Residencies OPEN
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<span><span>Residencies OPEN offers the chance to experience diverse contemporary art practices and the heterogenous ways in which artists conceive an artwork with the studio as a springboard for experimentation and innovation.<br /></span></span>
<p><strong>Residencies OPEN</strong><span> </span>offers a rare insight into the artists’ creative process making their studios accessible to the public. Through research displays and presentations of works-in-progress, Residencies OPEN showcases the diversity of contemporary art practices and the multiplicity of ways in which artists develop their work with the studio as a springboard for experimentation and research.</p>
<p>Do not miss this special opportunity to meet our Artists-in-Residence<span> </span><strong>Yanyun Chen</strong>,<span> </span><strong>Ben Loong</strong>, and<span> </span><strong>Zulkhairi Zulkiflee</strong>, and gain an insight into the research projects they have been developing over the past five months. A range of sketches, research materials, prototypes, experimental installations as well as the artists themselves await you!<br /><br /><span style="text-decoration:underline;"><strong>YANYUN CHEN</strong></span></p>
<p>Saturday, 12 August – Sunday, 13 August 2023<br />2:00 – 7:00 pm<br />Block 38 Malan Road, #01-07<br /><br />Capturing two lines of artistic inquiry that have been unfolding in parallel during her residency, this presentation features the main strands of Yanyun Chen’s practice: the pictorial experiments with botanical forms and her engagement with the intergenerational transmission of pain, shame, and trauma inspired by her own family’s stories. In the past months, the artist has been working on her largest drawings to date. Made with charcoal on aluminium, the two drawings are at different stages of development. Both feature complex floral arrangements devoid of colour and the painstakingly realistic rendition of these botanical forms is complicated by the introduction of unnatural distortions, almost akin to digital glitches, that instill a sense of movement into the tradition of still-life painting. <br /><br />The other research thread explores techniques of physical discipline employed in the family context, their long-lasting effects on individuals as well as the tools of their enforcement. Visitors are invited to browse a variety of research materials, from articles and books addressing physical punishment to surveys conducted by the Singapore’s Children Society and findings drawn from personal conversations with relatives and friends. Alongside the text-based materials are the artist’s manipulations of the instruments of domestic discipline themselves, specifically rattan canes and feather dusters. Breaking down the fibers of rattan canes, Yanyun is experimenting with the act of weaving to explore both the materials and the craftsmanship objects of discipline are made of. They are accompanied by a video work the artist is developing in collaboration with animator Dave Lim. Inspired by the notion of imprinting in relation to both film-making processes (the latent image) and the consequences of caning on a person’s mind and body, the video is composed by a series of flickering closeups that animate the texture of cane.</p>
<p><span style="text-decoration:underline;"><strong>BEN LOONG</strong></span></p>
<p>Saturday, 12 August – Sunday, 13 August 2023<br />2:00 – 7:00pm<br />Blk 37 Malan Road, #01-02</p>
<p>Bringing together a long-standing interest in the materiality of urban structures, the conceptual frictions between fine arts and craftsmanship, and his professional ceramic practice, Ben Loong has spent his residency looking at the history of brick production in Singapore. Now a defunct trade, the art of masonry used to be a burgeoning industry during the colonial era. Reflecting upon the different forms of labour involved in the material production and usages of bricks, the presentation for Residencies OPEN includes the artist’s current explorations around these subjects and two previous works, EB and SB (both 2018), made of resinated gypsum plaster on wood, which were also inspired by brick bond patterns.<br /><br />The multiplicity of brick structures and laying patterns is at the core of the artist’s research. Over the past months, a collection was formed made of bricks found in different parts of Singapore—from sidewalks and construction sites to the forested area around the studio. The bricks are displayed to illustrate a wide variety of structural morphologies. Alongside the found objects are the artist’s own sketches and prototypes: a series of watercolours realised with powder obtained by grinding bricks; experimentations with brick ‘seals’ and Chinese ink on paper; and an industrial brick that was subjected to firing and glazing. Also available is an interactive map of still-existing brick buildings in Singapore which visitors are invited to explore and contribute to.</p>
