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472
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SEA AiR Cycle 2: Artist Spotlight - Priyageetha Dia (Singapore)
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Southeast Asia
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SEA AiR Cycle 2: Artist Spotlight - Ngoc Nau (Vietnam)
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Ngoc Nau
Nguyen Hong Ngoc
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SEA AiR Cycle 2: Artist Spotlight - Saroot Supasuthivech (Thailand)
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WEILS Contemporary Art Centre
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WIELS is the main centre for contemporary art in Europe’s capital city. An international laboratory for innovation and creative practices that aims to enrich the debate, open up new perspectives and stimulate the senses, enhancing cultural mobility and interactions with creators and authors<br />from other cultures and geographies. As a space dedicated to the transmission of knowledge, support and professionalisation of emerging and less-visible artists since its inception in 2007, WIELS occupies a central position in the art scene from Brussels and Europe and puts its know-how<br />at the service of artistic invention and innovation. For the second decade, WIELS engages in new efforts to connect artists and intellectuals from East and Southeast Asia, Africa, and Latin America
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Villa Arson
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Villa Arson is an innovative public institution of the French Ministry of Culture that fulfils several complementary functions in favour of contemporary creation: teaching, research, experimentation, production, dissemination,<br />promotion and support. The Villa Arson school of art, contemporary art centre, artists’ residency and specialised library form a unique ecosystem dedicated to supporting young generations of artists towards professional practices, presenting original artistic visions and facilitating<br />critical exchanges with an international perspective. Villa Arson welcomes residents for its teaching and research activities and within the framework of tailored partnerships for artistic production and research.
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Helsinki International Artist Programme (HIAP)
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Helsinki International Artist Programme (HIAP) is an international artist residency organisation which was established in 1998. The HIAP residency programme offers time and space for developing new work in dialogue<br />with the local art scene. The goal is to support experimental, crossdisciplinary art practices and to actively contribute to topical debates within and around the context of art. Since 2019 HIAP is also responsible formanaging the Villa Eläintarha artist residency which focuses on short-term production residencies.
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Künstlerhaus Bethanien
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The <span>Künstlerhaus Bethanien is an international cultural centre with an artist-in-residence programme. It is dedicated to the advancement of contemporary visual arts and aims to establish a lively dialogue between artists from various backgrounds and disciplines, and the public at large. The focus of its manifold missions is the International Studio Programme, where artists conceive and present new projects with the help of its team. Furthermore, it encourages critical reflection on subjects related to contemporary art and culture through its publications, including the <em>Be Magazine</em>, a yearly journal for art and criticism.</span>
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Rupert
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Operating since 2012, Rupert is an independent, publicy-funded centre for art, residencies and education. Its mission is to establish close cooperation between artists, thinkers, researchers and other cultural actors through transdisciplinary programmes and residencies. It manifests this mission through three related programmes: the residency programme, the alternative education programme and the public programmes. They are all dedicated to creating platforms for conversation, research and learning. Through these programmes, Rupert supports local and international thinkers in realising their prospects and establishing their creative practice on an international scale.
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Jan van Eyck Academie
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Art Institute
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As a post-academic institute, Jan van Eyck Academie offers residencies to artists, designers ranging from graphic and fashion to food and social design, writers, curators, and architects from all over the globe. The academy is committed to exploring the agency, roles and civic significance of art, design, and other creative practices in relation to the climate crisis, environmental breakdown, and their manifold effects. This institutional focus opens a wide discourse and creates a framework that embraces a diversity of practices and allows for a multitude of voices.
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PDF Text
Text
SEA AiR
Studio Residencies for
Southeast Asian Artists
in the European Union
Saroot
Supasuthivech
Thailand
Cycle 2
Priyageetha Dia
Singapore
Ngoc Nau
Vietnam
Künstlerhaus
Bethanien
Berlin
Jan van Eyck
Academie
Maastricht
Rupert
Vilnius
PASSAGES
1 December 2023
– 28 January 2024
�Welcome to the second exhibition of SEA AiR (Studio Residencies for Southeast Asian
artists in the EU) at Gillman Barracks. I am delighted to experience with you here the
works of three artists in the second cycle of SEA AiR: Priyageetha Dia (Singapore –
residency at Jan van Eyck Academie, Netherlands); Ngoc Nau (Vietnam – residency
at Rupert, Lithuania) and Saroot Supasuthivech (Thailand – residency at Künstlerhaus
Bethanien, Germany).
Through the second cycle of SEA AiR – a made-in-Singapore programme – we deepen
our ties with Singapore in line with the EU Global Gateway initiative. Global Gateway
connects people, goods and services around the world in sustainable ways. SEA AiR
was launched jointly by EU Delegation to Singapore and NTU Centre for Contemporary
Art Singapore and celebrates people-to-people connectivity and diversity. We started
the project in 2022 when the EU and ASEAN commemorated the 45th anniversary of
our partnership. It is only fitting that we conclude the second cycle in another landmark
year, on this occasion for EU-Singapore relations, since 2024 marks 20 years of the
establishment of the EU Delegation to Singapore.
For me, experiencing the art in this truly inspiring project is a journey. This is reflected
in the exhibition title: Passages, referencing the artists’ journeys across geographical
Foreword
Iwona Piórko
Ambassador of the
European Union
to Singapore
and cultural boundaries from one continent to another; the cultural exchanges that take
place during this time; and the continuous development of ideas as they return to their
home countries to create the thought-provoking artworks you see in this exhibition.
Through SEA AiR we drive further the development of Southeast Asia’s contemporary
art scene and the initiative serves also as a springboard for dialogue between European
art institutions and Southeast Asian artists. These established European art institutions
have a long history of running residency programmes and offered the artists a threemonth residency and an opportunity to create new works, inspired by their experiences,
engagements, dialogues and interactions with the public in Europe. In the current geopolitical context, they experienced too the narratives dominating the European political
and social landscape.
Art is not just a powerful tool for sharing stories and emotions. It helps also shine a light
on our world in creative ways. Together with art lovers from the region and beyond, I am
looking forward to seeing how travels, cultural exchanges and the realities shaping our
world have impacted and shaped the art practices of talented artists Priyageetha Dia,
Ngoc Nau and Saroot Supasuthivech.
Ngoc Nau at the Berlin Wall Memorial, Germany,
May 2023. Photograph by Hong Nhung.
1
I wish all the artists a successful exhibition filled with conversations, ideas and exchanges.
�I am honoured to host at NTU Centre for Contemporary Art Singapore (NTU CCA
Singapore), SEA AiR—Studio Residencies in the European Union for Southeast
Asian Artists, developed and curated by NTU CCA Singapore and supported by the
European Delegation (EU) to Singapore. This residency aims to enrich artistic creativity
and foster cross-cultural exchanges and collaboration across cultural and geographical
boundaries. This year marks the 10th anniversary of our Centre and to date, we have
hosted nearly 100 local and Southeast Asian artists in our in-house Residencies
Programme. SEA AiR extends our Centre’s commitment to support artists in their
artistic research and creative enquiry beyond the region, through host institutions
in Europe.
