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This episode features a conversation between two artists who work primarily with painting: our Artist-in-Residence Hilmi Johandi and Singaporean artist and educator Ian Woo.In this peer-to-peer exchange between thoughtful image-makers, Hilmi and Ian ponder over the significance of the studio in Hilmi's practice revealing how walls, and spaces, can shape artistic mindsets and generate different patterns of thought. Throughout the conversation, they address the potential of a local residency to shift the perception of the familiar, open up new ways of seeing and refresh routines and rituals. They also touch upon the artist-audience relation and other core aspects in Hilmi’s practice such as the role of emptiness in the painted surface, the process of reframing, and the inspiration that comes from old films and photographs. Drawing on archival footage, old films, and other imagery produced for mass consumption, the artistic practice of Hilmi Johandi refigures the iconography of Singapore and our relation with images. His body of work is deeply rooted in painting but it also harnesses other mediums to mobilise symbols and sites where memory and nostalgia, leisure and desire become deeply entangled. Ian Woo is an artist influenced by modernist abstractions, the phenomenology of perception, and the sound structures of music improvisation. His paintings, painted objects, and drawings are traversed by a sense of gravitational change that makes the image function as a diagram of states of consciousness. The distinct use of frames, axis, and invisible grids is expressive of his “compartments and systems” approach, a methodology the artist has developed in his exploration of the painted space as activated time.Contributors: Hilmi Johandi, Ian WooEditor: Anna LovecchioProgramme Manager: Nadia AmalinaSound Engineer: Ashwin MenonIntro & Outro Music: Yuen Chee WaiCover Image & Design: Arabelle Zhuang, Kristine Tan
In this episode, curator Samantha Yap digs deep into the practice of Artist-in-Residence Fazleen Karlan. We are happy to bring the two of them back together, after they first collaborated a couple of year ago on an exhibition titled Time Passes (2020-21), to talk about Fazleen’s evolving artistic sensibility and sources of inspiration. In this circular conversation that revolves around a shared reading, the novel Lighthousekeeping by Jeanette Winterson, Fazleen and Samantha exchange memories, experiences, and thoughts about time, materiality, pop culture, and the vitality of archaeology in Fazleen’s work. And they do so with that special kind of fluid intimacy that interlaces persons of the same age. The practice of Fazleen Karlan (b. 1993, Singapore) weaves together art-making and archaeology to explore matters of time by mapping and reframing physical remains found within the landscape and socio-historical context of Singapore. By engaging the stratifications of a site and by reassessing the chronology of everyday objects through the tools of archaeology, her work generates news records of contemporary life that cast the relation between past, present, and future into a speculative framework. Her artworks have been in Singapore presented in exhibitions such as d3ar succ3ss0r, Esplanade – Theatres on the Bay (2022); Between the Living and the Archive and Pivot Point, Gillman Barracks (2021); and Time Passes, National Gallery Singapore (2020). She received the Anugerah Cemerlang Mendaki Award in 2019 and the Winston Oh Travel Award in 2016.Shuffling between writing and curation, Samantha Yap nurtures her interests in forms of reciprocity, the ethics of care, love, vulnerability as well as an ongoing exploration of feminist perspectives across literature and visual culture. She has curated a number of exhibitions in Singapore, including Time Passes, National Gallery Singapore (2020) which marked her first collaboration with Fazleen Karlan. Her curatorial texts are featured in several exhibition catalogues and her creative writing is included in My Lot is a Sky (Math Paper Press, 2018), an anthology of poetry by Asian women. She graduated with a BA (Hons) in English Literature and Art History from Nanyang Technological University of Singapore. Contributors: Fazleen Karlan, Samantha YapEditor: Anna LovecchioProgramme Manager: Nadia AmalinaSound Engineer: Ashwin MenonIntro & Outro Music: Yuen Chee WaiCover Image & Design: Arabelle Zhuang, Kristine Tan
