Amar Kanwar: <i>The Sovereign Forest </i>in collaboration with Sudhir Pattnaik/Samadrusti and Sherna Dastur
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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>
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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=+Amar+Kanwar"> Amar Kanwar</a>
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Allan Sekula: <i>Fish Story, to be continued</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=Technology">Technology</a>
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<i>Fish Story, to be continued</i> presents an investigation of the global maritime industry, an extensive research of the late artist, theorist, photography historian and critic, Allan Sekula. Showing for the first time in Southeast Asia, NTU CCA Singapore will juxtapose chapters from <i>Fish Story</i> (1988 – 1993) alongside two film works, <i>Lottery of the Sea</i> (2006) and <i>The Forgotten Space</i> (2010) co-directed with Nöel Burch. With a focus on the core works of his explorations of the maritime world, this exhibition aims to emphasise Allan Sekula’s sustained argument that the sea is the “forgotten space” of the contemporary global economy. <i>Fish Story, to be continued</i> will include works from the collections of Fond Regional d’art contemporain Bretagne, the Museum of Modern Art (MoMA), New York and Thyssen Bornemisza Art Contemporary (TBA 21), Vienna. <br /><br />An International Symposium is organised on the occasion of <i>Fish Story, to be continued</i> on Saturday 26 September 2015. Bringing together different researchers and artists who have collaborated or share common interests with Allan Sekula’s work, the symposium will focus on key themes of his practice including questions of critical realism in contemporary art and representation of labour. <br /><br />This exhibition is part of NTU CCA Singapore’s curatorial programme PLACE.LABOUR.CAPITAL., a trandisciplinary research addressing the complexities of a world in flux and the network of connections that such underlying elements define at both local and global scale.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Allan+Sekula">Allan Sekula</a>
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<i>Yang Fudong: Incidental Scripts</i>
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Yang Fudong, a leading international figure of contemporary art and one the most important artists to emerge out of China in the 1990s, staged his first major solo exhibition in Southeast Asia at the NTU Centre for Contemporary Art Singapore. The exhibition, <i>Incidental Scripts</i>, presented a selection of four works by Yang: <i>An Estranged Paradise</i> (1997-2002), <i>The Fifth Night (II) Rehearsal</i> (2010), <i>On the Double Dragon Hills</i> (2012) and <i>About the Unknown Girl – Ma Sise</i> (2013-2014). These works are emblematic of his multi-faceted approach towards the creation of visual imageries that complicates our understanding of reality / fiction, and our experience of space / time. <br /><br />The exhibition was curated by Ute Meta Bauer (NTU CCA Singapore Founding Director) with Khim Ong (Independent Curator).
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Yang+Fudong">Yang Fudong</a>
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<i>Ulrike Ottinger: China. The Arts – The People, Photographs and Films from the 1980s and 1990s</i>
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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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ulrike+Ottinger">Ulrike Ottinger</a>
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<i>Trinh T. Minh-ha. Films</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=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=Displacement">Displacement</a>
<i>“The making of each film transforms the way I see myself and the world. Once I start engaging in the process of making a film or in any artistic excursion, I am also embarking upon a journey whose point of arrival is unknown to me.”—Trinh T. Minh-ha</i> <br /><br />Trinh T. Minh-ha. Films. is the first institutional exhibition of filmmaker, music composer, writer, anthropologist, feminist and postcolonial theorist Trinh T. Minh-ha in Asia, presented in an exhibition format. Five of her films—<b>Forgetting Vietnam</b> (2015), <b>Night Passage</b> (2004), <b><i>The Fourth Dimension</i></b> (2001), <b><i>A Tale of Love</i></b> (1995) and <b><i>Shoot for the Contents</i></b> (1991), filmed over a quarter of a century, in different parts of Asia—are simultaneously on view in five small-scale movie theatres in The Exhibition Hall. As the viewer wanders from one theatre to the next, the proximity of the films enables their narratives to interrelate. This spatial configuration took its point of departure from Trinh’s exhibition at the Secession, Vienna, in 2001. <br /><br /><b><i>Forgetting Vietnam</i></b>, framed by two ancient Vietnamese myths, was made in commemoration of the 40th anniversary of the end of the Vietnam war, touching on the memory of trauma. <b><i>Night Passage</i></b>, inspired by Miyazawa Kenji’s novel <b><i>Milky Way Railroad</i></b> (1927), narrates the spiritual