Now into its second cycle, SEA AiR oversaw the residencies of Priyageetha Dia
(Singapore), Ngoc Nau (Vietnam) and Saroot Supasuthivech (Thailand) at three new
partner institutions: Jan van Eyck Academie (Netherlands), Rupert (Lithuania) and
Künstlerhaus Bethanien (Germany) through the summer. What surprisingly transpired
from this geographical translocation is the discovery by each artist of elements of
their own culture embedded in another. Their exhibition Passages, which reflects
this journey of travel and discovery, follows after the Cycle 1 exhibition New Works,
presented at our Centre during Singapore Art Week 2023, featuring artists Hoo Fan
Ute Meta Bauer
Founding Director, NTU CCA Singapore
and Professor, NTU School of Art,
Design and Media
Director’s Welcome
and Social Sciences. Also to the tireless work of our Centre’s team, particularly
Dr Anna Lovecchio, Assistant Director of Programmes, who led SEA AiR fastidiously
with curatorial acumen through its first and second cycles, and Tian Lim, the curator
of Passages; as well as our former staff members Dr Karin Oen, Peter Lin and Maggie
Yin, who have contributed significantly to the development of SEA AiR. Of course,
not forgetting Hicham Khalidi, Director of Jan Van Eyck Academie; Viktorija Šiaulytė,
Director, and Monika Lipšic, Curator of the Residency and Public Programmes, Rupert;
and Christoph Tannert, Artistic Director of Künstlerhaus Bethanien; for being our
partners in the programme.
Chon (Malaysia), Citra Sasmita (Indonesia) and Vuth Lyno (Cambodia). We are pleased
that each one of them has gone on to receive commissions and invitations for work
beyond the region, and we wish the very same for our current SEA AiR artists.
These SEA AiR exhibitions in Singapore provide artists not only an opportunity to
engage with the wider arts community, but also completes each cycle; demonstrating
the facilitation of building cultural bridges and opening up new possibilities and
collaborations for the artists.
Such a multi-institutional, transnational partnership would not have been possible
without the funding by EU Service for Foreign Policy Instruments (FPI) and the
efforts of many. Once again, we would like to extend our gratitude to H.E. Iwona
Piórko, EU Ambassador to Singapore, for her trust in and passion for this project and
Deepika Shetty, Press Officer at the EU Delegation to Singapore, for her enduring
support throughout this whole time. Also to Paolo Zingale (former Head) and Michel
Mouchiroud (former Deputy Head) of the FPI Regional Team Asia & Pacific for
their patient guidance during the implementation of SEA AiR. My special thanks to
Nanyang Technological University; Professor Tim White, Vice President (International
Engagement) and Professor Joseph Liow, Dean of the College of Humanities, Arts,
I would like to end with my sincere gratitude to the three participating artists. It is
through their inquiries and resulting art works that we are able to see different facets of
life in Europe and to discover what we might not be aware of. Thank you for that!
2
3
Priyageetha Dia’s visit to Pony Club Maastricht,
Netherlands, June 2023.
�Taking black feminist theorist Tina M. Campt’s approach of “engaging the
sonic frequencies of photographs”1 (which Dia explains in our interview that
follows), she has opted for low-frequency speakers to project the sound, so that
it can also be “felt”. On opposite sides of the walls, the phrases “Whirring
Forces” and “Humming Fields” reinforce the haptic quality of low,
continuous sounds. The imageries of these sounds come to mind, bringing
us full circle to reimagining the memories, stories and histories of humans
and other species that have been suppressed, dismissed or forgotten.
Hailing from Singapore, Vietnam and Thailand, Priyageetha Dia, Ngoc
Nau and Saroot Supasuthivech were selected for SEA AiR by a Selection
Committee based on their own merits and art practice, without any
consideration for a collective curatorial focus for the end-of-residency
exhibition. Dia has been investigating the past and present lives of rubber
plantations as a point of departure for uncovering power structures
and dominance. Nau, concerned with the rapid urban development in
her country and its social and environmental impact, had planned to
look at her host country’s experience. Supasuthivech’s interest lies in
uncovering unwritten narratives of histories, through the understanding
of spiritual beliefs and ceremonial traditions; particularly those sur
rounding death. Despite having knowledge of their research focus, it
was not clear what their final artworks for the exhibition would be, but
this is one of the exciting things about an artist residency programme.
We did not know what to expect, what discoveries the artists would
make, and what surprises await them. The exhibition title Passages,
borrowed from German philosopher Walter Benjamin’s Passagenwerk
(The Arcades Project, 1982), refers to the “passage” the artists have
embarked on for SEA AiR. During this journey, they would have assumed
the role of a “flâneur”: strolling through the streets, observing—and
During her residency in Lithuania, Ngoc Nau visited Grūtas Park, some
120 km away from Vilnius, the capital. An outdoor sculpture garden,
museum, (mini) zoo and playground all in one, Grūtas Park is known for its
collection of Soviet-era monuments, including statues of Communist leaders,
dismantled and abandoned when Lithuania broke away from the Soviet
Union in 1990. The removal of one such Lenin statue from the central
square in Vilnius—without his legs, became emblazoned and celebrated as a
symbol of freedom. As Grūtas Park acknowledges, therein lies a deep-seated
dilemma about these sculptures, representative of the trauma sustained
under the Soviet ideology: destroy or preserve? Nau’s encounters with these
monuments, including Soviet-era architecture, reminded her of her own
Tian Lim
Exhibition Curator
Notes about the Exhibition
country. It prompted her inquiry into what meanings such symbols hold for
the younger generation in Vietnam, where a 5.2 metre-high Lenin statue on
a 2.7 metre-high pedestal in a park in central Hanoi stands, commemorated
every 7th of November on the anniversary of the Russian October Revolution.
In her essay Lenin Park that accompanies Nau’s video work, Phuong Phan, a
Berlin-based Vietnamese researcher and writer, reflects on the significance
of Soviet Russia’s gift of the Lenin statue to Vietnam, the meanings the
leader holds for the country and her people, and the profound complexities
of his legacy. Separately, when Nau visited the “Runde Ecke” Memorial
Museum during her field trip to Leipzig, Germany, she learnt that formerly
classified documents were destroyed in a grinder and mixed with soil after
the fall of the Soviet Union. This, together with the knowledge of how
craftsmen in Vietnam use papier mâché to make artisanal masks for the
Mid-Autumn Festival, inspired her to build her own projection screen
using the same technique. The newspapers Nau collects get repurposed for
a new experience after being soaked in water, mashed in a grinder, then
mixed with glue to be moulded for the screen used in this exhibition.
more—experiencing, participating in and contributing to kaleidoscopic
exchanges that take place in the process. Their cultural experiences
would in turn, shape the ideas for this exhibition.
Dia’s field trip to Sónar, an annual festival in Barcelona, Spain, that
celebrates innovation in music, digital arts and creative technology, was a
defining moment for her in the exploration of sound not only as a medium
or conduit for presentation, but also as the metaphoric narrative itself. She
also made a trip to a rubber and oil palm plantation at Alor Gajah, a town
in Melaka, Malaysia. The field recordings taken on this trip as research
reference captured mainly the sounds of machinery, seemingly for the
expansion of the plantation and its resort, and cicadas. Upon her return,
her eventual proposal for this exhibition moved away completely from the
moving image, which has been the main mode of expression in her recent
practice. Departing from this familiarity and focusing solely on sound
as her artwork, a first for Dia, has been for her, as she shared, intimidating;
and no doubt a challenging process. This process entailed “watching”
and “listening to” archival photographs of palm oil and rubber tree planta
tions in Sumatra from the album of Sumatra Caoutchouc Company, an
Amsterdam and Brussels-based rubber planting company founded in 1907.
4
5
Among the many discoveries that influenced Saroot Supasuthivech’s work
for this exhibition, those at the Berlin State Library in Germany can be
�1
Campt, Tina. “Introduction.” In Listening to
Images. Durham: Duke University Press, 2017.
considered critical: the original editions of Grimm’s Fairy Tales, first
published as Children’s and Household Tales (1812–15) and the archives
of Simon de la Loubère (1642–1729), a French envoy to Siam (Thailand)
in the 17th century. Compared to the versions that we read as children,
the original Grimm stories are twisted and gory, but it is the diverse
voices, traditional beliefs and fantastical darkness featured in them that
fascinated the artist. This led to him exploring historical sites such as the
Fountain of Fairytales, which is adorned with characters from the fairy
tales (interestingly, the scarier ones have gone missing) and the Old St.
