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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.


Bo Wang

Residency period

1 August – 28 September 2016


Bo Wang (b. 1982, United States) is an artist and filmmaker based in New York. He holds an MSc in Physics from the prestigious Tsinghua University, Beijing, China and completed his MFA in Photography, Video and Related Media, School of Visual Arts, New York. His works have been exhibited internationally. Selected exhibitions include Documentary Fortnight, Museum of Modern Art, New York (2013) and Chinescape, Times Museum, Guangzhou, China (2010) among many others. He is a faculty member at Visual and Critical Studies, School of Visual Arts, New York. 

Wang’s work depicts provocative portraits of China. Presenting contradictions in its cultural identity, changing urban spaces, power structures and examines the ways in which the Chinese state retains its authoritarian way of rule while pursuing capitalism. His critically acclaimed essay film, China Concerto, shot in his hometown Chongqing in 2010 and 2011 during the peak of former Communist Party Secretary, Bo Xilai’s “Red Campaign” that sought to revive Mao-era culture. The film takes the viewer into Chongqing’s streets to witness the mass spectacles and performances of the campaign, exposing the political, social and physical landscape of China.


Wang has been working on an on-going project on Hong KongThe project that began in 2012 is an examination of Hong Kong's cultural anxiety and crisis through a set of cinematic explorations of the city's space. In Singapore while in the residency, he will study the role of sand in Singapore, by not only tracing its physical circulation as a fundamental element for the state’s development but also its symbolic role in the cultural sphere.

Public programmes

Residencies OPEN: Gillman Barracks 4th Anniversary Celebrations
23 Sep 2016, Fri 7:00pm - 11:00pm
24 Sep 2016, Sat 2:00pm - 7:00pm

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Residencies: OPEN offers a rare insight into the often introverted sphere of the artists’ studio. Through showcasing discussions, performances, research and works-in-progress, Residencies: OPEN profiles the diversity of contemporary art practice and the divergent ways artists conceive artwork with the studio as a constant space for experimentation and contemplation.

Antariksa, Block 38, Malan Road, Studio #01-05

As part of his residency at the NTU CCA Singapore, Antariksa researches the history of the Japanese Occupation (1942-1945) in Singapore. He is especially interested in collecting historical evidence of the propaganda strategies pursued by the occupiers and compare them with the forms of resistance and alternative visual strategies developed by the artists at the time. This project is part of a wider study on the history of art collectivism in Asia under the Japanese Occupation.

The presentation of archival material and images in his studio has been made possible thanks to the National Archives of Singapore.

Heman Chong, Block 38, Malan Road, Studio #01-07

The Library of Unread Books
Ongoing project

The Library of Unread Books is Heman Chong’s long-term project: a members-only reference library made up of donated books that are unread by their previous owners. The cost of a lifetime membership to the library is the donation of a single unread book. In keeping with the artist’s intimate longing for a space to go to in the dead of the night to encounter books he has never thought of reading, “night passes” will also be issued for visitors and the Library will be open for 24 hours every Friday night from 7.00pm to 7.00pm the next day.

Chong is a Singaporean artist, writer, and curator whose practice develops across a variety of media. He often works as a facilitator of situations in which new narratives and modes of intellectual exchange are enacted to rethink conventional modes of sharing and transmitting knowledge. Since 2003, he has been interested in negotiating public space as a site of speech. For his six-month research at the NTU CCA Residencies Programme, he intends to turn his studio into an artist-run space where other artists can present their works, gather for discussion, and find a quiet space for contemplation.

Ho Rui An, Block 37, Malan Road, Studio #01-03

HD video
17 min 30 sec

Produced during a residency on-board a transatlantic vessel, the video interweaves two layers of time experienced by the artist during the month-long journey: that of being “in-residence” and that of being “on expedition”. Two literary characters serve as points of reference for the film’s invisible protagonist: the colonial officer Percival from Virginia Woolf’s The Waves (1931) and from Italo Calvino’s novel Mr Palomar (1983). Exploring the dissonance between the sense of nausea experienced by the artist during the residency and the scientific scope of the expedition, the film muses upon representational technologies that turn the natural world into an image.

Ho Rui An is an artist and writer who works at the intersection of contemporary art, cinema, performance, and theory. He writes, talks, and thinks around images investigating their sites of emergence, transmission, and disappearance within the contexts of cultural production. Recently he has focused on the aesthetic form of the “lecture performance” to explore the relationship between art, research, and the circulation of knowledge. During his residency at NTU CCA Singapore, Ho intends to study the aesthetics of “futurecraft” and of “horizon scanning” programmes run both by the state and private entities.

Ato Malinda, Block 37, Malan Road, Studio #01-04

Mixed media
Dimensions variable

Since 2012, Ato Malinda has been working on a series of drawings that relate to her innermost feelings and fantasies about gender-related issues. Often inspired by events in her life and in the life of her friends, the drawings outline half-human, half-animal creatures caught up in intimate situations and pensive poses.

On fait ensemble
HD video
10 min

Mami Wata was a water spirit worshipped in Africa long before the arrival of the Europeans. In the 1880s a German hunter married a Southeast Asian woman and brought her to Hamburg where she performed in Völkerschau (human zoo) as a snake charmer. A lithograph of hers was reprinted in Bombay in 1955 and eventually came to West Africa where it was recognised as a portrait of Mami Wata. Re-enacting the arrival of the image in Africa, the artist reflects on the complex patterns of exchange and contamination that determine cultural identities.

The work of Malinda encompasses performance, drawing, painting, installation, video, and ceramic sculpture and investigates the nature of African identity, contesting notions of authenticity as well as fixed assumptions about gender and sexuality. During her residency at the NTU CCA Singapore, she is conducting archival research on the Tang shipwreck — occurred 380 miles off the Singapore Strait around 830 CE — to explore concepts of hybridity and globalisation in relation to Singapore’s history of sea trading and porcelain manufacturing.

Bo Wang, Block 37, Malan Road, Studio #01-02

Spectrum, or the Singapore Dan Flavin
Seven fluorescent tubes

With a formalistic reference to Dan Flavin, seven fluorescent tubes are arranged in a grid structure that propagates different shades of white in the space. The spectrum of white lights are in different colour temperatures, which were sampled from various social spaces in Singapore, from polished restaurant, luxury hotel, to industrial buildings and dormitory of migrant workers.

As a visual artist and a film maker, Bo Wang observes contemporary urban landscapes that are undergoing intensified processes of transformation and excavates the power structures and cultural anxieties related to these accelerated forms of transitions. His work depicts provocative portraits of China examining the ways in which the State retains its authoritarian way of rule while pursuing capitalism. For his residency at NTU CCA Singapore, Wang is researching the politics of space, issues of territorial expansion, and the social implications surrounding the pursuit of sand in Singapore where 22% of her land mass has been reclaimed from the sea through sand acquired from neighbouring countries.