A pair of shaggy, vaguely technological totems, bedecked in artificial straw and tiny bells, stand in one room of Singapore Art Museum, which accommodates much of this year’s Singapore Biennale, aka SB2022, aka “Natasha.”
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First-hand witnesses to the events that began 75 years ago are fast dwindling; the exhibition acts as a repository, collecting histories and ideas in an ever-changing, ongoing process of memorialisation.