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In The Vitrine:

Nguyen Trinh Thi Landscape Series #1, 2013
28 May 2019, Tue - 1 Dec 2019, Sun 12:00 PM - 07:00 PM

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Interested in the idea of landscapes as a quiet witness to history, artist Nguyen Trinh Thi collects and compilates hundreds of images in which anonymous persons are portrayed pointing towards seemingly empty locations within a landscape. Taken by innumerable Vietnamese press photographers, figures are always captured in the same position, gesturing towards the landscape to indicate a past event, the location of something gone or something lost or missing. We are left with no information about the people and their specific thoughts or feelings, only their repetitious sameness of pointing towards an “evidence” within the silent landscape.

The land bearing witness to the volatile transitions in our geo-political, cultural, and social systems questions the extent of which unsustainable and environmentally-taxing practices effect the environment. Does a landscape harbour ill-feelings towards events and circumstances that have caused it harm? And if it were to break its silence, what forgotten stories would it reveal? Rather than disregarding the land, Nguyen’s photographs suggest these environments contain a plethora of unspoken histories. 

Nguyen’s works are built upon and are often generative of one another. Parallel to this presentation, two of her films, Vietnam the Movie (2015) and Fifth Cinema (2018), will be on view in The Single Screen from 28 May – 9 June and 11 – 23 June respectively. This screening is part of the Centre’s Film Screening Programme: Faces of Histories, 14 May – 17 July 2019.



Nguyen Trinh Thi (Vietnam) is a Hanoi-based filmmaker and moving image artist. Her diverse practice—traversing boundaries between film and video art, installation and performance—consistently engages with memory and history, and reflects on the roles and positions of art and artists in society and the environment. Nguyen studied journalism, photography, international relations, and ethnographic film in the United States. Her films and video art works have been shown at festivals and art exhibitions including Asia Pacific Triennale of Contemporary Art (APT9) in Brisbane (2018); Sydney Biennale 2018; Jeu de Paume, Paris; CAPC musée d’art contemporain de Bordeaux; the Lyon Biennale 2015; Asian Art Biennial 2015, Taiwan; Fukuoka Asian Art Triennial 2014; Singapore Biennale 2013; Jakarta Biennale 2013; Oberhausen International Film Festival; and the Rotterdam International Film Festival. Nguyen is founder and director of Hanoi DOCLAB, an independent centre for documentary film and the moving image art since 2009. She previously showed at NTU CCA Singapore in the exhibition Ghosts and Spectres – Shadows of History (2017).


Image caption: Nguyen Trinh Thi, Mr. Nguyen Tan (on the left) and Mr. Huynh Ngoc Anh (of Phuoc My commune) are pointing to the direction of the river where dozens of people’s homes and gardens have been swallowed by the “patron god of the river.”, from Landscape Series #1, 2013, 20 photographs, colour and black-and-white; 35mm slide projection, 77 slides. Courtesy the artist.

Residencies Insights: Two Worlds, Four Spirits, Artist talk by Sung Tieu (Vietnam/Germany/United Kingdom), Artist-in-Residence
3 Dec 2019, Tue 07:00 PM - 08:30 PM

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Central to the artistic practice of Sung Tieu is a personal experience of migration from Vietnam to Germany which impels her to address Post-Cold War histories and the multiple negotiations that underpin a diasporic identity made of unfixed temporalities and spatial uncertainties. In this talk, the artist will discuss recent projects—Loveless (2019), Remote Viewing (2017) and Coral Sea As Rolling Thunder (2017)—which variously employ text, performance, installation, moving image, and sound to convey a sense of dislocation while deliberately eluding legible narratives. She will also expand upon her way to design the exhibition space as a complex environment for sensorial engagement.



The artistic practice of Sung Tieu (b. 1987, Vietnam/Germany) spans a variety of mediums including sound installation, video, sculpture, photography, performance, and public interventions. In her work, she contends with notions of history and analyses transnational movements of people and capitals. Forthcoming solo exhibitions will be held at Haus der Kunst, Munich, Germany and Nottingham Contemporary, United Kingdom (both 2020). Other forthcoming projects will be featured at Tate Modern and David Roberts Art Foundation (both London, United Kingdom, 2019), and the Prague Biennale (2020). She has had solo exhibitions at FRAGILE, Berlin, Germany (2019); Royal Academy of Arts, London, United Kingdom (2018); and Nha San Collective, Hanoi, Vietnam (2017).


