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GUGGENHEIM UBS MAP GLOBAL ART INITIATIVE AND CENTRE FOR CONTEMPORARY ART PRESENT A RANGE OF EDUCATION

PROGRAMMES TO ACCOMPANY NO COUNTRY: CONTEMPORARY ART FOR SOUTH AND SOUTHEAST ASIA IN SINGAPORE

Singapore’s Centre for Contemporary Art (CCA), a research centre of the Nanyang Technological University (NTU), will present the critically acclaimed exhibition No Country: Contemporary Art for South and Southeast Asia, as part of the Guggenheim UBS MAP Global Art Initiative. The exhibition will feature works by 16 challenging and inventive artists and collectives from countries across Southeast Asia, including Bangladesh, Malaysia and the Philippines, and marks the debut of two works – Loss by Sheela Gowda and Morning Glory by Sopheap Pich – not previously seen in the No Country exhibition at either the Guggenheim in New York (February 22–May 22, 2013) or Hong Kong Asia Society (October 30, 2013–February 16, 2014).

The Solomon R. Guggenheim Museum and Foundation, CCA and UBS share a mission to encourage cross-cultural dialogue about contemporary art and cultural practice. Education programming is a key element of the MAP Initiative; No Country: Contemporary Art for South and Southeast Asia will be accompanied by a wide range of educational programmes adapted specifically for the Singapore presentation at the Centre for Contemporary Art. The extensive programme of artist lectures, tours, performances and online initiatives will engage a wide range of audience groups including young people, teachers, and adult and academic audiences.

PROGRAMME HIGHLIGHTS Opening Weekend: Artist Talks Navin Rawanchaikul Norberto Roldan Sheela Gowda Saturday, May 10, 3pm – 5pm Three exhibition artists will lead talks as part of an exciting programme of opening weekend events. In addition to speaking about their artwork in the exhibition, they will also discuss their artistic methods in the context of national identity and the way in which their works in the exhibition, within the framework of their art practices, explore conceptions of borders, both imagined and real.

 

 

Navin Rawanchaikul is a contemporary artist who lives and works in Chiang Mai, Thailand and Fukuoka, Japan. His painting Places of Rebirth (2009) was inspired by the artist’s first visit to Pakistan, the birthplace of his ancestors. The work narrates his family’s migration to Thailand in pursuit of new opportunities during the aftermath of 1947’s partition of South Asia. Norberto Roldan is a contemporary artist who lives and works in Manila, Philippines. His painting F-16 (2012) explores the subject of power negotiation and geopolitical relations through reflection of the colonisation of the Philippines and in conjunction with events on today’s global stage. Sheela Gowda is a contemporary artist who lives and works in Bangalore. The subject of her work Loss (2008) is the region of Kashmir, which is bordered by India, Pakistan, China, and Afghanistan. Through six photographs originally taken by Safiya Lone, the artist attempts to reconcile the separation between the complexities of the region and her own mediated experience thereof. Lecture: A Tour of Indian Independent Documentary and Video Ashish Rajadhyaksha Saturday, June 14, 3pm – 5pm Ashish Rajadhyaksha is a Senior Fellow at the Centre for the Study of Culture and Society, Bangalore. He has published widely on Indian cinema, India’s cultural policy, and on the visual arts, and has curated a number of film and art events, including Bombay/Mumbai 1991–2001 for Tate Modern, (2002, with Geeta Kapur). Rajadhyaksha is currently in Singapore as a Visiting Senior Research Fellow in the Cultural Studies in Asia Cluster at the Asia Research Institute, National University of Singapore.

Forum: The Attraction of Representation June Yap Marian Pastor Roces The Otolith Group T. K. Sabapathy Saturday, June 21, 3pm – 5.30pm

Cultural critic and independent curator Marian Pastor Roces, No Country curator June Yap, exhibition artists Kodwo Eshun and Anjalika Sagar of The Otolith Group, and renowned art historian T.K. Sabapathy discuss the concepts of cross cultural influences and national identity.

 

 

June Yap was selected as Guggenheim UBS MAP Curator, South and Southeast Asia in April 2012. An independent curator since 2008, she has worked with artists throughout the region. In 2011, she organised an exhibition of the work of Ho Tzu Nyen for the Singapore Pavilion at the 2011 Venice Biennale. In 2010, Ms. Yap curated You and I, We’ve Never Been so Far Apart: Works From Asia for the Center for Contemporary Art in Tel Aviv for the International Video Art Biennial.

Marian Pastor Roces is a cultural critic and independent curator based in the Philippines. She has founded and worked in numerous major Philippine museums, including the Museo ng Kalinangang Pilipino, and the Rizal Shrine, Fort Santiago, Intramuros; as well as conceptualized the Philippine pavilions for the World Expos in Japan (2006) and Spain (2007). The Otolith Group is an artist collective that is based in London. Founded by Kodwo Eshun and Anjalika Sagar in 2002, The Otolith Group creates films, installations and performances that explore the histories of science fiction and the legacies of transnationalism. In Communists Like Us (2006-10), the group sequences photographic images from two archives that at one time belonged to Sagar’s grandmother. T. K. Sabapathy is an eminent art historian, curator and critic. His body of writing includes significant contributions to the art histories of Singapore, Malaysia, and Southeast Asia, as well as artist monographs and art criticism. He has curated several major exhibitions, including shows at the Singapore Art Museum and the ADM Gallery at Nanyang Technological University. Sabapathy is the first Research Fellow at the CCA, and an Adjunct Associate Professor at the National University of Singapore. He also lectures at Nanyang Technological University.

Artists’ Programme: The Otolith Group Tuesday, June 24, 6:30 pm – 9pm British born artists Kodwo Eshun and Anjalika Sagar of The Otolith Group speak about their films, installations and performances. They discuss their frequent reworking of archival and contemporary images and the way in which it straddles the border between truth and fiction, complicating divisions between poetry, history, the real, and the imagined.

 

 

Curators’ Talk: June Yap, Guggenheim UBS MAP Curator, South and Southeast Asia in conversation with Zoe Butt, Executive Director and Curator of Sàn Art in Ho Chi Minh City, Vietnam Friday, July 11, 7:30pm – 9pm June Yap and Zoe Butt offer their unique insight into themes and issues explored in the exhibition. Focusing on artworks that are of particular significance to them personally, these two experts reveal the ways in which unity can be found through fragmentation. Zoe Butt is Executive Director and Curator of Sàn Art, Ho Chi Minh City. She was previously Director, International Programs, Long March Project in Beijing, China (2007-09) and Assistant Curator, Contemporary Asian Art, Queensland Art Gallery, Brisbane, Australia (2001-07) where she assisted in the development of the Asia-Pacific Triennial of Contemporary Art (APT) and key acquisitions for the Contemporary Asian art collection. Her curatorial referral work is pan-Asian, working with private collectors and researchers, independent curators, and major museums globally. Curator’s Talk: Ahmad Mashadi Friday, July 18, 7:30 pm – 9pm Ahmad Mashadi is Head of the National University of Singapore Museum. His recently curated exhibitions include Camping and Tramping Through the Colonial Archive: the Museum in Malaya (2011), which traced the museological imaginary of colonial Malaya, and Heman Chong: Calendars 2020–2096 (2011), which featured a new series of the artist’s photographs. In 2012, Ahmad initiated Curating Lab, a curatorial intensive and internship programme for Singapore students and recent graduates. Artist Performance: Tang Da Wu Coming soon: Our Children, a performance by Tang Da Wu Visit gillmanbarracks.com/cca for confirmed schedule. Tang Da Wu is credited as the founder of The Artists Village, one of the most important contemporary artist collectives in Singapore. Through performance, installation, painting, and drawing, the artist often explores social and environmental themes including deforestation, animal endangerment, and urban transformation.

 

 

Tang Da Wu lives and works in Singapore. His sculpture Our Children (2012) references a story from Teochew opera in which a young boy experiences illumination at the sight of a baby goat suckling at its mother and inspires the performance by the artist for No Country. Join us on the following evenings for late viewings of No Country and gallery openings at Gillman Barracks: Friday, May 23, 2014 Friday, June 13, 2014 Friday, July 18, 2014 Free Guided Docent Tours May 17 – July 20, Wednesday to Saturday Explore the exhibition themes of borders, identity and nationhood through guided tours facilitated by Friends of the Museum, Singapore, a group of trained volunteers who foster active learning and engage visitors in careful observation, and the development of language and critical-thinking skills. Availability limited and reservations required. For more information, visit: gillmanbarracks.com/CCA Free Group and School Tours May 13 – 20 July 20, Wednesdays, Thursdays, and Fridays All groups larger than ten individuals and all school groups must make a reservation. For teachers, we offer docent-led school tours or you can explore the exhibition on your own with your students, using our downloadable teacher resource guide. Both guided and self-guided teacher tours require reservations.

 

 

Media Contacts: For inquiries about No Country at CCA, Singapore: Shirlene Noordin / Grace Foo Lucie Sherwood / Charlotte Yip Phish Communications Sutton PR Asia (65) 6344 2953 (852) 2528 0792 shirlene@phish-comms.com lucie@suttonprasia.com grace@phish-comms.com charlotte@suttonprasia.com For inquiries about the overall MAP initiative, and the Guggenheim Museum, New York: Betsy Ennis / Keri Murawski Amy Wentz Guggenheim Museum Polskin Arts & Communications Counselors (001) 212 423 3840 (001) 212 715 1551 pressoffice@guggenheim.org wentza@finnpartners.com For inquiries about NTU, Singapore: For inquiries about UBS, Singapore: Feisal Abdul Rahman Rachel Lin NTU Corporate Communications Office UBS Singapore (65) 6790 6687 (65) 6495 8633 Feisalar@ntu.edu.sg rachel.lin@ubs.com

PRESS IMAGES No Country: Contemporary Art for South and Southeast Asia Work Title/Description

Amar Kanwar The Trilogy: A Night of Prophecy (2002), 1997–2003. Color video, with sound, 77 min., edition of 3/6.Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.150.3. © Amar Kanwar Work Description: Amar Kanwar’s contemplative trilogy explores the religious, social, and national politics that contributed to the postcolonial separation of India and Pakistan in 1947, a division that continues to have repercussions. In To Remember, Kanwar recalls Mahatma Gandhi’s assassination at Birla House in Delhi in 1948 and the communal violence in his birthplace of Gujarat in 2002, relating both events to the violence that still haunts the nation. A Season Outside documents the daily ritualized displays of military bravado that mark the standoff between the two countries in the border village of Wagah. Finally, in A Night of Prophecy, a chorus of poems, chants, and songs recorded in Maharashtra, Andhra Pradesh, Nagaland, and Kashmir highlights issues of caste and associated problems of poverty and disenfranchisement, and appears to presage the need for change.

Arin Dwihartanto Sunaryo Volcanic Ash Series #4, 2012 Volcanic ash and pigmented resin, mounted on panel, 4 feet 9 1/2 inches x 17 feet 11 3/8 inches (146 x 547 cm), triptych Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.161 © Arin Dwihartanto Sunaryo Work Description: In this work, Arin Dwihartanto Sunaryo combines the fluid material of resin with ash gathered from the 2010 eruption of the most active volcano in Indonesia, Gunung Merapi, which lies between Central Java and Yogyakarta. Made by using resin in a gestural process familiar from Action

painting, the work appears to lack the political charge that characterizes much contemporary Indonesian art. Yet in employing the potent materials of ash, the artist infuses an apparently formalistic project with an intensity that suggests upheaval, and invests the work with a painterly sensibility.

Bani Abidi The Ghost of Mohammed Bin Qasim (from The Boy Who Got Tired of Posing) (details), 2006 Nine inkjet prints, six prints: 14 1/2 x 18 1/4 inches (36.8 x 46.4 cm) each, three prints: 18 1/4 x 14 1/2 inches (46.4 x 36.8 cm) each, edition 5/5 Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.139.1 © Bani Abidi

Series Description: Bani Abidi’s The Boy Who Got Tired of Posing is a trilogy comprised of two series of photographs and a video with accompanying texts. It takes a lighthearted look at representations of Muhammad Bin Qasim, a young general from the Umayyad Caliphate who led the invasion of the province of Sindh (now Pakistan) in 711 CE. The work explores depictions of this early colonial founder of Pakistan, a figure central to state history and to the historical narrative of the Pakistani nation in post-partition South Asia.

