Events Archive — NTU CCA Singapore
CALENDAR OF EVENTS
close icon

What's on

MORE    
Screening: Jef Geys, Een dag, een nacht, een dag…, (Day and Night and Day…) (2002)
1 Dec 2018, Sat - 3 Mar 2019, Sun 12:00 PM - 07:00 PM

Read More

Variously described as the “ultimate film” and an “anti-film,” Een dag, een nacht, een dag…, (Day and Night and Day…) (2002) is a 36-hour-long projection of a compilation of thousands of photographs from Jef Geys’s archive. Photography and the archive feature heavily in the artist’s practice, which concentrates on the connection between art and everyday life. In 1998, Geys published Al de zwart-wit foto’s tot 1998 (All the Black-and-White Photographs until 1998), a five-centimetre thick volume containing approximately 40,000 photographs produced between 1950 and 1998, in random order and in the form of contact prints. The photographs, which presented a wide range of subjects and abstained from selection or interpretation, presented an inventory of the artist’s life, and speaks to the importance of photography to Geys as a means to record, collect, and document life. In 2002, Geys extended this book project through the film Een dag, een nacht, een dag…, (Day and Night and Day…), which was presented at Documenta11 at Kassel in 2002. It illustrates a similar approach to photography as the ultimate medium to represent the vernacular, and offers an archive that oscillates between the private and the public, art and the everyday. Though the film will be hardly seen in its entirety, its dramatic sequence of pictures emphasises the flow of time.

 

BIOGRAPHY

Jef Geys (1934–2018, Belgium) is among Europe’s most respected yet underacknowledged artists. Producing artwork since the 1950s, Geys’s practice probes the construction of social and political engagement, and his work radically embraces art as being intertwined with everyday life. Geys graduated from the Antwerp Arts Academy before settling in Balen in the Kempen region of Belgium, where from 1960 to 1989, he taught art at a state school, focusing on educational experimentation in the arts. Since the late 1960s, Geys, who was also part of the Mail Art movement, has been the editor and publisher of his local newspaper, the Kempens Informatieblad, and subsequently produced them in line with his exhibitions. He is known for his meticulous archive of his work, which in turn became generative of other works.

Geys represented Belgium in the 53rd Venice Biennale International Art Exhibition in 2009. His work was included in Documenta11 (Kassel, Germany) in 2002, Skulptur Projekte Münster in 1997, and the 21st Bienal de São Paulo in 1991. He has exhibited worldwide including at M HKA, Antwerp (2017, 2011, 2009); IAC Villeurbanne/Rhone-Alpes (2017, 2007); S.M.A.K., Ghent (2015); Cubitt, London (2013); CNEAI, Chatou (2016, 2014, 2012); WIELS Contemporary Art Centre, Brussels (2013, 2009); Museum of Contemporary Art Detroit (2010); Bawag Foundation, Vienna (2009); Pori Art Museum (2005); Van Abbemuseum, Eindhoven (2004); Kunsthalle Lophem (2003); Kunstverein Munchen, Munich (2001), amongst others.

 

This screening is part of the exhibition Jef Geys Quadra Medicinale Singapore.

Image caption: Jef Geys, Day and Night and Day and…, 2002, Installationsansicht Bawag Foundation. Copyright Oliver Ottenschläger.

In The Vitrine:

Izat Arif
Semangat Kejiranan
everybody loves good neighbours
15 Dec 2018, Sat - 31 Mar 2019, Sun 12:00 PM - 07:00 PM

Read More

Interested in the contiguities and frictions between the natural and urban environment, Izat Arif has conducted experiential and erratic fieldwork in various landscapes in Singapore observing plants, soil, insects, and traces of human presence. This investigation is presented in The Vitrine as a form of a provisional “cabinet of essential items,” which contains a selection of the artist’s notes and drawings, research tools, and findings.

 

Project launch on Saturday, 15 December, 2.00 – 3.00pm.
The artist will be present.

 

BIOGRAPHY

The practice of Izat Arif (b.1986, Malaysia) combines videos, drawings, and readymade objects into intricately layered installations. His work often conveys an ironic commentary on everyday life and the art ecosystem in his hometown, Kuala Lumpur. He has participated in several group exhibitions including A History of Drawing, Camberwell College of Arts, London, United Kingdom (2018); Malaysia Art: A New Perspective, Richard Koh Fine Art, Singapore (2016); Young Malaysian Artist: New Object(ion) II, Galeri Petronas and Young Contemporaries at National Visual Arts Gallery, both Kuala Lumpur, Malaysia (2013). Izat Arif is one of the founding members of the collective Malaysian Artist Intention Experiment (MAIX). He was Artist-in-Residence at NTU CCA Singapore from September to December 2018.

