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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Lab
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
NTU CCA Singapore is presenting a selection of materials from Singapore’s Independent Archive (IA), a research and resource platform dedicated to time-based media, established by internationally-renowned artist Lee Wen (Singapore) in 2012.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2018-09-15
Exhibition End Date
2018-11-25
Collaboration
Yes
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>Journey of a Yellow Man. Selected Materials from the Independent Archive</i>
Subject
The topic of the resource
Performance
Activism
Politics
Identity
Artistic Research
Archival Practice
Description
An account of the resource
On the occasion of the launch of the Digital Resource Platform, NTU CCA Singapore is presenting a selection of materials from Singapore’s Independent Archive (IA), a research and resource platform dedicated to time-based media, established by internationally-renowned artist <b>Lee Wen</b> (Singapore) in 2012. For the past six years, the IA captured the zeitgeist of performance art in Singapore and larger (South-)East Asia through artistic collaborations. <br /><br />This presentation in The Lab is organised into five chapters —“Condition,” “Body,” “Formation / Gestalt,” “Absence,” and “Memory”—that look at the development of performance art as a new medium as well as its political conditions. <i>Journey of a Yellow Man.</i> takes visitors through the archive with photographs, videos, writings, sketchbooks, while simultaneously, introducing the digital archive. As of today, the Centre has digitalised 20,000 files from the IA. <br /><br />The practice of Lee Wen is motivated by social investigations that use art to interrogate stereotypical perceptions of culture and society. He became famous for his performance series <i>Journey of a Yellow Man</i> (1992—), where he embodied his Chinese descent and its relationship to oppressive systems. <br /><br />The presentation provides insight into a continuously expanding resource platform that highlights ephemeral moments in the history of performance art in Singapore. The project addresses the importance of providing historically significant source material for researchers and the wider public. The digitalised files will be integrated into NTU CCA Singapore’s Public Resource Platform and will be accessible at the Centre, the Independent Archive, and the Asia Art Archive, Hong Kong, a collaborative partner of this project. <br /><br />With IA, a series of public programmes will take place in both The Lab at the NTU CCA Singapore and in the IA. The programme highlights IA as a “living archive” that not only serves as a reference library and archive focusing on time-based and event-specific art, but is also a gathering space that offers dynamic programmes in a vibrant network of artists, musicians, and the public. <br /><br /><i>Journey of a Yellow Man</i> is curated by <b>Sophie Goltz</b>, Deputy Director, Research and Academic Programmes, NTU CCA Singapore, in collaboration with <b>Lee Wen</b>, artist and Founder, Independent Archive, Singapore, <b>Bruce Quek</b>, Research, Independent Archive, and <b>Kamiliah Bahdar</b>, Public Programmes, Independent Archive. Project Assistant: <b>Ho See Wah</b>, Young Professional Trainee, NTU CCA Singapore. Assistant to Lee Wen: <b>Liu Wen Chao</b>, Library, Independent Archive. <br /><br />The NTU CCA Digital Resource Platform was initiated in 2016 by <b>Ute Meta Bauer</b>, Founding Director, NTU CCA Singapore, and Professor, NTU ADM Singapore and Lee Wen, in collaboration with <b>Chương-Đài Võ</b>, Researcher, Asia Art Archive, Hong Kong. Assistant to the project: <b>Bruce Quek</b> with the support of <b>Samantha Leong Min Yu</b>, Executive, Conferences, Workshops & Archive, NTU CCA Singapore (till May 2018), <b>Corine Chan Li Ling</b>, Executive Archive, NTU CCA Singapore (May to July 2018), and <b>Pooja Paras Mehta</b> (2017), <b>Ho See Wah</b> (2018), Young Professional Trainees, NTU CCA Singapore.
Contributor
An entity responsible for making contributions to the resource
Sophie Goltz
Lee Wen
Bruce Quek
Kamiliah Bahdar
Ho See Wah
Liu Wen Chao
Ute Meta Bauer
Chương-Đài Võ
Samantha Leong Min Yu
Corine Chan Li Ling
Pooja Paras Mehta
Chuong-Dai Vo
Chuong Dai Vo
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Photography
Multimedia Installation
Print
Video
Sculpture
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PDF Text
Text
COVER
BACK
�INSIDE COVER
�OPEN
�
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
Paradise Lost 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>Paradise Lost</i> Exhibition Guide
Description
An account of the resource
<i>Paradise Lost</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-01-18
Contributor
An entity responsible for making contributions to the resource
Trinh T. Minh-ha
Zarina Bhimji
Fiona Tan
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
Asia
Subject
The topic of the resource
Migration
Globalisation
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PDF Text
Text
Critical strategies in performance, film and video
Nanyang Technological University
�22 AUG – 2 NOV 2014
Critical strategies in performance, film and video
Judith Barry
Stan Douglas
Joan Jonas
Isaac Julien
Eva Meyer & Eran Schaerf
Constanze Ruhm
Curated by
Ute Meta Bauer with Anca Rujoiu
�INTRODUCTION
juxtaposition, the works generate temporal
spaces for experimental action, creating
unfamiliar proximities and encounters.
Theatrical Fields evokes a deep-rooted
intertwinement of the concepts of
“theory” and “theatre”. The two terms
share etymological roots, as both derive
from the Greek word “thea”, which
means “to see”. Beyond the theatre, the
concept of theatricality also points to
introduces theatricality as a critical
the constructedness of everyday life.
strategy in performance, film and
Theatrical forms make visible how our
video. This exhibition presents six video
realities are often staged, and also the
installations shown for the first time in
ways in which our histories are constructed
Southeast Asia: Voice off by Judith Barry
and performed. The artists in this
(USA), Suspiria by Stan Douglas (Canada),
exhibition make use of various theatrical
Lines in the Sand by Joan Jonas (USA),
elements—from “script” to “play”, from
Vagabondia by Isaac Julien (UK), She Might “choreography” to “character”, from
Belong to You by Eva Meyer & Eran Schaerf “protagonist” to “voice” —to question and
(Germany / Israel), X Characters Re(hers)
re-vision society’s existing conventions,
AL by Constanze Ruhm (Austria). Situated in repetitions and rituals. The politics of
02
the theatrical, and also the theatricality
of politics configure a compelling space
that offers room for manoeuvre, and also
a retreat into a temporary exile of the
imaginary.
A series of public programmes, including a
symposium, will further explore the notion
and potential of theatricality as a critical
tool in contemporary art and culture.
Theatrical Fields is curated by Ute Meta
Bauer (CCA Founding Director) with Anca
Rujoiu (CCA Curator, Exhibitions), and was
first presented and commissioned by the
Bildmuseet, Umea in Sweden (2013).
In 2015, a catalogue including the keynotes
from the symposium and additional
commissioned essays will be published
collaboratively by the Bildmuseet Umea and
the Centre for Contemporary Art Singapore.
Assistant Exhibitions
Syaheedah Iskandar
Exhibition Design
Helen Oja
Technical Executive
Isrudy Shaik
Curatorial Interns
Bernice Ong and Kenneth Loe
Exhibition Construction
Design 18
Exhibition Installation
Art Factory LLP
Graphic Design
HJGHER
Media Relations
Regina Chan
International Media Consultant
Denhart v. Harling
Acknowledgements
Bildmuseet, Umea, Sweden; TheatreWorks,
Singapore; School of the Arts Singapore (SOTA);
Singapore Teachers’ Academy for the Arts (STAR);
Artists’ assistants: Tom Cullen, David Dempewolf,
Ofri Lapid, Brodie Smith, Tom Roscher; Anna
Ebner (Kerstin Engholm Gallery); Khim Ong; Lee
Weng Choy; the artists and the speakers.
03
�CURATORIAL STATEMENT
Theatrical Fields
—Critical strategies
in performance, film
and video
Theatrical Fields brings together
paradigmatic works by seminal artists who
exerted a strong influence on contemporary
art and its theoretical discourse. With a
focus on video installations, Theatrical
Fields presents single and multichannel
projects, where the participating artists
navigate between art, film, theatre and
dance. Situated in juxtaposition, the works
generate temporal spaces for experimental
action, creating unfamiliar proximities
and encounters. Shifting the role of
the viewer into that of an acteur who is
encouraged to enter these staged spaces,
the works and their settings foreground the
theatrical and the performative as fields of
transformative processes. The way in which
the protagonists in all the works perform,
move, speak, sing and interact with the
constructed interiors makes visible that it
is precisely this amalgam of acteurs and
interiors which produces other spaces.1
Theatrical Fields introduces theatricality
as a political methodology to deconstruct
linear ascriptions, and reconfigure them
in nuanced positions of diversity. Such
political intentions are present in French
playwright Molière’s critique of authority, in
the tradition of Italian Commedia dell’arte,
in the use of the absurd in theatre works
by Jarry, Artaud, Genet, and Beckett, in
the surrealism of Cocteau, in Nathalie
Sarraute’s deconstructions of character
and plot, in Peter Weiss’s “play within a
04
play” Marat/Sade, and in the more popular
didactic musical plays of Bertolt Brecht and
Kurt Weill.
In search for a theoretical position,
Theatrical Fields explores ephemeral
practices that resist appropriation and
operate through a process of formation,
transformation and dissolution. Following
French theory from Deleuze’s notion of
agencement2 or assemblage and from
Foucault’s dispositif3, Theatrical Fields
evokes the desire to let not only one’s body,
but also one’s mind wander in directions
that have yet to be explored. The politics
of the theatrical, and also the theatricality
of politics configure a compelling space
that offers room for manoeuvre, and
also a retreat into a temporary exile of
the imaginary.
Theatrical Fields seizes the potential of the
theatrical as an analytical and critical tool
to undermine hegemonic representations
of the real. As German philosopher Martin
Heidegger brought up for discussion in
his essay Science and Reflection,4 theory
is a theatrical process: “the word theory
stems from the Greek verb theorein […]
The verb theorein grew out of two root
words theatricality and horao. Theatricality
is the outward look, the aspect, in which
something shows itself—the outward
appearance in which it offers itself […]
The second root word in theorein, horao,
means: to look at something attentively,
to look it over, to view it closely. Thus it
follows that theorein is then horao, to look
attentively on the outward appearance
wherein what presences becomes visible
and, through such sight—seeing—to linger
with it.”
The works and films presented in the
exhibition and screening programme,
employ different methods and various
approaches, yet they all bring into play
the theatrical to question and re-vision
society’s existing scripts and histories.
By isolating characters that embody
paradigmatic roles in scripts, Stan
Douglas’s Suspiria and Constanze Ruhm’s
X Characters/ RE(hers)AL generate new
narratives and hybrid identities, so called
“ghosts” that escaped their ascribed
narratives. In Lines of Sand, Joan Jonas’s
Helen of Egypt wanders through space
and time, hence shaping a non-linear
narrative that eludes any historical and
gender fixation. The protagonist in Eran
Schaerf and Eva Meyer’s film She Might
Belong to You embodies the complexity
of a construct that positions a character
as an accumulation of layers resisting
straightforward interpretation. Blurring
boundaries between fiction and real, the
theatrical produces a space for disclosures.
In Judith Barry’s Voice off the mental and
physical space collide only to reveal one’s
inner fears and anxieties; whereas in Isaac
Julien’s Vagabondia the repressed history
of colonialism comes to life through the
vagabond wanderings of imagination. In its
staged appropriations, the performativity
of reality becomes more obvious.
The temporary migration into an imagined
space of the theatrical, the carnivalesque,
which cannot be possessed as outside of
so-called reality—a space that neither
belongs to anyone nor can be appropriated
—offers an open and therefore negotiable
space. And this imagined in-between space
of the theatrical can be used to reconfigure
another performance of reality through the
practice of theatre and theory.
Ute Meta Bauer, 2013
Notes
1
Michel Foucault: Of Other Spaces. Reprinted in Nicholas
Mirzoeff, ed.: The Visual Culture Reader. Taylor & Francis,
Inc, 1998.
2
Gilles Deleuze and Felix Guattari: A Thousand Plateaus:
Capitalism and Schizophrenia. Translated by Brian
Massumi, University of Minnesota Press, 1987.
3
Michel Foucault: The Confession of the Flesh (1977)
interview in Power/Knowledge: Selected Interviews and
Other Writings. Edited by Colin Gordon, Vintage, 1980.
4
Martin Heidegger: The Question Concerning Technology
and Other Essays. Translated by William Lovitt, New York,
Harper & Row, 1977.
05
�Judith Barry
Voice off (1999)
Installation, two channel video
projection, colour, sound, 15 mins.
Each of the two space stages a different experience of the
voice. On one side, a dreamlike sequence unfolds,
The work of artist and writer Judith Barry
spans across several disciplines: architecture,
film/video, performance, installation,
sculpture, photography and new media.
Through this rich variety of media, Barry
explores complex relationships between
issues of public address, representation, and
popular culture.
Judith Barry, film still from Voice off (1999). Courtesy of the artist and Rosamund Felsen Gallery, Los Angeles and Galerie Karin Sachs, Munich
06
Barry has shown internationally in numerous
exhibitions including: the 3rd Berlin Biennale
(2004), Sao Paolo Biennale (1994), the Venice
representing the personal, intimate and interior encounters
that one might have with the voice, with your own voice
or with other voices. These are overheard bits of speech,
interior monologues, snatches of songs; the sort of thing you
catch while moving through everyday life which both possess
you and which you try to hold on to or give yourself over to.
On the other side of the screen, a man tries to work in his
office, but he is continuously disturbed by the sounds that
he hears. He demonstrates, from a different perspective,
how, through the act of involuntarily hearing, one can also
be possessed, even haunted by a voice.
Biennales of Art and of Architecture, and the
Whitney Biennale (1987). Recent exhibitions
include: Take It Or Leave It at Hammer Museum,
Los Angeles (2014); Americana, Perez Miami
Art Museum, Miami, (2014), The Content of
Form, Generali Foundation, Vienna (2013);
Critical Episodes, MACBA, Barcelona (2013);
This will have been: Art, Love & Politics in the
1980’s, ICA, Boston (2013); The Deconstructive
Impulse, Contemporary A rt Museum, Houston
(2012); and dOCUMENTA 13, Kassel (2012). She
was awarded the Frederick Kiesler Prize for
Architecture and the Arts (2000), Best Pavilion
at the Cairo Biennale (2001), and a Guggenheim
Fellowship (2011) among others. Public Fantasy,
a collection of Barry’s essays, was published by
the ICA in London (1991).
Judith Barry was born in Columbus, Ohio, USA,
in 1954. She lives and works in New York City,
and is currently Director/Professor of the MFA
in Visual Arts at the Art Institute of Boston at
Lesley University.
07
ARTISTS AND WORKS
This two channel video and sound installation explores how
the voice might be represented visually. Projected on either
side of the shared wall this work explores ideas intrinsic
to what the voice is, in terms of possession and loss. The
viewer is exposed to two metaphoric narratives that unfold
simultaneously on the double-sided screen/wall that divides
the gallery into two identical rooms. Invited to pass through
the projection, the viewer becomes an integral component
of the installation.
�Stan Douglas
Suspiria (2003)
Installation, single channel video projection,
stereo sound. Stories recomposed and music
remixed in virtually infinite variations.
Stan Douglas, film stills from Suspiria (2002). Courtesy of the artist
08
Photographer and filmmaker Stan Douglas
has, since the late 1980’s, examined complex
intersections of narrative, fact and fiction,
while scrutinising the constructs of the
media he employs and their influence on our
understanding of reality. His interest in the
social implementation of Western ideas of
progress, particularly utopian philosophies,
is located in their often divisive political and
economic effects. Douglas’s work is often
characterized by extensive research and an
interrogation of the structural possibilities
of film and video, in concert with intricately
developed narratives.
‘ghosts’ also point to two obsolete technologies of North
American film and television history that are used and
deconstructed by Douglas, namely, Technicolor (Argento’s
Suspiria was one of the last films made in the West using
this process) and NTSC (the North American colour
television standard). The scenes appear in a random rotation
generated by computer programming, the number of
possible permutations ensuring that, most likely, visitors will
never see the same sequence repeat.
Douglas was recently awarded the Scotiabank
Photography Award (2013) and the Infinity
Award by the International Center of
Photography, New York (2012). His work has
been the subject of numerous solo and
group exhibitions at prominent institutions
worldwide, including Haus der Kunst,
Munich (2014); Minneapolis Institute of Arts,
Minnesota (2012); MOCA, Los Angeles (2012);
the Power Plant, Toronto (2011); the Solomon
R. Guggenheim Museum, New York (2010);
International Center of Photography, New York
(2008); Staatsgalerie and Württembergischer
Kunstverein, Stuttgart (2007); documenta 11, 10,
9 (2002, 1997, 1992) and three Venice Biennales
(1990, 2000, 2005).
Stan Douglas was born in Vancouver, Canada
in 1960, where he lives and work. He is faculty
member of the Graduate Studies in Art MFA
Programme, Art Center College of Design,
Pasadena, USA.
09
ARTISTS AND WORKS
Titled after Dario Argento’s classic horror film of 1977, the
piece was produced for Documenta11 (2002). With Suspiria,
the artist turns explicitly to a few historical moments
of utopian aspiration. The artist interlaces figures and
scenarios drawn from the Brothers Grimm, whose fairy-tales
helped popularised the idea of the German nation-state,
with Marx’s ‘spectres’ of Communism. Douglas’s ghosts are
shadows of futures that never came to pass: neither the
economic and social redemption promised by modernism
nor the end to alienation foretold by Communism. The
�Joan Jonas
ARTISTS AND WORKS
Lines in the Sand (2002)
Multi-media installation: various props, 3 video elements
Lines in the Sand, colour, sound, 23mins 45secs;
Drawings, colour, sound, 16mins;
Pillow Talk, colour, sound, 37mins 15secs.
Commissioned by Documenta11 (2002) and further exploring
Jonas’s interest in working cross-culturally, the multimedia
installation piece Lines in the Sand takes as source material
two works by the poet H.D. (Hilda Doolittle, a patient
of Sigmund Freud prior to World War II): Helen in Egypt
(1955) and Tribute to Freud (1944). In H.D.’s poem, based on
classical texts, as well as in Jonas’s work, the epic Trojan
War was not fought for an unfaithful Helen, but for less
prosaic reasons such as control over commercial routes and
access to the Black Sea. Narrated by Jonas, Lines in the Sand
transposes H.D.’s re-working of the story of Helen of Troy to
present-day Las Vegas, with the Luxor Hotel as a key
Performance and video art pioneer Joan
Jonas has had a far-reaching influence on
artists, students, art theorists, art historians
and curators. Since the 1960s, Jonas has
transcended genres and merged elements of
dance, modern theatre and the conventions
of Japanese Noh and Kabuki theatre into
performance and video art. In the 1980’s,
Jonas began developing her emblematic,
personal grammar of gesture, ritual and
sound into intricate, multi-textual works
that exhibit a sophisticated layering of
nonlinear narrative forms with performance,
theatricality, and electronic manipulations of
space, time and image.
10
motif. Simultaneous narratives alternate; one fragmented
(Helen in Egypt) and another in its entirety (Pillow Talk),
from the ancient Irish epic poem The Tain, in which an
Irish king and queen discuss who has the most possessions
as a manifestation of the domestic and trivial origins of
discussions about property. The artist creates a collage of
scenes on the psychological and political power of Helen,
representing Helen as an ancient metaphor for property and
a justification of all the Trojan wars to come. Juxtaposing
images, texts and gestures, through an interlocking series of
tableaux and stage sets, the artist creates an elusive, nonlinear narrative that eschews any historical fixation.
Jonas’s work has been widely exhibited and
presented six times at documenta (2012, 2002,
1987, 1982, 1977, 1972). Most recently her work
was exhibited at the CCA Kitakyushu Project
Gallery; Kulturhuset City Theatre, Stockholm;
the Museum of Modern Art, New York; MACBA,
Barcelona; the Venice Bienniale; Performa,
New York; the Sao Paolo Biennale; the Incheon
Women Biennale and the Yokohama Triennale.
In 2009, the Solomon R. Guggenheim Museum
honoured Jonas with a Lifetime Achievement
Award for her extraordinary contribution to
the field of contemporary art. Joan Jonas will
represent the United States at the 56th Venice
Biennale International Art Exhibition (2015).
Joan Jonas was born in New York City, USA,
in 1936, where she now lives and works. As an
academic, Jonas has taught at numerous art
schools and universities around the world,
including the Royal College of Art, London;
Rijksakademie van Beeldende Kunsten,
Amsterdam; CCA Kitakyushu; Kunstakademie
Stuttgart; and, between 2000 and 2014 she
served as professor at the MIT Visual Art
Program and the Program in Art, Culture and
Technology, Cambridge.
Joan Jonas, Lines in the Sand (2002). Photo: Werner Maschmann. Courtesy of the artist
11
�Isaac Julien
ARTISTS AND WORKS
Vagabondia (2000)
Two screen projection, 16mm film, digital transfer,
colour, sound, choreography by Javier De Frutos, 7mins.
Filmed in the house-turned-museum of the British architect
and art collector, Sir John Soane, Vagabondia is a film
in which curating meets choreography. A black female
conservator imagines the buried stories and the hidden
histories within the museum’s cornucopia of the works
that Soane plundered on the ‘Grand Tour’; she sees ghosts
of 18th-century Black London, a dancing vagabond figure
among them. Filmed with fluid camera movements and a
sensuous attention to lighting and camera work, Julien
Artist and filmmaker Isaac Julien draws upon
different artistic disciplines to create a poetic
visual language. His multi-screen installations
express fractured narratives that explore
memory and desire.
Julien was a founding member of the Sankofa
Film and Video Collective, one of the few
film and video workshops set up in the UK
in the 1980s to engage in a new politics of
representation. He was nominated for the
Turner Prize in 2001 for his film installations
Long Road to Mazatlán (1999) and Vagabondia
(2000). Julien has earned numerous awards,
12
makes of the museum a world of shadows, mirrors and
frames-within-frames, where the statues also dream and the
vagabond spirit of colonialism’s repressed memory comes
dancing, jerkily, back to life. In Vagabondia, the museum’s
mirrored display is transferred into a double screen
projection producing precisely the museum’s visual effects.
Museum and cinema intersect, merging the virtual with the
physical.
including the Special Teddy for Derek (a
documentary on on the English film director
Derek Jarman), Berlin International Film
Festival, Berlin (2008); an Honorary Fellow,
University of the Arts, London (2008); the
grand jury’s prize at the Kunstfilm Biennale,
Cologne, for Baltimore (2003); the Frameline
Lifetime Achievement Award (2002); and the
McDermott Award, MIT, Cambridge (2001). His
work has been shown internationally, most
recently in solo exhibitions at SESC Pompeia,
São Paolo (2012), Milwaukee Art Museum,
Milwaukee (2012); ICA, Boston (2011) and group
exhibitions at The National Museum of Modern
Art, Kyoto (2013) and the Palais de Tokyo,
Paris (2012). He participated in the 3rd Berlin
Biennale (2004) and Documenta11 (2002). His
work Ten Thousand Waves, featuring actress
Maggie Cheung, most recently was shown at
MoMA, New York (2013).
Born in London, United Kingdom, in 1960,
Julien lives and works in London. He is
currently Professor of Media Art at Staatliche
Hochschule für Gestaltung, Karlsruhe, and is
also a faculty member at the Whitney Museum
of American Art’s Independent Study Program,
New York.
Isaac Julien, Vagabondia (2000). Installation view, the Turner Prize (2001), Tate Britain, London. Courtesy of the artist and Victoria Miro Gallery, London
13
�Constanze Ruhm
X Characters / RE(hers)AL (2003/4)
Installation: posters series, website, single channel film,
colour, sound, 74mins.
Constanze Ruhm is an artist, filmmaker and
author whose artistic practice focuses on the
relation of cinema, new media and theatrical
forms, and investigates questions of female
identity and representation.
Constanze Ruhm, X Characters / RE(hers)AL (2003/4). Installation view 3rd Berlin Bienniale (2004). Courtesy of the artist
14
Ruhm’s works have been shown at international
exhibitions, as well as at film festivals, including:
Internationale Filmfestspiele / Forum Expanded
| Living Archive, Kunstwerke, Berlin, Germany
sleepwalkers, androids, phantasms, prostitutes and murder
victims start to establish relationships and new forms of
behaviour in order to connect the gaps in their scripts along
the lines of a speculative orientation towards an unknown
future. These voices emerge and shape in contradistinction
to their original roles and along the contemporary notion of
merging scripts between film, theatre, chat and back again,
into a hybrid variety of media identities.
