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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)
Short Description
Drawing on the rich cultural heritage and trajectories of the Asia Pacific and beyond, the exhibitions, works of art, and essays in <em>Climates.Habitats.Environments. </em>transcend disciplinary boundaries and linear histories to affirm the role of cultural production in the fight for environmental and social justice.
Availability
Electronic (eBook)
Print
Print
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
Library
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Climates.Habitats.Environments.
Subject
The topic of the resource
Climate Crisis
Cultural Production
Description
An account of the resource
Published by NTU CCA Singapore and The MIT Press, 2022 <br />Edited by Ute Meta Bauer<br />Design by mono.studio<br />Printed by DZA Druckerei zu Altenburg GmbH<br />© 2022 the artists, the authors, NTU Centre for Contemporary Art Singapore, Nanyang Technological University <br />ISBN: 978-0-262-04681-7 <br />Distributed by The MIT Press <br />Copies are available for sale at NTU CCA Singapore and through MIT Press S$80/US$60<br /><br />Modeling the curatorial as a method for uniting cultural production and science,<span class="apple-converted-space"> </span><i>Climates. Habitats. Environments</i>. weaves together image and text to address the global climate crisis. Through exhibitions, artworks, and essays, artists and writers transcend disciplinary boundaries and linear histories to bring their knowledge and experience to bear on the fight for environmental justice. In doing so, they draw on the rich cultural heritage of the Asia-Pacific, in conversation with international discourse, to demonstrate transdisciplinary solution-seeking.<br /><p><span>Experimental in form as well as in method,<span class="apple-converted-space"> </span><i>Climates. Habitats. Environments.</i><span class="apple-converted-space"> </span>features an inventive book design by mono.studio that puts word and image on equal footing, offering a multiplicity of media, interpretations, and manifestations of interdisciplinary research. For example, botanist Matthew Hall draws on Ovid's<span class="apple-converted-space"> </span><i>Metamorphoses</i><span class="apple-converted-space"> </span>to discuss human-plant interpenetration; curator and writer Venus Lau considers how spectrality consumes—and is consumed—in animation and film, literature, music, and cuisine; and critical theorist and filmmaker Elizabeth Povinelli proposes “Water Sense” as a geontological approach to “the question of our connected and differentiated existence,” informed by the “ancestral catastrophe of colonialism.” Artists excavate the natural and cultural DNA of indigo, lacquer, rattan, and mulberry; works at the intersection of art, design, and architecture explore “The Posthuman City”; an ongoing research project investigates the ecological urgencies of Pacific archipelagos. The works of art, the projects, and the majority of the texts featured in the book were commissioned by NTU Centre for Contemporary Art Singapore.</span></p>
<p></p>
Publisher
An entity responsible for making the resource available
NTU CCA Singapore
The MIT Press
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Anna Lovecchio
Michael Marder
Kong Yin Ying
Marian Pastor Roces
Ravi Agarwal
Donna J. Haraway
Matthew Hall
Nikos Papastergiadis
Donna J. Haraway
David Pledger
Dan Koh
Tan Zi Hao
May Adadol Ingawanij
Michael M. J. Fischer
Venus Lau
Elizabeth A. Povinelli
Cynthia Chou
Nina Oeghoede
Philippe Pirotte
Epeli Hau'ofa
Nabil Ahmed
Édouard Glissant
Tania Roy
Alfian Sa'at
Jake Atienza
Kenneth Dean
Faizah Zakaria
Stefanie Hessler
Huang Jui-mao
Anna Källén
Philippa Lovatt
Laura Miotto
Rob Nixon
Khim Ong
Markus Reymann
Dirk Snauwaert
Matariki Williams
Irene Agrivina
Nabil Ahmed
Irwan Ahmett
Tita Salina
Atif Akin
Animali Domestici
Apichatpong Weerasethakul
Martha Atienza
Tarek Atoui
Laura Anderson Barbata
Rosella Biscotti
Guigone Camus
Choy Ka Fai
Roko Josefa Cinavilakeba
Sean Connelly
Ade Darmawan
Lucy Davis
Ines Doujak
Jef Geys
Tue Greenfort
Newell Harry
Ho Tzu Nyen
Chia-Wei Hsu
Pierre Huyghe
ila
inhabitants
The Institute of Critical Zoologists
Kristy H. A. Kang
Susanne Kriemann
Zac Langdon-Pole
Jae Rhim Lee
Liang Shaoji
PerMagnus Lindborg
Armin Linke
Nicholas Mangan
Alice Miceli
Manish Nai
Nguyễn Trinh Thi
Phi Phi Oanh
Lucy + Jorge Orta
Park Chan-kyong
Sophia Pich
Marjetica Potrč
Shubigi Rao
Lisa Rave
Lucy Raven
Bridget Reweti
Hito Steyerl
Melati Suryodarmo
Tanatchai Bandasak
Sung Tieu
Jegan Vincent de Paul
Wu Mali
Vivian Xu
Yeo Siew Hua
Zarina Muhammad
Edouard Glissant
Anna Kallen
Nguyen Trinh Thi
Marjetica Potrc
mono.studio
Format
The file format, physical medium, or dimensions of the resource
Publication
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Asia
Date
A point or period of time associated with an event in the lifecycle of the resource
2022
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
The volume positions Lim’s thoughts, concepts, and plans for action as that of a humanist who addresses the complex topography of an ever-changing urban Asia.
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Book Launch: The Impossibility of Mapping (Urban Asia)
Description
An account of the resource
<p>Guest-of-Honour: William S. W. Lim</p>
<br />Emerging from an exhibition, conference, and festival that explored architect and urban theorist William S. W. Lim’s concept on “Incomplete Urbanism” and his call for “Cities for People,” this publication juxtaposes research essays, visual and textual documentation with artistic interventions and spatio-temporal maps. Organised into three chapters—“The City as Living Room,” “The City as Multiple,” and “The City as Stage,” the contributions—by architects, scholars, planners, artists, activists, and curators—constitute a diverse set of analyses. Unexpected notions of planning, building, and living in Asian cities, suggest multiple paths into critical spatial practice of Asian urban space. The volume positions Lim’s thoughts, concepts, and plans for action as that of a humanist who addresses the complex topography of an ever-changing urban Asia.<br /><br />Contributors include: Laura Anderson Barbata, Jiat-Hwee Chang, Thanavi Chotpradit, Calvin Chua, Yvonne P. Doderer, Chomchon Fusinpaiboon, indieguerillas, Marc Glöde, Sacha Kagan, Lulu Lutfi Labibi, Magdalena Magiera, Laura Miotto, Marjetica Potrč, Pen Sereypagna, Shirley Surya, Sissel Tolaas, Etienne Turpin and Nashin Mahtani, John Wagner, H. Koon Wee, Woon Tien Wei, and Ari Wulu. Foreword by Nikos Papastergiadis. Afterword by William S. W. Lim.<br /><div>
<p>Published by World Scientific Publishing<br />Edited by Ute Meta Bauer, Khim Ong, and Roger Nelson</p>
<p></p>
</div>
Date
A point or period of time associated with an event in the lifecycle of the resource
2020-02-20
Contributor
An entity responsible for making contributions to the resource
Laura Anderson Barbata
Jiat-Hwee Chang
Thanavi Chotpradit
Calvin Chua
Yvonne P. Doderer
Chomchon Fusinpaiboon
indieguerillas
Marc Glöde
Sacha Kagan
Lulu Lutfi Labibi
Magdalena Magiera
Laura Miotto
Marjetica Potrč
Marrjetica Potrc
Pen Sereypagna
Shirley Surya
Sissel Tolaas
Etienne Turpin
Nashin Mahtani
John Wagner
H. Koon Wee
Woon Tien Wei
Ari Wulu
Nikos Papastergiadis
William S. W. Lim
Ute Meta Bauer
Khim Ong
Roger Nelson
Marc Glode
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
Architecture
Urbanism
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
This session opens up the debate surrounding sustainability in relation to food sources, water resources, and air quality
Related Countries
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Programme Type
Discussion - Conversation
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
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
<p class="event_single_title">Public Summit, part of <i>CITIES FOR PEOPLE</i> NTU CCA Ideas Fest 2016/17</p>
Description
An account of the resource
<div class="event_single_dates text__exhibitions">19 Jan 2017, Thu 03:00 PM - 06:30 PM<br />20 Jan 2017, Fri 01:30 PM - 06:30 PM<br />21 Jan 2017, Sat 01:30 PM - 06:30 PM</div>
<div class="event_single_venue">NTU CCA Singapore, Block 43 Malan Road, The Single Screen<br /><br /><div id="pastingspan1">
<p>The three-day Public Summit brings together a prominent group of architects, theorists, researchers, curators, and community groups to share and discuss ideas about sustainability, food and energy sources, spatial practice, and social relations in the urban fabric. Programmed as a series of Structured Conversations, the Public Summit attempts to bridge artistic practices and academic research with bottom-up initiatives and explore various strategies and participatory approaches, projecting solutions and desires for future “cities for people”.</p>
</div>
<p><b>Thursday, 19 January 2017</b></p>
<div>
<div>
<p><b>3.00pm</b></p>
</div>
<div>
<p>Registration</p>
<p>Tour of exhibition <em>Incomplete Urbanism: Attempts of Critical Spatial Practice </em>by <b>Khim Ong</b> (Singapore), Deputy Director, Exhibitions, Residencies, and Public Programme, NTU Centre for Contemporary Art Singapore (NTU CCA Singapore)</p>
</div>
</div>
<div>
<div>
<p><b>4.00 – 6.30pm</b></p>
</div>
<div>
<p>Welcome Address</p>
<p><b>Ute Meta Bauer</b> (Germany/Singapore), Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media (ADM), Nanyang Technological University (NTU), Singapore<br /><br /></p>
<p><b>Structured Conversation #1: <em>Food, Air, Water</em></b></p>
<p>This session opens up the debate surrounding sustainability in relation to food sources, water resources, and air quality. As elements that possess fundamental significance for all life, how has urban development and technology impacted and intervened into these resources? Can sustainability be achieved only with improved technology? Is sustainability sustainable? (William S. W. Lim) How can we better understand and work with regenerative processes of nature to create a more informed way of living for all?</p>
<p>Host: <b>Paul Teng</b> (Singapore), Professor and Adjunct Senior Fellow, S. Rajaratnam School of International Studies, NTU</p>
<p>With <b>Joshua Comaroff</b> (United States/Singapore), Assistant Professor, Singapore University of Technology and Design and Design Consultant, Lekker; <b>Eugene Heng</b> (Singapore), Founder and Chairman, Waterways Watch Society; <b>Conrad H. Philipp</b> (Germany/Singapore), Future Cities Laboratory, Singapore-ETH Centre; and <b>Marjetica Potrč</b> (Germany), Professor for Social Design, University of Fine Arts (HFBK), Hamburg</p>
<p>Respondent: <b>Cecilia Tortajada</b> (Mexico and Spain/Singapore), Senior Research Fellow, Lee Kuan Yew School of Public Policy, National University of Singapore (NUS)</p>
<p><b>Friday, 20 January 2017</b></p>
<p><b>1</b><b>.30pm </b>Registration</p>
<div>
<div>
<p><b>2.00 – 4.00pm</b></p>
</div>
<div>
<p>Welcome Address</p>
<p><b>Ute Meta Bauer</b> and <b>Khim Ong</b></p>
<p><b>Structured Conversation #2: <em>Modalities of Exchange<br /></em></b></p>
<p>Dedicated to examining various modes of exchange beyond pure economic terms, speakers will share their experiences working across cultures and diverse communities, introducing strategies for bridging differences. How are we able to create shared knowledge and</p>
<p>resource, and intervene into various social and cultural patterns? Can the shared spaces we create allow us to achieve an alternative economy based on social debate, giving, and sharing that can be managed by citizens rather than global finance?</p>
<p>Host: <b>Sophie Goltz</b> (Germany/Singapore), Assistant Professor, NTU ADM / CCA Singapore</p>
<p>With <b>Qinyi Lim</b> (Singapore), independent curator; <b>Matthew Mazzotta</b>(United States), artist; and <b>Woon Tien Wei</b> (Singapore), Post-Museum</p>
<p>Respondent: <b>Yvonne P. Doderer</b> (Germany), Professor for Gender and Cultural Studies, University of Applied Sciences, Düsseldorf</p>
<div>
<p><b>4.15 – 6.30pm</b></p>
</div>
<div>
<p><b>Structured Conversation #3: <em>Critical Spatial Practice<br /></em></b></p>
<p>This session explores the social, cultural, and political production of space in relation to urban intervention and the possibilities for individual acts and bottom-up initiatives versus top-down planning. What is the critical mode of spatial practice today? What ideas and options do we have for future urban habitats?</p>
<p>Host: <b>Ute Meta Bauer</b></p>
<p>With <b>Nikolaus Hirsch</b> (Germany), architect; <b>Hyungmin Pai</b> (South Korea), Director, 1st Seoul Biennale of Architecture and Urbanism 2017 and Professor of Architecture, University of Seoul; and <b>Apolonija Šušteršič</b> (Slovenia/Sweden and Norway), artist, architect and Professor, Art & Public Space, Oslo National Academy of the Arts</p>
<p>Respondent: <b>Regina Bittner</b> (Germany), Head of Academy Department and Deputy Director, Bauhaus Dessau</p>
<p><b>Saturday, 21 January 2017</b></p>
<p><b>1</b><b>.30pm </b>Registration</p>
<div>
<p><b>2.00 – 4.00pm</b></p>
</div>
<div>
<p>Welcome Address</p>
<p><b>Ute Meta Bauer</b> and <b>Khim Ong</b></p>
<p><b>Structured Conversation #4: <em>Performing the City<br /></em></b></p>
<p>How can artistic practices activate communities, give voice to, and provoke different experiences of our built environment? How do artistic interventions stimulate processes of reflexivity? What are the shared methodologies that allow us to intervene into the social, cultural, and political through performative gestures that animate an alternative understanding and experience of everyday living?</p>
<div>
<p>Host: <b>Anca Rujoiu</b> (Romania/Singapore), curator and Manager, Publications, NTU CCA Singapore</p>
<p>With <b>Laura Anderson Barbata </b>(Mexico/United States), artist; <b>Lucy Orta </b>(United Kingdom/France), artist and Professor and Chair of Art and the Environment, University of the Arts London; and <b>Sissel Tolaas </b>(Norway/Germany), artist and smell researcher</p>
<p>Respondents: <b>Sophie Goltz</b>; and <b>Charmaine Toh </b>(Singapore),<b> </b>Curator, National Gallery Singapore</p>
</div>
<div>
<div>
<p><b>4.15 – 6.30pm</b></p>
</div>
<div>
<p><b>Structured Conversation #5: <em>Who Owns the City</em></b></p>
<p>This session explores the social, cultural, and political production of space in relation to urban intervention and the possibilities for individual acts and bottom-up initiatives versus top-down planning. What is the critical mode of spatial practice today? What ideas and options do we have for future urban habitats?</p>
<p>Host: <b>Calvin Chua</b> (Singapore), Adjunct Assistant Professor, Architecture and Sustainable Design, Singapore University of Technology and Design</p>
<p>With <b>Regina Bittner</b>; <b>Yvonne P. Doderer</b>; <b>Lukas Feireiss</b> (Germany), curator and author; and <b>Marjetica Potrč</b></p>
<p>Respondent: <b>Wong</b> <b>Chen-Hsi </b>(Singapore), Assistant Professor, NTU ADM, Singapore</p>
<p></p>
</div>
</div>
<p></p>
</div>
</div>
</div>
</div>
</div>
</div>
</div>
Date
A point or period of time associated with an event in the lifecycle of the resource
19 - 21 January 2017
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Khim Ong
Paul Teng
Joshua Comaroff
Eugene Heng
Conrad H. Philipp
Marjetica Potrč
Marjetica Potrc
Cecilia Tortajada
Sophie Goltz
Qinyi Lim
Matthew Mazzotta
Woon Tien Wei
Yvonne P. Doderer
Nikolaus Hirsch
Hyungmin Pai
Apolonija Šušteršič
Apolonija Sustersic
Regina Bittner
Anca Rujoiu
Lucy Orta
Sissel Tolaas
Charmaine Toh
Calvin Chua
Lukas Feireiss
Wong Chen-Hsi
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
Europe
Subject
The topic of the resource
Sustainability
Urbanism
-
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
Adopting the World Cafe methodology (an effective format for large group dialogue), the workshop will bring together a diverse group of people including grassroots communities, environmental activists, and other social interest groups, who are engaged with environmental and sustainability issues. In this workshop, participants will hold presentations and discussions on topics of urgency relating to air and water.