journey of a young female immigrant and her two companions, into a world of in-between realities. Shot in Japan, <b><i>The Fourth Dimension</i></b> is Trinh’s first digital film. Using special video effects to composite images and sound in multiple layers, this film is an exploration of time through rituals of religion and culture, new technology and everyday reality. <b><i>A Tale of Love</i></b> is a retelling of 19th-century Vietnamese poem <b><i>The Tale of Kiều</i></b> (1820), through a modern-day Vietnamese immigrant in the United States. In this film, Trinh experiments with various cinematic techniques and elements. <b><i>Shoot for the Contents</i></b>, an excursion into allegories, explores cultural and political shifts in China, as refracted by the June Fourth incident in Beijing. <br /><br />Presented in the Centre’s Single Screen from 31 October 2020 is Trinh’s newest cinematic work, <b><i>What about China?</i></b> (Part I of II, 2020–21). Initiated by NTU CCA Singapore, and co-commissioned with Rockbund Art Museum (RAM), Shanghai, the film takes the notion of harmony in China as a site of creative manifestation, and draws from footage shot in 1993 and 1994, in Eastern and Southern China, specifically from provinces Anhui, Hubei, Zhejiang, Fujian and Guangxi—linked to the remote origins of Chinese civilisation. <br /><br />Through <b><i>Trinh T. Minh-ha. Writings.</i></b>, a display of Trinh’s books on reading platforms along the passageway connecting the five theatres in The Exhibition Hall, as well as Why are they so afraid of a lotus?, presented in The Lab by CCA Wattis Institute for Contemporary Arts (Wattis), San Francisco, that showcases its year-long research season on her multifaceted practice, viewers are able to encounter her extensive writing that is core to her practice. <br /><br />Trinh’s early films, <b><i>Surname Viet Given Name Nam</i></b> (1989), <b><i>Naked Spaces—Living is Round</i></b> (1985), and <b><i>Reassemblage</i></b> (1982), are part of an online film programme, <b><i>Speaking / Thinking Nearby</i></b>. Other films selected echo strands of discussions in Trinh’s layered practice, ranging from ethics of representation, to aspects of migration, global socio-politics, and feminism. <br /><br />Besides the film programme Speaking / Thinking Nearby, other public programmes include Mother Always Has a Mother, an online convening presented by the Centre, Wattis, and RAM, and “There is no such thing as documentary”, a conference that brings together filmmakers, film historians, and curators to question the politics embedded in presentation and representation, perception, context, and the spatial. <br /><br />This is NTU CCA Singapore’s final presentation in its current exhibition space, its opening coinciding with the Centre’s seventh anniversary. By the end of this exhibition, the Centre would have hosted 55 exhibitions since its inception in 2013, inaugurated by the show Paradise Lost (2014), featuring works by Trinh T. Minh-ha alongside those of Zarina Bhimji and Fiona Tan. <br /><br />Trinh T. Minh-ha (Vietnam/United States) is Professor of Gender & Women’s Studies and of Rhetoric at the University of California, Berkeley, and an award-winning artist and filmmaker. She grew up in South Vietnam during the Vietnam War and pursued her education at the National Conservatory of Music and Theater in Ho Chi Minh City. In 1970, she migrated to the United States where she continued her studies in music composition, ethnomusicology, and French literature at the University of Illinois, Urbana-Champaign. She embarked on a career as an educator and has taught in diverse disciplines which brought her to the National Conservatory of Music in Dakar, Senegal, where she shot her first film, Reassemblage. Trinh’s cinematic oeuvre has been featured in numerous exhibitions and film festivals. She has participated in biennales across the globe including Documenta11, Kassel (2002), and most recently at Manifesta 13, Marseille (2020). A prolific writer, she has authored nine books. <br /><br />Trinh T. Minh-ha. Films. is curated by Ute Meta Bauer (Germany/Singapore), Founding Director, NTU CCA Singapore, and Professor, NTU ADM. <br /><br />This project focuses on the multi-layered practice of Trinh T. Minh-ha as a filmmaker, writer, music composer and educator, generating a multi-year (2019–2022) research and programme partnership between NTU CCA Singapore, RAM, Wattis, and the Württembergischer Kunstverein Stuttgart.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Trinh+T.+Minh-ha">Trinh T. Minh-ha</a>
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<i>Trees of Life — Knowledge in Material</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=Biodiversity">Biodiversity</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Botany">Botany</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=Ecosystems">Ecosystems</a>
