20 DEPOT LANE, FREE ENTRY
In contrast to ‘The Archive’, the exhibition in ‘The Warehouse’ at 20 Depot Lane explores the relation between the archival and the contemporaneous by staging artworks as active and affective repositories for embodied knowledge. From the video installations and filmic works by Tada Hengsapkul (TH), Nguyễn Trinh Thi (VN), Russell Morton (SG) to material and performative explorations by Sonya Lacey (NZ), Sriwhana Spong (NZ/UK), Liyana Ali (SG) and Pat Toh (SG), the featured artworks will look into ways in which artists act as living mediums to gather and animate personal and collective histories.
Click on buttons in the map below to find out more about the exhibition
In-Between Configuration (2020)
Portland cement, pins and plywood
Everyday's the Seventies (2018)
four-channel sound, 15 min
Everyday’s the Seventies is a filmic collage that pieces together footage from Hong Kong movies of the ’80s and ’90s; wire service footage of the Vietnam War and the Vietnamese refugee crisis in Hong Kong from the late ’70s until 1997; and an interview with the owner of ‘Paul’s Records’ in Hong Kong. Excerpts from the different sources are shown alongside each other with overlaying soundtracks to create a dense but fluid sense of time. In the constant ebb and flow of images, words and sounds, we follow Paul’s voice, heard distinctively in the foreground, as he narrates his personal experience of migration. While seemingly disparate on first view, his story begins to find resonance with other parallel narratives which appear to describe different versions of the same history – one personal, another depicted by cinema, and the third described through the media. Nguyễn’s experimental approach to film as an artist turns the cinematic space into an active archive where gaps, holes and disconnections between personal memories and other kinds of collective histories are momentarily suspended and projected on screen.
Artist will be featured in the talk Order and Disorder: Cinema and the Archive on 1 February. Please click on link for more details.
Nguyễn Trinh Thi is a Hanoi-based independent filmmaker and video/media artist. Click to read more Her diverse practice has consistently investigated the role of memory in the necessary unveiling of hidden, displaced or misinterpreted histories; and examined the position of artists in the Vietnamese society. Nguyen studied journalism, photography, international relations and ethnographic film in the United States. Her films and video art works have been shown at festivals and art exhibitions including Jeu de Paume, Paris; CAPC musée d’art contemporain de Bordeaux; the Lyon Biennale 2015; Asian Art Biennial 2015, Taiwan; Fukuoka Asian Art Triennial 2014; Singapore Biennale 2013; Jakarta Biennale 2013; Oberhausen International Film Festival; Bangkok Experimental Film Festival; Artist Films International; DEN FRIE Centre of Contemporary Art, Copenhagen; and Kuandu Biennale, Taipei. Read Less
Topography of Breath (2020)
Performance and photographs,
inkjet print on paper
Bodies sense, represent and give shape to places. Taking its point of reference from Toh’s interest in the individual body and its lived experience, Topography of Breath is an inquiry into the lived body as a performative event. The work comprises a choreographed movement piece and an installation of 156 self-portraits of the artist’s body, the latter functioning as a corporeal parameter against which a regime of gestures are performed. By working on, with and about the tactile body, Toh seeks strategies beyond the traditional paradigms of narrative in theatre or representational gestures in dance, reducing the human body to raw physical processes of breath, muscularity and movement.
Artist will be performing her work Topography of Breath on Sundays 12 Jan, 19 Jan and 2 Feb at 5:30pm.
There will be a post-performance discussion on the 2 Feb session with performing artist and theatre practitioner Noor Effendy Ibrahim on the use of the body in performance making. Please click on link for more details.
HD video, single channel,
33 min 33 sec; cushions
Saudade is an aural and visual archive narrated entirely in Kristang—a creole language that emerged in 16th century Portuguese colonial Malacca. The film reimagines rituals and choreography characteristic of early Eurasian kampongs in three acts: a song and dance of the Jinkli Nona, a scene between a shrimp fisherman and his wife, and a cross-cultural encounter with the orang minyak.
Using folklore and myth as narrative anchors, Morton weaves his personal identity and allegorical storytelling into cinema to examine the origins of Eurasians. The intermingled Asian and European ancestry of the domiciled community is captured through the seemingly disparate appearance of a supernatural Malay legend alongside characters donning costumes that draw upon the conventions of Portuguese, Spanish and Dutch dress. Set against the exultant energies of the Eurasian imagination, the film tells a story of loss and displacement of a people and its language.
Artist will be featured in the performance Giving Manna to the Ghosts – A Performance Lecture on 1 February. Please click on link for more details.
Written & Directed by Russell Adam Morton
Produced by Amanda Zhang
Music and Sound Design by Syafii
Production Support by Pinwheel
Jinkli Nona Singer 1 - Trevor Nonis
Jinkli Nona Singer 2 - Megan Barker
Jinkli Nona Dancer 1 - Estioco Ignacio Jr.
