3
10
111
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c1a9f263c4eeef260898905d0edb8085
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First Name
Elia
Surname or Business Name
Nurvista
Years Affiliated
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For date range with year only: YYYY/YYYY, e.g., 2014/2015
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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 <a href="https://ntuccasingapore.omeka.net/items/show/2924"><em>Residencies Rewired</em></a>, a project that trailblazes new pathways to collaboration.
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NTU CCA Singapore
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Indonesia
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Artist
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As a co-founder of the food study group Bakudapan, Elia Nurvista (b. 1983, Indonesia) employs an interdisciplinary approach towards the discourse around food. Through a wide range of mediums, from video installations to workshops, her works invite reflective participation to think beyond food as an alimentary sustenance. Selected group shows include Dhaka Art Summit 2020, Bangladesh and <i, Framer Framed, Amsterdam, The Netherlands (both 2020); Karachi Biennale, Pakistan and Singapore Biennale with Bakudapan (both 2019). Her recent solo presentation titled <i>Früchtlinge</i> took place at Künstlerhaus Bethanien, Berlin, Germany (2019).
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Indonesia
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None
None
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Artist-in-Residence
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Birth Date
1983
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Elia Nurvista
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Southeast Asia
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Elia Nurvista
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38269aa4e285ceebbc9b41a67619d65b
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Title
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First Name
Kartik
Surname or Business Name
Sood
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2017
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NTU CCA Singapore
Birthplace
India
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Artist
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Drawing inspiration from music, design, literature as well as his own life experiences, the multidisciplinary practice of Kartik Sood(b. 1986, India) revolves around the delicate balance of coexistence, investigating the tension that arises between the handmade and the mechanical, materials and concepts. Sood’s artworks examines these tensions through the manipulation of a variety of mediums such as gouache paintings, moving images, and installations with archival photos and found objects that unfold ambiguous narratives. <br /><br />Kartik Sood lives and works between Baroda and Delhi, India. His works have been widely exhibited in India and, most recently, he participated in the Yinchuan Biennale, China (2016). In 2014, he undertook a residency at Gasworks, London, United Kingdom.
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India
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None
None
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Artist-in-Residence
Birth Date
1986
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
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Kartik Sood
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Coexistence
Materiality
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Kartik Sood
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b4a2139efef2ba7bdb5bc7b70b2ad35f
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First Name
Richard
Surname or Business Name
Streitmatter-Tran
Years Affiliated
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2014/2017
Birthplace
Vietnam
Occupation
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Artist
Biographical Text
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Richard Streitmatter-Tran (b. 1972, Vietnam) lives and works in Ho Chi Minh City. Since 2013, his practice has shifted from performance and new media to sculpture, painting, and drawings. This "return to craft" is fueled by a preoccupation with material knowledge over concept and is framed by a deep-rooted interest into modes of learning that used to be passed down through generations and are now being erased by the diffusion of new technologies. <br /><br />His solo and collaborative works have been exhibited internationally including Hong Kong Arts Centre (2017), Palais de Tokyo, Paris, France (2015), Singapore Art Museum (2016, 2012, 2009), Asia Triennial, Manchester, United Kingdom (2011), Singapore Biennale (2008, 2006), among many others. Streitmatter-Tran has also been involved in numerous writing, education, and curatorial projects. In 2010, he established DIA/PROJECTS, an experimental art space in Ho Chi Minh City. He also co-curated with Russell Storer the exhibition <i>The Mekong</i> at The Queensland Art Gallery, Brisbane, Australia (2009) that was part of the 6th Asia Pacific Triennial.
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Vietnam
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None
Artist Research Platform
Contributor Type
Artist-in-Residence
Speaker
Birth Date
1972
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
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Richard Streitmatter-Tran
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Technology
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Richard Streitmatter-Tran
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09e7079ec18a64b518cc59047cc7e071
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First Name
Rosella
Surname or Business Name
Biscotti
Years Affiliated
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For date range with year only: YYYY/YYYY, e.g., 2014/2015
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2020
Affiliation
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NTU CCA Singapore
Birthplace
Italy
Occupation
Professional title or identity
Artist
Biographical Text
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The cross-media practice of Rossella Biscotti (b. 1978, Italy/Belgium/Netherlands) cuts across sculpture, performance,sound works, and filmmaking. Stemming from extended research processes, conceptual excavations,personal encounters, interdisciplinary collaborations, and the subtle interrogation of sites and stories,her works encapsulate meticulous stratifications of materials and meanings. She has taken part in majorinternational exhibitions such as Dhaka Art Summit, Bangladesh (2020); 55th Venice Biennale, Italy (2013); 13th Istanbul Biennale, Turkey(2013); dOCUMENTA 13, Kassel, Germany (2012), and Manifesta 9, Belgium (2012). Recent soloexhibitions were held at Witte de With, Rotterdam, Netherlands (2019); Kunsthaus Baselland, Muttenz,Switzerland (2018), and V‚A‚C Foundation, Moscow, Russia (2016). Biscotti received several awards including ACACIA Prize for Contemporary Art (2017) and Mies van der Rohe Stipendium (2013).
