Lek’s work usually takes the form of film, where he applies his skills at CGI (computer generated imagery) animation and at composing soundtracks. With animated, filmic works like Sinofuturism (1839-2046 AD), Geomancer, AIDOL and 2065, Lek conjures up future scenarios where the virtual is changing the definition of all human categories, including art. The artist ponders through different viewpoints — both human and artificial — and adopts English, Mandarin and Cantonese to describe how the world might be like a few decades from now.

Continue reading my interview with Lawrence Lek on so-far.online

I am not sure where your IP address is located as you read this article. I am in now Italy trying to question the reach of digital technologies in our lives, interactions and flailing democracies. I started becoming more aware of the role of technology in society while living in Singapore, noticing how interfaces were shaping the city and its inhabitants.

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I move to the edge of the wall, touch the surface which is cold and chalky. What house system are you using? Yours is a new house, one you designed yourself. You open the window. I talk about what was on my mind that night. An image of two habits short-circuiting. One stimulated by the other, something being distilled, boiled down. That it was meant to be. You reposition my chair, wipe down the table. That it’s still a region of tissue, strata of flesh and nerves and muscle. I go through my list, I mention resistance training, flexibility, geophysical processes. You pour liquid into a glass. I steady the glass with my hand. I use the other to push the image across and let it drip, discharge onto the wooden surface like some form of glandular secretion. 

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K-T

Kai is a perky Chinese-Singaporean woman wearing gray shorts, sneakers and a T-shirt adorned with cats. You get the impression she is getting ready for a run rather than a performance. The Ikea stools for the audience are arranged in an arch shape in part of the gallery close to a glass partition. My Brazilian friends, attending the performance with me, feel the audience setup is constrictive, mirroring public spaces in Singapore where any improvised crossing or alternative routes are obstructed by metal barriers and plant fences. It seems I have been in Singapore long enough to no longer pick up on bodily curtailment. 

The text was written and first published in a Dance Mag, The Furor Issue, 2018.

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On Lai Yu Tong’s Bandcamp page, under the name cosmologists, the introduction to his music tracks reads, “Proudly made under the depressing yellow-lit nights of Singapore.”  

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Chi è Dafne Boggeri?
i-D è un lavoro del 2006 dove l’artista si presenta in quattro carte d’identità, indossando in ciascuna una maglietta con una scritta diversa; la serie completa compone la frase: trans/lation/some/time. La traduzione non risolve l’enigma che, anzi, si infittisce quando nel campo relativo alla professione nei documenti si legge “astronomo”. Dafne Boggeri si divincola dalle definizioni e si muove agilmente fra una molteplicità di linguaggi.

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There’s inertia here

A land for our speaker

Linguistic familiarity at gun point

A wonderful retribution to take that language and 

brutalize it

Better at it then those who forced it upon others

A tipsy topsy turvy way of saying things 

An abuse of language 

A lot of onomatopoeia goin on

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