1
10
14
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
Residencies OPEN: Malevich - Performance by Lee Wen (short)
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/488034761">https://vimeo.com/488034761</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
488034761
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies OPEN: Malevich - Performance by Lee Wen (short)
Description
An account of the resource
23 Jan 2015, Fri 9:00pm - 10:00pm NTU CCA Singapore, Studios, Block 37 #01-07 <br /><br />Go back to square one with one of Singapore’s leading multi-disciplinary artists, Lee Wen, in this performance work dedicated to his ongoing residency exploration of Russian Suprematist Kazimir Malevich’s painting Black Square (1915) and ironical take on Singapore’s identity. Lee Wen will perform in connection to The Time Show project organised by fellow Artist-in-Residence, Koh Nguang How.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-01-23
Contributor
An entity responsible for making contributions to the resource
Lee Wen
Subject
The topic of the resource
Performance
Identity
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Videos
Video
A series of visual representations imparting an impression of motion when shown in succession. Examples include animations, movies, television programs, videos, zoetropes, or visual output from a simulation.
Based on DMCI MovingImage type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/MovingImage)
Short Description
Residencies OPEN: Malevich – Performance by Lee Wen
Video
Embedded video or link to video hosted outside of Omeka
<a href="https://vimeo.com/491901462">https://vimeo.com/491901462</a>
Video ID
Platform ID number for video hosted online (e.g., Vimeo)
491901462
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies OPEN: Malevich – Performance by Lee Wen
Description
An account of the resource
23 Jan 2015, Fri 9:00pm - 10:00pm NTU CCA Singapore, Studios, Block 37 #01-07 <br /><br />Go back to square one with one of Singapore’s leading multi-disciplinary artists, Lee Wen, in this performance work dedicated to his ongoing residency exploration of Russian Suprematist Kazimir Malevich’s painting Black Square (1915) and ironical take on Singapore’s identity. Lee Wen will perform in connection to The Time Show project organised by fellow Artist-in-Residence, Koh Nguang How
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-01-23
Contributor
An entity responsible for making contributions to the resource
Lee Wen
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Identity
Performance
Format
The file format, physical medium, or dimensions of the resource
Video
Language
A language of the resource
English
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
Accompanying the opening of <em>Journey of a Yellow Man. Selected Materials from the Independent Archive</em> is a performance-installation titled <em>The Body as Archive</em> (2018) by Lee Wen.
Programme Type
Performance
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Climates. Habitats. Environments.
Audience
General
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Opening and Performance: The Body as Archive (2018) by Lee Wen
Description
An account of the resource
<div class="event_single_dates text__research">15 Sep 2018, Sat 06:00 PM - 09:00 PM</div>
<div class="event_single_venue">The Lab, Block 43 Malan Road</div>
<br />Accompanying the opening of <i>Journey of a Yellow Man. Selected Materials</i> from the <i>Independent Archive</i> is a performance-installation titled The Body as Archive (2018) by <b>Lee Wen</b>. A red dress—a relic of past performances—is cast in ice and stands in the waning afternoon light as a silent witness. <br /><br />The red dress is a recurring motif in Lee Wen’s works, beginning in 2013 with a performance titled <i>The Call of the Red</i> in which he slips into a red dress and wig, morphing into his mother and expressing her longing for her long-gone husband; a story of love, expectations, longings, patience, and resilience. The motif appears again in his text <i>Return to Daydreams</i> (2013), in which the dress stands as a memory, frozen in time, of an event that gathers people together in the name of brotherhood and equality: <br /><br />“We were trans-activators and we dressed like one, in a silk red dress. And we agreed that one of these red dresses would be cast in ice to stand throughout the trans-activation. We were ready, we did not fail, and they did not kill us. It was a great dance of trans-activity. Only I had failed to go where they went. Cause the red dress in the ice block. It was mine I remember is now… 1989.” <br /><br /><i>Journey of a Yellow Man. Selected Materials from the Independent Archive</i> is on view in The Lab from 15 September to 25 November 2018.
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-09-15
Contributor
An entity responsible for making contributions to the resource
Lee Wen
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Archival Practice
Body
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
An attempt at historicising the temporal based practice of performance art, this “transversation” suggests a journey, a cutting through, a kind of dissection.
Programme Type
Talk and Lecture
Programme Series
Residencies Insights
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies Insights: Transversations with Artist-in-Residence, Lee Wen and NTU ADM Visiting Professor and Professor, Art History, Theory and Criticism at School of the Art Institute of Chicago, Nora Taylor
Description
An account of the resource
<div class="event_single_dates text__residencies">12 Feb 2015, Thu 7:00pm - 8:30pm</div>
<div class="event_single_venue">Seminar Room Block 43 Malan Road</div>
<br />Join eminent performance artist, Lee Wen and art historian, Nora Taylor as they present a conversation that will traverse time. An attempt at historicising the temporal based practice of performance art, this “transversation” suggests a journey, a cutting through, a kind of dissection.<br /><br />Taylor is known for her field research in the ethnography of Vietnamese art and holds the Alsdorf Chair of South and Southeast Asian Art at the School of the Art Institute of Chicago. Her current research explores the role of oral history in remembering performance art specifically in Singapore, Vietnam and Myanmar.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-02-12
Contributor
An entity responsible for making contributions to the resource
Lee Wen
Nora Taylor
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Performance
Artistic Research
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
In this performance work dedicated to his ongoing residency exploration of Russian Suprematist Kazimir Malevich’s painting Black Square (1915), Lee Wen provides an ironical take on Singapore’s identity.
Programme Type
Performance
Programme Series
OPEN Studios
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies OPEN: Malevich by Artist-in-Residence, Lee Wen
Description
An account of the resource
<div class="event_single_dates text__residencies">23 Jan 2015, Fri 9:00pm - 10:00pm</div>
<div class="event_single_venue">Studios, Block 37 Malan Road #01-07</div>
<br />Go back to square one with one of Singapore’s leading multi-disciplinary artists, Lee Wen, in this performance work dedicated to his ongoing residency exploration of Russian Suprematist Kazimir Malevich’s painting <i>Black Square </i>(1915) and ironical take on Singapore’s identity. Lee Wen will perform in connection to The Time Show project organised by fellow Artist-in-Residence, Koh Nguang How.
Date
A point or period of time associated with an event in the lifecycle of the resource
2015-01-23
Contributor
An entity responsible for making contributions to the resource
Lee Wen
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Identity
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Short Description
<span>Join Lee Wen and guest collaborators in a multi-disciplinary showcase involving drawing, music and performances based on Lee’s playful response to Singapore being “square” and Russian Suprematist artist, Kazimir Malevich’s painting Black Square (1915).</span>
Programme Type
Talk and Lecture
Programme Series
Residencies Insights
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Residencies Insights: Malevich
Description
An account of the resource
<span>24 Sep 2014, Wed 10:00pm - 11:00pm</span><br /><br /><span>Malevich focuses on the idea of going back to square one and a time for the artist to work on unfinished projects enabled by NTU CCA Singapore’s Residencies Programme, dedicated to facilitating the creation of work through research and knowledge production. Join Lee Wen and guest collaborators in a multi-disciplinary showcase involving drawing, music and performances based on Lee’s playful response to Singapore being “square” and Russian Suprematist artist, Kazimir Malevich’s painting Black Square (1915).</span>
Date
A point or period of time associated with an event in the lifecycle of the resource
2014-09-24
Contributor
An entity responsible for making contributions to the resource
Lee Wen
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Subject
The topic of the resource
Knowledge Production
Identity
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Programmes
Programme
A non-persistent, time-based occurrence. Examples include symposia and conferences, public talks and performances, tours, workshops, open studios.
Programme Type
Performance
Programme Series
None
Location
Onsite (CCA)
Offsite
Online
Onsite (CCA)
Collaboration
No
Commissioned Work
No
Education
No
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Audience
General
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Inaugural Event / Screenings and Performances by Lee Wen & Jason Wee, Lucy Davis, Grieve Perspective, OFFCUFF
Description
An account of the resource
<span>23 Oct 2013, Wed 6:30pm - 9:00pm</span><br /><br />This inaugural event will feature performances and video screenings from eminent and emerging artists from Singapore and the NTU School of Art Design and Media, including OFFCUFF, Lucy Davis, Grieve Perspective and Cultural Medallion Awardee Lee Wen together and Jason Wee in collaboration with Angie Seah, Karl Kerridge and Jordan Rais.
Date
A point or period of time associated with an event in the lifecycle of the resource
2013-10-23
Contributor
An entity responsible for making contributions to the resource
Lee Wen
Jason Wee
Lucy Davis
Grieve Perspective
OFFCUFF
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
Audience
A class of entity for whom the resource is intended or useful.
General
Subject
The topic of the resource
Performance
-
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Publications
Description
An account of the resource
A recipient and producer of knowledge, NTU CCA Singapore’s publishing activities contribute to its holistic approach, expanding the connections across the Centre’s exhibitions, residencies, public programming, and academic education.
Research Publication
A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.
Based on DMCI Text type (https://www.dublincore.org/specifications/dublin-core/dcmi-terms/#http://purl.org/dc/dcmitype/Text)
Availability
Electronic (eBook)
Print
Print
Public Resource Centre Affiliation
Artist Research Platform
Library
Video Resource Platform
None
Library
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Place.Labour.Capital.
Subject
The topic of the resource
Institutional Critique
Geopolitics
Urbanism
Description
An account of the resource
Place.Labour.Capital., published by NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) and Mousse Publishing, connects cultural production and artistic research to broader political and social concerns, engaging readers with contemporary debates in Southeast Asia and beyond.<br /><br />The title of the book refers to the framework employed at NTU CCA Singapore in its first cycle of activities, from 2013 to March 2017, which took Singapore, the world’s second-largest trading port and the economic epicentre of Southeast Asia, as a point of departure to investigate the notion of place, the intersection between locality and the global, labour, and flows of capital.<br /><br />Unfolding across four broad sections of “The Making of an Institution,” “The Geopolitical and the Biophysical,” “Incidental Scripts,” and “Incomplete Urbanism,” this publication reads as an exhibition. Drawing connections across disciplines and merging theory with practice, Place.Labour.Capital. weaves together a constellation of different bodies of materials from essays, poetry, and fiction to artworks and documentation of the Centre’s past exhibitions.<br /><br />Richly illustrated, the publication brings together the voices of more than 80 contributors, from former Research Fellows such as Tony Godfrey (Philippines), Regina (Maria) Möller (Germany), T. K. Sabapathy (Singapore), Yvonne Spielmann (Germany), to former Artists-in-Residence including Tiffany Chung (Vietnam/United States), Amanda Heng (Singapore), Shooshie Sulaiman (Malaysia), Lee Wen (Singapore), and Yee I-Lann (Malaysia). Other contributions include those from the Centre’s exhibitions and public programmes such as artists, academics, and curators including Amar Kanwar (India), Lee Weng Choy (Malaysia), David Teh (Australia/Singapore), and June Yap (Singapore).<br /><br />This extensive publication “reminds us that institution building remains enormously significant as a means of opening up new spaces, claims, communities, dialogues, publics, and trajectories for critical artistic practice.” (Felicity D. Scott, Associate Professor Graduate School of Architecture, Planning and Preservation, Columbia University, New York)<br /><br />“Drawing together stories, voices, and thinking by leading artists and academics, Place.Labour.Capital. traces the invention of a remarkable model of an institution. The publication is an inspiration and a valuable tool to anyone trying to find ways of building releveant arts institutions for the future.” (Sally Tallant, Director, Liverpool Biennial)<br /><br />Place.Labour.Capital. takes a reflective look the art institution, and serves as a means to review the parameters of its own position in the present globalised art world and knowledge-production economies. <br /><br />The visual concept of the book was conceived by renowned Singapore design firm H55.
