midnight in the artist’s studio transformed into
an artist-run space. Currently located in The Lab, it has
gathered a collection of more than 300 books to date.
In counterpoint to ideas of tropicality, Weixin’s Beige
Dreams is a response to the abundant vegetation of
Gillman Barracks. The artist transforms The Vitrine
through a mixed-media installation of images and different materials, bringing out flesh-like qualities in
flowering plants. At close examination, it reveals the
lush details of petals and leaves, fluids and f inishes.
Beige is poised against green to question the widespread practice and continued aspiration to sanitise
and tame the wildness of tropical nature.
sketches of violence is a response to Place.Labour.Capital.,
the Centre’s current overarching curatorial framework.
Drawing on several talks, discussions, books and articles, the work reflects on the contemporary climate of
Singapore with regards to culture, politics, and economics. It is a combination of improvisation and composition, that attempts to comment on the importance of
structure (or lack thereof). sketches of violence is written
and performed on drums, contact microphones, speakers, electronics, chains, screws, bass clarinet mouthpiece, soprano clarinet, and voice.
2020x3 is a set of images gathered by the artist for the
research into the history of foresight in Singapore undertaken during his residency at NTU CCA Singapore.
Extracted from a CD -ROM realized on the occasion
of an exhibition organised in 1997 to celebrate Public
Service 21 (PS21 ) — an initiative that can be regarded as
a precursor to the current Smart Nation programme —
these images project forms of millennial optimism, or
anxiety. Among them are illustrations of three national scenarios for the year 2020. Reproduced as 35mm
slides, these images appear at once anachronistic and
enchanted, suggestive of both futures passed (over) and
yet to come.
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�Koh Nguang How
(b. 1963, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
1 July 2014 —
31 January 2015
James Jack
(b. 1979, United States)
Lives and works
in Tokyo, Japan
Artist-in-Residence:
3 February — 14 April 2015
Joan Jonas
(b. 1935, United States)
Lives and works in New York,
United States
Snippets from Singapore
Art Archive Project at NTU
CCA Singapore
2014 — 2015
32 photographs, digital
print on paper
Reparative Islands
2016
Khayalan Island is rumoured to have disappeared from
the Singapore harbour in the beginning of the 19th
century when the British were establishing a post in
audio, stereo
Southeast Asia. James Jack ’s research on the history of
5 min 20 sec
Khayalan as part of his residency expanded his ongoing
interest in archipelagic thinking that previously brought
him to investigate the islands of Seribu, Setouchi,
Khayalan Island from Pulau
Ryukyu and Riau. The search resulted into a collection
Balakan Mati (as seen by a
of poems, titled Stories of Khayalan, shaped by the voices
seven-year old island resident) of former islanders migrating from small islands,
2015
mari ime diaries, and the actual experience of searcht
ing for Khayalan. Inspired by this exploration, the poem
photograph, inkjet print
Reparative Islands is read aloud by two participants on
on paper
a boat trip in the South Harbour in search of Khayalan
63 x 95 cm
Island. The night before the search trip, the seven-year
old participant to the expedition, an islander himself,
drew an image of the island f iguring forth its appearance. Presented in an intimate installation that merges
memory and imagination, the poem — read aloud by the
artist, Veryan and Jasper Stephens — and the image
serve as mnemonics for reimagining the rich stories of
the island we live on today.
Props used in Theatrical
Fields (2014) and
They Come to Us without a
Word (2016)
dimensions variable
24
As part of his residency, Koh Nguang How presented to
the public his long-term artistic endeavour, Singapore
Art Archive Project (SA A P ). For longer than 30 years,
Koh has been documenting the local art scene, gathering an impressive collection of printed matters ranging
from exhibition flyers, catalogues, newspapers, as well
as photographs and audio recordings produced by the
artist himself. As a living body of knowledge, SA A P
never stops expanding. During his residency, the artist
continued the documentation process collecting a
variety of items and taking photographs of minor and
major events, exhibition openings, and construction
works across Gillman Barracks. For The Making of an
Institution, Koh has made a selection of materials that
document the SA A P ’s activity and tell the story of the
establishment of the Centre and the Gillman Barracks
from the point of a view of the artist. He captured details
and situations that often remain overlooked or easily
forgotten.
The work of American artist Joan Jonas has been presented at NTU CCA Singapore in the group exhibition
Theatrical Fields (2014) and in the large-scale solo show
They Come to Us without a Word (2016), originally organised for the U.S. Pavilion of the 56th Venice Biennale by
the MIT List Visual Arts Center and co-curated by Paul
C. Ha, Director of the MIT List Visual Arts Center and
Ute Meta Bauer, Founding Director of the NTU CCA
Singapore. For each exhibition, several display structures and props have been manufactured in Singapore
following the artist’s instructions. As it often happens
with theatre props, such objects remained in the institution storage space awaiting an uncertain future. In
the context of The Making of an Institution, the props
are integrated in the display of Heman Chong’s Library
of Unread Books.
THE MAKING OF AN INSTITUTION
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�Li Ran
(b. 1986, China)
Lives and works
in Beijing, China
Artist-in-Residence:
7 September —
13 November 2015
It is not Complicated,
A Guide Book
2016
Commissioned for the exhibition Encounter w ith
Pompidou (2016), Centre Pompidou, Paris, France, and
started during his residency, Li Ran’s work playfully
blends the free gesture of artistic observation with the
video, high def inition,
automatism of touristic contemplation. These distinct
1 projection and 1 flat screen, visual approaches are overlaid in a two-screen video
color and sound
installation that comprises different footage of two of
18 min 28 sec
Singapore’s most popular attractions: Gardens by the
7 min 51 sec
Bay and Marina Bay Sands Hotel. In one video, the artist replicates the conventional and predetermined gaze
of a tourist experiencing the city from a sightseeing bus
tour, while in the other he explores the same subjects
from the unconstrained point of view of “the lost wonderer”, experimenting with unconventional angles and
shooting techniques. The text featured in the video installation originates from the Mandarin Chinese version
of the Centre Pompidou’s museum guide. Discussing
150 works from the collection, this guidebook (originally written by Jean Poderos and translated by Hu
Bin) conveys an account of modernism that resonates
uncannily with Singapore’s contemporary landscape.
Loo Zihan
I am Paying Attention
2016
(b. 1983, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
16 June — 9 September 2016
archival materials
dimensions variable
Zulkifle Mahmod
(b. 1975, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
1 February — 1 Jun 2016
25
video, flat screen, colour
and sound
20 min
Resonances: Readymade
Sound Sculptures
2016
wok covers, utensils,
32-channel microcontroller
connected to a Midi player
This installation combines materials from The Ray
Langenbach Archive of Performance Art with the documentation of I am LGB, a participatory performance
realized by the Lan Gen Bah Society of Mind (LGBSM )
in 2016. Commissioned by the Singapore International
Festival of Arts, I am LGB was developed during Loo
Zihan’s residency. The four-hour performance raises
questions of identity construction, highlights the fragile relation between education and control, and brings
our attention to forms of authoritarianism embedded
in our daily environment. During I am LGB, audience
members were encouraged to reflect on the choices
they would make in this highly scripted experiment
and question their performance as subjects in the wider political and social landscape. I am Paying Attention
is a section of the experiment designed by Loo Zihan, a
member of LGBSM in collaboration with other LGBSM
members.
