1
10
4
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Bo Sung
Surname or Business Name
Yom
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2017
Affiliation
Company, organization, or institution name
NTU Centre for Contemporary Art
Birthplace
Singapore
Occupation
Professional title or identity
Intern, Exhibitions
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Singapore
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Staff
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Yom Bo Sung
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Contributor
An entity responsible for making contributions to the resource
Yom Bo Sung
-
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/3f2954d775b52e57fd87c5c479261a8f.pdf?Expires=1712793600&Signature=wGpw3EixkaByhttJP5git41F1RwuofmEl9P1aUqfR0DG%7EIvNVF-RXUeJB0HawS7DlBI6YGHiLH0brYOXl%7EwlONBwAgrMfk4-hICUPxtzu-5SfFENRCMpM4BmQrga8qi-s7mdt6KWcp5wQBoLS2S55%7EVvP38UfmzLjhZ9wm3ZqMFWvYYQ6jfhm227GooT1hvuAyICLE6bI981L7KTXJkRsZhIeAs-rQY0HfsYRpQtTWpDeJ-NJsBkRYHI4c4-oFbbBQbQEkbiSN2t758e3UK7ebK6L9XNr3hZJpXROerPmEh%7EWtuIDmo%7EVWHWHwkeVZRDDiLoyvylpYZ-7Vo1Davteg__&Key-Pair-Id=K6UGZS9ZTDSZM
d32fe75d9cae4e4a6577bff11819b15f
PDF Text
Text
A TEMPERATURE REPORT: WARM SUBTLETIES IN COLD MATERIALITY
by Isabel Carvalho and Kia Yee
We built the following dialogues from emails and zoom meetings, in a temporality from 2 December to 9 of February.
2 december 2020: The plan!
I — Nice to meet you, Kia Yee!
K — Hi Isabel! How should we start the process?
I — I’ve sent an email to Anna and I’m proposing three
days a week. Two weekdays for zoom meetings, for one
to two hours and Saturday for some info exchange or
a brief update with no time limit. The rest of the time
should be used freely for your research. I also wish to
ask you to propose a platform for posting and exchanging images and text (Google Drive, blog, Instagram
account, etc). I have marked the next holidays in the
timetable. Probably you will have some to add too. I excluded working during holidays as I don’t think we need
it. It could happen that I have to miss some our meetings (mainly due to the Covid restrictions), but if that
happens I will inform you with sometime in advance.
I thought it could be interesting to start by doing a cultural exchange. I’m not sure if you are interested in Portugal, but I’m certainly super interested to know more
about Singapore. It would be very helpful if you could
kindly prepare something like an introduction for me.
A shortlist of books, magazines, films, food, traditions,
documentaries, music, editorial projects, etc. Apart
from what is here briefly planned, I hope you can bring,
by your own initiative, what you think is interesting and
appropriate for the project. I’m not sure I’m forgetting
something, but I’m hoping to develop the project at our
own pace. And of course, everything is still quite open.
K — Dear Isabel, this is my image of Singapore. I am
very happy to be embarking on these research phases
with you. I’m not very good at expressing my joy when
I speak, so I shall express it here: I am very happy! My
brain is very excited by the ideas you are interested in,
and I hope I can offer the project many things too. Oh
dear, this ended up being so much! (17 pages!!!?) I think
I really wanted to give you as expansive a view of Singapore as possible…
____
3 december 2020: What is LEONORANA
about?
I — Hi! Are you doing well?
K— I’ve been super busy, so I’m quite tired. But I went
running this evening, so I’m feeling quite energized.
Awake.
I — Awake? At 8pm? [Laughs] I hope you enjoyed yourself. Shall we start by contextualizing the magazine?
The title of the magazine – comes from Ana Hatherly’s
“Livro III – LEONORANA (1965-70): Trinta e uma variações temáticas sobre o mote de um vilancete de Luís
de Camões”, published in the book Um calculador de
Improbabilidades. This project is a direct tribute to this
author. It resumes and updates the central focus of her
work, namely concerning the study and experimental
practice of the complementarity between verbal and
visual languages and the combinatory game and ludic
aspects of knowledge, as well as its dissemination.
Due to her vast visual, literary and academic art experience, Hatherly symbolises the relevance research has
in terms of artistic practice and the way it is perceived
as knowledge (e.g., historical research on the poetry
developed by the author). Although the validity of this
approach may seem obvious in certain contexts, it is
still vital to reinforce the connection between research
and art and the understanding of the latter as a form
of knowledge; more specifically, research that bases itself on creativity and the desire to learn, as well as its
dissemination among the artistic and civil community.
Hence, this magazine aims to present forms of research
carried out by artists and creative individuals in general
who, according to their experience and path, reinforce
the presence of research and assume artistic expression
as a specific form of knowledge. Accordingly, one can
consider this magazine an open space for discussion,
where ideas, practices and strategies for teaching and
learning can be debated.
K — From the beginning, you felt a double responsibility: to be able to guide our work and even control it,
as well as letting our process flow towards an uncertain
destination. In fact, most of the time, you thought we
had to get to some safe place on the run, but you also
wanted to counteract that and lead us to “navigate” in a
completely new experience that wouldn’t necessarily be
safe or predictable.
