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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
Diana Lelonek examines the complex interdependency between growing trends of overproduction and natural ecosystems.
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
No
Related Countries
Poland
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Cycle
Cycle 7 (2020 – 2021)
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
Diana Lelonek
Description
An account of the resource
Research Interests: Landfill ecologies Post-consumer waste Ecological engagement Interspecies encounters Post-human and eco-feminist studies Diana Lelonek examines the complex interdependency between growing trends of overproduction and natural ecosystems. Since 2016, she has been gathering waste-derived specimens under the aegis of The Center for Living Things, a long-term artistic project shaped as an independent grassroots research institute. Classified in collaboration with botanists and other natural scientists, The Center for Living Things' collection includes discarded commodities and objects that, upon disposal, become part of the natural environment for a number of living organisms. Extending this fascination for how the ecosystems of landfills turn into fertile habitats and are reclaimed by non-human organisms, for her research in Singapore, Lelonek will focus on the offshore landfill Pulau Semakau and its own specific ecosystem. Together with the Liaison (Artistic Research), the artist will explore post-waste environments and the waste-derived specimens that come to life within those contexts. The Liaison should preferably have a strong interest in environmental issues, anthropocene studies, and/or botany. Research Liaison: Denise Lim Through photography, painting and three-dimensional explorations influenced by her background in architecture, Denise Lim examines narratives inherent to the human condition. Central to her research interests are circular design and co-creation with nature in the age of the Anthropocene.<br /><br />The residency of Diana Lelonek was scheduled for October – December 2020, but the COVID-19 pandemic outbreak rendered international travel impossible. In order to continue to support artistic research and foster collaborations beyond borders, the NTU CCA Residencies Programme initiated Residencies Rewired, a project that trailblazes new pathways to collaboration.
Date
A point or period of time associated with an event in the lifecycle of the resource
1 December 2020 – 28 February 2021
Contributor
An entity responsible for making contributions to the resource
Diana Lelonek
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Europe
Medium
The material or physical carrier of the resource.
Installation
Object
Subject
The topic of the resource
Sustainability
Environmental Crisis
Ecosystems
-
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28e5dd9995711c93b6f7773143e3dc69
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
Dirk
Surname or Business Name
Snauwaert
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
2015/2018-2019
Birthplace
Belgium
Occupation
Professional title or identity
Artist Director
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
Dirk Snauwaert (<span>b. 1963, Belgium)</span> is Artist Director of WIELS Contemporary Art Centre, Brussels, and was involved in its creation since July 2004. At WIELS, Snauwaert has curated exhibitions of Tauba Auerbach (2013) and Mike Kelley (2008). Prior, Snauwaert was Co-Director of the Institut d’art contemporain Villeurbanne/Rhône-Alps where he was in charge of the exhibition programme and the development of the FRAC Rhône-Alpes collection. He was Director of the Kunstverein Munich from 1996 to 2001, where he curated solo shows by Rita McBride (1999), William Kentridge (1998), David Lamelas (1997), and Fareed Armaly (1997). He was also the curator of Jef Geys at the Pavilion of Belgium, 53rd Venice Biennale International Art Exhibition. Snauwaert was an NTU CCA Singapore Curator-in-Residence in 2015.
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Belgium
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Curator-in-Residence
Guest Curator
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
Affiliation
Company, organization, or institution name
WIELS Contemporary Art Centre, Belgium
Birth Date
1963
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
Dirk Snauwaert
Subject
The topic of the resource
Botany
Urbanism
Ecosystems
Curatorial Practice
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Europe
Contributor
An entity responsible for making contributions to the resource
Dirk Snauwaert
-
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d0da4b1050ed12079c5f49d00f229ac1
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
The artist aims to undertake a critical mapping of food systems in Singapore and Southeast Asia excavating agricultural production systems, trade routes and agreements, environmental factors, food security policies, food technologies, and consumption habits.
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
No
Related Countries
Indonesia
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Cycle
Cycle 7 (2020 – 2021)
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
Elia Nurvista
Description
An account of the resource
Research Interests:<br /><br />- Food systems<br />- Policies and politics related to food<br />- Food sovereignty<br />- Agricultural solidarity<br />- Comparative methodologies<br /><br />As a co-founder of the interdisciplinary study group Bakudapan, Nurvista is immersed in a long-term research that revolves around the material, cultural, and socio-political implications of food from production to distribution, from consumption to disposal. For this project, the artist aims to undertake a critical mapping of food systems in Singapore and Southeast Asia excavating agricultural production systems, trade routes and agreements, environmental factors, food security policies, food technologies, and consumption habits. By looking at the history and politics that regulate food exchanges between Singapore and Indonesia, the project will unfold within a comparative framework exploring a variety of issues in the two neighbouring countries which—in spite of their radically different scales, developmental emphasis, and levels of wealth distribution—are nonetheless related by multiple cultural kinships. Research Liaison: Yom Bo Sung Yom Bo Sung is an artist and arts worker who recently graduated from Slade School of Fine Art, University College London. His practice is invested in food as a material and as an art object, and explores the socio-political implications of food systems.<br /><br />The residency of Elia Nurvista was scheduled for October – December 2020, but the COVID-19 pandemic outbreak rendered international travel impossible. In order to continue to support artistic research and foster collaborations beyond borders, the NTU CCA Residencies Programme initiated Residencies Rewired, a project that trailblazes new pathways to collaboration.
Date
A point or period of time associated with an event in the lifecycle of the resource
1 December 2020 – 28 February 2021
Contributor
An entity responsible for making contributions to the resource
Elia Nurvista
Medium
The material or physical carrier of the resource.
Installation
Video
Subject
The topic of the resource
Sustainability
Ecosystems
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
Merging scientific observation and artistic speculation, Zhao frames the absurdity of the real and weaves multiple narratives that address the uneasy relationship between humans and the natural environment.
Programme Type
Talk and Lecture
Programme Series
Exhibition (de)Tour
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Audience
General
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibition (de)Tour with artist Robert Zhao Renhui (Singapore)
Description
An account of the resource
<div class="event_single_dates text__exhibitions">2 Mar 2018, Fri 07:30 PM - 09:00 PM</div>
<div class="event_single_venue">Block 43 Malan Road</div>
<br />For the launch of <i>Final Report of the Christmas Island Expert Working Group</i> in The Lab, <b>Robert Zhao Renhui</b>, founder of The Institute of Critical Zoologists, discusses the scope of his two-year long investigation as well as the research process and methodological approach developed as he ventured into the fractured ecosystem of Christmas Island. Merging scientific observation and artistic speculation, Zhao frames the absurdity of the real and weaves multiple narratives that address the uneasy relationship between humans and the natural environment.<br /><br />A public programme of <em>The Oceanic</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-03-02
Contributor
An entity responsible for making contributions to the resource
Zhao Renhui
Robert Zhao Renhui
Robert Zhao
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Oceania
Subject
The topic of the resource
Ecosystems
-
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
Fataah T
Surname or Business Name
Dihaan
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
2020
Affiliation
Company, organization, or institution name
Coup Collective, United States
Birthplace
United States
Occupation
Professional title or identity
Creative Director
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>Fataah Dihaan is the Founder and Creative Director of a NY-based creative agency called Coup Creative. Fataah is passionate about social impact and community programs. In both 2016 and 2020, he was chosen as a fellow of the New Museum’s global creative lab, IdeasCity. He has worked with the Nelson Mandela Foundation and NY Cares working in support of at-risk youth. Fataah currently works with global brands in various industries such as fashion, music, entertainment, culture and community. Offering his consulting services in creative direction for brand identity, sponsorships, partnerships, digital programming strategy, community outreach, PR, media relations, marketing, events and production. Fataah works closely with several PepsiCo. brands, serving as Creative Director for Mountain Dew, and the eco-farm, Green Circle, where he introduces concepts and new ideas for innovation and additional programming.</span>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
United States
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Speaker
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
Fataah T Dihaan
Subject
The topic of the resource
Ecosystems
Contributor
An entity responsible for making contributions to the resource
Fataah T Dihaan
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
North America
-
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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/.
