1
10
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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 Making of an Institution, 11 February – 7 May 2017, anGie seah, Talk to the Hand. NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, Bo Wang, mixed-media map. NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, Ho Rui An, Hotel Singapore. NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, Koh Nguang How, Snippets from Singapore Art Archive Project at NTU CCA Singapore. NTU Centre for Contemporary Art Singapore, exhibition 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 Making of an Institution, 11 February – 7 May 2017, Heman Chong, The Library of Unread Books. Courtesy NTU Centre for Contemporary Art Singapore, exhibition view.
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Dublin Core
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Title
A name given to the resource
The Making of an Institution, 11 February – 7 May 2017, Heman Chong, The Library of Unread Books. Courtesy NTU Centre for Contemporary Art Singapore, exhibition view.
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493457759a77088301ef3ecebf265acb
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Title
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The Making of an Institution, 11 February – 7 May 2017, Li Ran, It is not Complicated, A Guide Book, film still, 2016. Courtesy the artist.
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Title
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The Making of an Institution, 11 February – 7 May 2017, Mona Vătămanu & Florin Tudor,
Le monde et les choses. Courtesy NTU Centre for Contemporary Art Singapore, exhibition view.
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Title
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The Making of an Institution, 11 February – 7 May 2017, SHIMURAbros, Chasing the Light, film still, 2017. Courtesy the artist.
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Title
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The Making of an Institution, 11 February – 7 May 2017, Tamara Weber, Close Readings. REBUS, inkjet digital print, 2016. Courtesy NTU CCA Singapore.
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Title
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The Making of an Institution, 11 February – 7 May 2017, Zul Mahmod, RESONANCES: READYMADE SOUND SCULPTURES, 2016. Courtesy NTU CCA Singapore.
Dublin Core
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Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
The Making of an Institution creates a communal space where projects and research explorations by the Centre’s Artists-, Curators-in- Residence, and Research Fellows coexist with ongoing series of talks, screenings, performances, and workshops.
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
2017-02-11
Exhibition End Date
2017-05-07
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>The Making Of An Institution</i>
Subject
The topic of the resource
Knowledge Production
Cultural Production
Institutional Critique
Artistic Research
Description
An account of the resource
<i>The Making of an Institution</i> captures different moments in the development of the NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) connecting artistic projects, discursive manifestations, and the institutional apparatus in a seamless display. It looks back into its young past in order to shape its future. Challenging the format of an exhibition, <i>The Making of an Institution</i> creates a communal space where projects and research explorations by the Centre’s Artists-, Curators-in- Residence, and Research Fellows coexist with ongoing series of talks, screenings, performances, and workshops. The project engages the Centre’s main pillars–Exhibitions, Residencies, Research and Academic Education – bringing to a close the overarching curatorial narrative <i>Place.Labour.Capital.</i> that served as a framework for its activities since 2013. <br /><br />Established in 2013, the Centre embodies the complexity of a contemporary art institution in times of knowledge economy and global art. The role of a contemporary art institution should not be limited to the presentation of art. It feeds off and nurtures the cultural ecosystem it belongs to through a complex series of actions that often reside in the realm of the immaterial. The Centre’s inaugural programme <i>Free Jazz</i> addressed the foundational question “What can this institution be?” highlighting the skill of improvisation and free play. Three years later, different questions are to be raised: What could the role of the NTU CCA Singapore be for the years to come within a fast changing local, regional, and global cultural landscape? What are the criteria to evaluate its achievements and impact? <br /><br />In revisiting its own process of institutional building, NTU CCA Singapore appropriates the format and language of a “public report”. While a public report is conventionally employed to deliver an official written narrative, the Centre’s report unfolds in the exhibition space through the languages of the performative, the discursive, and the archival. <br /><br />“It’s amazing how far we were able to come in just three years,” said Ute Meta Bauer, Founding Director, NTU CCA Singapore. “<i>The Making of an Institution</i> is a celebration of the international community we have built, including scholars, artists, and the public. Now it is time for us to reflect and analyse our achievements before the exciting next steps ahead.” <br /><br /><i>The Making of an Institution</i> is divided into four sections borrowed from the structure of a public report: <i>Reason to Exist: The Director’s Review; Ownership, Development, and Aspirations; Artistic Research; and Communication and Mediation. The first section, Reason to Exist: The Director’s Review</i> maps out a network of institutions, like NTU CCA Singapore, that place research at the core of their identity. Each guest director will closely examine the vision, mission, and operative model of her respective organisation in a series of talks aimed at deepening our understanding of the changing role of contemporary cultural institutions. <i>Ownership, Development, and Aspirations</i> is a public panel with several members of the NTU CCA Singapore’s International Advisory Board and its stakeholders representatives that stresses the importance of feedback and exchange among peers especially in the development phase of an institution. The section dedicated to <i>Artistic Research</i> frames the material and immaterial aspects that constitute contemporary art practices. It takes over the Centre’s physical <i>Spaces of the Curatorial</i>—The Exhibition Hall, The Single Screen, The Lab, and The Vitrine—juxtaposing artworks and research projects by NTU CCA Singapore’s Artists-, Curators-in- Residence, and Research Fellows alongside various formats of public programming. Finally, Communication and Mediation explores the production of an institution’s identity through visual communication and spatial practices. Through workshops and presentations, artists, architects, and designers will discuss how they create diverse visual and spatial identities for art institutions. <br /><br />The public report will culminate into a book planned for publication in mid-2017, gathering the voices of all the artists, curators, researchers, and academics who have contributed to this first phase of the Centre. The Making of an Institution is curated by Ute Meta Bauer, Founding Director, Anna Lovecchio, Curator, Residencies, and Anca Rujoiu, Manager, Publications.
Contributor
An entity responsible for making contributions to the resource
åbäke
Hamra Abbas
Rodolfo Andaur
Diana Campbell Betancourt
Dinu Bodiciu
Kray Chen
Chris Chong Chan Fui
Heman Chong
Renée Staal
Weixin Chong
Choy Ka Fai
Ann Demeester
Rosemary Forde
Marc Glöde
Yuko Hasegawa
Bani Haykal
Bahbak Hashemi-Nezhad
Maria Hlavajova
Ho Rui An
James Jack
siren eun young jung
Christoph Knoth
Koh Nguang How
Wilfried Kuehn
Bastian von Lehsten
Li Ran
Loo Zihan
Zulkifle Mahmod
Ato Malinda
Alice Miceli
Laura Miotto
Regina Möller
Arjuna Neuman
UuDam Tran Nguyen
Nikos Papastergiadis
Jegan Vincent de Paul
Emily Pethick
Thao-Nguyen Phan
Souliya Phoumivong
Ana Prvački
Arin Rungjang
anGie seah
Jeremy Sharma
SHIMURAbros
Alec Steadman
Sanne Oorthuizen
Anocha Suwichakornpong
Erika Tan
Guo-Liang Tan
Tan Pin Pin
Philip Tinari
John Tirman
Mona Vătămanu
Florin Tudor
Bo Wang
Farah Wardani
Tamara Weber
Jason Wee
Otty Widasari
abake
Reee Staal
Marc Glode
Regina Moller
Ana Prvacki
Medium
The material or physical carrier of the resource.
Installation
Film
Print
Video
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
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Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Nikos
Surname or Business Name
Papastergiadis
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
2013-
Affiliation
Company, organization, or institution name
School of Culture and Communication, University of Melbourne
Birthplace
Australia
Occupation
Professional title or identity
Professor
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
Nikos Papastergiadis is the Director of the Research Unit in Public Cultures, and a Professor in the School of Culture and Communication at the University of Melbourne. Furthermore, he is a co- founder (with Scott McQuire) of the Spatial Aesthetics research cluster. He is the Project Leader of the Australian Research Council Linkage Project, “Large Screens and the Transnational Public Sphere,” and Chief Investigator on the ARC Discovery Project “Public Screens and the Transformation of Public Space.” Prior to joining the School of Culture and Communication, he was Deputy Director of the Australia Centre at the University of Melbourne, Head of the Centre for Ideas at the Victorian College of Arts, and lecturer in Sociology and recipient of the Simon Fellowship at the University of Manchester. Throughout his career, Papastergiadis has provided strategic consultancies for government agencies on issues of cultural identity and has worked in collaborative projects with international renowned artists and theorists.<br /><br /><span>Nikos Papastergiadis is the current Chair of NTU CCA SIngapore's International Advisory Board.</span>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Australia
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Speaker
Scholar
Collaborator
International Advisory Board
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Place.Labour.Capital.
Birth Date
1962
Dublin Core
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Title
A name given to the resource
Nikos Papastergiadis
Subject
The topic of the resource
Technology
Architecture
Urbanism
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Oceania
Contributor
An entity responsible for making contributions to the resource
Nikos Papastergiadis
-
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Dublin Core
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Title
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"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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1b8cbb93600392068e5dd8d690a347f3
Dublin Core
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Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
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Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
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
Free Jazz, NTU CCA Singapore’s inaugural programme brings together artists, curators, art critics and scholars to imagine and contribute to the thinking and envisioning of the potentials for this new Centre for Contemporary Art in Singapore.
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2013-10-23
Exhibition End Date
2013-12-18
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Exhibition Mode
Festival
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Free Jazz</em>
Subject
The topic of the resource
Spaces of the Curatorial
Performance
Description
An account of the resource
<em>Free Jazz</em><span>, NTU CCA Singapore’s inaugural programme brings together artists, curators, art critics and scholars to imagine and contribute to the thinking and envisioning of the potentials for this new Centre for Contemporary Art in Singapore. As the title suggests, </span><em>Free Jazz</em><span> is about improvisation, the ability to listen, to respond and engage into a less prescribed and controlled environment. Improvisation stands for a form of inquiry that can become an active tool to generate new possibilities for conceptualising and programming art institutions. </span><em>Free Jazz </em><span>at NTU CCA Singapore presents a series of paired presentations and juxtaposes different approaches into a single platform as a playful way to encourage conversational and performative interactions that can take spontaneous, fluid, unplanned moves.</span>
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
Contributor
An entity responsible for making contributions to the resource
Lee Wen
Lucy Davis
Grieve Perspective
OFFCUFF
Bani Haykal
Ute Meta Bauer
Lee Weng Choy
Anca Rujoiu
Cosmin Costinas
Ade Darmawan
Mark Nash
Zai Kuning
Bige Örer
Geert Lovink
Nikos Papastergiadis
-
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PDF Text
Text
EXHIBITION
THE MAKING OF
A N INSTITUTION
A PUBLIC R EPORT
1 1 Fe b r u a r y — 7 M ay 2 01 7
cca_makinginstitution_exhibit-guide_RZ.indd 1
04.02.17 13:01
�NO TE S FROM
TH E CUR AT OR S
An institution is a living entity: it grows, develops, and goes through cycles of
change and transformation. Part of a larger political, social and cultural environment, an institution does not evolve in full isolation; on the contrary it is
shaped by forces and actors that contribute to its making — staff, artists, stakeholders, multiple publics, and an increasing virtual audience.
The NTU Centre for Contemporary Art (NTU CCA Singapore), a national research
centre, was established by the Nanyang Technological University (NTU) with a
grant from the Economic Development Board, Singapore. NTU CCA Singapore
officially opened its doors in October 2013 at Gillman Barracks, a former military
site built by the British in the 1930s. The Centre’s start-up phase was overseen by
NTU ’s School of Art, Design and Media (ADM) and its first exhibition Engaging
Perspectives, opened in January 2013 in the designated Artist-in-Residence
studios. The exhibition was curated by Eugene Tan, who also masterminded
Gillman Barracks as Singapore’s first international arts precinct.
NTU CCA Singapore embodies the complexity of a contemporary art institution
in times of knowledge economies, a globally expanded art world, and institutional building in Southeast Asia. The Centre’s inaugural programme, conceived by
its small newly appointed start-up team, was titled Free Jazz and addressed the
foundational question “What can this institution be?” through improvisation and
free play. Three years later, new questions are to be raised: What is the role of the
NTU CCA Singapore within its local, regional, and global cultural landscape?
How does such an institution contribute to a wider understanding of knowledge
production? What are the criteria to evaluate its achievements, impact, and outreach?
Since its inauguration, the NTU CCA Singapore has developed with a fast pace
surpassing expectations. This rapid growth is reflected in all institutional components, from programming to facilities and staff. As an institution the Centre
literally started from scratch: an empty exhibition hall, a small team that worked
from a temporary, improvised office. The Centre’s infrastructure was shaped
hand in hand with its programming, they became inseparable from each other.
The exhibition space was reconfigured in March 2015 into The Exhibition Hall,
The Lab, The Single Screen, The Vitrine, by artist and writer Fareed Armaly.
Together with The Seminar Room, The Artist-in-Residence Studios, The Office
and Public Resource Centre, NTU CCA Singapore’s physical spaces not only
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�represent its curatorial environment, but also reflect the variety of the Centre’s
programmes. Following its focus on Spaces of the Curatorial, the Centre connects exhibitions, residencies, public programmes with academic education and
publishing. This constellation of curatorial formats and spaces shape the Centre’s
identity and its holistic approach to knowledge production, while its academic
mandate is closely intertwined with the NTU ’s School of Art, Media and Design.
Nowadays the role of a contemporary art institution is not limited to the presentation of art: it feeds off and nurtures the cultural ecosystem it belongs to through
a complex series of actions that often reside in the realm of the immaterial. As an
art institution emerging from a university environment, NTU CCA Singapore
places at the core of its mission a strong commitment to research in the field of
contemporary art. Many activities and processes carried within the institution
remain less known to a wider audience and don’t reach an immediate level of
public visibility. The Residencies Programme that launched its first cycle of international Artists-in-Residence in June 2014 is defined by its research focus. In
seven studios, the Centre hosts every year around 20 Artists-in-Residence from
Singapore, Southeast Asia, wider Asia, and other parts of the world. NTU CCA
Singapore also provides residencies to curators and writers aiming to facilitate
exchanges and fostering dialogues within and beyond the region. The Centre’s
guests benefit from its facilities, curatorial support andaffiliation with the University,
as well as from its connections in the region and its global network. The main distinctive benefit of The Residencies Programme is perhaps the space and time
that the Centre provides to pursue ideas and research without the pressuring
expectation of a tangible outcome. In times where intensive productions and
tight deadlines reached both the art world and academia, a research-focused
residency is a rare and valuable opportunity. But it is also a risky endeavor for an
institution since nurturing research does not lead to immediate, tangible results.
It is a long-term process whose outcomes cannot be easily determined beforehand
nor evaluated shortly afterwards.
Our commitment to research is formalised through our connection to the
University. Established under NTU ’s College of Humanities, Art and Social
Science (CoHASS), the Centre’s academic programmes are part of NTU ADM and
currently offer a Master of Art (M A ) and a Doctor of Philosophy (PhD) with a focus on Spaces of the Curatorial. The research-oriented MA & PhD programmes of
NTU ADM provide students with the opportunity to pursue research in dis
ciplines such as Museum Studies & Cultural Heritage, Curatorial Practice,
Exhibition Design, and most recently in Art in Public Space & Critical Spatial
Practice. The Centre’s Visiting Research Fellows contribute to the aforementioned
areas of inquiry.
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�The wider public from Singapore and abroad might be more familiar with the
Centre’s exhibition programme that features four large-scale exhibitions a year
either focusing on a long-term project of an individual artist or on a thematic, often interdisciplinary exhibition. One of the defining aspects of our approach to
exhibition-making is the spatial display. With each show, the reconfiguration of
the exhibition space has been driven by a strong curatorial understanding of
the exhibition as a complex spatial experience. Another distinctive curatorial
approach to exhibition-making is reflected in the public programme. During the
first years, the NTU CCA Singapore developed different formats of programming that approach the exhibition as a working tool. Such public programming
formats include Exhibition (de)Tours, Stagings, and Behind the Scenes that
approach the presented works and each distinctive display as an open-ended
discourse whose questions and concerns are relevant across other disciplines.
Geographers, scientists, anthropologists, historians, and experts from other
fields have been invited in different occasions to interpret the exhibition from
their perspective. Such interdisciplinary encounters grounded our efforts
to place contemporary art as a method of inquiry in the field of knowledge production.
The symbiosis between the programmes of research, residencies, and exhibitions
developed organically over time and many of the Artists-in-Residence share
communal interests and lines of investigation with the artists or topics featured
in the Centre’s exhibitions. The current NTU CCA Singapore’s overarching curatorial narrative, Place.Labour.Capital . emerged in response to these overlap of
interests rather than predetermining them. Reflections on the dynamic relation
between topography, labour migration, and global capital served as entry point
to connect cultural production with a world in flux. Such inquiry is placed within the context of the wider region of Southeast Asia subjected to fast changes and
rapid growth, but also to the inequalities of capital distribution.
In this moment of institutional self-reflection, we look back at our organisation
through the same lens of Place.Labour.Capital . Part of larger national agenda of
cultural development and knowledge economy, an art institution is a producer of
capital, an employer, and a provider of labour. Part of a larger geographical and
cultural environment, an institution is subjected to the conditions and contingencies of the place in which it situates itself. The effort of The Making of an
Institution is to “evaluate” the institution in all its aspects in the attempt to make
visible what usually stays behind the scenes.
The Making of an Institution captures different moments in the development of
the Centre connecting artistic projects, discursive manifestations, and the insti-
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�tutional apparatus in a seamless display. It looks back into its recent past in order
to shape its near future. Challenging the format of an exhibition, this curatorial
collaboration creates a communal space where projects and research explorations
by the Centre’s Artists-, Curators-in-Residence, and Research Fellows coexist
with a discursive public programme of talks, screenings, performances, and
workshops.
In revisiting its own process of institutional building, NTU CCA Singapore
appropriates the format and language of a “public report”. The use of a public
report format is a reflection on the evaluation process to which any institution
is subjected, but also on the responsibility it carries towards its many publics
including the funders. While this format is conventionally employed to deliver
an official written narrative, the Centre’s report unfolds in the exhibition space
through the languages of the performative, the discursive, and the archival.
The Making of an Institution is divided into four main sections. The first section,
Reason to Exist: The Director’s Review, focuses on institutions that place research
at the core of their identity. Invited directors of research-oriented institutions
will closely examine the vision, mission, and operative model of their respective
organization in a series of talks aimed at deepening our understanding of the
changing role of contemporary art institutions. Ownership, Development, and
Aspirations stresses the importance of a wide network of expertise and collaborative exchange in shaping the development of an institution by creating a public
panel with members of the NTU CCA Singapore’s International Advisory Board.
The section dedicated to Artistic Research frames the material and immaterial
aspects that constitute contemporary art practices. It takes over the Centre’s
physical Spaces of the Curatorial — The Exhibition Hall, The Single Screen, The
Lab, and The Vitrine — juxtaposing artworks and research projects by NTU CCA
Singapore’s Artists-, Curators-in-Residence and Research Fellows alongside a
series of talks, screenings, studio sessions, and performances. In addition, it
provides access throughout the duration of the exhibition to the Centre’s Artist
Resource Platform. Finally, the fourth session, titled Communication and
Mediation, explores the production of an institution’s identity through visual
communication and spatial practices in a series of workshops and presentations
with contributions by architects and designers who work in this particular field.
A chronology of events incorporating various institutional materials traces the
Centre’s history of curatorial programmes since its establishment. The Making
of an Institution takes place within the traces of NTU CCA Singapore’s pre ious
v
exhibition Incomplete Urbanism : Attempts of Critical Spatial Practice (October
2016 — January 2017) that will serve as a display platform, but also as a form of
exhibition documentation that becomes part of the institutional public report.
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�Within this framework, we will produce a publication gathering the voices of all
the artists, curators, researchers, and academics who have contributed to the
making of this institution.
In this moment of reflection and evaluation, we take the opportunity to acknowledge and express gratitude towards the wide net of people and organisations,
public and private, that contributed to the Centre’s achievements in its founding
phase. Entrusted with the establishment of the Centre, we wouldn’t have been
able to undertake this challenging journey without the constant support of our
stakeholders, NTU CCA Singapore’s staff, artists, collaborators, and our loyal
audience.
Ute Meta Bauer, Founding Director
Anna Lovecchio, Curator, Residencies
Anca Rujoiu, Manager, Publications and previous Curator, Exhibitions
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�NTU CCA Singapore’s staff, opening of Amar Kanwar, The Sovereign Forest, in collaboration
with Sudhir Pattnaik/Samadrusti and Sherna Dastur, 29 July — 9 October 2016.
