1 10 139 Grant Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Climate Crisis and Cultural Loss (2021-2024) Subject The topic of the resource Activism Archipelagic State Artistic Research Climate Crisis Coexistence Cultural Production Ecology Ecosystems Geopolitics Indigenous Knowledge Knowledge Production Nature Oceans & Seas Technology The Geocultural Urbanism Description An account of the resource MOE ACADEMIC RESEARCH FUND TIER 2[MOE-T2EP40120-0002] This project examines how climate crisis and cultural loss interconnect. The core objective is the co-production of knowledge that can lead to a changed understanding of environmental justice, which, in turn, will suggest changes in existing legal and policy frameworks. The project hypothesises that a fundamental connection between people and their environments has been lost in contemporary urban contexts, resulting in feelings of indifference towards the climate crisis or unexplained feelings of climate anxiety. It deploys a research team with transdisciplinary methods to build on emerging environmental jurisprudence in the Pacific region and produce narrative visualisations demonstrating the links between cultural loss and climate change. By combining scholarly knowledge with cultural and artistic practices, the project will develop an innovative framework for addressing the impact of accelerated climate change. Using tools from visual studies and forensic architecture, from ethnography and law, to make scientific evidence on climate change socially robust and impactful, it will also create a relay between local perspectives and knowledge generated in different academic fields. Data visualisation and audiovisual presentations of ecological and cultural loss will be instrumental to transform ecological grief and loss into catalysts for climate action. Such narrative visualisations make visible the necessity to re-establish a direct relation between human societies and the environment, especially in the rapidly-changing urban fabric of a metropolis like Singapore. <h2 class="wp-block-heading">RESEARCH OUTPUTS</h2> <a href="https://ntuccasingapore.omeka.net/items/show/4619">Climate Crisis and Cultural Loss Research Presentation</a>, 23 March–13 October 2024, TBA21-Academy Ocean Space, Venice, Italy <a href="https://ntuccasingapore.omeka.net/items/show/4619">Climate Crisis and Cultural Loss Research Presentation</a>, 12 April–24 May 2024, ADM Gallery, 81 Nanyang Drive, Singapore <a href="https://www.wgtn.ac.nz/law/research/publications/about-nzacl/publications/special-issues/hors-serie-volume-xxvii-2024">Special Issue: Climate Crisis and Cultural Loss (Vol. XXVII, 2024)</a>, Comparative Law Journal of the Pacific (CLJP), Victoria University of Wellington <h2 class="wp-block-heading">RESEARCH PUBLICATIONS:</h2> Ahmed, N., Bauer, U. M., & Lallemant-Moe, H. R. (2024, October). Introductions to Cultural loss and climate change. Comparative Law Journal of the Pacific, Special Issue: Climate Crisis and Cultural Loss. Ahmed, N., Camus, G., Lallemant-Moe, H. R., & Rave, L. (2022, November). Cultural loss and climate change – A new field of research. Comparative Law Journal of the Pacific, 28. Soh, K. M. (2024, May). Monsoon equinox. Issue 13: Weather. LASALLE College of the Arts. Shaleh, A. (2024, October). Linking the commons and climate change to collective actions. Comparative Law Journal of the Pacific, Special Issue: Climate Crisis and Cultural Loss. A project of: NTU Centre for Contemporary Art Singapore NTU School of Art, Design and Media Partner institutions: OCEAN SPACE ADM Gallery NTU Earth Observatory of Singapore Principal Investigator Ute Meta Bauer Founding Director, NTU CCA Singapore; Professor, NTU ADM Co-Principal Investigator Sang-Ho Yun Director, Remote Sensing Lab; Associate Professor, EEE and ASE, NTU Collaborators Nabil Ahmed Professor, NTNU; Founder, INTERPRT Hervé Raimana Lallemant-Moe Director General, Digital Economy, French Polynesia; Public Law Associate, UFP Kristy H.A. Kang Associate Professor, ASU Guigone Camus Research Engineer, CEA-DRF Saclay Armin Linke Filmmaker, Photographer, Professor, AdBK Lisa Rave Filmmaker, Photographer Research Team Adha Shaleh Research Fellow, NTU ADM; Soh Kay Min Research Associate, NTU ADM Ng Mei Jia Research Assistant, NTU ADM Date A point or period of time associated with an event in the lifecycle of the resource 1 March 2021 – 31 March 2024 Contributor An entity responsible for making contributions to the resource Ute Meta Bauer Sang-Ho Yun Nabil Ahmed Hervé Raimana Lallemant-Moe Kristy H.A. Kang Guigone Camus Armin Linke Lisa Rave Adha Shaleh Soh Kay Min Ng Mei Jia Language A language of the resource English 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 Following the lecture, ‘Rising Waters and Disappearing Lands – Visualising Climate Migration, Fluid Worlds will unpack concepts surrounding ecological displacement. Programme Type Reading Group Audience General Programme Series Climate Transformation: Sustainable Societies Lecture Series Location Onsite (CCA) Offsite Online Onsite (CCA) Collaboration Yes Commissioned Work No Education Yes 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 Fluid Worlds, Reading Group & Discussion Subject The topic of the resource Oceans & Seas Displacement Globalisation Geopolitics Environmental Crisis Climate Crisis Migration Technology Description An account of the resource Following the lecture, ‘Rising Waters and Disappearing Lands – Visualising Climate Migration, Fluid Worlds will unpack concepts surrounding ecological displacement. Drawing from readings—"Mobility Justice: The Politics of Movement in an Age of Extremes", "Our Sea of Islands" and "Climate Refugees: A Useful Concept? Towards and Alternative Vocabulary of Ecological Displacement"—we will examine how climate change complicates globalisation, territorial boundaries, nationhood and place-making, creating fluid future worlds connected through water bodies. Through these readings we will unfold the nuances of movement through a digital exploration of Tuvalu – The First Digital Nation – and its inevitable transition towards digital migration. Tuesday, 25 March 2025, 6:30 - 8:00pm The Hall, NTU CCA Singapore Climate Transformation Gatherings (Nov 2024 - May 2026) About the Climate Transformation Gatherings Extended from the Climate Transformation Sustainable Societies Lecture