<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
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Urbanism">Urbanism</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Public+Sphere">Public Sphere</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Identity">Identity</a>
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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Fyerool+Darma">Fyerool Darma</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<i>Semangat Kejiranan</i> by Izat Arif
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Urbanism">Urbanism</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Botany">Botany</a>
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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Izat+Arif+">Izat Arif </a>
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<i>impasse to verbal</i> by Luca Lum
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Urbanism">Urbanism</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Public+Sphere">Public Sphere</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Identity">Identity</a>
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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Luca+Lum">Luca Lum</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<i>Creatif Compleks</i> by Michael Lee
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Spaces+of+the+Curatorial">Spaces of the Curatorial</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Labour">Labour</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Fiction">Fiction</a>
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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Michael+Lee+">Michael Lee </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<i>Speed Reading</i> by Sonya Lacey
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Artistic+Research">Artistic Research</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Politics">Politics</a>
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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sonya+Lacey+">Sonya Lacey </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<i>The Migrant Ecologies Project</i> by Lucy Davis
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Biodiversity">Biodiversity</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nature">Nature</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Materiality">Materiality</a>
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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lucy+Davis">Lucy Davis</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lim+Kim+Seng">Lim Kim Seng</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lim+Kim+Chua">Lim Kim Chua</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<i>Arus Balik: From below the wind to above the wind and back again</i>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ecology">Ecology</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=The+Anthropocene">The Anthropocene</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Politics">Politics</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Geopolitics">Geopolitics</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Archipelagic+State">Archipelagic State</a>
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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ade+Darmawan">Ade Darmawan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=ila">ila</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Zac+Langdon-Pole">Zac Langdon-Pole</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lucy+Raven">Lucy Raven</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Shubigi+Rao">Shubigi Rao</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Melati+Surydarmo">Melati Surydarmo</a>
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Joan Jonas: <i>They Come to Us Without a Word</i>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ecology">Ecology</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ecosystems">Ecosystems</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Coexistence">Coexistence</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Environmental+Crisis">Environmental Crisis</a>
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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Paul+C.+Ha">Paul C. Ha</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Joan+Jonas">Joan Jonas</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Europe">Europe</a>
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<i>No country: Contemporary Art for South and Southeast Asia</i>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Regionalism">Regionalism</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Geopolitics">Geopolitics</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Migration">Migration</a>
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<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.
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