This new soundscape by Huijun Lu will open at 6.30pm tonight. Come by to check it out!
15 August 2014 (Friday) 19:00-21:00
Artists talks with Sam Durant and Ana Prvacki
The CCA is pleased to present two artists talks by our current artists in residence Sam Durant and Ana Prvacki.
Sam Durant is a multimedia artist whose works engage a variety of social, political, and cultural issues. Often referencing American history, his work explores the varying relationships between culture and politics, engaging subjects as diverse as the civil rights movement, southern rock music, and modernism. His work has been widely exhibited internationally and in the United States. He has had solo museum exhibitions at the Museum of Contemporary Art, Los Angeles, Kunstverein für die Rheinlande und Westfalen, Dusseldorf, S.M.A.K., Ghent, Belgium and the Govett-Brewster Art Gallery in New Zealand. His work has been included in the Panamá, Sydney, Venice and Whitney Biennales. Durant shows with several galleries including Blum and Poe in Los Angeles, Paula Cooper Gallery in New York, Praz-Delavallade in Paris and Sadie Coles Gallery in London. In 2006 he compiled and edited a comprehensive monograph of Black Panther artist Emory Douglas’ work. His recent curatorial credits include Eat the Market at the Los Angeles County Museum of Art and Black Panther: the Revolutionary Art of Emory Douglas at The Museum of Contemporary Art in Los Angeles and the New Museum in New York. He was a finalist for the 2008 Hugo Boss Prize.
In her videos, services, concoctions and drawings, Ana Prvacki uses a gently pedagogical and comedic approach in an attempt to reconcile etiquette and erotics. Her work has been included in many international exhibitions including dOCUMENTA 13, Sydney Biennial 2007, Singapore Biennial 2006, and the Turin Triennale 2005. She has developed projects for venues and institutions such as the Hammer Museum (Los Angeles), Centre Pompidou (Paris), Castello di Rivoli Museo d’Arte Contemporanea (Turin), Smart Museum of Art (Chicago), Bloomberg HQ (NYC), Art in General (NYC), Artists Space (NYC), Umoca (Salt Lake City) and the Isabella Stewart Gardner Museum (Boston). Her website can be found here http://www.anaprvacki.com/
16 August 2014 (Saturday) 15:30-17:00
More than [show] business: Talk 8: Do Din (Two days): An experiment in co-producing urban knowledge
Do Din (Two days): An experiment in co-producing urban knowledge
In the month of December 2013, a community arts event titled Do Din unfolded in the city of Hyderabad, India. Do Din, literally meaning Two Days, was a multiplex event – with art installations, film screenings, talks, workshops, exhibits and theatrical performances. What was unique about this event was the fact that it occasioned a number of unlikely encounters – cartographers with environmental activists, artists with slum residents, architects and planners with residents of historic neighborhoods and scrap dealers with economists. If thematically, Do Din was about engaging with circulation of images, memories, materials and exploring the nooks and crannies of the collective consciousness, the event was also conceived so as to performatively shift several imagined centres of gravity of the city.
This talk will draw on the work of a group of urban researchers who made this possible: a group which under the banner of Hyderabad Urban Lab has been attempting to put their academic research skills at the service of urban communities. Hyderabad is a four hundred year old city which was a princely state until 1948 when it became a part of independent India. After nearly five decades of slow and incremental growth, the city sprang into global IT labour markets in the late 1990s. In the last two decades, the city witnessed a rapid growth which put tremendous pressure on its infrastructure. Hyderabad Urban Lab is an attempt to rebuild a sense of embeddedness and belonging at the same time as reformulating questions of equity for the city’s multifarious communities. The talk will be illustrated with examples of the kind of research that takes collective resources of the city as its starting point.
About the Speaker
Anant Maringanti is the director of Hyderabad Urban Lab. After obtaining PhD in geography from the University of Minnesota, he spent two years in Singapore at the National University of Singapore as a postdoctoral fellow. During the two years, he was a familiar face to many at the Post Museum, where he anchored the Rowell Road Reading Group. A long time resident of Hyderabad, Anant Maringanti brings together an urban sensibility forged over three decades through education in technology, design, and social sciences and lived experience of working alongside artists, film makers, activists and academic scholars. He is widely published in academic and non academic journals. His current research and teaching interests include the law and the city in the global south.
16 August 2014 (Wednesday) 19:00-22:00
Living with Myths: SESSION 2: SILENT SPACES OF HISTORY
Myths II enters the silent spaces of The Singapore Story and brings to light fragments of other pasts. Thum Ping Tjin deconstructs three myths: Singapore’s vulnerability, the government’s role in economic development and the meritocratic system. Ho Chi Tim uncovers traces of social welfare policy in our history. Wong Chee Meng argues that our seemingly ancient cultural heritage is actually shaped by colonial and postcolonial engineering.
22-31 August 2014
Trace-Displace by Lu Huijun
A sound installation.
