John Torres
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Artistic+Research">Artistic Research</a>
During the residency, John Torres plans to experiment with “parasitical filmmaking strategies” as the starting point of a series of works he intends to realise throughout Southeast Asia. By positioning himself at the periphery of ongoing film productions, Torres will collect their multiple “excesses:” spillages in light, sound, props, furniture, scenic design, and everything that may linger outside the perimeter of the main set. Tapping onto other directors’ scraps and making use of resources that have already been paid for to create his own separate narrative, the artist aims to test out a playful method for bypassing the financial limitations of independent film productions. In light of his recent role as father, this work will be developed within the framework of Remote Daddy Project: a way of structuring the artist’s work schedule around his daughter’s sleep and feeding schedule so as to strike a balance between making art and raising a family.
8 January – 28 March 2019
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=John+Torres">John Torres</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>
Kent Chan
<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>
Over the course of the residency, Chan will delve into his longstanding interest for the rainforest seen as a site of contemporary art. Regarding the opulent wilderness of tropical nature as the physical and conceptual obverse of the white cube space, the artist will research an episode of Singapore’s curatorial history: the first group exhibition of Singaporean artists in the West. Titled <i>Paintings by Singapore Artists</i>, the exhibition took place at the former Imperial Institute in London in 1955 and was organised by the chairman of the Singapore Art Society, Ho Kok Hoe (1922-2015). It is rumoured that the artworks were brought to London without prior arrangements about the venue, leaving the materialisation of the show a matter of conjecture. Focusing on the 1955 exhibition, Chan will explore the epistemological connections between the colony and the imperial capital while also excavating the anxieties that lurk in the global peripheries of the art world.
4 December 2017 – 31 May 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Kent+Chan">Kent Chan</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>
Krist Gruijthuijsen
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Curatorial+Practice">Curatorial Practice</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Artistic+Research">Artistic Research</a>
During the residency, Krist Gruijthuijsen will connect with local artists and institutions in Singapore. He will present a talk titled <em>The Ouroboros Effect</em> featuring a selection of projects initiated over the past decade that reflect upon the importance in his curatorial practice of the artist’s voice and of the material and social conditions of artistic production.
2 April – 8 April 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Krist+Gruijthuijsen">Krist Gruijthuijsen</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>
Lim Sokchanlina
<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>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Labour">Labour</a>
In recent years, as globalisation accelerates the process of urbanisation, both developed and developing countries are experiencing a significant influx of immigrants. The reality of cities erected entirely through foreign labour has become increasingly common and the flows of temporary migration lead to the formation of “mini-nations” nestled within rapidly growing cities, that is enclaves of migrant workers that congregate, cohabit, and share material and immaterial resources in foreign countries. Pursuing his interest in the social, political, cultural, and economic impact of globalisation, during the residency Lim Sokchanlina investigates bureaucratic and political apparatuses as well as the personal and psychological aspects that define Singapore’s communities of migrant workers in Little India and “Little Burma” considered as case studies to be compared with similar enclaves in Cambodia and Thailand.
2 April – 29 June 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Lim+Sokchanlina">Lim Sokchanlina</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>
Luca Lum
<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>
<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>
Launched in 2014 by the Singapore government, the Smart Nation initiative aims to enhance economic productivity and urban efficiency through technological streamlining and boundary-marking of both territories and bodies. Since the onset of her residency, Luca Lum has turned to the “soft architectures” and “non-events” of the city, that loose and ungraspable entanglement of sentiment and decoration, behaviours and bodies that defines urban life. Her research focuses on the diffractive relationship between two specific sites: Geylang, a little-known testbed to many Smart Nation initiatives, and Marina, Singapore’s anchoring “global” image. Understanding the optical phenomena of diffraction and iridescence as relational geometries that connect positions of proximity and distance, generate states of affection, and undergo multiple interferences, the artist is conducting repeated visits to the areas. Through her open-ended explorations, she is in the process of mapping and morphing the distinct attitudes and streaks of desires that inform the two sites. Her eclectic approach spans across various media and materializes in the form of photographs, objects, drawings, recordings, scores, and texts.
2 April – 28 September 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Luca+Lum">Luca Lum</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>
Marco Scotini
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Curatorial+Practice">Curatorial Practice</a>
While in residence, Marco Scotini will connect with local artists and institutions in Singapore. As Biennale artistic director of the 2nd Yinchuan Biennale, opening from June to September 2018, he will present a public lecture on the curatorial concepts and thematics of the Biennale using living systems to produce a new ecological model for conceiving exhibitions.
17 April – 21 April 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Marco+Scotini">Marco Scotini</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>
Nataša Petrešin-Bachelez
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Curatorial+Practice">Curatorial Practice</a>
During the residency, Nataša Petrešin-Bachelez will connect with local artists and institutions in Singapore. She will deliver a talk to discuss the necessity to engage various art institutional constituencies through curatorial practice in relation to her latest project: Contour Biennale 9: <em>Coltan as Cotton</em> (11 January – 20 October 2019, Mechelen, Belgium). This recently opened exhibition explores the possibility of opening up institutional borders and render them more palpable, audible, sentient, soft, porous and, most of all, decolonial and anti-patriarchal.
25 February – 28 February 2019
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nata%C5%A1a+Petre%C5%A1in-Bachelez">Nataša Petrešin-Bachelez</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Natasa+Petresin-Bachelez">Natasa Petresin-Bachelez</a>
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=38&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Europe">Europe</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>
Nathalie Johnston
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Curatorial+Practice">Curatorial Practice</a>
During the residency, Nathalie Johnston will connect with local artists and institutions to build connections between Singapore and Myanmar. She will present a talk entitled <i>It’s Complicated</i> to reflect on the contemporary art ecosystem in Myanmar and discuss the attitudes of the artists in light of the country’s current socio-political situation.
3 September – 10 September 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Nathalie+Johnston">Nathalie Johnston</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>
Phyoe Kyi
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Architecture">Architecture</a>
During the residency, Phyoe Kyi intends to develop an interactive multimedia installation. The project—which subtly pays homage to the artist’s mother, a recurrent subject in his work— entails both the conceptualization and the rendering of a virtual museum showcasing a selection of artworks that are of special significance to the artist himself. He aims to finalize the architectural plan of the museum as well as to gather video and audio files for his idiosyncratic collection. Concurrently, Phyoe Kyi will also expand the scope of <i>The White Cloth</i>, a project started in 2014 that explores the layered symbolical imagery of white cloth and its social, political, and cultural significance in Burmese culture and language.
02 April – 29 June 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Phyoe+Kyi">Phyoe Kyi</a>
Sean Connelly
<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=Ecology">Ecology</a>
In Hawaiian, the native word “au” combines notions of space, time, and flow into a single term suggesting the existence of an ecologically fluid worldview. Challenging the supremacy of Western science as well as the entrenched perceptions of the Pacific Islands and their people as fatefully remote and “scattered,” Sean Connelly has embarked on a long-term project titled <i>Hydraulic Islands</i>, comprising a multi-part anthology and a new-media atlas, that revolves around the pivotal role Hawa'i plays in the history and future of human settlements across Oceania and beyond. During the residency, the artist will work on the graphic atlas which results from a combination of geographic information system (GIS) technologies, counter-mapping techniques, and extensive fieldwork across Hawai'i. By delving deep into aboriginal ecologies, planetary systems, and network economies, he aims to recover indigenous knowledge and practices that can advance more sustainable oceanic systems of urbanism, energy, economy, and time as they relate to cities and natural resources.
1 October – 21 December 2018
<a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=37&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Sean+Connelly">Sean Connelly</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=North+America">North America</a>