Events Archive — NTU CCA Singapore
CALENDAR OF EVENTS
close icon

What's on

MORE    
In The Vitrine:
Kin Chui
along waves of gravity –a solidar   y of holes
18 Jul 2020, Sat - 25 Oct 2020, Sun

Read More

Envisioned in 1956 by Indonesian artist Iljas Hussein*, along waves of gravity –a solidar   y of holes was to be a monument to the short-lived Principal Liaison Centre (PLC) established in Singapore in 1926. Pivotal in the international surge of anti-colonial struggles, the PLC was a point of liaison between the 3rd International and the region and it was meant to serve as an organ for the amplification of the voices of the marginalised and the oppressed.

At the Asian-African Conference held in Bandung in 1955, Hussein was entrusted with the task of imagining a monument that encapsulated the spirit of the PLC. One year later, he presented the idea for along waves of gravity –a solidar   y of holes: a triangulation of holes strategically placed across the island that would gather and continuously echo the voices uttered into them. Inspired by theories of general relativity and topological properties of continuous deformation, Hussein’s design articulates, spatially as well as acoustically, an anti-monumentalist stance. Rather than asserting an univocal shape, the monument retreats into the ground as a series of interconnected and shapeshifting vessels which reverberate and transform sound waves throughout time. Hussein kept experimenting with these ideas until his death in 1989 but, due to its scale and technical complexity, his visionary project remained unbuilt. The surviving renderings and audio experiments of the unrealised monument are now displayed in The Vitrine.

* Iljas Hussein is a fictional artist conceived by Kin Chui. The name is one of the many aliases used by Tan Malaka (1897 –1949), an influential revolutionary thinker and fighter in the political struggles for Indonesia’s independence. Specifically, this alias was used to pen Malaka’s magnum opus Madilog (1943), the Indonesian acronym for Materialisme Dialektika Logika (Materialism Dialectics Logics).

 

The artistic practice of KIN CHUI (b. 1984, Singapore) inflects collaborative projects, performative interventions, and socially-oriented art initiatives with a sustained interest in emancipatory struggles. Recently, he had a solo exhibition, Station 13010, at Grey Projects, Singapore (2020) and was involved in group exhibitions such as In A Hard Place, Apply Soft Pressure (2018) and Unsettling Times (2017), both at Cemeti-Institute for Art and Society, Yogyakarta, Indonesia. He curated the exhibition Fantasy Islands, Objectifs, Singapore (2017). Chui is an active member of soft/WALL/studs, a Singapore-based collaborative project involving several artists, writers, film makers, art workers, and researchers. He periodically aspires to be a cat.

He is Artist-in-Residence at NTU CCA Singapore from April until September 2020.

 

Image: Kin Chui, along waves of gravity –a solidar   y of holes, 2020, 3D rendering. Courtesy the artist.

<!DOCTYPE work>
22 Aug 2020, Sat - 18 Oct 2020, Sun

Read More

Featuring:
Denise Yap, Apartment 2079, 2020
Moses Tan, Study for Dramatic Venus, 2020
Ruby Jayaseelan, STOP., 2020
passthejpeg, passthetime, 2020

<!DOCTYPE work> is a curatorial project that encourages people to rethink productivity in creative practices, influenced by forced remote work situations due to the global pandemic. Borrowing a programming language for the compliance of HTML standards, highlights the use of digital tools and formats for telecommuting. It also signifies the start of an experiment that is open-ended and process-based. Given the context of this current situation, it seeks to chart out the process of exhibition-making while reflecting on these questions: How are our creative practices responding to situational changes and remote working? What are the trajectories of discourse that can arise from the idea of “productivity” in the creative field? What does “productivity” mean to us?

This project, conceived by Leon Tan, Shireen Marican, and Tian Lim, is a pilot programme of the Platform Projects Curatorial Award overseen by NTU CCA Singapore. Currently in its inaugural year, this award supports a curatorial project exploring Spaces of the Curatorial by recent graduates of NTU CCA Singapore and NTU ADM’s MA programme in Museum Studies and Curatorial Practices, as well as NTU ADM’s research-oriented MA and PhD programmes.

For more information, please scan the QR code.

In The Single Screen
Yeo Siew Hua, An Invocation to the Earth (2020)
29 Sep 2020, Tue - 29 Oct 2020, Thu

Read More

Co-produced by NTU Centre for Contemporary Art Singapore and Thyssen-Bornemisza Art Contemporary (TBA21) for st_age

Single channel HD Video, colour, sound, 16 min, 16:9

Deep in the tropical rainforest of Southeast Asia, a series of incantations invoke the spirits of yore, including those of the nimble, tricksy Kancil (mouse-deer) and the ferocious Buaya (crocodile). The ancient animals enact their folkloric vendetta in a furious dance of dominance, yet long-overdue vengeance is shrouded in smoke. Meanwhile, an effigy of a tree is burning, summoning a whole other host of spectres and ancestors. Conceived during the month of the Hungry Ghost Festival in 2019, while large-scale fires were consuming the forests of Indonesia, Yeo Siew Hua’s An Invocation to the Earth confronts climate collapse through the lens of pre-colonial folktales and animistic rituals. Through spoken spells and bodily entanglements, the video conjures up the fallen environmental defenders of a region ridden with ecological threats in the hope that their spirits will be reborn once again.

Text by Dan Koh, Producer

View the commission at The Single Screen or online here: http://www.stage.tba21.org/

 

BIOGRAPHY

Yeo Siew Hua is a Singaporean director and writer. His last feature film, A Land Imagined (2018), won the Golden Leopard at the 71st Locarno Film Festival (Switzerland) and was selected as Singapore’s entry to the 92nd Academy Awards’ Best International Feature Film category (United States). The film also won Best Original Screenplay and Best Original Music Score at the 56th Taipei Golden Horse Film Festival (Taiwan) and received an Achievement in Cinematography prize at the 13th Asia Pacific Screen Awards (Australia). It is now internationally distributed on Netflix.  Extending beyond conventional cinema networks, Yeo’s films have been shown at venues including the Museum of Modern Art (MoMA), New York and the Museum of Contemporary Art (MOCA), Taipei. He is co-founder of 13 Little Pictures, a vanguard film collective which organises experimental film labs around Southeast Asia, and part of the artist group soft/Wall/studs, where he programmes regional documentary films in conversation with contemporary art practice. 

