Okui Lala (MY)
Let's Drink and Eat Tea! (2015)
Video installation series
In the late 18th century, Penang was a vibrant colonial entrepôt that has drawn traders and eventually settlers around the world. The names of the roads in Penang reflect its historically cosmopolitan character. Currently, the state continues to draw a huge number of migrants that play a vital role in the workforce. Along with them, translocation and translation of culture occur which adds to the vibrancy of the place and society. In this video installation series, Okui, a Penangite, looks into the traces of history of the early Burmese settlement in Penang and the recent migration culture in the city through the road's name and the Burmese food- Lahpet Thoke (Burmese tea salad).
This project is made possible through the great help of friends from Myanmar that have been working and staying in Penang for years. Throughout the process of understanding and producing the work, a lot of translations transpired between and within them. The project features Steven Nyi Nyi, Florence Lay, Zay-Ya and friends.
Video 1: How to make Lahpet Thoke
Video 2: Roads in Penang-Burma
Video 3: Let's Drink and Eat Tea!
Video 4. Translating
Anjo BOLARDO (PHY)
Last year, I had the good fortune to create an installation entitled Leaving Living Attachments as part of a short residency. The pleasant memories borne out of the whole experience relate to the initial context of this current project. Bintang is a fictional story inspired by the song “Bintang Hati.” Saloma popularized this ballad during the1960s. Yearning and nostalgia are central to the visual narrative I wish to convey. To a certain degree, it mirrors the condition of heritage and history. Set in Penang, Malaysia projected near the shore… the waves echoing the sounds of longing and desire.* Bintang in Filipino means: to blame; in Malay it denotes a star. Using these varying definitions, the video leaves it up to its viewers to derive their own conclusions and characterizations derived from the visual encounter..
Anjo Bolarda is a self-taught artist whose works have been exhibited in several local and international venues. He creates projects that deal with memories and stories of people living in contemporary society.
bibichun is a chalk doodler at a young age and college drop out major in Mechatronics Engineering, bibi participated in group shows and festivals including, "Urban Folklore" in Kunstraum, Innsburk. "Weapon of Mass Change", G40 at Art Whino, Maryland. and "Beyond Pressure" Contemporary Art Festival in Yangon.
Andreas SIAGIAN (IDN)
Pendendang Warung Wayang (2015)
Interactive projection mapping & DIY Synth
WU, I-Yeh (吳宜曄) (TWN)
Someone once said that in order to fall in love with somebody, the most significant engagement is the first three seconds when you gaze into each other’s eyes. Have you ever heard of the tale that says: everything is wonderful in Siberia and the only thing you cannot get is red ink? Prozac enhanced reality. The lights are still going on and off. Is my red the same as your red?
Andreas is a cross disciplinary artist with an engineering background focusing on creative communities, alternative education, DIY/DIWO culture and interdisciplinary collaboration in art, science and technology. Since 2004, he is working in community-base initiatives to produce installations, workshops, lectures and organizing events as well as festivals in Indonesia.
GOH Lee Kwang (MY)
The video is 50 seconds, one scene. It begins with the view of the corridor, with heavy drony sounds generated by the different air pressure felt there. After a few seconds the ping-pong (table tennis) balls (6 of them), are thrown towards the corridor… after a few more seconds the video ends. The video was shot on a little corner in Level 3, Komtar (Komplex Tun Abdul Razak), the landmark building of Penang (for more details please visit their wiki page), with a small but expensive Sony digital camera, handheld by Suzy Sulaiman, the Art Director of the da+c festival.
Chikara MATSUMOTO (JPN)
With live performance by Hiroshi HONDA (2015)
Stop Motion Hand Drawings + Video Projection Mapping
When we were in somewhere with someone more than 3 people, when I were on my way home alone, and when you were with your one and only friend or lover or family together, how can we exist by each our self? 3 is the number as a metaphor for society, 1 is me and 2 is with you. Because I draw a picture, I communicated my imagination that show my drawing to you as active as ever by now. But was I there on my own? I have mixed feelings in response to the Great East Japan Earthquake. The relationship of each other from various human attributes apperaed in both the familiar story in our life and the nuclear accident, when the people can not blame them ourself each other. Have I remained calm in the face of the problem as one of them. So, I must believe that I have not lost you and what I was thinking that it had gotten gone out while I did not know is unchanged in the future as well as by now. We It had kept to ourself that had a lot of indirect invisible relationships to how many other someone. I will not let I know all of me. Will not I feel myself, only you see me in your eyes, in just moment. Even if we do not have ego in ourself, is someone different from someone? When I made my work, I think about this question all the times and forgot it sometime. So what we take us to our past, it is imagined that we take back from our future at the same time. We'll dive in our own dream, we might have the future of someone. My dear friend said to me, "So many someone, so many times." Each times are flowing. I never forget We. In each time in the land, we cross the time to watch each other, we have imagination like a tapestry was knitting time. It is the way of getting away from the power of the image of long-cherished dreams of our childhood by using the power of our dream.