Starting off the second season of AiRCAST, we hand over the microphone to curator and writer Anca Rujoiu to interview our Artist-in-Residence Priyageetha Dia. Priyageetha and Anca are fresh out of a year-long collaboration that culminated in Forget Me, Forget Me Not (2022), Priyageetha’s solo exhibition curated by Anca which opened last May. In this conversation they share about the background research, interests, and aesthetic strategies behind the new body of work presented in the exhibition. They will also expand upon the significance of colonial histories and marginalised communities, agency and empowerment, as well as media and materials in Priyageetha’s practice. Spanning moving image, sculpture, as well as performance and installation, the practice of Priyageetha Dia (b. 1992, Singapore) addresses identity politics by questioning dominant narratives, material histories, and socio-spatial relations. In the past few years, she has been experimenting with world-making gestures that rehash stories of repression and envision alternative futures. Her works have been included in several group exhibitions including Attention Seeker, La Trobe Art Institute, Bendigo, Australia (2022); An Exercise of Meaning in a Glitch Season, National Gallery Singapore (2020); 2219: Futures Imagined, ArtScience Museum Singapore (2019). Anca Rujoiu is a Romanian curator and editor who has been living and working in Singapore since 2013. Taking an artist-centred approach, she is committed to artistic practices beyond the West and to what falls through the cracks within its borders. She was a member of the founding team of NTU Centre for Contemporary Art Singapore, as Curator of Exhibitions (2013–15) and Head of Publications (2016–18) and she has curated numerous exhibitions, public programs, and publishing projects.  Currently, she is a Ph.D. candidate at Monash University with a research focused on institution building, artists-led institutions, and transnational exchanges. Contributors: Priyageetha Dia, Anca RujoiuEditor: Anna LovecchioProgramme Manager: Nadia AmalinaSound Engineer: Ashwin MenonIntro & Outro Music: Yuen Chee Wai Cover Image & Design: Arabelle Zhuang, Kristine TanCREDITS03’03”: Audio excerpt from WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA, 2022. Courtesy the artist.17’17”: Audio excerpt from WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA, 2022. Courtesy the artist.19’10”: Audio excerpt from WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA, 2022. Courtesy the artist.32’07”: Audio excerpt from WE.REMAIN.IN.MULTIPLE.MOTIONS_MALAYA, 2022. Courtesy the artist.
AiRCAST #6: Yuen Chee Wai

AiRCAST #6: Yuen Chee Wai


Wrapping up the first season of AiRCAST, in the sixth and final episode former Artist-in-Residence Yuen Chee Wai speaks to Dr Anna Lovecchio, Assistant Director, Programmes.Get acquainted with Chee Wai as he meditates on his long and expansive journey in experimental music, collaborative networks, and multimedia crossovers. Grown out of an interest in independent music, his creative practice has evolved into a vortex of acts of resistance, melancholic drifts, and world-making gestures that reverberate with critical perspectives on the status quo. Through the course of this exchange, you will also discover how the unprecedented challenges brought about by the pandemic triggered an outburst of creative energy and pushed him even further into the exploration of new alliances and forms of expression. Musician, artist, designer, and curator Yuen Chee Wai (b. 1975, Singapore) is known for his commitment to improvised music and experimental projects that explore memory and loss, indeterminacy and invisibility. Ranging from the obsolescent and the newfangled, his eclectic toolbox comprises noise, field recordings, found sounds as well as guitars and various electronic instruments which reverberate with critical perspectives inspired by philosophy, literature, film, and politics. Together with FEN (Far East Network), an improvised music quartet he co-formed in 2008, Yuen is active in triggering multifaceted collaborations across Asia. Since 2014, he is Project Director of Asian Music Network for which he co-curates Asian Meeting Festival. Yuen is also a member of the experimental band The Observatory with whom he plays guitar, efx and objects, and organises a range of projects such Playfreely and BlackKaji.For the episode’s transcript and more information on Chee Wai, please visit: Yuen Chee WaiConducted by: Anna Lovecchio Programme Manager: Nadia AmalinaSound Engineer: Ashwin Menon (The Music Parlour)Intro & Outro Music: Tini Aliman Cover Image & Design: Arabelle Zhuang, Kristine TanCredits02’15”: Audio excerpt from installation recordings of REFUSE. Courtesy The Observatory.12’26”: Audio excerpt of George Chua and Yuen Chee Wai live session at Strategies v.02, The Substation, 2003. Courtesy the artist.27’38”: Audio excerpt from unreleased studio recordings of Ishikawa Ko, Iman Jimbot, and Yuen Chee Wai, for Asian Meeting Festival. Courtesy the artist.30’36”: Audio excerpt of The Observatory and Haino Keiji, Authority is Alive, Playfreely, 2019. Courtesy the artist.48’40”: Audio excerpt of Imprisoned Mind from the upcoming album Demon State by The Observatory and Koichi Shimizu, 2022. Courtesy the artist. 56’59”: Audio excerpt from installation recordings of REFUSE. Courtesy The Observatory.1h00’52”: Audio excerpt from Yuen Chee Wai’s recording of packing up the studio in the last hours of his residency at NTU CCA Singapore, 30 March 2022. Courtesy the artist. 
