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China Daily | Culture HK
All the Lonely People
"I sense the social alienation and isolation in individuals across cities such as Paris, London, New York, Singapore and Hong Kong. I suppose this theme of solitude is a running thread through my practice" -Sarah Choo Jing
The solo exhibition titled "Flights of Mind” took place with a small gallery in the PMQ area, Hong Kong. It consisted of new works involving the subject matter of people in transit on Hong Kong's MTR system. China Daily reports that the portraits are "a homage to some of the finest in painting, theatre and photography” and the artist references director Wong Kar Wai as an influence on her practice.
New works include a triptych series titled "At the Beginning of the End" depicting standing passengers during the urban rush hour, seen through the train's windows, either staring poignantly down into their hand-held devices or out into the abyss. Each waiting in transit, with the sense of passing time through MTR stops until their respective stations for exit. A new panoramic work titled "In Matter & Memory" (220cm x 110cm) captures, in black and white, the arrivals of these MTR's passengers onto the platform and their momentous mass exit in a slow fade-like motion. Meanwhilst, Choo's "Glass Walls" portrait series depicts an individual passenger in a fluid, slow fade aesthetic again. The printing technique used here is a bleed of the photograph and resulting painterly effect.
Dates: 3 - 14 February 2016
The Japan Media Arts Festival is a comprehensive festival of Media Arts (=*Media Geijyutsu*) that honours outstanding works from a diverse range of media- from animation and comics to media art and games.
Sarah Choo Jing's 'Waiting for the Elevator' (2014, multi-channel video installation) is featured under the Jury Selection in the 19th Japan Media Arts Festival - Art Division.
The work depicts a documentation of several events at the street level of different housing estates across Singapore combined into one uninterrupted panorama. These openings, ironically known as “void decks”, were intentionally designed as community spaces. Viewers witness isolated individuals immersed in seemingly repetitive routines such as smoking, resting or talking on the mobile. Unlike Choo’s earlier staged works, the characters are unaware of the artist’s camera. A sense of anticipation is prolonged by the continuous length of street, the accompanying suspenseful music, as well as the individuals’ repetitive actions. The transition between ordinary scenes transports viewers in time and space so that they become the ones waiting for the elevator, waiting for something to happen.
Martell Stages First Ever Augmented Reality Exhibition in Singapore
The Martell AiR Gallery, Singapore’s first augmented reality exhibition of contemporary art made its debut over the weekend, presented against the city-state’s iconic skyline.
Created by cognac house Martell to celebrate its 300th anniversary in Singapore, as well as the city-state’s Golden Jubilee, the exhibition showcases 15 new works by 15 local artists, and is entitled “Zoe — The Art of the Alchemist.”
With the Martell AiR Gallery app downloaded onto their devices, members of the public can then access and view the artworks at their own time, exhibited against prominent landmarks in the Marina Bay area — such as the Marina Bay Sands Sky Park, and the waters of Marina Bay.
The gallery is curated by Singaporean designer Kelley Cheng, who was invited by Martell to Cognac and Versailles to experience the history and heritage of the esteemed ocognac house. One of the main thematic inspirations drawn from her trip was the affinity of the cognac-making process with the Chinese notion of the five elements (“wu xing”) — a concept that formed the basic structure of the exhibition.
The element of wood is used to symbolize the early, spirited growth of Singapore from the period 1965 to 1974, explored by artist Michael Lee, writer Amanda Lee Koe, and filmmaker Kirsten Tan. Artists Sarah Choo, Yeo Shih Yun, and Mindflyer turn their energies to tackle the “fire” phase of Singapore during one of its most vital periods from 1975 to 1984. These two phases are followed by periods of “earth” and “metal,” before the fifth and final phase of “water” — associated with the stillness and latency of winter — as depicted in works by Anngee Neo, Angie Seah, and Rowell Tan.
“Audiences can expect a variety of artworks ranging from still images to animated pieces that will be coded into the Augmented Reality platform. The Martell AiR Gallery will give a whole new perspective on viewing art, as they can walk around Marina Bay and be able to equally appreciate art that might be flashed onto the sky, on a building, or on the water’s surface,” says Cheng, curator and Martell ambassador in Singapore.
“This will be historic in Singapore as it will be the first ever augmented reality contemporary art exhibition, the first ever fully fledged show done using this technology. It is an appropriate gift from Martell to Singapore, being nothing short of exceptional.”
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