Chew Win Chen aka Okui Lala (b. 1991, Penang) enjoys taking photos, videos and talking to people. Since graduating from Multimedia University, Cyberjaya with a degree in Media Art, she has explored various mediums: from creating experimental videos, designing visuals for performances to conducting photography workshops within communities.
Lo graduated from National Taiwan University of the Arts, Graduate in School of Plastic Arts. Lo focuses on the special textures present in our daily life, seeing them as Walter Benjamin’s discourse— fragments and reflections of a complete structure, a whole world. His works can be viewed as organic documents, unlimited to specific mediums, attempting to arouse inquiry and contemplation on ever-changing warped messages.
WANG, Ding-Yeh (TWN)
Yan hua mén / smoke gate ( 2015)
An island. where a group of people hoard of treasure. The place is located along the path towards a hoard of treasure. Some treasure hunters left the island, while others stayed to continue the quest to uncover the fortune… a cause they have been committed to for centuries. Ultimately, it was futile. Waking up to the reality, they built a place where they belonged; namely, their own homes… the treasure that they have long yearned for.
Syafiq Abdul SAMAT (MY)
Hingarmera on the street (2015)
Site specific mobile installation
Hingarmera is a software written by the artist specifically for visual generation. It is an automated means determined by the noise and light input whereby light and color provide the visual patents, while the noise will affect the shape of the patents. The combination of light and sound input will affect the resulting visual. What's more, each session is a unique visual production, not the same as before and after, moreover, it can be converted to static images like a camera. As Hingarmera enter the street, it will internalize the light, sound and ambience of the environment and externalize it as abstractions; transforming one set of energy to another. The name "Hingarmera" itself is derived from a combination of "noise" (noise) and the "camera" (a tool for capturing light). The name "HINGARMERA" came for the word "Hingar" and Kamera" – Noise Camera.
“Interactivity allows me to make projects more alive. It provides the intended response when a user fulfills a certain rule to be considered as inputs such as button clicks, key presses or even auditory input to launch a montage. Interactive projects were something I often enjoyed making, but nowadays I am more inclined towards experimenting with generative works. The final results are almost unpredictable, even though I may have some rough ideas on how it might look. Yes, initially rules were provided but when random factors are allowed to contribute in the process, it yields interesting results. This kept me wanting to try more and more.”- SAS
Pedendang Warung Wayang is an installation on warung wayang in form of instruments and sound reactive visual projection. The idea of installation took the warung as a social place between the buyer among themselves and with the seller. It also took the figure of a wayang as a performance show for the public. The installation would like to bring the element of sound in which in traditional wayang performance is filled with gamelan orchestra. There will be several instruments that can be use by the seller (the person who paddle the warung wayang) and buyer (audience) that can be used to manipulate and generate the visual projection. Pendendang Warung Wayang took the concept of Gamelan as an orchestra is played with the spirit of togetherness.
Sarah Ameera SABRAN (MY)
Live Video Projection Mapping
Sarah Ameera discovers endless possibilities upon seeing geometric patterns of Penang tiles as a source of inspiration, at the same time appreciating culture and creating a visual experience with these optical illusions in a particular space of Georgetown; Fort Cornwallis. Technically speaking, the artist worked with both traditional methods of drawing (making lines, shapes, tracing and shading) and digital manipulations (through Adobe Photoshop, Adobe Illustrator and Resolume Avenue software). Apart from observing the many probabilities of ideas resulting from these tile designs, it is also crucial for the artist to show and tell the audience about the gradual process of manipulating shapes and lines into creating walls and tunnels of cultural illusions, and simultaneously arriving to the digital visions of these tiles brought to life.
Tetsuya UMEDA (JPN)
Mr. Dreamboy (2015)
UMEDA draws his ideas from the environment and the circumstances surrounding the exhibition, but not this time. He focuses on time-process with simple physical phenomena of light and sound and expands them into live site-specific installation. Maybe. He creates objects freed from their original meanings. Spaces that at first glance, seem so commonplace are turned into those with countless characteristics. He keeps the situation unstable and unpredictable and It is from such dialogue with a specific space that he creates his work.
