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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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/da4fee708fe7fbfb9918bdc7e174a14f.jpg?Expires=1781740800&Signature=Cm2wItj953bqk%7EiMMi2b0xZBChwy4noaYzbfwQFwhaWX0-XWAHTmS53qo9yp7pnYBb-s2bS-r939AzvgnMGVD66E9zP-BIsEZ1VHulBd3nZJ1Dh2U80C9RKpPEkGH5NXRnXr2Wrs6BFvPh6yL7KCobDN3VvwpJ7NRvYZkiDHdZU3esk2C5M%7ETz%7EvW3TqCBzC16SuPvzlhyl690M3m2uARROZ0bgwPDarf21a3cEqxN1zWMEu2xXnaQvbFSTxzpSx2ZlJRGXEcHHjkU6aKVmEHebg66MQms34Xj-dyHKNN-kptsrNPzZFypMxLtaiU2iwQ-JDh8Tf23xUuBglqNPgJA__&Key-Pair-Id=K6UGZS9ZTDSZM 169247b19d845ec7c77324a7ed79111d 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/. 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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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/d37efbecd80aceb0b185100b97d49cde.jpg?Expires=1781740800&Signature=JPBuG7ZdCrjETdxEzaf9nL0zgW89%7Esd0zEhOBmfuC53TvXNDw4tq9wA51olDQusWFlOCClp3-El4MIyfTXXAqDDfmmRA7BsjBNA-BZi4riDXvtVd3TV72V0pXJynjgiWXY9DfSAIDf7L-xrrQUrDCyNGsQovD3GYY6icvXjkLWwFyHq7Z-VpkzPHBD%7EO4wnzm94luOWxoQ5BlTlA4n0LhEGCSGKk1ApCFTiNu7QcAn%7EUWnO4nClPLrkiqeaBNbJk4CKZj76OGJsxAA-rhgXLpy5E36gsYDehpc-jr0IKWIEIc6iB8c4ozHNx%7E4dAo3dRcgPC3jVpPUy1GVf%7EteIOyw__&Key-Pair-Id=K6UGZS9ZTDSZM 2a105ddc60a79658b6a47287962d749d 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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/de3aea25a061cfe33f312af50b778dc9.jpg?Expires=1781740800&Signature=V4yogKdfJE7XzW6-1VeMloJeMtLD7MF1%7ELfSxujed-9GgyZ7ptesVrVQFjWlJtbpd1rAZwBzdiYHRxUMxDDY-jsiItkRZ6%7E-E4fS6686C8WKH2a%7ExhBfCWuSadAhB3t7%7Ez2aobIqaV2hBL9DG3VmxNQCyrxmMIzgivZ-JkFh4oLay95fbgbFMD72XdK8pOljneEe9MGU9x67hRvpeYkRkF3bC-hEbp48br8ooDQchbU2G5f8Nepb3ojBHRxM5xsN0Xf1YMIZjaBx93NqFIjOIvW4HddsdIs5eb9C3pB%7EeuW0hN3Mg7WTcqHH6hBc-yZIvuGE8M36HBZbMR0qekEMYg__&Key-Pair-Id=K6UGZS9ZTDSZM dc48e4cee84f1fb0344b5ae0490ffaeb 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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/5583d117e536fb4728cabde83b209c1f.jpg?Expires=1781740800&Signature=iVwSSSktR%7EsY0aDtR5P62KBhHsd1Kzg%7ES4iLmsfrWC6Idccg-2WAlBaDBzMObmLC0xuyMUAc7uvCJcee3FvIHVHv7d3bVNJ-CLbwSNWcg3uZmKnpz7DQdK0lz0FXZHoDrY8Q8FAfkB3EuUcXoEyLgDfAGOBljZe4b7B25Dnpa1iQScq0vNoZ09VFN3XT0Vka1Xi12DvKJDPQIJKmlZnZhPWSTwq6OEpKMecvRZjuzmutcEpnmxzejaTVr1lJV-bjNHZqAKh12Y8ONwTl4r-fW6k5ser9osYfXrc-onRoUeHMvrRpWRHVkdW7cqM2GM1941b1tQbBe5TC91-KNBJrRQ__&Key-Pair-Id=K6UGZS9ZTDSZM cef768256227d50ceba210bd50a29a67 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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/2d4854957cc575e6a80f75107608ad5e.jpg?Expires=1781740800&Signature=O6PRE6Z4rCw8ih202-XReEx-kcQkKL7eH1fCrg8775INvuHW3dn4nrB376zG3a12op4xiAHoIwASHN6qG5F0e2mEXId6Bov%7E4u7jaO0NbzMbuQd8gw24FIRTI191V0B-p72yNP7dguptSY-vJox7xbKLU2mhY8NoyktiOVlx500bRGHJ2OmCjDx2M0XacJvqXcGDBvbXHxXOdoZW-1UQ5Jlx0UCT%7EN-Fo7RutWoMn%7EgwjBF%7E66a%7Eo4YhvG2BzfoYjDuy6EYqsc2tOEDcl9iTXWVVhb1MW9XR-zdZxpULJjVYb9B7isdrkUFIbNa6uBNLPOs%7EpSfNBemkRA0F3gCBcw__&Key-Pair-Id=K6UGZS9ZTDSZM b97ba3d57384c42a084b45f07265a25f 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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/5daf6b97659862def4f1a3e31c828116.jpg?Expires=1781740800&Signature=GR4Md8Hn2kGk9vmuxyI4117n2bRDelVW7Tsp8s4EAlFoLyTDBgTQkiGVyeLLNrBn9x6f%7EwOMSoxRs4rHUQOT7mnWU8DT8vqyAN-bTPAbITWoT6YzMcjWBjoTkZPAw3DwdS23jM8ezXm%7EuxcPUTKE4YTZ-KfxL2Z94JCeiSrZVWn8afBNylDj6Sh4B%7EhQWY-bL62FPZVFcm--DDaPTwKEEXh3BF-hxAerC0h6wSswMYTUm6l7lpo4bJoBjvX43QWINHUbBTGvqHtCCfjuAwEYL5oi9VmB00cYpQ-U1whzkG5itnz2tOpq2idz90JuBzPDrhhvRnukK7qW1zHCR9Mang__&Key-Pair-Id=K6UGZS9ZTDSZM 