Anthony Huberman (Switzerland/United States) is the Director and Chief Curator of The Wattis Institute in San Francisco and was the Founding Director of The Artist’s Institute in New York. Previous engagements include Chief Curator of the Contemporary Art Museum St. Louis and Curator at the Palais de Tokyo, Paris. He has curated solo exhibitions with artists including Henrik Olesen, Sam Lewett, Wang Bing and has developed long-term research projects with artists such as David Hammons and Joan Jonas amongst many others. He was co-curator of the Liverpool Biennale 2014 and has published numerous articles in art periodicals including ArtForum, Frieze, Flash Art, Afterall, and Mousse. He recently published the book Today We Should Be Thinking About (Koenig Books, 2016).
Integrated within NTU CCA Singapore’s overarching research framework PLACE.LABOUR.CAPITAL, The Lab will present Darcy Lange: Hard, however, and useful is the small, day-to-day work, taking the video work of New Zealand artist, Darcy Lange (1946 – 2005) as the starting point for a complex discussion concerning the representation of labour. During the 1970s, Lange developed a socially engaged video practice with remarkable studies of people at work that draw from documentary traditions as well as conceptual and structuralist video making. With his seminal style of real-time, unedited, without commentary, lengthy observations of workers that came to characterise his Work Studies series (1972 – 77), Lange aimed to “convey the image of work as work, as an occupation, as an activity, as creativity and as a time consumer”.
Curated by guest curator, Mercedes Vicente.
Otty Widasari is an artist and co-founder of Forum Lenteng, a community-development project that uses video, photography, and texts as tools to unveil sociocultural problems. Since 2002, she has produced documentary films for non-profit organisations. Widasari was Artist-in-Residence at NTU CCA Singapore, between October and November 2015, where she continued to work on the video work Fiksi (Fiction) that includes footage of the diorama section at the National Monument, Jakarta, drawing attention to state-driven efforts to establish historical truths in the collective memory of a nation.
Jonathas de Andrade is one of the most promising Brazilian artists of his generation. Over the last decade, he has developed works in photography, video, and installation that stem from observations of everyday life in Brazil and what he regards as its “urgencies and discomforts.” He considers how the Brazilian national identity and labour conditions have been constructed in the midst of colonialism and slavery, and reinterprets the methodologies of education and social sciences to question underlying assumptions. De Andrade studied communications at Universidade Federal de Pernambuco, Brazil, and has had solo exhibitions worldwide.
Phyoe Kyi (b. 1977, Myanmar) is a painter, graphic designer, and a self-taught installation and performance artist based in Taunggyi, Shan State, Myanmar. Working with a variety of mediums, his conceptual and experience-based practice triggers conversations on existing social systems and the complexities of human nature, often giving voice to oppressed and forgotten people. His works has been exhibited widely across Myanmar and has been included in numerous international shows such 3rd Fukuoka Asian Art Triennial, Japan (2005) and 11th Asian Art Biennale, Bangladesh (2004). His most recent solo show, The White Clothes took place at Myanm/art Gallery, Yangon, Myanmar (2016). He curated the 1st Mingun Biennale, Mingun, Myanmar (2015).