NTU IPA 2017 SUBMISSION FORM
All photographers must submit their work online. Prints are not accepted as part of the competition.
Please complete all required fields in the submission form below.
Single Image – Submissions will be judged based on each, individual image
Series – Submissions will be judged based on the series of a minimum of 5 images
Digital images submitted should be saved as .jpg, in sRGB format and not exceed 2 MB per file, at 72dpi. All images must follow this format of naming, in lowercase: lastname_firstname_number.jpg
For example: James Tan entering 3 images –
tan_james_01.jpg, tan_james_02.jpg, tan_james_03.jpg
For submissions to the series category, place all images in a zip folder for upload. The zip folder containing all images should not be larger than 20MB.
Winners will be required to submit high-resolution image files to be printed for the Winners’ Showcase. High-resolution files should be at least 4,800 pixels at its shortest dimension, (approx. 50 cm x 40 cm size), and must be of exhibition quality.
Both photographers and filmmakers are welcome to submit related time-based works, no longer than 4:00 minutes in duration. Entries to this category must be submitted as a video – a URL link to the video, along with 5 still images from the video, should be uploaded. An entry to the Moving Image category is not eligible to be considered in any other category. These pieces may be short films, slideshows, music videos, etc., and may include dialogue and/or music.
Moving images submitted should be uploaded onto Vimeo or any other video-sharing platform and set to private with a link to the uploaded video attached to the submission. If there is a password to access the uploaded video file, please include it in the submission form under section C, in field C2 Entry Description.
YOUR ENTRY SUBMISSION IS SUCCESSFUL
WE WILL GET BACK TO YOU SHOULD THERE BE ANY PROBLEMS WITH YOUR ENTRY
WINNERS WILL BE NOTIFIED THROUGH EMAIL BY OCTOBER 2017
ABOUT NTU IPA 2017
The NTU International Photography Awards (NTU IPA) 2017 is jointly organised by Nanyang Technological University (NTU) and National Geographic Live Singapore (NatGeo Live). Taking the form of a biennial competition, it reaches out to imagemakers around the world and encourages amateur and professional photographers to contribute creative works in the forms of photography and moving images surrounding a central theme.
The NTU International Awards aims to establish itself amongst the best and the noted awards for photography, making it an annual event for the global community to look forward to in the future.
ART AND SCIENCE
The theme of NTU IPA 2017 is Art, Science and the Image and we are looking for imaginative works where artistry and scientific interests collide. Science has long inspired art and artists, especially in the realm of photography. From the mechanical conceptions of the camera obscura to the chemistry-heavy analogue photography processes, photographers of the past have shown how they harnessed the scientific zeitgeist of their times to advance their art. Fast forward to the 21st century and we see how science and technology have integrated seamlessly into our everyday lives. The ways in which art can engage with science are broadening and we are looking for fresh ideas and explorations that exhibit this crossover.
ABOUT THE COMPETITION
The competition is free to enter and open to all photographers. We welcome international submissions to three categories: Single Image, Series and Moving Image, under the Open and Student divisions. There will also be a special prize for 360° still images to be announced at a later date. The prestigious award comprises a total of SGD$46,500 (USD 30,000) in prize money and sponsored top-tiered cameras. The best submissions, selected by our panel of esteemed judges, will also be showcased in an exhibition held over December 2017 and January 2018, at the prime venue of School of the Arts (SOTA).
categories & prizes
The theme of NTU IPA 2017 is Art, Science and the Image and we are looking for imaginative works where artistic quality and scientific interests collide. We welcome international submissions to three categories: Single Image, Series and Moving Image, under the Open and Student divisions.
There will also be a special prize for 360° photography to be announced at a later date.
All prizes are in Singapore Dollar (SGD).
The NTU IPA competition is open to any living photographer, 18 years of age or older, from any country.
Submission of images will only be open from 15 May to 31 August 2017. All entries must be received by 2359 hrs GMT+8 on 31 August 2017.
Only shortlisted finalists and winners will be contacted by email.
Entry to the competition is free. Each participant is only allowed one submission to each category, under one division.
There are two divisions photographers may submit their works under, Open and Student.
The Open division welcomes all photographers, amateur and professional, from around the world.