(2013); Internationale Filmfestspiele, Berlin,
Germany (2010 and 2011); The 5th International
Video Art Biennial, Center for Contemporary
Art, Tel Aviv, Israel (2012); Tel Aviv Film Festival
(2010); The University Art Gallery / Room Gallery,
University of California, Irvine (2010); Extracity,
Antwerp (2008); Museo de la Reina Sofia, Madrid
(2008); Generali Foundation, Vienna (2006),
and 3rd Berlin Bienniale (2004). In 1995 Ruhm
represented Austria at the Venice Biennale
along with Peter Sandbichler. Ruhm also
curates exhibitions, realises publications,
and both organises and contributes to
international symposia.
Constanze Ruhm was born in Vienna, Austria
in 1965. She lives and works in Vienna and Berlin.
Since 2006, she is Professor for Art and Media
at the Academy of Fine Arts, Vienna.
15
ARTISTS AND WORKS
X Characters: RE(hers)AL releases seven female characters
from seven different movies — each an icon from the history
of modernist cinema — and joins them together as a gang of
fellow travellers, stuck in the boarding area of an airport.
Diverted from and out of their historical context, the seven
characters begin to find their bearings in a liminal situation,
or rather, a crossroads disguised as a holding pattern.
Routes intersect and new patterns emerge as these
�Eva Meyer and Eran Schaerf
ARTISTS AND WORKS
She Might Belong to You (2007)
Single channel film, colour, Sound by Peter Steckroth,
37mins.
Produced for Sculpture Projects Münster, She Might Belong
to You uses films of different genres and from different times
that play out in or against backdrops of Münster. A female
‘memory activist’ puts together an ambivalent cinematic
memory of the city. Marked by three women from three films
— Inge Deitert in Alle Jahre wieder (Every Year Again) (1967,
directed by Ulrich Schamoni), Käthe Brahms in Desperate
Journey (1942, directed by Raoul Walsh), and Luise Gumprich
in Zwischen Hoffen und Bangen (Between Hope and Fear)
(2003, directed by Markus Schröder and based on private
footage from 1937-1939) — she activates a memory that is
neither psychological nor collective. She Might Belong to You
unravels as it unfolds, precariously connecting inside and
outside, before and after, that which is one’s own and that
which is of others.
She Might (combination #1) (2007/2014)
Clothing pieces, photographs, plywood support,
installation variable
Production clothing pieces: Lisa D.
Installation layout: Ofri Lapid
She Might (combination #1) is a display of three combinations
of the multi-piece costume Meyer and Schaerf designed for
the protagonist of their film She Might Belong to You (2007).
In the film the costume is combined anew in each scene.
The patterns were derived from the costumes of three films
— Alle Jahre wieder (Schamoni), Desperate Journey (Walsh)
and Zwischen Hoffen und Bangen (Markus Schröder) — which
enabled an ever changing combinatorial costume that allows
the protagonist to wander between concepts of time and
gender. The colours of the fabrics used are informed by
the interior design of the Münster City Theatre that served
as the film’s location. Drawing on the relationship between
dressing and architecture, this colour concept points to
clothing as means of assimilation between the subject and
their surroundings.
Eva Meyer and Eran Schaerf, film still from She Might Belong To You (2007). Courtesy of the artists
16
17
�Eva Meyer and Eran Schaerf
Eva Meyer and Eran Schaerf, film still from She Might Belong To You (2007). Courtesy of the artists
18
Their most recent films include: Pro Testing,
(2010); Mein Gedächtnis beobachtet mich,
(Ambulante Documentary Film Festival, Mexico,
2008); She Might Belong to You, (Sculpture
Projects Muenster, 2007); Flashforward,
(Intermedium, Munich, 2004); Europe from
Afar, (4th International Biennale for Film and
Architecture, Graz, 2001); Record: I Love You,
(Ver Bailar, CAAC Sevilla, 1999); Documentary
Credit, (Rotterdam Film Festival, 1998).
Eva Meyer was born 1950 in Freiburg, Germany;
Eran Schaerf was born 1962 in Tel Aviv-Jaffa,
Israel, and live and work in Berlin, Germany.
They have taught at various universities and art
schools in Europe and the USA, and currently
are faculty members of the Zurich University
of the Arts.
Liska, 2009), Frei und indirekt (2010), Zählen
und Erzählen. Für eine Semiotik des Weiblichen,
Wien/Berlin (1983, reprint 2013).
Eran Schaerf’s multidisciplinary work
focuses on the architecture of narration. He
has exhibited in group-exhibitions such as
Venice Bienniale (2011), Fake or Feint (2008),
Territories (2003), Manifesta (1998), Listener’s
Voice, Brussels (2001), DOCUMENTA IX (1992).
Among his publications are: fm-scenario –
where palms stand – mask –delay, London
(2012), Blue Key, Cologne (2002), Listener’s
Voice, Brussels (2001), Re-enactment, NewYork (1996).
Eva Meyer is the author of various works of
cinematic thinking including What Does the
Veil Know? (ed. in collaboration with Vivian
19
ARTISTS AND WORKS
Writer and filmmaker Eva Meyer and artist
and filmmaker Eran Schaerf have collaborated
since 1997. They investigate locations, language
and narratives in order to propose alternative
structures of time and space for the self and
the other(s). They are especially interested in
the way processes and completely divergent,
unrelated stimuli can contribute to the
meaning of an event. Their solidarity with
their subjects may lead to a certain bias,
but their documentary fiction is never pure
or distanced; it is alternately funny, poetic
or surprising.
�PUBLIC PROGRAMMES
Symposium
Keynotes
Sat 23 August 10.30 am – 4.00 pm
The symposium takes place at TheatreWorks, 72-13 Mohamed Sultan Road, Singapore, 239007
10.30 am
Welcome Note
Ute Meta Bauer, CCA Founding Director
10.40 – 11.00 am Introduction to Theatrical Fields Anca Rujoiu, CCA Curator, Exhibitions
11.00 – 12.00 am Roundtable discussion
12.00 – 1.00pm
Lunch Break*
1.00 – 2.00 pm
Screening Theatrical Phantasms:
Toward an Uncertain Futurity
Life or Theatre? Events so far…
Eva Meyer and Eran Schaerf, Artists in conversation with Ute Meta Bauer
and Katarina Pierre, Director of Bildmuseet
Moderator: Ong Keng Sen, Festival Director of Singapore International
Festival of Arts (SIFA)
2.15 – 3.15 pm
3.30 – 4.00 pm Q+A
*Lunch will be provided by CCA.
20
Keynote, Timothy Murray, Professor of Comparative Literature
and English at Cornell University
Keynote, Eva Meyer, Artist, Writer and Filmmaker
Eva Meyer
Life or Theatre? Events so far…
“Events so far… This phrase promises
continuity. In our daily serial lives we expect
a recap of previous episodes to help us
find our way into the story. Yet in claiming
to control a plot and its characters by
specifying their time, place and identity,
this phrase turns out to be a manifestation
of seriality itself: the only thing certain is
that the narrative elements will reappear.
It is then a matter of the theatricality of
their reappearance whether or not they
disengage from representation and its
narrative, and enter a free and indirect
relation between life and theatre. “
Dr. Eva Meyer is a writer and filmmaker
based in Berlin. She currently teaches at
Zurich University of the Arts. Together with
Eran Schaerf, she is the film director of
She Might Belong to You in Theatrical Fields.
Timothy Murray
Screening Theatrical Phantasms:
Toward an Uncertain Futurity
This talk will reflect on the fascination
of artworks in Theatrical Fields with the
phantasmatic past. In providing a brief
theoretical overview of “the politics of
theatricality,” Murray will reflect on the
exhibition’s screenic re-possession of
cinematic characters, buried stories, and
influential texts in a way that challenges
the historical groundings of theatricality
in the ethnocentric certainty of culture
and law. “What happens to the relation
of mnemonic past and theatrical present
when the screen functions as the field of
phantasms that are liberated by artistic
intervention from the certainties of their
mythological, historical, and cinematic
pasts?” This emphasis on artistic retellings
in the present of weighty phantasms from
the historical past will then lead to further
reflection on their bearing on the future.
“What might it mean that prior utopian
aspirations might now be recast as the
unsettlings of uncertain futurity? Might
the contemporary re-theatricalization of
the screen provide a historically distinct
approach to futurity? Or might futurity
already be in our grasp either through the
digital orientations of ‘future cinemas’
or through the too sudden arrival of
futurity via the vexing uncertainties of the
anthropocoene and global collapse?”
Timothy Murray is Director of the Society
for the Humanities, Curator of the Rose
Goldsen Archive of New Media Art,
Professor of Comparative Literature and
English at Cornell University, and CoDirector of the Cornell/East China Normal
University Center for Comparative Culture.
He is editor of Mimesis, Masochism & Mime:
The Politics of Theatricality in Contemporary
French Thought (Michigan, 1997), and is the
author of several publications including
Digital Baroque: New Media Art and
Cinematic Folds (Minnesota 2008); Drama
Trauma: Specters of Race and Sexuality in
Performance, Video, Art (Routledge, 1997);
and Like a Film: Ideological Fantasy on
Screen, Camera, and Canvas (Routledge,
1993). Murray has taught at the School of
Criticism and Theory and BK Winter School;
Ewha Womans University in Seoul, and has
lectured widely, most recently at Tunghai
University in Tawain; East China Normal
University, Shanghai; Chinese University of
Hong Kong; Sorbonne, Paris, and Nanyang
Technological University, Singapore.
21
�PUBLIC PROGRAMMES
Roundtable Discussion
Ute Meta Bauer is curator and since 2013
Founding Director of CCA – Centre for
Contemporary Art Singapore. She was
Dean of Fine Art at the Royal College
of Art, London (2012/2013); Associate
Professor at the MIT, Cambridge, MA and
Founding Director of ACT, MIT’s Program
in Art, Culture, and Technology (2009–
2012); Founding Director of the Office for
Contemporary Art (OCA), Oslo (2002-2005);
Co-Director of the World Biennial Forum
No. 1, Gwangju (2012); Artistic Director of
the 3rd Berlin Biennale for Contemporary
Art (2004) and Co-Curator of Documenta11
(2001–2002). Recent publications include:
Intellectual Birdhouse. Artistic Practice as
Research (co-edited with F. Dombois, M.
Schwab, C. Mareis, 2012), World Biennale
Forum No 1 – Shifting Gravity (co-edited
with Hou Hanru, 2013). In 2015 she will
co-curate the US Pavilion for the 56th
Venice Bienniale International Art Exhibition
with Paul Ha, MIT List Visual Art Centre,
featuring Joan Jonas.
Katarina Pierre is director of Bildmuseet,
Umea, Sweden. Since 1995, she has
worked at Bildmuseet as a curator and was
instrumental to the internationalization
of the museum’s programme. Umea’s
University museum is a centre for
22
Public Programmes
contemporary art and visual culture and
was 2014 one of the top candidates for the
Council of Europe Museum Prize as well
as for the Swedish award Museum of the
Year. In 2014 Bildmuseet received a Special
Commendation from the European Museum
of the Year Jury.
Ong Keng Sen is festival director of the
new Singapore International Festival of Arts
(SIFA) and artistic director of TheatreWorks
Singapore (on-leave). He is a well-known
performance director and has actively
contributed to the evolution of plural
Asian aesthetics, as well as the subsequent
transglobalisation of these aesthetics in
contemporary arts. His work has been
presented in many cities worldwide. His
latest work is a Michael Nyman opera,
Facing Goya. He founded and curated the
In-Transit festival for the Haus der Kulteren
der Welt in Berlin from 2001-3. He has
taught in many universities including Das
Arts, UCLA, the University of Amsterdam
and the National University of Singapore.
He is also the founder of Arts Network Asia.
A Fulbright Scholar, Keng Sen was awarded
the prestigious Fukuoka Prize 2010 for his
work in Asian contemporary performance.
Anca Rujoiu is a Romanian curator currently
based in Singapore. She is a curator at
CCA - Centre for Contemporary Art
Singapore and co-director of FormContent,
a curatorial initiative in London. Previously,
she coordinated the public programme of
the School of Fine Art at the Royal College
of Art (UK). With FormContent she explored
various exhibition models and challenged
the relationship between artist/curator
often overlapping their roles in the process.
Her recent project with FormContent,
It’s Moving from I to It unfolded as a
performative script within a nomadic
structure testing formats of production
and distribution.
Fri 29 August Lecture Ming Wong, Artist
7.30 – 9.00 pm
Fri 5 September Exhibition Tour Miguel Escobar, Theatre Researcher
7.30 – 9.00 pm
Fri 12 September Exhibition Tour Petrus Liu, Associate Professor
7.30 – 9.00 pm for Humanities at Yale-NUS College, Singapore
Fri 26 September Artist’s Talk Judith Barry, Artist
7.30 – 9.00 pm
Fri 10 October
Exhibition Tour
Stefano Harney & Tonika Sealy,
7.30 – 9.00 pm Ground Provisions Collective
Fri 24 October Artist’s Talk* Isaac Julien, Artist
7.00 – 8.30 pm
*This lecture takes place at School of the Arts
Singapore (SOTA)
Sun 26 October
Special Brunch and Screening Session
Isaac Julien, Artist & Mark Nash, Curator
11.00 – 1.00 pm in conversation
Fri 31 October Exhibition Tour Hendrik Folkerts, Curator, Stedelijk Museum,
7.30 – 9.00 pm Amsterdam
Partner Acknowledgements
TheatreWorks and School of the Arts Singapore (SOTA)
23
�PUBLIC PROGRAMMES
As a response to Theatrical Fields, Ming
Wong will introduce his research on the
Cantonese cinema history in Hong Kong,
looking at how the arrival of Cinema
influenced traditional Cantonese opera.
Ming Wong is a Singapore-born, Berlin
based artist who creates digital media
installations informed by the history
of cinema, to explore the relationship
between language, identity and
performance. He deliberately ‘mis-casts’
himself or others in re-interpretations
of classic film scenes, often playing
multiple roles in foreign languages.
He represented Singapore at the
53rd Venice Biennale, 2009, gaining
critical acclaim for his presentation
Life of Imitation, which won a Special
Mention. Wong has also exhibited at the
Biennales of Lyon (2013), Liverpool (2012),
Singapore (2011), Sydney (2010), Gwangju
(2010), Jakarta (2009) and at numerous
international art institutions.
Miguel Escobar’s presentation will
focus on the contemporary Javanese
Wayang Kulit Shadow Puppetry and
radical re-elaborations forms of this
performance tradition.
Miguel Escobar is a translator, web
24
programmer and theatre researcher who
has lived in Mexico, The Netherlands,
Singapore and Indonesia. He is
fascinated by the intersections between
cultural heritage, digital media and
interculturalism. He is currently a PhD
candidate at the National University
of Singapore.
Entitled Normative Genders and
the Prose of the World, Petrus Liu’s
exhibition tour will address theatricality
as a political strategy to challenge
gender boundaries. Liu will offer some
reflections on the relation between
“acting” in the theatrical sense and the
political sense of “making a difference”
for people who self-identify as queer.
The talk will address various theories of
gender performativity from Judith Butler
to contemporary critical appropriations.
Petrus Liu is Associate Professor of
Humanities and Head of Literature
Studies at Yale-NUS College in Singapore.
He is the author of Stateless Subjects:
Chinese Martial Arts Fiction and
Postcolonial History (Cornell, 2011)
and Queer Marxism in China (Duke,
forthcoming).
Judith Barry (for more information on
the artist see page 07)
The talk by Stefano Harney and Tonika
Sealy relates directly to the ethos of
their collective, Ground Provisions, which
curates events around art as a political
form ‘from below,’ with particular
reference to the carnival traditions. They
will address the dialectic of regulation
and improvisation in connection to
Singapore and any city seeking status as
an art capital.
Ground Provisions Collective,
Stefano Harney and Tonika Sealy
Stefano Harney teaches ethics at
Singapore Management University. Most
recently, he co-authored with Fred
Moten The Undercommons: fugitive
planning and black study. He is a member
of the freethought curatorial collective,
and founder of the School for Study, a
collective of university researchers.
Tonika Maria Sealy is a founding partners
of Ground Provisions, a collective based
in the Caribbean and working globally
to produce art, education, and social
change. She is currently the Artistic
Coordinator for the African, Caribbean,
and Pacific Cultural Festival. Sealey holds
degrees from Manchester University (UK)
and Hult International Business School
(Shanghai).
Isaac Julien (for more information on the
artist see page 12)
Mark Nash will be in conversation with
Isaac Julien addressing the artist’s work
in Theatrical Fields, but also more recent
productions such as Playtime.
Mark Nash is an independent curator
and writer and, until recently, Professor
and Head of Department of Curating
Contemporary Art at the Royal College of
Art London. He collaborated with Okwui
Enwezor on The Short Century (2002), and
worked with Enwezor and Ute Meta Bauer
on Documenta11 (2002). Subsequently,
he joined Bauer as curator of film for
the 3rd Berlin Biennial of Contemporary
Art (2004). He has extensively curated
and written on artists who work with the
moving image – including Experiments
with Truth (Fabric Workshop and Museum,
Philadelphia 2004-05) and One Sixth of
the Earth, ecologies of image at ZKM,
Karlsruhe and MUSAC Leon, an exhibition
that continued to explore the artistic
legacy of the formerly socialist countries.
The topic he first explored in Reimagining
October at Calvert 22 (2009), co-curated
with Isaac Julien.
Hendrik Folkerts’s talk will focus on
the performance and exhibition series
Stage It! at the Stedelijk Museum
especially its second installment (2013)
which explored the relationship between
theatricality and visual art performance,
and the last edition (2014) addressing
the use of the (theatrical) script and
score in performance.
Hendrik Folkerts is Curator for public
programme since 2010 at the Stedelijk
Museum in Amsterdam. He studied Art
History at the University of Amsterdam,
specializing in contemporary art
and theory, feminist practices and
contemporary curatorial practices.
Folkerts curated the public program of
The Temporary Stedelijk at the Stedelijk
Museum, a special interim program that
was presented 2010/2011, as well as
Temporary Stedelijk 3: Stedelijk @ (TS3)
2011/2012.
25
�GLOSSARY
CARNIVAL
In a study dedicated to the work of the French
writer Rabelais, the Russian philosopher Mikhail Bakhtin conducted
an in-depth investigation of the format, imagery and specific language
of the carnival feast. Bakhtin asserts that the carnival operated in
opposition to the official culture as a double world whose existence
can be traced even in the earliest stages of our cultural development.
The carnival marks a suspension of all established orders and norms.
It is a “bodily participation in the potentiality of another world”, a
deviation from the everyday that subjects reality to its own laws
to the extent that there is no life outside the carnival. It produces
an idiosyncratic type of communication and imagery that escapes
the official daily restrictions. Unlike formal culture, the carnival is
a celebration of equality where hierarchical ranks, privileges and
prohibitions are abolished. The carnival is a communal performance,
an inclusive process that makes no distinction between actors and
spectators; everyone participates in the carnival, the carnivalistic/
esque laughter is addressed to everyone and shared by all. For Bakhtin,
carnival sits on the border between life and art: “In reality, it is life
itself, but shaped according to a certain pattern of play.”
COSTUME
“Items of clothing have quite specific connotations
but these can easily be changed, extended, or inverted with a change
in the wearer and or situation. Costume then occupies a complex
position in the theatre’s semiotic systems.” (Helen Gilbert and Joanne
Tompkins). As soon as it appears on the stage, clothing turns into
costume. In traditional approaches, the use of costume was limited
to a visual presentation of a character or idea through physical
appearance. With the stage developments of the twentieth century,
however, costume has shifted from simple character identification
towards an autonomous and aesthetic function. Costume is linked to
the body; it is always more than an ornament. It can serve the body
by adapting to the actor’s gestures, movements and attitudes or it
26
restricts the body by subjecting it to the weight of material and form.
Still the use of costume is not confined only to the theatrical context:
“so soon as clothes are anything more than a mere device of decency
or a protection against the weather they inevitably assume a dramatic
quality of some kind”, observes the English art historian James Laver.
In origin, he asserts, all clothes are, in fact, theatrical costumes. The
history of the theatrical costume goes back to the early stages of
humankind. The gesture of the primitive man putting on clothes
bears itself a dramatic value.
CHOREOGRAPHY “There is a choreographical presence in all acting,
in all the movement on the stage. Choreography has to do as much
as with the actors movement on the stage, the pace or rhythm of
the performance and the synchronization of word and gesture, as
with the arrangements of the actors on the stage. The staging does
not reproduce movements and behaviour from day life as is. They
are stylized, rendered harmonious or ‘readable’, co-ordinated for the
spectator’s gaze, worked and repeated until this staging is, so to speak,
choreographed. ”(Patrice Pavis)
F
or Brecht, “a theatre where everything depends on the ‘gest’
cannot do without choreography”, a ‘gest’ being a stylized motion,
expression or tone of voice that encapsulates and reveals the worldview
of a given character and through its repetition comes to embody the
“social relationships prevailing between people of a given period”.
CHARACTER
In theatre, the character assumes the features and
voice of the actor. The emergence of the term began as only a mask or
the role played by the actor, persona, and not the character outlined
by the dramatist. The actor and character were completely detached to
the point that gestures and words were completely separated. Western
traditional theatre reversed this relation leading to a symbiosis
between actor and character. The approach to a character followed
numerous shifts from the character development towards naturalism
with the expectation that a character is an imitation of reality to the
effacement of the character in the symbolist drama. Antonin Artaud
and Bertold Brech, two major figures of the avant-garde theatre
proposed a radical separation of actors from characters. In Brecht,
for instance, the actor distances him/herself from the character
through a moment of critical reflection in which the actors address
spectators directly about the constructedness of a character. This
moment of rupture makes visible the mechanisms of representation
and undermines any potential identification of the audience with a
character. In light of these experimentations engendering a fear of the
death of the Character, Pavis proposes that “the character is not dead;
it has merely become polymorphous and difficult to pin down; its only
hope for survival.”
DRAMATURGY
“The goal of dramaturgy is to resolve the antipathy
between the intellectual and the practical in theatre, fusing the two
into an organic whole,” mentioned playwright, and dramaturg Leon
Katz. In its broadest sense, dramaturgy could be defined as the art of
composition of plays, the study of how meaning might be generated
in drama and performance. Dramaturgy gives an understanding of
how the unity of the work is created and an analysis of what a work
can be. It can be understood as an attribute (the dramatic structure
and production elements of a particular playwright or play), a role
(a person who helps fuse a myriad of visions and intentions of key
players together in a compelling manner) or a function (seeking to
enrich the work through questioning received models of production).
Classical dramaturgy made a distinction between the internal
elements that constitute the dramatic text of a play and its external
structure that is related to the performance of the play, showing less
concern with the realisation of the play on the stage. Contemporary
theory and practice tends to give equal importance to all elements that
contribute to the overall architecture of a play and conceive of a play a
set of relationships and interactions woven together in different ways.
Writers such as Mike Pearson and Michael Shanks propose dramaturgy as a ‘cultural assembly’:“Dramaturgy, as cultural assemblage, works
equally with settings, people, bodies, things, texts, histories, voices,
architectures. In these connective networks, that are dramaturgical, it
is usual to consider things and people as separate, their conjunction
considered after their distinction. We proposed instead the inseparability of people, things, values.”
EXPOSITION
“In the exposition, the playwright provides the
information required to evaluate the dramatic situation and to
understand the action to be presented. In classical dramaturgy, the
exposition (or protasis) tends to be concentrated at the beginning
of the play in the first act or opening scenes, and that is often to
be found in a narrative or ‘naïve’ exchange of information. In the
extreme case of analytical drama, which does not show the conflict
but rather presupposes it before proceeding to analyse its causes, the
entire text becomes an extended exposition.” (Patrice Pavis)
MASK-PERSONA The creation of masks can be considered as the first
attempt by ancient man to give shape to his/her innermost
visualisations and torments to surmount fear and regain security. The
masks used in religious rituals allowed a community to transgress
the ordinary and instill a symbolic dimension in the everyday. The
production of masks was a conscious effort and a result of collective
will. In order for a mask to be effective, it needed to be recognised
as such by all members of the community. Masking carries with
it a double notion of hiding and transforming identity. The Swiss
psychiatrist Carl Jung used persona – the Latin term for mask – to
27
�GLOSSARY
refer to our way of adjusting to the world. Likewise, the persona is
the mask that protects us not only from the other people behind the
masks, but also from our real self. According to American dance
critic Walter Sorell “theatricality in everyday life is close to the
idea of wearing a mask because of the private-public opposition, as
if we always put on a mask in public, as if we are always authentic
in the private. But we have seen that we are never free from acting
and performing, and that authenticity is a concept not applicable to
behaviour, it is destructive for the psyche and problematic for identity.”