Image caption: Izat Arif, sketchbook, 2018. Courtesy the artist.

Film Programme with introduction by Inge Godelaine (Belgium)
2 Mar 2019, Sat 04:00 PM - 06:30 PM

Read More

SCHEDULE

Saturday, 2 March 2019
4.00 – 6.30pm
The Single Screen, Block 43 Malan Road

4.45pm
Filmmaker Inge Godelaine (Belgium) will introduce her films and be available for Q&A.

 

Margaret Tait, Garden Pieces, 1998, 11 min 30 sec

Filmmaker-poet Margaret Tait’s last film Garden Pieces is a triptych of “film-poems” composed around the theme of the garden. Garden Pieces is a vibrant, experimental film that utilises live action shots and hand-painted elements to draw upon the wanderings of daily life and the search for fleeting moments of presence, dropping a myopic intensification of experience in favour of an exuberant engagement with the world.

Margaret Tait (Scotland, 1918–1999) was a Scottish filmmaker and poet who is known for her body of work combining poetry, portraiture, music, ethnography, and animation. Tait made more than 30 films in her life, which have been screened at international film festivals and venues.

 

Uriel Orlow, The Crown Against Mafavuke, 2016, 18 min 45 sec

The Crown Against Mafavuke is based on a South African trial from 1940. Mafavuke Ngcobo was a traditional herbalist who was accused by the local white medical establishment of “untraditional behaviour.” The film explores the ideological and commercial confrontation between two different yet intertwining medicinal traditions and their uses of plants, with slippages across gender and race that further questions notions of purity and origination. The re-imagined court case is filmed at the Palace of Justice in Pretoria, where the Rivonia trial was held that sent Mandela and his fellow accused to the Robben Island prison.

Uriel Orlow (Switzerland/United Kingdom) is a Swiss artist based in London. Orlow’s practice is research-based, process-oriented, and multi-disciplinary, including film, photography, drawing, and sound. His work is concerned with spatial manifestations of memory, and looks to the botanical world as a stage for politics at large.

 

Jef Cornelis, Kunst Als Kritiek. Wanneer is Kunst Wel Kritiek? 4. Wanneer de Kunstenaar in alle Ernst Speelt. (Art as Criticism. When is Art Criticism? 4. When the artist is in all seriousness.), 1973, 4 min 47 sec

This film is part of a series of short sketches thematically focusing on the question, “When is Art Criticism?” developed for the BRT (Belgian Radio and Television) broadcast network. For this fourth episode, it proposes an answer: “When the artist is toying around in all seriousness.” It highlights the Belgian artist Jef Geys, whose approach is best described by the phrase “Many a true word is spoken in jest.” In Geys’s statement, framed as a public announcement, the artist uses the programme’s broadcasting time as a publicity stunt, revealing the mechanisms of the medium of television. In a lengthy word of thanks, the extensive media bureaucracy is stripped of its front, mentioning the relative cost of the programme and the broadcasting time.

Part of the BRT television series “Openbaar Kunstbezit” (“Public Art Heritage”). A second version was adapted for the NOS, a Dutch radio and television broadcast network.

Jef Cornelis (Belgium) worked as executor, director, and scriptwriter for the BRT, the Dutch-language Belgian public broadcasting corporation (1963–98), producing an impressive body of work comprising of over 200 titles. Cornelis, as a radical TV director, often served as a provocateur, a cultural critic, and a negotiator of the arts, whose work is generally considered ground breaking, artistically and cultural-historically. His films have been featured in solo exhibitions at many art institutions.

 

Inge Godelaine, 7 x Jef Geys, 2014, 27 min

7 x Jef Geysis a documentary film by independent filmmaker Inge Godelaine, who worked for many years with Geys.

The film interviews seven people who each have a different relationship with the artist—Yves Gevaert, Mia Dammen, Hugo Criekemans, Greta Meert, curator Dirk Snauwaert, daughter Nina Geys, and Joris Note—creating a unique portrait of the artist through the people who knew him.

 

Inge GodelaineVilla Wintermans, 2009, 50 min

Inge Godelaine travelled to São Paulo 18 years after Jef Geys created his architectural intervention Villa Wintermans for the 1991 São Paulo Biennale. Replicating a Flemish modernist villa of the cigar manufacturer Wintermans from Balen that was later used as a school, Villa Wintermans was one of the most complex public projects Geys completed. In this film, Godelaine searches for the remnants of the Villa which have vanished or rotted away, and interviews some of the schoolchildren then about their experience with the donated building. The documentary is an echo of a forgotten artistic deed, and the eventual disappearance of art and architecture.

