“You have to help me do chores because I have no daughter,” says the artist’s mother, the ninth of 10 daughters. An interdisciplinary presentation weaving installation, sound, lighting and live performance,10 Daughters is a journey of liberation, care and self-actualisation vis-à-vis the context of domestic space.
The presentation temporarily transforms Objectifs’ Chapel Gallery – the site of a former church and an all-girls school — into a vessel holding generations of stories passed down to the artist. Contemplative yet playful, 10 Daughters brings together personal narratives, fiction and impressions from the artist’s memories of growing up in the 80s and 90s. The work invites you to encounter the artist over two days from morning to night; to recollect, repose and revel in a shared space.
10 Daughters is a programme under O, an interdisciplinary project initiated by artist Jereh Leung. The project aims to explore performance within the spatial context of domesticity, and how it is mediated and influenced by East Asian media culture. Drawing from the artist’s childhood experiences and his baby-boomer mother, O is a provocation to ruminate on conceptions of domesticity and womanhood across time and generations.
Scenography: 10 Daughters
Asian Film Archive, Marina One, Singapore
On 23 April 2020, SafeEntry—Singapore's national digital check-in system—was deployed to log the names, National Registration Identity Card (NRIC), and mobile numbers of individuals visiting public venues, in order to facilitate the process of contact tracing. These gantries mark the threshold of entering physical buildings, even as we enter digital databases, but how might we safely exit? How do we reconcile the tensions between epidemiological exposure and data exposure in the name of medical surveillance?
SafeExit is a multi-site interactive installation exploring our relationship with data in the context of medical surveillance. Upon registration, participants will be provided with a wearable device with which they may activate the installation. Through the experience, participants are invited to reflect on their data doubles—the discrete parts of themselves that have been collected and stored in databases, and used to make determinations about their well-being—as they navigate a speculative disease registry. What should remain hidden, and who is over-exposed? Can we safely exit the paradigm of surveillance by reimagining and enacting other technologies of care for one another?
Collaboration: Ada Adhiyatma, Shawn Chua and Tay Ining
Scenography: Auditory Intimacy
Dance Nucleus, Goodman Arts Centre, Singapore
Initiated in 2018 as a project that probed the representational politics and strategies of (in)fidelity, with previous showcase sessions hosted at TheatreWorks's 72-13 space and Dance Nucleus' own SCOPE#06, artist Jereh Leung's work-in-progress Auditory Intimacy, made in collaboration with artists Jing Ng, Tay Ining, Irfan Kasban, and writer Alfonse Chịu for this iteration, is also a work that examines the performative potentials of the body in domestic space, and how the home is a site for acts of unseen gendered labor-both emotional and physical. Underlined by Baudrillard's notions of simulacra in its formal structure and presentation, Auditory Intimacy seeks to draw into focus the ways of performing ard spectating in a space that could be construed as safe and mundane, but also a site of sometimes violent contestations.
Occurring as an installation within which periodic activations would take place, the set-up by Tay and Leung starts as a series of corridors and pathways obscured by thick bolts of dark fabric before unfurling into the facsimile of a small apartment which includes items such as a rice cooker, a bed, a TV set, and a dining table with accompanying stools. Sparsely decorated and lit, the installation creates an intimate space despite the cold, austere geometry of its constituent components through the skilful use of low elevation and select placement of soft materials that generate pockets of organic occupancy within the larger environment. The lack of labels and formally aestheticised objects also help to blur the boundaries between installation, sculpture, and interior design, and toys with the idea of the readymade as decontextualised aesthetic object model seen in works such as Michael Craig-Martin's 1971 On the Shelf. ...
Graphic Designer:Iffah Dahiyah, Fellow Marketing Assistant: Sarah Tang Documentation: Alfonse Chiu, Jereh Leung Video Editor: Tay Ining Installers: Liu Guanfang Zhang Kaiyang Jiang Li Guo Ahamad Tanbir Uddin Mohammad Jasim Painter: Chia Wei Ting Lighting Equipment: Xu Jingyi Welders: Harun, Islam Rafiqul Samian Vin Daraman Li Zhong Guo Consultation: Chew Kiahwee Artwork Prototype: Nhawafal Juma'at
The only paradise is paradise lost
Stamford Arts Centre, Singapore
Nostalgia presents a social memory practice that is deeply rooted within the present globalizing world. Our nostalgic inclinations led to the archival and memorialization of the foregone, immortalized by images and objects within museums, internet, television and mural paintings. Such mediated memories have supplanted our lived memories as we fascinate over repositories of synthetic recollections that are designed for hasty collective consumption. The exhibition draws inspirations from the current nostalgic impulses of modernity to explore and investigate the numerous issues it entails.