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�Danné Ojeda, Basic Object Of Knowledge [ B .O.O. K . ]: The Contemporary Book And
Its Model , recipient of the R E D D OT DESIGN AWA R D : COMUNIC ATION DESIGN 2015;
presented during NTU CCA Singapore’s Publishing as Expanded Form,
Singapore Art Book Fair, 13 — 16 November 2014, The Exhibition Hall.
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�R E A S ON T O E X I S T:
THE DIR ECTOR’S
R EVI EW
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�What is the role of a contemporary art institution today? This series of talks
brings together directors and founders of organisations that adopt critical and
innovative strategies to advance the development of contemporary art practices
and discourses. Combining different activities and experimenting with a variety of programmes, these institutions stretch the concept of artistic practise beyond the conventional parameters of exhibition making placing the production
of knowledge at the core of their identity. Through a critical reading of the vision
and mission of their own institution, the guest speakers will reflect upon the
“reason to exist” and the “modes of existence” of the institution in a specific social context and will discuss current challenges and future developments.
TA L K S
The Exhibition Hall
Emily Pethick
Wednesday
15 February 2017
7.30 — 9.00 pm
Since 2008, Emily Pethick (United Kingdom) has been Director of The Showroom,
London, United Kingdom, a contemporary art space committed to collaborative
and process-driven approaches to cultural production within its locality and beyond. She was previously Director of Casco, Off ice for Art, Design and Theory,
Utrecht, Netherlands (2005—2008). Pethick has contributed to several catalogues and magazines, such as Artforum, Frieze, Afterall, and The Exhibitionist,
and edited numerous publications including Wendelien van Olden borgh ’s
monograph Amateur (2016) and Cluster: Dialectionary (with Binna Choi, Maria
Lind, and Natasa Petresin-Bachelez, 2014). Pethick is a jury member for the
2017 Turner Prize.
Diana Campbell
Betancourt
Wednesday
8 March 2017
7.30 — 9.00 pm
(United States/Philippines/Bangladesh) is currently Artistic Director of Samdani
Art Foundation and Chief Curator of Dhaka Art Summit, Dhaka, Bangladesh,
a major research and exhibition platform for art in South Asia. In addition,
Betancourt is Artistic Director of Bellas Artes Projects, Bagac, Philippines. She
has collaborated with sculpture parks such as the Yorkshire Sculpture Park,
Wakef ield, United Kingdom; deCordova Sculpture Park, Lincoln, United States;
and Wånas Konst, Knislinge, Sweden, on commissions of Indian sculpture.
Betancourt is also responsible for developing the Samdani Art Foundation collection.
Farah Wardani
Wednesday
15 March, 2017
7.30 — 9 pm
(Indonesia/Singapore) is currently Assistant Director of the Resource Centre at
the National Gallery Singapore. She was previously Director of the Indonesian
Visual Art Archive (ICA A ), Yogyakarta, Indonesia, a centre for digital archive
and documentation of Indonesian art, as well as a platform for research. Wardani
has also been active as a teacher, writer, and curator. Her curatorial work encompasses collaborations with art spaces such as Cemeti Art House, Yogyakarta and
ruangrupa, Jakarta, Indonesia. She also served as artistic director of Biennale
Jogja XII Equator #2, Indonesia (2013).
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�Maria Hlavajova
Wednesday
22 March 2017
7.30 — 9.00 pm
(Slovakia/Netherlands) is Artistic Director of BA K , basis voor actuele kunst,
Utrecht, Netherlands, an institution that advocates for the critical role of art in
society through various programmes of education, exhibitions, and publishing.
Hlavajova is also initiator and artistic director of FOR MER WEST, an eight-year
long transnational research, education, exhibition, and publication project organised and coordinated by BA K . She regularly contributes to numerous critical
readers, catalogues, and magazines internationally. In addition, Hlavajova is
co-founder of tranzit, a network established in 2002 that supports contemporary
art practices and exchanges in Austria, Czech Republic, Hungary, Slovakia, and
Romania. She serves on the Advisory Board of Bergen Assembly, Norway.
Sanne Oorthuizen
and Alec Steadman
Wednesday
12 April 2017
7.30 — 9 pm
Sanne Oorthuizen (Netherlands/Indonesia) is a curator, editor, translator, feminist, daughter, educator and partner. She is Co-Chief Curator at Cemeti — Institute
for Art and Society, Yogyakarta, Indonesia where she is currently working with
Alec Steadman on Maintenance Works, a year-long project in which they envision alternative futures for Cemeti. Previously she was Curator at Casco-Off ice
for Art, Design and Theory in Utrecht, Netherlands (2012—2016), curatorial
team member for the SONSBEEK Triennial, Arnhem, Netherlands (2015—2016,
with ruangrupa).
Alec Steadman (United Kingdom/Indonesia) is a curator and researcher. He is
currently Co-Chief Curator at Cemeti — Institute for Art and Society, Yogyakarta.
Previously he occupied various roles including: Curator, Arts Catalyst, London,
United Kingdom (2015—2016); Exhibition Studies Research Fellow, Asia Art
Archive, Hong Kong (2015); Artistic Director, Contemporary Image Collective,
Cairo, Eg y pt (2013—2014); Curator in Residence, Fondazione Sandretto Re
Rebaudengo, Turin, Italy (2013), and Head of Exhibitions, Zoo Art Enterprises,
London, United Kingdom (2005—2010).
1 The Geopolitical and the Biophysical: A Structured Conversation on Art and
Southeast Asia in Context, Part II, 18 June 2016, The Single Screen.
2 Halimah-the-Empire-Exhibition-weaver-who-died-whilst-performing-her-craft,
14 July — 2 August 2015, Erika Tan, Artist-in-Residence, The Lab.
3 NTU CCA Singapore Public Resource Centre.
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�1
2
3
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�OWN E R S H I P,
D E V E L O P M E N T, A N D
A SPI R ATIONS
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�Who owns a public institution? How does an institution balance the different
sets of expectations held by its various stakeholders? What is the role of an international advisory board and how does it contribute to the institution’s development within a global perspective? Shifting the top-down operational model, can
an institution learn from artists and incorporate artistic methodologies into its
own structure? To address such questions, this session brings together several
members of the NTU CCA Singapore’s International Advisory Board into a public discussion moderated by Founding Director Ute Meta Bauer. The conversation will be ushered in by Words , They, Wrote, (2015—ongoing), a performance
by Artist-in-Residence Heman Chong. Utilising words written or spoken by several artists, the performance generates a moment of introspection opening up a
space for the artists’ thoughts on their own lives and works.
PE R F OR M A NC E A ND P UBL IC DI S CUS SION
Saturday
25 February 2017
3.00 — 6.00 pm
The Single Screen
Ute Meta Bauer
(Germany/Singapore) is the Founding Director of the NTU CCA Singapore and
Professor at School of Art, Design and Media, Nanyang Technological University
(NTU), Singapore and was prior Associate Professor (2005—2012) at the Massachusetts
Institute of Technology (MIT ), Cambridge, United States, where she served as
Founding Director of the MIT Program in Art, Culture, and Technology. Bauer
was Co-Curator for Documenta11 (2001—2002), Artistic Director for the 3rd
berlin biennale for contemporary art (2004), and the Founding Director of the
Off ice for Contemporary Art Norway (2002—2005). She recently co-curated
with MIT List Centre for Visual Art Director Paul Ha the US Pavilion at the 56th
Venice Biennale (2015), Italy, presenting eminent artist Joan Jonas, and developed the concept for Cities for People (2017), the pilot edition of an annual NTU
CCA Ideas Fest. She co-edited with Brigitte Oetker Southeast Asia Spaces of the
Curatorial (2016) published by Sternberg Press.
Heman Chong
(Malaysia/Singapore) is an artist whose work is located at the intersection between image, performance, situations, and writing. His work continuously interrogates the functions and the production of narratives in our everyday lives.
Chong has presented solo exhibitions in institutions such as the Rockbund Art
Museum, Shanghai, China (2016); South London Gallery, United Kingdom (2015);
Art Sonje Center, Seoul, South Korea (2015); The Reading Room, Bangkok, Thailand
(2013). He has also participated in numerous international biennales including
the 20th Sydney Biennale, Australia (2016); 10th Gwangju Biennale, South Korea
(2014); Asia Pacif ic Triennale 7, Brisbane, Australia (2012); Performa 11, New
York, United States (2011); Manifesta 8, Spain (2010); and represented Singapore
at the 50th Venice Biennale, Italy (2003).
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�Ann Demeester
(Belgium/Netherlands) is currently the Director of Frans Hals Museum, Haarlem,
Netherlands. She was appointed Manager of Art and Urban Development for
Amsterdam City Council, co-curated the 10th Baltic Triennial, Vilnius, Lithuania
(2009) and was previously the Director of De Appel Arts Centre and W139,
Amsterdam, Netherlands. Demeester was part of the editorial team of the literary
journals, Yang, A Prior Magazine and F.R . David, and wrote catalogue texts on
the work of Luc Tuymans, Michael Borremans, Jennifer Tee, Richard Hawkins,
Mika Rottenberg and Bjarne Melgaard, amongst others. She is member of the
NTU CCA Singapore’s International Advisory Board.
Yuko Hasegawa
(Japan) is Chief Curator of the Museum of Contemporary Art, Tokyo, Japan and
Professor at the Tama Art University, Tokyo, Japan. Since 2008, Hasegawa has
been a member of the Asian Art Council at the Solomon R. Guggenheim Museum,
New York, United States. She is also currently Artistic Director of Inujima Art
House Project, Okayama, Japan. Past appointments includeFounding Artistic
Director, 21st Centur y Museum of Contemporar y Art, Kanazawa, Japan (1996—
2006); Curator of 11th Sharjah Biennial, United Arab Emirates (2013); co-curator
of 29th São Paulo Biennial, Brazil (2010); co-curator of the 4th Shanghai Biennale,
China (2002); and Artistic Director of the 7th International Istanbul Biennial,
Turkey (2001). She is member of the NTU CCA Singapore’s International Advisory
Board.
Nikos Papastergiadis
(Australia) is Director of the Research Unit in Public Cultures and Professor,
School of Culture and Communication, University of Melbourne, Australia. His
current research focuses on the investigation of the historical transformation of
contemporary art and cultural institutions by digital technolog y. He was coeditor of Third Text. He is a Fellow of the Australian Academy of the Humanities,
Canberra, Australia; Fellow of Cambridge Commonwealth Trust, Melbourne,
Australia; Member of Clare College, Cambridge, United Kingdom; Visiting Fellow,
University of Tasmania School of Art, Australia; Advisory Board Member to
University of South Australia School of Art and Architecture, Adelaide, Australia;
co-chair of the Greek Centre for Contemporary Culture, Melbourne, Australia,
and NTU CCA Singapore’s International Advisory Board.
Philip Tinari
(United States/China) is Director of Ullens Center for Contemporary Art,
Beijing, China, since 2011. He was founding editor of LEA P, contributing editor
of Artfor um, and Adjunct Professor, China Centra l Academy of Fine A r ts,
Beijing. Tinari was named Young Global Leader by the World Economic Forum
in 2015 and was selected for the Public Intellectuals Program of the National
Committee on U.S.-China Relations in 2016. He is currently a D.Phil. candidate
in Art History at the University of Oxford, United Kingdom. Tinary is member
of the NTU CCA Singapore’s International Advisory Board.
John Tirman
(United States) is the Executive Director and a Principal Research Scientist at
the Massachusetts Institute of Technology Center for International Studies,
Cambridge, United States. Tirman is author, co-author and editor, of 14 books
on international affairs, including, most recently, Dream Chasers: Immigration
and the American Backlash (2015) and The Deaths of Others: The Fate of Civilians
in America’s Wars (2011). Earlier work includes The Fallacy of Star Wars (1984),
the f irst important critique of strategic defense, and Spoils of War: The Human
Cost of America’s Arms Trade (1997). In addition, he has published more than 100
articles in periodicals such as the The Nation, Boston Globe, New York Times,
Washington Post, Esquire, Wall Street Journal, and Boston Review. He is also a
trustee of the Institute for War & Peace Reporting. Tirman is member of the
NTU CCA Singapore’s International Advisory Board.
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�Performance by OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom,
and Wu Jun Han), Free Jazz, 23 October 2013, The Exhibition Hall.
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�Studio of Shooshie Sulaiman, Artist-in-Residence, Residencies Open: Art Day Out!, 25 July 2015.
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�A RTISTIC
R ESE A RCH
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�What is artistic research? Which are the material and immaterial aspects that
constitute contemporary art practices? How can we challenge conventional hierarchies and rethink the value judgments of what remains in the realm of the invisible, unspoken, unproduced? Bringing to the fore the research-driven nature
of the NTU CCA Singapore and its holistic approach to cultural production, this
section presents a selection of artworks, working processes, and research projects
developed by the Centre’s former Artists-in-Residence and its Research Fellows
together with a series of talks, discussions, screenings, and performances by
current Artists- and Curators-in-Residence aimed to further our understanding of
the process of artistic research. In addition, the Centre’s Artist Resource Platform
will be accessible to the public in The Exhibition Hall throughout the duration of
the public report.
The presentation of the artists’ works unfolds within, but is not limited to, the
Centre’s Spaces of the Curatorial — The Exhibition Hall, The Lab, The Single
Screen, and The Vitrine — pouring out into some less frequently used spaces,
such as the foyer and the rear room in the exhibition area.
Since 2013, the Centre’s Residencies Programme has hosted over 60 local, regional, and international artists providing them with a concentrated period of
time and a studio space to focus on the development of their practice away from
the pressure of deadlines and production requirements. The artists have responded to the research-based approach of the residency in different ways. Some
have taken this opportunity to delve more deeply into an existing project. Some
have embarked on context-specific investigations exploring the social, political,
and historical specificities of Singapore. Others have expanded their current
perspectives experimenting with topics and materials outside their habitual
practice. Within this open, not-outcome driven framework, it also happened that
artworks were created. Featuring artworks together with research materials and
visual traces of projects and works-in-progress, this section creates a constellation of elements that revolve around the concept of artistic research to further our
understanding of its processual nature, multiple stages, and diverse patterns of
development. In The Single Screen, a film programme brings together a diversity
of works realized by the Artists-in-Residence selected by Visiting Scholar Marc
Glöde to provide a better insight into their practice.
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�R E SE A RCH PROJEC T S
The Exhibition Hall
The Foyer
The Vitrine
Hamra Abbas
Place. Labour. Capital .
2016
(b. 1976, Kuwait)
Lives and works between
Boston, United States and
Lakhore, Pakistan
Artist-in-Residence:
4 May — 5 June 2015
ink on silk, dry mount
28 x 22 cm
Kray Chen
Critical Fengshui
(Fengshui Studio)
2016
(b. 1987, Singapore)
Lives and works in
Singapore
Artist-in-Residence:
18 April — 12 August 2016
video, projection, colour
and sound
2 min
Critical Fengshui
(Gillman Barracks)
2017
video, projection, colour
and sound
10 min
22
In the research during her residency, Hamra Abbas
learnt the courtly Chinese painting style of Gongbi, a
meticulous and realist painting technique usually executed on raw silk. The subjects in her painting are based
on photographic documentation of people (chefs, waiters,
etc.) she met and conversed with in the Singaporean
neighbourhood Little India. Set up as a colony by Indians
who came to Singapore as prisoners of the British Raj
in the early 1800s as well as by other labourers, Little
India became home to many who chose to remain in
Singapore. Abbas’ s portraits of these workers is a commentary on the history of labour mobility. By appropriating courtly Chinese techniques to address the story of
Indian migration, she reveals the complex intertwining
of histories, class, race, and culture that defines contemporary postcolonial spaces.
Kray Chen developed a Fengshui survey of his residency studio and the larger Gillman Barracks precinct,
with the aim to enliven and invigorate a crucial site of
art that it is struggling to meet the initial expectations
to establish itself as a vibrant cultural hub. Fengshui,
the art of living harmoniously with the surrounding environment, is a common practice in Singapore as a way
to extend one’s fortune. It utilises geomantic surveys
that map the flow of metaphysical and mystical energies within and around an architectural space. In the
context of NTU CCA Singapore’s reflection on the process of its own making, this project addresses the nonphysical forces that inhabit the infrastructure and the
psyche, the “hardwares” and the “softwares”, raising a
broader question about the status of art in Singapore.
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�Heman Chong
The Library of Unread Books
2016 — ongoing
(b. 1977, Malaysia)
Lives and works in
Singapore
Artist-in-Residence:
19 September 2016 —
24 February 2017
donated unread books
A History of Amnesia
2016
acrylic paint on canvas
61 x 46 x 3,5 cm
Weixin Chong
Beige Dreams
2017
(b. 1988, Singapore)
Lives and works in
Singapore
Artist-in-Residence:
3 August —
30 November 2015
fabric, aluminum,
mixed media
dimensions variable
Bani Haykal
sketches of violence
2015
(b. 1985, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
10 September —
31 December 2014
audio, stereo
5 min 33 sec
Ho Rui An
2020x3
2016
(b. 1990, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
5 September 2016 —
31 January 2017
80 digital images
transferred to 35mm slides,
documentation materials
23
As part of his residency, Heman Chong and his collaborator Renée Staal embarked on a ten-year project, The
Library of Unread Books — a members-only reference
library made up of donated books that are unread by
their previous owners. The price for a lifetime membership to the library is the donation of a single unread
book. Through the gradual accumulation of unread
volumes, The Library of Unread Books benef its from a
collective gesture and traces the shifting perimeters of
unwanted knowledge. For the duration of his residency,
The Library was open to the public every Friday, from
noon to midnight in the artist’s studio transformed into
an artist-run space. Currently located in The Lab, it has
gathered a collection of more than 300 books to date.
In counterpoint to ideas of tropicality, Weixin’s Beige
Dreams is a response to the abundant vegetation of
Gillman Barracks. The artist transforms The Vitrine
through a mixed-media installation of images and different materials, bringing out flesh-like qualities in
flowering plants. At close examination, it reveals the
lush details of petals and leaves, fluids and f inishes.
Beige is poised against green to question the widespread practice and continued aspiration to sanitise
and tame the wildness of tropical nature.
sketches of violence is a response to Place.Labour.Capital.,
the Centre’s current overarching curatorial framework.
Drawing on several talks, discussions, books and articles, the work reflects on the contemporary climate of
Singapore with regards to culture, politics, and economics. It is a combination of improvisation and composition, that attempts to comment on the importance of
structure (or lack thereof). sketches of violence is written
and performed on drums, contact microphones, speakers, electronics, chains, screws, bass clarinet mouthpiece, soprano clarinet, and voice.
2020x3 is a set of images gathered by the artist for the
research into the history of foresight in Singapore undertaken during his residency at NTU CCA Singapore.
Extracted from a CD -ROM realized on the occasion
of an exhibition organised in 1997 to celebrate Public
Service 21 (PS21 ) — an initiative that can be regarded as
a precursor to the current Smart Nation programme —
these images project forms of millennial optimism, or
anxiety. Among them are illustrations of three national scenarios for the year 2020. Reproduced as 35mm
slides, these images appear at once anachronistic and
enchanted, suggestive of both futures passed (over) and
yet to come.
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�Koh Nguang How
(b. 1963, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
1 July 2014 —
31 January 2015
James Jack
(b. 1979, United States)
Lives and works
in Tokyo, Japan
Artist-in-Residence:
3 February — 14 April 2015
Joan Jonas
(b. 1935, United States)
Lives and works in New York,
United States
Snippets from Singapore
Art Archive Project at NTU
CCA Singapore
2014 — 2015
32 photographs, digital
print on paper
Reparative Islands
2016
Khayalan Island is rumoured to have disappeared from
the Singapore harbour in the beginning of the 19th
century when the British were establishing a post in
audio, stereo
Southeast Asia. James Jack ’s research on the history of
5 min 20 sec
Khayalan as part of his residency expanded his ongoing
interest in archipelagic thinking that previously brought
him to investigate the islands of Seribu, Setouchi,
Khayalan Island from Pulau
Ryukyu and Riau. The search resulted into a collection
Balakan Mati (as seen by a
of poems, titled Stories of Khayalan, shaped by the voices
seven-year old island resident) of former islanders migrating from small islands,
2015
mari ime diaries, and the actual experience of searcht
ing for Khayalan. Inspired by this exploration, the poem
photograph, inkjet print
Reparative Islands is read aloud by two participants on
on paper
a boat trip in the South Harbour in search of Khayalan
63 x 95 cm
Island. The night before the search trip, the seven-year
old participant to the expedition, an islander himself,
drew an image of the island f iguring forth its appearance. Presented in an intimate installation that merges
memory and imagination, the poem — read aloud by the
artist, Veryan and Jasper Stephens — and the image
serve as mnemonics for reimagining the rich stories of
the island we live on today.
