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What is Deep Sea Mining?
2 Nov 2019, Sat - 8 Feb 2020, Sat

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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.

Exhibition (de)Tour: Germ Warfare – the balancing game between Humans, Pathogens, and Environment
4 Feb 2020, Tue 07:00 PM - 08:30 PM

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By Olivo Miotto, Associate Professor, University of Oxford, Mahidol-Oxford Tropical Medicine Research Unit (MORU), Bangkok

Humans are engaged in a constant battle against infectious diseases. The weapons used by microbes are different from those we employ, but very effective at frustrating our efforts to control and eliminate disease. For example, malaria parasites can rapidly develop mutations that make treatments less effective; the more people use antimalarial drugs, the more dramatic the response from the parasites. The battlefield also plays a decisive role: for pathogens like dengue or malaria, which are transmitted by insects, changes in the environment that affect natural habitats make a profound difference. Can humanity create a disease-free future while protecting the environment?



Olivo Miotto (Italy/Thailand) is Associate Professor at the University of Oxford based at the Mahidol-Oxford Tropical Medicine Research Unit in Bangkok, where he specialises in genomic epidemiology of malaria parasites. Miotto is the principal investigator of GenRe-Mekong, a regional genetic surveillance project that uses advanced genomic technologies to produce maps of drug resistance and gene flow in local parasite population, which are used by national malaria control programmes to make strategic decisions on treatments and interventions. He also collaborates with researchers across the globe, analysing thousands of parasite genomes to understand the evolution of antimalarial drug resistance and, ultimately, help support the eradication of this diseases.


Image: Olivo Miotto. 

Han Nefkens Foundation – Fundació Antoni Tàpies Video Art Production Award

Shuruq Harb
The Jump
11 Feb 2020, Tue - 25 Mar 2020, Wed

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The Han Nefkens Foundation – Fundació Antoni Tàpies Video Art Production Award appraises the work of emerging artists aged 40 and under, who live in West or Central Asia and have established a solid trajectory but not yet received recognition by international art institutions. Shuruq Harb, the 2019 recipient of this award, will present The Jump, a single-channel video that reflects on the act of leaping, both literally and figuratively, through a conversation with a blind Palestinian woman who retells her experience paragliding from the Caucasus Mountains.

This new limited-edition video work will be exhibited at five institutions internationally over the course of 2020: NTU Centre for Contemporary Art Singapore; the Museum of Contemporary Art and Design in Manila, WIELS in Brussels; the Fundació Antoni Tàpies in Barcelona; and Jameel Arts Centre in Dubai. Harb was selected by an international jury, including NTU CCA Singapore’s Founding Director Ute Meta Bauer, for her capacity to generate knowledge out of a conflict-ridden lived reality. Her incisive filmmaking provides a critical reading of contemporary existence; a poetic reflection on image production and how this is used in conflict zones.



Shuruq Harb (Palestine) is a visual artist and writer based in Ramallah. Her artistic practice focuses on online visual culture and traces subversive routes for the circulation of images and goods. She is co-founder of “ArtTerritories” (2010­–17), and “The River Has Two Banks” (2012–17), last exhibited at the Asian Art Biennial in Taiwan. Her work has been exhibited internationally at the New Museum, Columbia University, Gwangju Biennial, Istanbul Biennial, Darat al-Funun, Ikon Gallery, among others. Her latest film “The White Elephant” received the award for best short film at Cinéma du Réel Festival in Paris, 2018.

About Han Nefkens Foundation
The Han Nefkens Foundation was established in 2009 with the aim of connecting people through art. In 2016, Han Nefkens decided to focus exclusively on supporting emerging and mid-career international video artists through Awards, Production Grants, and Mentorship Grants. The Foundation is not only involved in producing new works with the artists, but also finding international residencies, producing publications, purchasing working tools, finding technical support, and bringing artists into contact with art institutions and peers. With an extensive network in countries such as Thailand, Vietnam, Cambodia, Korea, Ecuador, Peru, Spain, and the Netherlands, the Foundation is able to present artists to a diverse and global audience.