Publisher
An entity responsible for making the resource available
Mousse Publishing
Date
A point or period of time associated with an event in the lifecycle of the resource
2018
Contributor
An entity responsible for making contributions to the resource
Mousse Publishing
H55
Koh Nguang How
Paul Tan
Eugene Tan
T. K. Sabapathy
Khim Ong
Fareed Armaly
Jesko Fezer
Julian "Togar" Abraham
Post-Museum
Kray Chen
Vera Mey
Amanda Heng
Yan Jun
Lee Wen
Marc Glöde
Jeremy Sharma
Heman Chong
Shooshie Sulaiman
Mona Vătămanu
Florin Tudor
Hilde Van Gelder
UuDam Tran Nguyen
James Jack
Jegan Vincent de Paul
Dennis Tan
Erika Tan
Regina (Maria) Möller
Hamra Abbas
Mercedes Vicente
Bo Wang
Ho Rui An
Stefano Harney
Arjuna Neuman
Bani Haykal
Tiffany Chung
Amar Kanwar
Helena Varkkey
Nikos Papastergiadis
Saleh Husein
Sam Durant
June Yap
Roslisham "Ise" Ismail
Shubigi Rao
Guo-Liang Tan
Tamara Weber
Loo Zihan
Zac Langdon-Pole
Trinh T. Minh-ha
Jompet Kuswidananto
Otty Widasari
Yvonne Spielmann
Mark Nash
Arin Rungjang
Filipa Ramos
Yason Banal
Kenneth Dean
Yee I-Lann
Alex Mawimbi
anGie seah
Alexandra Murray-Leslie
Andrew Johnston
Zulkifle Mahmod
Newell Harry
Jason Wee
Anocha Suwichakornpong
Shirley Surya
Sissel Tolaas
Tan Pin Pin
SHIMURAbros
Etienne Turpin
Li Ran
Gary-Ross Pastrana
Yvonne P. Doderer
Matthew Mazzotta
Art Labor
Xu Tan
Weixin Chong
Pratchaya Phinthong
Marc Glode
Mona Vatamanu
Regina Moller
Format
The file format, physical medium, or dimensions of the resource
Publication
Language
A language of the resource
English
Identifier
An unambiguous reference to the resource within a given context
978-981-11-3843-0
978-88-6749-308-1
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Asia
Access Rights
Information about who can access the resource or an indication of its security status. Access Rights may include information regarding access or restrictions based on privacy, security, or other policies.
Available for browsing onsite at NTU CCA Singapore physical archive. Contact ntuccareseach@ntu.edu.sg to make an appointment.
-
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cf598fea4ba8fb2f519b098d329a801a
PDF Text
Text
Directory
Journey of a Yellow Man.
Selected Materials from the
Independent Archive
The Lab ,15 September – 25 November 2018
�Independent Archive
Introduction
04—05
Founded in early 2012, the Independent Archive consists of
a reference library and a collection of archival material
pertaining to art in Singapore. Regular programmes
including film screenings, music performances,
performance art events, artist talks and discussions
stimulate open discourse on art.
The Archive documents visual art practice in general and
maintains special focus on ephemeral time-based and
event-specific art that may escape documentation by
conventional institutional policy. While its geographical
focus is Singapore, the Archive’s relationships with artists,
artistic communities and institutions around the world
situate it as a cosmopolitan nexus for the cross-pollination
of ideas.
The Archive constantly develops new trajectories in the
articulation of artistic discourse. These emerge through
programmes designed to further the examination of art
and its issues under the condition of open critique.
02—03
Biography Lee Wen
06—17
Directory Condition
18—41
Directory Body
42—53
Directory Absence
42—53
Directory Memory
54—65
Directory Gestalt /Formation
66—67
Colophon
68
Information Asia Art Archive
69—73
Information NTU CCA Singapore
CONTENT
JOURNEY OF A YELLOW MAN
1
�Journey of a Yellow Man.
Selected Materials from the
Independent Archive
The artistic practice of Singaporean artist Lee Wen (b.1957) is
characterised by his social investigations that interrogate
stereotypical perceptions of culture and society. He
became internationally known for his performance series
Journey of a Yellow Man (1992– ), where he embodied
his Chinese lineage and reinterpreted its relationship to
systems of classification, attribution, and alienation. First
performed in 1992 in London, the Yellow Man traveled
around the world for more than 20 years, and during
this time, the artist became increasingly distanced from
his persona. Now, years later into Lee Wen’s career, the
Independent Archive, which he started in 2012, is a key
component of his collaborative practice, which is central
to his artistic approach. It has become an institutional
body that works and shares time and space with others
to keep the ephemeral and transient memories of
performative efforts alive. The artist envisions himself as
‘organs without body,’ operating through the network
and formation of fellows within the Independent Archive.
Lee Wen is a member of the performance artist collective
Black Market International with figures such as Boris
Nieslony (Germany), Roi Vaara (Norway/Finland), and
Elvira Santamaria Torres (Mexico).
The materials from the Independent Archive, which start from
the early 1990s, capture the zeitgeist of performance
art in Singapore and wider (South-)East Asia through
2
JOURNEY OF A YELLOW MAN
INTRODUCTION
historical materials and contemporary collaborations.
Selected materials are displayed in this presentation and
are organised into five chapters—“Condition,” “Body,”
“Absence,” “Memory,” and “Gestalt/Formation,”—that
look at the development of time-based and event-specific
art as a new medium as well as into its political condition.
The presentation “Journey of a Yellow Man” takes visitors
through a re-imagined archive with photographs, videos,
writings, sketchbooks, while simultaneously, introducing
the NTU CCA Singapore’s Digital Resource Platform. As
of today, the Platform contains over 20,000 digitalised
files from the Independent Archive, arranged under a
virtual tree structure to enable further scholarship in
this field of practice.
The Lab presentation provides insight into a continuously
expanding resource platform at NTU CCA Singapore
that highlights ephemeral moments in the history of
performance art from the region. The project addresses
the importance of providing historically significant
source material for researchers and the wider public.
The digitalised files will be integrated into NTU CCA
Singapore’s Public Resource Platform and will be
accessible at the Centre, the Asia Art Archive, Hong
Kong, a collaborative partner of this project, and the
Independent Archive.
INTRODUCTION
JOURNEY OF A YELLOW MAN
3
�LEE WEN
The work by international renowned artist Lee Wen (b. 1957,
Singapore) is strongly motivated by social investigations
as well as inner psychological directions using art to
interrogate stereotypical perceptions of culture and
society.
Awarded with the Cultural Medallion of Singapore in 2005 and
with the Joseph Balestier Award for the Freedom of Art in
2016, the artist entered the art scene comparatively late
in the 80s, but quickly gained attention. His early practice
was associated with The Artists Village in Singapore and
later forged a more individuated artistic career. Lee Wen
has been exploring different strategies of time-based and
performance art since 1989.
He helped initiate both R.I.T.E.S.(Rooted In The Ephemeral
Speak) (2009 ) and Future of Imagination (2003–), an
–
international performance art event. Since 2012, he has
taken an active interest in the memory of Singapore’s
performance art history through the initiation of the
Independent Archive.
Recent group exhibitions include Sunshower: Contemporary
Art from Southeast Asia 1980s to Now, The National
Arts Centre and Mori Art Museum, Japan (2017), Secret
Archipelago, Palais de Tokyo, Paris, France (2015) and a
solo show at the Singapore Art Museum (2012).
No: LWE_00178_66
Artist(s): Lee Wen
Title, Year: Call of the Red (The
Widow), 2013
Event: —
Location: Chicago, United States of
America
Photo: Unknown
Classification: Exhibitions > Solo
O 2015 Songs Y E L L O W
4
ExhibitionsJ> U R N E Y O F A Unsung >M A N
Artworks > LWE_00178_66
BIOGRAPHY
JOURNEY OF A YELLOW MAN
5
�Directory Condition
No: LWE_00171_06 / 10
07
LWE_00171_06 / 10, LWE_00261
08
LWE_00317_151 / 301, LWE_00507_50 / 78
09
LWE_00508_02 / 14 / 32 / 57, LWE_00509_08 / 09
10
LWE_00593
11
LWE_00587, LWE_00509_08 / 09
12
LWE_00274, LWE_00627 (temp)
13
LWE_00628 (temp), LWE_00703 (temp)
14
LWE_00797 (temp), LWE_00804 (temp)
16
LWE_00894 (temp), LWE_00895 (temp)
17
Lee Wen
Lifeboat 3, 2001
Theertha International Artists Workshop
Residence of Geoffrey Bawa, Lunaganga, Sri Lanka
Dominic Sansoni
Conflict, exploitation, and resource shortages
informed this performance. Lee Wen carries cinnamon
wood stripped of its valuable bark, thus symbolising
contemporary sectarianism and historical colonialism.
Classification: Performances and Projects > Journey of A Yellow
Man > 2001, Lunaganga, Sri Lanka > LWE_00171_06,
LWE_00171_10
LWE_00718 (temp), LWE_00768 (temp)
15
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
LWE_00896 (temp), LWE_00897 (temp)
No: LWE_00261
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
6
JOURNEY OF A YELLOW MAN
CONDITION
Lee Wen
Journey of a Yellow Man No. 6: History and Self, 1995
4th Asian Art Show
Setagaya Art Museum, Tokyo, Japan
—
Sketches and notes on the performance.
Performances and Projects > Journey of a Yellow Man
> 1995, Setagaya Art Museum, Tokyo > LWE_00261
CONDITION
JOURNEY OF A YELLOW MAN
7
�No: LWE_00317_151 / 301
No: LWE_00508_02 / 14 / 32 / 57
Artist(s): Lee Wen, Lynn Lu, Arai Shinichi, Kai Lam, Jeremy Hiah
Title, Year: Anthropometry Revision: Yellow Period (After Yves
Klein) #2, 2008
Event: Anthropometry Revision: Yellow Period (After Yves
Klein) #2
Location: SooBin Art International Ubi warehouse, Singapore
Photo: —
Description: A response to Yves Klein’s Anthropometries (1958).
Instead of the artist directing models as human
paintbrushes, accompanied by his Monotone
Symphony, Lee Wen joins the painting alongside two
other artists, accompanied by experimental electronic
music. A previous version, performed in Chengdu
(China), had Chinese orchestral accompaniment.
Classification: Performances and Projects > Anthropometry Revision
> 2008, SooBin Art Int’l UBI Warehouse, Singapore >
LWE_00317_151, LWE_00317_301
No: LWE_00507_50 / 78
Lee Wen
Journey of a Yellow Man No. 3 DESIRE, 1993
Journey of a Yellow Man #3: Desire
The Substation, Singapore
—
In this exhibition, Lee Wen would work performatively
on a daily basis in The Substation gallery alongside
his drawings and paintings, blurring the distinction
between a static exhibition and dynamic performance,
as well as examining the idea of artistic work.
Classification: Performances and Projects > Journey of A Yellow Man
> 1993, The Substation, Singapore > LWE_00507_50,
LWE_00507_78
JOURNEY OF A YELLOW MAN
Lee Wen
Journey of a Yellow Man No. 4: LIBIDO, 1993
Sense Yellow
Concrete House, Bangkok, Thailand
—
As the Journey of a Yellow Man went from the United
Kingdom, through India and Singapore to Thailand,
Lee Wen examines here both the many connotations
of the colour ‘yellow’ across cultures, and perspectives
on the libido in Buddhist and Freudian theory.
Classification: Performances and Projects > Journey of A Yellow Man
> 1993, Concrete House, Nontburi > LWE_00508_02,
LWE_00508_14, LWE_00508_32, LWE_00508_57
No: LWE_00509_08 / 09
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
8
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
CONDITION
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Lee Wen
Journey of a Yellow Man No. 15: Touching China, 2001
2nd Open Art Festival
Pengshan County, Leshan, China
—
Drawing on the brief stays afforded to a
traveling performance artist, Lee Wen examines
the exoticisation of the Other (and its implied
exploitation) through the idiom “to eat tofu”, which
refers to flirtation, even to the point of harassment.
Classification: Performances and Projects > Journey of a Yellow
Man > 2001, Pengshan, China > LWE_00509_08,
LWE_00508_09
CONDITION
JOURNEY OF A YELLOW MAN
9
�No: LWE_00593
No: LWE_00587
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Lee Wen
—, 2002
—
—
—
An excerpt of one of Lee Wen’s notebooks,
which often feature a blend of sketches towards
performances, his own musings, and everyday notetaking and planning.
