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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
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Christoph
Surname or Business Name
Draeger
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2023
Affiliation
Company, organization, or institution name
Yale-NUS College, National University of Singapore
Birth Date
1965
Birthplace
Switzerland
Occupation
Professional title or identity
Multimedia Artist
Senior Lecturer
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
Christoph Draeger is a Swiss multimedia artist who works with installation, photography, and video. His work explores our media-saturated culture and society’s struggle with climate change. He is currently a senior lecturer at YALE-NUS Singapore, having joined the faculty in 2022. Draeger’s works have been exhibited worldwide in galleries and institutions such as the Centre Georges Pompidou in Paris, KW-Kunstwerke Institute for Contemporary Art in Berlin, the Whitney Museum of American Art in New York, and MoMA PS1. Some of his recent solo exhibitions include Garage Sale at Y Gallery in New York (2014), Unforced Errors at Lokal 30 in Warsaw (2014), and Destroyin’ L.A. at the Young Projects, in Los Angeles (2015). He also received a scholarship from P.S.1’s International Studio Program in 1996. Through his art, Draeger continues to make powerful statements about the state of our world and its future.
Personal Website
Leave blank if not applicable
<a href="https://christophdraeger.com/">https://christophdraeger.com/</a>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Singapore
Switzerland
United States
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Filmmaker
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
Christoph Draeger
Subject
The topic of the resource
Technology
Climate Crisis
Contributor
An entity responsible for making contributions to the resource
Christoph Draeger
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
Europe
North America
-
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fbb63f48cd2761baefaf5d17a9288478
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Ruobing
Surname or Business Name
Wang
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2022 - 2023
Birth Date
1975
Birthplace
China
Occupation
Professional title or identity
Artist and Curator
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<p>Committed to exploring new ways of seeing and methods of knowledge production, the artistic practice of Dr Wang Ruobing (b. 1975, China) stretches from drawing to photography, sculpture, and installation. With a diverse range of methodological approaches to present her ideas, her body of work addresses environmental issues and transcultural discourses on identity and hybridity. Her work has been presented in venues such as Yuan Contemporary Art Museum, Chongqing, China (2019), The Esplanade<span lang="en-gb">– Theatres on the Bay</span>, Singapore (2017, 2016, 2015, 2013, 2011, 2004), The Substation, Singapore (2019, 2004, 2003, 1999), and EVA International, Ireland's Biennial of Contemporary Art, Limerick, (2010) among other venues. She is also an art educator and independent curator.<span> </span>She is the co-founder of Comma Space (<span lang="en-us">逗号空</span><span lang="en-us">间</span>), an artist-run experimental platform that ‘creates thinking spaces between commas’.<span> </span>She holds a Ph.D. in Fine Art from Oxford University, United Kingdom.</p>
<p></p>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Singapore
Contributor Type
Artist-in-Residence
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
Wang Ruobing
Subject
The topic of the resource
Climate Crisis
Sustainability
Contributor
An entity responsible for making contributions to the resource
Wang Ruobing
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
During this residency, Wang Ruobing will expand her ongoing research into sustainability and livability issues brought about by threats to marine ecology, with artistic practice/expression as an avenue to reconfigure our relations to the earth and its inhabitants.
Cycle
Cycle 9 (2022 - 2023)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Wang Ruobing
Subject
The topic of the resource
Sustainability
Climate Crisis
Description
An account of the resource
<p style="font-weight:400;"><span>During this residency, Wang Ruobing will expand her ongoing research into sustainability and livability issues brought about by threats to marine ecology, with artistic practice/expression as an avenue to reconfigure our relations to the earth and its inhabitants.</span></p>
<p style="font-weight:400;">With rising water temperatures and expansion in size of the Tropical Warm Pool (the largest area of ocean on Earth), within which Singapore is situated, the marine coastline ecosystem has become a crucial field of research. Rapid demographic growth and concentrated economic activity, such as sea shipments, within the region has intensified the relationship between humans and marine life. <span>Spurred by the region’s rapidly changing environmental, social, and political conditions, the artist intends to deepen her understanding of the effects of marine pollution on the coastline ecosystem through potential collaboration with scientific research centres. Drawing inspiration from Donna J. Haraway’s theories on the Cthulhuscene and ‘sympoiesis’, or “making-with”, she hopes to develop a body of new research and artworks that investigates and speculates ways of living with the damages caused by humankind, as a </span><span>way of making sense of the present and discovering the means of building a more sustainable future.</span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2 September 2022 - 31 January 2023
Contributor
An entity responsible for making contributions to the resource
Wang Ruobing
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Min-Wei
Surname or Business Name
Ting
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2022 - 2023
Birth Date
1976
Birthplace
Singapore
Occupation
Professional title or identity
Artist and Filmmaker
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<p style="font-weight:400;"><span>Working primarily with the moving image, Min-Wei Ting (b.1976, Singapore) explores the politics of space and the dynamic of belonging in his native Singapore. Adopting a first-person perspective where the tension between embodiment and disembodiment is often at play, his films enact gestures of protracted observation and slow movement. His works have been presented at venues, screenings, and festivals such Images Festival, Toronto, Canada (2022);</span> <span>Singapore Art Museum and Asian Film Archive, Singapore (2021); </span>Centre for Chinese Contemporary Art, Manchester, United Kingdom (2019); <span>The Substation, Singapore (2018); </span>the 46th International Film Festival Rotterdam, Netherlands (2017); 26<sup>th</sup> and 27<sup>th</sup> Singapore International Film Festival (2016 – 2017). He was shortlisted for the Berlin Art Prize (2019) and the Tiger Awards Competition for Short Films (2015).</p>
Personal Website
Leave blank if not applicable
<a href="https://www.mwting.com">https://www.mwting.com</a>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Singapore
Contributor Type
Artist-in-Residence
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
Min-Wei Ting
Subject
The topic of the resource
Climate Crisis
Contributor
An entity responsible for making contributions to the resource
Min-Wei Ting
Ting Min-Wei
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Cycle
Cycle 9 (2022 - 2023)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Short Description
Min-Wei Ting will use his residency to research and develop a speculative film project on latent and more prominent traces of climate change in present-day Singapore.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Min-Wei Ting
Subject
The topic of the resource
Climate Crisis
Description
An account of the resource
<p style="font-weight:400;"><span>Sea level rise, flash floods, and extreme weather phenomena compel a profound reconsideration of the human relation to the environment. Continuing his filmic meditations on the complexities of contemporary society, Min-Wei Ting will use his residency to research and develop a speculative film project on latent and more prominent traces of climate change in present-day Singapore. The artist plans to conduct an observational investigation of the island nation to survey a range of existing objects, sites, and development projects and compose them into a visual index of natural and man-made features that may acquire different meanings and functions within advanced climate change scenarios. </span></p>
Date
A point or period of time associated with an event in the lifecycle of the resource
2 September 2022 - 31 January 2023
Contributor
An entity responsible for making contributions to the resource
Min-Wei Ting
Ting Min-Wei
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
To better understand the decline in cultural and ecological diversity in the region, NTU CCA Singapore and Konnect ASEAN proposes to look at how the endangerment of traditional cultures and knowledges in the face of ecological challenges affects the region of Southeast Asia. The three-day summit Climate Futures #1: Cultures, Climate Crisis and Disappearing Ecologies. aims to address the various relationships and links to its environment, its ecologies and biodiversity.