39803bb2c726a0fff167ee08ebf3693f 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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/4e5122103fe9db69399a450ae21e87f6.jpg?Expires=1781740800&Signature=PBnLTsE6ouG7nRyPyqMH1COrvgc8O1qjNsfpiZkQuEDaoew6wRg2mD6YbA11JTfE75K6ksvLBNdRkFL2EAQPAwVaKPP-G14P39GOTXAedoQNCiUZXlYE5LOsxw654Y3kZIKlA7JohfwfoERxaf3rx74DnUdFr9mLq84PoM%7E3E5GVezQz5JUiWFH1%7ELpH-iiy0k%7E2Ycq0G4HwUp2e4PbKFeqvSlRfkhazBhFA%7EEtKR6Xk3CV13QtWTVYEc6AEmBsI2D4FB9Eyr5Jjd8X8zF4dSJRNCQ3lqPGuihHdRGKnVOd1Ymk5pQPowaC4go1Kw38Jhi8E8VBIZXlOh74gHHg15A__&Key-Pair-Id=K6UGZS9ZTDSZM 05c6a75ff003ff220342eee6dd8038c3 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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/fec7058d264f542090a2209aa2a677e3.jpg?Expires=1781740800&Signature=f8qFFmG-1nrQ97h6V44BFlASIok-Jjz3JYP9t%7ExsSK5dPeBkvssk6EoiffO3yGSQSvNvfOfj3AKHEv7tQ6aP9wK6Tjc-awmnu8gkI4-u3iEjn-3OHibxZbma%7EgvxkO%7EJMtXpK2yr7j6tpLnU1WjJm-CHr1BYEwTfJIEGBu98oSTgeGCa-IPtpJBI4b3v7zNPOVMrqyEluF0qIy0mogLQG3mS89a6cSQcXZTaWh6oSJodAAh7baOQtPom5DM-zdLWJzh8MlpGttMYrt83Y9JmWjYxfOopFuEk4iVuwmnqOAOuNV3lT-tNzrPWBNIydb6Kr1aLjXeYU94ibVttHmOmnA__&Key-Pair-Id=K6UGZS9ZTDSZM 6e1d501a2760a552d3d25f886a80bc69 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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/434ff534110abbb871f56aee3a16e00c.jpg?Expires=1781740800&Signature=QegtkHH6OdDZlAWZ2pW8NGE1A4trB8J16nyLHO1kN8oetm7jpLkhCDyIxjuqiDnAPesmblaiBd%7EdpxKZBU9lnSHvRiBWfK1lEC7%7EUlpqSi44hGK1KxocZmN2x1Q2s5qR9XX8h5cO25v%7E0Bbc-L8o8S0yrXa%7EMS8IzH0Yjc2rw0A4wOQt8r4ru2I990dRNqba6syKgDv6GREqJN%7EoClKY9qd93UI1ObBB89EZqTf%7ELnBvD%7EXJNGVQAY%7ElV82EiPAtPDADvFcFUao4YDwTjof8Z7CRtNqLVEBBkV9Wx24IaFUofI2%7E8ouO0GI239PJmgHOWVy4oNcTLboHdbu3iJWNfA__&Key-Pair-Id=K6UGZS9ZTDSZM 6140eaa6471e1eae4cf9f0bf8a05c894 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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/7466289e50c0eaccb066e701d6ad73cf.jpg?Expires=1781740800&Signature=uVMPWDg98863QyIjZ3WDHu4rAujT23vli6wrjUH%7ENrHiIl3TC67LxAnCdLVnaVpd3yFN-1cD2QceI0hwADyCNEm%7ENl0F-6VpisSxINubwDA-JMNFLcWunJ5Em5ixdzAHyE5Ll9zf0p3JfZ8W6K5mt5XlA78j0EytIvC1r7W1kxMceOK4qKnFSTQveaJA2NEERJIOCu0NTiDSyp7DRe2TEQmYWEaCcLR-ZhwMf0PJ73br2yguRhh%7E1UjcD7o%7EfRFfvAHWxwU-ckwHRkpFPAa0xBY-BRWEr1BozZz5YitWLAlHA84WsS2J9-yYuNtWbkEteA0KVzbnx673JEIxjCvm0Q__&Key-Pair-Id=K6UGZS9ZTDSZM 064c55087ca21544d42761f19489f82a 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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/c6e81abb314a8b3ba5572385e2e12947.jpg?Expires=1781740800&Signature=kyFkvPtZZGp--nQd%7EPUVup6o-V3FqIQ-E3%7EJeY54%7E-Ajp4lj7dTKDrE-Ncfu2zHFoMSMJr9ZaGlSYaLUyHc4HjHdbdDGi2gz5g-7Vb--W3KpSOhCHp%7EwEdBkY17EB-jQkO3T4DCX8RAR9LDomCP3Ndae60-i9G%7Eh9rZ0nmm4ocAKwCbIOMhaL8Irp99wUNjl5JIgr4QnDB0b41PQmN0agaCgs4KGpXh9lWueD66iKN7JYtfbSP%7EyXYGwGpdJWbevAwUNTuvV-Z9m8-G-Flh1rz1BcHN3sd1RWKjJ528%7E4YdjzB5-GXAZmhkgTBtTVKHkCM1sQ37Mqiw48HTXeAfOfw__&Key-Pair-Id=K6UGZS9ZTDSZM 3563eb2357148f0ea3ba9d27d559de9f 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. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/b51e4353520e5a5608fdf12553b7b201.jpg?Expires=1781740800&Signature=Y5JUz3jJA6QcUnQalVLT6Hpf5Yp-LXr%7EpU54WdSAN0a9KjuzG4h-K4oiJCMpH4WKtSELx4D2V1mP7AxGixUJ%7ELzN4WJiCv5%7EtJqVk6eEX74X2Ez3L%7EuW%7EKm3c7%7EAtCsE8u%7Ez6trlVVXRxUiRLMYDyg5CsYPnT4GcGl5HX%7E60yxQzeCei0yAahyUywXFQHmeTkiZ6EqF3p1JOmHQkXR1WFM2vWrs7w2BdyuodgqZbaS%7E%7EQ-7v2I5N-QM-qyeQ5BAL0Zw5p0gn34Hgo-E5h18ttUkyasXjhENpnlwtOUCcd6CNzypQCPvwVaGrPYjwNGNVz-yVAwyQFFsFE6XrNJMmKg__&Key-Pair-Id=K6UGZS9ZTDSZM 493457759a77088301ef3ecebf265acb 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, Li Ran, It is not Complicated, A Guide Book, film still, 2016. Courtesy the artist. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/f5e7e96a75dbbf24722ffbf61c0abf1d.jpg?Expires=1781740800&Signature=Pb8NZp-JAKgfMzHkZI7P0q5JWO5CfLkguTik6rbYxJm156EsfwvJ7t2zfu4fAFiPJtrQg149PdDGvPlX7POz3QIrcH07AaWK42orcRvRCVjpjH7275UmHqd%7EogzwZrrR-mx2uIDD8xmeWfzkSSx59cxHWK69x67MmKXYdC-DR1w73-gblHWs7bCq5YYc2yYmP657Ag0bgUelcsHRBXGFr94k3U4g43SCCy8Dfpj1Dq3-yBrdoJVkXTDu0vWY8j4ssXNDl5Z7iarHatkWORn7HxZlhI7%7EWEmVT-cjKMDGeI2o3jEzBe0d3K4Vw2FRpqugk1Doyd9VB2IS-mWj8r2moQ__&Key-Pair-Id=K6UGZS9ZTDSZM 161e797897049320bdb569b6f4bea44b 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, Mona Vătămanu & Florin Tudor, Le monde et les choses. Courtesy NTU Centre for Contemporary Art Singapore, exhibition view. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/c05c65671c71b53129a98a72667c4f8d.jpg?Expires=1781740800&Signature=LMfwEo-sN7A4emP1OY3TM2M9-WKX0IwAh3tS%7EfZGgdr6ty0BkKaqr7a2bXvVnuCL5PuRAhvHmanfdcMSMizh3-0u-gLZUPGo2Psj1Wzz%7Eb5q75o0g%7EJ2E1VbMDG9MA4ReVJenpIkn2%7EwEimM%7ETd4RTwsLCBLaPkjJHXePF6RkV2aF9MToY7LrqYJgxtClZQ5FyR-09aYCoxLsJSSEf%7E2ZHxVhXCtzfO7ZWCsV-lJ4fCMDunRvT74MGu59vILrgzNa8sZQnqLGXUhlo3oZZmkNMbLPWyHV3UmZ8%7E-BD2QuewJYLq0kyoGRlCAL2eStT91dKFH9aXE4b1MZr-gbaRIUg__&Key-Pair-Id=K6UGZS9ZTDSZM 2a9a883900e100f633b688849d4d58e6 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, SHIMURAbros, Chasing the Light, film still, 2017. Courtesy the artist. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/0b0c2f85fd27dc2fb08dac0ece79c0a5.jpg?Expires=1781740800&Signature=i68qPu9jAE5zLjI8k91H8PY6I46D9jnngfISSbwyn00t5dFTjK8ZuaynPUxJFnXR7FnLmImSLEBZsgqzYAlwvoyBBm3m4FCoxZvLbZLNTxUtKNvdgRONjCN2feH2ryNfOhalVf4JKyeg%7ELwnHb7O6pVqJdXQ9RINYFwg7XZ7qa1nQeEWw6kUeNxGgjhiKorYkazUyKT-fRFdYRTOBt5tzWNmilKHVfZQElkrA-I3zWAMbo5Rj-tsjZIm3n2z5DQ9WRV0qyZz-5RF8obLswJtCs4YwUtIV25kPExtkbAGSEaZ97AryhUdEKSoRiunCxJWuT-PuP3-ail83p7%7Eqki2RA__&Key-Pair-Id=K6UGZS9ZTDSZM f4da04fdf59c903e9c3bd6aab7697031 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, Tamara Weber, Close Readings. REBUS, inkjet digital print, 2016. Courtesy NTU CCA Singapore. https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/5489e3d822503d95ea2cb564cd44c3bf.jpg?Expires=1781740800&Signature=nvqIPIcOTDWrdj2a523II5D6R6vWplV8Pc6RVWMrFORrk-hH52AVztAIG9M9Onp8QVVGJww-D8O2jNWFQeAZjJoNWm6t6ru-VS7wsWPsXfKd35UhHBUwhLuKTQtKYoRPWQs0QuXnCaG2e-1znmoIPIurSESErXk0LOK-ejpibK62FjRfi0xJ-mw0ENIK7jdnjQ7dbJ-m7AwjowvdQ7bUdy1lmZ0cXF-pAXPF2ZPIhghrTIfSZdJCR9gjJq2wTJ-Qp-O62P5l6u7R44bkziinkRZWhF0Py4rysIDKwljBNE4a2YTgpoU1dop0Yu50YzvzdsoN71lxXc0Uw%7EYp936g5Q__&Key-Pair-Id=K6UGZS9ZTDSZM 57640e0b6c9d5edcdbec87bf3efa6f6f 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, Zul Mahmod, RESONANCES: READYMADE SOUND SCULPTURES, 2016. Courtesy NTU CCA Singapore. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Exhibitions Description An account of the resource NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion. Exhibition Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals. Short Description The 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 https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/bbb932e96ad909e79a56b46d1aa253b7.pdf?Expires=1781740800&Signature=AdMFt66hvJIOE1iFJq9Smyghj9m4Z86zrmYQPQE7x82nELvPmnXd9S3sYqcVk0dJuFdaAjeCI9o4rSXTQSL6eql52h7HhxhI-5YvP49WZFsIMF85JEoe2sKmGqH1cN8neKtmz0yfKFsDH6FQ7Adi1vSyMtzKh3-JEQGMfxcSrtiFfQDiklp%7Epaqp80DTR6u9B0xAog5jpWbdV3HkF9tBj-yQYrJP1OqZV8noBA8DDeARIjzJor1f0LGVA6fZss9vUT1maNuC3Q%7EsPuIT5TmmNPbge-xF%7EH9SFmpnEWgOt5pULd1OY6OyCvlFHt6B8MHo9ks1u9hbTWEnLXHtdYJzcw__&Key-Pair-Id=K6UGZS9ZTDSZM d960239ec69dce7d4303fa8455cb40eb PDF Text Text ���������������������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resources Corporate Resource Collateral and other print or digital materials for corporate development or marketing purposes. Examples include quarterlies and residency inserts, Chinese New Year cards, exhibition reports, fact sheets, news clippings, etc. Short Description The Making Of An Institution A Public Report Corporate Resource Type Reports Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <i>The Making Of An Institution</i> A Public Report Description An account of the resource <i>The Making Of An Institution</i> Programme Guide Date A point or period of time associated with an event in the lifecycle of the resource 11 February - 7 May 2017 Contributor An entity responsible for making contributions to the resource åbäke Hamra Abbas Rodolfo Andaur Diana Campbell Betancourt Dinu Bodiciu Kray Chen Chris Chong Chan Fui Heman Chong Renée Staal Weixin Chong Choy Ka Fai Ann Demeester Rosemary Forde Marc Glöde Yuko Hasegawa Bani Haykal Bahbak Hashemi-Nezhad Maria Hlavajova Ho Rui An James Jack siren eun young jung Christoph Knoth Koh Nguang How Wilfried Kuehn Bastien von Lehsten Li Ran Loo Zihan Zulkifle Mahmod Ato Malinda Alice Miceli Laura Miotto Regina Möller Arjuna Neuman UuDam Tran Nguyen Nikos Papastergiadis Jegan Vincent de Paul Emily Pethick Thao-Nguyen Phan Souliya Phoumivong Ana Prvački Arin Rungjang anGie seah Jeremy Sharma SHIMURAbros Alec Steadman Sanne Oorthuizen Anocha Suwichakornpong Erika Tan Guo-Liang Tan Tan Pin Pin Philip Tinari John Tirman Mona Vătămanu Florin Tudor Bo Wang Farah Wardani Tamara Weber Jason Wee Otty Widasari abake Marc Glode Regina Moller Mona Vatamanu Ana Prvacki Format The file format, physical medium, or dimensions of the resource Guide Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Southeast Asia Subject The topic of the resource Artistic Research Curatorial Practice Institutional Critique Knowledge Production Creator An entity primarily responsible for making the resource NTU CCA Singapore Language A language of the resource English https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/5f3fc5db8e79d0bbbcf4ade49924567d.pdf?Expires=1781740800&Signature=Bp1IgVmFuaTK50iUPn%7EN%7E%7EnTEZi7iDz%7Ee1OizU-9LJmKecVmtAnhcQmiGaD6U90xWpvApyvKIqnAv-4IXd0L10-nGCn833zvtxOs-6SnNTxyrpNDiW2yRVCouNVEv6GuGMKfMBrVgAzLuzVvqDUIZ5rXEHvhpTaB%7EwJljES0yMFJm54MQer0caf5hfnFd%7E3zVJBmNKYZVzb5cgCo%7EGDrb%7EXgaUteQxomffAwJDxxtdkM6Tb4wI9pG-ox5AwjAtANv1WzwiYBsuiS%7E0ligDIlLbTgdwKK3kC8fk8HCmR4TPx0aI9ucCTELiip%7E6mWOdu3i83gA0J2PrXQnpYEjUSaBg__&Key-Pair-Id=K6UGZS9ZTDSZM 73a2111b727ec6a4ca39b1b3db92acbb 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 2 THE MAKING OF AN INSTITUTION cca_makinginstitution_exhibit-guide_RZ.indd 2 04.02.17 13:01 �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. 