Matthew’s Churchyard, where the gravesites of the Grimm Brothers lie.
Supasuthivech has always been drawn to cemeteries. They, as he shares
in our interview, offer him “not only respite but also unexpected sparks
of inspiration”. Apart from incorporating these sites and Grimm’s story
telling approach in his work, the etchings in this exhibition are also
inspired by the printmaking technique used for illustrations in Grimm’s
subsequent editions.
2
Ruangkham, Theeraphong. “Crossing the
Sithandon River of the ‘Sai Samon’: From the
Court of Versailles to the Royal Crematorium in
the reign of King Rama IX.” THE STANDARD,
October 26, 2017. https://thestandard.co/
a-siamese-song-say-samon/#.
3
Eiland, Howard, and Kevin McLaughlin, trans.
“Translators’ Foreword.” In The Arcades Project,
ix. Cambridge, Massachusetts: Harvard University
Press, 1999.
From Simon de la Loubère’s chronicles, Supasuthivech found a manuscript
of the song Sai Samon (A Siamese Song) from the 17th century. Its
300-year history, a cyclic journey spanning three oceans, three palaces
and nine Thai dynasties, is said to have originated from the Royal Court
of Versailles, under King Louis XIV’s reign, in 1686. Made aware of the
song from the chronicles when he visited France on his first trip to
Europe, His Majesty King Chulalongkorn, King Rama V (1868–1910), had it
arranged as a piano piece for the Thai royal anthem. Since then, the song
has undergone transformations and used for diverse occasions, from a
title song for a Thai movie in 1941 to a requiem for the royal cremation
ceremony of His Majesty King Bhumibol Adulyadej in 2017.2 Both Kings
had also gifted Sala Thais (open pavilions), a century apart from each
other, to the spa town of Bad Homburg, Germany, where Supasuthivech
visited and filmed for his work.
Despite the artists’ unique residency experiences and distinct research
topics and practice, each of them has taken a speculative approach to
the presentation of their research and inquiries, employing fiction as a
way to look at historical lapses; the “‘refuse’ and ‘detritus’ of history”.3
In reimagining realities, their works explore liminal spaces between the
historical and contemporary; past and present; real and imagined. As
meanings get deconstructed and recontextualised, the interplay between
individual and collective remembrances across diverse cultures opens
up new explorations and possibilities in perceiving complex (inter)relation
ships. As audience, we also become participants of this “passage”
when we draw our own connections from what Benjamin terms as
“constellations”—an approach in understanding and relating to disparate
elements in a non-linear but more holistic manner.
Above:
Polaroid photographs of Saroot Supasuthivech,
Künstlerhaus Bethanien, Berlin, Germany,
March 2023. Photograph by the artist.
Following page from top:
Priyageetha Dia in her studio at Jan van Eyck
Academie, Maastricht, Netherlands, April 2023.
Portrait of Ngoc Nau in a CGI-generated landscape,
May 2023.
6
7
Saroot Supasuthivech in Berlin, Germany, May 2023.
Photograph by Sareena Sattapon.
�An Interview with
A PASSAGE
Tian Lim: Could you share your first
impressions of your host city or your
most memorable memory there? For Priya
and Nau, this was your first trip to the
Netherlands and Lithuania respectively;
while for Saroot, what was different for
you this time, having been in Berlin once
prior to this residency?
Priyageetha Dia: In Maastricht, one is
immediately struck by the historic appeal
of the city with its narrow winding cobblestone pavements and medieval architecture. Even the ambience of the air differs significantly when I was transferring
from Schiphol Airport; it’s even more
distinct and crisp, especially when standing in the middle of St Servatius Bridge
where the Meuse River flows beneath.
The city itself is constantly punctuated by
the sound of bicycles, which is a quint
essential mode of local transportation in
the Netherlands. And what’s even better
than the smell of fresh shawarma? There
are even gado-gado fries. Seeing tulips
around kind of provided a charm against
the grey infrastructures even though it’s
not native to the country. A facet of this
city’s social culture is witnessing locals
congregating, soaking up a tan in the
afternoon sun and drinking jenever. As
banal as it sounds, for me laying on the
grass with a book and a takeaway coffee
or even taking a stroll through the forests
of Sint Pietersberg was one of the pleasant memories for me.
Priyageetha Dia
Ngoc Nau
Saroot Supasuthivech
Ngoc Nau: My first impressions of
Vilnius were shaped by its architecture,
fresh air, green spaces and the overall
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peace and quiet. One particular memory
that stands out is when I was wandering
around the city and the architectural
design of Sporto Rūmai (Vilnius Palace
of Concerts and Sports) triggered a sense
of familiarity, almost like a distant memory from Vietnam.
Saroot Supasuthivech: My first trip
to Berlin in 2018 was akin to a brief
introductory course to the city’s artistic
milieu, made possible by an award from
the Bangkok Art & Culture Centre. The
experience was enriching but brief, providing just an exciting glimpse of Berlin’s
multi-faceted art scene. Fast forward to
my second visit, the narrative changed
dramatically. This extended sojourn
allowed a deeper engagement with the
city’s artistic landscape. I had the bandwidth to delve into intricate projects and
form valuable connections within the
art community. Beyond the scope of art,
the residency also served as a playground
for personal growth. I even picked up
cooking as an essential life skill—my own
creative venture in the kitchen, if you will.
How has your impression changed during
the residency and what transpired in the
process to change that?
PD: The sensorial characteristics of
Maastricht were later shaped by the
connections I came to build within the
residency itself. This was through some
of the communal activities, particularly
the weekly Wednesday dinners, where
we would take turns to cook for other
staff and residents. It’s definitely
OF DISCOVERIES
�stressful cooking for over 40 people.
I engaged in conversations with some
of the visiting advisors such as Ahmet
Öğüt and Marina Otero. I also had the
opportunity to attend a session organised by Jan van Eyck for The Decolonial
Summer School and joined the conversation alongside prominent decolonial thinkers and writers such as Jean
Casimir and Catherine E. Walsh, which
was a profound experience. Also, my
interest in working with sound was significantly amplified through interactions
with one of the residents, Sumugan
Sivanesan, who operates fugitive radio.
His guidance laid the foundation for my
understanding of sound work. This also
led to me playing my first DJ set in a bar
in Maastricht, which honestly felt out of
place but I got used to it after playing on
several other occasions.
NN: My impression underwent a significant transformation as I delved deeper
into the local stories through conversations with residents and exploring
the town. I came to realise that the
seemingly serene and green landscape,
along with the historic architecture,
held hidden layers of sad history. Some
streets, as I learnt, concealed the
sombre history of buried bodies from
a bygone era. The ageing Soviet-era
buildings, where many locals still reside
in, cast a shadow of boredom and
melancholy, remnants of the past Soviet
influence.
Understanding the people was
another aspect of my experience that
evolved. I noticed that the locals exhibited caution in their interactions, and it
wasn’t as easy to engage with them as
I had initially thought. This is in contrast
with my home country, where strangers
are often warmly received and invited
into locals’ homes as soon as they smile
and try to interact. Nevertheless I really
appreciated the unique social dynamics
in Vilnius.
aspects of Berlin have inspired me to
explore art forms that I had never con
sidered before.
Van Abbemuseum in Eindhoven;
Tropenmuseum, Rijksmuseum and Eye
Filmmuseum in Amsterdam.