Rights
Information about rights held in and over the resource
NTU CCA Singapore
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Globally, the food industry generates huge quantities of agro-waste and food processing by-products that retain significant biochemical potential for upcycling into important medical applications. This review explores some distinct clinical applications that are fabricable from food-based biopolymers and substances, often originating from food manufacturing side streams.
Programme Type
Conference and Symposium
Audience
Professional
Graduate/Post-Graduate
General
Location
Onsite (CCA)
Offsite
Online
Offsite
Collaboration
Yes
Commissioned Work
No
Education
No
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
Flash Lecture: Clinically Relevant Materials & Application Inspired by Food Technologies by Prof. William Chen, Michael Fam Endowed Professor, Director Food Science and Technology, NTU Singapore
Subject
The topic of the resource
Ecosystems
Technology
Sustainability
Description
An account of the resource
Friday, 17 February 2023 10.00am<br />Venue: CREATE Tower, 1 Create Way, Theatrette Level 2, Singapore 138602<br /><br />Food science and technology has a fundamental and considerable overlap with medicine, and many clinically important applications were born out of translational food science research. Globally, the food industry generates huge quantities of agro-waste and food processing by-products that retain significant biochemical potential for upcycling into important medical applications. This review explores some distinct clinical applications that are fabricable from food-based biopolymers and substances, often originating from food manufacturing side streams. These include antibacterial wound dressings and tissue scaffolding from biopolymers cellulose and chitosan as well as antimicrobial food phytochemicals for combating antibiotic-resistant nosocomial infections. Furthermore, fermentation is discussed as the epitome of a translational food technology that unlocks further therapeutic value from recalcitrant food-based substrates and enables sustainable large-scale production of high-value pharmaceuticals, including novel fermented food-derived bioactive peptides (BPs).
Date
A point or period of time associated with an event in the lifecycle of the resource
2023-02-17
Contributor
An entity responsible for making contributions to the resource
William Chen
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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FREE JAZZ IV. GEOMANCERS
14-23 January 2022
�Zarina Muhammad and Zachary Chan, earth, land, sky and sea as palimpsest, 2021
Populus
(people)
Tristitia
(sadness)
Fortuna Major
(greater fortune)
Caput Draconis
(dragon’s head)
Via
(way)
Laetitia
(joy)
Fortuna Minor
(lesser fortune)
Cauda Draconis
(dragon’s tail)
Carcer
(prison)
Puella
(girl)
Acquisitio
(gain)
Albus
(white)
Conjunctio
(union)
Puer
(boy)
Amissio
(loss)
Rubeus
(red)
�With an arrhythmic beat, Free Jazz has reached its fourth edition as NTU Centre for
Contemporary Art Singapore’s staple platform to advance multimedia experiments
and unleash fluxes of ideas, temporalities, and forms. The inaugural Free Jazz in 2013
celebrated improvisation and collaboration. It was an institutional-building moment
where participants from various disciplines were invited to help us usher the Centre
into being. In 2018, Free Jazz II. Stagings. Soundings. Readings. advocated for free
spaces for collective and performative approaches. In 2021, Free Jazz III. Sound. Walks.
focused on sound as a medium with the potential to generate alternative forms of
communal experience in the midst of the pandemic. Titled Free Jazz IV. Geomancers,
this edition is an organic part of our long-term commitment to Climates. Habitats.
Environments.: It is simultaneously an ecstatic and sobering survey of humanity’s
impact on the delicate ecologies of our planet.
In 2021 we had to forego our exhibition galleries and saw the departure of many com
mitted staff. Today we find ourselves operating within a completely different spatial
and institutional framework. In the wake of this momentous transition, the Centre
is pivoting towards academic research, publications, and new series of educational
programmes. Our commitment to support artistic research continues through residencies
for local artists and the newly launched SEA AiR – Studio Residencies for Southeast
Asian Artists in the EU, a pioneering programme funded by the European Union.
DIRECTOR’S WELCOME
Zarina Muhammad and Zachary Chan, earth, land, sky and sea as palimpsest, 2021
1
Along with our stakeholders, Nanyang Technological University, the Singapore
Economic Development Board, and the National Arts Council Singapore, my gratitude
goes to Nicoletta Fiorucci Russo De Li Galli for her generous contribution to
Free Jazz IV. Geomancers. I warmly thank the artists for their enthusiastic availability
in this challenging period and for making compelling works that urge us to care
about the future of the planet. My appreciation further extends to our collaborators:
IHME Helsinki which originally commissioned the works of Katie Paterson and Jana
Winderen; PUB Singapore’s National Water Agency for welcoming Jana Winderen’s
installation on their stunning rooftop at Marina Barrage; and Appetite which gener
ously share their expertise with Chu Hao Pei. Finally, I am sincerely grateful to our
Centre’s team, in particular Dr Anna Lovecchio and Magdalena Magiera, for delivering
this fourth edition of Free Jazz and for serving our public with unrelenting
commitment in these turbulent times.
With travel restrictions still in place and no end of the pandemic in sight, I hope that
Free Jazz IV. Geomancers will allow you to connect with places near and far and enable
all of us to work towards the creation of a more sustainable future.
Ute Meta Bauer, Founding Director, NTU CCA Singapore
and Professor, NTU School of Art Design and Media.
�From its first iteration in 2013, Free Jazz has pushed boundaries and expanded upon
pressing concerns of our times. Free Jazz IV. Geomancers continues this approach,
featuring artworks ranging from virtual reality to video, performance, and sound as
an exercise in planetary awareness. It is increasingly acknowledged that “humanity has
become a telluric force”. 1 Yet, as the consequences of human-related environmental
changes seep into our daily lives, we still often lack the tools to fully understand them.
We believe that the artistic imagination can inspire us to rethink our relation to the
environment, embrace our ancestral roots, and nurture a shared ecological intelligence.
Free Jazz IV. Geomancers presents significant artistic practices from across the globe
that are deeply invested in creating a collective environmental consciousness and that
share an understanding of the world as a vulnerable, yet resilient, mesh of coexistences,
correlations, and co-creations. As with geomancy, we like to think that these artworks
can help us to read the signs that our planet is trying to send us and that they can
inspire a stronger commitment to engender a sustainable future for life on Earth.
In the face of accelerating global conditions of environmental distress, increased
rates of extinction, the continuing dispossession of indigenous communities, and the
dispersal of ancestral knowledge, we have mobilised this outmoded epistemology
as a poetic framework to reflect on the current state of the planet. How can we
challenge the human-centred perspective that we have come to take for granted and
disrupt the anthropocentric supremacy underpinning all too many ways in which
we inhabit the world? How can we situate ourselves ‘otherwise’ within the spiralling
intertwinement of progress and the exploitation of human and environmental
resources? And what is the agency of artistic practices in cultivating new forms of
environmental awareness?
Alongside scientists, environmental activists, enlightened policy makers and civil
society members, contemporary artists are increasingly concerned with future
prospects of ecological collapse and planetary survival. They address these issues
through the language of art creating images, sounds, narratives, and experiences
that allow us to establish affective and cognitive connections with the environment
and partake in the planetary intelligence of the Earth. Stemming from NTU CCA
Singapore’s ongoing engagement with the overarching subject of Climates. Habitats.