Constructed during his residency, Zul Mahmod ’s installation is a chamber orchestra made of readymade
items turned into unconventional sound sculptures.
Everyday objects including kettles, glasses, and tin cans
create a holistic acoustic experience where each sculpture plays an individual sonic role. By modifying and
turning daily objects into sound sculptures, Mahmod
gives new meanings to their function and history, recasting their forms and textures in terms of their unexpected sonic properties. The artist draws the viewer’s
attention to the act of listening and transforms items
that populate our daily life into performative objects
that reshape the aural architecture of space.
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�1
2
3
4
5
6
1 Anocha Suwichakornpong, Nightfall, 2015, f ilm still. Courtesy the artist.
2 Ato Malinda, Out of Africa , Out of Reach , 2016, drawing. Courtesy the artist.
3 Bo Wang, Land Reclamation in Progress, Johor Strait, 2016, video still.
Courtesy the artist.
4 Jeremy Sharma, Vertical Progression, 2016, video still. Courtesy the artist.
5 Kray Chen, Critical Fengshui (Fengshui Studio), 2016, f ilm still. Courtesy the artist.
6 Li Ran, It is not Complicated, A Guide Book, 2016, f ilm still. Courtesy the artist.
26
THE MAKING OF AN INSTITUTION
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�7
8
9
10
12
11
27
7 Mona Vătămanu and Florin Tudor, Le monde et les choses, silk, 2014,
installation view, The Wretched of the Earth (2016), Salonul de Proiecte,
Bucharest, Romania. Photo by Ștefan Sava. Courtesy the artists.
8 Otty Widasari, Fiksi (Fiction), 2016, film still. Courtesy the artist.
9 Regina (Maria) Möller, INTE R RO GATIVE PAT TE R N — TE XT(IL E)
WE AVE , 2015—2017, The Lab.
10 SHIMUR Abros, Chasing the Light, 2017, f ilm still. Courtesy the artists.
11 Tamara Weber, Close Readings . R EBUS, 2016, inkjet digital print.
Courtesy the artist.
12 Zul Mahmod, Resonances: Readymade Sound Sculptures, 2016. Courtesy
the artist.
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�Ato Malinda
Out of Africa , Out of Reach
2016
(b. 1981, Kenya)
Lives and works in Schiedam,
2 drawings, ink on paper
Netherlands
19 x 25 cm
Artist-in-Residence:
29 August —
Untitled
28 October 2016
2016
3 drawings, ink on paper
21 x 29.7 cm
Regina (Maria)
Möller
(Germany)
Lives and works in
Singapore and Germany
Visiting Professor:
21 September 2015 —
20 September 2016
Visiting Artist:
21 September 2016 —
31 May 2017
INTER ROGATIVE PAT TER N As part of her research fellowship, Regina (Maria)
— TE XT(IL E) WE AVE
Headgears
Headgear No. 2
2017
wood, gauze
dimensions variable
Headgear No. 5
2017
cardboard
dimensions variable
Headgear No. 62
2017
fabric, tape, ink
dimensions variable
Dinu Bodiciu
(b. 1979, Romania)
Lives and works
in Singapore
The work of Ato Malinda investigates African identity,
contesting notions of authenticity as well as fixed assumptions about gender and sexuality. Since 2012, she has
been working on a series of drawings that relate to her
innermost feelings and fantasies about queer-related
issues. Often inspired by events in her life and in the
life of her friends, the drawings portray half-human,
half-animal creatures caught up in intimate situations
and pensive poses. During her residency, she continued
her series of self-portraits (Out of Africa , Out of Reach)
and realized several portraits of one of Singapore’s most
famous drag queens, represented in the surreal metamorphosis into a peacock (Untitled).
Möller explored the relation between labour, identity
construction, and cultural assimilations in an emerging global sameness through the case study of the
Samsui women iconic headdress. A work-in prog ress,
Interrogative Pattern — Text(ile) Weave unfolded in various stages and formats incorporating in its development the complex stories embedded in textile productions. As an extension of this artistic research project,
Möller collaborated with the designer Dinu Bodiciu in
the production of a series of headgears informed by the
Samsui women headscarf. Each work in the installation is a reconfiguration of the original source. Through
the use of unconventional techniques and materials,
the Headgears are invested with a sculptural quality —
they operate at the interface of art and design, and become cultural materials of a history that is rewritten
and reimagined.
Headgear No. 7
2017
wool, cement
dimensions variable
Headgear No. 52
2017
sinamay (abacá), cotton tape,
wire, ribbon
dimensions variable
Headgear No.1038
2017
wire, waxed paper tape,
glitter, glue, silk organza, pin
dimensions variable
28
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�Jegan Vincent
de Paul
(b. 1978, Sri Lanka)
Lives and works
in Singapore
PhD Candidate at the
NTU CCA Singapore and
the School of Art, Design
and Media, Nanyang
Technological University
Arin Rungjang
(b. 1975, Thailand)
Lives and works in
Bangkok, Thailand
Artist-in-Residence:
3 October —
30 November 2016
Book Box: Field Experiment
2016 — ongoing
2 maps printed on outdoor
fabric with waterproof ink
84.1 x 118.9 cm
13 bound volumes
Chinese jewellery box
(early 20th century)
33 x 50 x 32 cm
Johnston (450% high
exposure photoshop)
2016
Arin Rungjang’s research during his residency focused
on unoff icial stories that circulate by word of mouth
while connecting them to the politics of governance
and notions of historical truth. The work presented is
photograph, digital print on the trace of the artist’s encounter with Johnston, an
paper, mounted on acrylic
albino born and raised in Singapore. The artist inter84.1 x 47.3 cm
viewed him on the very f irst day they met which turned
out to be also Johnston’s last day in Singapore before
his relocation to the United States. The interview captured an intimate and poignant moment of introspection during which Johnston speaks about his personal
history, family relationships, and struggles growing up
as an albino in Singapore. The choice not to show the
work in its entirety is based on the artist’s agreement
with Johnston. What is presented instead is a fully
washed-out still from the video recording. The technical gesture of overexposing the image highlights a political reality — the underexposure of such narratives
and their circulation at the margins of visibility.
anGie seah
Talk to the Hand
2015–2016
(b. 1979 Singapore)
Lives and works
in Singapore
Artist-in-Residence:
17 August —
18 December 2015
works on paper
29.7 x 21cm
29
Book Box: Field Experiment is a travelling archive of research materials, including bound books and maps,
contained into an antique Chinese jewellery box. The
research materials trace the logistics of shipping in the
geographic areas examined by Jegan Vincent de Paul
for his ongoing doctora l research on the People’s
Republic of China’s major infrastructure development
plan titled One Belt, One Road. Two boxes of books,
with auspicious and inauspicious content respectively,
travel on a specif ied route beginning from Singapore.
Questioning the role of art in creating new understandings of today’s geopolitical events, his project
brings together critical analysis and aesthetic accounts
of One Belt, One Road. Attention is paid to countries
where construction and conflict overlap, particularly
Burma, Sri Lanka, and Pakistan.
While in residence, anGie seah researched the concept
of “ineffable expression” creating site-specif ic rituals
and instructional tools for uplifting activities. In a digitally driven age, one of the incredible benef its of the
current communication patterns is that we are no longer
limited to verbal language — with all the implications in
terms of meaning, association, ambiguity, translations,
and interpretation — to express ourselves. A sign of love
can be expressed through a simple emoji and a special
moment in one’s life be conveyed through gifs. These recent forms of communication are closer to the intuitive
directness of body language which precedes all forms
of verbal expression.
