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Phyoe Kyi: The Museum Project
22 Jun 2019, Sat - 18 Aug 2019, Sun

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Developed during the last five years of Phyoe Kyi’s life, The Museum Project stands out as one of the artist’s most ambitious, albeit unfinished, undertakings at the time of his sudden death in 2018. Bringing together its three main stages, the presentation in The Lab reflects the development of the architectural design and features several mediums the artist experimented with: an interactive installation (2013), architectural renderings and sketches of artworks and installations (2014 – 15), and a model based on the last architectural project (2018). The presentation also includes a timeline designed by Tun Win Aung and Wah Nu to illustrate the collaboration which originally sparked The Museum Project.

Curated by Anna Lovecchio, Curator, Residencies

 

BIOGRAPHY

Phyoe Kyi (b. 1977 – d. 2018, Myanmar) was a painter, graphic designer, and performance artist based in Taunggyi. He was Artist-in-Residence at NTU CCA Singapore from April to June 2018.

 

Image Caption: Phyoe Kyi, The Museum Project, 2018, video recording of 3D rendering. Courtesy the artist’s estate and NTU CCA Singapore.

Film Programme: Resonating Structures (Line Structures)
23 Jul 2019, Tue - 4 Aug 2019, Sun 12:00 PM - 07:00 PM

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Micro-Cosmos 1–4, Stan VanDerBeek, United States, 1983

Colour, sound, 15 min

This is a series of four short computer-animated works, in which the image of an orb is transformed into a pulsating, energetic evocation of life forces.

 

Biography

Stan VanDerBeek(United States) was an American experimental filmmaker who was always at the forefront of technology. He began making experimental films in 1955 and working with computers in 1965, when he produced multimedia pieces and computer animation in collaboration with Bell Labs. In the 1970s, he constructed “Movie-Drome,” an immersive audio-visual laboratory for a new kind of cinema-stage. His multimedia experiments in “expanded cinema” included movie murals, projection systems, planetarium events, and explored early computer graphics and image-processing systems.Vanderbeek was also intimately involved with the artists and art movements of his time, merging art with technology and dance with films.

 

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This film screening is part of the Film Programme: Resonating Structures, which features six of Siah Armajani’s computer-generated short films from the 1970s. For more information on Siah Armajani’s short films, and for the schedules of other screenings within Resonating Structures, please refer to links below.

 

Image Caption: Stan VanDerBeek, Micro-Cosmos 1–4, 1983, Colour, sound, 15 min, film still. Courtesy Electronic Arts Intermix (EAI), New York.

They Beat Your Father: Arin Rungjang in conversation with Dr June Yap
2 Aug 2019, Fri 07:00 PM - 08:30 PM

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Thai artist Arin Rungjang and Director of Curatorial, Programmes and Publications at the Singapore Art Museum, Dr June Yap, will discuss conditions in the nation’s post-colonial period of economic development and modernisation. Subject to precarious economic circumstances, many sought greener pastures abroad, where they also, unfortunately, encountered forms of discrimination. Drawing upon the experiences of the artist’s father, as a Thai migrant worker in Germany, Rungjang will connect familial histories with present-day observations.

 

BIOGRAPHY

Arin Rungjang (born 1975, Bangkok; lives and works in Bangkok) is known for deftly revisiting historical material, overlapping major and minor narratives across multiple times, places, and languages. His interest lies in lesser-known aspects of Thai history and their intersection with the present in the sites and contexts of his practice. Objects, which can draw together distant events across time and space, are central to his investigations. He has a practice that spans different media and often involves video and site-specific installation. In his exploration of history and everyday life experiences he deftly dissects material and revisits master-narratives through the agency of the small event.

Dr June Yap is Director of Curatorial, Programmes and Publications at the Singapore Art Museum, where she oversees content creation and museum programming. Her prior roles include Guggenheim UBS MAP Curator (South and Southeast Asia), Deputy Director and Curator at the Institute of Contemporary Arts Singapore, and curator at the Singapore Art Museum. Amongst exhibitions she has curated are No Country: Contemporary Art for South and Southeast Asia as part of the Guggenheim UBS MAP Global Art Initiative, and The Cloud of Unknowing at the 54th Venice Biennale with artist Ho Tzu Nyen. She is the author of Retrospective: A Historiographical Aesthetic in Contemporary Singapore and Malaysia (2016).