The Student division welcomes all students from around the world, full-time or part-time, as of the submission deadline, 2359 hrs GMT+8 on 31 August 2017. A student studying any subject can qualify.
IDENTIFYING MARKS AND SIGNATURES
No signature, stamp or any other identifying mark is allowed anywhere on the entry.
USE AND OWNERSHIP OF IMAGES
Entrants warrant to the organisers that they own the work submitted, that the whole copyright in the work is vested in the Photographer or, if the copyright belongs to a third party such as an agency, that the Photographer has the right to submit the work free from encumbrances or restrictions and that if the work was commissioned for private and domestic purposes, it is submitted with the permission of the person who commissioned it.
Entrants warrant that, if their work is selected for exhibition, they have obtained the appropriate model releases from persons featured in their submitted photographs for all sales, marketing, educational and publicity uses and that no additional releases are required in respect of names, trademarks, designs or works of art depicted in the work.
Copyright and all other rights remain that of the photographer. Any photograph used by NTU IPA shall carry the photographer’s credit line. Use may include publication in any NTU IPA media sponsor publication. All entrants understand that any image submitted to the competition may be used by NTU IPA for marketing and promotional purposes including in any media such as exhibitions, print and digital media directly related to the NTU IPA competition, without further monetary compensation. Such free use shall only be in connection with the NTU IPA and its promotion. By winning or placing in the competition you are agreeing to be included in the winners’ exhibition and catalogue.
Entries may be disqualified if any of the above criteria are not adhered to. The judges’ decision is final.
Neither the Nanyang Technological University International Photography Awards, Nanyang Technological University, National Geographic Live Singapore, nor their associates, affiliates, or partners assumes any responsibility for photos submitted in violation of competition rules, or for those which violate copyright regulations. NTU IPA will investigate claims of copyright infringement to the best of its ability, and will remove and disqualify images that are clearly demonstrated to violate copyright and/or competition policies. NTU IPA will act to maintain the integrity of the competition and its affiliated entities, but is not responsible for any damages resulting from images submitted in violation with rules and regulations.
We are honoured to present our panel of jury, comprising of four esteemed judges who are exceptional in their fields of expertise.
Gwen Lee (SG), Artistic Director and Co-founder of the Singapore International Photography Festival and DECK
Gwen Lee co-founded the Singapore International Photography Festival in 2008 that is entering its 5th biennale edition in September 2016. In 2014 Lee co-founded DECK, an independent container art space in Singapore.
After 6 years of experience in the museum industry, Gwen Lee and her partners founded 2902 Gallery in 2008, a space in Singapore dedicated to photography. Under her directorship, 2902 Gallery is instrumental in showcasing contemporary Southeast Asian photography in Singapore and international art fairs. In 2010, she was nominated and awarded the Japanese Chamber of Commerce and Industry Culture award for her contribution to the art scene in Singapore. Lee has also contributed her time as an arts assessor and grant reviewer with the National Arts Council. In 2013, Lee attended a curatorial study trip in Germany organised by the Goethe Institut (Singapore) and organised a Singapore showcase at Lianzhou Photo Festival in China. She has curated various photography showcases in Asia, and has been invited as a jury member in Europe & Asia, and has been participating actively as a portfolio reviewer in UK, China, Korea, Japan and Singapore.
Yumi Goto (JP), Photography Curator, Editor, Researcher, Educator, Consultant and Publisher, also co-founder and curator for the Reminders Photography Stronghold in TokyoYumi Goto is an independent photography curator, editor, researcher, consultant, educator and publisher who focuses on the development of cultural exchanges that transcend borders.
She collaborates with local and international artists who live and work in areas affected by conflict, natural disasters, current social problems, human rights abuses and women’s issues. She often works with human rights advocates, international and local NGOs, humanitarian organizations and as well as being involved as a nominator and juror for the international photographic organizations, festivals and events. She was also one of the judges for the 2017 World Press Photo Contest.
She is currently based in Tokyo and also a co-founder and curator for the Reminders Photography Stronghold which is curated membership gallery space in Tokyo enabling a wide range of photographic activities.