Environments., Free Jazz IV. Geomancers brings together a selection of creative
practitioners who are distinctly alert to these urgencies. Their practices provide
Since ancient times, many cultures have employed the art of geomancy—which literally
means “foresight by earth”—to understand the subtle interdependent patterns that
shape the universe. The roots of this ars incerta hark back to the Arab world, where
it first became known as ‘ilm al-raml, “the science of the sand”. In this divinatory
technique, lines made of random numbers of dots are ‘cast’ by the geomancer in the
NOTES FROM THE CURATORS
sand to produce a set of symbolic figures that are subsequently arranged in a tableau
and interpreted to find answers to the queries that have been put forth. With each
geomantic figure comprising of four rows and each row formed of either one or two
dots, geomancy belongs to the vast family of divinatory methods that are premised on
binary numeral systems, the most famous of which is arguably the I Ching, or Book
of Changes. Although the techniques employed differ in range and scope, geomancy
is also deeply akin to the Chinese tradition of feng shui: both understand the universe
as a complex living entity made of energetic flows and interlocking patterns. They
both convey cosmological worldviews that acknowledge the existence of planetary
entanglements and their indispensable role in sustaining life on the planet. Coursing
far and wide along trade and migration routes, geomantic lore germinated in countless
variations to become one of the most widespread divinatory systems until it was cast
aside when modern systems of thought based on scientific criteria rose to prominence.
1 Achille Mbembe, “Planetary Consciousness and the Possible Future
of Culture”, online keynote lecture presented at the Prince Claus Fund’s
25th Anniversary Festival: 25 Years 25 Hours on 8 December 2021,
https://princeclausfund.org/keynote-achille-mbembe
2
3
context-specific insights into habitats and environments disrupted by unsustainable
development and enact various forms of ‘environmental tuning’ that expand our ways
of looking at the universe beyond the lens of scientific rationalism.
Conceived for the Singapore Art Week 2022, this programme consists of a film
screening series, a virtual reality installation, a performance, a sound installation, and a
participatory project. Some of the featured artworks zero in on signs of earthly demise,
others indicate pathways of resilience and strategies for regeneration. All the works
result from long-term research and extensive fieldwork and, when presented together,
they engender a kaleidoscopic overview of the multitudinous forms of ecological
entanglements.
With a shared focus on the phenomenology of endangered environments, the works
of Katie Paterson and Daniel Steegmann Mangrané explore different kinds
of sensorial engagements with forest ecologies. Based on a partly scientific, partly
speculative investigation, Paterson’s performance To Burn, Forest, Fire condenses
spatial distance and abysmal temporalities into an ephemeral olfactory experience that
allows participants to encounter the scent of two forests, the first and the last forest
on Earth. Making use of technological developments to explore new possibilities
to represent and relate to the cosmos, Phantom (kingdom of all the animals and all
�Mind-bending narratives are deployed in the video works of Pedro Neves Marques
and Ursula Biemann to spur the viewer’s imagination beyond conventional
understandings of the world around us. Revolving around the relations between
human and non-human lifeforms, the works feature respectively an Android and
an Aquanaut as main characters. Both create science-fictional frameworks wherein
viewers find themselves navigating the moral complexity triggered by the blurring
borders between the natural and the artificial (Neves Marques) or exploring the sonic
intricacy of underwater soundscapes (Biemann).
the beasts is my name) by Steegmann Mangrané transposes a fraction of the fastdisappearing Amazonian forest into an immersive virtual reality environment. The
lush sylvan ecosystem is rendered spectral through mobile constellations of data points
that subtly reconfigure the viewer’s relation to reality.
Ecological disruptions within the largely urbanised context of Singapore surface in
earth, land, sky and sea as palimpsest. Collaboratively created by Zarina Muhammad
and Zachary Chan, the video performs a meandering meditation on the loss, but
also the resilience, of ecological and spiritual realities confronted with the sprawl
of modern infrastructures. A disturbance of natural patterns is also captured in And
A Great Sign Appeared, a short video made with cell phone footage by Robert Zhao
Renhui. Imbued with a sense of foreboding, it documents an unusual airborne event
that punctuated the skyline of the sea-locked metropolis for a few days.
Located off-site on the Green Roof at Marina Barrage is Jana Winderen’s sound
installation Listening Through the Dead Zones. Consisting of field recordings of under
water soundscapes in different seas around the world, the work awakens our sonic
imagination to the rapidly expanding phenomenon of ‘dead zones’, areas where aquatic
life is doomed by insufficient oxygen concentrations caused by human activity. Finally,
taking place at a later date, Tasting Sovereignty is a participatory encounter developed
by Chu Hao Pei in discussion with Appetite as part of the artist’s ongoing research
on the subject of seed sovereignty. Centred on native rice varieties from West Java,
Indonesia, this encounter will engage the participants on different sensorial, affective,
and cognitive levels to share and co-produce knowledge about the grains and reflect
upon the delicate balance between alimentary survival and biodiversity preservation.
The brunt of sea level rise and profit-driven development on small island communities
in the Philippines is captured by Martha Atienza in Panangatan 11°09’53.3”N
123°42’40.5”E 2019-10-24 Thu 6:42 AM PST 1.29 meters High Tide, 2019-10-12 Sat 10:26
AM PST 1.40 meters High Tide, an experimental video devoid of narrative and sound
which lays bare the state of dilapidation and disrepair fishermen villages are struggling
with due to anthropogenic changes.
4
Premised on relational connections and inclusive kinships with the other-than-human,
indigenous perspectives can significantly contribute to re-orientate our understanding
of the world in non-anthropocentric directions. The practice of the South Korean
eco-feminist collective Rice Brewing Sisters Club seeks to activate collective
processes to explore new social relations and environmental practices. Combining the
performative, the playful, and the poetic, their video Mountain Storytellers, Storytelling
Mountains: A Tale Theatre results from a process of co-creation whereby residents of
a South Korean rural community and other non-human actors enact local folkloric
tales that suggest alternative forms of interspecies co-existence. In the experimental
documentary The Teaching of the Hands, Carolina Caycedo and David de Rozas also
summon up the cosmological consciousness of indigenous people—here voiced by Juan
Mancias, the Chairman of the Carrizo/Comecrudo Tribe of Texas—to counter
a colonial approach to the land based on surveying techniques and extractivist plans.
The extent to which different ecologies of knowledge produced by ethnic minorities
may be threatened by economic development is also the subject of Liu Chuang’s
Can Sound be Currency?, a video that investigates the entanglement between humans,
the environment, and the supernatural in a mountainous area of the Sichuan province
in China.
5
As the pandemic does not cease to unfold, it compels us to think beyond artificial
borders and political divides. It signals that human societies are part of a larger, morethan-human tangle which encompasses humans and non-humans in a shifting set of
interdependent relations. Straddling ecopoetics and ecocriticism, the contemporary
geomancers convened by Free Jazz IV. Geomancers speak precisely about this ecological
interconnectedness. They prompt new modes of attentiveness and they urge us to
critically reconsider our relation to the planet. We are immensely thankful to the artists
for allowing us to see the world in a different way through their work. It is our hope
that their art practices can contribute to raise and deepen our environmental awareness
and that this awareness will, in turn, lay the foundations for individual empowerment
and collective agency as we participate in the creation of this planet’s future.
Dr Anna Lovecchio and Magdalena Magiera
Curators, Free Jazz IV. Geomancers
�URSULA BIEMANN
6
The short cut of a mesmerizing 307-minute long video, Martha Atienza’s work is
a coastal circumnavigation of Panangatan, a small island off the shores of Bantanyan
Island, at the centre of the Philippines. Panangatan is the crucible of an ongoing
dispute between local communities, profit-driven development, and the government’s
fluctuating environmental politics. With a steady tracking shot, the camera engages
the landscape from a position of proximity following the line where land and water
meet. The dense array of huts, houses, boats, and other infrastructure reveal the
deep intertwinement between the islanders and the sea. Yet, the almost total absence
of human activity and the notable state of abandonment and decay speak of the
predicament faced by the coastal communities. The combined effect of sea level rise
and private development is causing the eviction of the fishing communities from their
traditional habitats as they are forced to move inland to make space for seaside resort
destinations. Shot in black and white, the work relinquishes the luscious colours of the
tropical island to convey the spectralisation of marginalised communities.