Props used in Theatrical
Fields (2014) and
They Come to Us without a
Word (2016)
dimensions variable
24
As part of his residency, Koh Nguang How presented to
the public his long-term artistic endeavour, Singapore
Art Archive Project (SA A P ). For longer than 30 years,
Koh has been documenting the local art scene, gathering an impressive collection of printed matters ranging
from exhibition flyers, catalogues, newspapers, as well
as photographs and audio recordings produced by the
artist himself. As a living body of knowledge, SA A P
never stops expanding. During his residency, the artist
continued the documentation process collecting a
variety of items and taking photographs of minor and
major events, exhibition openings, and construction
works across Gillman Barracks. For The Making of an
Institution, Koh has made a selection of materials that
document the SA A P ’s activity and tell the story of the
establishment of the Centre and the Gillman Barracks
from the point of a view of the artist. He captured details
and situations that often remain overlooked or easily
forgotten.
The work of American artist Joan Jonas has been presented at NTU CCA Singapore in the group exhibition
Theatrical Fields (2014) and in the large-scale solo show
They Come to Us without a Word (2016), originally organised for the U.S. Pavilion of the 56th Venice Biennale by
the MIT List Visual Arts Center and co-curated by Paul
C. Ha, Director of the MIT List Visual Arts Center and
Ute Meta Bauer, Founding Director of the NTU CCA
Singapore. For each exhibition, several display structures and props have been manufactured in Singapore
following the artist’s instructions. As it often happens
with theatre props, such objects remained in the institution storage space awaiting an uncertain future. In
the context of The Making of an Institution, the props
are integrated in the display of Heman Chong’s Library
of Unread Books.
THE MAKING OF AN INSTITUTION
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�Li Ran
(b. 1986, China)
Lives and works
in Beijing, China
Artist-in-Residence:
7 September —
13 November 2015
It is not Complicated,
A Guide Book
2016
Commissioned for the exhibition Encounter w ith
Pompidou (2016), Centre Pompidou, Paris, France, and
started during his residency, Li Ran’s work playfully
blends the free gesture of artistic observation with the
video, high def inition,
automatism of touristic contemplation. These distinct
1 projection and 1 flat screen, visual approaches are overlaid in a two-screen video
color and sound
installation that comprises different footage of two of
18 min 28 sec
Singapore’s most popular attractions: Gardens by the
7 min 51 sec
Bay and Marina Bay Sands Hotel. In one video, the artist replicates the conventional and predetermined gaze
of a tourist experiencing the city from a sightseeing bus
tour, while in the other he explores the same subjects
from the unconstrained point of view of “the lost wonderer”, experimenting with unconventional angles and
shooting techniques. The text featured in the video installation originates from the Mandarin Chinese version
of the Centre Pompidou’s museum guide. Discussing
150 works from the collection, this guidebook (originally written by Jean Poderos and translated by Hu
Bin) conveys an account of modernism that resonates
uncannily with Singapore’s contemporary landscape.
Loo Zihan
I am Paying Attention
2016
(b. 1983, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
16 June — 9 September 2016
archival materials
dimensions variable
Zulkifle Mahmod
(b. 1975, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
1 February — 1 Jun 2016
25
video, flat screen, colour
and sound
20 min
Resonances: Readymade
Sound Sculptures
2016
wok covers, utensils,
32-channel microcontroller
connected to a Midi player
This installation combines materials from The Ray
Langenbach Archive of Performance Art with the documentation of I am LGB, a participatory performance
realized by the Lan Gen Bah Society of Mind (LGBSM )
in 2016. Commissioned by the Singapore International
Festival of Arts, I am LGB was developed during Loo
Zihan’s residency. The four-hour performance raises
questions of identity construction, highlights the fragile relation between education and control, and brings
our attention to forms of authoritarianism embedded
in our daily environment. During I am LGB, audience
members were encouraged to reflect on the choices
they would make in this highly scripted experiment
and question their performance as subjects in the wider political and social landscape. I am Paying Attention
is a section of the experiment designed by Loo Zihan, a
member of LGBSM in collaboration with other LGBSM
members.
Constructed during his residency, Zul Mahmod ’s installation is a chamber orchestra made of readymade
items turned into unconventional sound sculptures.
Everyday objects including kettles, glasses, and tin cans
create a holistic acoustic experience where each sculpture plays an individual sonic role. By modifying and
turning daily objects into sound sculptures, Mahmod
gives new meanings to their function and history, recasting their forms and textures in terms of their unexpected sonic properties. The artist draws the viewer’s
attention to the act of listening and transforms items
that populate our daily life into performative objects
that reshape the aural architecture of space.
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�1
2
3
4
5
6
1 Anocha Suwichakornpong, Nightfall, 2015, f ilm still. Courtesy the artist.
2 Ato Malinda, Out of Africa , Out of Reach , 2016, drawing. Courtesy the artist.
3 Bo Wang, Land Reclamation in Progress, Johor Strait, 2016, video still.
Courtesy the artist.
4 Jeremy Sharma, Vertical Progression, 2016, video still. Courtesy the artist.
5 Kray Chen, Critical Fengshui (Fengshui Studio), 2016, f ilm still. Courtesy the artist.
6 Li Ran, It is not Complicated, A Guide Book, 2016, f ilm still. Courtesy the artist.
26
THE MAKING OF AN INSTITUTION
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�7
8
9
10
12
11
27
7 Mona Vătămanu and Florin Tudor, Le monde et les choses, silk, 2014,
installation view, The Wretched of the Earth (2016), Salonul de Proiecte,
Bucharest, Romania. Photo by Ștefan Sava. Courtesy the artists.
8 Otty Widasari, Fiksi (Fiction), 2016, film still. Courtesy the artist.
9 Regina (Maria) Möller, INTE R RO GATIVE PAT TE R N — TE XT(IL E)
WE AVE , 2015—2017, The Lab.
10 SHIMUR Abros, Chasing the Light, 2017, f ilm still. Courtesy the artists.
11 Tamara Weber, Close Readings . R EBUS, 2016, inkjet digital print.
Courtesy the artist.
12 Zul Mahmod, Resonances: Readymade Sound Sculptures, 2016. Courtesy
the artist.
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�Ato Malinda
Out of Africa , Out of Reach
2016
(b. 1981, Kenya)
Lives and works in Schiedam,
2 drawings, ink on paper
Netherlands
19 x 25 cm
Artist-in-Residence:
29 August —
Untitled
28 October 2016
2016
3 drawings, ink on paper
21 x 29.7 cm
Regina (Maria)
Möller
(Germany)
Lives and works in
Singapore and Germany
Visiting Professor:
21 September 2015 —
20 September 2016
Visiting Artist:
21 September 2016 —
31 May 2017
INTER ROGATIVE PAT TER N As part of her research fellowship, Regina (Maria)
— TE XT(IL E) WE AVE
Headgears
Headgear No. 2
2017
wood, gauze
dimensions variable
Headgear No. 5
2017
cardboard
dimensions variable
Headgear No. 62
2017
fabric, tape, ink
dimensions variable
Dinu Bodiciu
(b. 1979, Romania)
Lives and works
in Singapore
The work of Ato Malinda investigates African identity,
contesting notions of authenticity as well as fixed assumptions about gender and sexuality. Since 2012, she has
been working on a series of drawings that relate to her
innermost feelings and fantasies about queer-related
issues. Often inspired by events in her life and in the
life of her friends, the drawings portray half-human,
half-animal creatures caught up in intimate situations
and pensive poses. During her residency, she continued
her series of self-portraits (Out of Africa , Out of Reach)
and realized several portraits of one of Singapore’s most
famous drag queens, represented in the surreal metamorphosis into a peacock (Untitled).
Möller explored the relation between labour, identity
construction, and cultural assimilations in an emerging global sameness through the case study of the
Samsui women iconic headdress. A work-in prog ress,
Interrogative Pattern — Text(ile) Weave unfolded in various stages and formats incorporating in its development the complex stories embedded in textile productions. As an extension of this artistic research project,
Möller collaborated with the designer Dinu Bodiciu in
the production of a series of headgears informed by the
Samsui women headscarf. Each work in the installation is a reconfiguration of the original source. Through
the use of unconventional techniques and materials,
the Headgears are invested with a sculptural quality —
they operate at the interface of art and design, and become cultural materials of a history that is rewritten
and reimagined.
Headgear No. 7
2017
wool, cement
dimensions variable
Headgear No. 52
2017
sinamay (abacá), cotton tape,
wire, ribbon
dimensions variable
Headgear No.1038
2017
wire, waxed paper tape,
glitter, glue, silk organza, pin
dimensions variable
28
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�Jegan Vincent
de Paul
(b. 1978, Sri Lanka)
Lives and works
in Singapore
PhD Candidate at the
NTU CCA Singapore and
the School of Art, Design
and Media, Nanyang
Technological University
Arin Rungjang
(b. 1975, Thailand)
Lives and works in
Bangkok, Thailand
Artist-in-Residence:
3 October —
30 November 2016
Book Box: Field Experiment
2016 — ongoing
2 maps printed on outdoor
fabric with waterproof ink
84.1 x 118.9 cm
13 bound volumes
Chinese jewellery box
(early 20th century)
33 x 50 x 32 cm
Johnston (450% high
exposure photoshop)
2016
Arin Rungjang’s research during his residency focused
on unoff icial stories that circulate by word of mouth
while connecting them to the politics of governance
and notions of historical truth. The work presented is
photograph, digital print on the trace of the artist’s encounter with Johnston, an
paper, mounted on acrylic
albino born and raised in Singapore. The artist inter84.1 x 47.3 cm
viewed him on the very f irst day they met which turned
out to be also Johnston’s last day in Singapore before
his relocation to the United States. The interview captured an intimate and poignant moment of introspection during which Johnston speaks about his personal
history, family relationships, and struggles growing up
as an albino in Singapore. The choice not to show the
work in its entirety is based on the artist’s agreement
with Johnston. What is presented instead is a fully
washed-out still from the video recording. The technical gesture of overexposing the image highlights a political reality — the underexposure of such narratives
and their circulation at the margins of visibility.
anGie seah
Talk to the Hand
2015–2016
(b. 1979 Singapore)
Lives and works
in Singapore
Artist-in-Residence:
17 August —
18 December 2015
works on paper
29.7 x 21cm
29
Book Box: Field Experiment is a travelling archive of research materials, including bound books and maps,
contained into an antique Chinese jewellery box. The
research materials trace the logistics of shipping in the
geographic areas examined by Jegan Vincent de Paul
for his ongoing doctora l research on the People’s
Republic of China’s major infrastructure development
plan titled One Belt, One Road. Two boxes of books,
with auspicious and inauspicious content respectively,
travel on a specif ied route beginning from Singapore.
Questioning the role of art in creating new understandings of today’s geopolitical events, his project
brings together critical analysis and aesthetic accounts
of One Belt, One Road. Attention is paid to countries
where construction and conflict overlap, particularly
Burma, Sri Lanka, and Pakistan.
While in residence, anGie seah researched the concept
of “ineffable expression” creating site-specif ic rituals
and instructional tools for uplifting activities. In a digitally driven age, one of the incredible benef its of the
current communication patterns is that we are no longer
limited to verbal language — with all the implications in
terms of meaning, association, ambiguity, translations,
and interpretation — to express ourselves. A sign of love
can be expressed through a simple emoji and a special
moment in one’s life be conveyed through gifs. These recent forms of communication are closer to the intuitive
directness of body language which precedes all forms
of verbal expression.
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�Jeremy Sharma
Vertical Progression
2016
(b. 1977, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
4 May — 31 July 2015
video, projection, colour
and sound
35 min
SHIMURAbros
Chasing the Light
2017
(b. 1976, 1979, Japan)
Live and work between
Berlin, Germany and
Tokyo, Japan
Artist-in-Residence:
1 November —
30 December 2016
video, projection, colour
and sound
7 min
Anocha
Suwichakornpong
Nightfall
2015
(b. 1976, Thailand)
Lives and works in
Bangkok, Thailand
Artist-in-Residence:
25 September —
22 November 2014
30
video, high def inition,
projection, colour and
sound
15 min 30 sec
Vertical Progression explores the process of producing
an artwork and the transformation of its identity as a
continued mediation between idea, reflection, object,
reality, subject, and experience. It reveals a physical
and virtual network of collaborators, scientists, fabricators, movers, and collectors, while also addressing
the economic cycle of art making and the complex interplay of data, materials, nature, labour, and place that
lay behind its methods of production and modes of display. The video spans across two years, from the time of
Jeremy Sharma’s participation in the 4th Singapore
Biennale (2013) to his residency.
SHIMUR A bros’s research project during the residency
continued their investigations on the archeology of film
and its structural components. A series of events are woven together, but the main focus is on light as the power
source in the cinematic process and the essential condition for seeing. The layering of events is translated
into f ilm through the simultaneous blending of three
sources of light: an ancient coconut lamp, an amalgam
of city lights, and the masterful phenomena of the
lightning setup during the recording. Playing with the
limits of perception, the work emerges as an abstract
pattern until it slowly dissolves into a still-life image of
the industrial scenery in the port area of Singapore.
Co-directed with Tulapop Saenjareon, Nightfall is a
f ictionalised account of Anocha Suwichakornpong’s
research on the politics of her homeland, Thailand, as
seen from a foreign land. Merging personal memories
with facts and f iction, Suwichakornpong structured
the f ilm around an exchange of congratulatory messages between former Thai Prime Minister, Thanom
Kittikachorn and his Singaporean counterpart, Lee
Kuan Yew. The off icial diplomatic communication is
set against the quiet and intimate encounter between
the artist and another woman. Following each other,
the two flâneurs wander in the area around Gillman
Barracks, moving within a landscape that exemplif ies
Singapore’s progress as praised by the former Thai Prime
Minister. The relation between Thailand and Singapore
is presented in its multifaceted aspects through the
symbolic presence of two defining elements: the bronze
statue of an elephant that was donated by King Rama V
to Singaporean authorities as a token of appreciation
after his state visit, and Golden Mile Complex, the
most popular gathering place of the Thai community in
Singapore.
THE MAKING OF AN INSTITUTION
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�Mona Vătămanu &
Florin Tudor
Le monde et les choses
2014
silk, hand-sewn
(b. 1968, 1974, Romania)
150 x 300 cm
Live and work in
Bucharest, Romania
Artists-in-Residence:
14 July — 10 September 2014
Bo Wang
Work-in-progress
dimension variable
(b. 1982, China)
Lives and works between
New York, United States
and China
Artist-in-Residence:
1 August —
30 September 2016
Land Reclamation in
Progress, Johor Strait
2016
video, flat screen, colour
4 min
A Saturday Night in Tuas
2016
video, flat screen, colour
and sound
15 min
Produced during the artists’ residency, Le monde et les
choses traces the power imbalances and the inequalities in capital distribution that def ine the contemporary global world. The map is created on the basis of
statistical studies published online by the Central Intelligence Agency (CI A ), which indicated the dominant
industries in each world country. The map exposes the
contradictions of global neo-liberalism, revealing the
large domination over industries by a small number of
countries. The viewer can explore the map through a
specif ic colour code: green for food and drink; red for
metals and minerals; brown for wood; black for oil, petroleum, and natural gas; pink for textile and apparel;
light grey for machinery and transport equipment; blue
for electronics and capital goods, and white for opium
or “other”.
This mixed-media mind map presents materials related to Wang’s ongoing research on sand, land, development, labour, and transnational interconnectivity in
Southeast Asia. Interested in contemporary urban
landscapes that are undergoing intensif ied processes
of transformation, during the residency he explored
the conditions of the migrant workers in Singapore
and Forest City, a development project under construction on four artif icial islands on the Malaysian side of
the Johor Strait, an hour away from Singapore. Forest
City stands out as an exemplary case of the process of
constant territorial expansion and renewal widespread
in contemporary Asia. The artist aims to excavate the
power structures related to such intensif ied forms of
transition and to address the social and political implications and cultural anxieties of this relentless transformation.
National Day Fireworks,
Looking from Geylang
2016
video, flat screen, colour
12 min
Tamara Weber
Close Readings . R EBUS
2016
(b. 1976, United States)
28 photographs,
Lives and works in
digital print on paper
New York, United States
29.7 x 21 cm
Artist-in-Residence:
3 October — 2 December 2016
31
In the last year, Tamara Weber has been working closely with New York-based curator Annie Seaton on Close
Readings, a collaborative process of visual investigation that casts an anthropomorphising look on architecture and other bodies. Deconstructing the logic of
the book, Close Readings . R EBUS features a series of
interactive images with textual insertions that reference 1960s advertising, botanical imagery, pulps, abstraction and Eugenic vignettes. Realized during the
artist’s residency, these photographs reinterpret the
iconic Parkroyal Hotel in Singapore, designed by
WOH A Architects, an impressive building that merge
the rigorousness of abstraction and the unruliness of
tropical greenery. The images will form an artist’s book
meant to be continually deconstructed, disassembled,
and re-constructed through an open-ended editorial
process that unfolds multiple meanings.
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�Jason Wee
(b. 1978, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
26 September 2016 —
16 January 2017
I Keep Returning to Tomorrow The image of a dark horizon, seen from the aerial point
2016
of view of a drone, evokes the perspective of a spacecraft’s slow descent to earth. Hung from the ceiling,
ink on chiffon
I Keep Returning to Tomorrow reconf igures the vanish96 x 289 cm
ing points of the exhibition space creating a secondary
horizon and an alternative set of coordinates to position ourselves in space and time. This work extends a
series of spatial experiments with fabrics in which the
artist investigates the architectural properties of textiles through the creation of temporary structures that
respond to the structural features of the built environment.
Otty Widasari
Fiksi (Fiction)
2016
(b. 1973, Indonesia)
Lives and works in
Jakarta, Indonesia
Artist-in-Residence:
5 October —
27 November 2015
video, flat screen, colour
and sound
11 min 48 sec
32
Fiksi (Fiction) focuses on state-driven efforts to establish historial truths in the collective memory of a nation.
The artist revisits the Diaroma section at the National
Museum, part of the National Monument (known as
Monas), Jakarta, Indonesia. Produced by the artist
Edhi Sunarso (Indonesia, 1932—2016) during the leadership of the Indonesia’s f irst two Presidents, Sukarno
and Suharto respectively, the diaromas recreate significant moments of the country prior and during colonial
era, and post independence. The artist highlights the
use of dioramas — three-dimensional models reproducing historical events or natural landscapes that
became popular among museums at the end of 19th
century — to create official narratives. The work unfolds
as a journey inside various episodes complicating our
understanding of history through the overlap of multiple linguistic layers. The artist aims to investigate alternative narratives and broaden our perspectives on
writing history in a postcolonial space.
THE MAKING OF AN INSTITUTION
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�1
2
3
4
5
6
1 Heman Chong and Renée Staal, The Library of Unread Books, 2016—ongoing, artist studio,
November 2016.
2 Ho Rui An, 2020x3, 2016, slide. Courtesy the artist.
3 Koh Nguang How, Snippets from Singapore Art Archive Project at NTU CCA Singapore, 2014—2015,
photograph. Courtesy the artist.
4 James Jack, Khayalan Island from Pulau Balakan Mati (as seen by a seven-year old island resident),
2015, photograph. Courtesy the artist.
5 Loo Zihan and members of the Lan Gen Bah Society of Mind, I am Paying Attention, 2016, archival
materials, installation view, I am LGB (2016), TheatreWorks, Singapore. Courtesy the artist.
6 anGie seah, Thousand Horses Running in my Head, Part 1, performance, Residencies OPEN:
Art After Dark, 25 September 2015.
