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Kin Chui —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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Kin Chui

Residency period

1 April 2020 – 29 September 2020

About

Originally trained in film, in his artistic practice Kin Chui (b. 1984, Singapore) inflects collaborative projects, performative interventions, and socially-oriented art initiatives with a sustained interest in emancipatory struggles. Recently, he had a solo exhibition, Station 13010, at Grey Projects, Singapore (2020) and was involved in group exhibitions such as In A Hard Place, Apply Soft Pressure (2018) and Unsettling Times (2017), both at Cemeti-Institute for Art and Society, Yogyakarta, Indonesia. He curated the exhibition Fantasy Islands, Objectifs, Singapore (2017). Chui is an active member of soft/WALL/studs, a Singapore-based collaborative project involving several artists, writers, film makers, art workers, and researchers. He periodically aspires to be a cat.

Focus

The Straits of Singapore have long been a hotspot for seafaring banditry. Throughout its cultural history, the notion of “pirate” has remained negatively connoted by its ancient definition as “common enemy of mankind”. Kin Chui plans to expand his ongoing research on concepts and practices of piracy in the Southeast Asian archipelago in order to articulate a speculative framework for a decolonised artistic praxis. By unravelling its multiplicity of meanings and manifestations—ranging from sea banditry to unauthorized reproductions, from illegal taxi services to unlicensed broadcasts—and the semantic shift from unlawful practice to mode of resistance, the artist will delve into the intersections between art and activism, subversive disruptions of colonial regimes and global capitalism, and issues of privatisation of the commons. Specifically, he plans to articulate a lexicon of resistance based on the glossary of piracy and conduct anthropological research into both digital pirate initiatives and counter-piracy measures implemented in the region.

Residencies brochure: (April – June 2020)

Image credit: Kin Chui, Performing Coloniality, 2013, video installation. Courtesy the artist.

Public programmes

In The Vitrine:
Kin Chui
along waves of gravity –a solidar   y of holes
18 Jul 2020, Sat - 6 Sep 2020, Sun

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Envisioned in 1956 by Indonesian artist Iljas Hussein*, along waves of gravity –a solidar   y of holes was to be a monument to the short-lived Principal Liaison Centre (PLC) established in Singapore in 1926. Pivotal in the international surge of anti-colonial struggles, the PLC was a point of liaison between the 3rd International and the region and it was meant to serve as an organ for the amplification of the voices of the marginalised and the oppressed.

At the Asian-African Conference held in Bandung in 1955, Hussein was entrusted with the task of imagining a monument that encapsulated the spirit of the PLC. One year later, he presented the idea for along waves of gravity –a solidar   y of holes: a triangulation of holes strategically placed across the island that would gather and continuously echo the voices uttered into them. Inspired by theories of general relativity and topological properties of continuous deformation, Hussein’s design articulates, spatially as well as acoustically, an anti-monumentalist stance. Rather than asserting an univocal shape, the monument retreats into the ground as a series of interconnected and shapeshifting vessels which reverberate and transform sound waves throughout time. Hussein kept experimenting with these ideas until his death in 1989 but, due to its scale and technical complexity, his visionary project remained unbuilt. The surviving renderings and audio experiments of the unrealised monument are now displayed in The Vitrine.

* Iljas Hussein is a fictional artist conceived by Kin Chui. The name is one of the many aliases used by Tan Malaka (1897 –1949), an influential revolutionary thinker and fighter in the political struggles for Indonesia’s independence. Specifically, this alias was used to pen Malaka’s magnum opus Madilog (1943), the Indonesian acronym for Materialisme Dialektika Logika (Materialism Dialectics Logics).

 

The artistic practice of KIN CHUI (b. 1984, Singapore) inflects collaborative projects, performative interventions, and socially-oriented art initiatives with a sustained interest in emancipatory struggles. Recently, he had a solo exhibition, Station 13010, at Grey Projects, Singapore (2020) and was involved in group exhibitions such as In A Hard Place, Apply Soft Pressure (2018) and Unsettling Times (2017), both at Cemeti-Institute for Art and Society, Yogyakarta, Indonesia. He curated the exhibition Fantasy Islands, Objectifs, Singapore (2017). Chui is an active member of soft/WALL/studs, a Singapore-based collaborative project involving several artists, writers, film makers, art workers, and researchers. He periodically aspires to be a cat.

He is Artist-in-Residence at NTU CCA Singapore from April until September 2020.

 

Image: Kin Chui, along waves of gravity –a solidar   y of holes, 2020, 3D rendering. Courtesy the artist.