Image: Shuruq Harb, The Jump (film still), 2020. Courtesy the artist. Produced by The Han Nefkens Foundation, Barcelona with the support of the Fundació Antoni Tàpies, NTU Centre for Contemporary Art Singapore, and other collaborating institutions.

In Conversation: Shuruq Harb, artist, and Dr Kiven Strohm, Assistant Professor, NUS; with Guest-of-Honour Hilde Teerlinck, CEO, Han Nefkens Foundation
11 Feb 2020, Tue 07:00 PM - 08:30 PM

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This event marks the Singapore premiere of Shuruq Harb’s “The Jump” which will be screening on loop at The Single Screen from 11 February to 25 March 2020.

Together with Dr Kiven Strohm, we delve into the works of Palestinian artist Shuruq Harb, the recipient of The Han Nefkens Foundation – Fundació Antoni Tàpies Video Art Production Award 2019. In addition to screening her new film The Jump (2020) and her previous film The White Elephant (2018), for which she received the award for best short film at the 2018 Cinéma du Réel Festival in Paris, Harb will discuss how she utilises different principle approaches and material in her work using both found images and making her own. The conversation will revolve around the place of images, their significance, and strategies of voice in relation to their power in the context of social and political communication.



Shuruq Harb (Palestine) is a visual artist and writer based in Ramallah. Her artistic practice focuses on online visual culture and traces subversive routes for the circulation of images and goods. She is co-founder of “ArtTerritories” (2010¬–17), and “The River Has Two Banks” (2012–17), last exhibited at the Asian Art Biennial in Taiwan. Her work has been exhibited internationally at the New Museum, Columbia University, Gwangju Biennial, Istanbul Biennial, Darat al-Funun, Ikon Gallery, among others. Her latest film “The White Elephant” received the award for best short film at Cinéma du Réel Festival in Paris, 2018.

Kiven Strohm (Netherlands/Singapore) is an Assistant Professor of Anthropology at the National University of Singapore and Associate Member of Asian Urbanisms at the Asia Research Institute (ARI, NUS). His research over the last decade has centred on relations of art and politics among the Palestinian indigenous community living in Israel. More recently, he has been exploring the aesthetics of political ecologies in collaboration with El Beir, Arts and Seeds.

Hilde Teerlinck (Belgium/Spain) is CEO, Han Nefkens Foundation. She was coordinator of the Mies van der Rohe, Barcelona (1994–99) where she invited renowned artists such as Jeff Wall, Panamarenko, Ulrich Meister, and Thomas Ruff to create site-specific interventions. In 2002, she was appointed director of the Center Rhénan d’Art Contemporain in Altkirch and from 2006 to 2014 she was the director of the FRAC Nord-Pas-de-Calais. She has curated a large amount of exhibitions worldwide and was part of the curatorial teams for the Beaufort Biennial 2016, Palais de Tokyo at the Lyon Biennale 2015, Play Kortrijk 2018, amongst others.


Image: Shuruq Harb, The Jump (film still), 2020. Courtesy the artist. Produced by The Han Nefkens Foundation, Barcelona with the support of the Fundació Antoni Tàpies, NTU Centre for Contemporary Art Singapore, and other collaborating institutions.

Mary Otis Stevens. The iPress Series
14 Feb 2020, Fri - 5 Apr 2020, Sun

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Mary Otis Stevens (b.1928) is a pioneering American architect. Her architectural designs, along with the founding of iPress (1968-1978), an important publisher of books on architecture, urbanism, and social space, were linked to her ability to radically re-envision space and relationships. In the context of the Cold War and American political activism in the 1960s, her work, which were often in collaboration with her partner, fellow architect and iPress co-founder Thomas McNulty, revealed her foundational training in philosophy and her commitment to de-centralising hierarchies. Revisiting her work more than fifty years later, the themes of active citizen participation in government, integrated planning, and genuine risk-taking to make substantial change in people’s lives remain relevant and crucial means of incorporating a social context into the practice of architecture. On view is Mary’s sensitivity to variations, large and small, visible in her work as a publisher as well as her drawings and architectural designs. This research presentation also explores The Ideal Communist City, an iPress publication by Alexei Gutnov et al. from 1970 that offers a deep dive into a utopian proposition that “the new city is a world belonging to all and to each.”