I — I had the intention of giving you as much space
as possible for your suggestions, and I put myself in a
position to ask you for help (as I am very insecure with
my English) as well as I made myself available for what
1.
�rock, art rock, Japanese-influenced minimalist ambient
music, electronic, folk, dream pop, indie rock, pop rock,
lo-fi. I also wondered about the kind of language the
musicians used to describe their own music, like “wistful” and “resigned”.
____
8 december 2020: The Portuguese revolution of ‘74
I — Hello, Kia Yee! I’ve prepared this very-very-shortlist of references from portuguese culture. As you will
notice, I live in a very old country with a long history
and it’s hard to choose what to name. Apart from the
cities and food obviously, most of my references are
post-revolution of 1974 and in majority are women. I
might say these are my personal choices, however, not
necessarily my absolute preferences. The revolution of
‘74 marked an important turn in the political environment in Portugal.
K — Thank you for these! I’m curious… What was it
like studying and growing up in Portugal?
I — When I asked for questions about Portugal I wasn’t
expecting these kinds of questions! But hm, studying
and growing up…
K — What do people in Portugal like to do in their free
time?
I — I will answer that next.
____
12 december 2020: Sunbathing in Portugal and the ideal essay
I — Hope you are well. It must be already very late/
night for you.
I will start by answering you about how we deal with
temperature in Portugal… We almost die from heat
during summer and with cold during winter just because it has always been like this forever and we didn’t
transition to get better solutions. Only a few people use
aircon. Now it’s a bit better, but when I was a child we
used to put woolen gloves on our hands when inside
of classrooms in order to write/draw or whatever in
school. Otherwise our hands would be frozen. But, in
terms of environment in general (not just temperature):
We give huge value (in a strange way) to health so it’s
privileged the environments with clear fresh air. We do
resist the use of technology like microwaves or aircon
because it’s believed that it ruins health.
As for social environments they are probably thought
mainly to be friendly and familiar. But I must say that
I believe it is not that much planned. Not even in institutions. About the natural environment: that is still so
much to protect specially because we have huge forest
fires during summer. And only recently we have done
something about it. This could be expanded endlessly, it
might be better for me to think a bit more.
All I can conclude for now is that environments are not
that much planned or controlled for a specific objective such as efficiency. From what I have read from that
book you have sent, Airconditioned Nation (only 2 essays so far) it seems that for Portuguese the comfort it’s
I named “homework”). You were my intermediary for
a life experience, which I thought was capable of radically questioning my roots and so I possibly demanded
something too ambitious (and possibly too demanding). It doesn’t mean that together we haven’t been up
to the task, but I think I just didn’t recognize from the
beginning the limits of the experience.
K — I was expecting to be told what was needed and to
then have to find a way to get things done for you - to
speak to whoever you wanted me to talk to, to move
around the city to gather information for you. I didn’t
expect to be welcomed in a more collaborative capacity.
I feel you also welcomed me as another human being or
friend. These are things I am very grateful for.
____
4 december 2020: Music
I — Hi! Good morning!
K — Good morning, good evening.
I — Oh, right, it’s evening for you.
K — How are you? How are things in Portugal?
I — Oh, I’m fine. I have been going through my notes
from our meeting and I think it went well. At least I
feel much more into the place. I will wait for your contact tomorrow with your suggestions for our culture
exchange. Meanwhile, I wonder if you could prepare
something about music concerning the production of
environments, as well as its uses in public and in the
private sphere (having in mind “efficiency”). Basically
when/how/why(...) people listen to music. And thank
you for the Instagram account. It seems an excellent way
for you to show me more about Singapore. (I loved the
video of the rain. And what was that thing that looked
like a colourful vitral at the window?).
K — I looked at absolute music, programmatic music,
procedural music. Also ambient music. There are these
amazing tracks called The Disintegration Loops by William Basinski, where the tape loops are disintegrating
as the recordings are being converted to digital format.
Also this performance called 100 Pianos.
I thought about what Singapore sounds like: lift dings,
road traffic, MRT trains rumbling, automated doors
sliding open, fast footsteps… I tried to log the genres
of music made here, like noise rock, post-apocalyptic
2.
K — The tables are great! And yes, tell me more about
what you see and imagine for LEONORANA.
____
22 december 2020: Feeling better
I — Just a short message to tell you that today the internet broke down and I only have I-phone and that I
felt a bit sick because of the low temperatures. I’m back
home tonight and hope to catch up our conversation/
work very soon.
K — It seems we are a little bit in sync. I’ve been unwell
these last few days, so my research for LEONORANA is
on pause. I will get back on track soon.
I hope you feel better once you get home.
____
24 december 2020: wi-fi connection and
astrological conjunctions
I — Yesterday I returned home by train already late at
night and I thought that at least there I would have a
wifi connection. But, no, I didn’t.
I know — mostly because so many people posted something about it on Facebook — that we had a special astrological conjunction between Saturn and Jupiter, but
did it interfere with all the www?? It was a bit frustrating
as I thought I was going to be able to do more than I did.
Maybe I have to be more realistic about being able to
work while travelling. Meanwhile, at least, my headache
is gone.
(By the way, someone was reading Tanizaki yesterday
next to me on the train and today my book has arrived.