NTU Centre for Contemporary Art Singapore is embarking on an inquiry into natural materials, exploring the knowledge they embody as biological forms as well as within social, geopolitical, and historical contexts.<i>Trees of Life – Knowledge in Material</i> is part of the Centre’s long-term research cluster Climates.Habitats.Environments. <br /><br />This exhibition focuses on materials from four plants deeply rooted in Asia: <b>indigo</b> (<i>Indigofera tinctoria</i>), <b>lacquer</b> (<i>Rhus succedanea and Melanorrhoea usitata</i>), <b>rattan</b> (<i>Calamoideae</i>), and <b>mulberry</b> (<i>Morus</i>). The works trace the ongoing involvement with these plants in the artistic practices of <b>Manish Nai</b> (India) with indigo, <b>Phi Phi Oanh</b> (United States/Vietnam) with lacquer, <b>Sopheap Pich</b> (Cambodia) with rattan, and <b>Liang Shaoji</b> (China) and <b>Vivian Xu</b> (China) with mulberry silk. While the featured installations serve as a starting point to uncover the materiality of the chosen plants, the study of their natural and cultural DNA allows further exploration into their biological processes and diverse usages at their locale. <br /><br />The artworks intertwine with selected research documents that address the complex histories and circulation, as well as the effects of human intervention on these natural resources. Starting from the properties and characteristics of the materials themselves, the project expands into their cultural representation and significance for communities and their crafts. <br /><br />The longstanding social and cultural practices associated with indigo, lacquer, rattan, and mulberry silk have accumulated a vast repository of knowledge, whether formal or tacit. Beyond the format of the exhibition, topical seminars will be dedicated to each of the four materials, further investigating their social applications over centuries in terms of their materiality, cultural references, or expanded ecology, and as arising from technological advancements. The lectures, panels, talks, and workshops feature the participating artists, as well as craftsmen, scientists, ethnobotanists, anthropologists, scholars, and designers who are working with these materials and researching innovative applications. From the diverse perspectives offered by the contributors, the public programme excavates layers of meanings and reiterates the deeper role art and craft traditions have in supporting local communities and their ecosystems. <br /><br />Topical seminars take place between <b>21 July and 8 September 2018.</b> <br /><br /><b>On Lacquer</b>: 21, 22 July <br /><br /><b>On Rattan</b>: 25, 26 August <br /><br /><b>On Indigo</b>: 4, 19 August, and 1 September <br /><br /><b>On Mulberry</b>: 8 September <br /><br />The project <i>Trees of Life – Knowledge in Material</i> is led by <b>Ute Meta Bauer</b>, Founding Director, NTU CCA Singapore and Professor, NTU School of Art, Design and Media (ADM); <b>Laura Miotto</b>, Associate Professor and Co-director, MA Museum Studies and Curatorial Practices, NTU ADM; and <b>Khim Ong</b>, Deputy Director, Curatorial Programmes, 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=Manish+Nai">Manish Nai</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=Sopheap+Pich">Sopheap Pich</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Liang+Shaoji">Liang Shaoji</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+Xu">Vivian Xu</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Laura+Miotto">Laura Miotto</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>
<i>Theatrical Fields</i>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Embodiment">Embodiment</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Experiential">Experiential</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Theatre">Theatre</a>
<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>
<i>Theatrical Fields</i> introduces theatricality as a critical strategy in performance, film and video. This exhibition presents six video installations shown for the first time in Southeast Asia: <i>Voice off</i> by Judith Barry (USA),<i> Suspiria</i> by Stan Douglas (Canada), <i>Lines in the Sand<i> by Joan Jonas (USA), </i>Vagabondia</i> by Isaac Julien (UK), <i>She Might Belong to You</i> by Eva Meyer & Eran Schaerf (Germany / Israel), <i>X Characters Re(hers)AL</i> by Constanze Ruhm (Austria). Situated in juxtaposition, the works generate temporal spaces for experimental action, creating unfamiliar proximities and encounters. <br /><br /><i>Theatrical Fields</i> was curated by Ute Meta Bauer (Founding Director) with Anca Rujoiu (Curator for Exhibitions), and was first presented and commissioned by the Bildmuseet, Umea in Sweden (2013). <br /><br />As a collaboration, Bildmuseet Umea and NTU Centre for Contemporary Art Singapore will publish a catalogue including keynotes from the symposium and additional commissioned essays.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Judith+Barry">Judith Barry</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Stan+Douglas">Stan Douglas</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Joan+Jonas">Joan Jonas</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Isaac+Julien">Isaac Julien</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Eva+Meyer">Eva Meyer</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=+Eran+Schaerf"> Eran Schaerf</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Constanze+Ruhm">Constanze Ruhm</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=Anca+Rujoiu+">Anca Rujoiu </a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Europe">Europe</a>