Dan Koh is a producer and writer of Southeast Asian independent films. He was associate producer and script consultant for Yeo Siew Hua’s award-winning thriller, A Land Imagined (2018). He also produced Yeo’s experimental music documentary, The Obs: A Singapore Story (2014) and Lei Yuan Bin’s observational documentary I Dream of Singapore (2019). He co-wrote and line-produced Virgile Fraisse’s film SEA-ME-WE 3 (2018) and was associate producer of Daniel Hui’s experimental horror Demons (2018). Koh is an alumnus of Talents Tokyo 2018 and of the Southeast Asia Fiction Film Lab (SEAFIC) × Produire au Sud 2016–17.

st_age is an online platform for new commissions initiated by Thyssen-Bornemisza Art Contemporary (TBA21) as a response to the COVID-19 crisis. It is a provocation to artists, institutions, practitioners, and activists to engage with the many issues that the pandemic has made even more visible in the precarious current moment. 

 

As part of st_age’s inaugural season, NTU CCA Singapore was invited to co-produce two new works by Yeo Siew Hua (Singapore) and Dana Awartani (Saudi Arabia).

 

Image: Yeo Siew Hua, An Invocation to the Earth, 2020, photograph. Co-produced by NTU CCA Singapore and Thyssen-Bornemisza Art Contemporary (TBA21) for st_age. Photo by Mike Chang. Courtesy the artist.

In The Single Screen
Yeo Siew Hua, An Invocation to the Earth (2020)
29 Sep 2020, Tue - 29 Oct 2020, Thu

Read More

Co-produced by NTU Centre for Contemporary Art Singapore and Thyssen-Bornemisza Art Contemporary (TBA21) for st_age

Single channel HD Video, colour, sound, 16 min, 16:9

Deep in the tropical rainforest of Southeast Asia, a series of incantations invoke the spirits of yore, including those of the nimble, tricksy Kancil (mouse-deer) and the ferocious Buaya (crocodile). The ancient animals enact their folkloric vendetta in a furious dance of dominance, yet long-overdue vengeance is shrouded in smoke. Meanwhile, an effigy of a tree is burning, summoning a whole other host of spectres and ancestors. Conceived during the month of the Hungry Ghost Festival in 2019, while large-scale fires were consuming the forests of Indonesia, Yeo Siew Hua’s <em>An Invocation to the Earth</em> confronts climate collapse through the lens of pre-colonial folktales and animistic rituals. Through spoken spells and bodily entanglements, the video conjures up the fallen environmental defenders of a region ridden with ecological threats in the hope that their spirits will be reborn once again.

Text by Dan Koh, Producer
<p class=”p1″>View the commission at The Single Screen or online here:&nbsp;<span style=”text-decoration: underline;”><a href=”http://www.stage.tba21.org/”>http://www.stage.tba21.org/</a></span></p>
&nbsp;

<strong>BIOGRAPHY</strong>

<strong>Yeo Siew Hua</strong> is a Singaporean director and writer. His last feature film, <em>A Land Imagined</em> (2018), won the Golden Leopard at the 71st Locarno Film Festival (Switzerland) and was selected as Singapore’s entry to the 92nd Academy Awards’ Best International Feature Film category (United States). The film also won Best Original Screenplay and Best Original Music Score at the 56th Taipei Golden Horse Film Festival (Taiwan) and received an Achievement in Cinematography prize at the 13th Asia Pacific Screen Awards (Australia). It is now internationally distributed on Netflix.&nbsp; Extending beyond conventional cinema networks, Yeo’s films have been shown at venues including the Museum of Modern Art (MoMA), New York and the Museum of Contemporary Art (MOCA), Taipei. He is co-founder of 13 Little Pictures, a vanguard film collective which organises experimental film labs around Southeast Asia, and part of the artist group soft/Wall/studs, where he programmes regional documentary films in conversation with contemporary art practice.&nbsp;

<strong>Dan Koh</strong> is a producer and writer of Southeast Asian independent films. He was associate producer and script consultant for Yeo Siew Hua’s award-winning thriller, <em>A Land Imagined</em> (2018). He also produced Yeo’s experimental music documentary, <em>The Obs: A Singapore Story</em> (2014) and Lei Yuan Bin’s observational documentary <em>I Dream of Singapore</em> (2019). He co-wrote and line-produced Virgile Fraisse’s film <em>SEA-ME-WE 3</em> (2018) and was associate producer of Daniel Hui’s experimental horror <em>Demons</em> (2018). Koh is an alumnus of Talents Tokyo 2018 and of the Southeast Asia Fiction Film Lab (SEAFIC) × Produire au Sud 2016–17.

<strong>st_age</strong> is an online platform for new commissions initiated by Thyssen-Bornemisza Art Contemporary (TBA21) as a response to the COVID-19 crisis. It is a provocation to artists, institutions, practitioners, and activists to engage with the many issues that the pandemic has made even more visible in the precarious current moment.&nbsp;

As part of st_age’s inaugural season, NTU CCA Singapore was invited to co-produce two new works by Yeo Siew Hua (Singapore) and Dana Awartani (Saudi Arabia).

Image:&nbsp;Yeo Siew Hua, <em>An Invocation to the Earth</em>, 2020, photograph. Co-produced by NTU CCA Singapore and Thyssen-Bornemisza Art Contemporary (TBA21) for st_age. Photo by Mike Chang. Courtesy the artist.

Online Benefit Art Auction
1 Oct 2020, Thu - 18 Oct 2020, Sun

Read More

Bidding begins
1 – 18 October 2020

Auction URL
www.ntuccabenefit.org

Auction Catalogue
Download

 

The NTU Centre for Contemporary Art Singapore’s Online Benefit Art Auction aims to raise funds for two vital projects currently underway:

  1. NTU CCA Singapore’s Digital Archive – A digitisation project of the Centre’s institutional records which date back to its inception in 2013. The online archive experience will document the Centre’s exploration of Spaces of the Cultural in a dynamic way through material in multiple media, as well as staff and collaborators’ perspectives on its groundbreaking exhibitions, public programmes, residencies, and research initiatives. The archive aims to offer the public unparalleled access to experimental curatorial and artistic practices in Singapore, Southeast Asia and beyond. 
  2. A publication titled Climates. Habitats. Environments. – A culmination of the Centre’s research focus over the past three years, this book engages with the consequences of globalisation and the climate crisis through a combination of the artistic, the academic, and the cultural.