Image: Sung Tieu, No Gods, No Masters, 2017, video still. Courtesy the artist.

Exhibition (de)Tour: Living with our Creations by Hallam Stevens, Associate Professor, School of Biological Sciences, NTU
5 Dec 2019, Thu 07:00 PM - 08:30 PM

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We are now surrounded by the living products of our own ingenuity. Hybrid fish, transgenic corn, and Wolbachia mosquitoes. We tend to view such creatures with dread, thinking of them as unnatural hybrids that confuse boundaries and cross categories. But what if we found ways of loving our creations more? What if embracing these hybrids allowed us to find new ways of living with and in nature? New institutional, structural, and philosophical relationships to our genetically modified cousins might just help us survive in the Anthropocene.



Hallam Stevens (Australia/Singapore) is Associate Professor of History in the School of Humanities at Nanyang Technological University and the Associate Director of the NTU Institute of Science and Technology For Humanity. He is the author of Life out of Sequence: a data-driven history of bioinformatics (Chicago, 2013), Biotechnology & Society: an introduction (Chicago, 2016), and the co-editor of Postgenomics: Perspectives on Life After the Genome (Duke, 2015). At NTU he teaches courses on the history of the life sciences and the history of information technology.


Image: On Garages and Genes, or the rise and fall of the California ideology, lecture by Hallam Stevens, Saturday, 23 November 2019, NTU CCA Singapore.

In The Vitrine:

Fyerool Darma
Vivarium (wii fl∞w w/ l4if but t4k£ ø forms, ♥)
7 Dec 2019, Sat - 29 Mar 2020, Sun

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Engaging The Vitrine as a site imbricated with complex histories and practices of display, Fyerool Darma complicates our understanding of Telok Blangah, through objects found or acquired, deconstructed and reoriented by the artist and his collaborators. These objects, added one at a time with a monthly cadence, are registers of physical surplus of archives, narratives, and transactional systems that are constantly being managed, (re)written, and (re)produced. The installation encapsulates an object-based index of the area wherein the items slide like cursors along intricate trajectories and the realms of the physical and digital, the archive and the display, are merged.


Fyerool Darma (Singapore) interrogates the cultural consumption of history and myth in relation to contemporary markers of identity and class. His artefacts and material experimentations are based on an extensive visual vocabulary drawn from popular culture, literature, archives, the internet, and the artist’s own life. He is Artist-in-Residence at NTU CCA Singapore until March 2020.


Image: Fyerool Darma, Vivarium (wii fl∞w w/ l4if but t4k£ ø forms, ), 2019, sketch. Courtesy the artist.

Residencies Insights: Models of Organisation. Images as Comrades, Film screening and discussion with Irina Botea Bucan and Jon Dean (Romania and United Kingdom), Artists-in-Residence
10 Dec 2019, Tue 07:00 PM - 08:30 PM

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Irina Botea Bucan and Jon Dean’s artistic collaboration is based upon an interest in the decentralization of cultural discourse and the possibility of sustaining creative differentiation outside of a dominant hegemonic system of values and critique. Through merging various roles (visual artists, filmmakers, educators, community workers), they have developed a ‘three-way’ symbiotic artist-educator-research methodology that they apply in various socio-cultural contexts, and seek to place people’s experiences as the central ‘vehicle of meaning’. Combining reenactment strategies with auditions, elements of cinéma vérité and forum theatre, they look into the role conflict, history, language and music play in the formation of the individual and the community. In Singapore, the artists are continuing their long-term comparative research into the history, usage, and the possible imagination of cultural houses/community clubs as places where “culture” can be authored collectively. During this programme, they will present previous films and discuss their collaborative practice.



Irina Botea Bucan (b. 1970, Romania) and Jon Dean (b. 1966, United Kingdom) have been working together on film-based projects since 2013. Their artistic collaboration unfolds through filmmaking enquiries premised on the close scrutiny of and active engagement with specific social contexts. Their works have been shown internationally at several venues including Art Encounters Biennial, Timisoara, Romania (2019), The Paintbrush Factory, Cluj, Romania (2019), Centre for Contemporary Art, Torun, Poland (2018); Loop Barcelona, Spain (2018), National Museum of Contemporary Art, Bucharest, Romania (2017); The Phillips Museum of Art, Lancaster, United States (2017), Columbia University, New York, United States (2018), ZKM Karlsruhe, Germany (2017), Centrala, Birmingham, United Kingdom (2016), Pompidou Center, Paris, France (2016), Film Society, Lincoln Center, New York, United States (2015), International Film Festival Rotterdam, Netherlands (2015) , EMAF Osnabruck, Germany (2015), among others.


