1
10
159
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
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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
Amar Kanwar, The Sovereign Forest, 30 July – 9 October 2016, NTU Centre for Contemporary Art Singapore, exhibition view. Courtesy NTU CCA Singapore.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
The Sovereign Forest initiates a creative response to the understanding of crime, politics, human rights and ecology.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2016-07-30
Exhibition End Date
2016-10-09
Collaboration
No
Commissioned Work
No
Related Countries
India
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
Amar Kanwar: <i>The Sovereign Forest </i>in collaboration with Sudhir Pattnaik/Samadrusti and Sherna Dastur
Subject
The topic of the resource
Archival Practice
Indigenous Knowledge
Geopolitics
Capitalism
Ecology
Labour
Politics
Description
An account of the resource
Amar Kanwar has been filming the industrial interventions that have reshaped and permanently destroyed parts of Odisha’s landscape – a battleground on issues of development and displacement since the 1990s. The resulting conflicts between local communities, the government, and corporations over the use of agricultural lands, forests, revers and minerals, have led to an ongoing regime of violence that is unpredictable and often invisible. A long-term commitment of Kanwar, <i>The Sovereign Forest</i> initiates a creative response to the understanding of crime, politics, human rights and ecology. The validity of poetry as evidence in a trial, the discourse on seeing, and the determination of self, all come together as a constellation of films, texts, books, photographs, objects, seeds and processes. <br /><br /><i>The Sovereign Forest</i> is produced with the support of Samadrusti, Odisha, India; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; Centre Pompidou, Paris, France; Yorkshire Sculpture Park, United Kingdom; Public Press, New Delhi, India; and dOCUMENTA (13), Kassel, Germany. <br /><br />The exhibition at NTU CCA Singapore and its public programmes are curated by Ute Meta Bauer, Khim Ong, and Magdalena Magiera, in collaboration with Amar Kanwar, Sudhir Pattnaik and Sherna Dastur.<br /><br /><em>T</em><em>he Sovereign Forest<span> </span></em><span>is produced with the support of Samadrusti, Odisha, India; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; Centre Pompidou, Paris, France; Yorkshire Sculpture Park, United Kingdom; Public Press, New Delhi, India; and </span><em>dOCUMENTA (13)</em><span>, Kassel, Germany.</span>
Contributor
An entity responsible for making contributions to the resource
Ute Meta Bauer
Khim Ong
Magdalena Magiera
Amar Kanwar
Sudhir Pattnaik
Sherna Dastur
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
Medium
The material or physical carrier of the resource.
Multimedia Installation
Object
Sound
-
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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
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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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
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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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
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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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
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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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
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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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
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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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
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
Dublin Core
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Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
China. The Arts – The People, Photographs and Films from the 1980s and 1990s focuses on Ottinger’s research and travels in China and Mongolia during the 1980s and 1990s.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2017-05-27
Exhibition End Date
2017-08-13
Collaboration
No
Commissioned Work
No
Related Countries
China
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
A name given to the resource
<i>Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i>
Subject
The topic of the resource
Identity
Displacement
Regionalism
Archival Practice
Fiction
Politics
Race
Description
An account of the resource
The exhibition <i>China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i> by acclaimed filmmaker Ulrike Ottinger (b. 1942 in Constance, Germany) is the first large-scale exhibition by the award-winning filmmaker and artist in Asia. The selection of works focuses on Ottinger’s research and travels in China and Mongolia during the 1980s and 1990s, comprising four films and more than one hundred photographs. The photographs, created largely in parallel with the production of her films, will be unfolded along the artist’s leitmotifs. <br /><br />Starting with <i>China. The Arts – The People</i> (1985), the exhibition leads a journey through the cultures and geographies of China, while also exploring the relationship between moving image and still life. The three acts of the documentary are presented on a three-screen installation, documenting everyday life in Beijing (February 1985), Sichuan Province (March 1985), and Yunnan Province (March 1985). While meeting the film director Ling Zifeng in one chapter, a Bamboo factory is visited in another, and in parallel the Sani people, a minority group, show their habitat, the Stone Forest. <br /><br /><i>Taiga. A Journey to Northern Mongolia</i> (1992), a documentary over eight hours long that will be presented on multiple monitors throughout the exhibition space, looks into the everyday life of nomadic peoples in Mongolia. Furthermore, on view in the cinematic space of the Centre, The Single Screen, will be <i>Exile Shanghai</i> (1997), a film telling the six life stories of German, Austrian, and Russian Jews intersecting in Shanghai after their escape from Nazi Germany, as well as <i>Johanna d’Arc of Mongolia</i> (1989), Ottinger’s only feature fiction film presenting a cast starring Badema, Lydia Billiet, Inés Sastre, and Delphine Seyrig. <br /><br />From 1962 to 1968, Ulrike Ottinger was living as an independent artist in Paris, where at the University of Paris-Sorbonne she attended lectures on ethnography and religion of Claude Lévi-Strauss, Louis Althusser, and Pierre Bourdieu. Over the decades, she has created an extensive image archive, including films, photographs of her own as well as collections of postcards, magazine illustrations, and other iconographic documents from times and places worldwide. Driven by her curiosity for people and places, the artist’s images alternate between documentary insight and theatrical extravagance, presenting encounters with everyday realities at the intersection of the contemporary, the traditional, and the ritual. <br /><br />The extraordinary filmic and photographic oeuvre from China and Mongolia of the 1980s and 1990s prove her outstanding practice and