10 Questions with | Samantha Yap

Tell us about yourself in one sentence.

I’m like all the other girls; I’m Samantha, an arts management graduate since two years ago, gallery girl since seven months ago, a twin since 21 years ago, I enjoy being long-winded, my perennial passions lie in feminism, visual culture, twin-ness, dystopia and eschatology and the romance of many things.

How did you end up in Curating Lab?

I found out about it in 2012 but didn’t felt ready to apply then. Two years later, I still didn’t felt ready. It was May and I had only just left school a few months ago. I was only in my third month at Silverlens and I still felt very raw. But. I realized I would never ever be ready, so I applied and I’m here. It’s been great, I’ve been learning so much from my peers.

What has been your favorite moment(s) in Curating Lab so far?

Visits to Amanda Heng’s studio – curry puffs, chamomile tea, conversations and Conditions of Production.

Photo (right) by Bernice

Group discussions over food, laughter and drinks.

What do you do at Silverlens Galleries? What should I know about Silverlens?

Photos by (left) Germaine and (right) Melvin.

I’m the gallery assistant at Silverlens. I do a little bit of this and that, everything and nothing.

I do some of the administrative grunt work that goes behind undertaking art fairs or setting up exhibitions. I sometimes smile at visitors too. Contrary to common belief, I don’t detest my job scope; I see it as a very important and often overlooked aspect of the exhibition-making process and by further extension, even the curatorial. I’m happy to assist. I’m absorbing a lot just from being here, whether as a shadow or a self.

Silverlens (Manila and Singapore) was founded by Isa Lorenzo and Rachel Rillo in 2004. It started out as a photography gallery but has since branched out to encompass and engage other forms of contemporary art. 

What’s something I value a lot about (being in) Silverlens: the women. Buzz words: art world equality.

What has been your most memorable exhibition at the gallery?

Photos by Silverlens Galleries

99% by Gary-Ross Pastrana. A show of just one work.

Art within its own set of valuation. Gary’s sculpture, noticeably, 99 percent metal parts and one percent gold, is the strange opposite of what it appears to be. He acquired an old car, got it scrapped and sold most of the scraps, save for one small percent. The money earned was in turn used to buy gold – which took the form of a small golden ball dangling inconspicuously like a Christmas ornament. Everything else is the initial one percent of the car scraps that he had put aside.  

I can’t just pick one. I’m going to squeeze in another.

My favorite show at Silverlens, so far in my time, with them is The First Kiss on Earth by Chati Coronel.

Chati imagines the kiss in a time before language, deliberating on the possibilities of unifying and separating forces being one and the same. These series of paintings were very real to me, speaking to a dull unidentifiable ache…perhaps the enduring ache of our times, an affliction stirred by the desire for union and connection.

Has your understanding of curating changed since being part of Curating Lab?

Of course. Off course. Many times, it has meandered and presumably gone off course but I find that these detours can be productive.

What are you up to at present? / What’s next for you?

At present, I am still trying to figure the future out. More tangibly, I am preparing for our last show of the year at Silverlens. I am trying to plan my vacation. Right at this moment, I’m thinking a lot about Uterus Man by tech artist Lu Yang. Curatorial activism (via Maura Reilly) has also been a lot on my mind. Not so presently but always urgently at the back of my mind, I am trying to come up with a show proposal for Silverlens next year.

What’s next is:

Cowboy Bebop, 1999.

Probably University. Probably trying to concretize some ideas, work on new projects. Probably nothing.

Favourite books.

The Great Gatsby by F. Scott Fitzgerald and 1Q84 by Haruki Murakami.

I’m currently reading Blue Nights by Joan Didion. I’ve been reading this book slowly and consistently since Curating Lab started. It’s been a torrid six-month affair. The book makes me sad. It keeps me awake.

Favourite artists.

I’m really enjoying the works of Lee Bul and Amalia Ullman right now.

(left) Lee Bul, Cyborg Red, Cyborg Blue, 1997–98.

(right) Lee Bul: From Me, Belongs to You Only installation view.

Photos from zootmagazine.

Excellences & Perfections, 2014 (detail). Performance: Instagram. Source.

Favourite local art space.

