This PhD is a commentary, criticism and critical review of design practice and pedagogy through the experiences and opportunities of Ang Xinwei.

The research seeks the emergence of new knowledge (on design) through a critical reflection of past projects and thoughtful engagement in current projects to establish a criticality in design practice that is both meaningful and communicable. 

The approach is threefold:

The Urban Explorations project began in 2012 as an investigation on the ordinary happenings and encounters in the Singapore heartlands, narrated through the retrieval of sensorial data, collections and patterns. Employing a strategy called Urban Sensing, a team of eight explorers utilised custom-built instruments where recordings, observations and specimens were collected then visually translated into static or dynamic artefacts presented in a touring exhibition in Singapore.

Abstract

This series of video documentation traces the historical development of the therapeutic Arts through the life experiences of early pioneers in the noughties who are instrumental in developing art therapy in Thailand. It examines and explores the motivations and influences and behind the scenes, stories and reflections of the 8-10 pioneers as they set out to seed art and healing practices in medical institutions, schools and the wider communities in Thailand. 

This interdisciplinary pedagogical research residency aspires to open up new avenues for work and ideation revolving around art and design disciplines. By generating a territory of creative investigation outside the usual area of knowledge we hope to break the confines of a specialism and stimulate interdisciplinary practices. The location of the residency is at the former house and atelier of the famous French artist Jean Dubuffet.

This research project is the first phase of a larger initiative that aims to position LASALLE as a global reference for digital and remote collaborations in teaching and research in the arts.

Despite a lack of clearly defined policies and funding mechanisms for the development of arts and culture in many countries in Southeast Asia, the arts is seen to thrive in secondary cities such as Bandung and Jogjakarta in Indonesia, and George Town, Kuching and Kota Kinabalu in Malaysia. This research project seeks to better understand how arts organisations in such contexts are able to operate, survive, and in some cases even prosper in secondary cities with limited resources.

While Singapore seeks to be a global city for the arts, the “soft authoritarian” (Ooi, 2010) hand of the government remains evident; culture is seen as a “site for governmentality” (Lee, 2007) and cultural planning is closely directed by the government. The Singapore government’s 2012 cultural policy plan, the Arts and Culture Strategic Review, placed emphasis on greater public participation in the arts. New funding and programmes were subsequently introduced to promote the involvement of ‘community’ in the arts.

Throughout the reign of King Bhumibol Adulyadej (Rama IX, r. 1946-2016) photography gained significance as a means to construct and articulate national identity. During this period, the monarchy has come to play an increasingly centralised role in these nationalist discourses as a result of the strategic deployment of King Bhumibol’s image by military governments and by the palace itself from the late 1950s, as well as through the establishment of a public space governed by royal taboos.

This research concerns the public art museums in Singapore (Singapore Art Museum, National Museum of Singapore and National Gallery Singapore) and their work in the visual arts in Singapore. The aim is to develop an understanding of the historical background (from 2004 to 2008) and recent developments (from 2009 to 2013) regarding the work of the public art museums in the visual arts in Singapore, and to investigate the expectations of the government and private sponsors, in reference to provision of sponsorship to the public art museums in Singapore.

This research is focused on the lineage and legacy that craft has inherited, and to locate its place within the Singapore context. Increasingly we are seeing artists and designers using craft techniques and processes to create works that are beyond communicating nostalgia, intimacy and sensuality in the materials utilised. This research intends to excavate how craft continues to be a tool for discourse that are beyond their initial perception of them being beautiful, commercial-worthy, and decorative.