Country of Practice
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Belgium
Netherlands
Germany
Public Resource Centre Affiliation
Artist Research Platform
Library
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None
None
Contributor Type
Artist-in-Residence
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Birth Date
1978
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Rossella Biscotti
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Performance
Artistic Research
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Rossella Biscotti
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8d78a31c5061e9e1148438db8f304a2f
PDF Text
Text
PAR T O NE. S ID E A
Simryn Gill
HUGGING
THE
SHORE
Si mr yn Gi ll’s f i rst m a j o r so l o ex h i bi t i o n i n So ut h ea st A si a bri n gs t o get h er a
seri es of wo rks t h at revea l di f feren t m et h o do l o gi es, wa y s of l o o ki n g a n d t h i n ki n g
un derl y i n g h er a rt i st i c pro c ess.
Gi l l ’s pra c t i c e c a rri es a po et i c at t i t ude t o wa rds t h e wo rl d, c o m bi n ed wi t h
ph i l o so ph i c a l ref l ec t i o n a n d sc i en t i f i c m et h o do l o gy. Suc h a n a ppro a c h do es
n o t si t uat e i t sel f wi t h i n t h e rea l m of t h e i n t erdi sc i pl i n a ry, but rat h er h i gh l i gh t s
t h at t h e c o m pl ex i t y of o ur wo rl d c a n o n l y be un pa c ked f ro m va ri o us a n gl es
a n d subj ec t i vi t i es. It a l so suggest s t h at t o rea c h t h e c o re of t h i n gs, t o c a pt ure
i n wa rdn ess f ro m o ut si de we n eed t o a c c o m m o dat e m a n y wa y s of seei n g a n d bei n g.
With the energy of a collector, Gill gathers and accumulates objects that are
further organised and classified into subjective taxonomies and open-ended
systems of knowledge. This process of working constitutes the basis of her many
object installations and it is further extended into the realm of photography. What is
particular about the three photographic series Standing Still, Dalam, and May 2006,
Simryn Gill
presented in the show is that they are not records or documents of an existing
environment. Rather, the photographs are conceived as a gathering of objects,
HUGGING
THE
SHORE
27 March – 14 June 2015
structures and moments in time that are bestowed with a strong material presence.
They are all a result of a durational process, of hours of looking, wandering,
and collecting. The materiality of the photographic work does not only carry an
ontological dimension, but it also derives from the density of the work itself, which
amounts to hundreds and hundreds of photographs. “When does one have enough?
For what … to represent an idea? Does a big group tell you more or less? Does it tell
you more truthfully?” asks the artist. This exploration is continued by Like Leaves,
Gill’s new work made for the exhibition consisting of hundreds of leaves from a
stand of jambu laut trees, and cut into the square shape of much of her photography
prompting the question: “Do many leaves show us the whole tree?”.
�PAR T O NE. S ID E B
OVERL AP TO J OI N
PA R T ON E
OV E R L A P TO J O I N
S TA N D I N G
STILL
PA R T O N E
2000–2003
DALAM
OVERL AP TO JOIN
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2001
260 C-type photographs,
23.9cm x 23.9cm
116 C-type photographs,
31.5cm x 31.5cm
T h e title of th is e xh ibition , H ugging the S ho re c ome s f rom t h e t i t l e of J o h n
U pdike ’ s c olle c tion of e s s a ys a n d re v ie w s - a n a llu s ion , a c c ordin g t o t h e au t h o r, t o
th e c r itic w h o s ta ys c los e to th e s h ore a n d, u n like th e w r ite r of f ic tio n o r p o et r y, d o es
n ot v e n tu re f a r ou t to s e a . T h e me ta ph or of H ugging the S ho r e c ou l d b e co n cei v ed
a s a propos ition for w a ys of s e e in g a n d a pproa c h in g th e w or ld t h at t r av er ses
th rou g h ou t S imr yn Gill’ s la rg e ph otog r a ph ic w or ks a s w e ll a s h e r co l l ect i o n s of
obje c ts , a n d h e re , h e r g e ome tr ic a lly tr imme d le av e s . I t is a n a c t of st ep p i n g b ack ,
s h if tin g ou r e ye s f rom th e f r a g me n t to th e w h ole . An a c t th at al l o w s u s t o t ake
a lon g e r v ie w, a ppre h e n d th e w h ole th in g a n d le t ou r s e lv e s be a b so r b ed i n t o t h e
ov e r a ll pic tu re .