Bani Abidi This Video Is a Reenactment (from The Boy Who Got Tired of Posing) (details), 2006 Color video, silent, 58 sec. loop, and inkjet print, 18 1/4 x 14 1/2 inches (46.4 x 36.8 cm), edition 3/5 Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.139.2 © Bani Abidi

Series Description: Bani Abidi’s The Boy Who Got Tired of Posing is a trilogy comprised of two series of photographs and a video with accompanying texts. It takes a lighthearted look at representations of Muhammad Bin Qasim, a young general from the Umayyad Caliphate who led the invasion of the province of Sindh

(now Pakistan) in 711 CE. The work explores depictions of this early colonial founder of Pakistan, a figure central to state history and to the historical narrative of the Pakistani nation in post-partition South Asia.

Bani Abidi The Boy Who Got Tired of Posing (from The Boy Who Got Tired of Posing), 2006 Three chromogenic prints: 40 3/4 x 30 3/4 inches (103.5 x 78.1 cm) each, and one inkjet print: 18 1/2 x 14 1/2 inches (47 x 36.8 cm), edition 3/5 Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.139.3 © Bani Abidi Series Description: Bani Abidi’s The Boy Who Got Tired of Posing is a trilogy comprised of two series of photographs and a video with accompanying texts. It takes a lighthearted look at representations of Muhammad Bin Qasim, a young general from the Umayyad Caliphate who led the invasion of the province of Sindh (now Pakistan) in 711 CE. The work explores depictions of this early colonial founder of Pakistan, a figure central to state history and to the historical narrative of the Pakistani nation in post-partition South Asia.

Navin Rawanchaikul Places of Rebirth, 2009 Acrylic on canvas, 7 feet 2 1/2 inches x 23 feet 7 1/2 inches (219.7 x 720.1 cm) Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.159 © Navin Rawanchaikul Work Description: Inspired by his first visit to Pakistan, the birthplace of his ancestors, Navin Rawanchaikul’s multifaceted work navigates the geopolitics that brought his family from South Asia to Thailand. In this work, painted in the style of typical Indian movie posters, a tuk-tuk (Thai taxi) is shown transporting the artist and his Japanese wife and daughter across the Wagah border between India and Pakistan. Spiced with humorous critique of the two nations’ fractious relationship, the panoramic

image presents a rereading of personal and regional history that raises questions of nation and identity.

Norberto Roldan F-16, 2012Oil and acrylic on canvas, diptych, 6 x 12 feet (182.9 x 365.8 cm) overall Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.160 © Norberto Roldan

Work Description: Norberto Roldan’s monochromatic juxtaposition of found text and image examines a dilemma that has persisted since colonial times. In F-16, the artist explores the subjects of power and encounter, negotiation and resistance in relation to the colonization of the Philippines. The words of William McKinley, the U.S. president from 1897–1901, in which he discussed the duty of the United States to undertake the “benevolent assimilation” of the Philippines, are juxtaposed with an image of an American fighter jet cruising over Afghanistan after 9/11.

Poklong Anading Counter Acts, 2004 Chromogenic transparency in lightbox, four parts, approximately 90 x 48 x 5 inches (228.6 x 121.9 x 12.7 cm) each, edition 3/3 Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.146 © Poklong Anading Work Description: Poklong Anading’s Counter Acts subverts the photographic gesture as light and the act of looking are both doubled and foiled. The subjects of the work, photographed holding circular mirrors in front of their faces, are represented but rendered unidentifiable as the artist’s gaze—and ours—is obscured, ironically by the natural illumination of sunlight. This work is the first in the artist’s Anonymity series, and is characteristic of his measured aesthetic interventions.

Reza Afisina What . . ., 2001 Color video, with sound, 11 min., edition 3/3 Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.142 © Reza Afisina

Work Description: Reza Afisina’s video What... is a video performance that features the artist’s recitation of the biblical verses Luke 12:3–11, in which Luke relates Jesus’s warnings against hypocrisy and stresses the importance of truth and confession. Slapping himself repeatedly, Afisina employs physical force as a means to contemplate the problem of human violence and the value of empathy, a quality that is emphasized across different religions.

Sheela Gowda Loss, 2008 Six inkjet prints, one with watercolor additions, dimensions vary with installation, unique Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2013.5.1–6 © Sheela Gowda. Installation view: Lasting Images, Solomon R. Guggenheim Museum, New York, October 14, 2013–January 12, 2014, Photo: Kristopher McKay Work Description: The subject of Sheela Gowda’s Loss is Kashmir, a region bordered by India, Pakistan, China, and Afghanistan. Historically a locus of exchange and syncretism, where Buddhism, Hinduism, and Islam flourished in the wake of South Asia’s partition, it is now fraught with violence and uncertainty as border disputes and armed encounters persist. Originally photographed by Kashmir resident Abdul Gani Lone, these six scenes show the path taken to a burial site by the bodies of youths from his village killed in the continuing conflict. Tentatively painted over with watercolour in a subtle accentuation of their subjects’ plight, these prints express the tragic irony of deadly geopolitical struggle unfolding in a place described since the Mughal period as “heaven on earth.”

Shilpa Gupta

1:14.9, 2011–12 Polyester thread, wood, glass, and brass, 64 3/16 x 22 x 20 inches (163 x 55.9 x 50.8 cm), A.P. 1/2, edition of 3 Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.148 © Shilpa Gupta. Installation view: No Country: Contemporary Art for South and Southeast Asia, Solomon R. Guggenheim Museum, New York, February 22–May 22, 2013. Photo: Kristopher McKay © Solomon R. Guggenheim Museum, New York.

Work Description: Shilpa Gupta’s sculpture contrasts sterile numerical data on the fenced border between India and Pakistan—relayed by text inscribed on a small brass plaque—with a poetic interpretation of this information in the form of a hand-wound ball of thread. The length of the strand—more than 79 miles—represents the real distance at a scale of 1 to 14.9, hence the work’s title. Its fragility reflects the tenuous nature of national boundaries, which demand constant restatement and surveillance.

Sopheap Pich Morning Glory, 2011 Rattan, bamboo, wire, plywood, and steel, 17 feet 6 inches x 103 inches x 74 inches (533.4 x 261.6 x 188 cm) Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2013.3 © Sopheap Pich. Installation view: Morning Glory, Tyler Rollins Fine Art, New York, November 3–December 23, 2011 Work Description: Using rattan and bamboo, common materials in Khmer rural life, Sopheap Pich’s Morning Glory elevates the ubiquitous flower of its title to abstract monumentality. Recognised for its distinctive bloom, the morning glory is also remembered by the artist as having been a critical source of nourishment for ordinary Cambodians during the difficult period of the Khmer Rouge’s governance. The sculpture’s transformation of the plant’s lightweight yet rigid and durable stalk into a

malleable sculptural medium suggests the possibility of renewal and the rediscovery of strength and life within the outwardly unexceptional.

Tang Da Wu Our Children, 2012 Galvanized steel, glass, and milk, three parts: 62 x 89 1/2 x 23 1/2, 26 1/4 x 44 1/2 x 12, and 8 1/2 x 3 1/8 inches (157.5 x 227.3 x 59.7 cm, 66.7 x 113 x 30.5 cm, and 21.6 x 7.9 x 7.9 cm), overall dimensions vary with installation Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.147 © Tang Da Wu. Installation view: No Country: Contemporary Art for South and Southeast Asia, Solomon R. Guggenheim Museum, New York, February 22–May 22, 2013. Photo: Kristopher McKay © Solomon R. Guggenheim Museum, New York. Work Description: Tang Da Wu’s Our Children references a story from the traditional Teochew Opera (local to the South Chinese region from which the artist’s family hails), in which a young boy experiences a humbling moment of enlightenment at the sight of a genuflecting baby goat suckling at its mother. Representing the timelessness of filial piety, the artist’s stylized handmade tableau alludes to the transmission of cultural values and the nurturing of future generations. Alongside its deconstruction of historical narrative, Tang’s practice also reveals a conviction in art as an agent of social transformation.

Tayeba Begum Lipi Love Bed, 2012 Stainless steel, 31 1/4 × 72 3/4 × 87 inches (79.4 × 184.8 × 221 cm) Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.153 © Tayeba Begum Lipi. Installation view: No Country: Contemporary Art for South and Southeast Asia, Solomon R. Guggenheim Museum, New York, February 22–May 22, 2013. Photo: Kristopher McKay © Solomon R. Guggenheim Museum, New York. Work Description: Bangladesh is one of the region’s youngest nations, a country that has been twice partitioned, once in 1947 from India and again in 1971 from Pakistan. In Love Bed, Tayeba Begum Lipi references the double bind of political and gender-specific violence. The form of the bed, an emblem of rest, shared space, and emotional warmth, is rendered threatening by the artist, even as the stainless steel she employs also symbolizes the inner strength of a community’s women and reveals how individual experience becomes entwined with sociopolitical history.

Communists Like Us, 2006–10 Black-and-white video, with sound, 23 min., 5 sec., edition 2/5 Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.163 © The Otolith Group Work Description: In Communists Like Us, the Otolith Group (Anjalika Sagar and Kodwo Eshun) interweaves a dialogue on the subject of political action taken from Jean-Luc Godard’s 1967 film La Chinoise with images belonging to the photographic archive of Anasuya Gyan-Chand, Sagar’s grandmother. These documentary images depict encounters between Indian politicians and activists, and counterparts from the Soviet Union, China, Japan, and other countries in Asia during the mid-to-late 1950s and early ’60s, and attest to the extensive nature of such relationships in postwar Asia. Accompanied by musical sequences from Cornelius Cardew and the

Scratch Orchestra’s The Great Learning (1969) and Ennio Morricone’s soundtrack to Dario Argento’s film Il Gatto a nove code (1971), the work recovers an extraordinary instance of interconnection within and beyond the region.

Tran Luong Lập Lòe, 2012. Three-channel color video, with sound, 9 min., 47 sec., edition 1/5. Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.154

© Tran Luong.

Work Description: Tran Luong’s Lập Lòe (Blink) emerged from a series of performances, begun in 2007, which travelled to eleven cities in China, Vietnam, Korea, Indonesia, and Singapore. Audiences were invited to snap a scarf against the artist’s body in the playful manner of a children’s game. The red scarf is loaded with historical and political significance, symbolizing the history of communism in Vietnam and the region. A commentary on Vietnam’s past and present, in Lập Lòe, the meaning of the red scarf remains elusive but denotes transition, signaling change to come.

Tuan Andrew Nguyen Enemy’s Enemy: Monument to a Monument, (detail) 2012 Wood, 33 3/4 x 2 1/2 x 2 1/2 inches (85.7 x 6.4 x 6.4 cm), prototype 3/3, edition of 5 Solomon R. Guggenheim Museum, New York, Guggenheim UBS MAP Purchase Fund 2012.156 © Tuan Andrew Nguyen. Work Description: In Tuan Andrew Nguyen’s Enemy’s Enemy: A Monument to a Monument, a classic American Louisville Slugger baseball bat is transformed into a sculptural relief portraying the figure of Thích Quảng Đức, a venerated Buddhist monk who, in 1963, performed self-immolation in protest against the earlier Diệm regime’s repression of the Buddhist community. Referencing the Vietnamese tradition of religious woodcarving, the work binds together sport and religion as agents of social unification.

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AMAR KANWAR B. 1964, NEW DELHI, INDIA Amar Kanwar was born in New Delhi in 1964. In 1984, while he was studying history at the University of Delhi, two events occurred that impacted his subsequent philosophical and artistic development. On October 31, Prime Minister Indira Gandhi was assassinated by Sikh bodyguards, resulting in mass retaliatory violence against Sikhs in Delhi. Then, on December 3, a toxic gas leak at the Union Carbide pesticide plant, known as the Bhopal disaster, killed thousands of people and exposed hundreds of thousands more. These pivotal experiences instilled in Kanwar a commitment to social activism. Enrolling in the film school at the Mass Communications Research Center of Jamia Millia Islamia University, Delhi, he began to work on pushing the poetic limits of documentary filmmaking. He later expanded his practice to multi-channel video installation, adding other audiovisual elements. Kanwar was the recipient of the MacArthur Fellowship in India (2000), the first Edvard Munch Award for Contemporary Art (2005), and an Honorary Doctorate in Fine Arts from Maine College of Art (2006). While Kanwar works strictly with documentary and archival images, he employs various methods of editing and presentation to exceed their immediate facticity, conjuring atmosphere, underlying motives, and furtive histories. The Torn First Pages (2004–08), which is included in the Guggenheim collection, is a nineteen-channel video installation arranged in three parts that surrounds the viewer with examples of oppression by and opposition to the Burmese military junta. The work pays tribute to the modest yet significant resistance enacted by a bookshop proprietor who excised those pages bearing requisite state slogans, and went to jail as a result. Not only does The Torn First Pages address past abuses, it also emphasizes the continuing struggle against dictatorship by staging its documentation as a contentious chorus in the present. Reflecting on his most recent project, The Sovereign Forest (2012), which was exhibited at Documenta 13, the artist outlines the defining characteristics of his practice: “The validity of poetry as evidence in a trial, the discourse on seeing, on understanding, on compassion, on issues of justice, sovereignty, and self-determination—all come together in a constellation of moving and still images, texts, books, pamphlets, albums, music, objects and organic materials, events and processes.”1 Kanwar orchestrates actual traces and records into something that surpasses fact, revealing a richer perspective on reality.

