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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Presented in an open studio accompanied with live activations, the presentation shows selected works in progress and is an encounter of how the research residency unfolds: the fostering of intellectual exchanges and lines of enquiry.
Programme Type
Talk and Lecture
Workshop
Performance
Programme Series
None
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Audience
General
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Acts of Life</em>: Public Programme
Description
An account of the resource
<div class="event_single_dates text__research">25 Jan 2019, Fri - 26 Jan 2019, Sat</div>
<div class="event_single_venue">Various locations around NTU CCA</div>
<i><br />Acts of Life</i> is a collaboration of NTU CCA Singapore and MCAD Manila, commissioned by the Goethe-Institut Singapore and Goethe-Institut Manila. <br /><br />After an open call with an overwhelming response of 180 international applicants, 16 artists, writers, theorists from the region and Germany have been selected by a curatorial board to participate in a month-long residency in Manila and Singapore. Structured to encourage the heterogeneity and multiplicity of exchange through which a critical research residency is manifested, the transdisciplinary project seeks to explore the relationship between environments and humankind in times of rapid urbanisation and digitalisation. <br /><br /><i>Acts of Life</i> Public Programme is a constellation of selected artistic research outputs culminated over the period and will happen during Singapore Art Week on 25 and 26 January 2019 and in Manila in February 2019. <br /><br />Presented in an open studio accompanied with live activations, the presentation shows selected works in progress and is an encounter of how the research residency unfolds: the fostering of intellectual exchanges, lines of enquiry and the initiation of potential discourses around the intersections between art, nature, urbanity, and technology.<br /><br /><p><u>Curatorial Advisory Board</u></p>
<p><strong>Prof. Ute Meta Bauer, Founding Director, </strong>NTU CCA Singapore and Professor, School of Art, Design and Media NTU,<strong>María Jocelina Cruz, </strong>Director & Curator, MCAD Manilla, <strong>Prof. Patrick Flores, </strong>Professor, Department of Art Studies, University of Philippines and Curator, Vargas Museum Manilla, <strong>Asst. Prof. Sophie Goltz, </strong>Deputy Director, Research & Academics Programmes, NTU CCA Singapore, and Assistant Professor, School of Art, Design and Media NTU,<strong> Khim Ong, </strong>Deputy Director, Curatorial Programmes, NTU CCA Singapore.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
25 - 26 January 2019
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
María Jocelina Cruz
Patrick D. Flores
Sophie Goltz
Khim Ong
Maria Jocelina Cruz
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
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Art, Urban Change, and the Public Sphere engages with art in privately owned public spaces through a Public Art Education Summit and research presentation.
Programme Type
Conference and Symposium
Audience
Graduate/Post-Graduate
Programme Series
None
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Art, Urban Change, and the Public Sphere</em>: Public Art Education Summit
Subject
The topic of the resource
Architecture
Public Art
Urbanism
Description
An account of the resource
<p>NTU CCA Singapore is pleased to present <em>Art, Urban Change, and the Public Sphere</em>, which engages with art in privately owned public spaces through a Public Art Education Summit and research presentation. Taking as its point of departure the neighbouring <em>Culture City. Culture Scape. </em>Public Art Trail at Mapletree Business City—developed with curatorial consultation by NTU CCA Singapore—the presentation and Summit explore broader cultural and artistic developments on a civic scale situated in urban landscapes. How do political and economic changes in the public realm evoke a regional discourse on art in cities?</p>
<p>The Public Art Education Summit is the first of its kind in Singapore and part of a larger engagement of NTU CCA Singapore in professional education of public art. It focuses on cultural place-making and building communities through artistic practices. It aims to stimulate a debate between art professionals, policy makers, urban developers and other local stakeholders, on how and for whom art creates public spaces in our built environment. Any artistic or curatorial initiative in “public space” must address the question of how to construct “a public” and with it, how to encounter identity. Any difference—be it regional and local, ethnic and religious, economic and social—generates its own cohabitation of urban space and public culture to communicate with. The challenge for art in the public sphere lies in its openness to existing and yet, imagined communities of civic urbanism. Ranging from corporate cultural engagement in privately owned public spaces to urban regeneration, the invited speakers draw connections to the beginnings of community engagement in public art with its fluid methods. Furthermore, they suggest a critical look at different artistic and curatorial practices which reflect on “artists as citizens.” Or, how any space called public, first and foremost, is created by the different people inhabiting that space.</p>
<p>Guest-of-Honour:<span> </span><strong>Prof Wang Dawei</strong>, Executive Dean, College of Fine Arts, Shanghai University</p>
<p>With contributions by:<span> </span><strong>Ute Meta Bauer </strong>(Germany/Singapore),<span> </span><strong>Richard Bell </strong>(Australia),<span> </span><strong>Lewis Biggs </strong>(United Kingdom),<span> </span><strong>Antonia Carver</strong><span> </span>(United Kingdom/United Arab Emirates), <strong>Lilian Chee </strong>(Singapore),<span> </span><strong>Amanda Crabtree </strong>(United Kingdom/France), <strong>Daniel Mudie Cunningham </strong>(Australia), <strong>Catherine David </strong>(France),<span> </span><strong>Eileen Goh </strong>(Singapore),<span> </span><strong>Sophie Goltz </strong>(Germany/Singapore),<span> </span><strong>Limin Hee<span> </span></strong>(Singapore),<span> </span><strong>Kok Heng Leun </strong>(Singapore), <strong>Richard Lim </strong>(Singapore),<span> </span><strong>Hongjohn Lin<span> </span></strong>(Taiwan/Singapore),<span> </span><strong>Massamba Mbaye </strong>(Senegal),<span> </span><strong>Alecia Neo </strong>(Singapore),<span> </span><strong>Alan Oei </strong>(Singapore),<span> </span><strong>Nikos Papastergiadis </strong>(Australia),<span> </span><strong>Jasmeen Patheja </strong>(India),<span> </span><strong>Lorenzo Petrillo</strong><span> </span>(Italy/Singapore), <strong>Milenko Prvački </strong>(Ex-Yugoslavia/Singapore),<span> </span><strong>Ashley Thompson </strong>(United Kingdom),<span> </span><strong>Philip Tinari</strong><span> </span>(United States/China), <strong>Katherine Ann Leilani Tuider </strong>(United States), et al.</p>
<p>With capability-development workshops by<span> </span><strong>Amanda Crabtree </strong>(United Kingdom/France),<span> </span><strong>Daniel Mudie Cunningham </strong>(Australia),<span> </span><strong>Hongjohn Lin<span> </span></strong>(Taiwan/Singapore) and<span> </span><strong>Katherine Ann Leilani Tuider </strong>(United States).</p>
<p>Held in association with Shanghai Academy of Fine Arts, Shanghai University, and Institute for Public Arts, London. Supported by Mapletree Investments and, additionally, by Public Art Trust, an initiative of National Arts Council Singapore.<br /><br /></p>
<p><u>Programme for Public Art Education Summit</u></p>
<p><strong>Thursday, 17 October 2019, 9.00am – 7.30pm<br /></strong>Venue: The Single Screen, Block 43 Malan Road</p>
<p>8.45am Registration and Coffee</p>
<p>9.00am Opening addresses by <strong>Low Eng Teong </strong>(Singapore), Assistant Chief Executive, Sector Development, National Arts Council Singapore, <strong>Ute Meta Bauer </strong>(Germany/Singapore), Founding Director, NTU CCA Singapore and Professor, NTU ADM, and Guest-of-Honour<span> </span><strong>Wang Dawei<span> </span></strong>(China), Executive Dean, College of Fine Arts, Shanghai University followed by Introduction by<span> </span><strong>Sophie Goltz </strong>(Germany/Singapore), Deputy Director, Research & Academic Programmes, NTU CCA Singapore, and Assistant Professor, School of Art, Design and Media, NTU</p>
<p>9.45am <i>Context is Everything</i>, Presentation by<span> </span><strong>Lewis Biggs </strong>(United Kingdom) Chair, Institute for Public Art, London</p>
<p>10.15am <em>Making Art, Making Society</em>, Presentation by<span> </span><strong>Amanda Crabtree </strong>(France), Director, artconnexion</p>
<p>10.45am <em>Community-First Public Art</em>, Presentation by<span> </span><strong>Katherine Ann Leilani Tuider </strong>(United States), Executive Director and Co-founder, Honolulu Biennial Foundation</p>
<p>11.15am Coffee Break and Discussions</p>
<p>12.00pm <em>Public Art and Community Building</em><br />Roundtable Discussion with<span> </span><strong>Eileen Goh</strong><span> </span>(Singapore), Assistant Manager, Art-in-Transit at Land Transport Authority;<span> </span><strong>Richard Lim</strong><span> </span>(Singapore), Manager, Art Management, Project Development, CapitaLand; <strong>Lorenzo Petrillo</strong><span> </span>(Italy/Singapore), Director and Founder, LOPELAB, moderated by<span> </span><strong>Lilian Chee</strong><span> </span>(Singapore), Associate Professor, Department of Architecture, National University of Singapore</p>
<p>1.00pm Lunch Break</p>
<p>2.00pm <span> </span><strong>Capability-Development Workshops</strong><br /> Venue: Studios, Block 37 Malan Road</p>
<p>#Activating#Communities <em>New Patron Model for Public Art Commissioning</em>, Workshop by<span> </span><strong>Amanda Crabtree<span> </span></strong>(France), Director, artconnexion. Register at<span> </span><a href="http://tiny.cc/amandacrabtreeworkshop?fbclid=IwAR3Q93kI4t12Kp6mr_4qz528NIwqFFdnIfRvckulb8kZaBX_zDAVy64s1e4" target="_blank" rel="noreferrer noopener">tiny.cc/amandacrabtreeworkshop</a>.</p>
<p>#Building#Communities, <em>Fundraising as Community Engagement</em>, Workshop by<span> </span><strong>Katherine Ann Leilani Tuider<span> </span></strong>(United States), Executive Director and Co-founder, Honolulu Biennial Foundation. Register at<span> </span><a href="http://tiny.cc/katherinetuiderworkshop?fbclid=IwAR1G11dbsM4GNxdqeHy00qtjn9ySWKX6_kNHdd8QpSlbedHZDPZ_eF-hjjs" target="_blank" rel="noreferrer noopener">tiny.cc/katherinetuiderworkshop</a>.</p>
<p>5:30pm End of Workshop</p>
<p>On the occasion of NTU CCA’s International Advisory Board annual meeting, invited members share their knowledge and experience.</p>
<p>6.00pm Lecture by<span> </span><strong>Nikos Papastergiadis </strong>(Australia), Professor, School of Culture and Communication, University of Melbourne</p>
<p>6:30pm Lecture by<span> </span><strong>Ashley Thompson </strong>(United Kingdom), Hiram W. Woodward Chair of Southeast Asian Art, SOAS University of London</p>
<p>7:00pm Roundtable Discussion with<span> </span><strong>Antonia Carver</strong><span> </span>(United Kingdom/United Arab Emirates), Director, Jameel Arts Centre; <strong>Catherine David </strong>(France), Deputy Director, Research and Globalisation, MNAM/CCI, Centre Pompidou; <strong>Philip Tinari</strong><span> </span>(United States/China), Director, UCCA Center for Contemporary Art, moderated by<span> </span><strong>Ute Meta Bauer </strong>(Germany/Singapore), Founding Director, NTU CCA Singapore and Professor, School of Art, Design and Media, NTU</p>
<p>7:30pm Reception</p>
<p><strong> </strong></p>
<p><strong>Friday, 18 October 2019, 9.00am – 5.30pm<br /></strong>Venue: The Single Screen, Block 43 Malan Road</p>
<p>8.45am Registration and Coffee</p>
<p>9.00am Introduction by<span> </span><strong>Sophie Goltz </strong>(Germany/Singapore), Deputy Director, Research & Academic Programmes, NTU CCA Singapore, and Assistant Professor, School of Art, Design and Media, NTU</p>
<p>9.15am <em>A Railroad Switch in Time: South Eveleigh Case Study</em>, Presentation by<span> </span><strong>Daniel Mudie Cunningham </strong>(Australia), Director, Programs, Carriageworks</p>
<p>9.45am <span> </span><em>Biennials as Public Space</em>, Presentation by<span> </span><strong>Hongjohn </strong><strong>Lin </strong>(Taiwan/Singapore), Associate Professor, Taipei National University of Arts</p>
<p>10.15am <span> </span><em>Action Sheroes, Heroes, Theyroes. Resonate #NeverAskForIt</em>, Presentation by<span> </span><strong>Jasmeen Patheja </strong>(India), Founder, Blank Noise</p>
<p>10.45am <span> </span><em>Beyond Education, Beyond Community</em>, Presentation by<span> </span><strong>Milenko Prvački </strong>(Ex-Yugoslavia/Singapore), Senior Fellow, LASALLE College of the Arts, artist and founder, ART WALK Little India</p>
<p>11.15am Coffee Break and Discussions</p>
<p>12.00pm <span> </span><em>Art, Public Space, and Urban Development</em><br />Roundtable Discussion with<span> </span><strong>Kok Heng Leun</strong><span> </span>(Singapore), Artistic Director, Drama Box;<span> </span><strong>Alecia Neo</strong><span> </span>(Singapore), artist and co- founder, Brack;<span> </span><strong>Alan Oei</strong><span> </span>(Singapore), Artistic Director, The Substation, moderated by<span> </span><strong>Limin Hee</strong><span> </span>(Singapore), Director, Research, Centre for Liveable Cities</p>
<p>1.00pm Lunch Break</p>
<p>2.00pm <span> </span><strong>Capability-Development Workshops</strong><br /> Venue: Studios, Block 37 Malan Road</p>
<p>#Supporting#Communities <em>Urban Communities and their Stakeholders</em>, Workshop by<span> </span><strong>Daniel Mudie Cunningham </strong>(Australia), Director, Programs, Carriageworks.</p>
<p>#Educating#Communities <em>Biennials as Public Space</em><em>:<span> </span></em><em>Between Artistic Approaches and Public Demands</em>, Workshop by<span> </span><strong>Hongjohn </strong><strong>Lin </strong>(Taiwan/Singapore), Associate Professor, Taipei National University of Arts.</p>
<p>5:30pm End of Workshop</p>
<p> </p>
<p><strong>Saturday, 19 October 2019, 9.00am – 1.00pm<br /></strong>Venue: The Single Screen, Block 43 Malan Road</p>
<p>8.45am Registration and Coffee</p>
<p>9.00am Introduction by<span> </span><strong>Sophie Goltz </strong>(Germany/Singapore), Deputy Director, Research & Academic Programmes, NTU CCA Singapore, and Assistant Professor, School of Art, Design and Media, NTU</p>
<p>9.15am <em>Participation in Practice: Artists as Ally</em>, Presentation by<span> </span><strong>Alecia Neo<span> </span></strong>(Singapore), artist</p>
<p>9.45am <span> </span><em>The Village of the Arts of Senegal</em>, Presentation by <strong>Massamba Mbaye </strong>(Senegal), lecturer, Dakar Cheikh Anta Diop University & Virtual University of Senegal</p>
<p>10.15am <span> </span><em>Aboriginal Tent Embassy</em>, Presentation by<span> </span><strong>Richard Bell </strong>(Australia), artist</p>
<p>10.45am Coffee Break and Discussions</p>
<p>11.15am Roundtable Discussion with<span> </span><strong>Richard Bell<span> </span></strong>(Australia), artist,<span> </span><strong>Hongjohn Lin<span> </span></strong>(Taiwan/Singapore), Associate Professor, Taipei National University of Arts,<span> </span><strong>Massamba Mbaye </strong>(Senegal), lecturer, Dakar Cheikh Anta Diop University & Virtual University of Senegal, and<span> </span><strong>Alecia Neo </strong>(Singapore), artist, moderated by<span> </span><strong>Sophie Goltz<span> </span></strong>(Germany/Singapore), Deputy Director, Research & Academic Programmes, NTU CCA Singapore, and Assistant Professor, School of Art, Design and Media, NTU</p>
<p>12.00pm Closing Remarks by Lewis Biggs (United Kingdom)</p>
<p> </p>
<p>Programme as of 1 October 2019, subject to change.</p>
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Richard Bell
Lewis Biggs
Antonia Carver
Lilian Chee
Amanda Crabtree
Daniel Mudie Cunningham
Catherine David
Eileen Goh
Sophie Goltz
Limin Hee
Kok Heng Leun
Richard Lim
Hongjohn Lin
Massamba Mbaye
Alecia Neo
Alan Oei
Nikos Papastergiadis
Jasmeen Patheja
Lorenzo Petrillo
Milenko Prvački
Ashley Thompson
Philip Tinari
Katherine Ann Leilani Tuider
Low Eng Teong
Wang Dawei
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
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Text
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resources
Programme Resource
Collateral and other print or digital materials pertaining to residency programmes. Examples include residency brochures, postcards, etc.
Programme Series
None
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Cities for People</em> NTU CCA Ideas Fest 2016/17 Public Summit
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
Description
An account of the resource
<p><em>CITIES FOR PEOPLE</em><span> </span>is the pilot edition of the annual NTU CCA Ideas Fest, a platform to catalyse critical exchange of ideas and encourage thinking “out of the box”. It is a bottom-up approach linking the artistic and academic community with grassroots initiatives. This pilot edition expands artistic interventions and engages contemporary issues such as air, water, food, environment, and social interaction in connection to artistic and cultural fields, academic research, and design applications.</p>
<p>The 10-day programme, coinciding with Singapore Art Week 2017 and Art After Dark at Gillman Barracks, comprises a conglomerate of performances, public installations, participatory projects and social experiment, urban farming initiatives, public dialogues, and a variety of workshops. It cumulates in a three-day summit that brings together a prominent group of architects, theorists, researchers, curators, and community groups to discuss and exchange ideas about urbanism, modes of exchange, critical spatial practice, and to envision a future city.<span> </span><em>CITIES FOR PEOPLE</em><span> </span>offers a platform to contemplate the possibilities for our shared space, reformulate our demands accordingly, and project solutions and desires for the future.</p>
<p><em>CITIES FOR PEOPLE</em>, borrowing the title from a book by eminent Singapore architect William S. W. Lim published in 1990, expands on some of the ideas Lim developed, particularly in relation to tropical environments and recycling, as well as his call for a humanistic architecture. Organised on the occasion of the exhibition<span> </span><em>Incomplete Urbanism: Attempts at Critical Spatial Practice</em>, this event is an invitation to share and engage in cooperative projects and collective experiences that critically reflect on current challenges in urban and social development.</p>
<p>Ideas Fest Concept:<span> </span><b>Ute Meta Bauer</b><br />Curators of<span> </span><em>CITIES FOR PEOPLE</em><span> </span>NTU CCA Ideas Fest 2016/17<br /><b>Ute Meta Bauer</b><span> </span>and<span> </span><b>Khim Ong</b></p>
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Khim Ong
Subject
The topic of the resource
Urbanism
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
"Free Jazz”, OFFCUFF (Bani Haykal, Mohamad Riduan, Shahila Baharom and Wu Jun Han), October 2013, Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Free Jazz, NTU CCA Singapore’s inaugural programme brings together artists, curators, art critics and scholars to imagine and contribute to the thinking and envisioning of the potentials for this new Centre for Contemporary Art in Singapore.