RITUAL
Ritual in general, as defined by scholars Helen
Gilbert and Joanne Tompkins who work in the field of postcolonial drama and performance theory, comprises of a series/
routine of presentational acts (showing, telling, dancing, etc.) that
often incorporate the representational (imitation, impersonation),
and sometimes manifestational acts (usually through a spiritual
dimension) which transcend both; acts that are believed to be real
and not fictional, even if aspects of play are incorporated into the
ritual. They are performed by ‘knowledgeable human agents’ (priests,
diviners) and is always efficacious for the community and enacted for
a particular audience. Secular rituals, while not specifically religious,
invoke concepts such as the state, community and tradition while a
ritual conducted in private, such as an individual’s grooming routine,
bears significance as a means of defining oneself in relation to society.
According to French sociologist Émile Durkheim “Everything changes when a ceremony takes place (…) Once the individuals are gathered
together, a sort of electricity is generated from their closeness and
quickly launches them into an extraordinary height of exaltation (…)
Probably because a collective emotion cannot be expressed collectively
without some order that permits harmony and unison of movement,
[their] gestures and cries tend to fall into rhythm and regularity and
from there into songs and dances.”
28
PLAY
“We might call it a free activity standing quite
consciously outside ‘ordinary life’ as being ‘not serious,’ but at the
same time absorbing the player intensely and utterly.” asserted the
Dutch cultural theorist, Johan Huizinga. In performance studies, play
is recognised as the potency of uncertainty, one that emphasises on
innovation and creativity. ‘Play’ according to the French philosopher
Jacques Derrida relates to the play of elements within a paradigmatic
structure which makes impossible a single holistic meaning. The
term was used by Derrida to suggest certain looseness found within
structures of processes of signification, but also the type of amusement
associated with playfulness. Play in both senses invites those processes
of internal or self-reflexive critique that Derrida has practiced as
‘Deconstruction’. ‘Play’ refers to the impossibility of seeking a single
unified meaning in any given context, thus resulting in an acceptance
of the ambiguities and contradictions of human activities.
PROTAGONIST
“The term protagonist derives from the Greek
protos (first) and agon (struggle), meaning ‘first contestant’. The term
used to designate the leading actor in a Greek tragedy. By extension,
protagonist came to refer to the main character in a tragedy as well
as to the main actor. A character in opposition or in conflict with the
protagonist as character was thus the antagonist. In modern usage,
‘protagonist’ is used to refer to the central character in a play, the one
at the centre of the conflicts, and frequently the hero.” (Patrice Pavis)
STAGE
“In the theatre, in the cinema, in traditional
literature”, says Roland Barthes “things are always seen from
somewhere”. And when it comes to theatre what is at stake is thinking
and calculating about “the place of things as they are observed.” A
stage, continues Barthes, is the result of an act of cutting out, it is
a mode of representation: it frames a segment of the real in order
to depict it. In the traditional understanding, stage is an organized
arrangement of shapes and objects, colour and materials, filled
with signs and symbols, with the goal to convince the spectator
that the universe created is real. However avant-garde experiments
undermined the pictorial tradition of stage and explored various
approaches to the point where stage design and performance became
inseparable or enabled the actors and audience to share the same
space. In his writings, Antonin Artaud advocated that the action
should be decentralised, coming from all directions and breaking
any tangible barriers between actors and spectators: “We intend to
do away with stage and auditorium, replacing them with a kind of
single undivided locale without any partitions of any kind and this
will become the very scene of the action. […] The action will unfold,
extending its trajectory from floor to floor, from place to place, with
sudden outbursts flaring up in different spots like conflagrations.”
French playwright Simone Benmussa, in restaging and subverting the
conventions of a patriarchal theatre, associates the stage with dreams: “
Stage is the reflecting surface of a dream, of a deferred dream, it is the
meeting place of the desires… (that) create around them a nebulous
zone which allows the spectator to divine the other”
MISE-EN-SCÈNE The term staging or mise-en-scène concerns all
the resources of stage performance from décor to lighting, music
and acting. In a broad sense, staging is the act of transposing the
writing of the text into scenic performance experienced by the
spectators. Staging implies the subordination of each element as to
form a complete, organic structure. The mise-en-scène is significant
for Patrice Pavis for it is able to produce a work that generates its own
values and connections instead of representing an individual author/
director’s intention’s while for Antonin Artaud it is the language
of theatre, a complete aesthetic experience where music, props,
movement, gestures come together freeing the performance from the
domination of speech means: “This archetypal theatre language will
be formed around staging not simply viewed as one degree
of refraction of the script on stage, but as a starting point for
theatrical creation.”
THEATRE
“Theatre deals with the imaginary. In other words,
it makes use of a technique of constructing space, allowing subjects
to settle there: first the construction of physical space, and then
of psychological space.”(Josette Féral). The French philosopher,
Jean-Francois Lyotard called for an energetic theatre, a theatre not
of meanings, signs, but of intensities, forces - where the “gesture
of a clinched fist no longer represents the pain produced by a
toothache”, but it stands on its own. Theatre is no longer conceived
as a representational system; on the contrary it is grounded on
nihilism, on the impossibility of substitution. Replacement
functions as an act of displacement, a continuous move in various,
and often arbitrary directions. The phenomenological approach
by playwright and dramatic theorist Bert O. States sees theatre’s
primary accomplishment as not to represent the world but to be part
of it, to effect a ‘transaction between consciousness and the thickness
of existence’. Theatre is a place for the affirmative thinking of the
inherent process of alienation (as a Marxist category). Not in the
sense that it hints to a loss of origins, to the impossibility of return to
a specific source, but as a producer of a state of indifference towards
what is exchanged in the capitalist flow. Indifference makes possible
a non-hierarchical and discontinuous circulation that abolishes the
relationship between illusion and truth, outside and inside, cause and
effect, signifier and signified.
29
�THEORY and THEATRICALITY
GLOSSARY
VOICE
Nothing is closer to us than our voice. The voice
embodies pure presence; it is the counter-point of a mediated
experience: “I do not even have to speak to you, as long as I hear
myself. I do not even have to speak: I can sing, scream, mutter, speak
to myself in silence.” (Régis Durand). The sign of pure auto-affection,
the voice is self-sufficient, in its manifestation it doesn’t borrow from
outside itself. Elusive and passing, the voice does not leave any trace or
anything one could hold on to. As an expansion of the body the voice
gives expression to our fantasies and desires. Barthes speaks of “the
grain of the voice” in theatre as anterior to expression, an “erotic mix
30
of timbre and language”. It follows fantasy’s regressive journey to a
point of origins that of “first men”, asserts Durand before they became
enslaved by words, when they were “entirely immersed in the sense,
buffeted by passion, buried in the body”.
THEATRE OF THE WORLD and THEATRE STATE
“All the world’s a stage, and all the men and women merely
players: they have their exits and their entrances; and one man
in his time plays many parts, his acts being seven ages. (William
Shakespeare) The relationship between acting and society has been
explored since antiquity, finding new resonance in the last century.
Theatre theorist Josette Féral speaks of the ‘invisible theatre’ where she
suggests, given the right “perceptual dynamics”, of seeing and being
seen, theatrical mimesis can ‘happen’ anywhere or anytime. In the
last half century, the study of theatrical, symbolic and performative
elements of state power have been a subject of much scrutiny, with
American anthropologist Clifford Geertz’s work on the infusion of
theatre into life in Bali shaping the theorising of culture and political
science, the essential idea being that “the dramaturgy of power (is
not) external to its workings’. A parallel could be drawn with Artaud’s
own encounter with Balinese theatre revolutionising his own practice
before going on to influence much of Western theatre. Extending on
Geertz’s framework, political theorists Julia C. Strauss and Donald
B. Cruise O’ Brien, when conceiving of the politics of performance
via inflecting and the mirroring of theatrical terms in society, look at
staged ceremonies as a form of ritual, street demonstrations as theatre
and dramatic speech designed to engage the emotions as individual
performances, and how these modes of performance all require a
stage/platform, an audience and deal with some concerns akin to
those of theatre.
Artaud, Antonin.
(1993) The Theatre and its Double: Essays.
Montreuil; London: Calder.
Bakhtin, M. M. (Mikhail Mikhaĭlovich).
(1984) Rabelais and his World. Bloomington,
Ind.: Indiana University Press.
Barthes, Roland.
(1997) Image, Music, Text. New York: Hill
and Wang.
E. Durkheim.
(1995) The Elementary Forms of Religious Life.
New York: Free Press.
Kennedy, Dennis.
(2010) The Oxford Companion to Theatre and
Performance. Oxford; New York: Oxford
University Press.
Laver, James.
(1982) Costume and Fashions : a concise
History. London : Thames and Hudson.
Mirzoeff, Nicholas (ed.)
(2013), The Visual Culture Reader. London :
Routledge.
Murray, Timothy (ed.)
(1997), Mimesis, Masochism, and Mime :
the Politics of Theatricality in Contemporary
French Thought. Ann Arbor: University of
Michigan Press.
Pavis, Patrice.
(1998) Dictionary of the Theatre: Terms,
Concepts, and Analysis. Toronto : University
of Toronto Press.
Payne, Michael (ed.)
(1996), A Dictionary of Cultural and Critical
Theory. Oxford [England]; Cambridge, Mass:
Blackwell Publishers.
Puchner, Martin.
(2002) The Theater in Modernist Thought. In:
New Literary History, Vol. 33, No. 3, The
Book as Character, Composition, Criticism,
and Creation. [Online] pp. 521-532.
Turner, Cathy and Behrndt, Synne K.
(2008) Dramaturgy and Performance.
Basingstoke: Palgrave Macmillan.
Sorell, Walter.
(1973) The other Face: the Mask in the Art.
London : Thames and Hudson
Gilbert, Helen and Tompkins, Joanne.
(1996) Post-Colonial Drama: Theory, Practice,
Politics. London ; New York : Routledge.
Brecht, Bertolt.
(1949) A Short Organum for the Theatre.
[Online]
Cardullo, Bert. (ed.)
(1995) What is Dramaturgy? Bern;
Switzerland : Peter Lang.
Bial, Henry (ed.)
(2007) The Performance Studies Reader.
London ; New York : Routledge.
MacDonald, Erik.
(1993) Theater at the Margins: Text and the
Post-Structured Stage. Ann Arbor : University
of Michigan Press.
Pavis, Patrice.
(2012) Contemporary Mise en Scène: Staging
Theatre Today. London ; New York : Routledge.
Fortier, Mark.
(2002) Theory/Theatre: An Introduction.
London ; New York : Routledge.
Potolsky, Matthew.
(2006) Mimesis. London ; New York :
Routledge.
Rae, Paul.
(2004) “10/12”: When Singapore Became
the Bali of the 21st Century? In: focas: Forum
On Contemporary Art & Society, No. 5,
‘Second Front’. Singapore: Substation [Online]
pp. 218-255.
Geertz, Clifford.
(1980) Negara: The Theatre State in
Nineteenth-Century Bali. Princeton, N.J. :
Princeton University Press
Strauss, Julia C. and Cruise O’Brien, Donal B.
(2007) Staging Politics: Power and
Performance in Asia and Africa. London ;
New York : I.B. Tauris
31
LIST OF SOURCES/GLOSSARY
The theoretical reflection
shares a related etymology with theatrical spectatorship. Theatre
has evolved from the Greek word theatron that stands for a ‘place for
viewing’ whereas theory derives from theorein meaning to ‘gaze upon’.
Thea - the sense of ‘sight’ - is central to both theatre production and
theoretical investigation; Performance theoretician Herbert Blau once
said “Theatre is theory, or a shadow of it… In the act of seeing, there
is already theory,” the two meet in the act of contemplation. From
Plato to Hegel, from Nietzsche to Deleuze, there is a theoretical
tradition of thought manifested in strong fascination with theatre
and theatricality. One could even speak about a theatrical turn of
philosophy from the end of the nineteenth-century throughout the
twentieth-century of indicated for instance by the appropriation
of theatrical concepts such as ‘performance’, ‘performativity’,
‘theatricality’ by critical theory. Although this interaction remained
in a state of conflictual entanglement, theatrical theory and history
of theatre operated in close relationship and influenced each other to
the point that they cannot be conceived independently. The so-called
‘anti-theatrical prejudice’ rooted in Plato’s criticism was in fact a
rejection of the theatrical apparatus of representation which was later
on dismissed by the avant-garde theatre itself through the works of
Jarry, Artaud, Beckett and others.
�Centre for Contemporary Art Singapore
The Centre for Contemporary Art Singapore
(CCA) is a research centre of Nanyang
Technological University, developed with
support from the Economic Development
Board, Singapore. Located in Gillman Barracks
alongside a cluster of international galleries,
the CCA takes a holistic approach towards art
and culture, intertwining its various platforms:
exhibitions, research and residencies.
CCA GOVERNING COUNCIL
CCA STAFF
Co-Chairs
Professor Freddy Boey, Deputy President and Provost,
Nanyang Technological University (NTU)
Ms. Thien Kwee Eng, Assistant Managing Director (CG Consumer),
Singapore, Economic Development Board (EDB)
Professor Ute Meta Bauer, Founding Director
Michelle Goh, Deputy Director, Operations,
Development & Planning
Jasmaine Cheong, Assistant Director, Operations & HR
Mary Loo, Manager, Finance
Sheila Tham, Executive, Operations & HR
Anca Rujoiu, Curator, Exhibitions
Vera Mey, Curator, Residencies
Syaheedah Iskander, Assistant, Exhibitions
Shona Findlay, Assistant Residencies
Isrudy Shaik, Executive, Exhibitions & IT
Samantha Leong, Young Professional Trainee, Research
Kenneth Loe, Bernice Ong, Melvin Tan and Samantha
Yap, Curating Lab Interns
Members
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), Presidents’ Office, NTU
Ms. Kow Ree Na, Director (Lifestyle), EDB
Dr. Eugene Tan, Director, National Gallery Singapore
Mr. Paul Tan, Deputy Chief Executive, National Arts Council
�LOCATION
Centre for Contemporary Art Singapore
CCA Exhibitions, Block 43, Malan Road, Singapore 109443
CCA Offices & Research Centre, Block 6, Lock Road, Singapore 108934
CCA Studios, Block 37 & 38, Malan Road, Singapore 109443
HOURS
CCA EXHIBITIONS
Free admission
Tue-Sun 12–7 pm
Fri
12–9 pm
Mon Closed
TOURS
We offer docent-led tours for groups and schools. All groups larger than
ten individuals and all school groups must make a reservation.
CONTACT
Singapore
Teachers’
Academy for
the Arts
Email ccaevents@ntu.edu.sg
CCA Offices
+65 66840998
CCA Exhibitions +65 63396503
Visit gillmanbarracks.com/cca to reserve a time slot.
For updates on exhibitions and public programmes, visit
www.gillmanbarracks.com/cca
Follow CCA on Facebook
www.facebook/CentreForContemporaryART
�
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
Theatrical Fields 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>Theatrical Fields</i> Exhibition Guide
Description
An account of the resource
<i>Theatrical Fields</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-08-22
Contributor
An entity responsible for making contributions to the resource
Judith Barry
Stan Douglas
Joan Jonas
Isaac Julien
Eva Meyer
Eran Schaerf
Constanze Ruhm
Ute Meta Bauer
Anca Rujoiu
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
Europe
Southeast Asia
North America
Subject
The topic of the resource
Embodiment
Experiential
Theatre
Ritual
-
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PDF Text
Text
Public Programmes
In conjunction with the exhibition, a series of public programmes are organised to allow an in-depth engagement with Yang
Fudong’s artistic practice and provides the opportunity to expand on ideas relevant to his works.
Unless otherwise stated, all programmes are conducted in English and take place at the seminar room of the NTU Centre for
Contemporary Art Singapore, Block 43 Malan Road, Gillman Barracks.
配合展览策划的一系列公共项目将促使对杨福东艺术实践的深入探讨,以及提供机会扩展作品相关概念的讨论。
除非特别注明,所有公共项目将以英语进行,地点为新加坡南大当代艺术中心研讨室(Malan路43号,吉门营房艺术区)。
Sat, 13 Dec 2014
3:00pm–4:30pm
Yang Fudong In Conversation
with Ute Meta Bauer and
Khim Ong, co-curators of
Incidental Scripts
A series of talks that engages participants in
discussions on Yang Fudong’s works in the
exhibition. Through multiple approaches and
viewpoints, distinguished guest speakers of diverse
backgrounds will explore ideas that revolve around
the works as well as share their interpretations.
The Artist’s Cut: Sunday Film
Screenings
Wed, 14 Jan 2015
7:00pm–8:30pm
Exhibition (de)Tour with
Ho Rui An, artist and writer
Sun, 18 Jan 2015
2:00pm
The Artist’s Cut: Sunday Film
Screenings
3.00-5.00pm
Sensing Film takes participants on a two-part
journey that will test the audience’s perceptual
capacity.
Thu, 22 Jan 2015
3:00pm–7:00pm
Special Programme –
Sensing Film: Describing the
Indescribable
This programme will span two venues. Participants
are required to stay throughout the programme and
will be shuttled between venues. Meeting point is
at Marina Bay Sands Expo and Convention Centre,
ground floor main entrance (10 Bayfront Avenue,
Singapore 018956).
3:00pm
Departure at Marina Bay Sands
Convention Centre
5:00pm
Seminar Room of the NTU CCA
Singapore
Sun, 1 Feb 2015
2:00pm
Fri, 6 Feb 2015
7:00pm–8:30pm
Sun, 8 Feb 2015
2:00pm
Fri, 27 Feb 2015
7:00pm–8:30pm
The Artist’s Cut: Sunday Film
Screenings
Exhibition (de)Tour with
Ben Slater, writer, film critic, and
Lecturer in Screen Writing and
Narratives at NTU School of Art,
Design and Media
The Artist’s Cut: Sunday Film
Screenings
展览「绕道」赏
这一系列座谈邀请到各个来自不同领域的演讲嘉宾与观众一
起讨论杨福东展览中的作品。通过不同方式和观点,演讲嘉
宾将探讨作品背后的理念以及分享他们独特的解读。
Special Programme – Sensing Film:
Describing the Indescribable
5.00-7.00pm
The programme will conclude with a roundtable
discussion at NTU CCA Singapore with a
distinguished panel of speakers to discuss the
phenomenology of the cinematic.
特备项目 – 意会电影:描述那些不可被描述的
下午3时至5时:一个让观众以感官体验杨福东作品的特备
项目。以两部分进行,带领观众踏上一个挑战个人感知能
力的旅程。
注:此项目将跨越两个场地,观众需全程参与。聚集地点在
滨海湾金沙会议展览中心一楼主要入口处(湾畔大道10号,
新加坡邮区018956)。举办方会提供场地间的载送。名额
有限,请预先登记。
下午5时至7时:此项目将以同名的圆桌会谈做结尾,将聚
集了一组国际知名演讲者深入探讨影视现象。演讲人之一
是侯瀚如,意大利罗马二十一世纪国家美术馆(MAXXI)
艺术总监。
For updates on the public programmes please visit,
www.gillmanbarracks.com/cca or www.ccasingapore.org
欲知公共项目更新讯息,请浏览网站
www.gillmanbarracks.com/cca 或
www.ccasingapore.org
Exhibition (de)Tour with
Michelle Lim, writer, curator
and Assistant Professor at NTU
School of Art, Design and Media
NTU Centre for Contemporary Art Singapore
CCA Exhibitions, Block 43 Malan Road, Singapore 109443
CCA Office & Research Centre, Block 6 Lock Road, Singapore 108934
CCA Studios, Block 37 & 38 Malan Road, Singapore 109443
CCA Exhibitions
Tue – Sun
12-7pm
Fri
12-9pm
Mon
Closed
Open on Public Holidays
Free admission
Free docent-led exhibitions tours
Every Wednesday and Saturday, 2.30pm–3.30pm
Please register at www.ccasingapore.org
Email
CCA Office
CCA Exhibitions
ccaevents@ntu.edu.sg
+65 6460 0300
+65 6339 6503
For updates on exhibitions and programmes, visit:
www.gillmanbarracks.com/cca
www.facebook.com/CentreForContemporaryArt
www.ccasingapore.org
YFDpress FA.indd 1-2
NTU CCA Singapore positions itself as a centre for critical discourse and
experimental practices for Singapore, the region and beyond. It aims to
play an active role within the local art scene, as well as be a part of the
development of regional and international art infrastructures.
Exhibition (de)Tours
Sun, 4 Jan 2015
2:00pm
Speakers include Hou Hanru, Artistic
Director of MAXXI Rome, Italy.
The NTU Centre for Contemporary Art Singapore is a national research
centre of Nanyang Technological University, developed with support from
Economic Development Board, Singapore. Located in Gillman Barracks
alongside a cluster of international galleries, NTU CCA Singapore takes a
holistic approach towards art and culture, intertwining its three platforms.
Exhibitions, Residencies and Research.
LOCATED AT
UTE META BAUER is the Founding Director of the NTU Centre for Contemporary Art
Singapore and Professor of the School of Art, Design and Media (ADM) at the Nanyang
Technological University. She was Dean of Fine Art at the Royal College of Art, London
(2012/2013); Associate Professor at the MIT, Cambridge, MA (2005-2013) and Founding
Director of ACT, MIT’s Program in Art, Culture, and Technology (2009– 2012): Her
recent editorial contributions include: Intellectual Birdhouse. Artistic Practice as
Research (co-edited with F. Dombois, M.Schwab, C. Mareis, 2012), World Biennale
Forum No 1 – Shifting Gravity (co-edited with Hou Hanru, 2013). In 2015 she will cocurate the US Pavilion for the 56th Venice Biennale with Paul Ha, Director of MIT List
Visual Art Centre, featuring eminent artist Joan Jonas.
HO RUI AN is an artist and writer working in the intersections of contemporary art,
cinema, performance and theory. In a practice that attends to the problems of visuality,
he writes, talks and thinks around images, investigating their sites of emergence,
transmission and disappearance. He is currently developing a body of work surrounding
image economies in Singapore and Southeast Asia and has presented projects at the
2nd Kochi-Muziris Biennale, Serpentine Galleries, London, U.K, Singapore Art Museum,
LUMA/Westbau, Zurich, Switzerland and Witte de With, Rotterdam, Netherlands.
He is the Singapore desk editor for ArtAsiaPacific and has contributed to numerous
catalogues and periodicals. Ho lives and works in New York and Singapore.
HOU HANRU is the Artistic Director of the National Museum of XXI Century Arts
(MAXXI) in Rome, Italy. His prolific curatorial work addresses contemporary practice and
the conditions of artists living in the diaspora from the perspective of cultural hybridity.
Hou gained international attention with Cities on the Move (1997-2000), a traveling
exhibition he curated with Hans Ulrich Obrist, which emphasised the ways in which
Asian contemporary artists have dealt with rapid changes in urban lifestyles and values.
He has also curated many seminal exhibitions in Europe, U.S.A., and Asia, including
international biennials in Shanghai (2000), Istanbul (2007), the Chinese Pavilion at the
Venice Biennale (2007), and Lyon (2009). He has acted as a consultant for cultural
institutions across the world including the Solomon R. Guggenheim Museum, the
Global Advisory Committee of the Walker Art Center, and the Asian Art Council. Hou
recently curated the 5th Auckland Triennial, If you were to live here… (2013).
MICHELLE LIM is a writer and curator based in New York and Singapore. She is on the
faculty of the School of Art, Design and Media in Nanyang Technological University,
Singapore and was a Curatorial Fellow in the Whitney Independent Study Program in
New York, U.S.A.. Lim has worked on research and curatorial projects for institutions
such as the Asia Society Museum in New York, the Whitney Museum of American Art,
Princeton University Art Museum, Sculpture Square in Singapore, and the National
Museum of Singapore. She has also taught at Cooper Union and the CUNY Graduate
Center, and her writings have been published in Asian Art News, World Sculpture News,
Ish magazine and various exhibition catalogues.