                                                                                                               1   Documenta and Carolyn Christov-Bakargiev, dOCUMENTA (13): catalog = Katalog (Ostfildern: Hatje Cantz, 2012), 3:208.  

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Kanwar has had solo exhibitions at the Renaissance Society, Chicago (2003), Whitechapel Gallery, London (2007), Marian Goodman Gallery, Paris (2008), Stedelijk Museum, Amsterdam (2008), Haus der Kunst, Munich (2008), Marian Goodman Gallery, New York (2010), and Fotomuseum Winterthur, Switzerland (2012). He has participated in Documenta 11, 12, and 13 (2002, 2007, and 2012), Biennial Jogja XI, Indonesia (2011–12), and Being Singular Plural, Solomon R. Guggenheim Museum, New York (2012). A retrospective of his cinematic oeuvre was presented at the 5th International Documentary and Short Film Festival of Kerala in India (2012). He has been honored with the Golden Conch at the Mumbai International Film Festival (1998), Golden Spire Award at the San Francisco International Film Festival (1999), and Jury Award at the Film South Asia in Nepal (2001). Kanwar lives and works in New Delhi. ARIN DWIHARTANTO SUNARYO B. 1978, BANDUNG, INDONESIA Arin Dwihartanto Sunaryo was born in 1978, in Bandung, Indonesia. He studied fine art at Bandung Institute of Technology, graduating in 2001, and earned an MFA from Central Saint Martins College of Art and Design, London, in 2005. Sunaryo is dedicated to painting, pushing its boundaries with innovative techniques. He distills a passion for comic books, science fiction, and Japanese manga into abstract compositions animated by dynamic gesture, entropic progression, and alternating centrifugal and centripetal forces that gather and disperse pigments over the surface of his paintings. Rejecting the paintbrush in favor of direct application with his hands, Sunaryo then moved on to industrial methods. In 2008, his impatience with the prolonged drying time of oil paint, further protracted by the layered density of his application, led him to experiment with pigmented resin, which has become his signature material. In its natural, plant-derived form, resin connects with age-old methods of preservation, notably used in ancient Egyptian mummification and varnishes. Sunaryo uses synthetic resins to cast sleek, futuristic objects, combining the traditional and contemporary significance of this material with the aesthetic heroism of Abstract Expressionism. In the series Cyan Magenta Yellow Black (2010), Sunaryo used only the base palette of mechanical color reproduction to make his expressionist abstractions. In the series Frozen Stratum (2012), he further developed his compositions to include layers of digital photographic material. The multiple planes in his poured resin paintings generate a curious dimensional quality, as a sequence of components becomes a flat, pristine, and unified composition. The material’s glossiness retains the trace of its fluid state. Sunaryo’s paintings capture shifts between solid and liquid, static and animated, synthetic and natural, and are rooted in the embrace of chance. In some works, what is ultimately displayed is the “underside” of the composition; when the resin dries, Sunaryo separates the painting from the ground and flips it over to reveal the finished work. Another way he attains flatness is by pressing

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glass against the still-wet resin, unpredictably altering the composition. Motivated in part by concerns around the waste products of such processes, Sunaryo has recently begun to repurpose resin remainders as material for sculptures. Sunaryo has had solo exhibitions at Koong Gallery, Jakarta (2000); Toni Heath Gallery, London (2006); Artipoli Art Gallery, Noorden, Netherlands (2007); Sigiarts, Jakarta (2010); and Nadi Gallery, Jakarta (2012). He has participated in numerous group exhibitions including Not I. Am I?, Nadi Gallery, Jakarta (2001); Bandung Biennale (2001); Beyond Panopticon: Art and Global Media Project, Electronic City, Bandung (2004); Asian International Art Exhibition, Ayala Museum, Manila (2005); and Marcel Duchamp in Southeast Asia, Equator Art Projects, Gillman Barracks, Singapore (2012). Sunaryo lives and works in Bandung. BANI ABIDI B. 1971, KARACHI, PAKISTAN Bani Abidi was born in Karachi, Pakistan, in 1971. She studied painting and printmaking, earning a BFA from the National College of Arts, Lahore, Pakistan, in 1994. She later attended the School of the Art Institute of Chicago, earning an MFA in 1999. She completed residencies with the Skowhegan School of Painting and Sculpture, Maine (2000), Fukuoka Art Exchange Program, Japan (2005), and DAAD Artists-in-Berlin Program (2011–12). Her early engagement with video, beginning at the Art Institute, led to the incorporation of performance and photography into her work. These mediums have provided Abidi with potent, sometimes subversive means to address problems of nationalism—specifically those surrounding the Indian-Pakistani conflict and the violent legacy of the 1947 partition dividing the two countries—and their uneven representation in the mass media. She is particularly interested in how these issues affect everyday life and individual experience. One of Abidi’s earliest videos, Mangoes (1999), reveals her barbed sense of humor. Two women—one Indian, one Pakistani, both played by the artist—eat mangoes and reminisce about their childhoods. Soon, however, their amiable chatter escalates into competitive boasting about the fruit grown in their respective homelands, which they reference from memory as expatriates. The artist uses a similar tactic in the two-channel video The News (2001). Here, a Pakistani and an Indian newscaster, again both performed by Abidi, issue divergent reports of the same event, based on a familiar joke. In addition to video, Abidi also works with photography, digital imaging, and installation. For Karachi—Series 1 (2009), she photographed non-Muslim Pakistanis in the street at dusk during the holy month of Ramadan, when the metropolis is quiet as Muslims sit down to break their fast. Abidi renders visible the Hindu and Christian minorities, which together constitute less than five per cent of the population,

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acknowledging that the city is their home too by inviting them to carry out mundane domestic activities—reading a newspaper, ironing, arranging flowers—in public space. These are ambivalent portraits, each labeled with the subject’s name, time, and date, as if they were documents of surveillance. The figures are shot from behind at a wide angle, the light of the setting sun heightening the oddity of their interpolation into the streetscape—as does the images’ lightbox presentation. But while politics and cultural critique pervade Abidi’s oeuvre, aesthetics remain her primary concern; these works may act as catalysts, but the responsibility for real change ultimately resides with the viewer. Solo exhibitions of Abidi’s work have been presented at V. M. Art Gallery, Karachi (2006 and 2010); Oberwelt, Stuttgart (2006); Gallery TPW, Toronto (2007); Gallery SKE, Bangalore (2008); Green Cardamom, London (2008 and 2010); Project 88, Mumbai (2010); Baltic Center for Contemporary Art, Gateshead, United Kingdom (2011); and Experimenter, Kolkata (2012–13). Important group exhibitions include: Fukuoka Asian Art Triennial (2005); Thermocline of Art: New Asian Waves, ZKM Center for Art and Media, Karlsruhe (2007); Annual Report: A Year in Exhibitions, Gwangju Biennial, South Korea (2008); Hanging Fire: Contemporary Art from Pakistan, Asia Society, New York (2009); The Spectacle of the Everyday, Lyon Biennial, France (2009); Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh, Whitechapel Art Gallery, London, and Fotomuseum Winterthur, Switzerland (2010); The Global Contemporary: Art Worlds After 1989, ZKM Center for Art and Media, Karlsruhe (2011); Making Normative Orders: Demonstrations of Power, Doubt and Protest, Frankfurter Kunstverein, Frankfurt (2012); and Documenta 13 (2012). Abidi lives and works between Karachi and New Delhi. NAVIN RAWANCHAIKUL B. 1971, CHIANG MAI, THAILAND Navin Rawanchaikul was born in Chiang Mai, Thailand, in 1971. As a child of parents of the Indian diaspora who migrated to Thailand during Partition, his ancestry lies in the Hindi-Punjabi communities of present-day Pakistan. After receiving his BFA from Chiang Mai University in 1993, Rawanchaikul founded the Chiang Mai–based Navin Production Co., Ltd., in 1994. Much of Rawanchaikul’s own work is produced under the name of this company, which also functions as an artists’ collective. Working in various mediums including sculpture, painting, performance, photography, and film, Rawanchaikul began his practice with community-driven projects aimed at integrating art into everyday contexts. In Navin Gallery Bangkok (1995–98), Rawanchaikul questions modern methods of art making and exhibiting by converting an ordinary taxi into a mobile gallery featuring rotating exhibitions. The project was later executed in a

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number of international cities, including Sydney, London, Bonn, and New York, successfully attracting new audiences with the help of its unconventional format. Rawanchaikul’s practice often relies on collaboration, as in the tongue-in-cheek Navin Party (2006), which involved a touring multimedia exhibition featuring a Bollywood-style music video, a billboard advertisement, and a series of propaganda posters, all aimed at connecting people with the first name Navin. The multipart work comments on what the artist frames as the transitory nature of the modern world—revealed through the global occurrence of the Sanskrit-based name—as well as referencing the way in which artists can find their ethnic origins exploited for commercial gain. By involving the participation of real or imagined communities, Rawanchaikul’s practice transcends site-specificity to negotiate between local communities and globalization. In 2010, Rawanchaikul was awarded the national Silapathorn citation from the Thai Ministry of Culture in the field of visual arts. His work has been featured in solo exhibitions at Contemporary Art Gallery, Vancouver (1997); MoMA P.S.1 in collaboration with Public Art Fund, New York (2001); Palais de Tokyo, Paris (2002); Tang Contemporary Art, Bangkok (2007); Tang Contemporary Art, Hong Kong (2008); Ullens Center For Contemporary Art, Beijing (2009); and Valentine Willie Fine Art, Singapore (2011). He represented Thailand at the 54th Venice Biennale (2011). Rawanchaikul has participated in numerous group exhibitions including Transitions/Tensions: Contemporary Art in Asia, Asia Society, New York (1996); Cities on the Move, in collaboration with Rirkrit Tiravanija, seven international venues (1997–99); ZeitWenden, Kunst Museum, Bonn (1999); Berlin Biennial (2001); Shanghai Biennial, Shanghai Art Museum (2002); Sao Paulo Biennial, Brazil (2004); Liverpool Biennial (2004); Prospect 1, New Orleans (2008); Altermodern, Tate Triennial, London (2009); Negotiating Home, History and Nation: Two Decades of Contemporary Art from Southeast Asia, 1991–2010, Singapore Art Museum (2011); and Entanglement: The Ambivalence of Identity, Institute of International Visual Arts, London (2011). Rawanchaikul lives and works in Chiang Mai and Fukuoka, Japan. NORBERTO ROLDAN B. 1953, ROXAS CITY, PHILIPPINES Norberto Roldan was born in 1953 in Roxas City, Philippines. He earned a BA in Philosophy from St. Pius X Seminary, Roxas City; a BFA in Visual Communications from University of Santo Tomas, Manila; and an MA in Art Studies at University of the Philippines, Diliman. In 1986, he founded Black Artists in Asia, a Philippines-based group focused on socially and politically progressive practice. In 1990, he initiated the biennial VIVA EXCON (Visayas Islands Visual Arts Exhibition and Conference). Roldan was a finalist for the Philip Morris Philippines Art Award, Manila, in 1996, 1997, and 1999. In 1998, he was awarded Juror’s Choice for the same award as well for the Art Association of the Philippines Annual Art Competition. Roldan is the current artistic director of Green Papaya Art Projects (est. 2000), an independent, artist-run initiative and alternative art space that supports collaboration and