Series, the Climate Transformation Gatherings consolidates critical concepts and ideas around various environmental themes and theories. These gatherings take various formats including open-discussion seminars, reading groups, workshops and guided tours to engage interested members of the public on various environmental issues. About the Team The Climate Transformation: Sustainable Societies Series is organised by members of the Climate Transformation Programme (CTP) Cross-Cutting Theme 1: Sustainable Societies research team, Principal Investigator Professor Ute Meta Baue, research fellow Joshua Gebert, research associate Ng Mei Jia and research assistant Angela Ricasio Hoten. This series is supported by the Singapore Ministry of Education Academic Research Fund Tier 3 grant [MOE-MOET32022-0006] for the Climate Transformation Programme. Date A point or period of time associated with an event in the lifecycle of the resource 25 March 2025 Language A language of the resource English https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/9938f80d44718a86a74404de68f69342.jpg?Expires=1792627200&Signature=qsnf2LqMfI5Dtyt1Golt9tIXbgb8WQLgSbSHO1qdGS5D7btuj4kV4JmbtxErW-xweLjt223yOfOIHB4GDsBWIWcAx8y6rljnuLx2EiFo31OutUTOz431%7Ev63TtmXoF9hx3UB4xC-2AWAglRKNRm-V3pelsotxZLqFPAS8BICQ9s3u10I3bq4PhxetjUByUGsBVIZ1O1wiIIi3WA8dR-Et3Wq1xmSMs%7E%7ELmAJ9GWaJsbC4CrNovdo69uYGUhNjbmyOqoQO5mbHmw8IJTRiipljuAJKZdbp6s31ABJ1sbBmi4DrO0zcaH4YpuONiS0DgEsshCZrku9P8j6ESc7%7ESR-4g__&Key-Pair-Id=K6UGZS9ZTDSZM 3b9929890f3bbb5b68cfd6f08054ad97 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 Panos Aprahamian, More Spilled Blood Than Drinkable Water (2025) Publisher An entity responsible for making the resource available NTU CCA Singapore Contributor An entity responsible for making contributions to the resource Panos Aprahamian Rights Information about rights held in and over the resource Panos Aprahamian, More Spilled Blood Than Drinkable Water, 2025. Courtesy NTU CCA Singapore Format The file format, physical medium, or dimensions of the resource Film Type The nature or genre of the resource Film Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lebanon Abstract A summary of the resource. NTU Centre for Contemporary Art Singapore is pleased to premiere the latest work of Panos Aprahamian, recipient of the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant 2024 which enabled the creation of this work. The final instalment of Aprahamian’s unplanned “Karantina Trilogy”, More Spilled Blood Than Drinkable Water (2025), takes place, like two previous works, in Karantina, a former quarantine district in northeastern Beirut bordered by the Beirut River. One of the most polluted parts of the city due to its proximity to the port, a waste sorting facility, and an infamous, now-closed slaughterhouse, the area has witnessed environmental crises and uncounted deaths. In the film, the disembodied voice of a paranormal investigator recounts her contemplative journey along the river’s course as a descent into the underworld, addressing the chemical compounds, spectral echoes, foul odour, and invisible presences that dwell in a dystopian landscape made of flows and stagnations. As the camera follows the emergences and submergences of the riverine water, it captures glimpses of deteriorating ecologies and the wavering reflections of industrial infrastructures while the narration—part investigative report, part diary entry, part speculative fiction—entangles historical chronologies in a non-linear sequence. Blending documentary realism, abstract sequences, and fictional genres, the work slowly excavates deep sediments of sorrows within a wounded landscape haunted by the spirits of uncountable entities, both human and non-human, who lost their lives there. Turning the water body into a portal onto intangible worlds and an uneasy mirror of the present, Aprahamian’s work ponders over and bears witness to the aftermath of violence, historical trauma, and environmental degradation. An instrument for supporting contemporary artistic production in the field of video art, the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant is awarded annually to an emerging visual artist from Central or West Asia. In addition to financial support, the grant connects the awardee to an international network of institutions committed to showing the newly produced work. In this way, the awardees are given the opportunity to dialogue with art professionals at each institution and present their work in different social, cultural, and political contexts. The partners for the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant 2024 are: NTU Centre for Contemporary Art Singapore; WIELS (Brussels, Belgium); Museum of Contemporary Art and Design (Manila, Philippines); Jameel Arts Centre (Dubai, UAE) and Museo d’Arte Contemporanea Donnaregina (Naples, Italy). NTU CCA Singapore is a partner of the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant since 2019. Dates 11 – 27 September 2025 Opening Hours Thursday to Saturday, 1:00 – 7:00pm Venue The Hall, NTU CCA Singapore 6 Lock Road, #01-09 Gillman Barracks 108934 Free Admission Medium The material or physical carrier of the resource. Film Rights Holder A person or organization owning or managing rights over the resource. Panos Aprahamian and NTU CCA Singapore https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/f5f017b2de209c738f8d6b5642f5a1af.jpg?Expires=1792627200&Signature=wIqyrgreA56k-mqvGVenbSv34BB8RVtSvBZIzAUSWsE4v0EHhFWtJqxV%7ESmC2tSviK8SOArJw7sMb76Nr9eNBTpC6N3GvnNpR29TzhqE3n3B8pBqQipdreS6Ul2Ee7JZg5LO83hh8cQL7h2z9Qfu49RO2zkc39Bbr2qVP4Suc8-WseTarniM0qc-Wl2MpBb5Eygkb-EvgUyspX9GMcImXf-HhsYHb3Wsaq4ICECin1wlK9q1xPe-3tLy%7EdDt3xxd5TGf5Q8U7go6xssTpdS3hXl6RXmOx2eXHkiCukJ1-Wt4uU0WoLsMiZ4lsS%7E0Jl3v8VvSZEh3kWlLJ9wA1t1Hjg__&Key-Pair-Id=K6UGZS9ZTDSZM f6879c15f7b326cecaf026fa12737af0 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 Panos Aprahamian, More Spilled Blood Than Drinkable Water (2025) Description An account of the resource More Spilled Blood Than Drinkable Water (2025), takes place, like two previous works, in Karantina, a former quarantine district in northeastern Beirut bordered by the Beirut River. One of the most polluted parts of the city due to its proximity to the port, a waste sorting facility, and an infamous, now-closed slaughterhouse, the area has witnessed environmental crises and