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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
Installation shots of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the Centre for Contemporary Art Singapore, a national research centre of the Nanyang Technological University (NTU), May 10, 2014 – July 20, 2014.
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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
Installation shots of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the Centre for Contemporary Art Singapore, a national research centre of the Nanyang Technological University (NTU), May 10, 2014 – July 20, 2014.
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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
Installation shot of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the NTU Centre for Contemporary Art Singapore, May 10, 2014 – July 20, 2014. Courtesy of Solomon R. Guggenheim Museum, New York, and 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
Installation shots of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the Centre for Contemporary Art Singapore, a national research centre of the Nanyang Technological University (NTU), May 10, 2014 – July 20, 2014.
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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
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014, Reza Afisina, What . . ., 2001. Color video, with sound, 11 min., edition 3/3. 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
Installation shots of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the Centre for Contemporary Art Singapore, a national research centre of the Nanyang Technological University (NTU), May 10, 2014 – July 20, 2014.
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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
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014,Amar Kanwar, The Trilogy: A Season Outside (1997), 1997–2003. Color video, with sound, 30 min., edition 5/6. 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
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014,Amar Kanwar, The Trilogy: A Season Outside (1997), 1997–2003. Color video, with sound, 30 min., edition 5/6. 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
Installation shot of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the NTU Centre for Contemporary Art Singapore, May 10, 2014 – July 20, 2014. Courtesy of Solomon R. Guggenheim Museum, New York, and 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
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014, Sopheap Pich, Morning Glory, 2011. Rattan, bamboo, wire, plywood, and steel, 17 feet 6 inches x 103 inches x 74 inches (533.4 x 261.6 x 188 cm). 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
Installation shot of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the NTU Centre for Contemporary Art Singapore, May 10, 2014 – July 20, 2014. Courtesy of Solomon R. Guggenheim Museum, New York, and 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
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014, Bani Abidi, The Boy Who Got Tired of Posing, 2006. 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
No Country: Contemporary Art for South and Southeast Asia, May 10, 2014 – July 20, 2014, Tang Da Wu, Our Children, 2012. Galvanized steel, glass, and milk. 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
Installation shot of No Country: Contemporary Art for South and Southeast Asia, the inaugural touring exhibition of the Guggenheim UBS MAP Global Art Initiative, at the NTU Centre for Contemporary Art Singapore, May 10, 2014 – July 20, 2014. Courtesy of Solomon R. Guggenheim Museum, New York, and 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
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
No Country: Contemporary Art for South and Southeast Asia is part of a multi-year collaboration that charts contemporary art practice in South and Southeast Asia, Latin America, and the Middle East and North Africa.
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
2014-05-10
Exhibition End Date
2014-07-20
Collaboration
Yes
Commissioned Work
No
Related Countries
Thailand
Philippines
Indonesia
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Exhibition Mode
Exhibition
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>No country: Contemporary Art for South and Southeast Asia</i>
Subject
The topic of the resource
Regionalism
Geopolitics
Migration
Diaspora
Cultural Heritage
Description
An account of the resource
<i>No Country: Contemporary Art for South and Southeast Asia</i> is part of the Guggenheim UBS MAP Global Art Initiative which was launched in April 2012, a multi-year collaboration that charts contemporary art practice in three geographic regions—South and Southeast Asia, Latin America, and the Middle East and North Africa—and encompasses curatorial residencies, international touring exhibitions, audience-driven education programming, and acquisitions for the Guggenheim’s permanent collection. <br /><br />Curated by June Yap, No Country at NTU Centre for Contemporary Art Singapore brought the artworks back to the Southeast Asia region from which many of the artists hail and called for an even closer examination of regional cultural representations and relations. This return suggests the possibility of a renewed understanding through a process of mutual rediscovery that transcends physical and political borders. The exhibition in Singapore also marked the debut of two works from the Guggenheim UBS MAP Purchase Fund not previously shown as part of <i>No Country: Loss</i> by Sheela Gowda and <i>Morning Glory</i> by Sopheap Pich.
Contributor
An entity responsible for making contributions to the resource
June Yap
Sheela Gowda
Sopheap Pich
Amar Kanwar
Arin Dwihartanto Sunaryo
Bani Abidi
Navin Rawanchaikul
Norberto Roldan
Poklong Anading
Reza Afisina
Shilpa Gupta
Tang Da Wu
Tayeba Begum Lipi
The Otolith Group
Tran Luong
Tuan Andrew Nguyen
Vincent Leong
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.
Sculpture
Painting
Mixed Media
Installation
Photography
-
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Bees (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, 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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, 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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, vitrine from Bees containing two masks (plaster cloth, wire, and Japanese watercolor), two stones, instructions for bee dance (marker on paper), one photocopy, two magnifying glasses, one dead bee, and one glass bee made by Vittorio Costantini.
