The seventh edition of the Singapore Biennale opened to the public on Sunday, October 16, and it’s anything but expected. Organized by the Singapore Art Museum and commissioned by the National Arts Council, Singapore, the biennale will operate for the next five months under a different sort of name: Natasha. Through this act of naming, the four Co-Artistic Directors (Binna Choi, Nida Ghouse, June Yap, and Ala Younis) hope to move away from the common perception of a biennale as a mega-thematic exhibition, instead imagining Natasha as an intimate and collective journey with artists, collaborators, and audiences.

Conceived as a series of exploratory spaces for audiences to wander through and rest in, Natasha takes place in a variety of locations beyond traditional gallery settings. Visitors can experience art at sites like Tanjong Pagar Distripark, the Southern Islands, International Plaza, the Singapore Flyer observation wheel, and 22 Orchard Road (one of the city’s old shophouses), as well as everyday spaces like regional libraries and Yan Kit Playfield.

Journey to Sentosa, Lazarus Island, and St. John’s Island — three of the eight Southern Islands off the coast of Singapore — to experience six artistic projects that grapple with humanity’s relationship to nature, social practices, and myths. These include “KĪPUKA (for Natasha)” by the mother-son duo Maile Meyer and Drew Kahuʻāina Broderick, which brings together offerings from an intergenerational group of collaborators and friends inside an altered shipping container; Donghwan Kam’s “Fermentation House”, miniature house sculptures where soya sauce is fermented using an underground technique; and Singaporean artist Zarina Muhammad’s “Moving Earth, Crossing Water, Eating Soil,” a multi-faceted installation accompanied by several on-site workshops, tours, and performances in which audiences can participate.

Η συνέχεια εδώ.