Image: Irina Botea Bucan and Jon Dean, A Cultural Hearth, 2018, film still. Courtesy the artists.


Residencies Insights: Ambitious Lovers. Artists’ Films and Moving Images are Modern Classics, Still., Lecture by Dr Andrea Lissoni (Italy/United Kingdom), Curator-in-Residence
12 Dec 2019, Thu 07:00 PM - 08:30 PM

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Images are in motion. As their nature keeps evolving, the metamorphosis of the imaginary is subject to constant acceleration. Where are images headed? And, more importantly, how are they changing? Over the last twenty years, the dialogue between art and cinema, film and moving images, black box and white cube, has been one of the most exciting and innovative areas of study generating a wide range of exhibitions, festivals, academic research, publications, and symposia. Yet, in spite of thriving discourses and practices centred on the moving image and film, large-scale exhibitions and festivals, save for a few exceptions, fail to experiment with formats and venues. In this lecture, Andrea Lissoni will reflect on his own display strategies for time-based works arguing that artists’ films and moving images are “modern classics.”



Dr Andrea Lissoni is Senior Curator, International Art (Film) at Tate Modern, London (United Kingdom). At Tate Modern, he launched an annual Cinema Programme conceived as an exhibition unfolding throughout the year. He also curated the major survey exhibition Joan Jonas (2018), the Turbine Hall commission by Philippe Parreno (2016), and the live programme for the opening of the new building (2016). In 2018, he co-curated The Sound of Screens Imploding, Biennale de l’Image en Mouvement, Geneva (Switzerland)/Turin (Italy). In 2012, he co-founded Vdrome, an online cinema for artists and filmmakers. Previously, he was curator at HangarBicocca, Milan (2009-13) and co-director of the international festival Netmage, Bologna (both Italy). In April 2020, Lissoni will take up the position of artistic director at Haus der Kunst in Munich (Germany).


Image: Apichatpong Weerasethakul, Uncle Boonmee Who Can Recall his Past Lives, 2010, film still. Courtesy Kick the Machine Films.

Residencies Insights: Replaying the Past, Lecture performance by Hikaru Fujii (Japan), Artist-in-Residence
17 Dec 2019, Tue 07:00 PM - 08:30 PM

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In the present times when hypotheses are easily turned into “facts” within SNS (social networking services), more layered understandings of the notions of truth arise from a creative use of historical archives and the reproduction of past events. Unfolding through interdisciplinary collaborations with specialists from various fields, Hikaru Fujii’s works address compelling contemporary issues through extensive fieldwork and in-depth research on cultures and histories specific to a certain country, or region. His aesthetic strategy breathes new meanings into significant recent or historical events ultimately triggering a critical perception of the current state of society. In this lecture performance, Fujii will expand upon his methodologies of re-enactment as a practice of political resistance and discuss how his work enlace the multiple terrains of archaeology, anthropology, history, and art.



The artistic practice of artist and filmmaker Hikaru Fujii (b. 1976, Japan) reflects his strong belief that art results from an intimate relationship between society and history. His work probes modern education and social systems in Japan and Asia often employing strategies of reenactment to address the contemporary relevance of historical events. He recently received a solo exhibition at KADIST, Paris, France (2019). His work has also been exhibited at Aichi Triennale, Japan (2019); Fast Forward Festival 5, Onassis Cultural Centre, Athens, Greece (2018); Centre George Pompidou Metz, France (2017), and Museum of Contemporary Art Tokyo, Japan (2016) among others. He was awarded the Nissan Art Award 2017 Grand Prix.

Image: Hikaru Fujii, The Primary Fact, 2018, video still, nine-channel video, 73 min. Courtesy the artist.

Workshop: The Impact of Insects in Our World - An Artistic Exploration by artist Wendy.gnahZ in collaboration with social enterprise Migrant x Me
29 Dec 2019, Sun 02:00 PM - 05:00 PM

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Registration required via Peatix:

Fee: $12


Insects are crucial to our ecosystem. However, rapid environmental degradation has caused a major decline of their population, affecting humans and other interdependent species. In this workshop, participants will learn the important role that insects play in our ecosystems, fostering a deeper appreciation for them. Using recycled materials, participants will study and create their own six-legged animals through printed images and real insect specimens brought in by Wendy.gnahZ.