beyond. Fighting for permission to travel and film in communist China, Ottinger’s interest in Asia also broke with the Cold War stereotype of that time. Her inimitable universe of provinces and regions of China is filled with rich imagery of various provinces in China and nomadic societies in Northern Mongolia and their history, paying attention to the presence of local details and reaching far beyond its described territory. <br /><br />The exhibition is accompanied by an intensive public programme, starting with a <i>Behind the Scenes</i> discussion with the artist on her practice as photographer and filmmaker. The programmed talks and screenings will reflect on the notion of the documentary, the intersection of documentary and fiction, and the potential that artistic production can have for anthropology, cultural studies, and history. <br /><br />Initially a painter, Ottinger came to filmmaking in the early 1970s. She furthermore produced operas, several theatre plays, and radio dramas. Her films have received numerous awards and have been shown at the world’s most important film festivals, as well as appreciated in multiple retrospectives, including Rio de Janeiro International Film Festival (2013), Centre Pompidou, Paris (2010), Museo Reina Sofia, Madrid (2004), The Museum of Modern Art, New York (2000), and Cinémathèque française, Paris (1982). Her work has been featured in major international exhibitions such as Documenta (2017, 2002), Gwangju Biennale (2014), Berlin Biennale (2010, 2004), and Shanghai Biennale (2008). Recent solo shows include, among others, Johanna Breede Photokunst, Berlin (2015, 2013), Sammlung Goetz, Munich (2012), Haus der Kulturen der Welt, Berlin (2011), Neuer Berliner Kunstverein, Berlin (2011), and Witte de With Center for Contemporary Art, Rotterdam (2004). Major monographs include Ulrike Ottinger: World Images (2013), <i>Ulrike Ottinger</i> (2012), <i>Ulrike Ottinger: N.B.K. Ausstellungen Band 11</i> (2011), Floating Food (2011), and <i>Image Archive</i> (2005). In 2011, she was awarded the Hannah Höch Prize for her creative work, and in 2010 honoured with the Order of Merit of the Federal Republic of Germany. <br /><br /><i>Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i> is curated by Ute Meta Bauer, Founding Director, and Khim Ong, Deputy Director, Exhibitions, Residencies and Public Programmes.
Contributor
An entity responsible for making contributions to the resource
Ulrike Ottinger
Ute Meta Bauer
Khim Ong
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
Medium
The material or physical carrier of the resource.
Photography
Film
-
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Dublin Core
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Title
A name given to the resource
Apichatpong Weerasethakul, Fireworks (Archive), 2014. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Title
A name given to the resource
Apichatpong Weerasethakul, Fireworks (Archive), 2014. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Apichatpong Weerasethakul, Fireworks (Archive), 2014. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Apichatpong Weerasethakul, Fireworks (Archive), 2014. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view of exhibition entrance.
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Dublin Core
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Title
A name given to the resource
Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view of exhibition entrance.
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Dublin Core
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Title
A name given to the resource
Ho Tzu Nyen, The Name, 2015. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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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
Ho Tzu Nyen, The Name, 2015. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Nguyen Trinh Thi, Letters from Panduranga, 2015. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Nguyen Trinh Thi, Letters from Panduranga, 2015. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Park Chan-kyong, Citizen’s Forest, 2016. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Park Chan-kyong, Citizen’s Forest, 2016. Ghost and Spectres – Shadows of History, 1 September – 19 November 2017, NTU Centre for Contemporary Art Singapore, installation view.
Dublin Core
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Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Ghosts and Spectres — Shadows of History brings to light clouded histories at times not officially recounted but those that remain a lingering presence in collective memories through local mythologies, ghostly figures, and traditions.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2017-09-01
Exhibition End Date
2017-11-19
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Vietnam
South Korea
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
A name given to the resource
<i>Ghosts and Spectres – Shadows of History</i>
Subject
The topic of the resource
Archival Practice
Fiction
Supernatural
Mythology
Politics
Description
An account of the resource
<i>Ghosts and Spectres — Shadows of History</i> features video installations and films by <b>Apichatpong Weerasethakul</b> (Thailand), <b>Ho Tzu Nyen</b> (Singapore), <b>Nguyen Trinh Thi</b> (Vietnam), and <b>Park Chan-kyong</b> (South Korea). The artists’ research into their own cultural and historical backgrounds gain shape through allegories that re-evaluate the social and political reforms in Post-War and Cold-War Asia. The cinematic works in the exhibition combine fact and fiction. They not only allude to rarely discussed subject-matters but also raise crucial questions about power and authority, construction of narratives, repression of identities, and collective trauma. <br /><br />Embedded in the vernacular, ghosts, myths, and rituals present systems of knowledge that enable the expression of unknown worlds. <i>Ghosts and Spectres — Shadows of History</i> brings to light clouded histories at times not officially recounted but those that remain a lingering presence in collective memories through local mythologies, ghostly figures, and traditions. The works create their own language and systems of reference, reflecting current efforts of exposing written historical accounts and contemporary situations that subvert mainstream narratives. <br /><br />In parallel, The Lab, NTU CCA Singapore’s platform for research in-progress, will be featuring projects by <b>siren eun young jung</b> (South Korea) and <b>Choy Ka Fai</b> (Singapore/Germany), both recent NTU CCA Singapore artists-in-residence. While jung focuses on <i>Yeoseong Gukgeuk</i>, a vanishing form of traditional Korean theatre featuring only female performers, Choy brings up his long-time research into <i>Butoh</i> dance, also called “dance of darkness,” and looks at its evolution and influence through one of the <i>Butoh</i> founders, Tatsumi Hijikata. <br /><br />Ghosts and Spectres—Shadows of History is curated by <b>Ute Meta Bauer</b>, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, NTU, and <b>Khim Ong</b>, Deputy Director, Curatorial Programmes.
Contributor
An entity responsible for making contributions to the resource
Apichatpong Weerasethakul
Ho Tzu Nyen
Nguyen Trinh Thi
Park Chan-kyong
siren eun young jung
Choy Ka Fai
Ute Meta Bauer
Khim Ong
Medium
The material or physical carrier of the resource.