Classification: Notebooks > LWE_00593
No: LWE_00593
Lee Wen
—, 2002
—
—
—
A sketch of an unrealised edition of Journey of a
Yellow Man.
Classification: Notebooks > LWE_00593
JOURNEY OF A YELLOW MAN
Lee Wen
—, 2002
—
—
—
Notes and sketches
Notebooks > LWE_00593
No: LWE_00509_08 / 09
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
10
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
CONDITION
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Lee Wen
Journey of a Yellow Man No. 15: Touching China, 2001
2nd Open Art Festival
Pengshan County, Leshan, China
—
Drawing on the brief stays afforded to a
traveling performance artist, Lee Wen examines
the exoticisation of the Other (and its implied
exploitation) through the idiom “to eat tofu”, which
refers to flirtation, even to the point of harassment.
Classification: Performances and Projects > Journey of a Yellow
Man > 2001, Pengshan, China > LWE_00509_08,
LWE_00508_09
CONDITION
JOURNEY OF A YELLOW MAN
11
�No: LWE_00274
No: LWE_00628 (temp)
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Ray Langenbach
Annotated Singapore Art Diary, 1994
—
Singapore
—
A diary of the events surrounding the controversy
which developed following the Artists’ General
Assembly in 1994, which led to the refusal of state
funding for performance art, and mandatory security
deposits for the licensing of performance art.
Classification: Art Collectives and Festivals > 1993–1994 Artists'
General Assembly > 1994 > LWE_00274
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Lee Wen
Hi all fellow prisoners of paradiso Singaporo, —
—
—
—
A follow-up to the letter above, apparently
responding to a number of replies to the original.
Topics discussed include human nature and criticism
of how art is funded in Singapore.
Classification: Professional Records > Correspondence > Personal
Correspondence > LWE_00628 (temp)
No: LWE_00627 (temp)
No: LWE_00703 (temp)
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Lee Wen
Hi all fellow prisoners of Paradiso Singaporo, —
—
—
—
An open letter posted by Lee Wen to an online art
mailing list, discussing performance art practice in
authoritarian conditions, and global poverty relative
to prosperity in Singapore.
Classification: Professional Records > Correspondence > Personal
Correspondence > LWE_00627 (temp)
12
JOURNEY OF A YELLOW MAN
CONDITION
Elaine Ng
SIA-NAC Travel Grant Application, 2001
—
—
—
A rejection of a grant application by Lee Wen, citing
the policy of not funding performance art that was in
force at the time.
Classification: Professional Records > Correspondence >
Professional Correspondence > LWE_00703 (temp)
CONDITION
JOURNEY OF A YELLOW MAN
13
�No: LWE_00718 (temp)
No: LWE_00797 (temp)
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Lee Suan Hiang
Cultural Medallion: Award, 2005
—
—
—
A letter from the NAC congratulating Lee Wen on
having been awarded a Cultural Medallion.
Classification: Professional Records > Correspondence >
Professional Correspondence > LWE_00718 (temp)
Lee Wen
—, 1997
—
—
—
A letter to Liu Thai Ker, Chairman of the National Arts
Council, criticising the exhibition Singapore Art 97
Classification: Professional Records > Correspondence > Personal
Correspondence > LWE_00797 (temp)
No: LWE_00768 (temp)
No: LWE_00804 (temp)
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Artist(s):
Title, Year:
Event:
Location:
Lee Wen
Re: 6th Biennale of Havana in Cuba (May 97), 1997
6th Biennale of Havana in Cuba
—
—
A report following Lee Wen’s participation in the
Biennale of Havana, recounting his experiences.
Classification: Art Collectives and Festivals > 1997 Biennial of
Havana > Planning Documents / Correspondence >
LWE_00768 (temp)
14
JOURNEY OF A YELLOW MAN
CONDITION
Lee Wen
Singapore Art 97, 1997
Singapore Art 97
Singapore International Convention & Exhibition
Centre, Singapore
Photo: —
Description: An exhibition review
Classification: Art Collectives and Festivals > 1997 Singapore Art 97
> LWE_00804 (temp)
CONDITION
JOURNEY OF A YELLOW MAN
15
�No: LWE_00894 (temp)
No: LWE_00896 (temp)
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Lee Wen, Kai Lam
—, 2003
The Future Of Imagination: Live Art Meeting
The Substation, Singapore
—
The cover letter for Lee Wen and Kai Lam’s
application for NAC support for a performance art
festival. At the time, the NAC had recently announced
that they would resume the consideration funding for
performance art, and that the mandatory S$10,000
security deposit for performance art licensing would
be lifted. Includes the proposed festival budget.
Classification: —
Norsabariah Tubi
—, 2011
R.I.T.E.S. - Rooted in the Ephemeral Speak #02-2011
The Substation, Singapore
—
Approval of an Arts Entertainment License, subject to
inclusion of a nudity advisory.
Classification: —
No: LWE_00895 (temp)
No: LWE_00897 (temp)
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Kai Lam
—, 2003
The Future Of Imagination: Live Art Meeting
The Substation, Singapore
—
The cover letter for Kai Lam’s application to the Lee
Foundation to support a performance art festival.
Classification: —
16
JOURNEY OF A YELLOW MAN
CONDITION
Norsabariah Tubi
—, 2011
Rooted in the Ephemeral Speak (R.I.T.E.S.)
The Substation, Singapore
—
Approval of an Arts Entertainment License, subject to
the withdrawal of one performance, and the inclusion
of a mature content advisory
Classification: —
CONDITION
JOURNEY OF A YELLOW MAN
17
�Directory Body
19
No: LWE_00022_02
LWE_00022_02, LWE_00037
20
LWE_00070_03 / 11 / 23, LWE_00117_27 / 39 / 51
21
LWE_00127_220, LWE_00145_29
22
LWE_00147_80 / 378, LWE_00159_32
23
LWE_00171_03 / 05, LWE_00183_145
24
LWE_00183_147, LWE_00306_128
25
LWE_00321_01, LWE_00339_07
26
LWE_00341_01, LWE_00362_14
27
LWE_00386_01–4, LWE_00461_09
Artist(s):
Title, Year:
Event:
Location:
Lee Wen
Journey of a Yellow Man No. 1, 1992
—
C
� ity of London Polytechnic, London,
United Kingdom
Video: Sean Fairman
Description: The first in the Journey of a Yellow Man series, this
performance took place during his education in the
United Kingdom. As a Singaporean Chinese abroad,
Lee Wen felt the dissonance of being mistaken for
mainland Chinese, and consequently, the attendant
expectations of linguistic and cultural fluency. The
series is also derived from taxonomist Carl Linnaeus’
division of Homo sapiens along humoral lines, with
Homo sapiens asiaticus being characterised as severe,
haughty, and desirous.
Classification: Performances and Projects > Journey of a Yellow
Man > 1992, City of London Polytechnic, London >
LWE_00022_02
No: LWE_00037
Artist(s): Lee Wen
Title, Year: Rites of Spring, 2010
Event: Performance Art Laboratory Project (PALA Project)
2010 / “Undisclosed Territory #4”
Location: Padepokan Lemah Putih, Plesungan Karanganyar,
Surakarta, Central Java, Indonesia
Video: Jarwo, Jordan, Lee Wen
Description: In response to his diagnosis of Parkinson’s disease,
Lee Wen takes inspiration from Igor Stravinsky’s
The Rite of Spring (1913). Rather than simple physical
degeneration, Lee interprets the changes to his
body as an evolving challenge that influences the
development of his practice.
Classification: Performances and Projects > Rites of Spring > 2010,
Padepokan Lemah Putih, Solo > LWE_00037
18
JOURNEY OF A YELLOW MAN
BODY
BODY
JOURNEY OF A YELLOW MAN
19
�No: LWE_00070_03 / 11 / 23
No: LWE_00127_220
Artist(s): Jason Lim
Title, Year: Foreign Talent - Singapore Loves Me and I Love You
too, 2003
Event: Future Of Imagination: Live Art Meeting
Location: The Substation, Singapore
Photo: Juliana Yasin
Description: Aimed at blurring boundaries between audience and
performer, the exotic and banal, and the private and
public, this performance by Jason Lim is steeped in
bodily confrontation and provocation.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2003 > Jason Lim > LWE_00070_03,
LWE_00070_11, LWE_00070_23
No: LWE_00117_27 / 39 / 51
No: LWE_00145_29
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Sandra Johnston
—, 2010
9th International Performance Art Giswil 2010
T
� urbine Giswil, Giswil, Switzerland
Georg Anderhub
Centred on the interaction between the performer’s
body and a length of natural timber, there emerges
a sense of precarity through physicality, of bodies
coming into, and out of equilibrium.
Classification: Art Collectives and Festivals > 2010 International
Performance Art Giswil > 2010 > LWE_00117_27,
LWE_00117_39, LWE_00117_51
20
JOURNEY OF A YELLOW MAN
Artist(s): Juliana Yasin
Title, Year: —, 2006
Event: Birds Migration: Indonesia International Performance
Art Event (IIPAE)
Location: � ational Gallery of Indonesia, Jakarta, Indonesia
N
Photo: —
Description: In this performance, poses and contortions enacted
by Juliana Yasin are mimicked by the audience,
propagated through an ad hoc network of bodies.
Classification: Art Collectives and Festivals > 2006 Indonesia
International Performance Art Event > 2006 >
LWE_00127_220
BODY
Artist(s): Angie Seah
Title, Year: —, 2006
Event: Episode 5: 12-hour Performance, Sound and Video
Festival
Location: � onna Ong’s studio, Singapore
D
Photo: —
Description: Angie Seah’s vocally-oriented performance, with its
feedback loop of singing while listening to herself
by stethoscope, also involved interactions between
herself, the audience, and a potted plant.
Classification: Art Collectives and Festivals > 2006 Episode 5: 12hour Performance, Sound and Video Festival > 2006 >
LWE_00145_29
BODY
JOURNEY OF A YELLOW MAN
21
�No: LWE_00147_80 / 378
No: LWE_00171_03 / 05
Artist(s): Helge Meyer, Marco Teubner, et al.
Title, Year: —, 2009
Event: Live Action & Live Action Plus 2009 (Goteborg | Vara |
Lidkoping)
Location: The Substation, Singapore
Photo: Juliana Yasin
Description: —
Classification: Art Collectives and Festivals > 2009 Live Action >
2009 > LWE_00147_80, LWE_00147_378
No: LWE_00159_32
No: LWE_00183_145
Artist(s):
Title, Year:
Event:
Location:
Agnes Yit
Untitled, 2003
Future Of Imagination: Live Art Meeting
Museum of World Culture, Gothenburg Vara,
Lidkoping, Sweden
Photo: Juliana Yasin
Description: Migration, assimilation, and cross-border flows of
labour form the heart of this performance, which
took place in what was once the garden at The
Substation. Over the course of the performance,
Agnes Yit displayed texts remarking on overwork,
underpayment, and other related topics, culminating
in this inundation of ink.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2003 > Agnes Yit > LWE_00159_32
22
JOURNEY OF A YELLOW MAN
Lee Wen
Lifeboat 3, 2001
Theertha International Artists Workshop
Residence of Geoffrey Bawa, Lunaganga, Sri Lanka
Dominic Sansoni
Conflict, exploitation, and resource shortages
informed this performance; Lee Wen carries cinnamon
wood stripped of its valuable bark, thus symbolising
contemporary sectarianism and historical colonialism.
Classification: Performances and Projects > Journey of A Yellow
Man > 2001, Lunaganga, Sri Lanka > LWE_00171_03,
LWE_00171_05
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
BODY
Lee Wen
—, 2007
National Review of Live Art 2007
Tramway, Glasgow, Scotland
Sylvie Ferre, Naranja
As part of a group performance, Lee Wen improvised
using elements from his earlier work, I am not a
performance artist, this is not a work of art (1998).