23 August 2014 (Saturday) 13:00-15:00
Continuum (Automatic Itineraries) by Yen Phang
A performance installation. The whole project consists of 250 tiles, which are oil paintings on birchwood panel. Each panel is roughly postcard-sized (4″x6″, 6″x6″, 6″x8″). These pieces were borne out of a daily routine of meditation and painting to explore my feelings of dislocation and physical discomfort while I was living in Montreal during a particularly long winter. It was a concerted effort to reconnect with my own physical sensations on the one hand, as well as my painting practice on the other.
23 August 2014 (Saturday) 16:00 – 18:00
More than [show] business: Talk 9: Towards Many Worlds: How to Create Imaginative Spaces with Role-Playing Games – A Talk by Tan Shao Han
In this talk, Shao Han will share his plans of using games to foster a new culture of learning in Singapore. He will present some of his experiences with creating imaginary situations with his co-players of tabletop role-playing games (TRPGs) such as Dungeons and Dragons. He will also discuss how TRPG players can learn and reflect on various matters as they play together, and become better acquainted with perspectives and situations different from those in their everyday lives.
Shao Han observes these gaming experiences can be used to nurture and hone the imaginations of the players, and he believes these games can be used by individuals to improve their awareness of themselves, deepen their empathy towards others, as well as increase their knowledge and understanding of the world. He believes these qualities are very hard to teach in a more conventionally pedagogical fashion, and believes it is is instead more conducive for individuals to learn such traits through experience, reflection, and discussion. Hence, in pursuit of this goal, he uses TRPGs to create imaginary worlds which players can explore.
Shao Han also understands there are many obstacles which await him in his goal, and will also discuss these challenges and some of his plans for overcoming them. In spite of these difficulties, Shao Han remains optimistic that he can help to make things change for the better.
Shao Han tutors Southeast Asian Studies at the National University of Singapore, and also used to teach History and Literature at the secondary school level. He has also worked as a researcher and project manager at the Learning Sciences Laboratory in the Nanyang Technological University, and has taught private tuition. He thinks this wide range of experiences in different aspects of education has helped to broaden his perspective, and believes that he is better prepared for the tasks ahead. Shao Han is also an avid player of different games, and he shamelessly and voraciously consumes vast quanitites of popular culture about giant robots and ridiculously melodramatic superheroes.
27 August 2014 (Wednesday) 19:30 – 21:00
More than [show] business: Talk 10: Seeing in the Dark: Lenses for a Post-PRISM Landscape – A Talk by Honor Harger
The recent scandals relating to the NSA, the revelation of the PRISM surveillance programme, and the treatment of whistleblowers such as Edward Snowden and Bradley Manning, have revealed how fundamentally intertwined our civil liberties are with our technological infrastructures. These systems can both enable, and threaten, both our privacy and our security. Ubiquitous networked infrastructures create radical new creative opportunities for a coming generation of makers and users, whilst also presenting us with major social dilemmas.
This talk will show why this matters to anyone working within culture today, and will specifically look at how artists working with technology, and technologists working creatively, are some of the best and most useful guides we have to navigate what I refer to as “the post-PRISM Landscape”.
27 August 2014 (Wednesday) 21:00 – 23:30
Monday 11 August, 6.30 – 8pm
Held at Post-PopUp at CCA
Studio 07-01, Block 38 Malan Road
Public Art is a concept that has been in discussion and revision for probably as long as the evolution of the terms ‘art’ and ‘city’ themselves. The public interventions discussed in this talk are seen as temporary manifestations intended to activate a long term discourse. By considering art and architecture as public devices, this talk explores new ways of understanding the concept of the ‘spatial cultural identity’ as relevant subject to contemporary critical discourses and practices on urban space. This concept will be used to address and negotiate the complexities of ideas, situations, objects and materials that are inherent to any public space. Questions and concerns of culture and identity within the cartography of a space will be central to our discussion.
Antoni Muntadas was born in Barcelona in 1942 and has lived in New York since 1971. Through his works he addresses social, political and communication issues such as the relationship between public and private space within social frameworks, and investigates channels of information and the ways they may be used to censor or promulgate ideas. His projects are presented in different media such as photography, video, publications, the internet, installations and urban interventions. He is currently Visiting Professor at the Visual Arts Program in the School of Architecture at the MIT in Cambridge and the Instituto Universitario de Arquitectura del Veneto in Venice. One of his most recent awards is the Premio Velázquez de las Artes Plásticas 2009 granted by the Spanish Ministry of Culture. His work has been exhibited in numerous contexts, including The Museum of Modern Art in New York, the Musée Contemporain de Montreal, the Museo Nacional Centro de Arte Reina Sofía in Madrid, the Museo de Arte Moderno in Buenos Aires, while other international events in which he has presented work are the VI and X editions of Documenta Kassel (1977, 1997), the Whitney Biennial of American Art (1991), the 51st Venice Biennial (2005) and those in São Paulo, Lyon, Taipei, Gwangju and Havana. This year Muntadas has exhibited Informação-Espaço-Controle in Estaçao Pinacoteca in Sao Paulo, Brasil; and About Academia, at The Carpenter Center for the Visual Arts at Harvard University, Cambridge, MA. Currently he presents …Baixa a Bola! in Galeria Luisa Strina en São Paulo, Brazil.
