Engaging Perspectives: New Art from Singapore]]> Spaces of the Curatorial]]> History]]> Urbanism]]> Engaging Perspectives: New Art From Singapore present works that engage with multifaceted perspectives about Singapore by a generation of artists born in the 1980s and currently working in Singapore. The nine artists and collectives, who are at differing stages of their careers from emerging artists to those who have exhibited internationally will examine the diverse but related ways in which they engage with the everyday. Their works explore the physical structures as as the invisible structures and networks that govern our everyday lives, the relationship of our increasingly urbanised environments to nature, as well as the systems of meaning making through the creation of images and signs that exists in our society. The exhibition aims to provide new perspectives about the everyday within the context of Singapore, and how this engagement with the everyday is also invariably an engagement with global perspectives.]]> Ang Song Nian]]> Black Baroque Committee]]> Mike Chang]]> Nah Yong En]]> Bruce Quek]]> Singapore Psychogeographical Society]]> Frayn Yong]]> Jasper Yu]]> Zhao Renhui]]> Eugene Tan]]> Installation]]> Multimedia Installation]]> Photography]]> Sculpture]]> Southeast Asia]]> Hugging the Shore]]> Archival Practice]]> Materiality]]> Standing Still (2000- 03), Dalam (2001), May 2006 (2006), and a new work, Like Leaves (Syzygium grandis) (2015). Much of Simryn Gill’s work results from a process of sifting through and documenting her immediate surroundings creating quiet and at the same time commanding work marked by history, culture, the passage of time, and the poetry of daily life.

Curated by Ute Meta Bauer, Founding Director and Anca Rujoiu, Curator, Exhibitions.]]>
Simryn Gill]]> Ute Meta Bauer]]> Anca Rujoiu]]> Photography]]> Southeast Asia]]>
Fish Story, to be continued]]> Capitalism]]> Decolonialism]]> Globalisation]]> Geopolitics]]> Technology]]> Oceans & Seas]]> Fish Story, to be continued presents an investigation of the global maritime industry, an extensive research of the late artist, theorist, photography historian and critic, Allan Sekula. Showing for the first time in Southeast Asia, NTU CCA Singapore will juxtapose chapters from Fish Story (1988 – 1993) alongside two film works, Lottery of the Sea (2006) and The Forgotten Space (2010) co-directed with Nöel Burch. With a focus on the core works of his explorations of the maritime world, this exhibition aims to emphasise Allan Sekula’s sustained argument that the sea is the “forgotten space” of the contemporary global economy. Fish Story, to be continued will include works from the collections of Fond Regional d’art contemporain Bretagne, the Museum of Modern Art (MoMA), New York and Thyssen Bornemisza Art Contemporary (TBA 21), Vienna.

An International Symposium is organised on the occasion of Fish Story, to be continued on Saturday 26 September 2015. Bringing together different researchers and artists who have collaborated or share common interests with Allan Sekula’s work, the symposium will focus on key themes of his practice including questions of critical realism in contemporary art and representation of labour.

This exhibition is part of NTU CCA Singapore’s curatorial programme PLACE.LABOUR.CAPITAL., a trandisciplinary research addressing the complexities of a world in flux and the network of connections that such underlying elements define at both local and global scale.]]>
Allan Sekula]]> Ute Meta Bauer]]> Anca Rujoiu]]> Photography]]> Film]]> Asia]]> Europe]]> North America]]>
Charles Lim Yi Yong: SEA STATE]]> Geopolitics]]> Sustainability]]> Ecology]]> Ecosystems]]> Nature]]> Climate Crisis]]> Oceans & Seas]]> SEA STATE by artist Charles Lim Yi Yong, commissioned for the Singapore Pavilion for the 56th Venice Biennale and curated by Shabbir Hussain Mustafa, will be presented at the NTU CCA Singapore from 30 April to 10 July 2016. For over a decade, Lim’s ongoing project SEA STATE examines the biophysical, political and psychic contours of Singapore through the visible and invisible lenses of the sea. SEA STATE is an in-depth inquiry by an artist that scrutinises both man-made systems, opening new perspectives on our everyday surroundings, from unseen landscapes and disappearing islands to the imaginary boundaries of a future landmass.