3 NO TES FROM THE CUR AT OR S cca_makinginstitution_exhibit-guide_RZ.indd 3 04.02.17 13:01 �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- 4 THE MAKING OF AN INSTITUTION cca_makinginstitution_exhibit-guide_RZ.indd 4 04.02.17 13:01 �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. 5 NO TES FROM THE CUR AT OR S cca_makinginstitution_exhibit-guide_RZ.indd 5 04.02.17 13:01 �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 6 THE MAKING OF AN INSTITUTION cca_makinginstitution_exhibit-guide_RZ.indd 6 04.02.17 13:01 �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. 7 NO TES FROM THE CUR AT OR S cca_makinginstitution_exhibit-guide_RZ.indd 7 04.02.17 13:01 �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. cca_makinginstitution_exhibit-guide_RZ.indd 8 04.02.17 13:01 �cca_makinginstitution_exhibit-guide_RZ.indd 9 04.02.17 13:01 �R E A S ON T O E X I S T: THE DIR ECTOR’S R EVI EW cca_makinginstitution_exhibit-guide_RZ.indd 10 04.02.17 13:01 �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). 11 THE MAKING OF AN INSTITUTION cca_makinginstitution_exhibit-guide_RZ.indd 11 04.02.17 13:01 �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. 12 THE MAKING OF AN INSTITUTION cca_makinginstitution_exhibit-guide_RZ.indd 12 04.02.17 13:01 �1 2 3 cca_makinginstitution_exhibit-guide_RZ.indd 13 04.02.17 13:01 �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 cca_makinginstitution_exhibit-guide_RZ.indd 14 04.02.17 13:01 �Who owns a public institution? How does an institution balance the different sets of expectations held by its various stakeholders? What is the role of an international advisory board and how does it contribute to the institution’s development within a global perspective? Shifting the top-down operational model, can an institution learn from artists and incorporate artistic methodologies into its own structure? To address such questions, this session brings together several members of the NTU CCA Singapore’s International Advisory Board into a public discussion moderated by Founding Director Ute Meta Bauer. The conversation will be ushered in by Words , They, Wrote, (2015—ongoing), a performance by Artist-in-Residence Heman Chong. Utilising words written or spoken by several artists, the performance generates a moment of introspection opening up a space for the artists’ thoughts on their own lives and works. PE R F OR M A NC E A ND P UBL IC DI S CUS SION Saturday 25 February 2017 3.00 — 6.00 pm The Single Screen Ute Meta Bauer (Germany/Singapore) is the Founding Director of the NTU CCA Singapore and Professor at School of Art, Design and Media, Nanyang Technological University (NTU), Singapore and was prior Associate Professor (2005—2012) at the Massachusetts Institute of Technology (MIT ), Cambridge, United States, where she served as Founding Director of the MIT Program in Art, Culture, and Technology. Bauer was Co-Curator for Documenta11 (2001—2002), Artistic Director for the 3rd berlin biennale for contemporary art (2004), and the Founding Director of the Off ice for Contemporary Art Norway (2002—2005). She recently co-curated with MIT List Centre for Visual Art Director Paul Ha the US Pavilion at the 56th Venice Biennale (2015), Italy, presenting eminent artist Joan Jonas, and developed the concept for Cities for People (2017), the pilot edition of an annual NTU CCA Ideas Fest. She co-edited with Brigitte Oetker Southeast Asia Spaces of the Curatorial (2016) published by Sternberg Press. Heman Chong (Malaysia/Singapore) is an