The projects encompass a twofold proposition – to make NTU CCA Singapore’s legacy as a unique institution in Southeast Asia available worldwide by providing online access to all, and to disseminate the Centre’s work in Singapore and beyond with a print publication aimed at the advancement of artistic research. Both projects provide access to and focus on contemporary art and its role in knowledge production, public engagement, and participation.

These endeavours take on greater significance as the Centre goes through a period of transition and transformation of its longer-term capabilities for post COVID-19 recovery. The lease for its exhibition hall and residency studios at Gillman Barracks (Blk 43, 37 and 38) will not be renewed beyond March 2021 as part of this change. Its final exhibition, Trinh T. Minh-ha. Films., will open on 17 October 2020 and run until 28 February 2021.

The Online Benefit Art Auction features artworks donated by artists who have participated in the Centre’s residencies, exhibitions and other programmes, including:

  1. Alecia NEO (Singapore)
  2. ANG Song Nian (Singapore)
  3. anGie SEAH (Singapore)
  4. Animali Domestici (Thailand/Italy)
  5. Arin RUNGJANG (Thailand)
  6. Entang WIHARSO (Indonesia)
  7. Fyerool DARMA (Singapore)
  8. Haegue YANG (South Korea/Germany)
  9. Heman CHONG (Singapore)
  10. HO Tzu Nyen (Singapore)
  11. ila (Singapore)
  12. Jae Rhim LEE (South Korea)
  13. Jason WEE (Singapore)
  14. Jeremy SHARMA (Singapore)
  15. Lucy + Jorge ORTA (United Kingdom)
  16. Magne FURUHOLMEN (Norway)
  17. Marjetica POTRČ (Slovenia)
  18. Ming WONG (Singapore/Germany)
  19. Regina Maria MÖLLER (Germany)
  20. Robert ZHAO Renhui (Singapore)
  21. Rossella BISCOTTI (Italy/The Netherland)
  22. Shubigi RAO (India/Singapore)
  23. Tiffany CHUNG (Vietnam/USA)
  24. Trevor YEUNG (Hong Kong)
  25. Wei Leng TAY (Singapore)
  26. Weixin QUEK CHONG (Singapore)

Each artwork has a unique narrative, created and brought to life as a result of the artists’ visions and active engagement with knowledge, research, community and praxis. These works reflect the Centre’s attention to promulgating ideas that engage with social and ecological concerns.

The Centre is immensely grateful for the support of all the artists who contributed new or recently commissioned works, especially in light of the COVID-19 pandemic and the precarious financial position of artists and cultural producers around the world.

 

 

Media Partner

Free Jazz III. Sound. Walks.
2 Oct 2020, Fri - 31 Mar 2021, Wed

Read More

Coinciding with the Centre’s 7th anniversary, Free Jazz III. Sound. Walks. explores elements of dissonance, resistance, and innovation embedded in its musical namesake, specifically responding to the COVID-19 pandemic and the ability for sound and art to transcend physical and social distance.

 

Liquid Architecture’s Machine Listening, a curriculum (launches October 2020)

This new investigation and experiment in collective learning around the emergent field of machine listening launches at Unsound 2020: Intermission, this year’s online edition of the Krakow experimental sound festival, starting 2 October. Comprising a montage of presentations, performance, sound, video, music and experiments in listening, the online gatherings are open to all.

 

Under the Skin (December 2020 – January 2021) 

Curated by artist Cheong Kah Kit as part of Proposals for Novel Ways of Being, this trio of commissioned performances by artists George Chua, Nina Djekić, and Noor Effendy Ibrahim, cinematically rendered and viewed online, each engage with sound, movement, and psychological precarity.

 

Soundwalks. (January – March 2021)

A series of performative explorations of sound, music, and community building by local and international artists in the form of soundwalks, soundtracks, and other physical and aural experiences.

 

Please check this page in late November for more details. 

 

Curated by Magdalena Magiera, Curator, Outreach and Education, and Dr. Karin Oen, Deputy Director, Curatorial Programmes, NTU CCA Singapore. 

 

Image: NTU Centre for Contemporary Art Singapore; Free Jazz, 23 October 2013, Inaugural Event. Photograph by Luca Lum.

 

Programme Partners

 

 

 

Supported by

RESIDENCIES REWIRED
OPEN CALL FOR LIAISONS (ARTISTIC RESEARCH)
12 Oct 2020, Mon - 8 Nov 2020, Sun

Read More

Application deadline: Sunday, 8 November 2020, 23:59 hours.

The NTU Centre for Contemporary Art Singapore Residencies Programme is a studio-based programme dedicated to supporting artists, curators, and researchers by offering them time and space to pursue research without the pressure of production outcomes. It values the open-ended nature of artistic research and embraces the multiform expression of creative enquiry.

The COVID-19 global pandemic has cut straight to the core of a Programme premised on international mobility, unscripted encounters, and site-specific engagements precipitating the scheduled residencies of overseas artists into a zone of impossibility due to the ongoing travel restrictions. As much as these unprecedented conditions have unravelled established procedures, they also commanded an adaptive twist urging us to rethink concepts of distance, modes of engagement, and pathways to collaboration.

In order to pursue organic connections across national borders and foster collaborations in spite of the current restrictions on bodily movement, we are pleased to launch this Open Call for Liaisons (Artistic Research). We are looking for local artists, researchers, and/or cultural practitioners to act as Liaison (Artistic Research) to remotely support the development of one of the research projects listed below. Selected applicants will work in close, albeit remote, collaboration with overseas artists on the development of the research project. Initiated and overseen by Dr Anna Lovecchio, Curator, Residencies, this initiative is in line with NTU CCA Singapore’s long-standing commitment to support art practitioners and artistic research by facilitating meaningful engagements with the specificities of the local across disciplinary fields.

Ideal Liaison applicants should be proactive, show a sense of initiative in research development, and possess a basic understanding of artistic research.