C ap t u r i n g a l arge n u m b er of ab an d o n ed b u i l d i n gs acro ss M al ay si a, St a n d i n g
St i l l can b e co n cei v ed as an ex p l o r at i o n of l an d scap e as a p al i m p sest , a l ay er i n g of
T h e r ig orou s dis pla y of th e s e ph otog r a ph s a n d pin n e d le av e s , b e i t i n v er t i cal o r
d i f feren t h i st o r i cal m o m en t s i n w h i ch o l d er asp i r at i o n s co - ex i st w i t h co n t em p o r ar y
h or izon ta l c olu mn s c re ate s a n os c illation be tw e e n th e a c t of look i n g an d read i n g.
ex p er i en ces. B u i l d i n g p ro j ect s ab an d o n ed b efo re co m p l et i o n i n t h e w ake of t h e
I n s tig atin g a c on tin u ou s proc e s s of a s s oc iation s a n d pe r mu tatio n s, t h e w o r k i s
f i n an ci al cr i si s t h at h i t t h e A si a-P aci f i c regi o n i n t h e l at e ‘9 0 s l ed t h e ar t i st “ t o l o o k
c los e to a w r itin g proc e s s . I t produ c e s a s pe c if ic s e n s ibility th at l i n ger s w i t h u s
aro u n d an d see al l t h e o t h er l ay er s of p rev i o u sl y ab an d o n ed b u i l d i n gs, b o t h l i v ed an d
af te r e xpe r ie n c in g Gill’ s w or k . A s e n s ibility tow a rds e xplor in g th e w o r l d aro u n d u s
u n l i v ed , o l d an d n ew, w h i ch are al so p resen t i n t h at l an d scap e, an d w h i ch p er h ap s
in s u c h a w a y th at th e a c t of look in g , re a din g a n d c re atin g ov e r la p ; t h e b an al t u r n s
w e h av e st o p p ed seei n g” ( Si m r y n G i l l ) . St r u ct u res t h at co u l d h av e b eco m e sh o p p i n g
Dalam (the term translates as ‘deep’ or ‘inside’ in Malay) comprises 260
in to s ome th in g e xtr a ordin a r y a n d time be c ome s mate r ia l.
m al l s, ap ar t m en t t o w er s, h o t el s an d resi d en t i al h o u ses b l en d i n t h e l an d scap e w i t h
photographs of living rooms taken across Peninsular Malaysia over a three-month
o l d er d erel i ct b u i l d i n gs: arch i t ect u r al rem ai n s of m an si o n s, sh o p s, m o d est kam p o n g
period. Unfolding in full, strong colours, the series offers a glimpse into the most
h o u ses r an gi n g f ro m t h e recen t p ast t o co l o n i al t i m es an d t h e w ar t i m e J ap an ese
public space of the house, but one in which one still has to seek consent to enter.
o ccu p at i o n . T h e ar t i st co n t i n u ed t h i s ex p l o r at i o n i n St at i on H ot el ( 2 0 0 6 ) an d
In this sense, Dalam addresses the relation between host and guest, the conventions
M y ow n p r i v at e A n g kor ( 2 0 0 7- 0 8 ) .
and boundaries that define the delicate realms of hospitality and privacy.
U t e Me t a B aue r & A n c a R uj oiu ( C u r ator s , H ugging the S ho re )
OVERL AP TO J OI N
PA R T ON E
OV E R L A P TO J O I N
PA R T O N E
Simryn Gill was born in Singapore and she lives in Port Dickson, Malaysia
a n d Sy d n e y, A u s t r a l i a . S h e e m p l o y s a r a n g e o f m e d i a a n d m e t h o d s , i n c l u d i n g
photographs, texts, publications, collections, drawings. Her work has been
s e e n i n s e v e r a l s o l o a n d g ro u p e x h i b i t i o n s i n c l u d i n g at t h e M u s e u m of M o d e r n
A r t , N e w Yo r k ( 2 0 14 ) ; t h e A u s t r a l i a n P a v i l i o n , 5 5 t h Ve n i c e B i e n n a l e ; S o l o m o n
R . G u g g e n h e i m M u s e u m , N e w Yo r k ( 2 0 1 3 ) ; d O C U M E N TA 1 3, K a s s e l ( 2 0 1 2 ) ; 1 2 t h
I s t a n b u l B i e n n a l e , ( 2 0 1 1 ) ; A u s t r a l i a n C e n t re fo r P h o t o g r a p h y, M e l b o u r n e ( 2 0 0 9 ) ;
M u s e u m of C on te mpor a r y Ar t, Sydn e y ( 20 0 8), doc u me n ta 1 2, K a s s el ( 2 0 0 7) .