KHIM ONG is an independent curator based in Singapore. She was previously 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, Singapore. Some of her curatorial projects include Jane Lee:
100 Faces at Sundaram Tagore Gallery, Singapore (2014), Landscape Memories at Louis
Vuitton Espace, Singapore (2013), Biographies (co-curated with Biljana Ciric) at Osage
Gallery, Hong Kong (2010). She has also worked on solo exhibitions of Antony Gormley,
Wolfgang Laib, On Kawara, Nipan Oranniwesna, and Sun Yuan & Peng Yu, among
others.
BEN SLATER is a writer, film critic and lecturer who has been based in Singapore
since 2002. He wrote the book Kinda Hot: The Making of Saint Jack in Singapore
(Singapore: Marshall Cavendish, 2006). His writings on film have been published
internationally, and he has curated for cinemas and film festivals in the U.K. and
Singapore. He has script edited several acclaimed feature films including Helen, HERE
and Mister John and is the co-writer of the sci-fi thriller Camera. Currently he is a
Lecturer in Screenwriting and Narrative at the School of Art, Design and Media in
Nanyang Technological University, Singapore.
The NTU Centre for Contemporary Art
Singapore presents, for the first time
in Southeast Asia, a solo exhibition of
Yang Fudong, one of China’s best known
contemporary artists who has gained
international acclaim for his photographic,
film and video works.
“许多偶发的启发特别重要”
The exhibition, Incidental Scripts, will
present a selection of four works by Yang:
An Estranged Paradise (1997-2002), The
Fifth Night (II) Rehearsal (2010), On the
Double Dragon Hills (2012), and About the
Unknown Girl – Ma Sise (2013-2014). Each
of these works is emblematic of the artist’s
multi-faceted approach towards the creation
of visual imageries that complicates our
understanding of realities and fiction and
our experience of time and space. Yang’s
works clearly pay tribute to French cinema
histories ranging from La Nouvelle Vague
to a Godardian play with real and on-screen
characters, going as far as to fictionalise
the real life of Ma Si She Zuo Wei, a young
Chinese actress.
CURATED BY UTE META BAUER
AND KHIM ONG
“我作品中人物的行为举止
都是其心理状态的反映”
由乌塔·梅塔 ·鲍尔(Ute Meta Bauer)
和王佩琴共同策划。
An Estranged Paradise is Yang’s first film
and the single occurrence of following a
script written by the artist. The work reflects
his fascination for crisp, moody, black and
white 35mm cinematography which was
to become characteristic of his practice.
Despite its narrative, this first foray into film
was a portrayal of an internal landscape
through physical meanderings of a scenic
city, Hangzhou, where he spent years during
his studies.
“现场即剧本”
Yang has since forgone the need for a ‘script’.
He instead favours the creation of images
that allude to the fragmentary nature of
our experiences, and rather communicates
a certain mood or state of being. The Fifth
Night (II) Rehearsal is a reflection on the film
production process and presents the entire
filming process in its unedited form. Seven
cameras, each with its own pace and field
of vision, concurrently shot seven scenes
that occur simultaneously in the same space.
The process of producing the film, from the
creation of the set to the composition of the
various scenes, was entirely arbitrary and
reliant on the spontaneity of the cast and
crew—each shot was unpredictable, each
expression unpremeditated. Through allowing
the filming itself to drive the unfolding of
character and scene, Yang is interested in
examining how chance encounters result in the
formation of relationships, whether imagined
or real. In establishing multiple perspectives,
the work challenges the viewer’s perception
of the cinematic time/space, allowing free
association unique to each viewing experience.
“出发点是来自那些不可以
被干涉、不可以被描述的
初衷 。
”
EXHIBITION HOURS
Tue-Sun 12pm-7pm
Fri 12pm-9pm
Mon
Closed
Open on Public Holidays
Free Admission
Still from The Fifth Night (II) Rehearsal, 2010
Yang’s interest in unmitigated experiences
is also prominent in On the Double Dragon
Hills, a two-channel black-and-white video
that consists of footages taken from an
earlier work Blue Kylin (2008). Filmed in
Jiaxiang in Shandong Province, a city well
known for its resource of blue stone, the
work records the everyday of the locals
whose lives are centred on the stonecarving trade. His straight-forward and direct
recording neither interferes nor attempts
to describe. The resulting footage provides
a bare glimpse into the work and lives of
these craftsmen who continuously adjust to
various uses of their skills subject to market
demands, transcending the reality of it and at
the same time alluding to modern civilisation.
For these craftsmen, their work stays the
same no matter if their product becomes an
artefact or a form of decoration.
Like the uncertainties in his films that
unfold with time, what unfolds in life is just
as unpredictable. This fascination with the
unknown led Yang to embark on an ambitious
project, About the Unknown Girl – Ma Sise.
Initially conceived as a durational film project,
it concerns all the ‘unknowns’ in the life
of a girl named Ma Sise; the uncertainty of
what her future will bring, the anticipation,
curiosity and excitement of what life has yet
to offer and is yet-to-be. At the same time,
it is also the artist’s inquiry into the life and
mind of an actress. What thoughts transpire
between the two states of living and acting?
How different are the roles in real life and
on screen? This three-year project took an
unexpected turn when Ma Sise suddenly
decided to leave the project.
“不是更关注,而是生活本
身的不决定性会让我有所
憧憬,不知道未来怎样,
会让我充满期待。
”
Incidental Scripts is an exploration of four
different realms of one artist and an invitation to
participate in their becoming. “Time is the script”
in Yang’s films and the viewer is his co-director.
展览开放时间
星期二至星期天 中午12时至傍晚7时
星期五 中午12时至晚上9时
逢星期一闭馆;公共假日照常开放
入场免费
LOCATION
NTU Centre for Contemporary Art Singapore
Block 43 Malan Road, Gillman Barracks,
Singapore 109443
地址
新加坡南大当代艺术中心(NTU CCA新加坡)
Malan路43号,吉门营房艺术区,新加坡邮区
109443
Special thanks to ShanghART Gallery
Complimentary to the exhibition is a series
of four posters. A limited number of tote
bags featuring The Unknown Girl - Ma Sise is
available at the NTU CCA Singapore
3/12/14 4:54 pm
�An Estranged Paradise
(1997–2002)
Single-channel video, 35mm film transferred to
DVD, black and white, sound, 76mins
On the Double Dragon
Hills (2012)
The Fifth Night (II)
Rehearsal (2010)
Double-channel video, black and white, silent,
25mins 50secs
Multi-channel film installation, 35mm film
transferred to HD, black and white, sound,
52mins 10secs
新加坡南大当代艺术中心将举办杨福东个展。
这是艺术家首次在东南亚区办个人展。杨氏是
中国最著名的当代艺术家之一,他的摄影、电
影及录像作品亦获得国际赞誉。
“Incidental inspirations
are especially important.”
In An Estranged Paradise, which took five years
to edit, Yang Fudong yielded to his trademark
fascination for crisp, moody, black-and-white 35mm
cinematography. The film starts with a meditation on
the composition of space in Chinese painting, then,
following the protagonist’s emotional vicissitude,
nonchalantly wanders through the streets, railroad
tracks, apartment buildings, waterfront and outskirts
of the southern city of Hangzhou, China. In this first
film, there is a sense of the journalistic style as in
Jean-Luc Godard’s film Breathless (1960), influences
by Jim Jarmusch, and a nostalgia for 1930s Shanghai
cinema. The film portrays the protagonist’s search
for a cause of an illness he thinks he has and his
relationships with three women. Each of these
echoes a different state of his being: the stability
of a relationship made official with an outing with
his parents; the temporary respite offered by a
lover but that is emotionally non-committal; a
fleeting encounter with a young woman where they
momentarily become “stand-ins”—he for the exlover she can’t get over, and her as his fantasy. His
sense of uneasiness which he attributes to be some
illness (external, corporeal), that seeks explanation
and cure in medical science (certainty, truths)
suggests a desire for ‘normalcy’. As common as his
life seems, it does not feel normal to him. Shot in
various scenic spots in Hangzhou, An Estranged
Paradise takes as its backdrop, a fast modernising
Chinese city as the site of the protagonist’s search
for certainty in life. An Estranged Paradise captures
the general sentiments of a generation confronted
with rapidly changing cities.
名为《偶发的剧本》,此展览将呈现杨氏的四
件作品,即《陌生天堂》(1997-2002)、
《第五夜(第二版)巡回排演》(2010)、
《二龙山上》(2012)和《关于与一切未知的
女孩:马斯瑟》(2013-2014)。展出的每
件作品都象征了艺术家对视觉意象创作的多方
位尝试,复杂化了观者对「现实/虚构」的认知
和对「时/空」的体验。杨氏的作品明显地是对
法国电影史的致敬,从「法国新浪潮」至高達
式(Godardian)玩弄于真实与银幕角色之
间。他甚至把一位年轻中国女演员马思舍祚韦
的生活虚拟化。
“The behaviour of the
characters in my works
are all reflections of their
mental state.”
《陌生天堂》是杨氏的第一件影视作品也是他
唯一一次依照剧本拍摄的作品。该作品反映了
他对35毫米黑白电影胶片风格摄影的迷恋,和
其锐利、忧悒的风格随即成为了他创作实践的
特点。作为杨氏第一次涉足电影的作品,其叙
事性已是以意识形态主导的方式进行,通过角
色在风景秀丽的杭州城市的漫游写照他的内心
世界。杭州亦是杨氏求学时期居住的城市。
“The scene is the script.”
自《陌生天堂》后,杨氏舍弃了对剧本的依
赖,反而热衷于创造能够影射人支离性的体验
和能表达某种氛围或生存状态的影像。《第五
夜(第二版)巡回排演》是对电影制作本身的
思考,将之拍摄制作过程完整地呈现。作品运
用了七部摄像机,各自以自己的步调和视角同
时拍摄七个并发的场景。拍摄过程,从布景到
各种场景的组成,是任意的且完全依赖演员和
拍摄组的自发性—随之产生的每个镜头是不可
预知的,而每次的演绎,每个表情亦是未经预
谋的。在这种任由拍摄过程驱动人物和场景发
展的创作方式里,杨氏感兴趣探索的是演员间
不经意的接触所形成的人物之间的关系,无论
是实际或是虚幻的。通过建立了多重角度的观
看,该作品挑战观众对电影时间和影视空间的
认知。同时,观看时产生的自由联想使每次的
和工匠们围绕着青石雕刻产业的生计。直白的
拍摄手法即不干涉亦不试图描述,拍摄出的画
面赤裸地呈现了工匠们的生活和他们如何不断
的依市场需求来调整利用他们手艺,超越了实
际用途并同时暗指着现代文明。对这些工匠而
言,无论他们所制作做出的最终成为文物或摆
设品,工作依旧是不变的。
陌生天堂 (1997-2002年)
单屏电影、35毫米黑白电影胶片转DVD、76分钟
这部用了五年时间编制的《陌生天堂》延续了杨福东对35
毫米黑白胶片的迷恋。影片开始是长达五分钟的书法表
演。随后,跟着主角情绪的变化,不断经过杭州这个城市
的街道,铁路,公寓楼,西湖,及郊外等场景。透过影片
如同他电影里随着时间展开的不确定性,生命
同样的是不可预测的。对「未知」的深感兴趣
促使杨氏开始一个具野心的项目,《关于与一
切未知的女孩: 马斯瑟》。初构思为长期电影项
目的这件作品以常出现在杨氏作品的年轻中国
女演员马斯瑟为主,关系着她生命中所有未知
的; 她的前途的不确定性。对生活中还没发生的
事的期待,和对所有可以成为可能的好奇和兴
奋。同时,艺术家探讨的是一个女演员的生活
和思维:在生活与演绎两种状态之间,脑子里
想的是什么?现实生活中与银幕上的角色有何
区别?原来计划为期三年的作品在马斯瑟突然
决定退出后告终。
“It’s not about paying
more attention, but it
is rather the inherent
观赏都成为独特的体验。
uncertainties in life that
“Points of departure are
I look forward to; not
those original intentions
knowing what the future
one cannot interfere with, will bring, makes me
that are indescribable.”
full of anticipation.”
可以感受到类似尚卢·高达(Jean-Luc Godard)
1960年的影片《断了气》( Breathless )中报道式的
拍摄手法,来自吉姆·贾木许的影响,和对上世纪三十
年代老上海电影的意犹未尽。影片描述了主人公因认为自
己患病而不断寻求其根源,以及他和三个女人的关系。这
些交际各自响应了他不同的生存状态:一个稳定的交往对
象通过一次与父母的郊游正式化;一段能给予暂时性喘息
空间但又无需投入感情的情人关系;与一年轻女子短暂的
邂逅引发出的替代关系—他暂时代替了她难以忘怀的旧情
人,而她成了他的幻想。影片里主人公把感受到的浑身不
自在归咎于某种病(外在、有形的),因而寻求医学上的
解释和治愈(确定性、真理)暗指了他对「正常」的渴
About the Unknown Girl –
Ma Sise (2013-2014)
The Fifth Night (II) Rehearsal is a reflection on the
process of cinematic production and comprises
seven synchronised projections. Referred to by
Yang Fudong as a “multiple perspective film”, the
installation goes beyond our visual field and habits
of viewing, depicting scenes that are random,
unrelated yet seem to connect at certain moments
only to end abruptly. The process of producing the
film, from the creation of the set to the composition
of the various scenes, was arbitrary and reliant on
the spontaneity of the cast and crew—each shot
is unpredictable, each expression unpremediated.
The Fifth Night (II) Rehearsal shows the entire
production process in its unedited form. Seen
through the director’s monitor, it is as if the set is
brought live, transposing viewers in the middle of
a live shoot. With seven cameras, each having its
own pace and field of vision, concurrently shooting
seven scenes, occurring simultaneously in the
same space, the film set becomes a playground
for experimentation of cinematic space and time.
The interplay of the different scenes gives rise to
arbitrary encounters between characters; and the
same scene can be at the foreground on one screen
and serve as the background on another. As if an
attempt to make manifest the fragmentary nature of
our experience of the world, this assembly of filmic
moments plays with our perceptive faculties and
resists comprehension. If the natural tendency of
a viewer is to draw associations and establish some
coherence to the disparate scenes, to what extent is
the created narrative derived from imageries from
the work and to what degree are they a synthesis of
the viewer’s experience of the ‘real’ world? The Fifth
Night (II) Rehearsal is a film about a film and each
viewer becomes its co-director.
《陌生天堂》在杭州各个景点拍摄,以逐渐现代化的中国
《陌生天堂》捕抓了一代人在面对迅速变化的城市时的普
遍情绪。
第五夜(第二版)巡回排演
(2010年)
多屏电影、35毫米黑白胶片电影转高清、52分10秒
《第五夜(第二版)巡回排演》是由七个屏幕并置放映
七段同步影像组成,是对电影制作过程的思考。杨福东
称之为『复眼电影』,作品超出了我们的视域和视觉习
惯,描绘的场景都是随机的、毫无关联的,在某些时刻似
乎连接上了却又突然被打断。制作拍摄的过程,从布景到
各种场景的组成,是任意的且完全依赖演员和拍摄组的
自发性——随之产生的每个镜头是不可预知的,而每次的
演绎、每个表情亦是未经预谋的。《第五夜(第二版)巡
回排演》将整个拍摄制作过程以未经编辑的形式完整地
呈现。观众看到的正是导演在监视器所看到的画面,犹如
置身于现场拍摄中。七台摄影机以各自的景深、景别、移
多路视频作品《二龙山上》亦充分地表现出杨
氏对于那些不可被干涉的体验的兴趣。取材于
杨氏 2008年创作的《青·麒麟》,此作记录
了在盛产青石的山东嘉祥市当地人的日常生活
《偶发的剧本》探索的是关于一个艺术家的四
个不同境界并参与它们的形成。『时间就是
剧本』,在杨福东的影视作品中,观众就是
第二导演。
动方式等,同时拍摄七个场景,使现场瞬间成了一个能让
人挥霍于电影时空的实验。在不同场景的交错下片中人物
的交集所产生出的画面可以同时是前景也是下一个画面的
背景。仿佛在试图具体化人对外在世界支离性的体验,作
品所聚集的支离的画面玩弄着我们的感官并拒绝被赋予逻
Multi-media installation with wallpaper, two
projections, four TV monitors, photographs.
Dimension variable
《被遗忘的蝴蝶结》 The Forgotten Bow-knot (2014)
关于与一切未知的女孩:
马斯瑟 (2013-2014年)
多媒体装置包括壁纸、两部投影、四个电视显示器和摄
影图像,尺寸可变
构思为长期电影项目的这件作品是关于一个叫马斯瑟女
孩的生活的一切。杨福东是在拍摄两部影像作品,《将军
二龙山上 (2012年)
的微笑》与《第五夜》时认识当时参演的马斯瑟。艺术家
好奇她学过的所谓专业的表演,与日常生活中作为演员的
一些变化。作品试图揭露一个「真实」演员的所思所想,
多路黑白视频、无声、25分50秒
以及什麽样的故事会发生在她的生活里。在真实的生活与
真实的表演两者之间,她未来的生活充满着许多不确定因
多路黑白视频作品《二龙山上》取材于杨氏2008年创作
素,也正这种不确定性使生活充满期待。杨氏对这种莫测
的《青·麒麟》,在盛产青石的山东嘉祥拍摄。作品记录
性深感兴趣,这是在杨氏的实践中固有的——如同影视时
了当地人的生活以及他们以青石雕塑制作为中心的生计。
间驱使场景的发展,现实时间推动着人生。作品进一步思
《青· 麒麟》呈现的是打造青石雕塑的过程,从采石到雕
塑,将记录下的过程和一组未完成、坍塌了的雕塑一同展
《昆明湖上》 At Lake Kunming (2014)
示。《青· 麒麟》中被戛然终止的生产过程反映了艺术家
对制作过程的思考,及暗指着消耗它们的现代文明。
《二龙山上》则是对制作过程本身的冥想,以及它如何影
响着这个为它提供资源,做出调整回应,并依赖着这种生
产需求的城市。工人们工作和休息的画面与采石场和它周
围城市辽阔的景观成对比。置身于这些宽阔的自然与人造
景观,工人们继续着他们的日常工作,对于推动和维持他
们的生活的无形力量似乎泰然自若。富有杨福东一贯的风
格形式,《二龙山上》是对人类作业的深刻观察,超越了
实际现实,并抗拒任何为之赋予意义的企图。
望。他的生活即使看上去是如此平凡却似乎感觉不正常。
城市为背景。通过刻画影片主人公追寻着生命的确定性,
On the Double Dragon Hills is a two-channel black
and white video that consists of footage taken
from an earlier work by Yang, Blue Kylin (2008).
Filmed in Jiaxiang in Shandong Province, a city
well known for its resource of blue stone, the work
records the life of the locals whose livelihood
centred on the stone-carving trade. The earlier
work presents the process of creating blue stone
sculptures, from the quarrying of the stones, to its
carving, to the display of a large, unfinished piece
of collapsed stone sculpture. Blue Kylin reflects the
artist’s contemplation of the production process
where the promise of an artefact being created is
unfulfilled, and an allusion to modern civilisation
that consumes them. On the Double Dragon Hills
is a meditation on the process of production itself
and its effects on the city that provides for, reacts to,
and depended on the demands of such production.
Scenes of workers at work and at rest are juxtaposed
with vast landscapes of the nearby city and the blue
stone quarry. Amidst the expanse of these natural
and man-made landscapes, workers carry on with
their daily activities, seemingly unperturbed by the
invisible forces that drives and sustain their living.
In the artist’s characteristic style, the work takes a
poignant look at human endeavours that transcends
practical realities, resisting any attempts at ascribing
meaning or purpose.
Conceived as a durational film project, About the
Unknown Girl – Ma Sise is about the life of a young
girl. Yang Fudong got to know Ma Sise through
casting her in two of his video works, General’s Smile
(2009) and The Fifth Night (2010). He became curious
about her training in professional acting, and began
to wonder how being an actress affects her daily life.
The project attempts to uncover all the thoughts
that pass through the mind of a ‘real’ actress, and
what kind of future is in store for her. Between daily
life and acting, there are a lot of uncertainties as
to how her life will unfold. And it is this unknown
that Yang senses as the potential to make life full of
anticipation. This fascination with the unpredictable
is inherent throughout Yang’s practice—if cinematic
time drives the scene, real time drives our lives.
With this project, he went further in the reflection
of and play with reality and fiction. The idea of what
is fictional / what is acted out in real time and real
space is part of that reality which encompasses it;
and when one starts scrutinising reality, the gesture
becomes an act of fictionalising. About the Unknown
Girl – Ma Sise was set out to span three years from
2013 to 2015 but was discontinued with Ma’s recent
withdrawal from the project. La Biennale de Lyon
(2013), where it was first shown, marked the start of
the project. The presentation at NTU CCA Singapore
comprises footages of Ma from General’s Smile;
At Hegang, a video documenting her shooting a
Chinese TV drama; Yang’s photographic series of Ma
Sise At Lake Kuming and The Forgotten Bow-knot,
and video documentation of the shooting process of
The Forgotten Bow-knot.
考并实验「现实」与「虚构」的概念。所谓虚构的或在实
时和真实空间中的演绎,都已被现实包含着;而当我们审
查着现实生活时,此举下意识的已经是对真实生活的虚拟
化。《关于与一切未知的女孩:马斯瑟》最初计划为期三
年(2013至2015)但因马斯瑟最近决定退出而告一段
落。作品的第一次展出是在2013年第12届里昂双年展,
代表这个艺术项目的开始。在新加坡南大当代艺术中心
的展出由几个部分组成:取自《将军的微笑》作品中有马
斯瑟镜头的录像;记录了她拍摄电视剧的录像作品《在鹤
岗》;摄影系列《昆明湖上》和《被遗忘的蝴蝶结》;以
及《被遗忘的蝴蝶结》的拍摄现场录像记录。
(马斯瑟全名马思舍祚韦。1989年出生于四川凉山彝族自治州西
昌市,是名女演员。现工作生活于北京。)
《在鹤岗》 At Hegang (2013)
(Ma Sise’s full name is Ma Si She Zuo Wei. Born in 1989
in Xichang, Yi Autonomous Prefecture of Liangshan,
Sichuan province; she is an actress and currently lives
and works in Beijing.)
辑。倘若观众的自然倾向是去为这些不同的场景做联想并
建立连贯性,那么所拼凑出的叙述有多少是直接引申于作
品中的影像,又有多少程度是综合了他们体验的「真实」
世界?《第五夜(第二版)巡回排演》是一部关于电影的
电影而每位观众都成了它的第二导演。
偶发的剧本
YFDpress FA.indd 3-4
杨福东
3/12/14 4:54 pm
�
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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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
Yang Fudong: Incidental Scripts 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>Yang Fudong: Incidental Scripts</i> Exhibition Guide
Description
An account of the resource
<i>Yang Fudong: Incidental Scripts</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-12-12
Contributor
An entity responsible for making contributions to the resource
Yang Fudong
Ute Meta Bauer
Khim Ong
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
Subject
The topic of the resource
Theatre
Fiction
-
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PDF Text
Text
PAR T O NE. S ID E A
Simryn Gill
HUGGING
THE
SHORE
Si mr yn Gi ll’s f i rst m a j o r so l o ex h i bi t i o n i n So ut h ea st A si a bri n gs t o get h er a
seri es of wo rks t h at revea l di f feren t m et h o do l o gi es, wa y s of l o o ki n g a n d t h i n ki n g
un derl y i n g h er a rt i st i c pro c ess.
Gi l l ’s pra c t i c e c a rri es a po et i c at t i t ude t o wa rds t h e wo rl d, c o m bi n ed wi t h
ph i l o so ph i c a l ref l ec t i o n a n d sc i en t i f i c m et h o do l o gy. Suc h a n a ppro a c h do es
n o t si t uat e i t sel f wi t h i n t h e rea l m of t h e i n t erdi sc i pl i n a ry, but rat h er h i gh l i gh t s
t h at t h e c o m pl ex i t y of o ur wo rl d c a n o n l y be un pa c ked f ro m va ri o us a n gl es
a n d subj ec t i vi t i es. It a l so suggest s t h at t o rea c h t h e c o re of t h i n gs, t o c a pt ure
i n wa rdn ess f ro m o ut si de we n eed t o a c c o m m o dat e m a n y wa y s of seei n g a n d bei n g.
With the energy of a collector, Gill gathers and accumulates objects that are
further organised and classified into subjective taxonomies and open-ended
systems of knowledge. This process of working constitutes the basis of her many
object installations and it is further extended into the realm of photography. What is
particular about the three photographic series Standing Still, Dalam, and May 2006,
Simryn Gill
presented in the show is that they are not records or documents of an existing
environment. Rather, the photographs are conceived as a gathering of objects,
HUGGING
THE
SHORE
27 March – 14 June 2015
structures and moments in time that are bestowed with a strong material presence.