artist whose work is located at the intersection between image, performance, situations, and writing. His work continuously interrogates the functions and the production of narratives in our everyday lives. Chong has presented solo exhibitions in institutions such as the Rockbund Art Museum, Shanghai, China (2016); South London Gallery, United Kingdom (2015); Art Sonje Center, Seoul, South Korea (2015); The Reading Room, Bangkok, Thailand (2013). He has also participated in numerous international biennales including the 20th Sydney Biennale, Australia (2016); 10th Gwangju Biennale, South Korea (2014); Asia Pacif ic Triennale 7, Brisbane, Australia (2012); Performa 11, New York, United States (2011); Manifesta 8, Spain (2010); and represented Singapore at the 50th Venice Biennale, Italy (2003). 15 O WN E R S H I P, D E VE L O P M E N T, A N D A S P I R A T I O N S cca_makinginstitution_exhibit-guide_RZ.indd 15 04.02.17 13:01 �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. 16 THE MAKING OF AN INSTITUTION cca_makinginstitution_exhibit-guide_RZ.indd 16 04.02.17 13:01 �Performance by OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom, and Wu Jun Han), Free Jazz, 23 October 2013, The Exhibition Hall. 17 O WN E R S H I P, D E VE L O P M E N T, A N D A S P I R A T I O N S cca_makinginstitution_exhibit-guide_RZ.indd 17 04.02.17 13:01 �Studio of Shooshie Sulaiman, Artist-in-Residence, Residencies Open: Art Day Out!, 25 July 2015. cca_makinginstitution_exhibit-guide_RZ.indd 18 04.02.17 13:01 �cca_makinginstitution_exhibit-guide_RZ.indd 19 04.02.17 13:01 �A RTISTIC R ESE A RCH cca_makinginstitution_exhibit-guide_RZ.indd 20 04.02.17 13:01 �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. 21 ARTISTIC RESEARCH cca_makinginstitution_exhibit-guide_RZ.indd 21 04.02.17 13:01 �R E SE A RCH PROJEC T S The Exhibition Hall The Foyer The Vitrine Hamra Abbas Place. Labour. Capital . 2016 (b. 1976, Kuwait) Lives and works between Boston, United States and Lakhore, Pakistan Artist-in-Residence: 4 May — 5 June 2015 ink on silk, dry mount 28 x 22 cm Kray Chen Critical Fengshui (Fengshui Studio) 2016 (b. 1987, Singapore) Lives and works in Singapore Artist-in-Residence: 18 April — 12 August 2016 video, projection, colour and sound 2 min Critical Fengshui (Gillman Barracks) 2017 video, projection, colour and sound 10 min 22 In the research during her residency, Hamra Abbas learnt the courtly Chinese painting style of Gongbi, a meticulous and realist painting technique usually executed on raw silk. The subjects in her painting are based on photographic documentation of people (chefs, waiters, etc.) she met and conversed with in the Singaporean neighbourhood Little India. Set up as a colony by Indians who came to Singapore as prisoners of the British Raj in the early 1800s as well as by other labourers, Little India became home to many who chose to remain in Singapore. Abbas’ s portraits of these workers is a commentary on the history of labour mobility. By appropriating courtly Chinese techniques to address the story of Indian migration, she reveals the complex intertwining of histories, class, race, and culture that defines contemporary postcolonial spaces. Kray Chen developed a Fengshui survey of his residency studio and the larger Gillman Barracks precinct, with the aim to enliven and invigorate a crucial site of art that it is struggling to meet the initial expectations to establish itself as a vibrant