Programme Type
Conference and Symposium
Audience
Professional
Graduate/Post-Graduate
Location
Onsite (CCA)
Offsite
Online
Offsite
Collaboration
Yes
Commissioned Work
No
Education
Yes
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
Conference and Symposium: Climate Futures #1: Cultures, Climate Crisis and Disappearing Ecologies
Subject
The topic of the resource
Climate Crisis
Ecology
Description
An account of the resource
Thursday, 1 December – Saturday, 3 December 2022<br />Veranda Hotel at Pakubuwono<br />Jakarta, Indonesia<br /><br />Environmental transformations change ancestral relationships to water, forests, soil, animals, and plants. It affects indigenous philosophies and their irreducible oneness of nature and culture, and of human and non-human. The loss of habitat and ecosystems take away the community’s kin, its identity, belonging and dignity and impacts future generations to come. Communities increasingly feel threatened in their collective capacity to thrive and survive. In this moment of significant change, it is essential to discuss possible climate solutions and explore ecologies of care.<br /><br /><p>The holistic approach of <em>Climate Futures #1: Cultures, Climate Crisis and Disappearing Ecologies. </em>is to stimulate a debate between artists, designers, and architects, scientists, environmentalists, as well as local voices and policy makers. We seek to reach out to a wider public including younger scholars and practitioners, as well as community leaders and policy makers from the ASEAN region.</p>
<p>The future of our shared prosperity relies on our collective ability to create an inclusive and sustainable foundation for growth.</p>
<h2>Programme</h2>
<p class="has-small-font-size">Timings in Jakarta Time (GMT +7)</p>
<p><b>Thursday, 1 December 2022 </b><br /><b>8.30am</b> Registration and Coffee<br /><b>9.00am</b> Opening addresses by Choi Jaeha (Korea) Minister Counselor, Korean Mission to ASEAN H.E. Khamsouk Keovongsay (Laos), Director General, National Institute of Fine Arts, Ministry of Information, Culture and Tourism of Lao PDR, Dr. Yang Mee Eng (Malaysia), Executive Director of ASEAN Foundation, Prof. Tim White, Vice President (Singapore) (International Engagement); President’s Chair in Materials Science and Engineering; Professor, School of Materials Science & Engineering <br /><b>9.30am</b> Welcome and Introduction by co-curators Prof. Ute Meta Bauer (Germany/Singapore) NTU CCA Singapore and Magdalena Magiera (Germany/Singapore) Curator and Research Associate NTU CCA Singapore and Ben Hampe (Myanmar/Australia) Project Director KONNECT ASEAN, ASEAN Foundation <br /><b>9.45am</b> <i>Circularity, Climate, Culture & Community: a Sabah story</i><br />Keynote Lecture by Cynthia Ong (Malaysia), Chief Executive Facilitator, Forever Sabah Institute and LEAP <br /><b>11am</b> <i>Pendekar Laut: Sea Warrior Fishermen fighting for Survival in the face of Climate Change & Coastal Development </i><br />Case study by Dr. Serina Rahman (Singapore/Malaysia), Lecturer, Department of Southeast Asian Studies, National University of Singapore <br /><b>Break </b><br /><b>11.40am</b> <i>Beyond the God’s Eye: Militant Approaches to Cognitive Maps </i><br />Case Study by Cian Dayrit (Philippines), artist <br /><b>12pm</b> <em>Indigo as Livelihood </em><br />Case Study by Dr. Chomwan Weeraworawit (Thailand), lawyer, producer curator, creative director of fashion brand Philip Huang <br /><b>12.20pm</b> Discussion with Cynthia Ong (Malaysia), Dr. Serina Rahman (Singapore/Malaysia), Dr. Chomwan Weeraworawit (Thailand), and Cian Dayrit (Philippines) <br />Moderated by Prof. Ute Meta Bauer (Germany/Singapore) <br /><b>Lunch Break</b> <br /><b>3pm</b> Introduction by Kathleen Ditzig (Singapore), PhD Candidate at the School of Art Design and Media, NTU <br /><b>3.20pm </b><em>Struggles for Sovereignty </em><br />Case Study presented by Eliesta Handitya (Indonesia) writer, independent researcher and Shilfina Putri Widatama (Indonesia) independent researcher <br /><b>3.40pm</b> <em>Connecting trajectory of Classical Science and Cultures in the Anthropocene time </em><br />Case Study by Ignatia Nilu (Indonesia), curator <br /><b>Break</b> <br /><b>4.20pm </b><em>Resettlement in Vietnam – Policies and Social Impact Assessment</em> <br />Case Study by Huong Vu (Vietnam), architect <br /><b>4.40pm</b> <em>The Tonlé </em><br />Case Study by Sao Sreymao (Cambodia), artist <br /><b>5pm</b> <em>Keeping the Flow </em><br />Case Study by Lêna Bùi (Vietnam), artist <br /><b>5.20pm</b> Discussion with Kathleen Ditzig (Singapore), Eliesta Handitya (Indonesia), Shilfina Putri Widatama, Ignatia Nilu (Indonesia), (Indonesia), Huong Vu (Vietnam), and Sao Sreymao (Cambodia), Lêna Bùi (Vietnam) <br />Moderated by Magdalena Magiera (Germany/Singapore) <br /><br /><b>Friday, 2 December 2022</b><br /> <b>8.30am </b>Registration and Coffee <br /><b>9.00am</b> Introduction by Co-Curators <br /><b>9.15am</b> <em>The Language Opacities of Climate Change Discourse</em><br />Keynote Lecture by Marian Pastor Roces (Philippines), curator, critic and policy analyst <br /><b>10.20am</b> <em>Why Tikar? The Politics, Geographies, Architecture, Stories, and Language of our Mat </em><br />Case Study by Yee I-Lann (Malaysia), artist <br /><b>10.40am</b> <em>Bantayan Island: An Island in Transition </em><br />Case Study by Martha Atienza, artist and Jake Atienza (both Philippines), MA Student and Graduate Assistant at University of Hawai’i <br /><b>Break</b><br /><b>11.20am</b> <em>Archiving Resistance </em><br />Case Study by Elisa Sutanudjaja (Indonesia), co-founder and Executive Director, Rujak Center for Urban Studies <br /><b>11.40am</b> Discussion with Marian Pastor Roces (Philippines), Yee I-Lann (Malaysia), Martha Atienza and Jake Atienza (both Philippines), Elisa Sutanudjaja (Indonesia) <br />Moderated by Prof. Ute Meta Bauer (Germany/Singapore) <br /><b>Lunch Break</b> <br /><b>2.00pm</b> CLOSED SESSION <br /><em>Ziarah Utara (Pilgrimage to the North) </em><br />Activation by Irwan Ahmett and Tita Salina (both Indonesia), artists <br /><br /><b>Saturday, 3 December 2022 </b><br /><b>8.30am </b>Registration and Coffee <br /><b>9.00am</b> Introduction by Co-Curators <br /><b>9.20am</b> <em>Frequencies of Tradition, Frequencies for Sustainable Future</em> <br />Keynote Lecture by Hyunjin Kim (Korea), curator and writer <br /><b>10.20am </b><em>Moving Earth, Crossing Water, Restless Topographies: Lessons on Threshold Crossing and Wayfinding alongside Non-Human Collaborators </em><br />Case Study by Zarina Muhammad (Singapore), artist <br /><b>Break</b> <br /><b>11.00am </b><em>Uncovering Borneo’s Little Green Jade, Moving Towards Post-Colonialism or Unlearning Stockholm Syndrome </em><br />Case Study by Jang Elroy Ramantan (Brunei), artist <br /><b>11.20am</b> Case Study by Dr. Yang Mee Eng (Malaysia), Executive Director of ASEAN Foundation <br /><b>11.40am</b> Discussion with Hyunjin Kim (Korea), Zarina Muhammad (Singapore), Jang Elroy Ramantan (Brunei), and Dr. Yang Mee Eng (Malaysia) <br />Moderated by Dr. Ingo Schöningh (Germany/Indonesia), Head of Cultural Programmes Goethe-Institut Jakarta <br /><b>1.00pm </b>Closing Remarks <br />Prof. Ute Meta Bauer (Germany/Singapore) NTU Centre for Contemporary Art Singapore, Cynthia Ong (Malaysia) Chief Executive Facilitator, Forever Sabah Institute and LEAP and Marian Pastor Roces (Philippines) curator, critic and policy analyst </p>
<p>Programme information and speaker bios can be read in <a href="https://ntuccasingapore.omeka.net/items/show/4420">the official brochure</a>.</p>
<p>Conceived by NTU CCA Singapore’s Founding Director Ute Meta Bauer and curator Magdalena Magiera.<br /><br />Organised by NTU CCA Singapore and Konnect ASEAN with the support of Goethe Institut Singapore and Jakarta.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
1 - 3 December 2022
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Magdalena Magiera
Goethe Institut Singapore and Jakarta
Konnect ASEAN
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Asia
Europe
North America
Oceania
-
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PDF Text
Text
Cultures, Climate Crisis and Disappearing Ecologies
1–3 December 2022
Jakarta, Indonesia
Join virtually at
bit.ly/KONNECTASEAN_CF
Conceived by Professor Ute Meta Bauer, founding director and Magdalena Magiera, curator and
research associate , NTU Centre for Contemporary Art Singapore. In partnership with KONNECT
ASEAN and in-kind support of Goethe-Institut Singapore and Jakarta.
�Tita Salina and Irwan Ahmett, The Call of Fragility - Through
the lens of Eurasian Plate fragility in Java Island (Indonesia)
and Turkey, 2022, video still. Courtesy the artists.
�Notes from the Curators
Climate Futures #1: Cultures, Climate Crisis,
and Disappearing Ecologies takes the
format of a three-day on-site conference
that will be distributed globally via live
stream. It has been conceived to allow a
better understanding of the accelerated
decline in cultural and ecological diversity
across Southeast Asia, one of the regions
most impacted by climate change.
This transregional and transdisciplinary
gathering proposes to look at how the
endangerment of traditional cultures
and forms of knowledge in the face of
environmental challenges affects the
region’s ecosystems. It is the aim of this
conference to foreground and expound
upon the fundamental interconnectedness
of these often separately negotiated fields.
By involving participants from the spheres
of art, design, and the media, alongside
members of impacted communities,
we hope to contribute to finding and
implementing tangible solutions based on
citizen climate action. This get-together of
stakeholders, scientists, academics, artists,
activists and self-organized initiatives
will study and document the precarious
conditions of this climate-vulnerable
region primarily by means of audio-visual
cultural practices. It will also analyse the
many ways in which climate change is
linked to histories of extractivism and the
cultivation of mono-cultures.
The conference intends to map how the
climate crisis informs contemporary
perceptions of the world, while exploring
how diverse cultures can take ownership
of the process of adaptation to new
environmental realities without losing a
sense of purpose. Discussions will touch
upon rising sea-levels and temperatures,
and the loss of flora and fauna as well as
of traditional forms of knowledge. Speakers
will point to the pluralism of ecologies, and
the many ways in which species and their
social relations are in stress due to climate
change.
The effects of culture loss – caused by
the climate crisis or otherwise – are far
reaching. It will require dialogue and
debate across many forms of border to
establish the kind of productive exchange
that might result in meaningful shifts
in policy as well as contributing to a
widespread acceptance of the need to
change the ways we live and live together.
The loss of habitat and ecosystems strip
communities of their sense of kinship,
belonging and dignity in a way that cannot
fail to impact future generations. A climate
future can only be achieved by means of
a holistic approach and a transformation
that respects ancestral relationships to
land, water, and air.
�We would like to take this opportunity to acknowledge and
express gratitude towards the people, organisations, and
government bodies that made the creation of Climate Futures
#1: Cultures, Climate Crisis, and Disappearing Ecologies
possible, namely ASEAN, KONNECT ASEAN, ASEAN Foundation,
ASEAN-KOREA COOPERATION Fund, Goethe-Institut Singapore
and Jakarta, Nanyang Technological University (NTU),and NTU
CCA Singapore.