Gillman Barracks ;)

10 Questions with | Chua Ying Qing

1. Tell us about yourself in one sentence.

Ah I’m terrible with stuff like this, because I’ll be everything I describe, and then less. (When cornered, as in Veni Weedy Vici, a description like this would appear: Ying Qing writes and muses on language, culture, music and theatre. She tumbled headfirst into conceptual art one Wednesday and now wades in/out of the zeitgeist with her partners-in-crime.)

Photo Credit: Selene Yap

2. How did you end up in Curating Lab?

Well I have been drawn to the process involved in curating from the very beginning, although it was mostly in the space of writing, theatre, and exhibitions; when I heard about Curating Lab, I thought maybe it was time for me to start talking to people who are actually doing it for real, instead of just doing these thought experiments on my own.

3. What has been the defining moment of Curating Lab so far?

Probably meeting all the artists and curators along the way. I’m pretty new to the visual arts scene, so hearing all these voices firsthand definitely led me onto some interesting trails.

Photo Credit: Luca Lum

4. What should I know about Veni, Weedy, Vici (akupendatang, lalang, penakluk)?

It is an exhibition that features three works -  “Weeding Singapore” by Isabelle Desjeux, “(Re)Thinking Invasive Alien Species” by Sewon FoodLab, and “I Have Read and Agreed to the Following Terms and Conditions*” by NUSMUS and it’s part of the More than [show] business - Post-PopUp at CCA. It was one of our NUSMUS experiments and you know, it was probably our version of the NUS Museum prep room (transmuted - after too much time in the Lab :P).

5. How did you end up with I Have Read and Agreed to the Following Terms and Conditions*?

We were playing with the idea of time and space and you know being all existentialist, discussing how space shifts to accommodate us and how we alter ourselves to fit the space... we toyed with the notions of lost time, ‘other’ spaces, boundaries, control, parasitism, and somehow came up with this, or as Raksha affectionately calls it, one of the biggest lies of our time. There is also a distinct possibility that we were haunted by some of the Concrete Island passwords that were echoing at that time.

6. What was the biggest take-away from the show?

Besides all the observations/reactions that we recorded (which were pretty fascinating), I think it was the fact that we actually carried it out that was possibly the most liberating, because most of our ideas do not usually get past gestation period.  If it was for any other project, we would probably not have presented *T&C the way we did.

7. What are you up to at present? / What’s next for you?

I am working on a couple of projects at the moment so we’ll see how it goes.

8. Favourite book.

Oh dear, I wouldn’t be able to announce my allegiance to a single book, without feeling like I’ve betrayed the rest! Maybe I’ll just be faithful to what I am reading now – Georges Perec’s Espèces d’espaces and Nicholson Baker’s Traveling Sprinkler.

9. Favourite artwork. (First work that springs to mind)

Kim Nam Pyo’s.

10. Favourite local art space.

Nestled between/under covers.

Photo Credit: Koh Nguang How

10 Questions with | Melvin Tan

1. Tell us about yourself in a sentence. 

Hi, I am Melvin Tan, a visual communications graduate from NTU ADM with interests in art & graphic design.

2. How did you end up in Curating Lab?
I knew of Curating Lab from my peers and thought it was a great programme to learn about exhibition-making. It suited my interests and the programme commenced at the point of my graduation. I applied and got through!

3. What has been your moment of Curating Lab so far?

Photo credit: Bernice & Samantha

Yesterday team CCA (Bernice, Samantha, Kenneth & myself) met at Liang Court to eat some Japanese food, but only after 8:30pm because it is 50% off. Then we proceeded to sit on the dark side of a pedestrian bridge along the river of Clarke Quay with Asahi Beer cans in our hands to talk about the exhibition. —I don't think there was a particular moment in the programme but making new friends, learning to work with each other and eventually warming up to each other is most precious.

4. What is FOCA? How does it work?

Free of Charge Artshow (FOCA) is an independent collective of five individuals who organize group shows addressing shifting concerns within, or running parallel to dominant cultural discourse, by way of documentation, dialogue and community building.

Nothing is really ‘free of charge’ irl, but I remembered we began with intentions of doing exhibitions by means of sheer generosity within the community. Free of charge can also mean ‘not controlled by certain responsibilities’, ‘not subjected to rules of’, ‘not fixed on one’s impetus’… etc. We like that.