SS: Initially, my impression of Berlin
was mixed. The city’s raw, unpolished
vibe was intriguing but also somewhat
off-putting. However, my three-month
residency transformed that perception
entirely. The turning point came when
I participated in a community art project
at Künstlerhaus Bethanien. This project
made me realise how deeply integrated
art is in Berlin’s social fabric, serving
as a platform for dialogue and cultural
exchange. It was eye-opening. My
What was a typical day like for you
during the residency? Did you have a
fixed routine for regular days, a planned
schedule to cover specific sites or events, or
did you take a more laissez-faire approach
of allowing each day to surprise you?
Saroot Supasuthivech filming in Bad Homburg,
Germany, May 2023. Photograph by Pitchayapa
Lueangtawikit.
Ngoc Nau at Grūtas Park, Lithuania, June 2023.
Photograph by Ania.
subsequent interactions with the Thai
community in Thaipark Berlin and other
Thai artists residing in Berlin enriched
my experience further. Each group
offered unique insights that expanded
my understanding of the city from
various angles, enabling me to appreciate Berlin’s diversity and openness.
As a result, my view on Berlin shifted
from initial skepticism to deep-seated
respect and admiration. This newfound
perspective is likely to influence my
future projects; the multidimensional
a balance between establishing a routine
and planning my visits to art events and
exhibitions. Most of the events I engaged
with came highly recommended by my
other resident peers and the advisors from
Jan van Eyck. These recommendations
were often exchanged during informal
conversations over dinners, which
played a part in shaping my cultural
engagements during those three months.
Some of these include going to the
Kunstenfestivaldesarts, an international
performing arts festival in Brussels;
NN: A typical day during my residency
followed a somewhat structured routine.
I would usually wake up around 7am,
prepare breakfast along with a cup of
coffee, then head to my studio by 9am.
Throughout the day, I’d take short breaks
to do some yoga or walk from the
residency to the city centre. Cooking
became a regular activity for me; I often
prepared meals that reminded me of
Vietnam and experimented with local
ingredients. I also enjoyed cooking for
friends I made during the residency.
In terms of planning, I always made
sure to prepare before leaving my studio.
The residency building is a bit far from the
city centre, requiring a journey of about
an hour by bus, with a few bus transfers
along the way. On weekends, I particularly
liked visiting the flea market in the city
centre, although I sometimes missed it
since it mainly operated in the mornings.
This flea market took place on the streets
in front of a local market, nestled in a less
affluent area. What intrigued me was the
interactions between local vendors, their
unique merchandise and their attire.
It was like stepping into a piece of local
history, as with Vietnam, where the
elderly often stay at home, tending to
their grandchildren. Exploring the flea
market was a fascinating way to glimpse
into people’s homes. The vendors’ array
of items, seemingly collected from their
households, often held sentimental value
and each piece seemed to reflect a part of
the past. I found it captivating to encounter
such an assortment of little things that
were found items in people’s homes, ready
to be shared with the world through the
market. It felt like a personal journey
through the lives of the local community.
PD: For the first few weeks, I had to
adjust to the longer daylight hours, with
the sun setting after 9pm during the summer months. I adopted a more laid-back
approach to my studio days, trying to find
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11
�my research as the pavilion serves as a
microcosm of Thai history and culture.
The experience afforded me the chance
to delve into previously unexplored
facets of Thai artistic and cultural heri
tage, enriching my ongoing work. The
trip served as a catalyst for new ideas,
helping me forge connections between
the historical context of the area and my
existing research, thereby adding layers
of complexity and depth to my practice.
SS: Each day typically started with
a loose agenda in mind. I spent the
mornings immersed in research, either
by exploring libraries or engaging in
insightful dialogues at local temples.
My afternoons were generally devoted
to fieldwork and hands-on artistic
experimentation. Although I had a general idea of what I wanted to accomplish
each day, I also welcomed spontaneity.
Whether it was a captivating film festival
poster that grabbed my attention or an
unexpected invitation to a social gathering, I remained open to diversions that
enriched my experience. When I felt
the need to recharge or reflect, I would
seek time out by aimlessly wandering
through nearby cemeteries. These quiet
moments offered not only respite but
also unexpected sparks of inspiration.
During our first meeting in August upon
your return from Europe, it was already
apparent that the sound component in
your work would be of significant importance. At which point of your residency did
this idea come about, and what led to it?
The SEA AiR programme offers a
research trip to a different city or
country in Europe to enrich your
research and cultural experience.
How did you decide on where to go
and how has the trip helped you in
your practice or research?
Screenshot of Participant Presentation by
Priyageetha Dia at Jan van Eyck Academie,
24 May 2023.
PD: I decided to go to Sónar Barcelona
which is a sound, music, and techno
logy festival in Spain. I was drawn to this
event because it has a strong focus on
the intersections of new media, and AI
in audiovisual production, especially
sound. For me it was a space to acquire
insights from keynote speeches and
presentations that explored the latest
trends, developments and applications
of these emerging technologies.
However, the understanding of these
productions and the knowledge(s)
around it was still focused within a
eurocentric framework. There was an
implicit bias towards Western perspectives on music, art, and technology
which highlights a broader issue within
the industry—the lack of visibility for
non-Western methods of producing in
the digital arts sphere.
In progressing my research for Sap
Sonic, I took on a 3-day trip to a rubber
plantation estate in Alor Gajah, Melaka,
with the primary objective of collecting
field recordings that were relevant to the
soundscapes of the plantations. But during the process, I sort of experienced a
disconcerting moment of ‘triangulation.’
I became aware of the underlying colonial dynamics in the interplay between
self, the recording technology and the
environment. In the end, I decided not
to use any of these field recordings but
instead focused more on repurposing
sampled sounds and stock audio effects,
probing the question: How can we reimagine the aural possibilities of a plantation
that transcends the conventional and the
historically known?
NN: I opted for a field trip to Berlin
and Leipzig due to their historical ties
with the Soviet Union. Germany has a
deep-rooted connection with Lithuania
that extends to the present day. Many
Lithuanians study in Germany, while
Germans venture to Lithuania for work,
research and artistic endeavours.
12
13
SS: I chose to explore the Thai pavilion
in Bad Homburg, situated about an
hour’s drive from Frankfurt. This choice
was deeply instrumental in furthering
PD: Focusing exclusively on soundscapes
has been sort of a challenge for me.
The approach to my practice has predominantly been saturated with visual
elements, and this development has been a
deliberate shift from the visual dominance
in my practice. Understanding sound not
merely as a method of production, but as
a narrative tool that is capable of illuminating the obscure and amplifying the
subdued. This is also an influence from
Tina M. Campt’s Listening to Images (2017)
in which she proposes a method of engaging with photographs that goes beyond
seeing. To sense the resonance and vibration of the photographs is by “listening” to
these images—attuning them to the stories
and histories embedded in them, especially
within Black subjectivity and agency.
NN: While working on my videos,
I gradually realised the importance of
sound as a crucial element. However,
during my research trip in Lithuania,
I didn’t give sound as much attention as
I should have. I did attempt to locate
sound artists in the hope of incorporating
�their work into my project, but my
search didn’t yield the desired results.
Consequently, I decided to collaborate
with my Vietnamese sound producer,
whom I have worked with on previous
video projects. The sound concept
revolves around a foundation of hip-hop
with elements of deconstruction and
reconstruction, creating a distinct vibe
that complements my work.