Munem Wasif (BD), photographer and one of the curators of Chobimela VII, International Festival of Photography. Munem Wasif’s stark black & white photography investigates complex social and political issues with a traditional, humanistic language, by getting close to the people, physically and psychologically, dealing with multiple questions and contradictions. Expressionistic in style and long-term in method, Wasif often experiments beyond the tradition, tests the possibilities of fiction, by borrowing a familiar documentary language. His interest is often on the concept of ‘documents’ and ‘archives’ and it’s influence on addressing politically and geographically complex issues. Teaching and collaborating with a new generation artists and curating experimental works is an organic and integral part of his own personal works, which keeps him on the edge of experimenting and extending the mediums, including video and sound.
Wasif won ‘Bengal Practice Grant’ (2015), ‘City of Perpignan Young Reporter’s Award’ (2008) at Visa pour l’image. Prixpictet commission (2009), F25 award for concerned photography from Fabrica (2008), Joop Swart Masterclass (2007). His photographs have been published in Le Monde, Sunday Times Magazine, Geo, Guardian, Politiken, Mare, Du, Days Japan, L’espresso, Libération, Wall Street Journal and many others. He had exhibitions worldwide including, Musee de elysee & Fotomuseam Winterthur in Switzerland, Kunsthal museum & Noordelicht festival in Netherlands, Angkor Photo festival & Photo Phonm Phen in Cambodia, Whitechappel Gallery in England, Palais de Tokyo & Visa pour l’image in France and Chobimela in Bangladesh.
Since 2008, he is represented by Agence Vu in Paris. He was one of the curators of Chobimela VII, International Festival of Photography. Recently he published his book on Old Dhaka by Clémentine de la Féronnière from France.
Silke Schmickl works as a curator at the National Gallery Singapore and is the co-founder of the curatorial platform Lowave. She studied Art History, French Literature and International Communications in Munich and Paris where she graduated from Panthéon-Sorbonne University. A specialist in contemporary photography, video art and experimental film, she has been a researcher at the German Art History Center for 15 years and has published over 60 art DVDs for Lowave. She has initiated and directed various research projects dedicated to emerging art scenes including the Middle East, Africa, India, Turkey and Singapore. Since 2008, she has curated contemporary art exhibitions in partnerships with museums and biennials in Singapore, Paris, Guangzhou, Beirut and Düsseldorf.
The NTU IPA Winners’ Showcase will be held from 15 December 2017 to 14 January 2018.
SOTA Gallery, Level 2, School of the Arts Singapore
1 Zubir Said Drive, Singapore 227968
12pm - 8pm daily
Winning Entries 2017
Simone Arrigoni (IT) — STARt. Look beyond
Dark matter is not observable, yet it most likely exists. That's what recent astrophysics studies tell us, as scientists can detect its gravitational effects in the Universe even though they cannot directly observe it.
The very name assigned to this mysterious matter gives us something to consider: the fact that something is not 'visible' does not imply that it does not exist. Our limits often prevent us from perceiving things that actually exist, so, both in everyday life and scientific research, it is essential not to judge by appearances, but instead to always try to look beyond them.
The image shows the heart of our galaxy, located in the Sagittarius region. It was taken using a long exposure and astrotracking.
Inspired by the idea of dark matter, as if I wanted to reveal it through my lens, I converted the nucleus of the Milky Way into a negative photo. The stars of the Galactic Centre thus become the focal points of my shot, like the colours on Jackson Pollock’s abstract canvases, reversing reality into abstractionism and demonstrating how the infinite beauty of the Universe is itself Art.
Philipp Schmitt (DE) — Computed Curation
Computed Curation is a photo series created by a computer. Taking the human editor out of the loop, it uses machine learning and computer vision tools to curate a series of photos from an archive of pictures.
Considering both image content and composition — but through the sober eyes of neural networks, vectors and pixels — the algorithms uncover unexpected connections and interpretations that a human editor might have missed.
Machine learning based image recognition tools are already adept at recognizing training images (umbrella, dog on a beach, car), but quickly expose their ﬂaws and biases when challenged with more complex input. In Computed Curation, these ﬂaws surface in often bizarre and sometimes poetic captions, tags and connections. Moreover, by urging the viewer to constantly speculate on the logic behind its arrangement, the series teaches how to see the world through the eyes of an algorithm.