5. What should I know about your exhibition?

Photo Credit: Jonathan Tan

Who’s Looking: Surf & Turf looks at the engagements with art today by different art audiences. It is a very loaded exhibition that engages with multiple entry points and elicits tangential discussions. We are happy with all the different readings people have with the show.

There is a post-event publication currently being done and we are working with a designer to come up with a digital/printed format that is going to be really crazy and exciting.

6. You co-curated the show and contributed artworks. How did this work out for you?

Photo Credit: Jonathan Tan

It went smoothly. I think it’s okay to contribute an artwork as part of the organizing team. What was critical was having to handle the workload and to make sure that the contribution was also meaningful.

7. What are you up to at present? / What’s next for you?
Currently I am mostly focused on my job and seeing where opportunities and my interests lead me to. I will just continue to work hard, maintain a sane level of creative urgency and stay grounded.
You can check out my art here. I deal with visual culture, aesthetics & the web. (My current research deals with the sublimity of cuteness.)

I also work for a bag design/manufacturing company called Uyii check it outz. Just for all you Curating Lab fans reading, you get 15% off all bags if you key in the code: curatinglab2014. Discount lasts for one month.

8. Favorite Book.

Photo credit: Experimental Jetset & Metahaven

I should have received my copy of All Possible Futures by Experimental Jetset now and will probably be reading it. Its writings are based off an exhibition on speculative design. Oh also I will kill to get a copy of Uncorporate Identity by Metahaven (Daniel van der Velden and Vinca Kruk).

Artwork of the moment.

Photo credit: Mike Goldby

 At the moment all the canvas stretch works by Mike Goldby.

Favourite local art space.

Photo credit: Keropok.com

NUS Museum.

RECAP | Curatorial Roundtable 03 | A Moveable Feast: Itinerancy and Curatorial Practice

[From left] Farah Wardani, Vera Mey and Ahmad Mashadi.

The establishment of international curatorial networks follows the growing proliferation of curatorial residencies around the world. For some, this has helped encourage horizontal movements across the so-called global south by curators in their practice and research. Curatorial Roundtable 03 explored the issues and potentials of itinerancy in curatorial practice from the perspective of curators based around the region. This discussion brought together Farah Wardani, director of the Indonesian Visual Art Archive, and Vera Mey, curator of residencies at the Centre for Contemporary Art, Singapore. The talk was moderated by Ahmad Mashadi, Head of NUS Museum.

About the moderator
Ahmad Mashadi is currently the Head of the National University of Singapore (NUS) Museum. Before joining the NUS Museum, Ahmad served as Senior Curator at the Singapore Art Museum focusing on Southeast Asian Art. Recent exhibitions curated include Archiving Apin (2013) and Camping and Tramping through the Colonial Archive: The Museum in Malaya (2011).

About the speakers

Vera Mey is a curator at the Centre for Contemporary Art Singapore (CCA), a research centre of Nanyang Technological University. She was Assistant Director of AUT University’s ST PAUL St Gallery in Auckland, New Zealand from 2011 - early 2014 where she also convened the AUT University Master of Arts Management Curatorial Strategy program. For 2013, Vera was curator in residence at Arts Initiative Tokyo, Japan. Last December with Erin Gleeson, Sa Sa Bassac, Phnom Penh she curated the non-productive nomadic residency FIELDS: an itinerant inquiry across the Kingdom of Cambodia (2013). This involved a group of 17 artists, curators, and researchers traveling together for 20 days questioning the intersection between contemporaneity, archaeology and the politics of memory rooted in mutual unknowing within the context of contemporary Cambodia.  She completed her Masters in Museum & Heritage Studies from Victoria University of Wellington, New Zealand (2010) and most recently was a participant on the 8th Berlin Biennial Young Curators Workshop (2014). 

Farah Wardani completed her MA in Art History (20th Century) from the Department of Historical & Cultural Studies, Goldsmiths College, London, UK, in 2001. She has been active as a teacher, researcher, writer, curator and art organizer since 2001 in her home country, Indonesia. She is the co-author of a book titled Indonesian Women Artists: The Curtain Opens (Indonesian Fine Arts Foundation, 2007). Her recent and ongoing projects include being the consulting curator for the exhibition Indonesian Eye: Fantasies & Realities at Saatchi Gallery, London, 2011; and Artistic Director for Biennale Jogja XII 2013. From 2007 until present she positions as the executive director of Indonesian Visual Art Archive (IVAA) in Yogyakarta, Indonesia, with works include the IVAA Digital Archive http://archive.ivaa-online.org/, the first digital archive of contemporary art in the country.