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Fish (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, 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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, vitrine from Fish containing one mask (plaster cloth, wire, and Japanese watercolor), nine sea-urchin shells, one sand dollar, one dried seahorse, one drawing (pigmented- inkjet exhibition copy), three photocopies, two Japanese postcards(facsimilies), six pieces of white sea cora, and one glass sea sponge.
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Wind (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Wind (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, vitrine from Wind containing one found mas, one bird’s skull, one bird’s nest, four postcards, two photocopies, one miniature glass owl made by Virrorio Costantini, and two mirrored glass props made by Alexander Rosenberg.
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Homeroom (2015).
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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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, 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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, 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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, 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
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, vitrine from Homeroom containing one found mask, two glass frogs made by Vittorio Costantini, one fossil, two found black-and-white photographs, two color photographs by Joan Jonas, one photocopy, one found card, and two hand mirrors.
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Dublin Core
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Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Mirror (2015).
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Dublin Core
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Title
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NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Mirror (2015).
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Dublin Core
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Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View: Mirror (2015).
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Dublin Core
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Title
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NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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Dublin Core
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Title
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NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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Dublin Core
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Title
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NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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Dublin Core
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Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, Installation View
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Dublin Core
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Title
A name given to the resource
NTU Centre for Contemporary Art Singapore; Joan Jonas, They Come to Us without a Word, 22 January – 3 April 2016, 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
They Come to Us without a Word is a video and performance by Joan Jonas, as his first large-scale exhibition in Singapore and Southeast Asia.
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
2016-01-22
Exhibition End Date
2016-04-03
Collaboration
No
Commissioned Work
No
Related Countries
None
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
A name given to the resource
Joan Jonas: <i>They Come to Us Without a Word</i>
Subject
The topic of the resource
Supernatural
Ecology
Ecosystems
Biodiversity
Coexistence
Environmental Crisis
Description
An account of the resource
The NTU Centre for Contemporary Art Singapore is honoured to present <i>They Come to Us without a Word</i>, video and performance pioneer Joan Jonas’ first large-scale exhibition in Singapore and Southeast Asia. <i>They Come to Us without a Word</i> was organised for the U.S. Pavilion of the 56th Venice Biennale by the MIT List Visual Arts Center and co-curated by Paul C. Ha, Director of the MIT List Visual Arts Center and Ute Meta Bauer, Founding Director of the NTU Centre for Contemporary Art Singapore. With this exhibition Jonas evokes the fragility of nature, using her own poetic language to address the irreversible impact of human interference on the environmental equilibrium of our planet. <br /><br /><u>Acknowledgements</u> <i>They Come to Us without a Word</i> was organised for the U.S. Pavilion of the 56th Venice Biennale by the MIT List Visual Arts Center and co-curated by Paul C. Ha, Director of the MIT List Visual Arts Center and Ute Meta Bauer, Founding Director of the NTU Centre for Contemporary Art Singapore. The exhibition was generously supported by U.S. Department of State, Cynthia and John Reed, the Helen Frankenthaler Foundation, and the Massachusetts Institute of Technology. Additional major support was provided by the Council for the Arts at MIT, Toby Devan Lewis, VIA Art Fund, Agnes Gund, Lambent Foundation. <br /><br />The exhibition in Singapore is organised by the NTU Centre for Contemporary Art Singapore, Nanyang Technological University with support by the Economic Development Board, Singapore. Additional support has also been provided by the U.S. Embassy Singapore.
Contributor
An entity responsible for making contributions to the resource
Paul C. Ha
Ute Meta Bauer
Joan Jonas
Medium
The material or physical carrier of the resource.
Film
Video
Multimedia Installation
Drawing
Mixed Media
Object
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
Europe
North America
-
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Title
A name given to the resource
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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Title
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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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Dublin Core
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Title
A name given to the resource
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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Dublin Core
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Title
A name given to the resource
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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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
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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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
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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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
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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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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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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.