AiRCAST #5: Han Xuemei

AiRCAST #5: Han Xuemei


For our fifth episode of AiRCAST, we entrusted curator and scholar Hsu Fang-Tze to converse with our Artist-in-Residence Han Xuemei. In their insightful exchange, Xuemei discusses how her urgency for engagement steers her fluid theatre practice towards experimenting with different modes of audience participation. As she shares about her current efforts to carve out “intervals of quiet” and “plots of rest” in the hectic context of Singapore, you will also discover that the research on the topic of “rest as resistance” she conducted throughout her residency at NTU CCA Singapore grows out from another residency she did in Taipei a few years ago. Committed to socially engaged practices, multi-disciplinary theatre practitioner Han Xuemei (b. 1987, Singapore) employs art as a tool for bringing communities together and engaging the audience in visceral and personal ways. In her practice, she creates spaces and experiences that incite participants to think outside the box of existing paradigms and articulate forms of hope and resistance. Since 2012, she is Resident Artist at the Singapore-based theatre company Drama Box. In 2021 she received Young Artist Award, Singapore’s highest award for young arts practitioners.Hsu Fang-Tze is a lecturer at the Communications and New Media Department, National University of Singapore where she is also a coordinator of the M.A. in Arts and Cultural Entrepreneurship. Her research interests include the formation of audiovisual modernity in Asia, Cold War aesthetics, philosophies of sonic technology, and the embodiment of artistic praxis in everyday life. Apart from her academic work, she is also active as a curator and has curated exhibitions such as Art Histories of a Forever War: Modernism between Space and Home at the Taipei Fine Art Museum, Taiwan (2021-2022) and Wishful Images at National University of Singapore Museum (2020). Contributors: Han Xuemei, Hsu Fang-TzeEditor: Anna LovecchioProgramme Manager: Kristine Tan Sound Engineer: Ashwin Menon (The Music Parlour) Intro & Outro Music: Tini Aliman Cover Image & Design: Arabelle Zhuang, Kristine TanCREDITS12’38”: Audio excerpt from MISSING: The City of Lost Things, 2018. Courtesy Drama Box.15’07”: Audio excerpt from MISSING: The City of Lost Things, 2018. Courtesy Drama Box.19’15”: Audio excerpt from FLOWERS, 2019. Courtesy Drama Box. 21’00”: Audio excerpt from FLOWERS, 2019. Courtesy Drama Box. 26’24”: Audio excerpt from Taipei Main Station & Research Field Recording workshop part ofAsia Discovers Asia Meeting for Contemporary Performance Artist Lab, 2019. Courtesy the artist. 35’30’’: Audio excerpt from Han Xuemei, field recordings at Tanah Merah, January 2022. Courtesy the artist.