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exchange between Asia-Pacific and Filipino artists. Citing the influence of Joseph Cornell and Santiago Bose, Roldan juxtaposes objects, images, and textual fragments as a means to reject the idea of historical certainty and propose new social, political, and cultural narratives in its place. Often employing the material embodiments of various genres and themes in a single collage, Roldan harnesses poignant aspects of shared and personal biography. His assemblage In Search For Lost Time 1 / 2 / 3 / 4 (2010) has its origins in an article on Hitler’s Berlin apartment. Based on a conviction that the interior and furnishings of the dictator’s home offer no insight into the true nature of the man, the work questions the importance of material culture in the study of anthropology. Roldan’s series of nine works titled The Beginning of History and Fatal Strategies (2011) was inspired by Jean Baudrillard’s essay “The End of History and Meaning,” which details the idea of historicity, arguing that globalization precipitated the dissolution of history and the collapse of progress. Each work is a collection of curios, old perfumes bottles, compact cases, amulets, and old photographs displayed in wood and glass cabinets, recalling a past that is fabricated by an attempt to create a sense of order from forgotten memories. Focusing on Baudrillard’s criticism of Marxist ideology as misguided fantasy, Roldan’s series itself presents no political judgment or conclusion, but seeks instead to simply pit history against reality. Roldan has had solo exhibitions at Hiraya Gallery, Manila (1987, 1994, and 1999); Artspace, Sydney (1989); Green Papaya, Manila (2001 and 2005); Charles Darwin University Gallery, Darwin, Australia (2003); Alliance Française, Manila (2004); Magnet Gallery, Manila (2007); MO Space, Manila (2008); Pablo Fort, Manila (2009); Taksu, Kuala Lumpur (2009); Taksu, Singapore (2009, 2011, and 2012); Silverlens, Manila (2010); Now Gallery, Manila (2011 and 2012); and Vulcan Artbox, Waterford, Ireland (2012). He has participated in numerous group exhibitions including New Art from Southeast Asia, Fukuoka Asian Art Museum and Hiroshima City Museum of Contemporary Art (1992); Identities versus Globalisation, Chiang Mai University Art Museum, National Gallery, Bangkok, and Dahlem Museum, Berlin (2003–04); Flippin’ Out: Maynila to Williamsburg, Goliath Visual Space, Brooklyn (2005); No Soul for Sale, Tate Modern, London (2010); and Negotiating Home, History and Nation: Two Decades of Contemporary Art from Southeast Asia, 1991–2010, Singapore Art Museum (2011). Roldan lives and works in Manila.  

POKLONG ANADING B. 1975, MANILA, PHILIPPINES Poklong Anading was born in 1975, in Manila, Philippines. He earned a BFA in painting from the College of Fine Arts, University of the Philippines (1999). He completed residencies with Big Sky

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Mind, Manila (2003–04), and Common Room, Bandung, Indonesia (2008). Having begun as a painter, he now works primarily in video and photography. He also expanded into process-oriented sculpture and installation informed by Arte Povera, making work that appeals to all the senses. He often assumes the roles of observer and collector, turning facts and memories into images and objects, and frequently engages social issues. In 2006, he received the Ateneo Studio Residency Grant in Australia and a Cultural Center of the Philippines 13 Artists Award. Anading won the Ateneo Art Award in 2006 and 2008. The video installation Ocular (2009) explores the limits of documentation. Seeking to connect with the moments captured in a collection of photographs of the artist’s late mother, accumulated during her 11 years as a domestic worker in Hong Kong, Anading traveled with the keepsakes to the places they pictured. By assiduously tracing these sites, he created a poignant memorial to his mother, and to his experience of her absence, while underscoring the elusive quality of the photographic subject. The artist has also assembled projects such as the exuberantMiracle Healing and Other Hopeful Things (2011), which incorporates scavenged paint cans, construction debris, discarded tires, and disused cleaning rags (the ubiquitous basahan or trapo of the Philippines) as part of a constructed environment. The vibrantly patterned basahan provided a means for Anading to bring color into his work—something he had previously resisted. He first used the fabric scraps in 2008, also repainting the found patterns onto fragments of concrete rubble for his exhibition Fallen Map (2008). Anading has had solo exhibitions at Finale Gallery, Mandaluyong City, Philippines (2004, 2005, and 2007); Mag:net Gallery, Quezon City, Philippines (2004, 2007, 2008, and 2009); Mag:net Gallery, Makati City, Philippines (2006); Cross Art Projects, Sydney, Australia (2006); Finale Art File, Makati City (2007, 2008, 2010, and 2012); Ateneo Art Gallery, Quezon City (2009); Pablo Fort, Taguig City (2010); Galerie Zimmermann Kratochwill, Graz, Austria (2010 and 2012); and MO Space, Makati City (2011). His works were presented in the two-person exhibition Between Signs at Silverlens Gallery in Makati City (2011). Anading organized and participated in Room 307: Inkling, Gutfeel and Hunch at the National Art Gallery in Manila (2008). He has been included in notable group exhibitions such as: Gwangju Biennial, South Korea (2002 and 2012); Galleon Trade: Bay Area Now 5, Yerba Buena Center for the Arts, San Francisco (2008); Some Rooms, Osage Gallery, Hong Kong (2009); Arena, 8th Jakarta Biennial (2009); Bastards of Misrepresentation, Freies Museum, Berlin (2010), which traveled to Bangkok and New York (2012); Phantoms of Asia: Contemporary Awakens the Past, Asian Art Museum, San Francisco (2012); and Marcel Duchamp in Southeast Asia, Equator Art Projects, Singapore (2012). Anading lives and works in Manila.

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REZA AFISINA B. 1977, BANDUNG, INDONESIA Reza Afisina was born in 1977 in Bandung, Indonesia. He studied cinematography—specifically sound recording for film and documentary features—at Jakarta Institute of the Arts, Indonesia (1995–99). He was an artist in residence at KHOJ International Artists’ Association, New Delhi, in 2004. Afisina is a member of the Jakarta-based artists’ collective ruangrupa (est. 2000), a nonprofit organization focused on supporting art initiatives in an urban context through research, collaboration, workshops, exhibitions, and publications. He served as the program coordinator for ruangrupa from 2003–07 and has been the artistic director of their ArtLab since its inception in 2008. Employing video, perfomance, and installation, and often using his own body in his work, Afisina explores the manifestations and meanings of physical and emotional pain. In his performance and video An Easy Time With Parenthood (2008), a text from Julio Cortazar’s short story “Las babas del diablo” is tattooed on the artist’s arm alongside a biblical text in Latin. Experimenting with word as image, Afisina theorizes that pain is not only indicative of violence, but can also function as a reflection of honesty, freedom, and even happiness. His earlier video My Chemical Sisters (2004), which depicts cosmetics ingredients against images of advertising models, explores pain in a different way. Made mostly from chemicals, the cosmetics here embody a disjunction between our desire for physical perfection and the toxins we employ in the hope of achieving it. Afisina’s later installation, Letters to International Curators (2008), departs from his established thematic to focus instead on the concept of written and personal interaction and the communicative limits of language. The exhibited work consists of documentation of a series of exhibition proposals by the artist that was sent to curators of his acquaintance worldwide. Afisina has performed and screened his work in such group exhibitions as OK Video Festival in Jakarta (2003, 2010, and 2011); Taboo and Transgression in Contemporary Indonesian Art, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York (2005); Simple Actions and Aberrant Behaviors, PICA, Portland (2007), Jakarta Biennial (2009); Move on Asia: The End of Video Art, Para/Site Art Space, Hong Kong (2010 and 2012); Moving Image from Indonesia, ZKM Center for Art and Media, Karlsruhe (2011); and City Net Asia, Seoul Museum of Art (2011). Afisina lives and works in Jakarta.  

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SHEELA GOWDA B. 1957, BHADRAVATI, INDIA Sheela Gowda was born in Bhadravati, India, in 1957. She studied painting at Ken School of Art, Bangalore, India (1979), pursued a postgraduate diploma at Visva-Bharati University, Santiniketan, India (1982), and earned an MA in painting from the Royal College of Art, London (1986). Though trained as a painter, Gowda expanded her practice to sculpture and installation, and has since also incorporated photography. Drawn to common local materials such as cow dung, incense, and kum kum powder (a natural pigment most often available in brilliant red), she makes process-oriented works in the idiom of Post-Minimalist abstraction that are activated by their materials’ ritualistic associations. And Tell Him of My Pain (1998/2001/2007) is a cascading installation of draped red cord. Gowda made this material by pulling over 250 meters of thread through sewing needles, then binding it with pigment and glue. Terminating in a clutch of glinting needles, the cord’s color and snaking arrangement both attract and repel, as softness gives way to severity. ForDarkroom (2006), Gowda collected used tar drums from road construction teams to build a shanty fort. Despite the rusted patina of the repurposed metal, the small but well-designed structure, complete with columns, evokes a classical grandeur. Once inside the cramped interior, the viewer is treated to a representation of a starry sky in the form of a ceiling pricked with holes. Thus the work fuses confinement and limitlessness. In the case of the latter, the artist substitutes an illusion of the cosmos, which is not to discount the spurious value of the fake, but to emphasize the power of imagination. From domestic labor to public works, Gowda reflects on internal contradictions: home can be both secure and oppressive, tradition can be inspirational and restraining, industriousness can be innovative and destructive. Gowda has had solo exhibitions at Venkatappa Art Gallery, Bangalore (1987 and 1993); Gallery 7, Mumbai (1989); Gallery Chemould, Mumbai (1993); GALLERYSKE, Bangalore (2004, 2008, and 2011); Bose Pacia Gallery, New York (2006); Museum Gouda, Netherlands (2008); Office for Contemporary Art, Oslo (2010); Iniva, London (2011); and Van Abbemuseum, Eindhoven, Netherlands (2013). Notable group exhibitions include How Latitudes Become Form, Walker Art Center, Minneapolis (2003); Documenta 12 (2007), Indian Highway, Serpentine Gallery, London (2008); Making Worlds, Venice Biennale (2009); Provisions, Sharjah Biennial (2009); Paris-Delhi-Bombay, Centre Pompidou, Paris (2011); and Garden of Learning, Busan Biennial (2012). Gowda lives and works in Bangalore.  

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SHILPA GUPTA B. 1976, MUMBAI, INDIA Shilpa Gupta was born in Bombay in 1976. She received a BFA in sculpture from the Sir J. J. School of Fine Arts, Mumbai, in 1997. Gupta is interested in perception, and in the ways in which we transmit and understand information. Her mediums range from manipulated found objects to video, interactive computer-based installation, and performance. Her work often engages with television and its constant flow of meaning. Shifting the primary status of art from object-based commodity to participatory experience, Gupta creates situations that actively involve the viewer. Gupta is drawn to how objects, places, people, and experiences are defined, and asks how these definitions are played out through the processes of classification, restriction, censorship, and security. Her work communicates—across cultures—the impact of dominant forces acting on local and national communities, prompting a reevaluation of social identity and status. There is no explosive here (2007), a communal experiment in fear, encourages the viewer to exit the gallery carrying a bag imprinted with the statement “there is no explosive here.” The dynamic between object, carrier, and public challenges stereotypical anxieties about safety in a public context. Also driven by audience participation is Threat (2009), a wall made of bars of soap that mimic the appearance of bricks and are imprinted with the single word of the title. Each viewer is invited to take a bar home so that the wall slowly disappears and, as each bar is used, the embossed “threat” is neutralized and eventually erased. In Speaking Wall (2010), the gallery visitor wears headphones while standing on a narrow row of bricks that abuts one wall. A recorded voice directs the actions of the viewer/listener, whose role shifts to that of participant, while discussing the redrawing of borders and the arbitrary nature of identity. Again, Gupta questions the concretization of imagined demarcations and divisions. In 2011, Gupta was the recipient of the Bienal Award, Bienal De Cuenca, Ecuador; in 2004 she was the recipient of the Transmediale Award, Berlin, and the Sanskriti Prathisthan Award, New Delhi. She was also named International Artist of the Year by the South Asian Visual Artists Collective, Canada. She has been the subject of solo presentations at international institutions including Contemporary Arts Center, Cincinnati (2010); Arnolfini, Bristol (2012); and Museum voor Moderne Kunst Arnhem, Netherlands (2012). A 10-year survey of her work, Half A Sky, was presented at the OK Center for Contemporary Art, Linz, Austria (2010). Her work has also been included in numerous group exhibitions: Ideas and Images, National Gallery of Modern Art, Mumbai (2000); Century City: Art and Culture in the Modern Metropolis, Tate Modern, London (2001); Edge of Desire, Asia Society and Queens Museum, New York (2005); The World Is Yours, Louisiana Museum of Modern Art, Humlebæk (2009); Younger Than Jesus, New Museum Triennial, New York (2009); Paris-Delhi-Bombay, Centre

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Pompidou, Paris (2011); and Descriptive Acts, San Francisco Museum of Modern Art (2012). Gupta lives and works in Mumbai.  