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�Jeremy Sharma
Vertical Progression
2016
(b. 1977, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
4 May — 31 July 2015
video, projection, colour
and sound
35 min
SHIMURAbros
Chasing the Light
2017
(b. 1976, 1979, Japan)
Live and work between
Berlin, Germany and
Tokyo, Japan
Artist-in-Residence:
1 November —
30 December 2016
video, projection, colour
and sound
7 min
Anocha
Suwichakornpong
Nightfall
2015
(b. 1976, Thailand)
Lives and works in
Bangkok, Thailand
Artist-in-Residence:
25 September —
22 November 2014
30
video, high def inition,
projection, colour and
sound
15 min 30 sec
Vertical Progression explores the process of producing
an artwork and the transformation of its identity as a
continued mediation between idea, reflection, object,
reality, subject, and experience. It reveals a physical
and virtual network of collaborators, scientists, fabricators, movers, and collectors, while also addressing
the economic cycle of art making and the complex interplay of data, materials, nature, labour, and place that
lay behind its methods of production and modes of display. The video spans across two years, from the time of
Jeremy Sharma’s participation in the 4th Singapore
Biennale (2013) to his residency.
SHIMUR A bros’s research project during the residency
continued their investigations on the archeology of film
and its structural components. A series of events are woven together, but the main focus is on light as the power
source in the cinematic process and the essential condition for seeing. The layering of events is translated
into f ilm through the simultaneous blending of three
sources of light: an ancient coconut lamp, an amalgam
of city lights, and the masterful phenomena of the
lightning setup during the recording. Playing with the
limits of perception, the work emerges as an abstract
pattern until it slowly dissolves into a still-life image of
the industrial scenery in the port area of Singapore.
Co-directed with Tulapop Saenjareon, Nightfall is a
f ictionalised account of Anocha Suwichakornpong’s
research on the politics of her homeland, Thailand, as
seen from a foreign land. Merging personal memories
with facts and f iction, Suwichakornpong structured
the f ilm around an exchange of congratulatory messages between former Thai Prime Minister, Thanom
Kittikachorn and his Singaporean counterpart, Lee
Kuan Yew. The off icial diplomatic communication is
set against the quiet and intimate encounter between
the artist and another woman. Following each other,
the two flâneurs wander in the area around Gillman
Barracks, moving within a landscape that exemplif ies
Singapore’s progress as praised by the former Thai Prime
Minister. The relation between Thailand and Singapore
is presented in its multifaceted aspects through the
symbolic presence of two defining elements: the bronze
statue of an elephant that was donated by King Rama V
to Singaporean authorities as a token of appreciation
after his state visit, and Golden Mile Complex, the
most popular gathering place of the Thai community in
Singapore.
THE MAKING OF AN INSTITUTION
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�Mona Vătămanu &
Florin Tudor
Le monde et les choses
2014
silk, hand-sewn
(b. 1968, 1974, Romania)
150 x 300 cm
Live and work in
Bucharest, Romania
Artists-in-Residence:
14 July — 10 September 2014
Bo Wang
Work-in-progress
dimension variable
(b. 1982, China)
Lives and works between
New York, United States
and China
Artist-in-Residence:
1 August —
30 September 2016
Land Reclamation in
Progress, Johor Strait
2016
video, flat screen, colour
4 min
A Saturday Night in Tuas
2016
video, flat screen, colour
and sound
15 min
Produced during the artists’ residency, Le monde et les
choses traces the power imbalances and the inequalities in capital distribution that def ine the contemporary global world. The map is created on the basis of
statistical studies published online by the Central Intelligence Agency (CI A ), which indicated the dominant
industries in each world country. The map exposes the
contradictions of global neo-liberalism, revealing the
large domination over industries by a small number of
countries. The viewer can explore the map through a
specif ic colour code: green for food and drink; red for
metals and minerals; brown for wood; black for oil, petroleum, and natural gas; pink for textile and apparel;
light grey for machinery and transport equipment; blue
for electronics and capital goods, and white for opium
or “other”.
This mixed-media mind map presents materials related to Wang’s ongoing research on sand, land, development, labour, and transnational interconnectivity in
Southeast Asia. Interested in contemporary urban
landscapes that are undergoing intensif ied processes
of transformation, during the residency he explored
the conditions of the migrant workers in Singapore
and Forest City, a development project under construction on four artif icial islands on the Malaysian side of
the Johor Strait, an hour away from Singapore. Forest
City stands out as an exemplary case of the process of
constant territorial expansion and renewal widespread
in contemporary Asia. The artist aims to excavate the
power structures related to such intensif ied forms of
transition and to address the social and political implications and cultural anxieties of this relentless transformation.
National Day Fireworks,
Looking from Geylang
2016
video, flat screen, colour
12 min
Tamara Weber
Close Readings . R EBUS
2016
(b. 1976, United States)
28 photographs,
Lives and works in
digital print on paper
New York, United States
29.7 x 21 cm
Artist-in-Residence:
3 October — 2 December 2016
31
In the last year, Tamara Weber has been working closely with New York-based curator Annie Seaton on Close
Readings, a collaborative process of visual investigation that casts an anthropomorphising look on architecture and other bodies. Deconstructing the logic of
the book, Close Readings . R EBUS features a series of
interactive images with textual insertions that reference 1960s advertising, botanical imagery, pulps, abstraction and Eugenic vignettes. Realized during the
artist’s residency, these photographs reinterpret the
iconic Parkroyal Hotel in Singapore, designed by
WOH A Architects, an impressive building that merge
the rigorousness of abstraction and the unruliness of
tropical greenery. The images will form an artist’s book
meant to be continually deconstructed, disassembled,
and re-constructed through an open-ended editorial
process that unfolds multiple meanings.
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�Jason Wee
(b. 1978, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
26 September 2016 —
16 January 2017
I Keep Returning to Tomorrow The image of a dark horizon, seen from the aerial point
2016
of view of a drone, evokes the perspective of a spacecraft’s slow descent to earth. Hung from the ceiling,
ink on chiffon
I Keep Returning to Tomorrow reconf igures the vanish96 x 289 cm
ing points of the exhibition space creating a secondary
horizon and an alternative set of coordinates to position ourselves in space and time. This work extends a
series of spatial experiments with fabrics in which the
artist investigates the architectural properties of textiles through the creation of temporary structures that
respond to the structural features of the built environment.
Otty Widasari
Fiksi (Fiction)
2016
(b. 1973, Indonesia)
Lives and works in
Jakarta, Indonesia
Artist-in-Residence:
5 October —
27 November 2015
video, flat screen, colour
and sound
11 min 48 sec
32
Fiksi (Fiction) focuses on state-driven efforts to establish historial truths in the collective memory of a nation.
The artist revisits the Diaroma section at the National
Museum, part of the National Monument (known as
Monas), Jakarta, Indonesia. Produced by the artist
Edhi Sunarso (Indonesia, 1932—2016) during the leadership of the Indonesia’s f irst two Presidents, Sukarno
and Suharto respectively, the diaromas recreate significant moments of the country prior and during colonial
era, and post independence. The artist highlights the
use of dioramas — three-dimensional models reproducing historical events or natural landscapes that
became popular among museums at the end of 19th
century — to create official narratives. The work unfolds
as a journey inside various episodes complicating our
understanding of history through the overlap of multiple linguistic layers. The artist aims to investigate alternative narratives and broaden our perspectives on
writing history in a postcolonial space.