We encourage local artists, cultural practitioners, and independent researchers from relevant disciplinary fields to apply!

 

PARTICIPATING ARTISTS:

LÊNA BÙI (Vietnam)

ISABEL CARVALHO (Portugal) 

NOLAN OSWALD DENNIS (Zambia/South Africa)

RAND ABDUL JABBAR (Iraq/United Arab Emirates)

DIANA LELONEK (Poland)

ELIA NURVISTA (Indonesia)

YUICHIRO TAMURA (Japan)

Scroll down for the artists’ research projects.

 

Project Duration

1 December 2020 – 28 February 2021 (3 months)
Average work week approx. 18 hours; flexible schedule to be agreed on with the artist.

Scope of Work and Responsibilities include (but may not be limited to)

  • Commit on a part-time basis to conduct research over a period of 3 months under the guidance of the overseas artist.
  • Correspond with the artist on a regular basis and assist he/she in carrying out research in Singapore.
  • Participate in periodical meetings with NTU CCA Residencies Team to update and feedback on project development.
  • Conduct archival and research-based work.
  • Contribute to identify relevant data, records, bodies of knowledge, and expertise.
  • Access site-specific materials, objects, and sites.
  • Conduct interviews with relevant individuals and groups in Singapore.
  • Conduct fieldwork at local sites which might include audio-visual recording (photography, video, sound recordings, etc), measurements, sampling, etc.
  • Contribute to develop one public programme and/or digital presentation which will be conducted with the artist remotely at the end of the Programme.

Eligibility

  • Singapore citizen or Singapore Permanent Resident based in Singapore for the period of research.
  • Visual artist, cultural practitioner, or independent researcher.
  • Diploma or Bachelor’s degree.

Remuneration

S$2700 for the full project duration payable in three monthly instalments. 

Application Submission

Applications must include:

  • Cover Letter
    Kindly detail the reasons of your interest in the position, how you would be able to contribute to the artist’s research project based on your previous work and/or interests, and how the research task would benefit your own practice and development.
  • CV
  • Portfolio / Writing sample or any other significant sample of previous work (where relevant)

Applicants are encouraged to carefully read the artists’ research projects before applying. Please submit separate forms and cover letters if you wish to apply for more than one research project.

The selection will be undertaken by NTU CCA Singapore and the artists. Selected applicants will be notified by 23 November 2020. We regret that only shortlisted applicants will be notified.
 
For further queries, do not hesitate to contact ntuccaresidencies@ntu.edu.sg.

Application deadline is Sunday, 8 November 2020, 23:59 hours.

Click here to apply!

 

 

LÊNA BÙI (Vietnam)

Lêna Bùi, Making rubbings of tree stumps on Ton Duc Thang street, 2018, photograph. Courtesy the artist.

RESEARCH INTERESTS

  • Botanical studies and urban planning
  • Regional folklore, ghost myths, animistic practices
  • Alternative historiographies

RESEARCH PROJECT

Inspired by the recent felling of Khaya senegalensis (a tree species native to West Africa) in one of Ho Chi Minh City’s oldest streets for urban development purposes, Lêna Bùi’s project revolves around widespread regional beliefs about hungry and unresolved spirits residing in trees. The artist plans to delve deeper into the intersections between botanical studies, colonial histories, and urban planning in Indochina, framing them against the backdrop of ancestral wisdom and haunting presences. The research will eventually lead to an articulation of unspoken stories from times gone by. The Liaison (Artistic Research) will contribute to research the entanglements of colonial (and post-colonial) botanical studies and urban development as well as to excavate the magic and mythological roles that trees play in the region’s belief systems. The Liaison should preferably have an interest in history, regional folklore, and nature. The role will involve archival research as well as occasional fieldwork. 

ABOUT THE ARTIST

The practice of Lêna Bùi (b. 1985, Vietnam) is deeply drawn to the intangible aspects of life, such as faith, death, and dreams and the ways in which they influence our behaviours and perceptions. Through the incorporation of anecdotes and personal stories, her works articulate intimate reflections upon the impact of rapid development and the relationship between humans and nature. Bùi’s works have been included in group exhibitions and presentations at Sharjah Art Foundation, United Arab Emirates (2018); Mansfield Freeman Center for East Asian Studies, Wesleyan University, Middle Town, United States (2018); Haus der Kulturen der Welt, Berlin, Germany (2017); The Factory Contemporary Arts Centre, Ho Chi Minh City, Vietnam (2016); and Carré d’Art, Nîmes, France (2014) amongst other venues.

https://www.lenabui.com/

To apply for this research project, click here.

 

ISABEL CARVALHO (Portugal)

Left: Courtesy Catarina Rosendo. Right: Courtesy NTU CCA Singapore.

RESEARCH INTERESTS 

  • Experimental/independent publishing
  • Natural and produced environments
  • Intertextuality and visual culture
  • Transdisciplinary discourse 

RESEARCH PROJECT

One part of Isabel Carvalho’s artistic practice manifests itself in the form of editorial work through LEONORANA, an annual bi-lingual (Portuguese/English) cross-disciplinary research publication she established in 2017. LEONORANA’s main goal is to study the relation of conflict and complicity between verbal and visual languages, presenting essays (in text or in visual forms) as the preferred genre for the development of speculative thinking around chosen themes. For the next issue of the publication, the artist intends to tackle the subject of “environments” focusing on the differences between “natural” and “produced” environments (i.e. indoor atmospheres produced by air conditioning; architectural and urban planning strategies to manage pollution, etc.). With a transdisciplinary approach, the issue will prompt curious narratives based on the observation of existing situations, their economic, social, and political aspects, and their cultural representations across different media. The Liaison (Artistic Research) will be engaged to support the development of the forthcoming issue in terms of editorial conceptualisation, research on topics of interests, and identification of possible contributors.

ABOUT

The practice of Isabel Carvalho (b. 1977, Portugal) seeks to establish meaningful relationships between contemporary art, economics, politics, feminism, and sexuality. As part of her experimental practice, some of her projects bring together visual arts and writing in order to explore alternative methods of writing, publishing, and distributing. She is founder and chief editor of LEONORANA, a research magazine dedicated to experimental thinking. Between 2010-2018, she ran Navio Vazio, a project space that provided a three-dimensional extension to her publishing programme. Her works have been exhibited widely across Europe, and she has received solo presentations in Portugal, Germany, and Spain.

https://cargocollective.com/isabelcarvalho

To apply for this research project, click here. 