<p><span style="text-decoration:underline;"><strong>ZULKHAIRI ZULKIFLEE</strong></span><br /><br /><span>Saturday, 12 August – Sunday, 13 August 2023</span><br /><span>2:00 – 7:00 pm</span><br /><span>Block 37 Malan Road, #01-03</span><br /><span> </span><br /><span>In the past five months of his residency, Zulkhairi Zulkiflee has been developing </span><em>World as Method,</em><span> a project that riffs off the Singaporean-Malay slang “world” in relation to the postcolonial notion of “worlding”. As theorised by literary scholar and feminist critic Gayatri Spivak, “worlding” refers to one’s conceptualisation of the world devised through colonial attachments. On the other hand, in colloquial Singaporean-Malay “world” is used to signal boastful aspirations towards a social status higher than one’s own, often conveyed through self-aggrandising story-telling. The creative outcomes of Zulkhairi’s conceptual engagement with different concepts and practices of “world-ing” are presented in the studio. </span><br /><span> </span><br /><span>Through a series of interviews with friends, academics, and fellow creatives, the artist developed a word-associative map which led him to ‘pondok’ (Malay for shelter, or pavilion). Similar pavilions are a common fixture in Singapore’s public housing estates where, as the artist himself experienced, they are used by Singaporean-Malay youth as a place to gather and hang out. The floating installation created for Residencies OPEN evokes the pondok as a space for communality and suspension from the hyper-productive and utilitarian mechanics of contemporary society. Furthermore this studio presentation also includes a selection of the artist’s research materials and prototypes that attempt to articulate concepts of ‘world’ through the language of sculpture and monument. </span><br /><span> </span><br /><span>Part of this Residencies OPEN session is also a lecture performance titled </span><em>World</em><span> which will take place on Saturday, 12 August and Sunday, 13 August from 2.00 – 2.30pm. </span></p>
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12 -13 August 2023
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Irfan Kasban
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As part of his interest in trauma and the potential of ritual healing through performance, during the residency Irfan Kasban intends to work on a long-term research project tentatively titled Port of Reciprocity, with a special focus on “Acoustic Sculptures and Communal Activations for the Burn-out Artist”. As part of his interest in trauma and the potential of ritual healing through performance, during the residency Irfan Kasban intends to work on a long-term research project tentatively titled Port of Reciprocity, with a special focus on “Acoustic Sculptures and Communal Activations for the Burn-out Artist”. Reacting to the tightly-knit architecture of Singapore’s public housing estates where the boundaries of individual and communal life are strictly compartmentalised and sound spillages are regarded as nuisances, the artist aims to unpack the socially-accepted notions that define noise pollution in the country. Irfan will experiment with building acoustic sculptures inspired by organic shapes that will augment the human voice without electronic intervention and enhance conscious listening through communal activations. Oscillating between different sonic dimensions, the human voice will be cast as a mode of disruption and forging connections. Throughout the residency, the artist also intends to conduct interviews and group discussions with fellow artists and creatives as a way of better understanding the causes of burnout and formulating strategies against it.