<i>The Posthuman City. Climates. Habitats. Environments</i>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Posthumanism">Posthumanism</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sustainability">Sustainability</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>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Biodiversity">Biodiversity</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=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=Technology">Technology</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Climate+Crisis">Climate Crisis</a>
Currently, more than half of the world’s human population lives in urban areas. Urban growth poses challenges to the various city dwellers, and creates material demands that cause lasting damage to the wider environment. The climate crisis is already announcing threatening scenarios particularly for coastal regions and megacities located at coastlines. Global urbanisation and the exploitation of resources happen on the expense of human and other species alike. <i>The Posthuman City</i> features artists who propose a shift in perspective. <br /><br />Taking NTU CCA Singapore’s overarching research topic <i>Climates.Habitats.Environments.</i> as point of departure, the exhibition <i>The Posthuman City</i> considers the possibilities of a conscious sharing of resources, and a respectful and mindful coexistence between humans and other species. Through imaginative propositions at the intersection of art, design, and architecture, the selected artists engage questions addressing issues of sustainability, water scarcity, invisible communities, nature as a form of culture, and suggest the implementation of lived indigenous knowledges. Examining the urban fabric in its condition as a habitat for a diversity of life forms, the featured works range from installations to time-based media. <br /><br />Stressing the vital importance of clean water and the challenges of its scarcity around the world, the artist and design duo Lucy + Jorge Orta have developed a long-term project on water collection, purification, and distribution. <i>OrtaWater</i> focuses on the general issues surrounding clean water and the privatisation and corporate control effecting access to it. Starting from a rigorous analysis of this crucial resource through visual and textual research and collaborative workshops with engineers, Lucy + Jorge Orta create sculptures, large-scale installations, and public artworks, that are both artefacts and functional design. One angle of their research—low-cost water purification devices enabling filthy water to be pumped and filtered directly from local sources—is translated into <i>Portable Water Fountain</i> (2005) and <i>Mobile Intervention Unit</i> (2007). These devices have been used to purify and distribute water from the Venice’s Canal Grande (2005) and the Huang Pu River in Shanghai (2012), among others, and now from the creek that runs through Gillman Barracks. <br /><br />Similarly combating water pollution, Irene Agrivina’s <i>Soya C(o)u(l)ture</i> is a mixed media installation that demonstrates how to transform wastewater from tofu and tempeh production into usable biomaterials, such as fuel, fertiliser, and leather-like fabrics. <i>Soya C(o)u(l)ture</i> was developed in collaboration with XXLab, an all-female transdisciplinary collective that Agrivina co-founded. Usually, large amounts of wastewater pollute the water in the rivers surrounding the plants, which in turn causes cholera and skin and bowel diseases in humans. <i>Soya C(o)u(l)ture</i> intends to divert this wastewater from tofu factories and put it in a homegrown starter culture medium to create useful products. A biological process using various bacteria and cell cultures, for instance <i>Acetobacter xylinum</i>, generates alternative energy sources, foodstuffs, and biological material. This process creates cellulose sheets that can either be used for consumption—<i>nata de coco</i>, a variant made of coconut water, is a popular snack food—or further processed (pressed, dried, enhanced with colouring and coating) to make clothing and craft materials. This biological procedure can be reproduced in any household using normal kitchen utensils in combination with open-source software and simple hardware. In this way, the project could provide women in poverty-stricken regions with opportunities to increase their income. <br /><br />Indigenous peoples of various territories around the world, with deep historical and cultural ties to their land, have preserved sustainable ways of living that respect the limits of the planet’s resources. The artist and architect Marjetica Potrč’s <i>Earth Drawings</i> refer to these unique indigenous cosmogonies and their essential knowledges, based on research done over the past 15 years, centred on indigenous communities, such as the Asháninkas (in the Brazilian state of Acre in Amazonia), the Aboriginal (in Australian), and the Sami (in northern Norway), The <i>Earth Drawings</i>, a series on paper, point to the growing alliances between indigenous groups and bottom-up initiatives in the effort to ensure a more resilient future, beyond the social and economic