 

NOLAN OSWALD DENNIS (Zambia/South Africa)

Nolan Oswald Dennis, the wretched (eisenia foetida), 2019, penguin modern classics edition of “the wretched of the Earth”; simulated soil environment; community of eisenia foetida earthworms. Courtesy the artist.

RESEARCH INTERESTS

  • Techno-environmental models for decolonisation
  • Intimate strategies for interspecies communication
  • Soil culture, ecological systems, and indoor gardening
  • Open-source interaction systems and cryptic dispersal networks
  • Global logistics and remote collaborations

RESEARCH PROJECT

Inspired by terra preta (black soil) — the anthropogenic production of a type of dark, fertile soil by Amazonian farming communities in ancient and contemporary times — Nolan Oswald Dennis’ research project Black Earth Study Club braids “Black Earth” and “Black Studies” in a speculative disciplinary twist. This project pursues the cultivation of mutual knowledge through practices of solidarity and soil-making, with an interest in the potentialities of telepresence, redistribution, and remote collaboration. The project involves developing “black earth readers”: digital micro/mesocosmic systems for producing anthropogenic soils; collaborative reading (strategies for reading with soil microbes); hacking global logistics networks for material redistribution. Adopting the form of a “study club” as social assemblage and research method, the project will involve exchanges among practitioners from South America, Europe, South Africa and Singapore to cultivate an ‘other’ possibility of solidarity on a planetary scale. The Liaison (Artistic Research) will be involved in the concept development of “Black Earth Study Club”, the implementation of its multiple manifestations, and the creation of a Singaporean outpost for the project. The Liaison should preferably have an interest in soil, ecological interaction systems, and techno-political models of decolonisation.

ABOUT THE ARTIST

The interdisciplinary practice of Nolan Oswald Dennis (b. 1988, Zambia/South Africa) looks at histories and futures of solidarity in the global south as strategic responses to capital and colonial power, and as trajectories of collective world-making. Engaging with “a black consciousness of space”, his practice unsettles dominant ways of knowing. His work has been shown internationally at Young Congo Biennial, Kinshasa, Congo (2019); Goethe Institute, Beijing, China (2018); Kalmar Konstmuseum, Sweden (2017), amongst others. In 2016, he was awarded the FNB Art Prize. He is a Research Associate in the Visual Identities in Art and Design Research Centre, University of Johannesburg, and a 2020/21 Digital Earth Fellow.

https://www.nolanoswalddennis.com/

To apply for this research project, click here.

 

RAND ABDUL JABBAR (Iraq/United Arab Emirates)

The Abdul Jabbar family at the National Theatre Fountain during a visit to Singapore in 1966. Courtesy the artist.

RESEARCH INTERESTS

  • History of Singapore – Iraq relations
  • Personal and institutional archives
  • Global networks of petroleum and weapons trade
  • Counterterrorism intelligence
  • International warfare coalitions

RESEARCH PROJECT

Instigated by a familial connection to Singapore dating to 1965, when her grandfather was sent on a training assignment to the Shell Eastern Petroleum Company in Singapore to address labour disputes, Rand Abdul Jabbar is interested in exploring the evolution of the complex bilateral relationship between Singapore and Iraq over the past 60 years, particularly pertaining to politics and counterterrorism intelligence and training. The project will attempt to track relevant petro-histories, workforce tensions, the movement of arms across global trade networks, counterterrorism warfare coalitions, and conflict resolution. With the Liaison (Artistic Research), the artist will conduct research to map out the elaborate trajectories that characterise the bonds across these two nations through the prism of petroleum, weapons trade, and counter-terrorism strategies engaging both institutional and personal archives. Relevant sources include NTU RSIS International Centre for Political Violence and Terrorism Research, the National Archives of Singapore, and Shell’s archive.

ABOUT THE ARTIST

Rand Abdul Jabbar’s (b. 1990, Iraq/United Arab Emirates) multidisciplinary practice examines remnants of historic, cultural, and personal narratives surrounding Iraq, contesting with individual and collective history and memory to produce fragmentary reconstructions of historic events and past experiences. Her work has been recently exhibited at the NYU Abu Dhabi Art Gallery Project Space and Jameel Arts Centre (both United Arab Emirates), the inaugural Rabat Biennale (Morocco), and the Biennale d’Architecture d’Orléans, France (all 2019).

https://www.randabduljabbar.com/ 

To apply for this research project, click here. 

 

DIANA LELONEK (Poland)

Diana Lelonek, Center For Living Things, 2019, textile and polymer environment, aquarium with found objects from forest. Courtesy the artist.

RESEARCH INTERESTS

  • Landfill ecologies
  • Post-consumer waste
  • Ecological engagement
  • Interspecies encounters
  • Post-human and eco-feminist studies

RESEARCH PROJECT

Diana Lelonek examines the complex interdependency between growing trends of overproduction and natural ecosystems. Since 2016, she has been gathering waste-derived specimens under the aegis of The Center for Living Things, a long-term artistic project shaped as an independent grassroots research institute. Classified in collaboration with botanists and other natural scientists, The Center for Living Things’ collection includes discarded commodities and objects that, upon disposal, become part of the natural environment for a number of living organisms. Extending this fascination for how the ecosystems of landfills turn into fertile habitats and are reclaimed by non-human organisms, for her research in Singapore, Lelonek will focus on the offshore landfill Pulau Semakau and its own specific ecosystem. Together with the Liaison (Artistic Research), the artist will explore post-waste environments and the waste-derived specimens that come to life within those contexts. The Liaison should preferably have a strong interest in environmental issues, anthropocene studies, and/or botany.

ABOUT THE ARTIST

Working with photography, installations, and found objects, the interdisciplinary practice of Diana Lelonek (b. 1988, Poland) interrogates the notion of nature in the anthropocene. Through the collection of newly formed waste-derived organisms across dump sites and landfills, she explores the impact of overproduction of waste on existing ecosystems. Her recent solo exhibitions include Diana Lelonek: Buona Fortuna, Fondazione Pastificio Cerere, Rome, Italy (2020); Raport, BWA Galeria Meijska Bydgoszcz, Poland and Center for Living Things, Buerobasel, Basel, Switzerland (both 2019). She has exhibited in international shows such as Nature \ nature, Kunstraum Niederoesterreich, Vienna, Austria and The Art of Being Good, Tallinna Kunstihoone, Estonia (both 2019); and Riga International Biennial of Contemporary Art, Latvia (2018), among others.

http://dianalelonek.com/

To apply for this research project, click here.