Reading Group: To the Tombs led by artist Luca Lum
3 Aug 2019, Sat 03:00 PM - 05:30 PM

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Participants will address the death or afterlife of a person, idea, technology, place, or community, that is connected to Singapore, through a creative form that begins with texts from the Reading Room. Participants approach these texts as death poems and elegies directed towards their identified object, whose presence in current reality is arguably tenuous— an endangered form or an object that is yet to come, that may have shifted the directions of our worlds, but is currently diminished in its form—and situate this towards something else within the exhibition space. Instead of focusing on built solutions, the group will examine and concoct the temporalities and topologies of loss, dispossession, longing, memorialisation, and ruin. Participants should come prepared with a brief idea of the endangered or expired object/subject/event they are addressing. 

 

BIOGRAPHY

Luca Lum (Singapore) is an artist and writer. Her work pivots around questions of writing, location, gender, dissolution, mourning, infrastructure, manifesting through texts, installations, performances, collaborations and pranks. She is also co-founder of soft/WALL/studs, a form of collective study. A former artist-in-residence at NTU CCA Singapore, she has presented projects at the NTU CCA Singapore, Institute for Contemporary Art Singapore, Cemeti – Institute for Art and Society (with soft/WALL/studs), Luma Westbau, NUS Museum, Ikkan Art Gallery, and Yeo Workshop. She was also an alumni of Triple Canopy’s annual publication intensive, Curating Lab, and Writing Lab. 

 

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Film Programme: Resonating Structures (Bridges)
6 Aug 2019, Tue - 22 Sep 2019, Sun

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SCHEDULE

All works will be screened in a loop during opening hours, Tuesday – Sunday, 12.00 – 7.00pm.

6 August – 18 August 2019, Shirley Clarke, Bridges-go-round, 1958

20 August – 25 August 2019, Gordon Matta-Clark, Fire Child, 1971

27 August – 1 September 2019, Video Earth Tokyo, Under a Bridge, 1974

3 September – 8 September 2019, Richard Serra, Railroad Turnbridge, 1976

10 September – 22 September 2019, Joan Jonas, Brooklyn Bridge, 1988

 

FILM SYNOPSIS

6 August – 18 August 2019

Bridges-go-round, Shirley Clarke, United States, 1958

16mm film transferred to digital file, colour, sound, 7 min 30 sec

This film explores the architectural idea of metropolitan bridges both visually and acoustically, highlighting their monumentality in the process. Detailed images of abstract patterns and geometrical curves, elevated to eye-level, move in a fast-paced rhythm. As they lead the audience through a suspended, hypnotic journey connecting one point seamlessly to another, they sometimes super-impose on one another or against an urban skyline and juxtaposed with a background that ranges from sepia tones to cellophane colours. The film plays twice, first with jazz-like music by Teo Macero, followed by an electronic score by Louis and Bebe Barron that creates an almost eerie atmosphere.

 

20 August – 25 August 2019

Fire Child, Gordon Matta-Clark, United States, 1971

Super 8mm film transferred to HD video, colour, silent, 9 min 47 sec

Not only is this film a performative work of Gordon Matta-Clark, it is also a documentary on derelict sites. It begins with an old man and a child rummaging through trash under a bridge, followed by Matta-Clark building a small wall made of rubbish, waste paper, and tin cans collected from the area. A boy beside Matta-Clark makes a fire with sticks, but the fire is put out after presumed intervention by the police. The film then ends with Matta-Clark covering his wall with printed comics. It was created for Brooklyn Bridge Event, a four-day festival held in 1971.

 

27 August – 1 September 2019

Under a Bridge, Video Earth Tokyo, Japan, 1974

B&w, sound, 13 min

In this film, Ko Nakajima and Video Earth Tokyo interview a homeless man. Although he appears hostile and frustrated initially, he gradually opens up and shares about his life. The film was later broadcast on cable television.