33
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�TA L K S
Various Locations
siren eun young jung
Artist-in-Residence
Wednesday
22 February 2017
7.30 — 9.00pm
Thao-Nguyen Phan
Artist-in-Residence
Wednesday
1 March 2017
7.30 — 9.00 pm
Alice Miceli
Artist-in-Residence
Wednesday
29 March 2017
7.30 — 9.00 pm
34
The artistic practice of siren eun young jung (b. 1974, South Korea) focuses on
the politics of desire and historical and political acts of resistance. Since 2008,
she has been researching Yeosung Gukgeuk, a remake of traditional Korean theatre developed at the end of the 1940s that uniquely features only female actors.
Drawing on this research, she has produced f ilms, photographs, performances,
and installations. Her works have been included in major group exhibitions
including Taipei Biennial 2016, Taiwan (2016); 8th Asia Pacif ic Triennial,
Brisbane, Australia (2015); and The Future is Now, M A X X I , Rome, Italy (2014).
Through a combination of painting, video, performance, and installation,
Thao-Nguyen Phan (b. 1987, Vietnam) creates provocative artworks focusing on
historical events, traditional narratives, and minor gestures that challenge common assumptions and social conventions. Recent exhibitions include Concept
Context Contestation, Art and the Collective in South East Asia, Goethe Institut,
Hanoi, Vietnam (2016); Haunted Thresholds: Spirituality in Contemporary
Southeast Asia, Kunstverein Göttingen, Germany, (2014). Phan is also a member
of the collective Art Labor.
The work of Alice Miceli (b. 1980, Brazil) addresses issues of time, memory, and
violence through formal experimentations, archival research, and investigative
travels. In her projects In Depth (landmines) (2014—ongoing) and Chernobyl
Project (2007—2011), she charts the visual, physical, and cultural manifestations
of human-induced trauma inflicted on social and natural landscapes. Her exhibition record includes the 5th Moscow International Biennale for Young Art,
Russia (2016) and 17th Japan Media Arts Festival, Tokyo, Japan (2014).
THE MAKING OF AN INSTITUTION
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�Rodolfo Andaur
Curator-in-Residence
Souliya Phoumivong
Artist-in-Residence
Wednesday
5 April 2017
7.30 — 9.00 pm
Rosemary Forde
Writer-in-Residence
Wednesday
19 April 2017
7.30 — 9.00 pm
Chris Chong Chan Fui
Artist-in-Residence
Friday
21 April 2017
7.30 — 9.00 pm
Choy Ka Fai
Artist-in-Residence
Friday
3 March 2017
7.30 — 9.00 pm
35
Rodolfo Andaur (Chile) has been coordinator of various contemporary art projects in northern Chile, promoting local artistic practices in relation to Argentina,
Bolivia, Brazil, Paraguay and Peru. Rodolfo has also contributed to various magazines and publications such as Artishock, Atlas Magazine and Rotunda Magazine.
He is currently part of the academic staff of the Diploma in Critical and Curatorial
Studies at Adolfo Ibáñez University, Santiago, Chile.
Souliya Phoumivong (b. 1983, Laos) is a media artist working with f ilm, video
art, photography, and clay animation. He is currently lecturer at National Institute
of Fine Arts, Vientiane, Laos. His work embraces the ever-changing landscape
of media and digital equipment in Laos, and the adaptation of a younger generation to a fast paced life. Most recently he participated in the exhibition Missing
Links, Jim Thompson Art Center, Bangkok, Thailand (2015).
Rosemary Forde (Australia) is a curator who has presented exhibitions and
events at a range of institutions and contemporary art spaces in Australia and
New Zealand. She is Chair of un Projects, a collective based in Australia that
aims to generate independent and critical dialogue around contemporary art,
primarily through publishing projects. Forde is currently undertaking a PhD in
Curatorial Practice at Monash University Faculty of Art Design & Architecture,
Melbourne, Australia.
Chris Chong Chan Fui (b. 1982, Malaysia ) questions and redirects the processes
and methodologies within varying fields such as migration, economics, natural
sciences through moving images, projections, printmaking, photography and installations. Chong has exhibited his works at Palais de Tokyo, Paris, France (2015);
Hirshhorn Museum & Sculpture Garden, Smithsonian Institute, Washington
D.C., United States (2010). He has also premiered at prestigious film festivals
such as the Directors’ Fortnight, Cannes, France (2009).
Choy Ka Fai (b. 1979, Singapore) is an artist and performance maker inspired by
histories and theorizations that explore the uncertainties of the future. His research springs from a desire to understand the conditioning of the human body,
its intangible memories, and the forces shaping its expressions. His projects
have been presented in major festival worldwide, including Sadler’s Wells London,
United Kingdom (2016), and ImPulsTanz Festival, Vienna, Austria (2015).
ARTISTIC RESEARCH/TALKS
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�Allan Sekula, Fish Story to be continued, 3 July — 27 September, 2015,
The Forgotten Space, f ilm, 2010, The Single Screen.
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�cca_makinginstitution_exhibit-guide_RZ.indd 37
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�FI L M PRO GR A M M E
The Single Screen
Selected by
Marc Glöde
(Germany/Singapore)
Lives and works
in Singapore
Visiting Research Fellow:
25 February — 26 May 2016
Visiting Scholar:
23 September 2016 —
31 May 2017
Marc Glöde is a curator, critic, and f ilm scholar. His work focuses on the relation of
images, technology, space, and the body, as well as the dynamics between f ields such
as art/architecture, art/f ilm, and f ilm/architecture. He studied f ilm studies, comparative literature, and Dutch philology at the Free University, Berlin, Germany, where
he also received his PhD. Glöde taught at the Academy of Fine Arts, Dresden, Germany,
the Free University, Berlin, Germany, and was Assistant Professor at the ETH Zürich,
Switzerland. From 2008—2014, he was curator of Art Film, Art Basel’s film programme.
Most recently, he published his book Farbige Lichträume (2014). Glöde was a Research
Fellow and is currently a Visiting Scholar at the School of Art, Design and Media at
Nanyang Technological University, and NTU CCA Singapore. For The Making of an
Institution, Glöde curated a special f ilm programme digging into the past works of
several NTU CCA Singapore’s Artists-in-Residence. The film programme will run
throughout the duration of The Making of an Institution.
Artists
Arjuna Neuman
Serpent Rain
2016
(b. 1984, United States)
Lives and works in the
United States
Artist-in-Residence:
6 January — 3 April 2015
video, high def inition,
projection, colour and
sound
30 min
UuDam Tran
Nguyen
Waltz of the Machine
Equestrians
2013
(b. 1971, Vietnam)
Lives and works in Ho Chi
Minh City, Vietnam
Artist-in-Residence:
7 November —
30 December 2016
video, projection, colour
and sound
4 min 34 sec
38
Commissioned by Stefano Harney for The Bergen
Assembly and produced in a collaboration with Denise
Ferreira Da Silva, Serpent Rain is an documentary essay. An experiment with collaboration, the f ilm is also
an exploration of the future that embraces a undef ined
temporal structure to the point that the difference between beginning and end becomes indistinguishable.
The f ilm travels between histories of slavery and resource extraction, between black lives matter and the
matter of life, between the state changes of elements,
timelessness, and tarot.
UuDam Tran Nguyen transforms the boundaries between urban myth and popular legend to explore the
role and impact of human progress on rural and urban
spaces. Waltz of the Machine Equestr ians focuses on
the rapid changes of Ho Chi Minh City drawing attention to the multiple problems it experiences: heavy
traff ic, air and sound pollution, rapid urbanisation,
and real estate developments altering the cityscape. In
response to the challenges currently faced by the city,
the artist places hope in collective actions performed
by a group of twenty-eight motorbike riders connected
by raincoats and rubber strings. The urban landscape
is transformed into a surreal stage for a lyrically choreographed sequence of actions that reinterpret the
relation between the body and the city.
THE MAKING OF AN INSTITUTION
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�Ana Prvački
Blushing for Circulation
2008
(b. 1976, Serbia)
Lives and works between
Los Angeles, California
and Singapore
Artist-in-Residence:
6 July — 28 August 2014
video, projection, colour
and sound
3 min 19 sec
Erika Tan
Shot Through
2008
(b. 1967, Singapore)
Lives and works in
United Kingdom
Artist-in-Residence:
6 July — 3 August 2015
video, projection, colour
and sound
16 min
Guo-Liang Tan
Servants & Lovers
2014
(b. 1980, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
7 December 2015 —
29 April 2016
video, projection, colour
3 min 6 sec
Tan Pin Pin
Moving House
2001
(b. 1969, Singapore)
Lives and works
in Singapore
Artist-in-Residence:
9 May — 9 September 2016
video, projection, colour
and sound
22 min 23 sec
39
In her videos, performances, and drawings, Ana Prvački
uses a gentle pedagogical and comedic approach in the
attempt to reconcile etiquette and erotics. In the video
work Blushing for Circulation, a therapist stimulates a
patient’s ability to blush. This exercise is driven by the
intention to soften fear and insecurity while nurturing
wellbeing and conf idence in the patient. Connected to
the erotic, the act of blushing can be conceived as liberating — a place where etiquette dissolves — it is life
aff irming itself, a primal and instinctive bodily expression.
Shot Through is part of a series of works on journeys.
The work engages past journeys to China taken by the
artist, her friends, family, and others. Exercising an
archaeological ambition, Tan carefully unearths, re-traces, and assembles a range of memories, thoughts, subjective interpretations, and wild speculations that
eventually become the means through which a personal psycho-geography of China is developed. For Shot
Through, excerpts from the writings of theoreticians
such as Susan Sontag, Jacques Derrida, Julia Kristeva,
Michel Foucault and Roland Barthes are combined
with video materials f ilmed by the artist.
Guo-Liang Tan’s practice revolves around the affective
realm of painting and writing. Servants & Lovers is part
of a series of text-based videos that explore the effects
of reading. Through subtitling the f ilm without imagery, the work constructs an abstract sequence f illed
with projections and disruptions. Language is made
malleable through structures, sounds, and f igures of
speech, registering tones of intimacy and ambivalence
in equal measures. In reading to oneself, the viewer becomes a listener while this imagined voice blurs the
boundaries between subject and object, self and other.
Tan Pin Pin is an award winning documentary f ilmmaker whose works bring to the surface alternative and
marginalised histories of Singapore. Funded by Discovery Networks Asia, Moving House is a touching story of the Chew family, one of the 55.000 Singapore
families forced to relocate the remains of their relatives to a columbarium as the gravesite is required for
urban redevelopment.
A RTISTIC R ESE A RCH/FIL M PROGR A MME
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�TH E A RTI S T R E S OURC E PL ATF OR M
The Exhibition Hall
The Artist Resource Platform contains audio and visual materials from over 100
Singapore-based artists, NTU CCA Singapore’s Artists-in-Residence, and several
independent art spaces in Singapore. It aims to provide local and visiting curators,
researchers, writers, as well as the general public, with a point of entry into contemporary art practices. Throughout the duration of The Making of an Institution,
the Artist Resource Platform is displayed in The Exhibition Hall where it is available for consultation during the Centre’s opening hours.
40
THE MAKING OF AN INSTITUTION
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�Curating with Art, Melanie Pocock in conversation with Michael Lee, 10 June 2016,
part of Artist Resource Platform: Activate!, 10 May — 7 August 2016, The Lab.
41
THE A RTIST R ESOURCE PL ATFOR M
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�COM MUNICATION
A ND
M E DITATION
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�Graphic and spatial design are constitutive forces in the process of institutional
building. A series of workshops and presentations will explore how the institution identity is produced through visual languages and spatial articulations. The
programme brings together various design practitioners who take an experimental, speculative, and critical approach to design expanding their practice in
close collaboration with art institutions. Looking into the convergence between
the languages of art and design, such a programme aims to challenge the understanding of design beyond its utilitarian role as service provider. It will explore
how designers respond to an institutional brief, how they challenge and deconstruct it positioning design as a field of critical inquiry.
WO R K S H O P S A N D P R E S E N T A T I O N S
PA R T I — VI S UA L I D E N T I T Y
Friday, 10 March and Saturday, 11 March
The Seminar Room and The Single Screen
Christoph Knoth
Friday
10 March 2017
2.00 — 6.00 pm
(Netherlands) is a graphic designer, teacher, web developer and researcher who
focuses on digital typography and the Internet as a platform for experimenting
with visual language. In 2012 he was a design researcher at the Jan van Eyck
Academie, Maastricht, Netherlands, with the project Computed Type which explores the historic and future possibilities of parametric typeface generation.
Since 2011 he works together with Konrad Renner and he is currently a guest researcher at the Bauhaus University Weimar, Germany. He collaborated with
various artists and art institutions and designed the websites of Casco — Off ice
for Art, Design and Theory Utrecht, Netherlands, Schauspiel Stuttgart, Germany,
and the German Pavilion at the Venice Biennale 2015 amongst others.
Bastian von Lehsten
Saturday
11 March 2017
10.30 am — 1.30 pm
(Germany) is the co-founder of Novamondo Design together with Christian
Schlimok. The design agency works in the f ields of brand strategy, corporate
design, and digital communications for several international art organizations
including the Academy of Fine Arts Vienna, Austria, Massachusetts Institute of
Technology, Cambridge, United States , the Staatsoper and the Leibniz Association in Berlin, Germany. He is teaching branding and corporate design at the
Design Academy Berlin, Germany. His work has received numerous rewards,
including the Red Dot Award and the iF Design Award. Since 2015, Novamondo
collaborates closely with NTU CCA Singapore on communication collaterals for
exhibitions, research, and residencies.
åbäke
Saturday
11 March 2017
1.00 — 5.00 pm
50 to 70 words to fairly def ine 16 years of activities of a collective is truly challenging. Short biographies predate the self ie but somehow follow similar rules
of editing a version of oneself until we start to look very attractive indeed. We
would start by saying that åbäke is a
Presentation
Saturday
11 March 2017
6.00 — 7.30 pm
åbäke, Bastien von Lehsten, Christoph K noth.
43
COM MUNIC ATION A ND MEDITATION
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�PA R T I I — S PA T I A L I D E N T I T Y
Lectures
Saturday
18 March 2017
10.00 am — 1.30 pm
The Single Screen
Bahbak
Hashemi-Nezhad
(Iran/United Kingdom) is a designer based in London. His studio practice spans
from the domestic to the public realm, from neighbourhood plans to products
and recipes. He is interested in the changing role of the designer within complex
urban conditions and draws from the permissive nature of play and processes of
defamiliarisation to develop methodologies that actively engage publics within
design processes. He collaborated with various art institutions in London, United Kingdom including The Showroom, The Serpentine Gallery, and the Victoria
and Albert Museum. Hashemi-Nezhad is currently a lecturer at the Royal College of Art, London, United Kingdom.
Wilfried Kuehn
(Germany) is the co-founder of the architectural off ice Kuehn Malvezzi established in 2001 together with Simona Malvezzi and Johannes Kuehn. Past projects include the architectural design for Documenta11, the Flick Collection in
the Hamburger Bahnhof, Berlin, Germany, the Julia Stoschek Collection in
Düsseldorf, Germany, which was nominated for the international Mies van der
Rohe award. The f irm has designed the reconf iguration of a number of contemporary and historical art collections, and dealt with sensitive preservation issues for listed buildings such as the Belvedere Museum, Vienna, Austria. Their
projects have been shown in international solo and group exhibitions, including
the 10th, 13th and 14th Architecture Biennial in Venice and Manifesta 7 in Trento, Italy. Kuehn Malvezzi participated in the 1st Chicago Architecture Biennial
in 2015.
Laura Miotto
(Italy/Singapore) is an Associate Professor at the School of Art, Design and Media, Nanyang Technological University and Design Director of GSM Project in
Singapore, an international f irm specialised in exhibition design originating
from Montréal, Canada. With 15 years of experience, Miotto has worked on a
multitude of permanent and temporary exhibitions. Her focus on heritage interpretation and design strategies involves the sensorial experience in the context
of museums, thematic galleries, and public spaces. Among her projects, the Living Galleries at the National Museum of Singapore received the Design Exchange Award in Canada in 2007 and Quest for Immortality: The World of Ancient Eg ypt was Design of the Year 2010, President Design Award, Singapore.
Miotto was the exhibition designer for NTU CCA Singapore’s exhibition Incomplete Urbanism (2016 —2017).
44
THE MAKING OF AN INSTITUTION
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�Fareed Armaly, design proposal for NTU CCA Singapore’s exhibition spaces
(The Exhibition Hall, The Single Screen, and The Lab), 2014. Courtesy the artist.
45
COM MUNIC ATION A ND MEDITATION
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�E DUCATION A ND
PUBL IC PROGR A M M ES
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�The Public Programmes for The Making of an Institution are an integral part of
the institutional self-reflexive effort articulated through this project. Conceived
as a discursive platform on the role and activity of art institutions and on the processes involved in artistic research, the public programmes include talks, workshops, and presentations organized within the four sections constitutive of The
Making of an Institution. This special programme of events is complemented by
existing educational formats developed by NTU CCA Singapore across the years,
such as the Workshop for Teachers and Educators, Exhibition and School Tours.
All programmes take place at
Block 43 Malan Road,
unless otherwise stated.
For updates on the public programmes, visit
ntu.ccasingapore.org or
facebook.com/ntu.ccasingapore
Free admission to all programmes.
WO R K S H O P F O R T E A C H E R S A N D E D U C A T O R S
Saturday
11 February 2017
10.00am — 1.00pm
The Exhibition Hall
and The Seminar
Room
This workshop was developed in collaboration with Kelly
Reedy, a former lecturer at the National Institute of Education, who specialises in working with museums and galleries to enhance student learning through visual arts. The
workshop is created to engage educators in contemporary
art and artistic practices, highlighting the educational aspects of each section of the exhibition to better prepare for
visits with their classes.
Kelly Reedy (United States/Singapore) has worked in Singapore for over 18 years as
an artist and educator. Her mixed media paintings, prints, and installations reflect
her keen interest in the ancient techniques still used in Asian traditional arts as well
as the rich symbolism embedded in its mythologies. She has exhibited her artworks
internationally in Paris, Chicago, and Berlin, as well as locally at the Jendela Visual
Arts Space, Esplanade, the Singapore Tyler Print Institute, and Alliance Française.
Engaged in museum education for more than a decade, Reedy has developed educational resources for the National Gallery Singapore and trained teachers at the National Institute of Education, specialising in visual arts education in museums and
galleries.
47
EDUC ATION A ND PUBL IC PRO GR A M MES
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�E X H I BITION T OUR S
First Friday
of the Month
3 March, 7 April,
5 May 2017
7.00 — 7.30pm
By NTU CCA Singapore Team
S C HO OL / GROUP T OUR S
NTU CCA Singapore’s guided school tours offer engaging
discussions on art, provide opportunities to hone observation skills, and develop interpretative thinking for both students and teachers alike. These specially designed school
tours are led by NTU CCA Singapore’s curators and will
give insight into the exhibiting artists, their works, and
personal anecdotes, while at the same time, introduce and
elaborate on the key themes of each exhibition.
For enquiries and to book a tour, email
NTUCCAEducation@ntu.edu.sg
GI L L M A N B A R R AC K S A RT & H I S T ORY T OUR S
Fridays to Sundays These free docent-led tours by Friends of the Museum will
varied timings
uncover Gillman Barracks’ rich history and introduce its
galleries, including a visit to NTU CCA Singapore.
Please register in advance at
www.gillmanbarracks.com/tours.