First held at the Palazzo Franchetti on the occasion of the Singapore Pavilion at the 56th Venice Biennale, the symposium The Geopolitical and the Biophysical: a structured conversation on Art and Southeast Asia in context will continue and expand upon the debate with a second iteration at NTU CCA Singapore during Lim’s exhibition on 17 and 18 June 2016.

The presentation of SEA STATE and the symposium The Geopolitical and the Biophysical: a structured conversation on Art and Southeast Asia in context, Part II held at NTU CCA Singapore are generously supported by the Ministry of Culture, Community & Youth, National Arts Council Singapore and the Singapore Tourism Board.]]>
Charles Lim Yi Yong]]> Ute Meta Bauer ]]> Video]]> Multimedia Installation]]> Film]]> Photography]]> Southeast Asia]]>
No country: Contemporary Art for South and Southeast Asia]]> Regionalism]]> Geopolitics]]> Migration]]> Diaspora]]> Cultural Heritage]]> No Country: Contemporary Art for South and Southeast Asia 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.

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 No Country: Loss by Sheela Gowda and Morning Glory by Sopheap Pich.]]>
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]]> Sculpture]]> Painting]]> Mixed Media]]> Installation]]> Photography]]> Southeast Asia]]>
Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s]]> Identity]]> Displacement]]> Regionalism]]> Archival Practice]]> Fiction]]> Politics]]> Race]]> China. The Arts – The People, Photographs and Films from the 1980s and 1990s 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.

Starting with China. The Arts – The People (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.

Taiga. A Journey to Northern Mongolia (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 Exile Shanghai (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 Johanna d’Arc of Mongolia (1989), Ottinger’s only feature fiction film presenting a cast starring Badema, Lydia Billiet, Inés Sastre, and Delphine Seyrig.

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.

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.

The exhibition is accompanied by an intensive public programme, starting with a Behind the Scenes 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.

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), Ulrike Ottinger (2012), Ulrike Ottinger: N.B.K. Ausstellungen Band 11 (2011), Floating Food (2011), and Image Archive (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.

Ulrike Ottinger: China. The Arts ­– The People, Photographs and Films from the 1980s and 1990s is curated by Ute Meta Bauer, Founding Director, and Khim Ong, Deputy Director, Exhibitions, Residencies and Public Programmes.]]>
Ulrike Ottinger]]> Ute Meta Bauer]]> Khim Ong]]> Photography]]> Film]]> Asia]]>
The Oceanic]]> Oceans & Seas]]> Ecology]]> The Anthropocene]]> Politics]]> Geopolitics]]> Archipelagic State]]> The Oceanic, 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 Professor Ute Meta Bauer was invited to lead the project’s first cycle of expeditions from 2015–17. The featured contributors in The Oceanic are The Current Fellows who joined the expeditions on TBA21–Academy’s vessel Dardanella to Papua New Guinea (2015), French Polynesia (2016), and Fiji (2017).

The expedition to Papua New Guinea, with Laura Anderson Barbata (Mexico/United States), Tue Greenfort (Denmark/Germany), Newell Harry (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 Nabil Ahmed (Bangladesh/United Kingdom), Atif Akin (Turkey/United States), PerMagnus Lindborg (Sweden/Singapore), and Filipa Ramos (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 Tabu/Tapu, where a community chief demarcates something as “sacred,” or “forbidden,” continued the enquiry on the Polynesian Rahui—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 Guigone Camus (France), Lisa Rave (United Kingdom/Germany), and Kristy H. A. Kang (United States/Singapore). Participating in all three expeditions was Armin Linke (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.

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?

The interest in exposing the technology behind the human infrastructures is present in Armin Linke’s video installation OCEANS – Dialogues between ocean floor and water column (2017) while Tue Greenfort explores complex ecosystems and scientific production practices, challenging human understanding of and relationship with nature and culture.