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2013-10-23
Exhibition End Date
2013-12-18
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Exhibition Mode
Festival
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<em>Free Jazz</em>
Subject
The topic of the resource
Spaces of the Curatorial
Performance
Description
An account of the resource
<em>Free Jazz</em><span>, NTU CCA Singapore’s inaugural programme brings together artists, curators, art critics and scholars to imagine and contribute to the thinking and envisioning of the potentials for this new Centre for Contemporary Art in Singapore. As the title suggests, </span><em>Free Jazz</em><span> is about improvisation, the ability to listen, to respond and engage into a less prescribed and controlled environment. Improvisation stands for a form of inquiry that can become an active tool to generate new possibilities for conceptualising and programming art institutions. </span><em>Free Jazz </em><span>at NTU CCA Singapore presents a series of paired presentations and juxtaposes different approaches into a single platform as a playful way to encourage conversational and performative interactions that can take spontaneous, fluid, unplanned moves.</span>
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Contributor
An entity responsible for making contributions to the resource
Lee Wen
Lucy Davis
Grieve Perspective
OFFCUFF
Bani Haykal
Ute Meta Bauer
Lee Weng Choy
Anca Rujoiu
Cosmin Costinas
Ade Darmawan
Mark Nash
Zai Kuning
Bige Örer
Geert Lovink
Nikos Papastergiadis
-
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exhibition
a m a r k a n wa r
in coll abor ation w ith
su dh i r pat t na i k /sa m a drust i
a nd sher na dastur
30 july —
9 october 2016
�“If a crime
continues to occur
regardless of the
enormous evidence
available then is the
crime invisible or
the evidence invisible
or are both visible
but not seen?”
A m a r K a n wa r
�exhibition
a m a r k a n wa r
in coll abor ation w ith
su dh i r pat t na i k /sa m a drust i
a nd sher na dastur
30 july —
9 october 2016
Photo Credit: Amar Kanwar. Courtesy of the artist.
�Photo Credit: Amar Kanwar. Courtesy of the artist.
�note from the cur ator s
Central to The Sovereign Forest is The Scene of Crime
(2011) ,
an
experience of a landscape just prior to erasure. Ever y image in
this film lies w ithin specific territories that are marked for
large-scale industrial and mining projects. Ever y tree, blade of
grass, and each location show n is a stark reminder of the people,
Recognised for their complex, contemporar y narratives that
places and customs that have been disregarded in the name of
connect intimate personal spheres of existence to larger social,
development, fenced off from a community that has depended on
political processes, the projects of Indian artist and f ilmmaker
and worshipped these lands for uncountable years. By situating
A mar Kanwar interrogate the politics of power, v iolence and
the site of the crime and documenting the effects of industrial
justice. Through his immersive installations, Kanwar presents
inter ventions, The Sovereign Forest sets up a creative platform
to us harsh realities made more poignant by being placed in the
for the accumulation of numerous testimonies and uncovers
realm of the poetic and the metaphysical. Throughout his inter-
stories of intimidation, forced evacuations, imprisonment and
nationally acclaimed career, the artist’s extensive inquiries into
murder. It gives voice to shared grievances and frustrations, often
subjects, many still ongoing, question issues that permeate the
too small to be heard, too weak to resist. Through capturing the
Indian subcontinent, including sectarian div ision, uprising and
magnitude of scams and hardship of the affected population,
oppression, loss and dispossession, rape, and the human and
the project asks critical questions: how to understand crime and
environmental cost of industry. His open-ended approach towards
the conf lict around us? W ho defines evidence? Is an illusion more
such complex subject matters gives v isibility to the archival of
real than a fact? Can “poetry” be used as “evidence” in trial? How
personal histories and individual voices, filling gaps in our under-
do we see, know, understand and remember disappearances?
standing of contemporar y situations.
How to look again?
Focused on the exhaustive struggles over the resource-rich land
Indeed, The Sovereign Forest begins w ith a proposition: it is a
of Odisha, in east India, and the issues concerning its ow nership,
memorial, a site for ref lection, a repository, a school, a collection
The Sovereign Forest is a long-term commitment of Kanwar, in
of ev idence, a public trial. Since 2012, the media activ ist group
collaboration w ith independent media activ ist Sudhir Pattnaik,
Samadrusti, working in Bhubaneswar, Odisha, has been hosting
the Samadrusti media activist group, and designer and filmmaker
The Sovereign Forest on the upper f loor of the small building it
Sherna Dastur. For over a decade, Kanwar has been filming the
occupies, which also houses the journalistic offices and archives
industrial inter ventions that have reshaped and permanently
of The Samadrusti newspaper, a small garden, a tea stall, and
destroyed parts of Odisha’s landscape—a battleground on issues
a bookshop. Here, in its particular env ironment and being part
of development and displacement since the 1990s. The resulting
of an intricate net work of jour nalistic, educational and social
conf licts between local communities, the government, and cor-
functions, The Sovereign Forest becomes a site for collective
porations over the use of agricultural lands, forests, rivers and
memories and shared experience of land, fears of dispossession
minerals, have led to an ongoing regime of v iolence that is un-
and for mourning of the loss of the commons. Many who v isited
predictable and of ten inv isible. The Sovereign Forest initiates a
have shared insights and contributed more evidence, making The
creative response to the understanding of crime, politics, human
Sovereign Forest an ongoing and constantly expanding project
rights and ecology, under conditions of ongoing and perpetual
that applies a method of collective agency.
v iolence. The validity of poetr y as ev idence in a trial, the discourse on seeing, on compassion, justice and the determination
The inadequacies of resettlement and rehabilitation laws for local
of t he self, all come toget her as a constellation of f il ms, texts,
communities and the disregard for traditional knowledge and
books, photographs, objects, seeds and processes.
spiritual, communal and cultural narratives, has turned what is
supposedly a benevolent development meant for “public good”
into an immeasurable trauma on life. Kanwar’s project is not
THE SO V EREI G N FOREST
4
5
not e f rom t h e cu r ator s
�only a stoic reminder of the severe impact of industrialisation
processes on the env ironment, but also a profound look at the
stories and lives of the people affected by and involved in these
conf licts. What is remarkable in The Sovereign Forest is Kanwar’s
use of “poetr y as ev idence”. Using forms of my th, poetr y and
oral traditions, he allows for the inclusion of non-sovereign
agencies — the less determined, undirected actions — to partake
in the narration of contemporar y situations. This prompts looking beyond totalising accounts and instead proposes a kind
of knowledge and a way of understanding that is established
through an assembly of little tales. The act of stor y telling and
the varied ways of seeing thus become pivotal to experiencing
any terrain of conf lict and understanding the lives that exist
w ithin the natural landscape. The Sovereign Forest attests how
The Scene of Crime (2011),
one is never able to fully comprehend the grav it y of a crime;
installation views
through such an open-ended process, constantly adopting shif t-
of The Sovereign Forest,
ing perspectives, one can hope to come closer to a truth.
dOCUMENTA (13),
Kassel, Germany (2012).
Photo Credit:
Henrik Stromberg.
U t e M eta Bau er
Fou nd i ng Di rector
K him Ong
Deput y Di rector, Exhibitions, Residencies & P ublic P rogram mes
M agda l e na M agi er a
Cu rator, Out reach & Education
not e f rom t h e cu r ator s
6
073
RUNNING TITLE
�THE SCENE OF CRIME
(2011)
“… if every moment contains
the possibility of being alive
and being dead then could an acute
awareness of every moment also
create an acute consciousness
of living and dying?”
The Scene of Crime, the filmic work central to The Sovereign
Forest, offers an experience of landscape just prior to erasure.
A lmost ever y image is of sites earmarked for large-scale industrial and mining projects and are in the process of being (or are
already) acquired by the state and multinational corporations.
The images of Odisha’s breath-taking landscapes and its inhabitants ser ves as a stark reminder of its destined disappearance.
With remarkable cinematography and extraordinar y sensitiv ity,
this poetic glance over every location, every blade of grass, every
water source, ever y tree, allows one to explore the beauty of the
landscape while opening up a space for ref lection. Exquisitely
edited w ith reduced sound and speed, the meditative rhy thm of
A m a r K a n wa r
the film sharpens one’s senses and foregrounds a set of experiences — each moment calls for an acute ref lection of its temporal
existence as testimonies to a stor y of loss and death.
The Scene of Crime (2011), installation view
of The Sovereign Forest, dOCUMENTA (13),
Kassel, Germany (2012).
Photo Credit: Henrik Stromberg.
RUNNING TITLE
8
ABOUT THE w o r k
�THE SEED ROOM
W hen Nataba r Sara ngi, a for mer schoolteacher tu r ned r ice
farmer and seed activ ist, started cultivating rice a decade ago,
he found only a handful of different seeds still in use in Odisha.
He remembered all the various species of rice from his childhood, along w ith their shapes, tastes, and natural qualities. To
preser ve this rich heritage and to bring it back into the natural
cycles of cultivation, he set out to collect, grow, har vest, disseminate, and archive the seeds. In The Sovereign Forest, 272
indiv idual species of rice are represented, w ith each ty pe of
seed displayed in a handmade container, labelled, and archived
w ith great care. Placed in the centre of the exhibition space, the
seeds w ith their indiv idual names form a protected f luid core
representing the w isdom and expertise of local food sovereignty.
Found at “the scene of crime” and under threat of permanent disappearance, the seeds are the vocabulary of an extensive knowledge
system that has been shared, experimented with, and developed
over decades.
Accompany ing the seeds are six small books that compile texts
and photographic ev idence. They recount the manifold levels of
resistance, not only against political and corporate v iolations
The Sovereign Forest, Thyssen-Bor nemisza A r t Contemporar y, Vienna,
but also against the loss of memor y of the dead and disappeared
Aust r ia (2014), i nstallation v iew. Photo Cred it: Jens Ziehe.
and of the passage of time in the struggle to preser ve, resist, and
sur v ive. The Seed Book
(2012)
presents a selection of images that
show Natabar Sarangi in his rice fields grow ing and experimenting w ith seed varieties and an indexed archive listing each
seed and its specific properties and uses. The second small book,
In Memory Of
(2012) ,
seeks to preser ve the memor y of farmers
who have committed suicide in recent years in Odisha due to
debt and bondage. The book is an unfinished memorial to the
far mers who took their ow n lives as they were unable to resist
the strategic violence of multinational agricultural corporations,
the trap of high-yielding and high-investment agriculture, market
The Sovereign Forest +
f luctuations, real estate mafias, and moneylenders.
Other Stor ies, Yorkshi re
Scu lptu re Park, West
Yorkshi re, United K i ngdom
(2014), i nstallation v iew.
Photo Cred it: Jont y Wilde.
ABOUT THE w o r k
10
11
RUNNING TITLE
�Many events have occurred during local resistances in v illages
The Sovereign Forest + Other Stor ies,
Yorkshi re Scu lptu re Park, West Yorkshi re,
that have been forgotten as time passes. In the last few years,
United K ingdom (2014), installation v iew.
local news networks and amateur photographers, using a variety
Photo Cred it: Jont y Wilde.
of small cameras, have documented ev idence of a crime or the
resistance to it even as it unfolds. The third small book acknowledges the work of local photographers in preser ving the memory
of important historical events. Photo Album 1: The Lying Down
Protest
(2012)
reveals a collection of images about a remarkable
protest on 11 June 2001, by the v illagers of Dhinkia, Gadkujang,
Govindpur, and Nuagaon in Odisha, against the forcible acquisition of their land by local police on behalf of the Korean steel
company POSCO and the government of Odisha. Photo Album 2:
Kalinganagar (2013) is the fourth small book in the The Sovereign
Forest. It bears w itness to the killing of fourteen tribals by the
police in Kalinganagar Industrial A rea, Odisha, while they were
protesting the forcible acquisition of their lands by the Tata Iron
and Steel Company. The album is presented along w ith eight
contributed and collected images of the funeral. F ramed and
displayed, these images continue to tell the stor y begun in the
album even as they resonate with the memorial stones in the film
The Scene of Crime. The fif th small book, titled Time
(2014) ,
col-
lates the unseen details of ever yday events in an epic resistance.
A timeline of an ongoing struggle from 2005 to 2013, the book,
researched by Samadrusti, offers detailed insight into the moves
and countermoves of the local resistance against POSCO and
t he gover n ment of Od isha. Ju xtaposed w it h a photog raph of
an old land record from the same area, a preser ved and hidden
docu ment prov i ng t he du ration of la ndow nership, t he book
completes an ensemble of ev idence that opens many ways of
comprehending the multiple dimensions of loss, resistance, and
unfolding v iolence. The sixth small book The Referendum
(2015)
tells the stor y of the historical referendum in 2013, when 12
tribal v illage councils voted against mining in their Niyamgiri
hill ranges.
The seeds are embraced by three large handmade books, each
w ith a film projected on its pages. Visitors are inv ited to turn
the pages and read the books. The Counting Sisters and Other
Stories
(2011)
is the first hand-sew n book made from banana
fibre paper w ith screen-printed text, presenting the insights of
the timeless local fable. It is a fascinating collection of stories
w ith ev idence that is embedded in the paper, such as a fishing
RUNNING TITLE
12
13
ABOUT THE w o r k
�net, a cloth garment, rice seeds, a betel leaf, and a newspaper.
The Sovereign Forest + Other Stor ies,
Written by Kanwar, the book is about the six “Counting Sisters”
Yorkshi re Scu lptu re Park, West Yorkshi re,
—
mourners who count the dead, the disappeared, and many
United K i ngdom (2014), i nstallation v iews.
Photo Cred it: Jont y Wilde.
more things — and “The One Alone”, who counts the living. Adjacent to the screen-printed text is a projection of a second version
of the film The Scene of Crime which subverts the original film
to construct a new order of images, even as it comprises exactly
the same images as the original. Silent and w ithout any text,
this recreated film is released from the fixed narrative of the
original film and projected alongside the printed stories of The
Counting Sisters and Other Stories. A new relationship between
text and i mage emerges as t he va r y i ng speed of read i ng a nd
page turning creates multiple random juxtapositions.
The second handmade book, The Prediction
(1991–2012) ,
foretells
the assassination of Shankar Guha Niyogi, the leader of probably
the largest democratic mass movement of workers, peasants and
tribals in post independent India. Niyogi predicted his ow n murder, which occurred on 28 September 1991. The book contains
fiction, facts, legal documents, personal statements, and photographs and is what Kanwar calls a reference to the evidence of an
old scene of crime, a counterpoint to a contemporar y unfolding
crime, which narrates the fateful stor y of the events leading to
and following the assassination of Niyogi. The book also recounts,
through legal records and trade union pamphlets, the murder
trial, which spanned two decades. Leading industrialists were
conv icted of conspiracy in the murder of Niyogi, but the rulings
were overtur ned by the Supreme Court of India in 2005. The
video projected on the book was predominantly filmed by Kanwar
on 29 September 1991, a day af ter Niyogi’s murder in the tow n of
Dalli Rajhara, in Chhattisgarh.
The third book, titled The Constitution
(2012) ,
is also handmade
but from ramie and cotton fibre paper. It is a book about knowledge that is not scripted, w ith almost no words except for the
printed titles of chapters, suggesting necessar y trajectories of
w isdom that are missing from all national constitutions. Each
page corresponds to, responds to, and takes further the meaning of the titles.
THE SO V EREI G N FOREST
14
ABOUT THE w o r k
�“The judge refused
to accept the evidence
of his murder.
So he is neither dead
nor alive.”
The Scene of Crime (2011), detail, installation view of The Sovereign Forest,
dOCUMENTA (13), Kassel, Germany (2012). Photo Credit: Henrik Stromberg.
�SELECTIONS FROM THE E V IDENCE ARCHI V E
(2012-2015)
A version of The Sovereign Forest is on permanent display at the
Samadrusti campus in Bhubaneswar, Odisha, where it opened
on 15 August 2012. Visitors are inv ited to contribute ev idence in
any form to add to the grow ing constellation of ev idence presented. A selection of this archive of ev idence is represented in
the exhibition. It includes photographs, lists of residents, land
records and tax receipts, proofs of occupancy, maps of acquired
v illages, documents, and a booklet of poems by a local singer
called the crazy poet.
With overlapping identities, The Sovereign Forest can be continually reimagined as an art installation, a librar y, a memorial,
a public trial, an archive, and a proposition for a local space that
engages w ith political issues as well as w ith art.
The Sovereign Forest, Thyssen-Bornemisza
Art Contemporary, Vienna, Austria (2014),
installation view. Photo Credit: Jens Ziehe.
THE SO V EREI G N FOREST
18
19
ABOUT THE w o r k
�A LO V E STORY
(2010)
A Love Stor y is a miniature narrative in four acts where time
becomes f luid as the image is distilled to its inner self. The film
lies at the fringe of the expanding Indian city, emerging from
w ithin a world of continuous migration and therefore of constant separations. It is in this terrain of separation that A Love
Stor y is located. Sequentially, cyclically and simultaneously, it
becomes the companion, the prelude, and the postscript to The
Scene of Crime.
“Sometimes,
it becomes useful
to see or experience
the poetry of love
outside the territory of
one’s own comfort.”
A m a r K a n wa r
A Love Story (2010), film still.
ABOUT THE w o r k
20
21
RUNNING TITLE
�Biographies
Oslo, Norway (2006); and Renaissance Society,
Chicago, United States
Amar Kanwar.
by t he bold and t he brave mi nor it y t hat
may br i ng lasti ng change i n societ y.”
(2004) .
Kanwar has been the recipient of awards
Pattnaik has collaborated on The Sovereign
such as the Leonore A nnenberg Prize for
Courtesy of the artist.
Forest since 2011, and has hosted its instal-
A rt and Social Change
(2014) ;
lation in the Samadrusti campus in Odisha
an Honorar y
Doctorate in Fine Arts, Maine College of Art,
United States
(2006) ;
since 2012.
the first Edvard Munch
Award for Contemporary Art, Office for
Contemporar y A rt, Nor way
(2005) ;
SHERNA DASTUR
the Mac
Arthur Fellowship in India (2000); the Golden
COLLABORATOR
Gate Award, San F rancisco International
F ilm Festival, United States
(1999) ;
as well
Sherna Dastur
as the Golden Conch, Mumbai International
F ilm Festival, India
Ind ia)
( bor n 1971, lives i n New Del hi,
is a graphic designer and filmmaker.
Her film Manjuben Truck Driver
(1998) .
