Kindly take note that we have moved to a brand new website:
Please proceed to this new website for all future news and event updates.
We will leave this blogsite as a memoir for all of us.
Kindly take note that we have moved to a brand new website:
Please proceed to this new website for all future news and event updates.
We will leave this blogsite as a memoir for all of us.
Date: 29 April 2011
Time: 7.30 pm to late
Venue: The Substation, Theatre and Random Room
Address: 45 Armenian Street, Singapore 179936
1. Andre Stitt (Wales/UK) –
Born in Belfast, N. Ireland in 1958, Stitt is considered one of Europe’s foremost performance and interdisciplinary artists. He has worked as an experimental artist since 1976 creating hundreds of unique works at major galleries, festivals, alternative venues and sites specific throughout the world. Recent work includes: Venice Biennale 2005, Baltic Contemporary Art Centre, England 2005, The Drawing Centre, New York, 2006, Artspace, Sydney 2007, Asiatopia, Bangkok 2008, Spacex Gallery, England 2008, The Lab, New York, 2009, MCAC, Northern Ireland 2009. In 2008 he was awarded the prestigious Creative Wales Award. He is Professor of Performance and Interdisciplinary Art at the University of Wales Institute, Cardiff and is the director of the Centre for Fine Art Research at Cardiff School of Art & Design, Wales, and UK. In 2000 he opened trace: Installation Artspace in Cardiff initiating a robust programmed of international time based work
Title: Amnesia [Cluster Overdrive]
“The first forty years of life give us the text; the next thirty supply the commentary.”
Through spoken word, text, sound and projected image Stitt will reflect on the place of performance and art making in his life. From his childhood, and the civil conflict in Belfast, Northern Ireland, to a life spent traveling and making art around the world, Stitt considers how memory and recall, allegory, communal narrative, conflict, codes and myth inform the present.
Estimated Duration: approx: 45mins
2.Verena Stenke and Andrea Pagnes
Verena Stenke and Andrea Pagnes have been working together since 2006 as VESTANDPAGE mainly in the fields of Performance and Video Art. They found within these disciplines the perfect common ground to investigate topics they are concerned: impermanence, fragility, transformation, memory activation and a translative poetry.
The Venetian born ANDREA PAGNES achieved his Master Diploma in Art Critic and Museology and his Degree in Modern Literature and Philosophy in Venice, the Diploma of Social Theatre Actor from Isole Comprese Teatro Florence, and in Creative Writings in method by Raymond Carver, Rome. He published art essays, prose works and poetry and worked as translator, journalist and independent curator and coordinator for site projects for several Venice Biennials. As visual artist, he exhibited his paintings, sculptures and installations on international level.
The German VERENA STENKE studied Fine Arts and Makeup artistry. She trained martial arts, Contemporary and Butoh dance during her living in Berlin. In Florence she studied in intensive laboratories with Kassim Bayatly theater and rites and dances of Sufism, as well as Social Theatre with IsoleComprese Teatro. She works in sound and video art, and evolved her personal way of performative expression integrating techniques of innovative mask- and make-up artistry.
Title: BALADA CORPORAL
The performance series BALADA CORPORAL consists of currently four parts. It speaks about the continuity of becoming, the difficulties of real encounters unleashing the physical boundaries of body surface, and transformation through concrete communication- physical, psychological, verbal and non-verbal. The visitors gather with the performers to re-awaken what is constitutional to all humans: the expressive power of body and language. These keynotes help to overcome the actual frozen state of being- not as a matter of nostalgia, but rather to ingrain pure poetry into life by re-evaluating the necessity of honest and sincere human interchange.
Part I: Solid Body – Emotional Body
Part II: Liquid Body – Political Body
Part III: Aerial Body – Spiritual Body
Part IV: Fragile Body – Private Body
Expected Duration: 35 minutes
3. Xing Xin
Xing Xin, born in 1981, Chongqing, China, graduated from Chengdu Academy of Fine Arts, majoring in Sculpture. He currently lives and works in Chengdu, Sichuan, as freelance artist. Since the year 2003 when he started doing performance art gaining more exposure in China, Italy, and Belgium. Xin Xing’s performance works developed from his investigations as a sculptor into more complex installations to explore concepts of time, space and existence to express the human condition. He was given a Merit Award during the Inward Gazes: Exhibition of Documentaries of Chinese Performance Arts 2008, Macao Museum of Art.
Title: Playing with a Random Pinch of Hair of Mine Cut by Myself
This thought is derived from the personal memory of my childhood.