PANANGATAN 11°09’53.3”N 123°42’40.5”E 2019-10-24 THU 6:42 AM PST
1.29 METERS HIGH TIDE, 2019-10-12 SAT 10:26 AM PST
1.40 METERS HIGH TIDE
2019, HD video, no sound, 9 min
(VIDEO)
(VIDEO)
MARTHA ATIENZA
7
Acoustic Ocean explores the underwater soundscape of the Lofoten Islands in Northern
Norway bringing us closer to the acoustic life of this “insomniac territory” for long
believed to be silent. In the film’s narrative, the Aquanaut—a semi-fictional marine
biologist interpreted by singer and environmental activist Sofia Jannok—performs the
ritual placement of hydrophones, parabolic microphones, and other recording devices
along the shore to sense the sonic expressions of multiform sea creatures. Turning to
the land, she also reveals the effects of climatic shifts on the Sami people, a Northern
Scandinavian indigenous community she belongs to. The work brings to the surface
the density of signs and the meaningful vocalisations expressed by the inhabitants
of the earth’s liquid universe paving the way for new relations between human and
non-human lifeforms.
ACOUSTIC OCEAN
2018, video, 4K, colour, sound, 18 min
�CHU HAO PEI
8
The Teaching of the Hands is an experimental documentary that overwrites colonial
cartographies and extractivist economies with the cosmological consciousness of
indigenous people and the history of their suppression. Observational landscape
views, archival footage, ancient imagery, and environmental wounds caused by
infrastructural development are punctuated by re-enactments of gestures of colonial
occupation. These visually compelling sequences are oriented by a narrative voiceover
solely entrusted to Juan Mancias, Chairman of the Carrizo/Comecrudo Tribe of
Texas. Wielding ownership over the storyline, Mancias brings forth the perspective
of indigenous people. He asserts that the cosmological value of tribal epistemologies
is based on a profound knowledge of the elements and a deep relationship to the
environment. The film powerfully denounces the desecration of the land and the
continuous struggle of the indigenous people against ongoing forms of erasure and
exploitation.
THE TEACHING OF THE HANDS
2020, HD panoramic video, colour, surround sound, 47 min
9
Tasting Sovereignty is a sensorial encounter with taste, history, and memory. This
participatory session will revolve around specially prepared rice drinks created by
Chu Hao Pei with native rice varieties from Indonesia. A dietary mainstay across Asia
and Southeast Asia, the common grain is at the centre of the artist’s interest in seed
sovereignty. In collaboration with several agricultural workers in the region, he initiated
a long-term interdisciplinary investigation of the socio-political aspects and affective
implications related to the cultivation and consumption of rice. Working towards the
creation of an “archive of taste”, this encounter is meant to be a convivial platform for
consumption, recollection, and discussion where participants will be engaged to share
about their experience and memory of taste through a series of prompts.
This iteration of Tasting Sovereignty is developed in conversation with Appetite,
a centre for culinary research in Singapore.
TASTING SOVEREIGNTY
2022, participatory project
(PARTICIPATORY PROJECT)
(VIDEO)
CAROLINA CAYCEDO & DAVID DE ROZAS
�PEDRO NEVES MARQUES
10
(VIDEO)
(VIDEO)
LIU CHUANG
11
Since time immemorial, mountains have been regarded as sacred sites across different
cultures and they have inspired a wealth of myths, rituals, and religions. In Can Sound
be Currency?, the mountainous landscape of the Sichuan province resonates with
sounds of diverse origin and nature: atmospheric and animal, human and artificial.
The film’s sonic landscape is composed to evoke the complex entanglement between
humans and nature, the cosmological views and linguistic diversity of indigenous
communities, and the evolving ways in which sounds express spiritual significance and
shape interspecies relations. Set in a territory rich with ethnic minorities, the work also
addresses the changes and losses endured by local communities in the face of fast-paced
economic development.
Semente Exterminadora (Exterminator Seed) is a piece of speculative fiction that
envisions a near future where human life unfolds among ecological disasters,
transgenic cultivations, and androids. The narrative follows Capivara, an offshore oil
rig worker who is evacuated back to Rio de Janeiro after an industrial accident, an oil
spill which now threatens the Brazilian coast unbeknownst to the local population.
After encountering YWY, a woman from the indigenous Guajajara nation, Capivara
travels with her to Mato Grosso do Sul, her homeland, in search for employment in
the extensive monoculture plantations. Against the backdrop of industrial agriculture,
genetic colonialism, and shared prospects of infertility, the intimate interaction
between the main characters engenders a queering of the borders between the natural
and the artificial.
CAN SOUND BE CURRENCY?
2021, video, 2K, colour, stereo, 19 min 43 sec
SEMENTE EXTERMINADORA
2017, video, 2K, colour, sound, 28 min
�RICE BREWING SISTERS CLUB
12
To Burn, Forest, Fire takes place as a series of incense burning ceremonies that
awaken our sensorium and elicit an intimate, intuitive relation to the natural world
confronting us with the sensorial richness of forest ecologies and the prospect of
extinctions caused by humanity. Stemming from collaborations with scientists across
different disciplines, the work speculates on the olfactory qualities of the first and
last forest on our planet. The earliest forest is believed to have formed in present-day
Cairo (New York State, United States) about 385 million years ago; whereas the last
forest before environmental collapse is identified with the Yasuni Biosphere Reserve,
in the Ecuadorian Amazon, an ecosystem threatened by rampant deforestation and
unsustainable agricultural practices. Katie Paterson’s interdisciplinary investigation
resulted in the creation of incense sticks, blended by Japanese incense maker Shoyeido,
that propagate the distinct fragrances of the two forests pushing our understanding
of reality beyond the domain of the visible.
(VIDEO)
(PERFORMANCE)
KATIE PATERSON
13
Realised in collaboration with local residents, the first experimental video of the
collective Rice Brewing Sisters Club weaves together oral histories, folk tales, poems,
and agricultural wisdom harvested in Deokgeo-ri, a small rural community in the
north-eastern region of Gangwon (South Korea). The work is structured in seven
short chapters, with each chapter featuring enactments where villagers, sacred trees,
and ritual objects perform simple choreographies to illustrate stories and practices of
coexistence and interrelatedness between humans, the natural environment, and an
otherworld teeming with spiritual entities. Imbued with a playful and whimsical sense
of the communal, Cheopcheopdamdam Iyagigeuk / Mountain Storytellers, Storytelling
Mountains: A Tale Theatre 첩첩담담 疊疊談談 이야기극 offers an insight into alternative
worldviews made of sustainable practices and ecological belief systems.
This project was originally initiated by IHME Helsinki, a contemporary art organisation
in Finland that situates its activities in a dialogue between art and science.
TO BURN, FOREST, FIRE
2021, performance, 30 min approx.
CHEOPCHEOPDAMDAM IYAGIGEUK
MOUNTAIN STORYTELLERS, STORYTELLING MOUNTAINS: A TALE THEATRE
첩첩담담 疊疊談談 이야기극
2020, HD video, colour, sound, 15 min 37 sec
�JANA WINDEREN
14
An early experiment with virtual reality technologies, Phantom (kingdom of all the
animals and all the beasts is my name) allows viewers to immerse themselves in
the Brazilian Mata Atlántica rainforest, one of the fastest disappearing ecosystems
today. Upon wearing the headset, the viewer is enwrapped in the lush density of the
forest. Foliage and plants, aerial and ground roots, intricate tree canopies and a thick
understory dematerialise into a spectral environment made of point cloud renderings,
complex constellations of greyscale dots that evolve in response to the viewer’s
movements. Since the human body is not translated in the digital rendering, viewers
are likely to experience a paradoxical sense of disembodiment inside a space that can
only be navigated through corporeal movement. In its performative aspect, Phantom
also complicates conventional modes of spectatorship: with only a single headset
available, the viewer becomes a subject of display for the other visitors.