(2002)
has
Retrospectives of his films have been held
been screened at the Museum of Modern
at film festivals including the 5th Interna-
A rt, New York, United States, and the Inter-
tional Documentary and Short Film Festival
ARTIST
national Documentary Film Festival, Amster-
of Kerala, India
AMAR KANWAR
dam, The Netherlands, among several other
(2012) ;
the 13th Madurai
International Documentary and Short Film
A mar Kanwar
MDE’15, Medellin, Colombia
( b.1964, lives i n New Del hi, Ind ia)
(2015) ;
Experi-
festivals. Her recent design work includes
Fest iva l, I nd ia
Project Cinema City
(2011) ;
t he Docu menta r y
(eds. Mad husree Dut t a,
has distinguished himself through films
ments with T r uth: Gandhi and Images of
and multi-media works, which explore the
Nonviolence, Menil Collection, Houston,
Perspectives Film Festival, Hyderabad, India
2013),
politics of power, v iolence and justice. His
United States
(2008) ;
(ed. Ku mku m Sangar i, Tu lika Books, 2013) ,
mu lt i-layered i nst a l lat ions or ig i nate i n
St. Louis, United States
(2015) ;
Kemper A rt Museum,
(2014) ;
K iran Nadar
narratives of ten draw n from zones of con-
Museum of A rt, New Delhi, India
f l ict a nd a re cha racter ised by a u n ique
(2013) ;
Kaushik Bhau mik, and Rohan Shivku mar, Tu lika Books,
and the 9th International Short F ilm
Festival, Bangladesh
Practice in India
(2014) ;
Guggen hei m Museu m, New York,
political.
United States
Recent solo exhibitions of Kanwar’s work
have been held at t he Goet he Institut /
of Contemporar y A rt, Russia
2010) .
Max Mueller Bhavan, Mumbai, India
11th
(ed. Pooja Sood, Har per Colli ns,
She has also worked on a range of in-
ter ventions for social campaigns and films
COLLABORATOR
on issues of fundamentalism and women’s
13th Istanbul
(2013) ;
and The
SUDHIR PATTNAIK
Biennial, Turkey (2013); 5th Moscow Biennale
(2013 and 2012) ;
Trace Retrace: Paintings, Nilima Sheikh
Khoj Book, 1997–2007: Contemporar y Art
(2005) .
56th Carnegie International, United States
poetic approach to the personal, social and
Dream Show, Tokyo, Japan (2010); the Parallel
rights. She has taught the foundation course
Sudhir Pattnaik
( bor n 1962, lives i n Bhubaneswar,
of colour and form as visiting faculty at the
Sharjah Biennial, United A rab Emirates
Odisha, India)
is an independent media activist
National Institute of Design, A hmedabad,
Assam State Museum in collaboration w ith
(2013) ;
who has been intensely engaged in social
India, also her alma mater. Dastur has been
K iran Nadar Museum of A rt and North East
(2012 –2013) ;
issues for the last 25 years. He is associated
collaborating on The Sovereign Forest since
Net work, India
K ingdom
(2015) ;
cago, United States
(2016) ;
Sculpture Park, United K ingdom
w ith print and electronic news magazines
2011, experimenting w ith making paper
Kanwar has also participated in Documenta
as a part of non-profit collective Samadrusti,
a nd t he ha nd made books, a nd desig n i ng
(2013 –2014) ;
11, 12 and 13 in Kassel, Germany
the installation as it travels and evolves.
Thyssen-Bornemisza Art Contemporary
21) ,
Vienna, Aust r ia
(2013 –2014) ;
a nd Br istol Museu m, United
Yorkshire
A rt Institute of Chi(2013 –2014) ;
the 1st Kochi-Muziris Biennale, India
(2002, 2007,
and is the editor of fortnightly Oriya news
Other solo exhibitions have been at
maga z i ne T h e Sam a dr u st i. He is a lso a
the Stedelijk Museum, A msterdam, The
ly ricist, play w right, and theatre director.
Netherlands
His v iews are non-ideological and secular.
2012) .
(TBA
a nd Foto
museum Winterthur, Sw itzerland
(2013) .
(2012) .
(2008) ;
W hitechapel Art Gallery,
Recent group exhibitions have been pre-
London, United K ingdom
National
He “firmly believes that it is only love and
sented at Local Stor ies/Global Pract ices,
Museum of A rt, A rchitecture and Design,
peace preached, practiced, and propagated
THE SO V EREI G N FOREST
22
(2007 ) ;
23
BIO G RAPHIES
�Education And Public Programmes
mental rights. It also touches on the intri-
do we nav igate the complicated map of
cacies of local and regional politics t hat
plural multiculturalism?”
have permitted this ‘crime’ to continue un-
—
Dr Fa r i s h A h m a d N o or
abated.
In this talk, Dr Noor w ill engage w ith the
D r H e l e n a Va r k k e y
featu r i ng t he ar tist Joan Jonas (2015).
A m a r K a n wa r
histor y of Sout heast Asia. He w ill speak
( Malaysia) is Senior Lectu rer at
the Depar tment of Inter national and St rategic Stud ies,
(refer to page 22 for biography)
Universit y of Malaya, Kuala Lu mpu r. The f i nd i ngs of her
about how the colonial imaginar y env isioned Southeast Asia as a land of boundless
opportunities for capital, and thus regarded
t he Institute of Contemporar y A r ts Si ngapore, LASALLE,
“The Haze P roblem i n Sout heast Asia: Pal m Oil and
and Cu rator at t he Si ngapore A r t Museu m. Selected
Saturday, 30 July
Pat ronage”. She mai ntai ns an onli ne blog, “The Forest
it as a fertile zone for conquest and appro-
cu rator ial projects i nclude Dear Painter at Su ndaram
area.
within the ambit of a modernist-instrumen-
porar y Ar t for South and Southeast Asia as par t of t he
artist, The Sovereign Forest;
talist mindset.
Guggenhei m UBS MAP Global A r t Initiative (2014); The
P r o f e s s o r U t e M e t a B a u e r (Ger many/
and D r J u n e Y a p
for t he Pal ms”, and conti nues to conduct research i n t his
priation, bringing the colonial enterprise
Tagore Galler y, Si ngapore (2015); No Count r y: Contem-
Conversation between A m a r K a n wa r
Si ngapore) ;
PhD research has been recently published as a book
u nder t he Routledge Malaysian Stud ies Ser ies entitled
Dr June Ya p
4.00 – 5.30pm
(India),
(Singapore) is an independent cu rator and
ar t histor ian, prev iously Deput y Di rector and Cu rator at
CON V ERSATIONS
Cloud of Unknowing at the Singapore Pav ilion at 54th
Venice Biennale w ith artist Ho Tzu Nyen (2011); the v ideo
The Single Screen
Wednesday, 7 September
Dr Fa r i s h A h m a d N o or
program me You and I, We’ve Never Been So Far Apar t:
(Si ngapore)
7.30 – 9.00pm
ently Associate P rofessor at t he S. Rajarat nam School of
Works f rom Asia for VideoZone5 at the Center for Contemporar y A r t i n Tel Av iv, Israel (2010).
( Malaysia /Si ngapore) is pres-
Inter national Stud ies, Nanyang Technological Univer-
Exhibition (de)Tour w ith
sit y, Si ngapore, where he is t he Head of t he Doctoral
Accomplished artist and filmmaker A mar
M i n a S u s a n a S e t r a ( Indonesia)
Stud ies P rogram me. A political scientist and histor ian,
Kanwar w ill speak to curators Professor
The Lab
he has ser ved as researcher at t he Cent re for Moder n
Or ient Stud ies (ZMO), Berli n, Ger many; taught at F reie
Ute Meta Bauer, and Dr June Yap about his
Universit y Berli n, Ger many; t he Institute for t he Study
unique cinematic vocabulary that opens up
EXHIBITION ( DE ) TOURS
Mina Susana Setr a
( Indonesia) is an i nd igenous, env i-
of Islam in the Modern World (ISIM), Leiden, The Nether-
ronmental and land r ights activ ist from Bor neo. She
lands; and Sciences-Po, Par is, F rance. Cu r rently he is
ser ves as Deput y Secretar y General for t he Indonesian
multiple layers of experience and compre-
also a member of t he United Nations’ A lliance of Civ ili-
hension. The conversation will revolve around
F riday, 12 August
Ind igenous People’s A lliance of t he A rchipelago and was
sations’ Panel of Global Exper ts on Religion and Politics
politics of power, violence, and justice, looking
7.30 –9.00pm
i nst r u mental i n secu r i ng a r u li ng from t he Constitu-
i n Asia.
at how political struggles are presented and
Exhibition (de)Tour: The ‘Crime’ of Haze:
tional Cou r t recognisi ng customar y land r ights of i nd ig-
represented as well as issues of development,
The Politics of Land, Nature and Human
misappropriation, and displacement. W hen
Rights w ith D r H e l e n a Va r k k e y
engaging in various ways of seeing and
The Lab
( Malaysia)
enous people. She is also a fou nder of Ruai T V, a tele
v ision outlet prov id i ng med ia access to margi nalised
SCREENIN G S
com mu nities in West Kali mantan. The station utilises
“citi zen jou r nalism” to give com mu nit y members a voice.
comprehending, a set of propositions given
Wednesday, 3 August
by Kanwa r study t he notion of “poet r y as
The Southeast Asian region has been expe-
7.30 – 9.00pm
r ienci ng i ncreasi ngly frequent events of
Wednesday, 14 September
Screening of Leviathan
transboundar y haze for several decades.
7.30 – 9.00pm
directed by L u c i e n C a s t a i n g - T a y l o r
(Ger many/Si ngapore) is
Much of this haze originates from Indonesia,
Exhibition (de)Tour: A Fertile Land for
( United K i ngdom / United States)
the Fou nd i ng Director of the NTU Cent re for Contempo-
mainly caused by fires related to traditional
the Taking: Conquest and Appropriation of
P a r av e l ( F rance/ United States) ,
Design and Med ia, Nanyang Technological Universit y,
and commercial agricultural activ ities.
Southeast Asia during the age of Colonial
Selected by H i l a P e l e g
Singapore. P r ior to this, she was Dean of F i ne A r t at t he
W hile these activ ities have been credited
Capitalism w ith D r F a r i s h A h m a d N o o r
The Single Screen
Royal College of A r t, London; Associate P rofessor and
for fuelling rapid development in Indonesia
( Malaysia /Singapore)
Technolog y (ACT ) at MIT, Cambr idge. She also ser ved as
a nd t he la rger region, hu ma n a nd non-
The Single Screen
Fou nd i ng Director of the Of f ice for Contemporar y A r t
human communities around Southeast Asia
ev idence”.
Prof e s sor U t e M eta Bau er
rar y A r t Si ngapore and a P rofessor at t he School of A r t,
Founding Director of MIT’s Program in A rt, Culture, and
(OCA), Oslo, Nor way; was A r tistic Di rector of t he 3rd
(2012) ,
and V é r é n a
87mins.
( Israel /Ger many)
F ilmed off the coast of New Bedford, Massachusetts, at one time the whaling capital
have had to suffer its ill effects. This talk
“In an age of near-global
Docu menta 11, Kassel, Ger many; and co-cu rated w it h
explores the concept of such pollution as a
commodification, how do we study
for Moby Dick, it is today the country’s larg-
Pau l C Ha t he US Pav ilion for the 6t h Venice Biennale,
crime, both in terms of human and environ-
cultural and ethnic difference, and how
est fishing port w ith over 500 ships sailing
Berli n Biennale for Contemporar y A r t; a co-cu rator of
t h e sov er eign f or e st
24
of the world as well as Melville’s inspiration
25
e d u c a t i o n a n d PUBLIC PRO G RAMMES
�from its harbour ever y month. Leviathan
Saturday, 20 August
Ting Chun Chun
(Chi na /Si ngapore) received her PhD
at t he Gover n ment’s ongoi ng policies of
follows one such vessel, a hulking ground-
1.00 – 4.00pm
from t he Universit y of Chicago. She is cu r rently an As-
pater nalism a nd assi milation, exa mi nes
fish trawler, into the surrounding murky
Screening of exodus of nowhere: rondo
black waters on a week-long fishing expedi-
for the dis/placed
tion. Instead of romanticising or partaking
L e e W a i Y i , E n o c h Ng ,
in the longstanding tradition of turning
and produced by v-artiv ist
fisher folk into images, filmmakers Lucien
210mins. Selected and introduced
Castaing-Taylor and Véréna Paravel present
by T i n g C h u n C h u n
a vivid, almost kaleidoscopic representation
The Single Screen
(2015) ,
sistant P rofessor at t he School of Hu manities and Social
Sciences (Ch i nese Div ision), Na nya ng Tech nolog ica l
the real issues underly ing indigenous dis-
co-created by
Un iversit y, Si ngapore. T i ng is present ly work i ng on a
advantage, and opens d ialogue on ways
and K e l v i n W u ,
project on t he social movements and ar tistic activ ism i n
for ward t hat respect Abor igi nal cu ltu re
( Hong Kong) ,
post-handover Hong Kong. Focusi ng on how u rban space
and dignity.
is represented cu ltu rally and contested politically i n
contemporar y Hong Kong, her project ai ms to exami ne
t he u rban cond ition t hat nu r tu res identit y and citi zen-
S i n e m S a b a n ’s
ship, and explore t he changi ng contou r of t he Hong Kong
tional Abor igi nal cu ltu re led her to N E A r nhem Land
people’s political subjectiv ities.
(China /Singapore)
where she was adopted i nto her Yol ngu family at Yi r rka-
of the work, the sea, the machinery, and the
(Australia) u ny ield i ng i nterest i n trad i-
la, who have been a st rong par t of her life. In 2003, she
players, both human and marine.
co-w rote, d i rected, produced and ed ited the f i rst featu re
In a fragmented, non-linear style, exodus of
lengt h f il m to be made i n an Aust ralian school. In 2004,
nowhere: rondo for the dis/placed recounts
F riday, 2 September
Director of t he Sensor y Ethnography Lab at Har vard
a series of migration stories across South-
7.30 – 9.00pm
University, L u c i e n C a s t a i n g -T a y l o r (United Kingdom/
east Asia, mainland China, and Hong Kong.
Screening of Olosho
work seeks to conjugate ar t’s negative capabilit y w it h an
As these stories of border crossing highlight
Tanzanian Maasai community, Tanzanian,
ethnographic attachment to the f lu x of life. H is work is
the manipulation of identity politics for colo-
15mins; and Our Generation
in t he per manent collection of Museu m of Moder n A r t,
nial rule, nationalist consolidation, economic
directed by S i n e m S a b a n
United States) is an anthropologist and ar tist whose
New York, United States, and the British Museum, London,
she was i nv ited to joi n musician Michael F ranti on a
jou r ney to t he M idd le East to f il m and docu ment t he hu(2015)
man cost of war for his f il m I Know I’m Not Alone (2005).
by the
Her exper ience i n Baghdad, Palesti ne, and Israel rei nforced her passion for social justice. Upon retu r ni ng to
(2010) ,
(Aust ralia)
Aust ralia, she made t he decision to retu r n to N E A r nhem Land, to teach i n com mu nit y schools and follow her
and
passion for advocati ng i nd igenous r ights.
United K i ngdom, has been exhibited at major museu ms
domination, etc., the film eloquently debunks
D a m i e n C u r t i s ( Venezuela/Australia),
in Eu rope and United States, and has for med t he subject
the mainstream narratives of political history
Selected by P r o f e s s o r M a r k N a s h
of sy mposia at the Smithsonian Institution, t he Musée
and definition of boundary. This critical stand
( United K ingdom /Singapore)
v ideos have screened at Berl i n, Loc a r no, New York,
subsequently enables the film to find a new
The Single Screen
Toronto and other f ilm festivals.
way to tell the stories of the powerless and
nous groups i n t he A mazon, t he Gu iana Shield and var ious par ts of A fr ica, to help t hem asser t t hei r land and
du quai Branly, and the Br itish Museu m. His f il ms and
V é r é n a Pa r av e l
is a f ilmmaker and ant hropologist.
73mins.
For more t han a decade, D a m i e n C u r t i s ( Venezuela /
Aust ralia) has worked on t he i nter face bet ween env i ronmental conser vation and i nd igenous r ights, bot h on t he
grou nd and w it h larger organisations such as UNESCO
and The Gaia Fou ndation. He has worked w it h i nd ige-
reveal the hurt suffered by communities who
Olosho is a powerful short film exploring
med iation, and space in a var iet y of med ia, is i n t he per-
were pit against each other by the hands of
the ongoing land-rights struggle by the
manent collection of the Museu m of Moder n A r t i n New
power. The screening with be followed by a
Maasai Community in Loliondo, from the
Stage, which showcased music from arou nd t he world
York, United States. Paravel’s f il m, Foreign Par ts (w ith
casual conversation between the audience
perspective of those on the frontline. It was
combi ned w it h i nspi rational speakers on protecti ng and
and the filmmakers.
created by six members of the Tanzania
Her work which explores evanescent for ms of i nti macy,
J.P. Sniadeck i, 2010), won seven i nter national awards,
includ i ng t he Leopard for Best F i rst Featu re and t he
Cu r tis was i nv ited to cu rate and produce t he Green Man
celebrati ng t he ear t h’s cu ltu ral and biological d iversit y.
In 2009, he moved to Aust ralia, where he conti nues to be
Maasai community who, for over two decades,
deeply com mitted to i nspi r i ng social change w it h re-
and K e l v i n W u ( Hong Kong)
have been battling foreign companies and
spect to i nd igenous r ights and env i ronmental protec-
are all members of v-ar tiv ist, a Hong Kong based ar t
their own government to protect their territory.
Best F i rst Featu re Ju r y award at t he Festival del F il m
Locar no (2010) and the P u nto de Vista Award for Best
L e e W a i Y i , E n o c h Ng ,
F ilm (2011). A New York T imes Cr itics’ P ick, it was also
an of f icial selection of the New York F il m Festival (2010)
group “participating in public life through art and v ideo”.
tion.
Prof essor M a r k Nash
( United K i ngdom /Si ngapore) is
( Israel /Ger many) is a cu rator and f il m-
maker based in Berlin, Ger many. Peleg was co-cu rator
of Manifesta 7 Eu ropean Biennial of Contemporar y A r t
The group believes t hat “ar t is t he creative expression of
Olosho was facilitated by I nsightSha re i n
Visiti ng Associate P rofessor, School of A r t, Design and
t he relationship bet ween indiv idual and collective”, and
collaboration with the United Nations Asso-
Med ia, Nanyang Technological Universit y. He is also an
is t hus devoted to “br i ng ar t back to t he people and let
and t he Viennale (2010).