In the 1980s, the materials in China were still indigent, and the mass public wasn’t so well informed from the outside world. Everyone was living an ambiguous life in a slow pace, only to reach the Primary Stage of Socialism. And that’s when I was born and raised.
At that time, every morning from 7:30 to 12:00, every afternoon from 14:30 to 17:00, and every night from 19:30 to 21:00, I had to sit in front of the desk, pretending to be studying. Studying is good, but I didn’t know why I had to study, or why I had to study well, which made it very boring! Therefore, in those identical days of almost twenty years, I learned how to kill time by myself.
Duration: Xing Xin will perform in the Random Room from 7.30pm till late,
4. Jason Lim
Jason Lim’s practice transverses ceramics, sculpture and performance art and is regarded as a maverick in the ceramics field, Lim has radically shifted assumptions about ceramics as a discipline, pushing its potential as a media in installation and performance art. Lim’s performances often play on boundaries of risky precarious situations, teasing the audiences with a cheeky use of the materials and spaces. He has participated in various international performance festivals and had taken up residency programs in Japan, The Netherlands, Australia and U.S.A. Lim was involved in initiating “UTOPIA”, an alternative art gallery in 1996 and was co-Artistic Director of Future of Imagination 2, in 2004. In 2005, he organized StopOver – Singapore/Japan performance art meeting in Kuala Lumpur, Malaysia and Singapore. In 2007, Lim presented his work in the Singapore Pavilion for the 52nd Venice Biennale in the same year he was awarded the Juror Prize in the 4th Ceramics Biennale in Incheon, Korea. In the following year, his work was shortlisted for the Grand Prize in the Taiwan Ceramics Biennale 08.
Title: Toys, experiments and other accidents.
Description: This performance is the first of a new series of work that I have been researching and experimenting since the last few years. In my research I have been trawling through the internet to learn about home made scientific devices and experiments. In my research, I was fascinated by the element of sounds that were produced from simply made kinetic devices and sound making mechanics. I am also interested with the sometimes unexpected outcomes and visual effects that these objects and materials (simple household and consumption materials like, batteries, magnets, cloth hanger, soft drinks just to name a few). During the performance I will construct these devices live and generated will be amplified to create a soundscape during the performance.
Rooted In The Ephemeral Speak (R.I.T.E.S) presents
The Sound Gig#3: Acoustic Imaginature
7:30pm, Saturday, 7th May 2011
Entry: $15 + 1 drink
Venue: Night and Day Bar
139 A/C Selegie Road
“For the past 40 years Mike Cooper has traced a path completely his own as an international musical explorer, performing and recording, solo and in a number of inspired groupings and a variety of genres. With his roots lying in acoustic country blues he has, arguably, stretched the possibilities of the guitar even more than his better known contemporaries, Davy Graham, Bert Jansch, John Renbourne etc. by pursuing it into the more avant-garde musical areas also occupied by contemporary guitar innovators such as Elliott Sharp, Keith Rowe, Fred Frith and Marc Ribot, with an eclectic mix of the many styles Cooper has practiced over the years. Ranging freely through traditional country blues, folk, original songs, free improvisation, pop songs, exotica, electronic music, electro-acoustic music, and ‘sonic gestural’ playing utilising open tunings and extended techniques. He is also a soundscape artist and film and video maker and performs live music for silent classic and contemporary films. His favored instruments – a vintage 1930’s National tri-cone resophonic guitar played acoustically and/or ‘treated’ through a series of digital sampling and looping devices and his voice.
Under the Velvet Sky (UTVS) is a collective of multi-instrumentalists sharing a common passion for musical improvisation aspired by a diverse influence of music from Mozart to the avant-garde. Sharing a common believe in expressive divinity, UTVS experiments music in altering spontaneity.
Under The Velvet Sky started out as a 3-piece jam band with Jordan, Reef & Din Morello in 1998. The band worked on a few things together; including an Electronic music project which carelessly went missing upon its completion sometimes in 2000. Having to go through their separate ways in life’s direction at some point, they disbanded.
Some years later, fate brought them back to making music together where they were occasionally joined by close friends and musicians sharing thoughts and ideas in music.
Though the band was actively playing music on their own at home, in studios, at haunted hospitals & houses, it took them quite a while before they came out with a demo CD (and this time making sure it doesn’t get lost!). In late 2008, they released a concept demo album, The Black Sea Sorcery (2008).