As I’ve told you, most of Portuguese have read this book
so I can easily imagine that I and that person were the
only ones left to catch up with the “shadows”.)
My question is, shall we keep our meeting tomorrow?
I feel a bit uncomfortable about skipping work, but in
this case, stronger forces are sort of keeping me away
from it. But also this season (Xmas) can be a bit demanding in terms of homecare. Anyway, I leave you to
decide. Even if I don’t have much new work done to tell
you about, I do feel we can easily meet and be productive and I always enjoy our meetings a lot. So this may
be my point of lack of capacity of decision...
____
24 december 2020: Postponed meetings?
K — I’m sorry you had such a rough time! The astrological conjunction is supposed to be a good thing, so
I’m not too sure. We are moving into a very Aquarian
year though. Maybe that had some effect on the Internet (since Aquarius is partially about technology).
I have a couple things I think we can chat about in our
meeting. And we can do a more relaxed one maybe. So
let’s go on with the meeting at 11h.
That being said, next time if it’s better for you to take
more time for homecare and things like that, I’m alright
to postpone or do more emails instead. Whatever is less
stressful for you.
not as important. Probably we keep with the French/
European tradition of freedom before comfort. I’m not
the best person to say this (I’m too pale and I get sunburned very fast), but sunbathing along the beaches,
during summer, are the ideal occupation of most Portuguese.
We/They love summer and walking by the seaside. Or
just to be dumb under the sun. Probably because of vitamin D! :-) And the seaweed minerals.
K — Could you send me an example of what kind of
essay you wish to have in LEONORANA?
I — Surely, I have to find an example of an ideal essay
for LEONORANA to send you...
By coincidence a good friend of mine, to whom I also
complained about the LEONORANA essays I’ve been
publishing, said I was overreacting and that there are
great essays! That made me happy. Still, I will do my
homework soon.
Thank you for sketching the invitation.
I will take a look at the names you have listed.
We should keep improving the invitation. It’s starting
pretty well!
____
14 december 2020: Flow…
K — Hello! How are you today?
I — I feel that I’m a little bit behind with all of this info
but at the same time I feel we should let it flow. :-) Yesterday I took a look at the videos you have sent and read
my homework about which I will answer along this
email. Normally I’m a bit messy with the info I gather
and I start to organize it bit by bit in temporary tables
— I love tables...!
At the moment I feel I should pay more attention to 1.
the suggestion of people to collaborate and see how they
fit in the theme, 2. the topics by area. See if the same
path works for you and fill with whatever comes to your
mind. You have done lots of research and now you can
put it all into these 1. and 2.. A small note: If I didn’t say
this before, we can opt to publish already published articles/essays. I must say that the homework you ask me
to do is very curious and challenging. I haven’t yet chosen the ideal essay for me but I can name a few projects
that were/are very influential to LEONORANA.
3.
�____
31 december 2020: New year’s eve!
I — So the year is ending with a broken aquarius aspect
but will rise triumphantly from it in 2021 with lots of
emphasis on technology :-) !
Thank you for your words. I guess I’ve got used to stress
& anxiety and the only way to deal with it is to be more
organized and realistic. And that is something I hope to
improve next year.
Have you made plans & wishes for the next year?
K — Hm. I don’t really have resolutions the way I used
to any more. But I have a list of things I plan to learn,
like swimming, cycling, driving.
I — Oh, you didn’t learn to swim or cycle when you
were a child?
K — No… I know that most people do, but I somehow
didn’t. I was taught but I didn’t pick it up. I’ve realized
over time that I struggle with activities where my feet
are off the ground. Even being on a swing can make my
body anxious.
I — That’s so curious!
____
9 january 2021: The theme!
I — Good morning! How are you? Oh sorry, I keep saying morning when we it’s already evening for you.
K — No worries. I just went running after a long day
and am feeling pretty good. You?
I — I did a walk yesterday, but the weather’s not helping
with being outside.
About how to communicate the theme when sending
the invitations to collaborators I have a few notes:
The theme we choose to work with functions as a central point from where speculative thinking departs. Going to the 5th issue of LEONORANA, is now clear to me
that there is a thematic chain. Most of the new themes
comes from opening and expanding of the previous
ones. For example: the 3rd issue that was dedicated to
climates opened questions related to the environment
in a general sense leading us to choose environments
as the new theme. The same will most probably happen
in the next issue’s theme, meals, which is a derivation of
the 1st that was dedicated to diets. It has been said that
LEONORANA has an encyclopedian drive. While not
refusing it, we are focused on the “natural” derivation
from one to another theme and we choose the ones that
— at a certain time and place — make sense to us.
____
15 january 2021: 4 aspects for guidance
I — I will read from what we’ve wrote so far:
We began by doing research into the theme to derive
working guidelines for contributors, as well as to give
ourselves parameters within this expansive area. This
phase is not entirely separate from the one which follows it – choosing collaborators to invite. This is because
some of the guidelines may (or should) be derived based
on the contributors and contributions we envision for
the issue. In other words, the research “about what” and
the choice of “whom” are linked. When thinking about
what could be understood by environments, we derived
a working definition through an open approach with
four aspects for guidance: the limits (1), the features (2),
the values (3) and the objectives (4).
