Exhibition Essay
10 minutes read
PJOC is a photography journal exhibition that presents the works of nine artists from the NUS community. This open exhibition brings together individuals who use photography as a means of visual research that complements their respective disciplines, as well as those who employ it as a form of artistic research. It encompasses a diverse range of approaches and intentions, spanning categories such as archival, documentative, journalistic, and artistic supported by a sustained line of inquiry or research.
Selected from an open call period between July and October 2022, the projects were chosen through a jury panel session held in December 2022. A total of 27 submissions were received, including submissions from 16 students, 4 staff members, and 7 alumni representing over 13 departments across NUS. The panel consisted of: Lim Yaohui, Executive Photojournalist at The Straits Times, and NUS Alumni; Hans Tan, Associate Professor and Deputy Head of the Division of Industrial Design at NUS CDE (College of Design and Engineering); Simone Chung, Assistant Professor at NUS DoA; and Siddharta Perez, Curator at NUS Museum.
The submissions were evaluated based on three interrelated criteria: concepts or theoretical frameworks underpinning the proposal; based on submitted images, demonstration of technical abilities in support of the concepts; and proposals for project development. Preference was given to projects that showcased clear and well-defined inquiries involving photographic practices or the use of photography, as well as research frameworks that established a coherent relationship with the photographic series. Additionally, proposed project extensions that incorporated elements of research with a sustained line of inquiry were preferred.
Weighted to these criteria, nine proposals were shortlisted. Cara Chiang (Year 2, NUS Faculty of Law), Dan N. Tran (Year 4, NUS School of Computing), Dave Lim (Yale-NUS, 2019), Ethan ZhangCheng (Year 1, NUS Faculty of Arts and Social Science), Jonathan Tan (NUS Faculty of Arts and Social Science, 2019), Lee Chang Ming (NUS Faculty of Arts and Social Science, 2015), Ong Chan Hao (NUS College of Design and Engineering, 2021), Peter Szto (Fulbright Distinguished Chair of the Social Sciences, NUS, 2022) and Sroyon Mukherjee (Research Fellow, Asia-Pacific Centre for Environmental Law (APCEL)).
Diverse in their approaches, these participants are informed by their varied backgrounds including academic disciplines and creative impulses. Photography gathered may form archival records linked to their investigations, or sources from which newer visual investigations are made possible, including explorations into the very materiality of the image itself, the technologies that produce and reproduce them, and implications to ways the photograph may be understood. Collectively, they inquire into the multifaceted functions of photography and examine how they are utilized throughout the diverse stages of the creative or academic processes undertaken by the participants. The visual representation of the photographic work should not be seen as a conclusive element, but rather as a juncture within its progression. They seek to understand how photography transcends conventional boundaries, encompassing a broad spectrum of uses and functions. Here, photography acts as a catalyst for discussions, allowing participants to contribute to existing dialogues or initiate new ones. Through their photographic endeavours, participants have the opportunity to challenge preconceived notions on photography.
From January to April 2023, these participants were involved in rounds of conversation with the project curator, Wardah Mohamad. These engagements were crucial in establishing objectives and considerations for the exhibition. Discussions delve into ways through which the various proposals, defined by their own concepts and authorial intentions, may be articulated as exhibits. The primary focus of these exchanges was to explore the various potential methods to present the diverse proposals, each uniquely characterized by its own concepts and intentions. Through dialogues, the participants and curator collectively examined the thematic threads, artistic visions, and conceptual underpinnings of the proposed works. The discussions involve considerations of narration, purpose, and connection, while carving spaces for audience observation and interpretation.
In this exhibition, we have carefully considered the development processes with the intention of preserving the essence of the 'journal' format as a crucial component of the artwork. It is important to note that the term 'journal', rather than ‘journalistic’ is set broadly to allow all manner of image gathering from the documentary to the subjectivities of approach and purpose. Through this exhibition, we delve into the presentation and communication of this format, exploring how it is expressed within the context of an exhibition setting.