T h e co m p o si t i o n of each p h o t o gr ap h i s al w ay s cen t red , w i t h a l arge d ep t h of
These living rooms may be perceived as portrayals of their inhabitants, where
f i el d t h at t r an sl at es i n t o an act of st ep p i n g b ack , t ak i n g d i st an ce f ro m t h e o b j ect .
objects and pieces of furniture preserve personal stories, but also convey desires
A b an d o n ed b y p eo p l e, t h e b u i l d i n gs are em b r aced b y t ro p i cal p l an t s of fer i n g t o
and aspirations. The focus on a subjective collection of objects resonates with other
t h e w h o l e ser i es a v i v i d p al et t e of co l o u r s h ei gh t en ed b y t h e i n t en se l i gh t of t h e
works by Simryn Gill, such as Garland (1993-2008) which is a collection of man-
t ro p i cal su n .
made debris picked up by the artist from the beaches of the Straits of Malacca.
OVERL AP TO JOIN
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�PAR T T WO. S ID E A
M AY 2 0 0 6
NT U Centre for C o n temp o ra ry A rt S i n ga p o re
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PART T WO
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PART T WO
2006
EXHIBITIONS
Bl o c k 43, M al an Ro ad
Sing ap o re, 1 0 9 443
OFFICE & RESEARCH CENTRE
Bl o c k 6, L o c k Ro ad # 0 1 - 0 9 /1 0
Sing ap o re, 1 0 89 34
RESIDENCIES STUDIOS
Bl o c ks 37 & 38, Mal an Ro ad
Sing ap o re 1 0 9 45 2 & 1 0 9 441
EXHIBITION HOURS
Tue – Sun
Fr i
M o n
817 gelatine silver photographs from
30 rolls of discontinued film, used
t o p h o t o g r a p h t h e a r t i s t ’s i m m e d i a t e
neighbourhood in Sydney every day of the
month in which it expired.
12.7cm x 17.8cm
1 2 – 7p m
12 – 9pm
C l o s ed
Op en o n P ub l ic H o l id ay s . Free adm i ssi o n t o
exhib it io ns , p ub l ic p ro g r ammes , a n d t o u rs.
GILLMAN BARRACKS ART &
HISTORY TOURS
Thes e f ree d o c ent - l ed t o ur s b y Fri e n ds of t h e M u se u m
w il l unc o v er Gil l man Bar r ac ks ’ r ich h i st o ry a n d i n t ro du c e
it s g al l er ies inc l ud ing NTU CC A S i n ga po re .
Ev er y Sat urd ay, 4.0 0 p m–5. 30 p m , pl e a se re gi st e r i n
ad v anc e at w w w. g il l manb ar r ac ks. c o m / t o u rs.
F o r enq uir ies o n E d u c at i o n Pro gr a m m e s a nd
S c h o o l To u r s , p l eas e email c c aev e n t s@ n t u . e du . sg
+ 65 6460 0 30 0
+ 65 6339 65 0 3
c c aev ent s @nt u. ed u. s g
FOR UPDATES ON EXHIBITIONS
AND PROGRAMMES, VISIT
nt u. c c as ing ap o re. o rg
g il l manb ar r ac ks . c o m/nt u- c c a- s in ga po re
f ac eb o o k . c o m/nt u. c c as ing ap o re
LOCATED AT
S im ryn Gi ll Huggi n g th e Shore, Pu blis hed by NTU CCA Sing apo re , Ma rc h 2 0 1 5
D e s ig n by Th e P re ss Room
© N T U CCA S i ng ap o re , Pr i nt e d Marc h 20 1 5. D e si gn by T he Pre s s R oo m .
OFFICE
EXHIBITIONS
EMAIL
The photographic series, May 2006, is best described by Simryn Gill as the process
of “understanding the place as a verb rather than as a noun, which exists in our
doings: walking, talking, living”. This epic body of work consists of 800 photographs
that traces the artist’s one-month journey on foot in her neighbourhood of
Marrickville in Sydney where she had lived for over a decade. Gill used 30 rolls of
a discontinued black-and-white film in the month which the film stock expired. As
the curator Jessica Morgan pointed out May 2006 “suggest(s) a memento mori to
both the soon to be redundant film stock and to the neighbourhood in which she
lives that was itself undergoing rapid change”. The photographs not only present
the viewer an archive of the everyday, but propose a new mode of looking at, and
engaging with, our surroundings.
�PAR T T WO. S ID E B
L I K E L E AV E S
2015
HUGGING THE SHORE
PUBLIC PROGRAMME
CONTRIBUTORS
PLACE.
LABOUR.
CAPITAL.