SS: This focus on the sound component in my work is not accidental; it
evolved from my time in Europe and a
deep dive into the history of music. My
fascination with sound as an artistic
medium began during the first month
of my residency. I attended a screening
of Berlin: Symphony of a Great City,
a 1920 silent film by Director Walter
Ruttmann, and its original orchestra
music score resonated deeply with
me. This newfound interest coincided
with my research at the Thai pavilion
and into King Chulalongkorn’s visits to
Europe. I discovered a rich intersection
between Thai and European cultural
elements, especially in the realm of
music. I explored the concept of music
in German Romanticism and traditional
Thai culture as a universal language,
transcending both geographical and historical boundaries as well as the barriers
of language and geography. The interplay between the two disparate musical
traditions became a harmonious bridge
in my work, illuminating the power of
sound to communicate across cultures
and epochs. This synthesis became
more than just a soundtrack; it became
a vehicle for delivering the themes and
emotions central to my artistic inquiry.
I would like to ask about the notion of the
supernatural and divinity and the adaptation of mythology in your past projects.
NN: During my research trip in Lithuania,
I didn’t place a strong focus on the supernatural and divinity, even though they
have been central themes in my previous
works. Prior to my residency, I had contemplated delving into these topics, but
my perspective shifted upon arriving in
Lithuania. The presence of these themes
wasn’t as apparent, and I found myself
being more intrigued by the post-Soviet
phenomenon, particularly through the lens
of architectural elements within the city.
To what extent do such elements play a
part in your works this time?
PD: My previous works have dealt
with themes around mythology but my
approach to Sap Sonic and Sap Script
looks at the role of the archive as a
place or space of haunting in reference
to Jacques Derrida’s concept of hauntology. This theory posits that the present
is perpetually haunted by the spectres
of its past, suggesting that the past is
Barbeque with artists from Rupert during their trip
to Zeimiai Manor House, Lithuania, June 2023.
Photograph by Ngoc Nau.
Weekly Wednesday dinners hosted by the residents
of Jan van Eyck Academie, Amsterdam, Netherlands,
April 2023. Photograph by Priyageetha Dia.
never truly obsolete but that it continues
to exert its influence on both our present
and future. From this perspective,
Sap Sonic transforms the archive from
a dormant repository of the past into a
vibrant, living entity. The documents and
images within are imbued with a ghostly
presence, serving as active agents in
shaping narratives and histories. For
me, it is a way to depart from the visual
and into the unheard, sonic qualities;
to unearth and speculate the range of
frequencies these images hold and to
re-evaluate our understanding of history,
memory and time, intertwined with the
past, present and future through these
aural possibilities.
SS: In Spirit-forward in G Major, the
elements of the supernatural and divinity
are more pronounced than in my previous projects. This choice stems from my
interest in how Thai expatriates preserve
their cultural rituals when they pass away
in foreign lands. This theme opens a rich
dialogue about the fluidity and adaptability of traditions and values. As rituals
change, so do beliefs, which can influence
individual behaviour and societal norms.
Places of communal spiritual importance like temples also resonate with me.
These sites serve as anchors for traditions
and beliefs, both physically and spiritually.
Similarly, my work explores spaces that
hold both historical and spiritual value,
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including stories of lesser-known or
marginalised communities, presented
through contemporary mediums like
sound and new media art.
In your research and work, each of you
explore the fluidity of culture and the ongoing negotiation of values that takes place in
the process of crossing over space and time,
albeit in very different ways and to varying
extents. What about your own experience
over the three-month residency period?
Despite its short duration, you also had to
immerse yourself in an unfamiliar culture
and may undergo a similar process of
apprehension/excitement; discovery/challenges; adaptation/resignation etc—how has
the experience impacted your practice in
general, or you, on a more personal level?
PD: Navigating the cultural spaces within
this predominantly white, European
setting was a challenge, even when I left.
It took me nearly a month to settle in and
establish a routine that suited me. Some
of the frustrations were managing daily
expenses, given the relatively high cost of
living—a basic meal at McDonald’s costs
13 euros. Even finding well-seasoned,
affordable food and then facing the ultimate moment of passive aggressiveness
for not speaking Dutch were part of the
experience. I managed to remember the
local way of greeting “hoi hoi”, which is
common in the province of Limburg.
One of the other observations was a clear
geographic segregation within Maastricht,
with the locals and the ethnic migrant
communities living apart—the further
from the town centre, the greater
the concentration of black and brown
population on the outskirts. This spatial
division mirrored broader social, class
divisions and racial hierarchies which is
a reminder of the current socio-cultural
fabric in Europe.
�NN: Throughout the residency I have
been adaptable and have remained
open to different perspectives. Sharing
meals and cooking together became a
means of fostering meaningful connections with people. One valuable lesson
I learnt is the importance of careful
planning in advance, especially when
it comes to managing time and scheduling for the creative process. Additionally,
I realised the significance of thorough
documentation, as the information
gathered during the residency proved
to be invaluable for presenting and
shaping the ideas behind my project.
Vilnius not only offered me glimpses
of the past but also underscored my
vision for the future of Vietnam. Cultural
differences between Lithuania and
Vietnam gave me a realisation of what
I value in my country and what changes
I wish for in my country.
SS: The three-month residency was
a transformative period for me, functioning as a lens through which I could
explore the larger themes of cultural fluidity and changing values that frequently
inhabit my work. The initial hesitations
I felt were quickly counterbalanced by
the excitement of fresh artistic discoveries. Although language barriers and
logistical challenges were part of the
experience, they also became stepping
stones for personal and artistic growth.
These obstacles were not roadblocks
but avenues leading me towards a
broader understanding of my craft.
The residency also pushed me to
develop greater self-reliance and adaptability. It even sparked a re-evaluation
of my own cultural norms and identity.
I started to see the unique aspects of
my own culture, as well as those universal threads that connect us all. Not only
did my residency broaden my artistic
vocabulary, it also offered deep insights
into who I am and what shapes me, both
as an artist and as an individual.
of tropical landscapes that are characteristic of Southeast Asia, contrasted against
the weather readings from seasonal
Saroot Supasuthivech’s studio at Künstlerhaus
Bethanien, Berlin, Germany, May 2023. Photograph
by the artist.
Ngoc Nau during the filming of her video in
Hanoi, Vietnam, October 2023. Photograph
by Hyo Jung Kim.
Over the course of our conversations,
you also proposed ideas for this
exhibition that were not eventually
included. Could you share the most
important one that you hope to materialise in one form or another, or what
you expect could transpire from it, in
the near future?
climate conditions from the Netherlands.
It was technically challenging to develop
this work, and I needed more resources
and time to gather the data and integrate
it seamlessly with the game-engine software. To even ensure accurate real-time
weather readings in a live simulation
required meticulous calibration of the
data input systems, as well as extensive
testing and debugging to synchronise
the meteorological elements with the
physical engine.
PD: One of my initial concepts involved
developing a dual-channel video instal
lation that utilises advanced gameengine software to integrate real-time
weather data with the landscapes of
these distinct regions: Netherlands,
Malaysia and Indonesia. The examination of weather data serves as a strategic
tool to delve into the ramifications of
geological transformations since the
inception of the colonial plantation
system, as well as the consequences of
extractive capitalism and the contemporary environmental conditions that are
prevalent today. The video installation is
meant to provide viewers with a unique
vantage point that allows an observation
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NN: There were indeed elements that
I didn’t incorporate into my final work,
mainly because our conversations helped
me gain clarity on which ideas held
the strongest and most unique qualities,
ultimately guiding my decision on which
concept to further develop in the project.