THE MAKING OF AN INSTITUTION
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�1
2
3
4
5
6
1 Heman Chong and Renée Staal, The Library of Unread Books, 2016—ongoing, artist studio,
November 2016.
2 Ho Rui An, 2020x3, 2016, slide. Courtesy the artist.
3 Koh Nguang How, Snippets from Singapore Art Archive Project at NTU CCA Singapore, 2014—2015,
photograph. Courtesy the artist.
4 James Jack, Khayalan Island from Pulau Balakan Mati (as seen by a seven-year old island resident),
2015, photograph. Courtesy the artist.
5 Loo Zihan and members of the Lan Gen Bah Society of Mind, I am Paying Attention, 2016, archival
materials, installation view, I am LGB (2016), TheatreWorks, Singapore. Courtesy the artist.
6 anGie seah, Thousand Horses Running in my Head, Part 1, performance, Residencies OPEN:
Art After Dark, 25 September 2015.
33
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�TA L K S
Various Locations
siren eun young jung
Artist-in-Residence
Wednesday
22 February 2017
7.30 — 9.00pm
Thao-Nguyen Phan
Artist-in-Residence
Wednesday
1 March 2017
7.30 — 9.00 pm
Alice Miceli
Artist-in-Residence
Wednesday
29 March 2017
7.30 — 9.00 pm
34
The artistic practice of siren eun young jung (b. 1974, South Korea) focuses on
the politics of desire and historical and political acts of resistance. Since 2008,
she has been researching Yeosung Gukgeuk, a remake of traditional Korean theatre developed at the end of the 1940s that uniquely features only female actors.
Drawing on this research, she has produced f ilms, photographs, performances,
and installations. Her works have been included in major group exhibitions
including Taipei Biennial 2016, Taiwan (2016); 8th Asia Pacif ic Triennial,
Brisbane, Australia (2015); and The Future is Now, M A X X I , Rome, Italy (2014).
Through a combination of painting, video, performance, and installation,
Thao-Nguyen Phan (b. 1987, Vietnam) creates provocative artworks focusing on
historical events, traditional narratives, and minor gestures that challenge common assumptions and social conventions. Recent exhibitions include Concept
Context Contestation, Art and the Collective in South East Asia, Goethe Institut,
Hanoi, Vietnam (2016); Haunted Thresholds: Spirituality in Contemporary
Southeast Asia, Kunstverein Göttingen, Germany, (2014). Phan is also a member
of the collective Art Labor.
The work of Alice Miceli (b. 1980, Brazil) addresses issues of time, memory, and
violence through formal experimentations, archival research, and investigative
travels. In her projects In Depth (landmines) (2014—ongoing) and Chernobyl
Project (2007—2011), she charts the visual, physical, and cultural manifestations
of human-induced trauma inflicted on social and natural landscapes. Her exhibition record includes the 5th Moscow International Biennale for Young Art,
Russia (2016) and 17th Japan Media Arts Festival, Tokyo, Japan (2014).
THE MAKING OF AN INSTITUTION
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�Rodolfo Andaur
Curator-in-Residence
Souliya Phoumivong
Artist-in-Residence
Wednesday
5 April 2017
7.30 — 9.00 pm
Rosemary Forde
Writer-in-Residence
Wednesday
19 April 2017
7.30 — 9.00 pm
Chris Chong Chan Fui
Artist-in-Residence
Friday
21 April 2017
7.30 — 9.00 pm
Choy Ka Fai
Artist-in-Residence
Friday
3 March 2017
7.30 — 9.00 pm
35
Rodolfo Andaur (Chile) has been coordinator of various contemporary art projects in northern Chile, promoting local artistic practices in relation to Argentina,
Bolivia, Brazil, Paraguay and Peru. Rodolfo has also contributed to various magazines and publications such as Artishock, Atlas Magazine and Rotunda Magazine.
He is currently part of the academic staff of the Diploma in Critical and Curatorial
Studies at Adolfo Ibáñez University, Santiago, Chile.
Souliya Phoumivong (b. 1983, Laos) is a media artist working with f ilm, video
art, photography, and clay animation. He is currently lecturer at National Institute
of Fine Arts, Vientiane, Laos. His work embraces the ever-changing landscape
of media and digital equipment in Laos, and the adaptation of a younger generation to a fast paced life. Most recently he participated in the exhibition Missing
Links, Jim Thompson Art Center, Bangkok, Thailand (2015).
Rosemary Forde (Australia) is a curator who has presented exhibitions and
events at a range of institutions and contemporary art spaces in Australia and
New Zealand. She is Chair of un Projects, a collective based in Australia that
aims to generate independent and critical dialogue around contemporary art,
primarily through publishing projects. Forde is currently undertaking a PhD in
Curatorial Practice at Monash University Faculty of Art Design & Architecture,
Melbourne, Australia.
Chris Chong Chan Fui (b. 1982, Malaysia ) questions and redirects the processes
and methodologies within varying fields such as migration, economics, natural
sciences through moving images, projections, printmaking, photography and installations. Chong has exhibited his works at Palais de Tokyo, Paris, France (2015);
Hirshhorn Museum & Sculpture Garden, Smithsonian Institute, Washington
D.C., United States (2010). He has also premiered at prestigious film festivals
such as the Directors’ Fortnight, Cannes, France (2009).
Choy Ka Fai (b. 1979, Singapore) is an artist and performance maker inspired by
histories and theorizations that explore the uncertainties of the future. His research springs from a desire to understand the conditioning of the human body,
its intangible memories, and the forces shaping its expressions. His projects
have been presented in major festival worldwide, including Sadler’s Wells London,
United Kingdom (2016), and ImPulsTanz Festival, Vienna, Austria (2015).
ARTISTIC RESEARCH/TALKS
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�Allan Sekula, Fish Story to be continued, 3 July — 27 September, 2015,
The Forgotten Space, f ilm, 2010, The Single Screen.
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�FI L M PRO GR A M M E
The Single Screen
Selected by
Marc Glöde
(Germany/Singapore)
Lives and works
in Singapore
Visiting Research Fellow:
25 February — 26 May 2016
Visiting Scholar:
23 September 2016 —
31 May 2017
Marc Glöde is a curator, critic, and f ilm scholar. His work focuses on the relation of
images, technology, space, and the body, as well as the dynamics between f ields such
as art/architecture, art/f ilm, and f ilm/architecture. He studied f ilm studies, comparative literature, and Dutch philology at the Free University, Berlin, Germany, where
he also received his PhD. Glöde taught at the Academy of Fine Arts, Dresden, Germany,
the Free University, Berlin, Germany, and was Assistant Professor at the ETH Zürich,
Switzerland. From 2008—2014, he was curator of Art Film, Art Basel’s film programme.
Most recently, he published his book Farbige Lichträume (2014). Glöde was a Research
Fellow and is currently a Visiting Scholar at the School of Art, Design and Media at
Nanyang Technological University, and NTU CCA Singapore. For The Making of an
Institution, Glöde curated a special f ilm programme digging into the past works of
several NTU CCA Singapore’s Artists-in-Residence. The film programme will run
throughout the duration of The Making of an Institution.
