Projects

Popularly characterised as examples of Third Cinema, Kidlat Tahimik’s artistic experiments hone an approach to storytelling that does not require a singular time or end

T. Shanaathanan’s practice grapples with realities of displacement and a familial desire to piece together experiences born out of violent fragmentation, particularly through an examination of Sri Lanka’s civil war (1978–2009).

Working in photography and video, Ampannee Satoh explores an era marked by the abolition of the Thai sultanate system by King Rama V (1853–1910) and his subsequent centralisation of power, which led to increased tensions between the dominant Buddhist society and the minority Malay Muslim community.

Mark Salvatus engages with the material of the past to reveal latent outcomes, energies, meanings and experiences embedded in history.

Through reimagined narratives based in factual research and primary source material, Lisa Reihana examines the culture and history of Māori and South Pacific Islander peoples.

As artist, writer, curator, professor and thinker, Qiu Zhijie draws on many different artistic sources and bodies of thought, from contemporary art to Chinese traditions of ink painting and calligraphy.

In Phan Thảo Nguyên’s work, the Vietnamese countryside is a dreamscape in which cultural and political histories play out.

Ahmad Fuad Osman’s work often explores abuse of power and historical amnesia in order to challenge canonical narratives.

Neo Muyanga’s music and compositions draw on a variety of styles and themes, including Renaissance madrigals, operettas and acoustic pop.

Often emerging from observation of everyday experience and interactions, Lee Mingwei’s participatory projects explore notions of memory, self-reflection and interpersonal relations.

Exploring Indonesia’s colonial history, Jompet Kuswidananto’s SB14 commission, Keroncong Concordia (2019), examines greed and desire for social control through fragmented memory and residual folk tunes.

Often drawn from constructed scenarios and performances with ordinary people, Meiro Koizumi’s works consider the dividing lines between public and private and probe public and private awareness of innate and socially conditioned behaviours.

In video, drawing, installation and participatory projects, Roslisham Ismail (aka Ise) employs expressions of popular vernacular with an eye toward unpacking the complex, and often alternative, cultural roots of a place.

Ho Tzu Nyen’s ongoing project The Critical Dictionary of Southeast Asia (2012–present) poses the following question: What is Southeast Asia? In the modern sense, the term was introduced during the Second World War in a 1941 book by British-born colonial public servant John Sydenham Furnivall.