uncounted deaths. In the film, the disembodied voice of a paranormal investigator recounts her contemplative journey along the river’s course as a descent into the underworld, addressing the chemical compounds, spectral echoes, foul odour, and invisible presences that dwell in a dystopian landscape made of flows and stagnations. Creator An entity primarily responsible for making the resource Panos Aprahamian Publisher An entity responsible for making the resource available NTU Centre for Contemporary Art Date A point or period of time associated with an event in the lifecycle of the resource 2025-09-11/2025-09-27 Contributor An entity responsible for making contributions to the resource Panos Aprahamian Rights Information about rights held in and over the resource Panos Aprahamian, More Spilled Blood Than Drinkable Water, 2025. Courtesy the artist and NTU CCA Singapore Format The file format, physical medium, or dimensions of the resource Film Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lebanon Abstract A summary of the resource. NTU Centre for Contemporary Art Singapore is pleased to premiere the latest work of Panos Aprahamian, recipient of the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant 2024 which enabled the creation of this work. The final instalment of Aprahamian’s unplanned “Karantina Trilogy”, More Spilled Blood Than Drinkable Water (2025), takes place, like two previous works, in Karantina, a former quarantine district in northeastern Beirut bordered by the Beirut River. One of the most polluted parts of the city due to its proximity to the port, a waste sorting facility, and an infamous, now-closed slaughterhouse, the area has witnessed environmental crises and uncounted deaths. In the film, the disembodied voice of a paranormal investigator recounts her contemplative journey along the river’s course as a descent into the underworld, addressing the chemical compounds, spectral echoes, foul odour, and invisible presences that dwell in a dystopian landscape made of flows and stagnations. As the camera follows the emergences and submergences of the riverine water, it captures glimpses of deteriorating ecologies and the wavering reflections of industrial infrastructures while the narration—part investigative report, part diary entry, part speculative fiction—entangles historical chronologies in a non-linear sequence. Blending documentary realism, abstract sequences, and fictional genres, the work slowly excavates deep sediments of sorrows within a wounded landscape haunted by the spirits of uncountable entities, both human and non-human, who lost their lives there. Turning the water body into a portal onto intangible worlds and an uneasy mirror of the present, Aprahamian’s work ponders over and bears witness to the aftermath of violence, historical trauma, and environmental degradation. An instrument for supporting contemporary artistic production in the field of video art, the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant is awarded annually to an emerging visual artist from Central or West Asia. In addition to financial support, the grant connects the awardee to an international network of institutions committed to showing the newly produced work. In this way, the awardees are given the opportunity to dialogue with art professionals at each institution and present their work in different social, cultural, and political contexts. The partners for the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant 2024 are: NTU Centre for Contemporary Art Singapore; WIELS (Brussels, Belgium); Museum of Contemporary Art and Design (Manila, Philippines); Jameel Arts Centre (Dubai, UAE) and Museo d’Arte Contemporanea Donnaregina (Naples, Italy). NTU CCA Singapore is a partner of the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant since 2019. Dates 11 – 27 September 2025 Opening Hours Thursday to Saturday, 1:00 – 7:00pm Venue The Hall, NTU CCA Singapore 6 Lock Road, #01-09 Gillman Barracks 108934 Free Admission Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Panos Aprahamian, More Spilled Blood Than Drinkable Water, 2025, film screening, 11–27 September 2025. Courtesy the artist and NTU CCA Singapore Spatial Coverage Spatial characteristics of the resource. Lebanon 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 NTU Centre for Contemporary Art Singapore is pleased to premiere the latest work of Panos Aprahamian, recipient of the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant 2024 which enabled the creation of this work. The final instalment of Aprahamian’s unplanned “Karantina Trilogy”, More Spilled Blood Than Drinkable Water (2025), takes place, like two previous works, in Karantina, a former quarantine district in northeastern Beirut bordered by the Beirut River. One of the most polluted parts of the city due to its proximity to the port, a waste sorting facility, and an infamous, now-closed slaughterhouse, the area has witnessed environmental crises and uncounted deaths. In the film, the disembodied voice of a paranormal investigator recounts her contemplative journey along the river’s course as a descent into the underworld, addressing the chemical compounds, spectral echoes, foul odour, and invisible presences that dwell in a dystopian landscape made of flows and stagnations. As the camera follows the emergences and submergences of the riverine water, it captures glimpses of deteriorating ecologies and the wavering reflections of industrial infrastructures while the narration—part investigative report, part diary entry, part speculative fiction—entangles historical chronologies in a non-linear sequence. Blending documentary realism, abstract sequences, and fictional genres, the work slowly excavates deep sediments of sorrows within a wounded landscape haunted by the spirits of uncountable entities, both human and non-human, who lost their lives there. Turning the water body into a portal onto intangible worlds and an uneasy mirror of the present, Aprahamian’s work ponders over and bears witness to the aftermath of violence, historical trauma, and environmental degradation. An instrument for supporting contemporary artistic production in the field of video art, the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant is awarded annually to an emerging visual artist from Central or West Asia. In addition to financial support, the grant