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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Lab
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
The Institute of Critical Zoologists has been researching the escalating chain of events brought about by the human presence on Christmas Island gathering a varied collection of research materials that merge factual and fictional elements.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2018-03-03
Exhibition End Date
2018-04-29
Collaboration
No
Commissioned Work
No
Related Countries
Australia
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
<em>The Institute of Critical Zoologists </em>by Robert Zhao Renhui
Subject
The topic of the resource
Ecosystems
Biodiversity
Geopolitics
Mythology
Nature
Postcolonialism
Description
An account of the resource
Since the establishment of the first human settlements in the late 19th century, the ecosystem of Christmas Island—a small volcanic outcrop in the Indian Ocean which was transferred from Singapore to Australia in 1958—underwent dramatic changes. Along with human settlers, several non-indigenous species alighted on the island disrupting the endemic biodiversity that had thrived undisturbed thanks to geographical remoteness and almost nil human interference. The accidental introduction of invasive species severely impacted a fragile ecosystem, imperilling the island’s wildlife and causing the extinction of a number of native species. As a result, extreme biocontrol strategies are currently being undertaken in an attempt to restore the island’s biodiversity. <br /><br />In the past two years, The Institute of Critical Zoologists has been researching the escalating chain of events brought about by the human presence on Christmas Island gathering a varied collection of research materials that merge factual and fictional elements. By surveying the impact of human beings on an endemic habitat, Final Report of the Christmas Island Expert Working Group maps out lines of invasion and retreat, it investigates dynamics of connectedness and isolation triggering reflections on states of vulnerability and conditions of survival in the age of globalisation. <br /><br />Curated by Anna Lovecchio, Curator, Residencies
Contributor
An entity responsible for making contributions to the resource
Robert Zhao Renhui
Robert Zhao
Anna Lovecchio
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Medium
The material or physical carrier of the resource.
Photography
Date
A point or period of time associated with an event in the lifecycle of the resource
3 March - 29 April 2018
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Lab
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
The wind that cuts the body presents Choi Ka Fai's investigation into Butoh, which arose in Japan at the end of the 1950s, encompassing a diverse range of techniques from dance, theatre, and movement.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2017-10-13
Exhibition End Date
2017-12-10
Collaboration
No
Commissioned Work
No
Related Countries
Japan
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 wind that cuts the body </i>by Choy Ka Fai
Subject
The topic of the resource
Body
Performance
Description
An account of the resource
Driven by his interest in exploring the conditions of the human body, multi-disciplinary artist <b>Choy Ka Fai</b> focuses his research on choreographic practices in
Asia. <i>The wind that cuts the body</i> presents his current investigation into Butoh, which arose in Japan at the end of the 1950s, encompassing a diverse range of techniques from dance, theatre, and movement. Choy traces the legacy of one of the key founders, Tatsumi Hijikata (1928–1986) who sought a new form of physical expression he referred to as <i>ankoku butō</i> (“dance of darkness”), delving into imageries of the grotesque and sickness of the human form. The research presentation will feature a selection of reference materials from the Tatsumi Hijikata Archive in Tokyo and from the artist’s expeditions, interviews, and documentary sketches. In his pursuit, Choy went to the extent of interviewing the spirit of Hijikata through an <i>itako</i> (Japanese shaman) and to speculate on the technological possibilities of dancing with Hijikata again. <br /><br /><i>The wind that cuts the body</i> is curated by Khim Ong, Deputy Director, Curatorial Programmes.
Contributor
An entity responsible for making contributions to the resource
Choy Ka Fai
Khim Ong
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Medium
The material or physical carrier of the resource.
