The Making Of An Institution]]> Knowledge Production]]> Cultural Production]]> Institutional Critique]]> Artistic Research]]> The Making of an Institution captures different moments in the development of the NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) connecting artistic projects, discursive manifestations, and the institutional apparatus in a seamless display. It looks back into its young past in order to shape its future. Challenging the format of an exhibition, The Making of an Institution creates a communal space where projects and research explorations by the Centre’s Artists-, Curators-in- Residence, and Research Fellows coexist with ongoing series of talks, screenings, performances, and workshops. The project engages the Centre’s main pillars–Exhibitions, Residencies, Research and Academic Education – bringing to a close the overarching curatorial narrative Place.Labour.Capital. that served as a framework for its activities since 2013.

Established in 2013, the Centre embodies the complexity of a contemporary art institution in times of knowledge economy and global art. The role of a contemporary art institution should not be limited to the presentation of art. It feeds off and nurtures the cultural ecosystem it belongs to through a complex series of actions that often reside in the realm of the immaterial. The Centre’s inaugural programme Free Jazz addressed the foundational question “What can this institution be?” highlighting the skill of improvisation and free play. Three years later, different questions are to be raised: What could the role of the NTU CCA Singapore be for the years to come within a fast changing local, regional, and global cultural landscape? What are the criteria to evaluate its achievements and impact?

In revisiting its own process of institutional building, NTU CCA Singapore appropriates the format and language of a “public report”. While a public report is conventionally employed to deliver an official written narrative, the Centre’s report unfolds in the exhibition space through the languages of the performative, the discursive, and the archival.

“It’s amazing how far we were able to come in just three years,” said Ute Meta Bauer, Founding Director, NTU CCA Singapore. “The Making of an Institution is a celebration of the international community we have built, including scholars, artists, and the public. Now it is time for us to reflect and analyse our achievements before the exciting next steps ahead.”

The Making of an Institution is divided into four sections borrowed from the structure of a public report: Reason to Exist: The Director’s Review; Ownership, Development, and Aspirations; Artistic Research; and Communication and Mediation. The first section, Reason to Exist: The Director’s Review maps out a network of institutions, like NTU CCA Singapore, that place research at the core of their identity. Each guest director will closely examine the vision, mission, and operative model of her respective organisation in a series of talks aimed at deepening our understanding of the changing role of contemporary cultural institutions. Ownership, Development, and Aspirations is a public panel with several members of the NTU CCA Singapore’s International Advisory Board and its stakeholders representatives that stresses the importance of feedback and exchange among peers especially in the development phase of an institution. The section dedicated to Artistic Research frames the material and immaterial aspects that constitute contemporary art practices. It takes over the Centre’s physical Spaces of the Curatorial—The Exhibition Hall, The Single Screen, The Lab, and The Vitrine—juxtaposing artworks and research projects by NTU CCA Singapore’s Artists-, Curators-in- Residence, and Research Fellows alongside various formats of public programming. Finally, Communication and Mediation explores the production of an institution’s identity through visual communication and spatial practices. Through workshops and presentations, artists, architects, and designers will discuss how they create diverse visual and spatial identities for art institutions.

The public report will culminate into a book planned for publication in mid-2017, gathering the voices of all the artists, curators, researchers, and academics who have contributed to this first phase of the Centre. The Making of an Institution is curated by Ute Meta Bauer, Founding Director, Anna Lovecchio, Curator, Residencies, and Anca Rujoiu, Manager, Publications.]]>
åbäke]]> Hamra Abbas]]> Rodolfo Andaur]]> Diana Campbell Betancourt]]> Dinu Bodiciu]]> Kray Chen]]> Chris Chong Chan Fui]]> Heman Chong]]> Renée Staal]]> Weixin Chong]]> Choy Ka Fai]]> Ann Demeester]]> Rosemary Forde]]> Marc Glöde]]> Yuko Hasegawa]]> Bani Haykal]]> Bahbak Hashemi-Nezhad]]> Maria Hlavajova]]> Ho Rui An]]> James Jack]]> siren eun young jung]]> Christoph Knoth]]> Koh Nguang How]]> Wilfried Kuehn]]> Bastian von Lehsten]]> Li Ran]]> Loo Zihan]]> Zulkifle Mahmod]]> Ato Malinda]]> Alice Miceli]]> Laura Miotto]]> Regina Möller]]> Arjuna Neuman]]> UuDam Tran Nguyen]]> Nikos Papastergiadis]]> Jegan Vincent de Paul]]> Emily Pethick]]> Thao-Nguyen Phan]]> Souliya Phoumivong]]> Ana Prvački]]> Arin Rungjang]]> anGie seah]]> Jeremy Sharma]]> SHIMURAbros]]> Alec Steadman]]> Sanne Oorthuizen]]> Anocha Suwichakornpong]]> Erika Tan]]> Guo-Liang Tan]]> Tan Pin Pin]]> Philip Tinari]]> John Tirman]]> Mona Vătămanu]]> Florin Tudor]]> Bo Wang]]> Farah Wardani]]> Tamara Weber]]> Jason Wee]]> Otty Widasari]]> abake]]> Reee Staal]]> Marc Glode]]> Regina Moller]]> Ana Prvacki]]> Installation]]> Film]]> Print]]> Video]]> Southeast Asia]]>
Behind the Scenes of SEA STATE with Charles Lim Yi Yong, artist; Shabbir Hussain Mustafa, Senior Curator, National Gallery Singapore; and Yap Seok Hui, technical manager (Singapore)