In order to help reintroduce the iPress series on the human environment to a wide audience, NTU CCA Singapore, with series editors Ute Meta Bauer (Founding Director, NTU CCA and Professor, NTU ADM), James Graham (Director of Publications, Columbia University GSAPP), and Pelin Tan (2019-2020 Keith Haring Fellow in Art and Activism, Bard College), is currently working with iPress and Mary Otis Stevens to republish several original iPress books with revisions and commentary by contemporary theorists and practitioners.


Image: Mary Otis Stevens, early concept model for the Lincoln House, architecture expressed as wave motion, 1965.


NTU CCA Ideas Fest 2020, Guest-curated by IdeasCity, New Museum, New York
15 Feb 2020, Sat - 22 Feb 2020, Sat

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Programme on 22 February 2020 


Start and Finish by Ute Meta Bauer and Vere van Gool
Dialogues by Shumon Basar and Ho Rui An on capitalism and the extreme self
Lecture by Kirsten Han on emergent medias and speech
Film screening by ila
Presentation by Heman Chong on archives as commons
Lecture Screening by Marwa Arsanios on ecofeminism and community
Presentation by Monica Narula on submarine horizons
Performance by Radha “Midnight Masala”
Hologram lecture by Audrey Tang
Conversation between Becca D’Bus and Fellows on solidarity with nature
Discussion by Shumon Basar, Heman Chong, Vere van Gool, Charles Lim, and Zarina Muhammad on sovereignty and indigenous contexts
Lecture by Emeka Ogboh on food diasporas
Reading by Alfian Sa’at on the poetics of migration
Presentations by House of Natural Fiber and the Land Foundation on strategies for combatting climate change
Video Presentation by Angela Dimayuga on culture and cookbooks
Discussion by Ute Meta Bauer, Vanessa Ho, and Prasoon Kumar on trust networks and sustainability
Kitchen Mapping Workshop by Bakudapan Food Study Group
VR Demo by Rindon Johnson on speculative futures
Roundtable by Fellows
Live Music by Bani Haykal
Lecture Screenings by Kunlé Adeyemi, Eleena Jamil, and Bouchra Khalili on the poetics of migration
Start and Finish by Ute Meta Bauer and Vere van Gool



Due to the outbreak of the novel Coronavirus (COVID-19), Ministry of Health (MOH) has advised and implemented safeguards to prevent the spread of the virus. NTU Centre for Contemporary Art Singapore is working closely with Nanyang Technological University (NTU) in responding timely and appropriately, to ensure that NTU CCA Ideas Fest 2020, guest-curated by IdeasCity, New Museum, does not pose any health risks to all involved.

The event is progressing ahead with some adjustments including temperature screenings for all visitors and staff accessing the Centre’s premises, as well as declarations of symptoms and travel history (including details for contact tracing). Staff members are additionally required to monitor and log their temperatures twice daily. These measures are consistent with the current MOH advisory.

The public programme on 22 February will be live streamed. We will share the livestream link shortly when it is available. 

NTU CCA Singapore is committed to maintaining a safe environment for all staff, collaborators and visitors, and will continue to comply with official advisories.


NTU CCA Ideas Fest 2020

NTU Centre for Contemporary Art Singapore and the New Museum are pleased to announce participants and collaborators for the second edition of the NTU CCA Ideas Fest, IdeasCity Singapore, guest-curated by IdeasCity, taking place in Singapore and across Southeast Asia from February 15 to 22, 2020.

Building upon the NTU CCA Singapore’s research theme Climates. Habitats. Environments. and IdeasCity’s exploration of the role of art and culture beyond the walls of the museum, IdeasCity Singapore’s residency and public program will examine the urgency of solidarity structures in negating climate change and its impact on Southeast Asia and communities worldwide.

Twenty practitioners have been selected from an international open call for the residency program at the NTU CCA Singapore to develop independent research at the intersection of art and ecology. Throughout the residency, participants will engage in workshops and lectures presented by local artists, practitioners, and community leaders, including Heman Chong, Lynette Chua, Drama Box, Charles Lim, Zarina Muhammad, and Post-Museum, along with organizations such as New Naratif, The Projector, Singapore Community Radio, soft/WALLS/studs, and The Substation.