Print
Video
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
The Lab
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
siren eun young jung presents materials from the Yeoseong Gukgeuk archives, offering an insight into the politics of recollecting, weaving together queer desires and patterns of resistance.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2017-09-09
Exhibition End Date
2017-10-08
Collaboration
No
Commissioned Work
No
Related Countries
South Korea
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>Wrong Indexing: Yeoseong Gukgeuk Archive</i> by siren eun young jung
Subject
The topic of the resource
Identity
Description
An account of the resource
As a genre of theatre that features exclusively women actors, <i>Yeoseong Gukgeuk</i> reached the peak of popularity in the 1950s and 1960s, its success being tightly intertwined with the process of modernisation of South Korea. While today it lingers on the verge of extinction, in the post-colonial period <i>Yeoseong Gukgeuk</i> opened up a space for women to embody “other” identities and perform different subjectivities. Reinventing the traditional Korean theatre, they brought the process of gender-shifting to the limelight and subverted socially acceptable norms by blurring conventional gender binaries. Since 2008, <b>siren eun young jung</b> has investigated the public and private lives of <i>Yeoseong Gukgeuk</i> performers who, after the genre fell out of favour, went on to live disparate lives. This configuration of archival materials offers an insight into the artist’s research process and articulates the politics of recollecting, weaving together queer desires and patterns of resistance, affective matters and subversive subjectivities, gender fluidity and the performance of difference.<br /><br /><em>Wrong Indexing: Yeoseong Gukgeuk Archive</em><span> is curated by </span><strong>Dr Anna Lovecchio</strong><span>, Curator, Residencies.</span>
Contributor
An entity responsible for making contributions to the resource
siren eun young jung
Anna Lovecchio
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Medium
The material or physical carrier of the resource.
Photography
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Lab
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Artist Resource Platform Activate! negotiates with the limitations of an archive by initiating conversations and experimentations, offering the audience multiple access points to the resource materials and the artists’ practices.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2016-05-10
Exhibition End Date
2016-08-07
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>Artist Resource Platform Activate!</i>
Subject
The topic of the resource
Artistic Research
Regionalism
Geopolitics
Knowledge Production
Description
An account of the resource
<i>Artist Resource Platform: activate!</i> is an ongoing project that engages with and expands upon the Artist Resource Platform, a growing collection of visual and audio materials from over 90 artists and independent art spaces. The series will negotiate with the limitations of an archive by initiating conversations and experimentations, offering the audience multiple access points to the resource materials and the artists’ practices. <br /><br />This edition of <i>Artist Resource Platform: activate!</i> will feature three curators based in Singapore, providing a conceptual framework to understand their practices and how they are situated within the local and international contemporary art scene. <br /><br /><b>Public Programme</b> <br /><br />Artist Resource Platform: activate! I with Sidd Perez (The Philippines/Singapore), Assistant Curator, NUS Museum Wednesday, 18 May, 7.30 – 9.00pm <br /><br />Artist Resource Platform: activate! II with Selene Yap (Singapore), Programme Manager (Visual Arts), The Substation Friday, 27 May, 7.30 – 9.00pm <br /><br />Artist Resource Platform: activate! III with Melanie Pocock (United Kingdom/Singapore), Assistant Curator, Institute of Contemporary Arts Singapore, LASALLE College of the Arts Friday, 10 June, 7.30 – 9.00pm
Contributor
An entity responsible for making contributions to the resource
Sidd Perez
Melanie Pocock
Selene Yap
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Print
Photography
Video
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Lab
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
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.
Exhibition Mode
Research Presentation
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
The Lab
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2016-04-06
Exhibition End Date
2016-05-03
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
New Zealand
South Korea
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>Four Practices</i>: Artist Resource Platform
Subject
The topic of the resource
Artistic Research
Regionalism
Geopolitics
Description
An account of the resource
Unfolding over four weeks, the NTU CCA Singapore presents <i>Four Practices</i>, a display of resource material of current Artists-in-Residence. Showcasing publications, audio and visual documentation, <i>Four Practices</i> provides an entry point in understanding the artists’ diverse body of works and the complexity of their practices. <br /><br /><i>Four Practices</i> 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.
Contributor
An entity responsible for making contributions to the resource
Haegue Yang
Zac Langdon-Pole
Zul Mahmod
Dennis Tan
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
Oceania
Asia
Medium
The material or physical carrier of the resource.