Dublin Core
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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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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 Vitrine
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
This exhibition investigates movements and migrations of nature and culture in Southeast Asia and beyond. It explores competing claims to nature and culture that resound along the former Malaysian railway tracks at Tanglin Halt.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Vitrine
Exhibition Start Date
2017-06-24
Exhibition End Date
2017-10-02
Collaboration
No
Commissioned Work
No
Related Countries
Malaysia
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>The Migrant Ecologies Project</i> by Lucy Davis
Subject
The topic of the resource
Biodiversity
Nature
Materiality
Description
An account of the resource
The mixed-media selection presented in The Vitrine stems from <i>Railtrack Songmaps</i>, a project exploring competing claims to nature and culture that resound along the former Malaysian railway tracks at Tanglin Halt. For at least five decades, birds, nature lovers, songbird clubs, tree shrines, kampung gardeners and foragers have roosted and seeded themselves along the tracks, nurturing a tangled patch of urban wild that is currently undergoing redevelopment. The particular constellation of elements on display – photographs, Malay pantuns, embroidery on paper, and delicate airborne assemblages of images, cut-outs and coconut sticks – weave in and out of memories of Lim Kim Seng, who together with his brother Lim Kim Chua, joined the Nature Society of Singapore (NSS) as teenager. Both are now senior members of the NSS Bird Group. Kim Seng assisted The Migrant Ecologies Project in the identification of 105 bird species around Tanglin Halt. In an accompanying soundtrack he recalls how an early encounter with a kingfisher first drew him into a bird zone. <br /><br />The Migrant Ecologies Project was founded in 2010 by artist, art writer, and educator Lucy Davis. Investigating movements and migrations of nature and culture in Southeast Asia and beyond, the project unfolds through collaborations with sound artists, photographers, scientists, and designers. <br /><br />Lucy Davis has been an Artist-in-Residence at NTU CCA Singapore from April to June 2017.
Contributor
An entity responsible for making contributions to the resource
Lucy Davis
Lim Kim Seng
Lim Kim Chua
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Installation
Mixed Media
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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 Vitrine
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
Slowly warping over time, the material components entailed in the production and circulation of the written word, Speed Reading alters the boundaries of legibility and shakes the physical foundations of the transmission of knowledge.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Vitrine
Exhibition Start Date
2017-10-28
Exhibition End Date
2018-03-11
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>Speed Reading</i> by Sonya Lacey
Subject
The topic of the resource
Artistic Research
Politics
Description
An account of the resource
Confounding ordinary notions of legibility, the work of <b>Sonya Lacey</b> addresses the politics of communication by tampering with the concrete textures of language. Specifically conceived for The Vitrine, <i>Speed Reading</i> combines two bodies of work that put the sheer physicality of language to a test. <i>Headlines from The Straits Times</i> and <i>Solar Print Tests</i> (both 2017) result from a series of experiments, undertaken by the artist during her residency at NTU CCA Singapore, where she exposed newsprint paper to both sunlight and artificial light, while <i>Dilutions</i>, an earlier work from 2016, is a sculptural piece involving a movable metal typeface and the process of corrosion determined by lead oxide. Slowly warping over time, the material components entailed in the production and circulation of the written word, <i>Speed Reading</i> alters the boundaries of legibility and shakes the physical foundations of the transmission of knowledge.
Contributor
An entity responsible for making contributions to the resource
Sonya Lacey
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Installation
Mixed Media
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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 Vitrine
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
Creatif Compleks (2018) is the culmination of Michael Lee’s reflection on the function of the artist’s studio within the arts ecology of a city. The work features a diagram of various configurations of the artist’s home/studio.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Vitrine
Exhibition Start Date
2018-03-17
Exhibition End Date
2018-09-16
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>Creatif Compleks</i> by Michael Lee
Subject
The topic of the resource
Spaces of the Curatorial
Labour
Fiction
Description
An account of the resource
Developed during his residency at NTU CCA Singapore, <i>Creatif Compleks</i> (2018) is the culmination of <b>Michael Lee</b>’s reflection on the function of the artist’s studio within the arts ecology of a city. The work takes the form of a diagram about a hypothetical property development consisting of various configurations of the artist’s home/studio. The use of LED light strips, a popular fixture in advertising and interior design, alludes to latent apprehensions about the development and promotion of the arts in Singapore which today are, arguably, at a feverish pitch. Informed by myths and fantasies of artists in their studios, the work takes a speculative leap into the utopian and the absurd.
Contributor
An entity responsible for making contributions to the resource
Michael Lee
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Installation
Mixed Media
-
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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 Vitrine
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
impasse to verbal comes out from Luca Lum's continued engagement with Geylang neighbourhood in Singapore and from her speculations on the slippage between what things are, how they look, and what they do.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Vitrine
Exhibition Start Date
2018-09-21
Exhibition End Date
2018-12-09
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
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>impasse to verbal</i> by Luca Lum
Subject
The topic of the resource
Urbanism
Public Sphere
Identity
Description
An account of the resource
Interested in the “semiotic thickness” of Geylang, an area located on the east-central side of Singapore where bustling street life, covert activities, information technologies, and data mining protocols are increasingly intertwined, Luca Lum has been observing the diffuse entanglements of bodies and surfaces, behaviours and networks that define contemporary urban life. <i>impasse to verbal</i> comes out from her continued engagement with the neighbourhood and from her speculations on the slippage between what things are, how they look, and what they do—which the artist defines as the play between description and disposition. <br /><br />The work is a visual assemblage that merges wall notices, official zoning maps, personal routes, and various extracts sampled from the urban landscape. Through an intricate interplay of stratifications and transparencies, it creates an imploded visual environment where information is simultaneously displayed and withdrawn, revealed and cloaked. Steeped in a pervasive blue glow reminiscent of the light of electronic devices, the signs are left to float and clash into leaky configurations that shatter conventional patterns of readability.