Inspired by the materials used for gift exchanges such as the Kula Ring, Newell Harry documents this practice in his black-and-white photo series (Untitled) Nimoa and Me: Kiriwina Notes (2015–16), and also creates (Untitled) Anagrams and Objects for RU & RU (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 Ocean Calling (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.

Addressing the exploitation of finite resources, Nabil Ahmed collaborates with other researchers to call for an Inter-Pacific Ring Tribunal (INTERPRT) (2016–ongoing), a long-term investigation into environmental justice in the Pacific region. Lisa Rave’s film Europium (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 Europium, Rave also draws the often-invisible connections between colonialism, ecology, and currencies.

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.

The Oceanic 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 Fish Story, to be continued (2015) and Charles Lim Yi Yong’s SEA STATE (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.

This opportunity has led to a Memorandum of Understanding between TBA21 and the Nanyang Technological University in developing academic and scientific relationships.

From 25 – 27 January 2018, on the occasion of the exhibition and coinciding with Singapore Art Week 2018, The Current Convening #3, conceived by Professor Bauer, Markus Reymann, Director of TBA21–Academy, and Stefanie Hessler, 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.]]>
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]]> Video]]> Multimedia Installation]]> Object]]> Photography]]> Print]]> Oceania]]> Asia]]>
Jef Geys Quadra Medicinale Singapore]]> Botany]]> Urbanism]]> Ecosystems]]> Archival Practice]]> Pedagogy]]> Quadra Medicinale Singapore, the late Belgian artist Jef Geys’s first institutional exhibition in Asia. Geys’s conceptual practice adopted an interdisciplinary and collaborative process of research and knowledge-formation, and was driven by his belief that art should be intertwined with the everyday.

For Quadra Medicinale (2009), Geys invited residents of Villeurbanne, New York, Moscow, and Brussels to demarcate a geometrical quadrant, with their home or workplace at the centre, and document 12 unassuming street plants, or “weeds.” From this collection, the collaborators uncovered the productive, and often times medicinal, properties of these plants.

Quadra Medicinale is structured as a universal manual capable of being replicated anywhere and has, since its first presentation at the Pavilion of Belgium during the 53rd Venice Biennale International Art Exhibition in 2009, been realised and shown in various cities including at the Museum of Contemporary Art Detroit (2010). The exhibition was followed by similar methods of botanical and medicinal plant studies as documented in the accompanying publication Kempens Informatieblad. This alternative model set up by Geys for collective knowledge production, sharing, and documentation has, underlying its process, a socially-active role: Geys asked questions such as, “What can a homeless person who has a toothache, for example, chew-on to ease the pain, and to eventually cure the problem?”

On view will be four chapters of the project, including a newly-created Singapore chapter following Geys’s instructions with contributions by local collaborators, Louise Neo and Teo Siyang. Each chapter includes framed plant specimens with their characteristics labelled, photographs of the site where the plants were originally found, as well as maps of the geographical quadrant explored. Through inciting a collaborative process, Geys created a unique model for knowledge production and sharing.

Questioning mainstream and organised systems of urban planning and information dissemination, Geys casted doubt on the fundaments of language and visual representation, interrogating art’s relation to meaning-making. He produced a text explaining the Quadra Medicinale project that has been translated into 10 languages, with annotations by the artist himself on the translations. Their display as large-format scrolls, further probes systems of interpretation, communication, and accessibility. A selection of these text scrolls and a Malay translation, produced for this exhibition, will be shown.

Quadra Medicinale Singapore introduces an artistic practice that questions the hierarchies and adaptability of nature and society, provoking reflections on both their communicable and imperceptible structures. It also poses the question of whether conceptual artworks can be continued after an artist’s passing.

