Artistic Research]]> Knowledge Production]]> Iwona Piorko]]> Joseph Liow]]> Anna Lovecchio]]> Karin Oen]]> Priyageetha Dia]]> Ngoc Nau]]> Nguyen Hong Ngoc]]> Saroot Supasuthivech]]> Southeast Asia]]> Identity]]> Cultural Heritage]]> Knowledge Production]]>
Contributors: Zulkhairi Zulkiflee, Alfian Sa'at
Editor: Anna Lovecchio
Programme Manager: Nadia Amalina
Sound Engineer: Ashwin Menon
Intro & Outro Music: Zachary Chan
Cover Image & Design: Arabelle Zhuang, Kristine Tan]]>
Zulkhairi Zulkiflee]]> Alfian Sa'at]]> Anna Lovecchio]]> Nadia Amalina]]> Ashwin Menon]]> Zachary Chan]]> Podcast]]> https://www.buzzsprout.com/1845756/13341645-aircast-13-zulkhairi-zulkiflee]]> Southeast Asia]]>
Knowledge Production]]> Technology]]> Venue: CREATE Tower, 1 Create Way, Theatrette Level 2, Singapore 138602

Digital technology innovations tend to secure knowledge in the hands of a limited number of institutions and corporations, but Indonesian group Critical Making adheres to the principle of openness, organised through citizen initiation and run by grassroots-level collectives, to create physical objects much like how the open-source movement allows for innovations in software. Each individual has the right and access to knowledge and the process of creating with materials and technology. In Indonesia, collectives play an important role as the driving force of the cultural sector and as catalysts for social and economic development. However, even though these collectives are open to any gender, female and nonbinary gender participation in open science and citizen science movements are still relatively small and imbalanced. Moreover, in the digital technology industry at large, true inclusion remains lacking, as women, trans people, and children are “included” as mere users and consumers. This non-inclusive creation process creates inequality and stifles true innovation. Domestic Hacking intervenes by involving women, trans people, and children in making and hacking.]]>
Irene Agrivina]]> Southeast Asia]]>
Sustainability]]> Knowledge Production]]> Kelsi Matwick]]> North America]]> Indigenous Knowledge]]> Knowledge Production]]> Botany]]> Sunday, 19 February 2023
2.30 – 4.30pm
Venue: NTU CCA Singapore, Block 37 Malan Road, #01-02, Singapore 109452

What alternative narratives and creative strategies of healing practices, food histories, folk and community knowledge and its relation to land may be brought to the fore? Could there be a legacy through narratives around food and a way to resurface “lost knowledge” while bringing together various forms of cross-cultural wisdom? This workshop is part of Adeline Kueh’s larger body of work that examines the history of foraging, oral traditions and existing knowledge systems based on the artist’s cartographic research and reconsiders the human-nature relationship in light of climate change and the current pandemic. The workshop explores alternative knowledge-building of flora-fauna’s healing elements that can be responsive towards our immediate ecological concerns as well as applied by future generations.]]>
Adeline Kueh]]> Southeast Asia]]>
Knowledge Production]]> Biodiversity]]> Karen Shepherd]]> Southeast Asia]]> Artistic Research]]> Archival Practice]]> Knowledge Production]]> History]]> Other days by appointment.
Residencies Studio #01-03, Block 37 Malan Road

Future Trees and the Pulp of History (2) is a combined presentation by Artist-in-Residence Ho Rui An and artist Tan Biyun that explores the artists’ shared interests in participatory democracies, historical archives and speculative futures. Their works engage various strategies to rearrange existing narrative structures and activate new forms of political imagination.

As a consolidation of the research undertaken during his residency with NTU CCA, Ho presents a selection of material relating to the history of foresight, both globally and within the Singapore public sector. This includes a set of images extracted from a CD-ROM produced on the occasion of an exhibition organised in celebration of Public Service 21 (PS21), an initiative that can be regarded as a precursor to the current Smart Nation programme. Together, these materials variously project forms of millennial optimism or anxiety—the former exemplified by Peter Schwartz and Peter Leyden’s seminal essay “The Long Boom”, the latter by two national scenarios created by the Scenario Planning Office in Singapore describing the city-state in states of crisis.