Print
Video
Photography
Sculpture
-
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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
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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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
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
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, foyer 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
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
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
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
A name given to the resource
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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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
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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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
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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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, opening 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
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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Title
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Zac Langdon-Pole, Passport (Argonauta) (viii), 2018, paper nautilus shell, Campo del Cielo meteorite (iron; coarse octahedrite, landsite: Chaco / Santiago del Estero, Argentina), 9.4 x 3.1 x 5.3 cm. Arus Balik – From below the wind to above the wind and back again (2019), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Title
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Exhibitions
Description
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NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
Arus Balik re-imagines the histories and politics of transitory processes like, colonisation and decolonisation, or shifts in maritime power for people and ports below (e.g. South China Sea) and above (e.g. Indian Ocean) the wind.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2019-03-22
Exhibition End Date
2019-06-23
Collaboration
No
Commissioned Work
No
Related Countries
Indonesia
Malaysia
Singapore
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
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Title
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<i>Arus Balik: From below the wind to above the wind and back again</i>
Subject
The topic of the resource
Oceans & Seas
Ecology
The Anthropocene
Politics
Geopolitics
Archipelagic State
Description
An account of the resource
NTU Centre for Contemporary Art Singapore is pleased to present <i>Arus Balik – From below the wind to above the wind and back again</i>, an exhibition project that initiated from a conversation between Belgian curator <b>Philippe Pirotte</b> and Jakarta-based artist <b>Ade Darmawan</b>. Reconsidering Indonesian author Pramoedya Ananta Toer’s epic book <i>Arus Balik</i> (1995), which could be translated into English as a “turning of the tide,” the eponymous exhibition takes the novel as a starting point to reflect on perspectival shifts in geopolitical, cultural, social, religious, and natural spheres. <br /><br />In his fictional account, Pramoedya elaborates on the weakening of the maritime culture of Javanese kingdoms in the early 16th century, the progressive Islamisation, and the beginning of Portuguese occupation on parts of the now Malay and Indonesian peninsula and archipelago. Important is that Pramoeda’s reversal of perspective as a meta-geographical impulse is comparable to the notion of the “inverted telescope” Benedict Anderson advances in his seminal book <i>Spectre of Comparisons</i> (1998): as a non-Eurocentric method of comparison in which for example Portugal is viewed from the standpoint of Southeast Asia, as through an inverted telescope, which causes a kind of vertigo. Pramoedya suggests that the final decline of the Majapahit empire, and the “change from traditional independence to colonial possession,” was largely caused by the different Javanese kingdoms having gradually turned their backs to the sea. <br /><br />The participating artists expand on this prompt through installations, sculptures, films, performances, and texts, both existing works as well as new commissions. <b>Ade Darmawan</b> re-read <i>Arus Balik</i> with a special focus on how protagonists use natural resources, and will create a distilling dispositive with alkaline water from the straits, recalling that all the scrambling for the control of the archipelago was about the extraction of ore and goods. <b>ila</b> questions what it means to be Boyanese, Buginese, Minangkabau, or Javanese through encounters with Singapore residents now conflated as Malay. Their testimonies will be written on her body and wither, while exposed to salty water and weather on reclaimed areas of Singapore island. <i>Paradise Blueprint</i> (2017), a wallpaper designed by <b>Zac Langdon-Pole</b>, based on a cyanotype photogram of the removed legs of a so-called “Bird of Paradise,” addresses the history of cultural exchange and mythology surrounding the birds native to Papua New Guinea. <b>Lucy Raven</b> creates silk paintings or monoprints, made by imprint of sedimentation in erosion tables, as scrim backdrops she uses for a forthcoming film-production, called <i>Kongkreto</i>, inspired by the 1991 eruption of Mt Pinatubo in the Philippines that finally chased off the Americans from Clark Airbase. Book-aficionado, artist, and writer <b>Shubigi Rao</b> delves into the stories related to the difficult conditions, but also