Biodiversity – NTU Centre for Contemporary Art Singapore

Course Details

Date: 10 September 2022, Saturday
Time: 10:00am – 12:00pm
Venue: NTU CCA Singapore, Block 6 Lock Road, Gillman Barracks, Singapore 108934
Course Fee: $85.60 (incl. GST), per adult/child pair

For enquiries, please email ntuccaeducation@ntu.edu.sg

About The Course

Edible Wild is a 2-hour workshop aimed at bringing parents and their children closer to nature. Despite the greenery that surrounds us in our concrete jungle, it is easy to overlook the plants that flank our sidewalks. As the world moves at an ever-increasing pace, we need the occasional reminder to slow down and reconnect with the earth – and one of the best ways to do so is to learn how to care for it.

This workshop is a gentle introduction to the myriad of herbs – both common and uncommon – that can be found growing around our garden city, as well as a chance to understand their history and uses. Participants will learn simple plant identification techniques, understand the structure of a plant, as well as pick up basic gardening skills that they can use at home. The overall goal is to renew a sense of wonder in our green companions, while providing the skills to identify and care for them.

At The End of the Course, You Will…

● Learn how to identify edible local plants from The Farm at NTU CCA Singapore
● Learn general plant identification techniques (leaf shape, flowers, stem structure etc.)
● Pick up basic gardening techniques to grow and care for your own edible greens (proper watering, checking/enriching the soil, checking for pests, pruning & propagation)
● Create simple infusions with ingredients from the garden

Target Audience

Parent/child groups where the children are 7 years old and above.

From its first iteration in 2013, Free Jazz has pushed boundaries and expanded upon pressing concerns of our times. Free Jazz IV. Geomancers continues this approach, featuring artworks ranging from virtual reality to video, performance, and sound as an exercise in planetary awareness. The exhibition presents significant artistic practices from across the globe that are deeply invested in creating an environmental consciousness and that share an understanding of the world as a vulnerable, yet resilient, mesh of coexistences, correlations, and co-creations. As with geomancy, these artworks can help us to read the signs that our planet is trying to send us and that they can inspire a stronger commitment to create a sustainable future for life on Earth.

Alongside scientists, environmental activists, enlightened policy makers and civil society members, contemporary artists are increasingly concerned with future prospects of ecological collapse and planetary survival. They address these issues through the language of art, creating images, sounds, narratives, and experiences that allow us to establish affective and cognitive connections with the environment and partake in the planetary intelligence of the Earth. Stemming from NTU CCA Singapore’s ongoing engagement with the overarching subject of Climates.Habitats. Environments., Free Jazz IV. Geomancers brings together a selection of creative practitioners who are distinctly alert to these urgencies.

Conceived for Singapore Art Week 2022, this programme consists of a film screening series, a virtual reality installation, a performance and a sound installation. Some of the featured artworks zero in on signs of earthly demise, others indicate pathways of resilience and strategies for regeneration. All the works result from long-term research and extensive fieldwork and, when presented together, they engender a kaleidoscopic overview of the multitudinous forms of ecological entanglements.

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Exhibition Information

Katie Paterson
To Burn, Forest, Fire, 2021, performance
Performance schedule: 14, 15, 18, 22, and 23 January, 6.30 – 7.00pm
Block 37 Malan Road, #01-04, Gillman Barracks
Entrance is on a first-come first-served basis up to the capacity allowed by the
prevailing social distancing measures. Audience to arrive at least 15 minutes
before the performance starts. Please note that the performance entails the
burning of incense inside an indoor space.
Please see our Facebook event for the latest updates.

Daniel Steegmann Mangrané
Phantom (kingdom of all the animals and all the beasts is my name)
2014–2015, VR installation
Tuesday to Sunday, 12.00 – 7.00pm
Fridays, 12.00 – 9.00pm
Block 38 Malan Road, #01-07, Gillman Barracks
Please see our Facebook event for the latest updates.

Jana Winderen
Listening through the Dead Zones, 2021, sound installation, 20 min, on loop.
Monday to Thursday: 8.00am to 9.00pm (last entry 8.00pm)
Fridays to Sundays: 8.00am to 10.00pm (last entry 9.00pm)
Please see our Facebook event for the latest updates.