Video
Multimedia Installation
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
Southeast Asia
Asia
-
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Dublin Core
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Title
A name given to the resource
Armin Linke, OCEANS. Dialogues between ocean floor and water column, 2017, four-channel installation.The Oceanic, 2017, NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Title
A name given to the resource
Armin Linke, OCEANS. Dialogues between ocean floor and water column, 2017, four-channel installation.The Oceanic, 2017, NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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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
Jegan Vincent de Paul, Research materials from expedition/South Pacific, 2017, printed materials. The Oceanic, 2017, NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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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
Jegan Vincent de Paul, Research materials from expedition/South Pacific, 2017, printed materials. The Oceanic, 2017, NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view of “Talanoa room” in The Lab. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view of “Talanoa room” in The Lab. Courtesy NTU CCA Singapore.
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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
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view of “Talanoa room” in The Lab. Courtesy NTU CCA Singapore.
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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
Laura Anderson Barbata, Queen, 2017, Bird Fish Prince, 2017, costumes; Newell Harry, (Untitled) Anagrams and Objects for RU & RU, 2015, tapa cloth. The Oceanic, 2017¬, NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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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
Nabil Ahmed and INTERPRT, Unfolded Pacific Ring, 2016–ongoing; Lisa Rave, Europium, 2014. The Oceanic, 2017¬, NTU Centre for Contemporary Art Singapore.
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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
Nabil Ahmed and INTERPRT, Unfolded Pacific Ring, 2016–ongoing; Lisa Rave, Europium, 2014. The Oceanic, 2017¬, NTU Centre for Contemporary Art Singapore.
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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
Newell Harry, (Untitled) Nimoa and Me: Kiriwina Notes, 2015–16. The Oceanic, 2017¬, NTU Centre for Contemporary Art Singapore.
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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
Tue Greenfort, Tamoya Ohboya, 2017, aquarium, live jellyfish, projection.The Oceanic, 2017, NTU Centre for Contemporary Art Singapore.
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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
Tue Greenfort, Tamoya Ohboya, 2017, aquarium, live jellyfish, projection.The Oceanic, 2017, NTU Centre for Contemporary Art Singapore.
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Title
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Tue Greenfort, Tamoya Ohboya, 2017, aquarium, live jellyfish, projection.The Oceanic, 2017, NTU Centre for Contemporary Art Singapore.
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Title
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Exhibitions
Description
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NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
The Oceanic is an exhibition focusing on large-scale human interventions in oceanic ecospheres in the long cultural histories of Pacific Ocean archipelagos and their current conditions.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2017-12-09
Exhibition End Date
2018-03-06
Collaboration
Yes
Commissioned Work
No
Related Countries
Papua New Guinea
French Polynesia
Fiji
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
<i>The Oceanic</i>
Subject
The topic of the resource
Oceans & Seas
Ecology
The Anthropocene
Politics
Geopolitics
Archipelagic State
Description
An account of the resource
NTU Centre for Contemporary Art Singapore is pleased to present <i>The Oceanic</i>, an exhibition focusing on large-scale human interventions in oceanic ecospheres with contributions by 12 artists, filmmakers, composers, and researchers who engage with both the long cultural histories of Pacific Ocean archipelagos and their current conditions. As part of Thyssen-Bornemisza Art Contemporary–Academy’s (TBA21–Academy) The Current, an ongoing research initiative into pressing environmental, economic, and socio-political concerns, NTU CCA Singapore’s Founding Director <b>Professor Ute Meta Bauer</b> was invited to lead the project’s first cycle of expeditions from 2015–17. The featured contributors in <i>The Oceanic</i> are The Current Fellows who joined the expeditions on TBA21–Academy’s vessel <i>Dardanella</i> to Papua New Guinea (2015), French Polynesia (2016), and Fiji (2017). <br /><br />The expedition to Papua New Guinea, with <b>Laura Anderson Barbata</b> (Mexico/United States), <b>Tue Greenfort</b> (Denmark/Germany), <b>Newell Harry</b> (Australia), and Jegan Vincent de Paul (Sri Lanka/Canada), took as a starting point the concept of the Kula Ring, a ceremonial exchange system practiced in the Trobriand Islands. The second excursion, to French Polynesia, titled Tuamotus, the Tahitian name for distant islands, included <b>Nabil Ahmed</b> (Bangladesh/United Kingdom), <b>Atif Akin</b> (Turkey/United States), <b>PerMagnus Lindborg</b> (Sweden/Singapore), and <b>Filipa Ramos</b> (Portugal/United Kingdom). The atolls Mururoa and Fangataufa were the sites for 193 nuclear tests between 1966 and 1996, despite being declared a biosphere reserve by UNESCO in 1977. Coinciding with the 50th anniversary of the first atomic weapons test on Mururoa, then considered a French colony in Polynesia, this expedition discussed the still neglected long-term impact of nuclear experiments in the Pacific on the populations and the environment. On the third and last expedition of this cycle, the Fijian practice of the <i>Tabu/Tapu</i>, where a community chief demarcates something as “sacred,” or “forbidden,” continued the enquiry on the Polynesian <i>Rahui</i>—a traditional rule system that in recent times became significant for marine conservation and resource management. This journey