Inge Godelaine (Belgium) is an independent filmmaker who worked for many years with Jef Geys on his projects, and realised a number of reports and documentaries on the artist. Apart from artist portraits or narrative films about art, she also produces short animated films in which she uses the moving image as if it were pencil and paper. In her oeuvre, Godelaine works with various mediums and disciplines in order to translate her stories through images, unfolding a visual language that is sometimes cryptic, ironic or humorous.

 
++

A public programme of Jef Geys Quadra Medicinale Singapore

 

Image caption: Jef Cornelis, still from Kunst All Kritiek, 1973. Copyright VRT and courtesy Argos, Centre for Art and Media, Brussels.

Workshop: Weeds, Wildflowers, and the Wonders of Nature by Nature Society (Singapore)
2 Mar 2019, Sat 10:00 AM - 01:00 PM

Read More

Meeting Point: Block 43 Malan Road
Registration required via Peatix: wondersofnature.peatix.com

Nature reserves and parks are often thought of as places to seek out beautiful and interesting plants. It may surprise us that fascinating and useful plants can actually be found all around us – many people call them weeds. In this workshop, participants will look for “weeds,” see where they grow and identify them. We will search for information on their ecology, their broader distributions, and their various uses. Come prepared to spend a day learning about amazing plants that we encounter (and more often than not, overlook) every day. We may discover that our neighbourhoods are richer and more beautiful than they already are.

 

BIOGRAPHY

The Nature Society (Singapore) (NSS) has been an active member of Singapore civil society for over 60 years. It functions as an activity, advocacy, and outreach group, while delivering the scientific data needed to monitor the state of local wildlife to manage, protect, and promote it. NSS works with the conviction that a Singapore with thriving nature is a better Singapore for people and for wildlife.

 

A public programme of Jef Geys Quadra Medicinale Singapore

 

 

Image caption: Documentation of Workshop: Foraging at Gillman Barracks with Alexius Yeo, Carbon InQ, Saturday, 15 Dec 2018. Courtesy NTU CCA Singapore.

Residencies Studio Sessions: Designing Simulations as Art, Artist Talk by Valentina Karga (Greece/Germany), Artist-in-Residence
7 Mar 2019, Thu 07:00 PM - 08:30 PM

Read More

The current ecological, economic, social, and political crises point to a deeper ontological crisis: We are experiencing a transition from the hegemonic paradigms of modernity to a more fluid configuration of value systems. The artistic practice of Valentina Karga—which she calls  “Designing Simulations as Art”—addresses this radical shift and experiments with the creation of social structures that allow for difference and sustainable forms of communal existence. Strongly process-oriented, her work often generates collective actions through the engagement of specific communities. In this talk, Karga will presents a selection of past projects and share about her current research interest in prehistoric matriarchal societies and early representations of the anthropos (the human being).

The talk will take place in the artist’s studio.

 

 

BIOGRAPHY

The artistic practice of Valentina Karga (b. 1986, Greece) spans the fields of architecture, socially engaged art, and performance. Interested in creating alternatives to existing societal and pedagogical structures, Karga designs conceptual infrastructures that encourage engagement and participation to facilitate practices of commoning and sustainability. Her works have been presented at the inaugural Thailand Biennale (2018-19); transmediale, Berlin, Germany (2016), and  Athens Biennale, Greece (2013). She is a founding member of Collective Disaster, an interdisciplinary, transnational, and nomadic community that works in the intersections of art, architecture, and the social realm and is currently Professor for introduction to artistic work in Design at HFBK Hamburg, Germany.

 

 

Image caption: Valentina Karga, Coming Community,  handmade bricks, various construction materials, installation view, Thailand Biennale, 2018. Photo: Thailand Biennale Catalogue Photographers.

Vapour Islands: to live and die well together in a thick present*
7 Mar 2019, Thu - 7 Apr 2019, Sun

Read More

“To live and die well together in a thick present,” quotes the seminal text Staying with the Trouble: Making Kin in the Cthulhucene by Donna Haraway. In this text, Haraway responds to the rising sense of alarm surrounding ecological discourses on the Anthropocene and the Capitalocene. The book is a proposal to move instead towards the discursive framework of the Cthulhucene—an ecological epoch that, for Haraway, “eschews futurism” and remains resolutely with the present and all its problems; one that stays with the trouble and finds kin within it.    

To consider the global ecosystem as a network of entangled and interconnected life-forces, the ecological imminence is also an imminence of existence. It begins with disappearance—of water, of trees, of entire habitats and species—all turned to vapour and thin air. And yet thin air in a thick present takes vapour as a beginning, too: vapour cycles through time, becoming cloud, becoming rainfall, becoming water-body again. Taking the Earth’s hydrologic cycle—that is, the sequence of processes detailing the cyclical movement of water on and off the Earth’s surface—as its entry-point, Vapour Islands: to live and die well together in a thick present* is an archipelago of thematic “islands,” in which each island corresponds to one of the four main stages of the hydrologic cycle: evaporation, condensation, precipitation, and percolation. Interacting with books and research materials from the Centre’s Public Resource Platform while thinking through the cycle of water, this presentation moves through and between loss and regain, release and redistribution, to consider the ways in which thin air can be transformed into a present thick with possibility.