Against this history of the future presented in Ho’s collection, Tan posits a speculative near-future where the history of Singapore faces the fate of being pulped. Tan conjures a scenario where students, sick of the propaganda purveyed in their textbooks, have abandoned the study of History altogether, prompting the Ministry to recall and destroy all textbooks in circulation. Conceived as a “protest against forgetting” (Eric Hobsbawn), Tan’s The Unforgetting Space seeks a more inclusive understanding of the past and triggers the process of reclaiming the writing of history from the authorities. This participatory project features several textbooks dating from the 1970s and two old typewriters on which audiences are invited to retype historical episodes selected from the books. They are also encouraged to contribute a text based on their own sources should a historical episode be found to be missing or misrepresented.

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Ho Rui An]]> Tan Biyun]]>
Archival Practice]]> Artistic Research]]> Identity]]> Knowledge Production]]> Capitalism]]> 23 Sep 2016, Fri 7:00pm - 11:00pm
24 Sep 2016, Sat 2:00pm - 7:00pm
Residencies studios, Blocks 37 & 38 Malan Road

Residencies: OPEN offers a rare insight into the often introverted sphere of the artists’ studio. Through showcasing discussions, performances, research and works-in-progress, Residencies: OPEN profiles the diversity of contemporary art practice and the divergent ways artists conceive artwork with the studio as a constant space for experimentation and contemplation.

Antariksa, Block 38, Malan Road, Studio #01-05

As part of his residency at the NTU CCA Singapore, Antariksa researches the history of the Japanese Occupation (1942-1945) in Singapore. He is especially interested in collecting historical evidence of the propaganda strategies pursued by the occupiers and compare them with the forms of resistance and alternative visual strategies developed by the artists at the time. This project is part of a wider study on the history of art collectivism in Asia under the Japanese Occupation.

The presentation of archival material and images in his studio has been made possible thanks to the National Archives of Singapore.

Heman Chong, Block 38, Malan Road, Studio #01-07

The Library of Unread Books
Ongoing project

The Library of Unread Books is Heman Chong’s long-term project: a members-only reference library made up of donated books that are unread by their previous owners. The cost of a lifetime membership to the library is the donation of a single unread book. In keeping with the artist’s intimate longing for a space to go to in the dead of the night to encounter books he has never thought of reading, “night passes” will also be issued for visitors and the Library will be open for 24 hours every Friday night from 7.00pm to 7.00pm the next day.

Chong is a Singaporean artist, writer, and curator whose practice develops across a variety of media. He often works as a facilitator of situations in which new narratives and modes of intellectual exchange are enacted to rethink conventional modes of sharing and transmitting knowledge. Since 2003, he has been interested in negotiating public space as a site of speech. For his six-month research at the NTU CCA Residencies Programme, he intends to turn his studio into an artist-run space where other artists can present their works, gather for discussion, and find a quiet space for contemplation.

Ho Rui An, Block 37, Malan Road, Studio #01-03

IN-RESIDENCE
2014
HD video
17 min 30 sec

Produced during a residency on-board a transatlantic vessel, the video interweaves two layers of time experienced by the artist during the month-long journey: that of being “in-residence” and that of being “on expedition”. Two literary characters serve as points of reference for the film’s invisible protagonist: the colonial officer Percival from Virginia Woolf’s The Waves (1931) and from Italo Calvino’s novel Mr Palomar (1983). Exploring the dissonance between the sense of nausea experienced by the artist during the residency and the scientific scope of the expedition, the film muses upon representational technologies that turn the natural world into an image.

Ho Rui An is an artist and writer who works at the intersection of contemporary art, cinema, performance, and theory. He writes, talks, and thinks around images investigating their sites of emergence, transmission, and disappearance within the contexts of cultural production. Recently he has focused on the aesthetic form of the “lecture performance” to explore the relationship between art, research, and the circulation of knowledge. During his residency at NTU CCA Singapore, Ho intends to study the aesthetics of “futurecraft” and of “horizon scanning” programmes run both by the state and private entities.

