ArtScience on ScreenArtScience on Screen

ARTSCIENCE ON SCREEN


ArtScience on Screen explores the intersection between art and science using moving image, video and film. In a rolling programme, ArtScience on Screen features a range of exciting filmmakers and artists from Singapore and beyond, at various stages of their careers.  

Presentations will include solo showcases of artists’ moving image work, curated programmes of film exploring specific artscience themes, feature length film screenings, multi-screen presentations and creative documentaries that introduce key practitioners and methods in the field.

ArtScience on Screen forms the backbone of the museum’s dedicated film programming, and is part of Marina Bay Sands’ ongoing commitment to the local and international film culture and community. In addition to screenings, Level 4 of ArtScience Museum will also host regular press conferences, dialogue sessions and masterclasses with acclaimed filmmakers and artists, with the aim to inspire audiences to discover art and science through film and moving image.


Currently Showing
 

ArtScience on Screen: Water

ArtScience on Screen: Water 

Dates/Times: Now Showing
Screening TimesClick to view
Venue: Expression Gallery, Level 4

As the source of all life, water is essential to human survival but can also have devastating, destructive power. It is the subject of daydreams, fantasies and religious rituals and is often used as a metaphor for complex, emotional relationships in literature and film. This curated series of 7 feature-length narrative films, Water, covers themes as broad as climate change, ocean conservation, cultural heritage, memory, play, romance and death.

Featuring prominent Southeast Asian artists and filmmakers such as Sherman Ong, Apichatpong Weerasethakul, Woo Ming Jin, Charliebebs Gohetia, Nghiem-Minh Nguyen-Vo and Kamila Andini, Water covers enormous perspective and deeply intimate narrative territories. In Ong’s film, Flooding in the Time of Drought, water is ultimately used as a metaphor for the ebb and flow of the temporary, foreign workflow in Singapore, while in Apichatpong’s Mekong Hotel it is the source of, and backdrop for conflict and depravity. Woo Ming Jin uses his camera to tell stories and Woman On Fire Looks for Water is a cinematographic masterwork surrounding the vanishing tradition of fishing for livelihood in Malaysia. In Charlibebs Gohetia’s Chasing Waves offers a glimpse into two young boys’ imaginations on the brink of their families being torn apart by adverse environmental and political climates, while Nguyen-Vo takes the topic of climate change head-on in his sci-fi thriller, 2030. Kamila Andini also takes a direct approach to addressing the ocean’s declining resources in The Mirror Never Lies, a masterfully told story of an Indonesian fishing village on the verge of irreparable crisis.