extraordinary examples of solidarity Pramoedya faced on prison island Buru while writing <i>Arus Balik</i>. A new video-installation by <b>Melati Suryodarmo</b>, <i>Dancing under the Black Sky</i> (2019), traces the history behind Reog performances, an art form of resistance and criticism of Ponorogo people of East Java towards Bhre Kertabhumi, a Majapahit king who slowly lost his authority in the 15th century, before Islam became a major force in Demak and controlled the coastal region of Java. <br /><br />The exhibition <i>Arus Balik</i> aims to imagine the implication of histories and politics in processes of transition, such as colonisation and decolonisation, or shifts in maritime power for people and ports below (the straits of Malacca, South China Sea, Java Sea, and further east) and above (the Indian Ocean and further West) the wind. Have the multiple colonisations in Southeast Asia alienated the people from the sea coast? Is it possible to attempt a return? The reversal of the colonial fact, the promise of reversal of a geo-political, -cultural, and social systems, initially embodied by the Bandung conference in 1955, caused Afro-American author Richard Wright to write that “it smacked of tidal waves, of natural forces.” <br /><br />The accompanying public programmes further investigate the topics raised, including a conversation on <b>Saturday, March 23</b>, around the book <i>Arus Balik</i> and the reception of Pramoedya Ananta Toer’s oeuvre. On <b>Saturday, May 25</b>, another conversation will focus on living with the sea and the history of the straits. <br /><br /><i>Arus Balik – From below the wind to above the wind and back again</i> is NTU CCA Singapore’s response and contribution to this year’s nation-wide bicentennial commemorations that reflect on Singapore’s history since the arrival of the British statesman Sir Stamford Raffles in 1819, considered the founder of modern Singapore. <br /><br />Guest curated by <b>Philippe Pirotte</b>, Rector, Staatliche Hochschule für Bildende Künste – Städelschule, and Director, Portikus, Frankfurt, and Visiting Professor (2018/19), MA Museum Studies and Curatorial Practices, School of Art, Design and Media, NTU.
Contributor
An entity responsible for making contributions to the resource
Ade Darmawan
ila
Zac Langdon-Pole
Lucy Raven
Shubigi Rao
Melati Surydarmo
Philippe Pirotte
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Medium
The material or physical carrier of the resource.
Video
Film
Multimedia Installation
Drawing
Photography
Mixed Media
-
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Jef Geys, Chinese Cabbage, from Seed Bag Series, 2018, acrylic paint on canvas. Quadra Medicinale Singapore (2018), NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, foyer view. Courtesy NTU CCA Singapore.
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
A name given to the resource
Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
A name given to the resource
Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Title
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Jef Geys, Quadra Medicinale Singapore, 1 December 2018 – 3 March 2019, NTU Centre for Contemporary Art Singapore, outdoor view. Courtesy NTU CCA Singapore.
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Title
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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
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.
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
2018-12-01
Exhibition End Date
2019-03-03
Collaboration
No
Commissioned Work
No
Related Countries
Singapore
Italy
France
Russia
Belgium
United States
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>Jef Geys Quadra Medicinale Singapore</i>
Subject
The topic of the resource
Botany
Urbanism
Ecosystems
Archival Practice
Pedagogy
Description
An account of the resource
NTU Centre for Contemporary Art Singapore presents <i>Quadra Medicinale Singapore</i>, the late Belgian artist <b>Jef Geys</b>’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. <br /><br />For <i>Quadra Medicinale</i> (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. <br /><br /><i>Quadra Medicinale</i> 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 <i>Kempens Informatieblad</i>. 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?” <br /><br />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. <br /><br />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 <i>Quadra Medicinale</i> 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. <br /><br /><i>Quadra Medicinale Singapore</i> 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. <br /><br />In addition to the elements from <i>Quadra Medicinale</i>, the exhibition includes two paintings from Geys’s <i>Seed-bags</i> 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. <br /><br />In The Single Screen, <i>Day and Night and Day</i>… (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. <br /><br />The exhibition is made possible by generous loans from the Jef Geys Estate and Air de Paris. <br /><br /><i>Quadra Medicinale Singapore</i> is curated by <b>Dirk Snauwaert</b>, Artistic Director at WIELS Contemporary Art Centre, Brussels, in collaboration with <b>Ute Meta Bauer</b> and <b>Khim Ong</b>, NTU CCA Singapore. Snauwaert was the Curator of <i>Jef Geys: Quadra Medicinale</i> in Venice 2009, commissioned for the National Pavilion of Belgiumby the Flemish Community. Snauwaert was an NTU CCA Singapore Curator-in-Residence in 2015.
Contributor
An entity responsible for making contributions to the resource
Louise Neo
Teo Siyang
Dirk Snauwaert
Ute Meta Bauer
Khim Ong
Medium
The material or physical carrier of the resource.
