Citra Sasmita
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<b><b>4 April - 1 July 2022<br />Artist-in-Residence at WIELS (Belgium, Brussels)<br /></b></b>
<p>In encountering Balinese cultural artifacts brought to European museums during the colonial period and examining the cultural diplomacy politics enacted by the colonizers, she aims to excavate pre-colonial Balinese culture and understand how the perspectives and aesthetic criteria formed under colonial rule persist until today. The artist is interested in developing a critical reading of the journey of colonial legacies into the present and in understanding how they still inform contemporary cultural consciousness.</p>
<p>By providing her with direct access to historical archives and museum collections, the residency will allow Citra to deepen her understanding of the influence of Dutch colonial power onto the development of visual arts and culture in Bali.</p>
4 April - 1 July 2022
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Rossella Biscotti
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Sourcing oral histories and female accounts, delving into archives, and mapping sites associated with different forms of mining, exploitation, and confinement, Rossella Biscotti will deepen her research interest into colonial structures of power and management at the turn of the 20th century and the way in which these structures are interwoven with contemporary practices of production and distribution. Expanding on a recently produced body of works that explore the physical and aesthetic properties of rubber—notably its resistance and its resemblance to human skin—the artist aims to research its production process on site. She will conduct archival research on colonial trade, botanical imports, and intensive cultivations in preparation for her field trips to rubber and oil palm plantations in the region.
7 January – 27 March 2020
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Martin Germann
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Martin Germann will connect with local artists and institutions during his residency. He will also give a talk focusing on S.M.A.K’s unique politics in developing solo exhibition in close collaboration with artists placing them at the centre of her activities.
5 December – 9 December 2016
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Manon de Boer
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In the past four years, de Boer has been questioning her practice and the impact that critical recognition and the professionalization of her work as a practicing artist has made upon her creative process. At this self-reflective juncture, the artist is interested in the conditions for thinking and inspiration, investigating notions of open-ended time and of personal and societal rhythms. In her view, to place aimless, untroubled” time in relation to creativity, research, and production offers a political counterpoint to the outcome-driven model that rules the art world and our contemporary life, opening up a space for creation that allows for experimentation, boredom, and failure. During the residency, de Boer plans to further develop this research engaging in conversation with a variety of experts that can help her reframe the question of time.
3 July – 15 September 2017
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Dirk Snauwaert
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Dirk Snauwaert will connect with local artists and explore the Singapore art scene as well as the larger region of Southeast Asia. Snauwaert will also give a public talk presenting ideas related to the exhibition Atopolis, organised by WIELS, Contemporary Art Centre (Brussels) in collaboration with Mons 2015 – European Capital of Culture, which presented a group of artists interested in phenomena of circulation, diaspora and cultural dislocation. Twenty-three artists temporarily installed a proposal for an atopolis, or for an ideal city, connected to everyplace or anyplace. Snauwaert will also provide insight into the institution he directs – WIELS which combines a set of complementary functions: exhibition, production through an international residency programme and a robust education focus.
7 December – 13 December 2015
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Corinne Diserens
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While in residence, Corinne Diserens will connect with local artists and explore the Singapore art scene as well as the region of Southeast Asia. Diserens will also give a public talk discussing the exhibition as medium with the Taipei Biennial as a study, as well as touch on past exhibitions she had curated for artists Dieter Roth, Lygia Clark, and Marcel Broodthaers, amongst others. Diserens will also elaborate on research in the frame of art school and out of school, in relation to her experience as Director of the ERG, higher art and research academy in Brussels, Belgium.
11 April – 16 April 2016
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<i>Jef Geys Quadra Medicinale Singapore</i>
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NTU Centre for Contemporary Art Singapore presents <i>Quadra Medicinale Singapore</i>, the late Belgian artist <b>Jef Geys</b>’s first institutional exhibition in Asia. Geys’s conceptual practice adopted an interdisciplinary and collaborative process of research and knowledge-formation, and was driven by his belief that art should be intertwined with the everyday. <br /><br />For <i>Quadra Medicinale</i> (2009), Geys invited residents of Villeurbanne, New York, Moscow, and Brussels to demarcate a geometrical quadrant, with their home or workplace at the centre, and document 12 unassuming street plants, or “weeds.” From this collection, the collaborators uncovered the productive, and often times medicinal, properties of these plants. <br /><br /><i>Quadra Medicinale</i> is structured as a universal manual capable of being replicated anywhere and has, since its first presentation at the Pavilion of Belgium during the 53rd Venice Biennale International Art Exhibition in 2009, been realised and shown in various cities including at the Museum of Contemporary Art Detroit (2010). The exhibition was followed by similar methods of botanical and medicinal plant studies as documented in the accompanying publication <i>Kempens Informatieblad</i>. This alternative model set up by Geys for collective knowledge production, sharing, and documentation has, underlying its process, a socially-active role: Geys asked questions such as, “What can a homeless person who has a toothache, for example, chew-on to ease the pain, and to eventually cure the problem?” <br /><br />On view will be four chapters of the project, including a newly-created Singapore chapter following Geys’s instructions with contributions by local collaborators, Louise Neo and Teo Siyang. Each chapter includes framed plant specimens with their characteristics labelled, photographs of the site where the plants were originally found, as well as maps of the geographical quadrant explored. Through inciting a collaborative process, Geys created a unique model for knowledge production and sharing. <br /><br />Questioning mainstream and organised systems of urban planning and information dissemination, Geys casted doubt on the fundaments of language and visual representation, interrogating art’s relation to meaning-making. He produced a text explaining the <i>Quadra Medicinale</i> project that has been translated into 10 languages, with annotations by the artist himself on the translations. Their display as large-format scrolls, further probes systems of interpretation, communication, and accessibility. A selection of these text scrolls and a Malay translation, produced for this exhibition, will be shown. <br /><br /><i>Quadra Medicinale Singapore</i> introduces an artistic practice that questions the hierarchies and adaptability of nature and society, provoking reflections on both their communicable and imperceptible structures. It also poses the question of whether conceptual artworks can be continued after an artist’s passing. <br /><br />In addition to the elements from <i>Quadra Medicinale</i>, the exhibition includes two paintings from Geys’s <i>Seed-bags</i> series (1963–2018), a long-term project the artist started when, during his own gardening process, he discovered that the image of the vegetables or flowers pictured on the bag did not match the actual plant. With these paintings, which Geys would create every year, he challenged the accuracy and truth of commercial photography. The medium, however, played a significant role in the artist’s practice enabling him to accumulate an extensive archive of his own projects and interests. <br /><br />In The Single Screen, <i>Day and Night and Day</i>… (2002), his 36-hour-long film produced for Documenta 11 (Kassel, Germany), will be screened in parallel to the exhibition. This film is a mesmeric sequence composed of thousands of black-and-white photographs Geys took from the mid-1950s to 1998. <br /><br />The exhibition is made possible by generous loans from the Jef Geys Estate and Air de Paris. <br /><br /><i>Quadra Medicinale Singapore</i> is curated by <b>Dirk Snauwaert</b>, Artistic Director at WIELS Contemporary Art Centre, Brussels, in collaboration with <b>Ute Meta Bauer</b> and <b>Khim Ong</b>, NTU CCA Singapore. Snauwaert was the Curator of <i>Jef Geys: Quadra Medicinale</i> in Venice 2009, commissioned for the National Pavilion of Belgiumby the Flemish Community. Snauwaert was an NTU CCA Singapore Curator-in-Residence in 2015.
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