Hila Peleg
cu ltu ral r ights. In 2007 and 2008, as Green Man A r ts,
ciation of F inland and the Loliondo-based
people retu r n to ar t”. The productions of v-ar tiv ist cover
i ndependent cu rator and w r iter, u ntil recently P rofessor
and Head of Depar t ment, Cu rati ng Contemporar y A r t at
NGO-Net. It was undertaken w ith funding
t he Royal College of A r t London, United K i ngdom. He
Most of their film-length productions are continuous partici-
( Trenti no-A lto Adige/Südtirol, 2008), and cu rator of t he
from the Ministr y for Foreign A ffairs of
collaborated w it h Okw u i Enwezor on The Shor t Centur y
patory documentaries, including people in deep distress
F inland.
various social issues concerning the lives of the grassroots.
f ilm programme at the 10th Shanghai A r t Biennale
(2014). Her f ilms, A Cr ime Against Ar t (2007 ) and Sign
Space (2016), were screened in many festivals world-
(2013), raging land 3 f il m ser ies (2010 –2012), walk on!
ex hibition and Docu menta 11, bot h i n 2002, and w it h
P rofessor Ute Meta Bauer on t he 3rd Berli n Biennial i n
shung ning road (2011), and where the yellow banner
w ide. Peleg is the Fou nder and A r tistic Di rector of t he
biannual programme Berlin Documentar y For um at the
Haus der Ku ltu ren der Welt, ed itor of t he book, Documentar y Across Di sciplines ( MIT P ress, 2016) and one of
Our Generation is a rollercoaster journey
2004. P r ior to joi ni ng t he Royal College of A r t, P rofessor
f lies (2006). The essay-f il m t r ilog y exodu s of nowhere is
into the heart of Australia’s indigenous
Nash was Di rector of F i ne A r t Research at Cent ral St
t hei r response to t he grow i ng et hnic tension i n contem-
relations, a hidden shame that is pushing
porar y Hong Kong. Ot her t han f il m mak i ng, v-ar tiv ist is
Mar ti ns, London, United K i ngdom. H is recent ex hibition projects i nclude Sociali st F r iend ship for Calver t 22,
a lso act ively engaged i n med ia l itera r y movement to
t h e sov er eign f or e st
26
London, United K i ngdom (2015); The A R ENA Program
edge. Through the stories of the Yolngu
w it h Okw u i Enwezor and Isaac Ju lien for t he 56t h Ven-
engagement w ith ar t.
Athens and Kassel in 2017.
the world’s oldest liv ing culture to the
empower t he g rassroot s’ cont i nuous a nd autonomous
the cu rators of Docu menta 14, which w ill take place i n
of Northeast A rnhem Land, the film looks
ice Biennale (2015); and The Shadow Never Lies (w it h
Joshua Jiang) for ZKM, Karlsr u he, Ger many (2016).
27
e d u c a t i o n a n d PUBLIC PRO G RAMMES
�Wednesday, 28 September
F i ne A r t Academy i n 1992. He suppor ted hi mself as a
T e at er Ek a m at r a
7.30 –10.00pm
photographer while work ing on his early docu menta-
gapore ar ts company t hat shi nes a spotlight on contem-
Screening of Gambut (Peat)
directed by L a u H o n g H u
r ies. Zhao’s 2009 docu mentar y Petition: The Cour t of the
pora r y ex per i ment a l t heat re. Gu ided by it s va lues of
diversity, inclusivity, integrity, accountability and people-
Staging: C:\dialogue\towards_between.mxo
premiered at t he Cannes F il m Festival. The f il m was
cent red ness, Teater Ekamat ra is com mitted to creati ng
by J u l i a M i h á l y
shot over 12 years and details t he plight of Chi nese citi-
(Malaysia /Singapore) ,
engaging t heat re t hat i nspi res, while i ncubati ng emerg-
The Exhibition Hall
zens t raveli ng to Beiji ng to f ile complai nts w it h t he cen-
ing talents and expand i ng d iversit y w ithi n the i ndustr y.
t ral gover nment about local of f icials. A f ter its debut at
directed by Z h a o L i a n g , 90mins
(China / F rance) .
F riday, 7 October
7.30 – 9.00pm
Complainants which looks at t he legal system i n Chi na
(2016) ,
8mins; and Beixi Muoshou (Behemoth)
(2015) ,
is an established and exciti ng Si n-
(Ger many/Si ngapore)
Cu r rently hel med by award-w i nni ng d i rector and de-
Cannes, t he f il m was banned i n Chi na. His 2011 f il m
The Counting Sisters and Other Stories in
commissioned by notable i nter national ar ts festiva ls
HI V and AIDS i n Chi na and was com missioned by t he
The Single Screen
signer Mohd Fared Jai nal, Teater Ekamat ra has been
Toget her is about d iscr i mi nation agai nst people w it h
Selected and introduced by
T h o n g K a y W e e (Singapore)
such a s t he M1 Si ngapor e F r i nge Fest iva l , M a n
The Sovereign Forest exhibition ser ves as a
Singapore Theatre Festival and KakiSeni Festival. Teater
starting point for Julia Mihály’s performance.
(Singapore) is an independent f ilm-
Ekamatra’s productions have won nu merous accolades,
Considered as a multi-layered dialogue, this
maker, arts producer and film curator. He currently works
i nclud i ng The St raits Ti mes L ife! Theat re Awards for
as t he Out reach Of f icer at t he Asian F il m A rchive (AFA).
Best Or igi nal Scr ipt (Kakak Kau Punya Laki, Charged,
musical translation w ill use her ow n voice,
M i nist r y of Healt h.
Thong K ay W ee
Gambut (Peat) is a meditation on the coexistence of man and environment. Entrapped
Part publicist and part programmer, he is responsible for
Nadirah) and Best Act ress (Nadirah).
in a v icious cycle of accusations, efforts in
dev isi ng st rategies and program mes to propagate Asian
T h e P l ay w r ig h t / Di r e c t or I r fa n K a s b a n
resolv ing the decades-long haze issues in
ci nema which is t he AFA’s mission. H is key cont r ibutions
pore) is a freelance t heat re-maker who w r ites, d i rects,
to the AFA include curating the exhibition series Celluloid
designs and at ti mes per for m. T he for mer Associate A r-
(Si nga-
covering a wide range of contemporary vocal
techniques, in dialogue with live electronic
sound extensions and spatial sound move-
R iau, Indonesia are becoming alarmingly
Void: The Lost F ilms of Southeast Asia (2015, 2016) and
tistic Di rector of Teater Ekamat ra, Ir fan was responsi-
ments. Since the performance aims to stay
futile. This short film is a juxtaposition of
creat ive product ion for t he f i l m h istor y-cu m-a r t tou r
ble for mentor i ng MEREKA, its yout h i ncubation pro-
in a constant dialogue w ith the exhibition,
thoughts, anecdotes, opinions and images
St at e of Mot ion (2016), as pa r t of Si ngapore A r t Week
gram me; works such as Hantaran Buat Mangsa Lupa
2016. Thong graduated with a BA (Hon) in Communication
( M1 F r i nge Festival 2012) and 94:05 ( Kak iSeni Festival
Studies from Nanyang Technological University, Singapore,
2013); mai n season shows Thi s Placement (2012), TA H-
inherent soundscapes in the exhibition in
F rom India to China, the fastest grow ing
specialisi ng in Cinema Stud ies.
A N (2013), A Beautif ul Chance Encounter of a Sewing Ma-
order to react and interact w ith them.
economies of the world are accumulative,
The Asian Film Archive
from affected locations.
(AFA) is a subsid iar y of t he
the musical structure w ill leave space for
chine and an Umbrella on an Operating Table (2014), The
exhaustive, and insatiable. The parallels
National Librar y Board and a char it y t hat focuses on
Wasteland (2014), A NA (2015), and most recently, T rees,
cu ltu rally i mpor tant works by independent Asian f ilm-
A Crowd ( T went y-somet hi ng Festival 2016).
of Odisha in east India can be found in the
makers. It preser ves Asia’s r ich f il m her itage i n a per-
The
Wuhai area of Inner Mongolia; a dw indling
manent collection and promotes a w ider cr itical appre-
pore) is a designer crossi ng med iu ms and mater ials and
Production
Designer
Akbar
Sya diq
(Si nga-
ciation of Asia’s ci nematic works t hrough i nitiati ng
and idea.
acts of toxic mining. Inspired by Dante’s
More t han just a repositor y of f il m, tape and d igital ma-
T h e Ac t or Fa i z a l A b du l l a h
Divine Comedy, Beixi Muoshou (Behemoth)
ter ials, AFA aspi res to be a hub for t he f il m com mu nit y,
(Si ngapore) is an actor
German European School Singapore, University for Music,
i n Theat re A r ts from LASALLE College of t he A r ts, Si ngapore. He t hen pu rsued fu r t her t rai ni ng w it h You ng &
China’s search for a paradise, one that has
W!ld, and In A Decade – Cake Theat r ical P roductions’
is a w inner of the Green Drop Award at the
72nd Venice F ilm Festival
t rai ni ng program me. He has si nce per for med w it h companies such Act3 Theat r ics, STAGES, Panggu ng A r ts,
TheatreWorks, Cake Theat r ical P roductions and The
F riday, 9 and 23 September
Theat re P ractice. Last year, he per for med i n Chestnuts
50 and t he Si ngapore Golden Jubilee t r ibute f il m 7 Let-
Staging: Hutang Belantara —
( Malaysia /Singapore) is a f il m maker who
graduated w ith a bachelor degree in F ine A rt from
The Expansive Debt
School of A rt, Design and Media, Nanyang Technological
Universit y, Singapore before embark i ng on a career as a
ing A rts Stuttgart, Germany. Currently she has a v isiting
professorship for Electronic Composition at the University
of A r t i n Ber n, Sw itzerland. M i hály has been on concer t
tours to festivals for contemporary music in Brazil, France,
and t he Su ltanate of Oman.
ters ( Er ic K hoo’s Ci nema). Fai zal is also a d rama educator and cu r rently ser ves as t he A r tistic Di rector of t he
t heat re collective Hatch Theatr ics.
by T e a t e r E k a m a t r a , Singapore
ci nematographer and director. Lau’s works pr i mar ily
Drama and Media Hanover, Julius-Maximilians University
Würzburg, and the State University for Music and Perform-
Denmark, Hungary, Turkey, Germany, Singapore, Japan
7.30 –9.00pm
L au Hong H u
(2015) .
w ith live-electronics usi ng game controllers and motion
tu rer at u niversities i nclud i ng School of A r t, Design and
projects a poetic, contemplative gaze over
STA G IN G S
acoustic music and elect ronica. She connects her voice
Med ia, Nanyang Technological Universit y, Si ngapore,
and t heat re practitioner. In 2005, he obtai ned a Diploma
ended up looking more like hell. This film
(Ger many/Si ngapore) is an ar tist at t he
border of contemporar y music, performance art, electro-
sensors to modu late her vocal. She is a regu lar guest lec-
space and d iscipli ne. He collaborates to realise process
program mes like screeni ngs and d ialogue sessions.
pasture ravaged and disembowelled by the
J u l i a M i h á ly
The Exhibition Hall
focus on t he social and cu ltu ral tensions ar isi ng from
F riday, 30 September
rapid u rban development. He has taken par t i n var ious
f ilm workshops in World F ilm Festival Bangkok and his
A play on word from the Malay phrase “hutan”
7.30 – 9.00pm
f ilms have been screened at A rchifest 2013, Si ngapore,
which means “forest”, Hutang Belantara —
Staging: Oral Traditions
and Per t h F il m Festival, Australia. He hopes to conti nue
The Expansive Debt is a multi-disciplinar y
The Exhibition Hall
collaborati ng w ith people from all walks of life to create
mono-drama centred around a seed of dis-
meani ngfu l and engaging projects.
Z h ao L i a ng
cord, ow ning and ow ing, and the fallen.
(China / F rance) graduated from Lu xu n
t h e sov er eign f or e st
28
29
e d u c a t i o n a n d PUBLIC PRO G RAMMES
�WORKSHOP
EXHIBITION TOURS
The Public Progr a mmes
of NTU Centre for Contemporar y A rt
Singapore (NTU CCA Singapore) are conceived as an extension of each
exhibition, developing themes that w ill resonate in different
Saturday, 30 July
F riday, 5 August, 2 September,
10.00am–1.00pm
and 7 October
fields. Comprising of Behind the Scenes, Conversations, Exhibition
Workshop for Teachers and Educators led
7.00 –7.30pm
(de)Tours, Screenings, Tours and Workshops, the public programmes
by K e l l y R e e d y
Tours of The Sovereign Forest
bring together different approaches to, and points of v iew on the
led by NTU CCA Singapore curators
artist’s work. B e h i n d t h e S c e n e s prov ide a rare insight into
The Exhibition Hall
artistic practices and research, and the complexities of exhibition-
( United States/Si ngapore)
The Seminar Room, and The Exhibition Hall
Developed in collaboration with Kelly Reedy,
making. E x h i b i t i o n ( d e ) T o u r s are conceived as opportunities
a former lecturer at the National Institute
to engage w it h pract it ioners f rom d i f ferent f ields a nd w it h
SCHOOL / G ROUP TOURS
different perspectives on the works on v iew. S c r e e n i n g s and
artistic practices and highlights the educa-
NTU CCA Singapore’s guided school tours
w ith the topics of a show, revealing thematic correspondence
w ith exhibited artists through a diversity of media. T o u r s and
of Education
( NIE) ,
this workshop aims to
engage educators in contemporar y art and
Con v er sat ions
offer points of entr y for the public to engage
tional aspects of The Sovereign Forest. A lso
offer engaging discussions on art, prov ide
features a special introduction by the artist
opportunities to hone obser vation skills,
Wor k shops
A mar Kanwar, and co-cu rator K hi m Ong.
and develop interpretative thinking for
cu rators and are conceived to of fer var ious ways to approach,
bot h students a nd teachers alike. T hese
engage and interpret ideas of art and artists introduced by the
To sign up for this workshop, please email
specially designed school tours are led by
Centre.
NTUCCAeducation@ntu.edu.sg
NTU CCA Singapore’s curators and w ill
On the occasion of The Sovereign Forest, NTU CCA Singapore
give insight to the exhibiting artists, their
embarks on a new programme series. Titled S t a g i n g s , this
works and personal anecdotes, while at
series of programme is conceived of as “performative responses”
She has exhibited her ar t works i nter nationally i n Par is,
the same time, introduce and elaborate on
to ongoing exhibitions. Practitioners from various disciplines
Chicago, and Berlin, as well as locally at t he Jendela Vi-
the key themes of each exhibition.
are invited to react and interact with the exhibition through per-
K el ly R eedy
( United States/Singapore) has worked i n
Singapore for over 18 years as an ar tist and educator.
sual A r ts Space, Esplanade, the Si ngapore T yler P r i nt
a l low i nt i mate encou nters w it h a r t, a r t ists, a nd
formative gestures, which could take a variety of forms including
Institute, and A lliance F rançaise. Reedy has developed
educational resou rces for the National Galler y Si nga-
For enquiries and to book a tour, email
movements, vocals, sound, theatre, etc. Through engaging w ith
pore and t rained teachers at the National Institute of
NTUCCAEducation@ntu.edu.sg
diverse modes of artistic expression, Stagings is an attempt to
Education, specialising in v isual ar ts education i n mu-
activate explorations into different dimensions of the exhibition
seu ms and galler ies.
experience.
Gillm a n Ba r r acks A rt
& History Tours
Free admission to all programmes.
F ridays to Sundays
varied timings
These free docent-led tours by F riends of
the Museum will uncover Gillman Barracks’
rich history and introduce its galleries, including a visit to NTU CCA Singapore.
All programmes take place at
NTU CCA Singapore
Please register in advance at
30
For updates, v isit:
Gillman Barracks
ntu.ccasingapore.org
unless other w ise stated
t h e sov er eign f or e st
Block 43 Malan Road
w w w.gillmanbarracks.com /tours.
facebook.com/ntu.ccasingapore
31
e d u c a t i o n a n d PUBLIC PRO G RAMMES
�Special Project
The Haze: An Inquiry
AMAR KANWAR : T H E S O V E R E I G N F O R E S T
NTU CENTRE FOR CONTEMPORARY ART SIN G APORE
3 0 JULY – 9 OCTOBER 2 0 1 6
12 August – 25 Sep tem ber 2016
T he L ab
Block 43 M a l a n Roa d
The Sovereign Forest is produced w ith the
Cu r ator s:
Ute Meta Bauer
support of: Samadrusti, Odisha, India;
Fou nd ing Director
Thyssen-Bornemisza
K him Ong
Vienna, Austria; Centre Pompidou, Paris,
F rance; Yorkshire Sculpture Park, United
A rt
Contemporar y,
The Haze: An Inquir y is a special research
participants w ill uncover social and env i-
Deput y Director, Exhibitions, Residencies
project that takes place at The Lab space of
ronmental impacts beyond the haze, and
& Public P rogram mes
K ingdom; Public Press, New Delhi, India;
the NTU Centre for Contemporar y A rt Sin-
deliberate on questions of social justice,
Magdalena Magiera
and Documenta 13, Kassel, Germany.
gapore
developed on the
cor porate env ironmental responsibilities,
Cu rator, Outreach & Education
Courtesy of A mar Kanwar and Marian
occasion of The Sovereign Forest, an ongo-
agronomy cu ltu res i n i ndust r ial develop-
Exhibition Design:
Goodman Galler y, New York.
ing enquir y by artist and filmmaker A mar
ments, a mongst ot hers. Each pa r t icipa nt
Sherna Dastur
Kanwar. The Haze, as a public accessible
brings to the discussion individual responses
Independent designer
research
Kanwar’s
that stem from their respective interests and
T e c h n i c a l C o n s u lta n t:
working method and the potential of artistic
disciplines. This research platform aims to
Simeon Corless
wou ld like to t hank Sameera Jain (f il m
language and transdisciplinar y collabora-
assemble a diversity of viewpoints to provoke
KS Objectiv LLP
editor) and Dilip Varma (cinematographer);
tion to understand and engage in challeng-
alternative ways of looking at and talking
T ech n ica l I nsta l l at ion:
the Samadrusti collective and friends:
es of our time, focusing on a contemporar y
w it h a w ider public about contempora r y
ARTFACTORY
Bigh neswa r Sa hu, Swaya mprava Pa rh i,
situation of local and regional relevance.
situations of urgency.
Exhibition Construction:
Urmila Achar ya, Tarun Kumar Mishra,
SPACElogic Pte Ltd
Sibasish Ray, Shubha Prasad Parida, Pabitra
A core group of specialists from varied
In addition to the series of closed and public
C o n s e r va t i o n :
Acharya, Laxmidhar Murmu, Umesh Biswal,
fields of law, natural and social sciences,
workshops, discussions, and presentations
Global Specialised Ser v ices
Suresh Tripathy, Bhaskar Paricha, Professor
literature, art and architecture, media and
participants in the core group is engaged
A rt H a ndling a nd Logistics:
Birendra Nayak, Debendra Sahu, Neelama-
theatre, is brought together in a series of
in, they are also encouraged to invite guests
R hema Events & A rt Ser v ices
dhab Nayak, Bibhuti Rath, Prashant Paikray,
workshops and discussions to explore the
who w ill make further inquiries into the
Helu-trans (S) Pte Ltd
Md. Ashlam, Bijya Dw ivedi, A mitabh Patra,
Col l at er a l s:
Namita Sarangi, Neelamani Sahu, Rajendra
Novamondo GmbH
Bisoi, Purna Nayak, and Kailash Sahoo;
seed archive; Tarun Kumar Mishra, Amitabh
( NTU CCA Singapore)
laboratory,
explores
haze situation as an environmental, human, “evidences” in The Lab and to look into collaborative working methods of shared agency.
and legal challenge, given its transnational
Ack now l e dge m e n t s:
A mar Kanwar and NTU CCA Singapore
Natabar Sarangi and Yubaraj Swain for the
impact. The aim is to create a collection of
“ev idence” and to investigate the potential
The Lab at NTU CCA Singapore is a plat-
All images courtesy of the artist and Marian
of the haze to be considered a “crime”.
for m for i nt roduci ng t ra nsd iscipl i na r y
Goodman Galler y, unless other w ise stated.