Programme Type
Workshop
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
Participatory Project: World Cafe: Air, Land, and Water by Marjetica Potrč, part of CITIES FOR PEOPLE NTU CCA Ideas Fest 2016/17
Description
An account of the resource
<div class="event_single_dates text__exhibitions">17 Jan 2017, Tue 10:00 AM - 06:00 PM</div>
<div class="event_single_venue">Behind Block 43 Malan Road</div>
<br />Adopting the World Cafe methodology (an effective format for large group dialogue), the workshop will bring together a diverse group of people including grassroots communities, environmental activists, and other social interest groups, who are engaged with environmental and sustainability issues. In this workshop, participants will hold presentations and discussions on topics of urgency relating to air and water. Participants are asked not only to consider the current state of matters, but more importantly, to project solutions and desires for the next 30 years, from the bottom-up perspective: What can we do ourselves to change the human and environmental conditions of air, land, and water – essential elements and finite natural resources that Singapore residents live with every day but rarely ask questions about. The workshop begins with small group presentations and conversations with each group focusing on one elected topic, after which participants rotate and move to another topic. <br /><br />The final aim of the workshop will be for the participants to come up with proposals/manifestos for the future and present them to invited representatives from relevant state agencies. Through this workshop, Marjetica Potrč lays a special focus on participation and agency. Individual empowerment, problem-solving-tools, and long-term strategies are key in her approach. <br />
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-01-17
Contributor
An entity responsible for making contributions to the resource
Marjetica Potrč
Marjetica Potrc
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
Environmental Crisis
Sustainability
-
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4649484afdc4a3b0bdb49e1ec8eeb7bb
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
The Impossibility of Mapping (Urban Asia)
Subject
The topic of the resource
Topography
Urbanism
Description
An account of the resource
Emerging from an exhibition, conference, and festival that explored architect and urban theorist William S. W. Lim’s concept on “Incomplete Urbanism” and his call for “Cities for People,” this publication juxtaposes research essays, visual and textual documentation with artistic interventions and spatio-temporal maps. Organised into three chapters—“The City as Living Room,” “The City as Multiple,” and “The City as Stage,” the contributions—by architects, scholars, planners, artists, activists, and curators—constitute a diverse set of analyses. Unexpected notions of planning, building, and living in Asian cities suggest multiple paths into critical spatial practice of Asian urban space. The volume positions Lim’s thoughts, concepts, and plans for action as that of a humanist who addresses the complex topography of an ever-changing urban Asia.<br /><br />Contributors include: Laura Anderson Barbata, Jiat-Hwee Chang, Thanavi Chotpradit, Calvin Chua, Yvonne P. Doderer, Chomchon Fusinpaiboon, indieguerillas, Marc Glöde, Sacha Kagan, Lulu Lutfi Labibi, Magdalena Magiera, Laura Miotto, Marjetica Potrč, Pen Sereypagna, Shirley Surya, Sissel Tolaas, Etienne Turpin and Nashin Mahtani, John Wagner, H. Koon Wee, Woon Tien Wei, and Ari Wulu. Foreword by Nikos Papastergiadis. Afterword by William S. W. Lim.
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World Scientific Publishing
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2020
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Roger Nelson
World Scientific Publishing
Laura Anderson Barbata
Jiat-Hwee Chang
Thanavi Chotpradit
Calvin Chua
Chomchon Fusinpaiboon
Marc Glöde
indieguerillas
Sacha Kagan
Lulu Lutfi Labibi
Magdalena Magiera
Laura Miotto
Marjetica Potrč
Pen Sereypagna
Nashin Mahtani
John Wagner
H. Koon Wee
Ari Wulu
William S. W. Lim
Chang Jiat Hwee
Marjetica Potrc
Marc Glode
H55
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Publication
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English
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978-981-121-192-8
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Asia
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Available for browsing onsite at NTU CCA Singapore physical archive. Contact ntuccareseach@ntu.edu.sg to make an appointment.
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CLIMATES .
HABITATS .
CITY
EXHIBITION
23 NOVEMBER 2019
— 8 MARCH 2020
ENVIRONMENTS .
POSTHUMAN
THE
�NOTES
THE CURATORS
CITY
HABITATS.
ENVIRONMENTS.
POSTHUMAN
CLIMATES.
THE
FROM
Lucy + Jorge Orta, OrtaWater – Portable Water Fountain, 2005.
Courtesy the artists.
Currently, more than half of the world’s human population lives in
urban areas. Urban growth poses challenges to the various city dwellers
and creates material demands that cause lasting damage to the wider
environment. The climate crisis is already announcing threatening scenarios
particularly for coastal regions and megacities located at coastlines. Global
urbanisation and the exploitation of resources happen at the expense of
human and other species alike. THE POSTHUMAN CITY features a diverse
range of cultural practitioners who propose a shift in perspective.
Taking NTU CCA Singapore’s overarching research topic CLIMATES.
HABITATS. ENVIRONMENTS. as point of departure, the exhibition THE
POSTHUMAN CITY considers the possibilities of a conscious sharing of
resources, and a respectful and mindful coexistence between humans and
other species. Through imaginative propositions at the intersection of art,
design, and architecture, the selected artists engage questions addressing
issues of sustainability, water scarcity, invisible communities, nature as a form
of culture, and suggest the implementation of lived indigenous knowledges.
Examining the urban fabric in its condition as a habitat for a diversity of life
forms, the featured works range from installations to time-based media.
1
�Irene Agrivina, SOYA C(O)U(L)TURE, 2014.
Courtesy Ars Electronica, Linz.
Stressing the vital importance of clean water and the challenges
of its scarcity around the world, the artist and design duo LUCY +
JORGE ORTA have developed a long-term project on water
collection, purification, and distribution. ORTAWATER focuses on
the general issues surrounding clean water, and the privatisation
and corporate control affecting access to it. Starting from a rigorous
analysis of this crucial resource through visual and textual research
and collaborative workshops with engineers, Lucy + Jorge Orta
create sculptures, large-scale installations, and public artworks,
that are both artefacts and functional design. One angle of their
research—low-cost water purification devices enabling filthy water
to be pumped and filtered directly from local sources—is translated
into PORTABLE WATER FOUNTAIN (2005) and MOBILE
INTERVENTION UNIT (2007). These devices have been used to
purify and distribute water from Venice’s Canal Grande (2005)
and the Hang Pu River in Shanghai (2012), among others, and
now from the creek that runs through Gillman Barracks.
Similarly combating water pollution, IRENE AGRIVINA’s SOYA C(O)U(L)TURE
is a mixed media installation that demonstrates how to transform wastewater
from tofu and tempeh production into usable biomaterials such as fuel,
fertiliser, and leather-like fabrics. SOYA C(O)U(L)TURE was developed
in collaboration with XXLab, an all-female transdisciplinary collective that
Agrivina co-founded in 2013. Usually, large amounts of wastewater pollute
the water in the rivers surrounding the plants, causing cholera and skin and
bowel diseases in humans. SOYA C(O)U(L)TURE intends to divert this
wastewater from tofu factories and put it in a homegrown starter culture
medium to create useful products. A biological process using various
bacteria and cell cultures, for instance Acetobacter xylinum, generates
alternative energy sources, foodstuffs, and biological material. This process
creates cellulose sheets that can either be used for consumption—for
example nata de coco, a variant made of coconut water, is a popular snack
food—or further processed (pressed, dried, enhanced with colouring and
coating) to make clothing and craft materials. This biological procedure can
be reproduced in any household using normal kitchen utensils in combination
with open-source software and simple hardware. In this way, the project could
provide women in poverty-stricken regions with opportunities to increase
their income.
2
3
�Marjetica Potrč, The Pot Maker Shapes Unity, 2016, from The Earth
Drawings, 2009–19. Courtesy the artist and Galerie Nordenhake,
Berlin, Stockholm, Mexico City.
Indigenous peoples of various territories around the world, with deep
historical and cultural ties to their land, have preserved sustainable ways
of living that respect the limits of the planet’s resources. The artist and
architect MARJETICA POTRC’s EARTH DRAWINGS refer to these
unique cosmogonies and their essential knowledges, based on research
done over the past 15 years, centred on indigenous communities, such
as the Asháninkas (in the Brazilian state of Acre in Amazonia), the
Aboriginal (in Australia), and the Sami (in northern Norway). These EARTH
DRAWINGS, a series on paper, point to the growing alliances between
indigenous groups and bottom-up initiatives in the effort to ensure more
resilient futures, beyond the social and economic agreement of the global
neoliberal order. Potrc stresses that the world’s diverse societies, in their
entirety, form an intelligent organism: when necessary, they self-generate
new models of existence and coexistence—a precondition for human
resilience on Earth. Sharing life experiences is, after all, a basic human
condition. Coexistence on Earth requires new foundations that foreground
collective ownership of the land and a socially-conscious way of living.
4
5
Planetary coexistence of species
acknowledges the presence
and agency of diverse forms of
intelligence. The artist NICHOLAS
MANGAN is inspired by termites
and their capacity to build
sophisticated and dynamic
architectures that provide a model
for decentralised social and
economic organisation. The starting
point of TERMITE ECONOMIES
(PHASE 1) was the anecdote
that Australia’s Commonwealth
Scientific and Industrial Research
Organisation (CSIRO) researched
termite behaviour in the hope that
the insects might one day lead
humans to gold deposits; a proposal
to exploit the natural activity of
termite colonies for economic
gain. Mangan, on the contrary,
proposes that the termites’ way
of living in colonies might suggest
an alternative complex and globalscale system for people to live and
work together, better regulating and
metabolising human consumption,
production, and digestion.
TERMITE ECONOMIES combines
footage Mangan filmed in Western
Australia, alongside archival video
and table-mounted sculptures, to
speculate on the use of termites
as miners and ruminating on how
capitalism puts nature to work.
The 3D-printed models reference
existing infrastructures, for instance
an underground tunnelling system
for Tindals Mining Centre, a gold
mine in Western Australia. The initial
idea was to produce a 1:100 scale
model to train termites.
Nicholas Mangan, Termite Economies
(Phase 1) (detail), 2018. Courtesy the
artist; Sutton Gallery, Melbourne;
Hopkinson Mossman, Wellington; and
LABOR, Mexico City.
�Animali Domestici, Bangkok
Opportunistic Ecologies (detail),
2019. Courtesy the artists.
For UNTITLED (HUMAN MASK), artist PIERRE HUYGHE filmed a monkey,
who in real life has a work permit as a “waitress” in a traditional sake house
in a city near Fukushima. In the film, the animal is wearing a dress and a wig,
as well as a white, human-like mask created by Huyghe. Made of resin, the
mask is inspired by traditional Japanese Noh theatre masks, where only the
main actor wears a mask, meant to show the essential traits of the character.
The film’s first images are drone shots of a devastated landscape, that of
Fukushima in 2011, after the earthquake-triggered tsunami caused the
meltdown of three nuclear plant reactors. It then shifts to an empty restaurant
and house, where we follow the monkey moving around in the dark. The
animal is seen acting, and seems to be waiting, shaking her leg, looking
at her nails, playing with her hair. A cat appears, and we see close-ups of
insects and cockroaches. Raising questions about the essence of human
nature and of non-human forms of intelligence and communication, the work
points at the prevailing relationship of domination between humans and
other species.
In BANGKOK OPPORTUNISTIC ECOLOGIES, the
design practice ANIMALI DOMESTICI studied the
urbanity of the Thai capital from a non-anthropocentric
perspective, focusing on the presence of pythons.
Mapping the city through a snake’s experience, the
resulting tapestry puts multiple beings of different
species at the centre, displacing the human from its
exceptionalism. The graphic realisation is inspired by
the representation techniques, colour palettes, and
composition of Thai traditional mural paintings. The
artists’ work process translates research and statistics
on Bangkok into multiple encapsulated narratives,
including such elements as sewerage, canals, water
swamps, and rain water “cracked” pipes—typical spots
used by snakes, according to fire department experts—
as well as folkloric cultural practices like the numerology
and superstitions connected to the shape and location
of the animals.
Pierre Huyghe, Untitled (Human Mask) (film still), 2014.
Courtesy the artist; Marian Goodman Gallery, New York;
Hauser & Wirth, London; Esther Schipper, Berlin;
and Anna Lena Films, Paris.
6
7
�Ines Doujak, Ghostpopulations, 2016–19.
Courtesy the artist.
GHOSTPOPULATIONS, a series of collages by the artist INES DOUJAK,
combines ill human bodies with flora and fauna, transforming drawings from
19th-century medical textbooks into provocative assemblages that investigate
desperation as an economic force. Doujak points out that entire populations
uproot and flee in the direction of the faintest glimmer of hope, only to find
themselves in the worst of predicaments: abandoned and deported, sold,
abused or stigmatised forever, circulating as extremely cheap and disposable
commodities. While Doujak is giving visibility to such marginalised, abused,
and displaced populations, her collages draw a dystopian mirage, reminding
us of the pending threat of pandemic illnesses.