 

ELIA NURVISTA (Indonesia)

Elia Nurvista, As Long We Can Import it, Why Bothered Planting?, 2015, installation view. Courtesy the artist.

RESEARCH INTERESTS

  • Food systems
  • Policies and politics related to food
  • Food sovereignty
  • Agricultural solidarity
  • Comparative methodologies

RESEARCH PROJECT

As a co-founder of the interdisciplinary study group Bakudapan, Elia Nurvista is immersed in a long-term research that revolves around the material, cultural, and socio-political implications of food from production to distribution, from consumption to disposal.  For this project, the artist aims to undertake a critical mapping of food systems in Singapore and Southeast Asia excavating agricultural production systems, trade routes and agreements, environmental factors, food security policies, food technologies, and consumption habits. Starting by looking at the history and politics that regulate food exchanges between Singapore and Indonesia, the project will unfold within a comparative framework exploring a variety of issues in the two neighbouring countries which — in spite of their radically different scales, developmental emphasis, and levels of wealth distribution — remain nonetheless related by multiple cultural kinships. The Liaison (Artistic Research) will conduct fieldwork and onsite research helping to connect Nurvista with local scholars, practitioners, local farms, environmental activists, and other relevant interlocutors to engage in a collective discussion around key issues about food sovereignty, agricultural solidarity, and food security.

ABOUT THE ARTIST

As a co-founder of the food study group Bakudapan, Elia Nurvista (b. 1983, Indonesia) employs an interdisciplinary approach towards the discourse around food. Through a wide range of mediums, from video installations to workshops, her works invite reflective participation to think beyond food as an alimentary sustenance. Selected group shows include Dhaka Art Summit 2020, Bangladesh and On the Nature of Botanical Gardens, Framer Framed, Amsterdam, The Netherlands (both 2020); Karachi Biennale, Pakistan and Singapore Biennale with Bakudapan (both 2019). Her recent solo presentation titled Früchtlinge took place at Künstlerhaus Bethanien, Berlin, Germany (2019).

https://www.elianurvista.com/

To apply for this research project, click here.

 

YUICHIRO TAMURA (Japan)

Courtesy the artist.

RESEARCH INTERESTS

  • Japanese Occupation in Singapore
  • British colonisation
  • Historical imagination and gestures
  • Speculative acts of measurements

RESEARCH PROJECT

Yuichiro Tamura’s project is grounded on two historical sites related to the Japanese Occupation of Singapore in the 1940s: the Former Ford Factory (site of the British surrender to the Japanese in 1942) and National Gallery Singapore (previously City Hall, where the Japanese capitulated to the British in 1945). In a recent visit to Singapore, the artist chanced upon two photographs capturing these momentous events: one depicts a Japanese commander climbing uphill at the Former Ford Factory; the other shows a Japanese commander descending the steps of the former City Hall. The images provide the stepping stone of Tamura’s interest to creatively probe various “angles of history” by physically and speculatively measuring details of sites, documents, images, and gestures related to these and other historical events. The Liaison (Artistic Research) will support the artist in conducting archival research as well as onsite measurements and other inquiries.

ABOUT THE ARTIST

The videos, installations, and performances of Yuichiro Tamura (b. 1977, Japan) articulate multi-layered narratives which delve into the memory and history of localities and weave together unconnected events. By merging fact and fiction, his works investigate the contemporary significance of past events. Recent group shows include Readings from Below, Times Art Center Berlin, Germany; Yokohama Triennale 2020, Japan and Participation Mystique, Ming Contemporary Art Museum, Shanghai, China (all 2020), and 7th Asian Art Biennial, Taichung, Taiwan (2019), amongst others. He was a finalist for the Asia Pacific Breweries Foundation Signature Art Prize in 2018 and the Nissan Art Award in 2017.

http://www.damianoyurkiewich.com

http://artasiapacific.com/Magazine/WebExclusives/HellScream 

https://www.nissan-global.com/EN/CITIZENSHIP/NAA/NAA2017/FINALIST/04/

To apply for this research project, click here. 

 

Cover Image: Studio of Marvin Tang, Residencies Studios, NTU CCA Singapore. Courtesy the artist.
Trinh T. Minh-ha. Writings.
17 Oct 2020, Sat - 28 Feb 2021, Sun

Read More

Visitors to the Exhibition Hall at our Centre can encounter Trinh T. Minh-ha’s extensive writing, core to her practice, through these books as displayed on the reading platforms along the passageway connecting the five theatres.

 

Books by Trinh T. Minh-ha

Trinh, T. Minh-ha. Cinema Interval. New York and London: Routledge, 1999.

Trinh, T. Minh-ha. D-passage: The Digital Way. Durham: Duke University Press, 2013.

Trinh, T. Minh-ha. Elsewhere, Within Here: Immigration, Refugeeism and the Boundary Event. New York and London: Routledge, 2011.

Trinh, T. Minh-ha. Framer Framed: Film Scripts and Interviews. New York and London: Routledge, 1992.

Trinh, T. Minh-ha. Lovecidal: Walking with the Disappeared. New York: Fordham University Press, 2016.

Trinh, T. Minh-ha. The Digital Film Event. New York and London: Routledge, 2005.

Trinh, T. Minh-ha. When the Moon Waxes Red. Representation, Gender and Cultural Politics. New York and London: Routledge, 1991.

Trinh, T. Minh-ha. Woman, Native, Other: Writing Postcoloniality and Feminism. Bloomington: Indiana University Press, 1989.

 
Books by other authors

Dissanayake, Wimal. Rethinking Third Cinema. New York: Taylor & Francis Ltd, 2003. 

Ferguson, Russell, Martha Gever, Trinh T. Minh-Ha and Cornel West. Out There: Marginalisation and Contemporary Culture. Cambridge: The MIT Press Ltd, 1992.