This collecting which include factual infor-
research processes involv ing artistic and
Patra, and Ajay TG for photography;
and from Amar Kanwar Studio: Prateek
mation and data, compilation of ancestral
cu rator ial practice as sha red k nowledge
The Sovereign Forest catalogue, edited by
Shekher for project management, and Sanjay
knowledge, media clippings, commentaries,
production, in its various formats, different
Daniela Zy man, Thyssen-Bornemisza A rt
Uniyal for administrative support.
u nrecorded oral k nowledge, as well as
temporalities and modalities of expression.
Contemporar y, and Yorkshire Sculpture
Ou r g rat itude goes to: Claire Lilley;
w ritings, photographs, and films w ill be
Park
is available for pur-
Francesca Habsburg; Sandhini Poddar;
gathered in the space amidst working notes
chase at NTU CCA Si ngapore du r i ng t he
Anupam Chakravorty; Jaya Srivastava; and
of the core group. Using these “ev idences”,
exhibition period.
Aseem Srivastava.
special project
32
(Stei nberg P ress, 2014)
33
cr e di t s a n d ack now l e dge m e n t s
�NTU CENTRE FOR
G I V IN G TO
CONTEMPORARY ART SIN G APORE
NTU CCA SIN G APORE
( NTU CCA SIN G APORE )
Your generous contributions support NTU CCA Singapore’s interLocated in Gillman Barracks, the NTU CCA Singapore is a nation-
nationally-acclaimed, research driven exhibitions, residencies
al research centre of Nanyang Technological Universit y and is
and extensive educational programmes that benefit the community
supported by a grant from the Economic Development Board,
and the region. As a non-profit institution, your support is crucial
Singapore. The Centre is unique in its threefold constellation of
in the continuation of our unique programming that enables
exhibitions, residencies, research and academic education. The
NTU CCA Singapore to contribute to the local art scene and the
NTU CCA Singapore positions itself as a space for critical dis-
development of regional and international art infrastructures.
course and encourages new ways of thinking about Spaces of the
Your contribution to the NTU CCA Singapore matters, and if you
Curatorial in Southeast Asia and beyond. As a research centre,
are a taxpayer to Singapore, your donation w ill enjoy a 250%
it aims to prov ide v isiting researchers and curators a compre-
deduction in 2016.
hensive study on the contemporar y art ecosystem in Singapore
and the region. The Centre’s dy namic public programmes ser ve
We believe that what we do here at the NTU CCA Singapore
to engage w ith various audiences through lectures, workshops,
makes a positive and tangible difference through art and we
open studios, film screenings and Exhibition (de)Tours.
hope that you w ill support us in achiev ing our aspirations.
Since the Centre’s inauguration in October 2013, the NTU CCA
For more information on how to donate to NTU CCA Singapore,
Singapore has presented several high profile, first-to-launch
v isit ntu.ccasingapore.org/support
exhibitions of leading artists, making it one of the first spaces in
the region to present international exhibitions of such a scale.
The Centre’s residencies programme is dedicated to facilitate
the production of knowledge and research, engaging and connecting artists, curators and researchers from Singapore, Southeast
Asia and beyond, and across various disciplines. The Centre’s
seven studios support the artistic process in the most direct
way — by giv ing the time and locale to be fully engaged, and the
access to an interesting and immersive context to further the
space for developing ideas.
a bout ntu cca singa por e
34
35
g i v i n g t o NTU CCA SIN G APORE
�NTU CCA SIN G APORE
NTU CCA SIN G APORE
STAFF
G O V ERNIN G COUNCIL
U t e M e t a B a u e r , Fou nd ing Di rector
Co-Chai rs
EXHIBITIONS & RESIDENCIES
A r ts and Social Sciences, Nanyang Technological Universit y ( NTU )
P r o f e s s o r A l a n C h a n K a m - L e u n g , Dean, College of Hu manities,
P a u l T a n , Deput y Chief Executive Of f icer, National A r ts Cou ncil ( NAC)
K h i m O n g , Deput y Director, Ex hibitions, Residencies & P ublic P rogram mes
M a g d a l e n a M a g i e r a , Cu rator, Out reach & Education
P r o f e s s o r D o r r i t V i b e k e S o r e n s e n , Chai r, School of A r t,
S y a h e e d a h I s k a n d a r , Cu rator ial Assistant, Ex hibitions
Design and Med ia, NTU
S h o n a F i n d l a y , Cu rator ial Assistant, Residencies
A s s o c i a t e P r o f e s s o r K w o k K i a n W o o n , Associate P rovost
I s r u d y S h a i k , Executive, Ex hibitions
(Student Life), NTU
S a n t R u e n g j a r u w a t a n a , You ng P rofessional Trai nee, Ex hibitions
D r E u g e n e T a n , Di rector, National Galler y Si ngapore
L y n d a T a y , You ng P rofessional T rai nee, Residencies
K o w R e e N a , Director, Corporate Planning, Economic Development Board
S h e r m a i n L e e , Inter n, Out reach & Education
L o w E n g T e o n g , Di rector, Sector Development ( Visual A r ts), NAC
L i a n L a d i a , Inter n, Residencies, Out reach & Education
RESEARCH & EDUCATION
NTU CCA SIN G APORE
C h e o n g K a h K i t , Manager, Research
INTERNATIONAL AD V ISORY BOARD
A n c a R u j o i u , Manager, P ublications
S a m a n t h a L e o n g , Executive, Conference, Workshops & A rchive
OPERATIONS & STRATE G IC DE V ELOPMENT
Chai r
P r o f e s s o r N i k o s P a p a s t e r g i a d i s , Di rector, Research Unit
P h i l i p F r a n c i s , Deput y Di rector, Operations & St rategic Development
i n P ublic Cu ltu res, and P rofessor, School of Cu ltu re and Com mu nication,
J a s m a i n e C h e o n g , Assistant Di rector, Operations & HR
The Universit y of Melbou r ne, Aust ralia
N o r J u m a i y a h , Assistant Di rector, Commu nications & Development
K i m b e r l y S h e n , Manager, Com mu nications
A n n D e M e e s t e r , Di rector, F rans Hals Museu m, The Net herlands
Y a o J i n g W e i , Manager, F i nance
C h r i s D e r c o n , Di rector, Tate Moder n, United K i ngdom
V i j a y a l a k s h m i B a l a n k r i s h n a n , Special P rojects Assistant
H o u H a n r u , Artistic Director, Maxxi National Museum of 21st-Century Arts, Italy
L e e Y a n Y u n , Executive, Ad mi n & F i nance
P r o f e s s o r Y u k o H a s e g a w a , A r tistic Adv isor, Museu m of Contemporar y
T o n g S h i H u i , Executive, Operations & HR
A r t Tokyo ( MOT ), and P rofessor, Graduate School of Global A r ts, Tokyo Universit y
L e o w S i M i n , Inter n, Commu nications & Development
of t he A r ts, Japan
P r o f e s s o r S a r a t M a h a r a j , Visual A r t & K nowledge Systems,
Lu nd Universit y, Sweden
P h i l i p T i n a r i , Di rector, Ullens Center for Contemporar y A r t ( UCCA), Chi na
D r J o h n T i r m a n , Executive Di rector and P r i ncipal Research Scientist,
Center for Inter national Stud ies, Massachusetts Institute of Technolog y ( MIT ),
United States
NTU CCA SIN G APORE TEAM
36
37
cou nci l a n d boa r d
�The Sov er eign For est
2 011– 2 015
A The Scene of Crime
Film:
B A Love Story
Film:
(2011)
HD, colour, sound, 42mins
THE EXHIBITION HALL
(2010)
HD, colour, sound, 5mins 37secs
C The Counting Sisters and Other Stories
Book:
Projection:
(2011)
B
handmade banana fibre paper, screen-print, hand sewn
The Scene of Crime Version 2, HD, colour, silent, 40mins
D The Prediction
Book:
Projection:
(1991–2012)
handmade banana fibre paper, screen-print, hand sewn
E The Constitution
Book:
Projection:
G6
Hi 8 transferred to DV, colour, 8mins
(2012)
G2
HD, colour, silent, 9mins
J
6 Books
G 1 The Seed Book
G 2 In Memory Of
(2012) ,
(2012) ,
(2014) ,
digital print
E
THE SIN G LE SCREEN
H1
G4
C
digital print
digital print
G 6 The Referendum
(2013) ,
(2012) ,
H1
F
G3
digital print
G 4 Photo Album 2: Kalinganagar
G 5 Time
H2
G 5 G1
digital print
G 3 Photo Album 1: The Lying Down Protest
H3
D
handmade ramie/cotton fibre paper, screen-print, hand sewn
F 272 Varieties of Indigenous, Organic Rice Seeds
I
(2015) ,
digital print
H3
Photogr a phs
H 1 Kalinganagar Series (2012), 8 digital prints, contributed and collected
H 2 Record
(2012) ,
H 3 Memorial
digital print
(2014) ,
A
digital print
THE l a b
THE EXHIBITION HALL
Nidhan’s Question
(2013) ,
pamphlet
J
Selections from the Evidence Archive
251 digital prints (photographs, documents), contributed,
collected, found
t h e sov er eign f or e st
(2012–2015)
38
RECEPTION
I
m a in entr a nce
39
exhibition pl a n
�V ISITOR INFO
Exhibition
Exhibition Hour s
Block 43 Malan Road
Tue – Su n 12.00 – 7.00pm
Gill man Bar racks
F r i 12.00 – 9.00pm
Si ngapore 109443
Closed on Mondays
Of f ice & R esea rch Centr e
(except on Mondays)
Open on Public Holidays
Block 6 Lock Road, #01- 09/10
Si ngapore 108934
Public progr a mmes
ever y Wed nesday and F r iday eveni ng
R esidencies Studios
Blocks 37 & 38, Malan Road
tour s of ongoing exhibitions
Singapore 109452 & 109441
led by NTU CCA Si ngapore cu rators
ever y f i rst F r iday of t he mont h, 7.00pm.
Of f ice:
+ 65 6460 0300
F ree ad mission to all program mes.
Exhibitions:
+ 65 6339 6503
ntu.ccasingapore.org
Email:
facebook.com /ntu.ccasingapore
ntuccaevents@ntu.edu.sg
instagram: @ntu_ccasingapore
Ent rance
(Ci rcle Line)
to Gill man Bar racks
ALEXANDRA ROAD
Si ngapore
BLK 1
Teachers’
Car park
BLK 9
Pedest r ian Walkway
Academy for
t he A r ts
BLK 5
MALAN ROAD
LOCK ROAD
BLK 43
Car park A
CCA Exhibitions
BLK 4 7
DEPOT ROAD
Labrador Park MRT
BLK 3 9
BLK 38
BLK 6
CCA Of f ice &
Research Centre
Car park B
Entrance to
Gillman Bar racks
BLK 2 2
BLK 37
CCA Stud ios CCA Stud ios
Located at
© NTU Centre for Contemporar y A r t Singapore.
RUNNING TITLE
40
P r i nted Ju ly 2016. Design by Novamondo.
�The Scene of Crime (2011), detail, installation view of The Sovereign Forest,
dOCUMENTA (13), Kassel, Germany (2012). Photo Credit: Henrik Stromberg.
�The Scene of Crime (2011), detail, installation view of The Sovereign Forest,
dOCUMENTA (13), Kassel, Germany (2012). Photo Credit: Henrik Stromberg.
�exhibition
a m a r k a n wa r
in coll abor ation w ith
su dh i r pat t na i k /sa m a drust i
a nd sher na dastur
30 july —
9 october 2016
�“If a crime
continues to occur
regardless of the
enormous evidence
available then is the
crime invisible or
the evidence invisible
or are both visible
but not seen?”
A m a r K a n wa r
�The Scene of Crime (2011), detail, installation view of The Sovereign Forest,
dOCUMENTA (13), Kassel, Germany (2012). Photo Credit: Henrik Stromberg.
�Photo Credit: Amar Kanwar. Courtesy of the artist.
�
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
Amar Kanwar: The Sovereign Forest in collaboration with Sudhir Pattnaik/Samadrusti and Sherna Dastur 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>Amar Kanwar: The Sovereign Forest in collaboration with Sudhir Pattnaik/Samadrusti and Sherna Dastur</i> Exhibition Guide
Description
An account of the resource
<i>Amar Kanwar: The Sovereign Forest in collaboration with Sudhir Pattnaik/Samadrusti and Sherna Dastur</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2016-07-30
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Khim Ong
Magdalena Magiera
Amar Kanwar
Sudhir Pattnaik
Sherna Dastur
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
Asia
-
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d44e76de0c0fa1e6ef68f457cde95bb6
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
Charles Lim Yi Yong: SEA STATE, NTU Centre for Contemporary Art Singapore, 30 April – 10 July 2016, installation view. Courtesy of NTU CCA Singapore.
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a2156dd629fc9e5156aeae4c69360c63
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
Charles Lim Yi Yong: SEA STATE, NTU Centre for Contemporary Art Singapore, 30 April – 10 July 2016, installation view. Courtesy of NTU CCA Singapore.
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7739e8201289eb36c049f121785f5ecf
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
Charles Lim Yi Yong: SEA STATE, NTU Centre for Contemporary Art Singapore, 30 April – 10 July 2016, installation view. Courtesy of NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Charles Lim Yi Yong: SEA STATE, NTU Centre for Contemporary Art Singapore, 30 April – 10 July 2016, installation view. Courtesy of NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Charles Lim Yi Yong, SEA STATE, 30 April – 10 July 2016, Exhibition view: SEA STATE 8: THE GRID (2014), SEA STATE 7: sandman (2015), and SEA STATE
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Charles Lim Yi Yong: SEA STATE, NTU Centre for Contemporary Art Singapore, 30 April – 10 July 2016, installation view. Courtesy of NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Charles Lim Yi Yong: SEA STATE, NTU Centre for Contemporary Art Singapore, 30 April – 10 July 2016, installation view. Courtesy of NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Charles Lim Yi Yong: SEA STATE, NTU Centre for Contemporary Art Singapore, 30 April – 10 July 2016, installation view. Courtesy of NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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NTU Centre for Contemporary Art Singapore; Charles Lim Yi Yong, SEA STATE 1: inside\outside (2005), Installation includes 84 framed C-prints, VHF radio, and prepared GSP1 charts based on the port-limit of Singapore, published in 2004 by the Maritime and Port Authority of Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Charles Lim Yi Yong: SEA STATE, NTU Centre for Contemporary Art Singapore, 30 April – 10 July 2016, installation view. Courtesy of NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Charles Lim Yi Yong: SEA STATE, NTU Centre for Contemporary Art Singapore, 30 April – 10 July 2016, installation view. Courtesy of NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Charles Lim Yi Yong: SEA STATE, NTU Centre for Contemporary Art Singapore, 30 April – 10 July 2016, installation view. Courtesy of NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Charles Lim Yi Yong, SEA STATE, 30 April – 10 July 2016, Installation view, SEA STATE 2: as evil disappears (Sajahat Buoy) (2014), Encrusted navigational buoy.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Charles Lim Yi Yong, SEA STATE, 30 April – 10 July 2016, Installation view, SEA STATE 2: as evil disappears (Sajahat Buoy) (2014), Encrusted navigational buoy.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Charles Lim Yi Yong, SEA STATE, 30 April – 10 July 2016, Installation view, SEA STATE 2: as evil disappears (Sajahat Buoy) (2014), Encrusted navigational buoy.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Charles Lim Yi Yong, SEA STATE, 30 April – 10 July 2016, Exhibition view
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Charles Lim Yi Yong, SEA STATE, 30 April – 10 July 2016, Exhibition view
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
SEA STATE examines the biophysical, political and psychic contours of Singapore through the visible and invisible lenses of the sea.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2016-04-30
Exhibition End Date
2016-07-10
Collaboration
No
Commissioned Work
No
Related Countries
None
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>Charles Lim Yi Yong: SEA STATE</i>
Subject
The topic of the resource
Geopolitics
Sustainability
Ecology
Ecosystems
Nature
Climate Crisis
Oceans & Seas
Description
An account of the resource
<i>SEA STATE</i> by artist Charles Lim Yi Yong, commissioned for the Singapore Pavilion for the 56th Venice Biennale and curated by Shabbir Hussain Mustafa, will be presented at the NTU CCA Singapore from 30 April to 10 July 2016. For over a decade, Lim’s ongoing project <i>SEA STATE</i> examines the biophysical, political and psychic contours of Singapore through the visible and invisible lenses of the sea. <i>SEA STATE</i> is an in-depth inquiry by an artist that scrutinises both man-made systems, opening new perspectives on our everyday surroundings, from unseen landscapes and disappearing islands to the imaginary boundaries of a future landmass. <br /><br />First held at the Palazzo Franchetti on the occasion of the Singapore Pavilion at the 56th Venice Biennale, the symposium <i>The Geopolitical and the Biophysical: a structured conversation on Art and Southeast Asia in context</i> will continue and expand upon the debate with a second iteration at NTU CCA Singapore during Lim’s exhibition on 17 and 18 June 2016. <br /><br />The presentation of <i>SEA STATE</i> and the symposium <i>The Geopolitical and the Biophysical: a structured conversation on Art and Southeast Asia in context, Part II</i> held at NTU CCA Singapore are generously supported by the Ministry of Culture, Community & Youth, National Arts Council Singapore and the Singapore Tourism Board.
Contributor
An entity responsible for making contributions to the resource
Charles Lim Yi Yong
Ute Meta Bauer
Medium
The material or physical carrier of the resource.
Video
Multimedia Installation
Film
Photography
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
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Title
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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
Charles Lim Yi Yong: SEA STATE Exhibition Brochure
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
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Title
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<i>Charles Lim Yi Yong: SEA STATE</i> Exhibition Brochure
Description
An account of the resource
<i>Charles Lim Yi Yong: SEA STATE</i> Exhibition Brochure
Date
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2016-04-30
Contributor
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Charles Lim Yi Yong
Ute Meta Bauer
Format
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Brochure
Coverage
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Southeast Asia
-
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/deeda0ab8fa909b194c98c8994b34d2d.pdf?Expires=1712793600&Signature=JIJwmQ5msRGbaRgEPUSLG91fcpx1P4nhIY3xpcPhR9QB4CYa4TQJHlyhDIm4L0N3E%7EUafiN6jfpWopL9exCSFfwraZBZ4SAeTYWjL3U1pk2YyKAR2I0Pc2-Vuv96ofsN-IB%7E3bymDPmLnZn7m9UCfbb7uF7NskGggZHaJ%7E253867CqUzfnjrsh3gLjmeoCrh92aO-MjqIpWrbTvG35HOwBVzQVH-gPoPjQTGd1BE%7E4-DrPHAj76X1QqF4DJtTQKXskW9Wl3FDTd80UG88-6-EbqRff0VKgQBB00AZ4F3p1Yk76GjQkAwDWYhvhLFkL-Sbxq2Ks7OZDC%7E4AQuzhZnJg__&Key-Pair-Id=K6UGZS9ZTDSZM
48b8eebfa491631bc51338398b8a5356
PDF Text
Text
exhibition
charles lim yi yong
30 april – 10 july 2016
�— foreword by commissioner
Kathy Lai
Following its successful run at the
Venice Biennale last year, I am delighted
to see SEA STATE by Charles Lim Yi
Yong return to Singapore with the
NTU Centre for Contemporary Art
Singapore (NTU CCA Singapore) as
its host institution. Singapore’s return
to the Venice Biennale last year was a
resounding success, with some 130,000
visitors over the entire duration of the
Biennale, marking Singapore’s highest
visitor count to its Pavilion in Venice to
date. Singapore also secured its highest
international media coverage for Venice,
receiving good reviews from art critics,
international art media, and curators.