connects the awardee to an international network of institutions committed to showing the newly produced work. In this way, the awardees are given the opportunity to dialogue with art professionals at each institution and present their work in different social, cultural, and political contexts. The partners for the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant 2024 are: NTU Centre for Contemporary Art Singapore; WIELS (Brussels, Belgium); Museum of Contemporary Art and Design (Manila, Philippines); Jameel Arts Centre (Dubai, UAE) and Museo d’Arte Contemporanea Donnaregina (Naples, Italy). NTU CCA Singapore is a partner of the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant since 2019. Dates 11 – 27 September 2025 Opening Hours Thursday to Saturday, 1:00 – 7:00pm Venue The Hall, NTU CCA Singapore 6 Lock Road, #01-09 Gillman Barracks 108934 Free Admission About Panos Aprahamian Panos Aprahamian (b. 1986, Lebanon) is a writer, filmmaker, and media artist from Beirut who currently lives and works in Berlin, Germany. His practice explores the spectral presence of the past and the future in human and nonhuman bodies, sacrificial landscapes, cultural practices, and social relations. He was a Home Workspace Program fellow at Ashkal Alwan (Beirut, Lebanon) in 2017-18 and an instructor in the Media Studies Program at the Fine Arts & Art History Department, American University of Beirut between 2019 and 2021. His film essays Odorless Blue Flowers Awake Prematurely and This Haunting Memory That Is Not My Own (both 2021) earned the Ecumenical Prize at the 68th International Short Film Festival Oberhausen (Germany, 2022) and the Jury Award at the 7th Festival Internacional Signos da Noite (Lisbon, Portugal 2021), respectively. He received the equivalent of a Bachelor’s degree in Media Arts from the Lebanese Academy of Fine Arts, University of Balamand (2008), and an MA with distinction in Documentary Film from the London College of Communication, University of the Arts London, where he studied as a Caspian Arts Scholar. About Han Nefkens Foundation The Han Nefkens Foundation was established in 2009 with the aim of connecting people through art. In 2016, Han Nefkens decided to focus exclusively on supporting emerging and mid-career international video artists through Awards, Production Grants, and Mentorship Grants. The Foundation is not only involved in producing new works with the artists, but also finding international residencies, producing publications, purchasing working tools, finding technical support, and bringing artists into contact with art institutions and peers. With an extensive network in countries such as Thailand, Vietnam, Cambodia, Korea, Ecuador, Peru, Spain, and the Netherlands, the Foundation is able to present artists to a diverse and global audience. Programme Type Screening Audience General Collaboration Yes Commissioned Work Yes Related Countries Lebanon Education No Theme Place.Labour.Capital. Climates. Habitats. Environments. None None 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 Panos Aprahamian. More Spilled Blood Than Drinkable Water Subject The topic of the resource Urbanism Activism Geopolitics Description An account of the resource More Spilled Blood Than Drinkable Water (2025), takes place, like two previous works, in Karantina, a former quarantine district in northeastern Beirut bordered by the Beirut River. One of the most polluted parts of the city due to its proximity to the port, a waste sorting facility, and an infamous, now-closed slaughterhouse, the area has witnessed environmental crises and uncounted deaths. In the film, the disembodied voice of a paranormal investigator recounts her contemplative journey along the river’s course as a descent into the underworld, addressing the chemical compounds, spectral echoes, foul odour, and invisible presences that dwell in a dystopian landscape made of flows and stagnations. Publisher An entity responsible for making the resource available NTU Centre for Contemporary Art Date A point or period of time associated with an event in the lifecycle of the resource 2025-09-11/2025-09-27 Contributor An entity responsible for making contributions to the resource Panos Aprahamian Format The file format, physical medium, or dimensions of the resource Video Language A language of the resource English 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 Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Panos Aprahamian. More Spilled Blood Than Drinkable Water Abstract A summary of the resource. NTU Centre for Contemporary Art Singapore is pleased to premiere the latest work of Panos Aprahamian, recipient of the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant 2024 which enabled the creation of this work. The final instalment of Aprahamian’s unplanned “Karantina Trilogy”, More Spilled Blood Than Drinkable Water (2025), takes place, like two previous works, in Karantina, a former quarantine district in northeastern Beirut bordered by the Beirut River. One of the most polluted parts of the city due to its proximity to the port, a waste sorting facility, and an infamous, now-closed slaughterhouse, the area has witnessed environmental crises and uncounted deaths. In the film, the disembodied voice of a paranormal investigator recounts her contemplative journey along the river’s course as a descent into the underworld, addressing the chemical compounds, spectral echoes, foul odour, and invisible presences that dwell in a dystopian landscape made of flows and stagnations. As the camera follows the emergences and submergences of the riverine water, it captures glimpses of deteriorating ecologies and the wavering reflections of industrial infrastructures while the narration—part investigative report, part diary entry, part speculative fiction—entangles historical chronologies in a non-linear sequence. Blending documentary realism, abstract sequences, and fictional genres, the work slowly excavates deep sediments of sorrows within a wounded landscape haunted by the spirits of uncountable entities, both human and non-human, who lost their lives there. Turning the water body into a portal onto intangible worlds and an uneasy mirror of the present, Aprahamian’s work ponders over and bears witness to the aftermath of violence, historical trauma, and environmental degradation. An instrument for supporting contemporary