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Cultural Production]]> 27 Apr 2016, Wed 7:30pm - 9:00pm
The Single Screen, Block 43 Malan Road

Charles Lim Yi Yong and Shabbir Hussain Mustafa, together with the team who worked on the realisation for SEA STATE for the Singapore Pavilion at the 56th Venice Biennale 2015, will discuss various aspects of the project, from the development of the work to the exhibition, from the technical and logistical aspects to the presentation in Venice. Lim and Mustafa will also address how the presentation of SEA STATE at the NTU CCA Singapore differs to the Venice presentation.

This is a public programme of SEA STATE: Charles Lim Yi Yong.

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Charles Lim Yi Yong]]> Charles Lim]]> Shabbir Hussain Mustafa]]> Yap Seok Hui]]> Southeast Asia]]>
Behind the Scenes with artist Ulrike Ottinger (Germany), Professor Ute Meta Bauer, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design, and Media (ADM), NTU, and Sophie Goltz, Deputy Director, Research and Academic Education, NTU CCA Singapore, and Assistant Professor, NTU ADM

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Ways of Seeing]]> Cultural Production]]> 24 May 2017, Wed 07:30 PM - 09:00 PM
The Single Screen, Block 43 Malan Road

A “behind the scenes” discussion with the acclaimed artist Ulrike Ottinger on her practice as photographer and filmmaker. The artist will share her experience travelling through China, as well as reflect on the different topics raised by her work, such as the intersection of documentary and fiction and notions of culture and cultural difference.

A public programme of Ulrike Ottinger: China. The Arts – The People: Photographs and Films from the 1980s and 1990s.]]>
Ute Meta Bauer]]> Sophie Goltz]]> Ulrike Ottinger ]]> Asia]]>
Symposium: Ghosts and Spectres – Shadows of History

Session 1: Shadows of History
Lecture: “In the Interest of Time” by Dr June Yap, Director of Curatorial Programmes, Singapore Art Museum

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History]]> Cultural Production]]> 28 Oct 2017, Sat 11:00 - 11:45 AM
The Single Screen, Block 43 Malan Road

The incidences and treatment of history within the works of contemporary artists raise a few questions. What are the purposes and reasons for undertaking such aesthetic meditations? How efficacious have these undertakings been? With a focus on works of this nature, the lecture considers the notions of subjectivity and subjectivation as key ideas in the examination of these works. In the notion of subjectivity, the historical act is apprasied as self-regarding activity that emerges from a sense of historicity. Following from this, it is considred if subjectivity might lead to subjectivation.


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June Yap]]> Southeast Asia]]>
Workshop: The Making of Singapore Pavilion at Venice Biennale with Sophia Loke, Assistant Director, Sector Development, National Arts Council and June Yap, independent curator, and Curator, Singapore Pavilion at the 54th Venice Biennale 2011 (Singapore)

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Cultural Production]]> Institutional Critique]]> 14 May 2016, Sat 1:00pm - 4:00pm
Seminar Room, Block 43 Malan Road

This workshop will give an insight to Singapore’s participation in the Venice Biennale, and to the process involved in selecting and commissioning the project. The speakers will highlight purpose and opportunity, as well as the challenges inherent in such an undertaking. SEA STATE, the most recent commission for Singapore Pavilion in 2015, took place at the new location, Sale d’Armi situated at the Arsenale. Leased for the next nine editions, it will put Singapore’s artists in closer proximity to the other national presentations.

This workshop is an education and outreach programme of Charles Lim Yi Yong: SEA STATE.

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Sophia Loke]]> June Yap]]> Southeast Asia]]> Europe]]>
Cultural Production]]> NTU CCA Singapore]]> Postcard]]> Southeast Asia]]> Cultural Production]]> NTU CCA Singapore]]> Postcard]]> Southeast Asia]]> Cultural Production]]> NTU CCA Singapore]]> Postcard]]> Southeast Asia]]> Curatorial Practice]]> Cultural Production]]> Anna Daneri]]> Europe]]> Artistic Research]]> Cultural Production]]>
Artist Resource Platform: activate! II features Selene Yap, Programme Manager for Visual Arts at The Substation. Yap will engage with artist Susie Wong to foreground her artistic practice and position in the local art scene. Wong’s practice has been described as autobiographical, and the self-determined nature of her works calls into question contingencies of operating systems in the state of artistic production in Singapore – what are the implications for what is made visible and valued? In this session, Yap will converse with artist Loo Zihan on the nature of archives as cultural tools that enable/disable or include/exclude by means of collection and documentation – what are the traditional positions and normalising effects of the power of collection and display?]]>
Selena Yap]]> Video]]> Southeast Asia]]>