to the Fijian Lau Islands was joined by The Current Fellows <b>Guigone Camus</b> (France), <b>Lisa Rave</b> (United Kingdom/Germany), and <b>Kristy H. A. Kang</b> (United States/Singapore). Participating in all three expeditions was <b>Armin Linke</b> (Italy/Germany), who not only documented these journeys with his camera, but also questioned the role of image production in such unique yet loaded encounters. <br /><br />Stemming from this cycle of expeditions, the exhibition addresses various ecological urgencies affecting the ocean and its littorals as a habitat for humans, fauna, and flora, as well as particular aspects of sea governance. Questions addressed in the show include: Who are the regulators of global oceans? Why should communities who only contribute one per cent of the global carbon footprint be among the first ones to be fatally affected by the rise of sea levels caused by global warming? Is the economic benefit of land- and seabed mining evenly shared with the impacted communities? What are the long-term effects of such industries? Who owns the ocean? <br /><br />The interest in exposing the technology behind the human infrastructures is present in Armin Linke’s video installation <i>OCEANS – Dialogues between ocean floor and water column</i> (2017) while Tue Greenfort explores complex ecosystems and scientific production practices, challenging human understanding of and relationship with nature and culture. <br /><br />Inspired by the materials used for gift exchanges such as the <i>Kula Ring</i>, Newell Harry documents this practice in his black-and-white photo series <i>(Untitled) Nimoa and Me: Kiriwina Notes</i> (2015–16), and also creates <i>(Untitled) Anagrams and Objects for RU & RU</i> (2015) with text on tapa, a cloth made from softened bark. Likewise incorporating items by artisans from Milne Bay Province, Laura Anderson Barbata produced striking costumes for the performative piece <i>Ocean Calling</i> (2017), created as part of TBA21–Academy’s intervention on World Ocean Day 2017 at the plaza in front of the United Nations Headquarters in New York. <br /><br />Addressing the exploitation of finite resources, Nabil Ahmed collaborates with other researchers to call for an <i>Inter-Pacific Ring Tribunal</i> (INTERPRT) (2016–ongoing), a long-term investigation into environmental justice in the Pacific region. Lisa Rave’s film <i>Europium</i> (2014) investigates this rare eponymous mineral that has become one of the allures of deep-sea mining—the new gold rush spreading across the global oceans. In <i>Europium</i>, Rave also draws the often-invisible connections between colonialism, ecology, and currencies. <br /><br />The exhibition will also include a sound component by PerMagnus Lindborg who recorded the land and underwater soundscapes of the Tuamotus in French Polynesia, as well as a film programme selected by Filipa Ramos and other The Current Fellows. Jegan Vincent de Paul will expand his research on socio-economic networks into the Pacific region. In The Lab, the Centre’s project space, anthropologist Guigone Camus will display documentation from the Fiji expedition, as well as diverse materials from her extensive research in Kiribati, while Kristy H. A. Kang will reflect on her experience in Fiji through an iterative installation and research process that will explore vernacular forms of mapping cultural memory and spatial narrative. <br /><br /><i>The Oceanic</i> marks the start of NTU CCA Singapore’s new overarching research topic Climates.Habitats.Environments., which will inform and connect the Centre’s various activities—ranging from research to residencies and exhibitions—for the next three years. This is the third exhibition by the Centre, following Allan Sekula’s <i>Fish Story, to be continued</i> (2015) and Charles Lim Yi Yong’s <i>SEA STATE</i> (2016), to feature long-term, critical enquiries by artists about the radical changes for communities whose livelihoods are inseparable from the sea, the precarious labour at sea, and the irreversible impact of technologically driven human interventions on one of the Earth’s most precious resources, the oceans. <br /><br />This opportunity has led to a Memorandum of Understanding between TBA21 and the Nanyang Technological University in developing academic and scientific relationships. <br /><br />From 25 – 27 January 2018, on the occasion of the exhibition and coinciding with Singapore Art Week 2018, <i>The Current Convening #3</i>, conceived by Professor Bauer, <b>Markus Reymann</b>, Director of TBA21–Academy, and <b>Stefanie Hessler</b>, Curator of TBA21–Academy, will take place at the Centre, featuring conversations, roundtables, workshops, performances, and screenings. The event will focus on modalities of exchange and shared responsibilities, while addressing the rights of nature and cultures.
Contributor
An entity responsible for making contributions to the resource
Laura Anderson Barbata
Tue Greenfort
Newell Harry
Jegan Vincent de Paul
Nabil Ahmed
Atif Akin
PerMagnus Lindborg
Filipa Ramos
Guigone Camus
Lisa Rave
Kristy H. A. Kang
Armin Linke
Ute Meta Bauer
Markus Reymann
Stefanie Hessler
Medium
The material or physical carrier of the resource.
Video
Multimedia Installation
Object
Photography
Print
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Oceania
Asia
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Ade Darmawan, Tuban, 2019, multimedia installation. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Shubigi Rao, Traduttore, traditore, 2019, mixed media on paper, 50 x 70 cm. Back: Zac Langdon-Pole, Paradise Blueprint, 2017, wallpaper. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, foyer view. Courtesy NTU CCA Singapore.
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ila, bekas, 2019, in collaboration with Kin Chui, video projection, stereo, 12 min. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Shubigi Rao, Pulp: A Short Biography of the Banished Book, 2016–18, 5 photographic prints, 60 x 85 cm each. Back: Zac Langdon-Pole, Paradise Blueprint, 2017, wallpaper. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Lucy Raven, Debris flow erosion series, 2019, wet cement on sand, approx. 225 x 133 cm each. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Melati Suryodarmo, Dancing Under the Black Sky, 2019, four-channel video, 5 min. Back: Zac Langdon-Pole, Paradise Blueprint, 2017, wallpaper. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, opening view. Courtesy NTU CCA Singapore.
