<i>CITIES FOR PEOPLE NTU CCA Ideas Fest 2016/7</i>
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<i>CITIES FOR PEOPLE</i> is the pilot edition of the annual NTU CCA Ideas Fest, a platform to catalyse critical exchange of ideas and encourage thinking “out of the box”. It is a bottom-up approach linking the artistic and academic community with grassroots initiatives. This pilot edition expands artistic interventions and engages contemporary issues such as air, water, food, environment, and social interaction in connection to artistic and cultural fields, academic research, and design applications. <br /><br />The 10-day programme, coinciding with Singapore Art Week 2017 and Art After Dark at Gillman Barracks, comprises a conglomerate of performances, public installations, participatory projects and social experiment, urban farming initiatives, public dialogues, and a variety of workshops. It cumulates in a three-day summit that brings together a prominent group of architects, theorists, researchers, curators, and community groups to discuss and exchange ideas about urbanism, modes of exchange, critical spatial practice, and to envision a future city. <i>CITIES FOR PEOPLE</i> offers a platform to contemplate the possibilities for our shared space, reformulate our demands accordingly, and project solutions and desires for the future. <br /><br /><i>CITIES FOR PEOPLE</i>, borrowing the title from a book by eminent Singapore architect William S. W. Lim published in 1990, expands on some of the ideas Lim developed, particularly in relation to tropical environments and recycling, as well as his call for a humanistic architecture. Organised on the occasion of the exhibition <i>Incomplete Urbanism: Attempts at Critical Spatial Practice</i>, this event is an invitation to share and engage in cooperative projects and collective experiences that critically reflect on current challenges in urban and social development.
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<i>Stagings. Soundings. Readings. Free Jazz II</i>
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<i>Stagings. Soundings. Readings. Free Jazz II</i> reviews the performative format that marked NTU CCA Singapore’s inauguration in 2013. <i>Free Jazz</i> 2013 was a series of talks and performances where participants of various disciplines were invited to imagine and envision a new institution and its potential. On its five-year anniversary, the Centre continues advocating for free spaces, celebrating the practice of improvisation, as well as of collective and performative approaches. Discussing ethical values with an expanded sense of community, territorial, and environmental concerns, <i>Stagings. Soundings. Readings.</i> employs an open, multidisciplinary structure that challenges traditional modes of presentation and re-presentation through a range of artistic practices and formats. <br /><br />Situated within a complex and contemporary understanding of the Centre’s current overarching research topic CLIMATES. HABITATS. ENVIRONMENTS., the featured works link theory and practice, emphasising collectiveness. Today, the planet is witnessing a moment of unprecedented loss of biodiversity, habitat destruction, and cultural transformations. In the face of such agitated times juxtaposed with advanced communicative tools, contemporary social and environmental issues require responses from a collective body, through establishing processes of instigation, negotiation, and collaboration. <br /><br />Can we learn from what we see as opposed to being merely seduced by images, becoming active participants instead of only passive observers? <i>Stagings. Soundings. Readings.</i> is an enactment between the artists and the audience. The invited artists engage with a less prescribed environment, reflecting on history, collective action, and human interaction. <br /><br />Located outside the Centre, <b>Maria Loboda</b>‘s sculptural installation is grounded in historical narratives as a reminder that things can change and be taken down overnight, especially by the invisible mechanisms of power. In the Centre’s foyer, <b>Tyler Coburn</b> addresses forms of labour and examines the notion of writing in the 21st century by engaging with complexities of our legal, technological, and geopolitical networks, while <b>Heman Chong</b> analyses motifs of exchange and its boundaries, embracing the space of inter-human connections. <br /><br />Unfolding in the exhibition space, <b>Cally Spooner</b> brings to Singapore an exercise in building new vocabulary and knowledge through bodily means. Using the space as a laboratory, the work investigates new ways of organising and working together. <b>Alexandra Pirici</b>’s choreography explores the possibility of collectively assembling memories of human and non-human presence on the planet. <b>Carlos Casas</b> presents his long-term multi-format ethnographic research based on the human