Through their residency programme, STPI’s Creative Workshop collaborates extensively with international artists to create works in the mediums of print and paper. The residencies are a unique experience that push the boundaries of regional and international artists, resulting in the creation of significant works that further the artists’ practices over their careers.

“PRINT SCREEN is a fresh take on works created by our artists-in-residence, to provoke, surprise, and inspire new insights. It expands one’s understanding of the artists’ practice, particularly as the selected roster of artists are renowned for their video, performative and interactive works. This exhibition series also showcases STPI’s intrinsically collaborative nature, where our relationships with the artists evolve beyond a one-off residency; instead they are continually nurtured through the years, finding new forms and extensions through projects such as this.”
– Rita Targui, Gallery Director

By viewing the artworks in conjunction with the films for PRINT SCREEN, the audience can gather insights on how the artists’ practices at large informed their STPI residencies. It also allows audiences to understand the key role of these works in furthering their artistic concerns, introducing a new dimension into their ways of artmaking.

PRINT SCREEN is accompanied by a pop-up of STPI’s store The Corner Shop, where artist publications and artist merchandise will be available for sale. The publications, created on the occasion of an artist’s residency and exhibition with STPI, contain essays that will further demonstrate STPI’s role in being an active space for creativity and innovation, where artists are provided the opportunity to push the boundaries of their own practices, finding fresh expressions for their art in the medium of print and papermaking.

About the artists
Alfredo and Isabel Aquilizans’ collaborative activities evolved within the spheres of family and community, including personal relationships, and those they share with other artists. Their work consistently seeks to pin down the meaning of ‘home’ and ‘identity’ – both elusive notions prone to reinterpretation and personal subjectivity – albeit through ephemeral constructions that tend to leave no trace beyond the enduring memories of its experience. They continue to process these issues through materials and objects that are both abstract and referential, objects that serve as metaphors of everyday human life.

At STPI, the Aquilizans explored the ways in which the impermanence of their past projects could be captured and reimagined in a tangible series of works. In the recognition of the multiple sources they drew their artistic inspiration from, and the hands that their works have passed through by way of their interactive installations, they contend with the loose idea of authorship in the contemporary world of art and their personal sense of ownership over their richly diverse yet wholly experiential oeuvre. The artworks were collectively exhibited at Alfredo and Isabel Aquilizan: Of Fragments and Impressions, STPI Gallery, Singapore (2017).

The artists have participated in a number of international biennales and exhibitions including the Sharjah Biennale, United Arab Emirates (2013), Asia Pacific Triennale, Australia (2009), Singapore Biennale (2008), Adelaide Biennale, Australia (2008), Biennale of Sydney (2006), the Third Echigo-Tsumari Triennale, Japan (2006), Gwangju Biennale, Korea (2004), La Biennale de Venezia, Italy (2003), and many others.

Melati Suryodarmo’s performances deal with the relationship between a human body, the culture it belongs to and a constellation of its lived conditions. Through the presence, she compiles, extracts, conceptualises and translates some phenomena or subjects into movements, actions, and gestures that are specific to her performance. Melati Suryodarmo’s performances are concerned with cultural, social and political
aspects, which she articulates through her psychological and physical body. Her performances feature elements of physical presence and visual art to discuss identity, energy, politics and relationships between the body and its environments. A bold leap from her distinctively performance-based oeuvre, Suryodarmo’s new explorations in print and paper during her residency at STPI have resulted in a range of two- and three-dimensional works that retain traces of her performative marks. In particular, the artist examines the volatile relationship between matter and memory, and personal expressions of displacement. She takes an investigative and excavational approach towards abandoned spaces and the histories they carry, creating haunting yet beguiling impressions and forms that bring transformative relationships
between site, body and memory to the fore.

Melati Suryodarmo studied at the Hochschule für Bildende Künste Braunschweig, Germany under Marina Abramovic. Suryodarmo has presented her works in various international festivals and exhibitions since 1996, including the 50th Venice Biennale, 2003, and “Marking the Territory” at the Irish Museum of Modern Art, Dublin. Other presentations include: “Egon Schiele: Love and Death”, Van Gogh Museum, Amsterdam (2005); Videobrasil, Sao Paolo (2005); Haus der Kulturen der Welt Berlin, 52nd Venice Biennale Dance Festival (2007); KIASMA Helsinki (2007); Manifesta7, Bolzano, Italy (2008); “In Transit” Festival, HKW Berlin (2009); Luminato festival of the arts, Toronto, (2012); Asia Pacific Triennale, QAGoMA Brisbane (2015); Guangzhou Triennale, Guangdong, China (2015); Singapore Biennale, Singapore (2016); National Museum of Modern and Contemporary Art, Seoul, South Korea (2017); Hamburger Bahnhof, Berlin Germany (2018); National Gallery of Australia, Canberra, Australia (2019); and Asia Society Museum, New York (2019).

Since 2007, Suryodarmo has been organising an annual Performance Art Laboratory Project and Undisclosed Territory performance art event in Solo, Indonesia. In 2012, she founded “Studio Plesungan”, an art space for performance art laboratory. In 2017, she served as the Artistic Director of the Jakarta Biennale 2017.

Charles Lim Yi Yong (b. 1973, Singapore) studied Fine Art at Central Saint Martins School of Art and Design, London, graduating in 2001.
Lim’s artistic practice stems from an intimate engagement with both man-made systems and the natural world, mediated and informed by field research and experimentation, drawing, photography and digital video. His epic SEA STATE project, begun in 2005, examines the political and biophysical contours of the nation state through the visible and invisible lenses of the sea.

Lim’s work has been exhibited widely across Europe and the Asia- Pacific, at documenta 11 (with the collective tsunamii.net) and Manifesta 7, at biennales in Shanghai, Singapore and Osaka, and more recently in the Biennale of Sydney, Australia, the EVA International in Ireland, the Aichi Triennale in Japan and 2020’s Busan Biennale. In 2015 he represented Singapore at the 56th Venice Biennale. Charles’s short films have also travelled extensively in the film festival circuit, notably his short film ‘All Lines Flow Out’ won a Special Mention at the Venice Film Festival in 2011, making it the first Singapore film to win an award at the prestigious festival.