Antoni Muntadas, Museum am Ostwall Dortmund, Germany, 2003, from the series On Translation: Warning (1999–), vinyl cutting sheet, variable dimension, installation view at the exhibition On Translation: Das Museum, 2003. Photo by Sascha Dressler
No to censorship! No to destroying books! No to using our children as an excuse for your bigotry!
And, here’s And Tango Makes Three.
I wish to apologise for the inadequate citation of the image used in relation to the recent Call for Proposals for Post-PopUp. Some members of the public rightly pointed out that it was inadequately cited and needs to be rectified.
As a project, More than [show] business: Post-PopUp at CCA values the spirit of sharing. Although the creator of the image did not raise this, I felt that it was important for me to rectify this with adequate details to her wonderful work.
An errata is now being issued with regards to the image used in the following publicity materials for the Call for Proposals for Post-PopUp:
- 26 June 2014 posting! OPEN CALL ! http://www.facebook.com/CentreForContemporaryArt
Please follow these emendations with care.
Change Image: Heather Chi, “Can space speak?” diagram, (2014) to
Figure adapted from “Model of a ‘praxis’of creativity and explanatory notes” (Heather Chi, 2011) for Post-PopUp at CCA, Gillman Barracks, Singapore, June-Sept 2014.
Used with kind permission from the author.*
* Chi,Heather (2011) Can Space Speak?Independence, Creativity and Social Action in Singapore: A Case Study of Post-Museum. Unpublished B. Soc. Sc. Honours thesis, Department of Geography, National University of Singapore.
For more info on this, please contact Woon Tien Wei at email@example.com
Woon Tien Wei
The deadline for submissions is now over. We have received over 40 proposals, including several from overseas, and will take the rest of the week to look through them. Thanks to those of you who submitted! We will contact you individually as soon as we can.
It wasn’t totally unexpected that such a large crowd would attend The Songs We Sang: Back to Book City (我们唱着的歌:重返书城) this Sunday afternoon (6 Jul). It was after all a free event and a rare occasion to enjoy xinyao (新谣), a local Mandarin folk music movement that began in 1982, peaked in the late 80s and has pretty much died down now.
I wasn’t a fan of xinyao then, being more of a “chiak kentang” and listening to Perfect 10 and American Top 40s. My younger sister however was very much into it, listening to Mandarin music and hanging out with friends who would sing original compositions in music cafes (民歌餐厅) way into the 90s. For me, though I have heard xinyao on radio and during SBC Channel 8 programmes when I was younger, it wasn’t really a part of my growing up years and I don’t have special memories of it.
I came to appreciate the xinyao movement rather belatedly in the recent years when learning more about Singapore culture(s). I think that even though the xinyao movement seems to have almost vanished by now, it is actually still there, in form and in spirit. Xinyao was written by Singaporeans and told of family, friendship, growing up, love, disappointments, dreams, and of our country in the 80s and before. The lyrics which spoke of almost universally local experiences are still close to our hearts and relevant to our lives today. Many of the singers and songwriters, though having ceased their singing careers, have continued to work in media or started schools to nurture younger music talents. Their presence is still very much felt and they continue to influence many of the singers and songwriters in the Mandarin music scene today. In addition, the spirit of xinyao is one of love of Singapore, a can-do attitude and looking towards a better future – one that is inspiring and necessary today. In short, xinyao, besides being an important part of many personal histories, is a valuable intangible cultural heritage that we possess.
It was extremely moving to see 2,000 people crammed into Bras Basah Complex for the event. They gathered around the performance area, trying to see the performers on stage, shouting out answers to questions, laughing at the jokes, singing along with the songs, waving their arms, clapping to the rhythm and applauding the singers. The brief rain and subsequent humidity didn’t deter them from standing there for more than 2 hours that afternoon. The audience who were there more than 30 years ago are now older, as were the singers, many of whom are around 50 now. And with them are younger people who have encountered the songs over the years as well as children who have come with their parents.
It was an event full of nostalgia, yes, but it was also one of celebration and hope. Xinyao, a ground-up movement, has succeeded in touching the hearts of Singaporeans like nothing else has, and this Sunday afternoon was proof that xinyao lives on and remains relevant today as when it first started thirty-two years ago. And I, for one, am grateful to have experienced its magic this time round. I am also really looking forward to the release of the documentary film, The Songs We Sang, directed by Eva Tang, later this year. As they say, “Long live xinyao! (新谣万岁!)”