Vinson Phua (SG) — Lest I Forget
Lest I Forget is the exploration of thoughts that went through my mind during a life-changing experience.
This personal photographic work tests and stretches the limits of the medium and explores my fears of losing my memory, a yearning to revisit the past and the present; an obsession to collect and document.
The project also seeks to discover the philosophical nature of photography and the physical representations of the visual image.
Antonia Gruber (DE) — T.T.C.006.2015
The pictures of the series focus on intimate issues such as inner conflict, wrong self-perception, the human psyche and the pressure exerted by the fashion industry. The work aims at blurring the line between classical portrait photography and fashion photography, to place the human body at the heart of the picture. It provides a bird's eye view of the physical and psychological fragility of the human being, illustrating the gap between women's self-expression and the way they perceive themselves. Other recurrent themes include the exploration of the public and private spheres and the social role of women. Thanks to an analogue manipulation, combined with varied techniques developed by the artist, the digital photographs of the series undergo careful disorders which render the psychological turmoil.
Jorge Bagnuoli (UY) — Water Fountain in Salvador de Bahia
Composition of volumes, backlighting and water in this sculptural fountain that represents the curves of the Bahian woman, in the bay of Salvador.
Chung Yen Hsu (TW) — Firecrackers at Master Han Dan
The Bombing of Master Han Dan is the most famous celebration of Lantern Festival in Taitung. In Taiwanese folklore, Han Dan is a god of wealth who is afraid of the cold.
During the parade held during Lantern Festival, a person takes up the role of Han Dan and wears only a red headscarf, an amulet and red shorts. Volunteers carry him in a procession and the residents in Taitung “warm” him with firecrackers and bottle rockets as he passes in a bid to win this god’s favour.
Giorgio Musinu (IT) — The End
The End emphasises the inﬂuence and control that Man exerts on the surrounding environment. There is a multifaceted message about market and system logic as a whole.
Quinn Lum (SG) — “32.5/40” Do Not Go Below This
I was born in a strict family where results always came first. Ever since I was young, I was expected to be the best. I felt like an empty, soulless being, that only aims for good grades.
In this photogram made up of multiple 8”x10” photosensitive paper, it shows my attempt to confront the issues of conformity and freedom through an instinctive and experimental approach to self-portraiture with the science of darkroom technology. The long-drawn process of experimenting has given me the opportunity to taste what it is like to be whole as I continue this path of self-discovery.
Adar Ng (SG) — The Spirit Within
This portrait series begins with the exploration of movement, body and colour in the attempt to capture the intangible qualities of the human form. The portraits unveil the material nature of the body and the lifeforce that resides within it.
Lisa Peh (SG) — hustle.
the grind never stops.
Shao Kai Chng (SG) — Big Brother
The city is always looking; its eyes span far and wide, protecting its citizens in a panopticon. Although surveillance cameras are ubiquitous with everyday life, one may feel uncomfortable with individuals taking their photos in public. In the name of security, we have given up aspects of our privacy. Yet, this privacy is unseeable and unknowable until a camera is directed towards its path. Thus, the question lies in how comfortable are we to be looked upon, be it by strangers' eyes, a rogue camera, or a CCTV. This photo seeks to redirect the camera's attention to itself, and see how individuals interact with their surveyed environments.
Tarun Chouhan (IN) — Deep Water
A father and his son working hard for water in the desert, five miles away from home. Here in the desert, the water is 300 to 400 feet deep. They bring their sheep and pets along. The tanks they use can contain up to 50 litres of water.
Sheung Yiu (HK) — Looks Like Science
Looks Like Science is a photography research project exploring how abstract science concepts are communicated to the public, particularly students, through photographic images. The project investigates the scientific imagery used throughout the history of photography and takes a critical look at how it has affected the way we understand science. By closely examining these images, we can begin to reflect on and improve our way of communicating science, and in addition, explore photography as an expressive and instrumental medium to connect the arts and science. Experimenting with the interplay among photography, graphic design and text, the project explores how meaning is embedded and extracted from photography. Using scientific imagery as an entry point, the project explores the intrinsic ambiguity of photographs, unveiling the tension between photographic intention and visual representation – what is intended to be communicated, what is being communicated and what is understood. As such, the project alludes to an allegory for the limitations of photographic communication.
Yoshikatsu Fujii (JP) — Hiroshima Graph – Rabbits abandon their children
Okunoshima is a small island, only about 4 kilometres wide and a short distance from Takehara city, Hiroshima Prefecture. It gained its reputation as "Rabbit Island" for the immense rabbit population which thrived in the warm climate of the straits after they were released into the wild. But its quaint exterior belies a deadly truth: Okunoshima is also known as "Poison Gas Island." Here, chemical weaponry was manufactured from the second Sino-Japanese War all through World War 2.
The school curriculum harped on peace education to the point of tedium up until this point and had never presented me the opportunity to learn of the dark underbelly of the island's history. Life in Hiroshima showed me only a landscape damaged by the war, where we kept the ambiguous word known only as "peace" close to our hearts in a city known only for surviving the atomic bomb. In contrast, this tiny island in Hiroshima quietly harboured a history of wrongdoing.
Meanwhile, the Japanese government mostly denies it ever used poisonous gas on foreign soil; in fact, they've refused to support the island in any way, choosing instead to draw a curtain over their negative attributes in this regard. Once they finally succumb to the elements, the relics of war remaining here now will be lost to the ages. However, we owe it to our future generations to tell their stories. As a photographer who hails from Hiroshima, I can only hope that my photos can serve to pass on the truth.
Nikita Teryoshin (DE) — Hornless Heritage - German dairy cow in the age of its technical reproducibility
In order to keep up with industrial dairy production, the animals had to be turned into so-called turbo cows — “high performance milk producing machines” — over the course of the last 40 years. Breeders and researchers are already working on hornless cows, although the role horns play in the organism is not fully understood yet.
Lam Pok Yin Jeff (HK) & Chong Ng (SG) — The Untimely Apparatus of Two Amateur Photographers
The progress of the medium of photography has always been an intertwined relationship between art and science, and the way how we perceive and interpret the world has always been shaped by the advancement of technology. The prevalence of digital cameras has made image-making frictionless and photography has become more affordable and seemingly more democratic than ever. However, at the same time, as the camera turns more automatic and intuitive in use, its operation and the predetermined programs within it are more concealed from the users. After all, reality does not just get flattened into an image objectively. Cameras look neutral, because we are all ignorant of the decisions that were made by the designers and manufacturers of the cameras before they reach our hands. The translation of reality into image seems direct because we are ignorant of the process that happens inside the cameras, unaware of exactly how 3-dimensional reality is reduced into a 2-dimension print, or digital data. Cameras play an enormous part in how images are encoded with meaning. As image-making processes and apparatus become more concealed, what appears to be an expansion of freedom is probably a restriction of how new narratives could be created through photography.
This project is an attempt to deconstruct and rethink the fundamental elements of photography through looking at the apparatus, methodologies and the image-making process through the hands of two amateur photographers. Through staged performances and elaborate processes, norms and presupposed ideas surrounding photography are taken to the extreme until they begin to fall apart. Obsolete technologies and everyday objects are reinvented, adapted and radicalised.
Yukari Chikura (JP) — Fluorite Fantasia (Looking for My Father…)
fluorite is a beautiful mineral that catches the light of our star and radiates it back in the darkness of night. my stone was a memento from my father, glowing and enigmatic.
his death was too sudden. before we realized, the cancer attacked from all directions and took him.
all i wanted was to sit down with him and talk about his experiences, ask him about the secrets he carried with him, but before i could gather my will to do so, he was stricken mute, then disappeared into mystery.
why did i have to wait? why did i not put all my effort into living this precious time with him?
after his death i walked with tears behind my eyes and bitterness under my heart.
in the cold beautiful blue stone, innumerable stars glittered and drifted. in a dream i wandered among them, searching.
when i woke up, unexpectedly i found myself in the house where he was a child. it was full of smells and sounds and familiar but cryptic and mystical objects. his presence felt so strong that i thought his voice might come from the next room.
though i am unsure as of why, but i believed, deep inside myself, that i could meet father there. day after day, wandering around in the mystical scenery, i looked for him.
Jack Yong (MY) — Space Project 2088
Dr Sheikh Muszaphar, the first Malaysian individual who travelled to outer space, made a statement that resonated with me until today:
“I looked out through the tiny window – and there it was, the unmistakable third rock from the sun we call Earth, floating in the inky darkness of space. It was more beautiful than I could have imagined. My heart felt like it had stopped beating and my eyes didn’t even blink. I just looked in awe, amazed by the beauty of space. The moment was worth dying for.”
That statement not only triggered my inner childhood dream to go to space, but also refocused my thoughts on what it is to observe space beyond a spatio-temporal dimension of reality.
My understanding of the celestial space lies above me, guided by the abundance of photographs captured using sophisticated satellites and astronomical machines. As my fascination of travelling to space was dismissed by limitations, I engaged a process of alternative vision that progressively shifted my periphery of view to a much familiar landscape and gravity – simultaneously re-channelling my focus to an epistemological foundation.
By entering several space facilities in Malaysia, I’ve garnered photographs that reminds us not just of the representation of these machines and landscapes, as functional objects, but also as an extensive reinterpretation of “space” on Earth.
Daniela Djukic (DE) — (134340)Pluto
In (134340)Pluto I’m dealing with the finding and vanishing of ex-planet Pluto.
As the International Astronomic Union reconsidered the definition of planets, Pluto’s reclassification to a new category of dwarf planets was set. I felt a kind of compassion for Pluto’s demotion from planetary status and decided to further investigate the rocky ice ball. I captured objects, structures and surfaces in a way that the viewer would be able to link the images with Astrophotography. All images were taken under the premise to not point the camera towards the sky.
The project is divided into three chapters.
The first chapter deals with actual science. The second chapter showcases a pseudo-scientific experiment named Melting Pluto in which I recorded the melting process of a miniature Pluto. The experiment refers to a joke astronomers made about Pluto’s size. The longer Pluto was observed, the larger his distance became and Pluto himself became smaller and smaller so that the astronomers were expecting Pluto to suddenly disappear one day.
The third and final chapter consists of images that operate as mental links and associations.
In (134340)Pluto I use the visual language of the early days of Astrophotography. With the help of the collective memory I’m trying to manipulate the viewer’s perception and pretend an authenticity that will expose itself at the end. Finally (134340)Pluto is a work that should question the meaning of images, perception and our easy belief in science and the scientific document.
Marlena Jablonska (PL) — The External World
The External World speaks about objects and events that we experience every day, which we know well, as well as images, whose existence is perceived by the human mind, but which exist independently of the mind.
A suitable structure and arrangement of shots, which depict the events of the world creates spaces, which are not entirely clear, and makes us doubt the reality of these situations. This works very well, because often, the most promising situations are false.
Jonathan Liu (SG) — Layers
This project began with a personal contemplation of the Portuguese term Saudade, working through the concept of how desire is not to simply covet but is sustained by a desire for desire itself, with that it forms an endless cycle, (re)peating and (re)curring.
At some point along the way, I decided to act upon a brief impulse of escaping to Norway for a road trip. Was my decision motivated by the insatiable concept of desire itself?
I remember the trip now, weeks later, through a set of polaroids and a couple hundred photographs. My memory, however, only exists in fragments – comprising of brief moments of lucidity and never in its entirety. Curiously, memory functions much like desire; in a sense, both feed on itself. John Berger explains, “Memory is not unilinear at all. Memory works radially, that is to say with an enormous number of associations leading to the same event.”
Layers refer to the sedimentary nature of memory, a deposition as well as an excavation of layers upon layers. It vehemently rejects linearity, congruity and fixity. (Re)membering occurs at times with a clarity beyond Real. Other times, it appears fleeting and marked by voids – an unerasable erasure.
Each negative was printed multiple times. Each time it was printed, it was destroyed – using both physical and chemical means. The resulting prints are different but they are inherently of the same reality.
Joel Jimenez (CR) — Sunyata
Sunyata is a Buddhist doctrine that talks about how the world around us is free from an immutable intrinsic nature, it’s a space of emptiness, a void.
We build projections in this empty space that determines how we interpret and relate things, believing that the construction of that interpretation or "essence" is rigid. The project is a reflection about the projections of solitude; the silent and contemplative nature of the images provides a place of ambiguity so that the viewer shapes a personal interpretation of the subject.
Through this meditation, we become aware of the multiple nuances of meaning that the subject matter presents and question the social construction and negative connotation that is often projected on the condition of solitude.
Hashem Shakeri (IR) — The Haunted
The issue of the contemporary modern man’s lost sense of identity and human life is one of my main concerns. The Haunted follows my previous project with a more poetic and metaphorical expression. In my previous project, Iran: Multi Piece Identity, I tried to represent the fragmented identity of my fellow countrymen under the current condition where the Iranian government has kept its people away from the concept of the Other by trying to homogenise the society in a totally paradoxical and fragmented mode of existence. In this project, I have no intention to represent the paradoxes in an obvious way but I will approach the lives of people around myself by conceptualising such ideas as estrangement, alienation and confusion.
In the world of the late capitalism, people are like wandering drifters in the hands of fate, estranged bodies emptied out of their souls. This spirit of lostness runs both in people and in the remains of their lives such as houses and roads. In order to concretise my mental image of torn-apart bodies and souls, I have used the recurring motif of identical twins.
In this long-term project, I aim at registering and documenting these decisive moments of alienation and confusion and the remains of lived history, capturing the elusive immediacies of the smallest everyday habits and acts, never seen in the fast pace of mechanical life but turned into the strangest and the strongest experiences as an aesthetic phenomenon.
The Haunted depicts the psychological state of Iranian people stuck in alienation and confusion. The images are metaphorical representations of the everyday life where time seems frozen but dreams and hope linger on.
Soak Teng Woong (SG) — re-rust
Here lies 84 manifestations of a single metal sheet.
42 rusted, a result of a natural process.
42 unrusted, an outcome of human intervention.
While man and nature co-exist in a seemingly harmonious relationship, a cyclical power struggle takes place beneath the façade all the time. Although human beings are capable of disrupting nature, organic processes like rusting and corrosion continue to return and alter what we have created. Their inevitable trails, developed over time, are largely perceived as threatening and unsightly. Yet, their omnipresence speaks of nature’s persistence and the human struggle with natural phenomenon.
STUDENT MOVING IMAGE
Herman Rahman (SG) — Une Vie Sans Lumière
Are images alive? Do they still possess power to influence, demand, persuade? Trauma, violence, crisis, are these associations still useful within the accelerated world of image and media consumption? Une Vie Sans Lumière seeks to unpack the problematic nature of violence within the rhizomatic nature of technology-based media, images and information. Using footage obtained from Youtube, these images are then reduced to nothing more than lines depicting colour and light levels; what is photography, if not colour and light, from and onto an object? By refusing to show images of suffering, the viewers tap into their conscious state of knowing within a modern day culture that is oversaturated by violent and traumatic imagery . The sound fades in and out, methodically offering clues and glimpses into images engrained in oneself. Images are rendered useless unless we stand behind them. They become no more than light signals, a coded language and a screen in which does not fully articulate experience. This film aims to position the viewer to re-image and re-imagine the consumption of violent imagery, and to reboot the dehumanisation process of viewing those images. It becomes a space for critical reflection for a much larger condition.
Adar Ng (SG) — The Lights Went Out
Pulsating in the stillness of the night, the flickering lights add a new sight to the nightscape in Singapore. It reminded me of the abundance of artificial light we have and how reliant we are on it. When a light malfunctions, the light is fixed the following night. It felt like the flickering never happened and the world moves on. Making assumptions that the lights in the city never went out - it is always functioning as it should be.
PRESS & NEWS
press / media enquiries
Please email email@example.com with your company affiliation, website, and press request. You may download the press kit below for more information.
NANYANG TECHNOLOGICAL UNIVERSITY (NTU)
Young and research-intensive, Nanyang Technological University (NTU Singapore) is ranked 13th globally (QS World University Ranking 2016). It is also the world’s top young university.
The university has colleges of Engineering, Business, Science, Humanities, Arts, & Social Sciences, and an Interdisciplinary Graduate School. It also has a medical school, Lee Kong Chian School of Medicine, set up jointly with Imperial College London.
NTU is also home to world-class autonomous entities such as the National Institute of Education, S Rajaratnam School of International Studies, Earth Observatory of Singapore, and Singapore Centre on Environmental Life Sciences Engineering.