Classification: Art Collectives and Festivals > 2004–2010 National
Review of Live Art > 2007 > LWE_00183_145
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
BODY
JOURNEY OF A YELLOW MAN
23
�No: LWE_00183_147
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
LWE_00321_01
Helge Meyer
—, 2007
National Review of Live Art 2007
Tramway, Glasgow, Scotland
Sylvie Ferre, Naranja
—
Art Collectives and Festivals > 2004–2010 National
Review of Live Art > 2007 > LWE_00183_147
No: LWE_00306_128
Artist(s):
Title, Year:
Event:
Location:
No: LWE_00339_07
Jason Lim
—, 2004
Future of Imagination 2
Sculpture Square, Singapore
Photo: —
Description: The performance took place as part of the festival’s
opening as part of a collaboration between Lee Wen,
Jason Lim, and a trio of breakdancers (Idzuwan, Alfian,
Fahmi). A minor controversy ensued, owing to Lee’s
use of a live bird in the performance.
Classification: Art Collectives and Festivals > 2003–2015 Future
of Imagination > 2004 > Lee Wen, Jason Lim, and
Breakdance kids > LWE_00306_128
24
Artist(s): Various
Title, Year: Artists’ General Assembly — Group Improvisation,
1994
Event: Artists’ General Assembly (A.G.A.)
Location: 5th Passage, Singapore
Video: —
Description: Sensationalised reportage of two performances by
Joseph Ng and Shannon Tam at the event ultimately
led to the National Arts Council refusing to fund
performance art for the next ten years
if not scripted rich in detail.
Classification: Art Collectives and Festivals > 1993–1994 Artists’
General Assembly > 1994 > LWE_00321_01
JOURNEY OF A YELLOW MAN
BODY
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Jamie McMurry
365 Performances (series), 2006
Future of Imagination 3
The Substation, Singapore
—
To draw attention to his process rather than the
finished objects as the site of Jamie McMurry’s
practice, 365 Performances re-enacts a selection of
10 out of a larger pool of performative actions.
The exact selection was determined using inputs
such as the date, the number of audience
members, and the longitude and latitude.
Classification: Art Collectives and Festivals > 2003–2015 Future
of Imagination > 2006 > Jamie McMurry >
LWE_00339_07
BODY
JOURNEY OF A YELLOW MAN
25
�No: LWE_00386_01-4 (stitched clip)
No: LWE_00341_01
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Chumpon Apisuk
Hearts, 2006
Future of Imagination 3
The Substation, Singapore
—
Developed in the aftermath of the September 11th
attack in New York, Hearts offers tribute to all who are
victims of violence, political repression, and poverty.
Classification: Art Collectives and Festivals > 2003–2015 Future
of Imagination > 2006 > Chumpon Apisuk >
LWE_00341_01
No: LWE_00362_14
Roi Vaara
—, 2012
SHO®T THEATRE
MACRO Testaccio, Rome, Italy
Bea Didier
To accompany the image of a ‘third leg,’ Roi Vaara
includes a portable soundtrack: of boots squelching
through mud.
Classification: Art Collectives and Festivals > 2011 SHO®T THEATRE
> 2011 > LWE_00362_14
JOURNEY OF A YELLOW MAN
Zhou Bin
—, 2012
Future of Imagination 8
Goodman Arts Centre, Singapore
Wu Jun Han
In this harrowing, highly charged performance, Zhou
Bin pushes his body to the limit, repeating a series of
three characters with ever-increasing vehemence.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2012 > Zhou Bin > LWE_00386_01-
4
No: �LWE_00461_09
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
26
Artist(s):
Title, Year:
Event:
Location:
Video:
Description:
BODY
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Melati Suryodarmo
Eulogy, 2008
Future of Imagination 5
Sculpture Square, Singapore, Singapore
Urich Lau
Through her interactions with flour, a remotecontrolled toy helicopter, and a majorette
baton, Melati Suryodarmo reflects on the dangers of
absolute belief, and our tendency to believe ourselves
to be in the right. Eulogy also included music:
Somewhere Over the Rainbow by Judy Garland.
Classification: Art Collectives and Festivals > 2003–2015 Future
of Imagination > 2008 > Melati Suryodarmo >
LWE_00461_09
BODY
JOURNEY OF A YELLOW MAN
27
�Directory Absence
No: LWE_00072_08
29
LWE_00072_08, LWE_00117_254
30
LWE_00117_281, LWE_00140_01–02
31
LWE_00157_04-5, LWE_00157_08-9, LWE_00167_74
32
LWE_00167_1825, LWE_00316_04
33
LWE_00320_01, LWE_00324_01–3
34
LWE_00340_09, LWE_00346_05
35
LWE_00350_03, LWE_00353_05
36
LWE_00370_18, LWE_00415_90
37
LWE_00442_129, LWE_00447_66
38
LWE_00455_06, LWE_00507_71
39
LWE_00543_30, LWE_00556_37
40
Artist(s): Juliana Yasin (in collaboration with Karee Dahl and
Colin Reaney)
Title, Year: How Far Would You Travel to See Art, 2003
Event: Future Of Imagination: Live Art Meeting
Location: The Substation, Singapore
Photo: Aaron Kao
Description: As its title suggests, this performance relied on a
conversation between the artist and the audience,
raising questions about the value of art, as well as
wealth disparities among art audiences.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2003 > Juliana Yasin > LWE_00072_08
LWE_00000
No: LWE_00117_254
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Lee Wen
Anyhow Blues Project, 2010
9th International Performance Art Giswil 2010
Turbine Giswil, Giswil, Switzerland
Georg Anderhub
The Anyhow Blues Project cautions that the increasing
acceptance of performance art carries the risk of
discipline and domestication. This project foregrounds
the social concerns of performance art, using the form
of 60’s era protest songs. This was the project’s first
presentation.
Classification: Art Collectives and Festivals > 2010 International
Performance Art Giswil > 2010 > LWE_00117_254
28
JOURNEY OF A YELLOW MAN
ABSENCE
ABSENCE
JOURNEY OF A YELLOW MAN
29
�No: LWE_00117_281
No: LWE_00157_04–5 (stitched clip), LWE_00157_08–9 (stitched clip)
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Rachel Echenberg
—, 2010
9th International Performance Art Giswil 2010
Turbine Giswil, Giswil, Switzerland
Georg Anderhub
This performance involved the gradual unraveling of
the artist’s socks, sweater, and pockets, while moving
closer to the audience. While doing so, she also
removed small sound devices which had been taped
to her skin. These devices played various sounds (such
as white noise, heartbeat, laughter, or birds) at a low
volume, and were handed out to the audience by the
artist.
Classification: Art Collectives and Festivals > 2010 International
Performance Art Giswil > 2010 > LWE_00117_281
No: LWE_00140_01–02
No: LWE_00167_74
Artist(s):
Title, Year:
Event:
Location:
Video:
Description:
Lee Wen
Is Art Necessary?, 2004
—
Esplanade, Singapore
Heman Chong
In this two-part video of Lee Wen’s mixed media
work, Lee grapples with the function and utility of
art, particularly in a society that values pragmatism.
The first part sees Lee as if in a fevered dream, the
canvases on his arms suggesting flight, while also
encumbering him. The second part documents
Lee inviting members of the public to answer the
questions posed by this work.
Classification: Performances and Projects > Is Art Necessary?
> 2004, Esplanade, Singapore > LWE_00140_01,
LWE_00140_02
30
JOURNEY OF A YELLOW MAN
Artist(s): Lee Wen
Title, Year: VITAL 07: International Chinese Live Art Festival, 2007
Event: Vital International Live Art Performance 2007 - The
Essence of Performance
Location: Chinese Art Centre, Manchester, United Kingdom
Video: —
Description: Performances by various artists, including Lee Wen’s
Too Late the Hippie #3, and More China than You.
Classification: Art Collectives and Festivals > 2007 VITAL:
International Chinese Live Art Festival > 2007 >
LWE_00157_04-5 (stitched clip), LWE_00157_08-9
(stitched clip)
ABSENCE
Artist(s): Elvira Santamaria Torres
Title, Year: —, 2010
Event: Performance Platform Lublin 2010: Black Market
International
Location: Labyrinth Gallery, Lublin, Poland
Photo: Diana Koeczewska, Lescan Sknarski
Description: —
Classification: Art Collectives and Festivals > 1997–2011 Black
Market International > 2010, Labyrinth Gallery, Lublin
> LWE_00167_74
ABSENCE
JOURNEY OF A YELLOW MAN
31
�No: LWE_00167_1825
No: LWE_00320_01
Artist(s): Jacques van Poppel
Title, Year: —, 2010
Event: Performance Platform Lublin 2010: Black Market
International
Location: Labyrinth Gallery, Lublin, Poland
Photo: Diana Koeczewska, Lescan Sknarski
Description: Having a musical, rather than a visual arts background,
Jacques van Poppel frequently incorporates
drumming in his performances, imparting a sense of
time in group improvisations.
Classification: Art Collectives and Festivals > 1997–2011 Black
Market International > 2010, Labyrinth Gallery, Lublin
> LWE_00167_1825
No: LWE_00316_04
Artist(s):
Title, Year:
Event:
Location:
Video:
Description:
Lee Wen
Ghost Stories, 1995, 1997
Simposio Internacional de Escultura
Chiapas, Mexico
—
Remarking on the consistent popularity of ghost
stories in our increasingly technological, secular
society, this performance examines fear, paranoia, and
how a “hyper-rationalized and ultra-managed nation
state” gives rise to a nostalgia for the irrational.
Classification: Performances and Projects > Ghost Stories > 1997,
Chiapas, Mexico > LWE_00320_01
No: LWE_00324_01–3 (stitched clip)
Artist(s):
Title, Year:
Event:
Location:
Ben Puah
BENISRAT #2, 2015
/*semble*/
Former KTM Tanjong Pagar Railway Station,
Singapore, Singapore
Photo: Alex Yang
Description: Early in Ben Puah’s practice, he created an avatar of
himself as a rat, imagining the world as a laboratory,
and himself as a test subject.
Classification: Art Collectives and Festivals > 2015 /*semble*/ >
2015 > LWE_00316_04
Artist(s): Lee Wen
Title, Year: —, 2004
Event: National Review of Live Art 2004
Location: The Arches, Glasgow, Scotland
Location: The Arches, Glasgow, Scotland
Video: —
Description: Following a performance with Black Market
International the previous year, this was Lee Wen’s
first solo appearance at the National Review of Live
Art, where he would go on to present his work several
times in the coming years.
Classification: Art Collectives and Festivals > 2004–2010 National
Review of Live Art > 2004 > LWE_00324_01-3
(stitched clip)
32
JOURNEY OF A YELLOW MAN
ABSENCE
ABSENCE
JOURNEY OF A YELLOW MAN
33
�No: LWE_00340_09
No: LWE_00350_03
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Arai Shinichi
You Are No Good-Tourist #6-, 2006
Future of Imagination 3
The Substation, Singapore
—
Drawn from a series of anecdotes from his time
in Zanzibar as a Japanese Overseas Cooperation
Volunteer, Arai Shinichi’s performance appears to link
(and lampoon) Japanese nationalism with his sexual
misadventures.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2006 > Arai Shinichi > LWE_00340_09
No: LWE_00346_05
Arahmaiani
Breaking Words, 2006
Future of Imagination 3
The Substation, Singapore
—
The audience was invited to write a word they
considered beautiful on plates provided by the artist,
while the artist might also comment on the words
being written. The artist would later smash the plates.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2006 > Arahmaiani > LWE_00346_05
JOURNEY OF A YELLOW MAN
Shu Yang
Living under the Flag, 2006
Future of Imagination 3
The Substation, Singapore, Singapore
—
In his proposal, Shu Yang describes wanting to
convey the difficulties of bureaucratic and institutional
negotiation involved in practicing as an artist in China,
as well as performatively reconciling and resolving
these tensions.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2006 > Shu Yang > LWE_00350_03
No: LWE_00353_05
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
34
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
ABSENCE
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Lee Wen
Almost Untitled: End of the World Stories, 2006
Future of Imagination 3
The Substation, Singapore
—
Incorporating the video from Lee Wen’s earlier
artwork, World Class Society (2000), this performance
was concerned with identity, social relationships, and
the process of making contemporary rituals.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2006 > Lee Wen > LWE_00353_05
ABSENCE
JOURNEY OF A YELLOW MAN
35
�No: LWE_00370_18
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
No: LWE_00442_129
Jürgen Fritz, Roi Vaara (Black Market International)
—, 2010
BONE 13 – Performance Art Festival
Schlachthaus Theatre, Bern, Switzerland
—
—
Art Collectives and Festivals > 2010 BONE > 2010 >
Day 5 > LWE_00370_18
No: LWE_00415_90
JOURNEY OF A YELLOW MAN
Chua Chin Chin
—, 2007
Fetter Field: Singapore Performance Art Event
Raffles Place, Singapore
Bruce Quek
In 2006 and 2007, Fetter Field was organised to
parallel Future of Imagination. It principally featured
younger artists presenting site-specific performances
in public. In this performance, Chua Chin Chin puts on
a parodised persona of an office worker.