48
THE MAKING OF AN INSTITUTION
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�NTU CCA Singapore’s institutional Pantone colours
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�TH E M A K I NG OF A N I NSTITUTION
NTU Centre For Contemporary Art Singapore
11 February — 7 May 2017
CUR AT OR S
Ute Meta Bauer
Anna Lovecchio
Anca Rujoiu
Founding Director, NTU CCA Singapore
Curator, Residencies, NTU CCA Singapore
Manager, Publications, NTU CCA Singapore
EXHIBITION PRODUCTION
Jocelyn Wong
Syaheedah Iskandar
Lynda Tay
Isrudy Shaik
Benedict Yom Bo Sung
Sant Ruengjaruwatana
Exhibition Manager, NTU CCA Singapore
ARTFACTORY LLP
Technical Installation
Design 18 (S) Pte Ltd
Helu-Trans (S) Pte Ltd
Exhibition Construction
Curatorial Assistant, NTU CCA Singapore
Curatorial Assistant, Residencies, NTU CCA Singapore
Executive, Exhibitions, NTU CCA Singapore
Intern, Technical and Productions, NTU CCA Singapore
Tehnical and Production Assistant
Art Handling and Logistics
COM MUNIC ATION
Philip Francis
Deputy Director, Operations & Strategic Development,
NTU CCA Singapore
Kayla Dryden
Anna Lovecchio and Anca Rujoiu
Communications Associate
Novamondo GmbH
First Printers
Design Collaterals
Editors, Exhibition Guide
Printing and Binding
Unless otherwise stated, all images taken at NTU Centre for
Contemporary Art Singapore. Courtesy NTU CCA Singapore.
50
THE MAKING OF AN INSTITUTION
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�NTU CE NTR E F OR CONTE M P OR A RY A RT SI NGA P OR E
(NT U C C A SI NGA P OR E)
Located in Gillman Barracks, the NTU CCA Singapore is a national research
centre of Nanyang Technological University and is supported by a grant from
the Economic Development Board, Singapore. The Centre is unique in its threefold constellation of exhibitions, residencies, research and academic education,
engaging in knowledge production and dissemination. The NTU CCA Singapore
positions itself as a space for critical discourse and encourages new ways of
thinking about Spaces of the Curatorial in Southeast Asia and beyond. The
Centre’s dynamic public programmes serve to engage with various audiences
through lectures, workshops, open studios, film screenings, Exhibition(de)Tours,
and Stagings. As a research centre, it aims to provide visiting researchers and
curators a comprehensive study on the contemporary art ecosystem in Singapore
and the region.
Since the Centre’s inauguration in October 2013, it has featured leading artists for the first time in Southeast Asia, making it one of the spaces in the region
to present exhibitions of international scale. NTU CCA Singapore’s curatorial
programme embraces artistic production in all its diverse media with a commitment to critical debates in and though visual culture. The Centre’s residencies
programme is dedicated to facilitate the production of knowledge and research
by engaging and connecting artists, curators, and researchers of various disciplines from around the world. Its seven studios support the artistic process in
the most direct way: they provide artists with the time and locale to pursue their
research based practice and grant them access to an interesting and immersive
context to further the development of new ideas.
G IVI N G T O N T U C C A S I N G A P O R E
Your generous contributions support NTU CCA Singapore’s internationallyacclaimed, research driven exhibitions, residencies and extensive educational
programmes that benefit the community and the region. As a non-profit institution,
your support is crucial in the continuation of our unique programming that enables NTU CCA Singapore to contribute to the local art scene and the development
of regional and international art infrastructures. Your contribution to the NTU
CCA Singapore matters, and if you are a taxpayer to Singapore, your donation
will enjoy a 250% deduction in 2016. We believe that what we do here at the NTU
CCA Singapore makes a positive and tangible difference through art and we
hope that you will support us in achieving our aspirations. For more information
on how to donate to NTU CCA Singapore, visit ntu.ccasingapore.org/support.
51
ABOUT THE NTU CCA
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�NTU C C A SI NGA P OR E STA FF
Ute Meta Bauer
Founding Director, NTU CCA Singapore and Professor, School
of Art, Design, and Media, Nanyang Technological University
EXHIBITIONS & RESIDENCIES
Khim Ong
Dr Anna Lovecchio
Magdalena Magiera
Ana Salazar
Syaheedah Iskandar
Lynda Tay
Isrudy Shaik
Benedict Yom Bo Sung
Amrit Dhillon
Deputy Director, Exhibitions, Residencies, and Public Programmes
Curator, Residencies
Curator, Outreach & Education
Assistant Curator, Exhibitions
Curatorial Assistant, Exhibitions
Curatorial Assistant, Residencies
Executive, Exhibitions
Intern, Technical and Productions
Young Professional Trainee, Residencies
RESEARCH & EDUCATION
Sophie Goltz
Deputy Director, Research and Education, NTU CCA Singapore
and Assistant Professor, School of Art, Design, and Media,
Nanyang Technological University
Dr Marc Glöde
Visiting Scholar, School of Art, Design, and Media,
Nanyang Technological University
Regina (Maria) Möller
Visiting Artist, School of Art, Design, and Media,
Nanyang Technological University
Cheong Kah Kit
Anca Rujoiu
Samantha Leong
Manager, Research
Manager, Publications
Executive, Conference, Workshops & Archive
OPE R ATIONS & S TR ATEGIC DEVE L OPM E N T
Philip Francis
Jasmaine Cheong
Yao Jing Wei
Vijayalakshmi Balankrishnan
Lee Yan Yun
Louis Tan
52
Deputy Director, Operations & Strategic Development
Assistant Director, Operations & HR
Manager, Finance
Special Projects Assistant
Executive, Admin & Finance
Executive, Operations
THE MAKING OF AN INSTITUTION
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�N TU C C A SI NGA P OR E G OVE R NI NG C OUNCI L
CO-CHAIRS
Professor Alan Chan Kam-Leung
Dean, College of Humanities, Arts and Social Sciences,
Nanyang Technological University
Paul Tan
Covering Chief Executive Officer, National Arts Council
Professor Dorrit Vibeke Sorensen
Chair, School of Art, Design and Media,
Nanyang Technological University
Professor Kwok Kian Woon
Associate Provost (Student Life), President’s Office,
Nanyang Technological University
Dr Eugene Tan
Low Eng Teong
Ng Wen Xu
Director, National Gallery Singapore
Development, Economic Development Board
Director, Sector Development (Visual Arts), National Arts Council
Deputy Director, Lifestyle Programme Office and HR Organisation
N TU C C A SI NGA P OR E I N TE R N ATION A L A DVIS ORY B OA R D
CHAIR
Professor Nikos Papastergiadis
Director, Research Unit in Public Cultures, and Professor,
School of Culture and Communication, The University of
Melbourne, Australia
Ann DeMeester
Chris Dercon
Hou Hanru
Director, Frans Hals Museum, Haarlem, Netherlands
Rome, Italy
Professor Yuko Hasegawa
Chief Curator, Museum of Contemporary Art Tokyo, and Professor,
Graduate School of Global Arts, Tokyo University of the Arts, Japan
Professor Sarat Maharaj
Head Supervisor of Doctoral Candidates, Malmö Art Academy,
Lund University, Sweden
Philip Tinari
Dr John Tirman
Director, Ullens Center for Contemporary Art, Beijing, China
International Studies, Massachusetts Institute of Technology,
Cambridge, United States
53
Director, Volksbühne, Berlin, Germany
Artistic Director, MAXXI National Museum of 21st-Century Arts,
Executive Director and Principal Research Scientist, Center for
THE STAFF
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�TH E M A K I NG OF A N I NSTITUTION
1
Bani Haykal
sketches of violence�
2015
2
Koh Nguang How
Snippets from Singapore Art Archive
Project at NTU CCA Singapore�
2014 —2015
3
Hamra Abbas
Place. Labour. Capital .�
2016
4
Mona Vătămanu &
Le monde et les choses�
2014
Florin Tudor
5
Bo Wang Work-in-progress�
2016
6
Anocha Suwichakornpong Nightfall�
2015
7
Jegan Vincent de Paul
Book Box: Field Experiment�
2016 — ongoing
8
Li Ran
It is not Complicated, A Guide Book�
2016
9
Kray Chen
Critical Fengshui�
2016—2017
10
Ato Malinda
Out of Africa, Out of Reach�
2016
11
Zul Mahmod
Resonances: Readymade Sound Sculptures� 2016
12
Regina (Maria) Möller & INTER ROGATIVE PAT TER N —
TE XT(ILE) WEAVE , Headgears�
2017
Dinu Bodiciu
13
Tamara Weber
Close Readings. R EBUS�
2016
14
Jason Wee
I Keep Returning to Tomorrow�
2016
15
Arin Rungjang
Johnston (450% high exposure photoshop)� 2016
16
Otty Widasari
Fiksi (Fiction)�
2016
17
Loo Zihan & other
I am Paying Attention�
2016
members of the Lan Gen
Bah Society of Mind �
18
James Jack
Reparative Islands and Khayalan Island � 2016
from Pulau Balakan Mati (as seen by
a seven-year old island resident)�
19a+b NTU CCA Singapore
A Selective Chronolog y of Events
20
Jeremy Sharma
Vertical Progression�
2016
21
NTU CCA Singapore
Artist Resource Platform
22
anGie Seah Props Talk to the Hand�
2015 — 2016
23
Ho Rui An
2020x3�
2016
24
SHIMURAbros
Chasing the Light�
2017
25
Film Programme selected by Marc Glöde
26
Weixin Chong
Beige dreams�
2017
27
Joan Jonas Props�
2014 + 2016
28
Heman Chong and
The Library of Unread Books�
2016 — ongoing
Renée Staal
54
THE MAKING OF AN INSTITUTION
cca_makinginstitution_exhibit-guide_RZ.indd 54
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�SEMINAR ROOM
17
STORE ROOM
19a
20
19b
24
18
16
21
22
15
9
10
23
11
25
THE SINGLE SCREEN
12
8
14
7
THE EXHIBITION HALL
13
THE
VITR I NE
27
26
28
6
4
5
THE LAB
3
2
TOILET
2
TH E F OYE R
1
55
THE FLOOR PL AN
cca_makinginstitution_exhibit-guide_RZ.indd 55
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�VI S I T O R S I N F O
E X HIBITION HOUR S
Tuesday – Sunday, 12.00 — 7.00pm
Friday, 12.00 — 9.00pm
Closed on Mondays
Open on Public Holidays (except on Mondays)
EXHIBITIONS
Block 43, Malan Road
Gillman Barracks
Singapore 109443
+65 6339 6503
PUBL IC PRO GR A M MES
Every Wednesday and Friday evening
R ESIDENCIES STUDIOS
Blocks 37 & 38, Malan Road
Singapore 109452 & 109441
E X HIBITION T OUR S
First Friday of the month, 7.00pm
OFFICE & RESEARCH CENTRE
Block 6 Lock Road, #01—09/10
Singapore 108934
+65 6339 6300
Free admission to all programmes
ntu.ccasingapore.org
facebook.com/ntu.ccasingapore
instagram: @ntu_ccasingapore
Email: ntuccaevents@ntu.edu.sg
Free return shuttle bus between NTU School
of Art, Design and Media (ADM) and NTU
CCA Singapore on Wednesdays and Fridays
6.30pm: NTU ADM »
6:40pm : » NTU Admin Building (Fridays only)
» NTU CCA Singapore
9.30pm: NTU CCA Singapore
» NTU ADM
Labrador Park MRT
(Circle Line)
ALEX A NDR A ROAD
Pedestrian Walkway
Singapore
Teachers’
Academy for
the Arts
BLK 9
LOCK ROAD
BLK 43
Exhibitions
BLK 47
Carpark
BLK 5
M AL A N ROAD
Carpark A
BLK 1
DEPOT ROAD
Entrance
to Gillman Barracks
BLK 39
BLK 38
Studios
BLK 6
Off ice &
Research Centre
Carpark B
Entrance to
Gillman Barracks
BLK 22
BLK 37
Studios
Located at
© NTU Centre for Contemporary Art Singapore.
Printed February 2017. Design by Novamondo GmbH.
cca_makinginstitution_exhibit-guide_RZ.indd 56
04.02.17 13:02
�
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Exhibition Resource
Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc.
Short Description
The Making Of An Institution Exhibition Guide
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
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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/.
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<i>The Making Of An Institution</i> Exhibition Guide
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2017-02-11
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åbäke
Hamra Abbas
Rodolfo Andaur
Diana Campbell Betancourt
Dinu Bodiciu
Kray Chen
Chris Chong Chan Fui
Heman Chong
Renée Staal
Weixin Chong
Choy Ka Fai
Ann Demeester
Rosemary Forde
Marc Glöde
Yuko Hasegawa
Bani Haykal
Bahbak Hashemi-Nezhad
Maria Hlavajova
Ho Rui An
James Jack
siren eun young jung
Christoph Knoth
Koh Nguang How
Wilfried Kuehn
Bastien von Lehsten
Li Ran
Loo Zihan
Zulkifle Mahmod
Ato Malinda
Alice Miceli
Laura Miotto
Regina Möller
Arjuna Neuman
UuDam Tran Nguyen
Nikos Papastergiadis
Jegan Vincent de Paul
Emily Pethick
Thao-Nguyen Phan
Souliya Phoumivong
Ana Prvački
Arin Rungjang
anGie seah
Jeremy Sharma
SHIMURAbros
Alec Steadman
Sanne Oorthuizen
Anocha Suwichakornpong
Erika Tan
Guo-Liang Tan
Tan Pin Pin
Philip Tinari
John Tirman
Mona Vătămanu
Florin Tudor
Bo Wang
Farah Wardani
Tamara Weber
Jason Wee
Otty Widasari
abake
Marc Glode
Renee Staal
Ana Prvacki
Regina Moller
Mona Vatamanu
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Guide
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Southeast Asia
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Collateral and other print or digital materials for corporate development or marketing purposes. Examples include quarterlies and residency inserts, Chinese New Year cards, exhibition reports, fact sheets, news clippings, etc.
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The Making Of An Institution A Public Report
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Reports
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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/.
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<i>The Making Of An Institution</i> A Public Report
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<i>The Making Of An Institution</i> Programme Guide
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11 February - 7 May 2017
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åbäke
Hamra Abbas
Rodolfo Andaur
Diana Campbell Betancourt
Dinu Bodiciu
Kray Chen
Chris Chong Chan Fui
Heman Chong
Renée Staal
Weixin Chong
Choy Ka Fai
Ann Demeester
Rosemary Forde
Marc Glöde
Yuko Hasegawa
Bani Haykal
Bahbak Hashemi-Nezhad
Maria Hlavajova
Ho Rui An
James Jack
siren eun young jung
Christoph Knoth
Koh Nguang How
Wilfried Kuehn
Bastien von Lehsten
Li Ran
Loo Zihan
Zulkifle Mahmod
Ato Malinda
Alice Miceli
Laura Miotto
Regina Möller
Arjuna Neuman
UuDam Tran Nguyen
Nikos Papastergiadis
Jegan Vincent de Paul
Emily Pethick
Thao-Nguyen Phan
Souliya Phoumivong
Ana Prvački
Arin Rungjang
anGie seah
Jeremy Sharma
SHIMURAbros
Alec Steadman
Sanne Oorthuizen
Anocha Suwichakornpong
Erika Tan
Guo-Liang Tan
Tan Pin Pin
Philip Tinari
John Tirman
Mona Vătămanu
Florin Tudor
Bo Wang
Farah Wardani
Tamara Weber
Jason Wee
Otty Widasari
abake
Marc Glode
Regina Moller
Mona Vatamanu
Ana Prvacki
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Artistic Research
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NTU CCA Singapore
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English
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Public Art Education Summit
17 – 19 October 2019
The Single Screen, Block 43 Malan Road
Art, Urban Change,
and the Public Sphere
Culture City. Culture Scape.
Commissioned by Mapletree Investments, and themed “Culture City. Culture
Scape.”, the Mapletree Business City II (MBC II) Art Trail features a series of
newly commissioned permanent public artworks by renowned international
artists Dan Graham, Zulkifle Mahmod, Tomás Saraceno, and Yinka Shonibare.
It is curated by Ute Meta Bauer, Founding Director, NTU Centre for
Contemporary Art Singapore and Professor, NTU School of Art, Design and
Media, and Khim Ong, Deputy Director, Curatorial Programmes, NTU CCA
Singapore, 2016 – 2019.
MBC II Art Trail is part of a first of its kind Public Art Education Programme
that will include guided tours, artists’ talks, workshops, seminars, and a summit,
as well as higher education on art in public space as part of the MA in Museum
Studies and Curatorial Practices at the NTU School of Art, Design and Media.
These activites underscore the commitment to provide education for different
audiences as well as new generations of creative practitioners in engaging with
the built environment in innovative and thoughtful ways.
The programme also aims to bring the arts closer to the communities, while
activating the community space and amenities at MBC, designed for tenants and
visitors for active interaction.
For more information, scan the QR code.
Guest-of-Honour: Prof Wang Dawei (China), Executive Dean, College of Fine Arts,
Shanghai University
With contributions by: Ute Meta Bauer (Germany/Singapore), Richard Bell
(Australia), Lewis Biggs (United Kingdom), Antonia Carver (United Arab Emirates),
Lilian Chee (Singapore), Amanda Crabtree (United Kingdom/France),
Daniel Mudie Cunningham (Australia), Catherine David (France), Eileen Goh
(Singapore), Sophie Goltz (Germany/Singapore), Limin Hee (Singapore),
Kok Heng Leun (Singapore), Richard Lim (Singapore), Hongjohn Lin
(Taiwan/Singapore), Massamba Mbaye (Senegal), Alecia Neo (Singapore), Alan Oei
(Singapore), Nikos Papastergiadis (Australia), Jasmeen Patheja (India),
Lorenzo Patrillo (Italy/Singapore), Milenko Prvački (Singapore), Ashley
Thompson (United Kingdom), Philip Tinari (United States/China),
Katherine Ann Leilani Tuider (United States)
Culture City. Culture Scape. is a programme of Mapletree Investments Pte Ltd.
The Public Art Education Summit is supported in part, by the Public Art Trust,
an initiative of National Arts Council.
With capability-development workshops by Amanda Crabtree (United
Kingdom/France), Daniel Mudie Cunningham (Australia), Hongjohn Lin
(Taiwan/Singapore) and Katherine Ann Leilani Tuider (United States)
Public Art Education
Summit
17 – 19 October 2019
Art, Urban Change, and the Public Sphere is convened by: Sophie Goltz
(Germany/Singapore), Deputy Director, Research & Academic Programmes,
NTU CCA Singapore, and Assistant Professor, School of Art, Design and Media,
NTU; and organised together with Clifford Loh, Project Manager, External
Collaborations (until August 2019); Guineviere Low, Young Professional Trainee,
Research and Academic Programmes; Soh Kay Min, Executive, Conference,
Workshops & Archive; Leon Tan, Project Manager, External Collaborations.
�Mapletree Business City II
Yinka Shonibare CBE (RA)
Wind Sculpture, 2013
Zulkifle Mahmod
Sonic Pathway, 2017
Tomás Saraceno
Stillness in Motion,
3 Airborne Dwellings,
2017
Link to Alexandra
Retail Centre
Dan Graham
Elliptical Pavillion, 2017
To NTU CCA Singapore and
Gillman Barracks
Mapletree Business City I
Jason Lim
Silver Lining 1&2, 2010
Public Art Trail, Mapletree Business City
Culture City. Culture Scape. Public Art Trail at Mapletree Business City II, artworks. Clockwise from top left: Dan Graham, Elliptical Pavilion, 2017. Zulkifle Mahmod, Sonic Pathway, 2017. Tomás Saraceno, Stillness in Motion, 3 AirborneArchifest 2017. Yinka Shonibare CBE (RA), Wind Sculpture, 2013/17.
Discursive Picnic, Dwellings, 2017, image courtesy NTU Centre for Contemporary Art.
All images courtesy NTU CCA Singapore.
Public Art Trail, Mapletree Business City
Lim Shing Ee
Humbly on Hills, 2010
Coral Lowry
Circle of Life, 2010
FARM
The Conch, 2010
West Coast Highway
Baet Yeok Kuan
Wave, 2010
Jane Cowie
From Little Things,
Big Things Grow, 2010
Kim Jongku
Rain Tree, 2010
Nola Farman
The Cascade, 2010
�Art, Urban Change, and the Public Sphere
01
03
Introduction
Programme
06
08
Workshops
Abstracts
15
21
Biographies
Research
Presentation
23
26
Colophon
NTU CCA Singapore
Partners
and Supporters
�Public Art Education
Summit
NTU CCA Singapore is pleased to present Art, Urban Change, and the Public Sphere,
which engages with art in privately owned public spaces through a Public Art
Education Summit and research presentation. Taking as its point of departure the
neighbouring Culture City. Culture Scape. Public Art Trail at Mapletree Business
City—developed with curatorial consultation by NTU CCA Singapore—the Summit
and presentation explore broader cultural and artistic developments on a civic scale
situated in urban landscapes. How do political and economic changes in the public
realm evoke a regional discourse on art in cities?
