Materiality]]> Cultural Heritage]]>
]]> Ben Loong]]> Sculpture]]> Mixed Media]]> Painting]]> Southeast Asia]]> Politics]]> History]]> Taloi Havini]]> Photography]]> Sculpture]]> Mixed Media]]> Oceania]]> Architecture]]> Nature]]> Public Art]]> Zul Mahmod]]> Zulkifle Mahmod]]> Installation]]> Print]]> Sculpture]]> Sound]]> Southeast Asia]]> History]]> ROAD MOVIE – Road to Singapore. Episode 2, as the second part of a work created on occasion of their residency and exhibition at NUS Museum (Singapore) in 2013.]]> SHIMURAbros]]> Installation]]> Sculpture]]> Asia]]> Southeast Asia]]> Topography]]> Monica Ursina Jäger]]> Monica Ursina Jager]]> Installation]]> Sculpture]]> Southeast Asia]]> History]]> Materiality]]> Mr Tailor had a dream last night: a soft-sculpture installation made of raw linen fabrics that recreates a small tailor shop, a space for craftsmanship that is still common in Myanmar but fast-dwindling in Singapore. Addressing the alienation of the consumer from the garment-maker and the resilience of this kind of handicraft in the face of today’s industrial mass production, the artist intends to engage with local taylors and with the tools of the trade in order to create a new sculptural piece.]]> Min Thein Sung]]> Sculpture]]> Painting]]> Southeast Asia]]> Architecture]]> Miguel Andrade Valdez]]> Object]]> Sculpture]]> Southeast Asia]]> History]]> Technology]]> Matthias Sohr]]> Installation]]> Sculpture]]> Southeast Asia]]> Body]]>
Marianna Simnett made a new film Tito’s Dog (2020) as part of the Residencies Online Screening Programme Stakes of Conscious(ness), conceived by Dr Anna Lovecchio for the three artists whose residency at NTU CCA Singapore has been disrupted by the viral pandemic.]]> Marianna Simnett]]> Installation]]> Sculpture]]> Europe]]> History]]> Diaspora]]> Accommodating the Epic Dispersion – On Non-Cathartic Volume of Dispersion (2012) for Haus der Kunst in Munich. The length of this work’s title is deliberate, in response to the overlapping of diaspora history with the specific history of the work’s location — a large and voluminous hall once known as ‘Ehrenhalle’ under the Third Reich. By critically extending and dispersing a reconstruction of histories in an epic dimension, the work introduced issues of migration, diaspora, movement and thereby, colonialism, through questions such as, “is movement mental or physical? When we migrate, do we lose our sense of home? How do we maintain and accommodate our migratory destinies and narratives?”]]> Haegue Yang]]> Installation]]> Sculpture]]> Asia]]>