In this inaugural iteration of PJOC, the participants variously look into techniques and technologies; question the notion of originality and reproduction; explore the potentials of photography in education and learning; and advance investigative approaches while sustaining formal considerations of image making. Ultimately, these engagements serve as an open conversation inviting interdisciplinary dialogues to unfold, unveiling photography's potential, and opening new artistic avenues.
Selected from an open call period between July and October 2022, the projects were chosen through a jury panel session held in December 2022. A total of 27 submissions were received, including submissions from 16 students, 4 staff members, and 7 alumni representing over 13 departments across NUS. The panel consisted of: Lim Yaohui, Executive Photojournalist at The Straits Times, and NUS Alumni; Hans Tan, Associate Professor and Deputy Head of the Division of Industrial Design at NUS CDE (College of Design and Engineering); Simone Chung, Assistant Professor at NUS DoA; and Siddharta Perez, Curator at NUS Museum.
The submissions were evaluated based on three interrelated criteria: concepts or theoretical frameworks underpinning the proposal; based on submitted images, demonstration of technical abilities in support of the concepts; and proposals for project development. Preference was given to projects that showcased clear and well-defined inquiries involving photographic practices or the use of photography, as well as research frameworks that established a coherent relationship with the photographic series. Additionally, proposed project extensions that incorporated elements of research with a sustained line of inquiry were preferred.
Weighted to these criteria, nine proposals were shortlisted. Cara Chiang (Year 2, NUS Faculty of Law), Dan N. Tran (Year 4, NUS School of Computing), Dave Lim (Yale-NUS, 2019), Ethan ZhangCheng (Year 1, NUS Faculty of Arts and Social Science), Jonathan Tan (NUS Faculty of Arts and Social Science, 2019), Lee Chang Ming (NUS Faculty of Arts and Social Science, 2015), Ong Chan Hao (NUS College of Design and Engineering, 2021), Peter Szto (Fulbright Distinguished Chair of the Social Sciences, NUS, 2022) and Sroyon Mukherjee (Research Fellow, Asia-Pacific Centre for Environmental Law (APCEL)).
Diverse in their approaches, these participants are informed by their varied backgrounds including academic disciplines and creative impulses. Photography gathered may form archival records linked to their investigations, or sources from which newer visual investigations are made possible, including explorations into the very materiality of the image itself, the technologies that produce and reproduce them, and implications to ways the photograph may be understood. Collectively, they inquire into the multifaceted functions of photography and examine how they are utilized throughout the diverse stages of the creative or academic processes undertaken by the participants. The visual representation of the photographic work should not be seen as a conclusive element, but rather as a juncture within its progression. They seek to understand how photography transcends conventional boundaries, encompassing a broad spectrum of uses and functions. Here, photography acts as a catalyst for discussions, allowing participants to contribute to existing dialogues or initiate new ones. Through their photographic endeavours, participants have the opportunity to challenge preconceived notions on photography.
From January to April 2023, these participants were involved in rounds of conversation with the project curator, Wardah Mohamad. These engagements were crucial in establishing objectives and considerations for the exhibition. Discussions delve into ways through which the various proposals, defined by their own concepts and authorial intentions, may be articulated as exhibits. The primary focus of these exchanges was to explore the various potential methods to present the diverse proposals, each uniquely characterized by its own concepts and intentions. Through dialogues, the participants and curator collectively examined the thematic threads, artistic visions, and conceptual underpinnings of the proposed works. The discussions involve considerations of narration, purpose, and connection, while carving spaces for audience observation and interpretation.
In this exhibition, we have carefully considered the development processes with the intention of preserving the essence of the 'journal' format as a crucial component of the artwork. It is important to note that the term 'journal', rather than ‘journalistic’ is set broadly to allow all manner of image gathering from the documentary to the subjectivities of approach and purpose. Through this exhibition, we delve into the presentation and communication of this format, exploring how it is expressed within the context of an exhibition setting.
In this inaugural iteration of PJOC, the participants variously look into techniques and technologies; question the notion of originality and reproduction; explore the potentials of photography in education and learning; and advance investigative approaches while sustaining formal considerations of image making. Ultimately, these engagements serve as an open conversation inviting interdisciplinary dialogues to unfold, unveiling photography's potential, and opening new artistic avenues.