Jae Rhim Lee, Coeio – Infinity Burial
Suit, 2016. Courtesy the artist.
8
9
Death, from a posthumanist
perspective, is not only inevitable
and part of life, but is an event
that is already in our past. The
artist and entrepreneur JAE RHIM
LEE developed a burial suit as an
environmentally-conscious alternative
to conventional funerary processes,
shifting the negative narratives around
death. The presented INFINITY
BURIAL SUIT, a handcrafted garment
to be worn by the deceased, is
completely biodegradable, and
co-created with zero waste fashion
designer Daniel Silverstein. The
featured FOREVER SPOT PET
SHROUD also consists of a built
in bio ix of mushrooms and other
m
microorganisms that together do three
things: aid in decomposition, work
to neutralise toxins found in dead
bodies, and transfer nutrients to plant
life, enriching the earth and fostering
new life. Highlighting the importance
of decompiculture—the cultivation
of waste-decomposing organisms—
this project also suggests a strong
link between human resistance to
mortality and climate change denial.
Lee advocates for a post-mortem
responsibility towards the natural
world and a direct engagement with
our own mortality, turning funerals into
new beginnings instead of endpoints,
becoming more emotionally and
socially accessible.
�Hito Steyerl, Liquidity Inc. (film still), 2014.
Courtesy the artist; Andrew Kreps Gallery, New York;
and Esther Schipper, Berlin. © VG Bild-Kunst, Bonn, 2019.
A parable on economic crashes, financial
trading, mixed martial arts, and general
contemporary culture, artist and writer
HITO STEYERL’s large-scale architectural
environment features LIQUIDITY INC.,
a single-screen projection that uses water
and liquidity as guiding tropes. Opening
with the quote “be water, my friend” by
martial arts legend and actor Bruce Lee, the
film comments on the circulation of digital
images, big data, information, financial assets,
labour, and weather systems. The installation
consists of a double-sided projection screen
in front of a blue, wave-like ramp, where the
viewers find themselves in “troubled water.”
Steyerl merges CGI and green screen
scenes with an assortment of embedded
videos, swipes, clips, scrolls, and pop-up
windows, that include the story of Jacob
Wood, a former financial analyst who lost his
job during the 2008 economic recession and
decided to turn his mixed martial arts hobby
into a new career. The intricate mesh of late
capitalism structures needs to be hijacked in
order to allow space for new ecological and
sustainable policies that value people and life
over profit.
THE POSTHUMAN CITY, through artistic propositions, intends to open a
discussion about the imbalanced relationship between an anthropocentric
thinking that puts the human at the centre, and the fact that the urban
environment is a habitat for many life forms. Feminist philosopher Rosi
Braidotti calls for resilience, stating that “sustainability does assume faith
in a future, and also a sense of responsibility for ‘passing on’ to future
generations a world that is liveable and worth living in. A present that
endures is a sustainable model of the future.”1
Curated by UTE META BAUER, Professor NTU ADM, and Founding Director,
NTU CCA Singapore, and LAURA MIOTTO, Associate Professor, NTU ADM.
A selection of 11 artist films will be screened on loop in the Single Screen,
from 26 November 2019 to 9 February 2020. The accompanying public
programmes include seminars addressing techno-optimism and eco-hacktivism
on 23 November 2019, and biodiver-city and urban futures on 18 January 2020,
deepening the discussion around posthumanism and the urban condition.
The second edition of NTU CCA Ideas Fest, guest curated by IdeasCity,
New Museum, New York, takes place from 15 to 23 February 2020.
10
11
1
Rosi Braidotti, The Posthuman, (Oxford, United Kingdom: Polity Press, 2013), 138.
�HALL
Irene Agrivina
SOYA C(O)U(L)TURE, 2014
Mixed media installation, dimensions ttvariable.
Courtesy the artist.
Animali Domestici
BANGKOK OPPORTUNISTIC
ECOLOGIES, 2019
Printed synthetic fabric canvas, embroidery,
300 x 300 cm. Courtesy the artists.
Ines Doujak
GHOSTPOPULATIONS, 2016–19
Collages of historical prints from early 20th-century
botanical wall charts and medical books, 120 x 87 cm,
120 x 90 cm, 150 x 119 cm, 75 x 70 cm, 80 x 93 cm.
Courtesy the artist.
Pierre Huyghe
UNTITLED (HUMAN MASK), 2014
Single-channel video, colour, stereo sound, 2.66:1, 19 min.
Courtesy the artist; Marian Goodman Gallery, New York;
Hauser & Wirth, London; Esther Schipper, Berlin;
and Anna Lena Films, Paris.
Jae Rhim Lee
COEIO – INFINITY BURIAL SUIT, 2016
Handcrafted garment, mushrooms, microorganisms,
dimensions variable.
THE FOREVER SPOT PET SHROUD, 2016
Handcrafted garment, mushrooms, microorganisms,
dimensions variable.
Courtesy the artist.
Nicholas Mangan
TERMITE ECONOMIES (PHASE 1), 2018
3D printed plaster, dirt, synthetic polymer paint,
plywood, painted mild steel, fluorescent bay lights,
2 Sony Trinitron monitors, archival and recorded
footage (continuous loop), dimensions variable.
Courtesy Michael Buxton Collection.
THE
THE
EXHIBITION
Lucy + Jorge Orta
ORTAWATER – PORTABLE WATER
FOUNTAIN, 2005
SINGLE
SCREEN
26 NOVEMBER 2019 – 9 FEBRUARY 2020
Screening on loop during opening hours.
Steel structure, water drum, rubber wheels,
OrtaWater life jacket, copper tube, bucket, taps,
31 OrtaWater bottles, 180 x 190 x 50 cm.
ORTAWATER – M.I.U. STUDY, 2007
Steel, mirror, diverse textile, 3 bivouacs,
4 wheels, 115 x 85 x 45 cm.
26 November – 1 December 2019
Mierle Laderman Ukeles, WASTE FLOW, 1984
Video, colour, 58 minutes
Waste Flow is one of two videos chronicling Ukeles’s groundbreaking performance
Touch Sanitation (1978–80), in which she shook hands with over 8,500 New York
City Sanitation workers to appreciate and destigmatise their labour. The film
portrays a large grid of coloured photographic prints, and sundry text-based
archival materials depicting the performance work.
Courtesy the artists.
Marjetica Potrc
THE EARTH DRAWINGS, 2009–19
Ink on paper, 76 x 56 cm each.
The Elders, the Land and the Rest of
Us, 2009
Nomads Inhabit Islands, Settlers Build
Walls, 2016
3 – 8 December 2019
De Rijke/De Rooij, BANTAR GEBANG, 2000
35mm film, colour, sound, 10 min
This film consists of a single static view of a shanty
town built on a vast rubbish dump near Jakarta,
Indonesia. It begins in semi-darkness before dawn, to
broad daylight, and ends with the light shifting from
dreamy twilight to daybreak. The entrance to the
walled shanty town is framed in the centre, where roads
intersect with people walking along them. The structure
of the sobering image is revealed, as the viewer observes
its details and actions in the changing light.
The Ashaninkas, Along with Their
Friends in Tirana and New Babylon,
Contemplate the Power of Pattern,
2009
The Sami, Along with Their Ashaninka
Friends, Contemplate Coexistence with
the Earth, 2016
The Basket Weaver Weaves Difference,
2016
With fibre basket 19 x 25 cm.
The Pot Maker Shapes Unity, 2016
With clay pot 26 x 28 cm.
Courtesy the artist and Galerie Nordenhake, Berlin,
Stockholm, Mexico City.
10 – 15 December 2019
Lucy Walker, WASTE LAND, 2010
Colour, sound, 99 min
This feature documentary follows Vik Muniz, a Brazilian
artist and photographer, on an emotional journey from Jardim
Hito Steyerl
LIQUIDITY INC., 2014
Video, colour, sound, 30 min 19 sec, and architectural
environment. Courtesy the artist; Andrew Kreps
Gallery, New York; and Esther Schipper, Berlin.
12
13
�24 – 29 December 2019
Ursula Biemann, DEEP WEATHER, 2013
Video essay, colour, sound, 9 min
This video draws a connection between the relentless reach for fossil resources and
the impact on broad indigenous populations in remote parts of the world. Water
and oil form the undercurrents of all narratives as they are activating profound
change in the planetary ecology. The work documents communities living in the
Deltas of the Global South that are building protective mud embankments by
hand without any mechanic help. In Bangladesh, such measures are taken when
large parts of the country become submerged and water is declared a territory of
citizenship for populations forced to live on water.
Gramacho, the world’s largest landfill on the outskirts of
Rio de Janeiro, to the heights of international art stardom.
Muniz collaborates with “catadores,” pickers of recyclable
materials who live on the landfill, to create photographic
images of themselves out of garbage. The process
portrays their plight; at the same time, the resulting work
highlights their dignity, the transformative power of art,
and the beauty of the human spirit.
17 – 22 December 2019
Tejal Shah, BETWEEN THE WAVES, 2012
HD Video, colour and b&w, multi-channel sound
Five-channel video installation, adapted to two-channel
(back-to-back loop)
Channel I, A FABLE IN FIVE CHAPTERS, 26 min 15 sec
Channel II, LANDFILL DANCE, 5 min
Channel III, ANIMATION, 1 min 40 sec
Channel IV, MOON BURNING, 26 min 15 sec
Channel V, MORSE CODE, 26 min 15 sec
Between the Waves portrays personal/political metaphors—
embodiments of the queer, eco-sexual, inter-special,
technological, spiritual, and scientific—within sensual,
poetic, heterotopic landscapes. Neither bourgeois or asexual,
the subjects can be read as assertively political in their local
context, where freedom of speech and creative expression
often face serious censorship. The immersive environments
they are in represent spaces of refuge or expulsion, while their
activities feel both archaic and futuristic, filled with urgency
and agency. Multiple historic and mythological references
are woven and problematised within the video. A Fable in
Five Chapters touches on the ecological importance and
parthenogenetic nature of corals and reef fish; Landfill Dance
explores the potency of the geological, social, and cultural
histories embedded in a landfill; Animation and Morse Code
move between low-tech animation to the use of iPhone Morse
code application; and Moon Burning highlights the cyclic
nature of existence and impermanence, and the fluid entities
of things and beings.
31 December 2019 – 5 January 2020
Jan Peter Hammer, TILIKUM, 2013
HD-video, colour, sound, 45 min
The film charts the entangled history of behaviourism, neuroscience,
animal training, interspecies affection, and English-speaking
dolphins. Its narrative starts on 25 February 2010 with a 911 call.
Seconds after having completed a live performance at SeaWorld
Orlando, Florida, a trainer Dawn Brancheau was dragged underwater,
drowned and dismembered by Tilikum, a bull orca. He was Tilikum’s
third victim. The film reveals details about the entertainmentindustrial complex which SeaWorld is a part of, and the connections
between the earliest oceanic leisure centres and Cold War military
research, from Hammer’s research on the incident.
7 – 12 January 2020
Jonathas de Andrade, O PEIXE [THE FISH], 2016
16mm film transferred to 2K video, sound, colour, 37 minutes
The film adopts an aesthetic style typically employed in
ethnographic films by anthropologists from the 1960s and 70s
when recording the cultures and traditions they study. In a series
of vignettes shot on 16 mm film, we witness what seems to be
an intimate ritual—one actually invented by the artist—among
fishermen in a coastal village in North-eastern Brazil. The camera
captures individual fishermen as they catch and then tenderly hold
their prey to their chest until it stops breathing. There lurks an
understanding that this gesture disguises violence as benevolence
and suggests a symmetry between the power that humans wield
over other life forms.
14
15
�14 – 19 January 2020
Fabrizio Terranova, DONNA HARAWAY: STORY TELLING FOR
EARTHLY SURVIVAL, 2016
Colour, sound, 81 min
Donna Haraway is a prominent scholar in the field of science and technology,
a feminist, and a science-fiction enthusiast who works at building a bridge
between science and fiction. She became known in the 1980s through her work
on gender, identity, and technology, which broke with the prevailing trends
and opened the door to a frank and cheerful trans-species feminism. Haraway
is a gifted storyteller who paints a rebellious and hopeful universe teeming
with creatures and futuristic trans-species in an era of disasters. The filmmaker
Fabrizio Terranova visited Donna Haraway at her home in Southern California,
producing this rare, candid, intellectual portrait of a highly original thinker.
4 – 9 February 2020
Karlos Gil, UNCANNY VALLEY, 2019
The film is a dystopian sci-fi story that takes the replacement of waiters in
Japanese restaurants by androids as its starting point. It explores complex
existential problems due to the Uncanny Valley Hypothesis in the field of
robotics: in which an android created too much in the image and likeness
of a human faces rejection. The underlying themes of the video deal with
the relationship between machines and humans based on the encounter
between an android and its doppelgänger. Through this relationship and the
implementation of Artificial Intelligence (AI) in everyday life, the film reflects
the socio-economic paradigm effects by the technological transformation.
ONE-TIME SCREENINGS:
21 – 26 January 2020
Armin Linke, PULAU-PULAU KELAPA SAWIT, 2017
In collaboration with Giulia Bruno and Giuseppe Ielasi.
HD video, colour, sound, 95 min
With footage of oil palm plantations, active peat fires, and olive-related
production sites in Java, Sumatra, and Kalimantan (Borneo), the film
illustrates why the oil-farming business has grown so rapidly in Asia.
Various stages of palm oil production are linked through provocative
interviews with residents, activists, scientists, and government officials
who express their often-conflicting views on the transformation of
Indonesia into a palm oil nation. While the pace of production has
positively impacted Indonesia’s GDP, the steep rise in demand for palm oil
and its derivatives has dire consequences for Indonesia and its rainforests.
Thursday, 19 December 2019, 7.30pm
Fritz Lang, METROPOLIS, 1927
B&W, sound, 2h 30 min
This German expressionist science-fiction drama film presents
a futuristic utopian city that exists above a grim underground
world populated by exploited workers who run the machinery
that keeps the utopian world above functioning. Freder, the son
of the city’s master is intrigued by a young woman named Maria,
who brings a group of workers’ children to the city and eventually
learns about their living conditions. Freder seeks to be a mediator
between the separating classes and this puts him in conflict with
his authoritative father. This quickly culminates into a revolution
that spells disaster for those involved.
Thursday, 26 December 2019, 7.30pm
Ridley Scott, BLADE RUNNER, 1982
Colour, sound, 117 min
In the year 2019, Rick Deckard, a Blade Runner and law enforcer, is forced
out of retirement to hunt down and kill four illegally bio-engineered
humans known as replicants before they kill more people. These
replicants are androids that look virtually identical to human beings.
They are designed with superior strength and higher intelligence but feel
no emotions. Centred on the theme of humanity, the film examines the
effects of technology on the environment and society; where other forms
of natural life no longer exist and the future is depicted as both high-tech
and hopeful in some places but decayed in others.