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Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Arus Balik – From below the wind to above the wind and back again, 22 March – 23 June 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Zac Langdon-Pole, Passport (Argonauta) (viii), 2018, paper nautilus shell, Campo del Cielo meteorite (iron; coarse octahedrite, landsite: Chaco / Santiago del Estero, Argentina), 9.4 x 3.1 x 5.3 cm. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Title
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Exhibitions
Description
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NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Arus Balik re-imagines the histories and politics of transitory processes like, colonisation and decolonisation, or shifts in maritime power for people and ports below (e.g. South China Sea) and above (e.g. Indian Ocean) the wind.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2019-03-22
Exhibition End Date
2019-06-23
Collaboration
No
Commissioned Work
No
Related Countries
Indonesia
Malaysia
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
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Title
A name given to the resource
<i>Arus Balik: From below the wind to above the wind and back again</i>
Subject
The topic of the resource
Oceans & Seas
Ecology
The Anthropocene
Politics
Geopolitics
Archipelagic State
Description
An account of the resource
NTU Centre for Contemporary Art Singapore is pleased to present <i>Arus Balik – From below the wind to above the wind and back again</i>, an exhibition project that initiated from a conversation between Belgian curator <b>Philippe Pirotte</b> and Jakarta-based artist <b>Ade Darmawan</b>. Reconsidering Indonesian author Pramoedya Ananta Toer’s epic book <i>Arus Balik</i> (1995), which could be translated into English as a “turning of the tide,” the eponymous exhibition takes the novel as a starting point to reflect on perspectival shifts in geopolitical, cultural, social, religious, and natural spheres. <br /><br />In his fictional account, Pramoedya elaborates on the weakening of the maritime culture of Javanese kingdoms in the early 16th century, the progressive Islamisation, and the beginning of Portuguese occupation on parts of the now Malay and Indonesian peninsula and archipelago. Important is that Pramoeda’s reversal of perspective as a meta-geographical impulse is comparable to the notion of the “inverted telescope” Benedict Anderson advances in his seminal book <i>Spectre of Comparisons</i> (1998): as a non-Eurocentric method of comparison in which for example Portugal is viewed from the standpoint of Southeast Asia, as through an inverted telescope, which causes a kind of vertigo. Pramoedya suggests that the final decline of the Majapahit empire, and the “change from traditional independence to colonial possession,” was largely caused by the different Javanese kingdoms having gradually turned their backs to the sea. <br /><br />The participating artists expand on this prompt through installations, sculptures, films, performances, and texts, both existing works as well as new commissions. <b>Ade Darmawan</b> re-read <i>Arus Balik</i> with a special focus on how protagonists use natural resources, and will create a distilling dispositive with alkaline water from the straits, recalling that all the scrambling for the control of the archipelago was about the extraction of ore and goods. <b>ila</b> questions what it means to be Boyanese, Buginese, Minangkabau, or Javanese through encounters with Singapore residents now conflated as Malay. Their testimonies will be written on her body and wither, while exposed to salty water and weather on reclaimed areas of Singapore island. <i>Paradise Blueprint</i> (2017), a wallpaper designed by <b>Zac Langdon-Pole</b>, based on a cyanotype photogram of the removed legs of a so-called “Bird of Paradise,” addresses the history of cultural exchange and mythology surrounding the birds native to Papua New Guinea. <b>Lucy Raven</b> creates silk paintings or monoprints, made by imprint of sedimentation in erosion tables, as scrim backdrops she uses for a forthcoming film-production, called <i>Kongkreto</i>, inspired by the 1991 eruption of Mt Pinatubo in the Philippines that finally chased off the Americans from Clark Airbase. Book-aficionado, artist, and writer <b>Shubigi Rao</b> delves into the stories related to the difficult conditions, but also extraordinary examples of solidarity Pramoedya faced on prison island Buru while writing <i>Arus Balik</i>. A new video-installation by <b>Melati Suryodarmo</b>, <i>Dancing under the Black Sky</i> (2019), traces the history behind Reog performances, an art form of resistance and criticism of Ponorogo people of East Java towards Bhre Kertabhumi, a Majapahit king who slowly lost his authority in the 15th century, before Islam became a major force in Demak and controlled the coastal region of Java. <br /><br />The exhibition <i>Arus Balik</i> aims to imagine the implication of histories and politics in processes of transition, such as colonisation and decolonisation, or shifts in maritime power for people and ports below (the straits of Malacca, South China Sea, Java Sea, and further east) and above (the Indian Ocean and further West) the wind. Have the multiple colonisations in Southeast Asia alienated the people from the sea coast? Is it possible to attempt a return? The reversal of the colonial fact, the promise of reversal of a geo-political, -cultural, and social systems, initially embodied by the Bandung conference in 1955, caused Afro-American author Richard Wright to write that “it smacked of tidal waves, of natural forces.” <br /><br />The accompanying public programmes further investigate the topics raised, including a conversation on <b>Saturday, March 23</b>, around the book <i>Arus Balik</i> and the reception of Pramoedya Ananta Toer’s oeuvre. On <b>Saturday, May 25</b>, another conversation will focus on living with the sea and the history of the straits. <br /><br /><i>Arus Balik – From below the wind to above the wind and back again</i> is NTU CCA Singapore’s response and contribution to this year’s nation-wide bicentennial commemorations that reflect on Singapore’s history since the arrival of the British statesman Sir Stamford Raffles in 1819, considered the founder of modern Singapore. <br /><br />Guest curated by <b>Philippe Pirotte</b>, Rector, Staatliche Hochschule für Bildende Künste – Städelschule, and Director, Portikus, Frankfurt, and Visiting Professor (2018/19), MA Museum Studies and Curatorial Practices, School of Art, Design and Media, NTU.
Contributor
An entity responsible for making contributions to the resource
Ade Darmawan
ila
Zac Langdon-Pole
Lucy Raven
Shubigi Rao
Melati Surydarmo
Philippe Pirotte
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.
Video
Film
Multimedia Installation
Drawing
Photography
Mixed Media
-
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Title
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Siah Armajani, Tomb for Arthur Rimbaud, 2016, painted balsa and aluminium, 48.26 x 39.37 x 39.37 cm. Siah Armajani: Spaces for the Public. Spaces for Democracy. (2019), NTU Centre for Contemporary Art Singapore, installation view.
