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If you like to read things that are well-crafted and polished, come back in a week; this document will evolve rapidly. This however, is completed: http://glossi.com/bigRwing/#!/glossies OK, following are notes about two Singaporean artists. As mentioned, these notes will be rewritten and polished into essays similar to those found in here: http://glossi.com/bookmerah/9368-black13
A keris (Malay dagger) with a blade made of two words made of steel. The two words: Judas Priest. A young Asian man in the moshpit of a concert. On the back of his jacket is one word: Judas. I Became Judas in the Moshpit, a conceptual work composed of photographs, video, paintings and a sculpture, uses pop culture and anthropological concerns to create a self-portrait of an artist questioning his place in the relationship between East and West. The works are strong, private and universal. Aspects of the piece include: - A mash up of Margaret Meade's 1952 filmed documentation of "Trance and Dance in Bali" with video from the 2012 Judas Priest concert in Singapore, emphasising the similarities between entranced kris dance performers and headbanging Judas Priest fans.Incense and smoke machines are also seen to serve similar functions. -Body as exhibition space/public space as performance space. -The artist wore a jacket with the words 'Judas Priest' taped onto the back. In the thrashing of the moshpit, the lettering that spelled 'Priest' fell off. The jacket referenced another wearable artwork, Don't Give Money to the Arts(1995), by Tan Da Wu, a forefather of Singaporean contemporary art. -The photographs are meant to be exhibited in a way which references the traditional Balinese gate. -Dualities abound: the artist as observer and subject, western music being performed in Southeast Asia, fascination/devotion to the West, betrayal to the East. -The dilemnas, questions and possibilities of postcolonialism.
-an image from I Became Judas in the Moshpit can be found here: http://glossi.com/bigRwing/#!/glossies www.geraldleow.com
neighbor from childhood starring in a Hollywood movie. She is fat to the point of being a jelly-like ball. Her pants are black and white stripes and she is lounging in the orange seats. Is she aware of the road and the rocks beneath the road? I brought it to school. High school I think. One would think not. We are usually not aware of those foundations upon which our lives are built. Rockwise and otherwise. A red traffic light. Seeing, picking up, carrying. How can I connect that to the works of Debbie Ding? What am I supposed to be writing, anyway? There was a middleman between us because I was unsure of when you and I would be on the same landmass again. I had taped the record called Kiss Alive! Manhattan is said to be one big rock. Do you know if that is true? Perhaps I have told you that I have almost always live on islands, bit it is probably wrong to perceive an island as being a very large rock. Lodestones. Magnets. Ishikawa is a town in Japan and, if I remember correctly, 'ishi' means stone. Kawa is river. River of stone? Probably not. I once proposed to Math Paper Press the idea of a book on the pavements of Singapore. The idea did not travel far. Road surfaces say so much. And what about SUSPENSION BRIDGES? The rock of your dreams? Do you have one? I must pat myself on the back for not dragging bad puns into this...like getting stoned. Or being caught between a rock and a hard place.This bus is perfectly air conditioned and the ride is smooth.