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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.


Susie Wong

Residency period

4 June to 30 November 2018


Susie Wong (b.1956, Singapore) began her artistic practice in the late 1980s as a painter and art writer, later developing curatorial projects focused on collaboration and women’s issues. In recent years, her work has engaged with memory and loss, documentation and nostalgia through a variety of mediums such as painting, drawing, and time-based installation. She participated in group exhibitions at The Substation, Singapore (2016, 2010, 2008), The Esplanade, Singapore (2015, 2014); and the Institute of Contemporary Arts, Singapore (2012).


In the last decade, the artistic practice of Susie Wong unfurled as a prolonged reflection on the nature of memory and the symbolic layers embedded in different modes of representation. During her six-month residency, she intends to examine the iconic status of certain typologies of images and understand how their meaning is affected by their circulation on the web and other modes of consumption. Tracing the transmission of images, texts, and subtexts and their movement across various contexts and platforms, her research has two main focuses: the romantic clichés emblazoned in East Asian dramas and Southeast Asian landscape photography from the 1950s. Aestheticising and romanticising strategies as well as notions of nostalgia will be questioned and translated into fictive realms through subtle gestures of over-layering, inscription, and re-imaging.