ecology and richness of one of the world’s highest inhabited villages, Hichigh, located in the Pamir mountain range in Tajikistan. Together with composer <b>Phill Niblock</b>, they will create an audio-visual experience, traversing landscape, soundscape, and contemporary music that changes with every iteration. <br /><br />In response to the five-year anniversary and by taking the topic of its celebration <i>Free Jazz</i> literally, <b>Ming Wong</b> will stage an improvisational performance. Similarly, <b>Boris Nieslony</b> (Germany), Co-founder of the artist collective Black Market International, will engage with pioneering Singaporean artist <b>Lee Wen</b> with a discussion and performance. <br /><br />Further probing conventional formats, the accompanying programmes include readings by curator <b>Anca Rujoiu</b> (Romania/Singapore) and poets <b>Peter Sipeli</b> and <b>1angrynative</b> (both Fiji), as well as Behind the Scenes conversations with contributing artists. In The Single Screen, works by <b>Anton Ginzburg</b> (Russia/United States), <b>Mariana Silva</b> (Portugal/United States), <b>Luke Fowler</b> (United Kingdom), <b><b><b>Justin Shoulder </b></b></b>and <b><b><b>Bhenji Ra </b></b></b>(both Philippines/Australia), and others, will add a filmic perspective to the dialogue. <br /><br />This multitude of celebratory events instigates an active engagement with the now, following a conscious desire to become truly present. <br /><br />Curated by <strong>Ute Meta Bauer</strong>, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, Nanyang Technological University, and <strong>Magdalena Magiera</strong>, Curator, Outreach and Education, NTU CCA Singapore.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Heman+Chong">Heman Chong</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tyler+Coburn">Tyler Coburn</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Weixin+Chong"> Weixin Chong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Chloe+Chotrani"> Chloe Chotrani</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nina+Djekic">Nina Djekic</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Farid+Fairuz">Farid Fairuz</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Adam+Lau">Adam Lau</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Yue+Ru+Ma">Yue Ru Ma</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Isabel+Phua">Isabel Phua</a>
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<i>Tarek Atoui The Ground: From the Land to the Sea</i>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Materiality">Materiality</a>
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NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) is pleased to present the first solo exhibition in Southeast Asia by sound artist and composer <b>Tarek Atoui</b>, conceived as a composition that unfolds in space with its unique sound library and instruments. It is the first large-scale exhibition that Atoui has created through interweaving objects, instruments, and recordings, some borrowed from pre-existing projects, others newly collected and produced. <br /><br /><i>The Ground: From the Land to the Sea</i> comprises two layers of auditory experiences that interact with each other as well as with the spatial and sonic qualities of NTU CCA Singapore’s exhibition hall, merging them into a single composition. Enveloping the main exhibition space are a set of speakers that play the sounds of underwater environments as well as human and industrial activities in the harbours of Athens and Abu Dhabi, recorded for the project <i>I/E</i> (2015–ongoing). Building upon the sound collection, Atoui has, as part of this presentation in Singapore, recorded at local harbours and waterfronts, together with composer and sound artist <b>Éric La Casa</b>. <br /><br />The recording process in Singapore took Atoui and La Casa to a range of waterfront sites and islands including the Jurong Fishery Port, Pulau Sebarok (an oil storage facility and refuelling port off the Southern coastline), on an oil tanker, and along the Singapore shores. During these trips, the duo picked out acoustic features of these environs, both underwater and on land, and captured them in their diverse forms—as vibrations, audible noise, and inaudible audio waves, etc.