Ute Meta Bauer, Founding Director and Magdalena Magiera,
Research Associate and Curator, NTU CCA Singapore
�DAY 1
8.30am
Registration and Coffee
9.00am
Opening addresses by
H.E. Choi Jaeha (Korea) Minister Counselor, Korean Mission to ASEAN
Thursday, 1 December 2022
8.30am – 6.30pm
H.E. Khamsouk Keovongsay (Laos), Director General, National Institute of Fine Arts, Ministry of
Information, Culture and Tourism of Lao PDR
Dr. Yang Mee Eng (Malaysia), Executive Director of ASEAN Foundation
Prof. Tim White, Vice President (Singapore) (International Engagement); President’s Chair in Materials
Science and Engineering; Professor, School of Materials Science & Engineering, Nanyang Technological
University
9.30am
Welcome and Introduction by co-curators Prof. Ute Meta Bauer (Germany/Singapore) NTU CCA
Singapore and Magdalena Magiera (Germany/Singapore) Curator and Research Associate NTU CCA
Singapore and Ben Hampe (Myanmar/Australia) Project Director KONNECT ASEAN, ASEAN Foundation
9.45am
Circularity, Climate, Culture & Community: a Sabah story
Keynote Lecture by Cynthia Ong (Malaysia), Chief Executive Facilitator, Forever Sabah Institute and LEAP
11.00am
Pendekar Laut: Sea Warrior Fishermen fighting for Survival in the face of Climate Change &
Coastal Development
Case study by Dr. Serina Rahman (Singapore/Malaysia), Lecturer, Department of Southeast Asian
Studies, National University of Singapore
11.40am
Beyond the God’s Eye: Militant Approaches to Cognitive Maps
Case Study by Cian Dayrit (Philippines), artist
12.00pm
Indigo as Livelihood
Case Study by Dr. Chomwan Weeraworawit (Thailand), lawyer, producer curator, creative director of
fashion brand Philip Huang
12.20pm
Discussion with Cynthia Ong (Malaysia), Dr. Serina Rahman (Singapore/Malaysia), Dr. Chomwan
Weeraworawit (Thailand), and Cian Dayrit (Philippines)
Moderated by Prof. Ute Meta Bauer (Germany/Singapore)
Break
3.00pm
Introduction: Can we Visualise Neocolonialism in Southeast Asia?: Solidarities and Cultural Practices
for a Climatic Accountability
by Kathleen Ditzig (Singapore) PhD Candidate at the School of Art Design and Media, NTU
3.20pm
Struggles for Sovereignty
Case Study presented by Eliesta Handitya (Indonesia) writer, independent researcher and
Shilfina Putri Widatama (Indonesia) independent researcher
3.40pm
Monumen Antroposen
Case Study by Ignatia Nilu (Indonesia), curator
Break
4.20pm
Resettlement in Vietnam - Policies and Social Impact Assessment
Case Study by Hương Vũ (Vietnam), architect
4.40pm
The Tonlé
Case Study by Sao Sreymao (Cambodia), artist
5.00pm
Keeping the Flow
Case Study by Lêna Bùi (Vietnam), artist
5.20pm
Discussion with Kathleen Ditzig (Singapore), Eliesta Handitya (Indonesia), Shilfina Putri Widatama
(Indonesia), Ignatia Nilu (Indonesia), Huong Vu (Vietnam), and Sao Sreymao (Cambodia), Lêna Bùi
(Vietnam) Moderated by Magdalena Magiera (Germany/Singapore)
�DAY 2
Friday, 2 December 2022
8.30am – 1.00pm
8.30am
Registration and Coffee
9.00am
Introduction by Co-Curators
9.15am
The Language Opacities of Climate Change Discourses
Keynote Lecture by Marian Pastor Roces (Philippines), curator, critic and policy analyst
10.20am
Why Tikar? The Politics, Geographies, Architecture, Stories, and Language of our Mat
Case Study by Yee I-Lann (Malaysia), artist
10.40am
Bantayan Island: An Island in Transition
Case Study by Martha Atienza, artist and Jake Atienza (both Philippines), MA Student / Graduate
Assistant at University of Hawai’i
Break
11.20am
Archiving Resistance
Case Study by Elisa Sutanudjaja (Indonesia), co-founder and Executive Director, Rujak Center for Urban
Studies
11.40pm
Discussion with Marian Pastor Roces (Philippines), Yee I-Lann (Malaysia), Martha Atienza and Jake
Atienza (both Philippines), and Elisa Sutanudjaja (Indonesia)
Moderated by Prof. Ute Meta Bauer (Germany/Singapore)
Break
2.00pm
CLOSED SESSION
Ziarah Utara (Pilgrimage to the North)
Activation by Irwan Ahmett and Tita Salina (both Indonesia), artists
�DAY 3
Saturday, 3 December 2022
8.30am – 1.30pm
8.30am
Registration and Coffee
9.00am
Introduction by Co-Curators
9.20am
Frequencies of Tradition, Frequencies for Sustainable Future
Keynote Lecture by Hyunjin Kim (Korea), curator and writer
10.20am
Moving Earth, Crossing Water, Restless Topographies: Lessons on Threshold Crossing and Wayfinding
alongside Non-Human Collaborators
Case Study by Zarina Muhammad (Singapore), artist
Break
11.00am
Uncovering Borneo’s Little Green Jade, Moving Towards Post-Colonialism or
Unlearning Stockholm Syndrome
Case Study by Jang Elroy Ramantan (Brunei), artist
11.20am
ASEAN Foundation in 2022 and Beyond:Building Greater Awareness of the Climate Crisis
with ASEAN Youths
Case Study by Dr. Yang Mee Eng (Malaysia), Executive Director of ASEAN Foundation
11.40pm
Discussion with Hyunjin Kim (Korea), Zarina Muhammad (Singapore), Jang Elroy Ramantan (Brunei),
and Dr. Yang Mee Eng (Malaysia) Moderated by Dr. Ingo Schöningh (Germany/Indonesia), Head of
Cultural Programmes Goethe-Institut Jakarta
1.00pm
Closing Remarks
Prof. Ute Meta Bauer (Germany/Singapore) NTU Centre for Contemporary Art Singapore,
Cynthia Ong (Malaysia) Chief Executive Facilitator, Forever Sabah Institute and LEAP and
Marian Pastor Roces (Philippines) curator, critic and policy analyst
Break
3.00pm
CLOSED SESSION: Where do we go from here?
Workshop / Networking Session for Speakers and Presenters
�Programme Information
Irwan Ahmett and Tita Salina
Activation: Ziarah Utara (Pilgrimage to the North)
Friday, 2 December 2022
2.00 – 7.00pm
Over the last four years, Irwan Ahmett and
Tita Salina have conducted Ziarah Utara
(Pilgrimage to the North) every year in their
city, Jakarta. Initiated together with the
Australian artists and geographers Jorgen
Doyle and Hannah Ekin, this annual walk
aims to build trust and intimacy with people
they encounter along the way, from informal
settlements to gated communities, by way
of visual documentation, trespassing, and
listening to fading stories.
On a physical and sensorial level, Ahmett and
Salina expose their bodies to nature afflicted
by industrial contamination. Population
growth and land conversions, coupled with
massive human activity along the coastline,
have resulted in ecological collapse, land
subsidence, and rising sea levels in Jakarta,
which now faces an uncertain future. This
accumulation of sedimented problems
becomes Ahmett and Salina’s “ground zero”
to elaborate another side of the first capital
in modern world history that plans to escape
due to the climate crisis.
During the conference, Ahmett and Salina
invite participants to be in dialogue with
the fishing community of Kampung Dadap,
Tangerang, to learn about its struggle through
cultural activities that aim to defend its
dignity. While looking at Jakarta from the sea,
participants are called to search for pearls
of hope while critically questioning if the
megalopolis is just an empty shell burdened
with a narrative battle that exacerbates
polarisation?
Irwan Ahmett and Tita Salina (Indonesia)
are an artist duo based in Jakarta. Since
2014, they have been working on a project
in the Ring of Fire – Pacific Rim, a global
region prone to natural disasters as well
as persistent ideological violence. In their
search for answers about planetary anxieties
regarding human existence by means of
evolutionary perspectives, Ahmett and
Salina participate in residency programmes,
research, field study and exhibitions,
especially in specific yet paradoxical areas.
Through their artistic practice, they produce
knowledge in relation to injustice, humanity,
and ecology.
�Martha Atienza and Jake Atienza
Bantayan Island: An Island in Transition
Friday, 2 December 2022
10.40 – 11.00am
In the Visayas region of central Philippines,
the fishing communities of the Bantayan
Islands have, for decades, borne the brunt
of detrimental, government-endorsed
commercial enterprises. Under the guise of
promised economic prosperity, the group of
islands has, in recent years, been increasingly
subject to the interests of the private
sector. From a bill removing Bantayan’s
Wilderness area which made way for the
privatisation of land and the formation of
the North Cebu Economic Zone, to the push
to allow foreigners to have 100% ownership
of assets, a neoliberal agenda continues to
impose coercive ways of dispossession. The
intersectionality of governance, environment,
and community necessitates an art-practice
that tackles these issues through actions and
collaborations.
Martha Atienza’s (Philippines/Netherlands)
practice explores installation and video
as ways of documenting and questioning
issues around the environment, community,
and development. Her work mostly takes
the form of video of an almost sociological
nature, studying her direct environment
in the Philippines. In 2017, Atienza won the
Baloise Art Prize in Art Basel for her seminal
work Our Islands. Since 2017, her work has
been shown and collected worldwide.
Currently, she lives and works in Bantayan
Island, Philippines.
Jake Atienza (Philippines/Netherlands) is
an M.A. student and Graduate Assistant
in the Sociology program at the University
of Hawai‘i at Mānoa. His paternal home
of Bantayan Island in central Philippines
has shaped his interest in islands as social
and physical spaces where exploitation
and dispossession are rampant. This is the
starting point of artistic and scholarly work on
institutional violence, power and the judiciary,
and systems of social and environmental
exploitation, with a particular focus on the
mining industry.
�Lêna Bùi
Keeping the Flow
Thursday, 1 December 2022
5.00 – 5.20am
Bùi will share a meditation on the nature of
all things being in constant exchange with
themselves and with each other.