Foster, Gwendolyn Audrey. Women Filmmakers of the African & Asian Diaspora: Decolonizing the Gaze, Locating Subjectivity. Carbondale: Southern Illinois University, 1997.

Guo, Xiaolu. Nine Continents: A Memoir In and Out of China. New York: Grove Press, 2017.

Kaplan, F. and E. Ann.  Feminism and Film. Oxford: Oxford University Press, 2000.

Lorde, Audre. Sister Outsider: essays and speeches. Berkeley: Crossing Press, 2014.

Pines, Jim, and Willemen, Paul. Questions of third cinema. London: BFI Pub, 1989.

Rhomberg, Kathrin, ed. Trinh T. Minh-Ha / Secession. Vienna: Association of Visual Artists Vienna Secession, 2001.

 

ONLINE RESOURCES:

Van Dienderen, An. “Indirect Flow through Passages: Trinh T. Minh-ha’s Art Practice.” Afterall: A Journal of Art, Context and Inquiry 23 (Spring 2010): 90–97.  [Free access upon registration]

Duong, Lan, and Lila Sharif. “Displaced Subjects: Revolution, Film, and Women in Viet Nam and Palestine.” Verge: Studies in Global Asias 6, no. 1 (Spring 2020): 168–97. [Free access upon registration]

Trinh, T. Minh-ha. “Forgetting Vietnam: Trinh T. Minh-ha with Lucie Kim-Chi Mercier.” By Lucie Kim-Chi Mercier. Radical Philosophy 2.03 (December 2018): 78–89. [Access PDF]

Fuser, Marina. “Nomadism in the Cinema of Trinh T. Minh-ha.” PhD diss., University of Sussex, 2019. [Access PDF

Trinh, T. Minh-ha. “Shifting the Borders of the Other: An Interview with Trinh T. Minh-ha.” By Marina Grzinic. Telepolis. August 12, 1988. [View here]

Hill, Michael. “Abandoned to Difference: Identity, Opposition and Trinh T. Minh-ha’s Reassemblage.” Surfaces 3, no. 2 (1993): 1–29. https://doi.org/10.7202/1065095ar. [Access PDF]

Lawson, Jacqueline. “Gender and the War: Men, Women and Vietnam.” Vietnam Generation 1, no.3, Article 1 (1989). [Access PDF

Trinh, T. Minh-ha. “Documentary Is/Not a Name.” October 52 (Spring 1990): 76–98. doi:10.2307/778886. [Access PDF]

Trinh, T. Minh-ha. “Not You/Like You: Post-colonial Women and the Interlocking Questions of Identity and Difference.” Inscriptions 3 (1988): 71–77. [Access PDF

Trinh, T. Minh-ha. “The Totalizing Quest of Meaning.” Theorizing Documentary 1 (1993): 90–107. [Access PDF

Trinh, T. Minh-ha. “Trinh T. Minh-ha with Benjamin Schultz-Figueroa and Patricia Alvarez.” By Benjamin Schultz-Figueroa and Patricia Alvarez. The Brooklyn Rail. October, 2016. [View here

 

Image: Courtesy Trinh T. Minh-ha.

In Conversation: Trinh T. Minh-ha, artist, and Ute Meta Bauer, Founding Director, NTU CCA Singapore, and Professor, NTU ADM
17 Oct 2020, Sat 10:00 AM - 11:30 AM

Read More

Recap of the lecture:

 

 

Following an excerpt of What about China? (Part I of II, 2020–21), her newest film, Trinh will read from her film script. This point of departure will bring Trinh’s multivocal practice in conversation with the curatorial and spatial concept of this exhibition.

 

BIOGRAPHY

Trinh T. Minh-ha (Vietnam/United States) is Professor of Rhetoric and of Gender & Women’s Studies at the University of California, Berkeley. Originally trained as a musical composer, she received her two masters and PhD from the University of Illinois, Champaign-Urbana. Her numerous books include Lovecidal. Walking with The Disappeared (2016), D-Passage. The Digital Way (2013), Elsewhere, Within Here (2011). Her work has been recipient of many awards, including the Wild Dreamer Lifetime Achievement Award at the Subversive Festival, Zagreb (2014); the Lifetime Achievement Award from Women’s Caucus for Art (2012); and the 2006 Trailblazers Award at the MIPDoc in Cannes.

Ute Meta Bauer (Germany/Singapore) is the Founding Director of the NTU CCA Singapore, and Professor, School of Art, Design and Media, NTU, Singapore. Previously, she was Associate Professor in the Department of Architecture at Massachusetts Institute of Technology (MIT), Cambridge, where she also served as Founding Director of the MIT Program in Art, Culture, and Technology (2005–13). For more than three decades, Bauer has curated exhibitions and presentations, connecting contemporary art, film, video, and sound through transdisciplinary formats including Documenta11 (2002), 3rd Berlin biennale for contemporary art (2004), and the US Pavilion for the 56th Venice Biennale (2015). 

 

Image: Trinh T. Minh-ha, What about China? (Part I of II), 2020–21, film still. Courtesy Moongift Films.

Why are they so afraid of a lotus?
24 Oct 2020, Sat - 10 Jan 2021, Sun

Read More

“Speaking nearby” to the exhibition Trinh T. Minh-ha. Films., this research presentation showcases the Wattis Institute’s year-long research season on Trinh’s multifaceted practice as a filmmaker, writer and theorist. What does the promise of “speaking nearby” rather than “speaking about” look like today? What are the politics of hospitality? What are the problematics of “post-feminism,” and how do we challenge the West as the authoritative subject of feminist knowledge? Expanding the discursive orbit of these questions, the presentation features projects by artists Hồng-Ân Trương (US) and Genevieve Quick (US), and is accompanied by the online convening Mother Always Has a Mother, a result of the ongoing research collaboration between NTU CCA Singapore, Rockbund Art Museum (Shanghai), and the Wattis Institute.

Conceived by Kim Nguyen (Canada/United States), Curator and Head of Programs, CCA Wattis Institute for Contemporary Arts (Wattis), San Francisco.

 

Image: Genevieve Quick, Planet Celadon: Operation Completed, TRT 6:07, 2020, video still. Courtesy of the artist.