For instance, I had initially wanted to
film inside the Vietnam-Soviet Friendship
Palace of Culture and Labour in Hanoi,
but the cost of renting the space was
prohibitively expensive. Also censorship
makes it harder for me to shoot on-site in
physical buildings, so I decided to take a
different approach. I recreated the entire
space in 3D and had performers act
within this virtual environment, realising
my vision without the constraints of a
physical location. This challenge led me
to explore new methods, such as CGI
(Computer-Generated Imagery). I’m
quite satisfied with the outcome and plan
to continue developing this technique,
as a way to gain agency over the spaces
I wish to access for future projects. I am
also curious as to how our human body
will adapt to technology and interact
with it in the future, as the blurring of
the real and the virtual becomes increasingly a part of our lives.
SS: One idea that stood out for me but
was not eventually included, was the use
of technology to create a transformative
video installation that offers a complete
3D experience in Virtual Reality (VR).
The installation would also provide a sensorial experience through the ambient use
of light and sound even for those without
access to VR headsets. My intent was to
evoke a specific emotional impact, perhaps a sense of wonder or transcendence,
that would resonate with each visitor,
whether through the VR video or simply
from the ambient elements. Given the
technological and conceptual complexity,
this idea remains a work-in-progress that
I hope to materialise in some form in
the near future. It holds the potential for
various real-world applications and for
collaborations with tech companies or art
institutions. As I look ahead, I’m optimistic
about integrating such an experience in
my upcoming projects.
This interview was conducted over email
in October 2023.
�PASSAGES
Priyageetha Dia
Interior of the rubber factory under construction in
1927, probably on the Brussels plantation. Part of
the photo album about the Brussels and Pernantian
plantations of the Sumatra Caoutchouc Company
on the East Coast of Sumatra, 1910–1935. Courtesy
Rijksmuseum, Amsterdam.
�Priyageetha Dia
Singapore
As an extension of her research into
the plantations of Southeast Asia and
their colonial histories, including those
of migrant labour and structures of
production and power, Priyageetha
Dia explores gaps in historical records
that are not only text-based, but also
non-textual ones such as photographs,
artefacts and oral interviews. Her
resulting four-channel sound
installation Sap Sonic is a sonification
of images from the photo album of
the Sumatra Caoutchouc Company,
a rubber planting company in the
Dutch East Indies, from the archives of
Rijksmuseum, Amsterdam. The album
charts the growth of palm oil and rubber
trees in the company’s plantations in
Sumatra in the first half of the 20th
century; documenting its operations,
landscapes and activities.
Beyond their visual representations,
the images bear witness to the power
dynamics at play between the coloniser
and labourers, evident in their postures,
gazes, and spatial arrangements; as
well as the hierarchy between nature
and machine. Reframing this landscape
from a visual to a sonic one, Sap Sonic
serves as an aural gateway to the
plantations as it delves into the lived yet
unspoken experiences of those who
work on and inhabit the plantations,
both human and nonhuman. Emulating
a uniform and controlled green lighting
environment, Sap Sonic reflects the
artificial and human-engineered nature
of a monochromatic environment.
Perceiving that which is not visible from
the images or historical narratives, Dia
reimagines and deconstructs plantation
soundscapes by sampling, mixing
and manipulating found sound files
including the synthesis of frequencies
from image to sound conversion and
AI voice modulation. From pulsating
and echoing strengths, marked by
oscillatory and spatial disturbances,
the resulting sonic tapestry represents
a liminal space where past and present,
real and imagined, intersect and
converse with each other.
Accompanying the work, Sap Script is
a text installation in white latex paint on
a black, obsidian-like background. The
choice of material references the sap
from the rubber (also “caoutchouc” in
French) tree, hence the titles Sap Sonic
and Sap Script. The typeface of Sap
Script echoes the slender and linear
structure of rubber trees, distorted to
resemble the waveform of sound waves.
Through the intangible, unseen nature
of sound, Sap Sonic probes the aspects
of the visual world agitated by the
listening sense, hence expanding the
agentive possibilities of the uncounted
and the underheard.
Jan van Eyck Academie
Maastricht
20
21
Top: View of the fields with newly planted rubber
trees, Hevea Brasiliensis. Part of the photo album
about the Brussels and Pernantian plantations of the
Sumatra Caoutchouc Company on the East Coast
of Sumatra, 1910–1935. Courtesy Rijksmuseum,
Amsterdam.
Bottom: Screenshot of working with an archival
image from the Sumatra Caoutchouc Company
photo album. The image is further processed by
making direct ‘graffiti’ edits, which manipulates
how the sound notes are read between the bright
and dark areas of the image.
�PASSAGES
Ngoc Nau
�Ngoc Nau
Thai Nguyen / Hanoi
Feeling both intrigue and familiarity
towards Soviet-era architecture and
iconic elements in Vilnius, Lithuania,
during her residency, Ngoc Nau
draws from historical references
and collected oral histories in her
host country to explore multifaceted
aspects of post-Soviet realities in
Vietnam. Her video installation, Virtual
Reverie: Echoes of a Forgotten Utopia,
portrays contemporary life amidst
the remnants of socialist architecture
and monuments. With the use of 3D
animation and visual effects, the work
demonstrates the transformative
power of technology in reshaping our
perceptions of reality.
Central to the work is a meticulously
constructed representation of the
Vietnam-Soviet Friendship Palace
of Culture and Labour, a venue still
being used for events today. Serving
as a stage for five hip-hop dancers
embarking on an allegorical journey,
the building is symbolic of the enduring
presence of socialist architecture in a
contemporary landscape; representing
the preservation of a bygone era and
the relics of a once-powerful regime.
Also playing a significant role in the
work is an evocative three-dimensional
scan of a Lenin statue originally erected
at Lukiškės Square in the Lithuanian
capital of Vilnius. Its removal in 1991,
with legs severed, became a powerful
emblem of historical upheaval and
transformation: the collapse of
socialism as well as the restoration
of independence. As the characters
traverse across time and space, dancing
and interacting with their environment,
they bridge the gap between historical
artifacts and contemporary experiences.
Echoing the ebb and flow of ideologies,
their passage brings about new
meanings as past memories evolve in
the face of shifting landscapes.
The projection screen in the installation
is created by the artist using papier
mâché, a technique also used by mask
makers in Vietnam. Its textured surface
provides a topographic landscape onto
which the moving image is projected.
Along with the video work is an essay
Lenin Park (2023) by Nau’s collaborator
Phuong Phan, a Berlin-based Vietnamese
researcher and writer. Taking the Lenin
Park in Hanoi as a point of departure,
the essay contextualises socialism in
Vietnam in the present time.
Rupert
Vilnius
24
25
Above and previous spread:
Ngoc Nau, Virtual Reverie: Echoes of a Forgotten
Utopia, 2023, video stills.
�PASSAGES
Saroot Supasuthivech
�Saroot Supasuthivech
Bangkok
Fascinated by spiritual beliefs and
rituals especially those surrounding
death, Saroot Supasuthivech studies
them as a point of entry into under
standing the complexities and
nuances of cultures—both his own
and others. Looking specifically at
how funerary practices of Thai people
travel and evolve with their migration
to Germany, Spirit-forward in G
Major is a multimedia installation that
encapsulates the interplay of tradition,
adaptation and preservation within an
evolving cultural landscape. Charting
their transformative journey, the work’s
narrative unfolds in four parts, told
through a metaphoric cycle of life,
death and rebirth.
“New Beginnings” uses therapeutic
dialogues to depict the initial migrant
experience of stepping into a dreamy
yet unknown world; evoking a feeling
of optimism amidst uncertainty.