Artists
Arjuna Neuman
Serpent Rain
2016
(b. 1984, United States)
Lives and works in the
United States
Artist-in-Residence:
6 January — 3 April 2015
video, high def inition,
projection, colour and
sound
30 min
UuDam Tran
Nguyen
Waltz of the Machine
Equestrians
2013
(b. 1971, Vietnam)
Lives and works in Ho Chi
Minh City, Vietnam
Artist-in-Residence:
7 November —
30 December 2016
video, projection, colour
and sound
4 min 34 sec
38
Commissioned by Stefano Harney for The Bergen
Assembly and produced in a collaboration with Denise
Ferreira Da Silva, Serpent Rain is an documentary essay. An experiment with collaboration, the f ilm is also
an exploration of the future that embraces a undef ined
temporal structure to the point that the difference between beginning and end becomes indistinguishable.
The f ilm travels between histories of slavery and resource extraction, between black lives matter and the
matter of life, between the state changes of elements,
timelessness, and tarot.
UuDam Tran Nguyen transforms the boundaries between urban myth and popular legend to explore the
role and impact of human progress on rural and urban
spaces. Waltz of the Machine Equestr ians focuses on
the rapid changes of Ho Chi Minh City drawing attention to the multiple problems it experiences: heavy
traff ic, air and sound pollution, rapid urbanisation,
and real estate developments altering the cityscape. In
response to the challenges currently faced by the city,
the artist places hope in collective actions performed
by a group of twenty-eight motorbike riders connected
by raincoats and rubber strings. The urban landscape
is transformed into a surreal stage for a lyrically choreographed sequence of actions that reinterpret the
relation between the body and the city.
THE MAKING OF AN INSTITUTION
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�Ana Prvački
Blushing for Circulation
2008
(b. 1976, Serbia)
Lives and works between
Los Angeles, California
and Singapore
Artist-in-Residence:
6 July — 28 August 2014
video, projection, colour
and sound
3 min 19 sec
Erika Tan
Shot Through
2008
(b. 1967, Singapore)
Lives and works in
United Kingdom
Artist-in-Residence:
6 July — 3 August 2015
video, projection, colour
and sound
16 min
Guo-Liang Tan
Servants & Lovers
2014
(b. 1980, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
7 December 2015 —
29 April 2016
video, projection, colour
3 min 6 sec
Tan Pin Pin
Moving House
2001
(b. 1969, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
9 May — 9 September 2016
video, projection, colour
and sound
22 min 23 sec
39
In her videos, performances, and drawings, Ana Prvački
uses a gentle pedagogical and comedic approach in the
attempt to reconcile etiquette and erotics. In the video
work Blushing for Circulation, a therapist stimulates a
patient’s ability to blush. This exercise is driven by the
intention to soften fear and insecurity while nurturing
wellbeing and conf idence in the patient. Connected to
the erotic, the act of blushing can be conceived as liberating — a place where etiquette dissolves — it is life
aff irming itself, a primal and instinctive bodily expression.
Shot Through is part of a series of works on journeys.
The work engages past journeys to China taken by the
artist, her friends, family, and others. Exercising an
archaeological ambition, Tan carefully unearths, re-traces, and assembles a range of memories, thoughts, subjective interpretations, and wild speculations that
eventually become the means through which a personal psycho-geography of China is developed. For Shot
Through, excerpts from the writings of theoreticians
such as Susan Sontag, Jacques Derrida, Julia Kristeva,
Michel Foucault and Roland Barthes are combined
with video materials f ilmed by the artist.
Guo-Liang Tan’s practice revolves around the affective
realm of painting and writing. Servants & Lovers is part
of a series of text-based videos that explore the effects
of reading. Through subtitling the f ilm without imagery, the work constructs an abstract sequence f illed
with projections and disruptions. Language is made
malleable through structures, sounds, and f igures of
speech, registering tones of intimacy and ambivalence
in equal measures. In reading to oneself, the viewer becomes a listener while this imagined voice blurs the
boundaries between subject and object, self and other.
Tan Pin Pin is an award winning documentary f ilmmaker whose works bring to the surface alternative and
marginalised histories of Singapore. Funded by Discovery Networks Asia, Moving House is a touching story of the Chew family, one of the 55.000 Singapore
families forced to relocate the remains of their relatives to a columbarium as the gravesite is required for
urban redevelopment.
A RTISTIC R ESE A RCH/FIL M PROGR A MME
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�TH E A RTI S T R E S OURC E PL ATF OR M
The Exhibition Hall
The Artist Resource Platform contains audio and visual materials from over 100
Singapore-based artists, NTU CCA Singapore’s Artists-in-Residence, and several
independent art spaces in Singapore. It aims to provide local and visiting curators,
researchers, writers, as well as the general public, with a point of entry into contemporary art practices. Throughout the duration of The Making of an Institution,
the Artist Resource Platform is displayed in The Exhibition Hall where it is available for consultation during the Centre’s opening hours.
40
THE MAKING OF AN INSTITUTION
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�Curating with Art, Melanie Pocock in conversation with Michael Lee, 10 June 2016,
part of Artist Resource Platform: Activate!, 10 May — 7 August 2016, The Lab.
41
THE A RTIST R ESOURCE PL ATFOR M
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�COM MUNICATION
A ND
M E DITATION
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�Graphic and spatial design are constitutive forces in the process of institutional
building. A series of workshops and presentations will explore how the institution identity is produced through visual languages and spatial articulations. The
programme brings together various design practitioners who take an experimental, speculative, and critical approach to design expanding their practice in
close collaboration with art institutions. Looking into the convergence between
the languages of art and design, such a programme aims to challenge the understanding of design beyond its utilitarian role as service provider. It will explore
how designers respond to an institutional brief, how they challenge and deconstruct it positioning design as a field of critical inquiry.
WO R K S H O P S A N D P R E S E N T A T I O N S
PA R T I — VI S UA L I D E N T I T Y
Friday, 10 March and Saturday, 11 March
The Seminar Room and The Single Screen
Christoph Knoth
Friday
10 March 2017
2.00 — 6.00 pm
(Netherlands) is a graphic designer, teacher, web developer and researcher who
focuses on digital typography and the Internet as a platform for experimenting
with visual language. In 2012 he was a design researcher at the Jan van Eyck
Academie, Maastricht, Netherlands, with the project Computed Type which explores the historic and future possibilities of parametric typeface generation.
Since 2011 he works together with Konrad Renner and he is currently a guest researcher at the Bauhaus University Weimar, Germany. He collaborated with
various artists and art institutions and designed the websites of Casco — Off ice
for Art, Design and Theory Utrecht, Netherlands, Schauspiel Stuttgart, Germany,
and the German Pavilion at the Venice Biennale 2015 amongst others.
Bastian von Lehsten
Saturday
11 March 2017
10.30 am — 1.30 pm
(Germany) is the co-founder of Novamondo Design together with Christian
Schlimok. The design agency works in the f ields of brand strategy, corporate
design, and digital communications for several international art organizations
including the Academy of Fine Arts Vienna, Austria, Massachusetts Institute of
Technology, Cambridge, United States , the Staatsoper and the Leibniz Association in Berlin, Germany. He is teaching branding and corporate design at the
Design Academy Berlin, Germany. His work has received numerous rewards,
including the Red Dot Award and the iF Design Award. Since 2015, Novamondo
collaborates closely with NTU CCA Singapore on communication collaterals for
exhibitions, research, and residencies.