Assembly: Chronicles of Displacement
27 Oct 2020, Tue - 28 Nov 2020, Sat

Read More

Convened online by the Museum for the Displaced 

The Assembly Chronicles of Displacement is an online gathering to address urgent issues of our time, explore alternative futures, and discuss and share knowledges and practices, facilitating international and transdisciplinary conversations on displacement and forced migration. Through a series of public talks and conversations alongside screenings, the Assembly will reflect on the outcomes of prior workshops (led by Jonas Staal and Bread and Puppet Theater) and further the discussion on the intersection of art discourses and socio-political activism. 

Although entirely online, the Assembly’s base is in Singapore and Southeast Asia where many of the participants are from, and will focus on border politics, ethics of documentation in conflict zones and refugee camps, as well as the euphemisms and government rhetoric used around forced migration, which in the ASEAN region is referred to as “irregular migration.”

 

With contributions by: 

Shahidul Alam (Bangladesh), Bodies of Power / Power for Bodies (Sanne Oorthuizen and Alec Steadman) with Mumtaz Khan Chopan (Indonesia), Bread and Puppet Theater (United States), Center for Political Beauty (Germany), Kin Chui (Singapore), Kirsten Han (Singapore), Nursyazwani Jamaludin (United States), Stefan Kruse Jørgensen(Denmark), Raeesah Khan (Singapore), Dima Mabsout (Lebanon), Ayman Nahal (Lebanon), Erkan Özgen (Turkey), Alfian Sa’at (Singapore), Jonas Staal (Netherlands).

Mf  D’s inaugural Assembly is hosted and supported by NTU Centre for Contemporary Art Singapore. 

 

About Mf D

The Museum for the Displaced is a cultural and social organisation addressing issues of forced migration, displacement, and statelessness. Its programme, unfolding over multiple geographies and contexts, aims to renew possibilities of solidarity and the demand of fundamental rights for disenfranchised groups of displaced people in situations of risk and distress. Through art, critical discourse, and action, we aim to address and bring attention to issues of forced migration, displacement, border politics, and intercultural identities, developing a trans-local network and community. Mf D was founded in 2019 and is collectively curated by Canan Batur, Mohammad Golabi, Leong Min Yu Samantha, and Ana Sophie Salazar.

 

Programme

Saturday, 28 November 2020

7.00pm
Lecture:
by Center for Political Beauty

8.00pm
Screening and Q&A:
Wonderland, Erkan Özgen (Turkey), 2016, 3 min 54 sec
A deaf-mute boy called Muhammed uses gestures and sounds to describe the experiences his family went through when escaping the war. Muhammed’s home city Kobanî in the Kurdish area of Syria at the border of Turkey became famous in 2015 when it was besieged by jihadist organisation Isis. After long battles, Kobanî managed to become liberated, but thousands of Kurds were forced to leave their homes. The wordless story by the 13-year-old Muhammed is a powerful statement against war, captured on video.

8.20pm
Roundtable:
Dima Mabsout, Nursyazwani Jamaludin, Kirsten Han

  • moderated by Mohammad Golabi

9.00pm
Lecture:
by Bread and Puppet Theater

10.00pm
Screening and Q&A:
Now: End of the Season, Ayman Nahle (Lebanon), 2015, 20 min
Documentary détournement on the state of the Syrian crisis. The film pictures the everyday entanglement of refugees, tourists, and passersby in the Turkish seaport town of Izmir, where a sense of limbo and standstill looms as illegalized migrants await departure to the unknown. The soundtrack to the film is from a phone call by Hafez al-Assad to Ronald Reagan made some thirty years earlier. A caller on hold, an impatient translator… In Nahle’s words, “more confused than ever, the world is on the edge, showing the disoriented face of a smiling disaster.”

 

Sunday, 29 November 2020

7.00pm
Lecture:
by Jonas Staal

8.00pm
Roundtable: 
Bodies of Power/ Power for Bodies, Mumtaz Khan Chopan, Kin Chui

  • moderated by Ana Sophie Salazar

8.40pm
Screening and Q&A:
The Migrating Image, Stefan Kruse Jørgensen (Denmark), 2018, 28 min
By following a fictional group of refugees across Europe, the film questions the production of images surrounding real-life tragedies. Each segment of the film takes its cue from the destination of the refugees, from FRONTEX depicting the refugees on the Mediterranean Sea, to a photojournalistic reportage from a warehouse in Belgrade. Where do all these images about refugees come from? How do they reshape the geography of Europe?

9.20pm
Roundtable: 
Alfian Sa’at, Raeesah Khan, Shahidul Alam

  • moderated by Canan Batur

 

Image: Stefan Kruse Jørgensen, The Migrating Image, 2018, still.

Reading Group: Good Immigrant, Bad Immigrant by Billy Tang, Senior Curator, RAM
27 Oct 2020, Tue 05:30 PM - 07:00 PM

Read More

This reading group session will be held on Zoom. Sign up here to receive the link and password.

Inspired by the commentary and writings of novelist Viet Thanh Nguyen, this reading group explores the overlapping concepts related to immigration and transnationalism. Moving between reportage, criticism and fiction, it will explore how the framing of good or bad immigrants is intimately tied to questions of belonging, otherness, identity, and empathy. It draws on the archetypal literary figure of the antihero to challenge underlying prejudices, and locate counter-images embodying a more fluid way of identifying with transnational experiences around the world.

 

Billy Tang (United Kingdom/China) is a Senior Curator at the Rockbund Art Museum, Shanghai.

 

Image: Trinh T. Minh-ha, Shoot for the Contents, 1991, film still. Courtesy the artist.

In Conversation: Speaking/Thinking Nearby by Dr Marc Glöde, Assistant Professor, NTU ADM, and Dr Ella Raidel, Assistant Professor, NTU ADM and WKWSCI
29 Oct 2020, Thu 07:00 PM - 08:30 PM

Read More

This lecture will be streamed live online. Sign up here to receive the link and password.

 

Special attention in the accompanying film programme has been given to Trinh’s approach of the withdrawal from the usual pattern of the documentary with regard to authenticity, representation, observation, or the creation of sentiments in favor of non-linear storytelling in which the documentary appears as a performance. This conversation will focus on key aspects in Trinh’s work, and their correlation to the films selected for the programme.