Singapore’s presentation has not
only helped to advance the artistic
careers of Charles Lim Yi Yong and
Shabbir Hussain Mustafa through the
international exposure afforded by
Venice but also reinforced Singapore’s
image in the eyes of the world, as
a serious contender in the field of
contemporary art and the issues of
the day.
sea state
2
3
Public engagement is key to the
sustainability of any arts endeavour and
both Lim and Mustafa, in conceiving
SEA STATE, have made efforts to do
so in the lead-up to the Venice Biennale
showcase. SEA STATE at NTU CCA
Singapore is the culminating outreach
effort to bring the show back to
Singapore for our population to enjoy.
What is heartening is that Lim and
Mustafa have invited the interns who
worked with them, and who were
stationed in Venice last year to host
the pavilion, back as guests for the
opening of this return exhibition. It is
a gracious gesture of thanks to these
young people for playing a critical role
in representing Singapore in Venice and
contributing to the development of art
in our society.
I would like to extend my
congratulations to Lim, Mustafa,
Professor Ute Meta Bauer and her team
at the NTU CCA Singapore for this
return exhibition and I look forward to
its positive reception on home ground.
foreword by commissioner
SEA STATE 2: as evil disappears (Sajahat Buoy) (2014). SEA STATE, detail of installation,
Singapore Pavilion, 56th Venice Biennale, 2015. Courtesy of the artist.
ceo, national arts council, singapore
�The NTU Centre for Contemporary
Art Singapore is pleased to host
the exhibition SEA STATE by
Singapore artist Charles Lim Yi Yong,
commissioned by the National Arts
Council (NAC) for the Singapore
Pavilion at the 56th Venice Biennale
2015, that also marked its return as
a presenting nation. Lim’s exhibition
will not only show the works of the
Singapore Pavilion, but will also
expand SEA STATE by inside\outside
(2005), it’s not that i forgot, but rather
i chose not to mention (2008), and
the award-winning short film, all the
lines flow out (2011), making this
presentation the first gathering of the
various critical components of the
ute meta bauer
project in Singapore since it started
in 2005.
The presentation at the NTU CCA
Singapore will allow local audiences
to engage with the complex work of
an outstanding artist. SEA STATE
is curated by an equally talented
curator, Shabbir Hussain Mustafa,
Senior Curator at the National
Gallery Singapore, who collaborated
with Lim over the last few years
discussing this multi-chapter project.
SEA STATE, encompassing critical
investigations by the artist and
spanning more than a decade, is an
exploration of the heteromorphical
nature of the sea and its relationship
4
to the notion of an island state.
Delving into the fragmented nature of
written stories, SEA STATE employs
the use of various research formats,
revealing hidden histories, demanding
multiple readings into their portrayal,
and asking how one can relate to
these stories of the past today. In
many ways, the sea is a metaphor
for Lim’s examination of Singapore’s
geopolitical anxieties as a city state.
But most of all, SEA STATE in its
complexity is a contemplation of
an artist’s profound and cerebral
relationship with his environment.
Lim’s works and displays ought to
be read differently by viewers from
5
different disciplines and backgrounds
—
they resist to be contained by one
linear history, never stilled by one
conclusion. Multiple readings, layers
and textures demand closer looks. Lim
presents his findings in their fragmented
states, leaving it to his viewers to
put the pieces together. An endless
stream of images, where neither the
sea nor the flow of goods ever stands
still, is juxtaposed with charts and
photographic evidence of colourful
buoys that have long disappeared. A
series of public programmes during the
exhibition, including Exhibition (de)
Tours and a film programme, will offer
further approaches to engage with issues
relevant to the works on view.
introduction
SEA STATE, installation view, Singapore Pavilion,
56th Venice Biennale, 2015. Courtesy of the artist.
founding director, ntu centre for
contemporary art singapore
professor, school of art, design and media,
nanyang technological university (ntu)
Ute Meta Bauer
— introduction
�With Lim’s SEA STATE, Singapore
made a successful return to the Venice
Biennale. We congratulate the NAC
and the Commissioning Panel of the
Singapore Pavilion for the 56th Venice
Biennale for their bold choice of a
project. We would like to thank both
Co-chairs, Kathy Lai, CEO of NAC;
ute meta bauer
6
Last but not least, we would like
to express our heartfelt gratitude
to the artist, Charles Lim Yi Yong
for collaborating with us for the
presentation of this amazing project;
and Shabbir Hussain Mustafa for his
curatorial intelligence, and whose
steadfast relationship with Lim has
been most crucial to the realisation
of SEA STATE.
7
introduction
SEA STATE 1: inside\outside (2005),
photographic print. Courtesy of the artist.
SEA STATE 7: sandwich (2015), film still, detail.
Courtesy of the artist.
Dr Eugene Tan, Director, National
Gallery Singapore; and panel members
Ahmad Mashadi, Head, NUS
Museum; Dr Charles Merewether,
then Visiting Professor, School of
Art, Design and Media, Nanyang
Technological University; Emi Eu,
Director, Singapore Tyler Print Institute;
June Yap, independent curator; Randy
Chan, Principal Architect, Zarch
Collaboratives; and Dr Susie Lingham,
then Director, Singapore Art Museum.
We are grateful to the NAC to entrust
and support us in presenting Lim’s
project SEA STATE, and to STB for
funding the accompanying symposium,
The Geopolitical and the Biophysical:
a structured conversation on Art and
Southeast Asia in context, in Venice
and now in Singapore. We would
like to also thank all speakers who
are contributing to the symposium
and public programmes, as well as
the National Gallery Singapore, and
the U.S. Embassy Singapore for
additional support.
next page
To accompany the presentation of SEA
STATE in Venice, NTU CCA Singapore
was invited by NAC and Singapore
Tourism Board (STB) to organise a
symposium. Titled The Geopolitical
and the Biophysical: a structured
conversation on Art and Southeast Asia
in context, the symposium took place
during the opening days at the Palazzo
Franchetti, Venice. On the occasion
of SEA STATE’s return to Singapore,
a second part of the symposium will
be held to continue and deepen the
discussions, featuring eminent speakers
including Professor Aihwa Ong, Robert
H. Lowie Distinguished Chair in
Anthropology, University of California,
Berkeley, who presents her keynote
at the recently inaugurated National
Gallery Singapore. A presentation by
Professor Michael M.J. Fischer, Andrew
W. Mellon Professor in the Humanities,
and Professor of Anthropology and
Science and Technology Studies,
Massachusetts Institute of Technology,
will kick off the second day of the
symposium, joined by an array of
speakers and respondents.
�sea state
8
9
foreword
�Bottom: SEA STATE 4: line in the chart (2008),
photographic still. Courtesy of the artist.
curator, sea state
Shabbir Hussain Mustafa
— sea state,
some measurements
Since 1965, Singapore has grown from
224.5 to 276.5 square miles through
the movement of sand from various
Southeast Asian origins to its outlying
islands and coasts through land
reclamation. Amongst its busy seaport
traffic, one observes the ever-present
sand barges—as they tug along a super
highway for sand, the very sand that
claims not to have a history, bear ghosts
and or tell stories. This sand moves
under the assumption that an inherently
finite resource can be made to appear
limitless. There is something else, too.
This newly reclaimed land that forms
the SEA STATE is not inherited, but
proclaimed; it is said to be a fearless
land, where the present meets the
imagination.
The current exhibition at the NTU
Centre for Contemporary Art Singapore
(NTU CCA Singapore) is the second
manifestation of the installation that
was created for the Singapore Pavilion
at the 56th Venice Biennale in 2015.
It sums up, a decade long project for
Charles Lim Yi Yong, as SEA STATE,
a series of 10 projects initiated in
2005, which has attempted to invert
perceptions of sea and land in the island
city-state of Singapore. Its structure is
inspired by the World Meteorological
shabbir hussain mustafa
Organization’s code for measuring sea
conditions, which numbers the varying
states ranging from calm, to moderate,
to the phenomenal. Presenting selected
works, many developed specifically
for the installation in Venice, the
exhibition is evoked as a tracking of the
biophysical, aspirational and cerebral
contours of an equatorial city-state that
is constantly altering its coastline.
Lim has observed this process of
land reclamation since the 1990s, but
it was in 2005, after a residency in
Chiang Mai, Thailand, that he began
to deliberate about how “Southeast
Asia” may be considered as being made
up of two water-based ecologies that
eventually meet in the sea. There is
a riverine Southeast Asia, composed
of Laos, Thailand, Myanmar, and
Cambodia, connected partly by the
Mekong River; and island Southeast
Asia, composed primarily of Indonesia,
Malaysia, Singapore, Philippines, and
now Timor-Leste. Whilst the division is
something that historians of the region
have grappled with since the 1960s,
especially in light of the formation of
the Association of Southeast Asian
Nations (ASEAN), Lim’s observation
hints that Singapore’s newly reclaimed
lands have a cross border implication,
10
11
sea state, some measurements
�Singapore’s land reclamations may
be seen as symptom, relief and cure.
Although not included in the current
exposition, SEA STATE 4: line in the
chart (2008) is based on a photograph
taken by the artist when he encountered
a sheet pile wall along the northeastern
sea borders of Singapore. The encounter,
to this day, remains familiar but
perplexing, a sign in the middle of
the sea put up by the Housing and
Development Board (HDB) of Singapore
of things to come, but not yet. The
sea is amidst barricade, composed
into a line on the chart that marks
an anthropogenic gesture in waiting,
as it draws attention to Singapore’s
relation with the sea as an almost-extant
presence; the state itself is sea. In the
SEA STATE, the distinction between
sea and land is always on the boundary
dividing one from the other, as it is,
at their points of intersection. It is in
this yet-to-be zone that we meet its
heteromorphia forcefully; here, with
this sea and yet-to-be land, the future
is to be prospected, it is wholly present,
it does not concern predecessors.
The SEA STATE exposes a type of
shabbir hussain mustafa
12
13
consciousness that simultaneously
conceals a counterintuitive recognition
of pre-history and a willing embrace
of non-history. Perhaps, this is also
suggestive of a geo-logic that leads
one towards the burgeoning issues
surrounding anthropogenic climate
change. Lim measures this, he evokes it
as a gesture—“bodies in water”—as the
temperature of the seawater here nears
blood heat.
As an ongoing process, the SEA STATE
is never finished, never completed; it is
continuously built, created, and builds
and creates. It swallows the sea, and is
itself swallowed by the sea. What we
would like to think of as terra firma is
actually a perennial alteration—a selfmaking, the creation of a landscape and
a situation—a non-mythical landing
driven by anthropogenic desires. For
Lim, the dialectic between the possible
and speculative, and identifying the
potentials of such a science within a
broader history of materialism and
a declaration of the sea leads one to
wonder about the sorts of morphologies
that stimulate the processes of postindustrial physical transformation.
He asserts that if we are to re-establish
a cultural relationship with the sea,
we need to begin by recognising it as
a highly territorialised, industrialised
and contested space. In 2013, Lim
sea state, some measurements
SEA STATE 6: phase1 (2015), film still.
Courtesy of the artist.
as sand moves, is secured, stored, and
compacted. Singapore island is then a
constantly evolving object, while the sea
border is near static, set by treaty with
neighbouring nations.
�shabbir hussain mustafa
SEA STATE 8: THE GRID (2014), prepared GSP1 chart published by
Maritime and Port Authority of Singapore. Courtesy of the artist.
SEA STATE 9: proclamation (2015), based on various GSP1 charts published
by the Maritime and Port Authority of Singapore. Courtesy of the artist.
discovered THE GRID, a system
developed in 1972 by the former Chief
Hydrographer of Singapore, Captain
Wilson Chua. This system transformed
how Singapore’s territorial waters could
be read, approached and rendered.
Initiated by the Port of Singapore
Authority (PSA), THE GRID is a
system that rests within Singapore’s
GSP1 hydrographic chart, and works
by dividing the sea into one-square-mile
units. These grids are further subdivided into quadrants A, B, C, and D
with each numbered using longitude
and latitude coordinates. One notable
feature of THE GRID is its sprawl as
it extends into parts of Malaysia and
Indonesia thus reifying the difficulty
14
15
sea state, some measurements
�Lim suggests this sensation “as evil
disappears”, as he evokes, “It is as if
after observing the process of land
reclamation for a long time, I sort of
knew that it would happen.” After the
first exhibition of SEA STATE 2:
as evil disappears (2008-2015) at
manifesta7, the artist discovered
that the Sajahat Buoy, a navigational
marker, also disappeared from the
charts. To fully unravel the gravitas of
the ‘disappearance’, Lim undertook the
rebuilding of the Sajahat Buoy in 2014
as part of the Singapore Pavilion at the
56th Venice Biennale. The assumption
being that the “old” buoy is somewhere
under the sea and is now encrusted with
barnacles, for it sunk as the sea itself
ceased to exist around it. Many queries
remain: Is the supposition even sound
to assume that the old buoy made its
then a simultaneous resistance to and
acceptance of the tropics that demands
constant renewal and replacement.
way to the bottom of the sea because
the reclamation sand had burdened
it so much that it had condemned
itself to disappear? Could this theory
be presented as a form of calculated
uncertainty and deliberate conscious
incompleteness to put forward a claim
that the limits of this disappearance is
the absolute end, but could be made
to meet with the absolute beginning?
If indeed the body of the old buoy has
disappeared without a sign, could its
newer reincarnation be self-sufficient
and speak in its name alone?
Nowhere is this more apparent than
in the case of Pulau Sajahat, which
disappeared in 2002 from the GSP1
hydrographic charts of Singapore
together with its smaller companion
Pulau Sajahat Kechil. Both islands
became subsumed by Pulau Tekong
as the land reclamation works on its
southern and northwestern coasts
intensified during the late 1990s.
shabbir hussain mustafa
16
17
sea state, some measurements
SEA STATE 2: as evil disappears (Sajahat Buoy) (2014),
photo documentation. Courtesy of the artist.
of territorialising a state that is an
island. With the intensification of land
reclamation since the 1970s, THE
GRID has left residual traces on what
was formerly the sea but is today
land. This near mythical conversion
of sea into land and its proclamation
by the state—a technoshamanistic
gesture (an expression I borrow
from Apinan Poshyananda)—after
the sand has rested and sufficiently
compacted reveals that there is no
empirical reality that can simply be
encountered in a manner that alludes
to the climatic forces of the tropics
that seek to compel and overwhelm
Singapore island. In other words,
Singapore, with its impressive urban
edifice ironically serves to heighten
this consciousness. In the SEA STATE,
the effects of erasure and residue are
�SEA STATE 3: inversion (2014), 3D sand print of the inverted seabed of
Singapore based on various GSP1 charts published by the Maritime and
Port Authority of Singapore. Courtesy of the artist.
two-bodied image—what comes back
was what died.
Perhaps, this is where we ought to
begin, at an end. Singapore is now a
human island.
next page
SEA STATE 6: capsize (2015), film still.
Courtesy of the artist.
What made Sajahat even more peculiar
was its name. In Malay, “jahat” means
“evil”, but may also be colloquially
referred to as “naughty”. What is it,
then, that has returned through Lim’s
preparation? And if this re-emergence
was to be seen through and presented
within an exhibitionary context, what
would we be left with? What are we
looking at? What demands can we
make of it? At the time of writing,
one thing remains certain—this reemergence of the Sajahat Buoy offers
it birth, but also evokes its death. The
buoy, old and less-old, is merged in a
shabbir hussain mustafa
18
19
sea state, some measurements
�— biographies
Charles Lim Yi Yong
Shabbir Hussain Mustafa
— about venice biennale
and the singapore
pavilion
Charles Lim Yi Yong (Singapore)
studied Fine Art at Central Saint
Martins School of Art and Design,
London, graduating in 2001. In 2002,
he participated in Documenta11 in
Kassel, Germany as a member of
the net-art collective tsunamii.net.
A former professional and Olympic
sailor, Lim’s practice stems from an
intimate, bodily engagement with the
natural world, mediated and informed
by field research and experimentation,
performance, drawing, photography,
and video.
and Sydney (2016). Various stages of
SEA STATE, an ongoing project that
spans more than a decade, have been
presented at all of Singapore’s major
exhibiting institutions, including the
National Museum, National Library,
Singapore Art Museum, and National
University of Singapore Museum (NUS
Museum).
—
Lim’s moving image works have
Shabbir Hussain Mustafa (Singapore)
curated SEA STATE for the Singapore
Pavilion at the 56th Venice Biennale.
He is Senior Curator at the National
been screened in international film
festivals at Rotterdam, Tribeca and
Edinburgh. His short film all the
lines flow out premiered at the 68th
Venice Film Festival in 2011 and
received a Special Mention, making
him the first Singaporean to be
honoured at the festival. Recent
iterations of SEA STATE have been
exhibited at manifesta7 (2008),
the Institut d’Art Contemporain
Villeurbanne, France (2013), and
at biennales in Shanghai (2008),
Singapore (2011), Osaka (2013),
Gallery Singapore, where he currently
heads the curatorial team overseeing
Between Declarations and Dreams, a
long-term exhibition that surveys art
about the region from the 19th century
to present day. From 2013-2015, he
was lead curator of Siapa Nama Kamu?
(in Malay, What is Your Name?), the
Gallery’s other long-term exhibition
that focuses on art in Singapore from
the late 19th century onwards. He was
formerly Curator (South-Southeast
Asia) at the National University of
Singapore Museum (NUS Museum),
sea state
20
from 2007-2013, where his approach
centred on deploying archival texts
as ploys in engaging different modes
of thinking and writing. It was at
NUS Museum that he initiated the
critically acclaimed accumulative
projects Camping and Tramping
through The Colonial Archive: The
Museum in Malaya (2011), The
Sufi and The Bearded Man: Remembering a Keramat in Contemporary
Singapore (2010), and co-conceived
the experimental space prep room |
things that may or may not happen
(2012-ongoing). In 2013, he curated
In Search of Raffles’ Light | An Art
The Venice Biennale dates back to 1895,
when the first International Art Exhibition
was organised, and is one of the most
important international biennales and
cultural institutions in the world. In 2015,
the 56th Venice Biennale attracted more
than 500,000 visitors.