(1) Limits: To define an environment, we considered
how any environment fits within certain parameters,
usually physical. For example, the concrete and specific
parameters and conditions of environments such as a
planet, a continent, a nation, a building, a room, a shop,
a restaurant, a garden (or a park), a workspace, a forest, a
school, the human body and its close surroundings, etc.
Of course, the physical limits of the environments listed
here are only operative to begin an approach to specific
environments. Ultimately - to us at least - no environment is complete and truly self-contained; all environments are inter-conditioned and inter-determined. (2)
Features: Environments are better defined and particularized through the identification of their features,
such as: aquatic/terrestrial, low-tech/high-tech, uncontrolled/controlled, clear/toxic, rural/industrial, populate/deserted, silence/noise, cold/warm, dynamic/monotonous, slow/accelerated, human/non-human, etc.
Similar to the notion of limits, these abstract, binary
characteristics serve primarily as a starting point from
which we must depart and expand. (3) Values: The values we give to environments are subjective but more
specifically, how we feel is closely-linked to the cultural
value system by which we judge them, hence the attribution of: good/bad, healthy/unhealthy, comfortable/
uncomfortable, amicable/aggressive, livable / inhospitable, etc. All values are susceptible to criticism and
deserve our attention. At times they demand an examination of their genealogy, as well as transvaluation. (4)
Objectives: When analysing specific environments, by
objectives we imply the intentional ends that precede its
conception and construction, such as: efficiency, productivity, comfort, power domination, intimidation or
relaxation, among other possibilities. Here, we refer to
global, human environments, not forgetting, however,
that environments beyond planet Earth and this dimension have their own design.
4.
____
3 february 2021: A point of balance — in
fact we have created an environment!
K — You mentioned that, with the public sharing coming up, it would be good for us to talk about how the
process has been. What are you thinking right now?
I — While we worked on conceptualizing the editorial
parameters of LEONORANA dedicated to the “environments”, we were in fact, working on ourselves and in
the environment that together we constructed. Didn’t
we start to think about the guidelines precisely departing from “limits” as a concept? So, I wonder if we can
use those guidelines to describe our environment? Let’s
do the exercise to account for what we have as a constructed environment:
1. Limits: Spatial and Geographical, two countries, two
buildings, two rooms, two bodies, two beings. We both
dislike this separation in two, and the decision of “either this or that” doesn’t make special sense to us. So
where are the limits of this environment? The imposed
ones: the geopolitical borders are closed and we have
been confined to home due to the pandemic context.
Are there more? The time we decide that our meetings
will have? But specially our images on screen: we only
see our heads but we are not aware of our real plural
dimensions.
K — There is a loss of the body and the kinds of sounds,
movements and energies it emits. We’ve spent quite a
bit of time together now, enough that I have a sense of
your energy, but there is still some distance we cannot
close. It would be nice, eventually, when the world permits, to sit together and have a cup of (addictive) coffee.
I — Our main limits are for sure mainly established
within the information sent across the globe. What do
we decide to communicate to one another? What kind
of information do we think it’s relevant for our work?
K — I think we communicated far beyond what was
‘needed’, which made the process good. As you wrote
in the PDF, affections and relations are a key part of the
editorial process. I feel that by taking interest in each
other’s lives and cities, by building a connection and understanding, we inevitably added to the work process.
We made it more enjoyable, more open. I think you initial intentions of guiding while keeping things open was
what made this possible.
I — 2. Features: Concerning the features: from our conversations specifically about the weather, I proposed us
to think about warm and cold but in relation to technology materiality. My computer is metal cold but when I
use it, it gets warmer. I have been reducing my uses of
the computer to our meetings so that I can have more
5.
time to be in the studio. By consequence are the subtleties of the uses of technology in our meetings that sets
this environment? (Funny to think I’m a metal dragon
in the chinese astrology.)
K — Yes. Despite the coldness, there is an intimacy to
our devices. From my interest in object agencies and
inanimate things in general, I would call them affectionate, whether in how they are ergonomic - mapped
against our bodies in their design - or are simply familiar to us in ways that other people may not have access
to. This doesn’t take away from how they can also feel
aggressive, or how certain elements are built to manipulate our desires and consumption. I think the two
co-exist. Also, in relation to what you say about a computer heating up, a funny metaphor seems to emerge if
we think about the fact that I am a fire rat and you are
a metal dragon.
I — I wish to add beauty as one of the main features of
our environment. We talked about make-up a few times
and we have used it all the time: eye shadow, nail polish
and lipstick. I give that importance because we present
ourselves as we wish to be seen. We could even build
better avatars, but this is already a start. By providing
beauty to ourselves we take control of how we wish to
be seen & known to each other detached from external
expectations as this environment permits us freedom.
But we also cared about the simple beauty of our background images on screen: as I still wonder if I could
have changed my background to a better digital landscape instead of showing off my pile of books.
K — I wonder about the rectangle of space we each occupy on Zoom, about people who just wear their office
shirts with pajamas pants because they are only seen
from the waist up. It is a form of theatre - oddly funny
and yet in some ways it carries a loneliness? Also, I enjoyed seeing your books! I like seeing people’s spaces
instead of digital backgrounds, even though I use those
too. I think I use them for some sense of privacy, especially on days when I feel my room is a giant mess,
or when I take a work call with someone I don’t know
well and feel I should look professional instead of having them possibly see my bed behind me...