Curatorial Roundtable 03 | in photos

 

Curatorial Roundtable 03 | in video

Curatorial Roundtable 03 | A Moveable Feast: Itinerancy and Curatorial Practice from nusmuseum on Vimeo.

journal RECAP | Internship

Gillman Barracks [By: Samantha Yap]

"When I speak of representation, I am thinking of presence and action, I am thinking, is our art world diverse and inclusive enough? Is it amplifying voices and strengthening the presence of those who have already been consistently in the fore? I realize I am trying (or aspiring) to deconstruct a paradigm in order to see what are the walls of barrier and powers at play."
Samantha Yap, 5 September 2014, I'll be your mirror

prep room, NUS Museum [By: Luca Lum]

"8. Anxieties of come-what-mays, erudition and wall text mastery;
9. A thousand blank walls of potentiality - the space to research, interrogate, dream;
10. Above all else, poetry."
Raksha Mahtani, 8 September 2014, Museum [noun]
 

 


"In the arts, although the affordability of time offers stability with long-term benefits, I think working within limitations can also spur us on towards more creative synergy as we consciously expound on what we have."
Bernice Ong, 10 September 2014, Pulau Gillman

Safe Sea, National Museum of Singapore [By: Chua Ying Qing]

 "When the audience experiences an exhibition, they perceive it through a series of reflections. They never get to see the original source – the womb of curatorial intention. The trick then is not to leave traces of the illusion/intrusion. For we are now double agents, and this is the perfect crime." 
Chua Ying Qing, 15 September 2014, in four movements

Post-Popup, Centre for Contemporary Art
[By: Melvin Tan]

"The operational currency leans towards outreach and inclusivity...This offers an effervescence of programmes that makes the institutional platform unprecedentedly accessible, experimental and tangential to more professional practices in the vicinity."
Melvin Tan, 17 September 2014, 
Thoughts around the Institutional Prerogative: Part 2 PostPop-Up 

Shabbir Hussain Mustafa & Charles Lim
[By: Selene Yap]

"How do we map an experience? Across the grids that mark our seas, how do memories, ideas, and existence become decontextualised?  The absurdity of mapping or dividing the fluid composition of the sea into pixels of definable space parallels the tensions of confines imposed on the shifting location of human consciousness."
Cheng Jia Yun, Euginia Tan, Selene Yap, Wong Yeang Cherng, 
22 September 2014, 0018A / 5724C

[By: Kenneth Loe]

"“Curatorrent”, an obvious portmanteau of “curator” and “torrent”, was born in my attempts at hacking together a word within a set of self-imposed conditions...if we look at definition no. 2 of “torrent”, as “an overwhelming flow of thoughts, words, sound, etc”, you would be looking at a one-word tour d’horizon of my experience in the deep undulations of theory and theatricality"
Kenneth Loe, 24 September 2014, Pirates of the Curatorrent

thislandisourlab.tumblr.com

"The curator, like the translator, tries to mobilise a thing — an idea, or an artwork — from one co-ordinate to another, from an artist's personal oeuvre to the context of the exhibition and new sets of relations with other works. In doing so, the act of translation enacts transformations. "
Luca Lum, 26 September 2014,  
The Task(s) of the Curator*

journal RECAP | Curatorial Intensive & Overseas Field Trip

Heman Chong, NUS Museum, Curatorial-Intensive

  
"[W]e not only saw the art jungle as a whole working eco-system, but also, the micro-organisms of art practice were highlighted and magnified where we once might have been too green to appreciate." 
Euginia Tan, 8 August 2014

Centre for Contemporary Art, Curatorial-Intensive

"I found myself wondering about activism and liabilities of the curatorial particularly the local context. Within the sovereignty of practice, are curators sitting in a pivotal position to resolve such issues?"
Melvin Tan, 11 August 2014, Thoughts around the institutional prerogative: Part 1

[By: Cheng Jia Yun]

       "UNPICKING THE SEAMS OF A SUPER ARTY MUSEUM

@WeAreBUSYBodies couldn’t help

pulling on loose threads and

looser laurels,

pulling out the rug from

under all that media"