 

3 September – 8 September 2019

Railroad Turnbridge, Richard Serra, United States, 1976

16mm film transferred to digital file, b&w, silent, 19 min

Railroad Turnbridge, one of the most avant-garde films of the period, is an investigation of what “bridgeness” means to Richard Serra. It records the bridge opening, closing, turning, locking, and unlocking as they coincide with movements of the camera. The film begins with the open end of the railroad acting as a viewfinder, where the landscape captured within it changes like a slow-moving film strip. It then cuts to details of the bridge’s steel structure, emphasising its materiality. As scenes of the railroad alternate with close-up shots of its structural components, the viewer experiences the bridge’s sense of space as a form of dwelling.

 

10 September – 22 September 2019

Brooklyn Bridge, Joan Jonas, United States, 1988

Colour, sound, 6 min 12 sec

This film investigates the concepts of identity and place using the Brooklyn Bridge, a landmark of New York City, as an object of study. Using the transformative power of its medium, the film fuses photographs, live video, and superimposed drawings created on a Quantel Paintbox to emphasise the cryptic strength and naturalistic beauty of the bridge. This is intensified by the artist Joan Jonas scripting herself as a performer in the film.

 

BIOGRAPHIES

Shirley Clarke(United States) was an esteemed figure in the American avant-garde cinema of the 1950s and 1960s, and a pioneer of video in the 1970s. She brought a distinctive aesthetic of “choreography of images” to her work as a trained dancer and manipulated image, time, and space by applying choreographic editing and technical effects as a dramatic, expressive language. She co-founded Film-Makers Cooperative and Film-Makers Distribution Center in New York, which offered alternative distribution methods for independent filmmakers. She was also the winner of an Academy Award for her 1964 documentary film Robert Frost: A Lover’s Quarrel With the World.

Gordon Matta-Clark(United States), originally trained as an architect, was one of the most influential post-war artists. He is best known for subverting architecture and urban landscape with geometric interventions of “building cuts,” converting them into gravity-defying and disorientating walk-through sculptures. His work is seen not only as a rejection of the architectural profession but also as new modes of contemporary artistic expression. “Anarchitecture,” which became the name of an artist group of which he was a member, and the title of a 1974 exhibition from the group’s discussion around the dematerialisation of the art object and activation of space and place, was attributed to him.

Video Earth Tokyo(Japan) is a community-oriented video art collective serving as a network for people making video in Japan. It was founded in 1971 by Ko Nakajima, a pioneer of video art and computer animation. He recorded local communities, social activities, interventions, and performance experiments using a portable video recorder—a communication tool employed by the collective to promote communal awareness. The collective broadcast their documentaries and experimental works on cable television and participated in international exhibitions as well as computer graphics conferences.

Richard Serra(United States) is one of the most preeminent and visionary artists of his generation. In the 1960s, he and other Minimalist artists employed non-traditional, industrial materials to emphasise the materiality of their work. He subsequently expanded his spatial and temporal approach to sculptures to large-scale, site-specific work, of which his arcs, spirals, and ellipses are most renowned. These monumental works engage their viewers as they are experienced in situ. In 1968, he produced his first short film and experimented with video in the 1970s. Serra has held numerous museum shows and participated in important international exhibitions around the world.

Joan Jonas(United States) is one of the most significant video and performance artists and important female artists active in the 1960s and 1970s. She pioneered the use of the two genres in visual art and was influential also in other art forms. Incorporating different media, she presents multiple viewpoints and layers of material, texture, and meanings in her work to address current issues. In 1972, she began producing video works that were ground-breaking in emphasising the experience of the medium as a conceptual device and is known for merging various genres in her fragmented video narratives.

 

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This film screening is part of the Film Programme: Resonating Structures, which features six of Siah Armajani’s computer-generated short films from the 1970s. For more information on Siah Armajani’s short films, and for the schedules of other screenings within Resonating Structures, please refer to links below.

 

Image caption: Shirley Clarke, Bridges-go-round, 1958, 16mm film transferred to digital file, colour, sound, 7 min 30 sec. Courtesy The Film-Makers’ Cooperative.