Green Roof, Marina Barrage, 8 Marina Gardens Drive, Singapore 018951
The sound installation is located on the Green Roof at Marina Barrage, above the
Sustainable Singapore Gallery, accessible either via the walking ramp or the elevator.
Once on the rooftop, visitors will find the work in the proximity of the glass house, on
the southern edge of the rooftop. Visitors are encouraged to take the time to pause and
experience Listening to the Dead Zones while facing the open sea.

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Screening Programme

Friday, 14 and 21 January 2022, 12.00 – 9.00pm
Session I: 12.00 – 2.50pm
Session II: 3.00 – 5.50pm
Session III: 6.00 – 8.50pm

Tuesday to Sunday, 15 – 23 January 2022, 12.00 – 7.00pm
Session I: 12.00 – 3.20pm (intermission: 1.30 – 2.00pm)
Session II: 3.30 – 6.50pm (intermission: 5.00 – 5.30pm)

Block 38 Malan Road, #01-06, Gillman Barracks
Films will be screened in the order as below during each session.
Please see our Facebook event for the latest updates.

Martha Atienza
Panangatan 11°09’53.3”N 123°42’40.5”E 2019-10-24, 9min

Zarina Muhammad & Zachary Chan
earth, land, sky and sea as palimpsest, 17 min 37 sec

Rice Brewing Sisters Club
Mountain Storytellers, Storytelling Mountains: A Tale Theatre, 15 min 37 sec

Carolina Caycedo & David de Rozas
The Teaching of the Hands, 47 min

Pedro Neves Marques
Semente Exterminadora [Exterminator Seed], 28 min

Ursula Biemann
Acoustic Ocean, 18 min

Liu Chuang
Can Sound be Currency?, 19 min 43 sec

Chu Hao Pei
Inventing Miracle: The Rice to Power, 9 min 59 sec

Robert Zhao Renhui
And A Great Sign Appeared, 4 min 52 sec

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Free Jazz IV. Geomancers is supported by National Arts Council Singapore and Nicoletta Fiorucci Russo De Li Galli. NTU CCA Singapore also wishes to thank our collaborators IHME Helsinki, and PUB Singapore’s National Water Agency at Marina Barrage.

Artists: Martha Atienza (Philippines), Ursula Biemann (Switzerland), Carolina Caycedo & David de Rozas (United Kingdom; Spain/United States), Chu Hao Pei (Singapore), Liu Chuang (China), Pedro Neves Marques (Portugal), Katie Paterson (Scotland), Rice Brewing Sisters Club (South Korea), Daniel Steegmann Mangrané (Spain/Brazil), Jana Winderen (Norway), Zarina Muhammad & Zachary Chan (Singapore), and Robert Zhao Renhui (Singapore).

Free Jazz IV. Geomancers is supported by National Arts Council Singapore and Nicoletta Fiorucci Russo De Li Galli. NTU CCA Singapore also wishes to thank our collaborators Appetite, IHME Helsinki, and PUB Singapore’s National Water Agency at Marina Barrage.

Read More

Against the developmental emphasis on order, cleanliness, and control, weeds are often singled out as plants that grow in the wrong place where they can flourish in spite of being unwanted. In their resistance against human impulses to control and manicure nature, weeds are regarded by the artist as a manifestation of the beauty and resilience of wilderness and chaos. By observing both the physiology and formal qualities of weeds, Chua plans to experiment with a variety of light-sensitive and other photographic techniques to capture their intricate beauty and frame their value for nature and society.

Artist-in-Residence Chua Chye Teck speaks to Dr Anna Lovecchio, Assistant Director, Programmes, in our fourth episode of AiRCAST. Follow Chye Teck’s stream of consciousness as he tells us about his journey with the medium of photography and his enduring fascination for fleeting forms and makeshift compositions. In recent years, Chye Teck is developing a more experimental attitude towards the image-making process creating works that respond to the specificity of a site, rather than to a subject matter, and reverberate with emotional vibrations. He has also become involved in several collaborations with other artists and he is cultivating a new fascination for cellphone images and the creative potential of readily available, off-the-shelf digital technologies.

The evocative and subtly layered works of Chua Chye Teck (b. 1974, Singapore) result from prolonged visual and experiential quests. His body of work draws attention to the discarded and the overlooked articulating a reflection on the multiple processes of disappearing that result from the impact of progress and development on the natural environment. His works have been exhibited in venues such as at Singapore Art Museum (2021), Tai Kwun Contemporary, Hong Kong (2020), Jendela Esplanade, Singapore (2018, 2015), Institute of Contemporary Arts, Singapore (2017), Chiang Mai University Art Centre, Thailand (2015), and Künstlerhaus Bethanien, Berlin, Germany (2010).