Photography
Print
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Europe
North America
-
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Title
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Armin Linke, OCEANS. Dialogues between ocean floor and water column, 2017, four-channel installation.The Oceanic, 2017, NTU Centre for Contemporary Art Singapore.
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Title
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Armin Linke, OCEANS. Dialogues between ocean floor and water column, 2017, four-channel installation.The Oceanic, 2017, NTU Centre for Contemporary Art Singapore.
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Dublin Core
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Title
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The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
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The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
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Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Jegan Vincent de Paul, Research materials from expedition/South Pacific, 2017, printed materials. The Oceanic, 2017, NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Jegan Vincent de Paul, Research materials from expedition/South Pacific, 2017, printed materials. The Oceanic, 2017, NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view of “Talanoa room” in The Lab. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view of “Talanoa room” in The Lab. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
The Oceanic, 9 December 2017 – 6 March 2018, NTU Centre for Contemporary Art Singapore, installation view of “Talanoa room” in The Lab. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Laura Anderson Barbata, Queen, 2017, Bird Fish Prince, 2017, costumes; Newell Harry, (Untitled) Anagrams and Objects for RU & RU, 2015, tapa cloth. The Oceanic, 2017¬, NTU Centre for Contemporary Art Singapore. Courtesy NTU CCA Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Nabil Ahmed and INTERPRT, Unfolded Pacific Ring, 2016–ongoing; Lisa Rave, Europium, 2014. The Oceanic, 2017¬, NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Nabil Ahmed and INTERPRT, Unfolded Pacific Ring, 2016–ongoing; Lisa Rave, Europium, 2014. The Oceanic, 2017¬, NTU Centre for Contemporary Art Singapore.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Newell Harry, (Untitled) Nimoa and Me: Kiriwina Notes, 2015–16. The Oceanic, 2017¬, NTU Centre for Contemporary Art Singapore.
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Title
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Tue Greenfort, Tamoya Ohboya, 2017, aquarium, live jellyfish, projection.The Oceanic, 2017, NTU Centre for Contemporary Art Singapore.
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Title
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Tue Greenfort, Tamoya Ohboya, 2017, aquarium, live jellyfish, projection.The Oceanic, 2017, NTU Centre for Contemporary Art Singapore.
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Title
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Tue Greenfort, Tamoya Ohboya, 2017, aquarium, live jellyfish, projection.The Oceanic, 2017, NTU Centre for Contemporary Art Singapore.
Dublin Core
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Title
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Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
The Oceanic is an exhibition focusing on large-scale human interventions in oceanic ecospheres in the long cultural histories of Pacific Ocean archipelagos and their current conditions.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Thematic Presentation
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2017-12-09
Exhibition End Date
2018-03-06
Collaboration
Yes
Commissioned Work
No
Related Countries
Papua New Guinea
French Polynesia
Fiji
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
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Title
A name given to the resource
<i>The Oceanic</i>
Subject
The topic of the resource
Oceans & Seas
Ecology
The Anthropocene
Politics
Geopolitics
Archipelagic State
Description
An account of the resource
NTU Centre for Contemporary Art Singapore is pleased to present <i>The Oceanic</i>, an exhibition focusing on large-scale human interventions in oceanic ecospheres with contributions by 12 artists, filmmakers, composers, and researchers who engage with both the long cultural histories of Pacific Ocean archipelagos and their current conditions. As part of Thyssen-Bornemisza Art Contemporary–Academy’s (TBA21–Academy) The Current, an ongoing research initiative into pressing environmental, economic, and socio-political concerns, NTU CCA Singapore’s Founding Director <b>Professor Ute Meta Bauer</b> was invited to lead the project’s first cycle of expeditions from 2015–17. The featured contributors in <i>The Oceanic</i> are The Current Fellows who joined the expeditions on TBA21–Academy’s vessel <i>Dardanella</i> to Papua New Guinea (2015), French Polynesia (2016), and Fiji (2017). <br /><br />The expedition to Papua New Guinea, with <b>Laura Anderson Barbata</b> (Mexico/United States), <b>Tue Greenfort</b> (Denmark/Germany), <b>Newell Harry</b> (Australia), and