Classification: Art Collectives and Festivals > 2006–2007 Fetter Field
> 2007 > Chua Chin Chin > LWE_00442_129
No: LWE_00447_66
Artist(s): Melati Suryodarmo
Title, Year: The dog barked at the backyard, while the eagle flew
after the dark. And I...., 2009
Event: Future of Imagination 6
Location: Sculpture Square, Singapore
Video: Ghazi Alqudcy
Description: A study of what Melati Suryodarmo describes as
“performance poetry”, through which she proposes
the reversal of a poem’s dematerialisation of its
subject matter to text.
Classification: Art Collectives and Festivals > 2003–2015 Future
of Imagination > 2010 > Melati Suryodarmo >
LWE_00415_90
36
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
ABSENCE
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Richelle Spence
—, 2007
Fetter Field: Singapore Performance Art Event
Tekka Market, Singapore
Bruce Quek
Simultaneous with performances by Rebecca
Cunningham and Zane Trow, who collectively referred
to themselves as “throwing stones”.
Classification: Art Collectives and Festivals > 2006–2007 Fetter Field
> 2007 > Throwing Stones > LWE_00447_66
ABSENCE
JOURNEY OF A YELLOW MAN
37
�No: LWE_00455_06
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
No: LWE_00543_30
Lynn Lu
Lemonade Stand, 2008
Future of Imagination 5
Sculpture Square, Singapore
Urich Lau
—
Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2008 > Lynn Lu > LWE_00455_06
No: LWE_00507_71
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
38
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Kenny McBride
—, 2007
Future of Imagination 4
72-13 Theatreworks, Singapore
—
In Kenny McBride’s durational performance,
meditative circumambulation is combined with
the action pictured: blowing air into the fish, as if
to revive them.
Classification: Art Collectives and Festivals > 2003–2015 Future
of Imagination > 2007 > Kenny McBride >
LWE_00543_30
No: LWE_00556_37
Lee Wen
Journey of a Yellow Man No. 3: DESIRE, 1993
Journey of a Yellow Man #3: Desire
The Substation, Singapore, Singapore
—
—
Performances and Projects > Journey of A Yellow Man
> 1993, The Substation, Singapore > LWE_00507_71
JOURNEY OF A YELLOW MAN
ABSENCE
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Bartolome Ferrando
—, 2007
Future of Imagination 4
72-13 Theatreworks, Singapore
—
Bartolome Ferrando’s reading of a text is
accompanied by various actions, each with some
ambiguous relationship to the words spoken.
Classification: Art Collectives and Festivals > 2003–2015 Future
of Imagination > 2007 > Bartolome Ferrando >
LWE_00556_37
ABSENCE
JOURNEY OF A YELLOW MAN
39
�No: LWE_00000
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Zhou Bin
—, 2007
Future of Imagination 4
72-13 Theatreworks, Singapore
—
With his gaping, soundless mouth, Zhou Bin likens
China’s broad spectrum censorship to having one’s
voice and words taken from one’s mouth.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2007 > Zhou Bin > LWE_00000
No:LWE_00507_71
Artist(s): Lee Wen
Title, Year: Journey of a Yellow Man
No. 3: DESIRE, 1993
Event: Journey of a Yellow Man #3:
Desire
Location: The Substation,
Singapore, Singapore
Photo: —
Description: —
40
JOURNEY OF A YELLOW MAN
ABSENCE
Classification: Performances and
Projects > Journey of A Yellow Man
> 1993, The Substation, Singapore
> LWE_00507_71
�Directory Memory
No: LWE_00011
43
LWE_00011, LWE_00050
44
LWE_00066_11, LWE_00071_48
45
LWE_00117_83 / 87, LWE_00117_217 / 223
46
LWE_00127_167 / 170, LWE_00127_196 / 201
47
LWE_00145_61, LWE_00147_09
48
LWE_00300_178, LWE_00316_24–25, 27–29
49
Artist(s):
Title, Year:
Event:
Location:
Video:
Description:
Andrée Weschler
Can a First Performance Be Relived, 2015
Future of Imagination 10
Z
� arch Collaboratives, Singapore
Bruce Quek
Repeating the gestures of her 2003 performance, To
Make Little Hoods Blush, Andrée Weschler explicitly
questions the possibility of re-enactment, as detailed
in the title of this performance.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2015 > Andrée Weschler > LWE_00011
LWE_00320_07 / 08 / 17 / 25, LWE_00323
50
LWE_00368_29, LWE_00441_08 / 17
51
LWE_00447_28 / 34, LWE_00452_29 / 34
52
LWE_00459_08, LWE_00539_11
53
LWE_00541_20
No: LWE_00050
Artist(s):
Title, Year:
Event:
Location:
Video:
Description:
The Artists Village
Artists Investigating Monuments, 2000
Artists Investigating Monuments
R
� affles Landing Site, Singapore
—
A project by The Artists Village that sought to
question the underlying meaning of monuments that
we might take for granted. Lee Wen contributed
Untitled (Raffles), an installation of scaffolding at the
purported landing site of Sir Stamford Raffles. The
installation brought visitors closer to Raffles, allowing
them to regard him on more equal footing.
Classification: Art Collectives and Festivals > 1989–2000 The Artists
Village > Artists Investigating Monuments > 2000,
Raffles Landing Site, Singapore > LWE_00050
42
JOURNEY OF A YELLOW MAN
MEMORY
MEMORY
JOURNEY OF A YELLOW MAN
43
�No: LWE_00066_11
No: LWE_00117_83 / 87
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Andrée Weschler
To Make Little Hoods Blush, 2003
Future of Imagination: Live Art Meeting
The Substation, Singapore
Juliana Yasin
This performance was named for a book by JeanPierre Enard. Beginning with the commonplace action
of applying lipstick, Andrée Weschler extends its
duration and area to the extreme, thus suggesting
both the viscerality of horror films, as well as a
gradual translation to objecthood. In 2015, Weschler
examined the re-enactment of this first performance
under the title Can a First Performance Be Relived?
Classification: Art Collectives and Festivals > 2003–2015 Future
of Imagination > 2003 > Andrée Weschler >
LWE_00066_11
No: LWE_00071_48
JOURNEY OF A YELLOW MAN
Pat Treyer
—, 2010
9th International Performance Art Giswil 2010
Turbine Giswil, Giswil, Switzerland
Georg Anderhub
A performance involving the extreme exaggeration
of sweeping, intensifying it to the point of dance. Pat
Treyer found inspiration from her work in stables, from
which the tool was taken.
Classification: Art Collectives and Festivals > 2010 International
Performance Art Giswil > 2010 > LWE_00117_83,
LWE_00117_87
No: LWE_00117_217 / 223
Artist(s): Jeremy Hiah
Title, Year: Fall of the Triple Tower, Blood for Oil, Oil for Painting,
2003
Event: Future Of Imagination: Live Art Meeting
Location: The Substation, Singapore
Photo: Juliana Yasin
Description: Beginning with an ‘oil painting’ of motor oil, Jeremy
Hiah’s performance draws on the geopolitical
instabilities of a fossil fuel economy, its entanglement
with the art market, and their shared complicity in
violence.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2003 > Jeremy Hiah > LWE_00071_48
44
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
MEMORY
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
Vida Simon
—, 2010
9th International Performance Art Giswil 2010
Turbine Giswil, Giswil, Switzerland
Georg Anderhub
—
Art Collectives and Festivals > 2010 International
Performance Art Giswil > 2010 > LWE_00117_217,
LWE_00117_223
MEMORY
JOURNEY OF A YELLOW MAN
45
�No: LWE_00127_167 / 170
No: LWE_00145_61
Artist(s): Sophia Natasha Wei
Title, Year: Migration of the Soul, 2006
Event: Birds Migration: Indonesia International Performance
Art Event (IIPAE)
Location: National Gallery of Indonesia, Jakarta, Indonesia
Photo: Lee Wen
Description: At the intersection of the artist’s Christian and
Chinese identities, this performance reflects on the
disposition of the soul, as well as our traditions and
rituals of death and mourning.
Classification: Art Collectives and Festivals > 2006 Indonesia
International Performance Art Event > 2006 >
LWE_00127_167, LWE_00127_170
No: LWE_00127_196 / 201
No: LWE_00147_09
Artist(s): —
Title, Year: —, 2006
Event: Birds Migration: Indonesia International Performance
Art Event (IIPAE)
Location: National Gallery of Indonesia, Jakarta, Indonesia
Photo: —
Description: —
Classification: Art Collectives and Festivals > 2006 Indonesia
International Performance Art Event > 2006 >
LWE_00127_196, LWE_00127_201
46
JOURNEY OF A YELLOW MAN
Artist(s): Chua Chin Chin
Title, Year: —, 2006
Event: Episode 5: 12-hour Performance, Sound and Video
Festival
Location: The Other House, Singapore
Photo: —
Description: Continuing The Artists Village’s tradition of marking
the end of the year, they presented a 12-hour festival
across various venues in Little India.
Classification: Art Collectives and Festivals > 2006 Episode5: 12Hour Performance, Sound and Video Festival > 2006
> LWE_00145_61
MEMORY
Artist(s): Amanda Heng
Title, Year: —, 2009
Event: Live Action & Live Action Plus 2009 (Goteborg | Vara |
Lidkoping)
Location: Museum of World Culture, Gothenburg, Vara,
Lidkoping, Sweden
Photo: —
Description: Amanda Heng in a group performance with
unidentified artists. The tattoo on her back is part
of her 2005 performance, I Remember..., which
examined people’s memories of war.
Classification: Art Collectives and Festivals > 2009 Live Action >
2009 > LWE_00147_09
MEMORY
JOURNEY OF A YELLOW MAN
47
�No: LWE_00300_178
No: LWE_00320_07 / 08 / 17 / 25
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Muhammad Khairul Ikhwan
—, 2014
Night Festival: Bold and Beautiful 2014
Singapore
—
Under the theme of “Spread the Love”, performance
artists at varying stages of their careers participated in
the Night Festival.
Classification: Art Collectives and Festivals > 2010–2014 Night
Festival > 2014 > General Photo and Video
Documentation > LWE_00300_178
No: LWE_00316_24–25, 27–29 (stitched clip)
Artist(s):
Title, Year:
Event:
Location:
Chand Chandramohan
Territory, 2015
/*semble*/
Former KTM Tanjong Pagar Railway Station,
Singapore
Photo: Alex Yang
Description: In this meditative performance, Chand Chandramohan
poses the unusual question of territory, measured not
in hectares, but in quantities a single person could
carry.
Classification: Art Collectives and Festivals > 2015 /*semble*/ >
2015 > LWE_00316_24-25, 27-29 (stitched Clip)
48
JOURNEY OF A YELLOW MAN
MEMORY
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Lee Wen
Ghost Stories, 1997
Simposio Internacional de Escultura
Chiapas, Mexico
—
Remarking on the consistent popularity of ghost
stories in our increasingly technological, secular
society, this performance examines fear, paranoia, and
how a “hyper-rationalized and ultra-managed nationstate” gives rise to a nostalgia for the irrational.
