Adrián Balseca —Residencies |  NTU CCA Singapore
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Artist-in-residence

Committed to supporting artists, curators, and researchers by offering them time and space to pursue their research without the pressure of deadlines and production commitments, the Residencies Programme values the open-ended nature of artistic research and embraces multiform expressions of creative enquiry. Aiming to facilitate the production of knowledge, this studio-based programme is dedicated to established and emerging artists and serves as platform for critical exchange in Southeast Asia. The Residencies Programme offers a wide spectrum of programmes aimed at sharing the process of artistic research with the public - Residencies OPEN / Studio Sessions / Insights, which range from open studios, artists’ talks, conversations, performances, and screenings. The Residencies Programme unfolds through annual cycles and runs by nomination only. Every year, a rotating pool of curators and arts professionals from all over the world is invited to nominate two artists for the residency. The nominated artists are subsequently invited to submit a research proposal along with their portfolio and CV. Ultimately, the Residencies Committee, an international panel of experts, reviews the submitted materials and designates the artists who are awarded the residency.

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Adrián Balseca

Residency period

2 May – 29 June 2018

About

The artistic practice of Adrián Balseca (b. 1989, Ecuador) engages histories of artisanal handicrafts and industrial techniques encompassing different configurations of materials and immaterial processes involved in the production and circulation of manufactured goods. His works range from small interventions to large-scale actions and video documentation. He recently received a solo exhibition at the Precolumbian Art Museum Casa del Alabado, Quito, Ecuador (2017). In 2013, he was awarded the Premio Brasil–Arte Emergente at the Contemporary Art Center of Quito.

Focus

In the early 20th century, the South American rubber industry entered a phase of decline as a result of the successful implantation in Southeast Asia of a batch of hevea brasiliensis (rubber plant) seeds, brought to the region from London’s Kew Gardens in 1877. Expanding the lines of inquiry of a previous project—The Skin Labour (2016)—that examined rubber plantations in the Ecuadorian Amazon, Adrián Balseca follows the “trajectory of latex” in the Global South by investigating power relations, labour processes, and patterns of bodily movements devised for rubber harvesting in Singapore and Malaysia at a crucial moment of transition from manual to mechanical techniques. In particular, furthering his investigation of social-environmental issues and the “extractivist” dynamics that underscore capitalistic development, the artist will research designs and graphic patterns of incision employed for tapping rubber trees and the manifold implications entailed by the relocation of labour practices in different political, cultural, and environmental contexts.