ExxonMobil Campus Concerts |  |
Dance Uncensored 2012 Free Admission. Tickets available at the door (on a first-come-first-served basis) 1 hour before showtime. The audience capacity for UCC Theatre is 400. |
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Dance Uncensored brings the best dance talents from across the six NUS Halls of Residences. Young performers cut loose and raise some hell for a completely spontaneous evening of dance, movement, bright lights, and colourful costumes. | |
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Unplugged Sessions Free Admission. |
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Upcoming chanteuse Natalie Hiong performs chart hits and original songs from her EP Little Heart, which chronicles a young lady’s journey through love’s ups and downs. Through Natalie’s jazz- and rock-influenced pop, from her soft, elegant melodies (Perfect) to upbeat, head-bopping tracks (Part Of Me Wonders), don a youthful optimistic view of the world seen from the eyes of the timeless romantic. | |
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Vancouver Piano Ensemble in Concert Free Admission. Tickets available at the door (on a first-come-first-served basis) 1 hour before showtime. Limited to two tickets per patron. The audience capacity for UCC Theatre is 400. Each hailing from different countries and soloists in their own right, members of the Vancouver Piano Ensemble share a passion for the beautiful, rarely performed music of the multi-piano genre. From Rossini to Liszt, von Suppé to Saint-Saëns, the Ensemble will play original and classical works for up to two pianos. The evening includes a guest performance by NUS Piano Ensemble with works by Shostakovich and Mozart. Concert Programme: (arr. Th. Herbert) (arr. Busoni) (arr. L. Roques) (arr. E. Kronke) Read more about the Ensemble at their official site here.
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Exhibitions at NUS Museum | |
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Capturing the Straits 9 February 2012 to 31 July 2012 Visitors are required to sign up in advance for heritage tours which fall on Mondays 2pm - 3pm, Tuesdays 6.30pm - 7.30pm, Thursdays 10am - 11am & Saturdays 11am - 12pm. For enquiries, please visit here, call [65] 6227 5731 or email babahouse@nus.edu.sg.
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This exhibition brings together paintings of the Straits Settlements by Charles Dyce who was a resident of Singapore in the 1840s, and postcard views of Malacca dating to the early half of the 20th century. As visual sources, they collectively provide a window into the production and reception of landscapes in colonial Malaya, underpinned by new encounters, negotiations with pictorial conventions, and evolving regard of Malaya as a transformative space.
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PRINTS prep-room 8 February 2012 to 30 June 2012
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A space exploring the woodblock print medium as the subject and material for production, dissemination and consumption; Reproduction of prints by Choo Keng Kwang, Foo Chee San, Koeh Sia Yong, Lim Mu Hue, See Cheen Tee, Shui Tit Sing and Tan Tee Chee are made available for teaching and learning.
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Family Intimacies Till 8 April 2012
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Family Intimacies by photographers Anderson & Low is a visual documentation of Edwin Low’s global family. While the project serves as a tribute to the Low “Lau” family, it brings into light the different themes of memory, place, and identity.