cultural hub. Fengshui, the art of living harmoniously with the surrounding environment, is a common practice in Singapore as a way to extend one’s fortune. It utilises geomantic surveys that map the flow of metaphysical and mystical energies within and around an architectural space. In the context of NTU CCA Singapore’s reflection on the process of its own making, this project addresses the nonphysical forces that inhabit the infrastructure and the psyche, the “hardwares” and the “softwares”, raising a broader question about the status of art in Singapore. THE MAKING OF AN INSTITUTION cca_makinginstitution_exhibit-guide_RZ.indd 22 04.02.17 13:01 �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. A RTISTIC R ESE A RCH /R ESE A RCH PROJEC TS cca_makinginstitution_exhibit-guide_RZ.indd 23 04.02.17 13:01 �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 cca_makinginstitution_exhibit-guide_RZ.indd 24 04.02.17 13:01 �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. A RTISTIC R ESE A RCH /R ESE A RCH PROJEC TS cca_makinginstitution_exhibit-guide_RZ.indd 25 04.02.17 13:01 �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 cca_makinginstitution_exhibit-guide_RZ.indd 26 04.02.17 13:01 �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. A RTISTIC R ESE A RCH /R ESE A RCH PROJEC TS cca_makinginstitution_exhibit-guide_RZ.indd 27 04.02.17 13:01 �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 THE MAKING OF AN INSTITUTION cca_makinginstitution_exhibit-guide_RZ.indd 28 04.02.17 13:01 �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. A RTISTIC R ESE A RCH /R ESE A RCH PROJEC TS cca_makinginstitution_exhibit-guide_RZ.indd 29 04.02.17 13:01 �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 cca_makinginstitution_exhibit-guide_RZ.indd 30 04.02.17 13:01 �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. A RTISTIC R ESE A RCH /R ESE A RCH PROJEC TS cca_makinginstitution_exhibit-guide_RZ.indd 31 04.02.17 13:01 �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 cca_makinginstitution_exhibit-guide_RZ.indd 32 04.02.17 13:01 �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 A RTISTIC R ESE A RCH /R ESE A RCH PROJEC TS cca_makinginstitution_exhibit-guide_RZ.indd 33 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 34 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 35 04.02.17 13:02 �Allan Sekula, Fish Story to be continued, 3 July — 27 September, 2015, The Forgotten Space, f ilm, 2010, The Single Screen. cca_makinginstitution_exhibit-guide_RZ.indd 36 04.02.17 13:02 �cca_makinginstitution_exhibit-guide_RZ.indd 37 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 38 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 39 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 40 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 41 04.02.17 13:02 �COM MUNICATION A ND M E DITATION cca_makinginstitution_exhibit-guide_RZ.indd 42 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 43 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 44 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 45 04.02.17 13:02 �E DUCATION A ND PUBL IC PROGR A M M ES cca_makinginstitution_exhibit-guide_RZ.indd 46 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 47 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 48 04.02.17 13:02 �NTU CCA Singapore’s institutional Pantone colours cca_makinginstitution_exhibit-guide_RZ.indd 49 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 