This workshop is held in collaboration with Migrant x Me, a registered social enterprise that aims to provide public education and raise awareness of the migrant worker community in Singapore. Participants will work hand-in-hand with the local migrant worker community, and exchange thoughts and experiences on how to share resources more consciously. 



An artist volunteer with Migrant x Me, Wendy.gnahZ (Singapore) is a creator and scientific illustrator. Fascinated with the strange, the dead and the unseen matter in nature, she is driven to learn more about them and the role they play in our ecosystem.

Migrant x Me (Singapore) is a social enterprise that provides public education on the migrant worker community in Singapore through experiential programmes, workshops, and learning journeys. It collaborates with like-minded organisations such as schools, corporates, and NGOs, to provide education to Singaporean youths. It also conducts monthly art sessions for migrant workers at clinics run by its partner NGOs.


Image courtesy the artist.

What is Deep Sea Mining?
2 Nov 2019, Sat - 19 Jan 2020, Sun

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By inhabitants in collaboration with Margarida Mendes

Deep sea mining is a new frontier of resource extraction located on the ocean seabed. It is set to begin in the next few years, as the technology is currently under development. Mining companies are, at present, leasing areas for exploitation in national and international waters in order to assess the potential to extract minerals and metals such as manganese, cobalt, gold, copper, iron, and other rare earth elements. The main geological sites targeted are areas rich in polymetallic nodules, seamounts, and hydrothermal vents; areas typically found where tectonic plates meet. The areas to be mined could cover parts of the Mid-Atlantic Ridge and the Clarion Clipperton Zone in the Pacific Ocean in international waters, and national waters off the islands of Papua New Guinea, Fiji, Tonga, New Zealand, Japan, and the Portuguese archipelago of the Azores. Assessment of the impact on deep sea ecosystems is underway, though their cumulative effects remain difficult to comprehend given the unprecedented variety and expanse of the mining sites targeted. At the same time, local and indigenous communities living in these regions are not being adequately consulted.

The prospects of this form of mining re-actualise a colonial, frontier mentality and are redefining extractivist economies for the twenty-first century. What is Deep Sea Mining? addresses both knowledge of the deep sea and ocean governance, but also efforts to defend a sustained ocean literacy beyond the United Nations’ “blue economy” at a time when the deep ocean, its species, and its resources remain largely unmapped and understudied.


Episode 1, Tools for Ocean Literacy, is historical and geographical introduction to deep sea mining, playing with Charles and Ray Eames’ 1977 film Powers of Ten.

Episode 2, Deep Frontiers, tells a story about knowledge of the seabed and its alien life, written by anthropologist Stefan Helmreich.

Episode 3, The Azore Case, focuses on the Portuguese Azores nine island archipelago, following European Union plans to mine in the region, based on a series of interviews with marine biologists and politicians conducted in the islands.

Episode 4, A Glossary on Mining, offers a brief glossary of terms that can be used to better tackle the issue of mining reserves and monopolies on land, which in turn may lead to the potential threat of deep sea mining.

Episode 5, The Papua New Guinea Case, addresses the plans to mine off the coast of Papua New Guinea as well as the long activist struggle by local communities across the Pacific against deep sea mining. Episode 5 will be premiered at NTU CCA Singapore, simultaneously in the Lab space and online on social media and the websites of NTU CCA Singapore’s website, the funding and partner institution TBA21 – Academy’s website, and inhabitants-tv.



inhabitants (Portugal/United States) is an online channel for exploratory video and documentary reporting. Founded in New York in late 2015 by visual artists Mariana Silva and Pedro Neves Marques, inhabitants produces and streams short-form videos intended for free, online distribution. All episodes are available at, as well as on Vimeo, YouTube, Facebook, and Instagram.

What is Deep Sea Mining? was developed in collaboration with Margarida Mendes, curator and activist from Lisbon, Portugal, consultant of Sciaena NGO and founding member of Oceano Livre, an environmental movement against deep sea mining. What is Deep Sea Mining? is a web series and art project commissioned by TBA21–Academy.


Image: inhabitants with Margarida Mendes, What is Deep Sea Mining? Episode 3: The Azores Case, 2019. Courtesy the artists. 



Film Programme: The Posthuman City
26 Nov 2019, Tue - 9 Feb 2020, Sun

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This film programme accompanies the exhibition, The Posthuman City. Climates. Habitats. Environments. It involves a selection of 11 artists’ films that expand on the exhibition’s topics, as well as two sci-fi classics.