PHANTOM
(KINGDOM OF ALL THE ANIMALS AND ALL THE BEASTS IS MY NAME)
2014–2015, virtual reality headset, Unity 3D forest scan,
motion capture technology, custom ceiling grid
15
‘Dead zones’ are water bodies that suffer from hypoxia, low oxygen concentrations in
the water that make marine life unsustainable and are caused by algal overgrowths,
a phenomenon related to an excess of nutrients in the water. The algae’s bacterial
decomposition is a high oxygen-consuming process that depletes the amount of oxygen
available for other species to survive. Although dead zones can form spontaneously,
scientists have observed the exponential increase in their number since the 1960s and
remarked that there is a causal relation to polluting inputs produced by human activity.
Listening Through the Dead Zones is a sonic contemplation over the disruptive impact
of human activities on subaqueous environments. Sounds from Greenland’s Arctic
Ocean, Iceland, Norway and from the tropical waters around Thailand, the Caribbean
Sea, and Panama have been recorded by the artist with hydrophones and composed in
a richly layered sound installation. Audiences are invited to eavesdrop onto underwater
soundscapes populated by various animal species that depend on sound to communicate,
hunt, and orientate while shipping, oil extraction, military sonars, leisure boat traffic
and other anthropogenic factors inflict acoustic distress on marine life.
This project was originally initiated by IHME Helsinki, a contemporary art organisation
in Finland that situates its activities in a dialogue between art and science.
LISTENING THROUGH THE DEAD ZONES
2021, 2-channel sound installation, 22 min 54 sec, on loop
(INSTALLATION)
(INSTALLATION)
DANIEL STEEGMANN MANGRANÉ
�ROBERT ZHAO RENHUI
16
Filmed in Singapore, earth, land, sky and sea as palimpsest is an invitation to cross
thresholds and observe the unobservable: to see with our skin, hear with our feet,
and feel our way above and beneath pathless paths. This poetic and multisensorial
wandering is interspersed with historical forays into ways in which human activities
unfold and affect the earth. Charting inclusive ecologies, the work subtly suggests
that, while we are constantly distracted by rapid urban development, many trees are
older than our buildings and spiritual landscapes find a way to survive within modern
urban infrastructures.
earth, land, sky and sea as palimpsest is the first iteration of a namesake research
project initiated by Zarina Muhammad and Zachary Chan that engages with
environmental histories, extractive capitalist urbanisation, and archival fragments
in order to redraw hegemonic cartographies and seek out a more-than-human
understanding of our place in the world.
EARTH, LAND, SKY AND SEA AS PALIMPSEST
2021, video, colour, sound, 17 min 37 sec
(VIDEO)
(VIDEO)
ZARINA MUHAMMAD & ZACHARY CHAN
17
In ancient times, the observation of birds in flight was used in divinatory practices to
decipher the present and foretell the future. And A Great Sign Appeared captures the
sudden arrival of thousands of Asian openbill storks in Singapore from northern parts
of Southeast Asia on 22 December 2019. The artist followed the birds’ week-long futile
and ultimately unsuccessful search for a suitable roosting site in the densely populated
city-state. As we become increasingly aware that environmental changes and a drastic
reduction of resources in their native lands are altering the behavioural patterns and
migration routes of many species, the work invites us to ponder on the possible meanings
of this unexpected occurrence and on the uncertain future that awaits the planet.
AND A GREAT SIGN APPEARED
2021, HD video, sound, colour, 4 min 52 sec
�The artistic practice of Martha Atienza (b. 1981, Philippines) documents and questions issues of
environmental change, displacement, cultural loss, and socioeconomic disparities, often addressing the
complex reality of Bantayan Island, the place of origin of her family. Strongly collaborative in nature,
her artworks prompt a critical understanding of the impact of development on human and natural
ecosystems through videos, immersive installations, and community engagement projects. They have
been featured in numerous international exhibitions such as the Honolulu Biennial, United States
(2019); Taipei Biennial, Taiwan (2018–19); and Mercosul Biennial, Brazil (2018). In 2017, Atienza
was awarded the Baloise Art Prize at Art Basel. She was Artist-in-Residence at NTU CCA Singapore
in 2018.
the systemic structures that underlie people’s everyday experience of modernity in a rapidly evolving
society. His work has been exhibited at venues such as Museum of Contemporary Art, Tokyo, Japan (2020);
Guangdong Times Museum, Guangzhou, China (2019); Centre Pompidou, Paris, France (2019), and
K11 Art Foundation, Hong Kong (2018).
Influenced by feminist and queer theories of science, the work of Pedro Neves Marques (b. Portugal, 1984)
focuses on the politics of nature, technology, and gender. Spanning filmmaking, installation, editing, and
writing, their oeuvre questions normative identities and speculates on the future of the natural world
through the lens of non-Western cosmologies and scientific theories. In recent years, they have had solo
presentations at CA2M in Madrid, CaixaForum Barcelona, Spain, (2021); High Line, New York, United
Stated (2020); and Castello di Rivoli, Turin, Italy (2019) and their films have circulated at film festivals
worldwide. Pedro Neves Marques will represent Portugal at the upcoming Venice Biennale 2022.
Grounded in a research-based practice and extended fieldwork in remote locations, Ursula Biemann
(b. 1955, Switzerland) creates video essays and texts that investigate environmental interconnections
across local and planetary contexts focusing especially on water and forest ecologies and extractivist
practices. Since 2018, Biemann has been involved in co-creating an indigenous university in the
Colombian Amazon for which she developed the online platform Devenir Universidad. Her works
are regularly exhibited in museums and biennials worldwide and she received comprehensive solo
exhibitions at MAMAC, Nice, France (2021); Broad Art Museum, Lansing, United States (2019);
and Neuer Berliner Kunstverein, Germany (2013). She received the Prix Meret Oppenheim in 2009.
The projects of Katie Paterson (b. 1981, Scotland) consider our place on Earth in the context of
geological time and change. Her artworks make use of sophisticated technologies and specialist
expertise to stage intimate, poetic, and philosophical engagements between people and their natural
environment. Combining a Romantic sensibility with a research-based approach, conceptual rigour
and minimalist presentation, her work collapses the distance between the viewer, the edges of time, and
the cosmos. Her solo exhibitions were presented at NYLO The Living Art Museum, Reykjavík, Iceland
(2021); The Scottish National Gallery of Modern Art (2020); and the Utah Museum of Modern Art,
Salt Lake City, United States (2017). To Burn, Forest, Fire is a IHME Helsinki Commission 2021.
Carolina Caycedo (b. 1978, United Kingdom/United States) is a London-born Colombian
multidisciplinary artist whose work addresses environmental and social issues through extensive
fieldwork and the engagement of local communities. Contributing to the construction of collective
environmental memories, her practice counters the repetition of violence against human and
nonhuman entities. She is also actively involved in movements for territorial resistance, housing
BIOGRAPHIES
Currently comprising Hyemin Son, Aletheia Hyun-Jin Shin, and Soyoon Ryu, Rice Brewing
Sisters Club (RSBC) is a collective established in 2018 around the members’ crossing interests in
18
19
rights, and solidarity economies. Among her most recent solo shows are the ones at the Museum of
Contemporary Art Chicago and at the Institute of Contemporary Art, Boston (both United States,
2020). Caycedo is the recipient of the newly launched U.S. Latinx Artist Fellowship 2021–2022 as well
as of the inaugural 2020–2022 Borderlands Fellowship.
experimenting with the processes of ‘social fermentation’ as an artistic form. With a participatory
practice encompassing visual arts, performance, creative writing, oral history, ecological thinking, and
auntie wisdoms, RBSC seek to build sustainable relationships and synergetic networks to co-create
shared visions for the future.