Jegan Vincent de Paul (Sri Lanka/Canada), took as a starting point the concept of the Kula Ring, a ceremonial exchange system practiced in the Trobriand Islands. The second excursion, to French Polynesia, titled Tuamotus, the Tahitian name for distant islands, included <b>Nabil Ahmed</b> (Bangladesh/United Kingdom), <b>Atif Akin</b> (Turkey/United States), <b>PerMagnus Lindborg</b> (Sweden/Singapore), and <b>Filipa Ramos</b> (Portugal/United Kingdom). The atolls Mururoa and Fangataufa were the sites for 193 nuclear tests between 1966 and 1996, despite being declared a biosphere reserve by UNESCO in 1977. Coinciding with the 50th anniversary of the first atomic weapons test on Mururoa, then considered a French colony in Polynesia, this expedition discussed the still neglected long-term impact of nuclear experiments in the Pacific on the populations and the environment. On the third and last expedition of this cycle, the Fijian practice of the <i>Tabu/Tapu</i>, where a community chief demarcates something as “sacred,” or “forbidden,” continued the enquiry on the Polynesian <i>Rahui</i>—a traditional rule system that in recent times became significant for marine conservation and resource management. This journey to the Fijian Lau Islands was joined by The Current Fellows <b>Guigone Camus</b> (France), <b>Lisa Rave</b> (United Kingdom/Germany), and <b>Kristy H. A. Kang</b> (United States/Singapore). Participating in all three expeditions was <b>Armin Linke</b> (Italy/Germany), who not only documented these journeys with his camera, but also questioned the role of image production in such unique yet loaded encounters. <br /><br />Stemming from this cycle of expeditions, the exhibition addresses various ecological urgencies affecting the ocean and its littorals as a habitat for humans, fauna, and flora, as well as particular aspects of sea governance. Questions addressed in the show include: Who are the regulators of global oceans? Why should communities who only contribute one per cent of the global carbon footprint be among the first ones to be fatally affected by the rise of sea levels caused by global warming? Is the economic benefit of land- and seabed mining evenly shared with the impacted communities? What are the long-term effects of such industries? Who owns the ocean? <br /><br />The interest in exposing the technology behind the human infrastructures is present in Armin Linke’s video installation <i>OCEANS – Dialogues between ocean floor and water column</i> (2017) while Tue Greenfort explores complex ecosystems and scientific production practices, challenging human understanding of and relationship with nature and culture. <br /><br />Inspired by the materials used for gift exchanges such as the <i>Kula Ring</i>, Newell Harry documents this practice in his black-and-white photo series <i>(Untitled) Nimoa and Me: Kiriwina Notes</i> (2015–16), and also creates <i>(Untitled) Anagrams and Objects for RU & RU</i> (2015) with text on tapa, a cloth made from softened bark. Likewise incorporating items by artisans from Milne Bay Province, Laura Anderson Barbata produced striking costumes for the performative piece <i>Ocean Calling</i> (2017), created as part of TBA21–Academy’s intervention on World Ocean Day 2017 at the plaza in front of the United Nations Headquarters in New York. <br /><br />Addressing the exploitation of finite resources, Nabil Ahmed collaborates with other researchers to call for an <i>Inter-Pacific Ring Tribunal</i> (INTERPRT) (2016–ongoing), a long-term investigation into environmental justice in the Pacific region. Lisa Rave’s film <i>Europium</i> (2014) investigates this rare eponymous mineral that has become one of the allures of deep-sea mining—the new gold rush spreading across the global oceans. In <i>Europium</i>, Rave also draws the often-invisible connections between colonialism, ecology, and currencies. <br /><br />The exhibition will also include a sound component by PerMagnus Lindborg who recorded the land and underwater soundscapes of the Tuamotus in French Polynesia, as well as a film programme selected by Filipa Ramos and other The Current Fellows. Jegan Vincent de Paul will expand his research on socio-economic networks into the Pacific region. In The Lab, the Centre’s project space, anthropologist Guigone Camus will display documentation from the Fiji expedition, as well as diverse materials from her extensive research in Kiribati, while Kristy H. A. Kang will reflect on her experience in Fiji through an iterative installation and research process that will explore vernacular forms of mapping cultural memory and spatial narrative. <br /><br /><i>The Oceanic</i> marks the start of NTU CCA Singapore’s new overarching research topic Climates.Habitats.Environments., which will inform and connect the Centre’s various activities—ranging from research to residencies and exhibitions—for the next three years. This is the third exhibition by the Centre, following Allan Sekula’s <i>Fish Story, to be continued</i> (2015) and Charles Lim Yi Yong’s <i>SEA STATE</i> (2016), to feature long-term, critical enquiries by artists about the radical changes for communities whose livelihoods are inseparable from the sea, the precarious labour at sea, and the irreversible impact of technologically driven human interventions on one of the Earth’s most precious resources, the oceans. <br /><br />This opportunity has led to a Memorandum of Understanding between TBA21 and the Nanyang Technological University in developing academic and scientific relationships. <br /><br />From 25 – 27 January 2018, on the occasion of the exhibition and coinciding with Singapore Art Week 2018, <i>The Current Convening #3</i>, conceived by Professor Bauer, <b>Markus Reymann</b>, Director of TBA21–Academy, and <b>Stefanie Hessler</b>, Curator of TBA21–Academy, will take place at the Centre, featuring conversations, roundtables, workshops, performances, and screenings. The event will focus on modalities of exchange and shared responsibilities, while addressing the rights of nature and cultures.
