Jonathan Liuis a Visual Artist working primarily with photography within his practice. He is interested in the narratives formed through text and photographs. Drawn from his fascination of narratives and the relationship between the artist and the poet, his recent works attempt to mirror and question our reality through representation and fragmentation of the landscape. His work deals with concepts such as memory, post-memory and the search for the layers in-between with works having exhibited in the United Kingdom, China and Singapore. He graduated from London College of Communication with a BA (Hons) Degree in Photography and currently lectures in LASALLE College of the Arts, Singapore.

Clara Peh is the founder of NFT Asia, the biggest digital-native community focused on Asian and Asia-based artists and creatives within the NFT space. She curated Right Click + Save, Singapore’s first large-scale NFT exhibition in 2021.

Clara is currently Art Lead and Curator at Appetite Singapore, and also an Adjunct Lecturer at LASALLE College of the Arts in the School of Fine Arts. She was an Ambassador for the Singapore Pavilion at the 58th Venice Biennale and has held positions at Christie’s, the Economic Development Board and NTU CCA Singapore. She is also an independent arts writer and researcher. Her works are published on Hyperallergic, Yishu Journal of Contemporary Chinese Art, Art and Market, and more.

Course Details

Date:16 April 2022, Saturday
Time: 9:00am – 5:00pm
Venue: NTU CCA Singapore, The Seminar Room, Block 37 Malan Road, Singapore 109452
Course Fee: $513.60 (incl. GST) SkillsFuture Credits applicable for Singaporeans.

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

About The Course

The Upward Trend: NFTs and On-Chain Art is an introductory course designed for those who are interested to learn about the background and history of crypto art, and are keen to navigate the concept of NFTs, the technology that underlies them and the ecosystems they propel.

During the course, our instructors from NFT Asia will provide an overview of the basic terminologies that surround NFTs, blockchain and Web 3.0. They will also spotlight the relationship between NFTs and contemporary art discourses, as well as its interactions and intersections with broader art communities, such as through Decentralised Autonomous Organisations (DAOs).

As a participant, you will examine case studies, recent writings on the technology and engage in group discussions. By exploring different considerations to utilising NFTs which include minting, displaying and community building you will gain insights into the future of NFTs and its potential impact on the roles of artists, creatives, museums, galleries and the art business at large.

Who Should Sign Up

Artists, Arts Managers, Cultural Workers, Designers, Collectors, Gallerists, Arts Enthusiasts

At The End of the Course, You Will…

1. Gain a confident and nuanced understanding of what NFTs are.

2. Be more familiar with art and creative infrastructures within and beyond the NFT ecosystem.

3. Develop a perspective of the implications of NFTs.

Your Course Instructors

Clara Peh is the founder of NFT Asia, the biggest digital-native community focused on Asian and Asia-based artists and creatives within the NFT space. She curated Right Click + Save, Singapore’s first large-scale NFT exhibition in 2021.

Clara is currently Art Lead and Curator at Appetite Singapore, and also an Adjunct Lecturer at LASALLE College of the Arts in the School of Fine Arts. She was an Ambassador for the Singapore Pavilion at the 58th Venice Biennale and has held positions at Christie’s, the Economic Development Board and NTU CCA Singapore. She is also an independent arts writer and researcher. Her works are published on Hyperallergic, Yishu Journal of Contemporary Chinese Art, Art and Market, and more.



Jonathan Liuis a Visual Artist working primarily with photography within his practice. He is interested in the narratives formed through text and photographs. Drawn from his fascination of narratives and the relationship between the artist and the poet, his recent works attempt to mirror and question our reality through representation and fragmentation of the landscape. His work deals with concepts such as memory, post-memory and the search for the layers in-between with works having exhibited in the United Kingdom, China and Singapore. He graduated from London College of Communication with a BA (Hons) Degree in Photography and currently lectures in LASALLE College of the Arts, Singapore.






To register, please click here
For enquiries, please email ntuccaeducation@ntu.edu.sg

Musician, artist, designer, and curator Yuen Chee Wai (b. 1975, Singapore) is known for his commitment to improvised music and experimental projects that explore memory and loss, indeterminacy and invisibility. Ranging from the obsolescent and the newfangled, his eclectic toolbox comprises noise, field recordings, found sounds as well as guitars and various electronic instruments which reverberate with critical perspectives inspired by philosophy, literature, film, and politics. Together with FEN (Far East Network), an improvised music quartet he co-formed in 2008, Yuen is active in triggering multifaceted collaborations across Asia. Since 2014, he is Project Director of Asian Music Network for which he co-curates Asian Meeting Festival. Yuen is also a member of the experimental band The Observatory with whom he plays guitar, efx and objects, and organises a range of projects such Playfreely and BlackKaji.