åbäke
Saturday
11 March 2017
1.00 — 5.00 pm
50 to 70 words to fairly def ine 16 years of activities of a collective is truly challenging. Short biographies predate the self ie but somehow follow similar rules
of editing a version of oneself until we start to look very attractive indeed. We
would start by saying that åbäke is a
Presentation
Saturday
11 March 2017
6.00 — 7.30 pm
åbäke, Bastien von Lehsten, Christoph K noth.
43
COM MUNIC ATION A ND MEDITATION
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�PA R T I I — S PA T I A L I D E N T I T Y
Lectures
Saturday
18 March 2017
10.00 am — 1.30 pm
The Single Screen
Bahbak
Hashemi-Nezhad
(Iran/United Kingdom) is a designer based in London. His studio practice spans
from the domestic to the public realm, from neighbourhood plans to products
and recipes. He is interested in the changing role of the designer within complex
urban conditions and draws from the permissive nature of play and processes of
defamiliarisation to develop methodologies that actively engage publics within
design processes. He collaborated with various art institutions in London, United Kingdom including The Showroom, The Serpentine Gallery, and the Victoria
and Albert Museum. Hashemi-Nezhad is currently a lecturer at the Royal College of Art, London, United Kingdom.
Wilfried Kuehn
(Germany) is the co-founder of the architectural off ice Kuehn Malvezzi established in 2001 together with Simona Malvezzi and Johannes Kuehn. Past projects include the architectural design for Documenta11, the Flick Collection in
the Hamburger Bahnhof, Berlin, Germany, the Julia Stoschek Collection in
Düsseldorf, Germany, which was nominated for the international Mies van der
Rohe award. The f irm has designed the reconf iguration of a number of contemporary and historical art collections, and dealt with sensitive preservation issues for listed buildings such as the Belvedere Museum, Vienna, Austria. Their
projects have been shown in international solo and group exhibitions, including
the 10th, 13th and 14th Architecture Biennial in Venice and Manifesta 7 in Trento, Italy. Kuehn Malvezzi participated in the 1st Chicago Architecture Biennial
in 2015.
Laura Miotto
(Italy/Singapore) is an Associate Professor at the School of Art, Design and Media, Nanyang Technological University and Design Director of GSM Project in
Singapore, an international f irm specialised in exhibition design originating
from Montréal, Canada. With 15 years of experience, Miotto has worked on a
multitude of permanent and temporary exhibitions. Her focus on heritage interpretation and design strategies involves the sensorial experience in the context
of museums, thematic galleries, and public spaces. Among her projects, the Living Galleries at the National Museum of Singapore received the Design Exchange Award in Canada in 2007 and Quest for Immortality: The World of Ancient Eg ypt was Design of the Year 2010, President Design Award, Singapore.
Miotto was the exhibition designer for NTU CCA Singapore’s exhibition Incomplete Urbanism (2016 —2017).
44
THE MAKING OF AN INSTITUTION
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�Fareed Armaly, design proposal for NTU CCA Singapore’s exhibition spaces
(The Exhibition Hall, The Single Screen, and The Lab), 2014. Courtesy the artist.
45
COM MUNIC ATION A ND MEDITATION
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�E DUCATION A ND
PUBL IC PROGR A M M ES
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�The Public Programmes for The Making of an Institution are an integral part of
the institutional self-reflexive effort articulated through this project. Conceived
as a discursive platform on the role and activity of art institutions and on the processes involved in artistic research, the public programmes include talks, workshops, and presentations organized within the four sections constitutive of The
Making of an Institution. This special programme of events is complemented by
existing educational formats developed by NTU CCA Singapore across the years,
such as the Workshop for Teachers and Educators, Exhibition and School Tours.
All programmes take place at
Block 43 Malan Road,
unless otherwise stated.
For updates on the public programmes, visit
ntu.ccasingapore.org or
facebook.com/ntu.ccasingapore
Free admission to all programmes.
WO R K S H O P F O R T E A C H E R S A N D E D U C A T O R S
Saturday
11 February 2017
10.00am — 1.00pm
The Exhibition Hall
and The Seminar
Room
This workshop was developed in collaboration with Kelly
Reedy, a former lecturer at the National Institute of Education, who specialises in working with museums and galleries to enhance student learning through visual arts. The
workshop is created to engage educators in contemporary
art and artistic practices, highlighting the educational aspects of each section of the exhibition to better prepare for
visits with their classes.
Kelly Reedy (United States/Singapore) has worked in Singapore for over 18 years as
an artist and educator. Her mixed media paintings, prints, and installations reflect
her keen interest in the ancient techniques still used in Asian traditional arts as well
as the rich symbolism embedded in its mythologies. She has exhibited her artworks
internationally in Paris, Chicago, and Berlin, as well as locally at the Jendela Visual
Arts Space, Esplanade, the Singapore Tyler Print Institute, and Alliance Française.
Engaged in museum education for more than a decade, Reedy has developed educational resources for the National Gallery Singapore and trained teachers at the National Institute of Education, specialising in visual arts education in museums and
galleries.
47
EDUC ATION A ND PUBL IC PRO GR A M MES
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�E X H I BITION T OUR S
First Friday
of the Month
3 March, 7 April,
5 May 2017
7.00 — 7.30pm
By NTU CCA Singapore Team
S C HO OL / GROUP T OUR S
NTU CCA Singapore’s guided school tours offer engaging
discussions on art, provide opportunities to hone observation skills, and develop interpretative thinking for both students and teachers alike. These specially designed school
tours are led by NTU CCA Singapore’s curators and will
give insight into the exhibiting artists, their works, and
personal anecdotes, while at the same time, introduce and
elaborate on the key themes of each exhibition.
For enquiries and to book a tour, email
NTUCCAEducation@ntu.edu.sg
GI L L M A N B A R R AC K S A RT & H I S T ORY T OUR S
Fridays to Sundays These free docent-led tours by Friends of the Museum will
varied timings
uncover Gillman Barracks’ rich history and introduce its
galleries, including a visit to NTU CCA Singapore.
Please register in advance at
www.gillmanbarracks.com/tours.
48
THE MAKING OF AN INSTITUTION
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�NTU CCA Singapore’s institutional Pantone colours
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�TH E M A K I NG OF A N I NSTITUTION
NTU Centre For Contemporary Art Singapore
11 February — 7 May 2017
CUR AT OR S
Ute Meta Bauer
Anna Lovecchio
Anca Rujoiu
Founding Director, NTU CCA Singapore
Curator, Residencies, NTU CCA Singapore
Manager, Publications, NTU CCA Singapore
EXHIBITION PRODUCTION
Jocelyn Wong
Syaheedah Iskandar
Lynda Tay
Isrudy Shaik
Benedict Yom Bo Sung
Sant Ruengjaruwatana
Exhibition Manager, NTU CCA Singapore
ARTFACTORY LLP
Technical Installation
Design 18 (S) Pte Ltd
Helu-Trans (S) Pte Ltd
Exhibition Construction
Curatorial Assistant, NTU CCA Singapore
Curatorial Assistant, Residencies, NTU CCA Singapore
Executive, Exhibitions, NTU CCA Singapore
Intern, Technical and Productions, NTU CCA Singapore
Tehnical and Production Assistant
Art Handling and Logistics
COM MUNIC ATION
Philip Francis
Deputy Director, Operations & Strategic Development,
NTU CCA Singapore
Kayla Dryden
Anna Lovecchio and Anca Rujoiu
Communications Associate
Novamondo GmbH
First Printers
Design Collaterals
Editors, Exhibition Guide
Printing and Binding
Unless otherwise stated, all images taken at NTU Centre for
Contemporary Art Singapore. Courtesy NTU CCA Singapore.