Contributor
An entity responsible for making contributions to the resource
Laura Anderson Barbata
Tue Greenfort
Newell Harry
Jegan Vincent de Paul
Nabil Ahmed
Atif Akin
PerMagnus Lindborg
Filipa Ramos
Guigone Camus
Lisa Rave
Kristy H. A. Kang
Armin Linke
Ute Meta Bauer
Markus Reymann
Stefanie Hessler
Medium
The material or physical carrier of the resource.
Video
Multimedia Installation
Object
Photography
Print
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Oceania
Asia
-
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
A name given to the resource
Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Title
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Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Dublin Core
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Title
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Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
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Ulrike Ottinger, China. The Arts – The People: Photographs and Films from the 1980s and 1990s, 27 May – 13 August 2017, NTU Centre for Contemporary Art Singapore, installation view.
Dublin Core
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Title
A name given to the resource
Exhibitions
Description
An account of the resource
NTU CCA Singapore’s exhibitions focus on contemporary artistic production that provides a critical platform for reflection and discussion.
Exhibition
Curated group or solo shows that happen over a period of time, usually a few months, supported by auxiliary programmes. Examples include exhibition hall presentations, lab presentations, vitrine presentations, curated film programmes, and festivals.
Short Description
China. The Arts – The People, Photographs and Films from the 1980s and 1990s focuses on Ottinger’s research and travels in China and Mongolia during the 1980s and 1990s.
Exhibition Mode
Exhibition
Show Type
Individual Artist (solo show)
Thematic Presentation (group show)
Individual Artist
Exhibition Space
Exhibition Hall
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Exhibition Start Date
2017-05-27
Exhibition End Date
2017-08-13
Collaboration
No
Commissioned Work
No
Related Countries
China
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
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Title
A name given to the resource
<i>Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i>
Subject
The topic of the resource
Identity
Displacement
Regionalism
Archival Practice
Fiction
Politics
Race
Description
An account of the resource
The exhibition <i>China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i> by acclaimed filmmaker Ulrike Ottinger (b. 1942 in Constance, Germany) is the first large-scale exhibition by the award-winning filmmaker and artist in Asia. The selection of works focuses on Ottinger’s research and travels in China and Mongolia during the 1980s and 1990s, comprising four films and more than one hundred photographs. The photographs, created largely in parallel with the production of her films, will be unfolded along the artist’s leitmotifs. <br /><br />Starting with <i>China. The Arts – The People</i> (1985), the exhibition leads a journey through the cultures and geographies of China, while also exploring the relationship between moving image and still life. The three acts of the documentary are presented on a three-screen installation, documenting everyday life in Beijing (February 1985), Sichuan Province (March 1985), and Yunnan Province (March 1985). While meeting the film director Ling Zifeng in one chapter, a Bamboo factory is visited in another, and in parallel the Sani people, a minority group, show their habitat, the Stone Forest. <br /><br /><i>Taiga. A Journey to Northern Mongolia</i> (1992), a documentary over eight hours long that will be presented on multiple monitors throughout the exhibition space, looks into the everyday life of nomadic peoples in Mongolia. Furthermore, on view in the cinematic space of the Centre, The Single Screen, will be <i>Exile Shanghai</i> (1997), a film telling the six life stories of German, Austrian, and Russian Jews intersecting in Shanghai after their escape from Nazi Germany, as well as <i>Johanna d’Arc of Mongolia</i> (1989), Ottinger’s only feature fiction film presenting a cast starring Badema, Lydia Billiet, Inés Sastre, and Delphine Seyrig. <br /><br />From 1962 to 1968, Ulrike Ottinger was living as an independent artist in Paris, where at the University of Paris-Sorbonne she attended lectures