     Kenneth Loe, 23 July 2014,      
     Luxuriating in the Algorhythmic / Luxuriating in the Acceleration

[By: Cheng Jia Yun]

 "[O]ur Public Symposium (complete with packed hall) were rife with questions and new methodologies, rumblings of our fertile home ground, potent reminders to go design our own 'deh lee vehs' and generate our own start and finish lines."
Cheng Jia Yun, 13 August 2014,  Reflections: Curating Lab 2014

Para Site, North Point [By: Bernice Ong]

"[I]t becomes increasingly clear to me that the curation of anything has to allow for an open-endedness framed by certain topical guiding lines...It is a game we play as we attempt to list the rules abiding by our own logic, but also almost hoping that someone will hack our gem of a system to throw up new possibilities." 
Bernice Ong, 21 July 2014, Questions we can ask

Ying Qing & Raksha, Asia Art Archive

"One needs to remind oneself that beyond curating for the audience, the artist or the institution, one also needs to curate for himself or herself. One also needs to know (or rather admit) what he or she doesn’t know and wants to know from an exhibition."
Wong Yeang Cherng, 18 August 2014,  
Honestly Speaking: Controlling Art’s Enigma

Cosmin Costinas, Para Site, Po Yan St
[By: Selene Yap]

"While artists and curators have the autonomy in the staging of art as a non-frontal way of bringing subjects into question, this knowledge of and power over any given domain is both facilitated by and productive of various forms of enclosure. In propositioning content, we run the risk of asserting a truth-value onto the subaltern."

Selene Yap, 29 July 2014, On Exhibition-making and Its Dilemmas

Ten Million Rooms of Yearning.
Sex in Hong Kong, Para Site [By: Raksha Mahtani]

 "Exhibition happens everywhere. We must be exhibitionists at heart. We change our names to fit the fetish of every future lover; we perform all selves."
Raksha Mahtani, 31 July 2014, 
Curating as Violence, Exhibition as Trauma

Spring Workshop on @nusmuseum [By: Samantha Yap]

"I started seeing how diverse the role of a curator was, a curator who in our contemporary age, dovetailed as many other things too (writers, project manager, administrative extraordinaire, master emailer, etcetera). In the job of the curator, as with many other things in the art world, singularity does not quite exist."
Samantha Yap, 4 August 2014, CLARITY/UNCERTAINTY

Hong Kong Is Our Museum, OpenUU [By: Chua Ying Qing]

  

"post-art pre-museum

post-seeing pre-viewing  
re:presentation HOW"

Chua Ying Qing, 6 August 2014,  

hong kong in hypertext

Spring Workshop [By Luca Lum]

"Hong Kong shakes you awake with its surprising turns and its unceasing rhythms. Every sense in my mind and body is like a hypersensitive needle on a scale, tremblingly registering each new stimuli. Moments are full-bodied, deep and vivid. I absorb everything."
Luca Lum, 20 August 2014,  ISLE2ISLE / A TALE OF TWO CITIES

Curatorial Roundtable 03 | A Moveable Feast: Itinerancy and Curatorial Practice

CLICK TO ACCESS EFLYER

Date: 9 October 2014, Thursday  
Time: 7.00 - 9.00pm
Venue: Possibility Room, Level 5, National Library Building

Free admission with registration.
To register, please email museum@nus.edu.sg or call 6516 8817.

Moderator:
Ahmad Mashadi (NUS Museum)

Speakers:
Vera Mey (Centre for Contemporary Art, Singapore)
Farah Wardani (Indonesian Visual Art Archive)

The establishment of international curatorial networks follows the growing proliferation of curatorial residencies around the world. For some, this has helped encourage horizontal movements across the so-called global south by curators in their practice and research. This session aims to explore the issues and potentials of itinerancy in curatorial practice from the perspective of curators based around the region.

About the Curatorial Roundtable Series
Presented in conjunction with Curating Lab 2014, the Curatorial Roundtable public talk series gathers together curators and artists working across different fields of research and engagement, to discuss the boundaries of curatorial practice. Amidst the increasing attention paid to the role of the curator, this series aims to probe further into the limits of curatorial practice. Although presented primarily for the participants of Curating Lab 2014, the Curatorial Roundtable is an opportunity to bridge the gap between the curator and the audience, providing opportunities for interaction and stimulating discussions on curatorial practices and processes.