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Talk: Toward a Practice of Institutional Critique by artist Judy Freya Sibayan
8 Jan 2019, Tue 07:00 PM - 08:30 PM

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Judy Freya Sibayan looks back on 45 years of artmaking, with the first 20 years as the basis of her work of Institutional Critique. Taking the subject position of the “ex-centric” (the inside-outsider), she parodies the institution of art. It is here she is able to gain agency by enacting auto-critiques of the institution to which she belongs. She has done parodic performances of the gallery (Scapular Gallery Nomad, 1997–2002), the museum (Museum of Mental Objects, 2002–07), the art archive (The Community Archives, 2010), and the art consultancy (Performance Art Consultancy: Life, Art, Criticality, 2018) to name a few. The talk will be followed by a discussion between Sibayan and curators Ute Meta Bauer and Khim Ong.



Judy Freya Sibayan (Philippines) is a conceptual artist living and working in Manila. She taught at De La Salle University for three decades and has exhibited and performed in museums and galleries worldwide. Former Director of the erstwhile Contemporary Art Museum of the Philippines, she has been the Museum of Mental Objects since 2002, a life-long parodic performance. She is also Co-founding Editor and Publisher of the online Ctrl+P Journal of Contemporary Art and the author of The Hypertext HerMe(s).

Ute Meta Bauer (Germany/Singapore) is the Founding Director of the NTU Centre for Contemporary Art Singapore; Professor at the School of Art, Design and Media, Nanyang Technological University (NTU ADM); and an editor of the Afterall journal. Previously she was Professor and Dean of the School of Fine Art at the Royal College of Art, London (2012–13) and Associate Professor at the Massachusetts Institute of Technology, Cambridge, MA, where she served as the Founding Director of ACT, the Program in Art, Culture, and Technology (2009–12) and as Director of the MIT Visual Arts Program (2005– 09) at MIT’s School of Architecture and Planning. Bauer worked with Jef Geys on his Documenta 11 project.

Khim Ong (Singapore) is Deputy Director, Curatorial Programmes at NTU CCA Singapore. Previously, she worked as an independent curator and held curatorial positions at the Institute of Contemporary Arts Singapore, LASALLE, and Osage Gallery, Hong Kong. Ong was Manager, Sector Development (Visual Arts) at the National Arts Council during which she contributed to conceptualising NTU CCA Singapore. Selected external curatorial projects include Re|Collecting Asia, Gillman Barracks, Singapore (2017), the Southeast Asia Platform, Art Stage Singapore (2015), and Landscape Memories, Louis Vuitton Espace, Singapore (2013).


A public programme of Jef Geys Quadra Medicinale Singapore


Image caption: Courtesy Calle Wright.

Exhibition (de)Tour: Medicinal Herbs by Ng Kim Chuan (Singapore), gardener, NTU Community Herb Garden; with introduction of Quadra Medicinale Singapore by Khim Ong (Singapore), Deputy Director, Curatorial Programmes, NTU CCA Singapore
12 Jan 2019, Sat 03:00 PM - 05:30 PM

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Registration required via Peatix:
*This programme will be conducted in Mandarin.

Programme will start at NTU CCA Singapore, Block 43 Malan Road and end at NTU Community Herb Garden, Nanyang Technological University, Nanyang Avenue near Jalan Bahar Gate. One-way transportation from NTU CCA Singapore to NTU is provided.

In conceptualising Quadra Medicinale (2009), Jef Geys asked local collaborators to identify plants that grew on the street, and to research their potential medicinal or beneficial properties. The NTU Community Herb Garden is dedicated to the cultivation of such plants and is home to more than 300 species of tropical plants and herbs with medicinal properties. Ng Kim Chuan founded the Garden in 2009, together with a small group of volunteers consisting of staff, students, and members of the public, to serve as a charitable resource of medicinal herbs for the poor and the needy. Ng will give a tour of the Garden, with the assistance of Lee Jin Long, NTU student, and share his knowledge and work surrounding these medicinal herbs, especially as alternative treatments for cancer and chronic illnesses.


A public programme of Jef Geys Quadra Medicinale Singapore

Image caption: Courtesy NTU Community Herb Garden.

