Speed Reading by Sonya Lacey]]> Artistic Research]]> Politics]]> Sonya Lacey addresses the politics of communication by tampering with the concrete textures of language. Specifically conceived for The Vitrine, Speed Reading combines two bodies of work that put the sheer physicality of language to a test. Headlines from The Straits Times and Solar Print Tests (both 2017) result from a series of experiments, undertaken by the artist during her residency at NTU CCA Singapore, where she exposed newsprint paper to both sunlight and artificial light, while Dilutions, an earlier work from 2016, is a sculptural piece involving a movable metal typeface and the process of corrosion determined by lead oxide. Slowly warping over time, the material components entailed in the production and circulation of the written word, Speed Reading alters the boundaries of legibility and shakes the physical foundations of the transmission of knowledge.]]> Sonya Lacey ]]> Installation]]> Mixed Media]]> Southeast Asia]]> The Disappearance]]> Experiential]]> Embodiment]]> Spaces of the Curatorial]]> The Disappearance situates itself in the architectural setting of a previous exhibition Paradise Lost. It works with what is left out: the traces of the show in the space; its echoes in our memory, The Disappearance conceals and reveals: what has happened before and what will follow. Subject to operations of installation and de-installation, an exhibition space if continuously edited: we erase one text to inscribe another. The Disappearance acknowledges the inherent changes into an exhibition space and its continuous rewriting. What happens after an exhibition is over? What we remember? How we remember?

Curated by Anca Rujoiu (Curator for Exhibitions) and Vera Mey (Curator for Residencies), The Disappearance is conceived as a durational event unfolding over two days including a continuous series of manifestations from live performances to film screenings.]]>
Anca Rujoiu]]> Vera May]]> Cyprien Gaillard]]> Malak Helmy]]> Sonya Lacey]]> Manuel Pelmus]]> Laure Prouvost]]> Shubigi Rao]]> Nigel Rolfe]]> Marie Shannon]]> Diego Tonus]]> Mona Vătămanu & Florin Tudor]]> Erin Gleeson]]> Planting Rice]]> David Teh]]> Performance]]> Film]]> Asia]]>
The Disappearance Exhibition Guide]]> Experiential]]> Embodiment]]> Spaces of the Curatorial]]> The Disappearance Exhibition Guide]]> Anca Rujoiu]]> Vera May]]> Cyprien Gaillard]]> Malak Helmy]]> Sonya Lacey]]> Manuel Pelmus]]> Laure Prouvost]]> Shubigi Rao]]> Nigel Rolfe]]> Marie Shannon]]> Diego Tonus]]> Mona Vatamanu]]> Florin Tudo]]> Erin Gleeson]]> Planting Rice]]> David Teh]]> Guide]]> Asia]]> Performance]]> Spaces of the Curatorial]]> 5 Apr 2014, Sat 2:00pm - 9:00pm
6 Apr 2014, Sun 2:00pm - 9:00pm

I feel their pane (2014) is a performance that operates on a personal, conversational scale for the duration of The Disappearance. The artist will circulate throughout the exhibition space and through the audience, inviting their involvement. The works brings together ideas around transparency, speculation and the format of the joke.

A public programme of The Disappearance.]]>
Sonya Lacey]]> Southeast Asia]]>
Artistic Research]]> 22 Sep 2017, Fri 07:00 PM - 11:00 PM
Residencies Studios, Blocks 37 and 38 Malan Road

Residencies OPEN offers a rare insight into the often-introverted sphere of the artist’s studio. Through showcasing discussions, performances, installations, and works-in-progress, Residencies OPEN profiles the diversity of contemporary art practice from around the globe and the divergent ways artists conceive an artwork with the studio as a constant space for experimentation and research.

This edition of Residencies OPEN takes place on the occasion of Art After Dark x Gillman Barracks 5th Anniversary Celebrations, and features Chun Kaifeng (Singapore), Sonya Lacey (New Zealand), Kartik Sood (India), and Richard Streitmatter-Tran (Vietnam).

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Chun Kaifeng]]> Sonya Lacey]]> Kartik Sood ]]> Richard Streitmatter-Tran]]> Southeast Asia]]>
Performance]]> History]]> Sonya Lacey]]> Oceania]]> Artistic Research]]> One divides into two, a project which derives its title from a Maoist slogan from the 1960s. The project expands the artist’s investigations into non-western print histories and is backgrounded by her ongoing interest in the differing physical forms of public communication across various broadcasting platforms. Lacey aims to research current approaches to publishing and copyright in the Southeast Asian region with a specific focus on the printing history of Cambodia, looking in particular at bootlegged publications, the flouting of copyright laws, and the histories of digital piracy.]]> Sonya Lacey]]> Installation]]> Performance]]> Southeast Asia]]>