SOPHEAP PICH B. 1971, BATTAMBANG, CAMBODIA Sopheap Pich was born in 1971 in Battambang, Cambodia. In 1979, when the Vietnamese invasion led to the ousting of the Khmer Rouge regime, he fled with his family to Thailand, spending four years in refugee camps before immigrating to the United States. Memories of traveling vast distances on foot and witnessing the devastation of war—broken bodies, ravaged landscapes, abandoned artillery, and ruined buildings—underpin his sculptural practice. While Pich studied painting, earning a BFA from the University of Massachusetts, Amherst (1995), and an MFA from the School of the Art Institute of Chicago (1999), he turned his attention to sculpture after returning to Cambodia in 2002. In 2003, he established the artist group Saklapel and launched the acclaimed exhibition Visual Art Open (2005) in the Cambodian capital Phnom Penh. He made his first sculpture Silence, an interconnected pair of lung-shaped forms woven from rattan, in 2004. Pich also cofounded the alternative organization Sala Artspace, Phnom Penh (2006–07), which hosted a series of residencies. In 2005, Pich gave up painting altogether in favor of making three-dimensional objects, in a process that poetically simulates reconstruction. He draws his materials, primarily rattan and bamboo, from indigenous sources and uses a traditional weaving technique. The resultant biomorphic structures suggest scaffolding for as-yet unbuilt forms, their spare, organic geometries appealing to a Post-Minimal aesthetic. In addition to employing bodily references, the artist draws inspiration from landscape (Delta and Flow, both 2007) and architecture (Compound, 2011). In more elaborate constructions from the late 2000s, Pich salvaged detritus from the trash heaps of developing Phnom Penh, giving works like Junk Nutrients (2009) a mottled, rag-tag look. In a series of wall reliefs from 2012, he returns to the format of painting, rendering hybridized, abstract compositions in materials derived from his sculptural practice by infusing burlap canvases (rice sacks) with Cambodian soils for pigments, sealing them with beeswax, and setting them in three-dimensional bamboo grids. Pich has had solo exhibitions at Tyler Rollins Fine Art, New York (2009 and 2011), Henry Art Gallery, Seattle (2011–12), and the Metropolitan Museum of Art, New York (2013). Notable group exhibitions includeStrategies from Within, Ke Center for the Contemporary Arts, Shanghai (2008); 4th Fukuoka Asian Art Triennial (2009); 6th Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia (2009); Singapore Biennial (2011), Documenta 13 (2012); and Invisible Cities, MASS MoCA, North Adams, Massachusetts (2012–13). Pich lives and works in Phnom Penh.

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TANG DA WU B. 1943, SINGAPORE Tang Da Wu was born in 1943 in Singapore. He received a BA in sculpture from the School of Fine Art, Birmingham Polytechnic (now Birmingham Institute of Art and Design) in 1974 and pursued advanced studies in sculpture at Saint Martins School of Art (now Central Saint Martins) from 1974–75. In 1985, he received an MFA from Goldsmith’s College, University of London. After returning to Singapore in 1979, Tang began to work in performance art, and in 1988, cofounded the Artists Village, a collective committed to promoting experimental art through the provision of studio and exhibition space. Working through a de facto ban on performance that began in 1994 as a response to artist Josef Ng trimming his pubic hair at a public festival, the organization supports community interaction through social relevance and the hosting of public site-specific interventions. Through performance, installation, painting, and drawing, Tang explores social and environmental themes including deforestation, animal endangerment, and urban transformation. Tang’s seminal early work Tiger’s Whip (1991) comments on the exploitation of tigers for the supposed aphrodisiac powers of their sexual organs. For this work, in part a performance, Tang dragged behind him one of ten life-size papier-mâché tigers. In the work’s installation component, a tiger stands with front paws resting on a rocking chair that has been painted with a red phallus and draped in red cloth. This represents the tiger’s vengeful spirit returning to haunt the poacher. Other works such as They Poach the Rhino, Chop Off His Horn and Make This Drink (1989) further investigate the cultural beliefs that can lead to species extinction. Commenting on the effects of urban transformation is the series of ink paintings Bumiputra (2005–06), named for a Malay word meaning “son of the soil.” The work is a collection of portraits of residents of Hougang, a Northern suburb of Singapore that was developed from forests and pig farms into a residential town during the 1980s. Since the 1960s, the Singaporean city-state has been expanding through the dismantling of communities and the establishment of re-housing programs. By recording the original inhabitants of the area and assembling the images around an image of a well, a traditional meeting place, Tang highlights the way in which too-rapid development can erode community. Tang was the recipient of the Visual Arts Award from the Arts Council of Great Britain in 1978, as well as the Artist Award from the Greater London Arts Council in 1983. In 1999, he was awarded the 10th Fukuoka Asian Culture Prize in Arts and Culture. He has had solo exhibitions at ACME Gallery, London (1978), National Museum Art Gallery, Singapore (1980), Your Mother Gallery, Singapore (2005), Valentine Willie Fine Art, Kuala Lumpur (2006), and Goodman Arts Centre, Singapore (2011). Important performances include Five Days at NAFA and Five Days in Museum, Nanyang Academy of

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Fine Arts and National Museum, Singapore (1982), They Poach the Rhino, Chop Off His Horn and Make This Drink, National Museum Art Gallery, National University of Singapore, and Singapore Zoo (1989), and Don’t Give Money to the Arts, Singapore Art exhibition and fair (1995). He was a leading organizer of and participant in the Artists Village’s Dancing by the Ponds and Sunrise at the Vegetable Farm, The Time Show—24 Hours Continuous Performance (1989–90). The group and its activities were celebrated in the retrospective The Artists Village: 20 Years On at the Singapore Art Museum (2008). He has participated in group exhibitions including the Asian Art Show, Fukuoka Art Museum, Japan (1989), Art in Asia: Traditions/Tensions, Art Gallery of Western Australia, Perth (1998), Fukuoka Asian Art Triennial (1999), and Singapore Biennial (2006). He was featured in the Singapore Pavilion at the Venice Biennale in 2007. Tang lives and works in Singapore.  

TAYEBA BEGUM LIPI B. 1969, GAIBANDHA, BANGLADESH Tayeba Begum Lipi was born in 1969 in Gaibandha, Bangladesh. She completed an MFA in drawing and painting at the Institute of Fine Arts, University of Dhaka, Bangladesh, in 1993. In 2002, she cofounded Britto Arts Trust, Bangladesh’s first artist-run alternative arts platform, dedicated to organizing exhibitions, enabling international dialogue and exchange, and providing support to the country’s artists through residencies, workshops, and funding. Lipi’s practice engages painting, printmaking, installation, and video to comment on themes including the politics of gender and female identity. For the video I Wed Myself (2010), Lipi portrays a bride with traditional makeup and formal attire preparing for her wedding, then crops her hair and adds a moustache to also adopt the role of groom. Juxtaposing these two roles within a single frame, she stands as both husband- and wife-to-be on the wedding stage, a video of the transformation process projected alongside. By adopting this dual personality, Lipi inquires into the definition of gender and the possibility of possessing both feminine and masculine traits. Addressing societal contradictions between real identities and those rooted in misogyny, she exposes the importance of questioning the sexualized structures that dominate women’s lives in Bangladesh and beyond. Also using iconography based on femininity is Bizarre and Beautiful (2011), an installation of female undergarments crafted from stainless steel razor blades. A stark contrast to the expected sensual materials, the blades create a rigid armor, offering protection for the imagined wearer while issuing a warning to the onlooker. Inspired by the strong women of her childhood, Lipi’s work questions the representation of women’s bodies and the history of their social roles, particularly in Bangladesh, where historical and religious expectations continue to determine what is permissible.

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Lipi was awarded Grand Prize at the Asian Art Biennial, Dhaka, in 2004. She has been an artist-in-residence at the Irish Museum of Modern Art, Dublin (2000); NICA, Yangon, Myanmar (2004); Gasworks International Residency Programme, London (2005); and Studio RM, Lahore, Pakistan (2008). She was the commissioner for the Bangladesh Pavilion at the 54th Venice Biennale (2011) and one of the curators for the Kathmandu International Art Festival, Nepal (2012). She has had solo exhibitions at Alliance Française (1998 and 2004), Gallery 21 (2001), and Bengal Gallery (2007), in Dhaka, and participated in the two-person exhibition Parables of Our Times at Gallery Akar Prakar in Kolkata (2010). Notable group exhibitions include Separating Myth from Reality: Status of Women at the International Art Festival organized by Siddhartha Art Gallery, Kathmandu (2009), Jakarta Biennial (2011), Venice Biennale (2011), and Colombo Art Biennial (2012). Lipi lives and works in Dhaka.  

THE OTOLITH GROUP EST. 2002, LONDON, UNITED KINGDOM The Otolith Group was founded in 2002 by Kodwo Eshun (b. 1966, London) and Anjalika Sagar (b. 1968, London). Eshun earned a BA and MA in English Literature at University College, Oxford (1988) and an MA in Literary Theory at Southampton University (1990). Sagar earned a BA in Social Anthropology and Hindi at the School of Oriental and African Studies at the University of London (1997) and an MA in Fine Art and Theory at Middlesex University (2004). The group integrates film and video production with curating, programming, and writing. With a name derived from a part of the inner ear sensitive to gravity and motion, responsible for physical equilibrium, the group operates as a platform for dialogue on contemporary art practice. The referential complexity of their work elicits an interpretive commitment from the viewer; layered, provocative, and speculative, the works invite decoding but promise no solutions. The Otolith Group’s films, installations, and performances are driven by extensive research into the histories of science fiction and the legacies of tricontinentalism focusing on Asia, Africa, and South America. They rework archival and contemporary images, recorded sound, documentary accounts, and fictional narratives in order to complicate divisions between poetry, history, the real, and the imagined. The group regularly deploys the forms of the video essay and the performative lecture. Their eponymous video trilogy displays the group’s signature interweaving of cinematic mise-en-scènes and reportage, readymade and original texts and images. Otolith (2003) envisions a future in which the human otolith is no longer calibrated to the earth’s gravitation due to extended sojourns in space. The video features an expository voice from the 22nd century, a fictional descendant of Sagar’s, continuing a lineage that stretches back to Sagar’s grandmother, another narrator of the film. Otolith II (2007) turns

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an enquiring eye on Chandigarh’s modernist architecture, designed by Le Corbusier, and the slums of Mumbai. Otolith III (2009) proposes a temporal paradox in its revision of an unfilmed science fiction screenplay by Satyajit Ray from 1967. For Inner Time of Television (2007), they collaborated with film essayist Chris Marker to install his 13-part television series on Greek philosophy, The Owl’s Legacy (1989). Though screened in France and the U.K., the series was never broadcast in Greece, intensifying the restorative aspect of the project. The Radiant(2012) addresses the 2011 Fukushima nuclear meltdown in Japan, traveling back and forth in time to question the ethics and consequences of atomic energy. The Otolith Group was short-listed for the Turner Prize in 2010. In addition to co-organizing The Ghosts of Songs: A Retrospective of the Black Audio Film Collective 1982–1998, FACT, Liverpool, and Arnolfini, Bristol (2007), and Harun Farocki: 21 Films, Tate Modern, London (2009), the group has been featured in solo presentations at Argos Centre for Art and Media, Brussels (2007), The Showroom and Gasworks, London (2009), MACBA, Barcelona (2011), Bétonsalon, Paris (2011), MAXXI, Rome (2011–12), and Project 88, Mumbai (2012). The group has participated in numerous group exhibitions including New British Art, Tate Triennial, London (2006), Ecotopia, ICP Triennial, New York (2006),Translocalmotion, Shanghai Biennial (2008), Manifesta 8, Murcia, Spain (2010–11), There is always a cup of sea to sail in, Sao Paulo Biennial (2010), In the Days of the Comet, British Art Show 7, Hayward Gallery, London (2010), and Documenta 13 (2012). The Otolith Group is based in London. TRAN LUONG B. 1960, HANOI, VIETNAM Tran Luong was born in 1960 in Hanoi, Vietnam. He graduated from the Hanoi University of Fine Arts in 1983 and later formed a collective with fellow painting graduates that became known as the Gang of Five and was responsible for leading the development of contemporary art in Vietnam. From 1990 to 1996, the Gang of Five mounted major exhibitions in Hanoi (twice), Ho Chi Minh City (formerly Saigon), London, and Hong Kong, and participated in several international group exhibitions. Previously, they had organized monthly exhibitions in each other’s homes in response to otherwise limited opportunity. Tran has played a critical role in generating support for artists in Vietnam. In 1998 he co-founded Nha San Studio (also known as Nha San Duc), Hanoi’s leading alternative art space, and curated the majority of the exhibitions during its first four years of operation. He co-founded the Hanoi Contemporary Art Centre in 2000, serving as its Director until 2003. His acrimonious resignation was an act of protest against government corruption in the administration of arts funding.