Culture City. Culture Scape.
Public Art Trail at Mapletree Business City II
16 Jan 2019, Wed 12:00 PM - 12:45 PM
17 Jan 2019, Thu 12:00 PM - 12:45 PM
23 Jan 2019, Wed 12:00 PM - 12:45 PM
24 Jan 2019, Thu 12:00 PM - 12:45 PM

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


Guided tours at Culture City. Culture Scape., NTU CCA Singapore’s collaboration with Mapletree Business City II will return in January 2019 as part of Singapore Art Week.

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 for visitors to experience art in public spaces in new and exciting ways.

If you’re also up for a hearty bite of gourmet sandwich, you’re in luck! On the occasion of Singapore Art Week 2019, we are offering complimentary vegetarian lunch bags from Park Bench Deli, limited up to 12 registrations.


For more information about our tours, please visit: or email

To register, please do so via Eventbrite.



Image caption: Courtesy NTU CCA Singapore.

Acts of Life
Public Programme
25 Jan 2019, Fri - 26 Jan 2019, Sat

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Acts of Life is a collaboration of NTU CCA Singapore and MCAD Manila, commissioned by the Goethe-Institut Singapore and Goethe-Institut Manila.

After an open call with an overwhelming response of 180 international applicants, 16 artists, writers, theorists from the region and Germany have been selected by a curatorial board to participate in a month-long residency in Manila and Singapore. Structured to encourage the heterogeneity and multiplicity of exchange through which a critical research residency is manifested, the transdisciplinary project seeks to explore the relationship between environments and humankind in times of rapid urbanisation and digitalisation.   

The Acts of Life Public Programme is a constellation of selected artistic research outputs culminated over the period and will happen during Singapore Art Week on 25 and 26 January 2019 and in Manila in February 2019.

Presented in an open studio accompanied with live activations, the presentation shows selected works in progress and is an encounter of how the research residency unfolds: the fostering of intellectual exchanges, lines of enquiry and the initiation of potential discourses around the intersections between art, nature, urbanity, and technology.


Curatorial Advisory Board

Prof. Ute Meta Bauer, Founding Director, NTU CCA Singapore and Professor, School of Art, Design and Media NTU,María Jocelina Cruz, Director & Curator, MCAD Manilla, Prof. Patrick Flores, Professor, Department of Art Studies, University of Philippines and Curator, Vargas Museum Manilla, Asst. Prof. Sophie Goltz, Deputy Director, Research & Academics Programmes, NTU CCA Singapore, and Assistant Professor, School of Art, Design and Media NTU, Khim Ong, Deputy Director, Curatorial Programmes, NTU CCA Singapore.


For more information on the participants and programme, please see


Public Programmes

Open Studio:

25 January 2019, 7.00 – 11.00pm

26 January 2019, 2.00 – 7.00pm

Buen Calubayan (Philippines), Jayson C. Jimenez (Philippines), Stanya Kahn (United States), Miljohn Ruperto (Philippines), Charmaine Koh (Singapore), Ida Roscher (Germany), Roopesh Sitharan (Malaysia), Tromarama (Indonesia)

Venue: Block 38 Malan Road #01-05

In parallel with the NTU CCA Residencies Open Studios



Friday, 25 January, 7.00pm


Sound performance by Stefan Römer (Germany), in collaboration with Bani Haykal (Singapore), artist

Venue: Block 43 Malan Road, Entrance (outdoor)


Friday, 25 January, 9.00 – 10.00pm

Black Swans, Butterflies and Elephants

Lecture performance by Jayson C. Jimenez and Ida Roscher

Venue: Block 38 Malan Road #01-05



Saturday, 26 January, 2.00 – 3.00pm


With Phuong Phan (Vietnam), and Panel Speaker Dr. Chang Jiat Hwee, School of Design and Environment, National University of Singapore, with reference to Jef Geys: Quadra Medicinale Singapore

Venue: The Exhibition Hall, Block 43 Malan Road



Saturday, 26 January, 4.00 – 6.00pm

Sensing the World

By Buen Calubayan (Philippines) in collaboration with Deo Briones (Philippines), musician and facilitator

Venue: The Seminar Room, Block 43 Malan Road


Number of participants is limited (12 persons), please register here:


Image caption: Participants at the beginning of the Acts of Life critical research residency at the Museum of Contemporary Art and Design (MCAD), Manila. Image courtesy of MCAD Manila.