I — 3. Values: In retrospectively, thinking about this
(almost) three months, I reflected at every moment
whether this socialization environment was in accordance with some of my principles. Isn’t that the only certainty we have in such unpredictable times? For me, the
ideal environment is always hardly hierarchical, antiauthoritarian, which gives space to express the differences of each one of its parts, and that’s mostly joyful.
Did we agree on this without saying it?
�suming itself as an artistic project) always start from the
knowledge obtained through intuition and even affections, as well as from relationships of interpersonal affinities created and friendships built. Therefore, we can’t
help but “feel” how much of what we call Printed Matter
demands sociability. We recognize, however, how inevitable it is that the work we are doing will be marked by
this Covid-19 pandemic and we have taken advantage
of this alternative both as a necessary way to carry out
the project and as a new aspect to explore, which may
result in an innovative future form of work.
Thus, our work has been developed essentially through
the creation of a common environment through online
platforms. For that, we start by introducing ourselves
and making an introduction to our social and cultural
environments. Thinking about these platforms where
our work happens to develop does necessarily bring us
questions related to online life.
We have spending time together mediated by cold materiality that does not permit a full expression and reading of more subtle aspects of communication.
K — Perhaps this environment was in accordance with
your own values and desires, but I think they aligned
with mine too. Whenever someone asks me about how
this process with you has been, I always say: I am very
lucky, because we work in similar ways and with similar
rhythms. So yes - I think we agreed without saying it.
There was, is an understanding.
I — 4. Objectives: The main one was and still is to invite
people to join us, to build a community to be gathered
at a final printed object — the magazine LEONORANA. We spoke several times of how fast I am - I would
say that I am always in a hurry, anxious and perhaps
hasty — but that only means voracity in meeting new
adventures. I crave for more dialogues, for more email
answers, for more contact. You tell me: “oh everyone
needs their time, we are all super busy!”. I agree.
Being more calm about the reception of what we construct in this endeavor as itself an environment, I’m super happy with the possibility of the people we choose
to call out, think about it and let them give it value, at
their own pace.
K — I actually tend to move super fast too, so I relate to
you! It was really nice to be near your energy and to see
you take interest in things with such excitement. I think
it was the pandemic that made me really conscious of
how slowness, or going with the flow, is also needed.
Also because of living with anxiety for so long - I think
I harbour a strong desire to slow down. There is a balance we’re still finding, I think! Between how time flows
for each of us and other people. And knowing how fast
or how slow to go at each moment. This residency also
happened to overlap with Singapore Art Week... which
I’m guessing explains quite a number of the slower responses.
____
9 february 2021: Notes on editing
I — In the work of editing — editorial conceptualization — it might be predictable and even expected that
there would be no marked difference in the transition
from physical to virtual contact. However, we discussed
how the physical and bodily is involved in editing - in
the choice of both collaborators and content to be proposed. For the simple reason that all the choices and
decisions made in a magazine like LEONORANA (as-
6.
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
A Temperature Report: Warm Subtleties in Cold Materiality
Description
An account of the resource
A report on the dialogues between Isabel Carvalho and Ang Kia Yee from emails and zoom meetings in a temporality from 2 December 2020 to 9 February 2021
Creator
An entity primarily responsible for making the resource
Isabel Carvalho
Ang Kia Yee
Contributor
An entity responsible for making contributions to the resource
2 December 2020 - 9 February 2021
Format
The file format, physical medium, or dimensions of the resource
Pdf
Language
A language of the resource
English
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Talk and Lecture
Programme Series
Residencies Insights
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies Insights [Online] <em>Residencies Rewired</em>
Subject
The topic of the resource
Ecology
Ecosystems
History
Description
An account of the resource
<p><strong>Session #1 </strong><br /><strong>Lêna Bùi (Vietnam) & Elizabeth Ang (Singapore)<br />Isabel Carvalho (Portugal) & Ang Kia Yee (Singapore)<br />Yuichiro Tamura (Japan) & Ge Xiaocong (Singapore)</strong></p>
<p>Thursday, 18 February 2021, 7.00 – 8.30pm</p>
<p>Prompted by the impossibility of international mobility, <em>Residencies Rewired<span> </span></em>(Dec 2020 – Feb 2021) has seen overseas artists work in close, albeit remote, collaboration with local research liaisons to develop their research projects. In these two open-format sessions, each pair of artist and liaison will share the process and development of their research over the past months as well as reflect on their experience engaging with the specificities of the local from a distance.</p>
<p><strong><em>Kindred</em></strong><br /><strong>Lêna Bùi (Vietnam) & Elizabeth Ang (Singapore) </strong></p>
<p>Coalescing research and materials gathered over the past months on botanical histories, flora, and fauna, as well as historical characteristics relating to their respective cities—Saigon and Singapore—Lêna and Elizabeth compose a short text collaboratively which unfolds narratives of growth and decay, cycles of development and reincarnation, and also evokes the diversity of the region.</p>