KL-based, Sarah Ameera is a media artist who experiments in visual artistry of the analogue and digital. Her interests are in the mysteries of life, science and art, while encouraging people to love and celebrate themselves.
Chikara Matsumoto uses drawings, video and light to make shamanism-inspired pictorial representation of the image. He often collaborates with musician "VOQ" for performances and exhibitions.
Chris GOLINSKI+ Bradley Scott Rosen (US)/(MY)
“Kairos can be seized once it approaches, but is lost once it is gone.”(2015)
Can we truly take advantage of a moment? Carpe momentum. Are we able to cope with the relentlessness of time? There is anxiety in the ever-vacating present and our inability to make sense of what that entails. What is one’s present? Are moments only recognized through reflection? If so, then one is left only with artifacts of the moment, shards of memories and imagined futures. Where is the present? Is it now? Can one have multiple presents?
This piece is a celebration of the moment and an elaboration on the existence of multiple presents: The here. The now. The remembered. Our minds tend to compartmentalize moments in time to create sense, order and understanding – but what if we lived with a perpetual attention for kairos, the absolute present? Children have a beautiful way of reminding us of the importance of every moment; they approach the present with a view to soak up each potential lesson, wonder and exchange. Here, dual narratives – one audio, one visual – collide and coexist to create a circular time-sanctuary where the only task is presence.
Wang studied in Germany, and staged the exhibition "Live Live Seafood" at the Digital Art Center, Taipei in 2013. He is equally adept in the video and painting fields. He also holds a belief that, through the creation of arts, artists can not only connect or confront themselves with the society, but also fulfill its function of "self-healing".
Tetsuya work spans across sites and disciplines, from performing arts, improvisational music and exhibitions. He often collaborates with visual artists and musicians to create works are that express the time-process through physics of light and sound which are then expanded over the environment as an on-site installation.
Syafiq is a media artist with a background in interactive design + animation. He explores the aesthetics of art making through computer codes. He has participated in numerous group exhibitions locally and recently Antara 2014 ‘Transcoding Multi-Culture’ at Publika and MYStory Exhibition at Galeri Petronas last year. Currently, he lectures at the Art & Design Department, University Teknologi MARA, Kedah.
Goh is a reputable force in the Malaysian sound art scene and has created sound installations, sonic-visual interactive installations, single and multi-channel videos, improvised music performances, tape music, works for radio broadcasts and soundtracks for theater, dance, film, and has exhibited in venues in both Asia and Europe.
WU graduated with a MFA in computational studio arts from Goldsmiths College, University of London.
Chris is a musician, entrepreneur, and educator dedicated to finding new modes of expression and innovative technology-based solutions for artists and audiences. He has performed throughout the US, Europe, and Asia and has released six albums of his work internationally. Chris is also the co-founder of Sonifind, a music discovery app that connects audiences to unheard music from around the world.
LO, Shih-Tung (羅仕東) (TYN)
Belle of Penang: Rhizome (2014-5)
The beautiful old Peranakan architecture in George Town speaks of the mutual permeation and amalgamation between Chinese immigrants and South East Asian culture after the Ming Dynasty. George Town contains the revolutionary footsteps of Sun Yat-sen as well as street graffiti that attracts tourists. It is a city that links dissimilar qualities while illustrating versatile yet shattered pieces of history… as if it has not aged. Heritage and tourism existing on the same horizon, converging on the same plane. Thus, the city has become akin to a rootless tropical plant — perhaps similar to a rhizome. It is a lateral network without a beginning or an end. It is the manifestation of multiple, fragmented ways of escape and tension. How does one capture this striking yet transient experience? How does one summon the dilapidated memories concealed in this beautiful island? Lo Shih Tung imagines a modern-age shaman immersed under these layers of recollections, imbibing his physical existence and tangible character.
Coming from a graffiti back ground, tagging has been a common practice for graffiti 'artists' to mark territory (or leaving a mark) on public spaces and a form of showing marks to the general public as audience. On the other hand, affixing signatures are a common practice in the Fine Art world to claim the authenticity of a work created by artists.
Marcel Duchamp's Fountain in 1917, claimed a porcelain urinal (a common daily object) to be an art work by signing "R.Mutt" on it. This sparked my curiosity to explore and compare this usual process in the art world where the graffiti practice is still labeled as an illegal exercise. However, when the world of fine arts crosses the boundary of white cubes, it tends to create a certain dialogue. Up to what extent will the dialogues extend when everything is done in a reverse manner?
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