Erika Tan (b. 1967, Singapore) is an artist and Lecturer at Central Saint Martins, London. Her research-led practice develops from an interest in received narratives, contested heritage, subjugated voices, and the transnational movement of ideas, people, and objects. Between July and August 2015, Tan was Artist-in-Residence at NTU CCA Singapore where she continued her research into the minor historical figure of the Malay weaver Halimah and the conditions surrounding the 1924 British Empire Exhibiton, an inquiry that has since developed into the video installations APA JIKA, The Mis-Placed Comma and The ‘Forgotten’ Weaver (both in 2017).
Over the past decade, the practice of Baptist Coelho (b. 1977, India) has revolved around the unspoken narratives and intricate trajectories of the Siachen Glacier, a conflict zone between India and Pakistan. His work also often addresses India’s involvement in the two world wars. Through extended archival and ethnographic research, he engages a variety of subjects to probe the physical, psychological, and emotional implications engendered by conflicts, wars, states of conscriptions, and acts of heroism. His works have been exhibited internationally at JSLH Art Gallery, Sonipat, India (2019); Centre Pompidou, Paris, France (2018); and Somerset House, London, United Kingdom (2016) among other venues. Coelho was awarded the Sovereign Asian Art Prize in 2016.
Brigitte van der Sande (b. 1957, Netherlands) is an art historian, curator, and writer based in Amsterdam. She is the artistic director of Other Futures, a multidisciplinary platform that frames science fiction as an empowerment tool to envision the future and build a new and better world. In the early 1990s, van der Sande began a long-term research about the representation of war in art which developed through lectures, workshops, the exhibition Soft Target. War as a Daily, First-Hand Reality held at BAK, basis actuele kunst, Utrecht (2005), and War Zone Amsterdam, a series of presentations which took place at Mediamatic in Amsterdam (2009), accompanied by a reader published on open! Platform for Art, Culture, and the Public Domain. Between 2013 and 2014, she curated See You in The Hague (2013-2014) at Stroom Den Haag, The Hague and she co-curated, with Babs Bakels, The Last Image, an exhibition series about the relationship between death, the camera, and the spectator at The Nederlands Uitvaart Museum Tot Zover (Dutch Funeral Museum So Far), Amsterdam.
Art Labor is an artist collective. Comprised of artists Phan Thao Nguyen and Truong Cong Tung, and curator Arlette Quynh-Anh Tran, Art Labor works across visual arts and social sphere. In December 2015, Art Labor were Artists-in-Residence at NTU CCA Singapore where they recreated a Hammock Café serving traditional Vietnamese coffee, similar to itinerant roadside-resting spots for drivers and passengers along provincial highways of the Central Highlands in Vietnam. The name Jrai Dew Hammock Café relates to the philosophy of Jrai people of Vietnam’s Central Highlands, according to which, in the last stage of life cycle, humans evaporate into the environment and transform into “dew,” a state of non-being (ia ngôm in Jrai language).
Alfredo Cramerotti is a cultural entrepreneur, writer, curator, and broadcaster. He is currently Director of MOSTYN, Llandudno (Wales, United Kingdom); Head Curator of APT Global-Artist Pension Trust; and Associate Curator of CCANW (Centre for Contemporary Art and the Natural World). In recent years, he has curated Sean Scully: Standing on the Edge of the World at the Hong Kong Arts Centre (2018), Shezad Dawood: Leviathan, Fondazione Querini Stampalia, Venice, Italy (2017), three national pavilions at the Venice Biennale (Mauritius in 2015, Wales and Maldives in 2013), and the biennials Sequences VII, Reykjavík Iceland (2015) and Manifesta 8, Murcia, Spain (2010). He serves as Vice-President of AICA (International Association of Art Critics) and as editor of the Critical Photography Book series. His own publications include Forewords: Hyperimages and Hyperimaging (2018), Unmapping the City: Perspectives of Flatness (2010) and Aesthetic Journalism: How to inform without informing (2009). Cramerotti is also a Doctoral Researcher in Communication Design and Photography at the European Centre for Photography, University of South Wales.
In 2012, Liu Yu chanced upon a stack of love letters in a flea market in Taipei. Dating back to the 1970s, the letters were addressed by Dong-Zheng Lai, a seafarer working on cargo ships, to his wife-to-be. Interwoven in this correspondence are descriptions of port cities and fishing villages as well as hints to monsoon seasons and the political climate of the time which cast both history and geography on an intimate scale. During the residency, Liu Yu will work on the second film of a series inspired by Dong-Zheng Lai’s movements and memories. Titled Love Letter and A Map of Memory, this experimental documentary will focus on the monsoon route from Taiwan to Singapore, a busy shipping lane that cuts across the Riau islands and was historically frequented by pirates. Framing the sea as a space impervious to geopolitical boundaries and piracy as an instance of political upheaval, the artist will chart historical events and modern-day occurrences of piracy to create a work that speculates on power and personal relationships growing at the intersection of climatic patterns, geographical features, and human agency.
The artist was scheduled to be in-residence from April – June 2020. Due to the COVID-19 virus outbreak and international travel restrictions, the artist was unable to participate in the residency programme physically.
Liu Yu screened Somehow I feel relaxed here (2017) as part of the Residencies Online Screening Programme Stakes of Conscious(ness), conceived by Dr Anna Lovecchio for the three artists whose residency at NTU CCA Singapore has been disrupted by the viral pandemic.
Tan Kai Syng’s residency explores global issues through extended conversations with Singapore-based colleagues. In the first part of her residency, she developed the participatory project PICTURING HAPPINESS? with three other artists and two scientists from the School of Computer Science, Nanyang Technological University. Using commercially-available devices that read brain waves, the project explored the parameters that define our sense of well-being, critiquing the market-driven framing of happiness as a motionless, thought-free state of mind. This was the beginning of a cross-disciplinary investigation that the artist is currently pursuing together with several psychiatrists in London. For the second part of the residency, Tan will also examine notions of gender. Working together with pioneer feminist artist Amanda Heng and two other women arts professionals, they will convene a public programme to discuss how gender affects collaborative artistic practices in Singapore and beyond.
Jompet Kuswidananto is an artist. His works examine issues of colonialism, politics, power and mass mobilisation, and the notion of the state of transition in the context of post-reformation Indonesia. Between December 2015 and February 2016, Kuswidananto was Artist-in-Residence at NTU CCA Singapore. During the Residencies: OPEN, he presented Noda (2016), a site-specific intervention in his studio, a physical translation of “historical leaks” in Indonesia’s recent history that are breaking public silence and becoming visible.
Departing from a specific historical episode, the artists will explore the contemporary currency of gestures of sabotage in the context of the geopolitical frictions between Indonesia and Singapore. This research is part of Ring of Fire (2014-ongoing), a long-term project focused on natural disasters and geopolitical collisions named after the vast geographical area that runs from New Zealand to Chile stretching across Southeast Asia. By framing uncanny relationships between tectonic instability and political unrest, the pair seek to address conditions of vulnerability as well as the tensions related to environment, social justice, freedom of expression, and human rights among Southeast Asian countries.
iLiana Fokianaki is a writer and curator based in Athens and Rotterdam. Her research focuses on the notion of state and the power formations that manifest themselves under the influence of geopolitics, identity politics as well as cultural and anthropological histories. Through her exhibition-making practice, she articulates the institutional “performance” of the concept of the state. In 2013, she founded State of Concept Athens, the first non-profit institution with a permanent program and location in Athens. State of Concept promotes Greek and international artists through solo exhibitions and it also invites curators to create exhibitions that comment on the sociopolitical landscape of Greece and beyond. In 2016, together with Antonia Alampi, she founded Future Climates, a platform that aims to propose viable futures for small-scale organizations of contemporary art. Since 2017, she is curator and programmer of Kunsthal Extra City in Antwerp, Belgium. She is a contributing author to several books and has written for art-agenda, Art Papers, e-flux, Frieze, LEAP, Metropolis M, and Ocula. She is currently pursuing a PhD on economy, identity, and politics at Panteion University, Athens, and is a member of IKT International Association of Curators of Contemporary Art.