Residency Fellows include: Francisco Brown (United States), Jane Chang Mi (United States), Kar-men Cheng (Singapore), Lingying Chong (Singapore), Chloe C. Chotrani (Philippines/Singapore), Calvin Chua (Singapore), Fataah T. Dihaan (United States), ila (Singapore), Heider Ismail (Singapore), Lily Kwong (United States), Clarissa Ai Ling Lee (Malaysia), Michelle Lai (Singapore), Kwan Q Li (Hong Kong), Angela Mayrina (Indonesia/United Kingdom), John Kenneth Paranada (Philippines/United Kingdom), Patricia Sayuri (Japan/Brazil), Pen Sereypagna (Cambodia), Shahmen Suku (Singapore/Australia), Ruby Thiagarajan (Singapore), Dat Vu (Vietnam), Nikan Wasinondh (Bow) (Thailand) and Jason Wee (Singapore). For more information please visit:

On February 22, 2020 at NTU CCA Singapore, IdeasCity Singapore will present and broadcast a series of dialogues between local and international artists and community leaders on topics including food sovereignty (Angela Dimayuga and Emeka Ogboh), underground archives (Heman Chong and Monica Narula of Raqs Media Collective), image and power (Ho Rui An and Shumon Basar), ecofeminism (Marwa Arsanios), and traces of migration (Kunlé Adeyemi, Eleena Jamil, Bouchra Khalili and Alfian Sa’at). A sequence of debate circles will examine the roles of solidarity and speculation in addressing climate injustice, featuring interdisciplinary perspectives from speakers such as Becca D’Bus, Kirsten Han, Prasoon Kumar and Zarina Muhammad.

Workshops and conversations facilitated by Bakudapan Food Study Group and a presentation of new VR work by artist Rindon Johnson will invite select audiences to engage directly with artists envisioning pathways to equitable and sustainable futures. The programme will also feature screenings, showings, and remarks by performance artist ila and Digital Minister of Taiwan, Audrey Tang.

Responding to the context of climate crisis, in which artists, activists, and scholars around the world are working today, IdeasCity Singapore will include a series of programmes across Southeast Asia in collaboration with The Forest Curriculum and Nomina Nuda (Los Baños, Philippines), Malaysia Design Archive (Kuala Lumpur, Malaysia), House of Natural Fiber (Yogyakarta, Indonesia), The Land (Chiang Mai, Thailand),  Sàn Art (Ho Chi Minh City, Vietnam) and Harvard’s Graduate School of Design (Boston, United States).

Facilitated by IdeasCity and workshopped at NTU CCA Singapore with an advisory council of Singaporean community members whose work exemplifies equitable practices, a community agreement was developed that details best practices for achieving an accountable, sustainable, and authentic collaboration in Singapore.

For more information

NTU CCA Ideas Fest 2020 is guest-curated by IdeasCity, New Museum, New York.

IdeasCity Singapore is conceived and organized by Vere van Gool with Gabe Gordon, Nicholas Liong, Gregory Ng Yong He, and Karen Wong at the New Museum, as well as Ute Meta Bauer, Karin Oen, Magdalena Magiera, Leong Min Yu Samantha, and Ze-Tian Lim at NTU CCA Singapore.

NTU CCA Ideas Fest is a platform to catalyze the critical exchange of ideas and encourage thinking outside the box. It is a bottom-up approach linking the artistic and the academic with community groups and grassroots initiatives. The pilot edition, Cities for People (2016–17), expanded on artistic interventions and engaged with contemporary issues such as air, water, food, environment, and social interaction in connection to artistic and cultural fields, academic research, and design applications. This second iteration in 2020 coincides with the exhibition The Posthuman City. Climates. Habitats. Environments (November 23, 2019–March 15, 2020) at NTU CCA Singapore.