Residencies OPEN
25 Jan 2019, Fri 07:00 PM - 11:00 PM
26 Jan 2019, Sat 02:00 PM - 07:00 PM

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Residencies OPEN offers a rare insight into the often-introverted sphere of the artist studios. Through showcasing discussions, performances, installations, and works-in-progress, Residencies OPEN profiles the diversity of contemporary art practice from around the globe and the divergent ways artists conceive an artwork with the studio as a constant space for experimentation and research.

Come meet our current Artists-in-Residence in their studios! Featuring Francisco Camacho Herrera (Colombia/Netherlands), Daniel Hui (Singapore), Soyo Lee (South Korea), John Low (Singapore), Tan Kai Syng (Singapore), and John Torres (Philippines).


Image caption: Residencies OPEN, January 2018.

Black Swans, Butterflies and Elephants (2019)
Lecture-performance by Jayson Jimenez and Ida Roscher
25 Jan 2019, Fri 09:00 PM - 10:00 PM

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As part of the Acts of Life Public Programme, Jimenez and Roscher will deliver an interventionist lecture-performance against a projected backdrop of metaphorical swans, butterflies and elephants.

Jimenez and Roscher’s is an artistic collaboration borne out of the Acts of Life critical research residency. Combining their respective interests in risk models and urban futures, they borrow from the theoretical metaphor of the black swan to describe different modes of governance. Taking the symbol of the black swan as a point of departure, Jimenez and Roscher go on to develop their own semiotic terminology of urban risk attitudes. While they characterize Singapore’s resilient (to the point of obsessive) mode of governance as an example of the black swan model, they use the term ‘black elephant’ as a juxtaposed description for Manila, that in their minds reflects a resistant model of governance in which predictable systemic risks go unheeded by government agencies. Extrapolating from the black swan and the black elephant, Jimenez and Roscher then propose a third symbol, the ‘white butterfly’, as emblematic of the potential for mobile shifts of agency within subjectivities facing threats of complex collapse.



Jayson C. Jimenez (b. 1993) teaches Philosophy and Literature at the Department of Philosophy and Humanities, Polytechnic University of the Philippines. He is also currently engaged in the study of the Anthropocene and Deleuze. Jimenez finished his MA in Philosophy at the Divine Word Mission Seminary (Christ the King), Quezon City, Philippines, with a focus on Marx’s 1841 Doctoberoral Thesis and Greek Atomism.

Ida Roscher (b. 1986) currently lives and works in Hamburg, Germany. She studied Fine Arts and International Criminology and searches for ways of translating social forms and norms. Her work oscillates between artistic practice and social science research as a critical approach to challenge widely accepted modes of expression, representation and methodology.


A public programme of Acts of Life.



Image Caption: Guided Tour of Singapore’s Geylang neighbourhood with Cai Yinzhou (Founder, Geylang Adventures, Singapore) during the Acts of Life critical research residency in Singapore. Intensely policed by closed-circuit television cameras (CCTV), the application of surveillance technologies in Geylang reflects the black swan model of resilient governmentality that Jimenez and Roscher observe in Singapore. Image courtesy of NTU CCA Singapore.

In Conversation: Go Green or Nature Sells?
With Phuong Phan (Vietnam), and Panel Speaker Dr. Chang Jiat Hwee, Scool of Design and Environment, National University of Singapore, with reference to Quadra Medicinale Singapore by Jef Geys
26 Jan 2019, Sat 02:00 PM - 03:00 PM

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Through the format of a panel discussion with invited scholars, architects, horticulturalists and urban planners, Phan places the spotlight on questions of specificity and transferability of the Singaporean architectural paradigm: can the city’s specific architectural ‘dialect’ be considered a ‘Singaporean model’, and in what ways does it speak to or infiltrate contemporary discourses around sustainability, the return to ‘nature’, and geopolitical demographics? Further, is this dialect bound to remain a vernacular of South Pacific architecture, or is it potentially a model for a universal architectural language of a changing world?

