Collection showcases the various projects and programmes at 72-13
Choy Ka Fai / Chong Li Chuan / Jiro Endo / Ng Yi-Sheng / Norico Sunayama / Patricia Toh / Rizman Putra - RESERVOIR
28 – 30 August 2008
8pm, 3pm matinee on 30 August
Egypt has its pyramids, China its tomb of Shi Huang Ti, England its Stonehenge and Indonesia its Borobudur. Why not Syonan Jinja for Singapore? It has its fair share of history, mystery and romance.
Led by TheatreWorks' Associate Artistic Director Choy Ka Fai, we are an ensemble of creative people from Singapore and Japan with roots in poetry, dance, drama, architecture, sports and multimedia. We have made pilgrimages to the jungle, probed the site scientifically, studied archival documents, drawings and oral histories, and processed our own collective memories to recreate and re-imagine the shrine as a sacred site.
Our performance, a tapestry of images, sound and movement, will be a drama of recollection, an attempt to capture the Syonan Jinja's sleeping spirit.
Deep in the heart of MacRitchie Reservoir lie the ruins of the Syonan Jinja, a Shinto shrine built during the Japanese Occupation of Singapore. Envisioned first as a spiritual and recreational centre for the future empire, then built by Australian POWs and Japanese craftsmen, today it exists only as stone relics and fragments, swallowed up by the thick tropical rainforest.
As young artists, we have embarked on a journey of discovery to reclaim this forgotten monument. Its very existence is intriguing — a beautiful artefact of civilisation from an age of blood and destruction. Its architects made outlandish promises: that the site would be the greatest in the world after the Meiji Shrine, that the area might be a future host for the Olympic Games.
Perhaps most provoking is the love-hate relationship between Singapore and the shrine. Historians and tourism promoters want it preserved, even rebuilt to commemorate our national heritage. Ordinary citizens, however, have violently objected to any celebration of former Japanese rule — even as they happily consume Japanese commercial and cultural products.
This performance is conceived and directed by Choy Ka Fai and features sonic compositions by Chong Li Chuan, set and lighting design by Jiro Endo, words by Ng Yi-Sheng as well as performances by Norico Sunayama, Patricia Toh and Rizman Putra.
Image: Report on Syonan Jinja Surveys September 1988. Records of Singapore Tourism Promotion Board. National Archive of Singapore. With support from National Arts Council, Arts Fund, Design Singapore, Hong Leong Foundation, Hotel Royal on Queens, Double Six Press Pte Ltd, Web Visions, POWER 98FM.
28 July 2008
9.30pm till late
Organised in conjunction with International Symposium for Electronics Arts (ISEA) 2008, SPEKTR! is a unique performance in which tactical media workers conduct an audiovisual 'mapping' of the electromagnetic spectrum to create sound and video landscapes. The events begin at dusk as the sun sets, and often end at dawn as the sun re-emerges as the ascendant in the radio sky.
88 frequency zones will be mapped in real-time, structured together with a fifteen-year archive of digital and analogue signals that the artists have been collecting from all over the globe. For Singapore, the team will concentrate on the prolific output of electromagnetism created by the dynamics of world trade, shipping, aviation and control systems along the Straits of Malacca.
The SPEKTR! structure is based on the filing of the U.S. Patent 2,292,387, that was granted to avant-garde composer George Antheil and Hedy Kiesler Markey (a.k.a. Hollywood actress Hedy Lamarr) in 1942. This early version of frequency hopping used a piano roll to change between 88 frequencies and was intended to make radio-guided torpedoes harder for enemies to detect The idea was not used until 1962. when it was deployed by U.S. military ships during the Cuba blockade. Today their frequency-hopping idea serves as the basis for modern spread-spectrum communication technology used in devices ranging from cordless telephones to WiFi Internet connections.
Brian Springer is a media artist whose work explores ways in which new communications technologies redefine notions of public space and private enterprise. He has exploited social and technological loopholes, extracting images sounds and data from within traditionally closed systems of power. His 1995 documentary Spin uses unpackaged and uncensored satellite news feeds to offer a behind-the-scenes look at the American political process. In his recent work, Springer has strategised methods for recovering hidden information from digital text tiles and is active in the Antioch Papers network.
