Yason Banal’s work-in-progress is inspired by a conceptual astronomy around abstraction and document, ranging from Jose Rizal’s transglobal coordination and Isabelo Delos Reyes’ experimental archive amidst 19th century politics and anti-imperialist imagination, to possible contemporary coordinates in supernatural reality TV, lo-fi internet culture, geomarket forces and neo-migrant formalism.
Yason Banal is an artist and educator. His work spans from photography to video, installation, text, and performance, deploying varied conceptual strategies to explore links among seemingly divergent systems. Between July and August 2015, Banal was Artist-in-Residence at NTU CCA Singapore where he continued a work-in-progress in- spired as much by José Rizal’s transglobal coordination, Isabelo Delos Reyes’s experimental archive, as it is by contemporary coordinates such as reality TV and lo-fi culture.
Yan Jun will recreate his Living Room Tour project, initiated in 2011,the project was developed as a solo project and later with guests to become the Impro Committe collaboration project (2014, Beijing).
The Living Room Tour project has to takes place at someone’s home, a place while he/she lives. whatever the size is, with or without speakers, has or has no electricity; at least one audience is required and the owner of the home is encouraged to invite audiences. The performers may use furniture, kitchenware or anything available. The initial idea of this project came from feeling tired about low-end speakers and wanting to create a sonic space without the expense or formalities which go with this. He says the concert is a temporary mandala, a metaphor for the world. Within this environment is a destabilisation of hierarchy and there is no difference between large and small or professional and amateur. The quality of listening is from participants’s devotion.
Yan Jun is a musician, born in Lanzhou in 1973 and based in Beijing. His activities involve improvised music, field recordings and site-specific sound works/events. His feedback improvisation set always follows the unstable relationship between microphones, speakers, the space and his own body movement. He often plays with the environment and found objects at audiences‚ homes, along or with other artists, through the Living Room Tour project.
He is member of FEN, Tea Rockers Quintet and Impro Committee. He has performed in more than 20 countries in North America, Australia, Europe and Asia. As a poet and artist he has attended Rotterdam International Poetry Festival, Berlin International Poetry Festival and Shanghai Biennale.
Object-orientated ontology (OOO) is a 21st-century school of thought that rejects the primacy of human existence over non-human objects, thus generating different perspectives on ecological thinking. Combining an ongoing interest in natural environments threatened by urban development with his practice of capturing sonic emanations of the non-human inhabitants of our planet, Tang aims to further his understanding of OOO and sharpen theoretical tools that challenge anthropocentric hierarchies and understanding of nature. The space of the studio provides him with the opportunity to test immersive multisensorial installations that visualize and animate field recordings taken in various natural environments in Singapore. During the residency, the artist is working on new sound compositions and modes of listening that forge alternative connections between humans and nonhumans. He is also experimenting with drawing to create “visual scores” in response to his soundscapes.
Working with a comparative methodology, Valentina Karga intends to delve deep into theories of prehistoric matriarchal societies. Still at an early stage of development, her inquiry embraces multiple sources and ultimately aims to intertwine myths, histories, and political implications of matriarchal societies with the Anthropocene discourse, engaging theories on the posthuman condition that advance the understanding of the planet as a homeostatic system where all living and non-living organisms are connected and interdependent. Among her current sources of inspiration are Helen Diner’s seminal work for women’s cultural history, Mothers and Amazons, published in 1932; Marija Gimbutas’ notion of “archaeomythology” which blends archaeology, comparative mythology, and folklore; and Bruno Latour’s reading of the Gaia Hypothesis formulated by James Lovelock in the 1970s. During the residency, the artist aims to expand her understanding of feminine symbolism by researching prehistoric symbols and archaeological excavations in Southeast Asia.
The artistic practice of Valentina Karga (b. 1986, Greece) spans the fields of architecture, socially engaged art, and performance. Interested in creating alternatives to existing societal and pedagogical structures, Kargadesigns conceptual infrastructures that encourage engagement and participation to facilitate practices of commoning and sustainability. Her works have been presented at Athens Biennale, Greece (2013); transmediale, Berlin, Germany (2016); and the inaugural Thailand Biennale (2018-19). She is a founding member of Collective Disaster, an interdisciplinary, transnational, and nomadic community that works in the intersections of art, architecture, and the social realm and is currently Professor for introduction to artistic work in Design at HFBK Hamburg, Germany.
Lee Wen has been exploring different strategies of time-based and performance art since 1989. His project Malevich looks at the idea of going back to “square one”. Within his residency, Lee has focused on drawing and improvisation through music and performance and as an opportunity to revisit and revive past projects.
His recent concerns have revolved around the memory of Singapore’s art history through the initiation of the Independent Archive and Resource Centre documenting performance art and recent conversations with art historian and NTU visiting faculty, Nora Taylor have result in a wider discussion on how to remember performance art practices here.
During her residency, Weber will be collaborating with Annie Seaton. Annie Seaton and Tamara Weber work together as Close Readings, a collaborative project of visually informed investigative research. Close Readings’ recent works explore selective multimedia deconstruction. Their process involves, first, making photographs—then turning those images into xeroxes (or) otherwise altering them. In Singapore and New York, they will be simultaneously and asynchronously researching in various media. Through a collaborative process of visual and text-based interaction, Annie and Tamara will create book-like objects that will serve as blueprints for further work.
Originally trained in film, in his artistic practice Kin Chui (b. 1984, Singapore) inflects collaborative projects, performative interventions, and socially-oriented art initiatives with a sustained interest in emancipatory struggles. Recently, he had a solo exhibition, Station 13010, at Grey Projects, Singapore (2020) and was involved in group exhibitions such as In A Hard Place, Apply Soft Pressure (2018) and Unsettling Times (2017), both at Cemeti-Institute for Art and Society, Yogyakarta, Indonesia. He curated the exhibition Fantasy Islands, Objectifs, Singapore (2017). Chui is an active member of soft/WALL/studs, a Singapore-based collaborative project involving several artists, writers, film makers, art workers, and researchers. He periodically aspires to be a cat.