For his first GRC piece, Sharaad Kuttan muses on the circumstance for conversation—through his work, political context, and life—and how its curation sets the scene for the forum of the public. In a world devoid long of objective truth, Sharaad posits how one—individual or institution, alike—might bridge the yawning distances between us by considering the hows and whys of talking to each other.
For his first GRC piece, Ng Yi-Sheng unearths the history and power subsoil of our very own Padang—from its early colonial beginnings to the steroidal spectacle catchment area that it is today. Making comparison to Persian and Indonesian models of public squares to project a future for assembly.
Borrowing from an essay by Be Oakley, ila calls upon an alternative public to practise radical softness as a form of resistance with her as she embarks on her four-month journey with the Concerned Citizens Programme.
For her first blog contribution for the Concerned Citizens Programme, Jaclyn Chong discusses the importance of developing support systems within the arts community while considering the challenges that she confronts as a freelance theatre maker.
CCP participant Mysara Aljaru sets her intentions for the programme and questions how minority bodies should be portrayed and perceived.
Take a walk with CCP participant Amanda Lim as she contemplates her various encounters with a rare, untouched patch of green grass amidst this city of constant renewal.
Kristian-Marc James Paul, one of six selected participants from the Concerned Citizens Programme, reflects on the embodiment of privilege and the materiality of oppression and violence.
Through her review of the exhibition Chinternet Ugly, Reena Devi delves into the layers and domains of the seemingly endless space known as the Internet. Exploring how the artists navigate and negotiate contemporary life in relation to the complexities of China’s digital realm, she projects artistic possibilities in a future perfect Singapore.
In his inaugural piece for GRC, Alfonse Chiu observes public space, and the public’s place within—or without it. Drawing lines of sight between the visible and permissible, the democratised street view and the panoptic eye, to map attitudes towards the ostensibly public and subtly private.
Mumtaz Md Kadir discusses her initial thoughts after joining the Concerned Citizens Programme, and shares how she intends to create her own artistic language in the next four months.