Whilst in residence, Loo Zihan will continue his research into ‘The Ray Langenbach Archive of Performance Art’ which documents over 20 years of performance art in Southeast Asia from 1988 to the present. Loo’s research is an extension of his reenactments and installations such as Cane (2011, 2012), Archiving Cane (2012) and Artists’ General Assembly: The Langenbach Archive (2013), which have stemmed out of specific documentation from the archive. Loo aims to tap into the mostly unexplored parts of the archive, of abstract and informal, day-to-day recordings of memories and incidents. As a nostalgic and intimate reflection on the arts scene of the early to mid 1990’s in Singapore, Loo will unpack the archival material and return to the medium of an experimental essay film that aims to challenge the boundaries between documentary, fiction and experimental filmmaking.
Koh Nguang How is an artist and independent researcher on Singapore art. His project, Singapore Art Archive Project @ Centre for Contemporary Art (SAAP@CCA) encompasses material touching the Singapore art scene from the 1920s until the arrival of the Internet. An entirely material archive with most documentation provided by the artist himself, this project developed as a response to the lack of a national art archive.
His residency at NTU CCA Singapore enabled public access to the archive for an extended period of time with a wealth of material showing extensive regional exchange as well as many international exhibitions in Singapore, debunking the myth of an isolated art scene .The ensuing dialogue and conversation with Koh are key when visiting this collection. Here the role of the artist is the role of cultural memory keeper.
As part of her residency, Jacqueline Hoàng Nguyễn will expand on The Archive as a Subject, a long-term project that positions photographs and other vernacular artefacts at the junction of the private and the public, as well as the personal and the political, raising complex global issues related to concepts of territory, migration, and identity. Looking at the traces of her own family’s history, she aims to explore the friction that is generated when such mundane items are appropriated by institutional narratives, especially when they are framed in different cultural contexts. While in Singapore, she intends to further her research looking specifically at the history of the refugee camp in Sembawang which housed Vietnamese refugees for twenty years.
Sourcing oral histories and female accounts, delving into archives, and mapping sites associated with different forms of mining, exploitation, and confinement, Rossella Biscotti will deepen her research interest into colonial structures of power and management at the turn of the 20th century and the way in which these structures are interwoven with contemporary practices of production and distribution. Expanding on a recently produced body of works that explore the physical and aesthetic properties of rubber—notably its resistance and its resemblance to human skin—the artist aims to research its production process on site. She will conduct archival research on colonial trade, botanical imports, and intensive cultivations in preparation for her field trips to rubber and oil palm plantations in the region.
Hu Yun’s practice is grounded in research, surveys, travels, oral histories, and archives. Since 2012, Hu has made several trips to China, Hong Kong, Macau, and Southeast Asia to retrace the footsteps of missionaries such as Matteo Ricci and St. Francis Xavier, exploring both the factual and the imaginary. In line with this research, Hu will be investigating Chinese cemeteries and graveyards in Singapore as spaces of historical encounters. Of particular interest are the symbolisms of epitaphs on early 20th century tombstones as a reflection of the political landscape in China. Hu will also retrace the immigration of Chinese artists from China to Singapore in the early 20th century through Mr Koh Nguang How’s Singapore Art Archive Project.
Kamiliah Bahdar is in charge of public programmes at Independent Archive in 2018.
Liu Wen Chao is born in 1992, China. Wen Chao graduated from Nanyang Academy of Fine Arts in 2014. Moving from China to Singapore has been an experience of discovery and wandering to him. Wen Chao is interested in exploring the fundamental question of what art is by experimenting with different methods of interpretation, such as performance art, painting and video. Liu was assistant to the late Lee Wen and helped with the Independent Archive (IA).
Chương-Đài Võ is a Researcher at Asia Art Archive, where she is supervising the acquisition of three archival collections: Lee Wen, Green Papaya Art Projects, and Manila Artist-Run Spaces. Her research and curatorial work focuses on collective platforms, ephemeral practices, social movements, and marginalised genealogies.
Bruce Quek is a young artist who works with whatever seems appropriate at the time, often producing things that don’t seem to mean anything. This tendency might be traced to his training in sculpture at LASALLE, which often saw him scrounging for serendipitous pieces of scrap metal. His projects tend to take the distribution and dissemination of information as starting points for various conceptual investigations, critiques of artistic infrastructure, and other wanderings. He takes an interest in many things, but maintains an unhealthy fascination with emergent behaviour, pathological transference, and puns. All of his endeavours are frequently threatened by the seductive allure of reading random things online, out of a vague belief in the value of consuming as much information as possible. In addition to practicing as an artist, he is involved with the art world on a number of other levels, from writing criticism and assisting the Independent Archive, to plain old gallery sitting. His recent and upcoming projects have included participating in the traveling show Time of others, as well as an upcoming group exhibition, PPC | 珍珠坊: A Public Living Room. In 2016’s first edition of the Monday Moot, he’ll be speaking about his recent work and practice in the various roles he plays, including in-depth discussion of his recent and upcoming works. Bruce was manager to the Independent Archive (IA), founded by the late Lee Wen in 2012.
Asia Art Archive is an independent non-profit organisation co-founded by Claire Hsu and Johnson Chang in 2000 in response to the urgent need to document and make accessible the multiple recent histories of art in the region. A team of over thirty-five individuals led by Hsu are responsible for AAA’s Collection, research activities, programming, and operations. AAA’s Board of Directors, co-chaired by Benjamin Cha and Jane DeBevoise, comprises appointed members drawn from the art and business sectors within Hong Kong and beyond. The Board jointly supports the Executive Director and oversees the strategic direction and financial status of the organisation. AAA is financially supported through diverse channels to include individuals, corporate, foundations, and government. AAA’s Advisory Board comprises thirty-eight noted curators and critics from around the world. Advisors provide guidance in developing the potential and possibility of our collection, and assist in promoting the growing research interest in art from Asia. Asia Art Archive in America and Asia Art Archive in India are set up as independent entities with separate Boards of Directors.