Screening on loop during opening hours.


26 November – 1 December 2019
Mierle Laderman Ukeles, Waste Flow, 1984
Video, colour, 58 minutes

Waste Flow is one of two videos chronicling Ukeles’s ground-breaking performance Touch Sanitation (1978–80), in which she shook hands with over 8,500 New York City Sanitation workers to appreciate and destigmatise their labour. The film portrays a large grid of coloured photographic prints, and sundry text-based archival materials depicting the performance work.


3 – 8 December 2019
De Rijke/De Rooij, Bantar Gebang, 2000
35mm film, colour, sound, 10 min

This film consists of a single static view of a shanty town built on a vast rubbish dump near Jakarta, Indonesia. It begins in semidarkness before dawn, to broad daylight, and ends with the light shifting from dreamy twilight to daybreak. The entrance to the walled shanty town is framed in the centre, where roads intersect with people walking along them. The structure of the image is revealed and sobering even, as the viewer observes its details and actions in the changing light.


10 – 15 December 2019
Lucy Walker, Waste Land, 2010
Colour, sound, 99 min

This feature documentary follows Vik Muniz, a Brazilian artist and photographer, on an emotional journey from Jardim Gramacho, the world’s largest landfill on the outskirts of Rio de Janeiro, to the heights of international art stardom. Muniz collaborates with “catadores,” pickers of recyclable materials who live on the landfill, to create photographic images of themselves out of garbage. The process portrays their plight; at the same time, the resulting work highlights their dignity, the transformative power of art, and the beauty of the human spirit.


17 – 22 December 2019
Tejal Shah, Between the Waves, 2012
HD Video, colour and b&w, multi-channel sound

Five-channel video installation, adapted to two-channel (back-to-back loop)
Channel I, A Fable in Five Chapters, 26 min 15 sec
Channel II, Landfill Dance, 5 min
Channel III, Animation, 1 min 40 sec
Channel IV, Moon Burning, 26 min 15 sec
Channel V, Morse Code, 26 min 15 sec 

Between the Waves portrays personal/political metaphors—embodiments of the queer, eco-sexual, inter-special, technological, spiritual, and scientific—within sensual, poetic, heterotopic landscapes. Neither bourgeois or asexual, the subjects can be read as assertively political in their local context, where freedom of speech and creative expression often face serious censorship. The immersive environments they are in represent spaces of refuge or expulsion, while their activities feel both archaic and futuristic, filled with urgency and agency. Multiple historic and mythological references are woven and problematised within the video. A Fable in Five Chapters touches on the ecological importance and parthenogenetic nature of corals and reef fish; Landfill Dance explores the potency of the geological, social, and cultural histories embedded in a landfill; Animation and Morse Code move between low-tech animation to the use of iPhone Morse code application; and Moon Burning highlights the cyclic nature of existence and impermanence, and the fluid entities of things and beings. 


One-time screening
Thursday, 19 December 2019, 7.30pm
Fritz Lang, Metropolis, 1927
B&w, sound, 2h 30 min

This German expressionist science-fiction drama film presents a futuristic utopian city that exists above a grim underground world populated by exploited workers who runs the machinery that keeps the utopian world above functioning. Freder, the son of the city’s master is intrigued by a young woman named Maria, who brings a group of workers’ children to the city and eventually learns about their living conditions. Freder seeks to be a mediator between the separating classes and this puts him in conflict with his authoritative father. This quickly culminates into a revolution that spells disaster for those involved.


24 – 29 December 2019
Ursula Biemann, Deep Weather, 2013
Video essay, colour, sound, 9 min

This video draws a connection between the relentless reach for fossil resources and the impact on broad indigenous populations in remote parts of the world. Water and oil form the undercurrents of all narrations as they are activating profound change in the planetary ecology. The work documents communities living in the Deltas of the Global South that are building protective mud embankments by hand without any mechanic help. In Bangladesh, such measures are taken when large parts of the country become submerged and water is declared a territory of citizenship for populations forced to live on water.


One-time screening
Thursday, 26 December 2019, 7.30pm
Ridley Scott, Blade Runner, 1982
Colour, sound, 117 min

In the year 2019, Rick Deckard, a Blade Runner and law enforcer, is forced out of retirement to hunt down and kill four illegally bio-engineered humans known as replicants before they kill more people. These replicants are androids that look virtually identical to human beings. They are designed with superior strength and higher intelligence but feel no emotions. Centred on the theme of humanity, the film examines the effects of technology on the environment and society; where other forms of natural life no longer exists and the future is depicted as both high-tech and hopeful in some places but decayed in others.