50 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 51 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 52 04.02.17 13:02 �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 cca_makinginstitution_exhibit-guide_RZ.indd 53 04.02.17 13:02 �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 04.02.17 13:02 �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 04.02.17 13:02 �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 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resources Exhibition Resource Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc. Short Description The Making Of An Institution Exhibition Guide Theme Place.Labour.Capital. Climates. Habitats. Environments. None Place.Labour.Capital. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <i>The Making Of An Institution</i> Exhibition Guide Description An account of the resource <i>The Making Of An Institution</i> Exhibition Guide Date A point or period of time associated with an event in the lifecycle of the resource 2017-02-11 Contributor An entity responsible for making contributions to the resource åbäke Hamra Abbas Rodolfo Andaur Diana Campbell Betancourt Dinu Bodiciu Kray Chen Chris Chong Chan Fui Heman Chong Renée Staal Weixin Chong Choy Ka Fai Ann Demeester Rosemary Forde Marc Glöde Yuko Hasegawa Bani Haykal Bahbak Hashemi-Nezhad Maria Hlavajova Ho Rui An James Jack siren eun young jung Christoph Knoth Koh Nguang How Wilfried Kuehn Bastien von Lehsten Li Ran Loo Zihan Zulkifle Mahmod Ato Malinda Alice Miceli Laura Miotto Regina Möller Arjuna Neuman UuDam Tran Nguyen Nikos Papastergiadis Jegan Vincent de Paul Emily Pethick Thao-Nguyen Phan Souliya Phoumivong Ana Prvački Arin Rungjang anGie seah Jeremy Sharma SHIMURAbros Alec Steadman Sanne Oorthuizen Anocha Suwichakornpong Erika Tan Guo-Liang Tan Tan Pin Pin Philip Tinari John Tirman Mona Vătămanu Florin Tudor Bo Wang Farah Wardani Tamara Weber Jason Wee Otty Widasari abake Marc Glode Renee Staal Ana Prvacki Regina Moller Mona Vatamanu Format The file format, physical medium, or dimensions of the resource Guide Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Southeast Asia Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Contributors Contributor An individual, collective, or corporate entity. First Name Renée Surname or Business Name Staal Years Affiliated Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable. For date range with year only: YYYY/YYYY, e.g., 2014/2015 For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06 2016-2017 Affiliation Company, organization, or institution name The Library of Unread Books Birthplace Netherlands Occupation Professional title or identity Chief Librarian 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 Renée Staal is the chief librarian of <i>The Library of Unread Books</i>, a project managed in collaboration with artist Heman Chong. Country of Practice At least one country of practice should be listed for each Contributor, up to three countries of practice. Netherlands Public Resource Centre Affiliation Artist Research Platform Library Video Resource Platform None None Theme Place.Labour.Capital. Climates. Habitats. Environments. None Place.Labour.Capital. Contributor Type Collaborator 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 Renée Staal Subject The topic of the resource Artistic Research 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 Renée Staal Renee Staal