Project with Charles Lim (2013), a
three-year collaboration with the artist
that tracked the immaterial, mundane
and irreconcilable traces surrounding
Singapore’s fractured relationship with
the sea. Mustafa has written extensively
about methodological considerations
for the rethinking of curatorial practice
in Singapore and is a member of the
International Association of Art Critics,
Singapore Section.
Venice Biennale also marked the new
location for the national pavilion at the
Sale d’Armi in the Arsenale, and leased for
the next nine editions, putting it in closer
proximity to the other national pavilions.
21
Singapore joined the Venice Biennale with
its first national pavilion in 2001 and has,
since then, participated in every edition,
except in 2013 when the National Arts
Council (NAC) conducted a review of
its participation, returning for the 2015
edition with Charles Lim Yi Yong’s project,
SEA STATE. Singapore’s return to the
The Singapore Pavilion at the 56th Venice
Biennale was commissioned by the NAC.
NTU CCA Singapore was commissioned
by NAC and Singapore Tourism Board
(STB) to organise the symposium,
The Geopolitical and the Biophysical:
a structured conversation on Art
and Southeast Asia in context, Part I which
was held during the opening days in Venice.
biographies
�— public programmes
The public programmes of NTU Centre
for Contemporary Art Singapore are
conceived as an extension of each
exhibition, developing themes that will
resonate in different fields. Comprising
of Behind the Scenes, Conversations,
Exhibition (de)Tours, and Screenings,
the public programmes bring together
different approaches to, and points of
view on the artist’s work. Behind the
Scenes provide a rare insight into the
complexities of exhibition-making,
and presents the chance to learn about
various aspects of a show through invited
professionals. Exhibition (de)Tours are
structured as a series of presentations,
conceived as opportunities to engage with
practitioners from different fields and
with different perspectives on the works
on view. Screenings and Conversations
offer points of entry for the public
to engage with the topics of a show,
revealing thematic correspondence with
exhibited artists through a diversity of
media.
Free admission to all programmes.
All programmes take place at NTU
CCA Singapore, Block 43 Malan Road,
Gillman Barracks, unless otherwise stated.
For updates on public programmes, visit:
ntu.ccasingapore.org
facebook.com/ntu.ccasingapore
sea state
wednesday, 27 april, 7:30 – 9:00pm
Behind the Scenes of SEA STATE
Charles Lim Yi Yong, artist;
Shabbir Hussain Mustafa, curator;
and Yap Seok Hui, technical manager
(Singapore)
The Single Screen and The Exhibition Hall
Charles Lim Yi Yong and Shabbir
Hussain Mustafa, together with the
team who worked on the realisation of
SEA STATE for the Singapore Pavilion
at the 56th Venice Biennale 2015, will
discuss various aspects of the project,
from development of the work to the
exhibition, from the technical and
logistical aspects to the presentation
in Venice. Lim and Mustafa will also
address how the presentation of SEA
STATE at the NTU CCA Singapore
differs to the Venice presentation.
friday, 6 may, 7:30 – 9:00pm
Exhibition (de)Tour
One Belt, One Road: Critical Accounts
Jegan Vincent de Paul (Canada/Singapore),
researcher and PhD candidate, NTU CCA
Singapore, and School of Art, Design and
Media, Nanyang Technological University
(NTU)
The Single Screen
Jegan Vincent de Paul presents his
ongoing doctoral research on the
People’s Republic of China’s One Belt,
One Road infrastructure development
project. Questioning the role of art in
22
creating new understandings of today’s
geopolitical events, his project brings
together critical analysis and aesthetic
accounts of the One Belt, One Road
project. Attention is paid to countries
where construction and conflict
overlap, particularly Burma, Sri Lanka,
and Pakistan.
wednesday, 1 june, 7:30 – 10:00pm
friday, 3 june, 7:30 – 10:00pm
Screening
Films by Apichatpong Weerasethakul
(Thailand), artist and filmmaker
Selected and introduced by
Dr David Teh (Australia/Singapore),
Assistant Professor, Department of English
Language and Literature, National
University of Singapore (NUS)
The Single Screen
As a prelude to the symposium The
Geopolitical and the Biophysical: a
structured conversation on Art and
Southeast Asia in context, Part II,
this selection of films of Apichatpong
Weerasethakul, attempts to set up a
“conversation” between two artistfilmmakers, Apichatpong and Charles
Lim Yi Yong. Both have explored ideas
of the “entropic” in the Southeast Asian
context. Lim’s film, all the lines flow out
(2011) is showing at The Single Screen
as part of the SEA STATE exhibition.
Dr David Teh’s research on the region’s
visual cultures puts special emphasis
23
on the moving image and other nontraditional media.
wednesday, 8 june, 7:30pm – 9:00pm
Exhibition (de)Tour
Charles Darwin’s Sexy Barnacles
Dr John van Wyhe (United Kingdom/
Singapore), Senior Lecturer, Department of
Biological Sciences, Department of History,
and Fellow of Tembusu College, NUS
The Single Screen
Dr John van Wyhe, historian of
science and the Founder and Director
of Darwin Online will speak about
Charles Darwin’s study and obsession
with barnacles. His study of these dull,
unsung encrustations of rocks reveal
secrets: from the extinction of giant
animals in South America, to the build
up of earthquakes in the Andes. His
research uncovers the true diversity of
the living world and even suggests the
historical evolution of sexuality.
friday, 17 june – saturday, 18 june
Symposium
The Geopolitical and the Biophysical:
a structured conversation on Art and
Southeast Asia in context, Part II
National Gallery Singapore, Auditorium,
1 St. Andrew’s Road
NTU CCA Singapore, The Single Screen,
Block 43 Malan Road
Please refer to Page 25-27 for details.
public programmes
�— symposium
The Geopolitical and the Biophysical:
a structured conversation on Art and
Southeast Asia in context, Part II
friday, 24 june, 7:30 – 9:00pm
Exhibition (de)Tour
Toh Hun Ping, artist, film researcher, and
writer; and Robert Zhao Renhui, artist
Moderator, Khim Ong, Curator,
Exhibitions, NTU CCA Singapore
(Singapore)
The Single Screen
Southeast Asia, as a geographical region
and conceptual category, is a contested
entity. The possibilities and uncertainties
in this region continue to pose unique
social and political challenges. Conceived
as an expansion on the ideas explored
in SEA STATE by Charles Lim Yi Yong,
The Geopolitical and the Biophysical:
a structured conversation on Art and
Southeast Asia in context, Part II will
attempt to address the multiple notions
of “Southeast Asia” and the various
issues surrounding its border, territories,
dilemmas and anxieties. Part I of the
symposium was held on the occasion
of the Singapore Pavilion at the 56th
Venice Biennale, during the opening days,
and was also organised by NTU CCA
Singapore.
Conversations revolving around ideas
of Singapore’s landscape as conjured
from various sources and viewpoints.
The speakers will offer their
perspectives of Singapore’s landscapes,
and anecdotes uncovered from various
archives and researches, as well as
recollect expunged and forgotten
places and their inhabitants.
friday, 8 july, 7:30pm – 9:00pm
Exhibition (de)Tour
Professor Lui Pao Chuen (Singapore),
Adviser, National Research Foundation,
Prime Minister’s Office
The Single Screen
Free admission.
The former Chief Defence Scientist
with the Ministry of Defence, Professor
Lui will talk about Singapore’s water
development, its borders and coastline.
Speaking on a more personal note on
his relationship to the sea, Professor
Lui will also talk about his experiences
and challenges while working on the
Jurong Rock Caverns.
public programmes
For updates, visit:
ntu.ccasingapore.org
facebook.com/ntu.ccasingapore
24
25
symposium
�day 1: friday, 17 june
7:00 – 9:00pm
National Gallery Singapore, Auditorium,
1 St. Andrew’s Road
day 2: saturday, 18 june
9:30am – 6:00pm
NTU CCA Singapore, The Single Screen,
Block 43 Malan Road
7:00pm
Registration
9:30am
Registration
7:30 – 7:45pm
Welcome addresses by Paul Tan,
Deputy CEO, National Arts
Council, Singapore; and Ute Meta
Bauer, Founding Director, NTU
CCA Singapore, and Professor,
School of Art, Design and Media,
Nanyang Technological University
(NTU), Singapore
10:00 – 10:10am
Opening address by Chair of morning
session, Professor Ute Meta Bauer
7:45 – 9:00pm
Keynote Lecture by Professor Aihwa
Ong, Robert H. Lowie Distinguished
Chair in Anthropology, University of
California, Berkeley, United States
Respondent, Professor C.J. Wee
Wan-ling, Division of English, School
of Humanities and Social Sciences,
College of Humanities, Arts and
Social Sciences, NTU, Singapore
the geopolitical and the biophysical
10:10 – 11:20am
Keynote Lecture by Professor Michael
M.J. Fischer, Andrew W. Mellon
Professor in the Humanities, and
Professor of Anthropology and
Science and Technology Studies,
Massachusetts Institute of Technology
(MIT), United States
11:20 – 12:30pm
Session 1
Lecture by Gridthiya Gaweewong,
Artistic Director and Curator,
Jim Thomson Art Center,
Bangkok, Thailand
Respondent, Russell Storer, Senior
Curator, National Gallery Singapore
26
12:30 – 1:30pm
Lunch
4:10 – 4:30pm
Tea
1:30 – 1:40pm
Address by Chair of afternoon session,
Dr David Teh, Assistant Professor,
Department of English Language and
Literature, National University of
Singapore (NUS)
4:30 – 6:00pm
Session 4: Roundtable Discussion
Panellists include Charles Lim Yi
Yong, Shabbir Hussain Mustafa,
and Professor Aihwa Ong
Moderated by Professor Ute Meta
Bauer, and Dr David Teh
1:40 – 2:50pm
Session 2
Lecture by Seth Denizen, graduate
student, Department of Geography,
University of California, Berkeley,
United States
Respondent, Shabbir Hussain Mustafa,
curator, SEA STATE, and Senior
Curator, National Gallery Singapore
2:50 – 4:10pm
Session 3
Lecture by Dr Vivienne Wee,
independent anthropologist and
researcher, Singapore
Respondent, Dr Imran Tajudeen,
Assistant Professor, Department of
Architecture, School of Design and
Environment, NUS, Singapore
27
symposium
�— education & outreach
The education and outreach
programmes of NTU Centre for
Contemporary Art Singapore are
conceived to offer various ways to
approach, engage and interpret
ideas of art and artists introduced
by the Centre. Often offered as
Workshops, these programmes allow
intimate encounters with art, artists,
and curators.
All programmes take place at NTU
CCA Singapore, Block 43 Malan
Road, Gillman Barracks, unless
otherwise stated.
Free admission to all programmes.
For updates on education and
outreach programmes, visit:
ntu.ccasingapore.org
facebook.com/ntu.ccasingapore
saturday, 7 may, 10.00am – 12.00pm
Workshop for Teachers and Educators
led by Kelly Reedy (United States/
Singapore), artist and educator
The Seminar Room
This workshop was developed in
collaboration with Kelly Reedy,
a former lecturer at the National
Institute of Education, who
specialises in teaching how museums
and galleries can be used 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 the various
works presented in SEA STATE, it
will allow the teachers to prepare
for visits with their school classes.
For enquiries and registration
of education programmes and
school tours, email:
NTUCCAeducation@ntu.edu.sg
saturday, 14 may, 1.00pm – 4.00pm
The Making of Singapore Pavilion at
Venice Biennale
Sophia Loke, Assistant Director, Sector
Development, Visual Arts, National Arts
Council; and June Yap, independent
curator and curator of the Singapore
Pavilion (artist Ho Tzu Nyen) at the
54th Venice Biennale, 2011 (Singapore)
The Seminar Room
This workshop will give an insight to
Singapore’s participation in the Venice
Biennale, and the process of selecting
and commissioning the projects. The
speakers will highlight purpose and
opportunity, as well as the challenges
inherent in such an undertaking. SEA
STATE, the most recent commission
for Singapore Pavilion in 2015, took
place at the new location, Sale d’Armi
situated at the Arsenale. Leased for
the next nine editions, it will put
Singapore’s artists in closer proximity
to the other national presentations.
saturday, 25 june, 2.00pm – 7.00pm
Workshop for Children
Part of Gillman Barracks Art Day Out! x
Children’s Season
Gillman Barracks
Discover contemporary art through the
lens of an artist and engage all of your
senses in playful ways. Take with us a
journey through the current exhibition
by playing games, sharing stories and
exchanging ideas along the way! Get
messy with fun hands-on art making
activities!
For information about Art Day Out!,
visit www.gillmanbarracks.com
Gillman Barracks Art & History Tours
These free docent-led tours by Friends
of the Museum will uncover Gillman
Barracks’ rich history and introduce its
galleries, including a visit to NTU
CCA Singapore.
Tours are offered on Fridays to
Sundays at varied timings.
Please register in advance at
www.gillmanbarracks.com/tours.
sea state
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education & outreach
�— public programme contributors
Ute Meta Bauer (Germany/Singapore)
is the Founding Director of the NTU
Centre for Contemporary Art Singapore
(NTU CCA Singapore) and a Professor
at the School of Art, Design and Media,
Nanyang Technological University.
Prior to this, she was Dean of Fine Art
at the Royal College of Art,
London; Associate Professor and
Founding Director of MIT’s Program in
Art, Culture, and Technology (ACT)
at MIT, Cambridge. She also served
as Founding Director of the Office
for Contemporary Art (OCA), Oslo;
was Artistic Director of the 3rd Berlin
Biennale for Contemporary Art; and
was a co-curator of Documenta11,
Kassel, Germany.
Jegan Vincent de Paul (Canada/
Singapore) is a researcher with a
background in architecture (University
of Toronto) and visual studies (MIT).
He is the co-founder of Counter,
where he produced projects for a
number of artists and organisations
such as Voices Beyond Walls, Nakba
Archive, the MIT Museum, and the
MIT School of Engineering. He is
currently a PhD candidate at the
School of Art, Design and Media,
Nanyang Technological University,
and NTU Centre for Contemporary
Art Singapore.
sea state
Sophia Loke (Singapore) is an art
administrator at the National Arts
Council. She has been involved in the
project management of the Singapore
Pavilion at the Venice Biennale as part
of her sector development work for
the visual arts. This includes reviews
of grants, capability development,
and cultural policy. She has experience
working in theatre and corporate
communications, and was responsible
for the publicity of the Singapore Arts
Festival (2008).
Professor Lui Pao Chuen (Singapore)
retired in 2008 after serving 41 years
in the Ministry of Defence Singapore
in different appointments and as Chief
Defence Scientist in his last 22 years’
service. He was appointed Advisor,
National Research Foundation, Prime
Minister’s Office. Professor Lui is
Adjunct Professor of the Faculty of
Engineering at National University
of Singapore since 1990, and the
College of Engineering at Nanyang
Technological University since
2007. He is the Senior Advisor of
the Ministry of Foreign Affairs, and
was appointed Chairman, Project
Evaluation Panel, Environment &
Water Industry Development Council
in 2006, and Chairman, Technical
Board, Environment Technology
30
Research Programme of NEA in
2009. In 2011, Professor Lui was
conferred an Honorary Fellow of the
ASEAN Federation of Engineering
Organizations for his contributions
to the engineering fields. He was
elected by the Institute of Physics
of Singapore as the winner of the
2011 IPS President Medal for
his contributions to the Physics
community, and in October 2014,
received the Institution of Engineers
Singapore’s Lifetime Engineering
Achievements Award. In 2015, he
received the inaugural Defence
Technology Medal (Outstanding
Service) from the Minister for Defence.
Magdalena Magiera (Germany/
Singapore) is Curator, Outreach
& Education at NTU Centre for
Contemporary Art Singapore
(NTU CCA Singapore). She was an
independent curator, Managing Editor
of frieze d/e and currently editor of
mono.kultur, a quarterly interview
magazine. She co-curated Based in
Berlin (2011) as well as exhibitions for
The Building and SPLACE in Berlin.
Magiera was also project manager
of The Maybe Education and Public
Programs of dOCUMENTA(13)
(2012) and unitednationaplaza (20062008) in Berlin. Prior to joining NTU
31
CCA Singapore, she worked for e-flux
exhibitions and public programmes in
New York City.
Khim Ong (Singapore) is Curator,
Exhibitions at NTU Centre for
Contemporary Art (NTU CCA
Singapore). Her involvement in
visual arts spans more than a decade,
including independent work as curator
as well as being Curatorial Assistant
at the Institute of Contemporary
Arts Singapore, LASALLE; Assistant
Curator at Osage Gallery, Hong Kong;
and Manager for Sector Development
(Visual Arts) at the National
Arts Council (NAC). She curated
Biographies (co-curated with Biljana
Ciric) at Osage Gallery, Hong Kong
(2010); Landscape Memories at Louis
Vuitton Espace, Singapore (2013); was
co-curator of Yang Fudong: Incidental
Scripts (2014) at NTU CCA Singapore;
and curated the Southeast Asia
Platform at Art Stage Singapore (2015).
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
public programme contributors
�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.
Dr David Teh (Australia/Singapore)
is Assistant Professor, Department
of English Language and Literature
at National University of Singapore.
He is also a writer, curator, art advisor,
and researcher specialising in Southeast
Asian contemporary art. Before moving
to Singapore, he worked as an
independent curator and critic
in Bangkok (2005-2009), and has
since realised projects in Germany,
Malaysia, Indonesia, and Singapore.
His writings have appeared in Third
Text, Afterall, LEAP Magazine, Art
Asia Pacific, artforum.com and The
Bangkok Post. His new book on Thai
contemporary art will be published in
2017 by MIT Press.
Toh Hun Ping (Singapore) is a video
artist, film researcher, and writer.
His video works have screened at
sea state
international experimental film festivals
such as the Bangkok Experimental
Film Festival, and Paris Festival of
Different and Experimental Cinemas;
and were presented in art venues
including Sculpture Square, and The
Substation (both in Singapore), as video
installations and live-performance
projections. In preparation for his next
video work, Toh is researching into the
history of film production in the early
to mid-20th century Singapore. He also
runs the Singapore Film Locations
Archive, a private video collection
of films made in Singapore, and
maintains a website about Singapore
film locations (sgfilmlocations.com).
He has worked on a freelance basis
as a researcher for film programmes
at the National Museum of Singapore
Cinémathèque for Foundation of Run
Run Shaw’s Cinema Empire, Gems of
Amoy Cinema (2015); and the Asian
Film Archive for State of Motion,
Celluloid Void 2: The Lost Films of
South East Asia (2016).
at the Science Centre Singapore. He
has published ten books, including
Dispelling the Darkness: Voyage
in the Malay Archipelago and the
Discovery of Evolution by Wallace and
Darwin (World Scientific Publishing,
2013), Alfred Russel Wallace: Letters
from the Malay Archipelago (Oxford
University Press, 2013), The Annotated
Malay Archipelago by Alfred Russel
Wallace (NUS Press, 2014) and Charles
Darwin in Cambridge (World Scientific
Publishing, 2014).