artistic production in the field of video art, the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant is awarded annually to an emerging visual artist from Central or West Asia. In addition to financial support, the grant connects the awardee to an international network of institutions committed to showing the newly produced work. In this way, the awardees are given the opportunity to dialogue with art professionals at each institution and present their work in different social, cultural, and political contexts. The partners for the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant 2024 are: NTU Centre for Contemporary Art Singapore; WIELS (Brussels, Belgium); Museum of Contemporary Art and Design (Manila, Philippines); Jameel Arts Centre (Dubai, UAE) and Museo d’Arte Contemporanea Donnaregina (Naples, Italy). NTU CCA Singapore is a partner of the Han Nefkens Foundation – Museu Tàpies Video Art Production Grant since 2019. Dates 11 – 27 September 2025 Opening Hours Thursday to Saturday, 1:00 – 7:00pm Venue The Hall, NTU CCA Singapore 6 Lock Road, #01-09 Gillman Barracks 108934 Free Admission Medium The material or physical carrier of the resource. Film Temporal Coverage Temporal characteristics of the resource. 2025 Audience A class of entity for whom the resource is intended or useful. 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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 A NIGHT WE HELD BETWEEN begins with the notion of the labyrinth, which serves as a metaphorical reference that connects a historical mythology to the socio-political reality in Palestine. Filmed in spring and summer 2023, Abed focused on ancient sites in Palestine – caves, carved holes, underground passages, and wild valleys. The chosen locales became the main protagonist, traversing beyond the first layers of visibility and revealing a hidden world underneath that was not seen but familiar to the places one knew. Programme Type Screening Audience General Location Onsite (CCA) Offsite Online Onsite (CCA) Collaboration Yes Commissioned Work No Related Countries Palestine 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 Screening: A Night We Held Between by Noor Abed Subject The topic of the resource Mythology Displacement History Geopolitics Ways of Seeing Description An account of the resource Han Nefkens Foundation – Fundació Antoni Tàpies Video Art Production Grant 2022 Noor Abed A Night We Held Between 16mm film, 4k digital transfer, with sound, approx. 30 mins 16 January 2024, Tue – 28 January 2024, Sun Block 6 Lock Road, #01-09 Opening Hours: Tuesday – Friday 12 pm – 7pm Saturdays, 1 pm – 9pm Sundays, 1 pm – 7pm In conversation with the artist Saturday, 20 January, 11:00am – 12:30pm A NIGHT WE HELD BETWEEN begins with the notion of the labyrinth, which serves as a metaphorical reference that connects a historical mythology to the socio-political reality in Palestine. Filmed in spring and summer 2023, Abed focused on ancient sites in Palestine – caves, carved holes, underground passages, and wild valleys. The chosen locales became the main protagonist, traversing beyond the first layers of visibility and revealing a hidden world underneath that was not seen but familiar to the places one knew. Images become signifiers of what is lost, untold, and hence forgotten. These appear in a ghostly texture, as eerie reminders of their uncanny existence. Expanding upon this historical loss through a cinematic space allows the past to recur through a projection of imaginary gaps. The filmic score emphasizes the role of collective rhythmic movements and its potential impact in evoking shared feelings that may contribute to reconnect and sustain a community that is dislocated. Abed weaves into her narration mythology and Palestinian folklore, creating a fusion of natural and composed sequences of movement, blending documentary and fictional elements. Through a poetic choreography of bodies, sites, narratives, and temporalities, her work prompts contemplation on the manifestations of social action and resistance in everyday life. The featured video work A NIGHT WE HELD BETWEEN, has been created with the support of the Han Nefkens Foundation—Fundació Antoni Tàpies Video Art Production Grant 2022 with its inaugural screening taking place at the NTU Centre for Contemporary Art Singapore. "Images become signifiers of what is lost, untold, and hence forgotten. These appear in a ghostly texture, as eerie reminders of their uncanny existence." The Han Nefkens Foundation—Fundació Antoni Tàpies Video Art Production Grant appraises the work of emerging artists aged 50 and under, who live in West or Central Asia and have established a solid trajectory but have not had the opportunity to exhibit extensively: this production grant should serve as an important source of support and boost in their career. A NIGHT WE HELD BETWEEN will be exhibited by a transcontinental consortium consisting of five institutions: Museum of Contemporary Art and Design, Manila (The Philippines); Fundació Antoni Tàpies, Barcelona (Spain); WIELS, Brussels (Belgium); NTU Centre for Contemporary Art Singapore (Singapore); Jameel Arts Centre, Dubai (UAE). Date A point or period of time associated with an event in the lifecycle of the resource 16 - 28 January 2024 Contributor An entity responsible for making contributions to the resource Noor Abed Hans Nefkens Foundation Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Middle East https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/57748b92fb87281566d397d7710868b8.jpg?Expires=1792627200&Signature=ARJWkEuiCDvGz0%7EsE4v1dzIcbGRGrUtZPn4zJeSsGrf3G6x4DbDMdn2c9sESVBH--HECS8RbOKEnH6uj2riq2EQJzTiztcRhIcldThT6hIYAa%7E2XKQ1sJXbaknrjrQ6HNh29PvJ2rbuC7NXaZMLpFhRFZDCEGg4WbKx2BxHir1JIUC3o-ah5g7G5dHPkKOeCwL6FcTVN8KMiWV5p3EiRyonFYuORKUpGU5eXednugwNdbO-q-lRgSi%7Euc2AFZtF3GWOlSYPcBXIjoKKAOSMEQ5x6jUIzcMXDqic8Pv%7EWzWdeY8nPpPpzDthnsaOl-1WZr6YOKDm2464XsBWLE7DxzA__&Key-Pair-Id=K6UGZS9ZTDSZM e3bf46ee1e4d87122dca57c59231f5f6 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 Anthony Surname or Business Name Chin Years Affiliated Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable. For date range with year only: YYYY/YYYY, e.g., 2014/2015 For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06 2023 - 2024 Birth Date 1969 Birthplace Singapore 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 The