After the release of their debut demo album, UTVS have been actively performing live in Singapore. For their first live performance, they were chosen to close the Singapore Arts Festival 2009 open mic session at City Hall. UTVS gets regular invitation to perform at underground and alternative venues. They were invited by overseas artists as an opening act for their performances in Singapore. In 2010, UTVS performed in 2 music and arts festivals in Indonesia.
Early this year, UTVS has been selected to be an artist residency in Pulau Ubin, a project run by The Artist Village. UTVS proposed to release a music documentary about the residency with a soundtrack supporting the film. UTVS plans to collaborate with other musicians and artists in this project. To name a few of the artists that are invited for this collaboration are Lee Wen, Zai Kuning, Kai Lam, Jeremy Hiah, Zai Tang, B-Quartet (band), Observatory (band), I am David Sparkle (band), Mike Cooper, Mark Wong and other artists under the Pulau Ubin residency project.
UTVS have been actively recording and been releasing new materials on MySpace.
Duke Wen (A.K.A Lee Wen) makes a full circle with a return to his earliest forays of poetry and singing. Besides the other influences it was through poetry reading and jamming at The Artists Village that started him on the road to performance art and other experimental practices. Duke Wen’s lyrics are gutsy and poignant, sometimes personal and other times more socially relating to current cultural climate both local and global. Songs like “Art is …Dead” deliver a punchy tune with simple lyrics warning us of the impending death trivializing our humanity by placing emphasis on market values and mindless consumer tastes for shameless repetition of tested formulas rather than research, innovations and explorations of new ideas or debate on social values.
Singlish Punk is a pseudonym started in 2005 by Kai Lam to conjugate
his sound projects and experimental music with his performance art practice.
Singlish Punk’s cross-disciplinary performances through electro-acoustic sets are made up of field recordings, an array of altered instruments and musical instruments, coupled with obsolete and hacked machines that are sampled and looped, manifesting into live improvised soundscapes. His deliberate alteration of the media technology is a means to re-examine consumerism and a challenge to the disposable nature of current media technology, re-utilising its limited shelf-life and intangibility as an alternative perspective towards our digital media-fixated society.
Here are some news updates we recieved from PAS newsletter.
PAS – Performance Art Studies
PAS – Performance Art Studies, is a professional studio that is offering intensive studies to young artists, art students and other interested people in Performance Art since 2008. The aim of these studies is to provide the participants a unique form of classes about the big topic of Performance Art and to include them into the international network as well.
* Upcoming PAStudies *
#19 Intensified Dialogues from the 6th till the 15th of May in Trybunalski and Krákow ( Poland )
in cooperation with the international performance art festival Interakcje, curated by Arti Grabowski
Intensified dialogues is investigating the permanent conflicts in our daily life encounters on an emotional and intellectual level. As social beings, we are thinking in categories and classifications, we are consisting of numerous contradictions regarding our personal history and origins. This influences our behaviors and images in encounters with each other. During the workshop we will experience our differences in the ways we are sharing ideas and interests and dealing with conflicts and limitations. This cultural, emotional and aesthetical diversity is seen as a value and a chance to formulate and express individual positions and intensify each individual artistic expression.
Apply now! Limited places!
Deadline for applications: April 30th
Early bird price: by confirmed registrations before the 15th of April
Information and application form >>>
Please feel free to forward this information
* FROM ME TO YOU *
It is a big pleasure for PAS to thank a great audience at the Flutgraben e.V./Berlin for our first PASproject 2011 “From Me To You” on last Sunday. We all have seen an inspiring performance art event with tea, coffee and handmade cake from the bakery “Seidenschnur”. Eight young performance artists have written performances as a gift “from me to you”.
Please see our documentation soon >>>
We also had our first run with a live stream, and can say, it was an experiment. We do apologies for inconveniences because of technical problems. But we want to continue to improve this as a technical opportunity.
The next PASproject will be in Vienna . More information soon.
* PASresidency *
We are happy to announce that PAS will be able to provide a performance art residency in Fredrikstad ( Norway ) starting from summer 2011. The one-week residency will provide free accommodation, working space and travel cost. This can be seen as a special opportunity for PASmembers.
Check here for further information soon >>>
* PASmember *
PAS is very pleased to share a brilliant video work by PASmember Félix Fernández
Please check >>>
* PASnews *
With a big pleasure PAS wants to announce our collaboration with Tabea Hörnlein and the “Theater der jungen Generation” in Dresden . Tabea is the new artistically director of this institution for youth theatre and will be the new head of the PASyouth section. So, we are looking forward to organise the first PASyouth summer school in Dresden for youth and teenagers in Performance Art. The workshop will be conducted by two PASmembers.