4 September 2023 - 31 January 2024
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On AiR with Yeo Siew Hua
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Artist-in-Residence
4 October 2021 - 31 March 2022
NTU CCA Singapore
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Film Screening: Želimir Žilnik's <em>Early Works (Rani Radovi)</em>, and <em>Black Film (Cri Film)</em>
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<span>19 - 31 May 2020<br />The Single Screen, Block 43 Malan Road<br /><br />Two early films of Želimir Žilnik are presented as part of the Non-Aligned exhibition which took place at the NTU Centre for Contemporary Art Singapore from 4 April - 21 June 2020.</span><br /><br /><span>1. </span><em>Early Works (Rani Radovi)</em><span>, Želimir Žilnik, 1969</span><br /><span>35 mm transferred to digital file, b&w, sound, 58 min</span><br /><br /><span>Winner of the Golden Berlin Bear Award at the 19th Berlin International Film Festival, </span><em>Early Works (Ravi Radovi)</em><span> recounts the story of youths who took part in the student demonstrations of June 1968 in Belgrade. Three young men and a girl, Yugoslava, set out to defy the petit-bourgeois routine of everyday life. Wanting to change the world and inspired by the writings of the young Karl Marx, they go to the country to persuade the peasants to fight for emancipation. They eventually get arrested. Frustrated at the failed revolution, the three young men decided to kill Yugoslava. They shoot her, cover her with party flag and burn her body. The smoke rising into the sky is the only thing that remains of the intended revolution.</span><br /><br /><span>2. </span><em>Black Film (Cri Film), </em><span>Želimir Žilnik, 1971</span><br /><span>16 mm transferred to digital file, b&w, sound, 14 min</span><br /><br /><span>The film chronicles Žilnik picking up a group of homeless men from the streets of Novi Sad and taking them to his home. Žilnik carries along a film camera to witness his efforts to "solve the problem of the homeless," while the group of homeless men enjoy themselves in his house. He speaks to social workers, members of the general public, and even engages with the policemen. However, they turn a blind eye to the "problem" at hand.<br /><br />A public programme of <em>Non-Aligned</em>.</span>
19 - 31 May 2020
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Film Screening in collaboration with Asian Film Archive
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Diaspora">Diaspora</a>
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Ritual">Ritual</a>
Thu 21 May 2015<br />Wed 3 Jun 2015 Block 43 Malan Road, The Single Screen <br /><br />Part I: DROUGHT – 92 mins | Colour | with English subtitles Language: Hindi, Indonesian, Italian, Tagalog, Mandarin, German<br /><br />Part II: FLOOD – 92 mins | Colour | with English subtitles Languages: Japanese, Korean, Mandarin, Thai, Indonesian, Malay, Hokkien <br /><br />NTU CCA Singapore will present a selection of films from the Asian Film Archive (AFA) with a focus on independent cinema from Southeast Asia. The launching session will feature the first part of Sherman Ong's film <em>Flooding in the Time of Drought (</em>Singapore, 2009). This docu-narrative fusion depicts the lives of foreign immigrants as they face an impending water crisis. Touching on issues as diverse as ethnic discrimination, ritual beliefs, World War II, and racial tensions in post-’97 riots Indonesia, the film explores how ingrained problems are transported along with migrant communities.
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Midi Z
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Azharr Rudin
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Transcript of Residencies AiRCAST Episode #7: Priyageetha Dia
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Starting off the second season of AiRCAST, we hand over the microphone to curator and writer Anca Rujoiu to interview our Artist-in-Residence Priyageetha Dia. Priyageetha and Anca are fresh out of a year-long collaboration that culminated in Forget Me, Forget Me Not (2022), Priyageetha’s solo exhibition curated by Anca which opened last May. In this conversation they share about the background research, interests, and aesthetic strategies behind the new body of work presented in the exhibition. They will also expand upon the significance of colonial histories and marginalised communities, agency and empowerment, as well as media and materials in Priyageetha’s practice.