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Title
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Siah Armajani: Spaces for the Public. Spaces for Democracy. (2019), NTU Centre for Contemporary Art Singapore, installation view.
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Title
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Front: Siah Armajani, Sacco and Vanzetti Reading Room #3, 1988, glazed wood, synthetic resin, glass, steel, brick, aluminium, pencils, dimensions variable. Siah Armajani: Spaces for the Public. Spaces for Democracy. (2019), NTU Centre for Contemporary Art Singapore, installation view.
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Title
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Siah Armajani: Spaces for the Public. Spaces for Democracy., 20 July – 3 November 2019. NTU Centre for Contemporary Art Singapore, installation view.
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Title
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Siah Armajani: Spaces for the Public. Spaces for Democracy., 20 July – 3 November 2019. NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani: Spaces for the Public. Spaces for Democracy., 20 July – 3 November 2019. NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani: Spaces for the Public. Spaces for Democracy., 20 July – 3 November 2019. NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani: Spaces for the Public. Spaces for Democracy., 20 July – 3 November 2019. NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani: Spaces for the Public. Spaces for Democracy., 20 July – 3 November 2019. NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani: Spaces for the Public. Spaces for Democracy., 20 July – 3 November 2019. NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani: Spaces for the Public. Spaces for Democracy., 20 July – 3 November 2019. NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani: Spaces for the Public. Spaces for Democracy., 20 July – 3 November 2019. NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani: Spaces for the Public. Spaces for Democracy., 20 July – 3 November 2019. NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani, Sacco and Vanzetti Reading Room #3, 1988, glazed wood, synthetic resin, glass, steel, brick, aluminium, pencils, dimensions variable. Siah Armajani: Spaces for the Public. Spaces for Democracy. (2019), NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani: Spaces for the Public. Spaces for Democracy. (2019), NTU Centre for Contemporary Art Singapore, Single Screen.
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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
Siah Armajani: Spaces for the Public. Spaces for Democracy. (2019), NTU Centre for Contemporary Art Singapore, Single Screen.
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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
Siah Armajani, Bread Basket, 1975, aluminium, 30.5 x 30.5 cm. Siah Armajani: Spaces for the Public. Spaces for Democracy. (2019), NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani, Street Corner No. 1, 1994, bronze and wood, 134.6 x 280.7 x 33 cm. Siah Armajani: Spaces for the Public. Spaces for Democracy. (2019), NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani, Street Corner No. 2, 1994, bronze, 171.5 x 279.4 x 22.9 cm. Siah Armajani: Spaces for the Public. Spaces for Democracy. (2019), NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani, Grease Protector, 1975, aluminium, 47 x 33 cm. Siah Armajani: Spaces for the Public. Spaces for Democracy. (2019), NTU Centre for Contemporary Art Singapore, installation view.
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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
Siah Armajani, Cooking Spoon, 1975, aluminium, 36.8 x 11.4 cm. Siah Armajani: Spaces for the Public. Spaces for Democracy. (2019), NTU Centre for Contemporary Art Singapore, installation view.
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
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Informed by democratic ideologies and inspired by American vernacular architecture, Armajani's works include gathering spaces for communality, emphasizing the “nobility of usefulness."
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2019-07-20
Exhibition End Date
2019-11-03
Collaboration
No
Commissioned Work
No
Related Countries
United States
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
<i>Siah Armajani. Spaces for the Public Spaces for Democracy</i>
Subject
The topic of the resource
Public Sphere
Politics
Description
An account of the resource
Considered a leading figure in public art, Iranian-born artist <b>Siah Armajani</b> merges architecture and conceptual art in his sculptures, drawings, and public installations. Informed by democratic ideologies and inspired by American vernacular architecture, his works include gathering spaces for communality, emphasizing the “nobility of usefulness.” His highly acclaimed public art and architectural projects have included bridges, gardens, and outdoor structures, that have been commissioned and presented worldwide. A retrospective featuring his artistic career spanning over more than five decades was recently on view at the Walker Art Center, Minneapolis, and inaugurates in March at The MET Breuer, New York. <br /><br />Taking centre stage in the exhibition, the large-scale installation <i>Sacco & Vanzetti Reading Room #3</i> (1988) will unfold along its several comprising elements, such as two rooms, tables, chairs, and racks with books, magazines, and pencils noticeably arranged like spikes. <i>The Reading Room</i> is designed as a functional and inviting space for the visitors of the exhibition to use. The books populating the space are by or about the poets, philosophers, and political activists Armajani has dedicated different works to, many from his <i>Tomb</i> series. Initiated by Armajani in 1972, the <i>Tomb</i> series include drawings and models, of which seven are also on view in the exhibition. <br /><br />The list of authors includes: Theodor Adorno, Hannah Arendt, Walter Benjamin, John Berryman, Dietrich Bonhoeffer, John Dewey, Ralph Waldo Emerson, Luigi Galleani, Emma Goldman, Hafez, Martin Heidegger, Thomas Jefferson, Frank O’Hara, Sylvia Plath, Edgar Allan Poe, Arthur Rimbaud, Richard Rorty, Sacco and Vanzetti, Ahmad Shamlou, Henry David Thoreau, Alfred North Whitehead, Walt Whitman, and Nima Yooshij. <br /><br /><strong>READING GROUPS</strong> <br /><br />NTU CCA Singapore has selected books by and about the philosophers, poets, and political activists that Siah Armajani has dedicated works to, as part of the installation, which is designed for use by the visiting public as a functional and inviting space. Throughout the exhibition period, the installation will host reading groups or other events that respond to the displayed books. <br /><br /><strong>OPEN CALL</strong> <br /><br />In addition, NTU CCA Singapore is seeking interested individuals, groups, or organisations to engage with the artist’s works. The Sacco and Vanzetti Reading Room #3 is available to be used for readings, gatherings, discussions, workshops, or other events. Interested parties can appropriate the installation and exhibition space, including the books accompanying the installation, and respond to the exhibition and its title, the artist and the work, or related topics. <br /><br /><br /><i>Siah Armajani: Spaces for the Public. Spaces for Democracy. </i>is curated by <b>Ute Meta Bauer</b>, Founding Director of the NTU CCA Singapore, and Professor, School of Art, Design and Media, Nanyang Technological University, Singapore. <br /><br />The exhibition is made possible by generous loans from the <b>MMK Museum for Modern Art</b>, Frankfurt, and <b>Rossi & Rossi</b>, Hong Kong. <br /><br />Special thank you to <b>Susanne Pfeffer</b>, Director, and <b>Mario Kramer</b>, Head of Collection, MMK, as well as <b>Fabio Rossi</b> and <strong>Josie Browne</strong>, project liaison. <br /><br />With gratitude to <b>Siah Armajani</b> and <b>Barbara Armajani</b>.