Subsequently, “A Surreal Interlude”
transports viewers into a realm of
magic and mortality inspired by
Grimm’s fairy tales. Based on interviews
conducted with Thai monks and nuns
in Berlin, it touches on the challenges
and transformation that comes with
cultural assimilation. The third segment
focuses on a Thai music score Sai
Samon, the oldest documented, played
in G major on the violin in a Sala Thai
(open pavilion) in Bad Homburg,
Germany. Finally, “A Glimpse Beyond”,
experienced via Virtual Reality, dives
into a poetic meditation on death and
the afterlife, told from the viewpoint
of the deceased. Serving as a mirror
reflecting the cycle of life and death, this
poignant culmination is an exploration
into a liminal reality between the familiar
and the surreal. Alternating between
the two, it echoes the fragmentation
and reconstitution inherent in a migrant
experience. Using photogrammetry
techniques, images of real-world
locations and architecture taken during
the artist’s residency, such as Alter St.
Matthäus-Kirchhof (Old St. Matthew’s
Churchyard) and Märchenbrunnen
(Fountain of Fairytales), are digitally
reconstructed, distorted and
fragmented to create an ethereal,
otherworldly environment.
Adding to this experience are brass
plate etchings comprising elements
from the migrant journey: a flower
mirroring the ones found around the
Sala Thai in Bad Homburg; the Sai
Samon music score; and Cinderella
from Grimm’s Children and Household
Tales (1833).
Künstlerhaus Bethanien
Berlin
28
29
Above and previous spread: Saroot Supasuthivech,
Spirit-forward in G Major, 2023, video stills.
�Artist
Priyageetha Dia (b. 1992, Singapore)
works with time-based media and
installation. Her practice is braided
between plantation ecologies, post
colonial memory(ies), migration politics,
and the production of labour and
data economics. Structured through
fieldwork and archival research, she
engages in nonlinear and speculative
processes as a practice of refusal
against dominant narratives. Her recent
exhibitions include Frieze Seoul (2023);
Singapore Art Museum (2023); KochiMuziris Biennale, Kerala (2022–23);
La Trobe Art Institute, Australia (2022);
National Gallery Singapore (2020); and
Art Science Museum, Singapore (2019).
She was an artist-in-residence at NTU
Centre for Contemporary Art Singapore
in 2022. She was also the recipient
of the IMPART award by Art Outreach
in 2019.
The multimedia practice of Ngoc Nau
(b. 1989, Vietnam) encompasses photo
graphy, holograms and augmented
reality (AR). She is currently working
with 3D software and other open-source
technologies to create new possibilities
for video installation. In Nau’s work,
different materials and techniques
seek to capture the subtle ways in
which new media shape and dictate
our views of reality. Blending traditional
culture and spiritual beliefs with
modern technologies and lifestyles,
her work often responds to Vietnam’s
accelerated urban development. Her
Partner
works have been featured in several
exhibitions across Asia, including the
Thailand Biennale, Korat (2021) and
the Singapore Biennale (2019), among
others. She has also participated in
documenta 15, Kassel, Germany (2022)
with Sa Sa Art Projects.
Saroot Supasuthivech (b. 1991,
Thailand) employs a multifarious
research approach to reimagine a range
of localities, merging chronologies and
perspectives. Not only does he look
at geographical and political facts,
he also takes into account the ways
specific sites are situated and depicted
in memory and discourse. Reacting
to popular and official narratives, he
examines the corruption of our histories
and the dissolution of our identities.
Ritual also emerges as a particular
window of insight for him as he delves
into ancient traditions and their waning
relevance, inspecting the present
through a lens of the past. His moving
images transcend aesthetic or docu
mentary dimensions; often combining
installation, image and sound to conjure
the intangible aura of a socio-historical
location. In studying the ritualistic, his
artistic practice performs a rite in itself,
offering a ceremony of remembrance.
His latest video installation, River Kwai:
This Memorial Service Was Held in
the Memory of the Deceased (2022),
was featured in the Discoveries Section
at Art Basel Hong Kong (2022).
Biographies
Jan Van Eyck Academie
Maastricht, The Netherlands
Künstlerhaus Bethanien
Berlin, Germany
As a post-academic institute, Jan van
Eyck Academie offers residencies to
artists, designers ranging from graphic
and fashion to food and social design,
writers, curators, and architects from all
over the globe. The academy is committed
to exploring the agency, roles and civic
significance of art, design, and other
creative practices in relation to the climate
crisis, environmental breakdown, and their
manifold effects. This institutional focus
opens a wide discourse and creates a framework that embraces a diversity of practices
and allows for a multitude of voices.
The Künstlerhaus Bethanien is an
international cultural centre with an
artist-in-residence programme. It is
dedicated to the advancement of
contemporary visual arts and aims
to establish a lively dialogue between
artists from various backgrounds and
disciplines, and the public at large. The
focus of its manifold missions is the
International Studio Programme, where
artists conceive and present new projects
with the help of its team. Furthermore,
it encourages critical reflection on
subjects related to contemporary art and
culture through its publications,
including the Be Magazine, a yearly
journal for art and criticism.
Rupert
Vilnius, Lithuania
Operating since 2012, Rupert is an
independent, publicly-funded centre for
art, residencies and education. Its mission
is to establish close cooperation between
artists, thinkers, researchers and other
cultural actors through transdisciplinary
programmes and residencies. It manifests
this mission through three related pro
grammes: the residency programme, the
alternative education programme and the
public programmes. They are all dedi
cated to creating platforms for conver
sation, research and learning. Through
these programmes, Rupert supports local
and international thinkers in realising
their projects and establishing their creative
practice on an international scale.
30
31
Institutions
�SEA AiR
Selection Process
Cycle 2
Nominators
Since artists from Cambodia, Indonesia
and Malaysia participated in the inaugural
cycle of SEA AiR, the selection process for
the second cycle focused on the remaining
Southeast Asian countries to ensure the
equitable distribution of the programme’s
resources. Seven artists and curators from
these countries were invited to contribute
to SEA AiR as nominators, leveraging
their in-depth knowledge of emerging
contemporary art practices within
their respective countries to nominate
outstanding practitioners who would
benefit from this opportunity.
Con Cabrera, independent curator
(Philippines)
Anna Koshcheeva, researcher (Laos)
Yasmin Jaidin, artist (Brunei)
Ong Kian Peng, artist (Singapore)
Mary Pansanga, independent curator
(Thailand)
Phoo Myat Thwe, independent curator
(Myanmar)
UuDam Tran-Nguyen, artist (Vietnam)
PASSAGES
Priyageetha Dia, Ngoc Nau and Saroot Supasuthivech
1 December 2023 – 28 January 2024
NTU Centre for Contemporary Art Singapore
Residencies Studios
Project Director
Selection Committee
Ute Meta Bauer (Chair),
Founding Director, NTU CCA Singapore
and Professor, NTU School of Art, Design
and Media
Hicham Khalidi, Director, Jan Van Eyck
Academie
Monika Lipšic, Curator of the
Residency and Public Programmes, Rupert
Dr Karin Oen, Senior Lecturer and Head
of Department, Art History, NTU School
of Humanities
Christoph Tannert, Artistic Director,
Künstlerhaus Bethanien
Eszter Nemeth, former Deputy Head of
Mission, EU Delegation to Singapore
Ute Meta Bauer
Project Curator
Anna Lovecchio
Exhibition Curator
Tian Lim
ARTFACTORY
Auxilio Studio
SPACElogic
Programmes Coordinator
Shipping
Admin and Operations
Acknowledgments
Nadia Amalina Binte Abdul Manap
Jasmaine Cheong
Low Ming Aun
Communication
Corporate Communications Office
Nanyang Technological University
Shortlisted Artists
From the nominations, five other artists
besides the three selected ones, were
shortlisted by the Selection Committee.