Contributor: Chua Chye Teck
Conducted by: Anna Lovecchio
Programme Manager: Kristine Tan
Sound Engineer: Ashwin Menon (The Music Parlour)
Intro & Outro Music: Tini Aliman
Cover Image & Design: Arabelle Zhuang, Kristine Tan

[See Full Transcript]

With an investment in creative research that combines art, science, and technology, Irene Agrivina’s research project, A Perfect Marriage, investigates the symbiotic relationship between Azolla, an aquatic water fern, and Anabaena, a microscopic blue-green cyanobacterium. The two organisms have never been apart for 70 million years, co-evolving in complementary ways that allow them to be increasingly efficient. Besides ensuring their survival, other outcomes of this remarkably sustainable and mutually beneficial relationship involve the production of biofuel and textile dyes, the purification of water, and the reduction of global warming. During her residency, Agrivina aims to expand on her research and conduct experiments inspired by this unique symbiotic process using eco-friendly materials. A Perfect Marriage intends to emphasise the global importance of patterns of co-dependency and the potential of the photosynthesis process in connection with environmental issues.

Since the establishment of the first human settlements in the late 19th century, the ecosystem of Christmas Island—a small volcanic outcrop in the Indian Ocean which was transferred from Singapore to Australia in 1958—underwent dramatic changes. Along with human settlers, several non-indigenous species alighted on the island disrupting the endemic biodiversity that had thrived undisturbed thanks to geographical remoteness and almost nil human interference. The accidental introduction of invasive species severely impacted a fragile ecosystem, imperilling the island’s wildlife and causing the extinction of a number of native species. As a result, extreme biocontrol strategies are currently being undertaken in an attempt to restore the island’s biodiversity.

In the past two years, The Institute of Critical Zoologists has been researching the escalating chain of events brought about by the human presence on Christmas Island gathering a varied collection of research materials that merge factual and fictional elements. By surveying the impact of human beings on an endemic habitat, Final Report of the Christmas Island Expert Working Group maps out lines of invasion and retreat, it investigates dynamics of connectedness and isolation triggering reflections on states of vulnerability and conditions of survival in the age of globalisation.

Curated by Anna Lovecchio, Curator, Residencies

Currently, more than half of the world’s human population lives in urban areas. Urban growth poses challenges to the various city dwellers, and creates material demands that cause lasting damage to the wider environment. The climate crisis is already announcing threatening scenarios particularly for coastal regions and megacities located at coastlines. Global urbanisation and the exploitation of resources happen on the expense of human and other species alike. The Posthuman City features artists who propose a shift in perspective.

Taking NTU CCA Singapore’s overarching research topic Climates.Habitats.Environments. as point of departure, the exhibition The Posthuman City considers the possibilities of a conscious sharing of resources, and a respectful and mindful coexistence between humans and other species. Through imaginative propositions at the intersection of art, design, and architecture, the selected artists engage questions addressing issues of sustainability, water scarcity, invisible communities, nature as a form of culture, and suggest the implementation of lived indigenous knowledges. Examining the urban fabric in its condition as a habitat for a diversity of life forms, the featured works range from installations to time-based media.

Lucy + Jorge Orta, OrtaWater – Portable Water Fountain, 2005. Courtesy the artists.

Stressing the vital importance of clean water and the challenges of its scarcity around the world, the artist and design duo Lucy + Jorge Orta have developed a long-term project on water collection, purification, and distribution. OrtaWater focuses on the general issues surrounding clean water and the privatisation and corporate control effecting access to it. Starting from a rigorous analysis of this crucial resource through visual and textual research and collaborative workshops with engineers, Lucy + Jorge Orta create sculptures, large-scale installations, and public artworks, that are both artefacts and functional design. One angle of their research—low-cost water purification devices enabling filthy water to be pumped and filtered directly from local sources—is translated into Portable Water Fountain (2005) and Mobile Intervention Unit (2007). These devices have been used to purify and distribute water from the Venice’s Canal Grande (2005) and the Huang Pu River in Shanghai (2012), among others, and now from the creek that runs through Gillman Barracks.

