Subjectively, Newell Harry’s interests and work touch on diverse fields from religion and language, to the postcolonial impacts of trade and globalisation. An itinerant wanderer, his work is largely formed through a complex web of intercultural engagements bridging Australia’s east coast, the Vanuatu archipelago, South Asia, and his extended family’s home in Cape Town. These interests often culminate in installations drawing together a combination of media, generally unrestricted by any singular approach or application. Whilst in Singapore as an NTU CCA Artist-in-Residence, Harry looks at the under represented connections between the Cape Malay of South Africa and the Straits Malay linking these two histories to interchanges on the Malay Peninsula.
Launched in 2014 by the Singapore government, the Smart Nation initiative aims to enhance economic productivity and urban efficiency through technological streamlining and boundary-marking of both territories and bodies. Since the onset of her residency, Luca Lum has turned to the “soft architectures” and “non-events” of the city, that loose and ungraspable entanglement of sentiment and decoration, behaviours and bodies that defines urban life. Her research focuses on the diffractive relationship between two specific sites: Geylang, a little-known testbed to many Smart Nation initiatives, and Marina, Singapore’s anchoring “global” image. Understanding the optical phenomena of diffraction and iridescence as relational geometries that connect positions of proximity and distance, generate states of affection, and undergo multiple interferences, the artist is conducting repeated visits to the areas. Through her open-ended explorations, she is in the process of mapping and morphing the distinct attitudes and streaks of desires that inform the two sites. Her eclectic approach spans across various media and materializes in the form of photographs, objects, drawings, recordings, scores, and texts.
Meiya Cheng will look at two exhibition projects, The Great Ephemeral (New Museum, 2015) and Trading Futures (co-curated with Pauline Yao, Taipei Contemporary Art Centre, 2012) relating them to NTU CCA Singapore’s overarching curatorial framework PLACE.LABOUR.CAPITAL. Cheng’s discussion explores the speculative nature of the global market, including the hypothetical systems of labour, value, consumption, and desire.
Meiya Cheng (b. 1975, China) is a freelance curator living and working in Taipei. From 2006-2009, she was the curator of MoCA, Taipei. For her talk she will look at two exhibition projects The Great Ephemeral (New Museum, 2015) and Trading Futures, (co-curated with Pauline Yao, Taipei Contemporary Art Centre, 2012) relating them to PLACE.LABOUR.CAPITAL. The Great Ephemeral responds to the speculative nature of the global market, both by exploring its intangible, even emotional, aspects and by offering clear-eyed commentary on its inequalities. Trading Futures was a gathering of conceptual interrogations, gestures and processes that look into the ways in which art and artistic experimentation intersect with hypothetical systems of labour, value, consumption, and desire.
Cheng participated in the founding and operation of Taipei Contemporary Art Center (TCAC) since 2009. With teamwork as the working model, she tries to builds up an alternative model that constantly examines and self/examines institutional the conditions in art production. From 2012-2014, she was the chair of TCAC. Her selected curated exhibition include: Augmenting the World, (The 6th Taipei Digital Art Festival, international section, 2011) and 6th Queens International (co-curated with Hitomi Iwasaki, Queens Museum, NYC, 2013.)
In the wake of a research conducted in collaboration with the Eindhoven University of Technology which led to his solo exhibition at the Van Abbemuseum (2015), Hsu will continue to investigate colonial histories of Taiwan, Malaysia, and Singapore as part of a larger project dedicated to backtrack early models of globalization. His interest lies especially in the political, economic, and infrastructural role played by the Dutch East India Company in the 17th century in Southeast Asia and its manifestation in the architectural complexes such as Fort Noord-Holland in Taiwan and Stadthuys (City Hall) in Malacca City, Malaysia.
While in residence, Malinda will investigate Singapore’s history as a trading port, following the discovery of the Belitung shipwreck in 1998, 600 miles off the coast of Singapore that signifies the exchange of goods, ideas and cultures in the 9th century. She will work with Singaporean women to develop a collection of ceramic objects that will then enter the art market, highlighting notions of hybridity in cultural studies as well as the route of globalisation today that has existed in the region for more than a thousand years.
Anna Daneri has worked with Joan Jonas on several occasions in the past, and was the production manager for the presentation of They Come to Us without a Word at the U.S. Pavilion during the 56th Venice Biennale. While in residence Daneri will give a Curatorial Tour of Joan Jonas: They Come to Us without a Word at the NTU CCA Singapore and will provide a deeper understanding of Jonas’ way of working and share insights into how the artist developed the different elements of her exhibition. Daneri will research Singapore’s port city status and different mutations of trade and migration and how this has affected the psychogeographic landscape of Singapore. She will also connect with local artists to gain an awareness of Singaporean arts communities.
Allan Sekula was born in Pennsylvania in 1951 and he lived and taught at California Institute of the Arts before passing away on 2013. By employing photography and written words, his works often focused on the shipping industry and ocean travel, contributing on questions of social reality and globalization. His works were included in the dOCUMENTA (11) and (12), Kassel, Germany (2002, 2007), Centre Pompidou (2006, 1996), Sao Paulo Biennial (2010), Whitney Museum (1976, 1993, 2002, 2006, 2014), Foto Institute Rotterdam (1997, 2001), Whitney Biennale (2014), (2010), Istanbul Biennale (2007), Busan Biennale (2006) and many others. He also received fellowships from the Guggenheim Foundation, the National Endowment for the Arts National Endowment for the Arts, the Getty Research Institute, and many other prestigious institutions.
Amy Lien & Enzo Camacho’s residency research focuses on employees of financial institutions in Singapore. It fixates on the college graduates who have recently entered the field, and who are becoming biologically shaped by the dominating but fraught system of globalized financial capital. This artistic research began after hearing stories about the extreme work routines and social lives of these fresh recruits in Singapore. The best stories were about Enzo Camacho’s sister, a beautiful, young third-year analyst at a prominent investment bank in this city.
The artistic practice of Adrián Balseca (b. 1989, Ecuador) engages histories of artisanal handicrafts and industrial techniques encompassing different configurations of materials and immaterial processes involved in the production and circulation of manufactured goods. His works range from small interventions to large-scale actions and video documentation. He recently received a solo exhibition at the Precolumbian Art Museum Casa del Alabado, Quito, Ecuador (2017). In 2013, he was awarded the Premio Brasil–Arte Emergente at the Contemporary Art Center of Quito.