Lêna Bùi (Vietnam) lives and works in Ho Chi
Minh City, Vietnam. Her practice is deeply
fascinated with intangible aspects of life,
such as faith, death, and dreams, and the
ways in which they influence our behaviours
and perceptions. Incorporating anecdotes
and personal stories, her works articulate
intimate reflections on the impact of rapid
development and the relationship between
humans and nature.
Cian Dayrit
Beyond the God’s Eye: Militant Approaches to Cognitive Maps
Thursday, 1 December 2022
11.40 – 12.00pm
Maps are usually impersonal objects that
conceal the experiences of the people
inhabiting a represented space, yet beneath
the cartographic surface are stories upon
stories of struggle and survival. Influenced
by his position as artist, scholar, and activist,
Dayrit’s presentation outlines his explorations
of cognitive mapping as both a cultural and
political tool to challenge the hegemonic
grids of maps authored by centralised bodies
such as the state or corporations. Working
within the context of counter-mapping, Dayrit
facilitates cognitive mapping workshops with
various subsistence communities, indigenous
and labour groups. In these pedagogical
interventions, geo-narratives are activated to
express precarious conditions and systemic
oppression as well as collective resistance,
whilst producing material that can be further
activated for solidarity campaigns. The maps
produced in these workshops are raw and
intimate articulations of the everyday lives
of populations historically disenfranchised
through the conditions of a neo-colonial
society. Informed by approaches from
humanistic and radical geography and
artistic social practice, the method explores
the ways in which the narratives of individuals
can reflect the shared conditions of their
respective communities. In this light,
cognitive mapping becomes a processbased approach to building solidarity and
collectively articulating shared aspirations.
Cian Dayrit (Philippines) is an artist whose
work investigates notions of space, power
and identity as they are represented and
reproduced in monuments, museums,
maps, and other institutionalized
media. Working with textile, installations,
archival interventions, and community-based
workshops, Dayrit’s work responds to different
marginalised communities, encouraging
a critical reflection on dominant and
privileged perspectives. While informed by
the experience of neo-colonialism from the
perspective of the Philippines, his work defies
being tied to a specific position or location.
Dayrit is a member of Sama-samang Artista
Para sa Kilusang Agraryo (SAKA), an alliance
of cultural workers advocating for land rights
and food sovereignty. He is also currently
enrolled at the Department of Geography in
University of the Philippines Diliman.
�Kathleen Ditzig
Introduction: Can we Visualise Neocolonialism in Southeast Asia?: Solidarities and Cultural
Practices for a Climatic Accountability
Thursday, 1 December 2022
3.00 – 3.20pm
Neocolonialism is a form of colonialism
where states and communities have the
appearance of autonomy but do not
have political or economic independence.
Providing a brief review of the entangled
Cold War legacies of cultural production
and ecological extraction in Southeast Asia,
this introduction emphasizes the urgency of
curatorial practices and cultural practices
to critically consider the region’s enduring
legacy of colonialism while mobilising the
exceptionalism of cultural projects to imagine
a global climate accountability.
Kathleen Ditzig (Singapore) is a researcher
and curator currently pursuing her PhD at
Nanyang Technological University, School
of Art Design and Media. She was a fellow in
the Getty Foundation’s “Connecting Modern
Art Histories in and across Africa, South and
Southeast Asia” project, organised by Cornell
University and Asia Art Archives. Her research
interests include exhibitionary histories of
Southeast Asia, global histories of capitalism
and enduring legacies and networks of the
Cold War in cultural production.
Eliesta Handitya and Shilfina Putri Widatama
Struggles for Sovereignty
Thursday, 1 December 2022
3.20 – 3.40pm
Handitya and Widatama, two members of
the collective Struggles for Sovereignty, will
amplify alternative narration and realities
of climate injustice struggles from the
perspective of grassroot communities,
activists, indigenous and local communities,
researchers, and artists, amongst others, from
Indonesia and other parts of the world. Their
curatorial practice connects global struggles
and provides a space for those involved to
participate and learn from each other in the
spirit of solidarity.
Eliesta Handitya (Indonesia) is part of
Bakudapan Food Study Group and Struggles
for Sovereignty – a collective focused on
structures for social and ecological justice.
She is involved in curatorial practices that
deal with social and climate injustice to
create translocal solidarity. Handitya is
also an independent researcher and writer
concerned with decoloniality, interdisciplinary
art, and “carework” amongst cultural workers.
Shilfina Putri Widatama (Indonesia) is part of
Bakudapan Food Study Group and Struggles
for Sovereignty, and a researcher who deals
with social and climate justice. Within the
framework of these two collectives, Widatama
is involved in learning practices and curatorial
frameworks that address climate injustice.
She currently works as a visual campaigner
for an NGO focused on democratic and
sustainable energy transformation.
�Hyunjin Kim
Frequencies of Tradition, Frequencies for Sustainable Future
Saturday, 3 December 2022
9.20 – 10.20am
How can tradition be engaged with as a
mode of sustainability? Although negative
perceptions have alienated tradition as
a source of patriarchal, authoritarian,
hierarchical, and outdated customs, tradition
still connects various generations, transmits
values of community, and serves as a
living archive of the future emergence of
cultures. This keynote speech first examines
how traditions are entangled with different
modes of modernisation in the Asian region.
Furthermore, it will address possible wisdom
for sustainability through artistic investigation
and practices derived from or adapted from
tradition, such as community belonging,
resilience, symbiotic life with nature,
spirituality, and de-anthropocentric thinking.
Hyunjin Kim (Korea) is a curator and writer
based in Seoul. Kim was recently the Artistic
Director of Incheon Art Platform 2021 and
the KADIST Lead Curator for Asia, with which
she developed her three-year program and
exhibition, Frequencies of Tradition. She
was also the co-curator of the 7th Gwangju
Biennale (2008), and the Director of Arko
Art Center, Seoul (2014–15). She curated
the exhibition History Has Failed Us, But No
Matter for the Korean Pavilion at the 58th
International Art Exhibition of La Biennale
di Venezia (2019), and co-curated 2 Or 3
Tigers at HKW, Berlin (2017) with Anselm
Franke.
Zarina Muhammad
Moving Earth, Crossing Water, Restless Topographies:
Lessons on Threshold Crossing and Wayfinding alongside Non-Human Collaborators
Saturday, 3 December 2022
10.20 – 10.40am
For this sharing, Muhammad reflects on
the processes and pathways undertaken
in recent selected projects namely <earth,
land, sky and sea as palimpsest>, Dioramas
for Tanjong Rimau, and Breathing in
Unbreathable Circumstances. These works
have emerged from her long-term research
project that engages with environmental
histories, extractive capitalist urbanisation,
and archival fragments in order to redraw
hegemonic cartographies and seek out
a more-than-human, multidimensional
understanding of our place in the world.
Zarina Muhammad (Singapore) is an artist,
educator, and researcher whose practice is
deeply entwined with a critical re-examination
of oral histories, ethnographic literature
and other historiographic accounts of
Southeast Asia. Working at the intersections
of performance, installation, text, sound,
moving image and participatory practice,
she is interested in the broader contexts
of ecocultural identities and interactions,
indigenous ontologies and the cultural
translations within myth-making. Muhammad
has presented her work and been involved
in collaborative research projects across the
Asia Pacific region and Europe.
�Ignatia Nilu
Monumen Antroposen
Thursday, 1 December 2022
3.40 – 4.00pm
Reclaiming the Piyungan Landfill — a site
loaded with deep ancestral knowledge
dating back to the Islamic Mataram Kingdom,
during which it inspired other regions,
villages, and kingdoms with its flourishing
advancements across architecture and
science under the rule of King Sultan Agung
(1613–1645) — Monumen Antroposen is a
radical attempt to present an alternative
ecosystem of the Piyungan area and to
reactivate public awareness of its historical
identity.Designed with temple-shaped
complexes made of plastic “stone” alongside
reliefs narrating holocene-anthropocene
and post-anthropocene scenography ,the
complex is also equipped with a makerspace,
which is intended as an experimental public
laboratory, compiling prototypes from
plastic materials found near landfills. In her
presentation, Nilu expands on Monumen
Antroposen’s desire to transform this area
into a space for activities that allow the
public to participate in a circular materials
economy, s and for the performance of local
culture, not to evoke past religious or ethnic
factionalism, but rather, to demonstrate
how the preservation of cultural knowledge
plays an important role in safeguarding
contemporary thought, allowing us to
maintain human harmony with the natural
surroundings.
Ignatia Nilu (Indonesia) is a writer,
independent curator and cultural producer
based in Yogyakarta, Indonesia. Through
the lens of her formal studies in political
science, she has worked extensively in
arts management and the curation of
visual, media, and sound art in different
formats. Since 2015, she has been curator
of ARTJOG| International Contemporary Art
Festival,Yogyakarta , and a founding member
of ARTBALI since 2018.Currently, she is working
on Monumen Antroposen with other curators
and the Indonesian Upcycle Forum, to
develop an innovative arts and culture project
through ecology and sustainability insights.
She has a strong concern that the arts should
bring openness to humanity and inclusivity.
She believes that the arts have an important
role to play in questions of inclusivity, and part
of her research has focused on the feminism
movement in Indonesia and art projects that
intersect with STEM-based approaches.
�Cynthia Ong
Circularity, Climate, Culture & Community: A Sabah story
Thursday, 1 December 2022
9.45 – 11.00am
In her keynote lecture, Ong shares the ways in
which Forever Sabah envisions the transition
towards a diversified, equitable, circular
economy in Malaysian Borneo, humanising
processes through facilitative approaches
that tend to emergent potential. An initiative
rooted in local aspirations, Forever Sabah
serves as a collaborative social movement
built by an enthusiastic team that believes in
the empowering potential of local Sabahan
knowledge and experience.