<p><strong><em>山下</em><em>/<span> </span></em><em>Rumour as Ghost: The Yamashita Treasures</em></strong><br /><strong>Yuichiro Tamura (Japan) & Ge Xiaocong (Singapore)</strong></p>
<p>Intrigued by the contemporary shadows cast by the historical figure of General Tomoyuki Yamashita and the symbolic significance of the “Yamashita treasure” looted and hidden in Southeast Asia, Yuichiro and Xiaocong excavate the notion of rumours as ghosts in an attempt to recall and engage stories of the past. They will also draw on traditional Japanese Noh theatre’s tradition of spectral autobiography to recount the site’s histories and explore storytelling and speculative treasure-hunting as forms of evocation.</p>
<p><strong><em>warm subtleties in cold materiality</em></strong><br /><strong>Isabel Carvalho (Portugal) & Ang Kia Yee (Singapore)</strong></p>
<p>Working together on the next issue of Isabel’s cross-disciplinary magazine LEONORANA dedicated to the subject of ‘environments’, Isabel and Kia Yee spent time together remotely with the mediation of computers, keyboards, screens, software, all the material and immaterial technological conduits that have made their contact possible. In the presentation, they reflect on the community they have formed, on how to merge their respective environments made of specific temperatures, temporalities, and desires, and on how to warm up the cold technological materiality to welcome others. </p>
<p><span>A Temperature Report: warm subtleties in cold materiality, by Isabel Carvalho and Ang Kia Yee [see Files below]</span></p>
<p><strong>BIOGRAPHY</strong></p>
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<p>The practice of<span> </span><strong>Lêna Bùi</strong><span> </span>(b. 1985, Vietnam) is drawn to the intangible aspects of life such as faith, death, and dreams and the ways in which these influence our behaviours and perceptions. Through the incorporation of anecdotes and personal stories, her works articulate intimate reflections upon the impact of rapid development and the relationship between humans and nature. Bùi’s works have been included in group exhibitions and presentations at Sharjah Art Foundation, United Arab Emirates (2018); Mansfield Freeman Center for East Asian Studies, Wesleyan University, Middle Town, United States (2018); Haus der Kulturen der Welt, Berlin, Germany (2017); The Factory Contemporary Arts Centre, Ho Chi Minh City, Vietnam (2016); and Carré d’Art, Nîmes, France (2014) amongst other venues.</p>
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<p><strong>Elizabeth Ang</strong><span> </span>is a freelance creative and writer who holds a BA in International History from the London School of Economics and Political Science. Her research interests include Cold War historiography as well as social, cultural and religious histories of Southeast Asia.</p>
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<p>The experimental practice of<span> </span><strong>Isabel Carvalho</strong><span> </span>(b. 1977, Portugal) seeks to establish meaningful relationships between contemporary art, economics, politics, feminism, and sexuality. Some of her projects bring together visual arts and textual practices in order to explore alternative methods of writing, publishing, and distributing knowledge. She is founder and chief editor of LEONORANA, a research magazine dedicated to experimental thinking. From 2010 to 2018, she ran Navio Vazio, Portugal, a project space that provided a three-dimensional extension to her publishing programme. Her works have been exhibited widely across Europe and she has received solo presentations in Portugal, Germany, and Spain.</p>
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<p><strong>Ang Kia Yee</strong><span> </span>is a poet and artist interested in speculation, fiction, and alternative futures in which community economies, new language(s), and solarpunk proposals are possible.</p>
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<p>The videos, installations, and performances of<span> </span><strong>Yuichiro Tamura</strong><span> </span>(b. 1977, Japan) articulate multi-layered narratives which delve into the memory and history of localities and weave together unconnected events. By merging fact and fiction, his works investigate the contemporary significance of past events. Recent group shows include<span> </span><em>Readings from Below</em>, Times Art Center Berlin, Germany; Yokohama Triennale 2020, Japan and<span> </span><em>Participation Mystique</em>, Ming Contemporary Art Museum, Shanghai, China (all 2020), and 7th Asian Art Biennial, Taichung, Taiwan (2019), amongst others. He was a finalist for the Asia Pacific Breweries Foundation Signature Art Prize in 2018 and the Nissan Art Award in 2017.</p>
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<p>Trained in Fine Art and Art History at Goldsmiths University of London,<span> </span><strong>Ge Xiaocong’s</strong><span> </span>research interests include folklores, myth-making and creative historiography. In her practice, she adopts the lens of post-colonial thought to investigate historical architecture and narratives.</p>
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<p><strong>Session #2 <br /></strong><strong>Rand Abdul Jabbar (Iraq/United Arab Emirates) & Rafi Abdullah (Singapore)<br />Diana Lelonek (Portugal) & Denise Lim (Singapore)<br />Elia Nurvista (Indonesia) & Yom Bo Sung (Singapore)</strong><br /><strong>Nolan Oswald Dennis (South Africa)</strong></p>
<p>Tuesday, 23 February 2021, 7.00 – 8.30pm</p>
<p><strong><em>Untangling Petro-Histories at Pulau Bukom<br /></em></strong><strong>Rand Abdul Jabbar (Iraq/United Arab Emirates) & Rafi Abdullah (Singapore)</strong></p>