The Public Art Education Summit is the first of its kind in Singapore and part of
a larger engagement of NTU CCA Singapore in professional education of public
art. It focuses on cultural place-making and building communities through artistic
practices. It aims to stimulate a debate between art professionals, policy makers,
urban developers and other local stakeholders, on how and for whom art creates
public spaces in our built environment. Any artistic or curatorial initiative in “public
space” must address the question of how to construct “a public” and with it, how
to encounter identity. Any difference—be it regional and local, ethnic and religious,
economic and social—generates its own cohabitation of urban space and public
culture to communicate with. The challenge for art in the public sphere lies in its
openness to existing and yet, imagined communities of civic urbanism. Ranging
from corporate cultural engagement in privately owned public spaces to urban
regeneration, the invited speakers draw connections to the beginnings of community
engagement in public art with its fluid methods. Furthermore, they suggest a critical
look at different artistic and curatorial practices which reflect on “artists as citizens.”
Or, how any space called public, first and foremost, is created by the different people
inhabiting that space.
Held in association with College of Fine Arts, Shanghai University, and Institute for
Public Art, London. Supported by Mapletree Investments and, additionally, by the
Public Art Trust, National Arts Council Singapore.
1
�Art, Urban Change, and the Public Sphere, 31 August – 27 October 2019, The Lab, NTU CCA Singapore, installation view. Photo by KYT Studio.
2
�Programme
1.00pm Lunch Break with Guided Tours at The
Lab and Mapletree Business City
Thursday, 17 October 2019
9.00 am – 7.30 pm
The Single Screen, Block 43 Malan Road
8.45am
Registration and Coffee
9.00am Opening addresses by
Low Eng Teong (Singapore) Assistant Chief Executive,
Sector Development, National Arts Council, Ute
Meta Bauer (Germany/Singapore), Fouding Director,
NTU CCA Singapore and Professor, School of Art,
Design and Media, NTU, Guest-of-Honour Wang
Dawei (China), Executive Dean, College of Fine
Arts, Shanghai University, followed by introduction
by Sophie Goltz (Germany/Singapore), Deputy
Director, Research & Academic Programmes, NTU
CCA Singapore, and Assistant Professor, School of
Art, Design and Media, NTU
9.45am Context is Everything
Presentation by Lewis Biggs (United Kingdom)
Chair, Institute for Public Art, London
10.15am Making Art, Making Society
Presentation by Amanda Crabtree
Director, artconnexion
(France),
10.45am Community-First Public Art
Presentation by Katherine Ann Leilani Tuider
(United States), Executive Director and Co-founder,
Honolulu Biennial Foundation
11.15am Discussion and Coffee Break
12.00pm Public Art and Community Building,
Roundtable Discussion with Eileen Goh (Singapore),
Assistant Manager, Art-in-Transit at Land Transport
Authority; Richard Lim (Singapore), Manager, Art
Management, Project Development, CapitaLand;
Lorenzo Petrillo (Italy/Singapore), Director and
Founder, LOPELAB, moderated by Lilian Chee
(Singapore), Associate Professor, Department of
Architecture, National University of Singapore
3
2.00 – 5.30pm Capability-Development Workshops
Residencies Studios, Block 37 Malan Road,
NTU CCA Singapore
#Activating#Communities, New Patron Model for
Public Art Commissioning, Workshop by Amanda
Crabtree (France), Director, artconnexion
#Building#Communities, Fundraising as Community
Engagement,
Workshop by Katherine Ann Leilani Tuider
(United States), Executive Director and Co-founder,
Honolulu Biennial Foundation
6.00pm* Going Out,
Lecture by Nikos Papastergiadis (Australia),
Professor, School of Culture and Communication,
University of Melbourne,
6.30pm* Anybody Anywhere,
Lecture by Ashley Thompson (United Kingdom),
Hiram W. Woodward Chair of Southeast Asian Art,
SOAS University of London
7.00pm* Roundtable Discussion
with Antonia Carver (United Arab Emirates),
Director, Jameel Arts Centre; Catherine David
(France), Deputy Director, Research and Globalisation,
MNAM/CCI, Centre Pompidou; Philip Tinari
(United States/China), Director, UCCA Center for
Contemporary Art, Beijing China, moderated by
Ute Meta Bauer (Germany/Singapore)
7.30pm Reception
*On occassion of the annual meeting of NTU CCA Singapore’s
International Advisory Board, invited members of the board share their
knowledge and experience.
�Friday, 18 October 2019
9.00am – 5.30pm
1.00pm Lunch Break with Guided Tours at The
Lab and Mapletree Business City
The Single Screen, Block 43 Malan Road
8.45am
Registration and Coffee
9.00am Introduction by Sophie Goltz (Germany/
Singapore), Deputy Director, Research & Academic
Programmes, NTU CCA Singapore, and Assistant
Professor, School of Art, Design and Media, NTU
9.15am A Railroad Switch in Time: South Eveleigh
Case Study
Presentation by Daniel Mudie Cunningham
(Australia), Director, Programs, Carriageworks
9.45am Biennials as Public Space
Presentation by Hongjohn Lin (Taiwan/Singapore),
Associate Professor, Taipei National University of
Arts
2.00 – 5.30pm Capability-Development Workshops
Residencies Studios, Block 37 Malan Road,
NTU CCA Singapore
#Supporting#Communities,
Urban Communities and their Stakeholders
Workshop by Daniel Mudie Cunningham
(Australia), Director, Programs, Carriageworks
#Educating#Communities, Biennials as Public Space:
Between Artistic Approaches and Public Demands
Workshop by Hongjohn Lin (Taiwan/Singapore),
Associate Professor, Taipei National University of
Arts
10.15am Action Sheroes, Heroes, Theyroes. Resonate
#NeverAskForIt
Presentation by Jasmeen Patheja (India), Founder,
Blank Noise
10.45am Beyond Education, Beyond Community,
Presentation by Milenko Prvački (Singapore),
Senior Fellow, LASALLE College of the Arts, artist
and founder, ART WALK Little India
11.15am
Discussion and Coffee Break
12.00pm Public Art and Urban Development,
Roundtable Discussion with Kok Heng Leun
(Singapore), Artistic Director, Drama Box; Alecia
Neo, (Singapore), artist and co-founder, Brack; Alan
Oei (Singapore), Artistic Director, The Substation,
moderated by Limin Hee (Singapore), Director,
Research, Centre for Liveable Cities
4
�Programme
Saturday, 19 October 2019
9.00am – 12.45pm
The Single Screen, Block 43 Malan Road
8.45am
Registration and Coffee
9.00am Introduction by Sophie Goltz (Germany/
Singapore), Deputy Director, Research & Academic
Programmes, NTU CCA Singapore, and Assistant
Professor, School of Art, Design and Media, NTU
9.15am Participation in Practice: Artists as Ally
Presentation by Alecia Neo (Singapore), artist and
co-founder, Brack
10.45am Discussion and Coffee Break
11.15am Roundtable Discussion with Richard Bell
(Australia), artist, Hongjohn Lin (Taiwan/Singapore),
Associate Professor, Taipei National University of
Arts, Massamba Mbaye (Senegal), lecturer, Dakar
Cheikh Anta Diop University & Virtual University
of Senegal, and Alecia Neo, (Singapore), artist and
co-founder, Brack, moderated by Sophie Goltz
(Germany/Singapore)
12.00pm Closing Remarks by Lewis Biggs (United
Kingdom)
9.45am Village de arts de Dakar
Presentation by Massamba Mbaye (Senegal),
lecturer, Dakar Cheikh Anta Diop University &
Virtual University of Senegal
10.15am The Embassy Project
Presentation by Richard Bell (Australia), artist
Admission to the summit and the workshops is free.
Please scan the QR code to register for the summit. (Limited seats are available.)
Programme as of 7 October 2019, subject to change.
5
�Capability-Development
Workshops
Thursday, 17 October 2019, 2.00 – 5.30pm (incl. coffee break)
Block 37 Malan Road, NTU CCA Singapore
#Activating#Communities
New Patron Model for Public Art Commissioning
Workshop by Amanda Crabtree (France),
Director, artconnexion
#Building#Communities
Fundraising as Community Engagement
Workshop by Katherine Ann Leilani Tuider
(United States), Executive Director and Cofounder, Honolulu Biennial Foundation
The workshop explores the potential role of
councils and government bodies in enabling
local communities to take more initiative
regarding the commissioning of art works.
This New Patron Model has been developed
since 2000 in favour of a dialogue between
society and artists. The originality lies in a
radical new collaborative form between the
artist, the community, and a cultural mediator
supported by public and private partners.
Using the New Patrons protocol, initiated
by the Fondation de France, as case study,
Amanda Crabtree will guide participants
through the entire process of commissioning
an artwork within the public realm in this
remarkably new way.
www.artconnexion.org
Successful fundraising is dependent upon
a deep understanding of the community in
which it is taking place, where “community”
is understood as a complex ecosystem of
individuals, government, businesses, and nonprofit organisations that overlap, collaborate,
and sometimes compete with one another.
In this workshop, participants will explore
various case studies of how public art works
and exhibitions are funded in international
cities with diverse fundraising opportunities
and challenges based on their unique
community ecosystems. Participants will walk
away with a deeper understanding of how to
design public-private collaborations from
various perspectives, whether it be a top-down
or grassroots approach, or a hybrid of the two.
www.honolulubiennal.org
Please scan the QR codes to register for the workshops
6
�Capability-Development
Workshops
Friday, 18 October 2019, 2.00 – 5.30pm (incl. coffee break)
Block 37 Malan Road, NTU CCA Singapore
#Supporting#Communities
Urban Communities and their Stakeholders
Workshop by Daniel Mudie Cunningham
(Australia), Director, Programs, Carriageworks
#Educating#Communities
Biennials as Public Space: Between Artistic
Approaches and Public Demands
Workshop by Hongjohn Lin (Taiwan/
Singapore), Associate Professor, Taipei
National University of Arts
As one of the largest and most significant
multi-arts centres in Australia, Carriageworks
commissions new contemporary large-scale
works of visual and performative arts that
intersect with the different communities of
urban Sydney. Looking back into the various
developments of the site as cultural precinct
since 2007, the workshop will give insights
on how this former Railway Workshop was
established as a cultural site through publicprivate partnerships. It further explores how
sustainable relationships between various
stakeholders, including artists, were built up
for sustaining a diverse and flexible artistic
programme.
www.carriageworks.com.au
How to curate a biennial as a public space? In
his curatorial practice, Hongjohn Lin develops
collaborative and interdisciplinary methods for
shaping an exhibition as public space. Looking
into the case study of the Taipei Biennial,
amongst others, the workshop will focus on
how to work, as an artist, curator, or educator
in large-scale projects. How to work around the
instrumentalization of art and how to answer
the need for a success-based outcome? Lin
will also discuss how artists, curators, and the
public(s) can engage in such a situation through
building up emancipatory social relations.
www.taipeibiennial.org
For further information and questions, please contact Soh Kay Min, Executive, Conference, Workshops &
Archive at sohkaymin@ntu.edu.sg.
Please scan the QR codes to register for the workshops
7
�Abstracts
Richard Bell
The Embassy Project
19 October 2019
10.15 – 10.45am
Lewis Biggs
Context is Everything
17 October 2019
9.45 – 10.15am
Richard Bell established the Aboriginal Tent
Embassy outside the Australian national
parliament in 1972. It was founded to
challenge the status and rights of Aboriginal
people in Australia. Until today the Tent
Embassy remains in place as one of the longest
ongoing (artistic) struggles in the world. Bell
will introduce the Embassy (2013–) as a public
space for imagining and articulating futures
beyond oppression and displacement, while
referring to the history of black power politics,
political theatre, and performance art. Bell will
further draw on the idea of his Embassy as a
satellite of the original Tent Embassy, utilizing
his agency within the infrastructure of art as a
means of furthering its reach: the work shall
be understood as coalition building, seeking
solutions towards fairness through solidarity.
Discussion of Public Art is clouded by the
difficulty that the concepts ‘public’ and ‘art’
mean different things in different cultures
and political systems. Lewis Biggs argues that
the commissioning process should focus on
the energy provided by a ‘common interest’
shared by the artist and the artwork’s intended
audiences — rather than either attempting
to appeal to “everyone” in a given society,
or seeking to reinforce the stereotypes that
underpin identity politics. Culturally and
ethnically diverse groupings of people may
often have to share a physical environment.
This creates a common interest in “place”.
This reasoning has contributed to why the
Institute for Public Art and International
Award for Public Art have focused on placemaking since their inception in 2012.
8
�Amanda Crabtree
Making Art, Making Society
17 October 2019
10.15 – 10.45am
Crabtree’s presentation explores the New
Patrons Protocol proposed by the French artist
François Hers in 1990, which urged for art to
enter into the civic sphere by creating a platform
for citizens to commission artworks in response
to the needs of their immediate environments
and communities. Under the protocol,
individuals and groups were able to assert the
raison d’être of art through the commissioning
of new artworks, thereby activating a network
of artistic and cultural production—from
artists, who devise the form of the work, to
cultural producers, who establish the various
links required to bring together the knowledge
and expertise needed for the realisation of the
initiative, to elected political representatives, to
funders, who supply the wherewithal to act and
whose support show that in a democracy, the
responsibility for art can be entrusted to civil
society. While recognising the complexities in
implementing socio-political shifts, Crabtree
calls for a reconsideration of the convictions
and prejudices on which present-day cultural
policies are based. To recognise the capacity of
civil society to fully assume its responsibility in
the development of art is, at the highest level, a
political choice.
9
Daniel Mudie Cunningham
A Railroad Switch in Time: South Eveleigh
Case Study
18 October 2019
9.15 – 9.45am
Drawing on the history of South Eveleigh and
its adjacent northern precinct, Cunningham
outlines Carriageworks’ methodology of
developing and delivering an integrated Public
Art Strategy as part of the revitalisation of
Eveleigh, in relation to the area’s deep ties to
Aboriginal history. Situated on Gadigal Land,
Eveleigh is part of Redfern, a suburb on the
urban fringe of Sydney which has a deeply
rooted Aboriginal history: it is the birthplace
of the Aboriginal civil rights movement in
Australia. Currently undergoing massive
change and gentrification, Redfern is a place of
Aboriginal significance and storytelling. South
Eveleigh’s past and present acknowledges
this legacy and its narratives of connectivity
in large part through its public art. In this
presentation, Cunningham will expand upon
the various stages of implementing a Public
Art Strategy: writing artist briefs; the artist
tendering process; and the subsequent local
government, heritage council and community
stakeholder management intrinsic to the
process. Of particular focus is the importance of
consultation within the Aboriginal community.
�Hongjohn Lin
Biennials as Public Space
18 October 2019
9.45 – 10.15am
Massamba Mbaye
Village de arts de Dakar
19 October 2019
9.45 – 10.15am
In 2010, Tirdad Zolghadr and Hongjohn Lin
cocurated Taipei Biennial (TB10). By exploring
what a biennial can do and can be, several
structural designs of the exhibition were done
in order to reflect on its origin, size, mood,
and instrumentality. Public programs, echoing
with the education turn, were combinations of
performances, forums, study groups, and book
lunches in the exhibition. Cooperation with
alternative art spaces in Taipei were conducted
inside and outside of the main venue, Taipei
Fine Arts Museum, in order to reach out the
public, which was not set as the homogenous
and general audience, being the participatory
nature. TB10 was a curatorial experiment
to turn an exhibition inward in fact, against
its grain to dissolve the supposed boundary
between art and life. TB10, therefore, was
never a mere collection of artworks, but rather
a set of social relations to mediate the public
space, where the spectators can be active and
possibly emancipatory.
Placed under the tutelage of the Ministry
of Culture of Senegal, it is a space of four
hectares, consisting of an exhibition gallery,
a cafeteria, a bronze foundry (installed by the
artist-sculptor), vacant lots, and a series of
workshops for resident and transient artists.
The village has the vocation of being a space of
creation, production, dissemination, research,
animation, promotion, and exchange. It is thus
open to all people of Culture of Senegal and
friendly countries, to ensure the promotion of
artists and their works. His study will focus
on the concept of this village, its evolution,
its current limits, and especially its impact
on the urban landscape of Dakar and on the
populations. To carry out this study, we will
combine documentary research with interviews
with artists, guardianship authorities, and the
population.
10
�Alecia Neo
Participation in Practice: Artists as Ally
19 October 2019
9.15 – 9.45am
Through the sharing of diverse projects which
she has initiated independently, as well as via
arts platform Brack, Alecia Neo reflects upon
ways in which artists practice cooperation,
participation, sustainability, responsibility and
authorship. In Neo’s projects, a diverse range
of participants, observers and collaborators
ranging from non-profit organisations, youths
living with visual impairment, to residents
in public housing estates and caregivers,
are engaged in a creative, experiential, and
relational process and are given platforms
to develop their own projects and ideas.
The analysis explores how these art projects
and participants raise questions about
access, power and social relations, bringing
insights into the discussion of inclusivity,
empowerment, and education. Outside of an
artistic framework, these projects are often
at the mercy of interpretation from all sides.
Hence, these artistic engagements also explore
the potentials and limitations of artists in
generating shifts or transformation in society
through artistic interventions.
11
Nikos Papastergiadis
Going Out
17 October 2019
6.00 – 6.30pm
What follows is not so much a history of art,
or an impressionist version of the sociology
of the city, but a gazetteer of cultural ideas
and artistic practices, from which Nikos
Papastergiadis’ investigation will draw, and
which have been influential in shaping the
contours of contemporary experiences. It is
in the spirit of the ancient gazetteer, that is
not so much a gathering of random events,
but an account that navigates the contours of
the aesthetic experiments and philosophical
ruminations
of
contemporary
urban
experience. It is an outline of the sensibility
that is more than just urban and poetic. This
expansive sensibility tends to be understood
as either a political effort to democratise art in
the lifeworld of communities, or an aesthetic
exploration that reaches all the way to the
cosmos. What this gazetteer reveals is that
these two gestures are not necessarily separate
from each other, and that artists oscillate
between both the political and the cosmic
categories of thinking and action.
�Jasmeen Patheja
Milenko Prvački
Action Sheroes, Heroes, Theyroes. Resonate Beyond Education, Beyond Community
#NeverAskForIt
18 October 2019
18 October 2019
10.45 – 11.15am
10.15 – 10.45am
The presentation will draw attention to Blank
Noise’s vision and approach to ending sexual
and gender based violence. The I Never Ask
For It mission is a call to end victim blame by
building testimonies of clothing. Survivors of
violence, i.e. all women across varying degrees
of such acts, are invited to bring a garment
they wore when they experienced sexual
violence. The garment is memory, witness,
and voice to an experience of sexual assault.
Blank Noise is working towards 2023, where
10,000 garments will stand united at sites of
public significance. This project or mission is
an invitation to collaborate and also an inquiry
to respond to: How do we recognise sexual
violence in an environment of normalised fear,
warnings, and vicitim blame? How do we spark
conversation in a climate of denial? How do we
work to bring a story to spotlight? How do we
make meaning, intervention, resistance in a
climate where women’s bodies and identities
are controlled by the state and the patriarchy?
How do we collaborate? How do we co-create?
What is personal and collective healing? What
is local and universal? Who does the practice
speak to? Who is witness? How do we shift
from community consciousness to a public
consciousness? These are questions, and these
questions are works in progress.
Milenko Prvački will speak about his becoming
of a “local” artist, whose practice is painting,
that relates both his work as an artist and as an
educator to public space in Singapore. Having
lived here for more than 28 years, he has
initiated the ART WALK Little India in 2015
in his position as a Senior Fellow at LASALLE
College of the Arts. Working together with
students and different stakeholders such
as Singapore Tourism Board (STB), Little
India Shopkeepers’ and Heritage Association
(LISHA), Prvački reflects on the collaborative
efforts of the previous editions as well as of the
challenges of working in Little India and with
its communities. How does Little India inform
our ideas of public space in Singapore and what
artistic practices can emerge in such a former
colonial precinct? Following which there is
also the question of what kind of art education
is needed for the next generation of artists to
work in public space?