Artist-in-Residence Chua Chye Teck speaks to Dr Anna Lovecchio, Assistant Director, Programmes, in our fourth episode of AiRCAST. Follow Chye Teck's stream of consciousness as he tells us about his journey with the medium of photography and his enduring fascination for fleeting forms and makeshift compositions. In recent years, Chye Teck is developing a more experimental attitude towards the image-making process creating works that respond to the specificity of a site, rather than to a subject matter, and reverberate with emotional vibrations. He has also become involved in several collaborations with other artists and he is cultivating a new fascination for cellphone images and the creative potential of readily available, off-the-shelf digital technologies.The evocative and subtly layered works of Chua Chye Teck (b. 1974, Singapore) result from prolonged visual and experiential quests. His body of work draws attention to the discarded and the overlooked articulating a reflection on the multiple processes of disappearing that result from the impact of progress and development on the natural environment. His works have been exhibited in venues such as at Singapore Art Museum (2021), Tai Kwun Contemporary, Hong Kong (2020), Jendela Esplanade, Singapore (2018, 2015), Institute of Contemporary Arts, Singapore (2017), Chiang Mai University Art Centre, Thailand (2015), and Künstlerhaus Bethanien, Berlin, Germany (2010).For the episode’s transcripts and more information about Chua Chye Teck, visit: Chua Chye Teck Conducted by: Anna Lovecchio Programme Manager: Kristine Tan Sound Engineer: Ashwin Menon (The Music Parlour)Intro & Outro Music: Tini AlimanCover Image & Design: Arabelle Zhuang, Kristine Tan
In our third episode, we open up this platform for the first time to a guest interviewer. We invited artist and filmmaker Kent Chan to pick the brain of our Artist-in-Residence Yeo Siew Hua. Beyond being both filmmakers and artists, Siew Hua and Kent have been occasional collaborators in the past and, most importantly, they are also long-time friends. Hear them speak candidly about the intertwined cycles of art-making and fund-raising, the blurred line between cinema and visual arts, as well as the philosophical underpinnings and the importance of collaboration in Siew Hua’s practice.  The practice of Yeo Siew Hua (b. 1985, Singapore) spans film directing and screenwriting. His films probe the darkest side of contemporary society through narratives layered with mysterious atmospheres, inscrutable characters, and mythological references, all steeped in arresting visuals and sounds. His last feature film A Land Imagined (2018) harnessed recognition around the world receiving the Golden Leopard at the 71st Locarno Film Festival and the Best Original Screenplay and Best Original Music Score Awards at the 56th Taipei Golden Horse Film Festival. After A Land Imagined, Siew Hua has created a number of short films, one of which, An Invocation to the Earth (2020), commissioned by the Singapore International Film Festival and TBA21, was co-produced with NTU CCA Singapore. An Invocation to the Earth can be viewed online at During the residency, Siew Hua has been completing his next major production titled The Once and Future, an expanded cinema project which will premiere at the Singapore International Festival of Arts 2022. In 2021, he received the Young Artist Award, Singapore’s highest award for young arts practitioners.Kent Chan (b. 1984, Singapore) is an artist, curator, and filmmaker currently based in Amsterdam. His practice weaves encounters between art, fiction, and cinema with a particular interest in the tropical imagination, colonialism, and the relation between heat and art. He has held solo presentations at Bonnefanten Museum, Maastricht, Netherlands (2020-21), National University Singapore Museum (2019-21) and SCCA-Ljubljana, Centre for Contemporary Arts, Slovenia (2017). He was Artist-in-Residence at Jan van Eyck Academie (2019-20) and at NTU CCA Singapore (2017-2018). For the episode’s transcripts and more information about Yeo Siew Hua, visit: Yeo Siew Hua, Kent Chan Editor: Anna Lovecchio Programme Manager: Kristine Tan Sound Engineer: Ashwin Menon (The Music Parlour)Intro & Outro Music: Tini Aliman Cover Image & Design: Arabelle Zhuang, Kristine TanCredits:06'42": Audio excerpt from Yeo Siew Hua, A Land Imagined, 2018. Courtesy the artist.11'46": Audio excerpt from Yeo Siew Hua, The Obs: A Singapore Story, 2014. Courtesy the artist.22'55": Audio excerpt from Yeo Siew Hua, The Once and Future, 2022. Courtesy the artist.40'49": Audio excerpt from Yeo Siew Hua, The Lover, The Excess, The Ascetic and the Fool, 2021. Courtesy the artist.