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Camping and Tramping Through the Colonial Archive: Till 2 Dec 2012
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The term Camping and Tramping is inspired by a lesser known 19th century document compiled by a British officer describing the field work and travails of his time with the colonial office in Malaya. Documents such as these, along with colonial institutions, sought to fill a void in terms of Orientalist knowledge available for a colonist or itinerant audience interested in the region. Aggregating such texts which make up the colonial archive, this exhibition traces the rise of the Museum in British Malaya not just as an indicator of power over what was gazed upon as the exotic but by acknowledging that the very advent of the Museum resulted in a staging ground for a project of accumulation and the ordering of knowledge. Mobilizing artefacts from the Raffles Museum and Library (established 1874) and the University Art Museum, Malaya (established 1955), the exhibition offers the question of the Museum in Malaya as evolving propositions expressed through shifting concepts of colonial knowledge, its responses to emerging contingencies of colonial politics and eventual decolonisation, and changing regard for its publics and their aspirations. Collecting, documenting, ordering, preserving and displaying - functions declared and sustained - are tasks made complex by such contexts. Birth, transformation and end of institutions render collections and documents as dynamic sets of archives that are mobile and regenerative, opened to newer meanings and claims. The exhibition is divided into the following sections: • The Museum as Idea As reminders of how individuals in the region have laid claim to the colonial archive, the gallery also sites the practices of two post-colonial figures, Mohammad Din Mohammad and Dr. Ivan Polunin. Mohammad Din was a Singapore artist, traditional healer and collector who held that his works contained talismanic potentials. Arriving in Malaya from England in 1948, Dr. Polunin taught Social Medicine at the then University of Malaya. In an adventurous career that began with the filmic documentation of tropical diseases, Dr. Polunin’s ethnographies grew to encompass hundreds of hours of film footage on Malaya’s eclectic sociocultural practices and its rich biodiversity. Writings and artefacts have been mobilized from the Raffles Museum of Biodiversity Research (NUS), NUS Museum, Asian Civilizations Museum, National Museum of Singapore, National Library Board Singapore, Singapore Press Holdings, Singapore National Archives, and the Ivan Polunin and Mohammad Din Mohammad collections. [Image credit: Raffles Museum of Biodiversity Research Collection. Photo by Nurul Huda] | |
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The Sufi and the Bearded Man: Till April 2012
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This exhibition re-members the keramat of a 19th century Sufi traveler from the Middle East who lives on in contemporary Singapore through her miracles and her shrine which was recently removed. Re-membering the keramat has involved a two-year long project of collaborating with Ali, an intermediary of the Sufi and custodian of the masoleum referred to by fellow devotees as "the bearded man". These conversations culminated in the keramat and its life-worlds entering a museum, a transition animated by the display of photographic evidence, material remains or artifacts, anecdotal histories and related documents. Considering alternative ways to recount and understand heritage, The Sufi and the Bearded Man, calls attention to devotional culture, lesser-heard narratives and esotericism in Singapore. [Image credit: Nurul Huda, Singapore 2010] | |
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Sculpting Life: The Ng Eng Teng Collection Ongoing
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Ng Eng Teng (1934 – 2001) was a painter and potter by training but is most recognised for his sculptural pieces featuring humanist themes. A beneficiary of the artist's generous donations, NUS Museum has over 1,000 of Ng's works including sketches, paintings, maquettes, sculptures, figurines and pottery. An archival display-cum-exhibition, the presentation is divided into three sections – The Formative Years, Body/Form/Perspectives, Materials/Processes/Public Works – exploring a range of biographical, stylistic and thematic interests. The presentation surveys the breadth and depth of Ng’s oeuvre and encourages further research and dialogue on the artist, his productions and facets of the era in which he lived and worked. [Image: Ng Eng Teng, Acrobat, 1988, Ciment fondu, paint] Click here for the exhibition brochure in PDF format. | |
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Ways of Seeing Chinese Art Ongoing
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Ways of Seeing Chinese Art features over 200 objects including ceramics, jades and bronzes from the Lee Kong Chian Collection. The exhibition presents a comprehensive history of Chinese ceramic art with more than 100 ceramic pieces dating from prehistory to the early 20th century, representing wares produced by major kilns in China. [Image: Polychrome Jar with Floral Motif, Late Ming (17th C), Jingdezhen Ware, Jiangxi] Click here for the exhibition brochure in PDF format. | |
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NUS Baba House Ongoing Visits are by appointment only.
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Baba House is a heritage house which facilitates research and learning about the Peranakan community and its evolution. It exhibits the community’s material culture in a domestic context, providing the unique experience of visiting a Straits Chinese family home dating back to the early 20th century. The Baba House aims to promote a wider appreciation of the Peranakan identity, history and culture, as well as architectural traditions and conservation efforts in Singapore. The Gallery on the third floor hosts temporary exhibitions featuring various Peranakan themes. | |