on ethnography and religion of Claude Lévi-Strauss, Louis Althusser, and Pierre Bourdieu. Over the decades, she has created an extensive image archive, including films, photographs of her own as well as collections of postcards, magazine illustrations, and other iconographic documents from times and places worldwide. Driven by her curiosity for people and places, the artist’s images alternate between documentary insight and theatrical extravagance, presenting encounters with everyday realities at the intersection of the contemporary, the traditional, and the ritual. <br /><br />The extraordinary filmic and photographic oeuvre from China and Mongolia of the 1980s and 1990s prove her outstanding practice and beyond. Fighting for permission to travel and film in communist China, Ottinger’s interest in Asia also broke with the Cold War stereotype of that time. Her inimitable universe of provinces and regions of China is filled with rich imagery of various provinces in China and nomadic societies in Northern Mongolia and their history, paying attention to the presence of local details and reaching far beyond its described territory. <br /><br />The exhibition is accompanied by an intensive public programme, starting with a <i>Behind the Scenes</i> discussion with the artist on her practice as photographer and filmmaker. The programmed talks and screenings will reflect on the notion of the documentary, the intersection of documentary and fiction, and the potential that artistic production can have for anthropology, cultural studies, and history. <br /><br />Initially a painter, Ottinger came to filmmaking in the early 1970s. She furthermore produced operas, several theatre plays, and radio dramas. Her films have received numerous awards and have been shown at the world’s most important film festivals, as well as appreciated in multiple retrospectives, including Rio de Janeiro International Film Festival (2013), Centre Pompidou, Paris (2010), Museo Reina Sofia, Madrid (2004), The Museum of Modern Art, New York (2000), and Cinémathèque française, Paris (1982). Her work has been featured in major international exhibitions such as Documenta (2017, 2002), Gwangju Biennale (2014), Berlin Biennale (2010, 2004), and Shanghai Biennale (2008). Recent solo shows include, among others, Johanna Breede Photokunst, Berlin (2015, 2013), Sammlung Goetz, Munich (2012), Haus der Kulturen der Welt, Berlin (2011), Neuer Berliner Kunstverein, Berlin (2011), and Witte de With Center for Contemporary Art, Rotterdam (2004). Major monographs include Ulrike Ottinger: World Images (2013), <i>Ulrike Ottinger</i> (2012), <i>Ulrike Ottinger: N.B.K. Ausstellungen Band 11</i> (2011), Floating Food (2011), and <i>Image Archive</i> (2005). In 2011, she was awarded the Hannah Höch Prize for her creative work, and in 2010 honoured with the Order of Merit of the Federal Republic of Germany. <br /><br /><i>Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i> is curated by Ute Meta Bauer, Founding Director, and Khim Ong, Deputy Director, Exhibitions, Residencies and Public Programmes.
Contributor
An entity responsible for making contributions to the resource
Ulrike Ottinger
Ute Meta Bauer
Khim Ong
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Medium
The material or physical carrier of the resource.
Photography
Film
-
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Title
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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
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Title
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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
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Title
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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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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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Title
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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
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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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Title
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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
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Title
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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
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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
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Title
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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
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Title
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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
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Title
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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
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Title
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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