History]]> Identity]]>
Since it’s independence in 1965, Singapore has become an important part of regional economic and also culture development. Widasari’s research will explore the nostalgia of places of Singapore, which will be recorded and transferred to a variety of mediums, such as: video, drawing, painting and photography. This memory is related to the history of Singaporean issues in the geopolitical map of the ASEAN community viewed through cultural, economic and political perspectives such as gender issues and freedom of expression.]]>
Otty Widasari]]> Film]]> Photography]]> Southeast Asia]]>
Artistic Research]]> Narawan Pathomvat]]> Curating]]> Southeast Asia]]> Labour]]> Globalisation]]> will look at two exhibition projects, The Great Ephemeral (New Museum, 2015) and Trading Futures (co-curated with Pauline Yao, Taipei Contemporary Art Centre, 2012) relating them to NTU CCA Singapore’s overarching curatorial framework PLACE.LABOUR.CAPITAL. Cheng’s discussion explores the speculative nature of the global market, including the hypothetical systems of labour, value, consumption, and desire.]]> Meiya Cheng]]> Curating]]> Asia]]> Transnationalism]]> Mary Sherman]]> Painting]]> Sound]]> History]]> Beyond Geography (2012) he looks at the National Geographic style of the anthropological but with the caricature of the natives and anthropologist played by the same race. Li has also looked at the idea of re using elements from projects and what it means to re contextualising work to comment on the circulation of cultures bringing to attention forms of mis/communication. For his research, Li will work closely with Singapore Management University faculty Rowan Wang to understand the dissemination of protestant ideals in Singapore, not only through the lens of theology, but as a form of ideological management. Li will build an open platform, re purposing works and structures from past work, incorportated into an interviewing structure.]]> Li Ran]]> Painting]]> Performance]]> Asia]]> Southeast Asia]]> Tradition]]> Mythology]]> Jompet Kuswidananto]]> Installation]]> Multimedia Installation]]> Performance]]> Southeast Asia]]> Artistic Research]]> Jeremy Sharma]]> Film]]> Southeast Asia]]> Tradition]]> Artistic Research]]>
Abbas takes various cultural references and recontextualises them using appropriated artistic techniques. For her residency she is learning the courtly Chinese painting style of Gongbi and conducting portrait studies of her various interactions of people in the lively inner city suburb of Little India in Singapore.]]>
Hamra Abbas]]> Asia]]>
History]]> Diaspora]]> Accommodating the Epic Dispersion – On Non-Cathartic Volume of Dispersion (2012) for Haus der Kunst in Munich. The length of this work’s title is deliberate, in response to the overlapping of diaspora history with the specific history of the work’s location — a large and voluminous hall once known as ‘Ehrenhalle’ under the Third Reich. By critically extending and dispersing a reconstruction of histories in an epic dimension, the work introduced issues of migration, diaspora, movement and thereby, colonialism, through questions such as, “is movement mental or physical? When we migrate, do we lose our sense of home? How do we maintain and accommodate our migratory destinies and narratives?”]]> Haegue Yang]]> Installation]]> Sculpture]]> Asia]]> Embodiment]]> Artistic Research]]>
Tan’s current research is the notion of touch as an indexical and invocative gesture. Inherent in the materiality of the fabric as a substrate to receive and retain traces is a certain resistance, which provides a counter- movement that simultaneously works along and against gestures of painterly touch. The final compositions are an interplay between design and chance which re(as)sembles traces and modes of Modernist abstraction while hinting at folds of the corporeal. Parallel to the paintings is a series of text-based videos that investigate the possibility of language to suspend the imaginary space between touching and not touching, speech and non-speech. Staging scenes between the haptic and the haunted, these works play with the conventions of reading and listening where voices register tones of intimacy and ambivalence in equal measures.]]>
Guo-Liang Tan]]> Tan Guo-Liang]]> Drawing]]> Painting]]> Southeast Asia]]>