Assist Exhibition Manager with the administrative and creative task; Managing correspondence to monitoring visitors. Responsible for the safety of the gallery’s collection and the computer systems; Setup and breakdown exhibits and coordinate on- and off-site event
Chief Education Officer
The MeshMinds Foundation
Responsible for education partnership with tertiary schools; specifically secured a legal agreement with LASALLE College of the Arts for the student-artist showcase in January 2019 as part of Singapore Art Week 2019. Designed artist incubation seeding programme, and ensures the dynamic relationship with artists and partners.
The MeshMinds Foundation
Executed an 8-day exhibition, MESHMINDS 1.0: ARTXTECHFORGOOD at ArtScience Museum as a project leader; Planned and coordinated exhibition programmes with artists, partners and the public; Led the production and logistics effort with various stakeholders.
Marketing Comms Manager
Rock and Indie Festival (RIF)
Spearheaded the marketing efforts for a music festival in LASALLE College of the Arts, Devised the marketing plan by implementing the communication strategies for audience development; Collaborated with media partners to produce post-event documentation.
Institute of Contemporary Arts Singapore
Facilitated the exhibition, The World Precedes the Eye, an affiliate project of Singapore Biennale 2016; Conducted guided tours for the public.
Dissertation / Thesis
Artist-run Space: The Development of Alternative Art Publics
This dissertation examines the current emergence of artist-run spaces in Singapore from 2011 to 2018. This research came about from the ongoing discourse about artist-run spaces and re-examines the notion of ‘alternative art publics’ through the lens of production, distribution and consumption of art. The term ‘alternative’ is premised on Ross Haenfler’s subculture theoretical framework which identifies a contemporary work of subcultural elements: diffuse networks, shared identity, shared distinctive meaning, resistance and marginalisation. Also, the term ‘art publics’ embodies the significant factors of participation, collaboration and conversational encounters. As Dave Beech suggests in seeking the ‘really new art publics’, the theoretical framework for ‘art publics’ is shaped by Claire Bishop’s Participatory Art, Grant Kester’s Dialogical Aesthetics and Nato Thompson’s Socially Engaged Practice. To develop a substantial methodology, the research will critically analyse five selected artist-run spaces - Peninsular, soft/WALL/studs, Supernormal, –Tom and Coda Culture - to study their modalities, programmes and the relation with its art publics. The bulk of this research is dedicated to discussing the outburst of these spaces and critically reflecting on how they develop a network of communities within the space and also the wider sphere. In an attempt to evolve this discourse, the research aims to hypothesise that artist-run spaces generate alternative art publics in Singapore’s ecology of art spaces.