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In 2001, Tran invited ten artists to collaborate on the Mao Khe Art Project. They traveled from Hanoi to the northern mining town of Mao Khe to conduct workshops, make art (chiefly performance and video), and engage with the local community. In addition to the performance Steam Rice Man (2001), Tran made the documentary video Mao Khe Coal Mine Project (2001). A summary exhibition was presented at Hanoi Contemporary Art Centre in 2002, and the project was featured in the 2009 Havana Biennial, among other international exhibitions. A 10th anniversary commemoration reconvened the group, who recounted their activities in Mao Khe and presented documentation at Factory Bar in Hanoi (2011). Also in 2001, Tran organized the collaborative outdoor site-specific and performance art project On the Banks of Red River, presenting works in the most impoverished area of Hanoi. His own contributions involved wrapping defunct machinery with skeins of nylon cord in a web-like mesh as a ceremonial form of protection, and setting up mosquito-net playrooms for local homeless children. In 2004, Tran organized Lim Dim, an international performance art event in Hanoi. (He curated an exhibition with the same title, featuring 16 contemporary artists from Vietnam, for the Stenersen Museum, Oslo, in 2009.) He has participated in numerous performance art festivals including Future of Imagination, Singapore (2006 and 2012), UP-ON, International Live Art Festival, Chengdu, China (2008), Beyond Pressure, International Performance Art Festival, Yangon, Myanmar (2008), Global Warming! Global Warning!!, Perfurbance #4, Mount Merapi, Indonesia (2008), and Guangzhou Live, China (2010). Tran has been the subject of solo exhibitions and has staged solo performances at Tokyo Gallery (1997); Nha San Studio, Hanoi (1998, 2000, and 2010); Art in General, New York (1999) Robert F. Brush Art Gallery, St. Lawrence University, Canton, New York (2000); Cave Gallery, Brooklyn (2003); and Goethe Institut, Hanoi (2004). He is a member of the curatorial team for the 2013 Singapore Biennial, and has participated in notable group exhibitions including Imagined Workshop, Fukuoka Asian Art Triennial, Japan (2002); Post-Doi Moi: Vietnamese Art After 1990, Singapore Art Museum (2008); Inward Gazes: Performance Art in Asia, Macau Museum of Art (2008); Strategies from Within: Vietnamese and Cambodian Contemporary Art, Ke Center, Shanghai (2008); and Negotiating Home, History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991–2011, Singapore Art Museum (2011). Tran lives and works in Hanoi.

TUAN ANDREW NGUYEN B. 1976, HO CHI MINH CITY, VIETNAM Tuan Andrew Nguyen was born in 1976 in Ho Chi Minh City, Vietnam. In 1979, he and his family emigrated as refugees to the United States, and he grew up in California. Nguyen earned a BFA from

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the University of California, Irvine (1999) and an MFA from the California Institute of the Arts (2004). He is a member of the artist collective The Propeller Group (est. 2006) and a cofounder of the artist-run alternative space Sàn Art (est. 2007) in Ho Chi Minh City (formerly Saigon). His work often deals with the cultural estrangement of expatriation and the experience of returning home to an unfamiliar place. While still a student, Nguyen made the short black-and-white video The Two Tuans: A Civil Dispute (1998), in which he plays both of the figures immortalized in Eddie Adams’s 1968 photograph of the Ho Chi Minh City Police Chief shooting a Vietcong in the head. In Nguyen’s restaging, the artist’s head, recorded in live action, replaces those in the still image and the two trade “yo mama” barbs. Among the number of short documentaries he made during a 2003 visit to Vietnam, Better than Friends (2003) follows the daily life of a family running a small dog-butchery business in Ho Chi Minh City. Nguyen’s videos have appeared in the 18th Annual Singapore International Film Festival (2005), 4th Bangkok Experimental Film Festival, Thailand (2005), and 55th International Short Film Festival Oberhausen, Germany (2009). He directed the feature film Jackfruit Thorn Kiss (2005), a romantic comedy that unfolds on a journey from Hanoi to Ho Chi Minh City, which was an official selection at the 8th NHK Asian Film Festival, Tokyo (2007). Nguyen has been the subject of solo exhibitions at Voz Alta Project, San Diego (2004), and Galerie Quynh, Ho Chi Minh City (2008). The latter, Quiet Shiny Words, centered on a collaboration with Vietnamese rapper Wowy SouthGanz and sound engineer Alan Hayslip. Nguyen also participated in the group exhibitions Mine, Lombard-Freid, New York (2003), and Eternal Flame: Imagining a Future at the End of the World, REDCAT, Los Angeles (2007), and was featured in the 5th Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia (2006–07). He collaborated on Dinh Q. Lê’s The Farmers and The Helicopters (2006), which was presented at the Museum of Modern Art, New York, for Projects 93 (2010) and acquired by the museum. Nguyen lives and works in Ho Chi Minh City.  

VINCENT LEONG B. 1979, KUALA LUMPUR, MALAYSIA Vincent Leong was born in 1979 in Kuala Lumpur, Malaysia. He studied art at the Centre for Advanced Design in Kuala Lumpur (1998–2000) and earned a BFA from Goldsmiths College, University of London (2000–04), receiving the BT Goldsmiths Prize in digital media in 2004. In 2006, he was invited to participate in a workshop at the Asian Culture Creation Center in Gwangju, South Korea, and the resulting exhibition, Threshold 13, which traveled from Gwangju to Seoul. Leong also completed artist residencies at Sculpture Square, Singapore (2007) and Kognecho Bazaar, Yokohama, Japan (2009).

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Leong’s first solo exhibition, The Fake Show at Reka Art Space in Selangor, Malaysia (2006), was a Gordian knot of disguises and disavowals. Announced as a group exhibition curated by Leong, the nine artists featured were in fact fictional surrogates for Leong himself. As such, all of the works were ersatz. Mischievously referencing fellow contemporary Malaysian artists alongside everyday characters, Leong spun a web of allusion that addressed appropriation, originality, and authenticity in a world inundated by counterfeit brands, identities, and entertainments. Leong’s deft manipulation of signs and symbols is evident too in the video How to Be Bruce (2004), which was included in the video art exhibition 18 Reasons We Still Need Superman that traveled to numerous international locations (2010–12, organized by Beijing-based curator Tim Crowley). Retaining the audio from the fight sequence between Bruce Lee and Chuck Norris in the kung fu classic The Way of the Dragon (1972, dir. Bruce Lee), Leong replaced the film’s visual component with an abstract animation, diagramming Lee’s martial artistry via a series of dots and arrows, like the notations of a sports strategy. The icon is subsumed in a frenetic choreography of ciphers. Turning to Malaysia’s multiethnic culture, whose history is marred by sectarian conflict, Leong’s video Run, Malaysia, Run (2007) captures a cavalcade of the country’s diverse citizens in colorful costumes denoting different ethnicities and religions. In a display typical of the artist’s acerbic humor, a rotating projector sets these personages running around in circles on the walls. Alternatively presented on a screen, they appear to be running in place. In the photography series Executive Properties (2012), Leong shoots from within abandoned buildings. Settings marked by crumbling infrastructure, severed wiring, and graffiti vandalism open onto spectacular views of Kuala Lumpur’s monuments, historic buildings, and contemporary skyscrapers, capturing the paradox of progress and the poetry of the modern ruin. Leong’s work has been presented in solo exhibitions at Valentine Willie Fine Art, Kuala Lumpur (2007 and 2012), and Sculpture Square, Singapore (2007). The artist has also been featured in the following notable group exhibitions: 3 Young Contemporaries, Valentine Willie Fine Art, Kuala Lumpur (2005); The Power of Dreaming, Rimbun Dahan, Selangor (2005); 4 Young Contemporaries, Numthong Gallery, Bangkok (2007); Selamat Datang ke Malaysia, Gallery 4A, Sydney, and Valentine Willie Fine Art, Kuala Lumpur (2007); The Independence Project, Galeri Petronas, Kuala Lumpur (2007), and Gertrude Contemporary, Melbourne (2008); Some Rooms, Osage Gallery, Hong Kong (2009); Our Own Orbit, Tembi Contemporary, Jogya, Indonesia (2009); and Tanah Ayer: Malaysian Stories from the Land, Selasar Sunaryo Art Space, Bandung, Indonesia (2011). Leong lives and works in Kuala Lumpur.  

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Prof. Ute Meta Bauer Founding Director, The Centre for Contemporary Art Ute Meta Bauer is a curator of exhibitions and presentations on contemporary art, film, video, and sound, with a focus on transdisciplinary formats. Since October 2013 she serves as founding director of the Centre for Contemporary Art, Singapore — a research center of Nanyang Technological University (NTU), where she is professor at ADM, NTU’s School of Art, Media and Design. From 2012–2013 she was Professor and Dean of the School of Fine Art at the Royal College of Art, London. Prior to that appointment she was Associate Professor at the Massachusetts Institute of Technology, Cambridge, MA, where she served as the Founding Director of ACT, the Program in Art, Culture, and Technology (2009–2012) and as Director of the MIT Visual Arts Program (2005–2009) at MIT’s School of Architecture and Planning. She was a professor for ten years (1996–2006) at the Academy of Fine Arts Vienna, Austria, heading the Institute of Cultural Studies and serving as Vice Rector for International Relations. During her tenure as Founding Director of the Office for Contemporary Art (OCA) in Oslo, Norway (2002–2005), she was also commissioner of the Nordic Pavillion (Norway, Sweden) for the 50th edition of the Venice Biennale (2003) and Norwegian contributor for the Bienal de São Paulo (2004). Furthermore, she was co-director with Hou Hanru of the World Biennial Forum No. 1, Gwangju, South Korea, 2012; Artistic Director of the 3rd Berlin Biennale for Contemporary Art, Berlin, 2004; and Co-Curator of Documenta11 (2001–2002) on the team of artistic director Okwui Enwezor. Professor Bauer has edited numerous publications in the field of contemporary art, most recently Intellectual Birdhouse, Artistic Practice as Research (co-edited with Florian Dombois, Michael Schwab and Claudia Mareis, 2012), and World Biennale Forum No 1 – Shifting Gravity (co-edited with Hou Hanru) and AR – Artistic Research (co-edited with Thomas D. Trummer), both 2013. For the CCA, she curated Paradise Lost along with Anca Rujoiu as the CCA’s inaugural exhibition, featuring video installations by Zarina Bhimji, Trinh T. Minh-ha and Fiona Tan. Professor Bauer has also recently been appointed as a co-curator of pioneering artist Joan Jonas's presentation for the 56th Biennale di Venezia in 2015. Jonas is representing the United States in the U.S. Pavilion at the Giardini with a series of new works and installations. Professor Bauer is a former colleague of Jonas at the Massachusetts Institute of Technology (MIT) and a long-term collaborator of the artist. The curatorial duties will be shared by Professor Bauer and Paul C. Ha, the Director of the MIT List Visual Arts Center, who also serves as the commissioner for the U.S. Pavilion, while the List Visual Arts Center is the organising institution for the U.S. Pavilion.