agreement of the neoliberal order. Potrč stresses that the world’s diverse societies, taken together, form an intelligent organism: when necessary, they self-generate new models of existence and coexistence—a precondition for human resilience on Earth. Sharing life experiences is, after all, a basic human condition. Coexistence on Earth requires new foundations that foreground collective ownership of the land and a socially-conscious individualism. <br /><br />Planetary coexistence of species acknowledges the presence and agency of diverse forms of intelligence. The artist Nicholas Mangan is inspired by termites and their capacity to build sophisticated and dynamic architectures that provide a model for decentralised social and economic organisation. The starting point of <i>Termite Economies (Phase 1)</i> was the anecdote that Australia’s Commonwealth Scientific and Industrial Research Organisation (CSIRO) researched termite behaviour in the hope that the insects might one day lead humans to gold deposits; a proposal to exploit the natural activity of termite colonies for economic gain. Mangan, on the contrary, proposes that the termites’ way of living in colonies might suggest other complex and global-scale systems for people to live and work together, better regulating and metabolising human consumption, production, and digestion. <i>Termite Economies</i> combines footage Mangan filmed on locations in Western Australia, alongside archival video and table-mounted sculptures, to speculate on the use of termites as miners and ruminating on how capitalism puts nature to work. The 3D-printed models reference existing infrastructures, for instance an underground tunnelling system for Tindals Mining Centre, a gold mine in Western Australia. The idea was to produce a 1:100 scale model to train termites. <br /><br />In <i>Bangkok Opportunistic Ecologies</i>, the design practice Animali Domestici studied the urbanity of Bangkok from a non-anthropocentric perspective, focusing on the presence of pythons. Mapping the city through a snake’s experience, the resulting tapestry puts multiple beings of different species at the centre, displacing the human from its exceptionalism. The graphic realisation is freely inspired by the representation techniques, colour palettes, and composition of Thai traditional mural paintings. Their work process translates research and statistics on the Thai capital into multiple encapsulated narratives, including such elements as sewerage, canals, water swamps, and rain water “cracked” pipes—typical spots used by snakes, according to fire department experts—, as well as folkloric cultural practices like the numerology and superstitions connected to the shape and location of the animals. <br /><br />In <i>Untitled (Human Mask)</i>, the artist Pierre Huyghe films a monkey, Fuku-chan, who in real life has a work permit as a “waitress” in a traditional sake house in Tokyo. In the film, the animal is wearing a dress and a wig, as well as a white, human-like mask created by Huyghe. Made of resin, the mask is inspired by traditional Japanese Noh theatre masks, where only the main actor wears a mask, meant to show the essential traits of the character. The film’s first images are drone shots of a devastated landscape, that of Fukushima in 2011, after the earthquake-triggered tsunami caused the meltdown of three nuclear plant reactors. It then shifts to an empty restaurant and house, where we follow Fuku-chan moving around in the dark. Fuku-chan is seen acting, and seems to be waiting, shaking her leg, looking at her nails, playing with her hair. A cat appears, and we see close-ups of insects and cockroaches. Raising questions about the essence of human nature and of non-human forms of intelligence and communication, the work points at the prevailing relationship of domination between humans and other species. <br /><br /><i>Ghostpopulations</i>, a series of collages by the artist Ines Doujak, combines ill human bodies with flora and fauna, transforming drawings from 19th-century medical textbooks into provocative assemblages that investigate desperation as an economic force. Doujak points out that entire populations uproot and flee in the direction of the faintest glimmer of hope, only to find themselves in the worst of predicaments: abandoned and deported, sold, abused or stigmatised forever, circulating as extremely cheap and disposable commodities. While she is giving visibility to such marginalised, abused, and displaced populations, these collages draw a dystopian mirage, reminding us of the pending threat of pandemic illnesses. <br /><br />Death, from a post-humanist perspective, is not only inevitable and part of life, but is an event that is already in our past. The artist and entrepreneur Jae Rhim Lee developed a burial suit as an environmentally-conscious alternative to conventional funerary processes, shifting the negative narratives around death. The presented <em>Infinity Burial Suit</em>, a handcrafted garment that is worn by the deceased, is completely biodegradable, and co-created with zero waste fashion designer Daniel Silverstein. In addition, the Forever Spot Pet Shroud is featured, also consisting of a built in biomix of mushrooms and other