Questioning Museums: Art Institutions in Singapore Book Launch and Welcome Reception
7 Aug 2019, Wed 07:00 PM - 09:00 PM

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Questioning Museums: Art Institutions in Singapore critically examines the ways in which shifting social, political, and cultural histories are both produced and made visible through the island-state’s institutional structures, collecting strategies, and modes of exhibition making. Working together in teams, the inaugural class of students from Nanyang Technological University’s Masters of Arts in Museum Studies and Curatorial Practices (MSCP), a programme designed to prepare graduates for professional positions in the highly complex and diverse museum landscape of Southeast Asia, anchor their collective exploration through four in-depth interviews with leading figures of Singapore’s ever-evolving museum field: Kwa Chong Guan, Peter Lee, Angelita Teo, and Kennie Ting.

 

Please join us for a celebratory book launch with honoured guests, a roundtable conversation with recent graduates, and a welcome reception for the incoming class of MSCP students!

Talk: Resonating Structures – Siah Armajani’s Film Works and other Artist Films
13 Aug 2019, Tue 07:00 PM - 08:30 PM

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In this talk Marc Glöde will discuss the role of the filmic medium in Siah Armajani’s artistic practice and how the artist’s experimentation with computer-based graphics in the early 1970s not only expanded his practice in relation to public space and architecture to new territory, but also paved the way for a new aesthetic field. Using Armajani’s experimental films on line structures as a point of departure, Dr Glöde will also cover films by preeminent artists/filmmakers presented in the film programme that accompanies the exhibition, as well as those beyond, who produced important films relating to Armajani’s other tropes of interest: bridges, houses, and gardens.

 

Marc Glöde(Germany/Singapore) is a curator, critic, and film scholar, and currently Assistant Professor at the School of Art, Media and Design, NTU. His work focuses on the relation of images, technology, space, and the body, as well as that between fields of art, architecture, and film. Glöde received his PhD at the Free University in Berlin where he also taught. Additionally he has taught at the Academy of Fine Arts in Dresden, Academy of Fine Arts Berlin, and the ETH Zürich. He was senior curator of Art Basel’s film programme (2008–14) and curator/senior advisor of the abc Berlin (2010–12).

Reading Group: Democracy Unrealised led by Professor Terry Smith, together with Professor Ute Meta Bauer
13 Aug 2019, Tue 05:00 PM - 07:00 PM

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As NTU CCA Singapore’s special guest, Terry Smith will lead a reading group session using the publication Democracy Unrealized: Documenta 11_Platform1 (2002), edited by Okwui Enzewor (1963–2019), as a point of departure to broader topics relating to that exhibition. Democracy Unrealized, which documents Platform1, the first of four conferences held in conjunction with Documenta 11, challenges the presumption that the implosion of the USSR between 1989 and 1991 meant that liberal democracy allied with free market capitalism was, as many were claiming, the only and best model for current and future societies, arguing instead that democracy was “a work in progress.” The session will explore the Platforms of Documenta11, including the exhibition at Kassel in 2002, and the curatorial legacy of its artistic director, Okwui Enwezor.

 

BIOGRAPHY

Terry Smith (Australia/United States) is Andrew W. Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh, and Professor at the European Graduate School. He is also Lecturer at Large in the Curatorial Program of the School of Visual Arts, New York. In 2010 he was named the Australia Council Visual Arts Laureate, and won the Mather Award for art criticism conferred by the College Art Association (USA). In the 1970s he was a member of the Art & Language group (New York) and a founder of Union Media Services (Sydney). A foundation Board member of the Museum of Contemporary Art, Sydney, he is currently a Board member of the Carnegie Museum of Art, Pittsburgh, and of the Biennial Foundation, New York.

 

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Tour:Culture City. Culture Scape.
Public Art Trail at Mapletree Business City II
31 Jul 2019, Wed 12:30 PM - 01:00 PM
14 Aug 2019, Wed 12:30 PM - 01:00 PM
28 Aug 2019, Wed 12:30 PM - 01:00 PM
11 Sep 2019, Wed 12:30 PM - 01:00 PM
25 Sep 2019, Wed 12:30 PM - 01:00 PM
9 Oct 2019, Wed 12:30 PM - 01:00 PM
23 Oct 2019, Wed 12:30 PM - 01:00 PM

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

 

Our upcoming tours are an excellent way to get inspired and unwind in the company of art nestled in the lush compounds of Mapletree Business City II (MBC II). Take a mid-day break and join us with friends or colleagues.