 

Image caption: Vapour Islands: to live and die well together in a thick present*, 2019, installation view. Courtesy NTU CCA Singapore. 

Culture City. Culture Scape.
Public Art Trail at Mapletree Business City II
27 Feb 2019, Wed 03:30 PM - 04:00 PM
20 Mar 2019, Wed 03:30 PM - 04:00 PM
17 Apr 2019, Wed 03:30 PM - 04:00 PM
15 May 2019, Wed 03:30 PM - 04:00 PM

Read More

Meeting point: Alexandra Retail Centre
(460 Alexandra Road, Main Entrance, Taxi Stand)

 

Our upcoming guided tour is an excellent way to get inspired and unwind in the company of art. Enjoy a well-deserved cup of coffee and snack while we walk you through the artworks nestled in the lush compounds of Mapletree Business City II (MBC II).

Themed Culture City. Culture Scape., this public art project, commissioned by Mapletree and curated by NTU CCA Singapore comprises works by internationally renowned artists Dan Graham (United States), Zulkifle Mahmod (Singapore), Tomás Saraceno (Argentina/Germany), and Yinka Shonibare (Nigeria/United Kingdom). Inspired by the idea of expanded sculptural environments, the artworks explore the interplay between landscape, architecture, and the broader social and economic environments they are placed in. More than being monumental or site-specific, each work alters or permeates its local context to invite visitors to a broader, richer engagement.

++

For more information about our tours, please visit: www.mapletreearts.sg or email ntuccaevents@ntu.edu.sg.

To register, please do so via Eventbrite.

 

Image caption: Yinka Shonibare, Wind Sculpture I (2013). Courtesy NTU CCA Singapore. 

In Conversation Part I: Arus Balik with Ade Darmawan, Shubigi Rao, and Melati Suryodarmo, moderated by Philippe Pirotte
23 Mar 2019, Sat 03:30 PM - 06:00 PM

Read More

The first session of a two-part conversation, this panel discussion will focus on the book Arus Balik (1995) by Indonesian author Pramoedya Ananta Toer, which is the starting point for the eponymous exhibition that will be on view. Three of the participating artists will be joined by Philippe Pirotte, the curator of the exhibition, to discuss Ananta Toer’s body of work, its influence and legacy, as well as notions of censorship and the forbidden book.

 

Image caption: Shubigi Rao, research documentation for Pulp (2013–ongoing). Singular transcribed copy of forgotten oral stories, from writer Syeda Hamed’s personal collection, New Delhi, India. Courtesy the artist.

Workshop for Teachers and Educators by art educator Kelly Reedy (Singapore/United States)
23 Mar 2019, Sat 10:00 AM - 12:30 PM
26 Apr 2019, Fri 03:00 PM - 05:30 PM

Read More

Turning Tides: Identities in Transit

Taking inspiration from the novel Arus Balik (1995) by Indonesian author Pramoedya Ananta Toer, this workshop will examine how the turning of historical tides form our personal and collective identities. The work of six artists, Ade Darmawan (Indonesia), ila (Singapore), Zac Langdon-Pole (New Zealand/Germany), Shubigi Rao (India/Singapore), Lucy Raven (United States), and Melati Suryodarmo (Indonesia) will guide and challenge us on this journey, probing how social, geopolitical, religious, and cultural transitions in this region have influenced our concept of who we are, where we come from, and where we are going.

This workshop is free of charge and suitable for all educational levels. While it is targeted towards teachers and educators, it is open to all. For more information and to register, head to turningtides.peatix.com.

 

BIOGRAPHY

Kelly Reedy (United States/Singapore) has worked in Singapore for over 18 years as an artist and educator. She holds a BFA in Fine Art (University of Wisconsin, 1985), MA in Education (Hunter College, 1991), MA in Art Therapy (LASALLE College of the Arts, 2017). She has exhibited her artworks internationally in Paris, Chicago, and Berlin, as well as locally at Jendela Visual Arts Space, Esplanade, Singapore Tyler Print Institute, and Alliance Fran.aise. Reedy has developed educational resources for the National Gallery Singapore and trained teachers at the National Institute of Education, specialising in visual arts education in museums and galleries.

 

 

Image caption: Workshop for Teachers and Educators by Kelly Reedy, December 2018. Courtesy NTU CCA Singapore.