They are all a result of a durational process, of hours of looking, wandering,
and collecting. The materiality of the photographic work does not only carry an
ontological dimension, but it also derives from the density of the work itself, which
amounts to hundreds and hundreds of photographs. “When does one have enough?
For what … to represent an idea? Does a big group tell you more or less? Does it tell
you more truthfully?” asks the artist. This exploration is continued by Like Leaves,
Gill’s new work made for the exhibition consisting of hundreds of leaves from a
stand of jambu laut trees, and cut into the square shape of much of her photography
prompting the question: “Do many leaves show us the whole tree?”.
�PAR T O NE. S ID E B
OVERL AP TO J OI N
PA R T ON E
OV E R L A P TO J O I N
S TA N D I N G
STILL
PA R T O N E
2000–2003
DALAM
OVERL AP TO JOIN
OVERL AP TO JOIN
2001
260 C-type photographs,
23.9cm x 23.9cm
116 C-type photographs,
31.5cm x 31.5cm
T h e title of th is e xh ibition , H ugging the S ho re c ome s f rom t h e t i t l e of J o h n
U pdike ’ s c olle c tion of e s s a ys a n d re v ie w s - a n a llu s ion , a c c ordin g t o t h e au t h o r, t o
th e c r itic w h o s ta ys c los e to th e s h ore a n d, u n like th e w r ite r of f ic tio n o r p o et r y, d o es
n ot v e n tu re f a r ou t to s e a . T h e me ta ph or of H ugging the S ho r e c ou l d b e co n cei v ed
a s a propos ition for w a ys of s e e in g a n d a pproa c h in g th e w or ld t h at t r av er ses
th rou g h ou t S imr yn Gill’ s la rg e ph otog r a ph ic w or ks a s w e ll a s h e r co l l ect i o n s of
obje c ts , a n d h e re , h e r g e ome tr ic a lly tr imme d le av e s . I t is a n a c t of st ep p i n g b ack ,
s h if tin g ou r e ye s f rom th e f r a g me n t to th e w h ole . An a c t th at al l o w s u s t o t ake
a lon g e r v ie w, a ppre h e n d th e w h ole th in g a n d le t ou r s e lv e s be a b so r b ed i n t o t h e
ov e r a ll pic tu re .
C ap t u r i n g a l arge n u m b er of ab an d o n ed b u i l d i n gs acro ss M al ay si a, St a n d i n g
St i l l can b e co n cei v ed as an ex p l o r at i o n of l an d scap e as a p al i m p sest , a l ay er i n g of
T h e r ig orou s dis pla y of th e s e ph otog r a ph s a n d pin n e d le av e s , b e i t i n v er t i cal o r
d i f feren t h i st o r i cal m o m en t s i n w h i ch o l d er asp i r at i o n s co - ex i st w i t h co n t em p o r ar y
h or izon ta l c olu mn s c re ate s a n os c illation be tw e e n th e a c t of look i n g an d read i n g.
ex p er i en ces. B u i l d i n g p ro j ect s ab an d o n ed b efo re co m p l et i o n i n t h e w ake of t h e
I n s tig atin g a c on tin u ou s proc e s s of a s s oc iation s a n d pe r mu tatio n s, t h e w o r k i s
f i n an ci al cr i si s t h at h i t t h e A si a-P aci f i c regi o n i n t h e l at e ‘9 0 s l ed t h e ar t i st “ t o l o o k
c los e to a w r itin g proc e s s . I t produ c e s a s pe c if ic s e n s ibility th at l i n ger s w i t h u s
aro u n d an d see al l t h e o t h er l ay er s of p rev i o u sl y ab an d o n ed b u i l d i n gs, b o t h l i v ed an d
af te r e xpe r ie n c in g Gill’ s w or k . A s e n s ibility tow a rds e xplor in g th e w o r l d aro u n d u s
u n l i v ed , o l d an d n ew, w h i ch are al so p resen t i n t h at l an d scap e, an d w h i ch p er h ap s
in s u c h a w a y th at th e a c t of look in g , re a din g a n d c re atin g ov e r la p ; t h e b an al t u r n s
w e h av e st o p p ed seei n g” ( Si m r y n G i l l ) . St r u ct u res t h at co u l d h av e b eco m e sh o p p i n g
Dalam (the term translates as ‘deep’ or ‘inside’ in Malay) comprises 260
in to s ome th in g e xtr a ordin a r y a n d time be c ome s mate r ia l.
m al l s, ap ar t m en t t o w er s, h o t el s an d resi d en t i al h o u ses b l en d i n t h e l an d scap e w i t h
photographs of living rooms taken across Peninsular Malaysia over a three-month
o l d er d erel i ct b u i l d i n gs: arch i t ect u r al rem ai n s of m an si o n s, sh o p s, m o d est kam p o n g
period. Unfolding in full, strong colours, the series offers a glimpse into the most
h o u ses r an gi n g f ro m t h e recen t p ast t o co l o n i al t i m es an d t h e w ar t i m e J ap an ese
public space of the house, but one in which one still has to seek consent to enter.
o ccu p at i o n . T h e ar t i st co n t i n u ed t h i s ex p l o r at i o n i n St at i on H ot el ( 2 0 0 6 ) an d
In this sense, Dalam addresses the relation between host and guest, the conventions
M y ow n p r i v at e A n g kor ( 2 0 0 7- 0 8 ) .
and boundaries that define the delicate realms of hospitality and privacy.
U t e Me t a B aue r & A n c a R uj oiu ( C u r ator s , H ugging the S ho re )
OVERL AP TO J OI N
PA R T ON E
OV E R L A P TO J O I N
PA R T O N E
Simryn Gill was born in Singapore and she lives in Port Dickson, Malaysia
a n d Sy d n e y, A u s t r a l i a . S h e e m p l o y s a r a n g e o f m e d i a a n d m e t h o d s , i n c l u d i n g
photographs, texts, publications, collections, drawings. Her work has been
s e e n i n s e v e r a l s o l o a n d g ro u p e x h i b i t i o n s i n c l u d i n g at t h e M u s e u m of M o d e r n
A r t , N e w Yo r k ( 2 0 14 ) ; t h e A u s t r a l i a n P a v i l i o n , 5 5 t h Ve n i c e B i e n n a l e ; S o l o m o n
R . G u g g e n h e i m M u s e u m , N e w Yo r k ( 2 0 1 3 ) ; d O C U M E N TA 1 3, K a s s e l ( 2 0 1 2 ) ; 1 2 t h
I s t a n b u l B i e n n a l e , ( 2 0 1 1 ) ; A u s t r a l i a n C e n t re fo r P h o t o g r a p h y, M e l b o u r n e ( 2 0 0 9 ) ;
M u s e u m of C on te mpor a r y Ar t, Sydn e y ( 20 0 8), doc u me n ta 1 2, K a s s el ( 2 0 0 7) .
T h e co m p o si t i o n of each p h o t o gr ap h i s al w ay s cen t red , w i t h a l arge d ep t h of
These living rooms may be perceived as portrayals of their inhabitants, where
f i el d t h at t r an sl at es i n t o an act of st ep p i n g b ack , t ak i n g d i st an ce f ro m t h e o b j ect .
objects and pieces of furniture preserve personal stories, but also convey desires
A b an d o n ed b y p eo p l e, t h e b u i l d i n gs are em b r aced b y t ro p i cal p l an t s of fer i n g t o
and aspirations. The focus on a subjective collection of objects resonates with other
t h e w h o l e ser i es a v i v i d p al et t e of co l o u r s h ei gh t en ed b y t h e i n t en se l i gh t of t h e
works by Simryn Gill, such as Garland (1993-2008) which is a collection of man-
t ro p i cal su n .
made debris picked up by the artist from the beaches of the Straits of Malacca.
OVERL AP TO JOIN
OVERL AP TO JOIN
�PAR T T WO. S ID E A
M AY 2 0 0 6
NT U Centre for C o n temp o ra ry A rt S i n ga p o re
OVERL AP TO JOIN
PART T WO
OVERL AP TO JOIN
PART T WO
2006
EXHIBITIONS
Bl o c k 43, M al an Ro ad
Sing ap o re, 1 0 9 443
OFFICE & RESEARCH CENTRE
Bl o c k 6, L o c k Ro ad # 0 1 - 0 9 /1 0
Sing ap o re, 1 0 89 34
RESIDENCIES STUDIOS
Bl o c ks 37 & 38, Mal an Ro ad
Sing ap o re 1 0 9 45 2 & 1 0 9 441
EXHIBITION HOURS
Tue – Sun
Fr i
M o n
817 gelatine silver photographs from
30 rolls of discontinued film, used
t o p h o t o g r a p h t h e a r t i s t ’s i m m e d i a t e
neighbourhood in Sydney every day of the
month in which it expired.
12.7cm x 17.8cm
1 2 – 7p m
12 – 9pm
C l o s ed
Op en o n P ub l ic H o l id ay s . Free adm i ssi o n t o
exhib it io ns , p ub l ic p ro g r ammes , a n d t o u rs.
GILLMAN BARRACKS ART &
HISTORY TOURS
Thes e f ree d o c ent - l ed t o ur s b y Fri e n ds of t h e M u se u m
w il l unc o v er Gil l man Bar r ac ks ’ r ich h i st o ry a n d i n t ro du c e
it s g al l er ies inc l ud ing NTU CC A S i n ga po re .
Ev er y Sat urd ay, 4.0 0 p m–5. 30 p m , pl e a se re gi st e r i n
ad v anc e at w w w. g il l manb ar r ac ks. c o m / t o u rs.
F o r enq uir ies o n E d u c at i o n Pro gr a m m e s a nd
S c h o o l To u r s , p l eas e email c c aev e n t s@ n t u . e du . sg
+ 65 6460 0 30 0
+ 65 6339 65 0 3
c c aev ent s @nt u. ed u. s g
FOR UPDATES ON EXHIBITIONS
AND PROGRAMMES, VISIT
nt u. c c as ing ap o re. o rg
g il l manb ar r ac ks . c o m/nt u- c c a- s in ga po re
f ac eb o o k . c o m/nt u. c c as ing ap o re
LOCATED AT
S im ryn Gi ll Huggi n g th e Shore, Pu blis hed by NTU CCA Sing apo re , Ma rc h 2 0 1 5
D e s ig n by Th e P re ss Room
© N T U CCA S i ng ap o re , Pr i nt e d Marc h 20 1 5. D e si gn by T he Pre s s R oo m .
OFFICE
EXHIBITIONS
EMAIL
The photographic series, May 2006, is best described by Simryn Gill as the process
of “understanding the place as a verb rather than as a noun, which exists in our
doings: walking, talking, living”. This epic body of work consists of 800 photographs
that traces the artist’s one-month journey on foot in her neighbourhood of
Marrickville in Sydney where she had lived for over a decade. Gill used 30 rolls of
a discontinued black-and-white film in the month which the film stock expired. As
the curator Jessica Morgan pointed out May 2006 “suggest(s) a memento mori to
both the soon to be redundant film stock and to the neighbourhood in which she
lives that was itself undergoing rapid change”. The photographs not only present
the viewer an archive of the everyday, but propose a new mode of looking at, and
engaging with, our surroundings.
�PAR T T WO. S ID E B
L I K E L E AV E S
2015
HUGGING THE SHORE
PUBLIC PROGRAMME
CONTRIBUTORS
PLACE.
LABOUR.
CAPITAL.
480 leaves from Syzygium Grandis,
6cm x 6cm
P L AC E.L A B O UR .C A P I TA L . i s N T U CC A Si n gap o re’ s o vera rc h i n g y ea r l o n g f ra m ewo rk
Opened in October 2013, NTU CCA Singapore is a national research centre of Nanyang
t h at w i l l i n t er t w i n e o u r p l at fo r m s: ex h i b i t i o n s, resi d en c i es, resea rc h & educ at i o n .
Technological University. Developed with support from the Singapore Economic
T h i s o p en - en d ed research an d cu r at o r i al p ro gr am m e wi l l a ddress t h e c o m pl ex i t i es
Development Board, NTU CCA Singapore is located in Gillman Barracks alongside a
of a w o r l d i n f l u x an d t h e d y n am i c an d i n sep ar ab l e rel at i o n bet ween t h e l o c a l
cluster of international galleries. Led by Founding Director, Professor Ute Meta Bauer,
an d t h e gl o b al . T h e n o t i o n of p l ace as a l o cal e oft en f a des i n t o t h e ba c kgro un d
NTU CCA Singapore takes a holistic approach towards art and culture, intertwining its
sh ad o w ed b y t h e fo cu s o n t h e ‘l arger p i ct u re’ . H o w d o es l a bo ur, ro ut es of m i grat i o n ,
three platforms: exhibitions, residencies, research & education.
an d f l o w s of gl o b al cap i t al i m p act u p o n sm al l er sc a l e? Si n ga po re – t h e wo rl d’s
The public programme is conceived as an extension of the exhibition itself.
T.K. S a ba pat h y is an art h is t o rian , cu rat o r an d crit ic. Sabapat h y’s are as of re s e arch
Comprising a series of conversations and Exhibition (de)Tours, the public programme
in cl u de art an d art is t s in So u t h e as t A s ia. Sabapat h y is cu rre n t l y a l e ct u re r in t h e h is t o ry
brings together different approaches and points of view towards the artist’s work.
of art in t h e D e part m e n t of A rch it e ct u re at t h e Nat io n al U n iv e rs it y of Sin g apo re . H e is
seco n d l argest t r ad i n g p o r t an d an eco n o m i c ep i cen t re of So ut h ea st A si a serves
as p o i n t of d ep ar t u re an d ‘l o cal e’ t o ex am i n e t h e en t a n gl em en t bet ween pl a c e,
l ab o u r, an d cap i t al .
at t h e Nan yan g Te ch n o l o g ical U n iv e rs it y, an d a Re s e arch F e l l o w at NT U CC A Sin g apo re .
Malan Road, Gillman Barracks.
L ee Wen g C h oy is t h e pre s ide n t of t h e Sin g apo re Se ct io n of t h e I n t e rn at io n al A s s o ciat io n
T H U R S D AY, 2 A P R I L 2 0 1 5 *
7. 0 0 P M – 8 . 3 0 P M
P u b l i c Tal k : S i m r y n G i l l i n co n v er sat i o n w i t h
T.K. S a b a p ath y , A r t H i st o r i an , C u r at o r an d C r i t i c
* T h is t a l k t a ke s p l a c e at S c h o o l of t h e A rt s S in g a p o re ( S OTA ) a n d is p a rt of t h e
L o u is Vu it t o n – S OTA A rt s E xc e l l e n c e P ro g ra mme .
The leaves in the exhibition are the same as those presented as photographs in
the artist’s book, Jambu Sea, Jambu Air (2013). Each page of the book is a closeF R I D AY, 1 0 A P R I L 2 0 1 5
the camera. Here, the leaves are shown cut into squares and pinned. As opposed
7. 3 0 P M - 9. 0 0 P M
P u b l i c Tal k : L e e We n g Ch o y , A r t C r i t i c i n
co n v er sat i o n w i t h S i m r y n G i l l
to being photographs, “they are actually themselves,” as Simryn Gill herself puts it,
F R I D AY, 2 4 A P R I L 2 0 1 5
exactly the opposite of the photos”. All the leaves come from the same species of
7. 3 0 P M – 9. 0 0 P M
Ex h i b i t i o n ( d e) To u r : L i l i a n Ch e e , Wr i t er, T h eo r i st
an d D esi gn er
tree, Syzygium Grandis, commonly known as the sea apple or jambu laut and found
w ide l y o n co n t e m po rary art , in cl u din g co n t ribu t io n s t o t h e co l l e ct io n s , T he or y in
S AT U R D AY, 6 J U N E 2 0 1 5 *
Professor Freddy Boey,
founding director
deputy president and provost
Operations, Development & Planning
Michelle Goh,
Nor Jumaiyah,
a s s i s ta n t d i r e c t o r , o p e r at i o n s & h r
a s s i s ta n t d i r e c t o r ,
c o m m u n i c at i o n s & d e v e l o p m e n t
P L AC E.L A B O UR .C A P I TA L . i s t r an sl at ed sp at i al l y t h ro ugh a n ew c o nf i gurat i o n of
t h e ex h i b i t i o n area d esi gn ed b y Fa re e d A r m a l y . Fro m Th e Ex h i bi ti o n Ha l l , a n ew
Kimberly Shen,
Mary Loo,
m a n a g e r , c o m m u n i c at i o n s
manager, finance
Vijayalakshmi Balankrishnan,
L ilia n C h ee is an A s s is t an t P rofe s s o r at t h e Nat io n al U n iv e rs it y of Sin g apo re . H e r re ce n t
( Ro u t l e dg e , 2 0 1 5 ), Conse rv ing Dom e sticity ( O RO, 2 0 1 2 ), an d t h e arch it e ct u ral f il m
03-FL AT S ( NU S an d 1 3 L it t l e P ict u re s , 2 0 14 ). Sh e is o n t h e e dit o rial bo ards of T he J ournal
Ex h i b i t i o n ( d e) To u r : L a i Ch e e Ki e n , A rch i t ect
s p e c i a l p r o j e c t s a s s i s ta n t
sp ace em erges, al l o w i n g an i n t er p l ay of d i al o gu es a c ro ss NTU CCA Si n ga po re’s
Sheila Tham,
e x e c u t i v e , o p e r at i o n s
t h ree p l at fo r m s – ex h i b i t i o n s, resi d en ci es, researc h & educ at i o n . Th i s spa c e i s
Lee Yan Yun,
e x e c u t i v e , f i n a n c e & a d m i n i s t r at i o n
d i v i d ed i n t o t w o areas: Th e L a b w i l l i n t ro d u ce va ri o us st a ges of resea rc h a n d
Th e Si n g l e Screen w i l l b e d ed i cat ed t o m o v i n g i m age.
social sciences, ntu
Professor Dorrit Vibeke Sorensen
c h a i r , s c h o o l o f a r t, d e s i g n a n d m e d i a ,
ntu
Associate Professor Kwok Kian Woon
a s s o c i at e p r o v o s t , s t u d e n t l i f e , n t u
Ms. Kow Ree Na
director, lifestyle,
Josie Browne,
edb
Mr. Paul Tan
Anca Rujoiu,
deputy director
c u r at o r , e x h i b i t i o n s
c u r at o r , r e s i d e n c i e s
c u r at o r , o u t r e a c h & e d u c at i o n
manager, exhibitions
Fa reed Ar ma ly is an art is t , cu rat o r an d au t h o r w h o l iv es a n d w o r ks i n t h e U n i t ed St at es
Isrudy Shaik,
an d G e rm an y. Sin ce t h e l at e 1 98 0 s , h is art is t ic pract i c e ex p res s es a res ea rc h - d r i ven
Syaheedah Iskandar,
po l it ics of ide n t it y, re pre s e n t at io n an d cu l t u re .
co-chair,
Professor Alan Chan Kam-Leung
dean, college of humanities, arts, &
Exhibitions & Residencies
Julie Hyun,
e n qu iry. T h ro u g h dif fe re n t fo rm at s , h is pro je ct s s pat ial l y ma n i fes t a n i n t er p l a y b et w een
Ms. Thien Kwee Eng,
singapore economic development board (edb)
Dr. Eugene Tan
d i r e c t o r , n at i o n a l
Vera Mey,
m e t h o do l o g y t h at co m bin e s g u ide l in e s f ro m v ario u s i n s t i t u t i o n a l ro l es a n d f i el d s of
co-chair,
n a n ya n g t e c h n o l o g i c a l u n i v e r s i t y ( n t u )
a s s i s ta n t m a n a g i n g d i r e c t o r , c g c o n s u m e r
deputy director
Magdalena Magiera,
of Archite cture an d Singap ore Archite ct, an d is a s e rie s e dit o r fo r Ashgate .
executive, exhibitions
Shona Findlay,
c u r at o r i a l a s s i s ta n t
c u r at o r i a l a s s i s ta n t
Research
Samantha Leong,
gallery singapore
d e p u t y c e o & d i r e c t o r , v i s u a l a r t s , n at i o n a l a r t s c o u n c i l
NTU CCA SINGAPORE INTERNATIONAL ADVISORY BOARD
Professor Nikos Papastergiadis, c h a i r ,
p r o f e s s o r , s c h o o l o f c u lt u r e a n d c o m m u n i c at i o n ,
university of melbourne, australia
Ann DeMeester
director, frans hals
museum, the netherlands
Chris Dercon
d i r e c t o r , tat e m o d e r n ,
united kingdom
Hou Hanru
executive, conference,
workshops & archive
a r t i s t i c d i r e c to r , m a x x i n at i o n a l m u s e u m o f 21 s t - c e n t u r y a r t s , i ta ly
Yuko Hasegawa
c h i e f c u r at o r , m u s e u m
of contemporary art tokyo (mot), japan
Sarat Maharaj
* T h is E x h ib it io n ( d e ) To u r w il l t a ke p l a c e of f - s it e .
F o r u p d at es o n t h e p u b l i c p ro gr am m e, ch eck t h e N T U CC A Si n gap o re w eb si t e
an d Faceb o o k p age.
L a i C h ee Kien re s e arch e s o n h is t o rie s of art , arch it e ct u re , s e t t l e m e n t s , u rban is m , an d
p r o f e s s o r o f v i s u a l a r t & k n o w l e d g e s y s t e m s , l u n d u n i v e r s i t y,
l an ds cape s in So u t h e as t A s ia. H is pu bl icat io n s in cl u de A B rie f H istor y of M al ayan Art
4.00PM–6.00PM
All w orks a n d i m a ge s c ourt e sy of J h av e r i Co n t e m p o r a r y, M u m b a i; Tr a c y W il l ia m s Lt d ,
N e w York ; U t op i a Art Syd n e y.
Th e a rt i st w ould li ke t o t h a n k M ic h a e l J a n s s e n , Ch r is t o p h e r H o d g e s , B r y a n H o o p e r,
Kun a R a j a h Na i d u.
H e h as co l l abo rat e d w it h NT U CC A Sin g apo re o n v ario u s pro je ct s . L e e h as pu bl is h e d
w o rk in cl u de s Asian C ine m a and the Use of Sp ace : I nte rd iscip l inar y Pe rsp e ctiv e s
“they do not stop time on their surface, but will fade and shrivel, so that they do
throughout coastal areas in various parts of Southeast Asia.
of A rt C rit ics ; h e w as a fo rm e r art is t ic co -dire ct o r of T h e Su bs t at io n f ro m 2 0 0 0 t o 2 0 0 9.