Zachary Chan (b.1990, Singapore) is a graphic designer and the co-founder of the design collective
crop.sg. He is also a sound designer and an occasional composer and musician. As a musician, he has
performed with The Observatory, the Bhaskar’s Arts Academy, Zarina Muhammad, Tini Aliman, and
Singa Nglaras Gamelan Ensemble. As a composer, he has participated in the Singapore Night Festival
(2019) and in the first International Gamelan Festival, Surakarta, Indonesia (2018).
David de Rozas (b. 1979, Spain/United States) is a multidisciplinary artist, filmmaker, and educator.
Merging experimental documentary and contemporary art forms, his practice explores the frictions
between history and memory, revisiting the history of colonization and the tensions inherent in
processes of decolonization. His films have been screened in international film festivals such as Visions
du Réel; True/False; Sheffield DocFest; and Kassel DocFest (all 2018). His international awards include
the Jury Award for Best Short Documentary at the Full Frame Documentary Film Festival 2019 and
the Best Experimental Film Award at the Smithsonian African American Film Festival 2018. Rozas is
the recipient of the 2020 VIA Art Fund Artist Grant. In 2021, he was Artist in Residence at Headlands
Center for the Arts in San Francisco.
Chu Hao Pei (b.1990, Singapore) is a visual artist whose practice explores our shifting physical,
sociological, and emotional connections with natural and urban landscapes. His works shed light on
the overlooked and the accidental by interweaving the processes of engagement, documentation,
and research to examine the complexities of environmental and cultural loss (or resurgence) shaped
by political, economic, and social factors. His works have been shown at Jim Thompson Art Center,
Bangkok, Thailand; Taipei Fine Arts Museum, Taiwan; The Substation, Singapore (all 2021); and
Sa Sa Art Projects, Phnom Penh, Cambodia (2019, 2017). He was selected for the pilot Community &
Education Residency of the Singapore Art Museum in 2021 and for the inaugural National Arts Council
Singapore-Cemeti Institute for Art and Society Residency in 2019.
Working across sculpture, video, performance, and installation, Liu Chuang (b. 1978, China) is a keen
interpreter of the social, economic, and environmental implications of globalization in contemporary
China. Oriented by a critical and poetic sensibility, his practice engages manifold realities charting
Working between Brazil and Spain, Daniel Steegmann Mangrané (b. 1977, Spain) has developed
a body of work that reflects his concerns with conceptual and phenomenological approaches to our
experience of the world. Increasingly interested in the complex dynamics of natural ecosystems,
Steegmann Mangrané experiments with different media and formats to trigger encounters between
the morphology of natural structures and the abstraction of geometric patterns. Recent solo shows
were held at Kunsthalle Münster, Germany (2020) and Pirelli HangarBicocca, Milan, Italy (2019). His
work has been also featured at group shows such as Liverpool Biennial, United Kingdom (2021); Taipei
Biennial, Taiwan (2020); and Museum of Contemporary Art, Chicago, United States (2018) among
many others.
�The practice of Jana Winderen (b. 1965, Norway) engages sonic ecosystems which are hard for
humans to access, both physically and aurally, because they exist deep under water, in remote areas,
or in frequency ranges inaudible to the human ear. Her activities include site-specific and spatial
audio installations and concerts, which have been exhibited and performed internationally in public
spaces and institutions including Kunstnernes Hus, Oslo, Norway (2019); Thailand Art Biennale,
Krabi (2018); TBA21 Academy, Vienna, Austria (2017); and MoMA, New York, United States (2013).
Listening Through the Dead Zones is an IHME Helsinki Commission 2020.
Martha Atienza
Panangatan 11°09’53.3”N 123°42’40.5”E 2019-10-24
Thu 6:42 AM PST 1.29 meters High Tide, 2019-1012 Sat 10:26 AM PST 1.40 meters High Tide, 2019
single-channel HD video, no sound, 9 min,
video still
Courtesy the artist and SILVERLENS
Zarina Muhammad (b. 1982, Singapore) is an artist, educator, and researcher whose practice
is deeply entwined with a critical re-examination of oral histories, ethnographic literature, and
historiographic accounts of Southeast Asia. Working at the intersection of performance, installation,
text, ritual, sound, and moving image, she is interested in the contexts where myth-making, haunted
historiographies, multi-species entanglements grow and develop. She has presented her performances
and installations at venues such as Singapore Art Museum (2019); Museum of Contemporary Art
Taipei, Taiwan (2019); and Indonesia Contemporary Art Network, Yogyakarta (2018). She was an
Artist-in-Residence at NTU CCA Singapore in 2019.
Ursula Biemann
Acoustic Ocean, 2018
video, 4K, colour, sound, 18 min, video still
Courtesy the artist
Carolina Caycedo and David de Rozas
The Teaching of the Hands, 2020
HD panoramic video, colour, surround sound,
47 min, film still (detail)
Courtesy the artists
Robert Zhao Renhui (b. 1983, Singapore) is a multi-disciplinary artist and the founder of The Institute
of Critical Zoologists. Focussing on the human relationship with nature, his artistic practice challenges
accepted parameters of objectivity and scientific modes of classifications, exploring the complexity of
ecological entanglements and the far-reaching repercussions of human interventions. His work has been
exhibited in international exhibitions such as the Busan Biennale, South Korea (2020); 6th Singapore
Biennale (2019–20); and 9th Asia Pacific Triennial of Contemporary Art, Brisbane, Australia (2018–19),
among many others. His Final Report of the Christmas Island Expert Working Group was presented at
NTU CCA Singapore in 2018. He was Artist-in-Residence at NTU CCA Singapore in 2017–18.
Chu Hao Pei
Tasting Sovereignty, 2021
Participatory project developed in conversation
with Appetite
Photo: From the image collection of the
International Rice Research Institute (IRRI).
20
21
Rice Brewing Sisters Club
Cheopcheopdamdam Iyagigeuk / Mountain
Storytellers, Storytelling Mountains: A Tale
Theatre 첩첩담담 疊疊談談 이야기극, 2020
HD video, colour, sound, 15 min 37 sec, video still
Courtesy the artists
Daniel Steegmann Mangrané
Phantom (kingdom of all the animals and all the
beasts is my name), 2014–2015
Virtual reality headset, Unity 3D forest scan,
motion capture technology, custom ceiling grid,
image of virtual reality environment, photo of
VR environment
Developed by ScanLAB Projects, London
Courtesy the artist; Esther Schipper, Berlin;
and Mendes Wood DM, São Paulo
Jana Winderen
Listening Through the Dead Zones, 2021
14-channel audio work, installation view at the
rowing stadium in Helsinki, 2021.
Originally created in collaboration with Tony
Myatt for the IHME Helsinki Commission 2020.
Photo: Veikko Somerpuro. Courtesy the artist
ARTWORK AND IMAGE CREDITS
Available under Public License at https://www.
flickr.com/photos/ricephotos/29351125283/in/
album-72157674485288295/
Liu Chuang
Can Sound be Currency?, 2021
video, 2K, colour, stereo, 19 min 43 sec,
video still
Courtesy the artist and Antenna Space
Pedro Neves Marques
Semente Exterminadora (Exterminator Seed), 2017
video, 2K, colour, sound, 28 min, video still,
Brazillian Portuguese with English subtitles.
Courtesy the artist; Agencia da Curta Metragem;
and Galleria Umberto di Marino
Katie Paterson
To Burn, Forest, Fire, 2021
Performance, incense.