Please visit the PASwebsite for further information and follow the bird under: http://pas.bbbjohannesdeimling.de/
Please feel free to forward this information or download it and spread out: http://pas.bbbjohannesdeimling.de/DATEN/plakate/pas_a4_2011.pdf
In a project called “Give Peace A Chance Redux” Lee Wen had re-visited the legendary “Bed-in for peace” performance of Yoko Ono and John Lennon during 11 to 15 September 2006 together with Kai Lam. They occupied an empty shop space for five days and installed a bed for sitting and discussing “war and peace”. The shop became a bed room decorated with hip tie-dyes, colorful rugs and carpets, a television showing the video documentary of the legendary “Bed-in” running in a loop and an anti-war poster corner where visitors can paint and put up on the wall their own messages against the futility of war. The project was also part of the Singapore Management University Arts festival and my work responded to a number of contexts quite uniquely Singaporean, such as the ban on public protests and blocking out the black-listed activists from entering the country during the World Bank meeting being held that week. Given the fame of John Lennon and the Beatles amongst youthful music lovers compared in contrast to ignorance of Yoko Ono’s art departures and “Bed-in for peace” seen as an extension of Ono’s performance art interventions gave an opportunity to provoke interest in performance art as legitimate art practice. Lee however was shocked in over hearing a passing student scornfully tell his girlfriend that John Lennon is a no good hippie, drug imbibing bum amongst other derogatory gibes and discouraged her from participating in our project. Turning to Kai Lam, Lee wondered aloud: “what kind of brain washed dudes are there among these kids and how come?” and said it is time to become a “Born again Hippie”.
In 2007 Lee began the new series: “Too Late The Hippie” after seeing the tourism board promotional slogan: ‘Uniquely Hip Singapore’. Responding to the irony of how hippie culture were once seen as a threat to traditional values, defiance of authority in the face of dominant global market capitalism and the acceptance of values once frowned upon into mainstream culture and especially the threat of communism at the height of the Vietnam war during the ‘70s. Playing devil’s advocate reminding and recalling that recent enthusiasm for healing the planet, disgust for chemicals, non-GMO seeds, concern for the environment, alternative health, humane treatment of animals, natural childbirth, developing the self, popular music and various prevalent attitudes actually began and proliferated from the 1960s hippie counter culture movement.
In 2007 while participating in “Interakcje 2007″ Piotrkow Trybunalski in Poland Lee also began his ordeal with Parkinson’s Disease. In response, he began new works, which incorporated his physical condition. Nicknamed “Stagger Lee”, as he began walking with a staggering gait he started to perform a new series based on the story of “Stagger Lee”, a legendary real life bad man in American folklore seen as the embodiment of evil. Lee took up the shaman-like role as if personifying the evil character and creating a humorous ritualistic séance with the intention of dispelling the evil from this world.
In another series, he re-interpreted “Rite of Spring” (Le Sacre du Printemps) using the Russian composer Igor Stravinsky’s once controversial ballet first conceived a century ago. Lee moved to dance in order to continue the perpetual search for the resolution of conflicts and reconciliation of contradictions through the self imposed task of activating and performing the body in sickness.
With “Anyhow Blues Project” Lee characteristically continues to manifest these various contradictions, using a renewed interest in popular folk music genre as a (re-) starting point. By singing, some self composed songs as well as old classics as a starting vehicle; the “Anyhow Blues Project” confronts various issues related to contemporary the hypocrisy of ‘serious culture’ and other ‘dead art’. As an avid follower of Frankfurt School of philosophy, Lee acknowledges his disagreeing from Adorno’s criticism of popular music in dismissing the protest songs of the ‘60s as pretentious commercialism. Lee investigates nuances of social discontent against the current trends of euphoric celebration manifested in propagation of art biennales and globalization of the art market. He expresses the desperate struggle for the individual to assert a place in a commercially driven and essentialist engineered culture of contemporary society, crying for local folk music if not art in deserving legitimacy against high powered commercial or exploitive fare in contemporary cultural discourse.
