Green is a member of the Metabolic Theater Laboratory and Post Ulu Group. His recent works which fuse various disciplines are of Erocriticism, JackieGreen and Lum Mui. He has coordinated a video program for Fukuoka Art Museum.
year end show organised by the Artists Village at The Substation, Singapore
The Artists Village have been around for ten years and have always been defined by architecture, in the sense that it was always about the physical place where artists are able to produce works. But often we are asked what have we got now that the physical working space of ‘The Village’ is gone. What is our direction in terms of working as artists in the contemporary society of Singapore? We have thus decided to collaborate in a process work among the current members by turning The Substation’s Gallery into a working studio for three weeks. This short time span of dwelling place can spark off a series of action\project based work that the public can interact with and also proceed with some more future projects.
The title 'Post-Ulu" is a departure point from the original Artists Village at Lorong Gambas, Jalan Ulu Sembawang in relation to the function of the present group. Ulu in Malay definition means seclusion or an isolated place. So as the title suggests an 'after-isolation' period, it is vital for the present group to identify it's function as an art group. In this show, the function of Artists Village is questioned by the methodology of artists negotiating spaces and artists' idealogies of functioning in Singapore's social context. It is not a comparison of past-present, but the past is being integrated as a reference to the current situation of the group. In ‘Post-Ulu’ we hope to define some issues that have surfaced over the past years: what is the fuction of The Artists Village as an art society and Contemporary art practices in Singapore.
"Post-Ulu" will open on 28th Dec 1999 to 16th Jan 2000.
The artists involved with organising the events of "Post-Ulu" will be Jeremy Hiah, Dennis Tan, Tien Wei Woon, Lina Adam, Green Zeng and Lam Hoi Lit.
Dennis Tan and Lam Hoi Lit will be the spokespersons for The Artists Village in regards to press matters.
The organisational work will be distributed among the artists and it will cover these events:
1) Gallery turn Studio space:
coordinated by Lam Hoi Lit.
Participating artists will meet constantly prior to the show to discuss individual ideas and make possible collaborations that will be presented in The Substation's gallery. The skeleton of the show, the gallery will be converted to a work-in-process studio space where artists will be able to go into this space to work constantly for a period of 3 weeks. There will be a drawing workshop/collaboration by a few artists and the public to do 2000 pieces of drawings to anticipate the new milleinium. this drawing collaboration will eventually develop into object-based and eventually time-based works. The purpose of this method is not to exhibit end-products but to create a continuation of individuals' processes with the reminder that this show is a departure point to future projects. Among Artists Village members there will be a collective effort to present a collaborative video work at The Singapore Art Museum for Nokia Art 99. This will take place for one day only.
2) Collaboration with the White Cane Society of Singapore: organised by Green Zeng and Chng Seok Tin
Artists and the members of the White Cane Society will collaborate in a workshop of making paper boats. This will take place during two weekend afternoons at the classroom and Gallery/Studio. After which the last weekend will see the group proceed to an outdoor event where the paper boats will be released into a river, the location of this event will be confirmed later with more meetings with the White Cane Society.
3) Informal dialogues / seminar:
coordinated by Dennis Tan.
The Artist Village will be organising an informal dialogues that will take place in the classrooms of The Substation. It will preferbly held in the evening and kept in a small, unitimidating size. We will touch on specific art discourse that are relevant to art practice in Singapore. here is a list of the speakers that will be involved.
Koh Nguang How /art researcher on The Artists Village and Art Practice in Singapore. Date :1st Jan 2000,Saturday Time :6pm-9pm
Amanda Heng/ artist and Felicia Low/ Perspective on Ten Years of The Artists Village. Date :2nd Jan 2000,Sunday Time :6pm-9pm
Lee Weng Choy/ critic On Asia Pacific Triennal 3, 1999. Date : 5th Jan 2000, Wednesday Time : 6pm-9pm
ARX5 artists Jeremy Hiah and Jason Lim on ARX 5 1999. (videos and slides presentation) Date : 7th Jan 2000, Friday Time : 6pm-9pm
Lee Wen/ artist on Performance Art:The Local and the Global. Date :8th Jan 2000, Saturday Time :6pm-9pm
Jay Koh/ artist on Engaged Art and Critical Art practice. Date : 9th Jan 2000, Sunday Time :6pm-9pm
the Spirits Dusting for Dummies on Festival der Geister, Berlin Date: 12th Jan 2000, Wednesday Time:6pm-9pm
Woon Tien Wei/ artist Reflection on Danger Museum (The concept) and Dreamplan project, Korea. Date :14th Jan 2000, Friday
Chng Ting Art and Jewellery Date :15th Jan 2000, Sunday Time :6pm-7.30pm
Lee Mei Ling Art and Fabric Date :15th Jan 2000, Sunday Time :7.30pm-9pm
4) Post-Ulu Gig: starts 6pm 31st Dec,1999 ends 6am 1st Jan, 2000 coordinated by Lina Adam (Hp no:9695 7110)
This event will take place from New Year's Eve to New Year's Day (from 6pm to 6a.m.)
