Curatorial Practice]]> Art holds a high place in my life ]]> Rosemary Forde]]> Curating]]> Oceania]]> Southeast Asia]]> Urbanism]]> Ecosystems]]> Rodolfo Andaur]]> Curating]]> South America]]> Ecosystems]]> Spaces of the Curatorial]]> Riksa Afiaty]]> Curating]]> Video]]> Southeast Asia]]> Urbanism]]> Politics]]> Pelin Tan]]> Curating]]> Video]]> Asia]]> Curatorial Practice]]> It’s Complicated to reflect on the contemporary art ecosystem in Myanmar and discuss the attitudes of the artists in light of the country’s current socio-political situation.]]> Nathalie Johnston]]> Curating]]> Southeast Asia]]> Curatorial Practice]]> Coltan as Cotton (11 January – 20 October 2019, Mechelen, Belgium). This recently opened exhibition explores the possibility of opening up institutional borders and render them more palpable, audible, sentient, soft, porous and, most of all, decolonial and anti-patriarchal.]]> Nataša Petrešin-Bachelez]]> Natasa Petresin-Bachelez]]> Curating]]> Video]]> Europe]]> Southeast Asia]]> Artistic Research]]> Narawan Pathomvat]]> Curating]]> Southeast Asia]]> Curatorial Practice]]> Re-framing “Measuring the World” that reconsiders the hype of social engineering and the wide adoption of algorithm through conceptual and post-conceptual practices. Contemplating the equation of art and life as well as “statactivism” (i.e. the mobilization of statistics), Yoshida will draw lines of connections between imagination, affect, and current transformations in technologies of quantification.]]> Miya Yoshida]]> Curating]]> Asia]]> Architecture]]> Urbanism]]>
Informed by several theories in the fields of film studies, linguistics, and graphic design, Lee regards cutaways as a method of investigation, a concealment device that can open up a different understanding of urban processes and anxieties as well as provide a penetrating insight into the deep-seated desires of the city.]]>
Michael Lee]]> Curating]]> Object]]> Southeast Asia]]>
Labour]]> Globalisation]]> will look at two exhibition projects, The Great Ephemeral (New Museum, 2015) and Trading Futures (co-curated with Pauline Yao, Taipei Contemporary Art Centre, 2012) relating them to NTU CCA Singapore’s overarching curatorial framework PLACE.LABOUR.CAPITAL. Cheng’s discussion explores the speculative nature of the global market, including the hypothetical systems of labour, value, consumption, and desire.]]> Meiya Cheng]]> Curating]]> Asia]]>