IHME Helsinki Commission 2021
Photo: Veikko Somerpuro. Courtesy the artist
Zarina Muhammad and Zachary Chan
earth, land, sky and sea as palimpsest, 2021
video, colour, sound, 17 min 37 sec, video still
Courtesy the artists
Robert Zhao Renhui
And A Great Sign Appeared, 2021
HD video, sound, colour, 4 min 52 sec, video still
Courtesy the artist
�EXHIBITION INFORMATION
SCREENING PROGRAMME
KATIE PATERSON
To Burn, Forest, Fire
2021, performance
Performance schedule: 14, 15, 18, 22, and 23 January, 6.30 – 7.00pm
Block 37 Malan Road, #01-04, Gillman Barracks
Friday, 14 and 21 January 2022
12.00 – 9.00pm
Session I: 12.00 – 2.45pm
Session II: 3.00 – 5.45pm
Session III: 6.00 – 8.45pm
Entrance is on a first-come first-served basis up to the capacity allowed by the
prevailing social distancing measures. Audience to arrive at least 15 minutes
before the performance starts. Please note that the performance entails the
burning of incense inside an indoor space.
Tuesday to Sunday, 15 – 23 January 2022
12.00 – 7.00pm
Session I: 12.00 – 3.15pm (intermission: 1.30 – 2.00pm)
Session II 3.45 – 7.00pm (intermission: 5.15 – 5.45pm)
DANIEL STEEGMANN MANGRANÉ
Block 38 Malan Road, #01-06, Gillman Barracks
Films will be screened in the order as below during each session.
Phantom (kingdom of all the animals and all the beasts is my name)
2014–2015, VR installation
Tuesday to Sunday, 12.00 – 7.00pm
Fridays, 12.00 – 9.00pm
Block 38 Malan Road, #01-07, Gillman Barracks
JANA WINDEREN
MARTHA ATIENZA
Panangatan 11°09’53.3”N 123°42’40.5”E 2019-10-24, 9 min
22
23
ZARINA MUHAMMAD AND ZACHARY CHAN
earth, land, sky and sea as palimpsest, 17 min 37 sec
Listening Through the Dead Zones
2021, sound installation, 22 min 54 sec, on loop
Monday to Thursday: 8.00am to 9.00pm (last entry 8.00pm)
Fridays to Sundays: 8.00am to 10.00pm (last entry 9.00pm)
Green Roof, Marina Barrage, 8 Marina Gardens Drive, Singapore 018951
Mountain Storytellers, Storytelling Mountains: A Tale Theatre, 15 min 37 sec
The sound installation is located on the Green Roof at Marina Barrage, above the
Sustainable Singapore Gallery, accessible either via the walking ramp or the elevator.
Once on the rooftop, visitors will find the work in the proximity of the glass house, on
the southern edge of the rooftop. Visitors are encouraged to take the time to pause and
experience Listening Through the Dead Zones while facing the open sea.
Semente Exterminadora (Exterminator Seed), 28 min
RICE BREWING SISTERS CLUB
CAROLINA CAYCEDO AND DAVID DE ROZAS
The Teaching of the Hands, 47 min
PEDRO NEVES MARQUES
URSULA BIEMANN
Acoustic Ocean, 18 min
CHU HAO PEI
Tasting Sovereignty
This encounter will take place in March 2022 at Appetite
72A Amoy Street, Singapore 069891
For date, time, and registration please email: ntuccaeducation@ntu.edu.sg
LIU CHUANG
Can Sound be Currency?, 19 min 43 sec
ROBERT ZHAO RENHUI
And A Great Sign Appeared, 4 min 52 sec
�Curators
Dr Anna Lovecchio and Magdalena Magiera
Programmes Coordinator
Kristine Tan
Operations
Arabelle Zhuang
Communication
Cheryl Ho
Collaterals
mono.studio
Technical Installation
SPACElogic
Alvin Chai
FREE JAZZ IV. GEOMANCERS
14-23 January 2022
24
In collaboration with
Part of
Supported by
Ursula Biemann, Acoustic Ocean, 2018
Acknowledgments
NTU CCA Singapore is profoundly grateful to the artists for entrusting us with
their works. The Centre also wishes to thank the National Arts Council Singapore
and Nicoletta Fiorucci Russo De Li Galli for their generous support, as well as our
collaborators Appetite, IHME Helsinki, and PUB Singapore’s National Water Agency
at Marina Barrage for supporting the presentation of the artworks by Chu Hao Pei,
Katie Paterson, and Jana Winderen.
�NTU CCA SINGAPORE STAFF
NTU CCA SINGAPORE GOVERNING COUNCIL
Ute Meta Bauer, Founding Director, NTU CCA Singapore and Professor,
School of Art, Design and Media, NTU
Jasmaine Cheong, Assistant Director, Operations & Human Resources
Dr Anna Lovecchio, Assistant Director, Programmes
Regina Yap, Manager, Finance
Celine Yeo, Manager, Education & Programmes
Maggie Yin, Manager, Research & Publications
Arabelle Zhuang, Senior Executive, Programmes and Operations
Magdalena Magiera, Research Associate
Kristine Tan, Programmes Coordinator
CO-CHAIRS
Professor Joseph Liow, Dean, College of Humanities, Arts, and Social Sciences,
Nanyang Technological University (NTU)
Low Eng Teong, Deputy Chief Executive Officer, Sector Development, National Arts
Council (NAC)
MEMBERS
Fong Pin Fen, Vice President (Consumer), Singapore Economic Development Board
Lito Camacho, Managing Director and Vice Chairman, Credit Suisse Asia Pacific
Professor Tim White, Vice President (International Engagement), NTU
Professor Simon Redfern, Dean, College of Science, NTU
Professor Michael Walsh, Chair of School of Art, Design and Media, NTU
Kay Vasey, Chief Connecting Officer, Mesh Minds Pte Ltd / Mesh Minds Foundation
Kathy Lai, Enterprise Fellows, Enterprise Singapore
26
27
NTU CCA SINGAPORE INTERNATIONAL ADVISORY BOARD
CHAIR
Professor Nikos Papastergiadis, Director, Research Unit in Public Cultures, and
Professor, School of Culture and Communication, The University of Melbourne,
Australia
MEMBERS
Antonia Carver, Director, Jameel Arts Centre, Dubai, United Arab Emirates
Doryun Chong, Deputy Director and Chief Curator, M+, Hong Kong
Catherine David, Deputy Director in charge of Research and Globalisation, MNAM/
CCI, Centre Pompidou, Paris, France
Professor Patrick Flores, Department of Art Studies, University of the Philippines
and Curator, Jorge B. Vargas Museum, Manila, Philippines
Ranjit Hoskote, cultural theorist and independent curator, Mumbai, India
Professor Ashley Thompson, Hiram W. Woodward Chair of Southeast Asian Art,
SOAS University of London, United Kingdom
Philip Tinari, Director, UCCA Center for Contemporary Art, Beijing, China
�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 socialpolitical spheres with other fields of knowledge.
SPACES OF THE CURATORIAL
The Centre seeks to engage the potential of “curating” and its expanded field. What
are the infrastructures and modes of presenting and discussing artistic and cultural
production in diverse cultural settings and in particular throughout Southeast Asia’s
vastly changing societies?
ABOUT NANYANG TECHNOLOGICAL UNIVERSITY
ABOUT SINGAPORE ART WEEK
As Singapore’s signature visual arts season, Singapore Art Week (SAW) represents
the unity and pride of a diverse and vibrant arts community. In its 10th edition, SAW
2022 will be a celebration of the Singapore visual arts in its decade of growth - in the
practices of Singapore artists, in the formats of presentation and in the spaces these
will inhabit. SAW 2022 will run from 14 January to 23 January 2022, with over
130 events with art across the island and online, featuring new works, transnational
collaborations, and virtual art experience. Audiences all over the world can access
and discover the exciting art in Singapore’s arts and cultural institutions and beyond,
or engage in enriching discussions, talks, public art walks and tours. A catalyst of
creativity, SAW 2022 continues to be a spotlight, gathering and launchpad for the arts
community in Singapore. SAW 2022 is a joint initiative by the National Arts Council
(NAC) and the Singapore Tourism Board (STB).