In this episode, we venture into the mysterious and mobile mindscape of our Artist-in-Residence, Russell Morton. During the residency, Russell has been deeply immersed in the development of his most ambitious project to date, his first feature film. Find out how a grim, largely forgotten historical event and past personal experiences will contribute to shape the narrative and the ambience of the film. The artist also reveals how he managed to overcome ‘the anxiety of influence’ and expands on his fascination for Southeast Asian folklore, the psychological underpinnings of horror films, and the role music plays in his work.The filmic and performative practice of Russell Morton (b. 1982, Singapore) explores folkloric myths, esoteric rituals, and the conventions of cinema itself. His film Saudade (2020) was commissioned for State of Motion: Rushes of Time, Asian Film Archives, Singapore, and presented at the 31st Singapore International Film Festival (2020); The Forest of Copper Columns (2015) won the Cinematic Achievement Award at the 57th Thessaloniki Film Festival, Greece (2016) and was selected for several festivals including the Short Shorts Film Festival, Tokyo, Japan (2017); the Thai Short Film and Video Festival, Bangkok, Thailand and Jogja-NETPAC Asian Film Festival, Indonesia (both 2016).For the episode’s transcripts and more information about Russell Morton visit: Russell MortonConducted by: Anna LovecchioProgramme Manager: Kristine TanSound Engineer: Rudi Osman Intro & Outro Music: Tini AlimanCover Image & Design: Arabelle Zhuang, Kristine TanCredits:11:53: Audio excerpt from Island of Hope, National Archives Website, Record date 1960s, Recording from Russell Morton’s site visit to a kelong in Singapore. Courtesy the artist.25:48: Audio excerpt from Russell Morton’s Saudade, 2020. Music by Syafii Ghazali. Courtesy the artist35:20: Audio excerpt from Tani Yutaka, Marai no Tora, 1943]36:58: Audio excerpt from “Siapa Dia” by Zainab Majid,]
In the first episode of AiRCAST, NTU CCA Singapore curator Dr Anna Lovecchio speaks to Artist-in-Residence Tini Aliman about how her sonic practice revolves around a close listening of the natural environment. Tini shares about the experience of growing up in a fast-developing city, her encounters with nature, the human and other-than-human sources of inspiration for her work, and the sonification of tree stumps she is experimenting with during the residency. As a special treat to our ears, the conversation is punctuated with excerpts from her recordings. Working at the intersection of film, sound, theatre, and installation and often through collaborative projects, the sonic and spatial experiments of Tini Aliman (b. 1980, Singapore) focus on forest networks and plant consciousness, bioacoustics and biodata sonification. Her recent projects and collaborations have been presented at Free Jazz III: Sound. Walks., NTU CCA Singapore (2021); An Exercise of Meaning in a Glitch Season, National Gallery Singapore (2020); Sound Kite Orchestra, Biennale Urbana, Venice, Italy and Stories We Tell to Scare Ourselves With, Museum of Contemporary Art Taipei, Taiwan (both 2019). For the episode’s transcripts and more information about Tini Aliman visit: Tini AlimanConducted by: Anna LovecchioProgramme Manager: Kristine TanSound Engineer: Rudi Osman Intro & Outro Music: Tini AlimanCover Image & Design: Arabelle Zhuang, Kristine TanCredits:9:11: Recording of plants in Fort Canning Park, Aug 2018. Courtesy the artist.17: 20: Audio excerpt from Plants emit sound when stressed, ILTV Israel News, Dec 11, 2018, Audio excerpt from Zarina Muhammad, Flowers of our Bloodlines, lecture performance, NTU CCA Singapore, 2017. Courtesy the artist. 26:35: Audio excerpt from Tini Aliman, Pokoknya, performance, 17 January 2020, NTU CCA Singapore. Courtesy the artist. 30:37: Audio excerpt from Tini Aliman, Pokoknya: Organic Cancellation, 2020, mixed media installation. Courtesy the artist. 36:08: Sounds from Tini Aliman’s studio. Courtesy the artist. 44:54: Underground sounds from the forest at Gillman Barracks captured by Tini Aliman with a geophone, August 2021. Courtesy the artist. 49:06: Field recordings of a walk through the forest at Gillman Barracks, December 2020. Courtesy the artist.
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