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The NTU CCA Singapore Residencies programme is an integral part of the NTU CCA Singapore’s mission as a research centre and hosts artists, curators, critics and scholars from Singapore and abroad. The studio-based Residencies programme is dedicated to facilitating the production of knowledge and research for and by established and emerging artists. It serves as a forum for cultural and artistic exchange in Southeast Asia, augmented with public events Residencies: Insights / Studio Sessions / OPEN series, ranging from open studio sessions, lectures, live performances, to special projects in The Lab, NTU CCA Singapore’s space for curatorial experimentation. The application for residency at NTU CCA Singapore is via nomination, please email for more information.


Susanne Kriemann

Residency period

11 July – 16 August 2018, and 1 March – 29 March 2019


Susanne Kriemann (b. 1972, Germany) is an artist and Professor for Artistic Photography at the University of Design in Karlsruhe, Germany. Kriemann’s research-based work investigates the medium of photography in the context of social history and archival practice. Recent solo exhibitions include Canopy, canopy at The Wattis Institute, San Francisco, United States (2018) and dyeing until the water runs clean, at the Kunstforum Baloise, Basel, Switzerland (2017). Her works have also been included in numerous international group shows such the 11th Shanghai Biennale, China (2016) and the 5th Berlin Biennale, Germany (2008).


Interested in chemical processes caused by human interference with nature like radioactivity and the afterlife of microplastic particles, the practice of Susanne Kriemann is premised on archival investigation, field research, and interdisciplinary collaborations. During her residency, Kriemann plans to conduct research on the maritime ecosystem of Singapore and Southeast Asia, focusing on the increasing presence of microplastics in intertidal mangrove habitats. Since the 1950s, plastic has become the chief material of industrial mass production by virtue of its lightweight, durability, and low production costs. With a decomposition time of about 500 years, all plastic items ever produced are still on the planet and, through most disposal systems, ultimately enter the oceans where ultraviolet light, heat, and the physical force of wind and waves progressively reduce them to “mermaid tears,” pellet-shaped particles with a diameter of approximately five millimetres. The artist aims to collaborate with non-governmental organisations, activists, and scholars to investigate the temporal and material dimensions of this phenomenon.