28 January – 2 February 2020
Liam Young, SEOUL CITY MACHINE, 2019
Digital 3D film, sound, 7 min 41 sec
Seoul City Machine is an abstract sequence of vignettes, fragments and moments
of a city where machines and technology are now the dominant inhabitants.
It portrays the urban landscape of tomorrow—a city in which all of the fears
and wonders of emerging technologies have come true. An AI chatbot voices
its own creation story through its City Operating System to the citizens it
affectionately manages. Using contemporary Seoul as a visual backdrop,
the present-day city is overlaid with cinematic visual effects to depict an
autonomous world where drones fill the sky, cars are driverless, streets are
draped in augmented reality, and everyone is connected to everything.
16
17
�PUBLIC
Friday, 17 January 2019,
8.00 – 9.30pm
PERFORMANCE: POKOKNYA
by TINI ALIMAN, musician, and guests
PROGRAMMES
Saturday, 23 November 2019,
2.00 – 7.30pm
SYMPOSIUM: TECHNOOPTIMISM & ECO-HACKTIVISM
with IRENE AGRIVINA, artist;
UTE META BAUER, Founding
Director, NTU CCA Singapore,
and Professor, NTU ADM;
INHABITANTS, artists;
artist NICHOLAS MANGAN,
Senior Lecturer, Department of Fine
Art, Monash University; LAURA
MIOTTO, Associate Professor,
NTU ADM; DR KARIN OEN,
Deputy Director, Curatorial
Programmes, NTU CCA Singapore;
SERINA ABDUL RAHMAN, Visiting
Fellow, ISEAS-Yusof Ishak Institute,
Singapore; HALLAM STEVENS,
Associate Professor, School of
Biological Sciences, NTU; and
JANELLE THOMPSON, Associate
Professor, Asian School of the
Environment, NTU
Tuesday, 4 February 2019,
7.00 – 8.30pm
EXHIBITION (DE)TOUR:
THE PENDING THREAT OF
PANDEMICS
by OLIVO MIOTTO, Associate
Professor, University of Oxford
Mahidol Oxford Research Unit
Thursday, 5 December 2019,
7.00 – 8.30pm
EXHIBITION (DE)TOUR: LIVING
WITH OUR CREATIONS
by HALLAM STEVENS, Associate
Professor, School of Biological
Sciences, NTU
Humans are engaged in a constant
battle against infectious diseases.
The weapons used by microbes
are different from those we employ,
but very effective at frustrating our
efforts to control and eliminate
disease. For example, malaria
parasites can rapidly develop
mutations that make treatments
less effective; the more people use
antimalarial drugs, the more dramatic
the response from the parasites.
The battlefield also plays a decisive
role: for pathogens like dengue or
malaria, which are transmitted by
insects, changes in the environment
that affect natural habitats make
a profound difference. Can humanity
create a disease-free future while
protecting the environment?
We are now surrounded by the
living products of our own ingenuity.
Hybrid fish, transgenic corn, and
Wolbachia mosquitoes. We tend
to view such creatures with dread,
thinking of them as unnatural hybrids
that confuse boundaries and cross
categories. But what if we found
ways of loving our creations more?
What if embracing these hybrids
allowed us to find new ways of living
with and in nature? New institutional,
structural, and philosophical
relationships to our genetically
modified cousins might just help us
survive in the Anthropocene.
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Exploring plant consciousness
and communication networks in
forests, sound artist Tini Aliman has
developed a practice that involves
collaborating with diverse plant
species. Together with her guests, the
artist will translate captured biodata
into music and aural architecture.
Finding ways of interspecies communication through pick-up mics and
feedback loops, this performance
allows for a deeper contemplation of
what it means to share existence and
listen to life. Pokoknya is a term in
Bahasa Melayu/Indonesia that translates to “essentially” or referring to the
root of an issue, which is a play on
the word “tree.” The word could also
be read as the “tree belonging to...”
Saturday, 18 January 2019,
2.00 – 5.00pm
SYMPOSIUM: BIODIVER-CITY
AND URBAN FUTURES
with ANIMALI DOMESTICI, artists;
UTE META BAUER, Founding
Director, NTU CCA Singapore,
and Professor, NTU ADM;
JASON FARAGO, art critic,
New York Times; YUN HYE HWANG,
Associate Professor, School of Design
and Environment, NTU; SARAH
ICHIOKA, Desire Lines; MICHELLE
LAI, TANAH; and LAURA MIOTTO,
Associate Professor, NTU ADM
�WORKSHOPS
Sunday, 24 November 2019
2.00 – 5.00pm
WORKSHOP: DIY ECOPRINTS
ON BIO-LEATHER
by artist IRENE AGRIVINA
Workshop fee: $25
Register via Peatix: ecoprints.peatix.com
Get a hands-on experience in
making your very own eco-prints
using easily available materials such
as flowers and leaves. You will get
the opportunity to print on SOYA
C(O)U(L)TURE, a bio-leather
derived from the by-product of
soy production. This is a BYOF
workshop: Bring your own flowers!
Sunday, 29 December 2019
2.00 - 5.00pm
WORKSHOP: THE IMPACT OF
INSECTS IN OUR WORLD – AN
ARTISTIC EXPLORATION
by artist WENDY.GNAHZ in
collaboration with social enterprise
MIGRANT X ME
Saturday, 18 January 2020
11.00am – 12.30pm
WORKSHOP: UPCYCLING FOOD
WASTE WITH ECO-ENZYME
by ground-up initiative ZEROWASTE
FOOD SINGAPORE
Workshop Fee: $12
Register via Peatix: impactofinsects.peatix.com
Insects are crucial to our ecosystem.
However, rapid environmental
degradation has caused a major
decline of their population. This
in turn affects humans and other
interdependent ecosystems. In this
workshop, participants will learn
the impact of insects and foster a
deeper appreciation for them. Using
recycled materials, participants
will study and create their own
six-legged animals through printed
images and real insect specimens
brought in by Wendy.gnahZ.
Workshop Fee: $12
Register via Peatix: ecoenzyme.peatix.com
763,100 tonnes of food waste were
generated in 2019, accounting for
10% of the total waste generated
in Singapore. In this workshop,
you will learn how to reduce your
environmental impact by upcycling
fruit waste into non-toxic multipurpose cleaning solutions for your
home and gardens. Bring home a
bottle of eco-enzyme to share the
love towards a healthy waste-free
lifestyle. You are encouraged to bring
your own wide-mouth bottles or
containers.
This workshop is held in
collaboration with Migrant x Me,
a registered social enterprise that
aims to provide public education
and raise awareness of the migrant
worker community in Singapore.
Participants will work hand-inhand with the local migrant worker
community, and exchange thoughts
and experiences on how to share our
resources more consciously.
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Sunday, 19 January 2020
1.00 – 5.00pm
WORKSHOP: VISUAL WILD
MAPPING
by artists ANIMALI DOMESTICI
Workshop Fee: $12
Register via Peatix:
visualwildmapping.peatix.com
The presence and roles of different
species within urban metropolitan
environments are often overlooked
or not perceived at all, even if they
represent fundamental components
of urban ecologies. This workshop
aims for a collective sharing of
such species through immediate
and trans-disciplinary storytelling
techniques. Participants will learn
to engage with different graphic
composition techniques, utilising
both prearranged and personalised
elements. They will also be using
multiple scales, from fragments of
cities to small objects, to expand the
range of layers that can be included
in the narrative from technical to
cultural, superstition to institutional,
and many more.
�worked in Singapore from 2010 to 2014,
and since 2015 have been teaching
architectural design at the International
Program in Design and Architecture (INDA)
of Chulalongkorn University in Bangkok.
BIOGRAPHIES
Irene Agrivina (Indonesia) is an open
systems advocate, technologist, artist,
and educator. She is a graduate of the
Graphic Design faculty at the Indonesia
Institute of Art (ISI), and the Culture and
Religion Master Program at Sanata Dharma
University in Yogyakarta. As a founding
member and current director of HONF
(House of Natural Fiber), a Yogyakartabased new media and technology laboratory
created in 1998, Agrivina runs its Education
Focus Programme (EFP) which focuses on
the application and practical use in daily
life of collaborative, cross-disciplinary, and
technological actions responding to social,
cultural, and environmental challenges. She
has participated in numerous festivals such
as re:publica, Transmediale, Pixelache, Mal
Au Pixel, New Museum Triennial, and APAP
5. She has also exhibited her work and
given lectures around the world in cities
such as Vienna, New York, Paris, London,
Tokyo, Berlin, Prague, and Singapore. In
2013 she co-founded XXLab, an all-female
collective focusing on arts, science, and
free technology as a second generation
of HONF’s spin-off communities. Their
project Soya C(o)u(l)ture (2014) was
crowned a winner of the 2015 Prix Ars
Electronica awards, a prestigious European
Commission-supported competition for
cyberarts in Austria.
Tini Aliman (Singapore) is a sound designer,
field recordist, and foley artist who works
at the intersection of theatre and film
sound design, live sound art performance,
installation, and collaborative projects. Her
research interests include forest networks,
aural architecture, plant consciousness, and
the variables of data translations via biodata
sonification. In 2018, she was nominated
for the Best Sound Design category for Life!
Theatre Awards for her work for Angkat by
Ursula Biemann (Switzerland) is an artist,
writer, and video essayist who investigates
global relations under the impact of the
accelerated mobility of people, resources,
and information. Her works explore space
and mobility, and more recently ecology,
oil, and water. Her video installations have
been exhibited in museums and international
art biennials worldwide. She received a
doctor honoris causa in Humanities by the
Umeå University, Sweden, and the Prix
Meret Oppenheim, the national art award of
Switzerland. She has a BFA from the School
of Visual Arts and attended the Whitney
Independent Study Program in New York
(1988). Biemann’s research is currently based
at the Zurich University for the Arts.
Teater Ekamatra. She has been involved in
projects and exhibitions across Asia Pacific
and Europe. Her recent projects have been
presented at NTU CCA Singapore, Biennale
Urbana at Caserma Pepe, Venice, and Museum
of Contemporary Art Taipei.
Jonathas de Andrade (Brazil) is one of the
most promising Brazilian artists of his
generation. Over the last decade, he has
developed works in photography, video, and
installation that stem from observations of
everyday life in Brazil and what he regards as
its “urgencies and discomforts.” He considers
how the Brazilian national identity and labour
conditions have been constructed in the midst
of colonialism and slavery, and reinterprets
the methodologies of education and social
sciences to question underlying assumptions.
De Andrade studied communications at
Universidade Federal de Pernambuco, Brazil,
and has had solo exhibitions worldwide.
Ines Doujak (Austria/United Kingdom) is an
artist, researcher, and writer, who teaches
in the areas of visual culture and material
aesthetics with a queer-feminist, anti-racist,
anti-colonial focus. Doujak received two
research grants from the Austrian Science
Fund: Loomshuttles, Warpaths (2010–18),
a study of textiles to investigate their global
history characterised by cultural, class,
and gender conflict; and Utopian Pulse:
Flares in the Darkroom (2013–15). She
studied at the University of Applied Arts in
Vienna (1988–93). Selected exhibitions
include Actually, the Dead are not Dead,
Bergen Assembly (2019); Possibilities
for an Non-Alienated Life, Kochi Muziris
Biennale, Kerala (2018); A Beast, a God,
and a Line, Dhaka Art Summit, Para Site,
Hong Kong, TS1 Yangon, and Museum
of Modern Art, Warsaw (2018); Arte para
pensar la nueva razón del mundo, Muntref,
Buenos Aires (2017); The Conundrum
of Imagination, Leopold Museum, Vienna
(2017); Not Dressed for Conquering,
Württembergischer Kunstverein, Stuttgart
(2016); The Beast and the Sovereign,
MACBA, Barcelona (2015); Ape Culture,
Haus der Kulturen der Welt, Berlin (2015);
The School of Kyiv, Kyiv Biennial (2015);
Animali Domestici (Italy/Thailand),
founded by Antonio Bernacchi and Alicia
Lazzaroni (both b. 1983), is a duo and
design practice based in Bangkok. They
focus on the development of experimental
and speculative projects, products, and
processes, beyond the dichotomies of
culture and nature, “infra-ordinary” and
“ab-normal,” human and non-human. With
admittedly fragmented and heterogeneous
sources of inspiration, they are interested in
post-anthropocentric spaces, subjects,
and materialities, in human and animal
behaviour, vernacular crafts and traditions,
popular tastes and everyday life references,
rendered “lifestyles” and marketing
strategies. Animali Domestici is also
intensively involved in teaching and
research. Lazzaroni and Bernacchi, who
obtained a postgraduate Master from
ETSAM, Polytechnic University of Madrid,
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Universes in Universe, São Paulo Biennial
(2014); Garden of Learning, Busan
Biennale (2012); The Potosi Principle,
Museo Nacional Centro de Arte Reina
Sofía, Madrid (2010); and Documenta 12,
Kassel (2007).
Jason Farago (United States) is an art critic for
the New York Times. He reviews exhibitions in
New York and abroad, with a focus on global
approaches to art history. From 2015 to 2018
he edited Even, an art magazine he co-founded,
whose ten issues are collected in the anthology
Out of Practice. He has also been a regular
contributor to the Guardian, the New Yorker,
the New York Review of Books, Artforum,
and Frieze. Farago studied art history at Yale
University and at the Courtauld Institute of
Art in London. In 2017 he was awarded the
inaugural Rabkin Prize for art criticism.
Karlos Gil (Spain) is an artist whose multiple
art practice thrives on paradox, memory, and
navigation between the past and the present to
articulate or question the codes that construct
meaning. Through a variety of media, he
researches the movement of sense regarding
the art object and examines its cognitive value
as a specific system of knowledge production.
Gil studied at Facultad de Bellas Artes UCM
and at the School of Visual Arts New York. He
has shown his work in CA2M, Matadero and
Casa Encendida in Madrid, and at LABoral
(Gijón), as well as at the Centre Georges
Pompidou, Paris, and the Moscow Biennale.
In 2014 was recipient of the Fundación Botín
Arts grant.
Jan Peter Hammer (Germany) is an artist
who creates films and performances that
connects literature and cinema. He is primarily
interested in the narrative structure of a work.
His videos, films, and synchronised slideshows
allow for a literary reading or a point of view
for criticism. He studied painting and sculpture
before attending courses at the New School’s
Film Theory department and graduating in
Fine Arts at the Hunter College. In 2016 he
was selected as artistic research fellow at KHiO
– Oslo National Academy of the Arts, Norway.
His works have been shown in international
solo and group exhibitions and screened at
several international film festivals.