About IdeasCity
IdeasCity is a collaborative, civic, and creative platform that starts from the premise that art and culture are essential to the future vitality of cities. This international initiative provides a forum for designers, artists, technologists, and policymakers to exchange ideas, identify challenges, propose solutions, and engage the public’s participation. The initiative was cofounded at the New Museum by Lisa Phillips, Toby Devan Lewis, Director, and Karen Wong, Deputy Director. Previous international IdeasCity programs have taken place in Istanbul (2012), São Paulo (2013), Athens (2016), Arles (2017), and Toronto (2018).

About New Museum
The New Museum is the only museum in New York City exclusively devoted to contemporary art. Founded in 1977, the New Museum is a center for exhibitions, information, and documentation about living artists from around the world. From its beginnings as a one-room office on Hudson Street to the inauguration of its first freestanding building on the Bowery designed by SANAA in 2007, the New Museum continues to be a place of experimentation and a hub of new art and new ideas.





Image: Ho Rui An, Green Screen Studio, Medan, c. 1898, 2016. Print mounted on acrylic glass with aluminium backing, 40 x 30.7 in (101.6 x 78.1 cm). Courtesy the artist.

Residencies Insights: Oral Histories and Female Accounts, Artist talk by Rossella Biscotti (Italy/Belgium/Netherlands), Artist-in-Residence
18 Feb 2020, Tue 07:00 PM - 08:30 PM

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In this talk, Rossella Biscotti interweaves thoughts and methodological considerations on some recent works that engage collective voices and female figures. She will present the research process that led to the making of Surati (2019), a work inspired by a character in Pramoedya Ananta Toer’s tetralogy Buru Quartet (1980-88) who contracts smallpox voluntarily in her efforts to escape subjection as a concubine under Dutch colonialism, and Clara (2016), a work related to the eponymous female Indian rhinoceros imported to Europe by a captain of the Dutch East India Company in the 18th century. Finally, she will touch upon I dreamt that you changed into a cat (2013), a complex audio and sculptural work created through a one-year long “oneiric laboratory” with the female inmates of Venice’s women prison during which night dreams were shared and vegetable organic waste was turned into a compost installation.



The cross-media practice of Rossella Biscotti (b. 1978, Italy/Belgium/Netherlands) cuts across sculpture, performance, sound works, and filmmaking. Stemming from extended research processes, conceptual excavations, personal encounters, interdisciplinary collaborations, and the subtle interrogation of sites and stories, her works encapsulate meticulous stratifications of materials and meanings. She has taken part in major international exhibitions such as Dhaka Art Summit, Bangladesh (2020); 55th Venice Biennale, Italy (2013); 13th Istanbul Biennale, Turkey (2013); dOCUMENTA 13, Kassel, Germany (2012), and Manifesta 9, Belgium (2012). Recent solo exhibitions were held at Witte de With, Rotterdam, Netherlands (2019); Kunsthaus Baselland, Muttenz, Switzerland (2018), and V–A–C Foundation, Moscow, Russia (2016). Biscotti received several awards including ACACIA Prize for Contemporary Art (2017) and Mies van der Rohe Stipendium (2013).


Image: Rosella Biscotti, Surati, 2019, natural rubber, detail. Rossella Biscotti, new work (2019), Witte de With Center for Contemporary Art, Rotterdam. Photo by Kristien Daem. Courtesy the artist.

Book Launch: The Impossibility of Mapping (Urban Asia)
20 Feb 2020, Thu 07:00 PM - 08:30 PM

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*Due to overwhelming response, registration for this event is now closed. We thank everyone for your support and look forward to seeing you at our other public programmes. 


Guest-of-Honour: William S. W. Lim

Emerging from an exhibition, conference, and festival that explored architect and urban theorist William S. W. Lim’s concept on “Incomplete Urbanism” and his call for “Cities for People,” this publication juxtaposes research essays, visual and textual documentation with artistic interventions and spatio-temporal maps. Organised into three chapters—“The City as Living Room,” “The City as Multiple,” and “The City as Stage,” the contributions—by architects, scholars, planners, artists, activists, and curators—constitute a diverse set of analyses. Unexpected notions of planning, building, and living in Asian cities, suggest multiple paths into critical spatial practice of Asian urban space. The volume positions Lim’s thoughts, concepts, and plans for action as that of a humanist who addresses the complex topography of an ever-changing urban Asia.