Similarly combating water pollution, Irene Agrivina’s Soya C(o)u(l)ture is a mixed media installation that demonstrates how to transform wastewater from tofu and tempeh production into usable biomaterials, such as fuel, fertiliser, and leather-like fabrics. Soya C(o)u(l)ture was developed in collaboration with XXLab, an all-female transdisciplinary collective that Agrivina co-founded. Usually, large amounts of wastewater pollute the water in the rivers surrounding the plants, which in turn causes cholera and skin and bowel diseases in humans. Soya C(o)u(l)ture intends to divert this wastewater from tofu factories and put it in a homegrown starter culture medium to create useful products. A biological process using various bacteria and cell cultures, for instance Acetobacter xylinum, generates alternative energy sources, foodstuffs, and biological material. This process creates cellulose sheets that can either be used for consumption—nata de coco, a variant made of coconut water, is a popular snack food—or further processed (pressed, dried, enhanced with colouring and coating) to make clothing and craft materials. This biological procedure can be reproduced in any household using normal kitchen utensils in combination with open-source software and simple hardware. In this way, the project could provide women in poverty-stricken regions with opportunities to increase their income.

Pierre Huyghe, Untitled (Human Mask) (film still), 2014. Courtesy the artist; Marian Goodman Gallery, New York; Hauser & Wirth, London; Esther Schipper, Berlin; and Anna Lena Films, Paris.

Indigenous peoples of various territories around the world, with deep historical and cultural ties to their land, have preserved sustainable ways of living that respect the limits of the planet’s resources. The artist and architect Marjetica Potrč’s Earth Drawings refer to these unique indigenous cosmogonies and their essential knowledges, based on research done over the past 15 years, centred on indigenous communities, such as the Asháninkas (in the Brazilian state of Acre in Amazonia), the Aboriginal (in Australian), and the Sami (in northern Norway), The Earth Drawings, a series on paper, point to the growing alliances between indigenous groups and bottom-up initiatives in the effort to ensure a more resilient future, beyond the social and economic agreement of the neoliberal order. Potrč stresses that the world’s diverse societies, taken together, form an intelligent organism: when necessary, they self-generate new models of existence and coexistence—a precondition for human resilience on Earth. Sharing life experiences is, after all, a basic human condition. Coexistence on Earth requires new foundations that foreground collective ownership of the land and a socially-conscious individualism.

Animali Domestici, Bangkok Opportunistic Ecologies (detail), 2019. Courtesy the artists.

Planetary coexistence of species acknowledges the presence and agency of diverse forms of intelligence. The artist Nicholas Mangan is inspired by termites and their capacity to build sophisticated and dynamic architectures that provide a model for decentralised social and economic organisation. The starting point of Termite Economies (Phase 1) was the anecdote that Australia’s Commonwealth Scientific and Industrial Research Organisation (CSIRO) researched termite behaviour in the hope that the insects might one day lead humans to gold deposits; a proposal to exploit the natural activity of termite colonies for economic gain. Mangan, on the contrary, proposes that the termites’ way of living in colonies might suggest other complex and global-scale systems for people to live and work together, better regulating and metabolising human consumption, production, and digestion. Termite Economies combines footage Mangan filmed on locations in Western Australia, alongside archival video and table-mounted sculptures, to speculate on the use of termites as miners and ruminating on how capitalism puts nature to work. The 3D-printed models reference existing infrastructures, for instance an underground tunnelling system for Tindals Mining Centre, a gold mine in Western Australia. The idea was to produce a 1:100 scale model to train termites.

In Bangkok Opportunistic Ecologies, the design practice Animali Domestici studied the urbanity of Bangkok from a non-anthropocentric perspective, focusing on the presence of pythons. Mapping the city through a snake’s experience, the resulting tapestry puts multiple beings of different species at the centre, displacing the human from its exceptionalism. The graphic realisation is freely inspired by the representation techniques, colour palettes, and composition of Thai traditional mural paintings. Their work process translates research and statistics on the Thai capital into multiple encapsulated narratives, including such elements as sewerage, canals, water swamps, and rain water “cracked” pipes—typical spots used by snakes, according to fire department experts—, as well as folkloric cultural practices like the numerology and superstitions connected to the shape and location of the animals.