�Pierre Huyghe (France/United States)
attended the École Supérieure d’Arts
Graphiques (1981–82) and the École
Nationale Supérieure des Arts Décoratifs
(1982–85). Based in New York, he is
the Artistic Director of Okayama Art
Summit 2019. In the 1990s, Huyghe
emerged as part of a wave of secondgeneration Conceptualists known for their
relational aesthetics approach towards
art. Throughout his career, he has been
involved in multimedia collaborations with
other artists. His works, which seek a
high degree of control over the viewer’s
experience, often present themselves as
complex systems characterised by a wide
range of life forms, inanimate things, and
technologies. His constructed organisms
combine not only biological, technological,
and fictional elements, they also produce
an immersive, constantly changing environment, in which humans, animals, and nonbeings learn, evolve, and grow. In 2001,
he received a Special Award from the Jury of
the Venice Biennale and in 2002, he was
awarded the Solomon R. Guggen-heim
Museum’s Hugo Boss Prize. His recent
projects/exhibitions include UUmwelt
at the Serpentine Gallery, London (2018);
Skulptur Projekte Münster (2017); The Roof
Garden Commission at the Metropolitan
Museum of Art, New York (2015); a touring
solo exhibition at the Centre Pompidou,
Paris, and other museums (2013–14);
and Documenta 13 (2012).
knowledge of urban ecology from academia to
practice through active interdisciplinary and
transdisciplinary collaborations.
Yun Hye Hwang (South Korea/Singapore)
is an accredited landscape architect in
Singapore, and Associate Professor of
Landscape Architecture at the School of
Design and Environment, NUS, currently
serving as Programme Director of the
Bachelor’s programme. She holds two Master’s
degrees in landscape architecture, one from
Seoul National University in Korea and
another from Harvard University’s Graduate
School of Design. Her research, teaching,
and professional activities speculate on
emerging demands in fast-growing Asian
cities by exploring ecological design and
management versus manicured greenery
and the multifunctional role of everyday
landscapes. She focuses on transferring
Fritz Lang (Austria/United States) was an
influential filmmaker, producer and actor. He
moved to the United States at the age of 46 and
is best known as an émigrés from the German
school of Expressionism. He had directed 23
features in his 20-year American career and is
considered to have set the precedence for the
evolution of American genre cinema; more
specifically to film noir. His work consists of
a variety of genres revolving around fate
and justice.
between the body and the built and
natural environment. She is a pioneer in
the green burial movement as the inventor
of the INFINITY BURIAL SUIT (aka
Mushroom Death Suit) featured in National
Geographic, Vogue, NPR, Wired, the New
York Times, and TED, among others. Her
work follows a research methodology which
includes self-examination, transdisciplinary
immersion and dialogue, and DIY design,
ultimately taking the form of living units,
furniture, wearables, recycling systems,
and personal and social interventions.
She studied psychology and the natural
sciences at Wellesley College, received
a Master of Science in Visual Studies
from the Massachusetts Institute of
Technology (MIT), and holds a certificate
in permaculture design. She has given
keynote lectures and exhibited her work
internationally, including the Aspen Ideas
Festival, the Cooper Hewitt Smithsonian
Museum Design Triennial, Cube Museum
Netherlands, FACT Liverpool, and the Zero1
Biennial. Lee has taught at MIT, Stanford
University, and George Washington University.
She is the Founder and CEO of venturebacked startup Coeio, Inc.
Sarah Ichioka (United States/Singapore) is
an urbanist, curator and writer, currently
leading Desire Lines, a strategic consultancy
for environmental, cultural, and social-impact
organisations and initiatives. She is the Curator
for the upcoming International Architecture
Biennale Rotterdam 2020. In previous
roles, she has explored the intersections of
cities, society, and ecology within leading
international institutions of culture, policy,
and research. Ichioka’s outlook is glocal,
interdisciplinary, and future-facing. She has
been recognised as a World Cities Summit
Young Leader, one of the Global Public
Interest Design 100, a British Council/ Clore
Duffield Cultural Leadership International
Fellow, and an Honorary Fellow of the Royal
Institute of British Architects.
Michelle Lai (Singapore) is an urban farmer
and forager, who spends her time tinkering
with food experiments at Native, a cocktail bar
in Singapore. Interested in issues related to the
local agricultural and food system, she explores
community-driven innovation and community
engagement practices, forming symbiotic
relationships through everyday participation,
research, and dialogue. Lai is also part of
TANAH, an interdisciplinary collective that
playfully questions urban living via site-specific
interventions within and around the city.
Armin Linke (Italy/Germany) is a photographer
and filmmaker who combines a range of
contemporary image processing technologies
to blur the border between fiction and reality
of the natural, technological, and urban
environment in which we are living. His
oeuvre of photographs and films function as
tools for different design strategies and expand
on multiple levels of discourse. Linke has
served as a research affiliate at the MIT Visual
Arts Program, guest professor at the IUAV
Arts and Design University in Venice, and
professor for photography at the Karlsruhe
University for Arts and Design, and is
currently a guest professor at ISIA Urbino.
Lucy + Jorge Orta (United Kingdom, and
Argentina/France) develop a collaborative
visual arts practice focused on social and
ecological issues. It employs a diversity of
media including drawing, sculpture, and
performance to realise major long-term
bodies of work structured in series: Refuge
Wear and Body Architecture are portable
Jae Rhim Lee (South Korea/United
States) is a designer, entrepreneur, and
transdisciplinary artist whose living units
and wearables reimagine basic life systems
and propose alternative relationships
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minimum habitats bridging architecture
and dress; Nexus Architecture explores
alternative modes of establishing the
social link; Antarctica highlights the urgent
need to consider the dignity of people
affected by climate change; ORTAWATER
examines water scarcity and the problems
arising from its pollution and corporate
control; HortiRecycling and 70 x 7 The
Meal examines the local and global food
chains and the ritual of community dining.
In recognition of their contribution to
sustainability, the artists received the Green
Leaf Award for artistic excellence with an
environmental message, presented by the
United Nations Environment Programme in
partnership with the Natural World Museum
at the Nobel Peace Center in Norway (2007).
Their work has been included in numerous
international exhibitions worldwide. Lucy
Orta is also Professor and Chair of Art and
Environment at the University of the Arts
London, United Kingdom.
Nicholas Mangan (Australia) is a multidisciplinary artist who lives and works in
Melbourne. He is senior lecturer at Monash
University. Through a practice bridging
drawing, sculpture, film, and installation,
Mangan creates politically astute and
disconcerting assemblages that address
some of the most galvanising issues of our
time; the ongoing impacts of colonialism,
humanity’s fraught relationship with the
natural environment, and the complex and
evolving dynamics of the global political
economy. His recent solo exhibitions include
Limits to Growth, Monash University
Museum of Art (MUMA), Melbourne, the
Institute of Modern Art (IMA), Brisbane,
Kunst-Werke Institute of Contemporary
Art, Berlin, Dowse Art Museum, Wellington
(2016); Ancient Lights, Chisenhale Gallery,
London, (2015); Some Kinds of Duration,
Centre for Contemporary Photography,
Melbourne, (2012). His work has been
included in major international exhibitions
including Biennale of Sydney (2018); Let’s
Talk About the Weather: Art and Ecology
in A Time of Crisis, Guangdong Times
Museum, Guangzhou (2018); 74 million
million million tons, Sculpture Center,
New York (2018); The National 2017:
�new Australian art, AGNSW, Sydney
(2017); 4.543 BILLION. The Matter of
matter, CAPC, Bordeaux, (2017); New
Museum Triennial: Surround Audience,
New York (2015); 9th Bienal do Mercosul,
Porto Alegre (2013); and the 13th Istanbul
Biennial (2013).
Migrant x Me (Singapore) is a social enterprise
that provides public education on the migrant
worker community in Singapore through
experiential programmes, workshops, and
learning journeys. It collaborates with
like-minded organisations such as schools,
corporates, and NGOs to provide education to
Singaporean youths. It also conducts monthly
art sessions for migrant workers at clinics run
by its partner NGOs.
Olivo Miotto (Italy/Thailand) is Associate
Professor at the University of Oxford based
at the Mahidol-Oxford Tropical Medicine
Research Unit in Bangkok, where he specialises
in genomic epidemiology of malaria parasites.
Miotto is the principal investigator of GenReMekong, a regional genetic surveillance project
that uses advanced genomic technologies to
produce maps of drug resistance and gene
flow in local parasite population, which are
used by national malaria control programmes
to make strategic decisions on treatments
and interventions. He also collaborates
with researchers across the globe, analysing
thousands of parasite genomes to understand
the evolution of antimalarial drug resistance
and, ultimately, help support the eradication of
this diseases.
Marjetica Potrc (Slovenia/Germany), an
artist and architect based in Ljubljana
and Berlin, is known for her ingenious
reimagining of architectural structures
in “unplanned” cities mostly in South
America where resources are lacking in
the communities. She deals with issues
such as social space and contemporary
architectural practices, sustainability,
and new solutions for communities.
Her practice is strongly informed by
her interdisciplinary collaborations in
research-based on-site projects, where
she translates these investigations into
lyrical brush-worked, text-based drawings
meditational quality. Their work has been
shown worldwide, most notably at the 2005
Venice Biennale. They were also nominated
for the 2005 Hugo Boss Prize.
and large-scale architectural installations.
Her work has been exhibited extensively
throughout Europe and the Americas,
including the Venice Biennial (1993, 2003,
2009); the São Paulo Biennial (1996,
2006); Guggenheim Museum in New York
(2001); the List Visual Arts Center at the
Massachusetts Institute of Technology
(2004); the de Appel Foundation for
Contemporary Art in Amsterdam (2004);
The Curve at the Barbican Art Galleries in
London (2007); the Hamburger Bahnhof Museum for Contemporary Art Berlin (2013,
2018); and the PAMM Perez Art Museum
Miami (2015). She was a professor at the
University of Fine Arts/HFBK in Hamburg
(2011–18), a visiting professor at the
Massachusetts Institute of Technology
(2005) and the IUAV Faculty of Arts and
Design in Venice (2008, 2010).
Sir Ridley Scott (United Kingdom) is a
visionary director, acclaimed producer and
one of the greatest British filmmakers. His
work, known for an atmospheric and highly
concentrated visual style, continues to
push boundaries in style and genre. He was
awarded the BAFTA Fellowship in 2018 and
an honorary doctorate by the Royal College
of Art in 2015. In 2003, Scott was knighted
at the Queen’s New Year Honours in the
United Kingdom for having made substantial
contribution to the British film industry.
Tejal Shah (India) is an artist whose practice
incorporates video, photography, performance,
drawing, sound, and educational workshops.
Their work unselfconsciously manifests “the
inappropriate/d other” within a feminist
and queer framework, and often challenges
normative social hegemonies. They are interested in the intersections of art, ecology, and
non-duality and their relationship to consciousness. Shah obtained a BA in Photography from
the Royal Melbourne Institute of Technology,
Melbourne, and is currently pursuing an MA
in Nalanda Buddhist philosophy.
Dr Serina Abdul Rahman (Singapore/
Malaysia) is a conservation scientist and
environmental anthropologist. Her research
interests lie in human, floral, and faunal
marine communities, as well as their
interaction and preservation. She specialises
in sustainable development and education;
community empowerment; environmental
issues; and innovations; including development
for urban and rural poor. In 2004, she moved
to Malaysia to dedicate her time to marine
environmental organisations and island/coastal
communities. In 2009, she co-founded Kelab
Alami, a community organisation in a fishing
village in Johor to empower the community
through environ-mental education for habitat
conservation. Since 2015, the programme
evolved to focus on community capacitybuilding.
Hallam Stevens (Australia/Singapore) is
Associate Professor of History in the School
of Humanities at Nanyang Technological
University and the Associate Director of the
NTU Institute of Science and Technology
For Humanity. He is the author of Life out of
Sequence: a data-driven history of bioinformatics
(Chicago, 2013), Biotechnology & Society: an
introduction (Chicago, 2016), and the co-editor
of Postgenomics: Perspectives on Life After the
Genome (Duke, 2015). At NTU he teaches
courses on the history of the life sciences and
the history of information technology.
Jeroen de Rijke and Willem de Rooij (both
Netherlands) were a collaborative artist duo
creating video installations, performances, TVprogrammes and 16mm film shorts. They met
while attending the Gerrit Rietveld Academie
in Amsterdam and worked together from 1994
until de Rijke’s passing in 2006. They chose
film as a medium to engage their audience for
a longer period and with greater intensity.
An efficient use of the inherent time and light
qualities of the film medium in their static
camera work gives their subjects an almost
Hito Steyerl (Germany) is a filmmaker,
artist, and writer whose work explores
the complexities of the digital world,
art, capitalism, and the implications of
Artificial Intelligence for society. Steyerl
studied cinematography and documentary
filmmaking at the Academy of Visual Arts in
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Tokyo, the University of Television and Film
in Munich, and holds a PhD in Philosophy
from the Academy of Fine Arts, Vienna. She
often works with the format of the video
essay, combining a heterogeneous range
of material, including interviews, found
footage, fictional dramatizations, pop-music
soundtracks, and first-person voiceovers.
Her work focuses on the intersection
of media technology, political violence,
and desire by using humour, charm, and
reduced gravity as political means of
expression. Her work has been exhibited in
numerous exhibitions including Documenta
12, Taipei Biennial 2010, and 7th Shanghai
Biennial. She is involved in the movement
of feminist migrants and women of colour
in Germany and is currently a professor
of New Media Art at the University of the
Arts in Berlin. She has also lectured at
Goldsmith’s College, London, and at the
Center for Curatorial Studies, Bard College,
New York.
Fabrizio Terranova (Belgium) is a filmmaker,
activist, dramaturge, and lecturer at the École
de Recherche Graphique (ERG) in Brussels,
where he launched and co-runs the Master’s
programme in Narrations and Experimentation/
Speculative Narration. His films include Josée
Andrei, An Insane Portrait (2010), an experimental documentary that was later published
into a book by Les Editions du Souffle. He is
also a founding member of DingDingDong, an
institute to jointly improve knowledge about
Huntington’s disease.
Dr Janelle Thompson (United States/
Singapore) is an environmental microbiologist
whose research and teaching drive towards
careful stewardship of energy and water. Her
ongoing work harnesses bacteria as indicators
of water quality and for bioproduction of
renewable fuels. She holds graduate degrees
from Stanford University and MIT and is
newly appointed as an Associate Professor at
the Asian School of the Environment, NTU,
and Principal Investigator (PI) at the Singapore
Centre for Environmental Life Sciences
Engineering. In previous roles she taught
Environmental Engineering at MIT and was
Associate Director and PI at the SingaporeMIT Alliance for Research and Technology.