Contributor
An entity responsible for making contributions to the resource
Siah Armajani
Ute Meta Bauer
MMK Museum for Modern Art
Rossi & Rossi
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
North America
Medium
The material or physical carrier of the resource.
Sculpture
Painting
Installation
Object
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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
The Lab
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Darcy Lange: Hard, however, and useful is the small, day-to-day work takes the video work of New Zealand artist, Darcy Lange (1946 – 2005) as the starting point for a complex discussion concerning the representation of labour.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2015-08-12
Exhibition End Date
2015-09-27
Collaboration
No
Commissioned Work
No
Related Countries
United Kingdom
New Zealand
Spain
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
Darcy Lange: <i>Hard, however, and useful is the small, day-to-day work</i>
Subject
The topic of the resource
Labour
Capitalism
Inequality
Politics
Description
An account of the resource
Integrated within NTU CCA Singapore’s overarching research framework PLACE.LABOUR.CAPITAL, The Lab will present Darcy Lange: <i>Hard, however, and useful is the small, day-to-day work</i>, taking the video work of New Zealand artist, <b>Darcy Lange</b> (1946 – 2005) as the starting point for a complex discussion concerning the representation of labour. During the 1970s, Lange developed a socially engaged video practice with remarkable studies of people at work that draw from documentary traditions as well as conceptual and structuralist video making. With his seminal style of real-time, unedited, without commentary, lengthy observations of workers that came to characterise his Work Studies series (1972 – 77), Lange aimed to “convey the image of work as work, as an occupation, as an activity, as creativity and as a time consumer”. <br /><br />Curated by guest curator, Mercedes Vicente.
Contributor
An entity responsible for making contributions to the resource
Darcy Lange
Mercedes Vicente
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Oceania
Medium
The material or physical carrier of the resource.
Video
Print
-
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a5b14d538e71ae7169c0a5f745f4021f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Lab
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
The Haze: An Inquiry brings together people from different disciplines in a focus group that takes the haze situation in Southeast Asia as the main topic for investigation.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2016-08-12
Exhibition End Date
2016-10-23
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Indonesia
Malaysia
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
<i>The Haze: An Inquiry</i>, Ongoing Research Project
Subject
The topic of the resource
Climate Crisis
Coexistence
Geopolitics
Capitalism
Ecology
Labour
Politics
Description
An account of the resource
This ongoing research project is inspired by Amar Kanwar’s <i>The Sovereign Forest</i>. Referencing Kanwar’s artistic approach, <i>The Haze: An Inquiry</i> brought together people from different disciplines in a focus group that takes the haze situation in Southeast Asia as the main topic for investigation. <br /><br />How do we bridge the gap from the banal to the sensual, the tactical and visceral? What steps of inquiry leads us from the scientific to the notion of immediacy? How do we define abstract terms such as “crime” – Is the haze a crime? What is a crime against society? Different perspectives are offered in this process by participants from diverse backgrounds, including a research scientist, theatre director, community leader, writer, tech consultant, co-founder of a hackerspace, activist, designer and curator, geographer, architect, and postgraduate student. <br /><br />A core group of specialists from varied fields of law, natural and social sciences, literature, art and architecture, media and theatre, is brought together in a series of workshops and discussions to explore the haze situation as an environmental, human, and legal challenge, given its transnational impact. The aim is to create a collection of “evidence” and to investigate the potential of the haze to be considered a “crime”. This collecting which include factual information and data, compilation of ancestral knowledge, media clippings, commentaries, unrecorded oral knowledge, as well as writings, photographs, and films will be gathered in the space amidst working notes of the core group. Using these “evidences”, participants will uncover social and environmental impacts beyond the haze, and deliberate on questions of social justice, corporate environmental responsibilities, agronomy cultures in industrial developments, amongst others. Each participant brings to the discussion individual responses that stem from their respective interests and disciplines. This research platform aims to assemble a diversity of viewpoints to provoke alternative ways of looking at and talking with a wider public about contemporary situations of urgency. <br /><br />In addition to the series of closed and public workshops, discussions, and presentations participants in the core group is engaged in, they are also encouraged to invite guests who will make further inquiries into the “evidences” in The Lab and to look into collaborative working methods of shared agency.
Contributor
An entity responsible for making contributions to the resource
Amar Kanwar
Ute Meta Bauer
Magdalena Magiera
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.