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

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

Please register via Eventbrite.

 

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

Reading Group: Gut-Geographies: Queering Public Space and the Narratable Self after Feminism by Sophie Goltz and Dr Tania Roy
22 Aug 2019, Thu - 24 Oct 2019, Thu 05:00 PM - 07:00 PM

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The topic of gut-geographies is suggested to outline the relation of space, collective action, and phenomenological appearance, to the proposition of organic empathy—or the capacity of biological substrata in the body to problem-solve, “control, calculate, protect, and destroy” (Wilson 2004: 82). Following through key positions in post-gender theories of embodiment, the readings widely engage the interventions of “gut-feminism” with the wider problematics of public space and communal action, especially in urban contexts that are not directly addressed by the readings. By suggesting the capacity of bodies to affect and be affected in mutually implicated ways within the material or historical constraints of public space, the reading group invites participants to further relate the status of narrative truth-claims to those of the (neuro-)biological sciences. 

22 August 2019 (Waitlist)*

Love and the Politics of Seclusionary Action by Adriana Cavarero, with additional readings by Luce Irigaray and Hannah Arendt

 

26 September 2019 (Waitlist)*

Gut-Knowledges by Elizabeth Wilson

 

24 October 2019 (Waitlist)*

Precarity, Plasticity and Entanglement in texts by Catherine Malabou and Judith Butler

 

BIOGRAPHY

Sophie Goltz (Germany/Singapore) is Deputy Director, Research & Academic Programmes at NTU CCA Singapore, and Assistant Professor at the NTU School of Art, Design and Media. Goltz was the Artistic Director of Stadtkuratorin Hamburg (City curator) from 2013 to 2016, and has worked as Senior Curator and Head of Communication and Public Programmes at Neuer Berliner Kunstverein between 2008 and 2013, becoming Associate Curator in 2014. Goltz worked as a freelance curator, as well as an art educator for various international exhibitions, including Documenta11 and documenta 12 (2002 and 2007), 3rd berlin biennale for contemporary art (2004), and Project Migration (2004-06).

 

Dr Tania Roy (Singapore) obtained her Doctor of Philosophy in Political Theory and Literature from Duke University in 2003 and is currently Assistant Professor at the National University of Singapore, where she is Chair of the Graduate Studies in English Literature. She has taught widely in the Department of English Language and Literature, and is currently teaching in the areas of Literature and Psychoanalysis, Postcolonial Theory and Literature, as well as Trauma Studies and Literature (MA). Her research interests are in the areas of Global Anglophonic literature, Postcolonial Studies, and Critical Theory (especially the Frankfurt School).

 

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*All the reading groups are full, if you would like to be placed on the waitlist, you may still register. You will be notified through email if available slots open up. 

Workshop: Why intervene at all? by Lin Shiyun, Creative Director, 3Pumpkins (Singapore)
24 Aug 2019, Sat 03:00 PM - 06:00 PM

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Registration required via Peatix: whyintervene.peatix.com

Fee: $12

Developed for all ages.

 

When, why, and how do artists play a role in the community?

While neighbourhoods in Singapore may appear homogenous, each local community faces a unique set of issues due to its distinct social demographics. There is no fixed formula for creative intervention that conveniently applies to all. In this workshop, Lin Shiyun will share her practice in community engagement and development projects, carried out in public spaces,as a constant search for answers to understand and reorganise social patterns. Through case studies, participants will attempt to unravel the purpose and examine various methods of creative intervention in communities, and question if such intervention is necessary at all.

Note: No prior experience in community engagement and development is needed to attend this workshop.

 

BIOGRAPHY

Lin Shiyun (Singapore) is the Creative Director of 3Pumpkins, an arts company rooted in activating and connecting communities as both creators and audiences of arts. The company’s flagship social practice Let’s Go Play Outside!is focused on developing resilience in local communities through long-term engagement with children at the neighbourhood playgrounds. Since 2012, Lin has been commissioned by public and private institutions to produce multi-disciplinary participatory programmes. Her most recent works are Our Time Togetherexploring children’s experiences in grief and loss, and outdoor giant puppet show The Rubbish Prince. She is currently working with Tzu Chi Foundation (Singapore) on designing a comprehensive arts programme targeted at youth and community participation.