�Mierle Laderman Ukeles (United States) is an
influential pioneer of maintenance art. Her
work also revolves around feminist art. She is
best known for her Manifesto for Maintenance
Art 1969! Proposal for an Exhibition “CARE”
(1969), a proposal for an exhibition to display
maintenance work as contemporary art. Since
1977, she has been an unsalaried artist-inresidence at the New York City Department of
Sanitation where she creates art that deals with
urban waste flows, recycling, ecology, urban
sustainability, and our power to transform
degraded land and water into healthy
inhabitable public places.
Liam Young (Australia/United States) is a
speculative architect and director who operates
in the spaces between design, fiction, and
futures. He is the founder of a think tank
Tomorrows Thoughts Today, a group whose
work explores the possibilities of fantastic,
speculative, and imaginary urbanisms. Young
also co-runs the Unknown Fields Division,
a nomadic research studio that travels on
location shoots and expeditions to the “ends of
the Earth” to document emerging trends and
uncover the weak signals of possible futures.
He has taught internationally including the
Architectural Association and Princeton
University, and now runs an MA in Fiction
and Entertainment at Southern California
Institute of Architecture.
Wendy.gnahZ (Singapore) is an artist
volunteer with Migrant x Me, and a scientific
illustrator. Fascinated with the strange, the
dead, and the unseen matter in nature, she is
driven to learn more about them and the role
they play in our ecosystem.
THE POSTHUMAN CITY
CLIMATES. HABITATS. ENVIRONMENTS.
23 November 2019 – 8 March 2020
NTU CCA Singapore
ZeroWaste Food Singapore (Singapore) is a
new ground-up initiative that aims to help
Singapore reduce food waste and accelerate our
shift towards becoming a zero-waste nation.
They raise awareness on food waste issues in
Singapore through food waste education and
hands-on workshops such as composting,
fermenting, and eco-enzyme workshops.
Curators:
Ute Meta Bauer
Laura Miotto
Assistant Curator:
Ana Sophie Salazar
Public and Education Programmes:
Magdalena Magiera
Ilya Katrinnada Binte Zubaidi
Exhibition Production:
Frankie Fang
Isrudy Shaik
Construction:
Design 18
Lucy Walker (United Kingdom/United States)
is an esteemed Emmy-winning film director
who uses dramatic filmmaking techniques
to make documentary films. Renowned
for her ability to connect with audiences
through creating riveting character-driven
nonfiction, she follows memorable characters
on transformative journeys that grant unique
access inside closed worlds. Walker obtained
her MFA from the Graduate Film Programme
at the New York University Tisch School
of the Arts on a Fulbright Scholarship after
graduating at the top of her class with a BA
Hons and MA Oxon in Literature at Oxford
University. She has twice been nominated for
an Academy Award and her films have been
nominated for seven Emmys, having won over
one hundred film awards.
Conservation:
Global Specialised
Services
Lighting Design:
Torene Project
Logistics:
Agility Fairs & Events
Collaterals:
mono.studio
28
29
Acknowledgements:
The exhibition is made possible
by generous loans from the artists
and their studios; Michael Buxton
Collection, Melbourne (Nicholas
Mangan); Esther Schipper, Berlin
(Pierre Huyghe and Hito Steyerl);
and Galerie Nordenhake, Berlin,
Stockholm, Mexico City
(Marjetica Potrc).
A collateral event of
�IN THE LAB
NTU CCA IDEAS FEST
WHAT IS DEEP SEA MINING?
IDEASCITY SINGAPORE
INHABITANTS, IN COLL ABORATION WITH MARGARIDA MENDES
2 NOVEMBER 2019 – 18 JANUARY 2020
G U E S T C U R AT E D B Y I D E A S C I T Y, N E W M U S E U M , N E W YO R K
15 – 23 FEBRUARY 2020
NTU CCA Ideas Fest is a platform to catalyse critical exchange of ideas and encourage
thinking “out of the box.” It is a bottom-up approach linking the artistic and the academic
with community groups and grassroots initiatives. The second edition is guest curated by
IdeasCity, the New Museum’s platform that explores art and culture beyond the walls of
the Museum. It will feature a residency and public programme on the theme of solidarity
with nature—exploring bonds and connections between the built environment, natural world,
and social movements. IdeasCity Singapore will take place across multiple locations
through satellite programmes and partnerships in Singapore and across Southeast Asia.
Deep sea mining is a new frontier of resource extraction located on the ocean
seabed. It is set to begin in the next few years, as the technology is currently under
development. Mining companies are, at present, leasing areas for exploitation in
national and international waters in order to assess the potential to extract minerals
and metals such as manganese, cobalt, gold, copper, iron, and other rare earth
elements. The main geological sites targeted are areas rich in polymetallic nodules,
seamounts, and hydrothermal vents; areas typically found where tectonic plates
meet. The areas to be mined could cover parts of the Mid-Atlantic Ridge and the
Clarion Clipperton Zone in the Pacific Ocean in international waters, and national
waters off the islands of Papua New Guinea, Fiji, Tonga, New Zealand, Japan, and
the Portuguese archipelago of the Azores. Assessment of the impact on deep
sea ecosystems is underway, though their cumulative effects remain difficult to
comprehend given the unprecedented variety and expanse of the mining sites
targeted. At the same time, local and indigenous communities living in these
regions are not being adequately consulted.
The presentation features four episodes: Tools for Ocean Literacy (2018), Deep
Frontiers (2018), The Azores Case (2019), and A Deep Sea Mining Glossary (2019).
INHABITANTS (Portugal/United States) is an online channel for exploratory video and documentary
reporting. Founded in New York in late 2015 by visual artists Mariana Silva and Pedro Neves Marques,
inhabitants produces and streams short-form videos intended for free, online distribution. All episodes
are available at www.inhabitants-tv.org, as well as on Vimeo, YouTube, Facebook, and Instagram.
What is Deep Sea Mining? was developed in collaboration with MARGARIDA MENDES, curator and activist
from Lisbon, Portugal, consultant of Sciaena NGO and founding member of Oceano Livre, an environmental
movement against deep sea mining. What is Deep Sea Mining? is a web series and art project commissioned
by TBA21–Academy.
Curated by MAGDALENA MAGIERA, Curator, Outreach & Education
inhabitants, What is Deep Sea Mining?, 2 November 2019 – 19 January 2020,
The Lab, NTU CCA Singapore, installation view.
The prospects of this form of mining re-actualise a colonial, frontier mentality and
are redefining extractivist economies for the twenty-first century. What is Deep Sea
Mining? addresses both knowledge of the deep sea and ocean governance, but
also efforts to defend a sustained ocean literacy beyond the United Nations’ “blue
economy” at a time when the deep ocean, its species, and its resources remain
largely unmapped and understudied.
The week-long Residency will feature performances, screenings, seminars, site-visits,
and workshops. It invites emerging practitioners to develop projects and research on
the environmental, social, and urban networks that shape the way we live together, and
how those networks might reinforce or redefine solidarity with nature. The culminating
public programme on 22 February 2020 will feature conversations, performances,
presentations, and workshops addressing local, global, and planetary concerns defining
Singapore and Southeast Asia today, and the future of communities worldwide.
30
IdeasCity Singapore welcomes proposals for Residency participation and
Public Programme collaboration through an Open Call.
Up to 30 candidates will be selected based on motivation, interest, and availability, on
a rolling basis until 9 December 2019. IdeasCity will provide honoraria and meals to
all participants, and accommodation for those travelling to Singapore. For submission
guidelines and more information, please visit www.ideas-city.org/singapore/open-call/
About IdeasCity
IdeasCity is a collaborative, civic, and creative platform that starts from the premise that art and culture are
essential to the future vitality of cities. This international initiative provides a forum for designers, artists,
technologists, and policymakers to exchange ideas, identify challenges, propose solutions, and engage the public’s
participation. The initiative was cofounded at the New Museum, New York, by Lisa Phillips, Toby Devan Lewis
Director, and Karen Wong, Deputy Director. Past international IdeasCity programmes have taken place in
Istanbul (2012), São Paulo (2013), Athens (2016), Arles (2017), and Toronto (2018).
IdeasCity Singapore is conceived and organised by New Museum: Vere van Gool, Gabe Gordon, Nicholas Liong,
Yong Ng, and Karen Wong; and NTU CCA Singapore: Karin Oen, Magdalena Magiera, Samantha Leong,
and Ze-Tian Lim
31
The second edition of NTU CCA Ideas Fest
is supported by:
�NTU CCA SINGAPORE STAFF
NTU CCA SINGAPORE GOVERNING COUNCIL
Ute Meta Bauer, Founding Director, NTU CCA Singapore and
Professor, School of Art, Design and Media, NTU
CO-CHAIRS
Professor Joseph Liow, Dean, College of Humanities, Arts,
and Social Sciences, Nanyang Technological University (NTU)
Paul Tan, Deputy Chief Executive Officer, National Arts Council (NAC)
EXHIBITIONS & RESIDENCIES
Dr Karin Oen, Deputy Director, Curatorial Programmes
Dr Anna Lovecchio, Curator, Residencies
Magdalena Magiera, Curator, Outreach & Education
Ana Sophie Salazar, Assistant Curator, Exhibitions
Frankie Fang, Assistant Manager, Production
Isrudy Shaik, Senior Executive, Production
Ilya Katrinnada Binte Zubaidi, Curatorial Assistant, Outreach & Education
Seet Yun Teng, Curatorial Assistant, Residencies
Dyan Hidayat Bin Ismawi, Young Professional Trainee, Outreach & Education
Megan Lam, Young Professional Trainee, Residencies
Nigel Tay, Young Professional Trainee, Production
Nurshafiqah Zainudin, Young Professional Trainee, Exhibitions
Ze-Tian Lim, Intern, Exhibitions
Jolene Lau, Intern, Production
MEMBERS
RESEARCH & EDUCATION
Professor Nikos Papastergiadis, Director, Research Unit in Public Cultures,
and Professor, School of Culture and Communication, The University of Melbourne, Australia
Linda de Mello, Director, Sector Development, NAC
Professor Kwok Kian Woon, Associate Provost (Student Life),
President’s Office, NTU
Cindy Koh, Director, Consumer, Economic Development Board
Mike Samson, Managing Director and Regional Head ASEAN Leveraged and Structured
Solutions, Standard Chartered Bank
Professor Michael Walsh, Chair, School of Art, Design and Media, NTU
Michael Tay, Group Managing Director, The Hour Glass Limited
Dr June Yap, Director, Curatorial, Programmes and Publications, Singapore Art Museum
NTU CCA SINGAPORE INTERNATIONAL ADVISORY BOARD
CHAIR
Sophie Goltz, Deputy Director, Research & Academic Programmes,
and Assistant Professor, School of Art, Design and Media, NTU
Soh Kay Min, Executive, Conference, Workshops & Archive
Guineviere Low, Young Professional Trainee, Research & Academic Programmes
MEMBERS
Antonia Carver, Director, Jameel Arts Centre, Dubai, UAE
Doryun Chong, Deputy Director and Chief Curator, M+, Hong Kong
Catherine David, Deputy Director in charge of Research and Globalisation, MNAM/CCI,
Centre Pompidou, Paris, France
Professor Patrick Flores, Department of Art Studies, University of the Philippines and
Curator Jorge B. Vargas Museum, Manila, Philippines
Ranjit Hoskote, cultural theorist and independent curator, Mumbai, India
Professor Ashley Thompson, Hiram W. Woodward Chair of Southeast Asian Art,
SOAS University of London, United Kingdom
Philip Tinari, Director, Ullens Center for Contemporary Art (UCCA), Beijing, China
OPERATIONS & STRATEGIC DEVELOPMENT
Peter Lin, Deputy Director, Operations & Strategic Development
Jasmaine Cheong, Assistant Director, Operations & HR
Jillian Kwan, Assistant Director, Development
Joyce Lee, Manager, Finance
Cheryl Ho, Manager, Communications
Perla Espiel, Special Project Assistant
Iris Tan, Senior Executive, Administration & Finance
Louis Tan, Executive, Operations
Ong Xue Min, Young Professional Trainee, Communications
Jaclyn Chong, Young Professional Trainee, Communications
32
33
�NTU CCA SINGAPORE PUBLICATIONS
SHARED ACADEMIC PROGRAMMES WITH
THE SCHOOL OF ART, DESIGN AND MEDIA, NTU
Culture City. Culture Scape. (Upcoming)
Edited by Ute Meta Bauer, Sophie Goltz, and Khim Ong.
MASTER OF ARTS IN MUSEUM STUDIES AND CURATORIAL PRACTICES
In August 2018, NTU welcomed the first intake of MA students for Museum Studies
and Curatorial Practices. The programme prepares graduates for professional positions
in the highly complex and diverse museum landscape in Southeast Asia and the
ever-expanding field of contemporary curating.
The Impossibility of Mapping (Urban Asia).
NTU CCA Singapore and World Scientific Publishing, 2019.
Edited by Ute Meta Bauer, Roger Nelson , and Khim Ong.
Voyages de Rhodes, artist’s book by Phan Thảo Nguyên.
Commissioned and published by NTU CCA Singapore, 2018.
Place.Labour.Capital. NTU CCA Singapore and Mousse Publishing, 2018.
Edited by Ute Meta Bauer and Anca Rujoiu.
MASTER OF ARTS (RESEARCH) AND DOCTOR OF PHILOSOPHY (PHD)
This research-oriented MA and PhD is designed for students who wish to pursue
cutting-edge research in specific areas of Art, Design and Media with a focus in
Spaces of the Curatorial and Curating the City, both key academic research areas
of NTU CCA Singapore.
Tomás Saraceno: Arachnid Orchestra. Jam Sessions,
NTU CCA Singapore, 2017. Edited by Ute Meta Bauer and Anca Rujoiu.
Application period: 1 September 2019 – 1 March 2020
(for August 2020 intake)
Becoming Palm, Simryn Gill and Michael Taussig. NTU CCA Singapore and Sternberg Press,
2017. Edited by Ute Meta Bauer and Anca Rujoiu.
Learn more: adm.ntu.edu.sg/programmes
Theatrical Fields, Critical Strategies in Performance, Film, and Video. NTU CCA Singapore,
König Books, London, and Bildmuseet, Umeå, 2016. Edited by Ute Meta Bauer and
Anca Rujoiu.
ABOUT THE SCHOOL OF ART, DESIGN AND MEDIA, NTU
With Singapore being a cosmopolitan nation with Asian sensibilities, the School of Art,
Design and Media (ADM) seeks to play a weighty role in transforming the island state
into a global media city. The inter-disciplinary courses are designed to mould creative
individuals into outstanding artists, designers, animators, new media performers, and
business leaders. The school is equipped with exceptional hands-on studios, digital
creation laboratories, media studios, and open spaces. ADM’s long-term plan is to
focus on nurturing local talents and providing opportunities for international study and
education at a world class standard.
SouthEastAsia – Spaces of the Curatorial. Jahresring 63.
Sternberg Press, 2016. Edited by Ute Meta Bauer and Brigitte Oetker.