Cynthia Ong (Malaysia) engages in
facilitating processes, partnerships and
projects that provoke ecologically sustainable
coexistence between groups, communities,
regions, and nations. With a passion for
finding the creative tension and balance
between process and outcome, Ong led the
founding of Forever Sabah, the Malaysian
Borneo state of Sabah’s transition towards
a diversified, equitable circular economy
with the focal areas of food, agriculture and
fisheries, forests, water and soil, infrastructure,
energy and waste, livelihoods, tourism, and
enterprise.
Marian Pastor Roces
The Language Opacities of Climate Change Discourses
Friday, 2 December 2022
9.15 – 10.20am
Roces opens her keynote lecture with
discussion of an ongoing work to create a
museum for cross-cultural understanding
on the island of Basilan – heretofore
synonymous with extreme sectarian violence
in the Philippine south – to explore the opacity
of one language to another in a multilingual
setting. By the word language, Roces does not
refer alone to language qua language spoken
by locals, but to the different languages of
development circles, artists, economists,
historians, anthropologists, and so forth. As
the presentation moves from the Basilan
microcosm to a macro perspective that
encompasses the Coral Triangle, it sketches
out the challenges of translation that must be
met in order to address the climate crisis.
Marian Pastor Roces (Philippines) is an
independent curator, critic, and policy
analyst. She runs a corporation, TAOINC,
which curates the establishment of museums:
notably, 21AM, the online museum of the
Cultural Center of the Philippines; and the
museum of the Bangsamoro Autonomous
Region in Muslim Mindanao. She is also a
partner of the sustainable development
think tank, Brain Trust Inc. “Gathering: Political
Writing in Art and Culture,” an anthology of
her writing, was published in 2019.
�Dr. Serina Rahman
Pendekar Laut: Sea Warrior Fishermen Fighting for Survival in the Face of Climate Change
& Coastal Development
Thursday, 1 December 2022
11.00 – 11.20am
In the western corner of the Tebrau Strait
a fishing community is trying to find ways
to survive irreversible socio-economic and
climate changes. They are losing their land
and sea to development and urbanisation
and increased severe weather compounds
decreasing fish stocks, jeopardising their
ability to bring home the catch. A local
community organisation, Kelab Alami,
set up the Sea Warriors Market (Pasar
Pendekar Laut) to ensure better earnings for
the fishermen, more sustainable fisheries
and supplementary means of earning
incomes. This is the story of their effort to
stand up and make the best of what befalls
them.
Dr. Serina Rahman (Malaysia) is a lecturer in
the Southeast Asian Studies Department at
National University of Singapore, teaching
environmental politics, the intersection of
religion with politics and society, and about
Southeast Asia through the lens of the sea.
Trained as a conservation scientist, her
practice is in community empowerment
through citizen science, community research
and ecotourism, and artisanal marine
fisheries resource management; all of
which is done at Kelab Alami, a community
organisation in Johor, Malaysia that she cofounded in 2008.
Jang Elroy Ramantan
Uncovering Borneo’s Little Green Jade: Moving Towards Post-Colonialism or Unlearning
Stockholm Syndrome
Saturday, 3 December 2022
11.00 – 11.20am
How do we navigate indigenous ecological
knowledge in the digital age of globalization?
Based on this question, Ramantan, a
multidisciplinary artist and creative, will speak
about how cultural heritage and knowledge
correlates to environmental appreciation and
conservation.
Jang Elroy Ramantan (Brunei) works hand-inhand with civil groups and societies as well
with creatives and artists in creating social
change in Brunei Darussalam. His initiatives
include partnerships with indigenous and
minority communities, highlighting how such
communities are valuable co-agents of
social change.
�Dr. Ingo Schöningh
Moderator
Saturday, 3 December 2022
12.00 – 1.00pm
Dr. Ingo Schöningh (Germany / Indonesia) is
Head of Cultural Programmes Southeast Asia,
Australia, New Zealand, at the Goethe-Institut
Indonesia. He has been and active for 20
years in foreign cultural policy, dealing with
migration, language and cultural diplomacy
over the course of his postings to Vietnam,
Korea, Japan, Germany, and Indonesia.
Sao Sreymao
The Tonlé
Thursday, 1 December 2022
4.40 – 5.00pm
Sreymao’s presentation begins with the
experience of witnessing the loss of Tonlé
Sap in 2016, a lake in Northwest Cambodia
connected to the Mekong River. The lake,
which is one of the world’s most vibrant
ecosystems, has been drying up over the
past several years. Exploring the connections
between rivers and memories, Sreymao’s
research on the Mekong led to the creation
of multiple series of works which will be
discussed during her presentation: Under the
Water, Daydream, Shaking Land, as well as
her current ongoing work with the Kampong
Chhnang community that is part of Tonlé Sap.
Sao Sreymao (Cambodia) was born in the
Site Two Refugee Camp on the CambodianThai border in 1986. She graduated from
Phare Ponleu Selpak’s School of Visual
and Applied Arts, Battambang Province, in
2006, and was a participant of Sa Sa Art
Projects Contemporary Art Class in 2016. Her
multidisciplinary practice includes painting,
photography, digital drawing, sculpture and
performance. Her works explore personal
expression and memories, as well as the
changing physical and psychological
landscapes of Cambodian urban and rural
communities. She has collaborated with
various writers in visual storytelling and
published a number of graphic novels.
�Elisa Sutanudjaja
Archiving Resistance
Friday, 2 December 2022
11.20am – 11.40am
Cities are formed and shaped through
various social, economic, political, and
cultural processes. The act of planning, in the
sense of urban planning, is never neutral, and
power relations always matter. For Jakarta,
modern urban planning is a technocratic
process that is also a reproduction of
colonial practices, where active city-making
from underprivileged residents, such as the
urban poor, is considered unnecessary or
undesirable. As a result, underprivileged
habitus are always on the margin. In order
to secure their rights to the city, resistance
became a means to stand up against
plans from above. Archiving Resistance will
highlight several strategies by Jakarta’s
urban poor in Kampung Akuarium in order to
secure residents rights to live and prosper in
capitalist cities like Jakarta.
Elisa Sutanudjaja (Indonesia) is educated
as an architect specialising in sustainable
and urban development. In 2009 she cofounded the Rujak Center for Urban Studies,
an NGO focused on urban and knowledge
issues. Currently serving as RCUS’s Executive
Director, her concerns are on urban studies
and urbanism, the right to adequate housing,
informal economy, and mobility. Sutanudjaja
was an Eisenhower Fellow in 2013.
Hương Vũ
Resettlement in Vietnam: Policies and Social Impact Assessment
Thursday, 1 December 2022
4.00 – 4.20pm
Involuntary resettlement is one of many
challenges imposed by the extractive
sector, particularly balancing the competing
interests and responsibilities of governments,
companies and affected local communities.
Unfortunately, resettlement projects are
established with so many competing interests
that inhabitants are involuntarily relocated
to sites where living conditions are poor and
there is little infrastructure. The displaced
are often from minority ethnic communities,
whose customary land rights do not appear
to be considered under the Vietnamese
government’s Land Use Policy and its
associated documents. The rehabilitation and
resettlement statements are often prepared
only after the project investment has already
received approval from the Provincial
People’s Committee, resulting in limited
engagement and agency for inhabitants. No
social impact assessment is considered.
Hương Vũ (Vietnam/Germany), studied at
the Technical University of Berlin. Together
with her partner, sheruns the architecture
studio ‘vn-a’, basedbetween Berlin, Germany
and Da Lat, Vietnam. In 2016 they won the
second prize at the international Awards for
Sacred Architecture VI Edition, Fondazione
Frate Sole, Pavia, Italy and the Hans
Schäfers Prize, BDA Berlin. In 2017, vn-a was
appointed a full member of the BDA, Bund
Deutscher Architekten, Landesverband
Berlin (Association of German Architects).
�Dr. Chomwan Weeraworawit
Indigo as Livelihood
Thursday, 1 December 2022
12.00 – 12.20pm
The natural blue dye indigo grows abundantly
in the Northeast of Thailand, and it was
the journey to find that blue that connects
Weeraworawit’s research to the ways in
which traditional knowledge can be used
to forge a different path of development.
Weeraworawit’s research and practice is
guided by the belief that we are all capable
of making and creating in harmony with the
land, and that this knowledge is crucial in
the face of the climate crisis and decline of
biodiversity. Learning ancient know-how from
artisans is a means of telling their stories,
sharing in the processes and creations made
through collaboration.
Dr. Chomwan Weeraworawit (Thailand) has
worked with artists for over 15 years. With a
PhD from King’s College London in intellectual
property, she uses her training to work with
artists, filmmakers, architects, and designers.
In 2010, she founded Mysterious Ordinary, a
creative studio that creates and produces
projects. In 2016, she co-founded Philip Huang,
a fashion brand and vehicle that collaborates
with artisans in the Northeast of Thailand. In
2022, she co-curated the third Bangkok Art
Biennale.
Dr. Yang Mee Eng
ASEAN Foundation in 2022 and Beyond:Building Greater Awareness of the Climate Crisis
with ASEAN Youths
Saturday, 3 December 2022
11.20 – 11.40am
Dr. Yang Mee Eng (Malaysia) worked in
private and government sectors for over
26 years. She was most recently the Senior
Vice President at Alphacap. Prior to that,
she was the CEO of Gameview, the largest
mobile game publisher in Malaysia, where
she oversaw three offices in Malaysia, China
and Thailand. Before moving to the private
sector, Yang spent 19 years working as the
Business Development Manager at Malaysia
Digital Economy Corporation. Yang also led
the Digital Media sector foresight studies
and created the Malaysia’s creative industry
forecast for 30 years (2019-2050) under Mega
Science 3.0 project with Academy Science of
Malaysia.
�Yee I-Lann
Why Tikar? The Politics, Geographies, Architecture, Stories, and Language of our Mat
Friday, 2 December 2022
10.20 – 10.40am
Engaging with the complex geopolitical
histories of Southeast Asia by way of a
community-based practice of mat-making,
Yee has changed the way she thinks about
art, culture and the world we live in.