Matthew Biedeman (a.k.a. DelRay) has been performing. installing and exhibiting works which explore themes of cut-up electronic image delivery, media saturation and data systems since the mid-nineties. His installations have been exhibited in the LIS. South America and Europe. Currently, his artistic operation is set up in exile in Montreal, Canada.
Marko Peljhan (a.k.a. MX) is the founder of Projekt Atol, co-founder of LJLJDMILA (Ljubljana Digital Media Lab) and the main mover behind the Makrolab projects, as well as award-winning projects and installations. He has developed flight and spaceflight based systems has directed art-science related research at the Yuri Gagarin Cosmonaut Training Centre in Moscow since 1999 and is one of the founders of MIR (Microgravity Interdisciplinary Research consortium). He is currently associate professor in interdisciplinary studies at the University of California, Santa Barbara.
Aljosa Abrahamsberg (a.k.a. Nullo) has been active as an electronic soundscape creator since the mid-80s in Slovenia. where he has started with a band/project entitled Sound Experiment of Film. He has created soundtracks for a variety of films, videos and performances, among others the Egoritmi and Atol series with Pelihan in 1992/1993 and has been collaborating in the Projekt Atol Signal-Sever!, Spektr! and Scatter! performances since 2001.
Co-produced by PROJEKT ATOL and RX-TX. Supported by the Ministry of Culture of the Republic of Slovenia, City of Ljubljana Cultural Department, Canada Council, City of Nova Gorica Cultural Department and Euroinvest d.o.o. The project was commissioned by AV Festival 08 in March 2008. With the support of 72-13.
Deborah Pollard - Shapes of Sleep
26 July 2008
1pm – 9pm
"A curiously tender voyeurism... "
What are the taboos of watching someone sleep? What do we look like when we lose control?
Artist-ln-Residence at TheatreWorks Deborah Pollard's Shapes of Sleep is both a sculptural installation and an eight-hour live durational performance based on video footage of sleeping. For eight hours five live performers attempt to physically recreate the movements of sleep. Through sheer exhaustion they themselves sometimes fall asleep, blurring the boundaries between fiction and authenticity — choreographed and everyday slumber.
Shapes of Sleep is a performance installation. Please feel free to drop by, stay, go and come back again as the performance progresses and continues throughout the day and into night.
Shapes of Sleep was created through a research and development collaboration between Deborah Pollard and Indonesian visual artist Regina Bimadona. Pollard is an artist and director from Sydney, Australia. She is an Artist-in-Residence with TheatreWorks 72-13 in partnership with the ASIALINK Residency. This partnership is an on-going commitment of TheatreWorks / 72-13 to encourage hybrid expressions between international and Singapore creatives. Deborah is also currently researching with installation artist Dennis Tan, the potential processes and collaborative languages between diverse art form practitioners.
Deborah Pollard's work focuses on hybrid collaborations with arts and non-arts practitioners. A recipient of an Australia Council Fellowship from the New Media Arts Board, she has created a number of interdisciplinary performance and installation works in collaboration with emerging and professional artists. Some of her solo works include "Mother Tongue Interference", "To Eat Cake" and "Fish Out of Water".
Pollard was the Artistic Director of Salamanca Theatre Company from 1997 to 2000 and interim Artistic Director of Urban Theatre Projects in 2006 / 07. In collaboration with Indonesian performance and installation artists, they have created a number of large-scale performance works, most notably "Postcard" (1995), "Badai Pasir" (1996), "To Eat Flowers and Walk on Glass" (1999), and "Girt By Sea" (2002).
Asialink is a non-academic centre of The University of Melbourne and an initiative of the Myer Foundation, which aims to promote public understanding of the countries of Asia. Asialink's mission is to work with business, government, philanthropic and cultural partners to initiate and strengthen Australia Asia engagement. Through high-level forums, international collaborations, school programmes and cultural exchanges. Asialink engages the corporate, media, arts, education, health and community sectors — reaching from primary school children to prime ministers — in Australia and Asia.
Choy Ka Fai / Grace Tan-kwodrent / Jeffrey Yue / Joavien Ng / Ken Ikeda / Khoo Eng Tat / Mohd Fared Jainal / Torrance Goh-FARMWORK - Dance Dance Dance
3 – 5 April 2008
Whatever you may be thinking, you can't resist. The story's already decided."
