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16 Oct 2022 to 19 Mar 2023
Various Locations
Singapore Biennale 2022. Natasha
The seventh edition of the Singapore Biennale (SB2022) is named Natasha. The act of naming serves as a prompt to artists, collaborators, and audiences to re-discover ways of seeing and relating to the world. Going to Natasha is to embrace the possibility of intimacy and spontaneity afforded by such recognition, as well as to reflect on the transformative potential within life and its relations — from self to others, from human to non-human, from living to non-living and vice versa, and beyond. The artists and collaborators thus become ‘fellow travellers’ in the journey of Natasha, expressed through artistic imagination and research. Featuring over 50 artists and collaborators embarking on a collective journey with Natasha, Singapore Biennale 2022 will take place from 16 October 2022 to 19 March 2023.
artist folios
Click to view the folios of selected Singapore Biennale 2022 artists:
about Singapore Biennale
The Singapore Biennale was established in 2006 as the country’s pre-eminent platform for international dialogue in contemporary art. It presents and reflects the vigour of artistic practices in Singapore and the region within a global context, and fosters productive collaborations and deep engagement with artists, arts organisations, and the international arts community.
The Singapore Biennale cultivates public engagement with contemporary art through a period of concerted activities including exhibitions, public engagement and education programmes that feature artist and curator talks and tours, school visits and workshops, and community days. It complements achievements in other areas of arts and culture, collectively enhancing Singapore’s international profile as a vibrant city in which to live, work and play.
The 2006 and 2008 editions of the Biennale were organised by the National Arts Council (NAC). NAC has commissioned SAM to organise the Biennale since 2011.
about the co-artistic directors
Ala Younis is an artist with research, curatorial, film, and publishing projects. She is co-Head of Berlinale’s Forum Expanded, member of the Akademie der Künste der Welt, Cologne, and co-founder of the independent publishing initiative, Kayfa ta. She co-initiated and codirected a national group for researching and developing cultural policy in Jordan (2012–18). Younis seeks instances where historical and political events collapse into personal ones. Her artworks were featured in major exhibitions, including solo shows in New York, Seville, London, Prague, Cairo, Amman, Sharjah, and Dubai, and in the Istanbul, Gwangju, Orléans and Ural biennales. Her project Plan for Greater Baghdad (2015) premiered at All the World’s Futures, 56th Venice Biennale.
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Nida Ghouse is a writer and curator. She is Visiting Lecturer at the Interdisciplinary Doctoral Program in the Humanities at Princeton University for Spring 2022. With Vic Brooks, she received the 2021 Andy Warhol Foundation curatorial fellowship for the exhibition Shifting Center at EMPAC, upcoming in 2023. She curated A Slightly Curving Place at Haus der Kulturen der Welt (2020), in the framework of An Archaeology of Sound, a collaborative project responding to the acoustic archaeologist Umashankar Manthravadi. The project travels to Alserkal Arts Foundation (2021-22) and encompasses ‘Coming to Know', a discursive programme with Brooke Holmes; ‘A Supplementary Country Called Cinema,’ a film programme with Surabhi Sharma; and An Archaeology of listening, a publication series with Archive Books. She previously co-curated La presencia del sonido at Botín Foundation (2012), was part of the exhibition Anarchéologie at Centre Pompidou (2017) and has a collection of writing on listening. Ghouse has co-curated Parapolitics: Cultural Freedom and the Cold War (2017) at Haus der Kulturen der Welt and co-edited its accompanying publication (Sternberg Press, 2021).
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Binna Choi is the Director at Casco Art Institute: Working for the Commons, Utrecht since 2008, where she engages with both its artistic programming and the organisational cultural practice as part of the curatorial. This practice follows the path marked by mostly longterm, trans-disciplinary, and collaborative projects like Composing the Commons (2013–16) with the extended team of Casco consisting project-exhibitions such as Site for Unlearning (Art Organization) (2014–18) with Annette Krauss, We Are the Time Machines: Time and Tools for Commoning (2016), and New Habits (2014) with commissions for new works, research groups, publishing and networks like Arts Collaboratory and Cluster, and The Grand Domestic Revolution (2010–12) with Maiko Tanaka, Yolande van der Heide and many others. The latest programmes under her directorship and co-curatorship include Parasite Lottery by Wok the Rock, The Library of Unread Books by Heman Chong and Rene Staal, Army of Love by Ingo Niermann and Dora Garcia, four solo exhibitions in one (Babi Badalov, Ansuya Blom, Ama Josephine Budge, Mire Lee), Het is of de stenen spreken (silence is a commons). Longterm, collective projects such as Travelling Farm Museum of Forgotten Skills with the Outsiders, Unmapping Eurasia with You Mi, and the annual Assembly for commoning art institutions, and the infrastructural project under development Commons.art with Yin Aiwen, are amongst the ways to de/re instituting at Casco in light of the commons./p>
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June Yap is the Director of Curatorial & Collections at Singapore Art Museum, where she oversees the museum’s exhibitions and curatorial programmes. Her prior roles include Guggenheim UBS MAP Curator (South and Southeast Asia), Deputy Director and Curator at the Institute of Contemporary Arts Singapore, LASALLE, and curator at the Singapore Art Museum. Amongst exhibitions she has curated are: The Gift for Singapore Art Museum presented at National Gallery Singapore (2021) as part of the transregional curatorial collaboration, Collecting Entanglements and Embodied Histories; They Do Not Understand Each Other co-curated with Yuka Uematsu from National Museum of Art, Osaka, at Tai Kwun Contemporary, Hong Kong (2020); No Country: Contemporary Art for South and Southeast Asia as part of the Guggenheim UBS MAP Global Art Initiative at the Solomon R. Guggenheim Museum, New York (2013), Asia Society, Hong Kong (2013) and NTU Centre for Contemporary Art Singapore (2014); The Cloud of Unknowing for the Singapore Pavilion, 54th Venice Biennale with artist Ho Tzu Nyen (2011); The Future of Exhibition: It Feels Like I’ve Been Here Before at the Institute of Contemporary Arts Singapore, LASALLE (2010); Paradise is Elsewhere at Institut für Auslandsbeziehungen, Stuttgart and Berlin (2009); media art exhibitions Twilight Tomorrow and Interrupt at the Singapore Art Museum (2004 and 2003, respectively).
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