480 leaves from Syzygium Grandis,
6cm x 6cm
P L AC E.L A B O UR .C A P I TA L . i s N T U CC A Si n gap o re’ s o vera rc h i n g y ea r l o n g f ra m ewo rk
Opened in October 2013, NTU CCA Singapore is a national research centre of Nanyang
t h at w i l l i n t er t w i n e o u r p l at fo r m s: ex h i b i t i o n s, resi d en c i es, resea rc h & educ at i o n .
Technological University. Developed with support from the Singapore Economic
T h i s o p en - en d ed research an d cu r at o r i al p ro gr am m e wi l l a ddress t h e c o m pl ex i t i es
Development Board, NTU CCA Singapore is located in Gillman Barracks alongside a
of a w o r l d i n f l u x an d t h e d y n am i c an d i n sep ar ab l e rel at i o n bet ween t h e l o c a l
cluster of international galleries. Led by Founding Director, Professor Ute Meta Bauer,
an d t h e gl o b al . T h e n o t i o n of p l ace as a l o cal e oft en f a des i n t o t h e ba c kgro un d
NTU CCA Singapore takes a holistic approach towards art and culture, intertwining its
sh ad o w ed b y t h e fo cu s o n t h e ‘l arger p i ct u re’ . H o w d o es l a bo ur, ro ut es of m i grat i o n ,
three platforms: exhibitions, residencies, research & education.
an d f l o w s of gl o b al cap i t al i m p act u p o n sm al l er sc a l e? Si n ga po re – t h e wo rl d’s
The public programme is conceived as an extension of the exhibition itself.
T.K. S a ba pat h y is an art h is t o rian , cu rat o r an d crit ic. Sabapat h y’s are as of re s e arch
Comprising a series of conversations and Exhibition (de)Tours, the public programme
in cl u de art an d art is t s in So u t h e as t A s ia. Sabapat h y is cu rre n t l y a l e ct u re r in t h e h is t o ry
brings together different approaches and points of view towards the artist’s work.
of art in t h e D e part m e n t of A rch it e ct u re at t h e Nat io n al U n iv e rs it y of Sin g apo re . H e is
seco n d l argest t r ad i n g p o r t an d an eco n o m i c ep i cen t re of So ut h ea st A si a serves
as p o i n t of d ep ar t u re an d ‘l o cal e’ t o ex am i n e t h e en t a n gl em en t bet ween pl a c e,
l ab o u r, an d cap i t al .
at t h e Nan yan g Te ch n o l o g ical U n iv e rs it y, an d a Re s e arch F e l l o w at NT U CC A Sin g apo re .
Malan Road, Gillman Barracks.
L ee Wen g C h oy is t h e pre s ide n t of t h e Sin g apo re Se ct io n of t h e I n t e rn at io n al A s s o ciat io n
T H U R S D AY, 2 A P R I L 2 0 1 5 *
7. 0 0 P M – 8 . 3 0 P M
P u b l i c Tal k : S i m r y n G i l l i n co n v er sat i o n w i t h
T.K. S a b a p ath y , A r t H i st o r i an , C u r at o r an d C r i t i c
* T h is t a l k t a ke s p l a c e at S c h o o l of t h e A rt s S in g a p o re ( S OTA ) a n d is p a rt of t h e
L o u is Vu it t o n – S OTA A rt s E xc e l l e n c e P ro g ra mme .