Contributors include: Laura Anderson Barbata, Jiat-Hwee Chang, Thanavi Chotpradit, Calvin Chua, Yvonne P. Doderer, Chomchon Fusinpaiboon, indieguerillas, Marc Glöde, Sacha Kagan, Lulu Lutfi Labibi, Magdalena Magiera, Laura Miotto, Marjetica Potrč, Pen Sereypagna, Shirley Surya, Sissel Tolaas, Etienne Turpin and Nashin Mahtani, John Wagner, H. Koon Wee, Woon Tien Wei, and Ari Wulu. Foreword by Nikos Papastergiadis. Afterword by William S. W. Lim.

Published by World Scientific Publishing
Edited by Ute Meta Bauer, Khim Ong, and Roger Nelson

Residencies Studio Sessions: An Awkward Introduction, Artist Talk by Trevor Yeung (Hong Kong), Artist-in-Residence
25 Feb 2020, Tue 07:00 PM - 08:30 PM

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What can butterfly palms, passion vines, and acanthus plants tell us about human relationships, everyday behaviours, and affective (r)evolutions? How do blooms, creepers, and phytomorphic decorations relate to subjectivities, moods, and processes of cultural signification? An amateur naturalist and a socially fugitive individual, Trevor Yeung has long been obsessed with the structural logic of systems. His practice—ranging from photography and sculpture to the creation of elaborate scenarios—detects and distils patterns of co-dependency, aspirational thrusts, and forms of vulnerability embedded in human and natural ecosystems. In this talk, the artist will reflect upon his long-term engagement with the natural world and his aesthetic strategies aimed at encoding personal experiences and emotional landscapes in plant-based installations.

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


The practice of Trevor Yeung (b. 1988, China/Hong Kong) consistently excavates the inner logics of closed systems and the way in which such systems contain and create emotional and behavioural conditions. In his mixed-media works, carefully staged objects, animals, and plants function as aesthetic pretexts which delicately and ironically address notions of artificiality and the processes of human relations. His works have been exhibited internationally at Rockbund Art Museum, Shanghai, China (2019); Contemporary Art Centre, Vilnius, Lithuania (2019); 4th Dhaka Art Summit 2018, Bangladesh (2018); Para Site, Hong Kong (2017), and Asia Culture Center, Gwangju, South Korea (2017), among other venues.


Image: Trevor Yeung, Maracujá Road, 2014, passion fruit plants, bamboo, neon light, 10th Shanghai Biennale, installation view. Courtesy the artist.


[CANCELLED] 2020 Benefit: A Posthuman Night
27 Feb 2020, Thu 07:00 PM - 10:00 PM

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*Due to the outbreak of the Novel Coronavirus (COVID-19) and growing health concerns, we regret to announce that the upcoming 2020 Benefit: A Posthuman Night on 27 February 2020 is now cancelled. NTU Centre for Contemporary Art Singapore is grateful for the support received from our patrons and colleagues, and would like to thank the artists who have donated their works as well as the partners who have worked alongside us to realise this event. The Centre is committed to maintaining a safe environment for all our staff, collaborators and visitors, and will continue to comply with official advisories.




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, the area where Gillman Barracks is located and where the artist recently moved, through objects found or acquired, deconstructed and reoriented by the artist and his collaborators.

Vivarium (wii fl∞w w/ l4if but t4k£ ø f0rms,) is an exercise in four parts. Identified through keywords caches on internet-based community marketplaces and by skimming through nearby shops, the items are representations of the artist’s movements and encounters around Telok Blangah and of the possible future of the area: from its literal meaning of “cooking pot” to the forthcoming “Greater Southern Waterfront” development plan. Three items will be placed in The Vitrine, one at a time, with a monthly cadence and each accession will be captured in the Highlights section of the artist’s Instagram account (@fdarma).

Asking questions such as: What is Telok Blangah? And, more importantly if objects are to be taken as registers of the site: Where exactly is Telok Blangah?, Fyerool’s Vivarium (wii fl∞w w/ l4if but t4k£ ø f0rms,) 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.