Yee I-Lann (Malaysia) lives and works in
her hometown Kota Kinabalu, capital of
the Malaysian Borneo state of Sabah. Her
practice engages with regional Southeast
Asian histories by addressing issues of
colonialism, power, and the impact of
historical memory in lived social experience.
She employs a complex, multi-layered visual
vocabulary drawn from historical references,
popular culture, archives, and everyday
objects. In recent years she has been
working collaboratively with communities
and indigenous mediums in Sabah. Yee
has worked in art departments and as
a production designer in the Malaysian
film industry since 1994, and between
2003-2008 established the production
design department and lectured at Akademi
Seni Budaya dan Warisan Kebangsaan
(ASWARA). With her partner, rock n roll
subculture archivist, musician and designer
Joe Kidd, Yee shares KerbauWorks, a crossdiscipline project label and pop-up space.
She is currently a Board member for Forever
Sabah, and a co-founding partner of KOTA-K
Studio in Tanjung Aru Old Town, Kota Kinabalu.
�Organisers & Partners
NTU CCA
Singapore
Staff
Ute Meta Bauer
Founding Director, NTU CCA
Singapore and Professor,
School of Art, Design and
Media, NTU
Jasmaine Cheong
Senior Assistant Director,
Business Operations
Management
Dr Anna Lovecchio
Assistant Director, Programmes
Regina Yap
Manager, Finance
Nadia Amalina
Programmes Coordinator
Magdalena Magiera
Research Associate & Curator
Kay Min Soh
Research Associate
Mei Jia Ng
Research Assistant
Low Ming Aun
Assistant Manager,
Programmes & Operations
Maggie Yin
Manager, Research &
Publications
ASEAN
Foundation
Staff
Dr Yang Mee Eng
Aulia Ramadhina
Mahmudi Yusbi
Ratieh Ayuningtyas
Executive Director
Head of Programme
Anthoni Octaviano
Head of Communications
Benjamin Milton Hampe
Project Director |
KONNECT ASEAN
Barnev Theodore
Soukotta
Project Coordinator |
KONNECT ASEAN
Collaterals
Design
Matterials
Proofreading
Amy Sherlock
Programme Support Officer
Executive Support and
Administrative Officer
Fatima Alifha
Digital Communications
Coordinator
�NTU CENTRE FOR CONTEMPORARY ART SINGAPORE
A leading international art institution, NTU CCA Singapore is a platform, host, and partner creating
and driven by dynamic thinking in its three-fold constellation: Research and Academic Education;
Residencies Programme; and Exhibitions. A national research centre for contemporary art of
Nanyang Technological University, the Centre focuses on Spaces of the Curatorial. It brings forth
innovative and experimental forms of emergent artistic and curatorial practices that intersect the
present and histories of contemporary art embedded in social-political spheres with other fields
of knowledge.
NANYANG TECHNOLOGICAL UNIVERSITY
A research-intensive public university, NTU has 33,000 undergraduate and postgraduate students
in the colleges of Engineering, Business, Science, and Humanities, Arts and Social Sciences, and its
Graduate College. NTU’s campus is frequently listed among the top 15 most beautiful university
campuses in the world and has 57 Green Mark-certified (equivalent to LEED-certified) buildings.
Besides its 200-ha lush green, residential campus in western Singapore, NTU has a second
campus in the heart of Novena, Singapore’s medical district.
KONNECT ASEAN
As the post-Cold War reality of a new world has taken shape and formed new directions and
conversations, ASEAN has re-entered the contemporary art space via collaborative efforts between
various ASEAN bodies. The Republic of Korea celebrated 30 years of diplomatic relations with
ASEAN in 2019 and in the same year established KONNECT ASEAN, an ASEAN-Korea arts programme.
Supported by the ASEAN-Korea Cooperation Fund (AKCF) and administered by the ASEAN
Foundation, KONNECT ASEAN signals both an eagerness by ASEAN to revitalise its once integral role
in contemporary visual arts and South Korea’s sincerity in establishing closer ties with ASEAN.
The programme celebrates Southeast Asian arts using different platforms (exhibitions, education
and conferences, public programmes, residencies, and publications and archives) to explore and
discuss social, political, economic, and environmental issues in the region. The artists’ works and
activities engages and strengthen the public’s understanding of ASEAN’s role in facilitating cultural
diplomacy. Furthermore, the programme intends to connect with the three major stakeholder
groups of government, business, and civil society to achieve the vision of an ASEAN Community.
Outcomes provide permanent resources recording why ASEAN matters and its ongoing
contribution to the region’s growth, prosperity, and stability.
GOETHE-INSTITUT SINGAPORE AND JAKARTA
The Goethe-Institut is the cultural institute of the Federal Republic of Germany with a global
reach. It promotes knowledge of the German language abroad and fosters international cultural
cooperation. Its interdisciplinary work brings together people from different disciplines, cultures,
and countries.
�With contributions by artists Irwan Ahmett and Tita Salina (both Indonesia); artist Martha Atienza
and MA Student / Graduate Assistant at University of Hawai’i Jake Atienza (both Philippines);
artist Lêna Bùi (Vietnam); artist Cian Dayrit (Philippines); curator and PhD Candidate at the
School of Art Design and Media, NTU Kathleen Ditzig (Singapore); Struggles for Sovereignty’s
Eliesta Handitya and Shilfina Putri Widatama (both Indonesia); curator Hyunjin Kim (Korea);
artist Zarina Muhammad (Singapore); curator Ignatia Nilu (Indonesia); Chief Executive
facilitator Forever Sabah Institute, and LEAP Cynthia Ong (Malaysia); curator, writer, art critic
Marian Pastor Roces (Philippines); Lecturer, Southeast Asian Studies, NUS Dr. Serina Rahman
(Malaysia); artist Jang Elroy Ramantan (Brunei); Head of Cultural Programmes Goethe-Institut
Jakarta Dr. Ingo Schöningh (Germany/Indonesia); artist Sao Sreymao (Cambodia); co-founder
and Executive Director, Rujak Center for Urban Studies Elisa Sutanudjaja (Indonesia); architect
Hương Vũ (Vietnam); lawyer, producer curator, and creative director, Philip Huang Dr. Chomwan
Weeraworawit (Thailand); artist Yee I-Lann (Malaysia); and Executive Director ASEAN Foundation
Dr. Yang Mee Eng (Malaysia).
Conference:
Veranda Hotel at Pakubuwono
Jl. Kyai Maja No.63, RT.6/RW.2, Kramat Pela, Kec. Kby.
Baru, Kota Jakarta Selatan, Daerah Khusus Ibukota
Jakarta 12130, Indonesia
�
Dublin Core
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Title
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Resources
Programme Resource
Collateral and other print or digital materials pertaining to residency programmes. Examples include residency brochures, postcards, etc.
Corporate Resource Type
Communications
News Type
Leave blank if not applicable
Programme
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Short Description
Climate Futures #1: Cultures, Climate Crisis and Disappearing Ecologies Conference Guide
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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Conference: Climate Futures #1: Cultures, Climate Crisis and Disappearing Ecologies
Subject
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Climate Crisis
Environmental Crisis
Date
A point or period of time associated with an event in the lifecycle of the resource
1 - 3 December 2022
Coverage
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Southeast Asia
Asia
Contributor
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Ute Meta Bauer
Magdalena Magiera
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
This film programme accompanies the exhibition, The Posthuman City. Climates. Habitats. Environments. It involves a selection of 11 artists’ films that expand on the exhibition’s topics, as well as two sci-fi classics
Programme Type
Screening
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
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
Film Programme: The Posthuman City
Subject
The topic of the resource
Posthumanism
Urbanism
Climate Crisis
Description
An account of the resource
<div class="event_single_dates text__exhibitions">26 Nov 2019, Tue - 9 Feb 2020, Sun</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /><p>This film programme accompanies the exhibition, <i>The Posthuman City. Climates. Habitats. Environments.</i> It involves a selection of 11 artists’ films that expand on the exhibition’s topics, as well as two sci-fi classics.</p>
<p>Screening on loop during opening hours.<br /><br /></p>
<p>26 November – 1 December 2019<br /><strong>Mierle Laderman Ukeles, <em>Waste Flow</em>, 1984<br /></strong>Video, colour, 58 minutes</p>
<p><em>Waste Flow </em>is one of two videos chronicling Ukeles’s ground-breaking performance <em>Touch Sanitation </em>(1978–80), in which she shook hands with over 8,500 New York City Sanitation workers to appreciate and destigmatise their labour. The film portrays a large grid of coloured photographic prints, and sundry text-based archival materials depicting the performance work.</p>
<p>3 – 8 December 2019<br /><strong>De Rijke/De Rooij, <em>Bantar Gebang</em>, 2000<br /></strong>35mm film, colour, sound, 10 min</p>
<p>This film consists of a single static view of a shanty town built on a vast rubbish dump near Jakarta, Indonesia. It begins in semidarkness before dawn, to broad daylight, and ends with the light shifting from dreamy twilight to daybreak. The entrance to the walled shanty town is framed in the centre, where roads intersect with people walking along them. The structure of the image is revealed and sobering even, as the viewer observes its details and actions in the changing light.<br /><br /></p>
<p>10 – 15 December 2019<br /><strong>Lucy Walker, <em>Waste Land</em>, 2010<br /></strong>Colour, sound, 99 min</p>
<p>This feature documentary follows Vik Muniz, a Brazilian artist and photographer, on an emotional journey from Jardim Gramacho, the world’s largest landfill on the outskirts of Rio de Janeiro, to the heights of international art stardom. Muniz collaborates with “catadores,” pickers of recyclable materials who live on the landfill, to create photographic images of themselves out of garbage. The process portrays their plight; at the same time, the resulting work highlights their dignity, the transformative power of art, and the beauty of the human spirit.<br /><br /></p>