— using devices such as a recorder, a hydrophone, contact microphones, and selfmade omnidirectional microphones. Drawing reference to the emergence of acoustic ecology, which attempts to understand and analyse characteristics of sonic environments such as geological formations, organisms, and human interactions, Atoui’s auditory library is an artistic interpretation of the ecology of our times. Set within a “white cube,” the audience is transposed into an immersive audio-visual topography, becoming part of the installation. <br /><br />Most of the instruments shown are part of <i>The Ground</i> project, the result of the artist’s five-year-long investigation of natural cycles in the Pearl River Delta, first presented at Mirrored Gardens, a project space in Guangzhou, China, in 2017. Also presented are instruments created for previous projects, such as <i>The Reverse Collection</i> (2014–16) and <i>WITHIN</i> (2012–13). This ensemble of unusual instruments is enriched with new additions, including a set of porcelain and ceramic discs, on which traditional Arabic rhythms are engraved, and a customised record player that rotates at irregular speeds, never reading a disc the same way twice. <br /><br />At the core of Atoui’s practice lies an ongoing process of inviting composers, musicians, and artists to collaborate on his pieces in search of new ideas, gestures, and experiences. For the current exhibition, Atoui will engage with local and international musicians who will be invited to appropriate his composition and intervene in the exhibition space. He will work with acclaimed sound artists and musicians <b>Vivian Wang</b> and <b>Yuen Chee Wai</b>, as well as music curator <b>Mark Wong</b>, who in turn will invite other musicians and sound artists to inhabit the installation throughout the course of the exhibition. <br /><br />The exhibition is curated by <b>Ute Meta Bauer</b>, Founding Director, NTU CCA Singapore, and Professor, School of Art, Design and Media, Nanyang Technological University, and <b>Khim Ong</b>, Deputy Director, Curatorial Programmes, NTU CCA Singapore. Supported by Institut français, with the additional support of the Embassy of France in Singapore and Institut français Singapour. <br /><br /><b>Tarek Atoui</b> has invited local and international musicians to engage with his exhibition and appropriate the installation for given periods of time. He worked with acclaimed sound artists and musicians <b>Vivian Wang</b> and <b>Yuen Chee Wai</b>, as well as music curator <b>Mark Wong</b>, who each will host three other musicians and sound artists. The guests will inhabit the exhibition and freely experiment with Atoui’s instruments throughout the course of the exhibition. <br /><br />Schedule for upcoming Guest Musicians in the Exhibition Hall: <br /><br /><b>Vivian Wang</b> (Singapore): 26 – 30 March <br /><b>Yuen Chee Wai</b> (Singapore): 31 March – 3 April <br /><b>Darren Ng</b> (Singapore): 7 – 10 April <br /><b>Uriel Barthélémi</b> (France): 13 – 17 April <br /><b>Tini Aliman</b> (Singapore): 28 April – 1 May <br /><b>Wu Junhan</b> (Singapore): 2 – 5 May <br /><b>The Analog Girl</b> (Singapore): 10 – 13 May <br /><b>Cheryl Ong</b> (Singapore): 19 – 22 May <br /><b>Zai Tang</b> (Singapore): 31 May – 3 June <br /><b>Bani Haykal</b> (Singapore): 4 – 7 June <br /><b>Dharma</b> (Singapore): 13 – 16 June <br /><b>Sudarshan Chandra Kumar</b> (Malaysia): 19 – 22 June
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tarek+Atoui">Tarek Atoui</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Yuen+Chee+Wai">Yuen Chee Wai</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mark+Wong">Mark Wong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Vivian+Wang">Vivian Wang</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Darren+Ng">Darren Ng</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Uriel+Barth%C3%A9l%C3%A9mi">Uriel Barthélémi</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tini+Aliman">Tini Aliman</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Wu+Junhan">Wu Junhan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=The+Analog+Girl">The Analog Girl</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Cheryl+Ong">Cheryl Ong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Zai+Tang">Zai Tang</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bani+Haykal">Bani Haykal</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Dharma">Dharma</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sudarshan+Chandra+Kumar">Sudarshan Chandra Kumar</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ute+Meta+Bauer">Ute Meta Bauer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Khim+Ong">Khim Ong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Alex Murray Leslie
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Performance">Performance</a>
Alex Murray-Leslie is part of Chicks on Speed, a multidisciplinary art group and pioneers in the cross pollination of Pop Music, Performance Art, Fashion and New Media. Murray-Leslie will research into computational footwear in live art <i>The BipedShoe Project</i>, acoustic shoe tools for performance), through the production of new knowledge via experimental research and new collaborations with local Singaporean arts practitioners, curators and academics. She will integrate her experiences while in residence into a new body of performative work around the BipedShoes, which is at the core of her ongoing research into <i>Objectinstruments</i> and their effects on dramaturgie in artformances (live art performances).