Classification: Performances and Projects > Ghost Stories > 1997,
Chiapas, Mexico > LWE_00320_07, LWE_00320_08,
LWE_00320_17, LWE_00320_25
No: LWE_00323
Artist(s): Arai Shin-chi, Skip Arnold, Anita Cahill, Chen Jin,
Dai Guangyu, Jozsef R Juhosz, Miriam King, Myriam
Laplante, Eric Letourneau, Lennie Lee, System HM2T,
Despine Olbric Marianou, Beate Roning, Shu Yang,
Song Yongxin, Tian Liusha, Yin Xiafeng, Yi Ju, Zhu
Ming, Zhu Yu
Title, Year: China Moon: The 2nd Open Art Festival, 2001
Event: China Moon: The 2nd Open Art Festival
Location: Sichuan, China
Photo: Lee Wen
Description: Documentation of the festival, featuring music by
Yamazaki Kazuhito. In addition to the performances
proper, Lee Wen also presents footage of the
surrounding area, as well as conversations and
interactions among the artists.
Classification: Art Collectives and Festivals > 2001 Open Art Festival
> 2001 > LWE_00323
MEMORY
JOURNEY OF A YELLOW MAN
49
�No: LWE_00368_29
No: LWE_00447_28 / 34
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Lee Wen
Anyhow Blues, 2010
BONE 13 – Performance Art Festival
Schlachthaus Theater, Bern, Switzerland
—
The Anyhow Blues project cautions that the increasing
acceptance of performance art carries the risk of
discipline and domestication. This project foregrounds
the social concerns of performance art, using the form
of 60’s era protest songs.
Classification: Art Collectives and Festivals > 2010 BONE > 2010 >
Day 3 > LWE_00368_29
No: LWE_00441_08 / 17
Chia Chuyia
Gray Territory, 2007
Fetter Field: Singapore Performance Art Event
Sculpture Square, Singapore, Singapore
Bruce Quek
A durational performance, consisting of the repetitive
action of applying either charcoal or chalk to the
flagstones outside Sculpture Square.
Classification: Art Collectives and Festivals > 2006–2007 Fetter
Field > 2007 > Chia Chuyia > LWE_00441_08,
LWE_00441_17
JOURNEY OF A YELLOW MAN
Rebecca Cunningham
—, 2007
Fetter Field: Singapore Performance Art Event
Tekka Market, Singapore
Bruce Quek
Simultaneous with performances by Richelle
Spence and Zane Trow, who collectively referred
to themselves as ‘throwing stones’. Rebecca
Cunningham's performance involved writing
memories onto small pieces of paper, and sticking
them to her dress.
Classification: Art Collectives and Festivals > 2006–2007 Fetter
Field > 2007 > Throwing Stones > LWE_00447_28,
LWE_00447_34
No: LWE_00452_29 / 34
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
50
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
MEMORY
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Ezzam Rahman
Help me help you, 2007
Fetter Field: Singapore Performance Art Event
City Hall, Singapore
Bruce Quek
Under pressure from the building’s management,
Ezzam Rahman modified his performance, scrubbing
the steps of the former City Hall with flowers, rather
than the lamb’s heart he originally proposed. The
focus of the performance was the state of human
rights in Singapore.
Classification: Art Collectives and Festivals > 2006–2007 Fetter
Field > 2007 > Ezzam Rahman > LWE_00452_29,
LWE_00452_34
MEMORY
JOURNEY OF A YELLOW MAN
51
�No: LWE_00459_08
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
No: LWE_00541_20
Mongkol Plienbangchang
Balanceunbalance, 2008
Future of Imagination 5
Sculpture Square, Singapore
Urich Lau
—
Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2008 > Mongkol Plienbangchang >
LWE_00459_08
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Vasan Sitthiket
—, 2007
Future of Imagination 4
72-13 Theatreworks, Singapore
—
Using rice on a tarpaulin as a medium of textual
and pictorial communication, Vasan Sitthiket also
performed through his movements in inscribing these
images and characters, accompanied by his own
voice.
Classification: Art Collectives and Festivals > 2003–2015
Future of Imagination > 2007 > Vasan Sitthiket >
LWE_00541_20
No: LWE_00539_11
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Kai Lam
Fish Walk, 2007
Future of Imagination 4
72-13 Theatreworks, Singapore
—
Kai Lam takes a fish for a walk - specifically, an Asian
climbing perch, capable of brief travel overland.
During the performance, Lam hydrates the fish using
water from his mouth.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2007 > Kai Lam > LWE_00539_11
52
JOURNEY OF A YELLOW MAN
MEMORY
MEMORY
JOURNEY OF A YELLOW MAN
53
�Directory Gestalt / Formation
55
LWE_00007, LWE_00025_01
56
LWE_00036_19, LWE_00047_05
57
LWE_00117_01 / 21 / 178 / 184, LWE_00126
58
LWE_00127_99 / 111 / 120 / 122, LWE_00127_251 / 255 / 270
59
LWE_00127_322 / 327 / 328, LWE_00147_107 / 108 / 109 / 110
60
LWE_00167_01 / 02 / 03, LWE_00167_105 / 127 / 219
61
LWE_00370_92 / 93, LWE_00371_60 / 70 / 200
64
Yuzuru Maeda
Perfect, 2015
Future of Imagination 10
Zarch Collaboratives, Singapore
Bruce Quek
Yuzuru Maeda combines collaboration, theatricality,
and the subculture of Zentai, which involves the
donning of skin-tight, identity-obscuring bodysuits.
Classification: Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2015 > Yuzuru Maeda > LWE_00007
LWE_00184_01 / 09 / 10 / 11, LWE_00366_382 / 388 / 478 / 483
63
Artist(s):
Title, Year:
Event:
Location:
Video:
Description:
LWE_00172_26 / 39 / 52, LWE_00183_52
62
No: LWE_00007
LWE_00546_09 / 11 / 14
No: LWE_00025_01
Artist(s):
Title, Year:
Event:
Location:
Video:
Description:
Lee Wen
Journey of a Yellow Man No. 6: History and Self, 1995
4th Asian Art Show
Setagaya Art Museum, Tokyo, Japan
—
With a new millennium looming, and Francis
Fukuyama’s recent proclamation of the “end of
history”, the Journey of a Yellow Man also takes a turn
at examining our relationship with history: its framing
and ownership, and its susceptibility to manipulation.
Classification: Performances and Projects > Journey of a Yellow
Man > 1995, Setagaya Art Museum, Tokyo >
LWE_00025_01
54
JOURNEY OF A YELLOW MAN
G E S TA LT F O R M AT I O N
G E S TA LT F O R M AT I O N
JOURNEY OF A YELLOW MAN
55
�No: LWE_00036_19
No: LWE_00117_01 / 21 / 178 / 184
Artist(s):
Title, Year:
Event:
Location:
Lee Wen
Ping Pong Go-Round, 1998
Construction in Progress VI — The Bridge
Street outside General Post Office,
Melbourne, Australia
Photo: Lee Wen, Satoko Sukenari
Description: If a normal game of ping pong is like a conversation,
what about ping pong played on an annular table?
In this series of public installations, Lee Wen merges
notions of play with large scale conversations, such as
forums and conferences. Singaporean press coverage
at the time called Lee a ‘display artist’.
Classification: Performances and Projects > Ping Pong Go-Round>
1998, The Bridge, Melbourne > LWE_00036_19
No: LWE_00047_05
Lee Wen
Ping Pong Go-Round, 1998, 2015
5th Asian Art Biennale Artist Making Movement
National Taiwan Museum of Fine Arts,
Taichung, Taiwan
Photo: —
Description: Over multiple incarnations and installations, different
sizes, details, and features have been included in Ping
Pong Go-Round.
Classification: Performances and Projects > Ping Pong Go-Round >
2015, National Taiwan Museum of Fine Arts, Taichung
> LWE_00047_05
JOURNEY OF A YELLOW MAN
Jason Lim
—, 2010
9th International Performance Art Giswil 2010
Turbine Giswil, Giswil, Switzerland
Georg Anderhub
Jason Lim’s practice is one of methodical
experimentation and iteration, with every posture,
tension, and material of each performance informing
the next.
Classification: Art Collectives and Festivals > 2010 International
Performance Art Giswil > 2010 > LWE_00117_01,
LWE_00117_21, LWE_00117_178, LWE_00117_184
No: LWE_00126
Artist(s):
Title, Year:
Event:
Location:
56
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
G E S TA LT F O R M AT I O N
Artist(s):
Title, Year:
Event:
Location:
Video:
Description:
Black Market International
Encuentro International de Performance, 2003
Encuentro International de Performance
Mexico City, Mexico
—
Edited documentation of the International Encounter
of Performance, with commentary by Black Market
International, and other artists. Featuring music by
Oscar Urrutia.
Classification: Art Collectives and Festivals > 1997–2011 Black
Market International > 2003, Mexico City, Mexico >
LWE_00126
G E S TA LT F O R M AT I O N
JOURNEY OF A YELLOW MAN
57
�No: LWE_00127_99 / 111 / 120 / 122
Artist(s): Hong O-Bong
Title, Year: —, 2006
Event: Birds Migration: Indonesia International Performance
Art Event (IIPAE)
Location: National Gallery of Indonesia, Jakarta, Indonesia
Photo: —
Description: —
Classification: Art Collectives and Festivals > 2006 Indonesia
International Performance Art Event > 2006 >
LWE_00127_99, LWE_00127_111, LWE_00127_120,
LWE_00127_122
No: LWE_00127_251 / 255 / 270
JOURNEY OF A YELLOW MAN
Artist(s): Roi Vaara
Title, Year: Thunder Man, 2006
Event: Birds Migration: Indonesia International Performance
Art Event (IIPAE)
Location: National Gallery of Indonesia, Jakarta, Indonesia
Photo: —
Description: A performance which involved the artist walking
through a public area, with much of his body obscured
by helium-filled balloons, until he makes the decision
to release them.
Classification: Art Collectives and Festivals > 2006 Indonesia
International Performance Art Event > 2006 >
LWE_00127_322, LWE_00127_327, LWE_00127_328
No: LWE_00147_107 / 108 / 109 / 110
Artist(s): Emily White
Title, Year: —, 2006
Event: Birds Migration: Indonesia International Performance
Art Event (IIPAE)
Location: National Gallery of Indonesia, Jakarta, Indonesia
Photo: —
Description: —
Classification: Art Collectives and Festivals > 2006 Indonesia
International Performance Art Event > 2006 >
LWE_00127_251, LWE_00127_255, LWE_00127_270
58
No: LWE_00127_322 / 327 / 328
G E S TA LT F O R M AT I O N
Artist(s): Amanda Heng
Title, Year: Let’s Walk, 1999, 2009
Event: Live Action & Live Action Plus 2009 (Goteborg | Vara |
Lidkoping)
Location: Museum of World Culture, Gothenburg, Vara,
Lidkoping, Sweden
Photo: —
Description: First performed in 1999, Let’s Walk was a response
to the fallout of the 1997 Asian financial crisis, which
disproportionately affected women, thus increasing
the usage of surgical (and non-surgical) cosmetic
procedures to improve their job security. The artwork
would later evolve into the Let’s Walk Some More
series.
Classification: Art Collectives and Festivals > 2009 Live Action
> 2009 > LWE_00147_107, LWE_00147_108,
LWE_00147_109, LWE_00147_110
G E S TA LT F O R M AT I O N
JOURNEY OF A YELLOW MAN
59
�No: LWE_00167_01 / 02 / 03
No: LWE_00172_26 / 39 / 52
Artist(s): Julie Andree T., Lee Wen, Jürgen Fritz, Jacques
Van Poppel, Roi Vaara, Elvira Santamaria, Alastair
MacLennan, Myriam Laplante, Jason Lim, Zygmunt
Piotrowski, Tomas Ruller
Title, Year: —, 2010
Event: Performance Platform Lublin 2010: Black Market
International
Location: Labyrinth Gallery, Lublin, Poland
Video: —
Description: Documentation of the performances and workshops
of Performance Platform Lublin 2010: Black Market
International.