RAID explores the intricacies of site as narrator within the historic Tiong Bahru Air Raid Shelter. Rarely opened to the public, the 1,500 sqm site has a long history dating as far back as 1939 during air raids by the Japanese in the 1940s and has been not significantly changed since.
It extends the literature of site responsivity through the lens of 8 up and coming artist working across fields of sculpture, installation and conceptual art. Through RAID, each of the artist will present their interpretation of the loaded site - intuitively, architecturally or historically.
Organised by:Daniel Chong, Zulkhairi Zulkiflee Participating Artists: Daniel Chong, Zulkhairi Zulkiflee, Ivan David Ng, Tay Ining, Vanessa Lim, Jacqueline Sim, Pooja Kanade, and Nhawfal Juma’at
Free Ripe Food Rots Fast
Young Talent Programme, ION Art Gallery, Singapore
Ining has continued to work with iron, testing and trying it to discover the visual and tactile products of its deterioration. She presents intriguing compositions derived from these studied operations of rot. Over the months leading to this exhibition, Ining has been actively experimenting and testing materials including her continuing work with metal and water, and its relationship with blood. Due to the extensive nature of her process-based work, Ining's work may be best appreciated in the workshop environment. Originally setting out to discover the quality of 'pure' iron, Ining's trials employ the process of oxidation of iron and blood.
Using the triggers of personal memory as connectors to materials like laundry soaps old machines, refrigeration pumps and packing materials, she whips up a panoply of different stimuli that are still deteriorating/evolving in the gallery setting. Ining is conscious that as soon as she begins a cycle, the cycle of rotting and decay begins simultaneously This shifts the paradigms for her art-making where mechanical parts, recycled metal sheet and even her own blood become active rather than passive components of her work. The polished setting of the ION Art gallery is almost an antithesis to the continuous decomposition of the materials set in cycle, however, therein lies the discovery.
The Young Talent Programme is a significant platform for young artists below the age of 35 who are born/resident in South East Asia, to be spotted by galleries and art institutions, and be introduced to the art-loving public. The objective is to identify young talents early, providing guidance and commentary on their artistic development. The programme creates an opportunity for emerging artists to build a strong CV and experience in the art industry, whilst providing a focal point for contemporary art dealers and collectors to access fresh works from the region.
Curated by: Seah Tzi-Yan
Participating Artists: Chiang Lup Hong, Eugene Koh You Qin, Harun Ak, Jodi Tan, Le Thuy, Leow Wei Li, Tay Ining, Santa Wai Zakaria
The feature that sets UNTAPPED apart from other emerging artist programmes is its close collaboration with arts patrons. Local patrons provide the upfront funding for the project. In return, each patron is able to collect one artwork from each exhibition. This means that over a third of the artworks shown by these young artists will automatically be acquired by established art patrons. This goes beyond general exposure and connects artists directly with individuals who are actively supporting the visual arts in Singapore.
Participating Artists: Yanyun Chen, Prakash Haridas, Ryan Benjamin Lee, Nandita Mukand, Jodi Tan, Danielle Tay, Tay Ining, Leonard Yang, Yeo Tze Yang
OH!pen Call was an experimental satellite programme running alongside OH! Potong Pasirthat explored the possibilities of meaningful community engagement in our everyday spaces.
Seven art and community projects were installed in the public spaces of Potong Pasir – in void decks, up staircases, in the Community Club and so on. The projects were installed for a total of sixteen days and were free for the public to enjoy.
The group showcase, 'Dancing On the Spot', references Ong Keng Sen's interview on the condition of the Arts in Singapore, and Walter De Maria's essay, Meaningless Work (1960). Bridging these two seemingly disparate textual sources, this exhibition considers the position of art making in relation to purpose, meaning and societal relevance.
Organised by: Zulkhairi Zulkiflee
Participating Artists: Khairul Ikhwan, Nhawfal Juma'at, Lai Yu Tong, Dzaki Safaruan, Tay Ining, Zulkhairi Zulkiflee, Ryan Ben Lee
C. 2015 -
Noise Singapore The Apprenticeship Programme, Objectifs, Singapore
The Apprenticeship Programme (TAP) attracts talented young people who aspire to take their art to new heights. This year, 34 apprentices were guided by 18 creative industry practitioners in the fields of art, design, illustration, moving images and photography. The four-month long mentorship included one-to-one and group critique sessions, with mentors bringing apprentices for exhibitions, conducting photography training workshops.
The programme culminates in a group exhibition curated by OH! Open House. It showcases original works by the TAP apprentices with supervision and getting them to participate in mass drawing events from their mentors. As part of the developmental process, the curators facilitated a curatorial intensive and group discussions for apprentices. The exhibition, titled c. 2015 -, features works which interrogate the self in relation to time. Experience the showcase at two venues for the first time in the history of Noise Singapore.
Curated by: OH! Open House
Organised by: National Art Council