microorganisms that together do three things: aid in decomposition, work to neutralise toxins found in dead bodies, and transfer nutrients to plant life, enriching the earth and fostering new life. Highlighting the importance of decompiculture—the cultivation of waste-decomposing organisms—, this project also suggests a strong link between human resistance to mortality and climate change denial. She advocates for a post-mortem responsibility towards the natural world and a direct engagement with our own mortality, making funerals new beginnings instead of endpoints, becoming more emotionally and socially accessible. <br /><br />A parable on economic crashes, financial trading, mixed martial arts, and general contemporary culture, artist and writer Hito Steyerl’s large-scale architectural environment features <em>Liquidity Inc.</em>, a single-screen projection that uses water and liquidity as guiding tropes. Opening with the quote “be water, my friend” by martial arts legend and actor Bruce Lee, the film comments on the circulation of digital images, big data, information, financial assets, labour, and weather systems. The installation consists of a double-sided projection screen in front of a blue, wave-like ramp, where the viewers find themselves in “troubled water.” Steyerl merges CGI and green screen scenes with an assortment of embedded videos, swipes, clips, scrolls, and pop-up windows, that include the story of Jacob Wood, a former financial analyst who lost his job during the 2008 economic recession and decided to turn his mixed martial arts hobby into a new career. The intricate mesh of late capitalism structures needs to be hijacked in order to allow space for new ecological and sustainable policies that value people and life over profit. <br /><br /><em>The Posthuman City</em>, through artistic propositions, intends to open a discussion about the imbalanced relationship between an anthropocentric thinking that puts the human at the centre, and the fact that the urban environment is a habitat for many life forms. In her book <em>The Posthuman </em>(2013), Rosi Braidotti calls for resilience, stating that “sustainability does assume faith in a future, and also a sense of responsibility for ‘passing on’ to future generations a world that is liveable and worth living in. A present that endures is a sustainable model of the future.” <br /><br />Curated by <b>Ute Meta Bauer</b>, Professor, NTU ADM, and Founding Director, NTU CCA Singapore, and <b>Laura Miotto</b>, Associate Professor, NTU ADM <br /><br />The accompanying public programmes include seminars addressing techno-optimism and eco-hacktivism on <b>23 November 2019</b>, and biodiver-city and urban futurism on <b>18 January 2020</b>, deepening the discussion around posthumanism and the urban condition. <br /><br />From <b>15 – 23 February 2020</b>, the second edition of <b>NTU CCA Ideas Fest</b> takes place, guest curated by <b>IdeasCity</b>, New Museum, New York.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Irene+Agrivina">Irene Agrivina</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Animali+Domestici">Animali Domestici</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ines+Doujak">Ines Doujak</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Pierre+Huyghe">Pierre Huyghe</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jae+Rhim+Lee">Jae Rhim Lee</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lucy+%2B+Jorge+Orta">Lucy + Jorge Orta</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nicholas+Mangan">Nicholas Mangan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marjetica+Potr%C4%8D">Marjetica Potrč</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Hito+Steyerl+">Hito Steyerl </a>
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<i>The Oceanic</i>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Oceans+%26+Seas">Oceans & Seas</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=The+Anthropocene">The Anthropocene</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Politics">Politics</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Geopolitics">Geopolitics</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Archipelagic+State">Archipelagic State</a>
NTU Centre for Contemporary Art Singapore is pleased to present <i>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.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Laura+Anderson+Barbata">Laura Anderson Barbata</a>
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<i>The Making Of An Institution</i>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Knowledge+Production">Knowledge Production</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Cultural+Production">Cultural Production</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Institutional+Critique">Institutional Critique</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>