The panel takes place as an intervention within the Quadra Medicinale Singapore exhibition by the late Belgian artist Jef Geys, who was known for questioning mainstream and organised systems of urban planning and information dissemination in his artistic practice. Geys casted doubt on the fundaments of language and visual representation, interrogating art’s relation to meaning-making. Similarly, Phan plays with the structures of language in her long-standing research in urban architecture and urban planning. She posits that operating within the vocabulary of contemporary international architecture, Singapore’s unique architectural aesthetic, characterised by an omnipresence of greenery, could possibly be understood as a ‘dialect’ of contemporary architecture.



Phuong Phan (b. 1988) studied European art and architectural history and Asian studies in Hamburg, Germany; Paris, France; and Berlin, Germany. Her research focuses on European Modern architecture; art and architecture theories; histories of French colonial; and post-colonial architecture and urbanism. Currently, she is working on the history and typology of Chinese shophouses in Ho Chi Minh City, Vietnam during the French colonization and on the aesthetics and visual narratives of real-estate advertising in Southeast Asia.


A public programme of Acts of Life



Image Caption: Bukit Brown Tour by Woon Tien Wei (artist and curator) during the Acts of Life critical research residency in Singapore. Bukit Brown Cemetery is a centuries-old historical site currently undergoing a politically controversial demolition, sparking debate over the language of urban planning and ecological futures in Singapore. Image courtesy of NTU CCA Singapore.

Sensing the World
Workshop by Buen Calubayan (Philippines) in collaboration with Deo Briones (Philippines), musician and facilitator
26 Jan 2019, Sat 04:00 PM - 06:00 PM

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The research of Buen Calubayan investigates the naturalized mechanisms of visual world-making and the techniques of perception influenced by digitality which involves the practice of looking into and experimenting on ways of seeing ‘the world’. Being informed by multiple methodologies including Steiner pedagogy, indigenous knowledge, autoethnography and an anthroposophical approach to biography work, the workshop takes on an experimental approach to research visual culture. Calubayan will present his research methodologies that explores how one sees and senses the world through image-making systems and in collaboration with artist Deo Briones participants will develop methods of creating their own visual research patterns while experiencing different world views by body exercises.



Buen Calubayan’s (b. 1980) works investigates the uses and limits of a diagrammatic approach in understanding the world and our positions in it. Using the terms and techniques of linear perspective, he examines the notions of the horizon, the vanishing point, and grounding, which constitutes the basic design that enables a bigger picture to come about. In a rhythmic process of zooming into and out of his research, installations, paintings, and conceptual works, Calubayan takes off from the autobiographical into the art historical. He then uncovers the mechanisms of perception and tracks the movement of art, history, and politics within the shifting context of the Philippine landscape.

Deo Briones (b. 1982) is primarily a thespian and musician who makes use of these capacities to maneuver his corporate day jobs, ranging from sales and customer service to managing operations and process development, In between breaks from the demands of the corporate, Deo renews his artistic inclinations by engaging in theater productions and acoustic gigs. His interest and advocacy in child development was further enhanced by being a Main Teacher in a Waldorf/Steiner school in the Philippines. His wide experience with public speaking, engaging various age groups, profession and ethnicity led to freelance work in designing and facilitating team buildings, workshops and trainings with the use of simple games, arts and movements in line with the business and/or company needs.


Number of participants is limited to 12 persons, please register here:


 A public programme of Acts of Life.



Image Caption:

The Future of Intangible Knowledge with reference to Pua Kumbu workshop by Dr. Welyne Jeffrey Jehom (Senior Lecturer, Department of Anthropology and Sociology, Faculty of Arts and Social Sciences, University of Malaya, and Head of Research Center, Center for Malaysian Indigenous Studies, Malaysia) during the Acts of Life critical research residency in Singapore. Dr. Jehom’s workshop explored the ways of seeing and transmitting intangible indigenous knowledge through the technological application. Image courtesy of NTU CCA Singapore. 