Contributor
An entity responsible for making contributions to the resource
Luca Lum
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Installation
Mixed Media
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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 Vitrine
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.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Vitrine
Collaboration
No
Commissioned Work
No
Related Countries
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
<i>Semangat Kejiranan</i> by Izat Arif
Subject
The topic of the resource
Nature
Urbanism
Botany
Description
An account of the resource
Interested in the contiguities and frictions between the natural and urban environment, <b>Izat Arif</b> has conducted experiential and erratic fieldwork in various landscapes in Singapore observing plants, soil, insects, and traces of human presence. This investigation is presented in The Vitrine as a form of a provisional “cabinet of essential items,” which contains a selection of the artist’s notes and drawings, research tools, and findings.
Contributor
An entity responsible for making contributions to the resource
Izat Arif
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Installation
Mixed Media
-
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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 Vitrine
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
Fyerool’s Vivarium (wii fl∞w w/ l4if but t4k£ ø f0rms,♥) encapsulates an object-based index of the area wherein the items slide like cursors along intricate trajectories and the realms of the physical and digital, the archive and the display, are merged.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Vitrine
Exhibition Start Date
2019-12-07
Exhibition End Date
2020-07-12
Collaboration
No
Commissioned Work
No
Related Countries
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
<i>Viva<span style="text-decoration:line-through;">r</span>i<span style="text-decoration:line-through;">u</span>m (wii fl∞w w/ l4if but t4k£ ø forms, ♥) </i>by Fyerool Darma
Subject
The topic of the resource
Urbanism
Public Sphere
Identity
Description
An account of the resource
Engaging The Vitrine as a site imbricated with complex histories and practices of display, Fyerool Darma complicates our understanding of Telok Blangah, the area where Gillman Barracks is located and where the artist recently moved, through objects found or acquired, deconstructed and reoriented by the artist and his collaborators. <br /><br /><i>Viva<span style="text-decoration:line-through;">r</span>i<span style="text-decoration:line-through;">u</span>m (wii fl∞w w/ l4if but t4k£ ø f0rms,♥)</i> is an exercise in four parts. Identified through keywords caches on internet-based community marketplaces and by skimming through nearby shops, the items are representations of the artist’s movements and encounters around Telok Blangah and of the possible future of the area: from its literal meaning of “cooking pot” to the forthcoming “Greater Southern Waterfront” development plan. Three items will be placed in The Vitrine, one at a time, with a monthly cadence and each accession will be captured in the Highlights section of the artist’s Instagram account (@fdarma). <br /><br />Asking questions such as: What is Telok Blangah? And, more importantly if objects are to be taken as registers of the site: Where exactly is Telok Blangah?, Fyerool’s <i>Viva<span style="text-decoration:line-through;">r</span>i<span style="text-decoration:line-through;">u</span>m (wii fl∞w w/ l4if but t4k£ ø f0rms,♥)</i> encapsulates an object-based index of the area wherein the items slide like cursors along intricate trajectories and the realms of the physical and digital, the archive and the display, are merged.
Contributor
An entity responsible for making contributions to the resource
Fyerool Darma
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Installation
Mixed Media
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies
Description
An account of the resource
The studio-based Residencies programme is dedicated to facilitating the research of established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia.
Residency
A research residency programme bringing together local and international artists, curators, and researchers. Metadata description should include research focus of residents, while individual bios will be housed within each contributor's record.
Short Description
Pursuing his sustained interest in natural bodies and biological mechanisms, Trevor Yeung intends to explore Singapore’s culture and politics of nature preservation and gardening.
Cycle
Cycle 6 (2019 – 2020)
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Related Countries
Hong Kong
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
Trevor Yeung
Description
An account of the resource
Pursuing his sustained interest in natural bodies and biological mechanisms, Trevor Yeung intends to explore Singapore’s culture and politics of nature preservation and gardening. More specifically, he will investigate the history of Singapore Botanic Gardens, their role as a laboratory for exploiting natural resources, and the effect of the introduction of foreign plants on local ecosystems. Furthermore, having spent some time working in Singapore in 2011, the artist aims to track down and reconnect with his former colleagues and supervisors, whom he has since lost touch with, in order to gather stories of personal growth and professional development and reflect on the fleeting boundaries that define interpersonal relationships. Ultimately, the artist aims to produce a new series of works that muse on his own relationship with people, plants, and society in Singapore.
Date
A point or period of time associated with an event in the lifecycle of the resource
3 January – 27 March 2020
Contributor
An entity responsible for making contributions to the resource
Trevor Yeung
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.
Mixed Media
Subject
The topic of the resource
Ways of Seeing