Conte m p orar y Art s in ce 1 98 5, an d M od e rn and Conte m p orar y Southe ast Asian Art.
up of a leaf from a single botanical species, cropped into a square by the lens of
NTU CCA SINGAPORE GOVERNING COUNCIL
Professor Ute Meta Bauer
Jasmaine Cheong,
al s o a l e ct u re r in t h e h is t o ry of So u t h e as t A s ian A rt at t h e Sch o o l of A rt , D e s ig n & M e dia
Otherwise stated, all programmes take place at NTU CCA Singapore, Block 43
NTU CCA SINGAPORE STAFF
Philip Tinari
director, ullens
( 1 999), B uil d ing M e rd e ka: I nd e p e nd e nce Archite cture in Kual a Lum p ur, 1 95 7 -1 966 ( 2 0 0 7)
an d Cord s to H istorie s ( 2 0 1 3 ). H e is al s o a re g is t e re d arch it e ct in Sin g apo re .
sweden
center for contemporary art (ucca), china
John Tirman
e x e c u t i v e d i r e c to r a n d p r i n c i pa l r e s e a r c h s c i e n t i s t , c e n t e r f o r
i n t e r n at i o n a l s t u d i e s , m a s s a c h u s e t t s i n s t i t u t e o f t e c h n o l o g y
( m i t ), u n i t e d s tat e s
�
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
Simryn Gill: Hugging the Shore 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
Simryn Gill: <i>Hugging the Shore</i> Exhibition Guide
Description
An account of the resource
Simryn Gill: <i>Hugging the Shore</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-03-27
Contributor
An entity responsible for making contributions to the resource
Simryn Gill
Ute Meta Bauer
Anca Rujoiu
Format
The file format, physical medium, or dimensions of the resource
Guide
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Archival Practice
Materiality
-
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PDF Text
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Alla n Se kula , The re chri s t ened Ex x on Wal dez awai t i ng s ea t ri al s af t er repai rs . N at i onal S t eel and
Ship b uild ing Comp a ny. S an D i ego harbour,Fi s h S t or y, C hapt er 1: Fi s h S t or y (1990). C ourt es y Frac
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Alla n Se kula , Fish Sto r y, W i t t e de W i t h C ent er f or C ont emporary A rt and R i cht er Verl ag, R ot t erdam
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Cove r
Alla n Se kula , Fish St or y , C hapt er 9: Wal k i ng on Wat er (1990). C ourt es y t he Mus eum of Moder n
Art, Ne w York
�FISH STORY, TO BE CONTINUED
Fi sh S to ry, to be co nt i nued pre s e n ts a n i nve sti g a ti o n o f the
g lo ba l mar itime industr y, a n exten s ive res ea rch con d u c te d b y the l a te photog ra phe r,
th eo rist , photog raphy histor ia n a n d cr it ic, Al l a n S ek ul a . N T U CCA S i n g a po re w i l l j u xta po s e
ch a pters from Fish Sto ry (19 88 – 19 9 3 ) a l on gs id e two fil m wo rk s, L o t t e r y o f t he S e a (20 0 6 )
an d T h e Fo rgotten S pace ( 2 010) co- d irected w it h t h e fi l m the o ri st a n d di re c to r, Nö e l
B u rc h . Pre se nting for the first t ime in S out h ea st As ia t h e co re wo rk s o f hi s ex pl o ra ti o n s o f
th e ma rit ime wor ld, the exh ibit ion un d er l in es Al l a n Sek ul a ’s s u sta i n e d a rg u m e n t tha t the
sea i s t h e “forg otte n space” of t h e con temp ora r y gl oba l eco n o my. Co m b a tti n g the m a ri ti m e
world reputation for anac h ron is m a n d obs ol es cen ce, Al l a n S e k u l a m a d e a c l e a r p o i n t tha t
“My argument here runs against the commonly held view that the computer
and telecommunications are the sole engines of the third industrial
revolution. In effect, I am arguing for the continued importance of
maritime space in order to counter the exagg erated importance attached
to that larg ely metaphysical construct, “cy berspace”, and the corollary
m y t h o f “ i n s t a n t a n e o u s ” c o n t a c t b e t w e e n d i s t a n t s p a c e s .”
A l l a n S e k u l a , F i s h S t o r y , Wi t t e d e Wi t h C e n t e r f o r C o n t e m p o r a r y A r t a n d R i c h t e r Ve r l a g ,
Rotterdam and Dusseldorf, 1995, p 50
suc h a n industr y was f unda men t a l to l a te mod er n ity. Draw i n g a tte n ti o n to the i nve n ti o n
of t h e ca rg o containe r in l a te 5 0’s a n d it s revol ut ion a r y i m pa c t o n the wo rl d e co n o my,
th e a rt ist atte mpte d to recon figure t h e p ict ure- l a n gua g e o f g l o b a l i z a ti o n a n d ex p a n d o u r
u n derst a nding of prog re ss beyon d t h e p a ra d igm of in for m a ti o n te c hn o l og y.
T he exh ib ition cre ate s a n etwor k of con n ect ion s betwe e n f a r- f l u n g po rt c i ti e s a c ro s s
th e wo rld such as New Yor k , Rotterd a m or Hon g Ko n g . Thro u g h i ts p re s e n ce i n
Al l an S e ku l a wa s bor n in Pe nnsylvania in 1951 and h e live d in L os A ng e le s and taug h t at
S in ga po re, a major inte r na t ion a l p or t , t h e s h ow is con ce ive d a s a p o s s i b l e co n ti n u a ti o n
Ca l i fo rn i a In sti tu te of th e A r ts be fore p assing away on 2 013. By e m p loying p h otog rap hy
of a n a rt istic proje ct whos e g eogra p h ica l exp a n s ion is o pe n - e n de d a n d s u b j e c t m a tte r
a n d w ri tte n wo rd s, h is wor ks c r itically analyz e d th e e conom ic , p olitical, soc ial and c ultural
hi gh ly relevant in this region a l con text . T h e f ul l p roj ec t, Fis h S to r y – the ex hi b i ti o n
c ha n g e s b ro u g ht o n by g lobaliz ation. His wor ks we re inc lud e d in th e d oc um e nta ( 11) and
an d it s a ccompanying pu bl ica t ion t ravel ed to Witte d e Wi th Ce n tre fo r Co n te m po ra ry
(1 2), Ka s s e l , Ge rm any ( 2 0 0 2 , 2 0 0 7 ) , Ce ntre Pom p id ou ( 2 0 0 6, 1996) , S ao Paulo B ie nnial
A r t in R otte rdam; Fotog ra fis k a M us eet in Mod er n a M us e et i n S to c k ho l m ; the Tra mway
(201 0 ), Whi tn ey M use um ( 1976, 1993, 2 0 0 2 , 2 0 0 6, 2 014) , Foto I nstitute Rotte rd am ( 1997,
i n Gla sg ow; Le Channe l s cèn e n a t ion a l e d e C a l a is a n d M u s é e de s Be a u x A rts et d e l a
20 01 ), Whi tn ey Bi e nnale ( 2 014) , ( 2 010 ) , I stanbul B ie nnale ( 2 0 0 7 ) , B usan B ie nnale ( 2 0 0 6)
D en telle in Calais; Santa Mon ica M us eum of Ar t in S a n ta Mo n i ca ; He n ry A rt Ga l l e ry
a n d m a ny othe r ex hibitions. A llan S e kula’s p ublications inc lud e : Pol oni a and Ot h e r Fabl e s
i n Sea tt le and D ocume nta 11 in Ka s s el . T h e j our n ey of t h i s i m p o rta n t p ro j e c t co n ti n u e s
(20 0 9), Tita n ic ’s Wake ( 2 0 0 3 ) , Pe rformance unde r Worki ng Condi t i ons ( 2 0 0 3 ) , Di smal
i n Sin ga pore . In this yea r of Jubil ee cel ebra t ion s, we ho p e to tri g g e r re f l e c ti o n o n
S c ie n ce (1 9 9 9), Fis h Story ( 1995) , and P h otography agai nst t h e G rai n ( 198 4) . Th e ar ray of
her h i sto ry by focusing on t h e econ omy of t h e h a r bo r, w hi c h va stly co n tri b u te d to
p u b l i ca ti o n s ra n g e from th e th e or y and h istor y of p h otog rap hy to exp lorations of th e wor ld
e co n o m i cal g rowth of this city- st a te in col on ia l a n d p o stco l o n i a l ti m e s. “ Wha t d o e s
m a ri ti m e e co n o my. He also re ce ive d fe llowsh ip s from th e G ug g e nh e im Found ation, th e
i t m ea n to be a mar itime n a t ion? To h a r vest t h e s ea o r to ru l e the wave s ? ” a s ke d
Na ti o n a l E n dow m e nt for th e A r ts N ational End owm e nt for th e A r ts, th e G etty Re se arc h
A lla n Sekula.
I n sti tu te , a n d m a ny oth e r p re stig ious institutions.
Fi sh Stor y, to b e contin ued s it ua tes un d er P L AC E . L AB OU R .CA P I TA L ., the NTU CCA
Ac kn ow l e d g m e n t s
S in ga po re’s ove rarching yea r l on g f ra mewor k .
S a l ly S te i n ; In a S te ine r, S tuar t Com e r ; th e M use um of Mod e r n A r t, New Yor k; Thysse nBo rn e m i s z a A rt Co lle c tion, Vie nna; Frac B retag ne ; Ch r istop h e r G r im e s G alle r y; Doc .Eye
Ute Meta Ba ue r & Anc a R uj oi u ( C ura tors. Fi sh S to ry, to b e co n t in u e d)
Fi l m a n d S i n g a p o re M ar itim e G alle r y.
��EDUCATION AND PUBLIC PROGRAMMES
NTU CCA Singapore provides an array of opportunities for various audiences to engage with our exhibition.
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 NTU CCA Singapore.
Every Saturday, 4.00pm – 5.30 pm, please register in advance at www.gillmanbarracks.com/tours.
School Tours
A special School Tour Programme is organised in partnership with the Singapore Maritime Gallery.
These free guided tours include mutual visits to NTU CCA Singapore and Singapore Maritime Gallery.
Teachers are invited to check and register on NTU CCA Singapore website or Singapore Maritime
Gallery website www.maritimegallery.sg/schools/groups
Exhibition de(Tours)
Structured as a series of presentations, the Exhibition (de)Tours bring together different approaches and
points of view towards the artist’s work and exhibition.
Unless otherwise stated, all the programmes take place at the NTU Centre for Contemporary Art Singapore,
Block 43 Malan Road, Gillman Barracks.
FRI D AY 1 0 JUL 20 1 5
7 . 3 0 P M – 9 . 00 PM
FRI D AY 2 1 AUG 2 0 1 5
7 . 3 0 P M – 9 . 00 PM
FRI D AY 4 S E PT 2 0 1 5
7 . 3 0 P M – 9 . 00 PM
FRI D AY 1 1 SE PT 2 0 1 5
7 . 3 0 P M – 9 . 00 PM
Exhib ition d e(Tour ) led b y Anca Rujoiu, N TU C C A S in ga pore C u r a tor,
Exhib itions
Exhib ition d e(Tour ) led b y And rea N ane tti, A ssoc ia te P rof e ssor a t th e S c h ool of
Ar t, Design & M ed ia, N anyang Technolo gic a l Un ive r sity
Exhib ition d e(Tour ) led b y T im Bunnell, A ssoc ia te P rof e ssor in th e De pa r tm e n t
of Geogr ap hy, N ational Univer sity of Si n ga pore
Exhib ition d e(Tour ) led b y Jegan V incen t de P a u l, P h D C a n dida te a t th e N TU
C entre for C ontem p or ay Ar t Singap ore a n d th e S c h ool of A r t, De sign a n d
M ed ia, N any ang Technological Univer sity
International Symposium
An international symposium will mark a concluding point to the exhibition. The symposium will bring
together art professionals who have been collaborating with Allan Sekula in various projects, but also
different researchers and artists who share a set of common interests with his work. The programme will
focus on key themes underlying Allan Sekula’s practice including questions of class and conditions of
labour, problems of representation and politics.
SATURDAY 26 SEPT 2015
1 1 . 0 0 A M – 4.0 0 PM
With contributions from Carles Guerra, Artist, Critic, Independent Curator and
Hilde Van Gelder, Director of the Lieven Gevaert Research Centre for Photography
amongst others. Moderated by Ute Meta Bauer, NTU CCA Singapore Founding
Director and Anca Rujoiu, NTU CCA Singapore Curator, Exhibitions
For updates on the education and public programmes public programme, check the NTU CCA Singapore website and Facebook page.
PUBLIC PROGRAMMES CONTRIBUTORS
Andrea Nanetti is an Associate Professor
at the School of Art, Design & Media at
t h e N a n y a n g Te c h n o l o g i c a l U n i v e r s i t y a n d
Deputy-Director (International Relations)
of the International Research Centre for
Architectural
Heritage
Conservation
at
S h a n g h a i J i a o To n g U n i v e r s i t y. H e i s a h i s t o r i a n
with both academic and entrepreneurial
experience
in
Heritage
Science.
His
main interest is change and innovation
in heritage interpretation processes. As
a
scholar
he
applies
interdisciplinary
and transdisciplinary methods to the study of
regional man-heritage-landscape systems,
national art-heritage-politics relationships,
and global histories of intercontinental
heritage networks.
Tim Bunnell is Associate Professor in
the Department of Geography at the
National University of Singapore (NUS). His
research focuses on urban development in
S o u t h e a s t A s i a a n d t h e r e g i o n ’s c o n s t i t u t i v e
connections with other parts of the world. In
his Malay Routes project, he has traced the
life geographies of ex-seafaring men who
arrived in Liverpool in the middle decades
o f t h e t w e n t i e t h c e n t u r y. T i m B u n n e l l i s
also an Editorial Board member and CoE d i t o r o f t h e S i n g a p o r e J o u r n a l o f Tr o p i c a l
Geography and a member of the editorial
boards of Geoforum, Pacific Affairs,Social
a n d C u l t u r a l G e o g r a p h y, D i a l o g u e s i n
Human Geography.
Jegan Vincent de Paul is a researcher with
a background in architecture (Univerisity of
To r o n t o ) a n d v i s u a l s t u d i e s ( M I T ) . H e i s t h e
c o - f o u n d e r o f C o u n t e r, w h e r e h e p r o d u c e d
projects for a number of artists and
o r g a n i z a t i o n s s u c h a s Vo i c e s B e y o n d W a l l s ,
Nakba Archive, the MIT Museum, and the
MIT School of Engineering. He is currently
a PhD candidate at the NTU Centre for
Contemporay Art Singapore.
H i l d e Va n G e l d e r i s a c u r a t o r, w r i t e r
and the director of the Lieven Gevaert
R e s e a r c h C e n t r e f o r P h o t o g r a p h y, t o g e t h e r
with
Alexander
Streitberger
(Université
catholique de Louvain). She is editor of
the
Lieven
Gevaert
Series
(University
Press Leuven). W ith a background in law
a n d p h i l o s o p h y, h e r r e s e a r c h f o c u s e s o n
how photographic and moving image as
contemporary art can contribute to shaping
insights into the current state of the global
political and socio-economic sphere. She
has published on a wide range of artists,
including Allan Sekula, Victor Burgin,
P e t e r F r i e d l , G i l l e s S a u s s i e r, a n d B r u n o
Serralongue. She is the co-editor of Critical
Realism in Contemporary Art, Around Allan
S e k u l l a ’s P h o t o g r a p h y .
Carles Guerra is an artist, art critic and
independent curator based in Barcelona.
He was the Chief Curator at MACBA (20112013) and Director of La Virreina Centre de
la Imatge (2009-2011). Guerra is currently
an associate professor at the Universitat
PompeuFabra. In 2011, he was awarded
the Ciutat de Barcelona Prize for his
contribution in the field of visual arts. He is
currently the member of the editorial board
at Cultura/s since 2001 where he authored
numerous essays, N for Negri (2000), Allan
Sekula speaks with Carles Guerra (2005)
and Negatives of Europe. Video Essays and
Collective Pedagogies (2008).
�2015 - 2016
P L A C E . L A B O U R . C A P I TA L . i s N T U C C A S i n g a p o r e ’s o v e r a r c h i n g y e a r l o n g
Opened in October 2013, NTU CCA Singapore is a national research centre
framework that will intertwine our platforms: exhibitions, residencies, research
of
& education. This open-ended research and curatorial programme address the
Singapore Economic Development Board, NTU CCA Singapore is located in
complexities of a world in flux and the dynamic and inseparable relation between
Gillman Barracks alongside a cluster of international galleries. Led by Founding
the local and the global. The notion of place as a locale often fades into the
D i r e c t o r, P r o f e s s o r U t e M e t a B a u e r, N T U C C A S i n g a p o r e t a k e s a h o l i s t i c
b a c k g r o u n d s h a d o w e d b y t h e f o c u s o n t h e ‘ l a r g e r p i c t u r e ’ . H o w d o e s l a b o u r,
approach towards art and culture, intertwining its three platforms: exhibitions,
routes of migration, and flows of global capital impact upon smaller scale?
residencies, research & education.
Nanyang
Te c h n o l o g i c a l
U n i v e r s i t y.
Developed
with
support
from
the
S i n g a p o r e – t h e w o r l d ’s s e c o n d l a r g e s t t r a d i n g p o r t a n d a n e c o n o m i c e p i c e n t r e
of Southeast Asia serves as point of departure and ‘locale’ to examine the
e n t a n g l e m e n t b e t w e e n p l a c e , l a b o u r, a n d c a p i t a l .
Coordinating curator: Anca Rujoiu
N T U C C A S I N G A P O R E S TA F F
NTU CCA SINGAPORE GOVERNING COUNCIL
Professor Ute Meta Bauer, founding director
P r o f e s s o r F r e d d y B o e y , c o - c h a i r, d e p u t y p r e s i d e n t a n d
provost, nanyang technological university (ntu)
T h i e n K w e e E n g , c o - c h a i r, a s s i s t a n t m a n a g i n g
d i r e c t o r, c g c o n s u m e r s i n g a p o r e e c o n o m i c d e v e l o p m e n t
board (edb)
Professor Alan Chan Kam-Leung, dean, college of
humanities, arts, & social sciences, ntu
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 , c h a i r, s c h o o l o f
art, design and media, ntu
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 Wo o n , a s s o c i a t e
provost, student life, ntu
K o w R e e N a , d i r e c t o r, l i f e s t y l e , e d b
D r. E u g e n e Ta n , d i r e c t o r, n a t i o n a l g a l l e r y s i n g a p o r e
P a u l Ta n , d e p u t y c e o , n a t i o n a l a r t s c o u n c i l
EXHIBITIONS & RESIDENCIES
Josie Browne, deputy director
A n c a R u j o i u , c u r a t o r, e x h i b i t i o n s
Ve r a M e y , c u r a t o r, r e s i d e n c i e s
J u l i e H y u n , m a n a g e r, e x h i b i t i o n s
Isrudy Shaik, executive, exhibitions
Syaheedah Iskandar, curatorial assistant
Shona Findlay, curatorial assistant
RESEARCH
M a g d a l e n a M a g i e r a , c u r a t o r, o u t r e a c h & e d u c a t i o n
Samantha Leong, executive, conference, workshops
& archive
O P E R AT I O N S , D E V E L O P M E N T & P L A N N I N G
Michelle Goh, deputy director
J a s m a i n e C h e o n g , a s s i s t a n t d i r e c t o r,
operations & hr
N o r J u m a i y a h , a s s i s t a n t d i r e c t o r, c o m m u n i c a t i o n s &
development
K i m b e r l y S h e n , m a n a g e r, c o m m u n i c a t i o n s
M a r y L o o , m a n a g e r, f i n a n c e
Vijayalakshmi Balankrishnan, special projects
assistant
Sheila Tham, executive, operations
L e e Ya n Yu n , e x e c u t i v e , f i n a n c e & a d m i n i s t r a t i o n
N T U C C A S I N G A P O R E I N T E R N AT I O N A L A D V I S O RY
BOARD
P r o f e s s o r N i k o s P a p a s t e rg i a d i s , c h a i r, p r o f e s s o r,
school of culture and communication, university of
melbourne, australia
A n n D e M e e s t e r , d i r e c t o r, f r a n s h a l s m u s e u m ,
the netherlands
C h r i s D e r c o n , d i r e c t o r, t a t e m o d e r n , u n i t e d k i n g d o m
H o u H a n r u , a r t i s t i c d i r e c t o r, m a x x i n a t i o n a l m u s e u m o f
21st-century arts, italy
Yu k o H a s e g a w a , c h i e f c u r a t o r, m u s e u m o f
contemporary art tokyo (mot), japan
Sarat Maharaj, professor of visual art & knowledge
s y s t e m s , l u n d u n i v e r s i t y, s w e d e n
P h i l i p T i n a r i , d i r e c t o r, u l l e n s c e n t e r f o r c o n t e m p o r a r y
art (ucca), china
John Tirman, executive director and principal
research scientist, center for inter national studies,
massachusetts institute of technology (mit),
united states
�NT U C entre f or Con temp or a r y A r t S inga p ore
EXHIBITIONS
Block 43, Malan Road
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
Fri
Mon
12 – 7pm
12 – 9pm
Closed
Open on Public Holidays. Free admission to exhibitions,
public programmes, and tours.
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 NTU CCA Singapore.
Every Saturday, 4.00pm–5.30 pm, please register in advance
at www.gillmanbarracks.com/tours.
For enquiries on Education Programmes and School Tours,
please email ccaevents@ntu.edu.sg
+65 6460 0300
+65 6339 6503
ccaevents@ntu.edu.sg
FOR UPDATES ON
EXHIBITIONS AND
PROGRAMMES, VISIT
ntu.ccasingapore.org
gillmanbarracks.com/ntu-cca-singapore
facebook.com/ntu.ccasingapore
LOCATED AT
©N TU CCA Si ng ap o re , P rin t e d J u n e 2 01 5. D e si gn b y T h e P re s s R o o m.
OFFICE
EXHIBITIONS
EMAIL
�
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
Allan Sekula: Fish Story, to be continued 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
Allan Sekula: <i>Fish Story, to be continued</i> Exhibition Guide
Description
An account of the resource
Allan Sekula: <i>Fish Story, to be continued</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-07-03
Contributor
An entity responsible for making contributions to the resource
Allan Sekula
Ute Meta Bauer
Anca Rujoiu
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
Europe
North America
Subject
The topic of the resource
Geopolitics
Oceans & Seas
-
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PDF Text
Text
To m á s S a r a c e n o
arachnid
o r c h e s t r a.
jam sessions
23 October – 20 December 2015
�To m á s S a r a c e n o
arachnid
o r c h e s t r a.
jam sessions
NTU CCA Singapore is pleased to present for the first time in
Singapore the pioneering and visionary work of the Berlin-based
artist, Tomás Saraceno. Situated at the intersection between
art and science, Saraceno’s artistic practice is an an invitation
to conceive alternative ways of knowledge, experience and
interaction with others. Spanning across various fields of
knowledge, from astronomy to arachnology, from architecture
to music, his highly transdisciplinary and collaborative projects
are ambitious attempts to pave the path towards a world of
sustainable environment. His visionary structures and images
that often make use of the most basic elements such as air,
sunlight or wind are informed by ecological concerns and could
be seen as propositions for a better future.
As with the systems he develops, his works are never self-reliant; on the
contrary they come together as a result of maximal, energetic collaborations
between different parties: arachnologists, artists, curators, cultural theorists,
philosophers, sociologists, geographers, etc. Interdisciplinary collaboration is a
constant attribute of his work and a tool for complex production that resists the
reductionist dichotomies between different forms of knowledge.
Saraceno is well-known for his inflatable and airborne biospheres
inspired by the morphology of soap bubbles, cloud formation or
spider webs taking the form of large-scale, visually impactful and
interactive installations.
For one of his most celebrated series presented in various institutions,
Cloud Cities, a model for floating urbs, the artist constructed aerial structures
that can be inhabited by people with a low environmental impact. Cloud City
was also presented on the roof garden of the New York’s Metropolitan Museum
of Art in 2012 where Saraceno constructed a large-scale habitat out of modular
structures interconnected with transparent and reflective materials. Visitors
were invited to enter and walk through these structures experiencing a
possible, future form of dwelling.
An
extension
of
Cloud
Cities
and
his
aerial
artworks,
On Space Time Foam, was created in 2012 for Hangar Bicocca
in Milan, Italy. This multi-layered installation consisted of
plastic membranes suspended 24 metres above the ground.
Each level had a different air pressure and reacted to the
movement of visitors in each layer, creating an extraordinary
interactive experience for its temporary ‘inhabitants’.
Cover: Tomás Saraceno, Vanitas, George Kolbe Museum, Berlin (2014). Courtesy of the artist
Left: Tomás Saraceno, Cosmic Jive: the Spider Session, Museum for Contemporary Art Villa Croce, Genoa (2014). Courtesy of the artist
3
�On Space Time Foam questioned how individual movements,
actions and behaviours affect others close by, and introduced the
issue of social relativity to Tomás Saraceno’s works, an aspect
that is further explored in the exhibition at NTU CCA Singapore.
A long-term research of Saraceno and his studio is dedicated to spider webs.
This research is in line with other projects of the artist where he investigated
how structural patterns in cloud formation or soap bubbles can represent
complex macrocosmic structures at a micro level. His interest in spider webs
has been triggered by the often used visual analogy between the spider web
and the scientist representation of the origins of universe. Paradoxically, as
the artist noted, despite the ubiquity of such a visual metaphor, the threedimensional web is still to be properly explored and measured 1 .
One of his most spectacular arachnid inspired installations,
Galaxy Forming along Filaments, Like Droplets along the Strands
of a Spider’s Web was exhibited at the Italian Pavilion for the 53 rd
Venice Biennale in 2009. Saraceno further expanded on this work,
in collaboration with world leading arachnologists and researchers
Tomás Saraceno, Semi-social musical instrument SXDF-NB1006-2: built by four Cyrtophora citricola,
from MIT, among others, by being the first to scan, analyse,
eight weeks (2015). Courtesy of the artist
and reconstruct a three-dimensional spider web subsequently
presented at Bonniers Konsthall, Sweden in the following year.