Lee Wen also returns to his earliest forays of poetry and singing. Besides the other influences, it was through poetry reading and jamming with Zai Kuning at The Artists Village that started him on the road to performance art and other experimental practices. He explained in a recent interview: “ Zai is the guitar maestro, I just do the basic chords but I liked making up songs with my own lyrics. Therefore, my first actions were readings, which I dropped out of eventually and when I went full swing into it, I forget all about the guitar and songs. With medication now, my fingers start to move like it did before and while hanging out with Zai again after long years of going in different directions, it was such a joy to play the guitar and sing again that I had to get into the “Anyhow Blues Project”. It’s really a part of how I cope with my health as much as it’s a comment on society and life, and also about the trials and tribulations of friends like Zai and the Artists Village.”
After performing solo in various performance art gigs since September 2010, the Anyhow Blues Project has evolved through various intense contradictions and complexities. Working with the inspiring provocateur Zai as well as Reef and Hafiz, active players of our neglected alternative music scene, Lee hopes to help steer Anyhow Blues into reconciliation and redemption. Together with the ‘Anyhow Blues Project’, they will rock anew the folk dimension of Lee Wen’s earlier solo acoustic attempts.
They will perform all original compositions by Lee Wen, as much as before gutsy and poignant, personal experiences that relates to current cultural climates. Songs like “Art is Dead” deliver a punchy tune with simple lyrics warning us of the impending death trivializing our humanity by placing emphasis on market values and mindless consumer tastes for shameless repetition of tested formulas rather than research, innovations and explorations of new ideas and current questions of humanity’s directions.
Join them for a concert closer to your roots and help resurrect dead art!
Date: 15th and 16th April 2011
Time: 7.30 pm to late
Venue: The Substation, Theatre
Address: 45 Armenian Street, Singapore 179936
Zai Kuning guitars.
Hafiz Bastard drums
Performance by Lee Wen (solo) 7:30pm
Acoustic (solo) 8.00pm
Interval 8:20pm to 8:30pm
with Zai, Reef and Hafiz 8:30pm to 10:00pm
Acoustic (solo) – Lee Wen
Admission : S$10 only
(you are allowed to sneak in free by order of the Anyhow Blues Project)
after all this is not a Bob Dylan gig!
‘CanCannotAlsoCan’-poster design by Lin Shiyun, painting by Elena Erikkson,
“Anyhow Blues Project” premiered at 9th International Performance Art, Turbine, Giswil Switzerland, Sept.11, 2010.
The “Anyhow Blues Project” series had been presented at:
– 9th International Performance Art, Turbine, Giswil 2010, Switzerland
– Rencontre internationale d’art performance de Québec, Quebec, Canada
– Survey from Singapore, FADO, Toronto Free Gallery, Toronto, Canada
– 4 Directions from Asia, Grace Exhibition Space, Brooklyn, New York, U.S.A.
– Action Script: Symposium on Performance Art Practice and Documentation in Asia, Hong Kong
– Performance Platform Lublin 2010, Poland
– BONE 13 – Festival für Aktionskunst, Berne, Switzerland
– R.I.T.E.S. “Rooted In The Ephemeral Speak” #01/2011, The Substation, Singapore
– “This Is Performance Art”, Aberdeen, Scotland
– ”Song”, with Reef, Singapore Art Museum, AfterHours Grounded Party, “Negotiating Home, History and Nation: Two Decades of Contemporary Art from Southeast Asia.
Biological Arts Theatre
Open Call to All
The Gary Cass, lab scientist will run a Bio-Art Workshop, which it will provide a platform in creating artworks from various biological science techniques such as extracting DNA and working with tissue and bacteria cultures.
Steve Rice will run a 3D Film Workshop, which it will explore techniques and notion of 3D film effects. This technique will be use to explore the visual dimensional of theatre through space, movements, sounds and texts.
When: 30 April to 1 May 2011
Places are limited
Application submission by 16 April 2011
The final work will be a theatre/performance event titled Infinite Saree. Shortlisted artists from the workshop will be invited to join with the Infinite Saree theatre to develop a unique performance/theate event. Both experienced and new artists are encouraged to apply.
Pls download the application form at www.schandrasekaran.com/infinitesaree
Basic Informations about the IPAH Summercamp & Platform For Young Performance Artists 2011.
Important: The Summercamp this year will not happen at Schloss Bröllin! One class will take place at the wonderful location Glogau Air and two classes at the Kunstfabrik am Flutgraben e.V., both in Berlin. The teachers this year will be He Chengyao from Beijing, Ray Langenbach from Kuala Lumpur and Jürgen Fritz.
Like in the years before, we hope, that we can offer the Camp for 200, – €. This would include:
Please be aware, that the Platform Festival is not part of the IPAH Summercamp!
Our Partners for the events this summer are: