NATASHA
he seventh Singapore Biennale was dubbed “Natasha” by its four co-curators—Ala Younis, Nida Ghouse, June Yap, and Binna Choi—in order (2022), a video projection of a waterfall overlaid with cutouts of military and political leaders, reflecting on Lebanon’s shifting alliances during its Civil War (1975–90). At the Singapore Art Museum, Cambodian artist Kanitha Tith’s mixed-media installation (2011/17) references a Khmer love story between a mortal and an angel, and took form as a Phnom Penh domestic space filled with the donated personal belongings of Tith’s neighbors. One of the many plant-related works, Åsa Sonjasdotter and Daniela Zambrano Almidón’s installation and workshop, (2011–), engages ancestral cooking methods like the Peruvian “earth pot” to restore horizontal food relations.