In addition to the elements from Quadra Medicinale, the exhibition includes two paintings from Geys’s Seed-bags series (1963–2018), a long-term project the artist started when, during his own gardening process, he discovered that the image of the vegetables or flowers pictured on the bag did not match the actual plant. With these paintings, which Geys would create every year, he challenged the accuracy and truth of commercial photography. The medium, however, played a significant role in the artist’s practice enabling him to accumulate an extensive archive of his own projects and interests.

In The Single Screen, Day and Night and Day… (2002), his 36-hour-long film produced for Documenta 11 (Kassel, Germany), will be screened in parallel to the exhibition. This film is a mesmeric sequence composed of thousands of black-and-white photographs Geys took from the mid-1950s to 1998.

The exhibition is made possible by generous loans from the Jef Geys Estate and Air de Paris.

Quadra Medicinale Singapore is curated by Dirk Snauwaert, Artistic Director at WIELS Contemporary Art Centre, Brussels, in collaboration with Ute Meta Bauer and Khim Ong, NTU CCA Singapore. Snauwaert was the Curator of Jef Geys: Quadra Medicinale in Venice 2009, commissioned for the National Pavilion of Belgiumby the Flemish Community. Snauwaert was an NTU CCA Singapore Curator-in-Residence in 2015.]]>
Louise Neo]]> Teo Siyang]]> Dirk Snauwaert]]> Ute Meta Bauer]]> Khim Ong ]]> Photography]]> Print]]> Southeast Asia]]> Europe]]> North America]]>
Arus Balik: From below the wind to above the wind and back again]]> Oceans & Seas]]> Ecology]]> The Anthropocene]]> Politics]]> Geopolitics]]> Archipelagic State]]> Arus Balik – From below the wind to above the wind and back again, an exhibition project that initiated from a conversation between Belgian curator Philippe Pirotte and Jakarta-based artist Ade Darmawan. Reconsidering Indonesian author Pramoedya Ananta Toer’s epic book Arus Balik (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.

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 Spectre of Comparisons (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.

The participating artists expand on this prompt through installations, sculptures, films, performances, and texts, both existing works as well as new commissions. Ade Darmawan re-read Arus Balik 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. ila 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. Paradise Blueprint (2017), a wallpaper designed by Zac Langdon-Pole, 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. Lucy Raven creates silk paintings or monoprints, made by imprint of sedimentation in erosion tables, as scrim backdrops she uses for a forthcoming film-production, called Kongkreto, 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 Shubigi Rao delves into the stories related to the difficult conditions, but also extraordinary examples of solidarity Pramoedya faced on prison island Buru while writing Arus Balik. A new video-installation by Melati Suryodarmo, Dancing under the Black Sky (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.

The exhibition Arus Balik 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.”

The accompanying public programmes further investigate the topics raised, including a conversation on Saturday, March 23, around the book Arus Balik and the reception of Pramoedya Ananta Toer’s oeuvre. On Saturday, May 25, another conversation will focus on living with the sea and the history of the straits.

Arus Balik – From below the wind to above the wind and back again 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.

Guest curated by Philippe Pirotte, 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.]]>
Ade Darmawan]]> ila]]> Zac Langdon-Pole]]> Lucy Raven]]> Shubigi Rao]]> Melati Surydarmo]]> Philippe Pirotte]]> Video]]> Film]]> Multimedia Installation]]> Drawing]]> Photography]]> Mixed Media]]> Southeast Asia]]>
Four Practices: Artist Resource Platform]]> Artistic Research]]> Regionalism]]> Geopolitics]]> Four Practices, a display of resource material of current Artists-in-Residence. Showcasing publications, audio and visual documentation, Four Practices provides an entry point in understanding the artists’ diverse body of works and the complexity of their practices.

Four Practices complements and expands on NTU CCA Singapore’s Artist Resource Platform, a growing collection of resource materials from more than 80 local and international artists, independent art spaces and NTU CCA Singapore’s Artists-in-Residence.]]>
Haegue Yang]]> Zac Langdon-Pole]]> Zul Mahmod]]> Dennis Tan]]> Print]]> Video]]> Photography]]> Sculpture]]> Southeast Asia]]> Oceania]]> Asia]]>