In partnership with Mapletree Investments Pte Ltd., Culture City. Culture Scape. is a public art education programme launched in 2017. A first of its kind in Singapore, the programme features a series of newly commissioned public art works by Dan GrahamZul MahmodTomás Saraceno and Yinka Shonibare CBE (RA), nestled at Mapletree Business City II, and aims to bring the arts closer to the communities.

Inspired by the idea of expanded sculptural environments, the artworks explore the interplay between landscape, architecture, and the broader social and economic environments they are placed in. More than being monumental or site-specific, each work alters or permeates its local context to invite visitors to a broader, richer engagement.

Mapletree Business City II Public Art Trail Video Tour

Yinka Shonibare CBE RA, an artist of African descent, was born in London and grew up in Nigeria, returning to London only in his late teens. His work explores issues of colonialism and postcolonialism within the contemporary context of globalisation, as well as race and class. Mixing Western art history and literature, he questions the construct of collective contemporary identity and its meaning within cultural and national definitions. Shonibare has participated in major international art exhibitions, including the 52nd and 57th Venice Biennale and Documenta11. His works are in prominent collections, including the Tate Collection, London; Victoria and Albert Museum, London; National Museum of African Art, Smithsonian Institute, Washington; Museum of Modern Art, New York; National Gallery of Canada, Ottawa; Moderna Museet, Stockholm; National Gallery of Modern Art, Rome; and VandenBroek Foundation, the Netherlands. In 2004, Shonibare was nominated for the Turner Prize, the most prestigious annual art prize in United Kingdom, and was awarded the decoration of Member of the Most Excellent Order of the British Empire (MBE). Fifteen years later, in January 2019, Shonibare was awarded Commander of the Most Excellent Order of the British Empire (CBE). That same year, he held a solo exhibition at the Norval Foundation in Cape Town, Trade Winds: Yinka Shonibare CBE, which featured works connected by their use of Dutch wax fabric and a major installation that celebrates the contributions of immigrant and non-immigrant Africans, The African Library.

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

NTU CCA Singapore developed this virtual tour to give context on the Culture City. Culture Scape. project and create awareness of the Mapletree Public Art Trail as well as the walking tours that our Centre conducts. Used in combination with the Educational Resource Guide for schools, this tour will serve as a starting point to encourage people to come see the work in person at MBC II.

Dr Michael Birchall is Curator of Public Practice at Tate Liverpool and Senior Lecturer in Exhibition Studies at Liverpool John Moores University, United Kingdom. His curatorial practice and research concern socially engaged art, performance, and notions of publicness in museums. He has previously held curatorial appointments at The Banff Centre’ Walter Phillips Gallery and The Western Front (both Canada), as well as at the Künstlerhaus Stuttgart (Germany). His writing has appeared in Frieze, ARKEN Bulletin, OnCurating, Modern Painters, C Magazine, Art & the Public Sphere, and various exhibition catalogues. Recently, he co-edited Collective Good/Collaborative Efforts (Stavanger: Rogaland Kunstsenter, 2017) and co-curated O.K. – The Musical(2017), an iterative community theatre musical by Christopher Kline at Tate Liverpool.

Diana Campbell Betancourt (b. 1984, United States) is currently Artistic Director of Samdani Art Foundation and Chief Curator of Dhaka Art Summit, Dhaka, Bangladesh, a major research and exhibition platform for art in South Asia. In addition, Betancourt is Artistic Director of Bellas Artes Projects, Bagac, Philippines. She has collaborated on commissions of Indian scupture with several sculpture parks across the world including, Yorkshire Sculpture Park, United Kingdom; de Cordova, Massachusetts, United States; and Wanas Konst, Malmö, Sweden. Betancourt has also curated numerous solo projects with artists such as Haroon Mirza, Simryn Gill, Tino Sehgal, Lynda Benglis, Shilpa Gupta, Shahzia Sikander, Naeem Mohaiemen, Runa Islam, Shumon Ahmed, Pawel Althamer among others. She chairs the board of the Mumbai Art Room, has been a Research Fellow at the Henry Moore Institute, Leeds, United Kingdom and the FRAC Champagne-Ardenne, Reims, France.

Formally trained in sculpture, Zul Mahmod has continued to build and expand his practice over the last three years to include sculpted sound and live sound performances. Zul’s practice investigates the aural architecture of spaces in order to explore the emotional, behavioural and visceral responses of its inhabitants. While in residence, Zul will explore the aural relationship between readymade sound sculptures and the architecture of space. Sonic characteristics, forms and textures of everyday objects will be examined in order to compose an orchestra of sonic sculptures.

Iranian-born artist Siah Armajani merges architecture and conceptual art in his sculptures, drawings, and public installations. Informed by democratic ideologies and inspired by American vernacular architecture, his works include gathering spaces for communality, emphasizing the “nobility of usefulness.” His highly acclaimed public art and architectural projects have included bridges, gardens, and outdoor structures, that have been commissioned and presented worldwide. A retrospective featuring his artistic career spanning over more than five decades was recently on view at the Walker Art Center, Minneapolis, and inaugurates in March at The MET Breuer, New York.

Alan OEI currently serves as the Artistic Director at The Substation. Founded in 1990, The Substation is Singapore’s first independent contemporary arts centre. Under Oei’s stewardship, The Substation has initiated programmes engaging in discourse on public space such as Discipline the City (2017) and A Public Square (2019). Oei is also co-founder and executive director of OH! Open House and was the former Artistic Director for Sculpture Square from 2012 to 2014. He holds a bachelor’s degree in art history from Columbia University and a diploma in fine arts from LASALLE College of the Arts.

Amanda CRABTREE (United Kindgom/France) established artconnexion, an independent non- profit cultural production agency based in Lille in 1994 and joined the organisation full-time in 2001. Prior to this, she worked at the British Council, Paris; Le Fresnoy, Studio national des arts contemporains, Tourcoing; Le Magasin contemporary art centre, Grenoble, and the Centre d’art contemporain of Geneva. She teaches at the University of Lille and directs the Master’s programme in Art and Society with a particular focus on the production of contemporary artworks within the public realm. She has just established a short-course University Diploma entitled Reclaiming Art/Reshaping Democracy based on the protocol of New Patrons public art projects.

Antonia CARVER (United Arab Emirates) is a member of NTU CCA’s International Advisory Board and is currently the Director of Art Jameel, Dubai, an organisation that fosters and promotes a thriving arts and culture scene and support the development of creative enterprises in the region of Middle East, North Africa, Turkey and beyond. Art Jameel is the founding partner of Edge of Arabia, The Crossway Foundation, Jeddah Art Week, and The Archive. Prior to joining Art Jameel, Antonia was the director of Art Dubai, where she has overseen its development into the leading art fair of the Middle East and South Asia, along with its diverse programmes, artists residencies and commissions as well as other educational initiatives and prizes. Before relocating to the UAE, Antonia was editor at Phaidon Press and had roles at Institute of international Visual Arts and G+B Arts International.