Mapletree is a leading real estate development, investment, capital and property management company headquartered in Singapore. Its strategic focus is to invest in markets and real estate sectors with good growth potential. By combining its key strengths, the Group has established a track record of award-winning projects, and delivers consistent and high returns across real estate asset classes.

Mapletree currently manages four Singapore-listed real estate investment trusts (REITs) and six private equity real estate funds, which hold a diverse portfolio of assets in Asia Pacific, the United Kingdom (UK) and the United States (US).

As at 31 March 2018, Mapletree owns and manages S$46.3 billion of office, retail, logistics, industrial, residential, corporate housing / serviced apartment, and student accommodation properties.

The Group’s assets are located across 12 economies globally, namely Singapore, Australia, China, Germany, Hong Kong SAR, India, Japan, Malaysia, South Korea, the UK, the US and Vietnam. To support its global operations, Mapletree has established an extensive network of offices in these countries.

For more information, please visit www.mapletree.com.sg.

Located in Gillman Barracks, the NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) is a national research centre of Nanyang Technological University and is supported by a grant from the Economic Development Board. The Centre is unique in its threefold constellation of research and academic programmes, international exhibitions, and residencies, positioning itself as a space for critical discourse and diverse forms of knowledge production. The Centre focuses on Spaces of the Curatorial in Singapore, Southeast Asia, and beyond, as well as engages in multi-layered research topics.

Since its inauguration in October 2013, the NTU CCA Singapore has developed into an influential institution encompassing research-based artistic practices of international scope, curatorial education, and public programmes to delve into the complexities of the contemporary art field.

For more information, please visit http://ntu.ccasingapore.org/

ZULKIFLE MAHMOD (b. 1975, Singapore)

Sonic Pathway, 2017

Sound installation: copper pipes, 512 solenoids, microcontrollers, speakers
L1000 x W250 cm; L900 x W450 cm; L900 x W450 cm

About the Artwork

Sonic Pathway engages sound as a medium for representing urban conditions in flux. The installation consists of copper pipes and an orchestration of sound made by more than 500 pieces of solenoids (electromagnets that generate a controlled magnetic field) hitting on the pipes. Accompanied by ambient sound recorded and remixed by the artist, the resulting composition corresponds to the acoustic of the pathway, travelling from one end to the other. A kind of anonymity reverberates through the piece – it is a borderless territory designed for listening. Bodies and movements along the pathway intervenes the aural architecture, becoming both the transmitter and transmitted, creating a dialogue with the space. The passage becomes live and interactive.

About the Artist

Zulkifle Mahmod is at the forefront of a generation of sound-media artists in Singapore’s contemporary art development. Adopting a multi-disciplinary/multi-genre approach that includes drawings, prints, sculptures, and ready-mades, Mahmod has exhibited widely in Asia and Europe, and performed at numerous festivals and events. In 2017, his work was included in a major exhibition, SUNSHOWER: Contemporary Art from Southeast Asia 1980s to Now National Art Center and Mori Art Museum, Tokyo.

YINKA SHONIBARE MBE (b. 1962, London, United Kingdom)

Wind Sculpture I, 2013

Sculpture: steel armature with hand painted fiberglass resin cast
L340 x W80 x H610 cm

About the Artwork

Wind Sculpture I examines how history and trade influence culture but also how natural elements, such as wind, still have an impact on our activities. The fabric pattern used on the work has a complex history in its trade routes: originally designed as an Indonesian fabric and produced by the Dutch, it was sold by the British to the African market in the 19th and early 20th century, “a perfect metaphor for multi-layered identities.” The work, in the shape of the sails, captures the wind to produce something tangible out of the intangible. Here, “something as insignificant as a breeze is turned into something monumental, while a historical time period is made universally ambivalent,” alluding to the countless headless monuments that portray a larger historical moment.