The event will cover expressions like music, poetry, time-based art, video and slide presentations.
5) Invited artists from overseas: coordinated by Jeremy Hiah and Tien Wei Woon
2 artists from Japan and 2 artists from Australia will be invited to take part in this show and they will collaborate with local artists. The organising artists will accommodate these overseas artists for the duration of this show. The Two Japanese artists are: Shimizu Miho and Iduka Yousuke. One Australian artist is Ben Taylor.
The exhibiting artists involved will be: Rainer Geburzyk, Alan Oei, Ida Lee Mei Ling, Jeremy Hiah Buang Hoe, Lina Adam Lam Hoi Lit, Koh Nguang How, Lee Wen, Terence Yong, Dominic Fenandez, Chua Chye Teck, Lee Mei Ling, Green Zeng, Tan Boon Wee, Yit Mun Khwan, Josef Ng, Tien Wei Woon, Dominique Hui, Chng Seok Tin, Foo Ai Wei, Miho Shimizu, Ben Taylor, Iduka Yousuke, Irene Wong and Benjamin Puah.
THE FRIDAY EVENT
A critical insight into local issues and the arts, focusing on the artist and society.
THE SUBSTATION CLASSROOM
7:30pm - 9:30pm
17th Dec 1999 - Censorship
14th Jan 2000 - Funding
11th Feb 2000 - Art Communities
10th Mar 2000 - Women and Art
17th December 1999
This session looks at censorship matters affecting decisions crucial to art making. An analysis into censorship laws will be carried out to understand the relationship between law and artist, together with a discussion about the factors that influence the defining principles of censorship today.
AIYDA NORAIDAH BAHARUDIN
Aiyda is a painter who has had her second solo show "T-Zone" exhibited in March'99. This consisted of a series of paintings that speak of hormonal changes, tension, discovery and angst. These paintings explore the psychological effects that acne can have on an individual.
John graduated with a degree in Fine Art from Curtin University, Perth, Australia. Well-versed in forms of installation work, he was a participant of the recent Artist Regional Exchange 5 (ARX5) held at the Singapore Art Museum in 1998. He now lectures at the Nanyang Academy of Fine Art.
Green is a member of the Metabolic Theater Laboratory and Post Ulu Group. His recent works which fuse various disciplines are of Erocriticism, JackieGreen and Lum Mui. He is now busy coordinating a video programme for Fukuoka Art Museum.
Philip is a writer and a lawyer with Helen Yeo and Partners. Author of "First Love" (1987), Raffles Place Ragtime (1998) and Abraham's Promise (1994), Philip is also the recipient of the 1993 Young Artist Award.
Philip is the editor of Big-O, Singapore's only Rock Music magazine. HE is also the Programme Director of Singapore's International Film Festival.
Sasi is the present Artistic Director of The Substation. Once an editor and art critic with The Straits Times, he has also acted in numerous drama productions over the last 15 years and shows no sign of abating in his theatrical endeavors.
THE FRIDAY EVENT is kindly supported by the Lee Foundation and The Substation.
Danger Museum's Super Luxury Art Machine Tour
Private View: 16 July 1999
Show: 17 July 1999 to 25 July 1999
The Super Luxury Art Machine is the second Danger Museum Collection project in Singapore. Last year, Danger Museum debut project, Danger Museum Collection 1998, Recent Acquisitions saw 13 artists (with artists from USA, Japan and Singapore) and 18 children artists coming together to make a 10 day exhibition in the Substation.
The Super Luxury Art Machine explores the ideas of Danger Museum even further. It plays around with the notions of museums/exhibition/space. It seeks to extend those ideas and interact with the audience.
The exhibition is divided into sections; one of the sections, Danger Museum has invited a few artists to send their "box-museums" to Singapore. These artists have been specially invited to explore the idea of museum being contained within a box. There would be boxes made by artists from various countries like Iceland, Brazil, Japan, Singapore, Norway, Germany, Britain, etc. All from diverse cultures and art practices having a go at making their own museums. In a way, playfully suggesting that everyone owns a museum. There will also be box-museums made by a group of young artists from German School, Singapore.