The leaves in the exhibition are the same as those presented as photographs in
the artist’s book, Jambu Sea, Jambu Air (2013). Each page of the book is a closeF R I D AY, 1 0 A P R I L 2 0 1 5
the camera. Here, the leaves are shown cut into squares and pinned. As opposed
7. 3 0 P M - 9. 0 0 P M
P u b l i c Tal k : L e e We n g Ch o y , A r t C r i t i c i n
co n v er sat i o n w i t h S i m r y n G i l l
to being photographs, “they are actually themselves,” as Simryn Gill herself puts it,
F R I D AY, 2 4 A P R I L 2 0 1 5
exactly the opposite of the photos”. All the leaves come from the same species of
7. 3 0 P M – 9. 0 0 P M
Ex h i b i t i o n ( d e) To u r : L i l i a n Ch e e , Wr i t er, T h eo r i st
an d D esi gn er
tree, Syzygium Grandis, commonly known as the sea apple or jambu laut and found
w ide l y o n co n t e m po rary art , in cl u din g co n t ribu t io n s t o t h e co l l e ct io n s , T he or y in
S AT U R D AY, 6 J U N E 2 0 1 5 *
Professor Freddy Boey,
founding director
deputy president and provost
Operations, Development & Planning
Michelle Goh,
Nor Jumaiyah,
a s s i s ta n t d i r e c t o r , o p e r at i o n s & h r
a s s i s ta n t d i r e c t o r ,
c o m m u n i c at i o n s & d e v e l o p m e n t
P L AC E.L A B O UR .C A P I TA L . i s t r an sl at ed sp at i al l y t h ro ugh a n ew c o nf i gurat i o n of
t h e ex h i b i t i o n area d esi gn ed b y Fa re e d A r m a l y . Fro m Th e Ex h i bi ti o n Ha l l , a n ew
Kimberly Shen,
Mary Loo,
m a n a g e r , c o m m u n i c at i o n s
manager, finance
Vijayalakshmi Balankrishnan,
L ilia n C h ee is an A s s is t an t P rofe s s o r at t h e Nat io n al U n iv e rs it y of Sin g apo re . H e r re ce n t
( Ro u t l e dg e , 2 0 1 5 ), Conse rv ing Dom e sticity ( O RO, 2 0 1 2 ), an d t h e arch it e ct u ral f il m
03-FL AT S ( NU S an d 1 3 L it t l e P ict u re s , 2 0 14 ). Sh e is o n t h e e dit o rial bo ards of T he J ournal
Ex h i b i t i o n ( d e) To u r : L a i Ch e e Ki e n , A rch i t ect
s p e c i a l p r o j e c t s a s s i s ta n t
sp ace em erges, al l o w i n g an i n t er p l ay of d i al o gu es a c ro ss NTU CCA Si n ga po re’s
Sheila Tham,
e x e c u t i v e , o p e r at i o n s
t h ree p l at fo r m s – ex h i b i t i o n s, resi d en ci es, researc h & educ at i o n . Th i s spa c e i s
Lee Yan Yun,
e x e c u t i v e , f i n a n c e & a d m i n i s t r at i o n
d i v i d ed i n t o t w o areas: Th e L a b w i l l i n t ro d u ce va ri o us st a ges of resea rc h a n d
Th e Si n g l e Screen w i l l b e d ed i cat ed t o m o v i n g i m age.
social sciences, ntu
Professor Dorrit Vibeke Sorensen
c h a i r , s c h o o l o f a r t, d e s i g n a n d m e d i a ,
ntu
Associate Professor Kwok Kian Woon
a s s o c i at e p r o v o s t , s t u d e n t l i f e , n t u
Ms. Kow Ree Na
director, lifestyle,
Josie Browne,
edb
Mr. Paul Tan
Anca Rujoiu,
deputy director
c u r at o r , e x h i b i t i o n s
c u r at o r , r e s i d e n c i e s
c u r at o r , o u t r e a c h & e d u c at i o n
manager, exhibitions
Fa reed Ar ma ly is an art is t , cu rat o r an d au t h o r w h o l iv es a n d w o r ks i n t h e U n i t ed St at es
Isrudy Shaik,
an d G e rm an y. Sin ce t h e l at e 1 98 0 s , h is art is t ic pract i c e ex p res s es a res ea rc h - d r i ven
Syaheedah Iskandar,
po l it ics of ide n t it y, re pre s e n t at io n an d cu l t u re .
co-chair,
Professor Alan Chan Kam-Leung
dean, college of humanities, arts, &
Exhibitions & Residencies
Julie Hyun,
e n qu iry. T h ro u g h dif fe re n t fo rm at s , h is pro je ct s s pat ial l y ma n i fes t a n i n t er p l a y b et w een
Ms. Thien Kwee Eng,
singapore economic development board (edb)
Dr. Eugene Tan
d i r e c t o r , n at i o n a l
Vera Mey,
m e t h o do l o g y t h at co m bin e s g u ide l in e s f ro m v ario u s i n s t i t u t i o n a l ro l es a n d f i el d s of
co-chair,
n a n ya n g t e c h n o l o g i c a l u n i v e r s i t y ( n t u )
a s s i s ta n t m a n a g i n g d i r e c t o r , c g c o n s u m e r
deputy director
Magdalena Magiera,
of Archite cture an d Singap ore Archite ct, an d is a s e rie s e dit o r fo r Ashgate .
executive, exhibitions
Shona Findlay,
c u r at o r i a l a s s i s ta n t
c u r at o r i a l a s s i s ta n t
Research
Samantha Leong,
gallery singapore
d e p u t y c e o & d i r e c t o r , v i s u a l a r t s , n at i o n a l a r t s c o u n c i l
NTU CCA SINGAPORE INTERNATIONAL ADVISORY BOARD
Professor Nikos Papastergiadis, c h a i r ,
p r o f e s s o r , s c h o o l o f c u lt u r e a n d c o m m u n i c at i o n ,
university of melbourne, australia
Ann DeMeester
director, frans hals
museum, the netherlands
Chris Dercon
d i r e c t o r , tat e m o d e r n ,
united kingdom
Hou Hanru
executive, conference,
workshops & archive
a r t i s t i c d i r e c to r , m a x x i n at i o n a l m u s e u m o f 21 s t - c e n t u r y a r t s , i ta ly
Yuko Hasegawa
c h i e f c u r at o r , m u s e u m
of contemporary art tokyo (mot), japan
Sarat Maharaj
* T h is E x h ib it io n ( d e ) To u r w il l t a ke p l a c e of f - s it e .