Jinkli Nona Dancer 2 - Andrea Wong
Jinkli Nona Dancer 3 - Xu Yadong
Jinkli Nona Dancer 4 - Chloe Calderon Chotrani
Fisherman - Bunny Rodrigues
Maiden - Sara Federica Santa Maria
Orang Minyak - Ryan Chen
Eurasian Man 1 - Rocky Rodrigues
Eurasian Man 2 - Wesley Angel Fernandez
Eurasian Man 3 - Russell Adam Morton
Eurasian Man 4 - Jason Dehamel
Russell Morton is a filmmaker with extensive experience in commercial fields of photography and videography. Click to read more His most recently exhibited filmic work was shown as part of Eastside Open Studios, featuring a collaboration between him and choreographer Daniela Monasterios. Drawing reference from Usha Devi’s book “creating with shapes”, the film featured dancers moving through the residential common spaces of Lengkong Empat. Read Less
16mm transferred to digital video, 30 mins
Edit, cuttings (2018)
Washed and collaged newspaper, conservation tape
Pillows is a new moving image work commissioned for Rushes Of Time. It develops research undertaken during the artist’s residency in Singapore, during which she traveled to Cambodia to shoot 16mm footage of a spectrum of publishing practices. The work responds to a brief moment of the film which captured a print worker taking a nap on a pile of books he was working on. The visuals themselves are generated using found newspaper content. The clippings of images are overlaid in the printing press to create a kind of print equivalent of a double-exposure, a common filmic trope often used to show a dream-like state.
Pillows is an abstract homage to this worker napping during his lunch break. It continues a series of works that the artist has made for workers involved in the production; the recent Newspaper (for bathers) works were for the print trades of London’s Fleet Street, and Edits, cuttings (2018), an ongoing series of works on paper comprising images gathered from newspapers, which are washed to release the ink and collaged into new forms. Collectively, they draw connections between publishing, print and the moving image.
Pillows is supported by Creative New Zealand and NTU Centre for Contemporary Art Singapore.
Artist will be featured in the talk Animating Surfaces on 11 January. Please click on link for more details.
Halberd Head with Naga and Blades, Indonesia (Java), Eastern Javanese Period, Singasari Kingdom, ca.second half of the 13th century, Copper Alloy. Samuel Eilenberg Collection. Gift of Samuel Eilenberg 1996. 1996.468a,b (2008)
Super 8 Film converted to digital video
1min 9 sec
Halberd Head is an attempt to capture onto film an Indonesian artifact at the Metropolitan Museum of Art. As only still photography was allowed in the museum, the artist created a simple pinhole camera using a cartridge of super 8 film. Without the mechanisms of the camera, a focal point is lost and the form of the artifact is not recorded, only the light from the space surrounding it. The film also captures in light, the rhythm of the artist winding on the film – playing on a belief held by some that artifacts carry the vibrations of the hands that made them. The use of colour filters created by the cinematographer Storaro, help create a work that humorously references the Jupiter sequence from Space Odyssey 2001. A scene read by some as describing the transition from the material to the immaterial.
Comprising large silk panels that have been hand-dyed in tea and Coca-Cola, Ida-Ida is the fourth in a series of works which speak more broadly of imperial vampirism, and collective bodies. Its inspiration came out of a pithy, punk-style essay by Ian Svenonius which likens colonialism to an imperial vampirism that consumes, and later mass-produces, the beverages of traditional cultures which fall under its empire. The silk cloth soaking up the tannins of tea and fizz of Coca-Cola becomes an oblique metaphor for the movements of commodities.”
Sriwhana Spong is an artist of New Zealand and Indonesian descent currently living and working in London. Click to read more She is interested in the fertile margins and the rich edges where things meet, working across various mediums including sculpture, film, performance and sound. Spong studied at Elam School of Fine Arts, Auckland, and completed an MFA at the Piet Zwart Institute, Rotterdam. Recent exhibitions include castle-crystal Edinburgh Arts Festival, Ida-Ida Spike Island, Bristol (2019); A hook but no fish Govett-Brewster Gallery, New Plymouth and Pump House Gallery, London (2018); having-seen-snake Michael Lett, Auckland (2017) and Oceanic Feeling with Maria Taniguchi, ICA, Singapore. Read Less
You lead me down, to the ocean (2018)
Video installation, two-channel, 16min
In the video installation You lead me down, to the ocean, we are presented with underwater scenes of military tanks that were originally acquired by the Thai Army for use in the border dispute with Cambodia since 2008. Once vehicles of conflict, they were subsequently scrapped to create an artificial reef in the sea off the Narathiwat Province in southern Thailand for tourist divers. The liveliness of marine life contrasts sharply with these submerged tanks, which appear motionless and trapped in the currents of time. Accompanying the main projection is a second video and a book, composed of extracts from found letters between Thai soldiers fighting in Vietnam in the late 1960s and their loved ones back home. In collecting and animating these documents, the work attempts to give voice back to those whose lives were directly and indirectly affected by the event of war. Taken together, Hengsapkul’s work opens up a space between two histories and invites us to bear witness to the complexity of his country’s military past and present.
Artist will be featured in the talk Animating Surfaces on 11 January. Please click on link for more details.