12
�Ashley Thompson
Anybody Anywhere
17 October 2019
6.30 – 7.00pm
Examining what we might call a placewithout-self or a self-without-place, which
the Buddha figure or alter-iterations thereof
embody, Ashley Thompson will discuss place
with regards to (Buddhist) subjectivity and
Cambodian diasporic affect. The presentation
will focus on artistic performances by Amy Lee
Sanford and Anida Yoeu Ali which comment
on, intervene in, and shape public space in
contemporary Cambodia. In the context of
the symposium, these practices can be taken
to probe the haunting place of arts precincts
established in Phnom Penh over the course of
the colonial and independence periods, their
destruction and/or commodification.
13
Katherine Ann Leilani Tuider
Community-First Public Art
17 October 2019
10.45 – 11.15am
Katherine Tuider, Executive Director and Cofounder of Honolulu Biennial Foundation,
will speak about building a biennial from
the ground up in what has been described
as the most isolated, populated landmass in
the world, Hawai‘i. Despite the perceived
challenges associated with building an
international, city-wide exhibition with no
start-up capital in a seemingly isolated place,
the contributions and involvement of the local
community in Hawai‘i made the Honolulu
Biennial a success. Prioritising the needs and
desires of the local community was an integral
part of the planning process in order to create
a biennial that was locally relevant, while also
being reflective of what makes Hawai‘i so
unique for those who were visiting. A biennial
that honours and involves its community
is not only more sustainable, but also more
interesting for those who visit because the
biennial serves as a portal for understanding
the history and culture of that place. As urban
spaces rapidly grow and change, Tuider will
explain why a “community-first” approach is
essential in order to create successful public
art exhibitions that are reflective of the past,
while also relevant in the future.
�Public Art and Community Building,
17 October 2019
12.00 – 1.00pm
Public Art and Urban Development,
18 October 2019
12.00 – 1.00pm
Roundtable Discussion with Eileen Goh
(Singapore), Assistant Manager, Art-inTransit at Land Transport Authority; Richard
Lim (Singapore), Manager, Art Management,
Project Development, CapitaLand; Lorenzo
Petrillo (Italy/Singapore), Director and
Founder, LOPELAB, moderated by Lilian
Chee (Singapore), Associate Professor,
Department of Architecture, National
University of Singapore
Roundtable Discussion with Kok Heng
Leun (Singapore), Artistic Director, Drama
Box; Alecia Neo, (Singapore), artist and cofounder, Brack; Alan Oei (Singapore), Artistic
Director, The Substation, moderated by
Limin Hee (Singapore), Director, Research,
Centre for Liveable Cities
Invited experts from the fields of urban regeneration, real estate development, and visual
art are invited to a dialogue about their professional engagements with Public Art and its
communities in Singapore. These platforms shall unpack, probe, and investigate pressing
concerns and current conditions, as well as identify challenges and changes in the near future
for both communities and art practitioners.
14
�Biographies
Richard BELL (Australia) lives and works in
Brisbane, Australia. He works across a variety of
media including painting, installation, performance,
and video. Bell’s work explores the complex artistic
and political problems of Western, colonial, and
Indigenous art production. He grew out of a
generation of Aboriginal activists and has remained
committed to the politics of Aboriginal emancipation
and self-determination—his 2003 achievement of the
Telstra National Aboriginal Art Award established
him as an important Australian artistic figure. In
2019, Bell exhibited his Embassy project in Venice as
part of PERSONAL STRUCTURES—Identities. In 2021,
Embassy will be presented at the Tate Modern.
Antonia CARVER (United Arab Emirates) is a
member of NTU CCA’s International Advisory Board
and is currently the Director of Art Jameel, Dubai,
an organisation that fosters and promotes a thriving
arts and culture scene and support the development
of creative enterprises in the region of Middle East,
North Africa, Turkey and beyond. Art Jameel is the
founding partner of Edge of Arabia, The Crossway
Foundation, Jeddah Art Week, and The Archive. Prior
to joining Art Jameel, Antonia was the director of Art
Dubai, where she has overseen its development into
the leading art fair of the Middle East and South Asia,
along with its diverse programmes, artists residencies
and commissions as well as other educational
initiatives and prizes. Before relocating to the UAE,
Antonia was editor at Phaidon Press and had roles at
Institute of international Visual Arts and G+B Arts
International.
15
Lewis BIGGS (United Kingdom) is an independent
curator (Co-Curator, Aichi Triennale 2013; Curator,
Folkestone Triennial 2014, 2017, 2020; Curator,
Land Art Mongolia 2018; advisory curator Kaunas
Biennial 2019). As International Adviser and now
Distinguished Professor of Public Art at Shanghai
University (since 2011) he is also Chairman of the
Institute for Public Art, dedicated to the research,
propagation, and advocacy of artist-led urbanism. He
was a Director of Tate Liverpool (1990–2000); and
General Series Editor for Tate Modern Artists Series,
Tate Publishing 2001–14. Lewis was the Artistic
Director / CEO of Liverpool Biennial 2000–11. The
Biennial exhibitions under his leadership focused on
newly-commissioned art, much of it site specific for
the urban environment, researched collaboratively
and realised by a team of locally based curators.
Lilian CHEE (Singapore) is an Associate Professor
at the Department of Architecture in the National
University of Singapore (NUS). She is a writer,
academic, designer, curator, and award-winning
educator who has lecturered at the Bartlett,
Delft, ETH Zurich, Melbourne, and the Berlage
Centre. Her work is situated at the intersections
of architectural representation, gender, and affect
in a contemporary interdisciplinary context. Her
research explores the emergence of architecture
through, and from within, everyday encounters
and its archives, influenced by film, art and
literature. She conceptualised, researched, and
collaborated on the award-winning architectural
essay film about single women occupants in
Singapore’s public housing 03-FLATS (2014), which
won the best ASEAN documentary Salaya (2015);
shortlisted for the Busan Wide Angle Documentary
Prize 2014; and screened at the Singapore Pavilion
at the Venice Biennale 2016. She is working on a
book about public art in Singapore, and co-editing
a volume on domesticity in architecture.
�Amanda CRABTREE (United Kindgom/France)
established artconnexion, an independent nonprofit cultural production agency based in Lille
in 1994 and joined the organisation full-time
in 2001. Prior to this, she worked at the British
Council, Paris; Le Fresnoy, Studio national des
arts contemporains, Tourcoing; Le Magasin
contemporary art centre, Grenoble, and the Centre
d’art contemporain of Geneva. She teaches at
the University of Lille and directs the Master’s
programme in Art and Society with a particular
focus on the production of contemporary artworks
within the public realm. She has just established
a short-course University Diploma entitled
Reclaiming Art/Reshaping Democracy based on the
protocol of New Patrons public art projects.
Daniel Mudie CUNNINGHAM (Australia) is
Director of Programs at Carriageworks in Sydney,
Australia. He has held curatorial roles at Artbank
and Hazelhurst Regional Gallery, and academic
positions at Western Sydney University, where he
completed his doctorate in cultural studies in 2004.
At Carriageworks he is currently leading the
curatorial delivery of a major public art strategy tied
to the redevelopment of South Eveleigh in Sydney.
Cunningham is a widely published academic and
arts writer and has authored numerous artist
monographs and edited publications, including the
magazine Sturgeon (2013–16).
Catherine DAVID (France) is the Deputy Director
of the Musée National d’Art Moderne at the Centre
Pompidou in Paris. From 1982 to 1990, David was
curator at the Musée National d’Art Moderne,
Centre Georges Pompidou, Paris, and from 1990 to
1994 she was curator at the Galerie Nationale du Jeu
de Paume, Paris. From 1994 to 1997, David served as
Artistic Director for documenta X in Kassel (1997).
Since 1998, she has been director of the long-term
project Contemporary Arab Representations, which
began at the Fundació Antoni Tàpies, Barcelona.
Between 2002 and 2004, David was director of
the Witte de With Center of Contemporary Art
in Rotterdam. In 2016, David curated Reframing
Modernism at the National Gallery Singapore, which
brought together over 200 iconic works from the
collections of the National Gallery Singapore and
the Centre Pompidou in Paris.
Eileen GOH (Singapore) is an Assistant Manager
for the Art in Transit programme at the Land
Transport Authority (LTA), Singapore. Goh oversees
and leads a team in the initiation, development, and
implementation of the Art in Transit programme
as well as other special art-related projects
undertaken by LTA. Goh plays a large part at every
stage of the process of conceptualising, developing
and delivering the artworks commissioned to be
displayed in the Mass Rapid Transit (MRT) stations
managed by LTA. This includes working closely
with various internal and external stakeholders—
including civil contractors—in the fabrication and
installation of artwork to presenting the artworks
to Ministers and public communities.
Goh is a graduate of LASALLE College of the Arts
with a BA (Hons) in Arts Management.
16
�Sophie GOLTZ (Germany/Singapore) is Deputy
Director, Research & Academic Programmes at
NTU CCA Singapore, and Assistant Professor
at the NTU School of Art, Design and Media.
Goltz was the Artistic Director of Stadtkuratorin
Hamburg (City curator) from 2013 to 2016,
and has worked as Senior Curator and Head of
Communication and Public Programmes at Neuer
Berliner Kunstverein between 2008 and 2013,
becoming Associate Curator in 2014. Goltz worked
as a freelance curator, as well as an art educator
for various international exhibitions, including
Documenta11 and documenta 12 (2002 and 2007),
3rd berlin biennale for contemporary art (2004),
and Project Migration (2004-06).
KOK Heng Leun is a prominent figure in the
Singapore arts scene, having built his artistic career
as a theatre director, playwright, dramaturg and
educator. Koh is known for his ability to engage
the community on various issues through the
arts, championing civil discourse across different
segments of society. Having begun his work in
the theatre almost 30 years ago, some notable
directorial works include Manifesto (2016), Drift
(2007), Trick or Threat (2007), and Happy (2005).
His explorations with multi-disciplinary engaged
arts has produced works like It Won’t Be Too Long
(2015), which touched on the dynamics of space in
Singapore, Both Sides, Now (2013, 2014), a project
that seeks to normalise end-of-life conversations,
and Project Mending Sky (2008, 2009, 2012), a series
on environmental issues. Koh’s contributions to
the arts have landed him the National Arts Council
Singapore Young Artist Award in 2000 and the
National Arts Council Cultural Fellowship in 2014.
Koh is currently the Arts Nominated Member of
Parliament.
17
Limin HEE is Director of Research at Singapore’s
Centre for Liveable Cities (CLC), a nexus and
knowledge centre for liveable and sustainable
cities, where she focuses on research strategies,
content
development,
and
international
collaborations. She played similar leading research
roles at the National University of Singapore’s
School of Design and Environment, as well as at
the Centre for Sustainable Asian Cities and the
Asia Research Institute. She has been the recipient
of several accolades and her work on cities has
been widely published, including in international
refereed journals and architectural reviews. Recent
book publications include Constructing Singapore
Public Space (Springer, 2017) and Future Asian Space
(NUS Press, 2012). She obtained her Doctor of
Design from Harvard University Graduate School
of Design, where she has been invited to speak as a
notable alumnus.
Richard LIM (Singapore) is an art management
professional, currently caring for CapitaLand’s
corporate art collection in four broad ways:
acquisition, display, promotion, and maintenance.
As a champion of art and education, Lim regularly
runs art-related activities for the enrichment of
family, friends, and colleagues. He is also passionate
about supporting emerging regional artists, with
a special focus on Singaporean, Indonesian, and
Thai art. Lim was invited to be a guest speaker at
Art World Forum 2016, and has authored several
articles related to corporate art acquisition
processes in both English and Mandarin. In Lim’s
personal artistic practice, he creates installations,
paintings, and various craft-linked media, which
often speak as social commentary on contemporary
life.
�Hongjohn LIN (Taiwan/Singapore) is an artist,
writer and curator. Lin has a PhD in Arts and
Humanities from the New York University. He
has participated in exhibitions including Taipei
Biennial (2004), Manchester Asian Triennial 2008,
Rotterdam Film Festival 2008, and Taipei Biennial
(2012), China Asia Biennial (2014), and Guangzhou
Triennial (2015). Lin was curator of the Taiwan
Pavilion Atopia, Venice Biennial (2007), co-curator
of Taipei Biennial (with Tirdad Zolghadr, 2010).
Currently he is serving as Professor at the Taipei
National University of the Arts. His writings can
be found in international magazines, journals,
and publications. He wrote the Introductions for
Chinese edition of Art Power (Boris Groys) and
Artificial Hells (Claire Bishop and his publications in
Chinese include Poetics of Curating (2018).
Massamba MBAYE (Senegal) is an art critic,
exhibition curator, and communication theories
historian. Mbaye is a lecturer at Dakar Cheikh
Anta Diop University and at the Virtual University
of Senegal (UVS). Mbaye is a member of the Dakar
Biennale of Contemporary African Art, Dak’Art
Steering Committee and the Communication Officer
of the Biennale. A member of the International
Association of Art Critics (IAAC), he is the Executive
Director of a media and communications group.
Furthermore, Mbaye is a member of the editorial
board of Afrik’Arts, an international visual arts
magazine published by Dak’Art. He is an associate
curator at Raw Material Company (RAW) and he
is the lead curator of Kemboury Gallery. He has
been regularly writing about aesthetics for the
last 20 years. In 2019 Mbaye was a juror for the
International Award for Public Art.
Alecia NEO (Singapore) develops long-term
projects that involve collaborative partnerships
with individuals and communities. Her socially
engaged practice unfolds primarily through
photography, video, and participatory workshops
that address modes of mobility, reciprocity,
caregiving, and wellbeing to explores issues of
identity and the search for self. Her recent projects
include a collaboration with the community
engagement platform Both Sides, Now, Singapore,
(2019–17); Touch Collection, Singapore Art Museum
and Personally Speaking, Objectifs (both Singapore,
2018–ongoing). She is the co-founder of Brack,
a platform for socially engaged art. Neo was the
recipient of the Young Artist Award in 2016.
Alan OEI currently serves as the Artistic Director
at The Substation. Founded in 1990, The Substation
is Singapore’s first independent contemporary arts
centre. Under Oei’s stewardship, The Substation
has initiated programmes engaging in discourse on
public space such as Discipline the City (2017) and
A Public Square (2019). Oei is also co-founder and
executive director of OH! Open House and was the
former Artistic Director for Sculpture Square from
2012 to 2014. He holds a bachelor’s degree in art
history from Columbia University and a diploma in
fine arts from LASALLE College of the Arts.
18
�Nikos PAPASTERGIADIS (Australia) is the Director
of the Research Unit in Public Cultures, and a Professor
in the School of Culture and Communication at
the University of Melbourne. Furthermore, he is
a co- founder (with Scott McQuire) of the Spatial
Aesthetics research cluster. He is the Project Leader
of the Australian Research Council Linkage Project,
“Large Screens and the Transnational Public Sphere,”
and Chief Investigator on the ARC Discovery Project
“Public Screens and the Transformation of Public
Space.” Prior to joining the School of Culture and
Communication, he was Deputy Director of the
Australia Centre at the University of Melbourne,
Head of the Centre for Ideas at the Victorian College
of Arts, and lecturer in Sociology and recipient of the
Simon Fellowship at the University of Manchester.
Throughout his career, Papastergiadis has provided
strategic consultancies for government agencies
on issues of cultural identity and has worked in
collaborative projects with international renowned
artists and theorists.
Lorenzo PETRILLO (Italy/Singapore) is a designer
and community driver. He began his career in Italy,
designing for esterni, an association that develops
cultural projects for public spaces (among them,
the Public Design Festival). Petrillo then moved to
Asia in 2007, first to Shanghai and then three years
later to Singapore. His experience over the last
eight years has been predominantly in the brand
experience space, as a lead designer for MNCs such
as Bata and Samsung. His travels around the globe
inspired him to start his own business, LOPELAB,
a design consultant agency that redesigns public
spaces through marrying urban structures and
social ideas for a more enjoyable and sustainable
city. Since then, Petrillo and his team at Lopelab
have organised eight Urban Ventures events that
have seen over 50,000 visitors.
19
Jasmeen PATHEJA (India) lives and works in
Bangalore. She is founder andfacilitator of Blank
Noise, a community of Action Sheroes, Heroes,
Theyroes, citizens and persons, taking agency to end
sexual and gender based violence. Patheja initiated
Blank Noise in 2003, in response to the normalisation
and the silence surrounding street harassment.
Over the last 16 years, Patheja has designed a wide
range of interventions to trigger discourse and shift
public consciousness. Her work rests on the power
of collaborations and community. Patheja is a TED
speaker and Ashoka Fellow. In 2015, she received the
International Award for Public Art, for the project
Talk to Me (Blank Noise).
She is currently shortlisted for the Visible Award and
was shortlisted for the Vera List Center for Arts and
Politics. She works as artist in residence at Srishti
Institute of Art Design and Technology.
Milenko PRVAČKI (Singapore) was born in 1951
in (former) Yugoslavia. He graduated with a Master
of Fine Arts (Painting) from the Institutul de Arte
Plastice “Nicolae Grigorescu” in Bucharest, Romania.
Prvački is one of Singapore’s foremost artists and
art educators, teaching at LASALLE College of the
Arts since 1994. He was Dean of the Faculty of Fine
Arts for 10 years, and is currently Senior Fellow,
Office of the President at the College. He is also
Founder of ART WALK Little India and Tropical
Lab. Prvački participated in major exhibitions, most
notably the Biennale of Sydney (2006). His work is
in various private and public collections, such as the
Art Gallery of New South Wales, Australia; Museum
of Contemporary Art, Belgrade, Serbia; Singapore
Art Museum, National Gallery Singapore; amongst
others. He was awarded the Chevalier de l’Ordre des
Arts et des Lettres by the French government in 2011,
and Singapore’s Cultural Medallion for Visual Arts in
2012.
�Ashley THOMPSON (United Kingdom) is Hiram
W. Woodward Chair in Southeast Asian Art at
SOAS University of London, where she leads the
Research and Publications division of the Southeast
Asian Art Academic Programme. She is a specialist
of Cambodian cultural history, with a focus on
classical and pre-modern arts and literatures, in
the larger South and Southeast Asian context, with
a view to theorising politico-cultural formations.
Formative experiences include working under Vann
Molyvann for the creation of a Cambodian national
management structure for Angkor, and with the
Théâtre du Soleil and Phare Ponleu Selpak on the
direction of a Cambodian production of Cixous’
Terrible but Unfinished Story of Norodom Sihanouk, King
of Cambodia. Recent publications include Hiding the
female sex: a sustained cultural dialogue between India
and Southeast Asia and Emergenc(i)es: History and the
Auto-Ethnographic Impulse in Contemporary Cambodian
Art (both 2017).
Philip TINARI (United States) has served as
Director of UCCA, Beijing, the institution at the
heart of Beijing’s 798 Art District, since late 2011.
His programme has brought to China international
figures including Robert Rauschenberg, Elmgreen
& Dragset, Haegue Yang, William Kentridge, Taryn
Simon, and Tino Sehgal, and has tracked China’s
evolving art scene through retrospectives and surveys
of artists including Zhao Bandi, Zeng Fanzhi, Liu
Wei, Xu Zhen, Wang Keping, Wang Xingwei, Kan
Xuan. In 2009, he launched LEAP, an internationally
distributed, bilingual art magazine published by the
Modern Media Group. He is a contributing editor of
Artforum, and was founding editor of the magazine’s
online Chinese edition. He holds degrees from Duke
University and Harvard University, and is currently
a PhD candidate in art history at the University of
Oxford.
Katherine Ann Leilani TUIDER (United States)
is the Executive Director and Co-founder of
Honolulu Biennial Foundation, a contemporary
art nonprofit that produces the Honolulu Biennial.
Tuider moved back to Honolulu from Paris in 2014
to build the Biennial, which launched in 2017.
After the initial success of the first Biennial, Tuider
led her team in launching the second iteration
in 2019. Tuider has built dozens of partnerships
across institutions to help fund and lower barriers
to the arts. In January 2018, Tuider won first place
at International Start-Up Weekend in Seattle for a
prototype to make visual arts more accessible for
the blind.
In recognition of raising nearly $6 million to
support Hawaii’s creative community via the
Honolulu Biennial, Tuider was recently honoured
with the Pacific Business News 40 Under 40 Award.
In 2019 she was a juror for the International Award
for Public Art.
