I was asked to be on a panel to talk about objects that was the basis for the creation of art. As my current exhibition was heavily based on material popular culture, I thought it’d be great to discuss that.
The talk was really wonderful with wonderful people and audience. I look forward to more such events!
Thanks, Michael.
…what kind of stage would I be building?
Set: Lift landing in an HDB.
Lift landings are like stage entrances. What beholds them when they enter onto the stage? Other lives that are already there? How does an actor react with these other lives? How can he / she use it to enhance his / her own performance?
Cue: Spot light on empty shoe casing with chinese religious burner on right.
Cue: Spot light on plants in the background.
Cue: Tim walks into the space and discovers a memory long lost.
Tim: Gasp! … … .. . .. ….. . blah blah blah
Cue: Actor leaves his red t-shirt behind.
Cue: Spot light on the area where the actors have just left.
Cue: Tim walks in with a hot cup of coffee and retrieves his t-shirt.
Tim: *sips* smiles to himself and exits.
G, hope that this helps!
We often talk about how it was like when photographers only talked about their equipment, they do not question beyond the lens, or camera, or the tools they use, often missing the whole point of creation; In fact, they are so technical that they should just be technicians instead.
And yet, I’ve just met a few young people who have gone in the opposite direction. People who use certain thoughts from famous writers / critics / photographers and make these their own. They are so critically technical in their approach, as if it’s a formula to follow in creating new works that would give their works meaning. Often the technical finesse of their works leaves much to be desired.
How is this anything but harmful for photography? With no soul, or even intellectual inputs from themselves? No understanding of the fact that photography is about aesthetics as much as it is about the creative. It makes me worry to see how even the critical aspect of art creation can be industrialized.
Shudder.
A definite conversation piece. Printed in 18% gray; a photographic definition that’s still being discussed this day: Do we really need 18% or do we really need 12% since light meters read 12% and not 18%? Why 18% and not 50%? How do we really get gray these days? Not forgetting the white gutters which serves as a white balance point when shooting (we could try to use the gray, but how DO we get real gray?)
See? Conversation on photography.
Just a little thing that I thought is really important in the promotion of photography. It is not just for the photographers, but also for the young and old, aunties and uncles on the street.
We need people to understand the value of photography. To put value in art; and not “I dun understand leh.” infront of conversations regarding art, in particular photography. As artists, we understand how life is art, and art is life, we need an audience to understand that as well.
Finally back at the National Museum to catch the Voom show and also to revisit to Chien-chi’s show (read my Oct 21st 2008 entry).
I especially loved Robert Wilson’s Voom show. It really challenges what is a portrait. By keeping them still, they are almost like paintings or photography, but the ‘action’ that plays itself out is just wonderfully more layered; in the non-movement, there are just so much more life.
The Brad Pitt’s portrait (that EVERYONE talked about), is really not as much sexy as it was threatening (when he finally pulls up his gun), not so much Brad Pitt, but the character he plays. Johnny Depp’s also rather similar. I was tickled silly by Isabella Rossellini; whom I never thought would be up for such a role! There were many celebrities and some artists, and 1 royalty; I wonder if that was just a reflection of the popular culture, and if they were chosen because they would be able to handle such a portrayal of what Wilson wants.
Wilson, in his own words, writes that he doesn’t interpret his own work, but rather to allow others to interpret it for themselves. It reminds me of the many students who tell me that they just want others to interpret their work, rather than interpret it themselves. Of course, the two is just different. Wilson, has created works that are in themselves, layered, and it tells of many different stories and interpretation within each image; by giving an interpretation would limit the image itself, and when an audience is allowed to come to their own understanding, it brings forth the depth of the stories that are unfolded within the audience’s mind.
Chien-chi’s works, still moves me. This time round, I had my Chinese worker friends come with me (Yes, I paid for them; would never allow them to spend like this.) Their reaction was actually that of relief that they did not live the lives of these NY based construction workers. Some have similar stories from the village where they came from; it seems the different regions of China has different types of skills that are exported overseas. Many workers now prefer to stay within Asia. Looking at the Video of the older workers who have spent more than 15-19 years away from home, only to go home to strange land and unfamiliar children makes them realize the reason why they are here, and that the family is more important.
Many, many years ago, when I was still way tender, I’ve once thought of doing a piece on foreign workers here in Singapore, because I want to live life just like they do, but know that I cannot. It is very different from the time I was allowed to spent my holiday working in one of my grandfather’s rubber plantations in Malaysia; I liked waking up early to go into the dark forests, I liked to see wildlife unfold before my eyes (a cock fighting with a huge centipede more than a metre long), I liked the ‘toughness’ of it. Almost like working with nature. Construction workers, coffee boys and chefs would be so different. But nonetheless, I feel that something will come out of this eventually.
Adding and exploring a series that I’m in the midst of executing.
I’ve been asked about the curator’s writeup for an exhibition I curated for the Arts House. Here I go.
The many different permutations of the ideal meaning of doubt.
The many different permutations of the interpretation of doubt.
The many different doubts.
The process started earnestly by exploring the meaning of doubt. The photographers came up with the word. We explored the possibilities of how it can be shown. Whether high art was the way to go, or street photography was the way to go. And every-time, we end up with more doubts and gladly, also with more ideas and ways to go about.
Some wanted to explore the meaning of the world through their lives. Some chose to explore it with the genre of photography. Some chose to explore it even in the type of prints being put up. All embraced the fact that this word allowed them the space to explore.
By walking through the exhibition, choices have to be made, as one must in a doubtful situation. The images don’t come easily, or flow easily. By placing them in all direction, the title is yet again placed in the spotlight.
Enjoy.