Classification: Art Collectives and Festivals > 1997–2011 Black
Market International > 2010, Labyrinth Gallery, Lublin
> LWE_00167_01, LWE_00167_02, LWE_00167_03
No: LWE_00167_105 / 127 / 219
No: LWE_00183_52
Artist(s): Alastair MacLennan
Title, Year: —, 2010
Event: Performance Platform Lublin 2010: Black Market
International
Location: Labyrinth Gallery, Lublin, Poland
Photo: Diana Koeczewska, Lescan Sknarski
Description: A performance workshop for students, under the
direction of Alastair MacLennan.
Classification: Art Collectives and Festivals > 1997–2011 Black
Market International > 2010, Labyrinth Gallery, Lublin
> LWE_00167_105, LWE_00167_127, LWE_00167_219
60
JOURNEY OF A YELLOW MAN
Artist(s): Black Market International (Jürgen Fritz, Lee Wen,
Myriam LaPlante)
Title, Year: —, 2005
Event: National Review of Live Art
Location: Tramway, Glasgow, Scotland
Photo: Sylvie Ferre, Naranja
Description: This was the first time Lee Wen performed with
Black Market International at the National Review
of Live Art.
Classification: Art Collectives and Festivals > 1997–2011 Black
Market International > 2005, Tramway, Glasgow >
LWE_00172_26, LWE_00172_39, LWE_00172_52
G E S TA LT F O R M AT I O N
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
—
—, 2007
National Review of Live Art 2007
Tramway, Glasgow, Scotland
Sylvie Ferre, Naranja
—
Art Collectives and Festivals > 2004–2010 National
Review of Live Art > 2007 > LWE_00183_52
G E S TA LT F O R M AT I O N
JOURNEY OF A YELLOW MAN
61
�No: LWE_00184_01 / 09 / 10 / 11
No: LWE_00370_92 / 93
Artist(s):
Title, Year:
Event:
Location:
Video:
Description:
Lee Wen, Arif Ayab
Macau International Performance Art Festival, 2011
Macau International Performance Art Festival 2011
Ox Warehouse, Macau
—
Performances by various artists at the festival.
Includes a collaborative performance by Lee Wen and
Arif Ayab, as well as a roundtable discussion by the
artists involved.
Classification: Art Collectives and Festivals > 2011 Macau
International Performance Art Festival > 2011 >
LWE_00184_01, LWE_00184_09, LWE_00184_10,
LWE_00184_11
No: LWE_00366_382 / 388 / 478 / 483
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
62
Black Market International
—, 2010
BONE 13 – Performance Art Festival
Schlacthaus Theater, Bern, Switzerland
—
—
Art Collectives and Festivals > 2010 BONE > 2010
> Day 1 > LWE_00366_382, LWE_00366_388,
LWE_00366_478, LWE_00366_483
JOURNEY OF A YELLOW MAN
G E S TA LT F O R M AT I O N
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
Black Market International
—, 2010
BONE 13 – Performance Art Festival
Schlacthaus Theater, Bern, Switzerland
—
—
Art Collectives and Festivals > 2010 BONE > 2010 >
Day 5 > LWE_00370_92, LWE_00370_93
No: LWE_00371_60 / 70 / 200
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Black Market International
—, 2010
BONE 13 – Performance Art Festival
Schlacthaus Theater, Bern, Switzerland
—
Over the course of the performance, various artists
deposited snow from outside the venue around
Alastair MacLennan, among other performative
interactions.
Classification: Art Collectives and Festivals > 2010 BONE > 2010
> General Photo and Video Documentation >
LWE_00371_60, LWE_00371_70, LWE_00371_200
G E S TA LT F O R M AT I O N
JOURNEY OF A YELLOW MAN
63
�No: LWE_00546_09 / 11 / 14
Artist(s):
Title, Year:
Event:
Location:
Photo:
Description:
Classification:
Kim Kang
—, 2007
Future of Imagination 4
72-13 Theatreworks, Singapore, Singapore
—
—
Art Collectives and Festivals > 2003–2015 Future of
Imagination > 2007 > Kim Kang > LWE_00546_09,
LWE_00546_11, LWE_00546_14
No: LWE_00147_110
Artist(s): Amanda Heng
Title, Year: Let's Walk, 1999, 2009
Event: Live Action & Live Action Plus
2009 (Goteborg | Vara | Lidkoping)
Location: Museum of World Culture,
Gothenburg, Vara, Lidkoping,
Sweden
Photo: —
64
JOURNEY OF A YELLOW MAN
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Classification: Art Collectives and
Festivals > 2009 Live Action > 2009
> LWE_00147_110
�NTU CCA SINGAPORE
VISITOR INFORMATION
COLOPHON
JOURNEY OF A YELLOW MAN
Visitor Information
Exhibition Hours
Tuesday – Sunday, 12.00 – 7.00pm
Friday, 12.00 – 9.00pm
Closed on Mondays
Open on Public Holidays (except on Mondays)
Exhibitions
Block 43 Malan Road,
Gillman Barracks,
Singapore 109443
+65 6339 6503
Free admission to all programmes,
unless otherwise stated
Residencies Studios
Blocks 37 and 38, Malan Road
Singapore 109452 and 109441
ntu.ccasingapore.org
facebook.com/ntu.ccasingapore
Instagram: @ntu_ccasingapore
Twitter: @ntuccasingapore
Research Centre and Office
Block 6 Lock Road, #01-09/10,
Singapore 108934
+65 6460 0300
ntuccaevents@ntu.edu.sg
LOCATED AT
Residencies studios
LO
D
C
EP
BLK
K
O
37 & 38
A
RO
RO
T
D
A
D
MALAN ROAD
Exhibitions
Research centre &
BLK
Singapore
Teachers' Academy
for the Arts
A
RO
N
LA
A
M
Bus Stop
ALEXANDRA ROAD
66
JOURNEY OF A YELLOW MAN
68
JOURNEY OF A YELLOW MAN
COLOPHON
Pedestrian walkway
Entrance
to Gillman
Barracks
43
6
D
BLK
Bus Stop
Labrador Park MRT
(Circle Line)
Curated by:
Sophie Goltz, Deputy Director, Research and Academic Programmes,
NTU CCA Singapore, and Assistant Professor, NTU ADM Singapore
in collaboration with Lee Wen, artist, and Bruce Quek, Research,
Independent Archive
Collaborative Public Programme:
Kamiliah Bahdar, Public Programme, Independent Archive
Curatorial Assistant:
Ho See Wah, Young Professional Trainee, NTU CCA Singapore
Assistant to Lee Wen:
Liu Wen Chao, Library, Independent Archive
Exhibition Production:
Isrudy Shaik, Executive, Production, NTU CCA Singapore,
Qamarul Asyraf, Young Professional Trainee, NTU CCA Singapore
IT Support:
Lim Shengen, artist
Logistics:
First Printers, and Rhema Events & Arts Services
Directory Design:
Zachary Chan, Allan Chan, Wong Chun Sing
Directory Printing:
Times Printers
Acknowledgements:
For the art works, photos, videos and installation used in this project,
�
we thank Lee Wen and the Independent Archive. All copyrights with
Independent Archive and NTU CCA Singapore
NTU CCA DIGITAL RESOURCE PLATFORM
Initiated by:
Ute Meta Bauer, Founding Director, NTU CCA Singapore, Professor,
�
NTU ADM Singapore and Lee Wen, founder Independent Archive,
Singapore in collaboration with Chuong-Dai Vo, researcher, Asia Art
Archive, Hong Kong
Assistance to the project:
Bruce Quek, Research, Independent Archive with the support of
�
Samantha Leong Min Yu, Executive, Conferences, Workshops &
Archive, NTU CCA Singapore (till May 2018), Corine Chan Li Ling,
Executive Archive, NTU CCA Singapore (May to July 2018), and
Pooja Paras Mehta (2017), Ho See Wah (2018), Young Professional
Trainees, NTU CCA Singapore
COLOPHON
JOURNEY OF A YELLOW MAN
67
�Asia Art Archive
NTU CCA Singapore
Asia Art Archive is a catalyst for new ideas that enrich the
understanding of the world through the collection, creation,
and sharing of knowledge around recent art in Asia. With
one of the most valuable growing collections of material
on the recent history of art from Asia, freely available
from the website and onsite library, AAA builds tools and
communities to collectively expand knowledge through
research, residency, and educational programmes.
AAA drives the composition of the collection with key areas
of concern known as content priorities. These include
examining sites where art history has been written in
Asia through the lens of art writing, exhibitions, and
pedagogy; looking at ideas that connect beyond national
borders (complex geographies); considering tradition
and contemporary expression in parallel; investigating
ephemeral practices such as performance art; and
addressing gaps in art history and in AAA’s collection
such as the imbalance of the representation of women.
The collection comprises a vast range of documentation,
including the personal archives of significant artists,
educators, and art professionals as well as key exhibitions
and art spaces. It continually grows through a research,
acquisition, and digitalisation process.
Located in Gillman Barracks, the NTU CCA Singapore is
a national research centre of Nanyang Technological
University, supported by a grant from the Economic
Development Board.
Since its inauguration in October 2013, the Centre links the
complexities of the contemporary art field to other forms
of knowledge production. NTU CCA Singapore is unique
in its threefold constellation of research & academic
programmes, international exhibitions and researchbased residencies, positioning itself as a space for critical
discourse.
The Centre focuses on Spaces of the Curatorial in Singapore,
Southeast Asia, and beyond, and engages in multi-layered
research topics, such as PLACE.LABOUR.CAPITAL. (2014–
2017)
www.ntu.ccasingapore.org
https://aaa.org.hk
68
JOURNEY OF A YELLOW MAN
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I N F O R M AT I O N
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69
�CLIMATES.HABITATS.ENVIRONMENTS.
NTU CCA Singapore’s overarching research topic which informs
and connects the Centre’s various activities for the next three
years. Changes in the environment influence weather patterns
and these climatic shifts impact habitats, and vice versa.
Precarious conditions of habitats are forcing the migration of
humans and other species at a critical level. The consequences
of human intervention are felt on a global scale, affecting
geopolitical, social, and cultural systems. The Centre intends to
discuss and understand these realities through art and culture in
dialogue with other fields of knowledge.
GIVING
Spaces of the Curatorial
The Centre seeks to engage the potential of “curating,” and
its expanded field. What are the infrastructures and modes of
presenting and discussing artistic and cultural production in
diverse cultural settings and in particular throughout Southeast
Asia’s vastly changing societies? NTU CCA Singapore’s exhibition
spaces, designed by artist and curator Fareed Armaly, respond to
this curatorial framework to unfold different juxtaposed formats.
NTU CCA Singapore Publications
The publishing activity emphasises the holistic approach of the Centre
by expanding the connections across the various departments to
capture and deepen the knowledge on contemporary art linked to the
Centre’s ongoing research projects. The mobility and lasting nature
of publications allow the Centre to disseminate its contributions to
discourse beyond its physical parameters.
Academic Programmes with the School of Art, Design and Media, NTU
Master of Arts in Museum Studies and Curatorial Practices
Applications from 1 September 2018 - 1 March 2019
In August 2018, NTU welcomed the first intake of MA students
for Museum Studies and Curatorial Practices. The programme
prepares graduates for professional positions in the highly
complex and diverse museum landscape in Southeast Asia and
the ever-expanding field of contemporary curating.
Master of Arts (Research) and Doctor of Philosophy (PhD)
Application period: 1 October – 15 November 2018
This research-oriented MA and PhD is designed for students who
wish to pursue cutting-edge research in specific areas of Art,
Design and Media with a focus in Spaces of the Curatorial and
Curating the City, both key academic research areas of NTU CCA
Singapore.
Learn more: adm.ntu.edu.sg/programmes
NTU CCA Singapore is a non-profit institution that takes great
pride in presenting internationally-acclaimed, research-driven
exhibitions, residencies, and extensive educational programmes.