In Untitled (Human Mask), the artist Pierre Huyghe films a monkey, Fuku-chan, who in real life has a work permit as a “waitress” in a traditional sake house in Tokyo. In the film, the animal is wearing a dress and a wig, as well as a white, human-like mask created by Huyghe. Made of resin, the mask is inspired by traditional Japanese Noh theatre masks, where only the main actor wears a mask, meant to show the essential traits of the character. The film’s first images are drone shots of a devastated landscape, that of Fukushima in 2011, after the earthquake-triggered tsunami caused the meltdown of three nuclear plant reactors. It then shifts to an empty restaurant and house, where we follow Fuku-chan moving around in the dark. Fuku-chan is seen acting, and seems to be waiting, shaking her leg, looking at her nails, playing with her hair. A cat appears, and we see close-ups of insects and cockroaches. Raising questions about the essence of human nature and of non-human forms of intelligence and communication, the work points at the prevailing relationship of domination between humans and other species.

Ines Doujak, Ghostpopulations, 2016–19. Courtesy the artist.

Ghostpopulations, a series of collages by the artist Ines Doujak, combines ill human bodies with flora and fauna, transforming drawings from 19th-century medical textbooks into provocative assemblages that investigate desperation as an economic force. Doujak points out that entire populations uproot and flee in the direction of the faintest glimmer of hope, only to find themselves in the worst of predicaments: abandoned and deported, sold, abused or stigmatised forever, circulating as extremely cheap and disposable commodities. While she is giving visibility to such marginalised, abused, and displaced populations, these collages draw a dystopian mirage, reminding us of the pending threat of pandemic illnesses.

Death, from a post-humanist perspective, is not only inevitable and part of life, but is an event that is already in our past. The artist and entrepreneur Jae Rhim Lee developed a burial suit as an environmentally-conscious alternative to conventional funerary processes, shifting the negative narratives around death. The presented Infinity Burial Suit, a handcrafted garment that is worn by the deceased, is completely biodegradable, and co-created with zero waste fashion designer Daniel Silverstein. In addition, the Forever Spot Pet Shroud is featured, also consisting of a built in biomix of mushrooms and other microorganisms that together do three things: aid in decomposition, work to neutralise toxins found in dead bodies, and transfer nutrients to plant life, enriching the earth and fostering new life. Highlighting the importance of decompiculture—the cultivation of waste-decomposing organisms—, this project also suggests a strong link between human resistance to mortality and climate change denial. She advocates for a post-mortem responsibility towards the natural world and a direct engagement with our own mortality, making funerals new beginnings instead of endpoints, becoming more emotionally and socially accessible.

A parable on economic crashes, financial trading, mixed martial arts, and general contemporary culture, artist and writer Hito Steyerl’s large-scale architectural environment features Liquidity Inc., a single-screen projection that uses water and liquidity as guiding tropes. Opening with the quote “be water, my friend” by martial arts legend and actor Bruce Lee, the film comments on the circulation of digital images, big data, information, financial assets, labour, and weather systems. The installation consists of a double-sided projection screen in front of a blue, wave-like ramp, where the viewers find themselves in “troubled water.” Steyerl merges CGI and green screen scenes with an assortment of embedded videos, swipes, clips, scrolls, and pop-up windows, that include the story of Jacob Wood, a former financial analyst who lost his job during the 2008 economic recession and decided to turn his mixed martial arts hobby into a new career. The intricate mesh of late capitalism structures needs to be hijacked in order to allow space for new ecological and sustainable policies that value people and life over profit.

The Posthuman City, through artistic propositions, intends to open a discussion about the imbalanced relationship between an anthropocentric thinking that puts the human at the centre, and the fact that the urban environment is a habitat for many life forms. In her book The Posthuman (2013), Rosi Braidotti calls for resilience, stating that “sustainability does assume faith in a future, and also a sense of responsibility for ‘passing on’ to future generations a world that is liveable and worth living in. A present that endures is a sustainable model of the future.”

Curated by Ute Meta Bauer, Professor, NTU ADM, and Founding Director, NTU CCA Singapore, and Laura Miotto, Associate Professor, NTU ADM

The accompanying public programmes include seminars addressing techno-optimism and eco-hacktivism on 23 November 2019, and biodiver-city and urban futurism on 18 January 2020, deepening the discussion around posthumanism and the urban condition.