2022-06-09
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Anca+Rujoiu">Anca Rujoiu</a>
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English
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Southeast+Asia">Southeast Asia</a>
Screenings of exodus of nowhere: episodes 1 – 3, Lee Wai Yi, Enoch Ng, and Kelvin Wu (Hong Kong). Selected and introduced by Ting Chun Chun (China/Singapore)
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Migration">Migration</a>
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<div class="event_single_dates text__exhibitions">17 Aug 2016, Wed 7:30pm - 10:00pm<br />19 Aug 2016, Fri 7:00pm - 10:00pm<br />20 Aug 2016, Sat 1:00pm - 4:00pm</div>
<div class="event_single_venue">The Single Screen, Block 43 Malan Road<br /><br /><p class="p1"><b><span>Wednesday, 17 August, 7.30 – 10.00pm</span><br /></b><strong>Screening of <i>exodus of nowhere, episode 1: the water is wide<br /></i></strong>Lee Wai Yi, Enoch Ng, and Kelvin Wu, Hong Kong 2002-13, 75mins. Selected and introduced by Ting Chun Chun (Hong Kong/Singapore), Assistant Professor, School of Humanities and Social Sciences (Chinese Division), NTU</p>
<p class="p1"><i>the water is wide</i> evolves around the intensifying conflicts between mainland Chinese migrants and local Hong Kong people in recent years. It tells the story of the very first controversy — the right of abode of Hong Kong citizens’ children who were born in Mainland China before the 1997 handover. The controversy ended in 1999 when the National People’s Congress in the People’s Republic of China reinterpreted the Hong Kong Basic Law to deprive these citizens of their right of abode in Hong Kong. Fourteen years after, we look back at this story and the right-of-abode fighters’ continuing struggle with this hardening border, in order to ask what defines us as humans, peoples, and communities.<br /><br /></p>
<p class="p1"><b><span>Friday, 19 August, 7.00 – 10.00pm</span><br /></b><strong>Screening of <i>exodus of nowhere, episode 2: gamble</i></strong>, Lee Wai Yi, Enoch Ng, and Kelvin Wu, Hong Kong 2013-14, 140mins. Selected and introduced by Ting Chun Chun.</p>
<p class="p1">One says, life is a gamble. Yet for the ones who are isolated and lacking in resources and information, every move is a gamble with their bare lives.</p>
<p class="p1">The grandfather who survived the embargo during the Korean war and the financial crisis of 1973; the sailor who witnessed the oil crisis and the Iran-Iraq war; people who fled Hong Kong to settle in England after the 1989 Tiananmen movement; the foreign domestic workers and Chinese farmers who travelled afar from their impoverished homes to cities where their contributions had never been recognised. Stories of seemingly unrelated individuals recount similar and connected experience with migration, ethnicity, borders, responsibility, and oppression in a globalised world. Hence we ask, what are the things that connect us as individuals with the world?</p>
<p class="p1"><span><b>Saturday, 20 August, 1.00 – 4.00pm<br /></b></span><strong>Screening of <i>exodus of nowhere, episode 3: rondo for the dis/placed<br /></i></strong>Lee Wai Yi, Enoch Ng, and Kelvin Wu, Hong Kong 2002-13, 210mins. Selected and introduced by Ting Chun Chun.</p>
<p class="p1">In a fragmented, non-linear style, <span class="s1"><i>exodus of nowhere: rondo for the dis/placed</i></span> recounts a series of migration stories across Southeast Asia, mainland China, and Hong Kong. As these stories of border crossing highlight the manipulation of identity politics for colonial rule, nationalist consolidation, economic domination, etc., the film eloquently debunks the mainstream narratives of political history and definition of boundary. This critical stand subsequently enables the film to find a new way to tell the stories of the powerless and reveal the hurt suffered by communities who were pit against each other by the hands of power. The screening with be followed by a casual conversation between the audience and the filmmakers.</p>
<p><span>These screenings are organised as part of the public programme of <em>A</em></span><span><em><a href="http://ntu.ccasingapore.org/exhibitions/amar-kanwar/"></a>mar Kanwar: The Sovereign Forest</em></span><span>.</span></p>
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17, 19 - 20 August 2016
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lee+Wai+Yi">Lee Wai Yi</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Enoch+Ng">Enoch Ng</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kelvin+Wu">Kelvin Wu</a>
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Clara Law
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Diaspora">Diaspora</a>
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