Dr John van Wyhe (United Kingdom/
Singapore) is a historian of science at
the Department of Biological Sciences
and Tembusu College, National
University of Singapore. He is the
Apichatpong Weerasethakul (Thailand)
is an artist and filmmaker. Recognised
as one of the most original voices in
contemporary cinema, his feature
films, short films and installations have
won him widespread international
recognition and numerous awards,
including the Cannes Palme d’Or in
2010 with Uncle Boonmee Who Can
Recall His Past Lives; the Cannes
Competition Jury Prize in 2004 with
Tropical Malady; and the Cannes Un
Certain Regard Award in 2002 with
Blissfully Yours. His latest feature
Cemetery of Splendour was released
to critical acclaim at the 68th Cannes
Film Festival in 2015. Apichatpong
began making films and video shorts in
Founder and Director of Darwin
Online. He curated the restoration of
Charles Darwin’s College rooms and
the Alfred Russel Wallace exhibition
1994 and completed his first feature,
Mysterious Object at Noon in 2000.
He has also mounted exhibitions and
installations in many countries since
32
33
1998. Lyrical and often mysterious,
his film works are non-linear, dealing
with memory in subtle ways, invoking
personal politics and social issues.
Working independently of the Thai
commercial film industry, Apichatpong
devotes himself to promoting
experimental and independent
filmmaking through his company Kick
the Machine Films, founded in 1999,
which also produces all his films. Major
installations have been presented at
dOCUMENTA(13) (2012) and in solo
exhibitions in Oslo, London, Mexico
City, Kyoto, and New York.
June Yap (Singapore) is an independent
curator and was previously Deputy
Director and Curator at the Institute
of Contemporary Arts Singapore,
LASALLE, and Curator at the
Singapore Art Museum. Selected
curatorial projects include Bound for
Glory with artist Wong Hoy Cheong at
the National University of Singapore
Museum (2008); Das Paradies ist
Anderswo / Paradise is Elsewhere
at Institut für Auslandsbeziehungen
(ifa), Germany (2009); The Future of
Exhibition: It Feels Like I’ve Been Here
Before at the Institute of Contemporary
Arts Singapore, LASALLE (2011); The
Cloud of Unknowing at the Singapore
Pavilion at 54th Venice Biennale with
artist Ho Tzu Nyen (2011); the video
programme You and I, We’ve Never
public programme contributors
�— charles lim yi yong: sea state
NTU Centre for Contemporary Art
Singapore
30 April – 10 July 2016
Singapore Pavillion
56th Venice Biennale, Italy.
9 May – 22 November 2015
Commissioned by the National Arts
Council, Singapore
production team singapore
Been So Far Apart: Works from Asia
for VideoZone5 at the Center for
Contemporary Art in Tel Aviv (2010);
No Country: Contemporary Art for
South and Southeast Asia as part of the
Guggenheim UBS MAP Global
Art Initiative (2014); and Dear Painter
at Sundaram Tagore Gallery, Singapore
(2015).
Yap Seok Hui (Singapore) has toured
with theatre and dance productions
to Asia and Europe, undertaking
various production, technical and
stage management roles. Selected
credits include Ten Thousand Tigers
(Ho Tzu Nyen); Macho Dancer (Eisa
Jocson); The Gay Romeo (Daniel
Kok); and SoftMachine (Choy Ka Fai).
A co-founding member of Singaporebased art installation company
ARTFACTORY which collaborates
with local artists, art institutions and
curators in the creation of media art
works, she has also worked on the
technical installations for several
exhibitions at the NTU Centre
for Contemporary Art Singapore,
Singapore Art Museum, the 2nd KochiMuziris Biennale, India, Singapore
Pavilion at the 56th Venice Biennale,
Italy, and Sharjah Arts Space, United
Arab Emirates.
Robert Zhao Renhui (Singapore) is
a multidisciplinary artist. His work
addresses man’s relationship with
nature and presents different modes of
the human gaze on nature, frequently
highlighting how truth is constructed
through a false naturalisation and
manipulation of beliefs. Zhao works
mainly with photography but often
adopts a multidisciplinary approach
by presenting images together with
documents and objects. His works
include textual and media analysis,
video, photography and book projects.
production team venice
curator
Shabbir Hussain Mustafa,
Senior Curator, National Gallery
Singapore
curator
Shabbir Hussain Mustafa
sound
Zai Tang (with master engineering
by Douglas Henderson)
project management
Khim Ong, Curator, Exhibitions
design consultant
Jolene Lee
technical installation
ARTFACTORY
technical management
ARTFACTORY
exhibition construction
Design 18 (S) Pte Ltd
art handling
Rhema Events & Arts Services; and
Helutrans Artmove
technical engineering
Eidotech GmbH
pavilion management & installation
M + B studio srl
website
PebbleRoad
logistics
Helutrans Artmove
Special thanks to all the interns who helped
out and hosted the Singapore Pavilion; and
to Viviana Mejia for providing support in
the production process.
The presentation of SEA STATE and the symposium The Geopolitical and the Biophysical:
a structured conversation on Art and Southeast Asia in context, Part II held at NTU CCA
Singapore are generously supported by the Ministry of Culture, Community & Youth,
National Arts Council Singapore and Singapore Tourism Board, with additional support
for the symposium by the U.S Embassy Singapore and the National Gallery Singapore.
supported by
with addtional support by
public programme contributors
34
held in
symposium venue partner
�— ntu centre for contemporary art singapore
Located in Gillman Barracks, the
NTU Centre for Contemporary Art
Singapore (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, and academic research
and education. 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. 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. The Centre’s
dynamic public programmes serve to
engage with various audiences through
lectures, workshops, open studios, film
screenings and Exhibition (de)Tours.
Since the Centre’s inauguration
in October 2013, the NTU CCA
Singapore has presented several highprofile, first-to-launch exhibitions of
leading artists, making it one of the
first spaces in the region to present
international exhibitions of such
a scale. The Centre’s residencies
programme is dedicated to facilitate
the production of knowledge and
research, engaging and connecting
artists, curators and researchers from
Singapore, Southeast Asia and beyond,
and across various disciplines. The
Centre’s seven studios support the
artistic process in the most direct
way—by giving the time and locale to
be fully engaged, and the access to an
interesting and immersive context to
further the space for developing ideas.
— giving to ntu centre for
contemporary art singapore
Your generous contributions support
NTU Centre for Contemporary Art
Singapore’s (NTU CCA Singapore)
internationally-acclaimed, 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
sea state
36
37
corporate information
�— ntu cca singapore staff
— ntu cca singapore
governing council
Ute Meta Bauer, Founding Director
Professor Freddy Boey, Co-Chair, Deputy President And Provost,
Nanyang Technological University (NTU)
Thien Kwee Eng, Co-Chair, Assistant Managing Director, CG Consumer,
Singapore Economic Development Board (EDB)
exhibitions & residencies
Khim Ong, Curator, Exhibitions
Magdalena Magiera, Curator, Outreach & Education
Syaheedah Iskandar, Curatorial Assistant, Exhibitions
Shona Findlay, Curatorial Assistant, Residencies
Isrudy Shaik, Executive, Exhibitions
Lynda Tay, Young Professional Trainee, Exhibitions
Chu Hao Pei, Young Professional Trainee, Exhibitions
Corine Chan, Young Professional Trainee, Residencies
Professor Alan Chan Kam-Leung, Dean, College of Humanities, Arts,
& Social Sciences, NTU
Professor Dorrit Vibeke Sorensen, Chair, School of Art, Design And Media, NTU
Associate Professor Kwok Kian Woon, Associate Provost, Student Life, NTU
Kow Ree Na, Director, Lifestyle, EDB
Dr Eugene Tan, Director, National Gallery Singapore
Paul Tan, Deputy CEO & Director, Visual Arts, National Arts Council (NAC)
research & education
Cheong Kah Kit, Manager, Research
Anca Rujoiu, Manager, Publications
Samantha Leong, Executive, Conference, Workshops & Archive
Lee Chang Ming, Young Professional Trainee, Research & Education
— ntu cca singapore
international advisory board
operations & strategic development
Philip Francis, Deputy Director, Operations & Strategic Development
Jasmaine Cheong, Assistant Director, Operations & HR
Nor Jumaiyah, Assistant Director, Communications & Development
Kimberly Shen, Manager, Communications
Vijayalakshmi Balankrishnan, Special Projects Assistant
Tong Shi Hui, Executive, Operations & HR
sea state
38
Professor Nikos Papastergiadis, Chair, Professor, School of Culture and Communication,
University of Melbourne, Australia
Ann DeMeester, Director, Frans Hals Museum, The Netherlands
Hou Hanru, Artistic Director, Maxxi National Museum of 21st-Century Arts, Italy
Yuko Hasegawa, Chief Curator, Museum of Contemporary Art Tokyo (MOT), Japan
Professor Sarat Maharaj, Visual Art & Knowledge Systems, Lund University, Sweden
Philip Tinari, Director, Ullens Center for Contemporary Art (UCCA), China
Dr John Tirman, Executive Director and Principal Research Scientist, Center for
International Studies, Massachusetts Institute of Technology (MIT), United States
39
corporate information
�exhibition
Block 43 Malan Road,
Gillman Barracks,
Singapore 109443
office & research centre
Block 6 Lock Road, #01-09/10,
Singapore 108934
residencies studios
Blocks 37 & 38, Malan Road
Singapore 109452 & 109441
exhibition hours
Tue – Sun 12 – 7pm, Fri 12 – 9pm.
Closed on Mondays.
Open on Public Holidays.
Free admission to exhibitions,
public programmes and tours.
Updates on exhibitions and programmes:
ntu.ccasingapore.org
facebook.com/ntu.ccasingapore
instagram: @ntu_ccasingapore
office: +65 6460 0300
exhibitions: +65 6339 6503
email: ntuccaevents@ntu.edu.sg
Free return shuttle bus from NTU School of Art, Design and Media (ADM) to
NTU CCA Singapore on Wednesdays and Fridays.
6.40pm:
6.30pm:
NTU ADM » NTU Admin Building (Fridays only) » NTU CCA Singapore
9.30pm:
NTU CCA Singapore » NTU ADM
located at
© ntu
cca singapore. printed april 2016. design by factory 1611.
sea state
40
�
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25e2387019c3809712652332b12cb824
PDF Text
Text
exhibition
charles lim yi yong
30 april – 10 july 2016
�— list of artworks
— charles lim yi yong
sea state
exhibition layout
7.
1.
SEA STATE 7: sandman (2015),
Single-channel digital video, 52mins
37secs, sound. Courtesy of the artist.
SEA STATE 7: sandwich (2015),
Single-channel digital video on multiple
screens, c. 5mins. Courtesy of the artist.
10
3
8.
2.
SEA STATE 1: inside\outside (2005),
Installation includes 84 framed
C-prints, VHF radio, and prepared
GSP1 charts based on the port-limit
of Singapore, published in 2004 by
the Maritime and Port Authority of
Singapore. Courtesy of the artist.
SEA STATE 6: capsize (2015), Singlechannel digital video on multiple screens,
7mins, sound. Courtesy of the artist.
3.
SEA STATE 0: its not that I forgot, but
rather I chose not to mention (2008),
Single-channel digital video on multiple
screens, 55mins. Courtesy of the artist.
9
THE EXHIBITION HALL
2
4
9.
11
SEA STATE 2: as evil disappears
(Sajahat Buoy) (2014), Encrusted
navigational buoy, dia. 160cm x
ht. 510cm. Courtesy of the artist.
4.
SEA STATE 6: phase1 (2015), Singlechannel digital video on multiple screens,
7mins, sound. Courtesy of the artist.
5
SEA STATE 2: as evil disappears (Pulau
8
SEA STATE 0: all the lines flow out
(2011), Single-channel digital video,
21mins, sound. Courtesy of the artist.
THE L AB
THE EXHIBITION HALL
Reception
11.
SEA STATE 8: THE GRID (2014),
Prepared GSP1 chart, published
by Maritime and Port Authority
of Singapore, framed, each 87cm x
117cm. Courtesy of the artist.
1
Sajahat) (2014), Framed GSP1 charts
highlighting GRID 0124, 108.5cm x
760cm; and 123cm x 890cm. Courtesy
of the artist.
SEA STATE 3: inversion (2014), 3D sand
print of the inverted seabed of Singapore
based on various GSP1 charts, 3-D nylon
polymer print, 80cm x 120cm. Courtesy
of the artist.
6.
THE SINGLE SCREEN
7
10.
5.
6
MAIN ENTRANCE
cover page
SEA STATE 0: all the lines flow out (2011), film still. Courtesy of the artist.
inner cover page
SEA STATE 2: as evil disappears (Sajahat Buoy) (2014). SEA STATE, detail of installation, Singapore Pavilion,
56th Venice Biennale, 2015. Courtesy of the artist.
�
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
Charles Lim Yi Yong: SEA STATE 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>Charles Lim Yi Yong: SEA STATE</i> Exhibition Guide
Description
An account of the resource
<i>Charles Lim Yi Yong: SEA STATE</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2016-05-01
Contributor
An entity responsible for making contributions to the resource
Charles Lim Yi Yong
Ute Meta Bauer
Format
The file format, physical medium, or dimensions of the resource
Guide
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
CITIES FOR PEOPLE offers a platform to contemplate the possibilities for our shared space, reformulate our demands accordingly, and project solutions and desires for the future.
Exhibition Mode
Festival
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2016-11-13
Exhibition End Date
2017-01-22
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>CITIES FOR PEOPLE NTU CCA Ideas Fest 2016/7</i>
Subject
The topic of the resource
Knowledge Production
Public Sphere
Urbanism
Ecology
Spaces of the Curatorial
Architecture
Environmental Crisis
Description
An account of the resource
<i>CITIES FOR PEOPLE</i> is the pilot edition of the annual NTU CCA Ideas Fest, a platform to catalyse critical exchange of ideas and encourage thinking “out of the box”. It is a bottom-up approach linking the artistic and academic community with grassroots initiatives. This pilot edition expands artistic interventions and engages contemporary issues such as air, water, food, environment, and social interaction in connection to artistic and cultural fields, academic research, and design applications. <br /><br />The 10-day programme, coinciding with Singapore Art Week 2017 and Art After Dark at Gillman Barracks, comprises a conglomerate of performances, public installations, participatory projects and social experiment, urban farming initiatives, public dialogues, and a variety of workshops. It cumulates in a three-day summit that brings together a prominent group of architects, theorists, researchers, curators, and community groups to discuss and exchange ideas about urbanism, modes of exchange, critical spatial practice, and to envision a future city. <i>CITIES FOR PEOPLE</i> offers a platform to contemplate the possibilities for our shared space, reformulate our demands accordingly, and project solutions and desires for the future. <br /><br /><i>CITIES FOR PEOPLE</i>, borrowing the title from a book by eminent Singapore architect William S. W. Lim published in 1990, expands on some of the ideas Lim developed, particularly in relation to tropical environments and recycling, as well as his call for a humanistic architecture. Organised on the occasion of the exhibition <i>Incomplete Urbanism: Attempts at Critical Spatial Practice</i>, this event is an invitation to share and engage in cooperative projects and collective experiences that critically reflect on current challenges in urban and social development.
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Khim Ong
indieguerillas
Lulu Lutfi Labibi
Ari Wulu
Lucy + Jorge Orta
Foodscape Collective
Marjetica Potrč
Laura Anderson Barbata
Brooklyn Jumbies
Misso Russell Keith
Post-Museum
Xu Tan
Edible Garden City
Michelle Lai
Dan Susman
Victoria Marshall
Medium
The material or physical carrier of the resource.
Performance
Sound
Installation
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Apichatpong Weerasethakul, Fireworks (Archive), 2014. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Apichatpong Weerasethakul, Fireworks (Archive), 2014. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Apichatpong Weerasethakul, Fireworks (Archive), 2014. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Apichatpong Weerasethakul, Fireworks (Archive), 2014. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view of exhibition entrance.
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Dublin Core
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Title
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Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view of exhibition entrance.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ho Tzu Nyen, The Name, 2015. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ho Tzu Nyen, The Name, 2015. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Nguyen Trinh Thi, Letters from Panduranga, 2015. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Nguyen Trinh Thi, Letters from Panduranga, 2015. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Park Chan-kyong, Citizen’s Forest, 2016. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Park Chan-kyong, Citizen’s Forest, 2016. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
Dublin Core
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Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Ghosts and Spectres — Shadows of History brings to light clouded histories at times not officially recounted but those that remain a lingering presence in collective memories through local mythologies, ghostly figures, and traditions.
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
2017-09-01
Exhibition End Date
2017-11-19
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Vietnam
South Korea
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>Ghosts and Spectres – Shadows of History</i>
Subject
The topic of the resource
Archival Practice
Fiction
Supernatural
Mythology
Politics
Description
An account of the resource
<i>Ghosts and Spectres — Shadows of History</i> features video installations and films by <b>Apichatpong Weerasethakul</b> (Thailand), <b>Ho Tzu Nyen</b> (Singapore), <b>Nguyen Trinh Thi</b> (Vietnam), and <b>Park Chan-kyong</b> (South Korea). The artists’ research into their own cultural and historical backgrounds gain shape through allegories that re-evaluate the social and political reforms in Post-War and Cold-War Asia. The cinematic works in the exhibition combine fact and fiction. They not only allude to rarely discussed subject-matters but also raise crucial questions about power and authority, construction of narratives, repression of identities, and collective trauma. <br /><br />Embedded in the vernacular, ghosts, myths, and rituals present systems of knowledge that enable the expression of unknown worlds. <i>Ghosts and Spectres — Shadows of History</i> brings to light clouded histories at times not officially recounted but those that remain a lingering presence in collective memories through local mythologies, ghostly figures, and traditions. The works create their own language and systems of reference, reflecting current efforts of exposing written historical accounts and contemporary situations that subvert mainstream narratives. <br /><br />In parallel, The Lab, NTU CCA Singapore’s platform for research in-progress, will be featuring projects by <b>siren eun young jung</b> (South Korea) and <b>Choy Ka Fai</b> (Singapore/Germany), both recent NTU CCA Singapore artists-in-residence. While jung focuses on <i>Yeoseong Gukgeuk</i>, a vanishing form of traditional Korean theatre featuring only female performers, Choy brings up his long-time research into <i>Butoh</i> dance, also called “dance of darkness,” and looks at its evolution and influence through one of the <i>Butoh</i> founders, Tatsumi Hijikata. <br /><br />Ghosts and Spectres—Shadows of History is curated by <b>Ute Meta Bauer</b>, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, NTU, and <b>Khim Ong</b>, Deputy Director, Curatorial Programmes.
Contributor
An entity responsible for making contributions to the resource
Apichatpong Weerasethakul
Ho Tzu Nyen
Nguyen Trinh Thi
Park Chan-kyong
siren eun young jung
Choy Ka Fai
Ute Meta Bauer
Khim Ong
Medium
The material or physical carrier of the resource.
Video
Multimedia Installation
Film
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Asia