History]]> Migration]]> The period between 1948 and 1960 witnessed the forced exodus of over 35,000 Malayan leftists to Southern China, including the artist’s own grandfather. Expanding on her long-term research project which excavates overlooked and contested histories of the Malayan anti-colonial war and her own family histories, Sim Chi Yin intends to trace the trajectories of the Malayan deportees, excavating both their individual experiences and the institutional circumstances which lead to their disappearance from collective memory. With the ports of Singapore being both sites of transit and origins of deportation, during the residency Sim will further her investigation through archival research and oral history interviews working towards the development of a new work. Often evoking a sense of spatial haunting, her aesthetic approach consistently slips away from the documentary into the realm of the affective, the imaginary, and the spectral.]]> ]]> Sim Chi Yin]]> Asia]]> Europe]]> Migration]]> Displacement]]> Diaspora]]> ]]> Sung Tieu]]> Installation]]> Performance]]> Southeast Asia]]> Geopolitics]]> PICTURING HAPPINESS? with three other artists and two scientists from the School of Computer Science, Nanyang Technological University. Using commercially-available devices that read brain waves, the project explored the parameters that define our sense of well-being, critiquing the market-driven framing of happiness as a motionless, thought-free state of mind. This was the beginning of a cross-disciplinary investigation that the artist is currently pursuing together with several psychiatrists in London. For the second part of the residency, Tan will also examine notions of gender. Working together with pioneer feminist artist Amanda Heng and two other women arts professionals, they will convene a public programme to discuss how gender affects collaborative artistic practices in Singapore and beyond.]]> Tan Kai Syng]]> Southeast Asia]]>