F o r u p d at es o n t h e p u b l i c p ro gr am m e, ch eck t h e N T U CC A Si n gap o re w eb si t e
an d Faceb o o k p age.
L a i C h ee Kien re s e arch e s o n h is t o rie s of art , arch it e ct u re , s e t t l e m e n t s , u rban is m , an d
p r o f e s s o r o f v i s u a l a r t & k n o w l e d g e s y s t e m s , l u n d u n i v e r s i t y,
l an ds cape s in So u t h e as t A s ia. H is pu bl icat io n s in cl u de A B rie f H istor y of M al ayan Art
4.00PM–6.00PM
All w orks a n d i m a ge s c ourt e sy of J h av e r i Co n t e m p o r a r y, M u m b a i; Tr a c y W il l ia m s Lt d ,
N e w York ; U t op i a Art Syd n e y.
Th e a rt i st w ould li ke t o t h a n k M ic h a e l J a n s s e n , Ch r is t o p h e r H o d g e s , B r y a n H o o p e r,
Kun a R a j a h Na i d u.
H e h as co l l abo rat e d w it h NT U CC A Sin g apo re o n v ario u s pro je ct s . L e e h as pu bl is h e d
w o rk in cl u de s Asian C ine m a and the Use of Sp ace : I nte rd iscip l inar y Pe rsp e ctiv e s
“they do not stop time on their surface, but will fade and shrivel, so that they do
throughout coastal areas in various parts of Southeast Asia.
of A rt C rit ics ; h e w as a fo rm e r art is t ic co -dire ct o r of T h e Su bs t at io n f ro m 2 0 0 0 t o 2 0 0 9.
Conte m p orar y Art s in ce 1 98 5, an d M od e rn and Conte m p orar y Southe ast Asian Art.
up of a leaf from a single botanical species, cropped into a square by the lens of
NTU CCA SINGAPORE GOVERNING COUNCIL
Professor Ute Meta Bauer
Jasmaine Cheong,
al s o a l e ct u re r in t h e h is t o ry of So u t h e as t A s ian A rt at t h e Sch o o l of A rt , D e s ig n & M e dia
Otherwise stated, all programmes take place at NTU CCA Singapore, Block 43
NTU CCA SINGAPORE STAFF
Philip Tinari
director, ullens
( 1 999), B uil d ing M e rd e ka: I nd e p e nd e nce Archite cture in Kual a Lum p ur, 1 95 7 -1 966 ( 2 0 0 7)
an d Cord s to H istorie s ( 2 0 1 3 ). H e is al s o a re g is t e re d arch it e ct in Sin g apo re .
sweden
center for contemporary art (ucca), china
John Tirman
e x e c u t i v e d i r e c to r a n d p r i n c i pa l r e s e a r c h s c i e n t i s t , c e n t e r f o r
i n t e r n at i o n a l s t u d i e s , m a s s a c h u s e t t s i n s t i t u t e o f t e c h n o l o g y
( m i t ), u n i t e d s tat e s
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resources
Exhibition Resource
Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc.
Short Description
Simryn Gill: Hugging the Shore Exhibition Guide
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Simryn Gill: <i>Hugging the Shore</i> Exhibition Guide
Description
An account of the resource
Simryn Gill: <i>Hugging the Shore</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-03-27
Contributor
An entity responsible for making contributions to the resource
Simryn Gill
Ute Meta Bauer
Anca Rujoiu
Format
The file format, physical medium, or dimensions of the resource
Guide
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Archival Practice
Materiality
-
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c982c909027f87baafd30b065f80e329
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
Engaging with the relationship between geometry and nature, Dana Awartani harnesses the timeless and enduring relevance of forms in order to deconstruct contemporary issues such as gender, faith, loss, and cultural destruction.