research-driven conceptual practice of Anthony Chin (b. 1969, Singapore) grows out of site-specific engagements with the historical, social, and architectural stratifications of a place. Through the articulation of ordinary materials into poetic installations, his work unravel the latent power structures and complex geopolitical narratives that undergird the colonial past and the post-colonial present. He has regularly presented his work in Singapore and abroad. His recent solo exhibitions include S$1,996/- S$831.06/-, Comma Space, Singapore (2021); TROPHY, Metropolitan Museum of Manila, Philippines (2020); and Western Pacific, Mo Shang Experiment, Beijing, China (2016). Among the group exhibitions are SAM Contemporaries: Residues & Remixes, Singapore Art Museum, Singapore (2023); For the House; Against the House, Gillman Barracks, Singapore (2022); Concept 88, Comma Space, Singapore (2022); three editions of OH! Open House, amongst others. Anthony has previously taken part in other residency programmes such as National NAC-MET international Artist Residency, Manila, Philippines (2020) and Taipei International Artists Residency season 4, Taiwan (2018). Professional Website Leave blank if not applicable <a href="http://www.antchin.com/about/">http://www.antchin.com/about/</a> Country of Practice At least one country of practice should be listed for each Contributor, up to three countries of practice. Singapore Thailand Contributor Type Artist-in-Residence Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Anthony Chin Subject The topic of the resource Decolonialism Postcolonialism Politics Geopolitics Artistic Research Contributor An entity responsible for making contributions to the resource Anthony Chin 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 Contributors Contributor An individual, collective, or corporate entity. First Name Tekla Surname or Business Name Aslanishvili 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 1988 Birthplace Georgia Occupation Professional title or identity Filmmaker, Artist and Curator Biographical Text Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description Tekla Aslanishvili (b. Tbilisi, 1988) is an artist, filmmaker and essayist based between Berlin and Tbilisi. Her works emerge at the intersection of infrastructural design, history and geopolitics. Tekla graduated from the Tbilisi State Academy of Arts in 2009 and she holds a MFA from the Berlin University of the Arts – the department of Experimental Film and New Media Art. Aslanishvili’s films have been screened and exhibited internationally at PACT Zollverein, Neue Berliner Kunstverein, Baltic Triennial, Short Film Festival Oberhausen, Kasseler Dokfest, Kunsthalle Münster, EMAF – European Media Art Festival, Videonale 18, Tbilisi Architecture Biennial. She is a 2018–2019 Digital Earth fellow, the nominee for Ars-Viva Art prize 2021 and the recipient of the Han Nefkens Foundation – Fundació Antoni Tàpies Video Art Production Award 2020. Country of Practice At least one country of practice should be listed for each Contributor, up to three countries of practice. Georgia Public Resource Centre Affiliation Artist Research Platform Library Video Resource Platform None None Contributor Type Filmmaker Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tekla Aslanishvili Subject The topic of the resource Labour Capitalism Geopolitics Contributor An entity responsible for making contributions to the resource Tekla Aslanishvili 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 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 A State in a State is the result of Aslanishvili winning the Han Nefkens Foundation – Fundació Antoni Tàpies Video Art Production Grant 2020, in collaboration with Jameel Art Centre, Dubai; the Museum of Contemporary Art and Design in Manila; NTU CCA Singapore and WIELS, Brussels. The Award appraises the work of emerging artists aged 40 and under, who live in West or Central Asia and have established a solid trajectory but not yet received recognition by international art institutions. Programme Type Screening Audience General Location Onsite (CCA) Offsite Online Onsite (CCA) 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 Screening: A State in A State by Tekla Aslanishvili Subject The topic of the resource Geopolitics Politics Description An account of the resource 11 Oct 2022, Tue – 6 Nov 2022, Sun The Screening Room, Block 38 Malan Road, #01-06 12 pm – 7pm, every day except Monday Film starts every hour Premier Screening: Tuesday 11 October, 7:00pm-8:30pm The screening will be followed by a conversation between the artist Tekla Aslanishvili, artistic-scientific collaborator Dr. Evelina Gambino and Assistant Professor Dr. Marc Gloede, School of Art, Design and Media, NTU, Singapore. The welcome will be given by Ute Meta Bauer, Professor, School of Art, Design and Media, and Founding Director, NTU Centre for Contemporary Art Singapore, and Dr. Karin Oen, Senior Lecturer and Head of Department, Art History, NTU School of Humanities. A State in a State is the result of Aslanishvili winning the Han Nefkens Foundation – Fundació Antoni Tàpies Video Art Production Grant 2020, in collaboration with Jameel Art Centre, Dubai; the Museum of Contemporary Art and Design in Manila; NTU CCA Singapore and WIELS, Brussels. The Award appraises the work of emerging artists aged 40 and under, who live in West or Central Asia and have established a solid trajectory but not yet received recognition by international art institutions. Aslanishvili was selected by an international jury, including NTU CCA Singapore’s Founding Director Ute Meta Bauer and former Deputy Director of Curatorial Programmes, Dr Karin Oen, for her body of meticulously researched work and her commitment to exploring a specific geopolitical context, whilst connecting to a wider discourse on the impact of extractivist economies on a planetary scale. Revolving around the scenes of delay and waiting that constitute cargo mobility, the film reads the optimistic narratives about the New Silk Road against the grain. It observes how the iron foundation of connectivity can be used as a weapon of exclusion and geopolitical sabotage. Dotting the same lines, other forms of sabotage are deployed by workers to disrupt the political violence. Looking at historic and current practices of resistance, A State in a State