NTU provides a high-quality global education to about 33,000 undergraduate and postgraduate students. The student body includes top scholars and international olympiad medallists from the region and beyond.
Hailing from 80 countries, the university’s 4,300-strong faculty and research staff bring dynamic international perspectives and years of solid industry experience.
NATIONAL GEOGRAPHIC LIVE SINGAPORE (NATGEO LIVE)
Join explorers and scientists, master photographers and adventurers at National Geographic Live — a lecture series featuring behind-the-scenes tales and magnificent images from one of the world’s largest non-profit science and education foundations.
The program, filmed in the headquarters of the National Geographic Society in Washington, DC, is part of the society’s mission since 1888: to inspire people to care about the planet.
School Of Art, Design and Media
Nanyang Technological University
81 Nanyang Dr, Singapore 637458
FREQUENTLY ASKED QUESTIONS
Who can enter?
The NTU IPA competition is open to any living photographer, 18 years of age or older, from any country.
When is the closing date for entries?
Submission of images will only be open from 15 May to 31 August 2017. All entries must be received by 2359 hrs GMT+8 on 31 August 2017.
What is the entry fee for submitting my photographs?
Entry to the competition is free.
How many divisions/categories can I enter?
Each participant is only allowed one submission to each category, under one division.
How do I make a submission?
Create an entry via the online submission form on the left and fill in the necessary details – the category you are submitting to, entry information, your contact details and how you will be credited in the use of your image. You may submit your images via the file upload for the photography (single image/series) category and a link to your video on a video sharing website for the moving image category.
What size do I prepare my images for uploading?
Please save your image as .jpg, in sRGB colour space and ensure that each image is no larger than 2MB per file, at 72dpi. For submission to the series category, please place all images in a zip folder for upload. The zip folder containing all images should not be larger than 20MB.
How do I name my jpeg files?
All images must follow this format of naming, in lowercase: lastname_firstname_number.jpg
For example: James Tan entering 3 images – tan_james_01.jpg, tan_james_02.jpg, tan_james_03.jpg
For example: James Tan entering 3 images – tan_james_01.jpg, tan_james_02.jpg, tan_james_03.jpg
Can I enter one photograph into multiple categories?
Yes. You may enter the same photograph into the single image, series or 360° still image category.
Can I submit a screenshot from my Moving Image submission as a photography entry?
No. An entry to the Moving Image category is not eligible to be considered in any other category.
Do I need an email address for submission?
Yes, we will require your personal email address solely for communication purposes.
How can I upload my submission?
Please complete the submission form on the left. Under section E, you will be prompted to upload your work. For submission to the single image category, please upload the image directly. For submission to the series category, please place all image files in a zip folder and upload only the zip folder. For submission to the moving image category, please upload the work onto Vimeo or any other video-sharing platform and set to private. Enter the link to the uploaded video under section E. If there is a password to access the uploaded video file, please include it in the submission form under section C, field C2 Entry Description.If you encounter problems with uploading, please email us at firstname.lastname@example.org.
Can I submit images or videos that have previously been awarded prizes or recognised in other awards?
How do I know whether I have won?
Only shortlisted finalists and winners will be contacted by email. Winners will also be announced on the NTU IPA website.
USE OF WORK
How will my work be used?
You will be contacted each time we identify an image or video for usage – and briefed on what the usage will be. Your works are NEVER used for any purpose other than the promotion of the NTU IPA.
Where will my work be used/shown?
Use may include (but not limited to) publication in any NTU IPA media sponsor publication. All entrants understand that any works submitted to the competition may be used by NTU IPA for marketing and promotional purposes including in any media such as exhibitions, print and digital media directly related to the NTU IPA competitions. By winning or placing in the competition you are agreeing to be included in the winners’ exhibition and catalogue.
How will my work be credited?
Copyright and all other rights remain that of the photographer. Any photograph or video used by NTU IPA shall carry the photographer’s credit line.
Will I be compensated for the use of my work?
There is no monetary remuneration for the use of your image(s) or video(s). Such free use shall only be in connection with the NTU IPA and its promotion.
Please email us at email@example.com if you have any other questions.