<p>Rand Abdul Jabbar and Rafi Abdullah trace the intersections of their family histories at the site of the Shell Oil Refinery in Pulau Bukom. As Iraq and Singapore embark on ambitious nation-building and modernization plans during the 1960s, the petroleum trade features prominently in the evolution of the complex bilateral relationship between the two countries. Through an engagement with both institutional and personal archives, the project attempts to map out the elaborate trajectories that characterize the seemingly contradictory bonds across these two nations through the prism of petroleum trade, workforce tensions, warfare coalitions, counter-terrorism strategies, and conflict resolution.</p>
<p><strong><em>Shifting Landscapes<br /></em>Diana Lelonek (Poland) & Denise Lim (Singapore)</strong></p>
<p>Connected by parallel histories of anthropogenic alterations, Diana and Denise draw parallels between two distant lands. In Poland, lignite mining in the Konin Coal Basin resulted in permanent changes to the topography of the area, the degradation of the ecosystem, and the displacement of local communities from Goranin Village. In Singapore, Pulau Seking and Semakau suffered a similar fate, they have been reclaimed to form Semakau Landfill and their Orang Laut communities have been forced to relocate to the city. Through mapping and interviews with former inhabitants of the two lands, Diana and Denise question the pursuit of progress at the expense of the land and its people. </p>
<p><strong><em>A Cartography of Food<br /></em>Elia Nurvista (Indonesia) & Yom Bo Sung (Singapore)</strong></p>
<p>Growing organically from her longstanding involvement with Bakudapan Food Study Group, Elia’s current research is driven by the question: “What is agriculture in the context of Singapore?” Together with Bo Sung, she has begun to map food systems in the city-state and critically examine the underlying dynamics of power, agency, and capital that influence socio-political issues surrounding food. Along the process, they consider the multiple manifestations of food-related practices, from government actions to grassroot initiatives including emerging movements such as urban and community farming.</p>
<p><strong><em>Piles: a black earth study club report<br /></em>Nolan Oswald Dennis (South Africa)</strong></p>
<p><em>Piles</em> explores sand stockpiles in Singapore and sandy mine dumps in Johannesburg as resonant nodes which animate and materialise a provisional network of intercontinental intimacy. These piles of sand are correspondent but not equivalent, what links them also distinguishes them. Such qualities of imperfect similarity and spooky resemblance inform the methods and artefacts of Nolan’s research into conditions for planetary solidarity. Extending his ongoing project the <em>Black Earth Study Club</em>, this short presentation will consolidate material coincidences through a series of online mediations and field recordings.</p>
<p><strong>BIOGRAPHY</strong></p>
<p><strong>Rand Abdul Jabbar</strong>’s (b. 1990, Iraq/United Arab Emirates) multidisciplinary practice examines remnants of historic, cultural, and personal narratives surrounding Iraq, contesting with individual and collective history and memory to produce fragmentary reconstructions of historic events and past experiences. Her work has been recently exhibited at the NYU Abu Dhabi Art Gallery Project Space and Jameel Arts Centre (both United Arab Emirates), the inaugural Rabat Biennale (Morocco), and the Biennale d’Architecture d’Orléans, France (all 2019).</p>
<p>Through research, writing, and curating, cultural worker<span> </span><strong>Rafi Abdullah</strong><span> </span>entwines politics of space and personal histories. He recently completed his BA in Arts Management at LASALLE College of the Arts.</p>
<p>Working with photography, installations, and found objects, the interdisciplinary practice of<span> </span><strong>Diana Lelonek</strong><span> </span>(b. 1988, Poland) interrogates the notion of nature in the anthropocene. Through the collection of newly formed waste-derived organisms across dump sites and landfills, she explores the impact of overproduction of waste on existing ecosystems. Her recent solo exhibitions include <em>Diana Lelonek: Buona Fortuna</em>, Fondazione Pastificio Cerere, Rome, Italy (2020); <em>Raport</em>, BWA Galeria Meijska Bydgoszcz, Poland and <em>Center for Living Things</em>, Buerobasel, Basel, Switzerland (both 2019). She has exhibited in international shows such as <em>Nature \ nature</em>, Kunstraum Niederoesterreich, Vienna, Austria and <em>The Art of Being Good,</em> Tallinna Kunstihoone, Estonia (both 2019); and Riga International Biennial of Contemporary Art, Latvia (2018), among others.</p>
<p>Through photography, painting and three-dimensional explorations influenced by her background in architecture,<strong><span> </span>Denise Lim</strong><span> </span>examines narratives inherent to the human condition. Central to her research interests are circular design and co-creation with nature in the age of the Anthropocene.</p>
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<p>As a co-founder of the food study group Bakudapan,<strong><span> </span>Elia Nurvista</strong><span> </span>(b. 1983, Indonesia) employs an interdisciplinary approach towards the discourse around food. Through a wide range of mediums, from video installations to workshops, her works invite reflective participation to think beyond food as an alimentary sustenance. Selected group shows include Dhaka Art Summit 2020, Bangladesh and <em>On the Nature of Botanical Gardens,</em> Framer Framed, Amsterdam, The Netherlands (both 2020); Karachi Biennale, Pakistan and Singapore Biennale with Bakudapan (both 2019). Her recent solo presentation titled <em>Früchtlinge</em> took place at Künstlerhaus Bethanien, Berlin, Germany (2019).</p>
