Conversation: NTU CCA Singapore International Advisory Board Members
(L–R) Doryun Chong, Catherine David, Professor Nikos Papastergiadis, Philip Tinari, and Professor Ashley Thompson
Conversation: NTU CCA Singapore International Advisory Board Members
27 Oct 2018 - 27 Oct 2018  1.00 – 5.00pm
The Single Screen, Block 43 Malan Road

with Doryun Chong, Deputy Director and Chief Curator, M+, Hong Kong; Catherine David, Deputy Director in charge of Research and Globalisation, MNAM/CCI, Centre Pompidou, Paris; Professor Nikos Papastergiadis, Director, Research Unit in Public Cultures and Professor, School of Culture and Communication, The University of Melbourne; Philip Tinari, Director Ullens Center for Contemporary Art, Beijing; and Professor Ashley Thompson, Hiram W. Woodward Chair, Southeast Asian Art and Chair, South East Asian Studies, SOAS University of London; chaired by Professor Ute Meta Bauer, Founding Director, NTU CCA Singapore and Professor, School of Art, Design and Media, NTU

NTU CCA Singapore takes its five-year anniversary as an opportunity to invite the newly-appointed International Advisory Board (IAB) members to a public discussion on art institutions, missions and visions, and potentialities for change. Having their own institutions as case studies and being placed within a global perspective, the panelists will share thoughts on the role of a national research centre such as NTU CCA Singapore within the local arts ecosphere. How does it function as a practical and social construction for a community? What are the current concerns it should address?



Doryun Chong (South Korea/Hong Kong) is Deputy Director & Chief Curator at M+, a new museum of visual culture, which will open its Herzog and de Meuron-designed building in 2020 in the West Kowloon Cultural District in Hong Kong. Appointed as the inaugural Chief Curator in 2013, Chong oversees all curatorial activities and programs including acquisitions, exhibitions, learning and public programs, and digital initiatives encompassing the museum’s three main disciplinary areas of design and architecture, moving image, and visual art. Some of the exhibitions he has curated at M+ include Mobile M+: Live Art, Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice (both 2015), and Noguchi for Danh Vo: Counterpoint (forthcoming 2018). Prior to joining M+, Chong worked in various curatorial capacities at the Walker Art Center in Minneapolis (2003­–2009) and MoMA, New York (2009–2013).

Catherine David (France) is a French art historian, curator, and museum director. She studied Linguistics, Literature and History of Art at the Université de la Sorbonne and the École du Louvre in Paris. From 1982 to 1990, David was Curator at the Musée National d’Art Moderne, Centre Georges Pompidou and from 1990 to 1994, Curator at the Galerie Nationale du Jeu de Paume, Paris. From 1994 to 1997, David served as Artistic Director for Documenta X in Kassel, Germany (1997), and from 1998 she has been Director of the long-term project Contemporary Arab Representations, which began at the Fundació Antoni Tàpies in Barcelona. Between 2002 and 2004, David was Director of the Witte de With Center of Contemporary Art in Rotterdam in the Netherlands. She currently works as Deputy Director of National Museum of Modern Art, Paris.

Nikos Papastergiadis (Australia) is the Director of the Research Unit in Public Cultures, based at The University of Melbourne. He is a Professor in the School of Culture and Communication at The University of Melbourne and Founder – with Scott McQuire – of the Spatial Aesthetics research cluster. He is Project Leader of the Australian Research Council Linkage Project, “Large Screens and the Transnational Public Sphere,” and Chief Investigator on the ARC Discovery Project “Public Screens and the Transformation of Public Space.” His long involvement with the groundbreaking international journal Third Text, as both co-editor and author, was a formative experience in the development of an interdisciplinary and cross-cultural research model, which continues to inform his research practice. His publications include Spatial Aesthetics: Art Place and the Everyday (2006), and Cosmopolitanism and Culture (2012). He is also the author of numerous essays, which have been translated into over a dozen languages and appeared in major catalogues such as the Biennales of Sydney, Liverpool, Istanbul, Gwangju, Taipei, Lyon, Thessaloniki, and Documenta 13.

Philip Tinari (United States/China) has served as Director of UCCA, China’s leading independent institution of contemporary art, since late 2011, assuming the title of Director in 2017. During his tenure, he has led its transition from a founder-driven private museum into an accredited museum and foundation. He has mounted more than 70 exhibitions, introducing key international figures and tracking China’s evolving art scene through retrospectives and surveys of leading established and emerging Chinese artists. In 2009, he launched LEAP, an internationally distributed, bilingual art magazine published by the Modern Media Group. From 2006 to 2009 he wrote for and helped to launch an online Chinese edition of Artforum, where he remains a contributing editor. Tinari was Co-curator, with Alexandra Munroe and Hou Hanru, of the exhibition Art and China after 1989: Theater of the World, which opened at the Solomon R. Guggenheim Museum, New York, in 2017 and traveled to the Guggenheim Museum Bilbao and the San Francisco Museum of Modern Art. Tinari is a Young Global Leader of the World Economic Forum and a Fellow of the Public Intellectuals Program of the National Committee on US-China Relations. Fluent in Mandarin and resident in Beijing since 2001, Tinari holds degrees from Duke and Harvard, and is currently completing a doctorate in art history at Oxford.

Ashley Thompson (United Kingdom) is Hiram W. Woodward Chair in Southeast Asian Art at SOAS University of London, where she leads the Research and Publications division of the Southeast Asian Art Academic Programme. She is a specialist of Cambodian cultural history, with a focus on classical and pre-modern arts and literatures. Objects of analysis include sculpture, ritual practices and texts, as well as other forms of fine and performing arts. The Cambodian case is informed by research on the larger South and Southeast Asian context with a view to theorising politico-cultural formations. Formative experiences include working under Hélène Cixous for her PhD, under Vann Molyvann for the creation of a Cambodian national management structure for Angkor, and with the Théâtre du Soleil and Phare Ponleu Selpak on the direction of a Cambodian production of Cixous’ Terrible but Unfinished Story of Norodom Sihanouk, King of Cambodia. Recent publications include Engendering Cambodia: Territory, Sovereignty and Sexual Difference in the Inventions of Angkor (2016); “Hiding the female sex: a sustained cultural dialogue between India and Southeast Asia” (2017); “Emergenc(i)es: History and the Auto-Ethnographic Impulse in Contemporary Cambodian Art” (2017).


A public programme of Stagings. Soundings. Readings. Free Jazz II.
NTU Centre for Contemporary Art Singapore (NTU CCA Singapore)
Exhibitions: Block 43 Malan Road, Gillman Barracks, Singapore 109443. Research Centre and Office: Block 6 Lock Road, #01-09/10, Gillman Barracks, Singapore 108934

Exhibition Hours
Tue - Sun: 12.00 - 7.00pm
Fri: 12.00 - 9.00pm
Mon: Closed
Open on Public Holidays
Free Admission

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