- Haruki Murakami, writer
Inspired by Murakami's novel, DANCE DANCE DANCE is a quirky musing on everyday life. Combining dance, movements, images and the human body for a full sensory experience, DANCE DANCE DANCE promises to excite you with its provocative charm. Bodies moving into space, bodies moving with space; bodies moving with images, bodies moving into images; this multi-disciplinary performance is a visual feast that enthrals and engages the mind and the senses.
DANCE DANCE DANCE is conceived and directed by TheatreWorks Associate Artistic Director Choy Ka Fai, who also contributed multimedia design. It also features clothing design by Grace Tan/kwodrent, sound design by Jeffrey Yue, performance and choreographed by Joavien Ng, dramaturgy by Ken Ikeda, interaction design by Khoo Eng Tat, scenography and illustration by Mohd Fared Jainal and set design by Torrance Goh-FARMWORK.
With support from National Arts Council, Webvisions, POWER 98FM.
Charles Lim - Offsite
This is one direction which I'm taking with my own art practice, to create a space where the artist becomes the audience, encountering for the first time, re-encountering from different perspectives his own ad practice, realizations, thinking, work. This encounter can be public, private or both, change. Moving the idea of work in progress away from the gallery, art show format into something else. Aims to resist against artist and art feeding and servicing spaces, institutions.
- Charles Lim, 72-13, Creative-in-Residence
Visual artist Charles Lim Yi Yong envisions an unconventional space. An artistic playground where artists can engage with each other and explore the environment through mutual collaborations or even conflicting perspectives.
72-13 Offsite is such a space.
Developed as part of the 72-13 Creatives-in-Residence Programme, 72-13 Offsite is an alternative arts laboratory space converted from an old squash court located at Winchester Road. Among idyllic greenery, this experimental arts space is fluid and sets out to provide ideal conditions for a process-oriented arts practice. Moving away from run-of-the-mill art galleries and exhibition halls, 72-13 Offsite functions as a unique on-going laboratory for artists to collaborate, experiment, and work on their processes.
In line with his own arts practice, Charles believes that the ideal space is one that works for the artist. and not the other way round. Going against the conventions of art feeding and servicing, the conceptualisation of 72-13 Offsite was inspired by the ideals of artistic freedom and how art should never be made just for the purposes of completion and public showings.
Charles' project also parallels 72-13's philosophy of supporting processes, thereby giving artists the time and space to experiment and create their works, irregardless of their 'successful' completion.
From his point of view. the man likes to see his project as unfinished and therefore the beauty of 72-13 Offsite lies in its function as an on-going arts laboratory space.
Charles is very much open to the idea of inviting artists and creatives to engage with him in the space. He is currently developing a work with Japanese artist, Takuji Kogo if Candy Factory, and we can expect the two to share their processes and findings in the near future.
Visual artist Charles Lim, born in 1973 (Singapore), is a former national sailor and holds a BA in Fine Arts from Central St. Martins College. Charles has shown a propensity towards technology and gadgets. He has an interest in the relationship between physical and virtual systems; between land and borders, submarine cables and the Internet. ideas and physical realities, and quotes these as points of entry towards his work. He enjoys playing with these ideas and thoughts through "art" and has demonstrated how he conflates the idea of borders by reversing the geography of the sea and land in his series of work — "Seastories".
Charles' works have been showcased in various cities such as Yamaguchi, Brisbane, Singapore. Berlin, Seoul. London, and Kassel. He has also worked with Takuji Kogo of Candy Factory to produce the multimedia project "Life Wouldn't Be The Same Without Safe Seas". Recent Exhibitions Charles' video installation — "Its Not That I Forgot But Rather I Chose Not To Mention", was recently exhibited at Manifesta7 2008, at Bolzano/Bozen, Italy. He had met the curators of Manifesta7, Raqs Media Collective at TheatreWorks' Flying Circus Project 2007. There, he sold three copies of his work, in which one copy also became a permanent collection.
In the Shanghai Biennale 2008, Charles showcased his work entitled "The Sea Stories Sea State 1: inside outside". In this work, he collected one hundred sets of pictures of lighthouses, each picture taken from two different angles.