ARTISTS’ LIMITED EDITION EVERYDAY ITEMS
NTU CCA Singapore’s line of commissioned Artists’ Limited Editions Everyday Items—
ranging from scarves, umbrellas, and raincoats, to notebooks, tote bags,
and beach towels—is created in collaboration with the Centre’s local and international
Artists-in-Residence. Participating artists include: Hamra Abbas (Kuwait), Julian ‘Togar’
Abraham (Indonesia), Yason Banal (Philippines), Heman Chong (Singapore), Duto
Hardono (Indonesia), Alex Mawimbi (Kenya/Netherlands), Alex Murray-Leslie
(Australia/Spain), Arjuna Neuman (United States/United Kingdom), UuDam Nguyen
(Vietnam), Ana Pravcki (Serbia/United States), anGie seah (Singapore), SHIMURAbros
(Japan), Tamara Weber (United States), and Jason Wee (Singapore).
ABOUT NANYANG TECHNOLOGICAL UNIVERSITY
A research-intensive public university, NTU has 33,000 undergraduate and postgraduate
students in the colleges of Engineering, Business, Science, and Humanities, Arts and
Social Sciences, and its Graduate College. NTU’s campus is frequently listed among the
top 15 most beautiful university campuses in the world and has 57 Green Mark-certified
(equivalent to LEED-certified) buildings. Besides its 200-ha lush green, residential
campus in western Singapore, NTU has a second campus in the heart of Novena,
Singapore’s medical district.
For enquiries, please contact ntuccaevents@ntu.edu.sg
34
35
�NTU CENTRE FOR CONTEMPORARY ART SINGAPORE
CLIMATES.
A leading international art institution, NTU CCA Singapore is a platform, host,
and partner creating and driven by dynamic thinking in its three-fold constellation:
EXHIBITIONS; RESIDENCIES PROGRAMME; RESEARCH AND ACADEMIC
EDUCATION. A national research centre for contemporary art of Nanyang Technological
University, the Centre focuses on Spaces of the Curatorial. It brings fvorth innovative
and experimental forms of emergent artistic and curatorial practices that intersect the
present and histories of contemporary art embedded in social-political spheres with
other fields of knowledge.
HABITATS.
SPACES OF THE CURATORIAL
The Centre seeks to engage the potential of “curating,” and its expanded field. What
are the infrastructures and modes of presenting and discussing artistic and cultural
production in diverse cultural settings and in particular throughout Southeast Asia’s
vastly changing societies? NTU CCA Singapore’s exhibition spaces, designed by artist
and curator Fareed Armaly, respond to this curatorial framework to unfold different
juxtaposed formats.
WE NEED YOU!
Your support is integral to the Centre’s ongoing success from presenting internationally
acclaimed, research-driven exhibitions, to artist residencies and extensive educational
programmes!
ENVIRONMENTS.
CLIMATES. HABITATS. ENVIRONMENTS. is NTU CCA
Singapore’s overarching research topic which informs and
connects the Centre’s various activities over a period of
several years. Changes in the environment influence weather
patterns and these climatic shifts impact habitats, and vice
versa. Precarious conditions of habitats are forcing the
migration of humans and other species at a critical level.
The consequences of human intervention are felt on a global
scale, affecting geopolitical, social, and cultural systems.
The Centre intends to discuss and understand these realities
through art and culture in dialogue with other fields
of knowledge.
Regardless of the amount, your contribution goes a long way in supporting the
development of local, regional and international art scenes and our Centre. If you are
a taxpayer in Singapore, your donation is not only eligible for a 250% tax deduction
for yourself but also qualifies for the Cultural Matching Fund.
Kuhl’s lorikeet
Habitat: South Pacific
Conservation Status:
Endangered
Pledge your support now to make a positive and tangible difference through art
and education.
For enquiries, please contact ntuccacomms@ntu.edu.sg or scan here to donate:
36
�VISITOR
NTU CCA SINGAPORE
EXHIBITION HOURS
Tuesday – Sunday, 12.00 – 7.00pm
Closed on Mondays
Open on Public Holidays
(except on Mondays)
FREE ADMISSION
ntu.ccasingapore.org
facebook.com/ntu.ccasingapore
Instagram: @ntu_ccasingapore
Twitter: @ntuccasingapore
ENQUIRIES
ntuccaevents@ntu.edu.sg
SCHOOL/ GROUP TOURS
To schedule a tour, please email
ntuccaeducation@ntu.edu.sg
INFORMATION
EXHIBITIONS
Block 43 Malan Road,
Singapore 109443
+65 6339 6503
RESIDENCIES STUDIOS
Blocks 37 and 38 Malan Road,
Singapore 109452 and 109441
RESEARCH CENTRE
AND OFFICE
Block 6 Lock Road, #01-09/10,
Singapore 108934
+65 6460 0300
LOCATED AT
GILLMAN BARRACKS TOURS
For a tour, please register at
www.gillmanbarracks.com
or Friends of the Museums
at www.fom.sg
A RESEARCH CENTRE OF
THE POSTHUMAN CITY.
CLIMATES. HABITATS.
ENVIRONMENTS.
is a collateral event of
© NTU CCA Singapore. Printed in
November 2019 by First Printers.
�THE
POSTHUMAN
CITY
HABITATS.
CLIMATES.
ENVIRONMENTS.
EXHIBITION
23 NOVEMBER 2019
— 8 MARCH 2020
�Saturday, 23 November 2019,
2.00 – 7.30pm
SYMPOSIUM: TECHNO-OPTIMISM
AND ECO-HACKTIVISM
The Single Screen
Block 43 Malan Road
2.00 – 2.15pm
INTRODUCTION
by UTE META BAUER (Germany/
Singapore), Founding Director,
NTU CCA Singapore, and Professor,
NTU ADM, and LAURA MIOTTO
(Italy/Singapore), Associate Professor,
NTU ADM
2.15 – 3.00pm
LECTURE: ON GARAGES AND
GENES, OR THE RISE AND FALL
OF THE CALIFORNIA IDEOLOGY
by HALLAM STEVENS (Australia/
Singapore), Associate Professor, School
of Biological Sciences, NTU
Much of today’s biotech was created
in the image of Silicon Valley. The
first genetic engineers emerged
in California in the 1970s and the
industry continues to bear the imprint
of its origins. But Silicon Valley’s
attitude towards technology is
coming under increasing pressure—
the world is beginning to push back
against “tech bros” and social media
monopolies. What does this mean
for bioscience? Could we perhaps
find other ways of working with and
manipulating biomatter and living
things that move beyond the worlds
of venture capital, startups, and
IPOs? Could such models even
provide clues for new ways of living
with others in the Chthulucene?
BIODIVER-CITY
SYMPOSIUM
Saturday, 18 January 2019,
2.00 – 5.00pm
SYMPOSIUM: BIODIVER-CITY
AND URBAN FUTURES
The Single Screen
Block 43 Malan Road
2.00 – 2.15pm
INTRODUCTION
by UTE META BAUER
and LAURA MIOTTO
Animali Domestici, Bangkok Opportunistic
Ecologies (detail), 2019. Courtesy the artists.
& URBAN
TECHNO-OPTIMISM
SYMPOSIUM
& ECO-HACKTIVISM
2.15 – 3.00pm
LECTURE: A GLOBAL ART
CRITICISM FOR A GLOBAL
CLIMATE CRISIS
by JASON FARAGO (United States),
art critic, New York Times
From Schiller and Hegel onward, art
critics and philosophers of aesthetics
have defined art in contrast to nature—
but that distinction has collapsed
in the epoch of the Anthropocene,
when humans have become the
authors of geology itself. This talk will
consider how artists and curators
have approached urbanisation, climate
change, and extinction in the 21st
century, from Hou Hanru’s Zone of
Urgency (Venice Biennale, 2003) to
Maria Stavrinaki’s Prehistory (Centre
Pompidou, 2019). It will also assess
the climate externalities of the global
art market, and how fairs, biennials,
and other nodes of the global art
world might reshape themselves in
a post-carbon economy.
3.20 – 5.00pm
PRESENTATIONS AND
CONVERSATION:
ECO-HACKTIVISM
with IRENE AGRIVINA (Indonesia),
artist; INHABITANTS (Portugal/United
States), artists; DR SERINA ABDUL
RAHMAN (Singapore/Malaysia),
Visiting Fellow, ISEAS-Yusof Ishak
Institute, Singapore; and JANELLE
THOMPSON (United States/Singapore),
Assistant Professor, Asian School
of the Environment, NTU;
moderated by DR KARIN OEN,
Deputy Director, Curatorial
Programmes, NTU CCA Singapore
With practices at the intersection of
art and activism, Irene Agrivina and
inhabitants will share more about
their works, on view in the Exhibition
Hall and the Lab respectively. While
Agrivina teaches local women
communities in Indonesia how to
transform wastewater into valuable
goods, inhabitants informs a wider
public about the threats of seabed
mining. Environmental researchers
Serina Abdul Rahman and Janelle
Thompson will present their findings
on floral and faunal marine communities,
as well as sustainable and ecological
solutions regarding natural resources.
5.30 – 7.00pm
LECTURE: TERMITE ECONOMIES
by artist NICHOLAS MANGAN
(Australia), Senior Lecturer, Department
of Fine Art, Monash University
Nicholas Mangan will work
through some of the research and
histories that have informed the
development of his project TERMITE
ECONOMIES (PHASE 1), on
view in THE POSTHUMAN CITY.
The Australian Commonwealth
Scientific and Industrial Research
Organisation (CSIRO) researched
termite behaviour in the hope that the
insects might one day lead humans to
gold deposits; a proposal to exploit
the natural activity of termite colonies
for economic gain. This anecdote
compelled Mangan through both the
production of the artwork and broader
research to explore insect stigmergy,
trophallaxis, automated mining ant
colony optimisation algorithms,
cement pheromones, biometric
futures, Termodoxia, superorganisms,
and neural network rerouting.
FUTURES
3.20 – 5.00pm
PRESENTATIONS AND
CONVERSATION: BIODIVER-CITY
AND URBAN FUTURES
with ANIMALI DOMESTICI (Italy/
Thailand), artists; YUN HYE HWANG
(South Korea/Singapore), Associate
Professor, School of Design and
Environment, NTU; SARAH ICHIOKA
(United States/Singapore), Desire Lines;
and MICHELLE LAI (Singapore), TANAH;
moderated by LAURA MIOTTO,
Associate Professor, NTU ADM
Thinking through co-existence of
species and the city as a habitat
for diverse life forms, this panel
consists of artists, researchers, and
practitioners for whom interspecies
interaction is at the core of their
practice. Animali Domestici studied
the existence of pythons in the city of
Bangkok, Yun Hye Hwang observes
the outcomes of zero intervention
on landscapes, Sarah Ichioka looks
at social-impact architecture at the
intersections of urban planning and
ecology, and Michelle Lai advocates
for urban farming embedded in local
culture and knowledge.
A RESEARCH CENTRE OF
LOCATED AT
THE POSTHUMAN CITY.
CLIMATES. HABITATS.
ENVIRONMENTS.
is a collateral event of
�
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 Posthuman City. Climates. Habitats. Environments Exhibition Guide
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>The Posthuman City. Climates. Habitats. Environments</i> Exhibition Guide
Description
An account of the resource
<i>The Posthuman City. Climates. Habitats. Environments</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2019-11-23
Contributor
An entity responsible for making contributions to the resource
Irene Agrivina
Animali Domestici
Ines Doujak
Pierre Huyghe
Jae Rhim Lee
Lucy + Jorge Orta
Nicholas Mangan
Marjetica Potrč
Hito Steyerl
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
Sustainability
Posthumanism
Technology
Climate Crisis
-
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Dublin Core
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Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Marjetica
Surname or Business Name
Potrč
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
2016-2017/2020
Birthplace
Slovenia
Occupation
Professional title or identity
Artist
Professor for Social Design
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
Marjetica Potrč is an artist and architect. Her work includes drawing, architectural case studies, and public art projects. Since 2011, she leads a class of participatory practice, Design for the Living World, at the University of Fine Arts (HFBK) in Hamburg, Germany. In Potrč's view, the sustainable solutions that are implemented and disseminated by communities serve to empower these communities and help create a democracy built from below. Potrč has received numerous awards, including the Hugo Boss Prize (2000) and the Vera List Center for Arts and Politics Fellowship (2007) at The New School in New York, United States.
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Germany
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Collaborator
Speaker
Affiliation
Company, organization, or institution name
University of Fine Arts (HFBK), Hamburg
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
A name given to the resource
Marjetica Potrč
Subject
The topic of the resource
Sustainability
Biodiversity
Technology
Climate Crisis
Labour
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Europe
Description
An account of the resource
Marjetica Potrč is an artist and architect based in Ljubljana and Berlin. Her work includes drawings, architectural case studies, and public art projects.
Contributor
An entity responsible for making contributions to the resource
Marjetica Potrč
Marjetica Potrc
-
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Dublin Core
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Title
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Animali Domestici, Bangkok Opportunistic Ecologies, 2019, printed synthetic fabric canvas, embroidery, 300 x 300 cm. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Title
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Hito Steyerl, Liquidity, Inc., 2014, video, colour, sound, 30 min 19 sec, and architectural environment. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Title
A name given to the resource
Hito Steyerl, Liquidity, Inc., 2014, video, colour, sound, 30 min 19 sec, and architectural environment. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Hito Steyerl, Liquidity, Inc., 2014, video, colour, sound, 30 min 19 sec, and architectural environment. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Ines Doujak, Ghostpopulations, 2016-19, collages of historical prints from early 20th century from botanical wall charts and medical books, 120 x 87 cm, 120 x 90 cm, 150 x 119 cm, 75 x 70 cm, 80 x 93 cm. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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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
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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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
The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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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
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Irene Agrivina, Soya C(o)u(l)ture, 2014, mixed media installation, dimensions variable. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Title
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Jae Rhim Lee, Coeio – Imfinity Burial Suit, 2016, The Forever Spot Pet Shroud, 2016, both handcrafted garment, mushrooms, microorganisms, dimensions variable. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Title
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Lucy + Jorge Orta, OrtaWater – Portable Water Fountain, 2005, steel structure, water drum, rubber wheels, OrtaWater life jacket, copper tube, bucket, taps, 31 OrtaWater bottles, 180 x 190 x 50cm. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Lucy + Jorge Orta, OrtaWater – M.I.U. Study, 2007, steel, mirror, diverse textile, 3 bivouacs, 4 wheels, 115 x 85 x 45cm. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Marjetica Potrč, The Basket Weaver Weaves Difference, 2016, with fibre basket, 19 x 25 cm. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Nicholas Mangan, Termite Economies (detail), 2018, 3D printed plaster, dirt, synthetic polymer paint, plywood, painted mild steel, fluorescent bay lights, 2 Sony Trinitron monitors, archival and recorded footage (continuous loop), four-channel surround sound of termite warning signals, dimensions variable. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Nicholas Mangan, Termite Economies (detail), 2018, 3D printed plaster, dirt, synthetic polymer paint, plywood, painted mild steel, fluorescent bay lights, 2 Sony Trinitron monitors, archival and recorded footage (continuous loop), four-channel surround sound of termite warning signals, dimensions variable. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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Title
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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Title
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, installation view.