This project was embraced by scientists worldwide. Saraceno has
continued to pursue his research at the European Space Agency
[…] The closest human analogy would be that of a blind man who
(ESA) with a proposal to send spiders into space, testing the
must explore and climb through the tangled branches of trees on
conditions of micro-gravity and its impact upon spiders’ sociability,
the basis of touch, leaving a silk line behind wherever he goes.”
web building and the spider web itself.
The silk produced by the spiders is used for multiple purposes. This includes
The artist’s fascination with the spider webs derives not only from its
the use in the production of egg sacs, for movement, as shelter, as food
architectural formation, but also its physical properties. “Spider silk is one of
(some species recycle their web) and most importantly, to catch prey.
the strongest materials known. In fact, its strength is about that, or even larger,
than the strength of steel,” noted Markus Buehler (Professor, Civil and
As the biophilosopher, Jakob von Uexküll noted, the web weaving
Environmental Engineering, MIT) in a conversation with Saraceno 2 .
is itself the product of a metaphysical process that highlights the
complex inter-relational and perceptual processes defining the
To weave the web is a highly complex endeavour. In order to
animal world. The spider weaves the web “in order to represent
understand such laborious work, the biologist William Eberhard
in its web a well-made mould a fly” 4 . However “he weaves its
uses a strong visual analogy 3 :
web before it has ever met a physical fly. The web can therefore
not be a representation of a physical fly, but rather, it represents
“Perhaps it is easiest to appreciate an orb weaving spider’s achievements if you
the primal image of the fly, which is physically not at all present”.
put yourself in her place, and imagine what it would be like if you were attempting
to build a new orb. To start, you must first blindfold yourself: the spider’s
Yet the spider webs developed in Tomás Saraceno’s studio are rarely an individual
eyesight is very poor, her eyes are on the wrong side of her body to see the
product, but rather the outcomes of collaborative endeavours between social
web’s lines as she hangs below them, and in any case she often works at night.
and semi-social spiders leading to hybrid structures. This artistic experiment of
bringing different species into single frames comes from Saraceno’s interest in
the social realm of animals, and articulates the artist’s vision for new models of
1
cohabitation between human and non-humans.
Tomás Saraceno in conversation with Professor Markus Buehler, MIT November 2013, http://arts.mit.edu/reverberations-spiders-
and-musical-webs/
2
Idem
3
William Eberhard, Art Show in Cosmic Jive: Tomás Saraceno The Spider Sessions, p. 40. Museo d’Arte Contemporanea di Villa Croce,
Asinello Press: Genoa, Italy, 2014
4
4
Jakob von Uexküll, A foray into the worlds of animals and humans, p. 158. University of Minnesota Press: London, 2010
5
�arachnid
o r c h e s t r a.
at NTU
jam sessions
CCA
Singapore
is
a
new
production
of
Tomás Saraceno that shifts his explorations of the spider webs towards
the realm of sound. The line of this artistic research is an attempt to
turn the spider web into a musical instrument embodying the incredible
structural properties of spider’s silk and the spider’s sophisticated mode of
communication through vibrations.
While spiders do not possess an auditory system for hearing
sound, they perceive the reality around them with pressure and
vibrations that always involve movements of the body or specific
structures, such as web plucking. This also renders a cobweb
as a sensory object, making it an extension of an invertebrate’s
body. Such mode of communication is not always perceivable to
human ears and has reached a high degree of versatility amongst
arachnids serving different purposes that punctuate the spider’s
life: seduction, hunting or social interactions. Researchers have
looked into the role of vibrations especially in courtship acts, and
how spiders transfer through distinct vibratory signals information
on their identity, mating status and quality diminishing the risks
for the male spider to be mistaken for prey.
However, Saraceno’s interest into spider’s mode of communication through
vibrations is predicated on hypotheses of play and creativity that ask for a more
complex understanding of the animal world.
Preparations for Arachnid Orchestra. Jam Sessions began a year
Tomás Saraceno, Hybrid solitar y, semi-social instrument ESO 137-001: built by one Nephila kenianensis, one week and a pair of
ago with spider field trips across Singapore. Spiders such as the
Cyrtophora citricola, four weeks (2015). Courtesy of the artist
Psechrus singaporensis, the Golden Orb Weaver, the Twig-Like
Feather-Legged, and the St. Andrews Cross species worked
collaboratively and collectively in a special laboratory at NTU
CCA Singapore.
Tomás Saraceno (b. 1973 in Argentina) lives and works in Berlin,
Germany. Saraceno’s oeuvre could be seen as an ongoing research,
Working together with arachnologists and sound engineers,
influenced by the world of art, architecture, natural science and
Saraceno developed a series of musical instruments that
engineering; his floating sculptures and interactive installations
are able to translate the vibrations of the spiders into acoustic
propose and explore new, sustainable ways of inhabiting and
rhythms. The exhibition presents different types of arachnid
perceiving the environment.
music instruments classified in strings, percussions and aeolic.
Various musicians will respond to these spider vibrations in
He attended the International Space Studies Program in 2009 at NASA Ames in
three live performances (jam sessions) throughout the duration
Silicon Valley, California. The same year, Saraceno presented a major installation
of the exhibition in the attempt to push further the boundaries of
for the Italian Pavilion at the 53 rd Venice Biennale, and was later on awarded the
interspecies communication.
prestigious Calder Prize. Since 2012, he is Visiting Artist at MIT Center for Art,
Science & Technology (CAST). Saraceno’s work has been shown internationally,
Ute Meta Bauer & Anca Rujoiu
(Curators, Arachnid Orchestra. Jam Sessions)
in solo and group exhibitions such as Le Bordes du Monde, Palais de Tokyo,
Paris (2015); In orbit, Kunstsammlung Nordrhein-Westfalen, K2, Düsseldorf
(2013-15) and On Space Time Foam, Hangar Bicocca, Milan (2012-13), amongst
others. His work has also been exhibited in public museums such as Museum
for Contemporary Art Villa Croce, Genoa (2014), The Metropolitan Museum of
Art, New York (2012), and Hamburger Bahnof, Berlin (2011-12).
6
7
�Spiderweb sonification experiments, Studio Tomás Saraceno (2014). Courtesy of the artist
�arachnid
orchestra
The Performers
H eteropoda v enator ia (Linnaeus 1767)
Common Huntsman Spider
This spider species is distributed around the tropics and lives in
Cyrto p hora Citricola (Forsskål, 1775)
Tropical Tent-Web Spider
natural habitats as well as in human settlements. Although the
from East Africa and West Africa to the Mediterranean and as far
species was described by the great Swedish natural scientist
the vibration patterns of three
Cyrtophora citricola is an iconic colonial spider, with a distribution
Comparative sonogram capturing
Carl von Linné from South America, its origin lies in Southeast
different Heteropoda spider
species. Courtesy of Peter Jäger
Asia. Like most members of the huntsman spiders H. venatoria
is a nocturnal predator ambushing for prey without a web.
as India. Recently it has also reached the Americas. Its individual
Tomás Saraceno, Solitar y, semi-social
web contains a tightly woven sheet with vertical threads
When it comes to courtship, the male spider searches for a mate using his
mapping of The Southern Pinwheel
attached to it, forming a tent-shaped orb web. In evolutionary
chemo-sensilla, chemo-sensitive receptors used to recognise and trace female’s
with neighboring galaxies: built by one
terms, this is a new form, and a very complex one that takes the
sexual pheromones. When he successfully finds one he immediately initiates
twelve Cyrtophora citricola spiderlings,
spider a long time to build. The three-dimensional prey-capture
his courtship behavior. There are several elements that should ensure that he
four weeks (2015). Courtesy of the artist
webs are stacked one on top of the other, much like flats in an
is perceived by the female as mating partner and not as prey. First he raises
apartment block.
his second pair of legs, the longest of all four pairs, and performs a waving
Nephila clavipes, three weeks and
movement. The signal is clearly an airborne one and is strengthened by erectile
Each web has a single owner and the individual webs are connected to one
hairs that are situated on the spider’s leg, enlarging the active part of the legs
another by frame threads. Up to a few thousand spiders can inhabit a single
and thus acting as an air paddle. Additionally, he drums with his abdomen, the
tree, covering the tree with their silk. When an unfortunate insect flies into
hind part of his body, on the substrate which he uses as a “sound board”.
the colony, the spider senses the impact through vibrations transmitted
A prevailing characteristic among spiders is the ability to “hear,” not through
through the silk threads alerting nearby spiders that then converge on the
a timbal-like organ as in humans, but rather through trichobothria, thin hairs
prey. However, only one spider, usually the web owner, will finally capture and
emerging from their legs. These individual hairs once exposed to air currents
feed on the insect. Their vibrational communication is additionally important
act as movement detectors and respond to airborne stimuli. So-called slit
for courtship and to defend the colony.
sensilla, tiny slits in the exoskeleton, inform the spider about vibrations through
the substrate. Hence, the female receives a mixture of signals that enables
Wasps are the main enemies of colonial Cyrtophora. When a
her to recognise her conspecific partner. She may respond with drumming to
wasp attempts to attack a Cyrtophora, the spider will shake
encouraging him to continue his performance or to climb on her body.
its web violently to deter the wasp, and these web vibrations
induce other spiders in the colony to equally shake their
When vibrations of two different species are recorded and
webs. Soon the entire colony is “humming” with vibrating
analysed one can easily find differences in the frequency,
webs. Males of Cyrtophora citricola, which are smaller in size
strength and pattern of these signals, showing the importance of
than females, wander through the colony in search of a virgin
this behavior for the reproductive success of a species.
female and when one is located, the male begins to court
Dr. Peter Jäger
her by plucking and strumming on the threads of her web.
If the female approves of his courtship song, they will mate.
However he must choose his mate wisely, given this might
be his only chance to mate as he is then eaten by the female.
Tomás Saraceno, Semi-social mapping of the
This may be the reason why their intricate courtship songs
merging Abell 520 formed from a violent collision
and dances may last up to several hours.
Common Huntsman Spider rehearsing with
Dr. Yael Lubin
598 (2015). In collaboration with Dr. Roland
of massive galaxy clusters: built by a large twogeneration colony of Cyrtophora citricola, six
months (2015). Courtesy of the artist
10
Wolf Spider duet on Drum-set M33, NGC
Mühlethaler. Courtesy Studio Tomás Saraceno
11
�arachnid
orchestra
The Performers
Ps ec h rus singaporens is (Thorell 1894)
Ne p hil a p il ip e s (Fabricius 1793)
Singapore Lace-sheet Weaver
Giant Golden Web Spider
Psechrus singaporensis is one of two spiders named after
Nephila pilipes is often held up as one of the more extreme
Singapore, the country where the original specimen was collected
examples of size disparity between sexes, with giant females
and described. It can also be found in Peninsular Malaysia and
and dwarf males. The body of the yellow-and-black female can be
Sumatra in Indonesia.
as big as our thumb, making the species the largest web-building
spider in Singapore. By comparison, the red males are minuscule,
This species inhabits the forests and heavily wooded wasteland in Singapore,
measuring no more than a long grain of rice.
often living between tree crevices and under overhanging edges of mud walls.
The web is an interesting three-dimensional structure made of two components:
The female spins a large and strong vertical orb or wheel-like web that has a
a dome-shaped tent in the centre and a funnel-like retreat at one end. The spider
golden or yellowish tinge when viewed from certain angles. Several tiny males
hangs upside down under the tent and waits for passing prey. When disturbed,
hang around the web of the giant female, often before she reaches adulthood.
P. singaporensis flees into the retreat at lightning speed.
As soon as she is sexually matured, they would compete with one another for
the chance to mount on the coveted female. These sexually active males have
Psechrus singaporensis captures its prey in a web made of non-
been observed to engage in aggressive chasing and web-shaking fights with
sticky bluish woolly silk, quite unlike the viscid silk of Nephila.
one another.
Psechrus singaporensis,
Courtesy of Joanna M.L. Yeo
Joseph K. H. Koh with the support of Joanna M. L. Yeo
The conspicuous webs of N. pilipes are commonly sighted
along forest and mangrove fringes, and in wooded rural areas.
It is widespread throughout tropical Southeast Asia, parts of
South Asia, the Pacific and Australia.
Joseph K. H. Koh has been documenting Southeast Asian spiders outside his previous
duties as an ambassador and senior government official since 1972. His research has led
to several scientific papers describing new spider species from Singapore and Brunei,
N. pilipes were reportedly consumed by some Thai villages as food, eaten
a pictorial field guide of Singapore spiders (1991) and another on Borneo spiders (2014).
either raw or cooked. Natives in the highlands of Papua New Guinea have also
Mr Koh retired in 2012 as the Singapore High Commissioner to Brunei Darussalam. He is
been reported to harvest N. pilipes as food.
currently an Honorary Research Affiliate at the Lee Kong Chian Natural History Museum of
the National University of Singapore.
Joanna M.L. Yeo has been studying and photo-blogging Singapore and Malaysian spiders
under the guidance of Joseph K H Koh since early 2014. She was previously a Science
Educator (Life Sciences) at Science Centre Singapore and was involved in technology and
food writing.
Dr. Peter Jäger is currently the Head of Arachnology at the Senckenberg
Research Institute in Frankfurt, Germany as well as Co-Editor of the World
Spider Catalog, the most used internet tool in the field of Arachnology.
Jäger received his doctorate from Johannes Gutenberg University in Mainz
for his groundbreaking research on huntsman spiders in the Himalayas.
He has discovered more than 300 species of spiders in the last years,
including a rare species in Malaysia that he named Heteropoda davidbowie
after the legendary British rocker to raise awareness of endangered spiders
and their threatened tropical habitats.
Dr. Yael Lubin is currently the President of the International Society for Arachnology.
She received her Ph.D. from the University of Florida and conducted ecological research in
Papua New Guinea, Panama and the Galapagos Island, Ecuador before joining Ben-Gurion
University of the Negev in Israel in 1985. Lubin investigates the evolution of sociality,
Semi-social Nephila web plucking on Semi-social musical instrument SXDF-NB1006-2:
built by four Cyrtophora citricola, eight weeks (2015). Courtesy Studio Tomás Saraceno
12
mating systems and sexual selection in spiders, the ecological mechanisms determining
species diversity in spiders, and spiders as biocontrol agents in agro-ecosystems.
13
�arachnid
orchestra
T h e A ra ch n i d M u s i c I n s t ru m e n t s
String instrume nts
The string instruments of Arachnid Orchestra record the vibrations
of a spider on its web due to special sensory devices – transducers
and laser Dopplers that are able to capture, translate into acoustic
output subtle vibrations on a web being tuned. However vibrational
signals can also be produced by tremulation. Often the spider’s
abdomen is shaking and the vibrations are travelling through the
substrate (e.g. plants). Some spiders can detect the conspecific
signal (mating signal) over a distance of one or more meters.
In order to pick up vibrations on a spider web, two different
string instruments were developed. One instrument includes Piezo
microphones attached to the spider threads whereas the other
instrument makes use of a laser vibrometer.
Spider Salon: Jam session with
Evan Ziporyn with Cyrtophora citricola
duet on Semi-social musical instrument
SXDF-NB1006-2: built by four Cyrtophora
citricola, eight weeks (2015). Courtesy
Studio Tomás Saraceno
Test set-up to detect vibrational communication using Piezo elements (2015).
Courtesy Studio Tomás Saraceno
14
�arachnid
orchestra
The Arachnid Music Instruments
Test set-up to detect drumming
P ercurss i o n i n strum e nts
using laser vibrometer (2015).
Courtesy Studio Tomás Saraceno
The main element of the percussion instrument is a sensitive
membrane that allows the recording of the drumming spiders
and their soundings. These spider species use their musical skills
in mating rituals, as males drum to communicate with a female,
ensuring they won’t be mistaken for a prey. Drumming signals can
easily be picked up using a membrane (drum) on which a spider is
placed. The spider uses its pedipalps, legs or the body to drum.
Depending on the substrate, the signal can even be heard directly,
however this instrument features Piezo microphones devices
attached to a membrane and a laser vibrometer pointing to a
membrane or to the spider to pick up their signals.
Percussion performance of a Wolf spider
(Lycosidae) quartet recorded, video still
(2015). Courtesy Studio Tomás Saraceno
Percussion performance of Wolf spiders
(Lycosidae) recorded using a laser vibrometer
(2015). Courtesy Studio Tomás Saraceno
Some spiders produce stridulation sound (transmitted through the air) which
involves the friction of rigid parts of the body that act as ‘pars stridens’ and
‘plectrum’. These spider species have been described as “purring spiders”
partly because the percussive sound, when generated on a dry surface, can
be audible to the human ear over distances of several metres. To capture the
signals, another percussion instrument has been designed making use of small
sensitive directional microphones.
16
�arachnid
orchestra
The Arachnid Music Instruments
Sonification Experiments with Floating Spider Silk. In collaboration with Odysseus Klisouras,
Studio Tomás Saraceno (2015). Courtesy of the artist
AE OLIC INST RUMENT
The aeolic instrument was developed in relation to Stegodyophus
dumicola spiders from Africa, which have been observed to do
social ballooning. Ballooning is a method by which spiders use air
as means of travelling and colonising new areas. Usually, young
spiders climb to an elevated location, perform a “tiptoeing”
behaviour and release silk into the air, until they have enough lift
to fly. The wind instrument is based on the Theremin and altered
to optically capture the on-going movement of floating spider silk
and transform it into fluctuating sounds frequencies.
All the arachnid music instruments have been conceived and designed by Studio Tomás Saraceno (2015). For a detailed list,
check the exhibition layout inside the brochure cover.
Technical drawings by Julie Hyun, NTU CCA Singapore Manager, Exhibitions
18
�field
trips
sonic
experiments
Studio rehearsals for Arachnid Orchestra. Jam Sessions, NTU CCA Singapore (2015).
Courtesy Studio Tomás Saraceno
Studio recording of wolf spiders
(Lycosidae) performance with laser
vibrometer (2015). In collaboration
with Dr. Roland Mühlethaler and
Dustin Jaschko, research student.
Courtesy Studio Tomás Saraceno
Measurement of the potential difference of the electric field
produced by the movement of a spider silk from Stegodyphus
dumicola in an air channel. In collaboration with Jo Grys.
Field trips at the MacRitchie Reservoir, Singapore (2015). Courtesy of the artist
Courtesy Studio Tomás Saraceno
�education and
public programmes
S at, 7 nov ember 2015*
4.00 – 6.00pm
Live performance by arachnids and Bani Haykal, artist, Singapore.
Introduced by Joseph Koh, arachnologist, Singapore.
*Part of Art Day Out! at Gillman Barracks
Entitled, variations on hello, Bani Haykal’s performance pursues
Saraceno’s idea of a feedback mechanism between spiders and
humans as a form of interspecies communication. The work will
NTU CCA Singapore provides an array of opportunities for various
incorporate a set of materials to transmit vibrations to the spiders,
audiences to engage with our exhibition.
in the attempt that specific frequencies and rhythmic patterns will
trigger a response.
As an extension of the exhibition, a dedicated website www.arachnidorchestra.org
operates as a research platform and playful hypertext of musical tuning.
All the programmes take place at the NTU Centre for Contemporary
wed , 2 d ecemb er 2015
7.00 – 9.00pm
Live performance by arachnids and Joyce Beetuan Koh, musician & Vice
Art Singapore, Block 43 Malan Road, Gillman Barracks. Free admission
Dean, Interdisciplinary Studies, Nanyang Academy of Fine Arts (NAFA),
to all programmes.
Singapore. Introduced by Etienne Turpin, philosopher, Indonesia.
Joyce Koh’s performance is informed by the image of the spider web as
a sonic canvas, where the spider travels and leave traces of its musical
Sat, 24 O ctob e r 2 0 1 5
4.00 – 6.00pm
Panel discussion including Tomás Saraceno, artist; Peter Jäger, arachnologist
and Elizabeth A. Povinelli, critical theorist and filmmaker. Moderated by
footprints. By mapping the movements of the spider as it is constructing
its web with a three-point visual capture, Koh will interpret the data set as
musical articulations and create a musical score for three musicians.
Ute Meta Bauer, NTU CCA Singapore Founding Director, Anca Rujoiu, NTU
CCA Singapore Curator, Exhibitions and Magdalena Magiera, NTU CCA
Singapore Curator, Outreach & Education
This panel will be an opportunity to gain a deeper understanding of Tomás
Saraceno’s new production ‘Arachnid Orchestra. Jam Sessions’ at NTU CCA
Singapore and how it situates in his wider investigations of spider web building
and interspecies communication.
Live Performances – Jam Sessions
Structured as a series of live performances, these sessions provide a space for
improvisation and interaction between arachnids and guest musicians.
7.00 – 9.00pm
Live performance by arachnids and Brian O’Reilly, musician &
Lecturer, LASALLE College of the Arts, Singapore. Introduced by
Peter Jäger, arachnologist, Germany.
For the performance, Brian O’Reilly will be using multiple instruments
for different ways of interacting with the sounds generated by the
arachnids. The first system is a modular synthesiser, followed by an
electro-acoustic contrabass and electronic, finally gongs and cymbals
also with electronic treatments. In this performance, the musician
will aim for the spider sounds to directly modulate the sounds he
will be producing in order to create a integrated electro-acoustic
ecosystem where the sounds being performed and generated
directly influence each other.
22
Brian O’Reilly performance with gongs and cymbals. Courtesy of Brian O’Reilly
23
�contributors
Acknowledgements
Arachnid Orchestra. Jam Sessions developed out of a strong
collaboration
Dr. Peter Jäger is the Head of Arachnology at the Senckenberg Research
with
arachnologists,
musicians,
and
sound
engineers. We would like to express our gratitude to the following
Institute in Frankfurt, Germany (refer to page 13 for full biography).
collaborators who made this exhibition possible:
Elizabeth A. Povinelli teaches in anthropology and gender studies at Columbia University,
Tomás Saraceno Studio: in particular for this project – Lars Behrendt, Anna Garbus,
New York. She was previously editor of Public Culture and her most recent books are
Joshua Hoareau, Odysseus Klisouras, Adrian Krell, Sofia Lemos, Claudia Meléndez,
The Empire of Love (2006) and Economies of Abandonment (2011). Her writing and
Dr.Roland Mühlenthaler, Ignas Petronis and Serena Rota, and as well as for the constant
filmography focuses on the conditions of other wise in Late Liberalism. She is a founding
support – Stefano Arrighi, Fabiola Bierhoff, Sascha Boldt, Danja Burchard, Saverio Cantoni,
member of the Karrabing Film Collective.
Tatiana Chavez, Filippo Corato, Carola Dietrich, Sara Ferrer, Luca Girardini, Canice Grant,
Veronica
Brian O’Reilly is a lecturer at LASALLE’s School of Contemporary Music.
He
works
within
the
fields
of
electro-acoustic
composition,
sound
Lugaro,
Randy
Marby,
Jaime
Norambuena,
Alejandra
Alonso
de
Noriega,
Martina Pelacchi, Claudia Rech, Javier Rosenberg, Kotryna Šlapšinskaite, Vasily Sitnikov,
Daniel Schulz, Sebastian Steinboeck, Desirée Valdes, Cindy Valdez & Christophe Vaillant
installations, moving images and noise music. Also he is a contrabassist
focusing on uncovering the inaudible textures and hidden acoustic
Arachnologists: Joseph K. H. Koh, arachnologist; Li Daiqin, Associate
microsounds of his instrument through the integration of electronic
Professor, Department of Biological Sciences, National University of
treatments and extended playing techniques. He performs with moving
Singapore; Dr. Hannelore Hoch, Museum für Naturkunde, Berlin; Dr. Peter Jäger,
images and modular analog synthesiser under Black Zenith and contrabass
Head of Arachnology, Senckenberg Research Institute and Natural History
as well as electronics with the Game of Patience.
Museum Frankfurt am Main; Dr. Yael Lubin, Ben-Gurion University of the
Negev, President of the International Society for Arachnology; Dr. Roland
Mühlethaler, Museum für Naturkunde, Berlin
Bani Haykal experiments with text and music. As a soloist, he works primarily with acoustic
instruments, both traditional and/or hacked, and his studies revolve around narratives,
structured improvisation and spoken word. He is a member of OFFCUFF and b-quartet.