50
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�NTU CE NTR E F OR CONTE M P OR A RY A RT SI NGA P OR E
(NT U C C A SI NGA P OR E)
Located in Gillman Barracks, the NTU CCA Singapore is a national research
centre of Nanyang Technological University and is supported by a grant from
the Economic Development Board, Singapore. The Centre is unique in its threefold constellation of exhibitions, residencies, research and academic education,
engaging in knowledge production and dissemination. The NTU CCA Singapore
positions itself as a space for critical discourse and encourages new ways of
thinking about Spaces of the Curatorial in Southeast Asia and beyond. The
Centre’s dynamic public programmes serve to engage with various audiences
through lectures, workshops, open studios, film screenings, Exhibition(de)Tours,
and Stagings. As a research centre, it aims to provide visiting researchers and
curators a comprehensive study on the contemporary art ecosystem in Singapore
and the region.
Since the Centre’s inauguration in October 2013, it has featured leading artists for the first time in Southeast Asia, making it one of the spaces in the region
to present exhibitions of international scale. NTU CCA Singapore’s curatorial
programme embraces artistic production in all its diverse media with a commitment to critical debates in and though visual culture. The Centre’s residencies
programme is dedicated to facilitate the production of knowledge and research
by engaging and connecting artists, curators, and researchers of various disciplines from around the world. Its seven studios support the artistic process in
the most direct way: they provide artists with the time and locale to pursue their
research based practice and grant them access to an interesting and immersive
context to further the development of new ideas.
G IVI N G T O N T U C C A S I N G A P O R E
Your generous contributions support NTU CCA Singapore’s internationallyacclaimed, research driven exhibitions, residencies and extensive educational
programmes that benefit the community and the region. As a non-profit institution,
your support is crucial in the continuation of our unique programming that enables NTU CCA Singapore to contribute to the local art scene and the development
of regional and international art infrastructures. Your contribution to the NTU
CCA Singapore matters, and if you are a taxpayer to Singapore, your donation
will enjoy a 250% deduction in 2016. We believe that what we do here at the NTU
CCA Singapore makes a positive and tangible difference through art and we
hope that you will support us in achieving our aspirations. For more information
on how to donate to NTU CCA Singapore, visit ntu.ccasingapore.org/support.
51
ABOUT THE NTU CCA
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�NTU C C A SI NGA P OR E STA FF
Ute Meta Bauer
Founding Director, NTU CCA Singapore and Professor, School
of Art, Design, and Media, Nanyang Technological University
EXHIBITIONS & RESIDENCIES
Khim Ong
Dr Anna Lovecchio
Magdalena Magiera
Ana Salazar
Syaheedah Iskandar
Lynda Tay
Isrudy Shaik
Benedict Yom Bo Sung
Amrit Dhillon
Deputy Director, Exhibitions, Residencies, and Public Programmes
Curator, Residencies
Curator, Outreach & Education
Assistant Curator, Exhibitions
Curatorial Assistant, Exhibitions
Curatorial Assistant, Residencies
Executive, Exhibitions
Intern, Technical and Productions
Young Professional Trainee, Residencies
RESEARCH & EDUCATION
Sophie Goltz
Deputy Director, Research and Education, NTU CCA Singapore
and Assistant Professor, School of Art, Design, and Media,
Nanyang Technological University
Dr Marc Glöde
Visiting Scholar, School of Art, Design, and Media,
Nanyang Technological University
Regina (Maria) Möller
Visiting Artist, School of Art, Design, and Media,
Nanyang Technological University
Cheong Kah Kit
Anca Rujoiu
Samantha Leong
Manager, Research
Manager, Publications
Executive, Conference, Workshops & Archive
OPE R ATIONS & S TR ATEGIC DEVE L OPM E N T
Philip Francis
Jasmaine Cheong
Yao Jing Wei
Vijayalakshmi Balankrishnan
Lee Yan Yun
Louis Tan
52
Deputy Director, Operations & Strategic Development
Assistant Director, Operations & HR
Manager, Finance
Special Projects Assistant
Executive, Admin & Finance
Executive, Operations
THE MAKING OF AN INSTITUTION
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�N TU C C A SI NGA P OR E G OVE R NI NG C OUNCI L
CO-CHAIRS
Professor Alan Chan Kam-Leung
Dean, College of Humanities, Arts and Social Sciences,
Nanyang Technological University
Paul Tan
Covering Chief Executive Officer, National Arts Council
Professor Dorrit Vibeke Sorensen
Chair, School of Art, Design and Media,
Nanyang Technological University
Professor Kwok Kian Woon
Associate Provost (Student Life), President’s Office,
Nanyang Technological University
Dr Eugene Tan
Low Eng Teong
Ng Wen Xu
Director, National Gallery Singapore
Development, Economic Development Board
Director, Sector Development (Visual Arts), National Arts Council
Deputy Director, Lifestyle Programme Office and HR Organisation
N TU C C A SI NGA P OR E I N TE R N ATION A L A DVIS ORY B OA R D
CHAIR
Professor Nikos Papastergiadis
Director, Research Unit in Public Cultures, and Professor,
School of Culture and Communication, The University of
Melbourne, Australia
Ann DeMeester
Chris Dercon
Hou Hanru
Director, Frans Hals Museum, Haarlem, Netherlands
Rome, Italy
Professor Yuko Hasegawa
Chief Curator, Museum of Contemporary Art Tokyo, and Professor,
Graduate School of Global Arts, Tokyo University of the Arts, Japan
Professor Sarat Maharaj
Head Supervisor of Doctoral Candidates, Malmö Art Academy,
Lund University, Sweden
Philip Tinari
Dr John Tirman
Director, Ullens Center for Contemporary Art, Beijing, China
International Studies, Massachusetts Institute of Technology,
Cambridge, United States
53
Director, Volksbühne, Berlin, Germany
Artistic Director, MAXXI National Museum of 21st-Century Arts,
Executive Director and Principal Research Scientist, Center for
THE STAFF
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�TH E M A K I NG OF A N I NSTITUTION
1
Bani Haykal
sketches of violence�
2015
2
Koh Nguang How
Snippets from Singapore Art Archive
Project at NTU CCA Singapore�
2014 —2015
3
Hamra Abbas
Place. Labour. Capital .�
2016
4
Mona Vătămanu &
Le monde et les choses�
2014
Florin Tudor
5
Bo Wang Work-in-progress�
2016
6
Anocha Suwichakornpong Nightfall�
2015
7
Jegan Vincent de Paul
Book Box: Field Experiment�
2016 — ongoing
8
Li Ran
It is not Complicated, A Guide Book�
2016
9
Kray Chen
Critical Fengshui�
2016—2017
10
Ato Malinda
Out of Africa, Out of Reach�
2016
11
Zul Mahmod
Resonances: Readymade Sound Sculptures� 2016
12
Regina (Maria) Möller & INTER ROGATIVE PAT TER N —
TE XT(ILE) WEAVE , Headgears�
2017
Dinu Bodiciu
13
Tamara Weber
Close Readings. R EBUS�
2016
14
Jason Wee
I Keep Returning to Tomorrow�
2016
15
Arin Rungjang