We would like to acknowledge them here
in recognition of the merit and remarkable
promise of their artistic practice:
Deepika Shetty
Press Officer
European Union Delegation to Singapore
33
NTU CCA Singapore would like to
thank our partner institutions Jan van
Eyck Academie (Netherlands), Rupert
(Lithuania) and Künstlerhaus Bethanien
(Germany) for rendering their support
to this programme and the artists during
their residencies.
mono.studio
Funded by the European Union
In collaboration with
Graphic Design
32
Malca-Amit Singapore
We would also like to acknowledge the
EU Service for Foreign Policy Instruments
(FPI) for their generous funding, and
express our gratitude to the FPI Regional
Team Asia & Pacific: Andreas Roettger
(Head), Francesca Arato (Team Leader)
and Loreta Valerio (Finance and Contracts
Assistant).
Sarah Bagharib
Shine Bright Media
Lin Htet Aung (b.1998, Myanmar)
Lena Bui (b.1985, Vietnam)
Ronyel Compra (b.1985, Philippines)
Pam Quinto (b.1991, Philippines)
Nat Setthana (b.1995, Thailand)
Exhibition Fabrication and
Audiovisual Consultancy
�Artwork
Credits
Priyageetha Dia
Sap Sonic, 2023
Four-channel sound installation,
green LED tube lights, 14 min
Sap Script, 2023
White latex paint, black enamel paint
Dimensions variable
Lettering design: Studio Darius Ou
Ngoc Nau
Virtual Reverie: Echoes of a Forgotten
Utopia, 2023
Single-channel video installation, colour,
sound, papier-mâché projection screen,
metal chains, 6 min 24 sec
Essay: Lenin Park (2023) by Phuong Phan
Video editor and CGI (Computergenerated Imagery): Ngoc Nau
Assistant directors:
Ha Dao and Hyo Jung Kim
Camera: Linh DN
Lighting:
Thao Hoang, Son Hoang and Tu Le
Sound: Dustin Ngo
Dancers: C.O. crew
Saroot Supasuthivech
Spirit-forward in G Major, 2023
Two-channel video installation,
4K, colour, 4.1 sound, PAR light,
19 min 34 sec; Virtual Reality,
9 min 10 sec; brass plate etchings
Dimensions variable
Project consultant:
Chalida Asawakanjanakit
Video editor: Sornpannath Patpho
Music composer: Thanet Asawakanjanakit
Violinist: Pitchayapa Lueangtawikit
3D technical designer:
Phattara Chattuphattarakun
System design consultant: H-Lab
Camera assistant: Jonathan Mungnonbo
German translator: Wandi Phaensombun
The artworks were produced by SEA
AiR – Studio Residencies for Southeast
Asian Artists in the European Union,
a programme developed by NTU Centre
for Contemporary Art Singapore and
funded by the European Union.
All artworks courtesy of the artists.
Image Credits
Unless otherwise stated, images courtesy
of the artists.
Top: Ngoc Nau making her papier mâché projection
screen, October 2023. Photograph by Phuong Thu.
Middle: Screenshot of Priyageetha Dia’s field recording
playback on Audacity of the rubber plantation
soundscapes in Alor Gajah, Melaka, Malaysia, 2023.
Bottom: Illustration of Cinderella in Brothers Grimm’s
Children and Household Tales (1833), Berlin State
Library – Prussian Cultural Heritage, Germany, June
2023. Photograph by Saroot Supasuthivech.
34
35
�NTU CENTRE FOR CONTEMPORARY ART SINGAPORE
NTU CCA SINGAPORE GOVERNING COUNCIL
Situated within Singapore’s premier art precinct Gillman Barracks, NTU CCA Singapore
is a pioneering institution that has been instrumental in shaping the contemporary art
landscape in Singapore and beyond. With a focus on fostering creativity, innovation, and
critical thinking, the Centre’s programmes have consistently challenged the status quo,
encouraging artists to explore new realms of artistic expression.
CO-CHAIRS
Professor Joseph Liow, Dean, College of Humanities, Arts, and Social Sciences,
Nanyang Technological University (NTU)
Low Eng Teong, Chief Executive Officer, National Arts Council, Singapore
MEMBERS
Professor Tim White, Vice President (International Engagement), NTU
Professor Simon Redfern, Dean, College of Science, NTU
Kay Vasey, Chief Connecting Officer, Mesh Minds Pte Ltd / Mesh Minds Foundation
Kathy Lai, Independent consultant
SPACES OF THE CURATORIAL
The Centre seeks to engage the potential of “curating” and its expanded field. What
are the infrastructures and modes of presenting and discussing artistic and cultural
production in diverse cultural settings and in particular throughout Southeast Asia’s
vastly changing societies?
NTU CCA SINGAPORE STAFF
Ute Meta Bauer, Founding Director, NTU CCA Singapore and Professor, School of Art,
Design and Media, NTU
Jasmaine Cheong, Senior Assistant Director, Business Operations Management
Dr Anna Lovecchio, Assistant Director, Programmes (on leave)
Regina Yap, Manager, Finance
Low Ming Aun, Assistant Manager, Programmes and Operations
Magdalena Magiera, Curator, Residencies & Public Programmes
Nadia Amalina Binte Abdul Manap, Programmes Coordinator
ABOUT NANYANG TECHNOLOGICAL UNIVERSITY
A research-intensive public university, Nanyang Technological University, Singapore
(NTU Singapore) has 33,000 undergraduate and postgraduate students in the Engineering,
Business, Science, Medicine, Humanities, Arts, & Social Sciences, and Graduate colleges.
NTU is also home to world-renowned autonomous institutes—the National Institute of
Education, S Rajaratnam School of International Studies, Earth Observatory of Singapore,
and Singapore Centre for Environmental Life Sciences Engineering—and various leading
research centres such as the Nanyang Environment & Water Research Institute (NEWRI)
and Energy Research Institute @ NTU (ERI@N).
Under the NTU Smart Campus vision, the University harnesses the power of digital
technology and tech-enabled solutions to support better learning and living experiences,
the discovery of new knowledge, and the sustainability of resources. Ranked amongst
the world’s top universities, the University’s main campus is also frequently listed among
the world’s most beautiful. Known for its sustainability, over 95% of its building projects
are certified Green Mark Platinum. Apart from its main campus, NTU also has a medical
campus in Novena, Singapore’s healthcare district.
36
�Residencies Studios
Blocks 37 and 38 Malan Road,
Singapore 109452 and 109441
Research Centre and Office
Block 6 Lock Road, #01-09/10,
Singapore 108934
+65 6460 0300
Free admission unless otherwise stated.
ntu.ccasingapore.org
ntu.ccasingapore
ntu_ccasingapore
LOCATED AT
SEA AiR – Studio Residencies for
Southeast Asian Artists in the EU
is funded by the European Union
PART OF
© NTU Centre for Contemporary Art Singapore.
Printed in November 2023 by First Printers.
Cover: Saroot Supasuthivech, Spirit-forward
in G Major, 2023, VR still.
�
Dublin Core
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Title
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Resources
Exhibition Resource
Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc.
Short Description
SEA AiR Cycle 2 Exhibition Guide
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
SEA AiR Studio Residencies for Southeast Asian Artists in the European Union Cycle 2: Passages Exhibition Guide
Subject
The topic of the resource
Artistic Research
Technology
Description
An account of the resource
NTU Centre for Contemporary Art Singapore presents the second-cycle exhibition of SEA AiR – Studio Residencies for Southeast Asian Artists in the European Union (SEA AiR), a programme developed by NTU CCA Singapore and funded by the European Union.
Date
A point or period of time associated with an event in the lifecycle of the resource
1 December 2023 - 28 January 2024
Contributor
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Anna Lovecchio
Tian Lim
Kai von Rabenau
Format
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Guide
Language
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English
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
Europe