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In 2009, the Solomon R. Guggenheim Museum honoured Jonas with a Lifetime Achievement Award for her extraordinary contributions to the field of contemporary art. Her work will also be featured in Theatrical Fields, an exhibition curated by Ute Meta Bauer, which will open at the CCA, Singapore on August 21, 2014. Theatrical Fields was commissioned by and first presented at the Bildmuseet, Umea, Sweden in 2013. Dr. Alexandra Munroe Samsung Senior Curator, Asian Art, Solomon R. Guggenheim Museum Alexandra Munroe, PhD, is Samsung Senior Curator, Asian Art, at the Solomon R. Guggenheim Museum. A pioneering authority on modern and contemporary Asian art and transnational art studies, she has led the Guggenheim's Asian art program since its founding in 2006 while also working on the Guggenheim Abu Dhabi Museum and the Guggenheim UBS MAP Global Art Initiative. She convenes the museum’s biannual Asian Art Council, a curatorial think tank, and heads The Robert H. N. Ho Family Foundation Chinese Art Initiative. Munroe has organized the award-winning and critically acclaimed Guggenheim exhibitions Gutai: Splendid Playground (2013, cocurated with Ming Tiampo); Lee Ufan: Marking Infinity (2011); The Third Mind: American Artists Contemplate Asia, 1860–1989 (2009); and Cai Guo-Qiang: I Want to Believe (2008). Other exhibitions and publications include Yayoi Kusama: A Retrospective (1989), The Art of Mu Xin (2002), YES YOKO ONO (2000), Little Boy: The Arts of Japan’s Exploding Subculture (2005), curated with Takashi Murakami. Her groundbreaking survey and textbook Japanese Art after 1945: Scream Against the Sky (1994) are recognized for initiating the field of postwar Japanese art history in the U.S. Her exhibitions and scholarly catalogues have received top awards and recognition from the Association of American Art Museums, International Art Critics Association, College Art Association, Association of American Museum Curators, Art Libraries Society of North America (ARLIS/NA), and China Art Powers. In 2008, The Third Mind received the Chairman’s Special Award from the National Endowment for the Humanities. Raised in Japan, Munroe is former Vice President of Japan Society, New York, and former director of its museum. She holds a B.A. from Sophia University, Tokyo, an M.A. from the Institute of Fine Arts,

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New York University, and a PhD in History from New York University, where her research was in modern East Asian intellectual history. She serves on the advisory boards of Asia Art Archive, Hong Kong; Rockbund Art Museum, Shanghai; and UCCA, Beijing. She is a trustee of the Institute of Fine Arts; the United States–Japan Foundation; and Intelligence Squared U.S., a public policy foundation, and is a member of the Council on Foreign Relations, New York. Mr. Edmund Koh CEO Wealth Management South East Asia and APAC Hub Country Head Singapore Group Managing Director Edmund Koh joined UBS in February 2012 as Group Managing Director, CEO of UBS Wealth Management South East Asia and APAC Hub, and Country Head of UBS Singapore. Edmund, a Singaporean, is also a member of the UBS Global Wealth Management Executive Committee. Edmund's distinguished career in Asia's financial services industry spans more than 20 years, during which time he garnered a deep understanding of Asian markets and developed a strong track record in leading and building successful businesses in Asia. Prior to joining UBS, Edmund was President and Director of Ta Chong Bank in Taiwan from 2008 to 2011. During this time, he led the reorganization of Ta Chong Bank for the Carlyle Group where he turned the loss-making bank around within a year. From 2001 to 2008, Edmund served as Managing Director and Regional Head of the Consumer Banking Group of DBS Bank where he was responsible for the consumer banking businesses in Singapore, Hong Kong, Indonesia, Thailand, China, Taiwan and India. Over the 7 years, he substantially grew and consolidated DBS Bank's consumer banking business across Asia, earning the title of "Best Retail Banker in Asia" by the Asian Banker Journal in 2007. Prior to this, Edmund held various senior positions at Citibank and HSBC. He also holds Directorship positions across various social and public organizations. Edmund holds a Bachelor of Science in Psychology from the University of Toronto, Canada.

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Ms. June Yap Guggenheim UBS MAP Curator, South and Southeast Asia June Yap was selected by a committee of five esteemed experts in South and Southeast Asian art as the Curator of Guggenheim UBS MAP Global Art Initiative in spring of 2012. She is currently in a two-year residency at the Solomon R. Guggenheim Museum in New York. Ms. Yap curated the first three iterations of No Country: Contemporary Art for South and Southeast Asia, which focuses on the artistic practices and cultural traditions of South and Southeast Asia. Based in Singapore, Ms. Yap has been an independent curator since 2008, working with artists throughout the regions. Most recently she organized an exhibition of the work of Ho Tzu Nyen for the Singapore Pavilion at the Venice Biennale in 2011. In 2010, Ms. Yap curated You and I, We’ve Never Been So Far Apart: Works From Asia for the Center for Contemporary Art in Tel Aviv for the International Video Art Biennial. Prior to 2008, Ms. Yap worked in the curatorial departments of the Institute of Contemporary Arts in Singapore and the Singapore Art Museum. She has organized exhibitions in Italy, Germany, Hong Kong, Malaysia and Singapore. Projects include Interrupt (2003), Twilight Tomorrow (2004), SENI: Singapore 2004, and Art & The Contemporary (2004) at the Singapore Art Museum; The Second Dance Song: New Contemporaries (2006) and The Future of Exhibition: It Feels Like I’ve Been Here Before (2010) at the Institute of Contemporary Arts Singapore; and Bound for Glory (2008) at the National University of Singapore Museum. Ms. Yap is the author of numerous exhibition catalogues and essays, and has conducted curatorial workshops in Singapore, South Korea and Hong Kong. Ms. Yap is also currently a PhD candidate in the Cultural Studies in Asia program at the National University of Singapore. She holds a Master of Arts in fine art (art history) from the University of Melbourne, Australia as well as Bachelor of Arts from the National University of Singapore in philosophy and sociology.

   

Centre for Contemporary Art, Block 43, Malan Road, Gillman Barracks, Singapore 109443 Gillmanbarracks.com/cca facebook.com/CentreForContemporaryArt  

CCA—Centre for Contemporary Art, Singapore The CCA—Centre for Contemporary Art is a research centre of Nanyang Technological University (NTU), developed with support from the Economic Development Board, Singapore. Under the leadership of Ute Meta Bauer, the CCA’s founding director and Professor at the School of Art, Design and Media, NTU, the centre officially opened in October 2013. The CCA embraces academic and scholarly research, and views contemporary art as a form of knowledge production in its own right. Through a holistic approach, the CCA’s three main areas of activity—exhibitions, residencies and research—are intertwined and feed into each other, shaping organically the profile and programme of the institution.

The CCA positions itself as a centre for critical discourse and experimental practices for Singapore, the region and beyond. It aims to play an active role within the local art scene, as well as being a part of the development of regional and international art infrastructures.

The CCA comprises several spaces at Gillman Barracks, each dedicated to a specific area of activity: an Exhibition Space (Block 43); Office and Research Centre (Block 6); and Artists Studios (Block 37 and 38).

CCA Exhibition Space © 2012 Photo by Anca Rujoiu

   

Centre for Contemporary Art, Block 43, Malan Road, Gillman Barracks, Singapore 109443 Gillmanbarracks.com/cca facebook.com/CentreForContemporaryArt  

CCA Exhibitions:

The exhibition programme of the CCA presents contemporary artistic production. The programme maps certain areas of interest that will be further explored through the CCA residencies and research programmes, including reflections on postcolonial spaces, migration, diaspora, old and new trade routes. The exhibition programme brings together established international, local and regional artists. Each exhibition is complemented by a public programme of events that will offer insights into the curatorial framework on the exhibition.

CCA Residencies:

The Artist-in-Residence programme is an integral part of the CCA’s mission as a research centre. It comprises a studio programme dedicated to artists and a short- and long-term visiting programme for curators and scholars. The programme aims to facilitate the production and creation of work, as well as of knowledge and research by established and emerging cultural producers from Singapore, Southeast Asia and the rest of the world. Through supporting artistic, curatorial, and cultural production, research and practice through the allocation of a studio and curatorial support, the programme aims to work as a catalyst for critical practices and for building discourses that are especially resonant in the region.

The selection process for residents begins with external nominators. After nomination, the CCA Artist-in-Residence Committee makes a selection based on merit and the appropriateness of experience to undertake a research-based residency.

The CCA Artist-in-Residence programme also contributes to the culture and environment of the Gillman Barracks gallery precinct.

CCA Research:

The Research programme aims to connect academic research with other forms of knowledge production. The CCA hosts visiting scholars of various disciplines whose research areas address Singapore, the region and beyond. Its current research clusters engage with questions of postcolonial spaces, migration, diaspora, old and new trade routes.

 

 

   

Centre for Contemporary Art, Block 43, Malan Road, Gillman Barracks, Singapore 109443 Gillmanbarracks.com/cca facebook.com/CentreForContemporaryArt  

 

CCA Exhibitions & Programmes (selection): Paradise Lost Trinh T. Minh-ha, Zarina Bhimji and Fiona Tan 17 January—30 March 2014 Conceived as a constellation of three artistic productions that together explore narratives of travel and migration, place and displacement, the personal intertwined with colonial history, Paradise Lost introduced an imaginary Asia — Asia as a space of projections and desires stemming from an experience of dislocation and asynchronicity. Curated by Ute Meta Bauer and Anca Rujoiu, the show juxtaposed trans-generational perspectives, and brought together three major installations of moving image: Surname Viet Given Name Nam by Trinh T. Minh- ha, Yellow Patch by Zarina Bhimji and Disorient by Fiona Tan.

Fiona Tan, Disorient, film still, HD video installation, 2009. Courtesy the artist, Wako Works of Art, Tokyo and Frith Street Gallery, London

 

Paradise Lost complemented current explorations on the region, from the 2013 Singapore Biennale to the 2014 Art Stage Singapore art fair, bringing to the fore a perspective of Asia and its colonial history as perceived from near and afar. The exhibition investigated fictions of Asia by complicating them with more fictionalities. While artist and

   

Centre for Contemporary Art, Block 43, Malan Road, Gillman Barracks, Singapore 109443 Gillmanbarracks.com/cca facebook.com/CentreForContemporaryArt  

filmmaker Trinh T. Minh-ha articulates a cinematic dialectic, artists Fiona Tan and Zarina Bhimji work through an immersive visual language. Wrapped up in allegory and fiction, each work maintains a tight connection with the artists’ personal experiences of navigating cultural identity and homeland, migration and crossing borders.

The exhibition opening included a forum with presentations by Ann Demeester (Director, Frans Hals Museum and de Hallen Arts Centre in Haarle) and Shabbir Hussain Mustafa (Curator, National Gallery Singapore). A public programme of talks, reading groups and workshops further explored the conceptual framework of Paradise Lost. The exhibition will continue to serve as a catalyst for long-term collaborative research that will investigate the asynchronisities of diasporic spaces connected to the political and economical histories of migration along old and new trade routes.

 

CCA Talks at Art Stage 18 January 2014 In conjunction with the Art Stage Singapore art fair, the CCA organised a public programme of panel discussions and lectures. CCA Talks at Art Stage engaged the overall theme of the fair, “We are Asia”, by focusing on the particularities and challenges of the art landscape in the region. The talks were divided into three areas of investigation: “Singapore vs Hong Kong”, “Art & Knowledge” and “Local Art Institutions: New Horizons”. The first session featured speakers Matthias Arndt (Director Arndt Gallery, Berlin & Singapore), Savita Apte (Founding Director Platform, Singapore) and Laksamana Tirtadji (ROH Projects, Indonesia). They presented their international perspectives on Singapore and Hong Kong and considered the unique positions each city offers the region as well as the wider world.

In the second session, speakers Professor Adèle Naudé Santos (Dean of the School of Architecture and Planning, MIT, Cambridge, USA) and Michael Walsh (Associate Chair Research, NTU School of Art, Design and Media) reported on the research activities of their institutions.

The final session brought together, for the first time in public, the leadership of four of the major art institutions in Singapore. Speakers Low Sze Wee (Deputy Director, National Gallery Singapore), Susie Lingham (Director, Singapore Art Museum), Bala Starr (Director, ICAS, Lasalle, Singapore) and Ute Meta Bauer (Founding Director, CCA Singapore) discussed how all these institutions could work together or work in productive tension with each other.

   

Centre for Contemporary Art, Block 43, Malan Road, Gillman Barracks, Singapore 109443 Gillmanbarracks.com/cca facebook.com/CentreForContemporaryArt  

Theatrical Fields 22 August—2 November 2014 Theatrical Fields examines forms of artistic practice that make use of the theatrical in performance, film and video. Developed as a research project by Ute Meta Bauer, Theatrical Fields explores the analytical and political potential of theatricality through various manifestations ranging from an exhibition to public presentations, film programme to a live performance. The exhibition brings together major video installations by internationally acclaimed artists including Judith Barry, Stan Douglas, Joan Jonas, Isaac Julien, Constanze Ruhm. The exhibition was commissioned by and presented at the Bildmuseet, Umea, Sweden in 2013.