Print
Video
-
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
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Speakers’ Corner is a selection of video documentations of former public events and related research materials from its archives.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2017-08-02
Exhibition End Date
2017-08-31
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
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
<i>Speakers' Corner</i>
Subject
The topic of the resource
Politics
Activism
Archival Practice
Description
An account of the resource
<i>Ready, Steady, Go</i> (2 — 8 August 2017)<br /><i>Incidental Scripts</i> (10 — 15 August 2017)<br /><i>Proximities and Encounters</i> (16 — 22 August 2017)<br /><i>Islanded</i> (23 — 31 August 2017) <br /><br /><i>Speakers’ Corner</i> is a selection of video documentations of former public events and related research materials from its archives. Here, the term “Speakers’ Corner” stands as a metaphor for public discourses created through the various programmes of NTU CCA Singapore. Outreach not only means to create discussions but also to find different languages, or to question under what premises we create our knowledge. Altogether this is what creates a public discourse or a “speakers’ corner” within an institution, which can be academic, literary, or performative. It opens up the possibility for encounters with the known and unknown, the expected and unexpected, as a form of its lively activities. <br /><br />NTU CCA Singapore’s public programmes reflect on our present world through culture and art. Unfolding over two months will be four chapters: <i>Islanded, Incidental Scripts, Proximities and Encounters, and Ready, Steady, Go</i>. Each chapter is related to an exhibition held at NTU CCA Singapore such as Incidental Scripts by Yang Fudong (2014) or SEA STATE by Charles Lim Yi Yong (2016), or to invited local and international Artists-in-Residence and their artistic research and practices like Heman Chong (2017) or Zac Langdon-Pole (2014). On a broader scheme, the events offer an expanded reading and understanding of the complexity and diversity of the contemporary art production of today and how it intersects with current developments in culture, society, and politics.
Contributor
An entity responsible for making contributions to the resource
Yang Fudong
Charles Lim Yi Yong
Heman Chong
Zac Langdon-Pole
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.
Video
-
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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
The Lab
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
NTU CCA Singapore is presenting a selection of materials from Singapore’s Independent Archive (IA), a research and resource platform dedicated to time-based media, established by internationally-renowned artist Lee Wen (Singapore) in 2012.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2018-09-15
Exhibition End Date
2018-11-25
Collaboration
Yes
Commissioned Work
No
Related Countries
Singapore
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
<i>Journey of a Yellow Man. Selected Materials from the Independent Archive</i>
Subject
The topic of the resource
Performance
Activism
Politics
Identity
Artistic Research
Archival Practice
Description
An account of the resource
On the occasion of the launch of the Digital Resource Platform, NTU CCA Singapore is presenting a selection of materials from Singapore’s Independent Archive (IA), a research and resource platform dedicated to time-based media, established by internationally-renowned artist <b>Lee Wen</b> (Singapore) in 2012. For the past six years, the IA captured the zeitgeist of performance art in Singapore and larger (South-)East Asia through artistic collaborations. <br /><br />This presentation in The Lab is organised into five chapters —“Condition,” “Body,” “Formation / Gestalt,” “Absence,” and “Memory”—that look at the development of performance art as a new medium as well as its political conditions. <i>Journey of a Yellow Man.</i> takes visitors through the archive with photographs, videos, writings, sketchbooks, while simultaneously, introducing the digital archive. As of today, the Centre has digitalised 20,000 files from the IA. <br /><br />The practice of Lee Wen is motivated by social investigations that use art to interrogate stereotypical perceptions of culture and society. He became famous for his performance series <i>Journey of a Yellow Man</i> (1992—), where he embodied his Chinese descent and its relationship to oppressive systems. <br /><br />The presentation provides insight into a continuously expanding resource platform that highlights ephemeral moments in the history of performance art in Singapore. The project addresses the importance of providing historically significant source material for researchers and the wider public. The digitalised files will be integrated into NTU CCA Singapore’s Public Resource Platform and will be accessible at the Centre, the Independent Archive, and the Asia Art Archive, Hong Kong, a collaborative partner of this project. <br /><br />With IA, a series of public programmes will take place in both The Lab at the NTU CCA Singapore and in the IA. The programme highlights IA as a “living archive” that not only serves as a reference library and archive focusing on time-based and event-specific art, but is also a gathering space that offers dynamic programmes in a vibrant network of artists, musicians, and the public. <br /><br /><i>Journey of a Yellow Man</i> is curated by <b>Sophie Goltz</b>, Deputy Director, Research and Academic Programmes, NTU CCA Singapore, in collaboration with <b>Lee Wen</b>, artist and Founder, Independent Archive, Singapore, <b>Bruce Quek</b>, Research, Independent Archive, and <b>Kamiliah Bahdar</b>, Public Programmes, Independent Archive. Project Assistant: <b>Ho See Wah</b>, Young Professional Trainee, NTU CCA Singapore. Assistant to Lee Wen: <b>Liu Wen Chao</b>, Library, Independent Archive. <br /><br />The NTU CCA Digital Resource Platform was initiated in 2016 by <b>Ute Meta Bauer</b>, Founding Director, NTU CCA Singapore, and Professor, NTU ADM Singapore and Lee Wen, in collaboration with <b>Chương-Đài Võ</b>, Researcher, Asia Art Archive, Hong Kong. Assistant to the project: <b>Bruce Quek</b> with the support of <b>Samantha Leong Min Yu</b>, Executive, Conferences, Workshops & Archive, NTU CCA Singapore (till May 2018), <b>Corine Chan Li Ling</b>, Executive Archive, NTU CCA Singapore (May to July 2018), and <b>Pooja Paras Mehta</b> (2017), <b>Ho See Wah</b> (2018), Young Professional Trainees, NTU CCA Singapore.
Contributor
An entity responsible for making contributions to the resource
Sophie Goltz
Lee Wen
Bruce Quek
Kamiliah Bahdar
Ho See Wah
Liu Wen Chao
Ute Meta Bauer
Chương-Đài Võ
Samantha Leong Min Yu
Corine Chan Li Ling
Pooja Paras Mehta
Chuong-Dai Vo
Chuong Dai Vo
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.
Photography
Multimedia Installation
Print
Video
Sculpture