explores the potential of railroads for building a different, infrastructural consciousness, and the lasting transnational kinship among the people who live and work around them The film is developed in artistic-scientific collaboration with Dr. Evelina Gambino, Margaret Tyler Research Fellow in Geography at Girton College, University of Cambridge. Research & Script: Tekla Aslanishvili / Evelina Gambino Music: Ani Zakareishvili / Nika Pasuri Cinematography: Nikoloz Tabukashvili / Tekla Aslanishvili Typography: Dato Simonia Editing: Tekla Aslanishvili Sound: Viktor Bone / Irakli Shonia Color: Sally Shamas A State in a State will be also presented at the Fundació Antoni Tàpies in Barcelona from October 8th till November 27th. Date A point or period of time associated with an event in the lifecycle of the resource 11 October - 6 November 2022 Contributor An entity responsible for making contributions to the resource Tekla Aslanishvili Marc Glöde Marc Glode Hans Nefkens Foundation Ute Meta Bauer Karin Oen 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 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Videos Video A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation. Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage) Video Embedded video or link to video hosted outside of Omeka <a href="https://vimeo.com/692154083">https://vimeo.com/692154083</a> Video ID Platform ID number for video hosted online (e.g., Vimeo) 692154083 Duration Length of time involved (seconds, minutes, hours, days, class periods, etc.) 00:03:42 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 On AiR with Yeo Siew Hua Subject The topic of the resource Diaspora Displacement Migration Globalisation Geopolitics Identity Description An account of the resource Artist-in-Residence 4 October 2021 - 31 March 2022 NTU CCA Singapore Contributor An entity responsible for making contributions to the resource Yeo Siew Hua 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 The NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) presents The Geopolitical and the Biophysical: a structured conversation on Art and Southeast Asia in context, Part II, a symposium addressing the multiple notions of “Southeast Asia” and the various issues surrounding its borders, territories, dilemmas and anxieties. Programme Type Conference and Symposium Audience General Professional Location Onsite (CCA) Offsite Online Onsite (CCA) Offsite Collaboration Yes Commissioned Work No Education No Theme Place.Labour.Capital. Climates. Habitats. Environments. None Place.Labour.Capital. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Symposium: The Geopolitical and the Biophysical: a structured conversation on Art and Southeast Asia in context, Part II Subject The topic of the resource Geopolitics Regionalism History Description An account of the resource <div class="event_single_dates text__research">Fri 17 Jun 2016, 7:00pm - 9:00pm Sat 18 Jun 2016, 9:30am - 6:00pm</div> <div class="event_single_venue">National Gallery Singapore and NTU CCA Singapore The NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) presents The Geopolitical and the Biophysical: a structured conversation on Art and Southeast Asia in context, Part II, a symposium addressing the multiple notions of “Southeast Asia” and the various issues surrounding its borders, territories, dilemmas and anxieties. SEA STATE by artist Charles Lim Yi Yong, commissioned for the Singapore Pavilion at the 56th Venice Biennale, explores the biophysical, political and psychic contours of Singapore and served as a point of departure for the symposium. Part I of the symposium took place in Venice, Italy during the opening days of the Biennale, and this second iteration will continue and deepen the discussions on the occasion of SEA STATE’s presentation at NTU CCA Singapore. Southeast Asia, as a geographical region and conceptual category, is a contested entity shaped by diverse cultures and communities. The possibilities and uncertainties in this region – such as urban development, geopolitical relations, and anxieties surrounding national and regional identities – continue to pose unique social and political challenges. The Geopolitical and the Biophysical: a structured conversation on Art and Southeast Asia in context, Part II brings together an array of eminent speakers and respondents to address questions of contemporary art and culture through interdisciplinary approaches – considering bodies of water as cultural-territorial spaces in an exploration of rivers, land reclamation, sea ports, and nomadic communities. The conversations arising from this symposium offers insight into the Southeast Asian consciousness and how it informs the region’s evolving relationship with the wider world. The symposium is organised by NTU CCA Singapore under its Research & Education programme, which aims to connect research based artistic practices with other forms of knowledge production. As a prelude to the symposium, NTU CCA Singapore will screen films by Thai artist and filmmaker Apichatpong Weerasethakul on 1 and 3 June 2016 to set up a “conversation” between two artist-filmmakers, Apichatpong and Charles Lim Yi Yong. Prelude Screening of films by Apichatpong Weerasethakul Day 1: Wednesday, 1 June 2016, 7.30 – 10.00pm | Cemetery of Splendour (2015) Day 2: Friday, 3 June 2016, 7.30 – 10.00pm | Tropical Malady (2004) NTU CCA Singapore, The Single Screen Block 43 Malan Road, Gillman Barracks, Singapore 109443 Symposium programme Day 1: National Gallery Singapore, Friday 17 June 2016, 7.00 – 9.00pm <div> <div>7.00 – 7.30pm</div> <div>Registration & refreshments</div> </div> <div> <div> 7.30 – 7.45pm </div> <div> Welcome address Paul Tan (Singapore), Deputy CEO, National Arts Council Professor Ute Meta Bauer (Germany/Singapore), Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, Nanyang Technological University (NTU) </div> </div> <div> <div>7.45 – 9.00pm</div> <div>Keynote Lecture In a Time of Earthquakes: Contemporary Chinese Artists Shake the World by Professor Aihwa Ong (Malaysia/United States), Robert H. Lowie Distinguished Chair in Anthropology and Chair of Asian Studies, University of California, Berkeley (UC Berkeley) Respondent: Professor C.J. Wee Wan-ling (Singapore), Division of English, School of Humanities and Social Sciences, NTU</div> </div> Day 2: NTU CCA Singapore, Saturday 18 June 