 

Image caption: Children and facilitators goofing at the neighbourhood playground, a locus of public interaction activated in social practice Let’s Go PLay OutSide!, 2017. Courtesy Lin Shiyun.

The Lab: Culture City. Culture Scape. Art, Urban change, and the Public Sphere
31 Aug 2019, Sat - 2 Nov 2019, Sat

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In partnership with Mapletree Investments Pte Ltd., Culture City. Culture Scape. is a public art education programme launched in 2017. A first of its kind in Singapore, the programme features a series of newly commissioned public art works by Dan Graham, Zulkifle Mahmod, Tomás Saraceno and Yinka Shonibare MBE, nestled at Mapletree Business City II (https://www.mapletreearts.sg/), and aims to bring the arts closer to the communities.

Conceived as a research presentation at NTU CCA Singapore’s The Lab, Culture City. Culture Scape. Art, Urban change and the Public Sphere engages with the making of the public art trail at Mapletree Business City II in the context of Privately-Owned Public Spaces (POPS) together with other developments of Public Art in Singapore. The works of the Public Art Trail are animated through augmented reality in a unique spatial configuration. The research presentation reflects on emerging discourses such as Future Asian Spaces or Art in the Public Sphere and situates the interconnectedness of cultural politics, urban developments and economic conditions in today’s Singapore. A same-titled Public Art Education Summit in October will reflect on the professional changes and challenges of Art in the Public Sphere with a focus on community engagement, social (corporate) responsibility, and new artistic approaches in an ever-expanding urban setting. 

Image Caption: Zulkiflie Mahmod, Sonic: Pathway, 2017, Mapletree Business City II. Courtesy the artist’s estate and NTU CCA Singapore.

In The Vitrine:

Nguyen Trinh Thi Landscape Series #1, 2013
28 May 2019, Tue - 1 Sep 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.

 

BIOGRAPHY

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.

Film Programme: Resonating Structures
18 Jul 2019, Thu - 17 Nov 2019, Sun 12:00 PM - 07:00 PM

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In the early 1970s, Siah Armajani’s experimentation with computer-based graphics paved the way not only for a new aesthetic field, but also expanded his artistic practice to new territories. Taking his film work on the exploration of structures and lines using computer graphics as a point of departure, this film series expands into a presentation of films by other filmmakers/ artists in a similar theme of “line structure” and three others of Armajani’s tropes of interests: bridges, houses, and gardens. (Links at bottom for more information.) Just as Armajani’s Dictionary for Building (1974–75) deconstructs the typology of domestic architecture, these films explore new meanings of functional, social, and visual concepts of architecture and space.

 

Event, 1970
Computer-generated 16mm film transferred to digital file, b&w, silent, 6 min 41 sec.
Collection Walker Art Center, Minneapolis, Gift of the artist, 2015.

 

To Perceive 10,000 Different Squares in 6 Minutes and 55 Seconds, 1970 
Computer-generated 16mm film transferred to digital file, b&w, silent, 7 min 37 sec.
Collection Walker Art Center, Minneapolis, Gift of the artist, 2015.

 

Before/After, 1970
Computer-generated 16mm film transferred to digital file, b&w, silent, 1 min 50 sec.
Collection Walker Art Center, Minneapolis, Gift of the artist, 2015.

 

Inside/Outside, 1970
Computer-generated 16mm film transferred to digital file, b&w, silent, 1 min 40 sec.
Collection Walker Art Center, Minneapolis, Gift of the artist, 2015.

 

Rotating Line, 1970
Computer-generated 16mm film transferred to digital file, b&w, silent, 1 min 26 sec.
Collection Walker Art Center, Minneapolis, Gift of the artist, 2015.

 

Line, 1970
Computer-generated 16mm film transferred to digital file, b&w, silent, 1 min 16 sec.
Courtesy of the artist and Rossi & Rossi, Hong Kong.