The mixed-media selection presented in The Vitrine stems from Railtrack Songmaps, a project exploring competing claims to nature and culture that resound along the former Malaysian railway tracks at Tanglin Halt. For at least five decades, birds, nature lovers, songbird clubs, tree shrines, kampung gardeners and foragers have roosted and seeded themselves along the tracks, nurturing a tangled patch of urban wild that is currently undergoing redevelopment. The particular constellation of elements on display – photographs, Malay pantuns, embroidery on paper, and delicate airborne assemblages of images, cut-outs and coconut sticks – weave in and out of memories of Lim Kim Seng, who together with his brother Lim Kim Chua, joined the Nature Society of Singapore (NSS) as teenager. Both are now senior members of the NSS Bird Group. Kim Seng assisted The Migrant Ecologies Project in the identification of 105 bird species around Tanglin Halt. In an accompanying soundtrack he recalls how an early encounter with a kingfisher first drew him into a bird zone.

The Migrant Ecologies Project was founded in 2010 by artist, art writer, and educator Lucy Davis. Investigating movements and migrations of nature and culture in Southeast Asia and beyond, the project unfolds through collaborations with sound artists, photographers, scientists, and designers.

Lucy Davis has been an Artist-in-Residence at NTU CCA Singapore from April to June 2017.

Hito Steyerl is a German filmmaker, artist and writer whose work explores the complexities of the digital world, art, capitalism, and the implications of Artificial Intelligence for society. Steyerl studied cinematography and documentary filmmaking at the Academy of Visual Arts in Tokyo, the University of Television and Film in Munich, and holds a Ph.D in philosophy from the Academy of Fine Arts, Vienna. The most formative parts of her education, however, include working as a stunt-girl and bouncer.

Hito Steyerl is interested in the proliferation and circulation of images in our globalized world. She often works with the format of the video essay, combining a heterogeneous range of material, including interviews, found footage, fictional dramatizations, pop-music sound tracks, and first-person voiceovers. Her work focuses on the intersection of media technology, political violence, and desire by using humor, charm, and reduced gravity as political means of expression. Her sources range from appropriated low-fi clips and sounds to mostly misquoted philosophical fittings. These elements are condensed in rambling essayistic speculation in both text and imagery. Through her oversensitivity to analogies, Steyerl both collects and creates stories describing realities that are stranger than fiction and reflected upon in galloping thought experiments. Her work has been exhibited in numerous solo and group exhibitions including documenta 12, Taipei Biennial 2010, and 7th Shanghai Biennial. Her written essays have proliferated more on- than offline in journals such as e-flux and eipcp. She has published filmic and written essays centred around questions of globalization, urbanism, racism and nationalism. She is also involved in the movement of feminist migrants and women of colour in Germany.

Steyerl teaches New Media Art at University of the Arts in Berlin. As well as being a visiting professor for Cultural and Gender Studies, at University of Arts, Berlin, she has lectured at Goldsmith’s College, London and at the Center for Curatorial Studies, Bard College, Annandale-on-Hudson, among other institutions. A collection of her essays was published in The Wretched of the Screen (2012).

Nicholas Mangan is a multidisciplinary artist who lives and works in Melbourne. He is senior lecturer at Monash University. Through a practice bridging drawing, sculpture, film, and installation, Mangan creates politically astute and disconcerting assemblages that address some of the most galvanising issues of our time; the ongoing impacts of colonialism, humanity’s fraught relationship with the natural environment, and the complex and evolving dynamics of the global political economy. His recent solo exhibitions include Limits to Growth, Monash University Museum of Art (MUMA), Melbourne, the Institute of Modern Art (IMA), Brisbane, Kunst-Werke Institute of Contemporary Art, Berlin, Dowse Art Museum, Wellington (2016); Ancient Lights, Chisenhale Gallery, London, (2015); Some Kinds of Duration, Centre for Contemporary Photography, Melbourne, (2012). His work has been included in major international exhibitions including Biennale of Sydney (2018); Let’s Talk About the Weather: Art and Ecology in A Time of Crisis, Guangdong Times Museum, Guangzhou (2018); 74 million million million tons, Sculpture Center, New York (2018); The National 2017: new Australian art, AGNSW, Sydney (2017); 4.543 BILLION. The Matter of matter, CAPC, Bordeaux, (2017); New Museum Triennial: Surround Audience, New York (2015); 9th Bienal do Mercosul, Porto Alegre (2013); and the 13th Istanbul Biennial (2013).