Jamie North
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nature">Nature</a>
During the residency, North will be conducting photographic investigations on the ways in which local plant species manage to adapt to Singapore’s constantly changing built environment. In alignment with his long-standing interest in the intersection between the natural and the artificial, North regards Singapore as a radical case study to observe the complex tensions brimming at the interface between nature and human-made structures. He will also focus on the inescapable cycles of decomposition and renewal that, accelerated by the high humidity of the tropical climate, blur the boundaries between the organic and the man-made.
1 November – 22 December 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jamie+North">Jamie North</a>
<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>
Jacqueline Hoang Nguyen
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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>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Identity">Identity</a>
As part of her residency, Jacqueline Hoàng Nguyễn will expand on <i>The Archive as a Subject</i>, a long-term project that positions photographs and other vernacular artefacts at the junction of the private and the public, as well as the personal and the political, raising complex global issues related to concepts of territory, migration, and identity. Looking at the traces of her own family’s history, she aims to explore the friction that is generated when such mundane items are appropriated by institutional narratives, especially when they are framed in different cultural contexts. While in Singapore, she intends to further her research looking specifically at the history of the refugee camp in Sembawang which housed Vietnamese refugees for twenty years.
4 December 2017 – 31 January 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Jacqueline+Hoang+Nguyen">Jacqueline Hoang Nguyen</a>
<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>
Irwan Ahmett and Tita Salina
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Geopolitics">Geopolitics</a>
Departing from a specific historical episode, the artists will explore the contemporary currency of gestures of sabotage in the context of the geopolitical frictions between Indonesia and Singapore. This research is part of <i>Ring of Fire</i> (2014-ongoing), a long-term project focused on natural disasters and geopolitical collisions named after the vast geographical area that runs from New Zealand to Chile stretching across Southeast Asia. By framing uncanny relationships between tectonic instability and political unrest, the pair seek to address conditions of vulnerability as well as the tensions related to environment, social justice, freedom of expression, and human rights among Southeast Asian countries.
1 March – 29 March 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Irwan+Ahmett+">Irwan Ahmett </a>
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Hu Yun
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=History">History</a>
<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>
Hu Yun’s practice is grounded in research, surveys, travels, oral histories, and archives. Since 2012, Hu has made several trips to China, Hong Kong, Macau, and Southeast Asia to retrace the footsteps of missionaries such as Matteo Ricci and St. Francis Xavier, exploring both the factual and the imaginary. In line with this research, Hu will be investigating Chinese cemeteries and graveyards in Singapore as spaces of historical encounters. Of particular interest are the symbolisms of epitaphs on early 20th century tombstones as a reflection of the political landscape in China. Hu will also retrace the immigration of Chinese artists from China to Singapore in the early 20th century through Mr Koh Nguang How’s <i>Singapore Art Archive Project</i>.
27 March – 17 May 2017
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<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
Geraldine Kang
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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=Urbanism">Urbanism</a>
Looking at the overlooked is the core of Geraldine Kang’s projects. She intends to use her residency as an incubatory period to think about the role of waste and its management in the context of urban living, a subject matter that is often regarded as invisible in Singapore. Throughout this project, she will focus on labour issues and investigate theoretical approaches towards the act and the politics of cleaning. Kang will reflect on alternative possibilities to the aesthetisation of waste in order to create cross-disciplinary dialogues that can lead to concrete action.
1 March – 30 June 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Geraldine+Kang">Geraldine Kang</a>
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Chun Kaifeng
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During his residency, Chun will pursue his exploration of the inconspicuous fixtures of the urban environment shifting from a detached approach to a more active engagement that involves connecting with the public agencies in charge of the design, production, and installation of such elements. He is also contemplating to create a performance piece which will lend voice to a range of common objects.
3 July – 30 November 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Chun+Kaifeng">Chun Kaifeng</a>
<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>
Chia-Wei Hsu
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Globalisation">Globalisation</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=History">History</a>
In the wake of a research conducted in collaboration with the Eindhoven University of Technology which led to his solo exhibition at the Van Abbemuseum (2015), Hsu will continue to investigate colonial histories of Taiwan, Malaysia, and Singapore as part of a larger project dedicated to backtrack early models of globalization. His interest lies especially in the political, economic, and infrastructural role played by the Dutch East India Company in the 17th century in Southeast Asia and its manifestation in the architectural complexes such as Fort Noord-Holland in Taiwan and Stadthuys (City Hall) in Malacca City, Malaysia.
3 July – 31 August 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Chia-Wei+Hsu">Chia-Wei Hsu</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Chia+Wei+Hsu">Chia Wei Hsu</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>
chi too
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=History">History</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Identity">Identity</a>
Casting an ironic look at Malaysia and Singapore’s historical merger, <i>We Were Once a Nation</i> is a research project about nation building which unearths the histories of Malaya, Sabah, Sarawak and Singapore. The research will focus on the years between 1963 and 1965, when Singapore and Malaysia split from the merger, in order to map a shared history of hopes, conflicts, and anxieties. Searching Singapore archival materials to decode Malayan history and, therefore, his own Malaysian identity, chi too aims to address the political and personal implications embedded in the construction of a nation state.
4 May – 30 June 2017
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=chi+too">chi too</a>
Carlos Casas
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nature">Nature</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Coexistence">Coexistence</a>
The eruption of Krakatoa in 1883 can perhaps be considered the last grandiose natural disaster before the advent of moving images. For Casas, the historical eruption is an active producer of multiple narratives and imaginaries. Fascinated by its sublime stature and by the unique visual, sonic, and meteorological phenomena occurred in the aftermath of the eruption, the artist aims to investigate its socio-symbolic entanglements with Indonesia’s colonial history while also continuing his longstanding meditation on how natural disasters affect our understanding of nature and of our position on the planet. Through archival research and on-site shooting, the artist will collect historical, optical, and sonic data from various research stations and archives in Singapore and Indonesia in preparation for a new work.
5 December 2017 – 28 February 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Carlos+Casas">Carlos Casas</a>
<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>
Bui Cong Khanh
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=History">History</a>
<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>
<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>
Bui Cong Khanh is interested in studying historical flows of Chinese immigration across the Southeast Asian region, and Singapore in particular, by tracking down the movements of Chinese porcelain artifacts. His research intertwines the Chinese ancestry of the artist’s own family and traditional forms of Chinese cultural heritage, while concurrently addressing the complexities embedded in the construction of national identities. During his residency, he also plans to collaborate with local kilns and porcelain workshops.
4 December 2017 – 31 January 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Bui+Cong+Khanh">Bui Cong Khanh</a>
<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>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Asia">Asia</a>