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Committed to supporting artists, curators, and researchers by offering them time and space to pursue their research without the pressure of deadlines and production commitments, the Residencies Programme values the open-ended nature of artistic research and embraces multiform expressions of creative enquiry. Aiming to facilitate the production of knowledge, this studio-based programme is dedicated to established and emerging artists and serves as platform for critical exchange in Southeast Asia. The Residencies Programme offers a wide spectrum of programmes aimed at sharing the process of artistic research with the public - Residencies OPEN / Studio Sessions / Insights, which range from open studios, artists’ talks, conversations, performances, and screenings. The Residencies Programme unfolds through annual cycles and runs by nomination only. Every year, a rotating pool of curators and arts professionals from all over the world is invited to nominate two artists for the residency. The nominated artists are subsequently invited to submit a research proposal along with their portfolio and CV. Ultimately, the Residencies Committee, an international panel of experts, reviews the submitted materials and designates the artists who are awarded the residency.


Binna Choi

Residency period

19 – 30 October 2016


Binna Choi (b. 1977, South Korea) is Director of Casco – Office for Art, Design and Theory, Netherlands where she employs art and art institutional practice as a way to build a (micro) society in tandem with social movements. At Casco she has conceived and co-developed numerous long-term projects such as Composing the Commons (2013-2015) and Grand Domestic Revolution (2009/2010-2013). Her most recent curatorial projects include the three-day seminar Cultivate or Revolutionize? Life Between Apartment and Farmland (with Nikita Choi) at Times Museum, Guangzhou, China (2014); the summer school and exhibition Group Affinity (with Bart van der Heide, 2011) at Kunstverein Münich, Munich, Germany; the 11th Gwangju Biennale, The Eighth Climate (What Does Art Do?), Gwangju, South Korea (2016). As part of her practice, she also engages with writing, editing, publishing, and contributes to discursive platforms with lectures, discussions, and workshops. Choi has been a faculty member at the Dutch Art Institute/ Masters of Fine Arts Programme in Arnhem, Netherlands.


Image credit: The installation of the project exhibition We Are the Time Machines: Time and Tools for Commoning, Casco (2015-2016). Courtesy Binna Choi. Photo by Niels Molenaar.


Binna Choi will research the Singapore art scene and the wider Southeast Asian region as represented in Singapore Biennale 2016 – An Atlas of Mirrors. She will give a public lecture on the relationship between artistic projects and social movements drawing from her recent collaborative projects The Grand Domestic Revolution and Composing the Commons and will share models of collaboration and self-organisation developed at Casco.


Public programmes

Residencies Insights: Measuring Revolutions - Intentions, Occurrences and Continuity from The Grand Domestic Revolution to Composing the Commons, talk by Binna Choi (South Korea/Netherlands), Curator-in-Residence
19 Oct 2016, Wed 7:30pm - 9:00pm

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After a revolution, what is left? How do we measure the quality or success of a socially driven art project that desires social transformation? How does a project fulfill its artistic or curatorial intents? How does a project relate to social movements? Where is a place of art in a paradigm shift? Binna Choi, Director, Casco – Office of Art, Design and Theory in Utrecht, the Netherlands, discusses the above questions, taking three major projects she co-developed at Casco in the last years: The Grand Domestic Revolution, a “living research” project inspired by late nineteenth-century “material feminist” movements in the United States that experimented with communal solutions to isolated domestic life, work, and intervention with urban planning; Composing the Commons, a research trajectory on the notion and practice of the commons; as well as her recent curatorial work for the Gwangju Biennale initiated in the aftermath of the 18 May democratic uprising that took place in Gwangju in 1980.