The other section involves Singapore artists like Green Zeng, Dennis Tan, Woon Tien Wei, Lim Kok Boon, Chng Sze Chin and many more creating situations/happenings/guided tours for the audience to explore the works and the ideas of the box-museums.
The trademark of Danger Museum's infamous friendly artists unlimited will be tending the Danger Museum shop and caf. We try to make you relax and bask in the warmth of the museum. Sit back and relax, you are supposed to be in the good hands of the Super Luxury Art Machine.
A COW TAXI PULLING ART CART HORSES (BULLOCKS) ON TROJAN
Nokia Singapore Art'99
A collective art project for Nokia Singapore Art 99
He/She is interested in tourists because of the busload of tourists that visit it each day.
He/She is interested in the smell of the place that changes from time to time.
He/She is interested in the changes that occur through its history.
He/She is interested in why it's called Chinatown and not Singapore town.
He/She is interested in the different people that hang out in Chinatown.
He/She is interested in the transformation of Chinatown.
He/She is interested in the activities that take place there.
He/She is interested in the superstitions and myths that lie there.
He/She is interested in what is going to happen next?
The above proposed project is conceptualized through a series of workshops initiated by a group of artists and professionals. The idea of the workshop was formed for the purpose of practice and praxis of making art in the context of the communities.
Even though there were numerous individual proposals from the group to the organizer of the event, the group was interested in the possibilities of exploring the objectives of the theme CITY / COMMUNITIES set by the curators of the event as a collective artwork. Instead of witnessing the realization of individual project materializing, we are interested in how we can combine our ideas into a singular artwork consisting of various investigations of the theme. From the first workshop in which individual artists proposed works under the general theme of an alternative master plan to Chinatown by artists. Though several issues were discussed. Chinatown or 'Cow Car Water', in it's literal translation known to the locals, is one of the ideas that struck the group's interest to the place by it's slippage of meaning of the words. Through its meaning and the diverse interpretation of the place we have raised numerous questions of thought to it. Another issue that was raised is the boundary of art, both physical and mental.
The group consisting of different occupations, races and ethnic backgrounds allows us to engage in many different aspects in relationship to the place. Rather than we provide answers to the place, we see ourselves exploring the place and it's meaning in the production of this work. Also, we were interested in the possibilities of creating memories and inventing myths. This project is about making art collectively and we believe that through it's process, it'll allow us to rediscover the place and investigate thoughts, feelings about people and place through our collaboration and interaction.
We do not seek to create an alternative system by having a centralized theme. Our intention is not to organize and categorize so much so that we map out a structure. We are more interested in relationship that might be formed, chance events like the Situationist.
"A COW TAXI PULLING ART CART HORSES (BULLOCK) ON TROJAN WHEELS", is a collection of words that relate to the place.
Through a series of workshops the art cart has been developed into a passenger car. This development was created through fusing the concept of the taxi and the cart. In the workshop itself, artists started to explore their ideas in relation to the main concept bringing our collective ideas to a more ultimate idea where a work of art communicates one to one. When the car is exhibited, it presents itself as a sculpture. When it is moving, it communicates the research of concepts of the city / community (Chinatown). It is at this time where we would record and document through video, tapes and photographs of situations during the trip.
Our main objective is also to collect information and documentation that would lead us to a form of publication at the end of the events.
In the duration of the project there will be a brochure in the form of a newspaper printed by the group to inform the community of the latest news update. The papers will be placed in cafes, restaurants and pubs, etc.
The construction of the Car't will take place on the pedestrian walkway of Pagoda Street (next to 68, Pagoda Street). The choice of the place will enable us to engage the nearby shops and businesses to participate and contribute to the project. The Car't will be built by artists, architects, bus driver, garang guni man, fortune teller, garbage collector, milkman, carpenter, tailor, samsui women, construction worker, beggars and others. The characters are mainly people doing their job or taking on the characters. We are planning to take the car't to different venues like the Singapore Art Museum, Orchard Road, Little India etc in the duration of Nokia Art'99. We might include the possibilities of including cultural performers on board the carŐt to perform as themselves or act if they like. The carŐt will also take passengers for rides.
Participating artists & professionals:
Vincent Leow / carpenter
Juliana Yasin / samsui woman
Colin Reaney / bus driver
Karee Dahl / person behind the garbage truck
Benjamin Puah / rats
Green Zeng / medicine man
Zulkiflie Mahmod/ ice-cream man
Architects / Designers
Paul Chang / pimp
Randy Chan / fortune teller
James Tan / garbage collector
Lee May Anne / clog maker
Hans Ong / printer
Han Kiang Siew / milkman
Willie Koh / voyeur
Laura Soon / teacher