Alice Miceli
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nature">Nature</a>
During her residency, Alice Miceli plans to expand her current project, <i>In Depth (landmines)</i> (2014-ongoing). So far she has conducted field research in Cambodia, Colombia, and Bosnia where she photographed several mine-contaminated areas. The artist plans to examine other sites where landmines and unexploded ordnance remain an active deadly threat. She is especially interested in the landmine situation in Angola, the most heavily mined country in the world as a result of decades of conflict and civil war. The process of gathering relevant materials and managing the complex logistics required by trips to such dangerous areas are all essential components of the work. The artist intends to use her studio to experiment with different spatial presentations of <i>In Depth (landmines)</i> and to initiate new lines of research around the subject of landscape, looking into areas affected by plagues and epidemics and exploring the possibilities involved in their photographic representation.
9 January – 28 February 2017
1 August – 31 August 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Alice+Miceli">Alice Miceli</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=South+America">South America</a>
Anthony Huberman
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During the residency, Anthony Huberman will connect with local artists and institutions in Singapore. He will deliver a lecture that addresses concepts of tools, devices, and machines in relation to the exhibition MECHANISMS, he recently curated at CCA Wattis Institute for Contemporary Arts, San Francisco, United States. Furthering his connection with the region, Huberman will also travel to the Philippines to participate in the <i>Public Lecture Series 2018</i> at the Museum of Contemporary Art and Design (MCAD), Manila.
29 January – 7 February 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Anthony+Huberman">Anthony Huberman</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Barbara London
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Spaces+of+the+Curatorial">Spaces of the Curatorial</a>
During the residency, Barbara London will connect with local artists and institutions in Singapore. Reflecting on her experiences at MoMA where she founded the video exhibition and collection programmes, London will deliver a public lecture that will touch upon the museums’ support of the medium from its early formative years to the present. She will also conduct a two-day professional short course titled <i>Time-Based Media in Collections</i>.
13 March – 27 March 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Barbara+London">Barbara London</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=North+America">North America</a>
Bojana Piškur
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While in residence Bojana Piškur aims to further the scope of her current research on the Non-Aligned Movement (NAM) exploring the political and cultural implications of this global movement in the context of Singapore and Southeast Asia. Piškur will spend time conducting archival research on the NAM and will also explore possibilities for future collaborations in the region, engaging and connecting with local institutions and artists that focus on socio-political issues.
20 November – 26 November 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bojana+Pi%C5%A1kur">Bojana Piškur</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bojana+Piskur">Bojana Piskur</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Europe">Europe</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=South+America">South America</a>
Buen Calubayan
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ways+of+Seeing">Ways of Seeing</a>
Illustrating a new way of seeing, Buen Calubayan’s <i>Instructions on Viewing the Landscape</i> is an long-term exercise in seeing the bigger picture, literally and figuratively, which subtly challenges notions of national identity and colonialism. Articulated through a complex set of rules, this conceptual work is an investigative device aimed to unpack the history of late 19th century Filipino art – a period of significant political changes propelled by the revolutions against the Spanish rule. In re-examining and reviewing the landscapes of celebrated painters Juan Luna (1857 – 1899) and Félix Resurrección Hidalgo (1855 – 1913), the artist locates their vanishing points and brings to the fore unexpected tensions between the viewer and the artwork. Over the course of his residency, Calubayan will extend the scope of the project in order to pinpoint the metaphorical vanishing points in Singapore’s landscape, locating their historical, economic, and religious coordinates.
2 May – 29 June 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Buen+Calubayan">Buen Calubayan</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Bui Cong Khanh
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Bui Cong Khanh is interested in studying historical flows of Chinese immigration across the Southeast Asian region, and Singapore in particular, by tracking down the movements of Chinese porcelain artifacts. His research intertwines the Chinese ancestry of the artist’s own family and traditional forms of Chinese cultural heritage, while concurrently addressing the complexities embedded in the construction of national identities. During his residency, he also plans to collaborate with local kilns and porcelain workshops.
4 December 2017 – 31 January 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bui+Cong+Khanh">Bui Cong Khanh</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
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Carlos Casas
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The eruption of Krakatoa in 1883 can perhaps be considered the last grandiose natural disaster before the advent of moving images. For Casas, the historical eruption is an active producer of multiple narratives and imaginaries. Fascinated by its sublime stature and by the unique visual, sonic, and meteorological phenomena occurred in the aftermath of the eruption, the artist aims to investigate its socio-symbolic entanglements with Indonesia’s colonial history while also continuing his longstanding meditation on how natural disasters affect our understanding of nature and of our position on the planet. Through archival research and on-site shooting, the artist will collect historical, optical, and sonic data from various research stations and archives in Singapore and Indonesia in preparation for a new work.
5 December 2017 – 28 February 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Carlos+Casas">Carlos Casas</a>
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chi too
<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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Casting an ironic look at Malaysia and Singapore’s historical merger, <i>We Were Once a Nation</i> is a research project about nation building which unearths the histories of Malaya, Sabah, Sarawak and Singapore. The research will focus on the years between 1963 and 1965, when Singapore and Malaysia split from the merger, in order to map a shared history of hopes, conflicts, and anxieties. Searching Singapore archival materials to decode Malayan history and, therefore, his own Malaysian identity, chi too aims to address the political and personal implications embedded in the construction of a nation state.
4 May – 30 June 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=chi+too">chi too</a>
Chia-Wei Hsu
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Globalisation">Globalisation</a>
<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>
In the wake of a research conducted in collaboration with the Eindhoven University of Technology which led to his solo exhibition at the Van Abbemuseum (2015), Hsu will continue to investigate colonial histories of Taiwan, Malaysia, and Singapore as part of a larger project dedicated to backtrack early models of globalization. His interest lies especially in the political, economic, and infrastructural role played by the Dutch East India Company in the 17th century in Southeast Asia and its manifestation in the architectural complexes such as Fort Noord-Holland in Taiwan and Stadthuys (City Hall) in Malacca City, Malaysia.
3 July – 31 August 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Chia-Wei+Hsu">Chia-Wei Hsu</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Chia+Wei+Hsu">Chia Wei Hsu</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
Chun Kaifeng
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Urbanism">Urbanism</a>
During his residency, Chun will pursue his exploration of the inconspicuous fixtures of the urban environment shifting from a detached approach to a more active engagement that involves connecting with the public agencies in charge of the design, production, and installation of such elements. He is also contemplating to create a performance piece which will lend voice to a range of common objects.
3 July – 30 November 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Chun+Kaifeng">Chun Kaifeng</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>