Johnston (450% high exposure photoshop)� 2016
16
Otty Widasari
Fiksi (Fiction)�
2016
17
Loo Zihan & other
I am Paying Attention�
2016
members of the Lan Gen
Bah Society of Mind �
18
James Jack
Reparative Islands and Khayalan Island � 2016
from Pulau Balakan Mati (as seen by
a seven-year old island resident)�
19a+b NTU CCA Singapore
A Selective Chronolog y of Events
20
Jeremy Sharma
Vertical Progression�
2016
21
NTU CCA Singapore
Artist Resource Platform
22
anGie Seah Props Talk to the Hand�
2015 — 2016
23
Ho Rui An
2020x3�
2016
24
SHIMURAbros
Chasing the Light�
2017
25
Film Programme selected by Marc Glöde
26
Weixin Chong
Beige dreams�
2017
27
Joan Jonas Props�
2014 + 2016
28
Heman Chong and
The Library of Unread Books�
2016 — ongoing
Renée Staal
54
THE MAKING OF AN INSTITUTION
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�SEMINAR ROOM
17
STORE ROOM
19a
20
19b
24
18
16
21
22
15
9
10
23
11
25
THE SINGLE SCREEN
12
8
14
7
THE EXHIBITION HALL
13
THE
VITR I NE
27
26
28
6
4
5
THE LAB
3
2
TOILET
2
TH E F OYE R
1
55
THE FLOOR PL AN
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�VI S I T O R S I N F O
E X HIBITION HOUR S
Tuesday – Sunday, 12.00 — 7.00pm
Friday, 12.00 — 9.00pm
Closed on Mondays
Open on Public Holidays (except on Mondays)
EXHIBITIONS
Block 43, Malan Road
Gillman Barracks
Singapore 109443
+65 6339 6503
PUBL IC PRO GR A M MES
Every Wednesday and Friday evening
R ESIDENCIES STUDIOS
Blocks 37 & 38, Malan Road
Singapore 109452 & 109441
E X HIBITION T OUR S
First Friday of the month, 7.00pm
OFFICE & RESEARCH CENTRE
Block 6 Lock Road, #01—09/10
Singapore 108934
+65 6339 6300
Free admission to all programmes
ntu.ccasingapore.org
facebook.com/ntu.ccasingapore
instagram: @ntu_ccasingapore
Email: ntuccaevents@ntu.edu.sg
Free return shuttle bus between NTU School
of Art, Design and Media (ADM) and NTU
CCA Singapore on Wednesdays and Fridays
6.30pm: NTU ADM »
6:40pm : » NTU Admin Building (Fridays only)
» NTU CCA Singapore
9.30pm: NTU CCA Singapore
» NTU ADM
Labrador Park MRT
(Circle Line)
ALEX A NDR A ROAD
Pedestrian Walkway
Singapore
Teachers’
Academy for
the Arts
BLK 9
LOCK ROAD
BLK 43
Exhibitions
BLK 47
Carpark
BLK 5
M AL A N ROAD
Carpark A
BLK 1
DEPOT ROAD
Entrance
to Gillman Barracks
BLK 39
BLK 38
Studios
BLK 6
Off ice &
Research Centre
Carpark B
Entrance to
Gillman Barracks
BLK 22
BLK 37
Studios
Located at
© NTU Centre for Contemporary Art Singapore.
Printed February 2017. Design by Novamondo GmbH.
cca_makinginstitution_exhibit-guide_RZ.indd 56
04.02.17 13:02
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resources
Exhibition Resource
Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc.
Short Description
The Making Of An Institution Exhibition Guide
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>The Making Of An Institution</i> Exhibition Guide
Description
An account of the resource
<i>The Making Of An Institution</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-02-11
Contributor
An entity responsible for making contributions to the resource
åbäke
Hamra Abbas
Rodolfo Andaur
Diana Campbell Betancourt
Dinu Bodiciu
Kray Chen
Chris Chong Chan Fui
Heman Chong
Renée Staal
Weixin Chong
Choy Ka Fai
Ann Demeester
Rosemary Forde
Marc Glöde
Yuko Hasegawa
Bani Haykal
Bahbak Hashemi-Nezhad
Maria Hlavajova
Ho Rui An
James Jack
siren eun young jung
Christoph Knoth
Koh Nguang How
Wilfried Kuehn
Bastien von Lehsten
Li Ran
Loo Zihan
Zulkifle Mahmod
Ato Malinda
Alice Miceli
Laura Miotto
Regina Möller
Arjuna Neuman
UuDam Tran Nguyen
Nikos Papastergiadis
Jegan Vincent de Paul
Emily Pethick
Thao-Nguyen Phan
Souliya Phoumivong
Ana Prvački
Arin Rungjang
anGie seah
Jeremy Sharma
SHIMURAbros
Alec Steadman
Sanne Oorthuizen
Anocha Suwichakornpong
Erika Tan
Guo-Liang Tan
Tan Pin Pin
Philip Tinari
John Tirman
Mona Vătămanu
Florin Tudor
Bo Wang
Farah Wardani
Tamara Weber
Jason Wee
Otty Widasari
abake
Marc Glode
Renee Staal
Ana Prvacki
Regina Moller
Mona Vatamanu
Format
The file format, physical medium, or dimensions of the resource
Guide
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
James Jack will search for evidence of Khayalan Island amidst the paradoxes of the rapidly changing harbour.
Cycle
Cycle 1 (2014 – 2015)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
James Jack
Description
An account of the resource
James Jack is concerned with rejuvenating fragile links that exist in a place, developing socially engaged artworks in connection with the people and land encountered there. At NTU CCA Singapore, he will work on the project <i>Stories of Khayalan Island</i> (2013- ) which commenced with rumours of an island that disappeared near Singapore. While in residence, he will search for evidence of Khayalan Island amidst the paradoxes of the rapidly changing harbour. Historical maps will be redrawn based on collective imaginations of space and sea vessels will be rebuilt to visit contingent islands at risk of vanishing. A search for this imaginary island in the social and ecological realities of today provides the basis for a book of stories as well as newly created artworks.
Date
A point or period of time associated with an event in the lifecycle of the resource
3 February – 14 April 2015
Contributor
An entity responsible for making contributions to the resource
James Jack
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Writing/Text
Subject
The topic of the resource
History
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
James
Surname or Business Name
Jack
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2015/2018
Affiliation
Company, organization, or institution name
Yale-NUS College
Occupation
Professional title or identity
Artist
Assistant Professor of Visual Art, Yale-NUS College
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
James Jack is an artist and Assistant Professor of Visual Art, Yale-NUS College, Singapore. His practice is concerned with rejuvenating fragile connections that exist in the world, making artworks in direct relationship to a place and the people that live there. Between February and April 2015, Jack was Artist-in-Residence at NTU CCA Singapore, where he expanded his artistic research on the project <i>Stories of Khayalan Island </i>(2013–ongoing).
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
United States
Singapore
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
Library
Contributor Type
Artist-in-Residence
Speaker
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
Birthplace
United States
Birth Date
1979
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
James Jack
Subject
The topic of the resource
Nature
Geopolitics
Coexistence
Description
An account of the resource
James Jack is an artist and Assistant Professor of Visual Art, Yale-NUS College, Singapore.
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
Contributor
An entity responsible for making contributions to the resource
James Jack