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
No
Related Countries
Saudi Arabia
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
Dana Awartani
Description
An account of the resource
The rich visual language of Dana Awartani’s (b. 1987, Saudi Arabia) paintings, sculptures, and textile installations incorporate traditional Islamic art forms into contemporary aesthetics. Engaging with the relationship between geometry and nature, she harnesses the timeless and enduring relevance of forms in order to deconstruct contemporary issues such as gender, faith, loss, and cultural destruction. Past solo exhibitions include The Silence Between Us, Maraya Art Centre, Sharjah, United Arab Emirates (2018) and Detroit Affinities: Dana Awartani, Museum of Contemporary Art Detroit, United States (2017). She has participated in numerous group shows and biennales such as Kochi-Muziris Biennale 2016, Kochi, India and the 1st Yinchuan Biennale, Museum of Contemporary Art, Yinchuan, China (both 2016), among others.<br /><br />The artist was scheduled to be in-residence from July – Sept 2020. Due to the COVID-19 virus outbreak and international travel restrictions, the artist was unable to participate in the residency programme physically.
Date
A point or period of time associated with an event in the lifecycle of the resource
1 July – 30 September 2020
Contributor
An entity responsible for making contributions to the resource
Dana Awartani
Medium
The material or physical carrier of the resource.
Installation
Painting
Subject
The topic of the resource
Materiality
Ways of Seeing
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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
The artist intends to engage with local taylors and with the tools of the trade in order to create a new sculptural piece.
Cycle
Cycle 4 (2017 – 2018)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Myanmar
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
Min Thein Sung
Description
An account of the resource
Since 2014, Min Thein Sung has been collecting historical, sociological, and material data for the project <i>Mr Tailor had a dream last night</i>: a soft-sculpture installation made of raw linen fabrics that recreates a small tailor shop, a space for craftsmanship that is still common in Myanmar but fast-dwindling in Singapore. Addressing the alienation of the consumer from the garment-maker and the resilience of this kind of handicraft in the face of today’s industrial mass production, the artist intends to engage with local taylors and with the tools of the trade in order to create a new sculptural piece.
Date
A point or period of time associated with an event in the lifecycle of the resource
2 January – 28 February 2018
Contributor
An entity responsible for making contributions to the resource
Min Thein Sung
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
History
Materiality
Medium
The material or physical carrier of the resource.
Sculpture
Painting
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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
Furthering his own interests into the histories and properties of materials, during the residency Richard Streitmatter-Tran plans to engage with an active studio practice to develop new skills and focus on the next steps of his production.
Cycle
Cycle 4 (2017 – 2018)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Vietnam
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
Richard Streitmatter-Tran
Description
An account of the resource
Furthering his own interests into the histories and properties of materials, during the residency Richard Streitmatter-Tran plans to engage with an active studio practice and to experiment with both animate and inanimate materials from Southeast Asia to develop new skills and focus on the next steps of his production.
Date
A point or period of time associated with an event in the lifecycle of the resource
4 September – 31 October 2017
Contributor
An entity responsible for making contributions to the resource
Richard Streitmatter-Tran
Medium
The material or physical carrier of the resource.
Drawing
Painting
Performance
Subject
The topic of the resource
Materiality
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
Investigating Singapore’s role within the growing global phenomenon of “green cities”, Coburn will pursue research into Singapore’s development from “Garden City” to “City in a Garden”.
Cycle
Cycle 4 (2017 – 2018)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
United States
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
Tyler Coburn
Description
An account of the resource
Investigating Singapore’s role within the growing global phenomenon of “green cities”, Coburn will pursue research into Singapore’s development from “Garden City” to “City in a Garden”. He aims to delve into historical and emerging notions of green urbanism, framing the garden as a pedagogical, philosophical, and literary construct. Focusing on two specific case studies, he will place the multiple functions of Singapore Botanic Gardens in a wider historical prospective and explore the social and economic conditions which underlie the complex eco-tourist structure of Gardens by the Bay.
Date
A point or period of time associated with an event in the lifecycle of the resource
19 June – 31 July 2017
Contributor
An entity responsible for making contributions to the resource
Tyler Coburn
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Installation
Performance
Subject
The topic of the resource
Labour
Urbanism
Technology
Materiality
Identity
-
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
In this lecture Regina Möller will introduce her label embodiment and draw attention to her selective use of materials and textiles to (re)write stories.
Programme Type
Talk and Lecture
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Dublin Core
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Title
A name given to the resource
Lecture: Designing Embodiment by Regina (Maria) Möller, Visiting Researcher, NTU CCA Singapore
Description
An account of the resource
In this lecture Regina Möller will introduce her label embodiment and draw attention to her selective use of materials and textiles to (re)write stories. In 1994 Möller founded the label embodiment under which she designs art works as prototypes, that relate to interior design and clothing. In limited editions, Möller produces furniture, wallpaper, carpets, accessories and clothing, that operate as an interface between art and design on one side, and art and daily life on the other.
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-03-14
Contributor
An entity responsible for making contributions to the resource
Regina (Maria) Möller
Regina Moller
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
Subject
The topic of the resource
Materiality
Fiction
Design