Between 1973 and 2013, Barbara London (United States) was curator at MoMA where she founded the video exhibition and collection programmes. She is also a pioneer of the integration of the Internet into curatorial practice. Among the exhibitions she organised are one-person shows with early mavericks such as Nam June Paik, Steina Vasulka, Joan Jonas, Shigeko Kubota, Bill Viola, VALIE EXPORT, Laurie Anderson, and Zhang Peili. Her thematic projects have included Looking at Music, parts 1-3 (2008–2011) and Soundings: A Contemporary Score (2013). Her writings have appeared in a range of catalogues and journals, including ArtForum, Yishu, Leonardo, ArtAsiaPacific, Art in America, Modern Painter, and Image Forum. Currently, she is completing a book with Phaidon and is teaching at Yale University School of Art, New Haven, United States.

Object-orientated ontology (OOO) is a 21st-century school of thought that rejects the primacy of human existence over non-human objects, thus generating different perspectives on ecological thinking. Combining an ongoing interest in natural environments threatened by urban development with his practice of capturing sonic emanations of the non-human inhabitants of our planet, Tang aims to further his understanding of OOO and sharpen theoretical tools that challenge anthropocentric hierarchies and understanding of nature. The space of the studio provides him with the opportunity to test immersive multisensorial installations that visualize and animate field recordings taken in various natural environments in Singapore. During the residency, the artist is working on new sound compositions and modes of listening that forge alternative connections between humans and nonhumans. He is also experimenting with drawing to create “visual scores” in response to his soundscapes.

Investigating Singapore’s role within the growing global phenomenon of “green cities”, Coburn will pursue research into Singapore’s development from “Garden City” to “City in a Garden”. He aims to delve into historical and emerging notions of green urbanism, framing the garden as a pedagogical, philosophical, and literary construct. Focusing on two specific case studies, he will place the multiple functions of Singapore Botanic Gardens in a wider historical prospective and explore the social and economic conditions which underlie the complex eco-tourist structure of Gardens by the Bay.

Established in 1998 out of a former candy factory in Yokohama, Japan, *CANDY FACTORY PROJECTS is an international platform for collaborative art projects. Since 2001, it has taken on a nomadic existence nestling itself in different institutions around the world to generate exhibitions, publications, and web projects. During the residency, Kogo will set up a local office of *CANDY FACTORY PROJECTS that will function as a research laboratory for site-specific explorations. Relying on several collaborators both physically and through digital platforms, he plans to delve into the geopolitical relationship between Singapore and its bordering countries engaging with vernacular materials such as local newspapers, posters, and media archives. With similar working methodologies, he also intends to observe the manifestations of Singaporean multilingual society in everyday life. The possible outcomes of this research can range from music videos to animated clips, multimedia installations, and special screenings.

Over the course of the residency, Taiki Sakpisit plans to develop A Certain Illness Difficult to Name, an installation that addresses instances of trauma and violence embedded in the process of nation building in Singapore and Thailand through the lens of an individual’s point of view. Looking at historical events through the eyes of a single character is an intentional strategy aimed to personalize and humanize history while, at the same time, composing an allegory of collective torment. Having so far mostly produced experimental short films, Taiki aims to use the space of the studio to test a more complex visual and aural installation that can elicit the sensorium of the viewer and trigger out-of-body experiences.

Škart is an experimental art/design collective founded by Djordje Balmazović and Dragan Protić in 1990 at the Faculty of Architecture in Belgrade. In Serbian, the word Škart means “trash/reject”, an allusion to the collective’s approach to creative endeavours. Using vernacular languages and low-tech media, Škart’s practice infiltrates the most unconventional settings and often engenders unorthodox, community-based collaborations. Revolving around poetry and the “architecture of the human relationships,” their projects have been developed in several institutions and independent spaces across Europe. Most recently, their work has been presented in exhibitions at Museum of Modern Art, Ljubljana, Slovenia, 2016; Galerija Nova, Zagreb, Croatia, 2015; Museum of Yugoslav History, Belgrade, Serbia, 2015; the Serbian Pavilion, Venice Biennial of Architecture, Italy, 2010.