2016, 9.30am – 6.00pm <div> <div>9.30 – 10.00am</div> <div>Registration & refreshments</div> </div> <div> <div> 10.00 – 10.10am </div> <div> MORNING SESSION Opening address by chairperson, Professor Ute Meta Bauer </div> </div> <div> <div>10.10 – 11.20am</div> <div>Keynote lecture SEA STATE: Charles Lim’s Video-and Photo-graphic Eye by Professor Michael M.J. Fischer (United States), Andrew W. Mellon Professor in the Humanities, and Professor of Anthropology and Science and Technology Studies, Massachusetts Institute of Technology (MIT) Respondent: Dr Kristy H.A. Kang (United States/Singapore), Assistant Professor, School of Art, Design & Media, NTU</div> </div> <div> 11.20am – 12.30pm </div> <div> Session 1: The River and its Representations Speaker: Gridthiya Gaweewong (Thailand), Artistic Director and Curator, Jim Thompson Art Center, Bangkok Respondent: Dr David Teh (Australia/Singapore), Assistant Professor, Department of English Language and Literature, National University of Singapore (NUS) </div> <div> <div>12.30 – 1.30pm</div> <div>Lunch Break</div> </div> <div> <div> 1.30 – 1.40pm </div> <div> AFTERNOON SESSION Opening address by chairperson, Dr David Teh </div> </div> <div> <div>1.40 – 2.50pm</div> <div>Session 2: The Land and its Reclamations Speakers: Joshua Comaroff (United States/Singapore), design consultant, Lekker Architects; and Seth Denizen (United States), PhD candidate, Department of Geography, UC Berkeley Respondent: Shabbir Hussain Mustafa (Singapore), curator, SEA STATE, and Senior Curator, National Gallery Singapore <div> <div> 2.50 – 4.20pm </div> <div> Session 3: Of Nomads and Sea Ports Speakers: Dr Donna Brunero (Australia/Singapore), Senior Lecturer, Department of History, Faculty of Arts & Social Sciences, NUS; Dr Wee Beng Geok (Singapore), Consultant, Nanyang Business School, NTU; and Dr Vivienne Wee (Singapore), independent anthropologist and researcher Respondent: Dr Imran bin Tajudeen (Singapore), Assistant Professor, Department of Architecture, School of Design and Environment, NUS <div> <div>4.20 – 4.40pm</div> <div>Tea Break</div> </div> <div> <div> 4.40 – 6.00pm </div> <div> Roundtable Discussion Participants: Professor Michael M.J. Fischer, Charles Lim Yi Yong, Shabbir Hussain Mustafa, and Professor Aihwa Ong. Moderators: Professor Ute Meta Bauer and Dr David Teh. The programme is commissioned by the <a href="http://www.nac.gov.sg/">National Arts Council (NAC)</a> and supported by the <a href="http://www.stb.gov.sg/">Singapore Tourism Board (STB)</a>, with additional support from U.S. Embassy Singapore and <a href="https://www.nationalgallery.sg/">National Gallery Singapore</a>. </div> </div> </div> </div> </div> </div> </div> Date A point or period of time associated with an event in the lifecycle of the resource 17 - 18 June 2016 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 Southeast Asia Contributor An entity responsible for making contributions to the resource Paul Tan Ute Meta Bauer Aihwa Ong C.J. Wee Wan-ling Michael M.J. Fischer Kristy H.A. Kang Gridthiya Gaweewong David Teh Joshua Comaroff Seth Denizen Shabbir Hussain Mustafa Donna Brunero Wee Beng Geok Vivienne Wee Imran bin Tajudeen C. J. Wan-ling Wee C. J. W.-L. Wee 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 Joseph Chin Yong Surname or Business Name Liow 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 2018-2024 Affiliation Company, organization, or institution name College of Humanities, Arts and Social Sciences, Nanyang Technological University (Singapore) Birthplace Singapore Occupation Professional title or identity Dean 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 Joseph Chinyong Liow is Tan Kah Kee Chair in Comparative and International Politics at Nanyang Technological University (NTU), Singapore. He is Professor and former Dean at the S. Rajaratnam School of International Studies, and currently Dean of College of Humanities, Arts, and Social Sciences at NTU Singapore. He held the inaugural Lee Kuan Yew Chair in Southeast Asia Studies at the Brookings Institution, Washington DC, where he was also a Senior Fellow in the Foreign Policy Program. Joseph’s research interests encompass Muslim politics and social movements in Southeast Asia and the geopolitics and geoeconomics of the Asia Pacific region. Joseph is the author, co-author, or editor of 14 books. His most recent single-authored books are Ambivalent Engagement: The United States and Regional Security in Southeast Asia after the Cold War (Brookings 2017), Religion and Nationalism in Southeast Asia (Cambridge University Press, 2016) and Dictionary of the Modern Politics of Southeast Asia, fourth edition (Routledge, 2014). A regular columnist for The Straits Times, his commentaries on international affairs have also appeared in New York Times, Foreign Affairs, Foreign Policy, National Interest, Nikkei Asian Review, and the Wall Street Journal. He has testified to the United States Congress, and been invited to deliver a special closed-door briefing to the ASEAN Defence Minister’s Meeting. In addition to scholarship and policy analysis, Joseph has also consulted for a wide-range of MNCs including Shell, BHP Billiton, Chevron, Japan Bank for International Cooperation, Total, and Statoil. He sits on the board of several peer-reviewed academic and policy journals, is a member of the Social Science Research Council (Singapore), and serves as Singapore’s representative on the advisory board of the ASEAN Institute of Peace and Reconciliation formed under the auspices of the ASEAN Charter. Joseph Liow holds a PhD in International Relations from the London School of Economics and Political Science, a MSc in Strategic Studies from the Nanyang Technological University, and a BA (Hons) in Political Science from the University of Madison-Wisconsin. Country of Practice At least one country of practice should be listed for each Contributor, up to three countries of practice. Singapore Public Resource Centre Affiliation Artist Research Platform Library Video Resource Platform None None Contributor Type Governing Council 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 Joseph Liow Chin Yong Subject The topic of the resource Geopolitics Contributor An entity responsible for making contributions to the resource Joseph Liow Chin Yong Joseph Liow Joseph Chinyong Liow 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