Ato Malinda, Block 37, Malan Road, Studio #01-04

Drawings
2016
Mixed media
Dimensions variable

Since 2012, Ato Malinda has been working on a series of drawings that relate to her innermost feelings and fantasies about gender-related issues. Often inspired by events in her life and in the life of her friends, the drawings outline half-human, half-animal creatures caught up in intimate situations and pensive poses.

On fait ensemble
2010
HD video
10 min

Mami Wata was a water spirit worshipped in Africa long before the arrival of the Europeans. In the 1880s a German hunter married a Southeast Asian woman and brought her to Hamburg where she performed in Völkerschau (human zoo) as a snake charmer. A lithograph of hers was reprinted in Bombay in 1955 and eventually came to West Africa where it was recognised as a portrait of Mami Wata. Re-enacting the arrival of the image in Africa, the artist reflects on the complex patterns of exchange and contamination that determine cultural identities.

The work of Malinda encompasses performance, drawing, painting, installation, video, and ceramic sculpture and investigates the nature of African identity, contesting notions of authenticity as well as fixed assumptions about gender and sexuality. During her residency at the NTU CCA Singapore, she is conducting archival research on the Tang shipwreck — occurred 380 miles off the Singapore Strait around 830 CE — to explore concepts of hybridity and globalisation in relation to Singapore’s history of sea trading and porcelain manufacturing.

Bo Wang, Block 37, Malan Road, Studio #01-02

Spectrum, or the Singapore Dan Flavin
2016
Seven fluorescent tubes

With a formalistic reference to Dan Flavin, seven fluorescent tubes are arranged in a grid structure that propagates different shades of white in the space. The spectrum of white lights are in different colour temperatures, which were sampled from various social spaces in Singapore, from polished restaurant, luxury hotel, to industrial buildings and dormitory of migrant workers.

As a visual artist and a film maker, Bo Wang observes contemporary urban landscapes that are undergoing intensified processes of transformation and excavates the power structures and cultural anxieties related to these accelerated forms of transitions. His work depicts provocative portraits of China examining the ways in which the State retains its authoritarian way of rule while pursuing capitalism. For his residency at NTU CCA Singapore, Wang is researching the politics of space, issues of territorial expansion, and the social implications surrounding the pursuit of sand in Singapore where 22% of her land mass has been reclaimed from the sea through sand acquired from neighbouring countries.

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Antariksa]]> Heman Chong]]> Ho Rui An]]> Ato Malinda]]> Bo Wang]]> Southeast Asia]]> Asia]]>
Knowledge Production]]>
This talk takes place at School of the Arts Singapore (SOTA) and is part of the Louis Vuitton – SOTA Arts Excellence Programme. Isaac Julien will share his approach in filming and research at the basis of his most recent films, which include Playtime (2014) and Ten Thousand Waves (2010).

A public programme of Theatrical Fields: Critical Strategies in performance, film and video.]]>
Isaac Julien]]> Europe]]> Middle East]]> Asia]]>
Archival Practice]]> History]]> Identity]]> Knowledge Production]]> Topography]]> Ways of Seeing]]> In this episode, curator Samantha Yap digs deep into the practice of Artist-in-Residence Fazleen Karlan. We are happy to bring the two of them back together, after they first collaborated a couple of year ago on an exhibition titled Time Passes (2020-21), to talk about Fazleen’s evolving artistic sensibility and sources of inspiration.

In this circular conversation that revolves around a shared reading, the novel Lighthousekeeping by Jeanette Winterson, Fazleen and Samantha exchange memories, experiences, and thoughts about time, materiality, pop culture, and the vitality of archaeology in Fazleen’s work. And they do so with that special kind of fluid intimacy that interlaces persons of the same age. Just a few words to introduce them.

Contributors: Fazleen Karlan, Samantha Yap
Editor: Anna Lovecchio
Programme Manager: Nadia Amalina
Sound Engineer: Ashwin Menon
Intro & Outro Music: Yuen Chee Wai
Cover Image & Design: Arabelle Zhuang, Kristine Tan

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Fazleen Karlan]]> Samantha Yap]]> Anna Lovecchio]]> Nadia Amalina]]> Ashwin Menon]]> Yuen Chee Wai]]> Podcast]]> https://www.buzzsprout.com/1845756/11089842-aircast-8-fazleen-karlan]]> Southeast Asia]]>