Yee I-Lann
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Yee I-Lann’s practice speculates on issues of culture, power and the role of historical memory in our social experience via allusion to historical, popular and everyday references often through the medium of photography. Linking historical artistic methodologies such as batik with contemporary content such as recent histories, she experiments by blurring the boundaries between official record and subjective histories. Her current research focus is on folkloric female spirit ghost stories, specifically the Pontianak, versions of which are found throughout South East Asia. The Pontianak is commonly described as a vengeful woman who died in childbirth, is a seductress of innocent victims and resides in the banana tree. Singapore based Cathay-Keris and Shaw Brothers were amongst the earliest producers of cinematic versions of Pontianak stories spawning one of the most pervasive characters in regional cinema. I-Lann will be attempting to unpack the riddle of the Pontianak and will be watching a lot of horror films.
27 April – 3 July 2015
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Tiffany Chung
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=History">History</a>
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Tiffany Chung's research explores the notion of “colonialism as civilising mission”, predominantly in the sphere of public works that the British carried out in Singapore, in comparison with the policy that underlay the construction of Indochina by French imperialism during its colonial rule in the neighbouring region. These comparative studies examined the connections between imperialism and modernity, the continuities of late-colonialism and the process of nation building – whether it is the construction of a national history or its national land development. <br /><br />Chung looked into the local Vietnamese Refugee Camps as well as the National Archives of Singapore and the National Museum Archives of Singapore.
7 July – 3 September 2014
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Tara McDowell
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Tara McDowell’s research interests include exhibition histories, contemporary curating, art institutions, feminist and queer spaces of sociability and production, alternative archives and forms of documentation, and historical and contemporary models. <br /><br />While in residency at NTU CCA Singapore, McDowell aims to connect with local artists, curators, and educators to gain an awareness of the Singaporean arts communities. She is especially keen to understand how curatorial education is being developed by institutions in Singapore, what the particular needs and desires are of participants in these conversations and how connections might be made with the Curatorial PhD programme she founded in Melbourne, Australia. She will conduct research on experimental education and artistic labour, two areas of her research interests and present a public lecture in progress on the latter topic, titled <i>Is the Post-Occupational Condition the New Post-Medium Condition?</i>
20 March – 26 March 2015
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Sam Durant
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Durant is a multimedia artist whose works engage a variety of social, political, and cultural issues. Often referencing American history, his work explores the varying relationships between culture and politics, engaging subjects as diverse as the civil rights movement, southern rock music, and modernism. Sam Durant looked at the Bandung 1955 Conference and it’s subsequent non-aligned movement.
6 July 2014 – 28 August 2014
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Roslisham Ismail (aka Ise)
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Ise’s practice is informed by expressions of popular culture such as comics and graffiti and the manner in which they serve to represent alternative histories of place and culture. He works closely with various communities and will explore the relationship between Malaysian and Singaporean communities. <br /><br />True to his existing practice, during his time as an Artist-in-Residence, Ise will note take through drawing and create a series of events utilising food as a social binder whilst also going deeper into its layered histories and how this connects to Southeast Asia.
6 April – 16 June 2015
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Roslisham+Ismail+">Roslisham Ismail </a>
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Robin Peckham
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Robin Peckham is the deputy editor of <i>LEAP magazine</i>. His residency coincided with Art Stage 2015. His residency coincides with Art Stage 2015 and he will conduct extensive studio visits with various Singapore artists. Peckham will facilitate the Q&A session for NTU CCA Singapore Artist-in-Residence Matthew Mazzotta where he will draw upon his experiences of working in China to question public art practices.
20 – 25 January 2015
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Pratchaya Phinthong
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Pratchaya Phinthong’s methodological process is an intense research period whereby he embeds himself within a community or through working with experts and interloculators. Travelling is a key element of his work. Phinthong presents the piece <em>Untitled</em> (Singapore) (2014), as part of research undertaken during his time on the NTU CCA Singapore Residencies Programme. The work explores the idea of airspace as monitored and ambiguous. The site of the NTU CCA Singapore Residencies studios is also the site of a former military camp built in 1935. Phinthong heard that airspace is a negotiated place of ownership between various nations. Singapore itself sought permission from neighbouring countries to use different airspaces and is home to one of the world’s most active airports. This permission is vital to the ongoing activity of Changi airport. An agreement in 2004 between the respective Singapore and Thai Governments was reached whereby seven used F-16 jet fighters from Singapore were given to the Thai Royal Air force, along with 15 years of military base training in Udon Thani, a north Thailand. Working with artist, Tanatchai Bandasak, Phinthong has been collecting images of these jets during their daily training practice.
20 October – 20 December 2014
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Newell Harry
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Subjectively, Newell Harry’s interests and work touch on diverse fields from religion and language, to the postcolonial impacts of trade and globalisation. An itinerant wanderer, his work is largely formed through a complex web of intercultural engagements bridging Australia’s east coast, the Vanuatu archipelago, South Asia, and his extended family’s home in Cape Town. These interests often culminate in installations drawing together a combination of media, generally unrestricted by any singular approach or application. Whilst in Singapore as an NTU CCA Artist-in-Residence, Harry looks at the under represented connections between the Cape Malay of South Africa and the Straits Malay linking these two histories to interchanges on the Malay Peninsula.
16 February – 17 April 2015
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Mona Vătămanu & Florin Tudor
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Mona Vatamanu & Florin Tudor’s artistic practice spans diverse media including film, photography, painting, performance, and site-specific projects. Through their works, they confront the traumatic legacy of Communism in their native Romania and Eastern Europe, while wrestling with the ongoing challenge of how to process history. As part of the residency so far they have taken a look at the surrounding environment of both the natural jungle like environment and various constructions happening in Gillman Barracks to explore various social dynamics. They have taken the prevalent presence of migrant labour as a starting point to think about construction, the literal building of a nation, migration and the emotional realities of itinerancy and how this may affect social interactions.
14 July – 10 September 2014
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Matthew Mazzotta
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Matthew Mazzotta’s work evolves from an interest in exploring the relationship between people and their environments, as well as between each other. His practice manifests as participatory public interventions that aim at bringing criticality and a sense of openness to notions of public space and sculpture. Mazzotta recreated his community-specific Public Art project in the form of Outdoor Living Room at a hawker centre in Tiong Bahru, Singapore. <br /><br />His research also involves looking at the different possibilities and limits of public space and public artwork in Singapore.
8 November 2014 – 31 January 2015
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