WANG Dawei (China) is PhD supervisor, Executive
Dean of Shanghai Academy of Fine Arts, Editorin-Chief of Public Art Magazine, Vice Director of
the Graphic Design Art Committee of the Chinese
Artists Association, a member of the Design
Discipline Review Group of the State Council
Academic Degrees Office, Vice Chairman of the
Shanghai Federation of Cultural and Art Circles,
and Chairman of the Shanghai Creative Designers
Association. His “Public Art Teaching and Research
Practice” won the first prize of Shanghai Teaching
Achievement in 2009 and himself was awarded the
title of “Shanghai Leading Figure.”
20
�Art, Urban Change, and the Public Sphere, 31 August – 27 October 2019, The Lab, NTU CCA Singapore, installation view. Photo by KYT Studio.
21
�Research Presentation
Art, Urban Change, and the Public Sphere
31 August – 27 October 2019
The Lab, Block 43 Malan Road
Centre-staged at The Lab, the making of the Public Art Trail at Mapletree Business
City highlights the permanent works by international renowned artists Dan Graham
(United States), Zulkifle Mahmod (Singapore), Tomás Saraceno (Argentina/Germany)
and Yinka Shonibare CBE (RA) (Nigeria/United Kingdom). Animated through
augmented reality (AR) in a panorama-like spatial design, the artistic practices and
processes are introduced. Entitled Culture City. Culture Scape., both the Public Art
Trail and Public Art Education Programme (since 2017) go beyond mere artistic
interpretation and audience engagement. Furthermore, it raises questions on art,
urban change, and the public sphere, that not only open up a perspective on the
complexities involved in public art, but also how any space called public first and
foremost is created by the different people inhabiting the space.
Public Programme
Accompanying the research presentation are public talks that explore recent art works
in the public space by Singaporean artists who engage with the question of the public
sphere. From personal examples of self-expression to public commissions that respond
to the nation’s storied past, these artists adopt contrasting perspectives of how art in
the public space is conceived.
Looking Back Forward with Public Art
In Conversation: Artists Speak Cryptic and Robert Zhao (both Singapore),
26 October 2019, 3.30 – 5.30pm
The Single Screen, Block 43 Malan Road
With guided tours of The Lab and Public Art Trail at Mapletree Business City
The discussion will take the newly commissioned, large-scale, temporary public art
works for the Singapore Bicentennial as a point of departure. The two commissioned
artists, Robert Zhao and Speak Cryptic, will reflect on their proposals, their artistic
positions in the landscape of public art, and their material choices, as well as their
experience of working with art in the public space.
22
�NTU Centre for
Contemporary Art
Singapore
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 forth 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.
VISITOR INFORMATION
The Exhibition Hall:
Block 43 Malan Road,
Gillman Barracks, Singapore 109443
Hours:
Tuesdays to Sundays: 12.00–7.00pm
Closed on Mondays.
Open on Public Holidays.
T: +65 6339 6503
23
Research Centre & Office:
Block 6 Lock Road, #01-09/10,
Gillman Barracks, Singapore 108934
T: +65 6460 0300
Residencies Studios:
Blocks 37 and 38 Malan Road,
Gillman Barracks,
Singapore 109452 and 109441
�NTU CCA SINGAPORE STAFF
Professor Ute Meta Bauer, Founding Director, NTU CCA Singapore and Professor, School
of Art, Design and Media, NTU
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
Seet Yun Teng, Curatorial Assistant, Residencies
Ilya Katrinnada Binte Zubaidi, Curatorial Assistant, Outreach & Education
Isrudy Shaik, Senior Executive, Production
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
Jolene Lau, Intern, Production
Ze Tian Lim, Intern, Exhibitions
RESEARCH & EDUCATION
Sophie Goltz, Deputy Director, Research & Academic Programmes, and Assistant
Professor, School of Art, Design and Media, NTU
Dr Pallavi Narayan, Manager, Publications & Public Resource Platform
Soh Kay Min, Executive, Conference, Workshops & Archive
Guineviere Low, Young Professional Trainee, Research & Academic Programmes
OPERATIONS & STRATEGIC DEVELOPMENT
Peter Lin, Deputy Director, Operations & Strategic Development
Jasmaine Cheong, Assistant Director, Operations & Human Resources
Jillian Kwan, Assistant Director, Development
Joyce Lee, Manager, Finance
Perla Espiel, Special Project Assistant
Iris Tan, Senior Executive, Administration & Finance
Louis Tan, Executive, Operations
Jaclyn Chong, Young Professional Trainee, Communications
Ong Xue Min, Young Professional Trainee, Communications
24
�NTU CCA SINGAPORE GOVERNING COUNCIL
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)
Members
Linda de Mello, Director, Sector Development, NAC
Professor Kwok Kian Woon, Associate Provost (Student Life), President’s Office, NTU
Cindy Koh, Executive Director, Consumer, Economic Development Board
Michael 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
Professor Nikos Papastergiadis, Director, Research Unit in Public Cultures, and Professor,
School of Culture and Communication, The University of Melbourne, Australia
Members
Antonia Carver, Director, Jameel Arts Centre, Dubai, United Arab Emirates
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, UCCA Center for Contemporary Art, Beijing, China
25
�Public Art Education Summit
Partners and Supporters
About Shanghai University
Shanghai University is one of the top 40 Chinese universities, top 100 Asian universities,
the premier university of Shanghai, and a member of China Project 211 Universities. It is a
comprehensive university offering 82 undergraduate programmes, 187 graduate programmes,
and 97 doctoral programmes in various disciplines including science, humanities & social
sciences, engineering, economics & management and art.
For more information, visit en.shu.edu.cn
About Institute for Public Art
The Institute for Public Art (IPA) focuses on public art as a place-maker and generator of
social capital, world-wide. It does this through: researching case studies; sharing information;
promoting great examples. IPA is an independent network initiated by the Centre for Public
Art, Shanghai University.
For more information, visit www.instituteforpublicart.org
About Public Art Trust, National Arts Council Singapore
The Public Art Trust (PAT) is an initiative by the National Arts Council to encourage
Singaporeans to embrace art around their urban environment. Through commissioning and
displaying impactful and meaningful art in public places, the PAT promotes best practices and
builds strong corporate support for public art. The PAT also promotes greater appreciation of
the visual arts through education and outreach programmes.
For more information, visit www.publicarttrust.sg
26
�Mapletree Investments Pte Ltd
Mapletree Investments Pte Ltd (Mapletree) focuses on delivering value to its stakeholders
through its business model that maximises capital efficiency. In executing a business
strategy that combines the roles of real estate development, investment, capital and property
management, Mapletree has generated consistently good returns to its stakeholders, and
established a track record for building award-winning development projects across various
real estate classes.
As of 31 March 2019, Mapletree owns and manages S$55.7 billion of office, retail, logistics,
industrial, residential and lodging properties. Mapletree currently manages four Singaporelisted real estate investment trusts (REITs) and six private equity real estate funds, which
hold a diverse portfolio of assets in Asia Pacific, Europe, the United Kingdom, and the
United States. The Group also has an extensive network of offices in Singapore, Australia,
China, Hong Kong SAR, India, Japan, Malaysia, Poland, South Korea, the Netherlands, the
UK, the US, and Vietnam.
Mapletree’s portfolio includes award-winning properties in Singapore such as VivoCity,
Mapletree Business City and STT Tai Seng 1, as well as mixed-use developments in the
region such as Nanhai Business City in China.
Mapletree Investments Pte Ltd
10 Pasir Panjang Road #13-01
Mapletree Business City
Singapore 117438
27
��
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resources
Programme Resource
Collateral and other print or digital materials pertaining to residency programmes. Examples include residency brochures, postcards, etc.
Short Description
The Public Art Education Summit aims to stimulate a debate between art professionals, policy makers, urban developers and other local stakeholders, on how and for whom art creates public spaces in our built environment.
Programme Series
None
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Public Art Education Summit Programme Guides
Description
An account of the resource
NTU CCA Singapore is pleased to present Art, Urban Change, and the Public Sphere, which engages with art in privately owned public spaces through a Public Art Education Summit and research presentation. Taking as its point of departure the neighbouring Culture City. Culture Scape. Public Art Trail at Mapletree Business City—developed with curatorial consultation by NTU CCA Singapore—the presentation and Summit explore broader cultural and artistic developments on a civic scale situated in urban landscapes. How do political and economic changes in the public realm evoke a regional discourse on art in cities? The Public Art Education Summit is the first of its kind in Singapore and part of a larger engagement of NTU CCA Singapore in professional education of public art. It focuses on cultural place-making and building communities through artistic practices. It aims to stimulate a debate between art professionals, policy makers, urban developers and other local stakeholders, on how and for whom art creates public spaces in our built environment. Any artistic or curatorial initiative in “public space” must address the question of how to construct “a public” and with it, how to encounter identity. Any difference—be it regional and local, ethnic and religious, economic and social—generates its own cohabitation of urban space and public culture to communicate with. The challenge for art in the public sphere lies in its openness to existing and yet, imagined communities of civic urbanism. Ranging from corporate cultural engagement in privately owned public spaces to urban regeneration, the invited speakers draw connections to the beginnings of community engagement in public art with its fluid methods. Furthermore, they suggest a critical look at different artistic and curatorial practices which reflect on “artists as citizens.” Or, how any space called public, first and foremost, is created by the different people inhabiting that space.
Date
A point or period of time associated with an event in the lifecycle of the resource
2019-10-17
Contributor
An entity responsible for making contributions to the resource
Amanda Crabtree
Katherine Ann Leilani Tuider
Eng Teong Low
Ute Meta Bauer
Dawei Wang
Sophie Goltz
Lewis Biggs
Eileen Goh
Richard Lim
Lorenzo Petrillo
Lilian Chee
Nikos Papastergiadis
Ashley Thompson
Antonia Carver
Catherine David
Philip Tinari
Daniel Mudie Cunningham
Hongjohn Lin
Jasmeen Patheja
Milenko Prvački
Heng Leun Kok
Alecia Neo
Alan Oei
Massamba Mbaye
Richard Bell
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
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5c0185625c932ad1509b621f34f0ddd4
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Publications
Description
An account of the resource
A recipient and producer of knowledge, NTU CCA Singapore’s publishing activities contribute to its holistic approach, expanding the connections across the Centre’s exhibitions, residencies, public programming, and academic education.
Research Publication
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Based on DMCI Text type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/Text)
Availability
Electronic (eBook)
Print
Print
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
Library
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Place.Labour.Capital.
Subject
The topic of the resource
Institutional Critique
Geopolitics
Urbanism
Description
An account of the resource
Place.Labour.Capital., published by NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) and Mousse Publishing, connects cultural production and artistic research to broader political and social concerns, engaging readers with contemporary debates in Southeast Asia and beyond.<br /><br />The title of the book refers to the framework employed at NTU CCA Singapore in its first cycle of activities, from 2013 to March 2017, which took Singapore, the world’s second-largest trading port and the economic epicentre of Southeast Asia, as a point of departure to investigate the notion of place, the intersection between locality and the global, labour, and flows of capital.<br /><br />Unfolding across four broad sections of “The Making of an Institution,” “The Geopolitical and the Biophysical,” “Incidental Scripts,” and “Incomplete Urbanism,” this publication reads as an exhibition. Drawing connections across disciplines and merging theory with practice, Place.Labour.Capital. weaves together a constellation of different bodies of materials from essays, poetry, and fiction to artworks and documentation of the Centre’s past exhibitions.<br /><br />Richly illustrated, the publication brings together the voices of more than 80 contributors, from former Research Fellows such as Tony Godfrey (Philippines), Regina (Maria) Möller (Germany), T. K. Sabapathy (Singapore), Yvonne Spielmann (Germany), to former Artists-in-Residence including Tiffany Chung (Vietnam/United States), Amanda Heng (Singapore), Shooshie Sulaiman (Malaysia), Lee Wen (Singapore), and Yee I-Lann (Malaysia). Other contributions include those from the Centre’s exhibitions and public programmes such as artists, academics, and curators including Amar Kanwar (India), Lee Weng Choy (Malaysia), David Teh (Australia/Singapore), and June Yap (Singapore).<br /><br />This extensive publication “reminds us that institution building remains enormously significant as a means of opening up new spaces, claims, communities, dialogues, publics, and trajectories for critical artistic practice.” (Felicity D. Scott, Associate Professor Graduate School of Architecture, Planning and Preservation, Columbia University, New York)<br /><br />“Drawing together stories, voices, and thinking by leading artists and academics, Place.Labour.Capital. traces the invention of a remarkable model of an institution. The publication is an inspiration and a valuable tool to anyone trying to find ways of building releveant arts institutions for the future.” (Sally Tallant, Director, Liverpool Biennial)<br /><br />Place.Labour.Capital. takes a reflective look the art institution, and serves as a means to review the parameters of its own position in the present globalised art world and knowledge-production economies. <br /><br />The visual concept of the book was conceived by renowned Singapore design firm H55.
Publisher
An entity responsible for making the resource available
Mousse Publishing
Date
A point or period of time associated with an event in the lifecycle of the resource
2018
Contributor
An entity responsible for making contributions to the resource
Mousse Publishing
H55
Koh Nguang How
Paul Tan
Eugene Tan
T. K. Sabapathy
Khim Ong
Fareed Armaly
Jesko Fezer
Julian "Togar" Abraham
Post-Museum
Kray Chen
Vera Mey
Amanda Heng
Yan Jun
Lee Wen
Marc Glöde
Jeremy Sharma
Heman Chong
Shooshie Sulaiman
Mona Vătămanu
Florin Tudor
Hilde Van Gelder
UuDam Tran Nguyen
James Jack
Jegan Vincent de Paul
Dennis Tan
Erika Tan
Regina (Maria) Möller
Hamra Abbas
Mercedes Vicente
Bo Wang
Ho Rui An
Stefano Harney
Arjuna Neuman
Bani Haykal
Tiffany Chung
Amar Kanwar
Helena Varkkey
Nikos Papastergiadis
Saleh Husein
Sam Durant
June Yap
Roslisham "Ise" Ismail
Shubigi Rao
Guo-Liang Tan
Tamara Weber
Loo Zihan
Zac Langdon-Pole
Trinh T. Minh-ha
Jompet Kuswidananto
Otty Widasari
Yvonne Spielmann
Mark Nash
Arin Rungjang
Filipa Ramos
Yason Banal
Kenneth Dean
Yee I-Lann
Alex Mawimbi
anGie seah
Alexandra Murray-Leslie
Andrew Johnston
Zulkifle Mahmod
Newell Harry
Jason Wee
Anocha Suwichakornpong
Shirley Surya
Sissel Tolaas
Tan Pin Pin
SHIMURAbros
Etienne Turpin
Li Ran
Gary-Ross Pastrana
Yvonne P. Doderer
Matthew Mazzotta
Art Labor
Xu Tan
Weixin Chong
Pratchaya Phinthong
Marc Glode
Mona Vatamanu
Regina Moller
Format
The file format, physical medium, or dimensions of the resource
Publication
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
978-981-11-3843-0
978-88-6749-308-1
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Access Rights
Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies.
Available for browsing onsite at NTU CCA Singapore physical archive. Contact ntuccareseach@ntu.edu.sg to make an appointment.
-
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
A talk by Nikos Papastergiadis with a focus on contemporary art as a form of the cosmopolitan imaginary, followed by with a free improvisation of music and movement performance by the Bani Haykal trio.
Programme Type
Talk and Lecture
Performance
Programme Series
None
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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Free Jazz: Nikos Papastergiadis & Bani Haykal trio
Description
An account of the resource
<span>18 Dec 2013, Wed 07:30 PM - 09:00 AM</span><br /><br />Aesthetic Cosmopolitanism – A talk by Nikos Papastergiadis (Professor at the School of Culture and Communication, University of Melbourne) with a focus on contemporary art as a form of the cosmopolitan imaginary, followed by with a free improvisation of music and movement performance by the Bani Haykal trio. <br />
Date
A point or period of time associated with an event in the lifecycle of the resource
2013-12-18
Contributor
An entity responsible for making contributions to the resource
Nikos Papastergiadis
Bani Haykal
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Southeast Asia
Audience
A class of entity for whom the resource is intended or useful.
General
Subject
The topic of the resource
Modernity
Performance
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
This session brings together several members of the NTU CCA Singapore’s International Advisory Board into a public discussion with representatives of the Centre’s stakeholders. The session will be moderated by Founding Director Ute Meta Bauer and preceded by Heman Chong’s performance Words, They, Wrote (2015 – ongoing). Utilising words written or spoken by several artists, the performance generates a moment of introspection opening up a space for the artists’ thoughts on their own lives and works.
Programme Type
Talk and Lecture
Performance
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
The Making of an Institution – Ownership, Development, and Aspirations: Performance and Public Discussion
Description
An account of the resource
<div class="event_single_dates text__exhibitions">25 Feb 2017, Sat 03:00 PM - 05:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br />Who owns a public institution? How does an institution balance the different sets of expectations held by its various stakeholders? What is the role of an international advisory board and how does it contribute to the institution’s development within a global perspective? Shifting the top-down operational model, can an institution learn from artists and incorporate artistic methodologies into its own structure? To address such questions, this session brings together several members of the NTU CCA Singapore’s International Advisory Board into a public discussion with representatives of the Centre’s stakeholders. The session will be moderated by Founding Director Ute Meta Bauer and preceded by Heman Chong’s performance Words, They, Wrote (2015 – ongoing). Utilising words written or spoken by several artists, the performance generates a moment of introspection opening up a space for the artists’ thoughts on their own lives and works. <br /><br /><p>3.00 – 3.30pm<br /><b><em>Words, They, Wrote</em> (2015 – ongoing)<em>,</em> performance by Heman Chong (Singapore), Artist-in-Residence</b></p>
<p>3.30 – 5.00pm<br /><b>Public Discussion</b></p>
<p><b>Ute Meta Bauer</b> (Germany/Singapore), Founding Director, NTU CCA Singapore and Professor, School of Art Design and Media, Nanyang Technological University</p>
<p><b>Ann Demeester</b> (Belgium/Netherlands) Board Member; Director, Frans Hals Museum, Haarlem, Netherlands</p>
<p><b>Yuko Hasegawa </b>(Japan), Board Member; Artistic Director, Museum of Contemporary Art Tokyo, Japan</p>
<p><b>Nikos Papastergiadis</b> (Australia), Board Chair; Director, Research Unit in Public Cultures, and Professor, School of Culture and Communication, The University of Melbourne, Australia</p>
<p><b>Philip Tinari </b>(United States/China), Board Member; Director, Ullens Center for Contemporary Art, Beijing, China</p>
<p><b>John Tirman</b> (United States), Board Member; Executive Director, Center for International Studies, Massachusetts Institute of Technology, Cambridge, United States</p>
<br />This event is part of the public programme for <em>The Making of an Institution</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2017-02-25
Contributor
An entity responsible for making contributions to the resource
Heman Chong
Ute Meta Bauer
Ann Demeester
Yuko Hasegawa
Nikos Papastergiadis
Philip Tinari
John Tirman
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
Europe
North America
Subject
The topic of the resource
Institutional Critique
-
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 International Advisory Board Members share their views on the role of art institutions and their potential to engage in global conversations.
Programme Type
Discussion - Conversation
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.
Audience
General
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Conversation: NTU CCA Singapore International Advisory Board Members
Description
An account of the resource
<div class="event_single_dates text__exhibitions">27 Oct 2018, Sat 08:30 PM - 09:30 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<b><br />NTU CCA SINGAPORE 5th ANNIVERSARY CELEBRATION</b> <br /><br />Take this opportunity to meet our International Advisory Board Members Doryun Chong, Deputy Director & Chief Curator, M+, Hong Kong, Professor Nikos Papastergiadis, Director of the Research Unit in Public Cultures, University of Melbourne, and Professor Ashley Thompson, Hiram W. Woodward Chair in Southeast Asian Art, SOAS University of London, and hear their views on the role of art institutions and their potential to engage in global conversations.<br /><br /><span>A public programme of </span><em>Stagings. Soundings. Readings. Free Jazz II.</em>
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-10-27
Contributor
An entity responsible for making contributions to the resource
Doryun Chong
Nikos Papastergiadis
Ashley Thompson
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
Subject
The topic of the resource
Institutional Critique