Talk: Stories from the Buddhist Archive of Photography in Luang Prabang by Dr Khamvone Boulyaphonh, Director, Buddhist Archive of Photography
29 Jan 2019, Tue 07:00 PM - 08:30 PM

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The Buddhist Archive of Photography in Luang Prabang, Laos, has gathered over 35,000 photographs either taken or collected by monks since 1890. The photographs have recently been digitised and catalogued, using innovative methodologies attentive to climatic, cultural, and religious circumstances: the Archive is a fascinating instance of 21st-century contemporary practice, as much as it is a unique collection of 19th and 20th-century modern photographs. In this talk, Director of the Buddhist Archive of Photography, Dr Khamvone Boulyaphonh, will offer insight on the background and significance of the Buddhist Archive, share selected highlights from its collection, and detail the organisation’s ongoing activities in Luang Prabang and internationally.

Introduced and moderated by Dr Roger Nelson (Australia/Singapore), art historian and curator specialising in modern and contemporary art in Southeast Asia, and currently Postdoctoral Fellow at Nanyang Technological University (September 2017–January 2019).




Dr Khamvone Boulyaphonh (Laos) is Director of the Buddhist Archive of Photography, which was founded in 2005 by the late Most Venerable Pha Khamchan Virachitta Maha Thera (1920–2007) and German photographer Hans Georg Berger. Dr Khamvone holds a PhD from the Asia-Africa Institute at Hamburg University, Germany, where he also participated in the Lao Sangha and Modernityproject, led by historian Dr Volker Grabowsky. Dr Khamvone has published extensively on subjects related to Lao Buddhism and photography. He has been involved in the Buddhist Archive of Photography since its inception in 2005, having previously been a monk and disciple for 15 years of the Archive’s Co-founder, the late Pha Khamchan.


A public programme of And in the Chapel and in the Temples: research in progress by Buddhist Archive of Photography and Amy Lien and Enzo Camacho.


Image caption: A Buddhist temple destroyed by American bombing, 1960s. Photographer unknown; collected by the late Pha Khamfan Silasangvaro (1901–1987). Silver gelatin DOP, collection of Vat Khili, Luang Prabang. Courtesy Buddhist Archive of Photography.

And in the Chapel and in the Temples:
research in progress by
Buddhist Archive of Photography
Amy Lien and Enzo Camacho
1 Dec 2018, Sat - 10 Feb 2019, Sun

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Opening night: Friday, 30 November, 7.00–9.00pm

How are aspects of Southeast Asian modern art imaginatively engaged in contemporary practices—by artists, by archivists, and by others? This presentation pairs two ongoing research projects, which draw on histories of modern art in Southeast Asia with radically unlike methodologies: one is archival, yet innovative and unconventional in nature; the other is artistic, yet includes work from archives and involves other kinds of looking. The experimental curatorial juxtaposition of the two projects explores unlikely resonances between them, suggesting unexpected connections across the region, and across times. Among these synergies are the presences of spirituality and the Cold War, and the refiguring of forms and images within differing developments of the modern.

The Buddhist Archive of Photography in Luang Prabang, Laos, has gathered over 35,000 photographs either taken or collected by monks since 1890. The photographs have recently been digitised and catalogued, using innovative methodologies attentive to climatic, cultural, and religious circumstances. This Archive is, therefore, a fascinating instance of specifically 21st-century contemporary practice, as much as it is a unique collection of 19th and 20th-century modern photographs. This is the first time images from the Buddhist Archive of Photography are publicly presented in Asia, outside of Luang Prabang. The Archive has also published a series of bilingual English and Lao research volumes, which are made available in this presentation.