About the Artist

Yinka Shonibare MBE, an artist of African descent, was born in London and grew up in Nigeria, returning to London only in his late teens. His work explores issues of colonialism and post-colonialism within the contemporary context of globalisation, as well as race and class. Mixing Western art history and literature, he questions the construe of collective contemporary identity and its meaning within cultural and national definitions. His works are in prominent collections including the Tate, London; Victoria and Albert Museum, London; National Museum of African Art, Smithsonian Institute, Washington D.C.; Museum of Modern Art, New York; National Gallery of Canada, Ottawa; Moderna Museet, Stockholm; National Gallery of Modern Art, Rome; and VandenBroek Foundation, Netherlands. Shonibare was nominated for the 2004 Turner prize, the most prestigious annual art prize in United Kingdom, and was awarded the decoration of Member of the “Most Excellent Order of the British Empire” (MBE).

TOMÁS SARACENO (b. 1973, San Miguel de Tucumán, Argentina)

Stillness in Motion – 3 Airborne Self-Assemblies, 2017

Installation: steel frame, reflective panels, steel wire
L2375 x W1600 x H1150 cm

About the Artwork

Taking architecture as representation of human inhabitation, Stillness in Motion – 3 Airborne Self-Assemblies is a response to the growing inhabitability of the earth. Inspired by the structure and functionality of a spider web, the work “fosters imagination towards airborne living and habitats of the future.” These utopian trajectories, informed by the fields of art, architecture, and science, catch and redirect the visitors’ gaze towards a myriad of reflective patterns, mirroring and echoing the environment. With its airy feature and suspended character, reflective layers, and transparent components, the work aims to be a point of observatory where gazes of visitors and passers-by are caught and redirected towards a myriad of reflective patterns, mirroring and echoing the environment.

About the Artist

Formally trained as an architect, Tomás Saraceno draws on art, architecture, natural sciences, astrophysics and engineering in his practice. His floating sculptures, community projects, and interactive installations propose and explore new, sustainable ways of inhabiting and sensing the environment. Over the past decade, he has initiated collaborations with renowned scientific institutions, including the Massachusetts Institute of Technology, Max Planck Institute, the Nanyang Technological University of Singapore, and institutions of the Exhibition Road Cultural Group. For many years, Saraceno has studied the methods by which various species of spider construct their webs and has incorporated this knowledge about their functionality and aesthetics into his own artistic practice. He was the first person to scan, reconstruct, and reimagine spiders’ weaved spatial habitats and possesses the only three-dimensional spider web collection in existence. His work is included in the collections of the Museum of Modern Art, New York; SFMOMA, San Francisco; Walker Art Center, Minneapolis; Nationalgalerie, Staatliche Museen zu Berlin, Berlin; among others.).

DAN GRAHAM (b. 1942, Urbana, Illinois, United States)

Elliptical Pavillion, 2017

Pavilion: two-way-mirror glass, stainless steel
L573 x W665 x H240 cm

About the Artwork

Elliptical Pavillion explores the relationship between artwork, viewer, and landscape. The two-way-mirror glass surface, a material which, relative to sunlight, is simultaneously reflective and transparent, superimposes images of the spectators and the landscape onto each other. The images merge and a “mirage” of overlapping bodies and landscape is created, making the pavilion both a device for a shared perceptual experience as well as a “fun-house.” Dan Graham’s glass and mirrored pavilions are instruments of reflection, both visual and cognitive, and highlight keen observations of elements of design in the built world. Poised between sculpture and architecture, the pavilions draw attention to buildings as instruments of expression, psychological strongholds, markers of social change, and prisms through which we view others and ourselves.

About the Artist

Since the late 1960s, Dan Graham has been investigating, through his artistic works, the relationship between architectural environments, its inhabitants and its users. His diverse practice, which encompasses writing, photography, video, performance, and the creation of sculptural environments, has influenced generations of artists. He has had retrospective exhibitions at prestigious museums and art centres around the world, most recently at the Red Brick Art Museum, Beijing (2017) and Columbus Museum of Art, Ohio (2016).