28
Robert Zhao Renhui, And A Great Sign Appeared, 2021
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.
�ntu.ccasingapore.org
ntu.ccasingapore
ntu_ccasingapore
Cover: Liu Chuang, Can Sound be Currency?, 2021
Residencies Studios
Blocks 37 and 38 Malan Road,
Singapore 109452 and 109441
Free admission unless otherwise stated.
Research Centre and Office
Block 6 Lock Road, #01-09/10,
Singapore 108934
+65 6460 0300
In light of COVID-19, we have
implemented safety measures to ensure
the safety of our staff and visitors. For
advisories from the Ministry of Health,
please visit www.moh.gov.sg
A RESEARCH CENTRE OF
LOCATED AT
CAR PARK
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BLK 22
BLK 37
D
RESIDENCIES
STUDIOS
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CAR PARK C
BLK 6
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BLK 8
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BLK 5
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RESEARCH
CENTRE &
OFFICE
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BLK 1
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TEACHERS’
ACADEMY
FOR THE ARTS
ALE
ENTRANCE TO
GILLMAN BARRACKS
© NTU Centre for Contemporary Art Singapore.
Printed in January 2022 by First Printers.
XA
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(CIRCLE LINE)
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resources
Exhibition Resource
Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc.
Short Description
Free Jazz IV. Geomancers. Guide
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
Free Jazz IV. Geomancers. Guide
Subject
The topic of the resource
Performance
Ecology
Ecosystems
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
Date
A point or period of time associated with an event in the lifecycle of the resource
14 - 23 January 2022
-
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
INTERPRT is an interdisciplinary project on environmental justice in Oceania at the intersection of spatial practice, international law and artistic research.
Programme Type
Talk and Lecture
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Audience
General
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
INTERPRT: Spatial investigation of environmental crimes by artist Nabil Ahmed (Bangladesh/United Kingdom)
Description
An account of the resource
<div class="event_single_dates text__exhibitions">1 Mar 2018, Thu 07:30 PM - 09:00 PM</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road</div>
<br />INTERPRT is an interdisciplinary project on environmental justice in Oceania at the intersection of spatial practice, international law and artistic research. The Pacific ring—a geological force field rising from the ocean floor—reorganises a fluid, geological imaginary of the region as a global commons. At this mineral frontier, environmental violence is spatially diffused and temporally protracted, requiring new methods of detection and reconstruction. This talk will present investigations on environmental crimes and new forums for ecocide law.<br /><br />A public programme of <em>The Oceanic</em>.
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-03-01
Contributor
An entity responsible for making contributions to the resource
Nabil Ahmed
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Oceania
Subject
The topic of the resource
Climate Crisis
Ecosystems
-
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1908044978fff1c8822b528ab93a9b60
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
Izat
Surname or Business Name
Arif
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
2018
Affiliation
Company, organization, or institution name
NTU CCA Singapore
Birthplace
Malaysia
Occupation
Professional title or identity
Artist
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
In the multidisciplinary practice of Izat Arif (b.1986, Malaysia) videos, drawings, and readymade objects are combined into intricately layered installations. His work often conveys an ironic commentary on everyday life and the art ecosystem of Kuala Lumpur. He has participated in several group exhibitions including A History of Drawing, Camberwell College of Arts, London, United Kingdom (2018); Malaysia Art: A New Perspective, Richard Koh Fine Art, Singapore (2016); Young Malaysian Artist: New Object(ion) II, Galeri Petronas and Young Contemporaries at National Visual Arts Gallery, both Kuala Lumpur, Malaysia (2013). Izat Arif is one of the founding members of the collective Malaysian Artist Intention Experiment (MAIX).
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Malaysia
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
Artist Research Platform
Contributor Type
Artist-in-Residence
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Birth Date
1986
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
Izat Arif
Subject
The topic of the resource
Ecosystems
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Contributor
An entity responsible for making contributions to the resource
Izat Arif
-
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5a9925e52af076632c8660dac85775c3
Dublin Core
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Title
A name given to the resource
Jana Winderen, <em>Listening Through the Dead Zones</em>, 14-channel audio work, installation view at Marina Barrage, Singapore, 2022.
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f5c900247ff4d6f199580fd75b00c386
Dublin Core
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Title
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Jana Winderen: <em>Listening Through the Dead Zones</em>, 14-channel audio work, installation view at Marina Barrage, Singapore, 2022.
Dublin Core
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Title
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Programmes
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First Name
Jana
Surname or Business Name
Winderen
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
Birth Date
1965
Birthplace
Norway
Occupation
Professional title or identity
Artist
Biographical Text
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<p><span>The practice of </span><span>Jana Winderen </span><span>(b. 1965, Norway) engages sonic ecosystems which are hard for humans to access, both physically and aurally, because they exist deep under water, in remote areas, or in frequency ranges inaudible to the human ear. Her activities include site-specific and spatial audio installations and concerts, which have been exhibited and performed internationally in public spaces and institutions including Kunstnernes Hus, Oslo, Norway (2019); Thailand Art Biennale, Krabi (2018); TBA21 Academy, Vienna, Austria (2017); and MoMA, New York, United States (2013). </span><span>Listening Through the Dead Zones </span><span>is an IHME Helsinki Commission 2020.</span></p>
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Personal Website
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<a href="https://www.janawinderen.com">https://www.janawinderen.com</a>
Country of Practice
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Norway
Public Resource Centre Affiliation
Artist Research Platform
Library
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None
None
Contributor Type
Artist
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
None
Short Description
Listening Through the Dead Zones is a sonic contemplation over the disruptive impact of human activities on subaqueous environments.
Programme Type
Festival
Audience
General
Location
Onsite (CCA)
Offsite
Online
Offsite
Collaboration
No
Commissioned Work
No
Education
No
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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Jana Winderen: Listening Through the Dead Zones
Subject
The topic of the resource
Ecosystems
Environmental Crisis
Contributor
An entity responsible for making contributions to the resource
Jana Winderen
Coverage
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Europe
Description
An account of the resource
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<p><span>Sound installationm 22 min 54 sec, on loop<br />Monday to Thursday: 8 am to 9 pm (last entry 8 pm)<br />Fridays to Sundays: 8 am to 10 pm (last entry 9 pm)<br />Green Roof, Marina Barrage, 8 Marina Gardens Drive, Singapore 018951<br /><br />‘Dead zones’ are water bodies that suffer from hypoxia, low oxygen concentrations in the water that make marine life unsustainable and are caused by algal overgrowths,<br />a phenomenon related to an excess of nutrients in the water. The algae’s bacterial decomposition is a high oxygen-consuming process that depletes the amount of oxygen available for other species to survive. Although dead zones can form spontaneously, scientists have observed the exponential increase in their number since the 1960s and remarked that there is a causal relation to polluting inputs produced by human activity. </span><span>Listening Through the Dead Zones </span><span>is a sonic contemplation over the disruptive impact of human activities on subaqueous environments. Sounds from Greenland’s Arctic Ocean, Iceland, Norway and from the tropical waters around Thailand, the Caribbean Sea, and Panama have been recorded by the artist with hydrophones and composed in a richly layered sound installation. Audiences are invited to eavesdrop onto underwater soundscapes populated by various animal species that depend on sound to communicate, hunt, and orientate while shipping, oil extraction, military sonars, leisure boat traffic and other anthropogenic factors inflict acoustic distress on marine life.</span></p>
<p><span>This project was originally initiated by IHME Helsinki, a contemporary art organisation in Finland that situates its activities in a dialogue between art and science.<br /><br />Part of Free Jazz IV. Geomancers</span></p>
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Date
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14 - 23 January 2022