31 December 2019 – 5 January 2020
Jan Peter Hammer, Tilikum, 2013
HD-video, colour, sound, 45 min

The film charts the entangled history of behaviourism, neuroscience, animal training, interspecies affection, and English-speaking dolphins. Its narrative starts on 25 February 2010 with a 911 call. Seconds after having completed a live performance at SeaWorld Orlando, Florida, a trainer Dawn Brancheau was dragged underwater, drowned and dismembered by Tilikum, a bull orca. He was Tilikum’s third victim. The film reveals details about the entertainment-industrial complex which SeaWorld is a part of, and the connections between the earliest oceanic leisure centres and Cold War military research, from Hammer’s research on the incident.


7 – 12 January 2020
Jonathas de Andrade, O Peixe [The Fish], 2016
16mm film transferred to 2K video, sound, colour, 37 minutes

The film adopts an aesthetic style typically employed in ethnographic films by anthropologists from the 1960s and 70s when recording the cultures and traditions they study. In a series of vignettes shot on 16 mm film, we witness what seems to be an intimate ritual—one actually invented by the artist—among fishermen in a coastal village in North-eastern Brazil. The camera captures individual fishermen as they catch and then tenderly hold their prey to their chest until it stops breathing. There lurks an understanding that this gesture disguises violence as benevolence and suggests a symmetry between the power that humans wield over other life forms.


14 – 19 January 2020
Fabrizio Terranova, Donna Haraway: Story Telling for Earthly Survival, 2016
Colour, sound, 81 min

Donna Haraway is a prominent scholar in the field of science and technology, a feminist, and a science-fiction enthusiast who works at building a bridge between science and fiction. She became known in the 1980s through her work on gender, identity, and technology, which broke with the prevailing trends and opened the door to a frank and cheerful trans-species feminism. Haraway is a gifted storyteller who paints a rebellious and hopeful universe teeming with creatures and futuristic trans-species, in an era of disasters. The filmmaker Fabrizio Terranova visited Donna Haraway at her home in Southern California, producing this rare, candid, intellectual portrait of a highly original thinker. 


21 – 26 January 2020
Armin Linke, Pulau-pulau kelapa sawit, 2017
In collaboration with Giulia Bruno and Giuseppe Ielasi.
HD video, colour, sound, 95 min

With footage of oil palm plantations, active peat fires, and olive-related production sites in Java, Sumatra, and Kalimantan (Borneo), the film illustrates why the oil-farming business has grown so rapidly in Asia. Various stages of palm oil production are linked through provocative interviews with residents, activists, scientists, and government officials who express their often-conflicting views on the transformation of Indonesia into a palm oil nation. While the pace of production has positively impacted Indonesia’s GDP, the steep rise in demand for palm oil and its derivatives has dire consequences for Indonesia and its rainforests.


28 January – 2 February 2020
Liam Young, Seoul City Machine, 2019
Digital 3D film, sound, 7 min 41 sec

Seoul City Machine is an abstract sequence of vignettes, fragments and moments of a city where machines and technology are now the dominant inhabitants. It portrays the urban landscape of tomorrow; a city in which all of the fears and wonders of emerging technologies have come true. An AI chatbot voices its own creation story through its City Operating System to the citizens it affectionately manages. Using contemporary Seoul as a visual backdrop, the present-day city is overlaid with cinematic visual effects to depict an autonomous world where drones fill the sky, cars are driverless, streets are draped in augmented reality, and everyone is connected to everything.


4 – 9 February 2020
Karlos Gil, Uncanny Valley, 2019

The film is a dystopian sci-fi story that takes the replacement of waiters in Japanese restaurants by androids as its starting point. It explores complex existential problems due to the Uncanny Valley Hypothesis in the field of robotics: in which an android created too much in the image and likeness of a human faces rejection. The underlying themes of the video deal with the relationship between machines and humans based on the encounter between an android and its doppelgänger. Through this relationship and the implementation of Artificial Intelligence (AI) in everyday life, the film reflects the socio-economic paradigm effects by the technological transformation.


Image: Fabrizio Terranova, Donna Haraway: Story Telling for Earthly Survival, 2016, film still. Courtesy Fabrizio Terranova and Centre de l’Audiovisuel à Bruxelles.