<i>The Making of an Institution</i> captures different moments in the development of the NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) connecting artistic projects, discursive manifestations, and the institutional apparatus in a seamless display. It looks back into its young past in order to shape its future. Challenging the format of an exhibition, <i>The Making of an Institution</i> creates a communal space where projects and research explorations by the Centre’s Artists-, Curators-in- Residence, and Research Fellows coexist with ongoing series of talks, screenings, performances, and workshops. The project engages the Centre’s main pillars–Exhibitions, Residencies, Research and Academic Education – bringing to a close the overarching curatorial narrative <i>Place.Labour.Capital.</i> that served as a framework for its activities since 2013. <br /><br />Established in 2013, the Centre embodies the complexity of a contemporary art institution in times of knowledge economy and global art. The role of a contemporary art institution should not be limited to the presentation of art. It feeds off and nurtures the cultural ecosystem it belongs to through a complex series of actions that often reside in the realm of the immaterial. The Centre’s inaugural programme <i>Free Jazz</i> addressed the foundational question “What can this institution be?” highlighting the skill of improvisation and free play. Three years later, different questions are to be raised: What could the role of the NTU CCA Singapore be for the years to come within a fast changing local, regional, and global cultural landscape? What are the criteria to evaluate its achievements and impact? <br /><br />In revisiting its own process of institutional building, NTU CCA Singapore appropriates the format and language of a “public report”. While a public report is conventionally employed to deliver an official written narrative, the Centre’s report unfolds in the exhibition space through the languages of the performative, the discursive, and the archival. <br /><br />“It’s amazing how far we were able to come in just three years,” said Ute Meta Bauer, Founding Director, NTU CCA Singapore. “<i>The Making of an Institution</i> is a celebration of the international community we have built, including scholars, artists, and the public. Now it is time for us to reflect and analyse our achievements before the exciting next steps ahead.” <br /><br /><i>The Making of an Institution</i> is divided into four sections borrowed from the structure of a public report: <i>Reason to Exist: The Director’s Review; Ownership, Development, and Aspirations; Artistic Research; and Communication and Mediation. The first section, Reason to Exist: The Director’s Review</i> maps out a network of institutions, like NTU CCA Singapore, that place research at the core of their identity. Each guest director will closely examine the vision, mission, and operative model of her respective organisation in a series of talks aimed at deepening our understanding of the changing role of contemporary cultural institutions. <i>Ownership, Development, and Aspirations</i> is a public panel with several members of the NTU CCA Singapore’s International Advisory Board and its stakeholders representatives that stresses the importance of feedback and exchange among peers especially in the development phase of an institution. The section dedicated to <i>Artistic Research</i> frames the material and immaterial aspects that constitute contemporary art practices. It takes over the Centre’s physical <i>Spaces of the Curatorial</i>—The Exhibition Hall, The Single Screen, The Lab, and The Vitrine—juxtaposing artworks and research projects by NTU CCA Singapore’s Artists-, Curators-in- Residence, and Research Fellows alongside various formats of public programming. Finally, Communication and Mediation explores the production of an institution’s identity through visual communication and spatial practices. Through workshops and presentations, artists, architects, and designers will discuss how they create diverse visual and spatial identities for art institutions. <br /><br />The public report will culminate into a book planned for publication in mid-2017, gathering the voices of all the artists, curators, researchers, and academics who have contributed to this first phase of the Centre. The Making of an Institution is curated by Ute Meta Bauer, Founding Director, Anna Lovecchio, Curator, Residencies, and Anca Rujoiu, Manager, Publications.
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%C3%A5b%C3%A4ke">åbäke</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Hamra+Abbas">Hamra Abbas</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=Anocha+Suwichakornpong">Anocha Suwichakornpong</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=Tan+Pin+Pin">Tan Pin Pin</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Philip+Tinari">Philip Tinari</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=John+Tirman">John Tirman</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Mona+V%C4%83t%C4%83manu">Mona Vătămanu</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Florin+Tudor">Florin Tudor</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bo+Wang">Bo 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=Farah+Wardani">Farah Wardani</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Tamara+Weber">Tamara Weber</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jason+Wee">Jason Wee</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=Reee+Staal">Reee Staal</a>
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