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<div class="page--column"><strong>Yom Bo Sung</strong><span> </span>is an artist and arts worker who recently graduated from Slade School of Fine Art, University College London. His practice is invested in food as a material and as an art object, and explores the socio-political implications of food systems.</div>
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<p>The interdisciplinary practice of<strong><span> </span>Nolan Oswald Dennis</strong><span> </span>(b. 1988, Zambia/South Africa) looks at histories and futures of solidarity in the global south as strategic responses to capital and colonial power, and as trajectories of collective world-making. Engaging with “a black consciousness of space”, his practice unsettles dominant ways of knowing. His work has been shown internationally at Young Congo Biennial, Kinshasa, Congo (2019); Goethe Institute, Beijing, China (2018); Kalmar Konstmuseum, Sweden (2017), amongst others. In 2016, he was awarded the FNB Art Prize. He is a Research Associate in the Visual Identities in Art and Design Research Centre, University of Johannesburg, and a 2020/21 Digital Earth Fellow.</p>
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Date
A point or period of time associated with an event in the lifecycle of the resource
18 February 2021
23 February 2021
Contributor
An entity responsible for making contributions to the resource
Nolan Oswald Dennis
Yom Bo Sung
Elia Nurvista
Denise Lim
Diana Lelonek
Rand Abdul Jabbar
Rafi Abdullah
Ge Xiaocong
Yuichiro Tamura
Ang Kia Yee
Isabel Carvalho
Lêna Bùi
Elizabeth Ang
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Europe
North America
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Performance
Location
Onsite (CCA)
Offsite
Online
Online
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Audience
General
Programme Series
Residencies Rewired
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies Rewired
Description
An account of the resource
The COVID-19 global pandemic cuts straight to the core of a Programme premised on international mobility, unscripted encounters, and site-specific engagements. Ongoing health risks and travel restrictions have moved the scheduled residencies of overseas artists into a zone of impossibility. As much as these unprecedented conditions have unravelled established procedures and standard protocols for action, they also commanded resilience and adaptability, urging us to rethink concepts of distance, modes of engagement, and pathways to collaboration. <br /><br />In order to pursue organic connections across national borders and foster collaborations beyond the restrictions on bodily movement, NTU CCA Singapore launched Residencies Rewired, a project initiated and overseen by Dr Anna Lovecchio, Curator, Residencies, which is in line with the Centre’s long-standing commitment to support art practitioners and artistic research by facilitating meaningful engagements with the specificities of the local. <br /><br />Through an Open Call, local researchers have been appointed to act as Liaisons (Artistic Research) to work in close, albeit remote, collaboration with overseas artists over a period of three months (December 2020 – February 2021) and support the development of their research projects. Residencies Rewired will culminate in a series of public programmes to be conducted towards the end of the project. <br /><br />Artists & Liaisons: <br /><br />LÊNA BÙI (Vietnam) – Elizabeth Ang ISABEL CARVALHO (Portugal) – Ang Kia Yee NOLAN OSWALD DENNIS (Zambia/South Africa) – Kin Chui RAND ABDUL JABBAR (Iraq/United Arab Emirates) – Rafi Abdullah DIANA LELONEK (Poland) – Denise Lim ELIA NURVISTA (Indonesia) – Yom Bo Sung YUICHIRO TAMURA (Japan) – Ge Xiaocong
Date
A point or period of time associated with an event in the lifecycle of the resource
1 December 2020 - 28 February 2021
Contributor
An entity responsible for making contributions to the resource
Lêna Bùi
Elizabeth Ang
Isabel Carvalho
Ang Kia Yee
Noland Oswald Dennis
Kin Chui
Rand Abdul Jabbar
Rafi Abdullah
Diana Lelonek
Denise Lim
Elia Nurvista
Yom Bo Sung
Yuichiro Tamura
Ge Xiaocong
Subject
The topic of the resource
Artistic Research
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Asia
Europe
Africa
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Contributors
Contributor
An individual, collective, or corporate entity.
First Name
Bo Sung
Surname or Business Name
Yom
Years Affiliated
Year range (starting year/ending year) affiliated with NTU CCA Singapore, or leave blank if not applicable.
For date range with year only: YYYY/YYYY, e.g., 2014/2015
For date range with year and month: YYYY-MM/YYYY-MM, e.g., 2014-07/2015-06
2021
Birth Date
1996
Birthplace
South Korea
Occupation
Professional title or identity
Artist
Biographical Text
Long-form biography for the Contributor (no character count). A short-form biography (no more than 240 characters) should be added to the Contributor's Description
<span>Yom Bo Sung is an artist and arts worker who recently graduated from Slade School of Fine Art, University College London. His practice is invested in food as a material and as an art object, and explores the socio-political implications of food systems.</span>
Personal Website
Leave blank if not applicable
<a href="https://www.yombosung.com">https://www.yombosung.com</a>
Country of Practice
At least one country of practice should be listed for each Contributor, up to three countries of practice.
Singapore
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
None
Contributor Type
Collaborator
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Yom Bo Sung
Subject
The topic of the resource
Materiality
Contributor
An entity responsible for making contributions to the resource
Yom Bo Sung
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia