Informed by art historical and philosophical discourses on the subject/object dichotomy and propelled by a growing interest in stage design, theatricality, and the phenomenology of perception, the artist intends to expand his own image-making process beyond painting, questioning his intuitive relation to the medium at the same time. This experimentation will potentially result into multimedia installations wherein formal and contextual aspects are merged and narratives unfold in space through a combination of visual layers and material components that elicit different modes of spectatorship in the viewer.

As a co-founder of the food study group Bakudapan, Elia Nurvista (b. 1983, Indonesia) employs an interdisciplinary approach towards the discourse around food. Through a wide range of mediums, from video installations to workshops, her works invite reflective participation to think beyond food as an alimentary sustenance. Selected group shows include Dhaka Art Summit 2020, Bangladesh and , Framer Framed, Amsterdam, The Netherlands (both 2020); Karachi Biennale, Pakistan and Singapore Biennale with Bakudapan (both 2019). Her recent solo presentation titled Früchtlinge took place at Künstlerhaus Bethanien, Berlin, Germany (2019).

Investigating Singapore’s role within the growing global phenomenon of “green cities”, Coburn will pursue research into Singapore’s development from “Garden City” to “City in a Garden”. He aims to delve into historical and emerging notions of green urbanism, framing the garden as a pedagogical, philosophical, and literary construct. Focusing on two specific case studies, he will place the multiple functions of Singapore Botanic Gardens in a wider historical prospective and explore the social and economic conditions which underlie the complex eco-tourist structure of Gardens by the Bay.

Furthering his own interests into the histories and properties of materials, during the residency Richard Streitmatter-Tran plans to engage with an active studio practice and to experiment with both animate and inanimate materials from Southeast Asia to develop new skills and focus on the next steps of his production.

Since 2014, Min Thein Sung has been collecting historical, sociological, and material data for the project Mr Tailor had a dream last night: a soft-sculpture installation made of raw linen fabrics that recreates a small tailor shop, a space for craftsmanship that is still common in Myanmar but fast-dwindling in Singapore. Addressing the alienation of the consumer from the garment-maker and the resilience of this kind of handicraft in the face of today’s industrial mass production, the artist intends to engage with local taylors and with the tools of the trade in order to create a new sculptural piece.

The rich visual language of Dana Awartani’s (b. 1987, Saudi Arabia) paintings, sculptures, and textile installations incorporate traditional Islamic art forms into contemporary aesthetics. Engaging with the relationship between geometry and nature, she harnesses the timeless and enduring relevance of forms in order to deconstruct contemporary issues such as gender, faith, loss, and cultural destruction. Past solo exhibitions include The Silence Between Us, Maraya Art Centre, Sharjah, United Arab Emirates (2018) and Detroit Affinities: Dana Awartani, Museum of Contemporary Art Detroit, United States (2017). She has participated in numerous group shows and biennales such as Kochi-Muziris Biennale 2016, Kochi, India and the 1st Yinchuan Biennale, Museum of Contemporary Art, Yinchuan, China (both 2016), among others.

The artist was scheduled to be in-residence from July – Sept 2020. Due to the COVID-19 virus outbreak and international travel restrictions, the artist was unable to participate in the residency programme physically.

Vivian Wang diverged from her formal training as a classical pianist when she started the avant-rock outfit The Observatory in 2001. A former TV producer-presenter as well as a film music supervisor, Wang focuses solely on music, performance, and interdisciplinary work since 2008. She performs on synth, keyboard, voice, and percussion, and tags Alice Coltrane, Robert Wyatt, Mark Hollis, Bill Evans, and Annapurna Devi as her all-time favourite musical heroes.

“Patterns – cloth and textiles as text in Southeast Asia – imbedding cultural interrelations and the question of identities” in times of global sameness, is Regina (Maria) Möller‘s research focus. Möller’s research in The Lab stems from her interest in the trademark headdress of Samsui women, and will elaborate with time through experimental, collaborative and participatory forms of research practice. During workshops, lectures or formats of story telling, new layers will be added to reflect upon each other and trigger next threads for an ever expanding weave.

Social Memory Making and the Samsui Women: Objects, Heritage, Merchandisation: A talk by Kelvin E.Y. Low, public programme of research project Interrogative Pattern – Text(ile) Weave by Regina (Maria) Möller at The Lab

Amy Lien (b. 1987, United States) and Enzo Camacho (b. 1985, Philippines) perhaps recklessly assume the near total dissolution of creative agency as participants in the financially networked public sphere commonly referred to as “art world”. Yet, this does not prevent them from generating ever more questions via an image-oriented material production, continuously inaugurating a kind of affective and data-frantic cartography of places connected and disconnected to each other, while employing the standard theoretical rubrics of economics‚ and contemporary art. What results is something like mixed media sculpture, or installation art.

The two artists began collaborating in 2009, between New York and Manila. They both received their Bachelor’s degrees from Harvard University (Lien in 2009; Camacho in 2007), and their Master’s degrees from the Hochschule für bildende Künste Hamburg (both in 2014). Most recently, they were Artists-in-Residence at Gluck50 in Milan, where they curated a group exhibition including artists based in New York, Taipei, and Cairo. They have had solo exhibitions at 47 Canal (New York, USA), Mathew Gallery (Berlin, Germany), Republikha Art Gallery (Quezon City, Philippines), and Green Papaya Art Projects (Quezon City, Philippines), as well as participated in recent group exhibitions at the Kunstverein in Dusseldorf and the Künstlerhaus in Bremen.

The mixed-media selection presented in The Vitrine stems from Railtrack Songmaps, a project exploring competing claims to nature and culture that resound along the former Malaysian railway tracks at Tanglin Halt. For at least five decades, birds, nature lovers, songbird clubs, tree shrines, kampung gardeners and foragers have roosted and seeded themselves along the tracks, nurturing a tangled patch of urban wild that is currently undergoing redevelopment. The particular constellation of elements on display – photographs, Malay pantuns, embroidery on paper, and delicate airborne assemblages of images, cut-outs and coconut sticks – weave in and out of memories of Lim Kim Seng, who together with his brother Lim Kim Chua, joined the Nature Society of Singapore (NSS) as teenager. Both are now senior members of the NSS Bird Group. Kim Seng assisted The Migrant Ecologies Project in the identification of 105 bird species around Tanglin Halt. In an accompanying soundtrack he recalls how an early encounter with a kingfisher first drew him into a bird zone.

The Migrant Ecologies Project was founded in 2010 by artist, art writer, and educator Lucy Davis. Investigating movements and migrations of nature and culture in Southeast Asia and beyond, the project unfolds through collaborations with sound artists, photographers, scientists, and designers.

Lucy Davis has been an Artist-in-Residence at NTU CCA Singapore from April to June 2017.