Musicians: Bani Haykal, artist; Brian O’Reilly, Lecturer, Audio Production, LASALLE
Haykal was also a member of the Singaporean avant rock band The Obser vator y. Haykal
College of the Arts; Dr. Joyce Koh, Vice Dean, Interdisciplinary Studies, Nanyang Academy
was a recipient for the Young Artists’ Award (2013) and has been selected for the 2015
of Fine Arts, Odysseus Klisouras, Sound Artist, Berlin
President’s Young Talents exhibition currently presented at the Singapore Art Museum.
NTU CCA Singapore Spiders Lab Team: Chris Ang Seow Peng, lab manager;
Rong Zhao, sound engineer; Lorenzo Masia, Assistant Professor Robotics &
Joseph Koh is a Singaporean arachnologist (refer to page 13 for full biography).
Design Cluster School of Mechanical & Aerospace Engineering College of
Engineering, Nanyang Technological University (NTU)
Dr. Joyce Beetuan Koh is Senior Lecturer and Vice Dean of Interdisciplinary Studies at
the Nanyang Academy of Fine Arts since January 2014. She writes concert music, works
in dance collaborations, creates sound installations and multimedia productions. Her music
has been performed by BBC Symphony Orchestra, Stavanger Symphony Orchestra, Australia
Website: Magdalena Magiera, NTU CCA Singapore Curator, Outreach & Education;
Jegan Vincent de Paul, PhD Candidate NTU CCA Singapore and School of Art, Design and
Media, NTU; Studio Tomás Saraceno
Song Company, amongst others. She participated at major festivals including Birmingham
Exhibition Construction: Design 18
Frontiers Festival, Biennale Musiques France and Concertegbougw Netherlands. Her recent
Technical Installation: Art Factory LLP
multimedia works include Future Feed (Arts Fission Company, Singapore Design Centre,
Equipment Partner: Sunny Instruments Singapore Pte Ltd
2015), and Moving Sketches (Soundislands Festival, Singapore, 2015)
We would also like to express our gratitude to the following individuals: Emi Eu,
Etienne Turpin is a philosopher studying, designing, curating, and writing
School Of Art, Design And Media, NTU; PerMagnus Lindborg, Assistant Professor,
aesthetics and visual culture, and Southeast Asia colonial-scientific history.
School of Art, Design and Media, NTU; Lau Gih Keong, Associate Professor, School of
He is a member of the SYNAPSE International Curators’ Network of the Haus
Mechanical and Aerospace Engineering, NTU; Mukeshan Vadakke Matham, Associate
der Kulturen der Welt in Berlin, where he is a co-editor of the intercalations:
Professor, School of Mechanical and Aerospace Engineering, NTU; Anand Krishna Asundi,
paginated exhibition series as part of the Das Anthropozän-Projekt. He lives
Director, Centre for Optical and Laser Engineering (COLE), NTU; Peter Ng, Director
and works in Jakarta, where he is director of anexact office and co-director
Lee Kong Chian Natural History Museum, NUS; Chrissie Painting, Research Fellow,
and co-principal investigator of PetaJakarta.org.
24
Director,
about complex urban systems, political economies of data and infrastructure,
National University of Singapore; Peifen Koh, and Emek Ulusay
Singapore
Tyler
Print
Institute;
Professor
Dorrit
Vibeke
Sorensen,
Chair,
25
�The NTU Centre for Contemporary Art Singapore (NTU CCA Singapore), opened in October 2013, is a
national research centre of Nanyang Technological University developed with support from the Economic
Development Board, Singapore. Located in Gillman Barracks alongside a cluster of international galleries,
NTU CCA Singapore led by Founding Director, Professor Ute Meta Bauer takes a holistic approach
towards art and culture, intertwining its three platforms: exhibitions, residencies, research & education.
NTU CCA Singapore positions itself as a centre for critical discourse and experimental practices for
Singapore, the region and beyond. It aims to play an active role within the local art scene, and contribute
to the development of regional and international art infrastructures.
N T U CC A S ING A P OR E S TA F F
Professor Ute Meta Bauer,
founding director
NTU CCA SING A P ORE GOVERNING COUNCIL
Professor Freddy Boey,
co-chair, deputy president and
p r o v o s t , n a n ya n g t e c h n o l o g i c a l u n i v e r s i t y ( n t u )
E xh i b i t i o n s & R e s id e nc ie s
Josie Browne,
deputy director
Anca Rujoiu, c u r at o r , e x h i b i t i o n s
Vera Mey, c u r at o r , r e s i d e n c i e s
Julie Hyun, m a n a g e r , e x h i b i t i o n s
Isrudy Shaik, e x e c u t i v e , e x h i b i t i o n s
Syaheedah Iskandar, c u r at o r i a l a s s i s ta n t
Shona Findlay, c u r at o r i a l a s s i s ta n t
R es e arc h
Magdalena Magiera,
Samantha Leong,
c u r at o r , o u t r e a c h & e d u c at i o n
O p e rati o n s, D e v e l op me n t & Planning
Nor Jumaiyah,
c o - c h a i r , a s s i s ta n t m a n a g i n g
singapore economic development
b o a r d (e d b )
Professor Alan Chan Kam-Leung, d e a n , c o l l e g e o f
humanities, arts, & social sciences, ntu
Professor Dorrit Vibeke Sorensen, c h a i r , s c h o o l o f a r t ,
design and media, ntu
Associate Professor Kwok Kian Woon, a s s o c i at e p r o v o s t ,
student life, ntu
Ms. Kow Ree Na, d i r e c t o r , l i f e s t y l e , e d b
Dr. Eugene Tan, d i r e c t o r , n at i o n a l g a l l e r y s i n g a p o r e
Mr. Paul Tan, d e p u t y c e o , n at i o n a l a r t s c o u n c i l ( n a c )
executive, conference,
workshops & archive
Jasmaine Cheong,
Ms. Thien Kwee Eng,
director, cg consumer
a s s i s ta n t d i r e c t o r , o p e r at i o n s & h r
a s s i s ta n t d i r e c t o r , c o m m u n i c at i o n s &
development
Kimberly Shen, m a n a g e r , c o m m u n i c at i o n s
Mary Loo, m a n a g e r , f i n a n c e
Vijayalakshmi Balankrishnan, s p e c i a l p r o j e c t s a s s i s ta n t
Sheila Tham, e x e c u t i v e , o p e r at i o n s
Lee Yan Yun, e x e c u t i v e , f i n a n c e & a d m i n i s t r at i o n
NTU CCA SING A P ORE
IN TERNATIONA L A D VISORY BOA RD
Professor Nikos Papastergiadis,
chair, professor, school
o f c u lt u r e a n d c o m m u n i c at i o n , u n i v e r s i t y o f m e l b o u r n e ,
australia
Ann DeMeester,
director, frans hals museum,
the netherlands
Chris Dercon, d i r e c t o r , tat e m o d e r n , u n i t e d k i n g d o m
Hou Hanru, a r t i s t i c d i r e c t o r , m a x x i n at i o n a l m u s e u m o f
21 s t - c e n t u r y a r t s , i ta ly
Yuko Hasegawa, c h i e f c u r at o r , m u s e u m o f c o n t e m p o r a r y
a r t t o k y o (MOT ) , j a pa n
Sarat Maharaj, p r o f e s s o r o f v i s u a l a r t & k n o w l e d g e
systems, lund university, sweden
Philip Tinari, d i r e c t o r , u l l e n s c e n t e r f o r c o n t e m p o r a r y
a r t (UCCA ) , c h i n a
John Tirman, e x e c u t i v e d i r e c t o r a n d p r i n c i pa l r e s e a r c h
s c i e n t i s t , c e n t e r f o r i n t e r n at i o n a l s t u d i e s , m a s s a c h u s e t t s
i n s t i t u t e o f t e c h n o l o g y ( MIT ) , u n i t e d s tat e s
Right: Tomás Saraceno, Semi-social musical instrument SXDF-NB1006-2: built by four Cyrtophora citricola, eight weeks (2015). Courtesy of the artist
�NTU Ce n t re fo r Co n t e mp o r ar y A r t S i n g ap o r e
EX HI B I T IO N
Bl oc k 43 Ma la n R oa d
Si nga p ore 109 443
OF FI C E &
Bl oc k 6 Loc k R oa d , #01- 09 /10
R E S E A RCH C EN T R E
Si nga p ore 1089 34
resi dencies
Bl oc ks 37 & 38 Ma la n R oa d
stu dios
Si nga p ore 109 452 & 109 441
exhibition
Tu e – S u n
12 – 7 p m
hours
Fri
12 – 9 p m
M on
Closed
O p en on Pu b li c Holi d a y s. Free a d mission to e xhibitions,
pub li c p rogr a mmes, a nd tour s.
GIL LMAN B A R R AC K S
T hese free d oc ent- led tour s b y Fr i ends of the Muse um will
ART & HI S TO RY
u nc over Gi llma n Ba r r a c ks’ r i c h hi story and introduce its
TO U RS
g a ller i es i nc lu d i ng N TU CCA S i nga p ore .
Tours run from Fridays to Sundays, at varied timings.
Please register at www.gi llma nb a r r a cks.com / tours.
F or enq ui r i es on Ed uc ati on Progr a mm e s and School Tours,
pl ea se ema i l ntuc c a exhi b i ti ons@ ntu.e du.sg
office
+ 6 5 6 46 0 0300
exhibitions
+ 6 5 6 33 9 6 503
email
n t u c c a events@ ntu .ed u .sg
FO R U PDATES O N
n t u.c c a si nga p ore.org
E XH I B I T IO N S A N D
f a ceb ook.c om/ntu.c c a si nga p ore
PROG RAMM ES
I n sta gr a m: @ ntu _ c c a si nga p ore
locate d at
© N T U CCA Si n gapore . P r i n te d O ct ober 2 015. Des ig n by T he Pres s Room.
�
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
Tomás Saraceno: Arachnid Orchestra. Jam Sessions 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
Tomás Saraceno: <i>Arachnid Orchestra. Jam Sessions</i> Exhibition Guide
Description
An account of the resource
Tomás Saraceno: <i>Arachnid Orchestra. Jam Sessions</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-10-23
Contributor
An entity responsible for making contributions to the resource
Tomás Saraceno
Ute Meta Bauer
Anca Rujoiu
Format
The file format, physical medium, or dimensions of the resource
Guide
Subject
The topic of the resource
Coexistence
Posthumanism
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
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Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
Professor Abraham will engage in a critical conversation about the multiple pasts of what is today called the Global South.
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/438421035">https://vimeo.com/438421035</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
438421035
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibition (de)Tour: Nonlinear Trajectories by Dr Itty Abraham
Description
An account of the resource
Taking the dis-connections between the three cinematic projects in the exhibition as points of departure, Professor Abraham will engage in a critical conversation about the multiple pasts of what is today called the Global South. A historical overview of the Bandung Conference and its links to the Non-Aligned Movement, real and imagined, will help contextualise different Cold War trajectories as structure and as possibility.<br /><br />Speaker: Dr Itty Abraham (United States/Singapore), Professor and Head, Department of Southeast Asian Studies, National University of Singapore
Date
A point or period of time associated with an event in the lifecycle of the resource
2020-06-18
Contributor
An entity responsible for making contributions to the resource
Itty Abraham
Ute Meta Bauer
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
Politics
Geopolitics
History
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
An introduction to the life and work of Jef Geys, an artist and educator who had, for a large part of his life, produced works and engaged with educational experimentation in the arts that are intimately connected to his locality, yet addresses universal modes of being and living.
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/458014446">https://vimeo.com/458014446</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
458014446
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Behind the Scenes with Dirk Snauwaert and Nina Geys
Description
An account of the resource
An introduction to the life and work of Jef Geys, an artist and educator who had, for a large part of his life, produced works and engaged with educational experimentation in the arts that are intimately connected to his locality, yet addresses universal modes of being and living.
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-11-28
Contributor
An entity responsible for making contributions to the resource
Dirk Snauwaert
Ute Meta Bauer
Nina Geys
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
Archival Practice
Education
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
-
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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
Audiences participate in a breathing exercise led by Chloe Chotrani.
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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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Becca D’Bus interviews Fellows Pati Sayuri, Francisco Brown, Angela Mayrina, Kar-men Cheng, Calvin Chua, and John Kenneth Paranada.
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Dublin Core
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Discussion by Shumon Basar, Heman Chong, Vere van Gool, and Charles Lim, courtesy NTU CCA Singapore, 2020.
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Dublin Core
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Residency Fellows reflect on IdeasCity Singapore at NTU CCA Singapore. Image credit Kee Ya Ting, 2020.
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Dublin Core
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Rhada La Bia “Midnight Masala” performance at NTU CCA Singapore, 2020.
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Dublin Core
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Title
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Screening of video work by Rindon Johnson, NTU CCA Singapore. Images credit Kee Ya Ting, 2020.
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Dublin Core
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Led by Fellow Chloe Chotrani, a group of Fellows wraps up the day with a movement exercise outdoors, Singapore, 2020.
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Title
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Crit presentations by Fellows, Pati Sayuri, 2020.
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Jennifer Teo discusses the cultural history of Bukit Brown cemetery, Singapore, 2020
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Fellows on Pulau Ubin, Singapore 2020.
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Fellows work together at NTU CCA Singapore, 2020.
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Objects and materials used in Zarina Muhammad’s “Conjuring Ourselves as Ghosts” workshop at NTU CCA Singapore, 2020
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Title
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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.
Related Countries
Singapore
Short Description
Building upon the NTU CCA Singapore’s research theme Climates. Habitats. Environments. and IdeasCity’s exploration of the role of art and culture beyond the walls of the museum, IdeasCity Singapore’s residency and public program will examine the urgency of solidarity structures in negating climate change and its impact on Southeast Asia and communities worldwide.
Exhibition Mode
Festival
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Online
Exhibition Start Date
2020-02-15
Exhibition End Date
2020-02-22
Collaboration
Yes
Commissioned Work
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
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Title
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Ideas Fest 2020
Subject
The topic of the resource
Climate Crisis
Ecology
Sustainability
Description
An account of the resource
<p>NTU Centre for Contemporary Art Singapore and the New Museum are pleased to announce participants and collaborators for the second edition of the<span> </span><strong>NTU CCA Ideas Fest</strong>,<span> </span><strong>IdeasCity Singapore</strong>, guest-curated by IdeasCity, taking place in Singapore and across Southeast Asia from February 15 to 22, 2020.</p>
<p>Building upon the NTU CCA Singapore’s research theme<span> </span><em>Climates. Habitats. Environments.</em><span> </span>and IdeasCity’s exploration of the role of art and culture beyond the walls of the museum, IdeasCity Singapore’s residency and public program will examine the urgency of solidarity structures in negating climate change and its impact on Southeast Asia and communities worldwide.</p>
<p>Twenty practitioners have been selected from an international open call for the residency program at the NTU CCA Singapore to develop independent research at the intersection of art and ecology. Throughout the residency, participants will engage in workshops and lectures presented by local artists, practitioners, and community leaders<span>, including </span><strong>Heman Chong</strong><span>, </span><strong>Lynette Chua</strong><span>, </span><strong>Drama Box</strong><span>, </span><strong>Charles Lim</strong><span>, </span><strong>Zarina Muhammad</strong><span>, and </span><strong>Post-Museum</strong><span>, along with organizations such as </span><strong>New Naratif</strong><span>, </span><strong>The Projector</strong><span>, </span><strong>Singapore Community Radio</strong><span>, </span><strong>soft/WALLS/studs</strong><span>, and </span><strong>The Substation</strong><span>.</span><br /><br /></p>
<p>Residency Fellows include:<span> </span><strong>Francisco Brown</strong><span> </span>(United States),<span> </span><strong>Jane Chang Mi<span> </span></strong>(United States),<strong><span> </span>Kar-men Cheng<span> </span></strong>(Singapore),<strong><span> </span>Lingying Chong<span> </span></strong>(Singapore),<strong><span> </span>Chloe C. Chotrani<span> </span></strong>(Philippines/Singapore),<strong><span> </span>Calvin Chua<span> </span></strong>(Singapore), <strong>Fataah T. Dihaan</strong><span> </span>(United States),<span> </span><strong>ila<span> </span></strong>(Singapore),<strong><span> </span>Heider Ismail<span> </span></strong>(Singapore),<strong><span> </span>Lily Kwong</strong><span> </span>(United States),<span> </span><strong>Clarissa Ai Ling Lee<span> </span></strong>(Malaysia),<strong><span> </span>Michelle Lai<span> </span></strong>(Singapore),<strong><span> </span>Kwan Q Li<span> </span></strong>(Hong Kong),<strong><span> </span>Angela Mayrina<span> </span></strong>(Indonesia/United Kingdom),<strong><span> </span>John Kenneth Paranada<span> </span></strong>(Philippines/United Kingdom),<strong><span> </span>Patricia Sayuri<span> </span></strong>(Japan/Brazil),<strong><span> </span>Pen Sereypagna</strong><span> </span>(Cambodia),<span> </span><strong>Shahmen Suku<span> </span></strong>(Singapore/Australia),<strong><span> </span>Ruby Thiagarajan<span> </span></strong>(Singapore),<strong><span> </span>Dat Vu<span> </span></strong>(Vietnam), <strong>Nikan Wasinondh (Bow) </strong>(Thailand) and<strong> Jason Wee<span> </span></strong>(Singapore). For more information please visit: <a href="http://www.ideas-city.org/">http://www.ideas-city.org</a>.<br /><br /></p>
<p>On February 22, 2020 at NTU CCA Singapore, IdeasCity Singapore will present and broadcast a series of dialogues between local and international artists and community leaders on topics including food sovereignty (<b>Angela Dimayuga</b><span> </span>and<span> </span><b>Emeka Ogboh</b>), underground archives (<b>Heman Chong</b><span> </span>and<span> </span><b>Monica Narula</b><span> </span>of Raqs Media Collective), image and power (<b>Ho Rui An</b><span> </span>and<span> </span><b>Shumon Basar</b>), ecofeminism (<b>Marwa Arsanios</b>), and traces of migration (<b>Kunlé Adeyemi</b>,<span> </span><b>Eleena Jamil</b>,<span> </span><b>Bouchra Khalili<span> </span></b>and<span> </span><b>Alfian Sa’at</b>). A sequence of debate circles will examine the roles of solidarity and speculation in addressing climate injustice, featuring interdisciplinary perspectives from speakers such as<span> </span><b>Becca D’Bus</b>,<span> </span><b>Kirsten Han</b>,<span> </span><b>Prasoon Kumar</b><span> </span>and<span> </span><b>Zarina Muhammad</b>.</p>
<p>Workshops and conversations facilitated by Bakudapan Food Study Group and a presentation of new VR work by artist<span> </span><b>Rindon Johnson</b><span> </span>will invite select audiences to engage directly with artists envisioning pathways to equitable and sustainable futures. The programme will also feature screenings, showings, and remarks by performance artist<span> </span><b>ila</b><span> </span>and Digital Minister of Taiwan,<span> </span><b>Audrey Tang</b>.</p>
<p>Responding to the context of climate crisis, in which artists, activists, and scholars around the world are working today, IdeasCity Singapore will include a series of programmes across Southeast Asia in collaboration with<span> </span><strong>The Forest Curriculum</strong><span> </span><strong>and </strong><strong>Nomina Nuda (Los Baños, Philippines)</strong>,<span> </span><strong>Malaysia Design Archive (Kuala Lumpur, Malaysia)</strong>,<span> </span><strong>House of Natural Fiber (Yogyakarta, Indonesia)</strong>,<span> </span><strong>The Land (Chiang Mai, Thailand)</strong>, <strong>Sàn Art (Ho Chi Minh City, Vietnam)</strong><span> </span>and<span> </span><strong>Harvard’s Graduate School of Design</strong><span> </span><strong>(Boston, United States)</strong>.</p>
<p>Facilitated by IdeasCity and workshopped at NTU CCA Singapore with an advisory council of Singaporean community members whose work exemplifies equitable practices, a community agreement was developed that details best practices for achieving an accountable, sustainable, and authentic collaboration in Singapore.<br /><br /><strong><u>Programme on 22 February 2020</u></strong><span> </span><br />10.00am<br />Start and Finish by<span> </span><b>Ute Meta Bauer</b><span> </span>and<span> </span><strong>Vere van Gool</strong><br />10.15am<br />Dialogues by<span> </span><strong>Shumon Basar</strong><span> </span>and<span> </span><strong>Ho Rui An</strong><span> </span>on capitalism and the extreme self<br />11.00am<br />Lecture by<span> </span><strong>Kirsten Han</strong><span> </span>on emergent medias and speech<br />11.20am<br />Film screening by<span> </span><strong>ila</strong><br />12.00pm<br />Presentation by<span> </span><strong>Heman Chong</strong><span> </span>on archives as commons<br />12.15pm<br />Lecture Screening by<span> </span><strong>Marwa Arsanios</strong><span> </span>on ecofeminism and community<br />1.00pm<br />Presentation by<span> </span><strong>Monica Narula</strong><span> </span>on submarine horizons<br />1.30pm<br />Performance by<span> </span><strong>Radha</strong><span> </span>“Midnight Masala”<br />1.55pm<br />Hologram lecture by<span> </span><strong>Audrey Tang</strong><br />2.00pm<br />Conversation between<span> </span><strong>Becca D’Bus</strong><span> </span>and Fellows on solidarity with nature<br />3.00pm<br />Discussion by<span> </span><strong>Shumon Basar</strong>,<span> </span><strong>Heman Chong</strong>,<span> </span><strong>Vere van Gool</strong>,<span> </span><strong>Charles Lim</strong>, and<span> </span><strong>Zarina Muhammad</strong><span> </span>on sovereignty and indigenous contexts<br />4.00pm<br />Lecture by<span> </span><strong>Emeka Ogboh</strong><span> </span>on food diasporas<br />4.15pm<br />Reading by<span> </span><strong>Alfian Sa’at</strong><span> </span>on the poetics of migration<br />4.30pm<br />Presentations by<span> </span><strong>House of Natural Fiber</strong><span> </span>and the<span> </span><strong>Land Foundation</strong><span> </span>on strategies for combatting climate change<br />5.00pm<br />Video Presentation by<span> </span><strong>Angela Dimayuga</strong><span> </span>on culture and cookbooks<br />5.10pm<br />Discussion by<span> </span><strong>Ute Meta Bauer</strong>,<span> </span><strong>Vanessa Ho</strong>, and<span> </span><strong>Prasoon Kumar</strong><span> </span>on trust networks and sustainability<br />6.00pm<br />Kitchen Mapping Workshop by<span> </span><strong>Bakudapan Food Study Group</strong><br />6.30pm<br />VR Demo by<span> </span><strong>Rindon Johnson</strong><span> </span>on speculative futures<br />7.00pm<br />Roundtable by Fellows<br />7.45pm<br />Live Music by<span> </span><strong>Bani Haykal</strong><br />8.00pm<br />Lecture Screenings by<span> </span><strong>Kunlé Adeyemi</strong>,<span> </span><strong>Eleena Jamil</strong>, and<span> </span><strong>Bouchra Khalili</strong><span> </span>on the poetics of migration<br />10.00pm<br />Start and Finish by<span> </span><strong>Ute Meta Bauer</strong><span> </span>and<span> </span><strong>Vere van Gool<br /></strong></p>
<p><strong></strong>NTU CCA Ideas Fest 2020 is guest-curated by IdeasCity, New Museum, New York.<strong><br /></strong></p>
Contributor
An entity responsible for making contributions to the resource
Heman Chong
Lynette Chua
Drama Box
Charles Lim
Zarina Muhammad
Post-Museum
New Naratif
The Projector
Singapore Community Radio
soft/WALLS/studs
The Substation
Francisco Brown
Jane Chang Mi
Kar-men Cheng
Lingying Chong
Chloe C. Chotrani
Calvin Chua
Fataah T. Dihaan
ila
Heider Ismail
Lily Kwong
Clarissa Ai Ling Lee
Michelle Lai
Kwan Q Li
Angela Mayrina
John Kenneth Paranada
Patricia Sayuri
Pen Sereypagna
Shahmen
Ruby Thiagarajan
Dat Vu
Suku
Nikan Wasinondh
Jason Wee
Ho Rui An
Shumon Basar
Angela Dimayuga
Emeka Ogboh
Monica Narula
Marwa Arsanios
Kunlé Adeyemi
Eleena Jamil
Bouchra Khalili
Alfian Sa’at
Becca D’Bus
Kirsten Han
Prasoon Kumar
Ute Meta Bauer
Ideas City
Vere Van Gool
Bani Haykal
Rindon Johnson
Bakudapan Food Study Group
Vanessa Ho
House of Natural Fiber
Land Foundation
Audrey Tang
Radha
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