 

Since the 1960s, Siah Armajani has explored the use of technology as a medium as well as in the intersection of art with science. In 1970, he produced a series of experimental films using a computer capable of printing on 16mm celluloid at the Hybrid Computer Laboratory, University of Minnesota. In these films he generated moving lines and shapes using mathematical formulae and computer programming to create the illusion of three-dimensional space and time on one-dimensional surfaces that ultimately point to the functionalism of space, a consistent thread in Armajani’s work.

 

Event is an explicit example of such a connection as it brings together the notions of architecture’s social space through texts, equations, and diagrams. To Perceive 10,000 Different Squares in 6 Minutes and 55 Seconds presents ten thousand squares, each in a single frame in descending order of size; with the illusion of a single square hovering in space.Before/After suggests spatial and temporal ambiguity, depicted by two synchronised animated representations of movements over time. Inside/Outside explores the function of boundaries and the concept of closed and open systems in a space. Rotating Line illustrates the blurring of dimensional states within a space through the transition of a single point into a line that subsequently appears to rotate in and out of the screen. In Line, Armajani reflects upon the inadequacy of painting and sculpture in expressing ideas through the most basic aesthetic form.

 

These six films will be played on loop during opening hours from 18 July to 17 November, 2019. During this time, a presentation of films by other filmmakers/ artists, grouped according to the themes Line Structure, Bridges, Houses, and Gardens, will also be shown in conjunction with Siah Armajani’s films. For more information on film schedule, please visit the links below.

 

Image caption: Siah Armajani, Event, 1970, computer-generated 16mm film transferred to digital file, b&w, silent, 6 min 41 sec. Collection Walker Art Center, Minneapolis, Gift of the artist, 2015.

Open Call for Siah Armajani: Spaces for the Public. Spaces for Democracy.
20 Jul 2019, Sat - 3 Nov 2019, Sun

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As part of Siah Armajani: Spaces for the Public. Spaces for Democracy., NTU CCA Singapore is seeking interested individuals, groups, or organisations to engage with the artist’s works. The Sacco and Vanzetti Reading Room #3 is available to be used for readings, gatherings, discussions, workshops, or other events. Interested parties can appropriate the installation and exhibition space, including the books accompanying the installation, and respond to the exhibition and its title, the artist and the work, or related topics.

The list of authors of the books includes: Theodor Adorno, Hannah Arendt, Walter Benjamin, John Berryman, Dietrich Bonhoeffer, John Dewey, Ralph Waldo Emerson, Luigi Galleani, Emma Goldman, Hafez, Martin Heidegger, Thomas Jefferson, Frank O’Hara, Sylvia Plath, Edgar Allan Poe, Arthur Rimbaud, Richard Rorty, Nicola Sacco and Bartolomeo Vanzetti, Ahmad Shamlou, Henry David Thoreau, Alfred North Whitehead, Walt Whitman, and Nima Yooshij.

Interested groups are welcome to invite their own audience or to organise events. However, all inhabitations have to happen within the parameters of a public exhibition space.

The exhibition opening hours are Tuesday – Sunday, 12.00 – 7.00pm, but inhabitations may take place during the available timings below:

Monday to Friday, 10.00am – 7.00pm

Saturday and Sunday, 12.00 – 7.00pm

 

If you would like more information, have any questions, or are interested in using the space, please email NTUCCAExhibitions@ntu.edu.sg with the following:

– A description of your planned activity (100–150 words)

– Biography of facilitator or host (100 words)

– Preferred date(s) (and timings, if possible. Activities can be repeated if desired)

– Expected duration of planned activity (if possible)

– Expected profile and number of participants (if possible)

– Please also indicate if you need any equipment that we may be able to provide (e.g. chairs or audio equipment)

 

*Submissions will be reviewed and scheduled on a rolling basis.

 

**Please note this open call is not a commission for a work or an engagement of services and therefore no fees are offered.

 

Image caption: Siah Armajani, Sacco and Vanzetti Reading Room #3, 1988. Installation view of the exhibition Siah Armajani: Follow This Line, Walker Art Center, September 9 – December 30, 2018. Courtesy Walker Art Center, Minneapolis. Photo by Bobby Rogers.