Your contribution, regardless of amount, goes a long way in enabling
us to play an active role within the local arts scene. Your generous
support will also contribute to the development of regional and
international arts infrastructures. If you are a taxpayer in Singapore,
your contributions are eligible for a 250% tax deduction in 2018.
For enquiries, please contact ntuccacomms@ntu.edu.sg
PLACE.LABOUR.CAPITAL. Mousse Publishing, distributed by NUS Press, 2018
SouthEastAsia: Spaces of the Curatorial. Jahresring 63. Sternberg Press, 2017
Becoming Palm, Simryn Gill and Michael Taussig. Sternberg Press, 2017
Tomás Saraceno: Arachnid Orchestra. Jam Sessions. 2017
Theatrical Fields: Critical Strategies in Performance, Film, and Video,
in collaboration with Bildmuseet Umeå. König Books, 2016
ARTISTS’ LIMITED EDITION EVERY DAY ITEMS
NTU CCA Singapore’s line of commissioned Artists’ Limited Editions
Everyday Items—ranging from scarves, umbrellas, and raincoats, to
notebooks, tote bags, and beach towels—is created in collaboration
with the Centre’s local and international Artists-in-Residence.
Participating artists include: Hamra Abbas (Kuwait), Julian ‘Togar’
Abraham (Indonesia), Yason Banal (Philippines), Heman Chong
(Singapore), Duto Hardono (Indonesia), Alex Mawimbi (Kenya/
Netherlands), Alex Murray-Leslie (Australia/Spain), Arjuna Neuman
(United States/United Kingdom), UuDam Nguyen (Vietnam), Ana
Pravc (Serbia/United States), anGie seah (Singapore), SHIMURAbros
ˇki
(Japan), Tamara Weber (United States), and Jason Wee (Singapore).
For enquiries, please contact ntuccaevents@ntu.edu.sg
70
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JOURNEY OF A YELLOW MAN
71
�NTU CCA SINGAPORE STAFF
Professor Ute Meta Bauer, Founding Director, NTU CCA Singapore
and Professor, School of Art, Design and Media, NTU
EXHIBITIONS & RESIDENCIES
Khim Ong, Deputy Director, Curatorial Programmes
Dr Anna Lovecchio, Curator, Residencies
Magdalena Magiera, Curator, Outreach & Education
Ana Sophie Salazar, Assistant Curator, Exhibitions
Lynda Tay, Curatorial Assistant, Residencies
Djasman Bin Hussain, Assistant Manager, Production
Isrudy Shaik, Executive, Production
Nadia Amalina, Young Professional Trainee, Outreach & Education
Qamarul Asyraf Bin Hosri, Young Professional Trainee, Production
Sara Ng, Young Professional Trainee, Residencies
Seet Yun Teng, Young Professional Trainee, Exhibitions
RESEARCH & EDUCATION
Sophie Goltz, Deputy Director, Research & Academic Programmes,
and Assistant Professor, School of Art, Design and Media, NTU
Ho See Wah, Young Professional Trainee, Research
OPERATIONS & STRATEGIC DEVELOPMENT
Philip Francis, Deputy Director, Operations & Strategic Development
Jasmaine Cheong, Assistant Director, Operations & HR
Sunitha De Silva-Cant, Assistant Director, Development
Yao Jing Wei, Manager, Finance
Sylvia Tsai, Manager, Communications
Iris Tan, Executive, Administration & Finance
Louis Tan, Executive, Operations
Chua Yong Kee, Young Professional Trainee, Development
Debbi Tan, Young Professional Trainee, Communications
72
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NTU CCA SINGAPORE GOVERNING COUNCIL
Co-Chairs
Professor Joseph Liow Chin Yong, Dean, College of Humanities, Arts,
and Social Sciences, NTU
Paul Tan, Deputy Chief Executive Officer, National Arts Council
Linda de Mello, Director, Sector Development, National Arts Council
Professor Kwok Kian Woon, Associate Provost (Student Life),
President’s Office, NTU
Mike Samson, Managing Director/ Regional Head ASEAN, Leveraged
and Structured Solutions, Standard Chartered Bank
Professor Dorrit Vibeke Sorensen, Chair, School of Art, Design and
Media, NTU
Michael Tay, Group Managing Director, The Hour Glass Limited
Ng Wen Xu, Director, Lifestyle, Singapore Economic Development
Board
Dr June Yap, Director, Curatorial, Programmes and Publications,
Singapore Art Museum (SAM)
NTU CCA SINGAPORE INTERNATIONAL ADVISORY BOARD
Chair
Professor Nikos Papastergiadis, Director, Research Unit in Public
Cultures and Professor, School of Culture and Communication, The
University of Melbourne, Australia
Doryun Chong, Deputy Director and Chief Curator, M+, Hong Kong
Catherine David, Deputy Director in charge of Research and
Globalisation, MNAM/CCI, Centre Pompidou, Paris, France
Okwui Enwezor, Leading curator and writer, Munich, Germany
Professor Patrick Flores, Department of Arts Studies, University of the
Philippines and Curator Jorge B. Vargas Museum, Manila, Philippines
Ranjit Hoskote, cultural theorist and independent curator, Bombay,
India
Professor Ashley Thompson, Hiram W. Woodward Chair, Southeast
Asian Art and Chair, South East Asian Studies, SOAS University of
London, United Kingdom
Philip Tinari, Director, Ullens Center for Contemporary Art, Beijing,
China
I N F O R M AT I O N
JOURNEY OF A YELLOW MAN
73
�NOTES
74
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NOTES
DIARY
DIARY
JOURNEY OF A YELLOW MAN
75
�Personally, I don’t think about yellow so much anymore but it
seems to be coming out of every conversation that sounds
like a repeated joke that everybody seems to know but
have forgotten the punchline. Responses can be tears
or laughter depending on the listeners perception. This
kind of misdirected understanding like a game of Chinese
whispers makes us understand the importance of looking
at the records per se of the evidence what has really
happened. An empiricist return to be resolved from any
sentimental predilections or other idealistic presumptions.
—Lee Wen, 2018
No: LWE_00508_54
Artist(s): Lee Wen
Title, Year: Journey of a Yellow Man
No. 4: LIBIDO, 1993
Event: Sense Yellow
Location: Concrete House,
Bangkok, Thailand
Photo: —
Classification: Performances and
Projects > Journey of A Yellow Man
> 1993, Concrete House, Nontburi
LWE_00508_54
�Collaborative Public Programme
Saturday, 15 September 2018, 6.00pm – 9.00pm
Opening and Performance: The Body as Archive (2018) by Lee Wen,
artist (Singapore)
NTU CCA Singapore, Block 43 Malan Road, Singapore 109443
Friday, 21 September 2018, 8.00pm – 10.00pm
Art After Dark x Gillman Barracks 6th Anniversary Celebrations
Jam Session: Lepak Readings by Karl Kerridge, Terence Lau,
and Kai Lam, artists and musicians (Singapore)
NTU CCA Singapore, Block 43 Malan Road, Singapore 109443
Sunday, 7 October 2018, 10.00am – 6.00pm
Workshop: Performance Art by Kai Lam, artist (Singapore)
Limited capacity, please register at indiearchive@signet.com
Independent Archive, 71 Aliwal St, #01-01, Singapore 199944
Saturday, 13 October 2018, 2.00pm – 7.00pm
Launch: Afterall journal with a special feature on Lee Wen with
Professor Ute Meta Bauer, Founding Director, NTU CCA Singapore,
Professor at School of Art, Design and Media, NTU, and editor, Afterall
journal (Germany/Singapore); Ana Bilbao, Research Fellow, Afterall
Research Centre, and editor, Afterall journal (Mexico/United Kingdom);
Charles Esche, Director, Van Abbemuseum, Eindhoven, and Co-director,
Afterall journal and books (Netherlands); Anders Kreuger, Senior Curator,
M HKA, and editor, Afterall journal (Sweden/Belgium); David Morris,
editor, Afterall journal and Exhibition Histories (United Kingdom);
Anca Rujoiu, independent curator and editor, Afterall journal (Romania/
Singapore); Peter Daniel Sipel, poet (United Kingdom); Charles
Stankievech, editor, Afterall journal (Canada); David Teh, Assistant
Professor, National University of Singapore (Australia/Singapore);
and Cresantia Frances Koya Vaka’uta, Associate Dean, Research &
Internationalisation, The University of the South Pacific (Fiji)
NTU CCA Singapore, Block 43 Malan Road, Singapore 109443
Sunday, 14 October 2018, 3.00pm – 5.00pm
Conversation: Narrating and Digitalizing Asian Art Histories with
Chuong-Dai Vo, researcher, Asia Art Archive (Hong Kong)
Independent Archive, 71 Aliwal St, #01-01, Singapore 199944
Sunday, 28 October 2018, 3.00pm – 5.00pm
Conversation: Cause to Know with Koh Nguang How, artist (Singapore),
and Gilles Massot, artist (France, Singapore)
Independent Archive, 71 Aliwal St, #01-01, Singapore 199944
www.facebook.com/ntu.ccasingapore
www.facebook.com/IndependentArchive
�
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resources
Exhibition Resource
Collateral and other print or digital materials pertaining to exhibitions held at the Centre. Examples include exhibition guides, banners, postcards, digital tour videos, etc.
Short Description
Journey of a Yellow Man. Selected Materials from the Independent Archive Exhibition Guide
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
<i>Journey of a Yellow Man. Selected Materials from the Independent Archive</i> Exhibition Guide
Description
An account of the resource
<i>Journey of a Yellow Man. Selected Materials from the Independent Archive</i> Exhibition Guide
Date
A point or period of time associated with an event in the lifecycle of the resource
2018-09-15
Contributor
An entity responsible for making contributions to the resource
Sophie Goltz
Lee Wen
Bruce Quek
Kamiliah Bahdar
Ho See Wah
Liu Wen Chao
Ute Meta Bauer
Chương-Đài Võ
Samantha Leong Min Yu
Corine Chan Li Ling
Pooja Paras Mehta
Chuong-Dai Vo
Chuong Dai Vo
Format
The file format, physical medium, or dimensions of the resource
Guide
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia
-
https://d1y502jg6fpugt.cloudfront.net/57163/archive/files/4b7e4444e181df9177160a5ab942f4e1.pdf?Expires=1712793600&Signature=V1NQK6q-dLq2BaWSUGv0ebWGuNnZm%7EEfGFWxCKEi4H1cZpnfF7O6nDrS7VCkx1JFRrZE7EH3SKS1dFlvz00E1t4fc-7HnYTFPEQY24jwJaTCUtYEvso9YDel6nYBJv1lz5E-7w4hAZdzzU0tMdiDibIULwtqYB1mO9WUMT30rIgPjVbK0wIBg7IX3l6newWQ8nPS1H7eeHqv2cW1h7FzuFyIRM5YAzb4lRYq0-e1N7uzt6%7EDmnQlI3iwGpcByXFXWUrDblsOqfHGt677pQsC9SzJlX%7EtUTfx5BTMv8eE-yBqg6rRzQcgGaKZs2fFCvaoPs6yULG7l37kVoM38IwVcA__&Key-Pair-Id=K6UGZS9ZTDSZM
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PDF Text
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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Resources
Corporate Resource
Collateral and other print or digital materials for corporate development or marketing purposes. Examples include quarterlies and residency inserts, Chinese New Year cards, exhibition reports, fact sheets, news clippings, etc.
Short Description
2015 Chinese New Year Card
Corporate Resource Type
Communications
Communications Type
Leave blank if not applicable
Chinese New Year Card
Theme
Place.Labour.Capital.
Climates. Habitats. Environments.
None
Place.Labour.Capital.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
2015 Chinese New Year Card
Description
An account of the resource
2015 Chinese New Year Card
Date
A point or period of time associated with an event in the lifecycle of the resource
2015
Contributor
An entity responsible for making contributions to the resource
NTU CCA Singapore
Lee Wen
Coverage
The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant
Southeast Asia