singapore biennale 2013: if the world changed . part 1

If The World Changed, the title of the 4th Singapore Biennale which I dropped by last Jan, was an invitation to artists to respond to and reconsider the worlds we live in, and the worlds we want to live in.

The surge to read the Biennale booklet all over again, driven by Sam's blog that I seriously have to write more. That particular kind of appreciation for my everyday that I'd love to journal and share. And tonight, we will adore part of the beautiful artwork by various artists which were being captured during Biennale.

by Tisna Sanjaya, Indonesia

For Sanjaya, art gains its greatest intimacy through a direct connection with the life of the people and a fearless exposure of injustice. For this work, he has imagined an 'embassy' dedicated for the people of the world to gather and share their thoughts about the problems of today.

by Shieko Reto, Malaysia

Waiting Room echoes the many episodes of 'waiting' faced by transgender persons, such as waiting for a family's acceptance, for the legalisation of official personal documents, and for the confirmation of and acceptance into regular employment. The installation is constructed to mimic a typical clinic, presenting an all-too-familiar journey in the lives of transgender persons as they undergo various phases of constructive surgery, before what is considered the defining procedure: gender reassignment surgery.

by Nguyen Huy An, Vietnam

The deep black abyss of Chinese ink and its hypnotic scent immediately conjure notions of a literary history rich in tradition and culture. In The Great Puddle however, this rich and illustrious history is interrogated and the ink's reflective surface reveals as much as it obscures. Its opaque darkness also hints at hidden secrets lurking beyond the dark corners of the pool. The artwork is a commentary on the lingering scent of power and corruption, as metaphorically represented by the form of a bureaucrat's writing table. While the ink attempts to conceal the 'shadow' of dirty dealings. Its reflective surface ironically reflects reality and becomes, in and of itself, a permanent black shadow in which all forgotten events resurface.

Text courtesy of Biennale booklet.

backdated  / Jan 18, 2014