When considering this vast repository of images, several tropes and questions recur. What is photography’s relationship to anicca (impermanence), dukkha (suffering), and anatta (non-self), the three marks of existence in Buddhist thought? What role did Buddhists and photographers play in the Southeast Asian theatre of the global Cold War? And what are the limits of architectural modernity? These questions are explored in three distinct collections of photographs selected for this presentation. The first is a series of portraits of the late Most Venerable Pha Khamchan Virachitta Maha Thera (1920–2007), co-founder of the Buddhist Archive, taken every year from the age of seven until his death. The second selection comprises photographs collected by photographer-monk Pha Khamfan Silasangvaro (1901–1987), which protest the effects of civil war in Laos from 1959 to 1975, as well as photographs taken by another photographer-monk Pha Oun Heuane Hasapanya Maha Thela (1928–1982), who chronicled rarely seen aspects of Buddhist life, such as women’s vipassana meditation retreats. The third selection of images depicts the 1950s modernising renovations of Wat Saen Soukharam temple, under the direction of the late Most Venerable Pha Khamchan. These photographs, and the publications which accompany them, reward historical, spiritual, aesthetic, and other modes of attention and analysis.

 Amy Lien and Enzo Camacho (Philippines/United States/Germany) are collaborating contemporary artists, whose practice often draws on translocational formations of culture and discourse. Within this roving sensibility and method, Lien and Camacho also often engage with Philippine histories and contemporary circumstances. This presentation includes works-in-progress and materials relating to the artists’ ongoing research on the Filipino-American modernist painter, Alfonso Ossorio (1916–1990). Their focus is his 1950 mural, commonly called the “Angry Christ,” painted in a modern chapel located alongside a sugar refinery owned by the artist’s wealthy family, in Victorias, Negros Occidental, the Philippines. It is the first time that work relating to Lien and Camacho’s ongoing research on Ossorio is publicly presented.

Born in the Philippines, Ossorio left when only 8 years old, and his visit to paint the “Angry Christ” mural was his first and only return to the Philippines. In the intervening decades, Ossorio had eventually settled in New York, where he held his first exhibition at Betty Parsons’ celebrated Wakefield Gallery in 1941. He became close to with Jackson Pollock and other artists associated with Abstract Expressionism, a movement which was ideologically charged during the Cold War, due to its covert promotion by the US. Ossorio described his “Angry Christ” mural as an “animated space,” explaining in a 1980 interview that he had attempted to “put as rich an iconography for those who knew and for those who didn’t know… The mural comes to life.” For Lien and Camacho, Ossorio’s mural is a “multivalent cipher,” linked not only to its religious function but also to its economic and environmental context, being located in Negros Occidental, the “sugar bowl of the Philippines,” which produces over half of the nation’s sugar. Lien and Camacho question whether the “Angry Christ” can be “radically reprogrammed” from the specific and highly privileged subjectivity of Ossorio, its maker, and the Ossorio family’s sugar dynasty, its commissioning patron. As well as making repeat visits to the chapel and Victorias over several years, Lien and Camacho have conducted archival research at Ossorio’s alma mater, Harvard University, and at the Ossorio Foundation, New York. They present a mural offering fragmented glimpses of their research notes and work-in-progress.

And in the Chapel and in the Temples: research in progress by Buddhist Archive of Photography and Amy Lien and Enzo Camacho is conceived and organised by Dr Roger Nelson, an art historian and curator specialising in modern and contemporary art in Southeast Asia, and currently Postdoctoral Fellow at NTU Centre for Contemporary Art Singapore and the School of Art, Design and Media, Nanyang Technological University, Singapore. The presentation draws on Nelson’s ongoing art historical archival research in the Buddhist Archive, and his ongoing curatorial dialogue with Lien and Camacho.

Presented as a Fringe Programme of the 6th Singapore International Photography Festival.

Roger Nelson thanks Dr Khamvone Boulyaphonh, Hans Georg Berger, the Acuña family, Lynda Tay, the caretakers of Gillman Barracks, Drusilla Tay, Marc Glöde, Guo-Liang Tan, Patrick D. Flores, Simon Soon, and others who assisted in the development and realisation of this presentation.


Image credit: (Top) Pha Oun Heuan Hasapanyo, main sim hall at Vat Nong Si Khun Meuang, Luang Prabang, 1950s. Hand-coloured silver gelatine DOP. Courtesy Buddhist Archive of Photography. (Bottom) Interior of St Joseph the Worker Chapel, Victorias, Philippines, 2017. Courtesy Amy Lien and Enzo Camacho.

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

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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.



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 - 24 Mar 2019, Sun 12:00 PM - 07:00 PM

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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.



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.