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Title
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The Posthuman City. Climates. Habitats. Environments., 23 November 2019 – 15 March 2020, NTU Centre for Contemporary Art Singapore, outdoor view.
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Title
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Pierre Huyghe, Untitled (Human Mask), 2014, film, colour, stereo, sound, 2:66, 19 min. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Pierre Huyghe, Untitled (Human Mask), 2014, film, colour, stereo, sound, 2:66, 19 min. The Posthuman City. Climates. Habitats. Environments. (2019), NTU Centre for Contemporary Art Singapore.
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Title
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Exhibitions
Description
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NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
The Posthuman City considers the possibilities of a conscious sharing of resources, and a respectful and mindful coexistence between humans and other species.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2019-11-23
Exhibition End Date
2020-03-15
Collaboration
No
Commissioned Work
No
Related Countries
Australia
Thailand
Japan
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
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Title
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<i>The Posthuman City. Climates. Habitats. Environments</i>
Subject
The topic of the resource
Posthumanism
Sustainability
Coexistence
Biodiversity
Ecology
Technology
Climate Crisis
Description
An account of the resource
Currently, more than half of the world’s human population lives in urban areas. Urban growth poses challenges to the various city dwellers, and creates material demands that cause lasting damage to the wider environment. The climate crisis is already announcing threatening scenarios particularly for coastal regions and megacities located at coastlines. Global urbanisation and the exploitation of resources happen on the expense of human and other species alike. <i>The Posthuman City</i> features artists who propose a shift in perspective. <br /><br />Taking NTU CCA Singapore’s overarching research topic <i>Climates.Habitats.Environments.</i> as point of departure, the exhibition <i>The Posthuman City</i> considers the possibilities of a conscious sharing of resources, and a respectful and mindful coexistence between humans and other species. Through imaginative propositions at the intersection of art, design, and architecture, the selected artists engage questions addressing issues of sustainability, water scarcity, invisible communities, nature as a form of culture, and suggest the implementation of lived indigenous knowledges. Examining the urban fabric in its condition as a habitat for a diversity of life forms, the featured works range from installations to time-based media. <br /><br />Stressing the vital importance of clean water and the challenges of its scarcity around the world, the artist and design duo Lucy + Jorge Orta have developed a long-term project on water collection, purification, and distribution. <i>OrtaWater</i> focuses on the general issues surrounding clean water and the privatisation and corporate control effecting access to it. Starting from a rigorous analysis of this crucial resource through visual and textual research and collaborative workshops with engineers, Lucy + Jorge Orta create sculptures, large-scale installations, and public artworks, that are both artefacts and functional design. One angle of their research—low-cost water purification devices enabling filthy water to be pumped and filtered directly from local sources—is translated into <i>Portable Water Fountain</i> (2005) and <i>Mobile Intervention Unit</i> (2007). These devices have been used to purify and distribute water from the Venice’s Canal Grande (2005) and the Huang Pu River in Shanghai (2012), among others, and now from the creek that runs through Gillman Barracks. <br /><br />Similarly combating water pollution, Irene Agrivina’s <i>Soya C(o)u(l)ture</i> is a mixed media installation that demonstrates how to transform wastewater from tofu and tempeh production into usable biomaterials, such as fuel, fertiliser, and leather-like fabrics. <i>Soya C(o)u(l)ture</i> was developed in collaboration with XXLab, an all-female transdisciplinary collective that Agrivina co-founded. Usually, large amounts of wastewater pollute the water in the rivers surrounding the plants, which in turn causes cholera and skin and bowel diseases in humans. <i>Soya C(o)u(l)ture</i> intends to divert this wastewater from tofu factories and put it in a homegrown starter culture medium to create useful products. A biological process using various bacteria and cell cultures, for instance <i>Acetobacter xylinum</i>, generates alternative energy sources, foodstuffs, and biological material. This process creates cellulose sheets that can either be used for consumption—<i>nata de coco</i>, a variant made of coconut water, is a popular snack food—or further processed (pressed, dried, enhanced with colouring and coating) to make clothing and craft materials. This biological procedure can be reproduced in any household using normal kitchen utensils in combination with open-source software and simple hardware. In this way, the project could provide women in poverty-stricken regions with opportunities to increase their income. <br /><br />Indigenous peoples of various territories around the world, with deep historical and cultural ties to their land, have preserved sustainable ways of living that respect the limits of the planet’s resources. The artist and architect Marjetica Potrč’s <i>Earth Drawings</i> refer to these unique indigenous cosmogonies and their essential knowledges, based on research done over the past 15 years, centred on indigenous communities, such as the Asháninkas (in the Brazilian state of Acre in Amazonia), the Aboriginal (in Australian), and the Sami (in northern Norway), The <i>Earth Drawings</i>, a series on paper, point to the growing alliances between indigenous groups and bottom-up initiatives in the effort to ensure a more resilient future, beyond the social and economic agreement of the neoliberal order. Potrč stresses that the world’s diverse societies, taken together, form an intelligent organism: when necessary, they self-generate new models of existence and coexistence—a precondition for human resilience on Earth. Sharing life experiences is, after all, a basic human condition. Coexistence on Earth requires new foundations that foreground collective ownership of the land and a socially-conscious individualism. <br /><br />Planetary coexistence of species acknowledges the presence and agency of diverse forms of intelligence. The artist Nicholas Mangan is inspired by termites and their capacity to build sophisticated and dynamic architectures that provide a model for decentralised social and economic organisation. The starting point of <i>Termite Economies (Phase 1)</i> was the anecdote that Australia’s Commonwealth Scientific and Industrial Research Organisation (CSIRO) researched termite behaviour in the hope that the insects might one day lead humans to gold deposits; a proposal to exploit the natural activity of termite colonies for economic gain. Mangan, on the contrary, proposes that the termites’ way of living in colonies might suggest other complex and global-scale systems for people to live and work together, better regulating and metabolising human consumption, production, and digestion. <i>Termite Economies</i> combines footage Mangan filmed on locations in Western Australia, alongside archival video and table-mounted sculptures, to speculate on the use of termites as miners and ruminating on how capitalism puts nature to work. The 3D-printed models reference existing infrastructures, for instance an underground tunnelling system for Tindals Mining Centre, a gold mine in Western Australia. The idea was to produce a 1:100 scale model to train termites. <br /><br />In <i>Bangkok Opportunistic Ecologies</i>, the design practice Animali Domestici studied the urbanity of Bangkok from a non-anthropocentric perspective, focusing on the presence of pythons. Mapping the city through a snake’s experience, the resulting tapestry puts multiple beings of different species at the centre, displacing the human from its exceptionalism. The graphic realisation is freely inspired by the representation techniques, colour palettes, and composition of Thai traditional mural paintings. Their work process translates research and statistics on the Thai capital into multiple encapsulated narratives, including such elements as sewerage, canals, water swamps, and rain water “cracked” pipes—typical spots used by snakes, according to fire department experts—, as well as folkloric cultural practices like the numerology and superstitions connected to the shape and location of the animals. <br /><br />In <i>Untitled (Human Mask)</i>, the artist Pierre Huyghe films a monkey, Fuku-chan, who in real life has a work permit as a “waitress” in a traditional sake house in Tokyo. In the film, the animal is wearing a dress and a wig, as well as a white, human-like mask created by Huyghe. Made of resin, the mask is inspired by traditional Japanese Noh theatre masks, where only the main actor wears a mask, meant to show the essential traits of the character. The film’s first images are drone shots of a devastated landscape, that of Fukushima in 2011, after the earthquake-triggered tsunami caused the meltdown of three nuclear plant reactors. It then shifts to an empty restaurant and house, where we follow Fuku-chan moving around in the dark. Fuku-chan is seen acting, and seems to be waiting, shaking her leg, looking at her nails, playing with her hair. A cat appears, and we see close-ups of insects and cockroaches. Raising questions about the essence of human nature and of non-human forms of intelligence and communication, the work points at the prevailing relationship of domination between humans and other species. <br /><br /><i>Ghostpopulations</i>, a series of collages by the artist Ines Doujak, combines ill human bodies with flora and fauna, transforming drawings from 19th-century medical textbooks into provocative assemblages that investigate desperation as an economic force. Doujak points out that entire populations uproot and flee in the direction of the faintest glimmer of hope, only to find themselves in the worst of predicaments: abandoned and deported, sold, abused or stigmatised forever, circulating as extremely cheap and disposable commodities. While she is giving visibility to such marginalised, abused, and displaced populations, these collages draw a dystopian mirage, reminding us of the pending threat of pandemic illnesses. <br /><br />Death, from a post-humanist perspective, is not only inevitable and part of life, but is an event that is already in our past. The artist and entrepreneur Jae Rhim Lee developed a burial suit as an environmentally-conscious alternative to conventional funerary processes, shifting the negative narratives around death. The presented <em>Infinity Burial Suit</em>, a handcrafted garment that is worn by the deceased, is completely biodegradable, and co-created with zero waste fashion designer Daniel Silverstein. In addition, the Forever Spot Pet Shroud is featured, also consisting of a built in biomix of mushrooms and other microorganisms that together do three things: aid in decomposition, work to neutralise toxins found in dead bodies, and transfer nutrients to plant life, enriching the earth and fostering new life. Highlighting the importance of decompiculture—the cultivation of waste-decomposing organisms—, this project also suggests a strong link between human resistance to mortality and climate change denial. She advocates for a post-mortem responsibility towards the natural world and a direct engagement with our own mortality, making funerals new beginnings instead of endpoints, becoming more emotionally and socially accessible. <br /><br />A parable on economic crashes, financial trading, mixed martial arts, and general contemporary culture, artist and writer Hito Steyerl’s large-scale architectural environment features <em>Liquidity Inc.</em>, a single-screen projection that uses water and liquidity as guiding tropes. Opening with the quote “be water, my friend” by martial arts legend and actor Bruce Lee, the film comments on the circulation of digital images, big data, information, financial assets, labour, and weather systems. The installation consists of a double-sided projection screen in front of a blue, wave-like ramp, where the viewers find themselves in “troubled water.” Steyerl merges CGI and green screen scenes with an assortment of embedded videos, swipes, clips, scrolls, and pop-up windows, that include the story of Jacob Wood, a former financial analyst who lost his job during the 2008 economic recession and decided to turn his mixed martial arts hobby into a new career. The intricate mesh of late capitalism structures needs to be hijacked in order to allow space for new ecological and sustainable policies that value people and life over profit. <br /><br /><em>The Posthuman City</em>, through artistic propositions, intends to open a discussion about the imbalanced relationship between an anthropocentric thinking that puts the human at the centre, and the fact that the urban environment is a habitat for many life forms. In her book <em>The Posthuman </em>(2013), Rosi Braidotti calls for resilience, stating that “sustainability does assume faith in a future, and also a sense of responsibility for ‘passing on’ to future generations a world that is liveable and worth living in. A present that endures is a sustainable model of the future.” <br /><br />Curated by <b>Ute Meta Bauer</b>, Professor, NTU ADM, and Founding Director, NTU CCA Singapore, and <b>Laura Miotto</b>, Associate Professor, NTU ADM <br /><br />The accompanying public programmes include seminars addressing techno-optimism and eco-hacktivism on <b>23 November 2019</b>, and biodiver-city and urban futurism on <b>18 January 2020</b>, deepening the discussion around posthumanism and the urban condition. <br /><br />From <b>15 – 23 February 2020</b>, the second edition of <b>NTU CCA Ideas Fest</b> takes place, guest curated by <b>IdeasCity</b>, New Museum, New York.
Contributor
An entity responsible for making contributions to the resource
Irene Agrivina
Animali Domestici
Ines Doujak
Pierre Huyghe
Jae Rhim Lee
Lucy + Jorge Orta
Nicholas Mangan
Marjetica Potrč
Hito Steyerl
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.
Video
Multimedia Installation
Film
Painting
Sculpture
Object
Installation
-
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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
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
CITIES FOR PEOPLE offers a platform to contemplate the possibilities for our shared space, reformulate our demands accordingly, and project solutions and desires for the future.
Exhibition Mode
Festival
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2016-11-13
Exhibition End Date
2017-01-22
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
<i>CITIES FOR PEOPLE NTU CCA Ideas Fest 2016/7</i>
Subject
The topic of the resource
Knowledge Production
Public Sphere
Urbanism
Ecology
Spaces of the Curatorial
Architecture
Environmental Crisis
Description
An account of the resource
<i>CITIES FOR PEOPLE</i> is the pilot edition of the annual NTU CCA Ideas Fest, a platform to catalyse critical exchange of ideas and encourage thinking “out of the box”. It is a bottom-up approach linking the artistic and academic community with grassroots initiatives. This pilot edition expands artistic interventions and engages contemporary issues such as air, water, food, environment, and social interaction in connection to artistic and cultural fields, academic research, and design applications. <br /><br />The 10-day programme, coinciding with Singapore Art Week 2017 and Art After Dark at Gillman Barracks, comprises a conglomerate of performances, public installations, participatory projects and social experiment, urban farming initiatives, public dialogues, and a variety of workshops. It cumulates in a three-day summit that brings together a prominent group of architects, theorists, researchers, curators, and community groups to discuss and exchange ideas about urbanism, modes of exchange, critical spatial practice, and to envision a future city. <i>CITIES FOR PEOPLE</i> offers a platform to contemplate the possibilities for our shared space, reformulate our demands accordingly, and project solutions and desires for the future. <br /><br /><i>CITIES FOR PEOPLE</i>, borrowing the title from a book by eminent Singapore architect William S. W. Lim published in 1990, expands on some of the ideas Lim developed, particularly in relation to tropical environments and recycling, as well as his call for a humanistic architecture. Organised on the occasion of the exhibition <i>Incomplete Urbanism: Attempts at Critical Spatial Practice</i>, this event is an invitation to share and engage in cooperative projects and collective experiences that critically reflect on current challenges in urban and social development.
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Khim Ong
indieguerillas
Lulu Lutfi Labibi
Ari Wulu
Lucy + Jorge Orta
Foodscape Collective
Marjetica Potrč
Laura Anderson Barbata
Brooklyn Jumbies
Misso Russell Keith
Post-Museum
Xu Tan
Edible Garden City
Michelle Lai
Dan Susman
Victoria Marshall
Medium
The material or physical carrier of the resource.
Performance
Sound
Installation
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