Theatrical Fields coincides with the Singapore Art Festival, which takes place between 12

August and 21 September 2014. Photo from Theatrical Fields at Bildmuseet, Umea, Sweden (29 September 2013 – 5 January 2014), Isaac Julien, Vagabondia, 2000. Courtesy of Kiasma, Helsinki. © The artist. Photo: Mikael Lundgren

   

Centre for Contemporary Art, Block 43, Malan Road, Gillman Barracks, Singapore 109443 Gillmanbarracks.com/cca facebook.com/CentreForContemporaryArt  

More than [show]business June—October 2014 More than [show]business is conceived as a platform for exploring curatorial formats and ways of presenting and distributing art. Structured in several episodes across various venues at Gillman Barracks, it brings together institutional, curatorial and artistic gestures that open up different formats of engaging with contemporary artistic production. The platform is curated by CCAʼs curators Anca Rujoiu and Vera Mey and involves collaborations with Singapore-based artists.  

Singapore Art Book Fair 13–16 November 2014 After the successful inaugural edition, the 2nd edition of the Singapore Art Book Fair will take place again at Gillman Barracks, this time at the CCA. The Singapore Art Book Fair is organised by BooksActually and HJGHER, and brings together a selection of local and international art publishers.                                          

   

Centre for Contemporary Art, Block 43, Malan Road, Gillman Barracks, Singapore 109443 Gillmanbarracks.com/cca facebook.com/CentreForContemporaryArt  

Yang Fudong 12 December 2014–15 February 2015 The CCA is proud to present a solo exhibition of Yang Fudong. One of the most important and influential artists to emerge in China since the late 1990s, Yang Fudong produces sophisticated film and video installations that engage the cinematic traditions of both Hollywood and experimental film, while referencing the changing cultural conditions of

contemporary China. Yang Fudong, An Estranged Paradise (mo sheng tian tang) 1997–2002. Video, Single-Channel Film, 76 minutes; 35mm B&W film transferred to DVD.

       

   

Centre for Contemporary Art, Block 43, Malan Road, Gillman Barracks, Singapore 109443 Gillmanbarracks.com/cca facebook.com/CentreForContemporaryArt  

CCA Staff:

Professor Ute Meta Bauer, Founding Director Michelle Goh, Deputy Director, Operations, Development and Planning Anca Rujoiu, Curator, Exhibitions Vera Mey, Curator, Artists in Residence Jasmaine Cheong, Assistant Director, Operations and HR Katrina Soo, Assistant Director Isrudy Shaik, Executive, Exhibitions and IT  

CCA Council: Co-Chairs: Professor Freddy Boey and Ms. Thien Kwee Eng. Members: Professor Alan Chan, Professor Vibeke Sorensen, Professor Kwok Kian Woon, Ms. Kow Ree Na, Dr. Eugene Tan and Mr. Paul Tan Selected Staff Biographies:

Professor Ute Meta Bauer, CCA’s Founding Director, came to Singapore from the Massachusetts Institute of Technology, Cambridge, USA, where she was an Associate Professor for Visual Art, the Founding Director of the Programme in Art, Culture, and Technology (ACT) and Director of the MIT Visual Arts Programme. For over 25 years, Professor Bauer has worked as a curator of exhibitions and presentations on contemporary art, film, video, and sound, with a focus on transdisciplinary formats. Most recently she was co-director with Hou Hanru of the World Biennial Forum No. 1, Gwangju, South Korea, and in the 2012-13 academic year, she served as Dean of Fine Art at the Royal College of Art, London. Previously, Bauer served as the Founding Director of the OCA—Office for Contemporary Art, Norway, was the Artistic Director of the 3rd Berlin Biennale for Contemporary Art, and was a Co-curator of Documenta 11, Kassel. She was also recently been appointed as a co-curator of pioneering artist Joan Jonas’s presentation for the 56th Biennale di Venezia in 2015.

 

Anca Rujoiu is CCA’s curator for exhibitions. She holds an MFA in Curatorial Studies from Goldsmiths College, London. Previously, she coordinated the public programme of the School of Fine Art at the Royal College of Art, London. She is co-director of FormContent, a curatorial project running a nomadic programme, and was also one of the curators of Collective Fictions, part of Nouvelles Vagues—Young Curators’ season at the Palais de Tokyo, Paris. She has lectured at various universities including Goldsmiths College and Central Saint Martins University, London.

   

Centre for Contemporary Art, Block 43, Malan Road, Gillman Barracks, Singapore 109443 Gillmanbarracks.com/cca facebook.com/CentreForContemporaryArt  

 

Vera Mey is CCA’s curator for residencies and public programmes. She comes from ST PAUL St Gallery in Auckland, AUT University, where she was an Assistant Director and Curator. Her research engages with Asian art and its histories. She has also taught at the AUT University Master of Arts Management Curatorial Strategy programme, and has convened various curatorial symposia at the ST PAUL St Gallery. Most recently she was curator in residence at Arts Initiative Tokyo, Japan.

 

Khim Ong is an independent curator and writer. She is the project manager for No Country and was the project manager for Paradise Lost.

 

CCA Contacts:

Centre for Contemporary Art    CCA Exhibition Space,  Block 43, Malan Road, Gillman Barracks  Singapore 109443    CCA Office and Research Centre,  Block 6, Lock Road, Gillman Barracks  Singapore 108935   ccaevents@ntu.edu.sg    T: +65 66840998    http://www.gillmanbarracks.com/cca https://www.facebook.com/CentreForContemporaryArt  

Gillman

Barracks_

About Gillman Barracks

Launched on 14 September 2012, Gillman

contemporary art and is distinguished as a

vibrant centre in Asia for the creation,

exhibition and discussion of contemporary

art.

Gillman Barracks is a whole-of-government

as an Asian arts hub. The Urban

Redevelopment Authority (URA) identified

of its unique characteristics. It is jointly

developed by the Singapore Economic

Development Board (EDB), JTC Corporation

(JTC) and the National Arts Council (NAC).

Galleries in Gillman Barracks

Located on a 6.4-hectare site, Gillman

Barracks boasts natural high ceilings, making

it suitable for art gallery use. JTC, its master

tenant and infrastructure developer, has

carried out extensive refurbishment works

and the space within the barracks has been

divided into various sizes to suit the different

yields approximately 4,200 square metres for

art galleries with the remaining 4,800 square

metres of space dedicated to arts-related

activities such as artist studios, art research

centres, as well as three food and beverage

outlets.

The conserved colonial barracks currently

house 16 galleries from 10 different countries

that display some of the best art of our times

and showcase the depth and variety of

contemporary art practices. These include

works by both established and emerging

artists such as Alfredo and Isabel Aquilizan,

Nara, and Sebastiao Salgado, among others

in the ever-changing exhibitions.

(1) ARNDT

Country: Germany

www.arndtberlin.com

(2) Equator Art Projects

Country: Indonesia

www.eqproj.com

(3) FOST Gallery

Country: Singapore

www.fostgallery.com

(4) Future Perfect

Country: Australia

www.futureperfect.asia

(5) Galerie Michael Janssen Singapore

Country: Germany

www.galeriemichaeljanssen.com

(6) Mizuma Gallery

Country: Japan

www.mizuma.sg

(7) Ota Fine Arts

Country: Japan

www.otafinearts.com

(8)

Country: Italy

www.partnersandmucciaccia.com

(9) Pearl Lam Galleries

www.pearllam.com

(10) ShanghART Gallery

Country: China

www.shanghartgallery.com

(11) Silverlens

Country: The Philippines

www.silverlensgalleries.com

(12) Space Cottonseed

Country: Korea

www.spacecottonseed.com

(13) Sundaram Tagore Gallery

Country: USA

www.sundaramtagore.com

(14) The Drawing Room

Country: The Philippines

www.drawingroomgallery.com

(15) Tomio Koyama Gallery

Country: Japan

www.tomiokoyamagallery.com

(16)

Country: Singapore

www.yeoworkshop.com

The EDB develops Singapore as a vibrant

marketplace for art businesses by building a

conducive environment to meet their needs.

As part of these efforts, the EDB is also

involved in the establishment of the Centre

for Contemporary Art (CCA) in Gillman

Barracks.

Centre for Contemporary Art (CCA)

Officially opened in October 2013, the CCA

aims to be a world renowned centre for the

production, presentation and interpretation of

contemporary art. It will build research

capabilities through its international artist

residency, research and exhibition

visual arts landscape. By fostering cultural

exchange and creation, generating discourse

and research, and showcasing the most

innovative art of our time, the CCA will

establish Singapore as an important centre

for contemporary art in Asia.

International Artist Residency Programme

(IARP)

internally-tiered offering that will facilitate the

production and creation of works by both

established and emerging artists from Asia

and beyond to establish Singapore as a

centre for contemporary art creation in the

region.

Centre for Contemporary Art Research

This will be a centre of excellence for the

study and research for contemporary art in

the region. It will contribute to the discourse

and knowledge of Asian and international art

production, as well as informing the context

of cultural production today.

Exhibition Centre

By showcasing innovative and

groundbreaking exhibitions of contemporary

art, the exhibition programmes in the CCA

embrace a global, multi-disciplinary and

diverse approach towards the presentation

and interpretation of contemporary art.

History of Gillman Barracks

Named after General Sir Webb Gillman, a

well-known officer of the British army,

Gillman Barracks sits on a site that was

formerly a jungle and a swamp. Comprising

barrack buildings, married quarters, messes,

regimental institutes and sports facilities, it

was specially built to accommodate the 1st

Battalion, the Middlesex Regiment, which

was sent to double the British army's infantry

strength in Singapore. It was the site of a

fierce battle between the regiment and the

Japanese soldiers during the last three days

before Singapore fell to the Japanese in

February 1942 during the Second World War.

In August 1971, Gillman Barracks was

handed over to the Singapore government as

part of the British military's withdrawal from

Singapore. The Singapore Armed Forces

(SAF), in particular the School of Combat

Engineers and the SAF 3rd Transport

Battalion, moved into the camp and held a

passing-out parade there two months later.

After the SAF vacated the camp in the

1990s, the buildings were used for

commercial purposes, with the change of

name to Gillman Village in 1996. The site

took back its original name – Gillman

Barracks – in 2010.

Directions

Located on 9 Lock Road (Singapore

108937), Gillman Barracks is open from

Tuesday to Sunday.

By MRT

Nearest MRT train station: Labrador Park

(Circle Line Station CC27)

Exit Labrador Park station via Exit A towards

Telok Blangah Road. Cross the overhead

bridge located on the right of Exit A, and

descend from the overhead bridge by taking

the staircase on the right. Upon landing, turn

around and walk back up Telok Blangah

Road. At the first traffic junction, make a right

turn onto Alexandra Road, and walk past two

bus stops before turning right onto Malan

Road. Gillman Barracks is on your left and

the entrance is just up the road. The walk

should take you about 10 minutes.

By bus

Nearest bus stop: Opposite Alexandra Point

(Bus Stop Number: 15059)

Take buses 51, 57, 61, 93, 97, 97E, 100,

166, 175, 408, 963 or 963E. Alight at the bus

stop opposite Alexandra Point along

Alexandra Road. Turn left as you alight from

the bus to walk back up Alexandra Road and

turn right on Malan Road. Gillman Barracks

is on your left and the entrance is just up the

road.

By car or taxi

Gillman Barracks is accessible by car or taxi

via Malan Road that is located along

Alexandra Road. Parking facilities are

available at Gillman Barracks, and there is a

taxi stand in front of Block 5.

Kindly refer to individual gallery pages for

more details and opening hours. More

information on Gillman Barracks can be

found at www.gillmanbarracks.com

About the Singapore Economic

Development Board

The Singapore Economic Development

Board (EDB) is the lead government agency

for planning and executing strategies to

business centre. EDB dreams, designs and

delivers solutions that create value for

investors and companies in Singapore. Our

mission is to create for Singapore,

sustainable economic growth with vibrant

positioning Singapore for the future. It is

about extending Singapore's value

proposition to businesses not just to help

them improve their bottom line, but also to

help them grow their top line through

establishing and deepening strategic

activities in Singapore to drive their business,

innovation and talent objectives in Asia and

globally.

For more information on EDB, please visit

www.sedb.com

For more information, please contact

Ms Ng Chew Wee

Singapore Economic Development Board

TEL: (65) 9169-8682

FAX: (65) 6832-6498

Email: chew_wee_ng@edb.gov.sg