<p>17 – 22 December 2019<br /><strong>Tejal Shah, <em>Between the Waves</em>, 2012<br /></strong>HD Video, colour and b&w, multi-channel sound</p>
<p>Five-channel video installation, adapted to two-channel (back-to-back loop)<br />Channel I, <em>A Fable in Five Chapters</em>, 26 min 15 sec<br />Channel II, <em>Landfill Dance</em>, 5 min<br />Channel III, <em>Animation</em>, 1 min 40 sec<br />Channel IV, <em>Moon Burning</em>, 26 min 15 sec<br />Channel V, <em>Morse Code</em>, 26 min 15 sec<em> </em><br /><br /><em>Between the Waves </em>portrays personal/political metaphors—embodiments of the queer, eco-sexual, inter-special, technological, spiritual, and scientific—within sensual, poetic, heterotopic landscapes. Neither bourgeois or asexual, the subjects can be read as assertively political in their local context, where freedom of speech and creative expression often face serious censorship. The immersive environments they are in represent spaces of refuge or expulsion, while their activities feel both archaic and futuristic, filled with urgency and agency. Multiple historic and mythological references are woven and problematised within the video. <em>A Fable in Five Chapters </em>touches on the ecological importance and parthenogenetic nature of corals and reef fish; <em>Landfill Dance </em>explores the potency of the geological, social, and cultural histories embedded in a landfill; <em>Animation </em>and <em>Morse Code </em>move between low-tech animation to the use of iPhone Morse code application; and <em>Moon Burning </em>highlights the cyclic nature of existence and impermanence, and the fluid entities of things and beings. <br /><br /></p>
<p>One-time screening<br />Thursday, 19 December 2019, 7.30pm<br /><strong>Fritz Lang, <em>Metropolis</em>, 1927<br /></strong>B&w, sound, 2h 30 min</p>
<p>This German expressionist science-fiction drama film presents a futuristic utopian city that exists above a grim underground world populated by exploited workers who runs the machinery that keeps the utopian world above functioning. Freder, the son of the city’s master is intrigued by a young woman named Maria, who brings a group of workers’ children to the city and eventually learns about their living conditions. Freder seeks to be a mediator between the separating classes and this puts him in conflict with his authoritative father. This quickly culminates into a revolution that spells disaster for those involved.<br /><br /></p>
<p>24 – 29 December 2019<br /><strong>Ursula Biemann, <em>Deep Weather</em>, 2013<br /></strong>Video essay, colour, sound, 9 min</p>
<p>This video draws a connection between the relentless reach for fossil resources and the impact on broad indigenous populations in remote parts of the world. Water and oil form the undercurrents of all narrations as they are activating profound change in the planetary ecology. The work documents communities living in the Deltas of the Global South that are building protective mud embankments by hand without any mechanic help. In Bangladesh, such measures are taken when large parts of the country become submerged and water is declared a territory of citizenship for populations forced to live on water.<br /><br /></p>
<p>One-time screening<br />Thursday, 26 December 2019, 7.30pm<br /><strong>Ridley Scott, <em>Blade Runner</em>, 1982<br /></strong>Colour, sound, 117 min</p>
<p>In the year 2019, Rick Deckard, a <em>Blade Runner</em> and law enforcer, is forced out of retirement to hunt down and kill four illegally bio-engineered humans known as <em>replicants </em>before they kill more people. These <em>replicants </em>are androids that look virtually identical to human beings. They are designed with superior strength and higher intelligence but feel no emotions. Centred on the theme of humanity, the film examines the effects of technology on the environment and society; where other forms of natural life no longer exists and the future is depicted as both high-tech and hopeful in some places but decayed in others.<br /><br /></p>
<p>31 December 2019 – 5 January 2020<br /><strong>Jan Peter Hammer, <em>Tilikum</em>, 2013<br /></strong>HD-video, colour, sound, 45 min</p>
<p>The film charts the entangled history of behaviourism, neuroscience, animal training, interspecies affection, and English-speaking dolphins. Its narrative starts on 25 February 2010 with a 911 call. Seconds after having completed a live performance at SeaWorld Orlando, Florida, a trainer Dawn Brancheau was dragged underwater, drowned and dismembered by Tilikum, a bull orca. He was Tilikum’s third victim. The film reveals details about the entertainment-industrial complex which SeaWorld is a part of, and the connections between the earliest oceanic leisure centres and Cold War military research, from Hammer’s research on the incident.<br /><br /></p>
<p>7 – 12 January 2020<br /><strong>Jonathas de Andrade, <em>O Peixe</em> [The Fish], 2016<br /></strong>16mm film transferred to 2K video, sound, colour, 37 minutes</p>
<p>The film adopts an aesthetic style typically employed in ethnographic films by anthropologists from the 1960s and 70s when recording the cultures and traditions they study. In a series of vignettes shot on 16 mm film, we witness what seems to be an intimate ritual—one actually invented by the artist—among fishermen in a coastal village in North-eastern Brazil. The camera captures individual fishermen as they catch and then tenderly hold their prey to their chest until it stops breathing. There lurks an understanding that this gesture disguises violence as benevolence and suggests a symmetry between the power that humans wield over other life forms.<br /><br /></p>
<p>14 – 19 January 2020<br /><strong>Fabrizio Terranova, <em>Donna Haraway: Story Telling for Earthly Survival</em>, 2016<br /></strong>Colour, sound, 81 min</p>
<p>Donna Haraway is a prominent scholar in the field of science and technology, a feminist, and a science-fiction enthusiast who works at building a bridge between science and fiction. She became known in the 1980s through her work on gender, identity, and technology, which broke with the prevailing trends and opened the door to a frank and cheerful trans-species feminism. Haraway is a gifted storyteller who paints a rebellious and hopeful universe teeming with creatures and futuristic trans-species, in an era of disasters. The filmmaker Fabrizio Terranova visited Donna Haraway at her home in Southern California, producing this rare, candid, intellectual portrait of a highly original thinker. <br /><br /></p>
<p>21 – 26 January 2020<br /><strong>Armin Linke, <em>Pulau-pulau kelapa sawit</em>, 2017<br /></strong>In collaboration with Giulia Bruno and Giuseppe Ielasi.<br />HD video, colour, sound, 95 min</p>
<p>With footage of oil palm plantations, active peat fires, and olive-related production sites in Java, Sumatra, and Kalimantan (Borneo), the film illustrates why the oil-farming business has grown so rapidly in Asia. Various stages of palm oil production are linked through provocative interviews with residents, activists, scientists, and government officials who express their often-conflicting views on the transformation of Indonesia into a palm oil nation. While the pace of production has positively impacted Indonesia’s GDP, the steep rise in demand for palm oil and its derivatives has dire consequences for Indonesia and its rainforests.<br /><br /></p>
<p>28 January – 2 February 2020<br /><strong>Liam Young, <em>Seoul City Machine</em>, 2019<br /></strong>Digital 3D film, sound, 7 min 41 sec</p>
<p><em>Seoul City Machine </em>is an abstract sequence of vignettes, fragments and moments of a city where machines and technology are now the dominant inhabitants. It portrays the urban landscape of tomorrow; a city in which all of the fears and wonders of emerging technologies have come true. An AI chatbot voices its own creation story through its City Operating System to the citizens it affectionately manages. Using contemporary Seoul as a visual backdrop, the present-day city is overlaid with cinematic visual effects to depict an autonomous world where drones fill the sky, cars are driverless, streets are draped in augmented reality, and everyone is connected to everything.<br /><br /></p>
<p>4 – 9 February 2020<br /><strong>Karlos Gil, <em>Uncanny Valley</em>, 2019</strong></p>
<p>The film is a dystopian sci-fi story that takes the replacement of waiters in Japanese restaurants by androids as its starting point. It explores complex existential problems due to the Uncanny Valley Hypothesis in the field of robotics: in which an android created too much in the image and likeness of a human faces rejection. The underlying themes of the video deal with the relationship between machines and humans based on the encounter between an android and its doppelgänger. Through this relationship and the implementation of Artificial Intelligence (AI) in everyday life, the film reflects the socio-economic paradigm effects by the technological transformation.</p>
</div>
Date
A point or period of time associated with an event in the lifecycle of the resource
26 November 2019 - 9 February 2020
Contributor
An entity responsible for making contributions to the resource
Mierle Laderman Ukeles
Jeroen de Rijke
Willem de Rooij
Lucy Walker
Tejal Shah
Fritz Lang
Ursula Biemann
Ridley Scott
Jan Peter Hammer
Jonathas de Andrade
Fabrizio Terranova
Armin Linke
Liam Young
Karlos Gil
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
North America
South America
Asia
Europe
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
The Current Convening #3 Tabu / Tapu – Who Owns the Ocean? marks the culmination of TBA21–Academy The Current’s first cycle of expeditions, bringing together The Current Fellows; thought leaders from diverse disciplines; local agencies and activist NGOs. Through discursive events including talanoa discussions, case studies, workshops, provocations, as well as performative events, Convening #3 shares with a wider public the research and challenges generated through the format of such expeditions.