9 May – 7 August 2015
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Alex+Murray+Leslie">Alex Murray Leslie</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Amar Kanwar: <i>The Sovereign Forest </i>in collaboration with Sudhir Pattnaik/Samadrusti and Sherna Dastur
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Archival+Practice">Archival Practice</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Indigenous+Knowledge">Indigenous Knowledge</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Geopolitics">Geopolitics</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Capitalism">Capitalism</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ecology">Ecology</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Labour">Labour</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Politics">Politics</a>
Amar Kanwar has been filming the industrial interventions that have reshaped and permanently destroyed parts of Odisha’s landscape – a battleground on issues of development and displacement since the 1990s. The resulting conflicts between local communities, the government, and corporations over the use of agricultural lands, forests, revers and minerals, have led to an ongoing regime of violence that is unpredictable and often invisible. A long-term commitment of Kanwar, <i>The Sovereign Forest</i> initiates a creative response to the understanding of crime, politics, human rights and ecology. The validity of poetry as evidence in a trial, the discourse on seeing, and the determination of self, all come together as a constellation of films, texts, books, photographs, objects, seeds and processes. <br /><br /><i>The Sovereign Forest</i> is produced with the support of Samadrusti, Odisha, India; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; Centre Pompidou, Paris, France; Yorkshire Sculpture Park, United Kingdom; Public Press, New Delhi, India; and dOCUMENTA (13), Kassel, Germany. <br /><br />The exhibition at NTU CCA Singapore and its public programmes are curated by Ute Meta Bauer, Khim Ong, and Magdalena Magiera, in collaboration with Amar Kanwar, Sudhir Pattnaik and Sherna Dastur.<br /><br /><em>T</em><em>he Sovereign Forest<span> </span></em><span>is produced with the support of Samadrusti, Odisha, India; Thyssen-Bornemisza Art Contemporary, Vienna, Austria; Centre Pompidou, Paris, France; Yorkshire Sculpture Park, United Kingdom; Public Press, New Delhi, India; and </span><em>dOCUMENTA (13)</em><span>, Kassel, Germany.</span>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ute+Meta+Bauer">Ute Meta Bauer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Khim+Ong">Khim Ong</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Magdalena+Magiera"> Magdalena Magiera</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Amar+Kanwar"> Amar Kanwar</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sudhir+Pattnaik">Sudhir Pattnaik</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Sherna+Dastur"> Sherna Dastur</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
anGie seah
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ritual">Ritual</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Performance">Performance</a>
While in residence, anGie seah will investigate this ineffable expression into a series of expressive notions; creating moments in curious site-specific rituals and making instructional tools and activities for uplifting purposes. Her research will focus on reflecting upon existential questions on the meaning of fear, death, loss and being human. Fascinated by the splendour of the everyday and against all the depressing and chaotic evidence to the contrary, Seah will investigate intrinsic values of living.
17 August – 18 December 2015
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=anGie+seah">anGie seah</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Bani Haykal
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Performance">Performance</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=History">History</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Politics">Politics</a>
Bani Haykal’s research looks into the history and affect of the cultural cold war through the movement of Jazz music; identifying the political baggage associated with freedom and democracy as unpacked concepts locked in to the sociopolitical, economic and cultural narrative. Mirroring it to the narrative of Singapore’s present interest in music and the arts, Haykal posits the myths of freedom and cultural expansion as political and conceptual pollution that needs to be rethought and reimagined. <br /><br />As a critically reflective artist and thinker, Haykal’s work examines the perceptions, relevance and culture of sound and music. This is often materialised through collaborations with artists across all fields as a means to discover new musical forms. These compositions can be interpreted as language in which to understand wider politics at play.
10 September 2014 – 28 February 2015
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bani+Haykal">Bani Haykal</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Carlos Casas
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nature">Nature</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Coexistence">Coexistence</a>
The eruption of Krakatoa in 1883 can perhaps be considered the last grandiose natural disaster before the advent of moving images. For Casas, the historical eruption is an active producer of multiple narratives and imaginaries. Fascinated by its sublime stature and by the unique visual, sonic, and meteorological phenomena occurred in the aftermath of the eruption, the artist aims to investigate its socio-symbolic entanglements with Indonesia’s colonial history while also continuing his longstanding meditation on how natural disasters affect our understanding of nature and of our position on the planet. Through archival research and on-site shooting, the artist will collect historical, optical, and sonic data from various research stations and archives in Singapore and Indonesia in preparation for a new work.
5 December 2017 – 28 February 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Carlos+Casas">Carlos Casas</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Choy Ka Fai
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Urbanism">Urbanism</a>
Regarded as a successful model of strategic governance and urban planning across Asia, Singapore has shared her infrastructure plans and industrial development expertise with other countries since the 1990s. Choy Ka Fai intends to research the tensions and ideals that underlie the establishment of Singapore as a utopian “prototype city” investigating the multiple narratives that frame the efforts to export and, occasionally to forge, such an utopia.
20 February – 12 May 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Choy+Ka+Fai">Choy Ka Fai</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ka+Fai+Choy">Ka Fai Choy</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Duto Hardono
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Performance">Performance</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Artistic+Research">Artistic Research</a>
Whilst in residence, Hardono will draw from personal experiences, to inquire into the impact that societal changes, such as the affect of censorship, have had on popular culture, local music and literature. His research methodology will be based on observations of human behaviour, field records, filming and the gathering of daily objects and images in Singapore and the context of Southeast Asia. In line with his current practice, Hardono will also further explore various approaches towards collaborative performances.
13 June – 26 August 2016
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Duto+Hardono">Duto Hardono</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>