Performance]]> The BipedShoe Project, acoustic shoe tools for performance), through the production of new knowledge via experimental research and new collaborations with local Singaporean arts practitioners, curators and academics. She will integrate her experiences while in residence into a new body of performative work around the BipedShoes, which is at the core of her ongoing research into Objectinstruments and their effects on dramaturgie in artformances (live art performances).]]> Alex Murray Leslie]]> Sound]]> Performance]]> Southeast Asia]]> Activism]]> Feminism]]> Performance]]> Amanda Heng]]> Performance]]> Southeast Asia]]> Ecosystems]]> Globalisation]]> Amy Lien & Enzo Camacho]]> Installation]]> Performance]]> Southeast Asia]]> Ritual]]> Performance]]> anGie seah]]> Drawing]]> Installation]]> Performance]]> Sound]]> Southeast Asia]]> Experiential]]> Indigenous Knowledge]]> Jarai Dew Hammock Café is an introduction into Art Labor’s long-term project. That takes inspiration from the Jarai people of Vietnam's Central Highlands and their philosophy on the cycle of life. After death, humans will go through many stages to get back to their origins of existence. The final stage is that they transform into dew (ia ngôm in Jarai language) evaporating into the environment – a state of non-being – the beginning particles of a new existence.]]> Art Labor]]> Installation]]> Performance]]> Southeast Asia]]> Spaces of the Curatorial]]> Curatorial Practice]]> Dirk Snauwaert]]> Curating]]> Europe]]> History]]> The Lab will be used through multiple layers: as an exhibition space; a film studio; a working and meeting space as well as the site of a live “broadcast” performance debate. Focusing on the forgotten historical figure of the Malay weaver Halimah, Tan will reactivate through a series of footnotes instigating a process of collective labour towards the understanding that history should be an active effort created by many. Halimah lived and worked with 19 other Malayans in the 1924 British Empire Exhibition in London engaged in the production of woven material and as a physical representation of Britain’s “human” capital as a colonial subject. During the day Halimah demonstrated her craft selling products as a live object on one side of the British Empire Exhibition. At night she was behind the displays, cooking, eating and performing everyday life. Tan’s labour in The Lab is the (re)production of Halimah’s various conditions.]]> Erika Tan]]> Object]]> Artistic Research]]> Gary Ross Pastrana]]> Object]]> Painting]]> Southeast Asia]]> Embodiment]]> Artistic Research]]>
Tan’s current research is the notion of touch as an indexical and invocative gesture. Inherent in the materiality of the fabric as a substrate to receive and retain traces is a certain resistance, which provides a counter- movement that simultaneously works along and against gestures of painterly touch. The final compositions are an interplay between design and chance which re(as)sembles traces and modes of Modernist abstraction while hinting at folds of the corporeal. Parallel to the paintings is a series of text-based videos that investigate the possibility of language to suspend the imaginary space between touching and not touching, speech and non-speech. Staging scenes between the haptic and the haunted, these works play with the conventions of reading and listening where voices register tones of intimacy and ambivalence in equal measures.]]>
Guo-Liang Tan]]> Tan Guo-Liang]]> Drawing]]> Painting]]> Southeast Asia]]>
History]]> Diaspora]]> Accommodating the Epic Dispersion – On Non-Cathartic Volume of Dispersion (2012) for Haus der Kunst in Munich. The length of this work’s title is deliberate, in response to the overlapping of diaspora history with the specific history of the work’s location — a large and voluminous hall once known as ‘Ehrenhalle’ under the Third Reich. By critically extending and dispersing a reconstruction of histories in an epic dimension, the work introduced issues of migration, diaspora, movement and thereby, colonialism, through questions such as, “is movement mental or physical? When we migrate, do we lose our sense of home? How do we maintain and accommodate our migratory destinies and narratives?”]]> Haegue Yang]]> Installation]]> Sculpture]]> Asia]]>