Programme Type
Conference and Symposium
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
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 Current Convening #3 Tabu/Tapu – Who Owns the Ocean? A collaboration with TBA21-Academy
Subject
The topic of the resource
Climate Crisis
Environmental Crisis
Oceans & Seas
Description
An account of the resource
<div class="event_single_dates text__research">25 Jan 2018, Thu - 27 Jan 2018, Sat</div>
<div class="event_single_venue">Block 43 Malan Road<br /><span><br />Guest-of-Honour during reception on 26 January 2018:</span><br /><strong>Masagos Zulkifli</strong><span><span>, Minister for the Environment and Water Resources of Singapore<br /><br /></span></span>
<p>The Current <em>Convening #3</em> <em>Tabu / Tapu – Who Owns the Ocean?</em> marks the culmination of TBA21–Academy The Current’s first cycle of expeditions, bringing together The Current Fellows; thought leaders from diverse disciplines; local agencies and activist NGOs. Through discursive events including <em>talanoa </em>discussions, case studies, workshops, provocations, as well as performative events, <em>Convening #3 </em>shares with a wider public the research and challenges generated through the format of such expeditions. It focuses on the modalities of exchange, addresses environmental urgencies, raises questions regarding responsibilities and ownership, and discusses whether rights of nature can be equal to human rights. Environmental researchers, conservationists, anthropologists, and policymakers will share a platform that invites active and creative participation on how we can understand and effect the development to international law, policies, culture, and environmental education.</p>
<p>Coinciding with NTU CCA Singapore’s current exhibition <em>The Oceanic</em>, featuring contributions by TBA21–Academy The Current Fellows from the first cycle of expeditions (2015–17), <em>Convening #3 </em>marks the culmination of inquiries on the vessel <em>Dardanella </em>to the Pacific archipelagos of Trobriand Islands in Papua New Guinea; the Tuamotus in French Polynesia; and the Lau Island Group in Fiji. </p>
<p>The Current<em> Convening #3 Tabu / Tapu – Who Owns the Ocean?</em> has been conceived by <strong>Markus Reymann</strong>, Director of TBA21–Academy; <strong>Stefanie Hessler</strong>, Curator of TBA21–Academy; and <strong>Professor Ute Meta Bauer</strong>, Founding Director of NTU CCA Singapore, and expedition leader of The Current’s first cycle.</p>
<p>Previous <em>Convenings </em>in the first cycle of The Current:<br /><em>Convening #1 The Kula Ring</em> in Kingston, Jamaica (16 – 17 March 2016)<br /><em>Convening #2 Tuamotus, Distant Islands</em> in Kochi, Kerala, India (13 – 15 December 2016)</p>
<h3>PROGRAMME</h3>
<p><strong>Thursday, 25 January<br /></strong>[Closed <em>talanoa s</em>essions]</p>
<p>++</p>
<p><strong>Friday, 26 January, 1.30 – 10.00pm</strong></p>
<p><strong>*Venue: The Single Screen, Block 43 Malan Road</strong></p>
<p><strong>1.30pm</strong><br />Introduction</p>
<p><strong>1.45pm</strong><br />Case Study by <strong>Taholo Kami</strong> (Tonga/Fiji), Special Advisor, Pacific Partnerships and International Civil Society, COP23 Presidency Secretariat of the Fijian government</p>
<p><strong>2.15pm</strong><br />Case Study by <strong>Dr Hervé Raimana Lallemant-Moe</strong> (French Polynesia), Law Department, University of French Polynesia</p>
<p><strong>2.45pm</strong><br />Short Provocations<br /><strong>Atif Akin</strong> (Turkey/United States), artist, designer, and Associate Professor, Mason Gross School of the Arts, Rutgers University, United States<br /><strong>Roko Josefa Cinavilkeba</strong> (Fiji), High Chief of the Yasayasamoala Island group<br /><strong>Andrew Foran</strong> (Australia/Fiji), Head, Pacific Centre for Environmental Governance, International Union for Conservation of Nature (IUCN), Fiji<br /><strong>Armin Linke</strong> (Italy/Germany), photographer and filmmaker<br /><strong>Maureen Penjueli</strong> (Fiji), Coordinator, Pacific Network on Globalisation (PANG)<br /><strong>Valérie Portefaix</strong> (France/Hong Kong), Director, MAP Office<br /><strong>Joey Tau</strong> (Fiji), media and campaign officer, Pacific Network on Globalisation (PANG)<br /><strong>Jegan Vincent de Paul</strong> (Sri Lanka, Canada/Singapore), architect, artist, and NTU ADM/CCA Singapore PhD candidate</p>
<p><strong>*Venue: Outside Block 43 Malan Road</strong></p>
<p><strong>6.20pm</strong><br />Welcome Addresses<br /><strong>Professor Ute Meta Bauer</strong>, Founding Director, NTU CCA Singapore<br /><strong>Markus Reymann</strong>, Director, TBA21–Academy<br /><strong>Professor Alan Chan</strong>, Dean, College of Humanities, Arts, and Social Sciences, Nanyang Technological University<br />Guest-of-Honour: <strong>Masagos Zulkifli</strong>, Minister for the Environment and Water Resources of Singapore</p>
<p><strong>7.00pm</strong><br />Public Reception</p>
<p><strong>*Venue: The Single Screen, Block 43 Malan Road</strong></p>
<p><strong>8.00pm</strong><br /><em>Place.Labour.Capital </em>Publication Launch and Reception<br />Published by NTU CCA Singapore and Mousse Publishing</p>
<p><strong>*Venue: Outside Block 43 Malan Road</strong></p>
<p><strong>9.00–10.00pm</strong><br /><i>I/E – the solo sessions</i><br />Sound Performance<i> </i>by <strong>Tarek Atoui</strong> (Lebanon/France), musician, composer, and sound artist</p>
<p>Tarek Atoui’s ongoing project <i>I/E</i> consists of recordings at major ports and harbours all over the world. Since 2015, the artist has recorded the activities, waters, and surroundings at Elefsina in Greece and the Mina Zayed port in Abu Dhabi.</p>
<p>For Atoui’s performance as part of The Current <i>Convening </i><i>#</i>3, each of these recordings will serve as a sound capsule that functions similar to a multi-channel playback machine as well as a small modular synthesiser. Using specific instruments built by the artist, Atoui will be playing with the sounds of these locations and morphing them with other electro-acoustic devices.</p>
<p>The sounds used in <i>I/E – the solo sessions </i>will be augmented with recordings from Singapore’s waterfront and added to Atoui’s solo presentation at NTU CCA Singapore in March 2018 to create one of the main layers of the exhibition.</p>
<p>++</p>
<p><strong>Saturday, 27 January, 11.00am – 6.00pm<br /></strong><br /><strong>*Venue: Outside Block 43 Malan Road</strong></p>
<p><strong>11.00am<br /></strong>Discursive Brunch <i>70 x 7 The Meal Act </i><i>XLI (</i><i>41)</i> by <strong>Lucy + Jorge Orta</strong> (United Kingdom/France, Argentina/France) and restaurateur <strong>Ken Loon </strong>(Singapore), The Naked Finn</p>
<p>Lucy + Jorge Orta’s discursive brunch draws from the tradition of communal eating to create a platform that explores questions relating to the ocean, such as the entitlements of resources, its waters, food security, as well as ownership of oceanic practices, materials, and images.</p>
<p>This special meal is developed in collaboration with restaurateur Ken Loon of Singapore’s The Naked Finn, who has locally sourced the ingredients, each of which will be explained and related back to the wider conversation of Singapore’s food sources, its specific environment and infrastructure.</p>
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<p><strong>*Venue: The Single Screen, Block 43 Malan Road</strong></p>
<p><strong>2.00pm</strong><br />Introduction</p>
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<p><strong>2.15pm</strong><br />Case Study by <strong>Dr Cresantia Frances Koya Vaka’uta</strong> (Fiji), Director, Oceania Centre for Arts, Culture and Pacific Studies & Pacific Heritage Hub, UNESCO Faculty of Arts, Law and Education, The University of the South Pacific, Fiji</p>
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<p><strong>2.45pm</strong><br />Case Study by <strong>Dr Cynthia Chou</strong> (Singapore/United States), Professor, Department of Anthropology, College of Liberal Arts & Sciences, University of Iowa, United States</p>
<p><strong>3.15pm</strong><br />Short Provocations<br /><strong>Laura Anderson Barbata</strong> (Mexico/United States), artist<br /><strong>Barney Broomfield</strong> (United Kingdom/United States), filmmaker<br /><strong>Dr Guigone Camus</strong> (France), anthropologist<br /><strong>Newell Harry</strong> (Australia), artist<br /><strong>Dr Kristy H. A. Kang</strong> (United States/Singapore), media artist, and Assistant Professor, School of Art, Design and Media, Nanyang Technological University, Singapore<br /><strong>Dr PerMagnus Lindborg</strong> (Sweden/Singapore), composer, sound artist, and researcher<br /><strong>Tuan Andrew Nguyen</strong> (Vietnam), artist<br /><strong>Filipa Ramos</strong> (Portugal/United Kingdom), art writer, curator, and Editor-in-Chief, art-agenda<br /><strong>Lisa Rave</strong> (United Kingdom/Germany), artist and filmmaker<br /><strong>SUPERFLEX (Bjørnstjerne Christiansen, Jakob Fenger, and Rasmus Nielsen)</strong> (Denmark), artists</p>
<p><strong>5.15pm</strong><br /><em>Tidalectics: Imagining an Oceanic Worldview through Art </em><em>and Science </em>Publication Launch and Reception<br />Published by MIT Press and TBA21–Academy</p>
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Date
A point or period of time associated with an event in the lifecycle of the resource
25 - 27 January 2018
Contributor
An entity responsible for making contributions to the resource
TBA21-Academy
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
Oceania
Asia
Europe
North America
South America
Antarctica
Middle East
Africa
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
Surname or Business Name
Climate Conversations
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2019
Birth Date
2017
Birthplace
Singapore
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<span>Climate Conversations (Singapore) was founded by four people to build the widespread support for climate action. They developed a unique outreach programme based on research and personal connection to enable those who are concerned to effectively engage friends and loved ones in meaningful discussions about acting on our responsibility to the things and people we love and what it means to protect them in the future. They have since trained dozens of facilitators who have reached hundreds of people through these conversations, inspiring them to act systematically and collectively to bring about meaningful change. </span>
Professional Website
Leave blank if not applicable
<a href="https://climateconversations.sg">https://climateconversations.sg</a>
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Collaborator
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
Climate Conversations
Subject
The topic of the resource
Climate Crisis
Environmental Crisis
Contributor
An entity responsible for making contributions to the resource
Climate Conversations
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